More of Panuntukan!
Angles and Lead Switching
The angles outlined in Kali are incorporated to evade and parry incoming strikes and to attack the opponent from an outside angle where they are less able to defend themselves. When inside center line, penetrate and destroy. When outside center line, deflect and then destroy.
Constantly switching the fighting lead allows for the exploitation of attack while maintaining flow. The freedom and the training to switch leads when necessary allows you to put your opponent in positions that are easy to hit. The fighter will often use a finishing strike or kick in a combination to step into the new lead. Footwork is of utmost importance for these techniques, so much time is invested into practicing stick-fighting drills and combinations.
Angles of Attack
The numbering system for stick-knife attacks angles can vary greatly depending on the school. The most important part is knowing a number set for the purpose of training with a partner. ESAELD keeps it simple with only 6 angles of attack.
Speed, Flow, and Rhythm
Panuntukan emphasizes speed in striking, with the intent of overwhelming the adversary with a flurry of attacks. Indefinite combinations of different strikes are strung together continuously to make successful defense a relative impossibility. Many strikes in panuntukan are said to be performed on "half-beats", or in between the major strikes of a combination, so as to disorient and overwhelm an opponent, increasing the opportunity for more devastating attacks. An example of this could be performing a swift slap or eye strike after throwing a jab with the same hand in a standard jab-cross-hook combination; the eye strike both disrupts the defense against and masks the incoming cross. Additionally, low-line kicks are often executed between boxing combinations to further injure and disorient the opponent.
Defenses leading to counters.
Categorized into 6 groups:
Blocking – defender's hard blocks to stop a strike in its path so preventing it reaching its target (example: the shin block).
Redirection – defender's soft parries to change the direction of a strike (example: a downwards tap to a jab) so that it misses the target.
Avoidance – moving a body part out of the way or range of a strike so the defender remains in range for a counter-strike. The boxing slip is a good example.
Evasion – moving the body out of the way or range of a strike so the defender has to move close again to counter-attack.
Disruption – Pre-empting an attack example: with defender using disruptive techniques like jab, foot-thrust or low roundhouse kick, generally called a "leg kick" (to the outside or inside of the attacker's front leg, just above the knee) as the attacker attempts to close distance.
Anticipation – Defender catching a strike or countering it before it lands.
Weaponry
While panuntukan is designed to allow an unarmed practitioner to engage in both armed and unarmed confrontations, it easily integrates the use of weapons such as daggers, wooden slivers, and palmsticks. These weapons can render panuntukan's techniques fatal but do not fundamentally change how the techniques are executed. Weapons in panuntukan tend to be small, easily concealed and unobtrusive. Daggers like the claw-shaped karambit are often preferred. Many of panuntukan's unarmed techniques and movements were derived from the weapon-based forms of eskrima. Panuntukan minimises contact with the opponent, as it is not known whether or not they are armed. As such, parries and deflections are preferred over blocks.
Bantay-Kamay (The Live Hand)
The Bantay-Kamay (lit. guardian hand) is the secondary weapon in the FMA. In a Solo Baston (single stick) situation, it is the empty hand, the Dagger hand in Espada y Daga and the auxiliary/secondary baton in Double Baston.
The live hand is the opposite hand that does not contain the main weapon. If you are right handed, it is your left hand. It is referred to as being alive because it is used actively in combat for checking, blocking, striking, and as support to the disarms and locks. In many of the techniques, the alive hand is the major contributor to the success of the technique.
Guro Dan Inosanto once said, "If a good Escrimador were asked to point out the single most important aspect that makes his fighting work, chances are he would refer to the use of the alive hand."
Most often, the alive hand is the one that holds the opponent's weapon hand or arm in place after the defensive motion has stopped or diverted the blow and is, therefore, a close-quarter tool. It is the transition between the fighter's defensive motion and his counterstrike. Without the alive hand holding the opponent's hand in place, his weapon might easily return again before the fighter has time to make his counterstrike. During the Spanish reign in the Philippines, and in combat situations where the ancient Filipinos fought against the Spanish in swordplay, the alive hand played an important part in confusing the Spanish swordplay. This was especially true in the southern Philippines where they were unconquered for 366 years.
When the alive hand is not being used, it is generally kept near the center of your chest.
Use of the Bantay-Kamay is developed during free-flow drills. The Bantay-Kamay may take the following functions/actions:
Pigil (Jamming) - stopping a strike or attack
Paayon (Flowing - Go with the force) - redirecting a strike
Suntok-Tusok (Punch or Thrust) - a secondary attack during Solo Baston or Multiple weapons drill/engagement. Also known as Sogo (Spearhand attack).
Dukot-Batok (Head Lock or Grab) - a grappling or throwing technique during Solo Baston engagement. May also be executed in Multiple Weapons environment by using the Punyo (butt or pommel).
Sampal-Kalawit (Palm Strike or Hook) - a palm-strike or hooking technique leading to a take-down during Solo Baston engagement. May also be executed in Multiple Weapons environment by using the blade portion (near the hilt) of the stick or weapon.
Saplit (Centrifuge Disarm) - a complimentary technique leading to disengagement or disarm of the opponent's weapon(s).
Concierto (Coordinated/Tandem Weapons/Hands) - a blind side or inside technique that uses the Bantay-Kamay in coordination with the primary weapon to execute a simultaneous counter-attack and control.
Hawak-Sunggab (Hold or Grab) - the restraint of the opponent's weapon hand for the subsequent execution of a counter or a disarm.
There are many more variations and definitions regarding the use of the Bantay-Kamay, but they can be classified under two general classifications:
Salisi - (Opposite Directions)
a. Salising Papasok aka Salisok (Opposite Directions - Inwardi, aka Ops-in)
b. Salising Palabas aka Salibas (Opposite Directions - Outward, aka Ops-out) in addition the movements are classified as :
Planchada (Horizontal)
Aldabis or San Miguel (Diagonal)
Bagsak or Bartikal (Vertical)
Concierto (Coordinated/Tandem Movement)
a. Papasok (Inward)
b. Palabas (Outward)
These classifications are descriptive of the relationship of the counter to the attacker's striking arm. If the attacker's arm or weapon is pushed towards the attacker's body, it is classified as inward and vice-versa.
"The live hand is the real weapon." - Dan Inosanto
Sectoring
Another concept used from the weaponry in Kali is the habit of constantly positioning for the next attack. This habit stems from the necessity of watching for the next line of attack with a weapon and from the counter for counter approach to Kali training. We are constantly taught to look for the opponent's next counter and to create positions that respond to that attack easily.
Kino Mutai (Kinamutay)
Specialized sub-section of some Filipino martial arts that emphasizes biting and also covers eye-gouging, pinching, biting, gouging, ripping/tearing. It involves extensive use of grappling, so as to allow the practitioner to control the opponent while applying the techniques.
The biting aspect of kino mutai concerns itself with what targets to bite, how much to bite at a time, and the angle and movement of the bite. Favoured targets include sensitive and easily accessible areas such as the face, neck, ear, groin, nipple, and latt back muscle. These targets are also chosen over others because of the difficulty countering a kino mutai practitioner biting them, and hence to ensure that an uninterrupted bite can take place.
The main principle is uninterrupted biting, this means that you place yourself in such position that you can continue biting as long as you want, disabling your opponent from escaping your bites. It can be used to inflict pain, to escape from a lock and it can be used to cut body arteries that can cause severe bleeding.
Silat
Is a loose term used to refer to Indonesian, Malaysian, and some Filipino martial arts. Silat loosely translated may mean "one that moves like lightning". It may also mean "skillful movement" but the exact etimology of the term is hard to trace due to the infusion of so many cultures.
Based on where the style originated it may be called Main Po, Betawi, Penjak Silat, Poekolon, etc. Jave, Sumatra, Bali, and other regions all have their own blend of this approach. Most Silat systems are blade oriented and therefore the knife is a big part of it. The wavy blade known as the Kris is a trademark of Silat and is regarded by the most steeped in Silat to possess magical properties. The teacher of Silat is called "Guru" or "Guro in tagalog". The master "Maha Guru". The spiritual master as "Pendekar". These terms may be interchangable depending on who you get your knowledge.
Popular systems are Mande Muda, Cimande, Bukti Negara, Maphilindo, Harimau, Mustika Kwitang, Tapak Suci, Tjimande, Poekoelan Tjiminde, the list goes on…
Kali Sayaw - Kali Dance
Like Tai Chi Chuan it involves a series of movements performed in a slow or fast, focused manner and accompanied by natural and deep breathing. This noncompetitive, self-paced, gentle physical exercise is like a dance, it can be slow or fast but we chose to do this slow to cultivate stibility, foundation and a fighting spirit. Each posture flows into the next without pause, ensuring that your body is in constant motion.
Included in the sayaw as well as all the defensive movements, is counters, offensive strikes and different patterns of footwork.
Signs and symbol
The triangle is one of the strongest geometrical structures and stands for strength. Many training halls incorporate the triangle into their logo. It represents numerous underlying philosophical, theoretical and metaphysical principles in the Filipino martial arts. Applications of the triangle are found in defensive and offensive tactical strategies, including footwork, stances, blocking and disarms.
Basic Tactical Ranges
The three combat ranges in the Filipino martial arts are corto (close-range), medio (medium-range) and largo (long-range).
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