From MAILER-DAEMON Fri Apr 4 15:34:23 2008 Date: 04 Apr 2008 15:34:23 -0500 From: Mail System Internal Data Subject: DON'T DELETE THIS MESSAGE -- FOLDER INTERNAL DATA X-IMAP: 1207341263 0000000000 Status: RO This text is part of the internal format of your mail folder, and is not a real message. It is created automatically by the mail system software. If deleted, important folder data will be lost, and it will be re-created with the data reset to initial values. From eskrima-admin@martialartsresource.net Wed Apr 2 11:26:54 2008 Return-Path: Received: from tarsus.bollow.ch (tarsus.bollow.ch [82.195.230.222]) by plus11.host4u.net (8.11.6/8.11.6) with ESMTP id m32GQre23486 for ; Wed, 2 Apr 2008 11:26:53 -0500 Received: from tarsus.bollow.ch (localhost [127.0.0.1]) by tarsus.bollow.ch (Postfix) with ESMTP id 99CE2B283CE; Wed, 2 Apr 2008 19:29:08 +0200 (CEST) Date: Wed, 02 Apr 2008 19:28:03 +0200 Message-ID: <20080402172803.23182.51179.Mailman@tarsus.bollow.ch> From: eskrima-request@martialartsresource.net Subject: Eskrima digest, Vol 15 #90 - 6 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 List-Unsubscribe: , List-Id: Eskrima-FMA discussion forum, the premier FMA forum on the Internet. 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Copyright 1994-2008: Ray Terry and Martial Arts Resource The Internet's premier discussion forum devoted to Filipino Martial Arts. 2500 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: Title of DATU (ILDEFONSO ODAL) 2. Categorizing Eskrima (gatpuno@aol.com) 3. "The Quest of Mastery" (Talibung Antike) 4. FMA flash game (RJ Garcia) 5. Re: Title of DATU (neil.s@dslextreme.com) 6. Re: Moro-moro of Laguna and Doce Pares of Laguna (GatPuno@aol.com) --__--__-- Message: 1 Date: Sat, 29 Mar 2008 11:43:09 -0700 (PDT) From: ILDEFONSO ODAL Subject: Re: [Eskrima] Title of DATU To: eskrima@martialartsresource.net Reply-To: eskrima@martialartsresource.net Sir Bot, I stand corrected, Thank you for the clear description of datu... I should know this since my father is from Mindanao but no. At least I remember the "mukhasim" contest on GMA 7, was it Student Canteen? Now I know and knowing half the battle. Jun FFALV www.filipinofightingartsintl.com http://martialartsfriends.com/icodale7 http://communitylink.reviewjournal.com/lvrj/shotokankarate ----- Original Message ---- From: Felipe Jocano To: eskrima@martialartsresource.net Sent: Saturday, March 29, 2008 2:02:36 AM Subject: Re: [Eskrima] Title of DATU Hi all Datu is a local hereditary title, indicating your lineage in one of the local noble families, mostly among the indigenous Muslim groups in Mindanao. Something akin to a local chieftain. To be a datu, one has to be born into the family. An outsider may be conferred the title of datu if he has performed an outstanding service to the community. Not all datu, though, are equal. Some are from families who have managed to hang on to their power. With all the changes taking place during the 20th and early 21st centuries, these families managed to adapt to their circumstances and in the process retained their influence. Many of them entered the political system and became mayrs, congressmen, etc. Other datu retain their titles but are not as powerful anymore. As for sultan and rajah, these titles indicate wider dominance and sway over other datu. Hence, one reason for the resistance to using these titles as rank in FMA systems, is that to local practitioners they will be a source of ridicule (that guy doesn't know what he's doing) or an act of arrogance (who does he think he is using that title). As for Datu Puti and mukhasim - for the non-Pinoys, Datu Puti is a figure from Philippine folk history and also a popular brand of vinegar. The mukhasim contest was a local contest wherein you sent your picture with your face screwed up after tasting a spoonful of vinegar. The person with the sourest face wins an island somewhere in the Visayas - the only problem is that your island disappears at high tide :-) the contest was a joke of course. Ok, I know that we're all sensitive to comments about ethnicity, but since the Datu point came up - the use of the title Datu by many Caucasian FMA teachers becomes the butt of jokes by many local FMA practitioners. Datu Puti is one of them (literally white datu). I don't mean to disrespect GM Presas since he conferred the title datu to some of his Caucasian students - but that's the way it is here in the Philippines. More about this some other time, Bot --- ILDEFONSO ODAL wrote: > Let me take a stab at this... my wild guess is... > > Datu is same as Rajah = King or Prince > > correct me if I'm wrong please... > > Just for laugh: > Datu as in "Datung Puti" and sukang "mukhasim":-) > > Jun > FFALV > > www.filipinofightingartsintl.com > > http://martialartsfriends.com/icodale7 > http://communitylink.reviewjournal.com/lvrj/shotokankarate > > ----- Original Message ---- > From: Ray Terry > To: eskrima@martialartsresource.net > Sent: Thursday, March 27, 2008 12:02:27 PM > Subject: Re: [Eskrima] Title of DATU > > Lets just say that if you use Datu as a martial arts > title in some parts of the RP or in Indonesia you > could very well end up in jail. > > Ray > > ----- Original Message ---- > From: Gabriel rafael > To: eskrima@martialartsresource.net > Sent: Thursday, March 27, 2008 7:40:14 AM > Subject: [Eskrima] Title of DATU > > Greetings all! > > There were many opinions given on the titles of > Grandmasters and Masters. > All of them brought insights on these titles. > > Can we have opinions/clarification on the title of > Datu? > > Thank you. > Gabe > _______________________________________________ > Eskrima mailing list, 2500 members > Eskrima@martialartsresource.net > Copyright 1994-2008: Ray Terry and Martial Arts > Resource > Standard disclaimers apply > Subscribe or Unsubscribe: http://eskrima-fma.net > > > > > > > > > ____________________________________________________________________________________ > Looking for last minute shopping deals? > Find them fast with Yahoo! Search. > http://tools.search.yahoo.com/newsearch/category.php?category=shopping > _______________________________________________ > Eskrima mailing list, 2500 members > Eskrima@martialartsresource.net > Copyright 1994-2008: Ray Terry and Martial Arts > Resource > Standard disclaimers apply > Subscribe or Unsubscribe: http://eskrima-fma.net > ____________________________________________________________________________________ OMG, Sweet deal for Yahoo! users/friends:Get A Month of Blockbuster Total Access, No Cost. W00t http://tc.deals.yahoo.com/tc/blockbuster/text2.com _______________________________________________ Eskrima mailing list, 2500 members Eskrima@martialartsresource.net Copyright 1994-2008: Ray Terry and Martial Arts Resource Standard disclaimers apply Subscribe or Unsubscribe: http://eskrima-fma.net ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ --__--__-- Message: 2 To: eskrima@martialartsresource.net Date: Sat, 29 Mar 2008 15:45:38 -0400 From: gatpuno@aol.com Subject: [Eskrima] Categorizing Eskrima Reply-To: eskrima@martialartsresource.net In regards of Categorizing Eskrima Well, its nice to see this but the Eskrima is not really need to categorized, it self explanatory what it means. (Fighting Arts/self defense arts) Eskrima, is complete with Establado, Laro or Jugado and Panglaban, o Pamatay..Cannot be Eskrima without one of this, so it is better to say, the phase of Eskrima,, not categorize. Just honest opinion, but off-course you hyave all the right to categorized them, but to me a personal opinion, if seperate them, then you dilute them you cannot let out one of them on your arts. How could you teach, without the entablado, to show, how could learn if you dont Jugar (game/laro, spaaring/tournament), or just for self defesne (laban, fight back), then the last the killing phase, this is when you know you need to this to finish the fight or to preserved your own life that your assailant want to take it without mercy.. Then this Eskrima, Arnis, Estokada or now is Kali.. Gat Puno Abon "Garimot" Baet Laguna Arnis Federation International --__--__-- Message: 3 Date: Sat, 29 Mar 2008 23:01:55 -0700 (PDT) From: Talibung Antike To: eskrima@martialartsresource.net Subject: [Eskrima] "The Quest of Mastery" Reply-To: eskrima@martialartsresource.net A Wise Gran Maestro once intimated to his Student: Gran Maestro: "A terrible fight is going on inside me, a fight between two fierce Lions. One Lion is very evil, it represents pride, arrogance, greed, selfishness, deception, hatred, destruction, intemperance and lust. The other is good, it represents the virtues of humility, patience, perseverance, benevolence, empathy, love, temperance, kindness, understanding and compassion. This fight that is going on within me is inside everyone else too, even you." The Student asked the Gran Maestro: "Which Lion will win, Sir?" Gran Maestro Replied: "The one that you always feed. Keep that in mind!" Life indeed is just a matter of CHOICE...:-) I remain, ...your fellow student in the Eskrima of LIFE! "Talibung Antike", 1-0 ____________________________________________________________________________________ Special deal for Yahoo! users & friends - No Cost. Get a month of Blockbuster Total Access now http://tc.deals.yahoo.com/tc/blockbuster/text3.com --__--__-- Message: 4 Date: Mon, 31 Mar 2008 04:43:26 -0700 (PDT) From: RJ Garcia To: "eskrima martialartsresource.net" Subject: [Eskrima] FMA flash game Reply-To: eskrima@martialartsresource.net For a respite from all the heavy discussions on the list, let me present to you this flash game: http://www.crazymonkeygames.com/Arnes-de-Mano.html It was made by my friend, John Paul Tiangco, a Flash programmer based here in Metro Manila. Most of the moves featured are based on the anyo of the 2005 SEA Games synchronized anyo team (LSAI - UP Sangkil Karasak). Gumagalang, RJ Garcia Send instant messages to your online friends http://uk.messenger.yahoo.com --__--__-- Message: 5 Date: Tue, 1 Apr 2008 14:05:15 -0700 (PDT) Subject: Re: [Eskrima] Title of DATU From: neil.s@dslextreme.com To: eskrima@martialartsresource.net Cc: eskrima@martialartsresource.net Reply-To: eskrima@martialartsresource.net Bot nice explanation of the Datu title! I have to just pipe in here to say that I sometimes cook my adobo with Datu Puti, it’s not that bad a vinegar brand and I can always find it cheap in my local grocery store hehehe. You know, I'm always surprised at the way some people use and throw titles around in the FMA community, I don’t mean to make this sound racist I have yet to seen a fellow pinoy or pinay abuse titles the same way I have seen non Filipinos who teach FMA the personally (not to say that they don’t use titles I just I don’t ever see it used as exploit ably) Personally I’m kinda disgusted at how liberally I’ve seen people use a title to refer to themselves or blatantly will use another persons name and title in their system that they have never trained under & I am still overly disenchanted with the commercialism of the combat arts. Live well train hard! N.Suarez > Message: 3 > Date: Sat, 29 Mar 2008 02:02:36 -0700 (PDT) > From: Felipe Jocano > Subject: Re: [Eskrima] Title of DATU > To: eskrima@martialartsresource.net > Reply-To: eskrima@martialartsresource.net > > Hi all > > Datu is a local hereditary title, indicating your > lineage in one of the local noble families, mostly > among the indigenous Muslim groups in Mindanao. > Something akin to a local chieftain. > > To be a datu, one has to be born into the family. > > An outsider may be conferred the title of datu if he > has performed an outstanding service to the community. > > > Not all datu, though, are equal. Some are from > families who have managed to hang on to their power. > With all the changes taking place during the 20th and > early 21st centuries, these families managed to adapt > to their circumstances and in the process retained > their influence. Many of them entered the political > system and became mayrs, congressmen, etc. > > Other datu retain their titles but are not as powerful > anymore. > > As for sultan and rajah, these titles indicate wider > dominance and sway over other datu. > > Hence, one reason for the resistance to using these > titles as rank in FMA systems, is that to local > practitioners they will be a source of ridicule (that > guy doesn't know what he's doing) or an act of > arrogance (who does he think he is using that title). > > As for Datu Puti and mukhasim - for the non-Pinoys, > Datu Puti is a figure from Philippine folk history and > also a popular brand of vinegar. The mukhasim contest > was a local contest wherein you sent your picture with > your face screwed up after tasting a spoonful of > vinegar. The person with the sourest face wins an > island somewhere in the Visayas - the only problem is > that your island disappears at high tide :-) the > contest was a joke of course. > > Ok, I know that we're all sensitive to comments about > ethnicity, but since the Datu point came up - the use > of the title Datu by many Caucasian FMA teachers > becomes the butt of jokes by many local FMA > practitioners. Datu Puti is one of them (literally > white datu). I don't mean to disrespect GM Presas > since he conferred the title datu to some of his > Caucasian students - but that's the way it is here in > the Philippines. > > More about this some other time, > > Bot --__--__-- Message: 6 From: GatPuno@aol.com Date: Wed, 2 Apr 2008 00:41:39 EDT To: GatPuno@aol.com, eskrima@martialartsresource.net Subject: [Eskrima] Re: Moro-moro of Laguna and Doce Pares of Laguna Reply-To: eskrima@martialartsresource.net > Hello Erwin and Kapatid Jay, > My student from Saint Louis, Misouri, GuroTim "Tamaraw" Rivera, has found > more studies to back it up the "Moro-moro" in Luzon especially in Laguna, and > the "Doce Pares de Francia" which the original  "Doce Pares of Laguna" was > claimed name after. The Moro-moro is claimed by my 11 Maestros (Teachers) > original brought to the Philippines on 1630's to be exact from Mexico, it was > introduced by the Mexican Friars as part of festivities during Fiestas. Remember > the late 15th Century through early 16th Century, the famous Acapulco and > Manila Galleon trade is well documented in our history(Philippines), even in Los > Angeles, CA history(Elm Pueblo de Los Angeles) which is founded by 40 family > of Mexican and Filipino by way of the Galleon (FILIPINAS Magazines 1998).. > > Few year ago, I can't find any history from Mexico to link this claimed of > my "Maestros", so I gave up looking for connection. But on Summer of 2000, the > biennial sypompsium of Study Group on Ethnochoreography of the International > Council of Traditional Music (ICTM) was held in the town of Korcula on the > Island Korcula along with Adriatic coast of Croitia. One of themes of the > symposium was "Sword dances and related calendrical dance events" which attracted > a lanrge attendance of ethnochoreologist from many countries. Fortuitously, > Dr. Carlo Bonfiglioli from Mexico, a dance anthropologist and specialist is > the conquest dance genre participated in the meeting. > > "Moreska" on Korcula island on Croitia's Adriatic coastand "Los Moros" and > the Doce Pares de Francia"in central and Southern Mexico provide a historical > window between the 21st and 16th centuries. I am seeing that these swords > dance groups with their events can be compared even though they are not > geographically nor culturally connected. Some of the clues I am uncovering are > related to Theatrical fashions based on when the dances were introduced from Europe > to the Americas in the 16th century period. The type of swords, the > techniques or the "mock sword combat" the structure of the presentations and costumes > worn by the dances, and more.... > > We break through what we are looking, link on the claim of my Maestros, that > this arts is introduced to us, by Mexican Friars. The story of Doce Pares de > Francia, the original Doce Pares, that we are basing upon building the Art > of Arnis on Doce Pares of Laguna, this written fact and studies, is a closest > to the history of our "Moro-Moro Play in Laguna, and nearby provinces, and > depend from the ethnic background the name changes by tribal too. Some of the > name is Zarsuela, Komedya and more. In the "original show of Doce Pares de > Francia in Mexico has the Lucifer or Devil, which in Moro-moro has the "Payaso" > (Clown) Christian and the Pusong (Crazy Moslem) Moros, its serve the same > roles, to keep the audiences awake and keep the kids away on the stage, to keep > the smooth down the production of Moro-moro. This is good break through, its > also mention the Acupulco and Manila Galleon Trades route during the 15th > 16th Century. So its clear that the claimed of my Maestros is ligit and truth, > not just a made up story..It was nice to see the other end of the history, > from Mexico. > > Hope it help on your studies.. and help to shed some clarification on the > sides of the Laguna's Maestros of Moro-moro and Doce Pares of Laguna.. > > This the original write up: >  http://www.ccdr.org/notes.htm#FIELD%20TRIP%20TO%20MEXICO > REPORTS by Elsie Ivancich Dunin > > FIELD TRIP TO MEXICO TO OBSERVE SWORD DANCE GROUPS, 5-12 DECEMBER 2000 > "Moreska" on Korcula island on Croatia's Adriatic coast and "Los Moros" and > "Doce pares de Francia" in central and southern Mexico provide a historical > window between the 21st and 16th centuries. I am seeing that these sword > dance groups with their events can be compared even though they are not > geographically nor culturally connected. Some of the clues I am uncovering are related > to theatrical fashions based on when the dances were introduced from Europe > to the Americas in the 16th century period. The type of swords, the > techniques of the mock sword combat, the structure of the presentations and the > costumes worn by the dancers, and more..... > In the summer of 2000, the biennial symposium of the Study Group on > Ethnochoreology of the International Council for Traditional Music (ICTM) was held > in the town of Korcula on the island of Korcula along the Adriatic coast of > Croatia. One of the themes of the symposium was "Sword dances and related > calendrical dance events," which attracted a large attendance of > ethnochoreologists from many countries. Fortuitously, Dr. Carlo Bonfiglioli from Mexico, a > dance anthropologist and specialist in the conquest dance genre participated in > the meeting. > As one of the host organizers of this symposium, I was particularly > interested in learning if the sword dance groups and their dances (mock combat and > linked swords) on Korcula island were similar to sword dance groups in other > areas in the world. Croatian historians and ethnochoreologists have not been > able to trace the origins or time period when these dances were introduced to > the island. The earliest written record of a Korcula Moreska performance > dates back to the late 17th century. But nowhere have Croatian specialists > identified a similar combat dance nor costume. The Korcula Moreska seems to be an > isolated survival from the past until this observation of sword dances on > another continent. > The Moreska sword dance entails two armies, "white" and "black" or Turks > and Moors. The Black king (Moor dressed in black) has abducted a beautiful > female (bula) from the White king (Turk dressed in red). There is dialog between > the principals, and then a challenge by the Black king, which starts a battle > between the two armies. There are seven sets of sword combat figures, with a > walking pause between each set. The combat is performed in a circle, and the > last set is performed with the victors (red-dressed army) encircling and > defeating he Moorish army. The bula is rescued and the white king (dressed in > red) marches off with his army and female. [See web site on Korcula and its > Moreska: ] > After watching the Korcula Moreska in a performance in July 2000, Dr. > Bonfiglioli suggested that I look at a performance of the "Doce Pares de Francia" > in Mexico. There may be similarities. > Several months later after my return to the U.S., Dr. Bonfiglioli informed > me that the Doce Pares would be performed in the village of his anthropology > doctoral fieldwork in Mexico. He was planning to attend the event with some > of his university students. This was a special occasion, since Doce Pares is > not performed every year, and the last occasion was in 1993, seven years > earlier. Checking a map of Mexico, I could not find his mountain village, but its > location within the southern state of Guerrero, has its well-known city of > beach-side tourist resorts, Acapulco. This meant I could fly from Arizona to > Acapulco, and then take a five-hour bus ride to the village with the Doce Pares > event. > Traveling from the north of Arizona, and leaving in the early morning while > the temperature was minus 10 degrees Celsius and 20% humidity and arriving > the same evening in Acapulco, with 45 degrees Celsius and 90% humidity was a > bit of a shock to my well-dressed body, but at least I did not have to account > for jet lag. Mainly this December climate in the Costa Chica area on the > Pacific side of southern Mexico clearly explains why the village events take > place through the night and morning hours, while the mid-day activities remain > relatively uneventful. > I spent a day and a half in Acapulco to become acclimatized and also to > visit the major museum of Acapulco---that provides a historical overview of the > area. What was fascinating to realize, was that Acapulco within some fifty > years of Columbus's intent to find a sea route to the "Indies" became a > reality. The Pacific currents and winds were suitable for the galleons to sail from > Acapulco to Manila where Far Asian trade was set up, and to return along the > northern Pacific to Mendocino, California and then south to Acapulco. The > round trip was some five months, beginning in mid spring and ending in early > fall. Acapulco became a trading center for spices, fine china, silk and > embroidered fabrics, intricately carved wood and ivory --- those specialties that > Columbus sought, but did not live to see. For almost three centuries Acapulco > was the major Pacific port between Mexico (and Spain) and the Far East. Every > household of means on the Pacific side of Mexico benefited from the trade with > furniture, fine porcelain, clothes, and spices. Protecting the galleons from > pirates in Acapulco's fine bay, was a large fortress, today's museum. In the > village (some 230 km from Acapulco), where I observed the Doce Pares, I saw > a framed depiction of the Virgin and Christ child, with Asian facial features > and clothing in fine silks. > On the four-hour bus ride to Ometepec, I noted a flat coastal terrain with > very lush vegetation --- why would it not be with normal 40 degree > temperatures and 80-90% humidity and full-sized rivers flowing into the Pacific? > Coconut groves, mango and tamarind plantations, and clusters of banana and > plaintain trees. From Ometepec (nearest town to the village), another hour's ride > with the terrain becoming more mountainous and cooler (thank goodness for my > body) with corn harvesting on steep sides of hills. > The village, named Tlachoachistlahuaca [go ahead, try to pronounce that > seven-syllable name quickly---I did try, but needed to show the name to the bus > drivers, etc.] was in full swing of their event when I arrived late afternoon > on December 5. Church bell ringing went on periodically, and more often, > deafening rockets were shot into the air to punctuate the daily and nightly > events. Vendors from outside of the village had set up their plastic goods, > clothing, household, food, and audio-cassette wares under cloth awnings. There > were also "carnival rides" with a small carrousel, and other children's > mechanical rides. The village has became more connected with the outside world > through a road paved only three years ago. Bonfiglioli mentioned that there is an > explosion of vendors in this short time period, because they could more easily > drive their goods to the once relatively isolated village. > The refurbished church with whitewashed walls and blue-decorated trims, was > this year dedicated as the Sanctuary of the Virgin of the Immaculate > Conception in addition to celebrating the "Jubileo 2000." The Bishop from Acapulco > and priests from the region had come to the village on December 7, the eve of > the holy day Immaculate Conception, for a special mass held in the church > plaza. The friary housed a Franciscan priest (from southern Sicily), Franciscan > brothers (from the U.S., Honduras, and ?), a few Mexican-born nuns, and a > female assistant from the U.S. Regardless of this slate of important religious > guests and the hosting friary, the village conducted its rituals and > performances apparently independently, although as part of the religious holiday. > The four dance groups of the village (Doce Pares, Conquistas, Las > Malinches, and El Tiger), do not appear to be related with each other socially, but > they all participate in various aspects of the religious holiday from December > 3 to 8; the key performance this year was produced by the Doce Pares group. > Other years, the Conquistas would be the key performers. The social status of > the participants of the groups is distinct, and the Doce Pares is made up of > the mestizo population of the village. The reasons for this became clear. The > first scene of the production includes horses and horse-riding, and the main > population in the village who are horse-owners are the mestizos. The next > reason, is that the mestizo populations (at least in the past) were the more > literate group, who could read and memorize their speaking parts for Doce > Pares. In essence, this production is performed by members of the more affluent > and educated group of families in the village. Whereas the members of the other > dance groups consisted of local Indians, mainly the Amuzgo --- the other > major population in the village. > Preparation for the Doce Pares, began in September, with seven rehearsals > of 15 hours each. A maestro (teacher-director) had selected his performers, > and distributed the speaking parts to the performers. The total text covered > 139 typed pages, for at least 20 speaking actors. The only character who did > not have a major speaking role was Lucifer the devil, who with his antics, kept > the interest of the on-looker, and who also controlled the performance > space, making sure that children did not get in the way, or at times woke up dogs > who chose to sleep in the performance space in the church plaza. The audience > sits on all four sides of the plaza, on the grass, on the friary steps, on > benches, on plastic chairs, on straw mats. > Each of the two armies was dressed similarly, but in different major > colors. The Christians tended to be in light blue, while the Turks tended to be in > red. It was the symbolic decoration on their outfits and their headdresses > that distinguished the Christians [Carlomagno and his knights] (C) from the > Turks (T). The C's with crosses and the virgin, while the T's with animals and > birds. The shields with crosses for C's and a crescent moon for the T's. > Carlomagno's crown was topped with a cross, while Almirante's (the Turkish king) > crown was topped with a crescent moon. The more important knights (characters) > wore long capes, while the lesser wore short capes. Most importantly, the > costumes for both armies were of the Roman style, with full skirts at > knee-length, blouses with short puffy sleeves. All pieces of clothing were decorated > with sequin designs, gold threads, and the fake helmets with visors were > topped with large feathers. During the 16th century in western Europe this type of > Roman costume was used in theatrical productions or for pageants. > Furthermore, each soldier holds a sword in his right hand, and a dagger, short lance or > small shield in his left hand. The three female characters, daughter of the > Turkish king and her two attendants wear long dresses and capes and hats --- > whatever they feel is fashionable and beautiful. Each also carries a sword, > which is used in battle later in the play. > The combat scenes were more improvised in sword play, than what is seen > with the Korcula Moreska. The village performers were not trained for sword > battle. Although the speaking parts are "set" and the "dance" choreography is > "set" and the music is "set," the clashing sword movements are not. > Nevertheless, I felt I was watching a centuries old production, that is revived whenever > the village leaders decide to produce it. > I felt privileged to be able to watch this ten-hour long production, > fascinated by the staging, the costumes, the ability of the amateur actors to > memorize long texts (sometimes more than two pages in length), by the musicians > capability of playing their parts through the night, with only one fifteen > pause at about 3 a.m. for refreshments served to the actors, musicians and > spectators. There was no electrical amplification, the sets were crudely made of > wood, and the light source was based on very few light bulbs on each side of > the plaza. > This drama is clearly based on a sixteenth century source---verified by the > convoluted history. Carlomagno is a historically noble personage from the > 8th-9th century. He was crowned as the first Emperor of the Holy Roman Empire > on Christmas in the year 800. His battles to hold back the Saracens in > southern France and Spain occurred in the late 8th century and during his retreat in > 778 through Roncesvalle in the western Pyrenees he lost some of his most > able knights. One of these, his nephew Roland became a celebrated character > espoused by traveling jongleurs in Medieval years. The epic known as the "Song of > Roland" with many added tales of his bravery, his invincibility, and some of > his fanaticized escapades were published into book form in the late > fifteenth century. Selected themes became accepted as theatrical and danced > productions, such as Doce Pares, by the early sixteenth century. The fact that the > pagans became the "Turks" instead of the saracens (usually referenced as Arab > Moslems), is significant, further identifying the time period. The Ottoman > Turks were not yet on the world scene in the 8-9th centuries. Their invading > armies did not enter Europe until the late fourteenth century and their expansion > toward central Europe and their dominance in the Mediterranean was > especially noted during the early 16th century when the "Turks" were extremely feared > by European Christians. The fact that the Mexican Doce Pares refers to the > Turkish king and his army as fighting Carlomagno and his twelve knights (of the > historical eighth century) clearly puts the Doce Pares in the 16th century. > Furthermore, the use of Roman stylized costumes for their "combat uniforms" > with helmets and feathers in a theatrical production is another 16th century > trait. > There is much that is not similar between Doce Pares and Korcula's Moreska. > However, the costuming, use of swords, some of the staging, and structure of > the production are clearly related --- not likely to come from temporal > periods other than the 16th century. > ------ ------ ----- > Next, onward to Mexico City: > Only three days after the village production of Doce Pares was the holy day > for Our Lady of Guadalupe (Virgen de Guadalupe) in Mexico City. > This was a whole other experience and observation, but with the sword dance > genre as my focal point. December 11 is the most important religious holiday > in Mexico, equaling the pilgrimage during the Holy Week to Jerusalem, or the > pilgrimage to Lourdes in France, or the pilgrimage to Mecca for the Moslem > world. Over 8 million pilgrims flowed over three days to the "Villa" to the > shrine in the Basilica. A constant moving stream of humanity flowed into the > Villa's plaza or lake of people. Among them at least 150 danzante religious > dance groups, and among these some with the theme of "Moros y Cristianos" or > also known as "Los Moros." > Joining me in Mexico City was Nadine Dougan-Krstic, who as a former > graduate student in dance ethnology at UCLA had conducted a historical study of the > Korcula Moreska and is making a video documentation of this dance complex. > Both of us were overwhelmed with the sense of religious fervor, the intensity > of the event, and the dynamics of the dance groups as they dance the last mile > toward the entry to the Villa, and continue dancing for hours in the plaza > with the Guadalupe Basilica as their focal point. > As to the combat sword dance genre, we saw several groups. But it is > difficult to compare with the Korcula Moreska, since we were watching groups with > only a partial repertoire and not in full performance context as with the Doce > Pares in the village. But what did become apparent, was the evidence of 16th > century Roman theatrical costuming, the carrying of swords in the right hand > and small round shields in the left hands, as illustrated by a French > dancing master, Arbeau, for a combat sword dance in the 16th century. One of the > groups appeared to perform combat movements similar to the Korcula Moreska, > with pauses between the sets of movements. Mainly, I see that there is a 16th > century relationship, and more analytic comparative studies need to be > conducted with the movement structure. The Moros and Doce Pares of Mexico, as well as > the Korcula Moreska are clearly movement and costume "survivals" of a past > type of dance that is traceable through time via their structures, the combat > sword techniques, and style of costume. Mexico is a laboratory of dance > history that is giving clues toward the timing of a European version of the sword > dance in Croatia. > I am thankful to Dr. Carlo Bonfiglioli for recommending that I view > Mexico's wealth of the sword dance genre. Nadine and I are also indebted to Dr. > Jesús Jáuregui as our guide in the Villa with his knowledgeable anthropological > view of the event. Bonfiglioli and Jáuregui are co-compilers of Las danzas de > conquista I. México contemporáneo. published in 1996. This is a very valuable > text on the theory and dissemination of the conquest genre of dances in > Mexico. > Any dance researcher wanting leads to the literature or dance events in > Mexico and considering comparative studies with Mexico's rich dance cultures, > contact Dr. Carlo Bonfiglioli: carlobon@servidor.unam.mx > Note: Bonfiglioli's doctoral dissertation with a full description of the > village and its events will be published hopefully during 2001. However, both a > copy of his dissertation La epopeya de Cuauhtémoc en Tlachoachistlahuaca : > un estudio de contexto y sistema en la antropología de la danza and the above > mentioned book are available in the CCDR library. > > > > Gat Puno Abon "Garimot" Baet Garimot Arnis Training Group International Laguna Arnis Federation International US Harimaw Buno Federation Hilot Research Center USA Tel. 954-432-4433 www.garimot.com ************** Create a Home Theater Like the Pros. Watch the video on AOL Home. (http://home.aol.com/diy/home-improvement-eric-stromer?video=15& ncid=aolhom00030000000001) --__--__-- _______________________________________________ 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 1994-2008: Ray Terry, MartialArtsResource.com, Sudlud.com Standard disclaimers apply. 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