Date: Sat, 18 Dec 2004 03:03:57 -0800 From: eskrima-request@martialartsresource.net Subject: Eskrima digest, Vol 11 #458 - 5 msgs X-Mailer: Mailman v2.0.13.cisto1 MIME-version: 1.0 Content-type: text/plain To: eskrima@martialartsresource.net Errors-To: eskrima-admin@martialartsresource.net X-BeenThere: eskrima@martialartsresource.net X-Mailman-Version: 2.0.13.cisto1 Precedence: bulk Reply-To: eskrima@martialartsresource.net X-Reply-To: eskrima@martialartsresource.net X-Subscribed-Address: fma@martialartsresource.com List-Id: Eskrima-FMA discussion forum, the premier FMA forum on the Internet. 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Copyright 1994-2004: Ray Terry and Martial Arts Resource The Internet's premier discussion forum devoted to Filipino Martial Arts. 2000 members. Provided in memory of Mangisursuro Michael G. Inay (1944-2000). See the Filipino Martial Arts (FMA) FAQ and the online search engine for back issues of the Eskrima/FMA digest at http://MartialArtsResource.com Mabuhay ang eskrima! Today's Topics: 1. Wishing everyone peace and happiness (Steve Klement) 2. FMA Dance Form (GatPuno@aol.com) 3. RE: Training, Dance, and Martial Motion (Karol Krauser) 4. in re to questions about " the dance" (guro marsh) 5. Re: Music and training (Kes41355@aol.com) --__--__-- Message: 1 To: eskrima@martialartsresource.net From: Steve Klement Date: Fri, 17 Dec 2004 15:27:26 -0500 Subject: [Eskrima] Wishing everyone peace and happiness Reply-To: eskrima@martialartsresource.net Happy Holidays from Inayan Systems International to all the members of the Eskrima Digest. Mabuhay ang Eskrima! Inayan Brotherhood of Eskrima, Emanuel Hart Steve Klement Cory Hanosh www.inayaneskrima.com --__--__-- Message: 2 From: GatPuno@aol.com Date: Fri, 17 Dec 2004 16:07:43 EST To: eskrima@martialartsresource.net Subject: [Eskrima] FMA Dance Form Reply-To: eskrima@martialartsresource.net Bot, and Guro Jay De Leon, I just want to add some of the very special note. about the topic of FMA Dance. Some of the Folk dances has some martial arts value, but we are all forgetting the facts, that the FMA is hidden to the Combat Dance of Moro-moro play. The Carenza, Pamamltacia, Halad, and other names for the Shadow dance like stick fighting, Bolo fighting and etc. This is where the beauty of the true artistic form of FMA. If time permit my book of "Moro-moro" will be available for everyone by2005. In Titled, The MORO-MORO The Shroud of Arnis De Mano.. Its includes 10 sets of Combat dance form in Espada y Daga and 10 Set of Combat dance in Solo Baston and one set each sample Combat dance in Doble Baston, Kalasag y Baston and Sibat. This Dance form is ideal form to practiced Solo with partner or multi partner. In regards of the other Dance, try the itik-itik dance (is a dance practice of breaking the the neck of a duck, which represent the wrist and elbow break. The Sakuting, is the dance of weilding the Sinawali techniques, The Banko Dance is training the balance of FMA practitioner, preparation for the Rice Field Combat, There more there the Pandanngo sa Ilaw, practicing the reverse lock, escape from ane wrist grab and locks. The Maglaltik, the energy point of the Mano-mano fighter getting ready for battle, they hitting those point of the body to keep the body warmed and flexible. What about the old forgotten dance of "Sabong" two man or more, wearing the Rooster attire and and holding knife, sometimes are only one knife often time you see two knifes. Their tried to dance in Drum and bamboo bit, and try to cut each others. This is some of the evidently seen FMA Dance forn in the Filipino Folk Dance. Hope it's help. Good day, Gat Puno Abon "Garimot" Baet GAT Group International Laguna Arnis Federation International Harimaw Buno Federation Hilot Research Center USA > Again, another anecdote comes to mind; another friend > of mine met an older teacher of the FMA at a > tournament. The gentleman demonstrated his art in a > dance form; moving the stick in a choreographed > pattern such that he was dancing with the stick in > hand. My friend found his demonstration impressive, > since the grace, balance, rhythm and intent were > there. In this case, the art was showcased in dance > form. I would suppose that this is the other side of > the coin; martial arts now shown as martial dance, and > presumably, transformed back to martial arts again if > necessary. > > Just a lay opinion, > > Bot --__--__-- Message: 3 Date: Fri, 17 Dec 2004 13:13:36 -0800 (PST) From: Karol Krauser To: eskrima@martialartsresource.net Subject: [Eskrima] RE: Training, Dance, and Martial Motion Reply-To: eskrima@martialartsresource.net Hello all I have been following the post for the last few days in regard to FMA and dance. I am almost ashamed to say that I had many, many years in the arts before I was able to get a thorough understanding of how rhythm and dance effect the arts and how they can tie in so well together. Even though the first time I saw someone do Kali or Silat it was the martial motion and effortless flow, which attracted me. It wasn’t someone imitating a crane, snake or ape it was pure spontaneous motion and economy of motion which I have heard and like to refer to myself as martial motion. I was fortunate to have a training partner who danced professionally for a while, of course he never told anyone and you would not know by looking at him. This made his motion when sparring, doing Karenza, and Kenbangan flow like nobodies business. Once I was able to figure this out and convince his sorry, ass to not hold back these attribute it totally changed my motion as well as my life in the arts. I started thinking of things in beats, quarter beats, half beats and tempo. I basically got addicted to different attributes of dance, and rhythm and how they apply to martial motion, flow and the FMA. As a teacher when training someone in a new technique I try to instill the rhythm of the technique or the ability for them to hear find a beat or tempo within it. It has made me hoard all kinds of music to train to from Brent Lewis, to African Drumming or Modern Dance Music… Now having an understanding of these attributes I find myself hearing the back beat or tempo in all kinds of things and considering how it might mesh with certain parts of the arts. I think people with a dance background or someone who possesses dance attributes has a great advantage when learning the FMA’s. They already posses and understanding of flow, timing, balance, beat etc… I don’t think this would help as much with arts that don’t flow though. Another thing I have found which is somewhat interesting is when a practitioner of the FMA or Indonesian arts gets a good understanding of all this and blends it you constantly here the following comments from people who have yet to see these arts “What the F…k?” Wow ? I’ve never seen anyone move that way before! That is what attracted me to these arts to begin with. It was the flowing motion combined with the martial attributes and intent within it. I still try to hoard footage of people or expose myself to people who make me go Wow or Holy, sh….t on a regular basis ! I guess that is one of the things that keep me training. Not to mention it can allow a guy in his late thirties to swing sticks and knives at his close friend, roll around on the ground choking them, all the while with loud music blaring and still make the statement that I am striving towards self improvement and personal growth while doing so..!!!!!!! All the best Karol “Ungoy” Krauser __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo --__--__-- Message: 4 Date: Fri, 17 Dec 2004 13:46:48 -0800 (PST) From: guro marsh To: eskrima@martialartsresource.net Subject: [Eskrima] in re to questions about " the dance" Reply-To: eskrima@martialartsresource.net I was taught by Maestro Angeles that there is dances which contain applications and we did train in some various dances the applications are safe guarded when the Spanish invaded the Filipinos they attempted to kill off resistance and of course martial arts was part of that and they also tryed to assimilate the culture of the Filipinos to the Spanish culture in order to preserve the peoples culture,martial arts,and alphabet things was mixed into the dances as the dancers dresses bore elaborated letters the twisting of the hands in the dance is contained in many Filipino systems and sub systems used as torx's catching a wrist using the area between the fore finger and thumb and alot of the hand motion used by the "alive"hand when training solo baston is in the dance also certain throws and levers are contained the dances do have combat applications but they are well hidden and out of sight unless ya know what your looking for the dances were preformed for the Spaniards enjoyment but the whole time the alphabet was in front of them on dresses,the motion of the hands and body preserved the Filipino martial arts the whole culture was pretty much illegal back then so what choice did they have so...yes is my answer ...there is combative applications in the dances but its not something that is tossed out there even to devout students and i cant blame that i would keep it to myself also or there would be video tapes lol hope that helps Punong Guro Rodger Marsh Chief Instructor Angeles Escrima C.E.O. Martial Art Technologies http://www.martialarttechnologies.com --__--__-- Message: 5 From: Kes41355@aol.com Date: Fri, 17 Dec 2004 17:14:25 EST To: eskrima@martialartsresource.net Subject: [Eskrima] Re: Music and training Reply-To: eskrima@martialartsresource.net Hi all, I remember in the beginning of my training, the man who introduced me to Serrada Eskrima, Alan McLuckie, usually had music going while we trained. Al was a jazz musician, and used jazz to set the tempo of our workouts. He would encourage us to "listen to the beat," and then have us try to absorb the beat and express it in our Eskrima. I learned a healthy appreciation for Maynard Ferguson then, and also learned the importance of improvisation and spontaneity from those early sessions. Kim Satterfield --__--__-- _______________________________________________ Eskrima mailing list Eskrima@martialartsresource.net http://martialartsresource.net/mailman/listinfo/eskrima http://eskrima-fma.net Old digest issues @ ftp://ftp.martialartsresource.com/pub/eskrima Copyright 1994-2004: Ray Terry, MartialArtsResource.com, Sudlud.com Standard disclaimers apply. Remember September 11. End of Eskrima Digest