Complete Sinawali: Filipino Double-Weapon Fighting 9781462908967

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TUTTLE Publishing Tokyo | Rutland, Vermont | Singapore

THE TUTTLE STORY: "BOOKS TO SPAN THE EAST AND WEST" Most people are surprised to learn that the world's largest publisher of books on Asia had its beginnings in the tiny American state of Vermont. The company's founder, Charles E. Tuttle, belonged to a New England family steeped in publishing. And his first love was naturally books—especially old and rare editions.

Immediately after WW II, serving in Tokyo under General Douglas MacArthur, Tuttle was tasked with reviving the Japanese publishing industry, and founded the Charles E. Tuttle Publishing Company, which thrives today as one of the world's leading independent publishers. Though a westerner, Charles was hugely instrumental in bringing knowledge of Japan and Asia to a world hungry for information about the East. By the time of his death in 1993, Tuttle had published over 6,000 books on Asian culture, history and art—a legacy honored by the Japanese emperor with the "Order of the Sacred Treasure," the highest tribute Japan can bestow upon a non-Japanese. With a backlist of 1,500 titles, Tuttle Publishing is more active today as at any time in its past—inspired by Charles' core mission to publish fine books to span the East and West and provide a greater understanding of each.

Disclaimer: Please note that the publisher and author(s) of this instructional book are NOT RESPONSIBLE in any manner whatsoever for any injury that may result from practicing the techniques and/or following the instructions given within. Martial arts training can be dangerous—both to you and to others—if not practiced safely. If you're in doubt as to how to proceed or whether your practice is safe, consult with a trained martial arts teacher before beginning. Since the physical activities described herein may be too strenuous in nature for some readers, it is also essential that a physician be consulted prior to training. Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. www.tuttlepublishing.com Copyright © 2000 Reynaldo S. Galang All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher. Library of Congress Cataloging-in-Publication Data Galang, Reynaldo S. Complete Sinawali: Filipino double weapon fighting / Reynaldo S. Galang.—1st ed. p. cm. ISBN: 978-1-4629-0896-7 (ebook) 1. Martial arts—Philippines. 2. Hand-to-hand fighting. Oriental. I.Ttitle. GV1100.76.G24 2000 796.8—dc21 00-037420 Distributed by: North America, Latin America & Europe Tuttle Publishing 364 Innovation Drive North Clarendon, VT. 05759-9436 U.S.A. Tel: 1 (802) 773-8930 • Fax: 1 (802) 773-6993 [email protected] • www.tuttlepublishing.com Japan Tuttle Publishing Yaekari Building, 3rd Floor 5-4-12 Osaki, Shinagawa-ku Tokyo 141 0032 Tel: (81) 3 5437-0171 • Fax: (81) 3 5437-0755 [email protected] • www.tuttle.co.jp Asia Pacific Berkeley Books Pte. Ltd. 61 Tai Seng Avenue #02-12 Singapore 534167 Tel: (65) 6280-1330 • Fax: (65) 6280-6290 [email protected] • www.periplus.com Indonesia PT Java Books Indonesia Jl. Rawa Gelam IV No. 9 Kawasan Industri Pulogadung Jakarta 13930 Tel: (62) 21 4682-1088 • Fax: (62) 21 461-0206 [email protected]

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dedication This book is dedicated to the late Grand Masters Antonio "Tatang" Ilustrisimo and Jose "Tatang" Carunggay. I would also like to dedicate this book to Grand Master Guillermo "Doc" Lengson and Masters Christopher Ricketts, Antonio Diego, Alex Co, the late Punong Guro Edgar Sulite of Lameco Eskrima, all the members of the brotherhood of Bakbakan International, my wife Marilen, and my daughters, Kay and Annie. Quecayungan, dacal a salamat. To all of you, many thanks.

Contents Preface

CHAPTER ONE The Origin of Sinawali

CHAPTER TWO The righting Arts of Bakbakan International Weapons Systems Unarmed Combat The International Brotherhood The Bakbakan Organization

CHAPTER THREE Bakbakan Training Structure

CHAPTER FOUR Stances and Footwork Laban-Handa (Fighting Form) Kilos-Paa (Footwork) Urong-Sulong (Shuffle/Forward and Back Movement) Lutang or Ilustrisimo Footwork Ilag-Sugod (Straight Do aging) Ilag-Saliwa (Diagonal Dodging) Ilag-Tumbok (Perpendicular Dodging) Ilag-Paupo (Pivoting Side Step)

CHAPTER FIVE Warm-Up Exercises Palakas-Pulso (Wrist-Strengthening Exercises) Wisik (Wrist Torque Exercise)

Akyat-Panaog (Wrist Rotation/Twirling Exercise) Salisihang Akyat-Panaog (Alternate Direction Wrist Rotation/Twirling Exercise) Kilos-Balangkas (Foundation Techniques) Bagsak-Salok (Drop and Thrust) De Cuerdas, Abajo (Wheezer/Rebounding Strikes, from Low Position) De Cuerdas, Arriba (Wheezer/Rebounding Strikes, from High Position) Basbas, Planchada (The Blessing with Horizontal Slash and Thrust)

CHAPTER SIX Lakbay Sinawali: The Central Form of Sinawali Magbabayo (Figure-Eight Strike) Salok-Saboy (Scoop and Throw) Baguhan (The Novice) Bunot-Kaluban (Drawing of the Sword) Langit at Lupa (Heaven and Earth) Redonda (Whirlwind) Redonda Salok-Saboy (Reverse Whirlwind) Kambal Abaniko, Langit at Lupa (Twin Fan with Heaven and Earth) Rapido Redonda (Multiple/Rapid Strikes Whirlwind) Bukang-Liwayway, Redonda Salok-Saboy (Sunrise with Reverse Whirlwind) De Cuerdas, Redonda (Wheezer/Rebounding Strikes with Whirlwind) Langit at Lupa, Sinalakot (Heaven and Earth with Vertex) Bulalakaw, Redonda Salok-Saboy (The Comet with Reverse Whirlwind) Buntot-Butiki, Redonda (Lizards Tail with Whirlwind) Pluma, Redonda Salok-Saboy (Outside Roof Block with Reverse Whirlwind) Luha Redonda (Double Thrusts with Whirlwind) Lagusan Redonda Sinalakot (Tunnel Thrust with Whirlwind and Vertex) Luha Salungat (Crisscross Thrusts)

CHAPTER SEVEN Dakip-Diwa

CHAPTER EIGHT Laban-Sanay (Free-Style Sparring) Sparring Free-Sparring

preface Many books have been written about the Warrior Arts of the Philippines. Most have tried to present a broad view of the many forms of the traditional combat arts of the Philippines, which does provide the student with an invaluable introduction to and overview of the many-faceted warrior arts of the Philippines. In most cases, however, this approach denies the student a more intensive exposition and study of their major facets, that is, Solo Baston, Doble Baston (Sinawali), its subsystem of Espada y Daga and the variant Kalis-Kaluban, and knife-fighting. This book is part of a series designed for the serious student of Philippine combat arts. This volume presents, in detail, the structure, the foundation, and the progression of the art of Sinawali—the warrior arts of the Philippine plains. It undertakes to provide both the warrior and the scholar with insight into the development of skill in the complex and effective art of the double weapon, while presenting its innumerable skill development drills in a structured and logical progression. Although Sinawali is historically credited and recorded as a Pampangan art, many of the terms used in this book are predominantly Tagalog, interspersed with Spanish as well as a hodgepodge blend of other regional terms, the lingua franca of the Filipino martial arts. In most cases, a suitable and contextual, if not entirely literal, translation of the terms is given in English to aid the non-Filipino student and afficionado. The author hopes that the reader will endeavor to understand, learn, and become familiar with the original Filipino terms used and subsequently reap the reward of a deeper and richer insight into and understanding of the techniques, mindset, and culture of the Filipino warrior. A project such as this would not have been possible without the assistance of many people. I would like to thank the members of Bakbakan International for their assistance and encouragement. I wish to express my gratitude to the following for their contribution and support throughout this project: Bakbakan's Chief Instructor, Master Christopher Ricketts; Kali Ilustrisimo Chief Instructor, Master Antonio Diego; the late Punong Guro Edgar Sulite of Lameco Eskrima; Michael De Marco of the Journal of Asian Martial Arts; Alexander D. C. Kask and Mark V.Wiley, both formerly of Tuttle Publishing. My deepest gratitude to Grand Masters Antonio "Tatang" Ilustrisimo, Jose "Tatang" Carunggay, and Guillermo "Doc" Lengson, who have unselfishly mentored me in their individual areas of expertise and their personal strategies and techniques of combat. I also extend my thanks to Grand Masters Ben Lema, Leo Gaje, Jerson "Nene" Tortal, Ciriaco "Cacoy" Canete, Dionisio Canete, Jose Mena, Johnny Chiuten, Prudencio "Ondo" Caburnay, and others who have dedicated their lives to the promotion and continued development of the Warrior Arts of the Philippines. Thanks also to the following organizations, which have contributed to popularizing and promoting the Philippine combat arts: NARAPHIL, Amis Philippines, Doce Pares,WEKAF, Modern Amis, Balintawak, Lameco Eskrima, Pekiti-Tirsia, JKD-Kali, and others too numerous to mention.

Chapter One

The Origin of Sinawali Queng lean queng tigre ecu tatacut, queca pa? (Translation: I fear neither lions nor tigers, why should I be afraid of you?) PAMPANGA WARRIOR'S MOTTO

Pampanga, an area that once encompassed a large portion of the Central Luzon Plain of the Philippines, has always prided itself in its renowned leaders and heroes; the courage, skill, and loyalty of its warriors, and its fighting art, known as Sinawali (literal translation: woven), a proven combat art noted for its advanced and sophisticated double-weapon system of fighting. Contrary to popular belief, the art of Sinawali is not exclusively a double-weapon system, but also includes the use of single weapons, knives, and the long pole, or pingga. The present borders of Pampanga were established in 1873, after various sections of the old Pampanga region were incorporated into the provinces of Bulacan, Nueva Ecija, Bataan, and Tarlac. The highly advanced method of double-weapon fighting unique to this area has been variously attributed to Malay, Chinese, Japanese, and Muslim influences. Historically, any or all of the sources mentioned could be traced, studied, and verified. One thing, however, remains unique, and it is that a double-weapon system of training and fighting has never been developed elsewhere to the degree of sophistication and structure as found in the art of Sinawali. History will also show why Pampanga, an area now known for its agriculture and commercial strength, was once the source of much-sought-after, courageous, and proven mercenary fighters and an equally fierce fighting art. Archaeological evidence suggests long-standing links between Pampanga and the outside world, both with nearby regions and with Chinese merchants plying the Philippine coastal and river trade. An early Spanish account concerning the Pampangans and the neighboring Tagalogs reported that "they are keen traders, and have traded with China for many years, and before the advent of the Spaniards, they sailed to Maluco, Malaca, Hazian, Parani, Brunei and other kingdoms." Pampangans were recorded to have traveled to Batavia as late as the first half of the seventeenth century, even after the arrival of the Spaniards. With the influence of the Spanish trading orbit of Manila, they ceased their seafaring ways in 1650 and thereafter became almost exclusively an agricultural and commercial people. The influence of the Chinese arts and sciences contributed much to the development of Pampanga. Panday Pira, a wellknown Filipino blacksmith and a resident of Pampanga, was famous for his skill in metal-working and in casting cannons—sciences that were gleaned from the Chinese. Elements of the Pampangan language and family dynasties can be traced to Chinese influence and presence in the region. Family surnames ending with "co," such as Songco, Gocheco, and Cojuangco, to mention a few, are manifestations of the presence and growth of the Song, Go Che, and Co Juang families in Pampanga. The language also reflects its assimilation of the Chinese language. The term a chi in Chinese is atchi in Pampango and is used in both languages to address an elder sister. The same term is ate in the Tagalog regions.

The Pampangan language, Pampango, appears to have been influenced primarily by the MalayPolynesian family of languages, and, according to David Paul Zorc of the Australian National University, it belongs to the Proto-Sulic branch of the Filipino languages. It is believed to be a transitional language between the Northern and Southern groups. Brother Andrew Gonzales of De la Salle University, Philippines, states: "Pampangan shares certain phonological features with Pangasinan and Sambal, likewise transitional languages."

Pampango food terms, the origins of which can be traced from the trade intercourse with Batavia (now Jakarta), Malacca, the Moluccas, and other Malay settlements, show that Sulipan (Apalit) was an early Malay and Muslim settlement. The terms nasi (rice) and babi (pork) are common among MalayPolynesian languages. The term mangan (to eat) is the same in Sulawesi and is makan in Bahasa Malaysia and Indonesia. At least one community, Lubao, was deemed by the Spaniards to have come under the influence of the Muslim thrust from the south. An official Spanish report published in 1576 states: "[Pampanga] has two rivers, one called Bitis [Betis] and the other Lubao, along whose banks dwell three thousand five hundred Moros, more or less, all tillers of the soil." Other reports suggest that Muslims may have inhabited Betis and Macabebe as well. In 1571, a force from Macabebe led by their own datu (chief), fought against the Spaniards in Tundo. Rowing down the waterways from Macabebe and Hagonoy to Tundo with several hundred warriors on board twenty or thirty paraos, the datu jeered at Lakandula and Sulayman for having submitted to the puting mukha (white faces), as he contemptuously referred to the Spaniards. Refusing the offer of peace and friendship from Legazpi, the datu fought valiantly against the Spaniards in the bay of Bankusay The great Macabebe datu led the opposition and bravely, albeit foolishly, sat at the prow of the leading vessel and was killed by the first volley of the enemy's cannons.

In later years, the Spanish conquistadors skirted the communities of Betis and Lubao and pacified them only after the rest of the province had fallen. This military challenge to the Spaniards may well have resulted from the Islamic presence and influence in those towns. Recognizing the courage and fighting abilities of the Pampangan natives, the Spaniards recruited local soldiers, who were soon to become both admired and derided as the Macabebe Scouts. Many Pampangans from the town of Macabebe served as volunteers in the colonial army alongside the traditional Pampangan mercenaries who remained in the pay of Spain. In 1574 these and other Pampangan soldiers, armed with rifles and the ubiquitous bolo, were to fight side by side with the Spaniards to repel the attacks of the Chinese pirate Limahong. Don Juan Macapagal earned Spanish praise and trust when he became instrumental in suppressing the woodcutters' revolt of 1660. He was asked by the authorities to lead (as Master of the Camp) a Pampangan contingent against the threatened invasion by the Chinese pirate Koxinga in 1662. Macapagal was later awarded an enconomienda by the king for his long and faithful service.

In 1603, the Pampangan soldiers took a major part in a military operation against a Chinese rebellion that amounted to a Spanish-led massacre of the Chinese population around Manila. As a result of their role in suppressing the Chinese, some Pampangans were awarded captaincies in the Spanish army. From 1603 to the end of the Spanish regime, a Pampangan contingent served in the colonial army In the seventeenth century, it fought against the Dutch and served as an occupation force in the Moluccas. It also took part in campaigns against a rebel group in Panay. A royal decree in 1636 ordered the "pacification" of the island of Mindanao. Two large companies composed of mainly Pampangan and Visayans were part of the force led by Governor General Sebastian Hurtado de Corcuera. This force traveled aboard eleven large vessels with 760 Spanish infantrymen who were divided into a total of seven companies. Using Zamboanga as base, the troops underwent rigorous training with the advice and help of Datu Suksukan of Zamboanga and Datu Piatong of the Lutaos. In 1640 the Pampangans participated in another operation against the Chinese. The greatest Filipino hero of the Chinese revolts was Francisco Laksamana, a descendant of Lakan Dula and commander of the 4000 Pampangan troops in the Spanish army. He defeated the Chinese rebels in the hills of Antipolo in June 1662 and saved the City of Manila. As a result of his heroic action and brilliant leadership, Laksamana was made commander of Fort Santiago for 24 hours. This was the highest military honor given by Spain to a Filipino during the Spanish era. In the eighteenth century, besides fighting against marauding Muslims, Pampangans turned out in full strength to fight with the Spaniards against the invading British. This operation included a Pampangan commando force that penetrated deep inside the British fortifications, led by Francisco Manalastas, who was renowned for his bravery and daring. General William Draper, who was the primary target of the marauders, writes of this raid in his journal,

"although armed chiefly with bows, arrows and lances, they advanced up to the muzzles of our pieces, repeated their assaults, and died like wild beasts, gnawing the bayonets." In late 1897, the Macabebe troops acquitted themselves well against a rebel group lodged on Mount Arayat. Because of their fierce loyalty to the governing authorities, the Spanish provincial governor, Jose Canovas, petitioned the government to grant the province of Pampanga the title of Muy Leal. As the fervor and spirit of the revolution caught up with the Pampangans, they proudly joined the fight for freedom and redeemed themselves in countless battles. Pampangan historical records indicate June 3, 1898 as the beginning of the revolution against Spain, for it was on this date that the Pampangans themselves commenced their fight against their colonial masters. Armed with the martial skill, courage and training seasoned by generations of military leadership and experience, the Pampangans ended the era of Spanish colonialism in Pampanga within a month. The Pampangans were, according to Fray Casimiro Diaz, a historian of the Augustinian order, "the most warlike and prominent people of these islands. [Their rebellion] was all the worse because these people had been trained in the military art in our own schools, in the fortified posts of Ternate, Zamboangajolo, Caraga and other places where their valor was well known." This independence was, however, short-lived, for the war between the United States and the newly formed Philippine Republic broke out on the night of February 4, 1899. Even in the early days of American intrusion and rule, the value and skills of the Pampangan warriors were recognized. As a result, an American-led force of 5000 Macabebe mercenaries was sought, hired, and used to eliminate pirates, bandits, and insurgents from the swampy areas of the province. They are recorded in American military archives as "fierce and effective fighters." Developed by and inherited from this breed of warriors and leaders is the art of Sinawali. Despite its brief loss of popularity, the legacy of double-stick drills and techniques has been fortunately preserved in cultural plays, dances, family dynasties, and regional meets. From the basic to the more advanced forms, the drills and techniques of Sinawali have remained unchanged and unchallenged through the years. Preserved and incorporated into Bakbakan International's curriculum of weapons systems, the original method of Sinawali training and techniques reveals the foundations of the combat skills of the Pampangan soldiers and mercenaries. Using the more readily accepted and understood Philippine and Spanish terms rather than the original Pampango descriptions and terms, the structure and progression of the art of Sinawali can be easily discerned and appreciated.

Chapter Two

The Fighting Arts of Bakbakan International "Bakbakan International is a brotherhood of martial artists from different disciplines of martial arts. It is not a style nor representative of any single style. It is a center for the sharing of ideas, techniques, and knowledge." BAKBAKAN INTERNATIONAL MEMBER'S HANDBOOK

An exclusive fraternity of martial artists, with its headquarters located in Metro-Manila, Philippines, Bakbakan proudly carries on its covenant of promoting and developing the Warrior Arts of the Philippines. From its early beginning as an informal gathering of champions from different disciplines of martial arts, the brotherhood of Bakbakan has now grown into a Who's Who of Philippine martial artists. Fostering friendship, brotherhood, and support of many activities that promote the Warrior Arts of the Philippines, the name Bakbakan has become a byword in serious martial arts circles.

Bakbakan's tri-step salute epitomizes the ideals inherent in the brotherhood. The three movements of the salute are Karunungan (knowledge), Katapatan (loyalty), and Katarungan (justice). Recognized as founder and Chief Instructor of Bakbakan is Christopher Ricketts, a martial artist who is well known in the Philippines, Australia, and the United States. Topher, as he is called by his peers, is an experienced tournament (both full-contact and point system) and street fighter. Known for his strict emphasis on basics and regular contact sparring, Topher has produced many champions, many of whom have become part of Philippine teams in Asian and international competitions.

Aside from his duties as Chief Instructor, Topher assists his brother, Ronnie Ricketts, a Philippine action star, in choreographing action scenes in movies. Numerous Bakbakan members have played cameo roles in Ronnie's movies, lending credibility to the fight scenes, Bakbakan's Chief Instructor, Christopher Ricketts which draw crowds to the theaters because of their authenticity. Bakbakan has chapters in Australia, Canada, Italy, and the United States. It was Bakbakan that promoted the "Masters of Amis" tour in Australia that featured Christopher Ricketts, Antonio Diego, Edgar Sulite, and Rey Galang. The "masters" as they have been nicknamed both within and outside of

Bakbakan, share their knowledge and experience with each other, thus continuously improving Bakbakan's teaching methods and curriculum. Weapons Systems Grandmaster Antonio "Tatang" Ilustrisimo is the revered head of the Kali Ilustrisimo system. It is this system that is the basis of Bakbakan's Kali system, now referred to as Bakbakan Kali Ilustrisimo. This name change does not purport to take credit away from "Tatang" Ilustrisimo but to identify the system developed and structured by Bakbakan, on the basis of Grandmaster Ilustrisimo's concepts and strategy. It is the Bakbakan training methods and structure that differentiate the Bakbakan Kali Ilustrisimo practitioner from any other Kali Ilustrisimo claimant. The effectiveness of Bakbakan's system of training has been proven many times in many competitions, both local and international.

The Tulisan Knife-Fighting system, an offshoot of the Bakbakan Kali Ilustrisimo system, is another of the arts practiced within Bakbakan that is fast growing in popularity. Based more on basic knifefighting techniques and constant sparring than on memorized pre-planned drills, Tulisan has proven its mettle in combat and in many sparring matches against knife-fighters from other Philippine systems. Recognizing the need for ambidexterity and fluidity in the mastery of weapons, Bakbakan's research into the Philippine martial arts found its answer in the ancient system of Sinawali—a fighting style popular in the Central Luzon plains. Although not exclusively a double-weapon system, Sinawali emphasizes double-weapons training for obvious reasons.

The Sinawali system is a major stepping stone into the realm of Espada y Daga (Sword and Dagger). Once familiarity and ambidexterity have been achieved, it is a simple progression to switch from equal-length weapons to short and long armaments. The research and development of Bakbakan's Sinawali system are credited to Rey Galang, with contributions from Antonio Diego and Edgar G. Sulite. It is this system that is the subject of this book. Although this book could not possibly cover the whole expanse of the Sinawali system, it serves as more than a mere introduction and provides a strong foundation and head start in the study of Sinawali.

Antonio Diego, the recognized and designated heir of the Kali llustrisimo system, is Bakbakan's acknowledged Chief Instructor of the Kali llustrisimo system. Known for his well-rounded expertise in both long and short weapons, Diego has proven his worth with the blade in many street encounters and contact sparring matches.

The late Punong-Guro Edgar G. Sulite is another of the first-generation Kali llustrisimo masters who influenced the development and structure of the Bakbakan Kali system. Punong-Guro Sulite's Lameco System is part of Bakbakan's repertoire of fighting arts. The close fraternal ties between Lameco and Bakbakan are evident in the structure of the Lameco organization, which is based on the Bakbakan's constitution and procedures. The senior ring of Lameco also bears the double phoenix logo and motto "Matira Matibay" (The Best of the Best) of Bakbakan International. In addition, many of Lameco's Eskrima and Kali drills have commonality with Bakbakan's "Balangkas" drills. Unarmed Combat Developed from drills and concepts formulated by Dr. Guillermo Lengson of the Karate Federation of the Philippines, Sagasa has progressed into its present form through the efforts of Christopher Ricketts and senior members of Bakbakan. The intensive drills, known as Series, develop coordination, power, and reflexes. Dr. Lengson, though no longer active, is regularly consulted for his expertise and profound knowledge of body mechanics and training methods. Many of the developments in other facets of Bakbakan's repertoire of fighting systems owe their structure and development to Dr. Lengsons timeless concepts.

The Hagibis Combat System complements Sagasa as combat evolves from long-range and midrange into close-quarters fighting. Developed primarily as throwing and takedown techniques, Hagibis also includes grappling and submission arts. The emphasis, however, is on throwing or disabling an opponent in such a way that one is able to continue fighting multiple opponents, which is the likely situation in a street confrontation.

Hagibis takes into consideration that a majority of street attacks are multiple and armed; therefore grappling—although it is studied and practiced—is optional, and the practitioner should always be wary of multiple armed assailants. Bakbakan's combination of the Sagasa and Hagibis systems has qualified its members to participate and represent the Philippines in San Shou competitions internationally.

The art of Ngo Cho Kun Kung Fu is another of Bakbakan's repertoire of fighting systems, incorporated into Bakbakan by Alex Co and Christopher Ricketts. The expertise of Bakbakan members in this particular art has developed to a point where a Bakbakan Ngo Cho team is a regular part of festivities in Manila's Chinatown. Ngo Cho helps develop power, stamina, and concentration—qualities of enormous value to the martial artist. The International Brotherhood

Visitors and students from Okinawa, Japan, Australia, Canada, Europe, and the United States have attested to the fame of Bakbakan. Entry into Bakbakan, however, is no easy matter. Because Bakbakan clings to its fraternal roots, no aspirant is allowed entry without referral from an active full-fledged member. This guarantees that all candidates are known personally to a responsible "sponsoring" member. A candidate who has no patron is subjected to a minimum of six months probationary period before even being accepted as an Associate Member. Although it may seem unnecessarily strict and elitist, this practice is embraced by the newly inducted members with fervor, and they also carefully watchdog any aspiring candidate with zeal and close scrutiny. Because the strict screening process weeds out the undesirables, any time spent in training, teaching, and grooming accepted candidates is unlikely to be wasted. It is because of this fraternal bond that the Bakbakan brethren display a close fraternal link above and beyond training sessions. The Bakbakan Organization The present form and structure of Bakbakan are credited to Rey Galang, who is one of its founding and charter members. Many of its rules and regulations have been developed in close conference between the Masters and Senior Members as well as its revered Grandmasters.

The successive generations of the brotherhood have made sure that Bakbakan's roots remain firm, progressive, and uncompromising. It is the preservation of the true spirit and brotherhood of Bakbakan that has allowed it to survive its many years since its inception in 1968 and has made it into the institution that it has become.

Chapter Three

Bakbakan Training Structure The structure of Bakbakan's training drills and curriculum owes much of its development to Dr. Guillermo Lengson. It was "Doc" Lengson's valuable insight into and understanding of training methods and body mechanics that led to the development of the "Series" drills in Sagasa Kickboxing. These same concepts and principles have been applied to the other fighting arts of Bakbakan International, creating a curriculum that shows a standard and common structure. Many of the techniques are contained within individual structures, known as a Balangkas or Sayaw. Each Balangkas or Sayaw will usually comprise the execution of the technique from both left and right positions (for double weapons), from open and closed positions (abierta and cerrada), and from a staggered or cycled set of motions. These drills emphasize symmetry, precision, footwork, and strategic combinations. In addition, each set of techniques may be executed from a defensive or offensive perspective. Through the constant and dedicated study of the Balangkas, Series, or Sayaw, the practitioner is taught to break down the whole into its individual components or techniques. From the initial crude imitation of the mentor's demonstrated techniques, the student develops the acquired techniques to a high level of understanding and skill, producing the conditioned reflex and coordination that are critical to victory in combat. These techniques, once learned and acquired, are regularly tested and proven in free-sparring. It is in this baptism by fire that Bakbakan avoids the error of other combat arts and styles that preclude engagement in combative reality, and choose instead to remain sheltered by the illusion of untested drills and forms.

Any idealism or artistry evident in the structure is carefully balanced with realism. The symmetry evident in most of the foundation forms is formulated to aid both the teacher and student in conducting and learning the techniques of the fighting art. The symmetrical, or bilateral, approach eliminates favoring a specific side or fighting position. This symmetry is part of the preparation for and the anticipation of the dynamic demands and evolution of combat. Fighting skills are not exclusively developed by free-fighting. Forms and drills enable the

practitioner to study and simulate combat under different conditions and combinations. Such scope and variety would not be readily and consistently present in free-fighting. The structure of each of the Balangkas is such that they develop the techniques from both the open and closed position, especially for single-weapon application (abierta and cerrada); they are practiced ambidextrously, from left or right lead positions, and from the offensive and defensive perspective. Without this prescribed curriculum, a practitioner would be hampered by the tendency to only practice, apply, and fight from a favored position and with a few selected techniques that can be executed and applied with confidence. One-sided or limited training of this nature creates weakness in the practitioner's fighting ability. This chink in one's armor is easily avoided by emphasizing symmetry and ambidexterity in training. The training philosophy and underlying concept of Bakbakan is to introduce symmetry in training and to define and encompass the elusive ideals of strategy and realism within the parameters of a progressive and structured training schedule. Bakbakan drills are an expression of the concepts and techniques of Grand Masters Antonio "Tatang" Ilustrisimo and Dr. Guillermo "Doc" Lengson. It is through these drills that the legacy of these revered mentors is passed on, as a reflection of their individual techniques and strategy, to the next generation. Analysis of these drills exposes well-defined techniques that provide the practitioner with material for the development and understanding of each specific applied skill, along with its intrinsic aesthetic and combative value. In addition, these frameworks preserve the traditional combat techniques while at the same time applying modern teaching and training methods. The effectiveness of these time-proven techniques will manifest itself over and over in the field of free-fighting and competition. As long as the competition rules applied are realistic, these fundamental techniques will, without doubt, be embraced by the next generation of practitioners. In much the same way, the forms (Sayaw) of the individual fighting arts are merely extended variations and combinations of the drills within the Balangkas. These too preserve the dynamic, aesthetic, and combative aspect of the art. It is dynamic, for it exploits the combination and application of a multitude of basic techniques. Its integration, coordination, and blending of techniques and footwork forge a conditioned reflex that will come to the fore once it has been honed correctly and impressed into the individual's spirit.

The Sayaw, Series, and Balangkas exemplify fundamental and representative techniques of the fighting arts of Bakbakan. These teaching and training aids have been designed to develop a solid technical base in each of these fighting arts. Each facet or step in a drill has been planned with a specific technical point, concept, and strategy in mind to develop specific abilities in the practitioner. A trained

observer will be able to discern a systematic theory and application of attack and defense within the precise, effective, and efficient execution of these combined and extended techniques. The execution of these drills should be elevated above and beyond mere physical performance. It is the spirit and intensity of the practice and performance that will generate and convey the skill and produce the required conditioned reflex. The drills set up certain conditions and situations and repeatedly expose the practitioner to these parameters, resulting in the training and development of the mindset necessary to react suitably. Bakbakan training drills contain an abundance of combination techniques that are both overt and covert. A qualified instructor or member can easily point these out, but it is a challenge and an unforgettable experience to discover them for oneself and apply them in free-sparring. It is a rewarding moment when one uncovers the hidden techniques that lie between the established boundaries of accepted combinations. It is the discovery and appreciation of these hidden treasures of effective offensive and defensive maneuvers that separate the intense and committed fighter from the ordinary practitioner.

Chapter Four

Stances and Footwork (Tayo at Kilos-Paa) Laban-Handa (Fighting Form) A relaxed but alert fighting stance is characteristic of an accomplished eskrimador. No superfluous movements are used, nor are the weapons held too far away, making them unavailable for immediate retaliation. Regular sparring will prove the value of these rules. In the Bakbakan regimen of fighting arts, a common fighting stance is used. This is true whether one is engaged in a weapon art or empty-hand combat. The stance, known as Laban-Handa (Fighting Form), is characterized by standing with the legs a shoulder's width apart, with the lead shoulder at a 45-degree angle, or in an oblique position, toward the opponent. In the empty-hand application, the primary hand is kept at the rear, as against a weapons situation, in which the hand is kept forward. The elbows are kept close to the body, and the weapons or fists are kept forward, ready to be launched, offensively or defensively, against the opponent. This is illustrated in the beginning positions of the many techniques used in the form Lakbay-Sinawali.

Kilos-Paa (Footwork) Aside from a practical and efficient fighting stance, simple footwork patterns are essential to ensure constant control of range, as well as to avoid and neutralize any attack that the opponent launches. The following covers the major Kilos-Paa techniques commonly used in Philippine Combat Arts.

Urong-Sulong (Shuffle/Forward and Back Movement) As the name implies, this footwork takes the practitioner in and out of range by simple forward and backward shuffling of the feet. This may be straight or direct movements that increase or decrease the combat distance between the fighters, or oblique movements that keep the distance the same but move the fighter out of direct engagement. Lutang or Ilustrisimo Footwork This footwork is more of an evasion than true footwork. It is employed as a simple adjustment of body positioning to avoid any attacks. The forward and backward shuffling of the primary lead foot provides enough distance to avoid most strikes, at the same time efficiently providing an immediate return into fighting or reprisal range. The technique of Magbabayo (figure-eight strike) when executed with a single weapon is a classic example of this footwork. Ilag-Sugod (Straight Dodging) Known in other systems as Female Triangle, this particular footwork is used to evade a thrust or vertical attack. Ilag-Sugod moves the defender forward and out of harm's way, but maintains the same distance from the opponent for an immediate counterattack. In some cases, this movement is used for a simultaneous parry and countermovement, as in the Rapido (multiple strikes) and De Cuerdas (wheezer/rebounding strikes) techniques. Ilag-Saliwa (Diagonal Dodging) As opposed to the direction that Ilag-Sugod takes, Ilag-Saliwa distances the practitioner from any attack the opponent launches. The attack may be in the form of a thrust, a diagonal cut, or a horizontal strike. While it is a versatile dodging technique, Ilag-Saliwa is less efficient for reprisal or comeback. An example of this is the Mandirigma (warrior) or Lastiko (extended) stance which can usually be seen at the end of the Redonda Salok-Saboy (reverse whirlwind) technique. Ilag-Tumbok (Perpendicular Dodging) Primarily used against overhead and thrust attacks, Ilag-Tumbok has the advantage of positioning oneself for immediate counterattack. This particular footwork can be found in Bulalakaw (comet) and Salag-Salikop (augmented block) techniques. Ilag-Panpo (Pivoting Side Step) A foot and body pivoting technique more applicable to short weapons, that is, knife-fighting, this is nevertheless a practical alternative for tight situations. Applied by a simple twisting of the torso, IlagPaupo narrowly avoids thrust attacks while leaving one in combat range for immediate reprisal or counter. It is a compact version of the Bulalakaw technique. There are many more variations of footwork and dodging techniques that could, by themselves,

constitute a separate book. Most of these are mere variations of the basic concept of moving out of harm's way and staying within counterattack range. Any footwork that takes you too far for a counter, also leaves you wide open for a secondary attack, the opponent having the advantage of momentum and initiative.

As you progress through Lakbay-Sinawali, you will encounter and experience the actual application of footwork necessary to make the technique work. In Sinawali, footwork is never practiced separately, but is accepted as part of the entire technique. There is no technique without footwork, and there is no footwork without a corresponding technique. The mindless and pointless shuffling of feet that many "styles" pass off as footwork does not exist in Philippine Martial Arts and has no place in the combat arts.

Chapter Five

Warm-Up Exercises The following exercises are recommended for their benefit in preparing and conditioning the practitioner. More than that, these exercises are foundation techniques in themselves; that is, they are not mere drills, but are practical skills that can be used in actual combat or sparring. An example is the Wisik exercise, which develops the torque necessary to generate the power to deliver a strong and fast auxiliary strike from a very short distance. Another example is the AkyatPanaog drills that utilize the techniques of Sima (Scythe/Barb parry), Sungkite (Thrust), and Bagsak (Drop strike) in a parry and counterattack combination.

Palakas-Pulso (Wrist-Strengthening Exercises) 1. Wisik (Wrist Torque Exercise)

Grip the sticks in Hawak-Gitna (Center Grip, photo 1). Extend both arms to the sides, parallel to the ground, at shoulder level. Commence to rotate the wrists in clockwise and counterclockwise motions to

exercise the wrists (photos 2-5). Take note that a firm grip is necessary to make sure that the rotation exercises are performed with the wrists. Repeat for a total count of twenty or for twenty seconds.

2. Akyat-Panaog (Wrist Rotation/Twirling Exercise)

Hold both sticks vertically at shoulder level (photos 6 and 10). Rotate the sticks in a downward striking motion. Make sure that the elbows are kept close to the body and that the sticks twirl downward with the tips pointing toward the center line, where the opponents weapon hand would be. The twirling ends with the sticks pointing toward the ground (photos 7—9; side view: photos 11—13). From this position, the sticks are then twirled upward, following the same path, target, and restrictions as in the downward motion. Keep a firm grip on the weapons, and use wrist rotation, not finger twirling. 3. Salisihang Akyat-Panaog (Alternate Direction Wrist Rotation/Twirling Exercise)

This is similar to the previous exercise, except that the sticks are twirled in opposite directions. Hold

one stick up at shoulder level with the tip pointing upward. The other stick is held down and pointing at the floor (photo 14). Commence to twirl the sticks simultaneously, one traveling downward while the other twirls upward, switching positions (photos 15-17). Kilos-Balangkas (Foundation Techniques) There are many more exercises that are used for warm-up. Some of them are part of Lakbay-Sinawali and will be covered in that particular chapter of this book. Other exercises that can be of benefit are: 1. Bagsak Salok (Drop and Thrust)

Execute a near-vertical diagonal downward strike (photo 19). Increase the force of the strike by stepping forward with the same-side foot in an Ilustrisimo footwork movement. Keep the point of the weapon toward the opponent to preserve the threat of an attack or defense. Step back to base position, and at the same time execute a thrust with the weapon (photo 20). Shift the forward foot back to the base, and switch lead foot positions (photo 21). Perform the same technique on the left side, as described above (photos 22-23)

2. De Cuerdas, Abajo (Wheezer/Rebounding Strikes, from Low Position)

Step forward and execute an upward strike from Abierta (outside position) toward the opponent's middle, or hip level (photo 24). As soon as the weapon touches the body or encounters a parry, rebound in a circular motion to the opposite diagonal side or shoulder (photos 25—26). Continue the rebounding strike into a full cutting motion with the weapon returning to its original side in a chambered, or ready, position (photos 27—28). During the execution of the rebounding strike, the forward foot is moved back to the base, or original, position. Repeat the same exercise for the left side, as described above (photos 29-31).

3. De Cuerdas, Arriba (Wheezer/Rebounding Strikes, from High Position)

Step forward and execute a diagonal downward strike from the Abierta position, aiming for the opponent's head or shoulder (photo 32). As soon as the weapon touches the opponent's body or encounters a parry, rebound in a circular motion to the opposite diagonal side or hip (photos 33—35). During the rebounding movement, the lead foot is retracted back to the base. Continue the rebounded strike into an Aldabis (inside upward) strike, at the same time stepping forward with the opposite foot. Continue the upward strike into a full cutting motion, with the weapon returning to its original chambered position.

Repeat the exercise for the left side, substituting a shuffle step for the forward step (photos 36—39). For a side view of the execution of the technique, see photos 40-42.

4. Basbas, Planchad a (The Blessing with Horizontal Slash and Thrust)

Execute a downward strike (photo 44) to the opponent's head or Sabak (junction of the neck and head). Step forward in conjunction with the weapon hand during the delivery of the first strike. As soon as the weapon touches the target or encounters an obstruction or parry, rebound (photo 45) to the opposite shoulder or Sabak, continuing in a downward diagonal cutting motion while stepping back with the lead foot (photo 46). As soon as the weapon reaches hip level, step forward with the same foot and deliver a Planchada (horizontal strike), keeping the point of the blade arched or pointed toward the opponent (photo 47). Change the horizontal movement into a forward and upward hooking or scything thrust movement

aimed at the opponent's face (photo 48). End the thrusting motion in a smooth, single arc, returning to the original chambered position (photo 49).

Repeat the exercise for the left-hand weapon (photos 50-53). For a side view of the main techniques, see photos 54-58.

Chapter Six

Lakbay-Sinawali: The Central Form of Sinawali Lakbay-Sinawali means "The Odyssey of the Double Weapons." It is truly a voyage, for one will be taken through the many techniques and variations of Sinawali double-stick techniques. Each major technique will be presented once in the form, and specific variations or follow-through will be performed in relation to the said technique. Throughout this chapter, as each milestone of the odyssey is described and explained in detail, variations will also be mentioned to give the reader a wider perspective and understanding of the employment of the said technique(s). There is a total of seventy movements in the entire Lakbay-Sinawali form, constituting eighteen separate techniques, some of which are combination techniques. From these eighteen primary techniques, an unlimited number of permutations can be generated, limited only by the imagination and zeal of the practitioner. In the more advanced forms of Sinawali, as in the case of Ang Batikan (The Expert), a single combination for one encounter or facet is composed of a total of seventeen movements that integrate seven different techniques. In this and other more advanced forms, quality of execution and application becomes the main focus of the drill, rather than variety. Although identified as a double-sword or double-stick system, Sinawali provides the seed for growth and maturity into the art of Espada y Daga. Hidden behind many of its movements are the essentials of mixed-weapon fighting techniques. This is evident in the forms Dimasupil and Ang Malaya, which include many advanced Espaday Daga techniques. Other forms, such as Bagwis, are primarily double-sword techniques. It is only in Lakbay-Sinawali that a large compendium of techniques is practiced and integrated. Primarily used as a learning tool and a training milestone, rather than a fighting drill, Lakbay-Sinawali prepares the practitioner for the flow and interaction of techniques. Each of the components of LakbaySinawali is used as an individual drill and mixed and matched with other techniques to generate and create new combinations and strategies. It is in the blending and flow of these integrated techniques that one can appreciate the high level of development and evolution with which training in the art of Sinawali rewards its disciples.

Components of Lakbay-Sinawali TECHNIQUE STEPS NAME OR DESCRIPTION

1 2 3

1-2 3-4 5-6

Magbabayo (Figure-Eight Strike) Salok-Saboy (Scoop and Throw) Baguhan (The Novice)

4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

7-8 9-11 12-14 15-17 18-23 24-28 29-33 34-38 39-41 42-46 47-51 52-57 58-62 63-65 66-70

Bunot-Kaluban (Drawing of the Sword) Langit at Lupa (Heaven and Earth) Redonda (Whirlwind) Redonda Salok-Saboy (Reverse Whirlwind) Kambal Abaniko, Langit at Lupa (Twin Fan with Heaven and Earth) Rapido Redonda (Multiple/Rapid Strikes with Whirlwind) Bukang-Liwayway, Redonda Salok-Saboy (Sunrise with Heaven and Earth) De Cuerdas, Redonda (Wheezer/Rebounding Strikes with Whirlwind) Langit at Lupa, Sinalakot (Heaven and Earth with Vertex) Bulalakaw, Redonda Salok-Saboy (The Comet with Reverse Whirlwind) Buntot-Butiki, Redonda (Lizard's Tail with Whirlwind) Pluma, Redonda Salok-Saboy (Outside Roof Block with Reverse Whirlwind) Luha Redonda (Double Thrust with Whirlwind) Lagusan Redonda Sinalakot (Tunnel Thrust with Whirlwind and Vertex) Luha Salungat (Crisscross Thrusts)

Technique One Magbabayo (Figure-Eight Strike)

Magbabayo refers to one who wields a pestle (bayo). In the agricultural fields of the Philippines, the magbabayo rhythmically pounds away at the mortar, using the pestle in a continuous up and down motion in a tight figure-eight pattern. From Laban-handa (photo 1), execute a diagonal downward strike with the right-hand weapon.Visualize the cutting motion of the blade as it cuts through the shoulder or Sabak (the junction of the opponent's shoulder and neck (photos 2—4). The striking or cutting motion should trace a line that passes through the center of the body of the imaginary opponent, exiting past the right hip. At this point, the weapon loops upward into Cerrada (photo 5) and commences to execute the same downward diagonal cutting motion from the opponent's right side (photo 6). The same cutting motion is performed against the opponent's right Sabak, through to the area of the solar plexus and out through the left hip (photos 7—12). The weapon is chambered back in Abierta (open position).

Drill: Execute the Magbabayo drill for the right-hand weapon as detailed above. As the weapon passes

beyond the center line during its return back to Abierta position, the left-hand weapon begins its initial attack from its own Abierta position (photo 13). Take note of the Colimpio (forward and back swing/shift) footwork as weapon engagement shifts from the right to the left, as well as from Abierta to Cerrada position. Refer to photos 13—20 for the execution of the technique as a two-man drill. Lakbay-Sinawali: This technique is performed as Steps 1 and 2 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill as explained above.

Technique Two Salok-Saboy (Scoop and Throw)

Salok-Saboy is descriptive of the motion of drawing water or feed, using a dipper or scoop, and in the same single motion proceeding to throw or scatter the seeds or water. From Laban-handa (photo 21), execute a diagonal upward strike with the right-hand weapon (photo 22).Visualize the cutting motion of the blade as it cuts through the opponent's hip (photo 23). The striking or cutting motion should trace a line that passes diagonally through the center of the body of the imaginary opponent, exiting past the left Sabak or shoulder. At this point, the weapon loops downward from the Cerrada (photos 24—25) and commences to execute the same upward diagonal cutting motion

against the opponent's right side. The slashing motion is performed against the opponent's right hip, through to the center line and the left Sabak. The weapon is chambered back in Abierta.

Photos 26—32 demonstrate the same drill performed with the left-hand weapon. Drill: Execute the Salok-Saboy drill for the right-hand weapon as detailed above. As the weapon passes beyond the center line during its return to Abierta position, the left-hand weapon begins its initial attack from its own Abierta position (photo 37). Take note of the forward and back shifting footwork as weapon engagement shifts from the right to the left, as well as from Abierta to Cerrada position.

Refer to photos 33-39 to execute the above technique as a two-man drill.

Application: 1. Photo 40 shows the application of the Salok-Saboy as a stop-hit. 2. A missed or parried strike is immediately followed up with a secondary strike to the hand (photo 41). 3. Photo 42 shows the application of the Salok-Saboy from the inside position as a follow-up strike after a successful parry Lakbay-Sinawali: This technique is performed as Steps 3 and 4 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Three Baguhan (The Novice)

Baguhan means a novice or a beginner. The exercise is named after a novice who is beginning to learn the rudimentary movements of Sinawali. In this exercise the emphasis is on the aspirant learning to use both hands with equal skill and accuracy in executing basic high and low strikes. From Laban-Handa (photo 43) position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 44). Continue with a gliding or slashing motion in the reverse direction, striking at the opponents forward leg (photos 45—46). The left-hand weapon is kept chambered and in a ready position all throughout the execution of the right-hand movements of this drill. As soon as the second movement or strike is completed, the left weapon is engaged into action and commences its forward high diagonal strike (photos 47-48). The left-hand weapon follows a path similar to that of the righthand weapon but from its own perspective. During this particular phase of the technique, the right hand is chambered back into ready position. Continuing the momentum of the initial diagonal strike, the

weapon is turned and continues its motion, arching downward toward the opponent's forward leg (photos 49-50).

Drill: Execute the Baguhan technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target (bag, post, or tree trunk) until the correct sequence of relaxed and tensed motion along with body sway is achieved, for delivering fast, accurate, and powerful strikes. The next stage is to practice Baguhan with a partner, varying the rhythm and speed of the exchange, as well as trying to dominate and control the center of the combat circle (photos 51-57).

Application: 1. Photo 58 shows the initial Baguhan technique used as a block or parry. 2. Photo 59 shows the second technique as a low strike. 3. Photo 60 shows a low stop-hit strike using the second part of the technique. Lakbay-Sinawali: This technique is performed as Steps 5 and 6 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Four Bunot-Kaluban (Drawing of the Sword)

Bunot-Kaluban means the drawing of the sword. This basic exercise includes a defensive cover or a subtle parry against a thrust, as well as the rudimentary high and low strike pattern. After the low parry and initial high strike or parry, the sword is drawn from the scabbard in a diagonal and parallel cutting path in conjunction with the other weapon across the center line and the anticipated position of the opponent's hand. From Laban-Handa position, execute a right Abierta diagonal strike to the head or Sabak of the opponent (photos 62-63). During the execution of this high strike, the left hand is pulled back to the right hip, with the back or blunt edge leading. Continue the movement of the right weapon into a cutting motion in the reverse direction, striking at the opponent's forward leg (photos 64—65) or a cut-over (Bagsak-Salungat) executed at the same target as the first strike. Simultaneously with this second strike, the left-hand weapon is drawn out from its low Cerrada chambered position and pulled out and back to an Abierta ready position. This drawing motion should run a parallel course with the second strike concurrently being executed. As soon as the dual second movement has been completed, the left weapon then commences its forward and diagonal strike to the high target, while the right-hand weapon is chambered, back or blunt edge first, to a low Cerrada position (photo 66). Continuing the momentum of the initial diagonal strike, the weapon is turned and continues its motion, swooping downward toward the opponent's forward leg (photos 67—68) or extended arm. Again, simultaneously with this movement, the right weapon is drawn out from its chambered position and traces an upward cutting motion parallel with the left weapon (photo 67). At the completion of the dual movements, the left weapon should have completed its downward arch, striking at the opponent's forward leg or extended arm, and the right hand should be chambered back in Abierta position.

Drill: Execute the Bunot-Kaluban technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target until the correct sequence of relaxed and tensed motion, along with body sway, is achieved, for delivering fast, accurate, and powerful strikes. The next stage is to practice Bunot-Kaluban with a partner, varying the rhythm and speed of the exchange, as well as trying to dominate and control the center of the combat circle (photos 69—74). Secondary strikes should also make use of the varied levels of target available.

In the defensive mode, Bunot-Kaluban is performed with a side step, the chambered weapon being used to parry a thrust attack. In the offensive mode, the chambered weapon acts as a protective shield during the launch of the forward striking movement.

The initial strikes can be delivered anywhere from head to weapon-hand level, whereas the secondary strike may be executed from midbody level all the way down to the legs. Application: 1. Photo 75 shows the application of the chambered weapon or Kaluban (scabbard) as a parry against a thrust. 2. A counterstrike after the initial parry is demonstrated in photo 76. 3. Photo 77 demonstrates the follow-through of the hidden drawing technique in Bunot-Kaluban. Lakbay-Sinawali: This technique is performed as Steps 7 and 8 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Five Langit at Lupa (Heaven and Earth)

Langit at Lupa, which means "heaven and earth," also refers to the up and down positions of the twin weapons. It is also the name given for a challenge salutation that implies a death match. From Laban-Handa position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 79). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as the first strike has reached its intended target or range, the chambered left hand executes a low strike aimed at the opponent's legs. Simultaneously with the low strike, the right hand is chambered over the left shoulder with the blade (emphasized for edged weapons) facing the opponent (photo 80).

The third step in Langit at Lupa is a simultaneous double movement. In this step the chambered right hand delivers an inside (Cerrada) strike to the opponent's head, while at the same time the left hand is withdrawn and chambered to the open (Abierta) ready position (photo 81). The movement of the left hand is similar to the last step in the Bunot-Kaluban (Drawing of the Sword) technique (photo 82). Photos 83—85 show the same techniques from the left-side perspective. Drill: Execute the Langit at Lupa technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target until the correct sequence of relaxed and tensed motion, along with the requisite footwork, is achieved, for delivering fast, accurate, and powerful strikes. In Bakbakan Kali Ilustrisimo, applied foot-work is defined as either offensive or defensive. In this particular technique, the execution of Step 2 in a forward or reverse stance indicates whether the technique is being executed from an offensive or defensive perspective. Practice all techniques, whenever applicable, in both modes. The next stage is to practice Langit at Lupa with a partner, varying the rhythm and speed of the exchange, as well as dominating and controlling the combat field (photos 86-92).

Application: Photos 93—98 show the various applications of the technique of Langit at Lupa.

Lakbay-Sinawali: This technique is performed as Steps 9, 10, and 11 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Six Redonda (whirlwind)

Redonda is a term borrowed from the Spanish and corrupted into its present usage to indicate (a series of) circular strikes. It is translated to "whirlwind" to describe the visual impact generated by the series of circular strikes. From Laban-Handa position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 100). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as the first strike has reached its intended target or range, the chambered left hand executes a secondary strike aimed at the same general area as the first strike. The right hand is chambered at this time over the left upper arm with the blade (emphasized for edged weapons) facing out toward the opponent (photo 101). The third step in Redonda delivers an inside (Cerrada) strike to the opponents head with the chambered right-hand weapon. This is performed simultaneously with the withdrawal of the left-hand weapon back into an open (Abierta) ready position (photo 102). The final strike is delivered with the

blade or stick in a downward diagonal path. Striking with the edged part of a single edged weapon should be emphasized during the execution of the Redonda technique. This concept and visualization should be stressed regardless of the type of weapon being used in practice.

Do not get into the habit of starting this technique or any other technique from the chambered position. Chambered positions are transitional and should never be regarded as launch or fighting positions. Drill: Execute the Redonda technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target (bag, post, or tree trunk) until the correct sequence of relaxed and tensed motion, along with the requisite footwork, is achieved, for delivering fast, accurate, and powerful strikes. In this particular technique, the applied footwork is always executed from an offensive viewpoint. To attain smoothness, flow, and continuity of execution, practice Redonda using a rope with a knot at each end for added weight. Aim to be able to execute Redonda in a continuous whirlwind motion. An alternative is to use a jump rope, holding it in the middle with the hands one shoulder's width apart. If the cutting motions of Redonda are not executed properly, the continuous whirlwind effect cannot be achieved, and the ends of the practice equipment will start curving and striking inward instead of towards the imaginary target.

The next stage is to practice Redonda with a partner, varying the rhythm and speed of the exchange, as well as dominating and controlling the combat field (photos 103-109). Application: 1. Photo 110 shows the execution of an attack to draw (Enganyo) a response from the opponent. 2. As soon as the opponent reacts to the initial attack, a check is made against the opponent's weapon (photo 111). 3. The setup having been completed, the final strike is delivered (photo 112). Lakbay-Sinawali: This technique is performed as Steps 12, 13, and 14 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Seven Redond a Salok-Saboy (Reverse Whirlwind)

As the name of the combination implies, this is a variation of the previous circular strike, but from a reverse or upward motion. From Laban-Handa position, execute an Abierta Sima (outside scythe/barb parry) or Estrella Cerrada (inside vertical parry) with the left hand, at the same time executing a right Abierta Salok (Outside Upward Cut) from below the waist (photo 114). During the execution of this combined parry and countermovement, execute a diagonal forward step with the left foot, moving in parallel with and outside of the opponent's line of attack. As soon as the initial attack has been neutralized, reverse the direction of the left hand and deliver a diagonal or horizontal strike to the opponent's high target area (photo 115). During the execution of this second step, the right hand is chambered underneath the left arm, with the cutting edge aimed at the opponent. The third step delivers two upward strikes in opposite directions (photo 116). The left-hand weapon is pulled upward and away in a cutting motion, while the right-hand weapon delivers an inside upward diagonal (Aldabis) strike at the opponent's torso. The initial side-stepping with parry and counterattack should be emphasized during the execution of the Redonda Salok-Saboy technique. It is important that this visualization be underscored to gain insight into the effectiveness of this simultaneous parry and counter technique. Drill: Execute the Redonda Salok-Saboy technique as detailed above. At the third step, pull the forward foot back to the base of the triangle, and prepare to do the sidestepping motion with the other foot in preparation for the execution of the technique on the other side. In this particular technique, the applied footwork is always executed from a defensive standpoint. For offensive utilization, see application below. To attain smoothness, flow, and continuity of execution, practice Redonda Salok-Saboy using a rope with a knot at each end for added weight. Aim to be able to execute Redonda Salok-Saboy in a continuous whirlwind motion. An alternative is to use a jump rope, holding it in the middle with the hands one shoulder's width apart. If the upward diagonal cutting motions of Redonda Salok-Saboy are not executed properly, the continuous whirlwind effect cannot be achieved, and the ends of the practice equipment will start curving and striking inward instead of toward the imaginary target. The next stage is to practice Redonda Salok-Saboy with a partner, varying the rhythm and speed of the exchange, as well as dominating and controlling the combat field. Refer to De Cuerdas, SalokSaboy for a demonstration of the two-man drill.

Application: 1. Photo 117 shows the checking parry of Redonda Salok-Saboy. 2. The complete parry and upward strike is demonstrated in photo 118. 3. The parry weapon now commences its offensive role in the technique in photo 119. 4. The subtle inside Aldabis strike of Redonda Salok-Saboy is performed in photo 120. Lakbay-Sinawali: This technique is performed as Steps 15,16, and 17 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill as explained above. Variations: Redonda and Redonda Salok-Saboy drills can be combined and used against each other during partner practice and application. This mixing of the two techniques will emphasize the need for accurate and correct blade placement and angling.

Technique Eight Kambal Abaniko, Langit at Lup a (Twin Fan with Heaven and Earth)

Kambal Abaniko means Twin Fans. It describes the fan strike motion generated when executing a series of outside and inside high cuts to the opponent's head. From Laban-Handa position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 122). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. Take note of the forward step taken with the right foot (photo 123). Follow through with the first strike and use its energy and momentum to loop back upward and inward to execute an outside Abaniko, striking at the opponent's left temple (photo 124). Reverse the motion of the right hand, tracking a horizontal and circular path, and deliver an inside Abaniko strike at the opponent's right temple (photo 125). This motion is performed simultaneously with the chambered left hand executing a low strike aimed at the opponent's legs (photo 126). The right hand's Abaniko motion continues into a chambering motion over the right shoulder with the tip aimed and directed toward the opponent. Note that during the execution of the inside fan strike and low strike, the forward foot is pulled back, and the entire movement ends in a Mandirigma (warrior) stance and position.

From this position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 127). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as this strike has reached its intended target or range, the chambered left hand executes a low strike aimed at the opponent's legs. The right hand is chambered at this time over the left shoulder, with the blade (emphasized for edged weapons) facing the opponent (photo 128). The final step in this variant on Langit at Lupa is a simultaneous double movement. In this step the chambered right hand delivers an inside (Cerrada) strike to the opponent's head, while at the same time the left hand is withdrawn upward and chambered to the open (Abierta) ready position. The movement of the left hand is similar to the last step in the Bunot-Kaluban (Drawing of the Sword) technique (photo 129). Drill: Steps one to three of this drill are flowing techniques and must be practiced as such. It is essential that a rhythm and blending of techniques be developed to get the maximum advantage of this compound combination technique.

Execute the Kambal Abaniko, Langit at Lupa technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target (bag, post, or tree trunk) until the correct sequence of relaxed and tensed motion, along with the requisite footwork, is achieved, for delivering fast, accurate, and powerful strikes. In Bakbakan Kali Ilustrisimo, applied footwork is defined as either offensive or defensive. This technique is an offensive technique, using a complex Enganyo opening gambit. The next stage is to practice Kambal Abaniko, Langit at Lupa with a partner, varying the rhythm and speed of the exchange, as well as dominating and controlling the combat field (photos 130-138). Note that when executing the first two techniques, practitioners do not necessarily engage with the opponent's weapon, enabling both partners to execute the technique freely and with the correct flowing and blending movement.

Application: The opening movement of Kambal Abaniko, Langit at Lupa is a series of Enganyo strikes designed to focus the opponent's attention on attacks concentrated in the upper regions. Basically three strikes are delivered to the upper regions, two on the opponent's Cerrada side and one on the Abierta side. The final strike is a very fast, dazzling maneuver that misdirects the opponent's attention from the incoming low strike. Examples of these different steps are demonstrated in photos 139-142. Lakbay-Sinawali: This technique is performed as Steps 18-23 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Nine Rapido Redonda (Multiple/Rapid Strikes Whirlwind)

Rapido is another Spanish term used in the Filipino fashion to indicate multiple fast strikes. This series of fast strikes can be used offensively (i.e., as a feint and follow-up) or defensively (i.e., as a parry and a very quick counterstrike). From the Laban-Handa position, execute an Abierta diagonal strike to the head, Bagsak-Sabak or San Miguel. During the delivery of this strike, the left hand is chambered back to the right shoulder, keeping the edge of the weapon facing the opponent (photo 144). Retract the initial striking weapon back to a ready Abierta position and deliver a corresponding Cerrada diagonal strike to the same target (photo 145). With the right-hand weapon, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 146). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as the third strike has reached its intended target or range, the chambered left hand executes an auxiliary strike aimed at the same general area as the first strike. The right hand is chambered at this time over the left upper arm, with the blade (emphasized for edged weapons) facing out toward the opponent (photo 147).

The last step is an inside (Cerrada) strike to the opponent's head with the chambered right-hand weapon. This is performed simultaneously with the withdrawal of the left-hand weapon back into an open (Abierta) ready position (photo 148). The final strike is delivered with the blade or stick tracking a downward diagonal path. Striking with the edged part of a single-edged weapon should be emphasized during the execution of all the blows. This concept and visualization should be stressed regardless of the type of weapon being used in practice. The movements commencing from the left side are demonstrated in photos 149—153.

Drill: Execute the Rapido Redonda technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target (bag, post, or tree trunk) until the correct sequence of relaxed and tensed motion, along with the requisite footwork, is achieved, for delivering fast, accurate, and powerful strikes. For footwork, please refer to the application detailed below. Refer to the description of Redonda technique for suggested training methods. The next stage is to practice Rapido Redonda with a partner. Make sure that all strikes engage and that you vary the rhythm and speed of the exchange, while also dominating and controlling the combat field (photos 154-159).

Application: 1. Photos 160—161 demonstrate the use of the initial Rapido movements as an Enganyo. After you draw a parry from the opponent, the second movement becomes the primary attack. 2. Photos 162-163 show the Rapido technique as a parry and strike technique. Photo 162 shows the simultaneous parry and attack combination, with a follow-through executed in photo 163. Lakbay-Sinawali: This technique is performed as Steps 24—28 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Ten Bukang-Liwayway, Redond a Salok-Saboy (Sunrise with Reverse Redonda)

Bukang Liwayway, which means sunrise, describes the initial series of high and low strikes of both hands. Research indicates that the term is used to compare these motions with the glimmering rays of the sun. From Laban-Handa position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 165). During the execution of this high strike, the left hand is pulled back to the right hip, with the back or blunt edge leading. Retract and chamber back the striking weapon to Abierta position, at the same time executing a low strike with the left hand from the Bunot-Kaluban position (photo 166). Continue the cutting motion of the left hand into an upward cut, converting it into an Abierta Sima (Outside Barb Parry) with the left hand and, at the same time, executing a right Abierta Salok (Outside Upward Cut) from below the waist (photo 167). During the execution of this combined parry and countermovement, execute a diagonal forward step with the left foot, moving in parallel with and outside of the opponent's line of attack. Reverse the direction of the left hand and deliver a diagonal or horizontal strike to the opponent's middle target area (photo 168). During the execution of this strike, the right hand is chambered underneath the left arm, with the cutting edge aimed at the opponent.

The final step delivers two upward strikes in opposite directions (photo 169). The left-hand weapon is pulled upward and away in a cutting motion, while the right-hand weapon delivers an inside upward diagonal (Saboy) strike at the opponent's torso. The corresponding technique commencing from the left side is demonstrated in photos 170—174. Drill: During training, emphasize the power of the initial downward strike with down-weighting by bending the legs at the knee. Avoid leaning forward during the execution of this strike, maintain sight of the opponent, and do not track or follow your own weapon. As soon as the optimum point of impact has been reached with the first strike, immediately reverse all movements, making sure that both weapons are moving in an upward circular, cutting motion.

Execute the Redonda Salok-Saboy technique as detailed above. Photos 175-185 demonstrate the Bukang Li way way technique as a two-man drill. Application: Defensive: As the opponent executes a thrust or a low strike, parry the attack with the Bunot-Kaluban movement while stepping back with the right foot (photo 186). In the meantime, deliver an overhead counterstrike (i.e., Bagsak, Bagsak-Sabak, or San Miguel). Offensive: Execute the first strike while taking a forward step toward the opponent. The initial strike engages the opponent in the upper target areas, leaving the lower areas open and undefended. Step back with the right foot as the lower upward cutting strike is delivered, while withdrawing the right hand in an upward, circular cutting motion, thus simultaneously misdirecting the opponent and providing a defensive sweep against any counterattack.

Execute the first technique of Redonda Salok-Saboy as an Enganyo with the Sima being executed as an outside hooking thrust at the opponent's eyes. The movement is designed to distract the opponent while the upward cutting motion of the right hand (Salok) is being delivered. The Salok-Saboy technique is used here as an auxiliary technique to Bukang-Liwayway (photos 187-189). Lakbay-Sinawali: This technique is performed as Steps 29-33 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Eleven De Cuerdas, Redonda (Wheezer/Rebounding Strikes with Whirlwind)

From the Laban-Handa position, step forward diagonally toward the left. At the same time, execute an inside Estrella parry with the left-hand weapon while delivering an upward strike (Salok) from underneath the left arm toward the waist of the opponent (photo 191). Reverse the direction of the left-hand weapon and execute a vertical downward strike toward the opponent's head or shoulder (photo 192). During the delivery of the strike, the right hand is withdrawn from underneath the left arm and chambered back into an Abierta ready position. With the right-hand weapon, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 193). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as the third strike has reached its intended target or range, the chambered left hand executes an auxiliary strike aimed at the same general area as the first strike. The right hand is chambered at this time over the left upper arm, with the blade (emphasized for edged weapons) facing out toward the opponent (photo 194). The last step is an inside (Cerrada) strike to the opponent's head with the chambered right-hand weapon. This is performed simultaneously with the withdrawal of the left-hand weapon back into an open (Abierta) ready position (photo 195). The final strike is delivered with the blade or stick tracking a downward diagonal path.

Striking with the edged part of a single-edged weapon should be emphasized during the execution of all the blows. This concept and visualization should be stressed regardless of the type of weapon being used in practice. The corresponding movements for the left side are demonstrated in photos 196-200. Drill: Execute the De Cuerdas, Redonda technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a target (bag, post, or tree trunk) until the correct sequence of relaxed and tensed motion, along with the requisite footwork, is achieved, for delivering fast, accurate, and powerful strikes. For footwork, please refer to the application detailed below.

Refer to the description of Redonda technique for suggested training methods. The next stage is to practice De Cuerdas, Redonda with a partner. Make sure that all strikes engage and that you vary the rhythm and speed of the exchange, while also dominating and controlling the combat field (photos 201-211). Application: Defensive: As the opponent executes an Abierta strike, parry with the left hand and simultaneously counterstrike with the right-hand weapon. During the initial parry and strike movement, execute left diagonal evasive footwork, sidestepping the path of the incoming strike. Offensive: Execute the first technique of De Cuerdas, Redonda as an Enganyo. As soon as the opponent executes a parry, follow up with Steps 2 and 3 in very fast sequence, striking at the opponent's weapon hand. In executing this technique as an offense, take a forward step with the right foot, closing the distance between yourself and your opponent. The forward step and first strike should be executed in concert.

Lakbay-Sinawali: This technique is performed as Steps 34—38 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Twelve Langit at Lupa, Sinalakot (Heaven and Earth with Vertex)

Sinalakot conies from the word Salakot, a conical agricultural field hat. Sinalakot therefore indicates a person or an object covered with a salakot or a movement in the shape of a salakot. From Laban-Handa position, execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 213). During the execution of this high strike, the left hand is pulled back to the right hip with the back or blunt edge leading, as in Bunot-Kaluban. As soon as the first strike has reached its intended target or range, the chambered left hand executes a low strike aimed at the opponent's legs. The right hand swings around the left hand in a sweeping guard motion and ends up chambered over the right shoulder (photo 214-215).

The third movement in Langit at Lupa, Sinalakot is similar to the first strike. Execute an Abierta diagonal strike to the head or Sabak of the opponent (photo 216). The movements for the left side are demonstrated in photos 217-222. Drill: Execute the Langit at Lupa, Sinalakot technique as detailed above. Once familiarity with the technique has been achieved, practice the technique against a swinging target (a small bag hung by a string) until the correct sequence of relaxed and tensed motion, along with the requisite foot-work, is achieved, for delivering fast, accurate, and powerful strikes. This particular technique is considered primarily as an aggressive technique. The footwork is direct and toward the opponent, closing in for the series of strikes.

The next stage is to practice Langit at Lupa, with a partner, varying the rhythm and speed of the exchange as well as dominating and controlling the combat field (photos 223-226). Application: Defensive: As the opponent executes an Abierta strike, parry the high-level strike and counterstrike low at the unprotected lower areas. Offensive: Execute the first and second steps of Langit at Lupa as an Enganyo. As soon as the opponent commits to blocking the multiple attacks, deliver the third strike to the open high area. Photos 227-230 show different applications and combinations of this particular technique. Lakbay-Sinawali: This technique is performed as Steps 39, 40, and 41 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Thirteen Bulalakaw, Redond a Salok-Saboy (The Comet with Reverse Whirlwind)

Bulalakaw is the Tagalog word for a comet. In this context, the description refers to the zooming path of a comet or the speed at which a comet travels. From Laban-Handa position, take a half step to the right and pivot counterclockwise, as in the Paupo movement. Execute a chest-high vertical block with the right hand, at the same time chambering the left hand inside the crook of the right arm (photo 232). Execute a quick transfer of control from the right weapon to the left weapon by disengaging the right weapon from the visualized parry and allowing the left hand to take over (photo 233). The right hand continues in a looping downward motion, striking toward the opponent's forward leg or lower body. The left hand follows the path of the right weapon and executes an upward vertical cut or block (photo 234).

These three steps are known collectively as Bulalakaw. Basic practice requires the movement to be three steps. However, as soon as proficiency in the execution of the technique is achieved, the Bulalakaw movement is practiced as either a double- or single-count movement. After the Bulalakaw movement, a Salok-Saboy technique is executed (see photos 235—237). From the end of the Bulalakaw technique, execute an Estrella parry with the right hand, at the same executing a left Abierta Salok (Outside Upward Cut) from below the waist (photo 235). During the execution of this combined parry and countermovement, execute a diagonal forward step with the right foot, moving in parallel with and outside of the opponent's line of attack.

As soon as the secondary attack has been neutralized, continue the momentum and the direction of the right hand, and deliver an upward diagonal strike to the opponent's middle to high target area (photo 236). During the execution of this step, the left hand is chambered underneath the right arm, with the cutting edge aimed at the opponent. The final step delivers two upward strikes in opposite directions (photo 237). The right-hand weapon is pulled upward and away in a cutting motion, while the left-hand weapon delivers an inside upward diagonal (Saboy) strike at the opponent's torso. The initial sidestepping with parry and counterattack should be emphasized during the execution of the Bulalakaw Salok-Saboy technique. It is important that this visualization be underscored to gain insight into the effectiveness of this technique. The left-side execution of this technique is shown in photos 238-243.

Drill: Execute the Bulalakaw technique independently, going from right forward to left forward and vice versa (photo 244). Keep in mind that the forward foot is the pivot point and that the body should swing around and away from the centerline. This drill prepares the practitioner for the more advanced parry and pivot techniques of NakawAbaniko and Nakaw-Tusok. Application: As the opponent executes an Abierta strike, parry and counterstrike using the Bulalakaw technique by itself (photos 245-247). Lakbay-Sinawali: This technique is performed as Steps 42-46 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Fourteen Buntot-Butiki, Redonda (Lizard's Tail with Whirlwind)

Buntot-Butiki refers to the tail of a lizard. The motions of the weapons in parrying and delivering a strike are likened to the twitching movement of the lizard's tail. This technique starts off with a Tabing or Salikop (crossed high and low parry), which is a combination of the Palis (upper parry) and Sikwat (lower parry) techniques. To execute the technique from Laban-Handa position, take a diagonal step forward, at the same time executing a Tabing (combined high and low parry) (photo 249). Pivot sideways on the forward foot and deliver a Wetik strike to the opponent's eyes with the right-hand weapon, while the left hand is chambered back with a Sima motion (photo 250). Pull the forward foot back to the base and step forward with the left foot, while at the same time delivering an Abierta strike with the left-hand weapon. During the execution of this strike, the righthand weapon is chambered back underneath the left arm (photo 251). As soon as the first Redonda

strike has reached its intended target or range, the chambered right hand executes a secondary strike aimed at the same general area as the first strike. The left hand is chambered at this time over the right upper arm, with the blade (emphasized for edged weapons) facing toward the opponent (photo 252).

The third step in the Redonda technique delivers an inside (Cerrada) strike to the opponent's head with the chambered left-hand weapon. This is performed simultaneously with the withdrawal of the right-hand weapon back into an open (Abierta) ready position (photo 253). The final strike is delivered with the blade or stick following a downward diagonal path. The execution of the technique from the left side is demonstrated in photos 254-258.

Drill: Execute the Tabing and Wetik strike alone, without the Redonda. Keep shifting from left forward to right forward, and vice versa. Return to the base each time a shift is to be executed. Add the Redonda technique only when the Buntot-Butiki portion can be executed with speed and familiarity.

Application: As the opponent executes an Abierta strike, parry and sidestep diagonally (photo 259). Execute a Wetik with the forward weapon (photo 260). Lakbay-Sinawali: This technique is performed as Steps 47—51 of Lakbay-Sinawali. To practice the technique outside of the form, refer to the notes on its drill, as explained above.

Technique Fifteen Pluma, Redonda Salok-Saboy (Outside Roof Block with Reverse Whirlwind)

Pluma means a pen or, in this case, the perceived position of the weapon, which is similar to holding a pen. A popular stepping-in technique among the Filipino masters, Pluma enables one to step aggressively diagonally inward while keeping one's head covered against any attack. From Laban-Handa position, sidestep to the left and execute a combination Estrella and Pluma parry technique (photos 262—263). From this position, execute a Bagsak strike, emphasizing downweighting by bending the knees while delivering the strike (photo 264). Execute a Sima (backhand parry) with the right hand while delivering an Aldabis (upward diagonal cut). The forward foot is retracted back to the base during the execution of these techniques (photo 265). Take a diagonal forward step with the left foot and execute an Estrella parry with the left hand, at the same time executing a right Salok (Outside Upward Cut) with the right hand from below the waist

(photo 266). During the execution of this combined parry and countermovement, execute a diagonal forward step with the left foot, moving in parallel with and outside of the opponent's line of attack. As soon as the secondary attack has been neutralized, continue the momentum and the direction of the left hand (from Sima) and deliver an upward diagonal strike to the opponent's middle to high target area (photo 267). During the execution of this step, the right hand is chambered underneath the left arm, with the cutting edge aimed at the opponent.

The final step delivers two upward strikes in opposite directions (photo 268). The left-hand weapon is pulled upward and away in a cutting motion, while the right-hand weapon delivers an inside upward

diagonal (Saboy) strike at the opponent's torso (photo 269). The initial sidestepping with parry and counterattack should be emphasized during the execution of the Pluma Salok-Saboy technique. It is important that this visualization be underscored to gain insight into the effectiveness of this technique.

The corresponding movement for the left side is demonstrated in photos 269—275. Drill: Emphasize the down-weighting in the Bagsak technique after the Pluma parry. This generates the power necessary for the downward strike delivered from a restricted and limited range of motion. The reversal from a downward to an upward movement, that is, from Bagsak to Salok-Saboy, should be immediate and fast, with emphasis on the position of the blade as upward cuts are delivered. Application: From a defensive perspective, the initial parry guides the opponent's weapon to the side, where it glides against the defensive Pluma parry. From this position the blind or exposed side of the opponent is open for a counterslash, using either a Bagsak, as in this exercise, or the more advanced technique of NakawAbaniko (photos 276-278).

Photos 279 and 280 demonstrate the application of the Salok-Saboy as the secondary technique. Lakbay-Sinawali: The technique of Pluma, Salok-Saboy is performed beginning from the right side, as Steps 52—57 of Lakbay-Sinawali.

Technique Sixteen Luha Redonda (Double Thrusts with Whirlwind)

Luha means tears or teardrop. It is a descriptive and artistic way of describing the combination of two separate and distinct techniques (i.e., Lagusan and Tulay). In this particular set, after the execution of a Luha technique (low and high thrusts with parry or a combination of Tulay and Lagusan techniques), the attack continues and terminates in a Redonda technique. From the Laban-Handa position, sidestep diagonally forward and execute a left Palis (parry), while at the same time executing a thrust to the body with the right-hand weapon gliding underneath the defending/parrying left-hand weapon (photo 282). This particular technique by itself is known as Tulay or "bridge." Withdraw the thrust and push or slash away with the left-hand weapon (photo 283). Using the left-hand weapon, execute a smothering or trapping motion, clearing the way for a second thrust aimed at the chest and over the controlling left-hand weapon (photo 284). This particular technique is known as Lagusan, or "tunnel." The left-hand weapon ends in a Bunot-Kaluban (Drawing of the Sword) position as the thrust with the right-hand weapon is completed. Twist the body to the left with the right shoulder going forward. As you execute this movement, the right-hand weapon is twisted out and away from the opponent, while the left-hand weapon is brought diagonally downward in a circular slashing (Redonda) movement (photo 285).

The right hand is chambered at this time over the left upper arm, with the blade (emphasized for edged weapons) facing out toward the opponent. The last step in the Redonda technique delivers an inside (Cerrada) strike to the opponent's head with the chambered right-hand weapon. This is performed simultaneously with the withdrawal of the left-hand weapon back into an open (Abierta) ready position (photo 286). The final strike is delivered with the blade or stick following a downward diagonal path.

Striking with the edged part of a single-edged weapon should be emphasized during the execution of the Redonda technique. This concept and visualization should be stressed regardless of the type of weapon being used in practice.

Photos 287—292 show the corresponding movements for the left hand side. Drill: Execute the technique continuously from the right side to the left side, and vice versa. Pay close attention to the forward side step as you commence each side. As you withdraw the initial thrust and prepare to execute the second thrust, take note of the return to the base and the exchange of the lead foot, bringing your thrust weapon closer to the opponent. Application: Defensive: Execute the side step and parry against a thrust or slash, taking care to sidestep into the opponent's blind or exposed side. Make sure that the initial slash after the counterthrust sweeps across the opponent's upper target area in a near Planchada (horizontal slash) technique.

Offensive: To execute this technique in the offensive mode, execute the initial slash as a Sima or Pasungkit (scything/sweeping movement) thrust aimed at the opponent's face and curving inward. As you draw the opponent's attention to the attack on his face, step forward diagonally to extend the reach of the thrust that is being delivered while camouflaged by the face-thrust technique. Photos 293—298 show the techniques of Luha applied in a counter-for-counter scenario. A variation in the application of the same technique is shown in photos 299-301. Lakbay-Sinawali: This technique is executed as Steps 58—62 of the Lakbay-Sinawali.

Technique Seventeen Lagusan Redonda Sinalakot (Tunnel Thrust with Whirlwind and Vertex)

Lagusan means a tunnel or a covered passage. This technique describes the path an opponent's attack takes or is forced into after a successful parry. The technique continues on into a Redonda with a Sinalakot movement or chambering so that a secondary barrage or attack can be delivered to the same previous attack point. From the Laban-Handa position, sidestep to the left and execute a Palis (sweeping parry), deflecting the opponent's thrust clear of the vacated centerline. Simultaneously deliver a counterthrust inside and above the parry weapon, completing the Lagusan (tunnel) technique (photo 303). Withdraw the thrust into a Sinalakot (vertex) movement, while at the same time double-shifting by returning the forward left foot to base and stepping forward with the right foot. Deliver a Cerrada Bagsak-Sabak (inside diagonal strike) with the left-hand weapon (photo 304). The right-hand weapon is brought around from the Sinalakot position and back to the right side in a fluid motion, to deliver a corresponding Abierta Bagsak-Sabak (outside diagonal strike) at the same target that the left-hand weapon attacked (photo 305). Photos 306—309 show the corresponding movements for the left hand side.

Drill: Execute the technique described above in a fluid, continuous motion, taking special care with the footwork. Take note of the forward diagonal sidestep at the commencement of the initial movement parry and counterstrike (photo 310). As the Sinalakot movement is executed, the return-to-base footwork and corresponding shift in lead foot should maintain the body and shoulder level even at all times. There should be no up-and-down movement as the foot shift occurs. Application: As in the Luha technique, the initial movement can be a parry against a thrust/slash or an Enganyo (feint) thrust to the opponent's face. The final Bagsak-Sabak after the Sinalakot movement is occasionally used to destroy the weapon hand executing a Sumbrada block against the second movement of the technique. Lakbay-Sinawali: The technique of Lagusan Sinalakot is executed as Steps 63—65 of Lakbay-Sinawali.

Technique Eighteen Luha Salungat (Crisscross Thrusts)

Luha Salungat refers to the crisscross fashion in which the techniques of Luha are executed. In the traditional Luha technique, the thrust is executed always with the same hand or weapon. Luha technique is one of the tactics practiced in Sinawali that work well in Espada y Daga. In Luha Salungat, the thrusts are done alternately, with a series of cuts and parries in between. Alternatively, the second thrust can be replaced with a Nakaw-Abaniko (inside Abaniko) strike. Luha Salungat drills are terminated with either a Mandirigma or Fraile stance. Fraile refers to the upward vertical cutting motion of the hand, with the point of the blade or stick aimed at the opponent's face. Attributed to the movement of a priest as he raises his hand in consecration, the Fraile technique is generally considered advanced and is not commonly seen. The practice of the covert secondary movement of the Fraile technique is of a controversial nature and is probably one of the reasons for the banning of the practice of Filipino martial arts. The Fraile is, however, one of the mainstays of the Kali

Ilustrisimo system. The extension of the secondary weapon into a covert thrust while being shielded by the upward cut is part of Fraile when executed as a Sinawali or Espada y Daga technique. From the Laban-Handa position, sidestep diagonally forward and execute a left Palis (parry), while at the same time executing a thrust to the body with the right-hand weapon gliding underneath the left hand weapon (photo 311). Withdraw the thrust and push or slash away with the left-hand weapon (photo 312). The forward left foot is shifted back to the base, and a forward step is made with the right foot at the same time that the technique is executed (photo 313).

This is immediately followed by the right-hand weapon now executing an inward Palis (sweeping parry) or a high Planchada (horizontal strike). During the execution of this right-hand technique, the left hand is withdrawn and chambered over the left shoulder in a Picador (thrust position) Laban-Handa. After the completion of the sweeping motion of the right-hand weapon, the left-hand weapon is

thrust forward above the right arm, completing the classic Nakaw-Tusok technique (photo 314). From the Nakaw-Tusok, both weapons are twisted and turned so that the tips or points of both weapons are toward the opponent. The body is shifted away from the opponent into a Mandirigma position (photo 315). The execution of the technique from the left side is shown in photos 316-320.

Drill: Execute the above technique continuously from left and right positions. Application: As in the application of Luha, this technique can be used from either an offensive or defensive perspective. Take care that while inviting a reaction or movement from the opponent, you have each weapon ready to seize the opportunity that will be provided by the opponent's reaction (photo 321). Lakbay-Sinawali: The technique of Luha Salungat, Fraile is the final technique in Lakbay-Sinawali and is executed as Steps 66—70. The final position of Fraile with Sungkite in a Mandirigma stance indicates the end of the form.

Chapter Seven

Dakip-Diwa This completes the Lakbay-Sinawali foundation form of Sinawali. The reader will notice that most of the techniques are repeated and can be combined arbitrarily as long as body position and dynamics allow it. The primary reason for the constant drill and practice of Sinawali is to make the practitioner familiar with all possible positions and combinations of double-weapon use. Once the body becomes familiar with the options available, conscious thought is no longer needed in order to flow from one technique to another. This is of critical and priceless value, especially in sparring—or, more importantly, in actual combat. There is no shortcut to attaining this level of excellence. It is only by applying oneself to serious study, practice, and focused attention on the execution and repetition of the individual techniques that true Dakip-Diwa can be reached and attained. The more you develop your skills daily on the anvil of discipline and dedication, the better the weapon you forge. The more focused you become with each execution, the sharper you hone your skills.

Dakip-Diwa training is not a secret. The secret is in training in Dakip-Diwa, in focusing yourself, in concentrating and feeling each and every movement. The secret key is in visualizing the path of a weapon as it slashes or thrusts its way toward you. The secret is in accepting the reality of combat and preparing for it. In the words of the late Grandmaster Antonio "Tatang" Ilustrisimo, "There is no unexpected attack, only an unaware and unprepared warrior."

Chapter Eight

Laban-Sanay (Free-Style Sparring) Dacala pawas, ditac a daya. More sweat, less blood.

Sparring Controlled Sparring Offense and Defense roles are nominated, but no prescribed techniques are pre-planned. Select any attack angle and practice the appropriate response using a Sinawali technique. Free-Sparring Open Sparring This book is not intended to replace instructor-assisted training. Certain subtleties of technique, timing, and practical application cannot be learned without an experienced instructor. We advise that you seek competent and qualified instructors in the Warrior Arts of the Philippines prior to undertaking training. Consistent practice of the drills will outfit the practitioner with a multitude of techniques indispensable in sparring and actual combat. The dynamic character of free-fighting prescribes that the practitioner should be able to defend or attack from any situation or position of body or weapon. The repetitions make the practitioner familiar and confident with the techniques even when applied in the ever-changing conditions of combat. It is a common error, at beginner and intermediate levels, to consider the sparring period as an occasion for developing techniques. Sparring develops the employment of skills, not their formation. Techniques are acquired and honed during practice and training sessions. It is in the discipline and control of conscious, deliberate, and integrated repetition of individual techniques that skills are developed and become part of one's arsenal.

Sparring sessions develop strategy and tactics, that is, the application of techniques. Unburdened by the rudiments of defense and offense, the practitioner develops a penetrating eye for the opponent's action and reaction and accordingly applies techniques to surmount and respond to the opponent's offense or defense. Whereas training and drills develop the physical skills, sparring develops the mind and the spirit. Soldiers are not taught how to shoot or fight in the battlefield. The expertise acquired and developed during training is utilized in actual combat. Note that the skills or techniques are already present and merely used. In the same manner, one should rigorously and religiously perform the drills, no matter how seemingly insignificant, until they become a natural part of one's armor. An example is the technique of Kambal-Sima (Twin/Double Scything Parry/Thrust). This is a very basic parry and counter technique, yet many a fight has been won by this basic technique because of its simplicity, flexibility, and positional advantage. Techniques should be developed, drilled, and disciplined into one's arsenal until they blend and become instinctive tactics. With each free-fighting session, the student should, under the guidance of a qualified mentor, review the techniques that were used, those that should have been used, and those that were used improperly, as well. It is only through constant application and practice that the aspirant will gather the experience and confidence necessary to utilize to the maximum the full range of Sinawali techniques. The goal of the practitioner is to eliminate any weak areas in both offense and defense. Successful and proven techniques are assets that will always be a part of the Sinawali practitioner. Consequently, weak areas, if not fortified and corrected, will always remain a flaw in one's armor. It is in recognizing and correcting our weakness that we develop in skill and strength. Sparring sessions give us the opportunity to demonstrate our proficiency and competence, but more significantly, to uncover, correct, and eliminate any flaw.

Safety precautions should be taken when training in free-fighting. The minimum protective gear should include protective gloves, adequate head protection, and padded sticks. Optionally, the partners may wear additional arm, knee, and elbow protectors, as well as a body armor. The idea of using protective equipment in training should neither be scoffed at nor taken for granted. The benefits of being able to train and practice regularly for long periods with a minimum of injuries, while garnering maximum realistic and spontaneous experience, prepare the practitioner for that single event that may mean life or death. However, the practitioner should not rely on the protective equipment to safeguard him from harm or injury, and consequently attack recklessly. This attitude totally obliterates the principle of defense. Without such protective equipment, one would not charge recklessly into the turmoil of combat; therefore one should train as though such armor were absent. It is important that care be taken in training. Warm-up period should never be skipped, because torn ligaments and other injuries may result. Protective equipment should be used and regularly checked for wear and tear. Mutual respect should be established and understanding of the extent and degree of sparring intensity should be clarified prior to commencing any sparring session. Practice safety and discretion and you will be able to spend and enjoy more time in training, rather than in healing.