Date: Wed, 02 May 2007 17:42:02 -0700 From: eskrima-request@martialartsresource.net Subject: Eskrima digest, Vol 14 #129 - 12 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. List-Post: List-Subscribe: , List-Unsubscribe: , List-Help: X-Spam-Checker-Version: SpamAssassin 2.63 (2004-01-11) on plus11.host4u.net X-Spam-Status: No, hits=0.3 required=5.0 tests=NO_REAL_NAME autolearn=no version=2.63 X-Spam-Level: Status: RO X-Status: X-Keywords: Send Eskrima mailing list submissions to eskrima@martialartsresource.net To subscribe or unsubscribe via the World Wide Web, visit http://martialartsresource.net/mailman/listinfo/eskrima or, via email, send a message with subject or body 'help' to eskrima-request@martialartsresource.net You can reach the person managing the list at eskrima-admin@martialartsresource.net When replying, please edit your Subject line so it is more specific than "Re: Contents of Eskrima digest..." <<---- The Sudlud-Inayan Eskrima/Kali/Arnis/FMA mailing list ---->> Serving the Internet since June 1994. Copyright 1994-2007: Ray Terry and Martial Arts Resource The Internet's premier discussion forum devoted to Filipino Martial Arts. 2400 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. Re: questions (maurice gatdula) 2. Re: Dizon info (John Montes) 3. Re: Dizon (response to Gat Puno Abon's reply) (John Montes) 4. Prof. Felipe P. Jocano Jr. & Mirafuente(Re: Eskrima digest, Vol 14 #127-13 msgs (Pananandta@aol.com) 5. Tausog kalis for sword and Sanskrit (Re: Eskrima digest, Vol 14 #127-13 msgs) (Pananandta@aol.com) 6. Re: Kali (bgdebuque) 7. Fwd: FAQ INFO: Moro-Moro Orabes Heneral (MartialArtsResource) 8. Florante at Laura, James Sy (Re: Eskrima digest, Vol 14 #127 - 13 msgs) (Pananandta@aol.com) 9. Alejandro Abrian and Moro-Moro Orabes Heneral (MartialArtsResource) --__--__-- Message: 1 Date: Wed, 2 May 2007 12:03:36 -0700 (PDT) From: maurice gatdula To: eskrima@martialartsresource.net Subject: [Eskrima] Re: questions Reply-To: eskrima@martialartsresource.net i tried to send this before and it didnt post. maurice gatdula wrote: is this saying that these men are saying the art they do have ALWAYS been called "KALI"? use the word, i do! but when you use the word kali, to say, "my art is OLDER, more ORIGINAL, the PURE, art to arnis or eskrima", that is a problem. please for the respect of the filipinos here, and for those who know FMA history, even the history of your art, lets not go there. anyway, who cares that arnis and eskrima have spanish names. like somebody said earlier, all that matters is, is this art effective. but also, how truthful is the teacher teaching it. it does not matter what the art is called, then whoever has the insecurity to feel he needs to give "authenticy" to his art, by calling it older, purer, etc. has another problem. while we are talking about truth, lets tell another truth. what some people want to say by using the word "KALI", is to say "MY ART IS BETTER", without saynig it. nothing wrong with that. but it sounds like some people afraid to say, my art is better. which better way to make this statement without being challenged on it, but to say my art is the pure art, older than yours, older than mine. it changes the argument and the subject doesnt it? if we want to get the philosophy of the philippine arts, the question is, can you beat me, or can i beat you. not what rank you are, not what art your doing, who you study with, or what you call your style. tuhon, datu, punong guro, masguro, those are silly arguments. as a fighter, the most important question is not even about is this style better than mine, but are you a better fighter than the next guy. call your art what you want, just dont call it better than what i do or say your a better fighter than me, then we got a problem. back to reading posts.... -- __--__-- Message: 4 From: Pananandta@aol.com Date: Mon, 30 Apr 2007 12:20:16 EDT To: eskrima@martialartsresource.net Subject: [Eskrima] Re: Guru, masguru, James Sy. (Eskrima digest, Vol 14 #123 - 5 msgs) Reply-To: eskrima@martialartsresource.net I wrote an article on the origin of the word kali in the June 2005 issue of Inside Kungfu. In my article I traced the origin of the word kalisin to kali. However, James Sy said the word kalisin has nothing to do with the FMA. I would not fault Mr. Sy for not knowing the relationship between the two words. Even heads of systems such as Ben Largusa couldn't explain the origin of the word kali. Chris (Sayoc Kali) couldn't explain it either. So does Kali Illustrisimo. None among those who use the word kali as part of their system's name could explain the word kali. They had at best theories that does not do anything but wing an explanation. I did some research on the origin of Tagalog words - about 15 years at the big public library in Manhattan (NY). I pored through Sanskrit and Indian dictionaries to find which among the Tagalog words that I knew originated from Sanskrit. I found quite a few. (Indeed, a book was written on Tagalog and Sanskrit words back in 1898.) Perhaps, it would help if I explain the relations between kalisin (meaning to scrape) and the word/fighting art kali. Mr. Sy did a direct Tagalog to English translation. A direct translation is usually off the mark because something is lost in between. In his case, Mr. Sy couldn't see the relationship. Here is the relationship. When a kali man or a FMA man fights, they try to remove (scrape) layers of defenses of the enemy so he can get to the enemy's body. This should be explanation enough. Mr. Sy mentioned a few names of teachers in his email. I was a former professor and board reviewer in Chemical Engineering at Adamson University in Manila from 1963 to 1973. Tagalog is my dialect. I speak both literary and contemporary Tagalog. Best regards to all EDer's APMarinas Sr. --__--__-- Message: 2 Date: Wed, 2 May 2007 13:34:58 -0700 (PDT) From: John Montes To: eskrima@martialartsresource.net Subject: [Eskrima] Re: Dizon info Reply-To: eskrima@martialartsresource.net Hi Ray, Its always nice when you receive information from a firsthand perspective. This information correlates with that of Mark Wiley's and adds light to the matter. I'm glad for it, and to me Mr. Wiley has always come off as an objective and thorough writer. Eskrima indeed! Cheers, ~John > Message: 2 > To: eskrima@martialartsresource.net (Eskrima) > Date: Tue, 1 May 2007 20:08:39 -0700 (PDT) > From: rterry@idiom.com (Ray) > Subject: [Eskrima] Dizon info > Reply-To: eskrima@martialartsresource.net > > Dizon info direct from Federico Lazo. > > Ray Terry > rterry@idiom.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com --__--__-- Message: 3 Date: Wed, 2 May 2007 15:22:43 -0700 (PDT) From: John Montes To: eskrima@martialartsresource.net Subject: [Eskrima] Re: Dizon (response to Gat Puno Abon's reply) Reply-To: eskrima@martialartsresource.net Hi All, Warm Greetings Guro Abon! Thank you very much for the information. You're consistently outdoing yourself with the knowledge you share with us. Many thanks. With regards to the two systems, those being GM Fred Lazo's art, and Cabales Serrada Eskrima, from what I understand, what sets these two apart, FAR apart, are the influences. Whereas Fred has more than one influence, Angel Cabales had only one teacher, Dizon. Serrada, as I understand it, is a derivitive of De Cuerdas. From what I witnessed in the few clips that GM Lazo has on his site, it doesn't seem to look much like Serrada, but in my humble opinion it would be hard to compare the two. Why? I think it has to do with the evolution of an art. Dizon's art simply evolved. Beyond that, from student to student, expressions of an art change. Students evolve. Fred Lazo's art evolved, as did Angel's.The same would probably hold true for Floro Villabrille's art compared to Cabales Serrada Eskrima (I've heard of one instance of this and it reflects what I'm saying!). Likewise, I'll bet that Fred Lazo's art is pretty different from Floro's art. Much Respect from a beginning enthusiast, ~John __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com --__--__-- Message: 4 From: Pananandta@aol.com Date: Wed, 2 May 2007 19:23:04 EDT To: eskrima@martialartsresource.net Subject: [Eskrima] Prof. Felipe P. Jocano Jr. & Mirafuente(Re: Eskrima digest, Vol 14 #127-13 msgs Reply-To: eskrima@martialartsresource.net The content of a book (its historical portion) about fighting should not be judged as "flawed" by a historian based on the lack of a bibliography. All the men in the book were fighting men and the book should be judged on that basis. Bibliographies should be left to the academicians not to the fighting men featured in the book. A review should be balanced by a discussion of the merits of the techniques in the book. Placido Yambao asked the readers (begs their pardon) of the book for any omissions that according to him was "... mga pangyayaring hindi batid ng sumulat at hindi rin natatarok ng aming bubot na hagap". (.. occurences outside the reach of their immature minds). The book is written in literary Tagalog. EDers might be interested to know that I was the first to bring attention to Placido Yambao's book Mga Karunungan sa Larong Arnis in the US. I brought attention to the book in my article The Bolo Punch published in the October 1983 issue of Kick Illustrated (a sister publication of Inside Kungfu that has since ceased publication). Among the famous users of the bolo punch was the Philippines' Ceferino Garcia (who popularized it) , Cuba's Kid Gavilan and more recently Sugar Ray Leonard and Muhammad Ali. Good reading on Philippine history is The Philippine Islands, 1493-1898 by Emma Helen Blair and James A. Robertson. Or you can read the Spanish equivalent Labor Evangelica by Francisco Colin (Madrid, 1663). In Volume 40, there is a description of a Philippine dance -- really a war dance. Best. APMarinas Sr. In a message dated 5/2/2007 9:06:35 AM Eastern Daylight Time, eskrima-request@martialartsresource.net writes: According to Prof. Felipe P. Jocano Jr. in his article, "Arnis and the Work of History: A Short Critical Overview" in Vol. 9 No. 2 of Rapid Journal, "Mirafuente's essay on the origin of arnis is worth reading because of its blending of historical, linguistic and literary material. Nevertheless, it also suffers from a serious flaw in that it lacks comprehensive bibliography that would in turn assist future researchers in this area of Philippine history. For example, which vague documents does he refer to in describing the origin of kali? Whom does he consult in quoting from Legaspi’s travels? In which source can we find a reproduction and hopefully a translation of Simon de Anda's 1764 decree? This lack of references mars what is otherwise a well-written essay. At the same time, it provides a point of deprture for future researchers ************************************** See what's free at http://www.aol.com. --__--__-- Message: 5 From: Pananandta@aol.com Date: Wed, 2 May 2007 19:52:11 EDT To: eskrima@martialartsresource.net Subject: [Eskrima] Tausog kalis for sword and Sanskrit (Re: Eskrima digest, Vol 14 #127-13 msgs) Reply-To: eskrima@martialartsresource.net Bot, As I said, you cannot make a direct translation or a direct link. However, if one understands how a dialect is structured, the link will become obvious. For example: Bamboo (kawayan) a noun easily is the origin of the word bambuhin (to hit with bamboo). By analogy, to hit with the kalis, in one word would be kalisin. As a word spreads, particularly one of foreign origin, its meaning and sometimes its spelling can change radically. While the word kali/s remained, many words have been derived from it acquiring meanings that are only peripheral but one can still establish the link - if he knows what he is looking for. One word that I brought up in my article is "anga". In military Sanskrit it meant the 4 branches of the Indian army. In Tagalog "anga" became "sanga" branch of a tree. The spelling changed further when it became "sangga" (to block with the arms/hands). Of course, most everybody will know that sangga is one half of the phrase "sangga at patama". Hope this helps. APMarinas Sr. In a message dated 5/2/2007 9:06:35 AM Eastern Daylight Time, eskrima-request@martialartsresource.net writes: Hi PG Mat; In your research into these words and their origins, is there any connection between the word Tausug word kalis meaning sword and the Sanskrit sources you mentioned? Bot ************************************** See what's free at http://www.aol.com. --__--__-- Message: 6 Date: Wed, 2 May 2007 19:59:04 -0400 From: bgdebuque To: eskrima@martialartsresource.net Subject: Re: [Eskrima] Kali Reply-To: eskrima@martialartsresource.net I myself was surprised the first time Icame accross this info. Try to run a search of "Language Families" at Wikipedia, however, and you will immediately see a chart showing the Indo-European family of languages - which includes all European languages, as well as all Indian "dialects". While the same site classifies Middle Eastern languages and the Malay languages as distinct families, I have also previously encountered references which lump these two language families as mere sub-groups of the Indo-European language family - which is not without basis considering the number of words that are common to the present-day Malay and Indian "dialects". I cannot accurately say the same for the Arabic languages because I only know a sprinkling of Arabic words. I don't think I agree with the statement below regarding India. India > itself has 23 official languages (not dialects), which one was the mother > language that then became the source of all these other varied > languages? It is an old civilization, but so are a lot of other Middle > Eastern and European civilization. Babylonian/Mesopotamian civilization > were already at its high points around 4000 years ago, Egyptian culture > dates over 7000 years (Indian culture started 5000 years ago). Also the > basis of the European,Middle Eastern and Malay languages are different > AFAIK. Most European languages are Latin/Greek based (which again I've > never heard or seen of as being "indian" based). As always, there will be a > lot of intermingling of influences, but I'd be very interested to hear or > read historical studies that say that india was the source of all these old > civilization's languages. --__--__-- Message: 7 Date: Wed, 2 May 2007 17:17:34 -0700 From: MartialArtsResource To: eskrima@martialartsresource.net Subject: [Eskrima] Fwd: FAQ INFO: Moro-Moro Orabes Heneral Reply-To: eskrima@martialartsresource.net Good info... ---------- Forwarded message ---------- From: Mara Nepomuceno Date: May 1, 2007 8:58 PM Subject: FAQ INFO: Moro-Moro Orabes Heneral Hello Mr. Terry, I am Mara Nepomuceno, I just graduated from the College of Fine Arts from the University of the Philippines, and I did my thesis on Alejandro Abrian and Moro-Moro Orabes Heneral. Below is an email from my cousin Diego, who is currently studying Moro-Moro Orabes Heneral with Mang Andy through the assistance of our uncle, Ralph Nepomuceno. Attached is an excerpt from my thesis book, based on writings by Mark Wiley and Edwin Dy, interviews with all of the below mentioned players, and with Mang Andy himself. I have done extensive research on the Moro-Moro Orabes Heneral, and would gladly help out anyone interested in the said system. My uncle, cousin, and I would appreciate it very much if you could please include the information we have provided in your FMA FAQ page to prevent any further misconceptions. Thank you very much and have a good day. Sincerely, Mara Nepomuceno ________________________________ Date: Mon, 16 Apr 2007 04:55:16 +0100 From: nepomuceno_diegod Subject: Moro-Moro Orabes Heneral. Hello, I am Diego Nepomuceno. I am a student of Master Andy Abrian. I would like to clear some things up and give some new information about Moro-Moro Orabes Heneral, it's students and it's founder, Andrew Abrian. First of all, Master Any did not train under Telesporo SubinSubing. Moro-Moro is his own system. Second, I have bad news about Master Andy. He had another stroke. This stroke did heavy damage. It left his left side paralyzed. Third, please list down the First Generation Players of MMOH. It would be great if you could do that.The first Generation Players of Moro-Moro Orabes Heneral are: Boy Laurena, Henry Espera, Amie Balgoa and Ralph Nepomuceno. They're the ones who trained with Master Andy extensively and whose styles are either the representative of or greatly influenced by MMOH. I would also like to say the MMOH is not a defunct system, it never has been and it never will be. Thank you, this is all I have to say. Please use the information. [demime 0.98e removed an attachment of type application/msword which had a name of Alejandro Abrian and Moro Moro Orabes Heneral .doc] --__--__-- Message: 8 From: Pananandta@aol.com Date: Wed, 2 May 2007 20:18:36 EDT To: eskrima@martialartsresource.net Subject: [Eskrima] Florante at Laura, James Sy (Re: Eskrima digest, Vol 14 #127 - 13 msgs) Reply-To: eskrima@martialartsresource.net James, Florante at Laura was required reading when I was in high school. Indeed, I have a copy here with me in Fredericksburg, Virginia and have been reading it from time to time. There are two stanzas in the book that referred to "arnis". The book was written in literary Tagalog. Incidentally, the book was written by another great man from Bulacan, Francisco Baltazar. The great master Placido Yambao is from Hagonoy, Bulacan. When I was teaching at Adamson University, I had students coming from all over the Philippines. I had one student from Hagonoy, Bulacan (the same town from which Yambao wrote his book) and I asked him if he could look for Placido Yambao for me and I would like to meet him. My student came back and said that Yambao had moved. Juan Aclan was featured in the book Mga Karunungan sa Larong Arnis. Juan Aclan was from Batangas. I had a student with the last name "Aclan" and he was also from Batangas. I thought I hit the jackpot and would finally meet one of the men in the book. However, he also "cannot be found". "Cannot be found" and "had moved", I interpreted as, they wanted to be left alone. I did not pursue my search any further. I wished I did. APMarinas Sr. In a message dated 5/2/2007 9:06:35 AM Eastern Daylight Time, eskrima-request@martialartsresource.net writes: The first recorded use of Kali was Yambao's book in 1957. A friend of mine at the Center for Lasallian Ministries at thew University of st. La Salle (USLS) called to my attention that Florante at Laura by Francisco Balagtas, written in 1831, in verse 223, lone 3, "larong buno't arnes..." This was the first recorded use of Arnis. ************************************** See what's free at http://www.aol.com. --__--__-- Message: 9 Date: Wed, 2 May 2007 17:41:29 -0700 From: MartialArtsResource To: eskrima@martialartsresource.net Subject: [Eskrima] Alejandro Abrian and Moro-Moro Orabes Heneral Reply-To: eskrima@martialartsresource.net Alejandro Abrian and Moro-Moro Orabes Heneral From: Mara Nepomuceno Alejandro "Andy" Abrian grew up around blades, old-time Eskrimadors, and actual duels among the Warays of Samar, who are known for their blade-fighting. Originally into boxing, he began learning eskrima after meeting an eskrimador named Mang Pasi from Bohol. Abrian relocated to Manila and began working as a janitor in Manila's Luneta Park; he held this job for ten years. He then began training under Antonio Ilustrisimo. Abrian soon left the Ilustrisimo group and in 1955, founded his own style: Moro Moro Orabes Heneral, which was kept secret up until the 1980's when he began teaching his art at Manila's Luneta Park. He called his art Moro Moro after seeing a Moro eskrimador perform in his hometown, and Orabes Heneral after what Samareño's call low (Orabes) and high (Heneral) strikes. Training focus for Moro Moro Orabes Heneral is on the single stick, single knife, and empty hand, although double sticks and stick and dagger methods are also taught at advanced levels. One of the first things taught to new students is fast footwork; this is how it differs from other styles. Techniques and strategies are executed in dance-like fashion from low, crouching stances, with quick steps and shuffling maneuvers to the side and back of an opponent. There are no preset drills, and practice is spontaneous, free-form attack. The bob, weave, and duck techniques of boxing were also incorporated into the art. Sparring is taught from the offset, with emphasis on the importance of visualization and anticipation of an opponent's moves. The primary strategy of Moro Moro Orabes Heneral is to strike first, and strike hard. In the event that one is not able to strike first, one must be able to counter right away. When asked why Abrian and his art are so unique and sought after, Ralph Nepomuceno tells us that Moro Moro Orabes Heneral is one of the very few kontrapelo styles that exist. Further, Nepomuceno recounts what another Eskrima master says of Abrian: "Magaling si Andy kasi yung hawak niya sa sundang at baston, pareho. (Andy is skillful because the way he holds his stick and sword is the same)" (Nepomuceno, 2007). Technical Aspects Weapons For practical self-defense purposes, Moro Moro Orabes Heneral focuses on single stick (solo baston), single knife, and empty hand training. The reason for this is that in the event of a fight, one will most likely be able to pick up a stick, a knife, or any single weapon, rather than two identical sticks of the same length and weight. To Henry Espero, Moro Moro Orabes Heneral is best suited to edged weapons because of its low stance. "When you are crouched down, the tip of your weapon reaches quite far", he explains, "When you are standing up, your reach is somewhat limited" (Espero, 2007). However, the art does include training in stick and dagger and double sticks at its advanced levels. Strikes There are three categories of striking when using the single stick – twelve strikes, five strikes, and seven strikes – each with its own reasoning and purpose. Students are taught the twelve striking sequence first, along with each strike's defensive blocking and countering techniques. Accordingly, they are taught to block, counter strike, and lock the opponent's attacking arm right away. As was mentioned earlier, the art is based on the Orabes (low) and Heneral (high) strikes. Hence, Orabes Heneral means that practitoners execute both high and low strikes either in succession or interchangeably, and in a smooth, continuous manner. The Prayle de Kubli One distinguishing feature of Moro Moro Orabes Heneral is the backwards strike to the head, which Abrian calls the Prayle de Kubli (Nepomuceno, 2007). While strikes in other styles are executed in a forward manner, practitioners of Moro Moro Orabes Heneral step forward and to the side of the opponent and swiftly execute a backwards strike to the back of the opponent's head (Laurena, 2007). The Cinco Teros The cinco teros pertains to the five cardinal strikes universal to Eskrima. Though they are generally known as the cinco teros, the numbering and order of the strikes varies from system to system. The cinco teros for Moro Moro Orabes Heneral is as follows: • A uno with the right hand is a strike to the left temple, while a uno with the left hand is a strike to the right temple. • A dos with the right hand is a strike to the right knee, while a dos with the left hand is a strike to the left knee. • A tres with the right hand is a strike to the left elbow, while a tres with the left hand is a strike to the right elbow. • A quatro with the right hand is a strike to the right shoulder, while a quatro with the left hand is a strike to the left shoulder. • A cinco is a thrust to the solar plexus which can be done with the right of left hand interchangeably. Ranges Moro Moro Orabes Heneral can adapt to close, medium, or long range combat, but is best when used at close range. Counters and Footwork Since there is no way to ascertain how and opponent will attack, and with which foot forward, Moro Moro Orabes Heneral does not train students in preset counters to specific attacks. The essence of the system is in its automatic movement and counters using the art's dynamic footwork and body shifting. Additionally, while striking, the foot moves with the strike at the same time. Shuffling backward, forward, and sideways in low, crouching position is the norm for this system. The footwork itself is trained in a dance-like fashion, with the practitioner moving in any number of directions to avoid imaginary attacks and to develop agility and stamina. Disarms There are roughly fifty basic disarms found in the curriculum of Moro Moro Orabes Heneral. Fighting Techniques When swinging the stick, practitioners of Moro Moro Orabes Heneral use their empty hand to propel the wrist of the weapon-holding arm to help produce power and speed. Further, the art seeks and make use of nerve strikes and pressure point manipulation while holding, disarming, and throwing an opponent. Joint locking and disarming techniques are also mainstays of this style. One of the most important things to pulling off the art's techniques is fast and dynamic footwork. Mark Wiley, who trained under Mang Andy, attests to this: "Indeed, among the various styles of Arnis and Escrima, the footwork of Moro-Moro Orabes Heneral is quite different" (Wiley, 2000). Training Fighting attributes are developed while fighting skills are learned and practiced. The idea is to develop the ability to block, redirect, or avoid an opponent's strike, and to then counter with speed and precision. Once the basic strikes and counters are mastered, they are practiced conjointly with the footwork. While training, students perform the techniques over and over against attacking an opponent. Visualization and the creativity of the mind plays a vital role in the training of Moro Moro Orabes Heneral, as students must develop the skills to not only block and counter a single strike, but to intuit where the opponent may strike next and place themselves in a safe position. The reason for this type of training is explained by Wiley: "The more creative the mind to direct the visualized opponent to attack and counter in fast and unpredictable ways, the better honed and agile skills the practitioner will develop" (Wiley, 2000). >From the basic block and counter training, students progress to block and block and counter and counter training. Drills Because Moro Moro Orabes Heneral is an art steeped in practical techniques and training, it does not include a large number of training drills. While there are no preset drills, when the art's techniques are linked together and performed in succession, they become drill-like. In training, partners block and counter at random in simulation of an actual (spontaneous) encounter. This type of does not have a preset format but like a drill, develops in practitioners honed reflexes, speed, maneuvering abilities and spontaneous movement reactions. Mang Andy believes that this is the only way to truly develop realistic fighting skills, since pre-arranged drills are too limiting and students tend to get lost in them and focus instead in drill development rather than fighting skills development. The Rapelon A multi-directional drill was created by Abrian to train against two or more opponents. The rapelon is a dance-like fighting form, created for shadowboxing when facing multiple opponents. Its purpose is to train in a continuous motion; to attack and defend from different directions in one smooth flow of action. The rapelon trains one to evade and coordinate footwork and adjusting to the proper distance between you and your opponent while in motion. Fighting Strategies The principal strategy in Moro Moro Orabes Heneral is to preempt an opponent's movements, strike first, and strike hard. If you are not able to strike first, then counter right away, be it with a stick, knife, empty hand, or joint lock. Practitioners hold their stick with the tip pointing down when facing an opponent so that there is no opening in their guard. The strategy here is to show your opponent your position, wait for his strike, and them maneuver to his weak side and strike his newly opened targets. The strategy Moro Moro Orabes Heneral utilizes when striking or counter-striking in this system is to hit a target with a specific purpose in mind. For example, if you strike your opponents eyes he will not be able to see, if you strike his arm he might either drop his weapon or have difficulty moving his arms thereafter, if you strike his feet he may not then be able to effectively utilize footwork. If your opponent is skilled and the fight cannot be ended right away, another key strategy is to remain calm and observe and learn from your opponent while fighting; this is an opportunity to observe the openings and exploit them one ore more times and the end to the combative encounter will undoubtedly present itself. Free-Sparring Practitioners of Moro Moro Orabes Heneral view sport-like free-sparring as a sport to be a possible trap students can get caught it (like preset drills). What happens with free-sparring as a sport is that people get caught up in succeeding in safe, rule-bound sparring sessions and competitions that they forget the intended combative applications of their techniques. Instead of developing the skills to take out opponents quickly and effectively, they develop unnecessary multiple striking combinations to non-lethal point-awarded targets, and the stamina needed to keep up that pace of striking for minutes at time. In the real world, fights (especially those with weapons) don't' last that long. Practitioners of the art, however, do fight one another, in addition to those willing practitioners of other styles, but they only do so in moderation and without the use of body armor or padded weapons. Documentation In the past years, Moro Moro Orabes Heneral has been featured in the books Filipino Martial Culture (Second Edition) and Filipino Fighting Arts: Theory and practice, both by Mark Wiley, who was Mang Andy's student. Mang Andy and his techniques have also been featured twice in Rapid Journal, in the book Masters of Kali, Arnis, and Eskrima by Edgar Sulite, and in Mark Logan's segment on TV Patrol. A few home videos on Moro Moro Orabes Heneral's techniques have been made by Edwin Dy, Mark Nepomuceno, and Mara Nepomuceno for Mang Andy's personal use, but none are out for public distribution. --__--__-- _______________________________________________ Eskrima mailing list Eskrima@martialartsresource.net http://martialartsresource.net/mailman/listinfo/eskrima Subscribe or Unsubscribe: http://eskrima-fma.net Old digest issues @ ftp://ftp.martialartsresource.com/pub/eskrima Copyright 1994-2007: Ray Terry, MartialArtsResource.com, Sudlud.com Standard disclaimers apply. Remember September 11. End of Eskrima Digest