From: eskrima-digest-owner@hpwsrt.cup.hp.com To: eskrima-digest@hpwsrt.cup.hp.com Subject: Inayan_Eskrima/FMA-Digest V6 #78 Reply-To: eskrima@hpwsrt.cup.hp.com Errors-To: eskrima-digest-owner@hpwsrt.cup.hp.com Precedence: Inayan_Eskrima/FMA-Digest Tues, 23 Feb 1999 Vol 06 : Num 078 In this issue: eskrima: What's the sound of one stick clacking? eskrima: Kuntao eskrima: Holding Breath eskrima: Motion, which muscles? eskrima: Re: Inayan_Eskrima/FMA-Digest V6 #75 eskrima: Re: Inayan_Eskrima/FMA-Digest V6 #77 eskrima: slow... .......................................................................... Eskrima-Digest, serving the Internet since June 1994. 1050 members strong! Copyright 1994-99: Ray Terry, Inayan System of Eskrima, Martial Arts Resource Replying to this message will NOT unsubscribe you. To unsubscribe, send "unsubscribe eskrima-digest" (no quotes) in the body of an e-mail (top line, left justified) addressed to majordomo@hpwsrt.cup.hp.com To send e-mail to this list use eskrima@hpwsrt.cup.hp.com See the Filipino Martial Arts (FMA) FAQ and online search the last two years worth of digest issues at http://www.MartialArtsResource.com Mabuhay ang eskrima! Ray Terry, PO Box 110841, Campbell, CA 95011 FMA@MartialArtsResource.com ---------------------------------------------------------------------- From: Elrik Gubisch Jundis Date: Mon, 22 Feb 1999 21:11:23 -0800 Subject: eskrima: What's the sound of one stick clacking? In FMA Digest #58 Lonnie Pollard wrote: "To my understanding there is an old saying with some Masters in Laguna that in a fight the sound of sticks clacking together is the mark of amateurs." I heard a similar mantra during my years training in Serrada except that it applied to blades. And there was a caveat that there is a difference between training drills and application. Two maxims I remember hearing were that 1.) As soon as you hear my stick, you've been hit twice. 2.) This first move of any block* can be a hit. (In other words you better hope you hear my stick) (* Serrada Blocks refer to defensive counters followed by a sequence of follow up movements. They are also refered to as: basics, numbers, counters,) For those of you who don't know, the basis of the serrada teaching methodology is in the sequential training of mostly forceful deflections and blocks. One of the distinguishing features of a Serrada practice session is the fast and rythmic pounding of sticks heating each other. Serrada numbers train specific techniques while also developing the following attributes: confidence, grounding/rooting, jamming, clear intent, serrada body alignments, spatially tight economical movements, inner circle zoning (as opposed to outer circle zoning), stop hits, rhythm, center line theory and the ability to take an opponent off line, etc. As a training tool it gives a sequence to build on. Through repetitive practice of the basic movements, concepts can be expanded upon, dissected, and experimented with. As I understand things now, the same physical movement depending on the point and timing of entry can be: purely offensive, purely defensive, and verying levels in between. On a simplistic two dimensional diagram of a strait path of motion, the point of contact can stop, pass through, or go with the original line of force. The path your weapon takes to make contact the other weapon can meet the line of motion head on, from behind, directly perpendicular, and from 360 other variants. And this is only in two dimensional space and also does not take into account the line a weapon can take on the follow up motion . I've been studying Serrada since '90 and in that time I've worked with folks from many different lineage's of GM Angle Cabales, as well as working out with GM Dizon's contemporaries GM Joe Mena and GM Antonio Ilustrisimo and some of their instructor/students. What impressed on me the most was the wide variety of interpretations and results that different individuals could get from similar if not identically appearing techniques by using the above mentioned distinctions. What does this have to do with sticks hitting each other? Depends on one's view point. In a perfect world why do a purely defensive block if one can just hit their opponent. Still in a fight, stick contact can be used for: gauging an opponents power or timing, it can be used to feel someone out, it can be used to redirect the line of attack to set up better power and zonning for attack, and it can be used as a fulcrum to set up follow-up attacks. For the student how can you safely develop the confidence, timing, and spatial understanding to apply the above under realtime fighting situations without actualy fighting? For Instructors how would you develop some of these attributes? Also a history questions: I heard that Felicimo Dizon was a member of the secret Doce Pares Society that was centered in Laguna, not the one in Cebu. Anyone else know anything about this? - - Elrik Gubisch Jundis rockelf@autobahn.org "Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure... You are a child of God. Your playing small doesn't serve the world." Marianne Williamson ------------------------------ From: Date: Tue, 23 Feb 1999 09:38:13 EST Subject: eskrima: Kuntao From Animal Hey folks, my good buddy Bob Orlando of Indonesian Fighting Fundamentals and Martial Arts America fame has just put up a web site. Give it a browse. http://www.OrlandoKuntao.com Also a reminder of his up coming seminar in Castle Rock Colorado on the 20th ------------------------------ From: Kalki Date: Tue, 23 Feb 1999 08:48:39 -0600 Subject: eskrima: Holding Breath Funny thing ... holding breath during exertion that is. Examining my own behavior and that of others I think that the phenomenon of breath-holding during exertion is an emotion-related thing. The practice may be related to the incidence of hernia. I once made a small rip in the connective tissue of the abdominal wall near the umbilicus during some very forceful exercise even with exhalation (required surgery). Bust a gut, eh? :-) NEway, it's a good habit on ++power strokes to get part of the air out along the way to impact, then tense everything up on the hit. One of my Korean teachers suggested letting out 2/3 of the air in the lungs on power hits, then "lock-up" the midsection. If there is too much air in the lungs on extreme exertion and vilent impacts the body is being put through unnecessary excessive strain. It canshow up in some very sttraightforward places ... the eyes for example. Remember, the body is just a "bag full of mostly water." Close the exit of pressure in one place and it's got to try to escape from somewhere else. Be well, Mik ------------------------------ From: Kalki Date: Tue, 23 Feb 1999 08:55:39 -0600 Subject: eskrima: Motion, which muscles? > smooth and slow motion, > involving only the large muscles of the body > Check again friend ... this is when the smaller muscles get to make their proper contribution to the overall motion. When we bring the large muscles into action forcefully out of sequence the smaller muscles don't get to act across joints in the way that they're intended to. The smaller muscles can play a role in setting a joint up for action by the larger muscles. When we go into an action too quickly, bringing the large muscles into play across the joint too soon, the joint surfaces may not align properly ... this can tell on us over time (short athletic career ... which joints go first?). In learning something new, some try too hard and have to be tired before they "get out of the way" of more natural motion. Kinesiology. In the past I've told a couple of students: "I think I'm going to have to get you real tired or drunk before you'll do this right." Once they got out of the way and stopped "trying" they could do. It's possible to do this without wearing ourselves out first ... it's a mindset kind of thang. Be well, Mik ------------------------------ From: Date: Tue, 23 Feb 1999 14:34:24 EST Subject: eskrima: Re: Inayan_Eskrima/FMA-Digest V6 #75 In a message dated 99-02-21 16:10:43 EST, you write: << Are the bolos and barongs from Kris Cutlery well made? Thanks in advance, Kelvin Williams kel620@aol.com Modern Arnis Student >> I have no personal information about the bolos and barongs, but the Sundang Keris Cecil markets are very impressive. I love the feel of mine. Jim Westmoreland Head instructor L&J Martial Arts ------------------------------ From: Date: Tue, 23 Feb 1999 17:28:15 EST Subject: eskrima: Re: Inayan_Eskrima/FMA-Digest V6 #77 >>Being that the Midwest (more specifically Ohio) in not exactly a hotbed of FMA<< Oh, sir, I beg to differ...the Midwest has many fine FMA practitioners, most notably Nate Defensor, Fred Degerberg, Alan McLuckie, Rob McDonald, Ben Berry, Keith Wetoskey, Mike Casto, and Manuel Taningco, (the last two mentioned in Ohio). We're here, just not as publicized as other areas of the country. Kim ------------------------------ From: Date: Tue, 23 Feb 1999 18:18:16 -0800 (PST) Subject: eskrima: slow... Things sure are slow around here. Must I insult someone, again, to stir things up at bit.?. :) Ray Terry raymail@hpwsrt.cup.hp.com ------------------------------ End of Inayan_Eskrima/FMA-Digest V6 #78 *************************************** To unsubscribe from this digest, eskrima-digest, send the command: unsubscribe eskrima-digest -or- unsubscribe eskrima-digest your.old@address in the BODY of email (top line, left justified) addressed to majordomo@hpwsrt.cup.hp.com. Old digest issues are available via ftp://ftp.martialartsresource.com, directory pub/eskrima/digests. All digest files have the suffix '.txt' Copyright 1994-99: Ray Terry, Inayan System of Eskrima, Martial Arts Resource Standard disclaimers apply.