Strands of Strife and Life Vol. II - The Book of the Stick (Part 3)

The IMMERSION Foundation Presents Strands of Strife and Life Vol. II

THE BOOK OF THE

STICK

part 3

A Comprehensive Survey of the World's Stick Arts

edited by Mahipal Lunia / Juha A. Vuori, Ph.D / Mika Harju-Seppänen

THE BOOK OF THE

STIC K

THE BOOK OF THE

STICK A Comprehensive Survey of the World's Stick Arts

part 3

Contributors CONTRIBUTING EDITORS Mahipal Lunia Explorer-in-Residence, The Immersion Foundation Executive Editor, The Immersion Review @theimmersionfoundation

@immersion.foundation

http://www.therenaissancepath.com http://www.theimmersion.foundation

Juha A. Vuori, Ph.D Professor of International Politics, Faculty of Management and Business Tampere University, Finland https://orcid.org/0000-0003-1487-2961

Mika Harju-Seppänen mika.harjuseppanen@gmail.com

PEER REVIEWERS Juha A. Vuori, Ph.D Mika Harju-Seppänen 2 Anonymous Reviewers

PRODUCTION Hana Shin Editor & Production Director Cover image by Jdcollins13 on Wikipedia.com (https://en.wikipedia.org/wiki/Silambam#/media/File:Silambam_vector.svg).

Cropped from original image. Permission given by Creative Commons Attribution-ShareAlike 3.0 Unported license (https://creativecommons.org/licenses/by-sa/3.0/legalcode).

The Immersion Review, founded by The Immersion Foundation, is a conduit for penetrating insights in combat and combative behavior. It is a space for the dedicated martial artist, who dares to seek ideas from diverse fighting systems.

The Immersion Review is a peer-reviewed journal for the martial arts comprehensivist.

FOR EDITORIAL AND ADVERTISING INQUIRIES, PLEASE CONTACT: thereview@theimmersion.foundation

Copyright © 2023 by The Immersion Foundation. All Rights Reserved.

First Edition published in 2023 by The Immersion Foundation. http://theimmersion.foundation No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles or reviews.

Acknowledgments

We would like to expresss our heartfelt graditutde to all the auhtors who contributed to this book, the anonymous reviewers who offered their time and critical review through the process, and the students of the Mountain View Aiki school who spent countless hours doing the unseen work behind the scenes. We would also like to offer special thanks to Michael Belzer for being thie guiding light on this journey and a bridge connecting The Immersion Foundation to Donn F. Draeger's work and legacy, and Michael J. Ryan, Ph.D for his contributions to the first two issues of the Immersion Review Vol. 1 - Stick Arts.

Left: Sir Richard Francis Burton [Source: https://en.wikipedia.org/wiki/Richard_Francis_Burton / public domain] Right: Donn F. Draeger [Photo courtesy of Michael Belzer]

Dedication

This work is dedicated to the two pioneers and leaders of hoplology: Sir Richard Francis Burton, who founded the field in the 19th century; and Donn F. Draeger, who revived it in the 20th century.

Germany

Portugal United States

Hawaii

at a gla nce TH E B OOK OF T HE ST ICK part 3

Egypt China Burma

The Philippines

Indonesia

New Zealand

Cont ents Secrets of the Lua

16

Michelle Manu Blunt and Impact Weapons of Hawaiian Lua

42

Jerry Walker Tapada Staff

54

William McGrath WEKAF and Dog Brothers: Together at Last!

68

Nick Merchant Yiquan Staff Energy

90

Scott Meredith Cuentada: Learning to Prioritize

102

Mark Mikita Swords, Axes, Sticks, and Filipino Fighting Arts

118

Mark Mikita Sumbrada and Cuentada

146

Mark Mikita The Bando Staff: History and Applications; Past and Present Ethan Minor

176

The One and the Many: Hawaiian Tobosa System

194

Michael Mulconery The “Barabara” and Basic Long-Weapon Approach

266

Michael Mulconery Stick Fighting in North Africa

274

Adam H. C. Myrie The Use of Polearms: Joachim Meyer, the 16th-Century Fencing Master

298

Roger Norling Traditional Māori Martial Arts

330

Te Waitere Jason Paahi Reclaiming the Magic of the Chinese Staff

376

Scott Park Phillips The Staff in Pentjak Silat Sera

390

Stevan Plinck SCA and Stick Fighting: Crossovers to FMA and Other Arts

404

Paul Porter Prevention of Injuries And Power Output in Stick Fighting Luis Preto

490

Michelle Manu @michelle.manu.50

“BY THE 18TH CENTURY, each major island chiefdom had a Hālau Ku’ialua where was taught the martial arts science blending harmony of the loina wahine a me loina kāne (duality in nature) with mauliola (harmony of life’s principle) and with evenly balanced intellect, spirit, and emotion. As a physical art, the purest form of Ku'ialua comprises the arts of lima hāmama (open-handed techniques), including defensive and offensive strategy, stealth, invisibility, ritual participation, and ceremonial dance. Knowledge surrounding the ‘oihana lapa’au (medicinal profession), ‘oihana limalima (physiotherapy), hahā (diagnostics), ha’iha’i (acupressure and osteopathy), and mea ai (diet) completed the picture. At the onset of the seventeenth century, maximized armed tactics were introduced, augmenting the function of all major weapons, altering the warrior’s fighting style from that time onward.”1

SECRETS OF THE

LUA

Michelle Manu

1 History of the Ku’ialua The pure form of Ku'ialua or Lua, the ancient combat art of the people of Hawai’i, was open-handed or lima hāmama. It is like other indigenous combat art forms and lifestyles in the sense of commitment, honor, integrity, respect, and perseverance. The maoli or ancient ways demanded no less, or it was punishable by death. The Lua was prohibited from public display and went underground into the hula dance.

Warriors, male and female, held titles and ranks in King Kamehameha’s military. As the culture changed and visitors arrived, the metaphysical way of life and its purely open-hand warfare evolved to incorporate weapons for King Kamehameha’s military and bodyguards. Wood, pohaku or rocks, shark teeth, tree bark, roots, and fish and human bones all serve as materials to create weapons. The weapon becomes part of the warrior. It becomes an extension of his or her body.

In 1917, Henry Okazaki secretly learned Lua from a male kumu in the Puna district and concealed it in his art, Danzan ryu.

1 Lucia Tarallo and Natalie M. Jensen, Nā Kaikamahine ‘o Haumea: Women of Ancient Hawai’i, Daughters of Haumea (Honolulu, HI: Pueo Press, 2005), p.32. Partially re-formatted by current issue’s editors.

18 | The Book of the Stick

History of ‘Ōlohe Solomon Kaihewalu’s Lua ‘Ōlohe Solomon took what his family taught him and chose to evolve the art of Lua, making it his expression. His mindset was entirely battle-focused—to take out as many as he could—as if he was making his way down the battlefield. Solomon taught that it emerges out of land, sea, nature, and animal movements.

Examining the physical body, we learned to divide it into the man/ kane (waist down), woman/wahine (waist up including the head), children/keiki (arms), and grandchildren/mo’opuna (hands and fingers). Each family member has a job, and they must work together as a family. The father carries

mother and children—not off-balance—with a strong core, the children and grandchildren go out and, through blocks and weapons, then come home to report back to mother and protect.

Like Ku'ialua, Solomon’s Lua empty-handed training consists of disciplined competition hand-tohand (mokomoko), informal boxing (ku’i ku’i), grappling (kaala), kicking (peku), wrestling (hakoko), and strangulation (ka’ane).

Deployment and Use of the Weaponry Kamehameha’s army would strategically attack in circles and waves.

Encasing the opponents, the pike would rain down on the opponents. Then the combat would take place using the weapons mentioned above. If a weapon breaks or a warrior loses their weapon, the battle would continue with open hands. The cleaners would move behind the battlefront, cutting the throats of injured—but not yet dead—opponents.

WEAPONRY OF THE LUA OF SOLOMON KAIHEWALU pike – 15-foot spear ho’e – paddle iwi – 6- to 8-inch double-pointed hand dagger pahoa – single-edged dagger maka pahoa – double-edged dagger maka pahoa ko’oko’o – double-edged dagger at the end of short bo/staff ko’okoko – long staff, cane/kololu ko’oko’o pokole – short staff newa – club lei-o-mano – club with shark teeth palua ‘o newa – double-clubs/sticks ku’eku’e – knuckle duster with shark teeth ma’a – slingshot

The iwi

22 | The Book of the Stick

LUA I

· Michelle Manu | 23

Pike In ancient Hawai’i, the pike was one of the main weapons of the armies. All weapons had several variations and styles. These 12- to 15-foot dense weapons served the Hawaiian Royal Army in a javelin-like way, thrown overhead or underhand. As the first strategy in combat, using linear formations to advance on enemies, the pike would fly through the air with great accuracy and velocity.

Ho’e The ho’e (paddle) served as a tool to travel, dig, and prepare food. In combat, the flat part of the paddle and bo (handle) was well suited to shield, parry, block, and strike, as well as to scoop and throw dirt or sand at an opponent’s eyes. To shield, the flat part of the paddle was to deflect and protect from objects intended for the head, body, and spine. The flat and blade-edged sides could strike, stun, chop, and cut opponents. The handle served to fight as would be done with a short or long bo/staff.

24 | The Book of the Stick

(Top & Bottom) The ho’e

One of the original uses of this weapon was to dig holes to plant seeds, pound a variety of fruits, nuts, and meat, and to secure a fishing net at the shore or rocks.

The combat use of this weapon is to parry and block objects thrown at a warrior. The point relentlessly pokes, spears, and seeks to tear into the opponent’s flesh. The cord at the end of the weapon is available to trap, wrap, and choke.

Pāhoa - 2.jpg

Pahoa

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· Michelle Manu | 25

Maka Pahoa This tool aims to create two trenches of soil at a time and to poke holes in the ground to plant seeds, among other things. In combat, this is four weapons in one: 1) The sharp double-pointed ends can poke, stab, or go through an opponent’s eyes or any other puka (hole) of the body.

2) The two outside, carved edges are perfect for striking an opponent’s knuckles and pulling an opponent in by the neck for a set-up.

3) The U-shaped opening is readymade to trap the wrist or forearm.

4) The cord can quickly transform into a projectile to catch and hold the arm or forearm or disarm a weapon.

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Maka Pahoa Ko’oko’o After this first advance by the pike, the next wave of warriors moved steadily forward on the combat terrain equipped with shorter 4to 6-foot weaponry, allowing for more speed and maneuverability for close combat. This maka pahoa ko’oko’o is a double-edged dagger combined with a short staff.

Ko’oko’o (short staff) is useful to smack the top of the waters to get the sea life in a position to be netted. Some other uses included carrying water and herding animals.

In combat, the short or long staff can block, parry, strike, lock, and keep the attacker at a distance. It is also a means to take an opponent down by sweeping their feet out in a motion like a baseball swing or continuous nalu (wave) of energy.

LUA I

· Michelle Manu | 27

Kamu Manu holding the pahoa (left) and the ho’e (right)

Kamu Manu holding the lei-o-mano & ku’eku’e (left) and the maka pahoa (right)

Kamu Manu holding the lei-o-mano & ku’eku’e (left) and the ka’ane (right)

His mindset was entirely battle-focused—to take out as many as he could— as if he was making his way down the battlefield. Solomon taught that it emerges out of land, sea, nature, and animal movements.

Kamu Manu holding the lei-o-mano & ku’eku’e Kamu (left) Manu andholding the ka’ane the(right). pololu

Ko’oko’o

Lei-o-mano

Like with the maka pahoa ko’oko’o, the short or long staff was used to go through anything it wished to.

Even today, fishermen smack the top of the waters to bring sea life to the surface where a net awaits them. Some other uses included carrying water and herding animals.

Originally, this tool cut meat or anything else that needed cutting.

This was four weapons in one in combat, like the maka pahoa:

In combat, the short or long staff is a perfect weapon to block, parry, strike, lock, trap, and keep the attacker at a distance. In Lua, you will see it used many ways, including in the takedown of an opponent by sweeping their knee or foot out in a motion like a baseball swing or a continuous nalu of energy.

The lei-o-mano

36 | The Book of the Stick

1) The flat portion is used to block, parry, and strike.

2) The outside edges are shark teeth facing east and west, allowing the slicing of an opponent in both directions.

3) The handle has a blunt or sharp edge to strike, trap, poke, and tear.

4) The rope provided for this weapon to become projectile.

As a projectile attached to one’s wrist, it is similar to a poi ball, creating a shredding and slicing circle of shark teeth.

The ka’ane

Palua ‘o newa

Ka’ane

One of the first uses of these two clubs was to pound drums for communication. In combat, they are used to strike various parts of an opponent’s body ranging from knuckles, wrists, arms, legs, eyes, face, soft tissue, head, and the center mass of the kino (body). The longer of the two clubs (28 inches) is held toward the end and used to check and counter. The shorter of the two clubs (24 inches) is held in the center and used to spear, poke, and strike.

This weapon’s end is two to four inches of wood or rock attached to a six-foot piece of double-braided cord. As a projectile, it is highly effective, like a whip. As an infighting tool, it can be used to attack at the opponent’s joints that hold weapons, to make strikes to the face and other soft tissue, and for its primary purpose: strangulation.

Ku’eku’e This shark-tooth weapon is a knuckle duster. With shark teeth facing east and west, it allows for slicing in both directions. The pahi or knife-pointed edge can be held to conceal the dagger or held to have the dagger facing toward the opponent. The dagger also traps, pokes, stabs, and tears.

This weapon was also used by older or injured warriors who would trail back a bit from the battle to evaluate the battlefield. If injured warriors of the other side were still alive, the koa would use this weapon to finish them off.

The ku’eku’e

LUA I

· Michelle Manu | 37

38 | The Book of the Stick

Where One Can Learn the Lua There are ‘ōlohe and Kumu Lua in different lineages throughout the Hawaiian Islands. For the Kumu of the Kaihewalu lineage in North America, one can visit luamartialarts.org for more information.

- Michelle Manu

LUA I

· Michelle Manu | 39

Jerry Walker

BLUNT AND IMPACT WEAPONS OF HAWAIIAN LUA AN INTERVIEW WITH Jerry Walker

Lua War Clubs NEWA IS A SHORT WAR CLUB made of indigenous hardwood. It is shaped with a bald head handle with a knob or a point at the end.

We also have newa with a wooden handle and a stone head looking like an apple, laced on it. It is used with a lot of wrist actions, primarily in a forward stance. If going against other weapons, the primary targets are the forward hand of the opponent, his wrist,

42 | The Book of the Stick

elbow, shoulder, clavicle, scapula, and different parts of the head.

One would not attack the spine as much as the base of the skull, or C7 and T1 vertebrae to use the correct anatomical terms. If you smash these, there is a slight forward movement of C7, T1 being erect. With your circular movements, you could also take out the knees, shattering the shin bones, and smashing the top of the foot: metatarsals, phalanges, and so on.

With this weapon, you could first hit the sides of the body and the hand, and then flip the weapon, so that it will bounce back and hit the back of the head, a lot of times hitting behind the ear of your opponent to affect his balance and stunning him.

A reverse newa is shaped more like a teardrop, with a handle which comes to a point, like a bullet. It can be used for thrusting if needed, but its primary movement pattern is the figure-8 or infinity pattern. With the figure-8 you have a lot of acceleration, and, with flipping your wrist, the weight of the teardrop would smash your target.

The targets would be areas above and behind ears, temple area, top of the head, hips, liver, spleen, clavicle, scapula, and also the outer portions of the thighs, just halfway in the soft point, and so on.

These weapons are relatively short, from maybe ten inches up to two feet long. There are also clubs strictly made out of stone and partially shaped. These are mostly quite small, maybe about ten inches long, with a handle and a little round ball at the end. Those are rarer because of the rarity of suitable natural stones. We also have a small stone club, which fits in the hand and is used for high targets such as the clavicle, head, and the floating ribs—any hard targets.

The primary weapon used in close quarters was, however, the pahoa, the dagger. These—the newa and pahoa—were the most common weapons used after you got past the ihe, the fighting spear.

There are also daggers with a point in one end and a round handle, much like with pointed sticks.

These are about 18 inches long and can be used as bludgeoning tools when you hold the pointed end and use it as a short stick. However, that is not as effective as using a newa, because the weight of the weapon is distributed evenly, and thus you do not have the same ability to use whipping and pendulum actions. Even so, it is good against hard targets, breaking bones, and so on.

LUA II

· Jerry Walker | 43

From Clubs to Canes Once most of the battles were over, in the early 1800s, and with the arrival of missionaries and other ships, going around carrying a dagger or a spear was not practical anymore, so the cane became a weapon. Many of the techniques that were used with the earlier weapons got incorporated in the use of the cane—just like the British who used fencing as a base for walking stick techniques.

There are two types of canes: curved, and straight with a curved handle at the end. Most Hawaiian canes are of the straight type.

The length of the cane is from the floor up to one's belly button, and it usually is about an inch, inchand-an-eighth in diameter. The cross-section of the cane is usually octagonal, as this provides a better grip, compared to a round one, when your hands become wet or slippery.

With the cane you have three main grips. The first one is a one-handed grip with about three to four inches of the cane protruding below your palm. The cane is twirled

44 | The Book of the Stick

either clockwise or counterclockwise, using the figure-8 pattern, hitting the ankle, leg, all the way up to the shoulder and head—you go for more broad targets compared with the newa.

Again, using the whipping motion, you can first take out the knee, and then circle around to hit your opponent on the back of his head.

On the other hand, the part of the cane that is protruding below your palm is used for hooking. For example, you can first strike your opponent's shoulder with it and then, with the backwards motion, hook and catch his head, circle him down, and then come back and hit him again. Of course, you can also use the ends of the cane to strike soft tissue targets. When used with a two-handed grip, we like the end of the cane to penetrate even more.

One can also thrust into the stomach region, and then twist the cane in order to twist the surrounding flesh. That would not be a maiming or killing blow, but it is used to distract the opponent for a moment.

Another grip is to hold the cane so that the bottom third is protruding below your palm. Now, if you hit forward with the top part of the cane, the bottom part will come towards you and you have to worry about not hitting yourself.

Thus, the strikes used with this grip are mostly towards the left or right.

The third grip is to hold the cane in the middle when you can do what we call a three-point punch: hit the person in the solar plexus, and you also hit him in the head and groin.

You can also hit his midsection with the cane held horizontally, and trap the opponent’s arms and, of course, do the downward blocks.

Spears, Pikes, and Paddles Lua has two types of ihe, or spears.

The training ihe is shaped like a javelin, broad at the front and tapered at the end with a length anywhere from six to nine feet. The shaft of the fighting ihe is similar in length to that of the training one, ending in a sharpened point or an attached blade. There are also ihe with multiple blades attached to it, so that when you thrust it into

your opponent's body, it breaks off, and is left inside the wound.

When fighting in battle formations, the Hawaiians also used polulu, or long spears of 15 to 22 feet in length, comparable to European pikes. These could be either pointed or blunt, and were used both in offense and defense to open and break up the enemy formations. If you were in a defensive position, you would have your long spears dispersed among your troops. This is because if the enemy was able to get within the distance of the shaft of the spear, a lone spearman had two options: either drop the spear and draw his hand weapon, or get annihilated. If, on the other hand, spears were dispersed among troops, other warriors could engage the enemies that got past the end of the spear. However, in an offense, the spearmen would be locked in tight, all the long spears forming a V. This way there would always be someone coming behind you to take your place and add to the momentum to go through the enemy lines.

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· Jerry Walker | 45

Spears were primarily used for thrusting, but if you were out of formation, and fighting on open ground, you could use the shaft and the butt end of the weapon to fight. You could use it like a staff, holding it with two hands and hitting with the bottom end, throwing it around to hit people around you, pull their feet out from under them, and smash them with your hardwood weapon.

The use of canoe paddles as weapons was very limited because of their size. In the old days, these were big, about twice as big as you can see being used today. The other thing is is, when were you going to use a paddle as a weapon? Primarily when you were in a canoe—you would not use it on land. And, they had canoes with a five- to six-foot draft. The shafts of these paddles were seven to eight feet long. Due to the fact that you were sitting in a canoe a few feet above the waterline, you still had to get the blade in the water. If you were fighting against people inside another canoe, you could use the paddles to ward them off, but, as you would also be carrying your primary weapons, you would rather go for

46 | The Book of the Stick

them. You would always try to use your primary weapons, not canoe paddles.

Furthermore, if you are in a big double canoe and sitting inboard, you are restricted in how far you can move your paddle. The people in the water, trying to get in, are also going to grab your paddle, as it is easy to get a hold of because of its size. Thus it is better to use your regular spear, because it gives you greater flexibility than holding that paddle.

If you are on the outboard—remembering that the platform exceeds the size of the canoe—the paddle is in front or back, as other platforms have more range. You can move your paddle back and forth only so much, although using it as a smashing weapon is possible. Again, if you are on shore and have nothing else, yes, a paddle would give you a greater ability to defend yourself than no weapon at all. But, if you are in a canoe, getting to the shore, you are going to grab your primary weapons, be it a spear, dagger, or club. The historically accurate paddle has severe limitations due to its size and weight.

Flexible Weapons Talking about wooden weapons we also have pahoa [wooden spike dagger] with a cord, which, in essence, is a stick with a cord attached to it. The length of this cord is just enough for you to wrap and secure your hand around it. It was not long enough to be very useful for strangulation and such. The actual ka'ane, strangulation cord, had about three feet of material.

You also need to realize that anytime you tie up your hands, you give your opponent an advantage to use the situation against you. If you are going to thrust your opponent with your pahoa, is that cordage attached to it hanging free? Or is it, after all, used to secure your weapon to your hand? If it is hanging free, you have to worry about it getting tangled. You also give your opponent the opportunity to grab it, and to yank the weapon out of your hand. And, if you are going to try to use it to strangle somebody, how much time are you going to take? After all, you have to first position yourself to be able to try and strangle them. And, if you are trying to strangle somebody, that

individual is going to be fighting back. And they have got weapons.

This is all about practicality. You can be shown a technique—that is one thing—but when you put it to use in the real world, it is a different one. That is why we do not teach these kinds of actions. The ka'ane strangulation cord was primarily used to strangle kapu (taboo) breakers, and also for assassinations where you sneak up on somebody. Normally you would not carry that as a weapon to war.

Yes, some people have put a fouror five-inch-long pointed handle on it and, if you have nothing else, and you are using it in single combat, it can be useful. There are people who are proficient in using it, but it is more a specialty weapon than one of your primary weapons that you would use in warfare.

This is just like the fork-like double-pointed dagger, maka pahoa: if you look at the main ones, the prongs are quite close to each other. Then there are versions where the prongs are four or five inches apart and with a long handle—these maka pahoa are unique to that specific practitioner. Of

LUA II

· Jerry Walker | 47

course, when you have a four- or five-inch opening, you can trap your opponent’s hands, and so on.

But if you look at the original ones, they were just wide enough to penetrate the eyes of your opponent, and this was what they were used for. Or, you could be thrusting it to his brachial plexus, throat, or other vital targets. In Kauai, the maka pahoa was considered one of the specialty weapons, not one of the primary ones.

Knuckle Dusters and Other Specialties Koa knuckle dusters are made out of wood and can have shark teeth attached to them, going in either direction. You would want to arrange all the teeth to go in one direction to use them for slashing attacks, so that when you first go in one direction, you just reverse your koa and come back in another. You want it to cut. The problem is that if you start swinging the koa backwards, against the direction of the teeth, those teeth are going to impale the flesh and get stuck.

They are not going to make a clean cut but a jagged mess. And, if you try to penetrate more deeply, they

48 | The Book of the Stick

are just going to get stuck, and not do too much damage, versus using it to slice—that is when the damage is done.

Knuckle duster was primarily used with another weapon. You could use it in pairs, but not on a battlefield. There you could be carrying a knuckle duster in one hand and a club or pahoa in the other.

If you were fighting one-on-one, that is another story. When, on the other hand, you are in a military formation, and you go to hand-tohand range it might be like trying to enter a sale at Macy's: the door fits ten people at a time, and now a hundred are trying to go through it at once. You are crowded, you are fired up, and the use of your weapons is restricted. At that point, you can have fun with a knuckle duster, if you can get it out and move it.

But, again, it is a specialty weapon, not a primary one.

There exists, in a museum in Big Island, also one example of a knuckle duster made out of stone.

It is about eight inches in diameter and probably about a quarter of an inch thick. It is supposed to have a piece of rope that goes around the

edge that is maybe three quarters of an inch in diameter. There are four holes in the middle, spaced equally. You stuck your four fingers through the holes and then linked your thumb on the outside on that round edge. Now you had a weapon which you could use your figure-8s with, and that would be a smashing weapon.

Women had weapons that were less than a foot long, with a handle and blade that they would tuck into their skirt. They also had pins, like chopsticks, stuck in their hair that could be used to hit vital points like eyes, or anywhere there were nerves or blood vessels present.

There is also a weapon consisting of a round piece of wood with a shark tooth in the end and a loop attached to it. Most people thought that you put the loop over the middle finger, and that the piece of wood went between the middle and your two fingers into the side with the shark tooth pointing straight out. You could grab somebody with it, but the problem is that it is not stable—it can move up and down. If, howev-

er, you put it between your thumb and your index finger and you put the loop over your thumb, then that two-inch white tooth is sticking straight out, and you can use it for slicing, dicing, or piercing.

The thing is that, as the above-mentioned weapons were mostly made out of wood, you will not find them left on the battlefields. The environment has degraded and destroyed them as time has passed.

Lua Today In the old days, each island or chief had their own schools and systems of fighting. They had different spears and drills for each one of them. We have bits and pieces of them that we put together. We have also developed sets that take into consideration battle formations. At that point, it is all linear movement forward and backward, because if you move to the sides, you are going to hit your companions. On the open field, on the other hand, you can move freely around, spin and twirl your weapon, and do a number of things you could not do within the battle formation.

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· Jerry Walker | 49

On the Big Island, they were known for the ability to dodge, or to ward off the spears thrown at them. They used to practice with spears made of light wood and padded with soft cloth. Nowadays, we use the same wood, but for padding we use pipe insulating foam rubber secured with duct tape, and practice with that. When we practice with other spears, we use tool shafts that are about six to seven feet long; we sharpen them and we throw them against targets. We learn to throw left and right using two different techniques: half- and fully cocked.

The fighting spears weigh about one to two pounds, and these javelins are lighter.

Some of these spear drills and training methods have been passed forward for a hundred years. There is, for example, a drill about guard duty: how you neutralize a suspect individual without killing him. Throwing methods, you learn by doing. You read different stories about how the attacks were dodged or blocked. Then you get into the practical matter of actually using those spear techniques in prearranged drills, sparring, and

50 | The Book of the Stick

fights. You can also take different techniques, link them together, and make up a form. That way, instead of having to remember ten individual things, you only need to memorize one set.

- Jerry Walker

LUA II

· Jerry Walker | 51

William McGrath @ william.mcgrath.92372

TAPADA STAFF William McGrath

IT WAS DURING THE SUMMER around 1979 or 1980 that my Pekiti-Tirsia teacher, Leo T. Gaje, came back from one of his frequent trips to the Philippines with an interesting staff style he learned during his visit.

He called the art Tapada and said he had learned it from an old man in a rural part of his home island of Negros (Sorry, I don’t recall more than this. As a kid living in NYC, I wasn’t much interested in the staff at the time, and these techniques were from a different art than the main one I was training in).

Note: Tapada is a different art than the better known Tapado from Romeo "Nono" Mamar of Negros.

Tapada uses a flexible rattan staff the same overall height as the user, while Tapado uses a stiff hardwood staff that comes up around the height of the user’s elbow.

Unfortunately, I haven’t been able to find any information on Tapada through a Google search; but here are the techniques I learned.

The Staff Rattan is a vine and, therefore, tapers over its length. The most pronounced taper is near the base, where the vine exists on the ground. You will need a rattan pole, a bit thicker at the base than the one you would use for onehand use in Pekiti-Tirsia (for my XL size hands, this equals approximately one-and-half inches at the thickest end for a Tapada staff).

The staff should measure the same height as you and have some flex in it when you swing it quickly up and down—maybe not quite as much as a fishing pole but pretty close to it. It’s the spring of a bending rattan staff that adds extra velocity and, therefore, the power to the uppercut portion of your strikes; and these uppercuts are the focus of this system.

Spacing (end)

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The Grip Hold the Tapada staff with your left hand at one-hand length from the bottom.

Your right hand should grip the staff just high enough so that your hands will be on either side of your thighs when you bring the staff down in front of your legs.

The Stance Stand with your right leg forward, feet about shoulder-width apart, knees slightly bent. Chamber the staff on your right shoulder (I’m going to assume that most of you are right-handed and not, as they say in Latin, among the “sinister” folk :-).

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Grip

Space between hands

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Basic Strikes 1. Technique number one is a basic forehand diagonal strike that hits downward, stops when the left hand is even with your left hip, and returns using the loading of the bending rattan to power the return upward.

2. Here we have a double bounce version of the number one strike. You use the flexible nature of rattan by stopping the strike at hip height and doing a short “double bounce” which loads the staff twice as it moves at speed in short, quick strokes in the short range between the height of your hips and heart.

3. Hold your left hand by your hip, with the tip of your staff pointed at your opponent’s heart. Bounce the tip horizontally back and forth about the width of a man’s shoulders. You can do this in a straight line back and forth, or if it is easier for you, in a tight figure-eight.

4. I find this one an interesting strike and a preview of the rest of the set.

You strike downward as in number 1, but on the return, you use the loaded bend to power through a clockwise circle with the tip of the staff.

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The Footwork The footwork used in Tapada is simple and based on the length of your opponent’s weapon. If it is shorter than your staff, then simple forward and back shuffle steps will do.

If your opponent’s weapon is the same length as your own or longer, use the following: •

If the opponent’s lead hand is to your left side (i.e. if his right hand is forward), then step to your left with your left leg and strike on the left side of his weapon (left when viewed from your side; from his point of view, you will be striking on his right).

•

If your opponent's lead hand is on your right side (i.e. if he is left-handed, with a left forward grip), then step to your right with your right leg and strike on the right side of his weapon (right when viewed from your side; from his point of view, you will be striking on his left).

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Point Guard

Chamber

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THE SET

A. The downward strike is the left-side line of the "A"; you bounce part way up and drop again to the right-side line, uppercut and then return to the chamber.

B. The uppercut has two circles.

C. The return has a half-circle, then strikes up.

D. Same as "C," but moves counterclockwise.

E. Three horizontal hits, then the return strike.

F. Two horizontal hits, then the return strike.

G. Half circle with horizontal.

H. Your uppercut is blocked, so move horizontally to escape blockage, then an uppercut.

I. Downcut, then two horizontals to block counterattacks, then an uppercut.

J. Instead of your down-up cuts looking like a straight line, it looks like an elongated loop (good for when you need to go around an opponent’s weapon, instead of powering through it).

K. Do the right side of the "K" (like a sideways "V"). Useful for countering leg attacks.

L. Vertical then low horizontal.

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M. Two double bounces moving left to right.

N. One double bounce moving right to the left.

O. Clockwise circle.

P. Clockwise circle, then two uppercuts, one short then one to the chamber.

Q. Two clockwise circles, then uppercut.

R. Circle then “K” cut.

S. Clockwise then counterclockwise circles.

T. Vertical, high horizontal.

U. Like “J” but moves counterclockwise.

V. Like “U” but sharper bottom.

W. Two double bounces moving right to the left.

X. A forehand down, then come up halfway to the chamber, backhand down, uppercut.

Y. Half a backhand, full forehand.

Z. Backhand, forehand, horizontal block leg.

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Technical Stuff The remainder of the strikes in this set rely on the "alphabet" as they call it in Pekiti-Tirsia. The first movement of most of these techniques will be the same—a diagonal downward forehand strike— but your return will be different and describe a capital letter. My opinion is that most of these techniques were just an excuse to make you practice a variety of angles to make you more mentally flexible and unpredictable in a fight. You could probably cut these down to eight or ten main movements and do just as well.

(Note: please remember that I learned these techniques forty years ago. Add in that I haven’t shown these to anyone in about twenty years. Therefore, my memory is fuzzy on all the details, and you should not take my description of each technique as written in stone.)

The directions in the set are for what is done after the downward strike and during the return to the chamber. Therefore, read most of these as “downcut-counter his response with this letter-uppercut and return to the chamber.”

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Remember, it’s this uppercut during the return to the chamber that is the main strike in this set.

The various things you do during the ABCs are what set up the uppercut.

You will also notice that there is no thrust in this system, which makes sense if you are using a flexible rattan staff that might bend during a thrust and, therefore, not transfer all of its power into the opponent.

The last time I showed this material to someone was to a kung fu practitioner, and he did several things that looked similar to his flexible spear but finished using the thrust as the primary attack; which of course, made sense with that sharp blade on the end of his weapon.

- William McGrath

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Nick Merchant @nickmerchant

WEKAF AND DOG BROTHERS: TOGETHER AT LAST! Nick Merchant

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Putting Your Skills to the Test…

IN MARTIAL ARTS, THERE IS an everlasting conflict between theory and reality regarding the effectiveness of fighting techniques. How does one know that a strike or defense will actually work? More times than not, in class or practice, there is a partner who “allows” the technique to happen. It looks effective, especially when years of practice allow the technique to flow with speed

and grace. But what happens when a combatant refuses to let you hit their hand five times in a row without disruption or counter? This is where sparring and fighting come into play. It allows a practitioner to pressure-test their skills against a non-compliant opponent. And when it comes down to fighting, there are two major groups that allow FMA enthusiasts to put their skills to the test: WEKAF and the Dog Brothers.

My initial fight training started with WEKAF under GM Sonny Mayo of Alpha Doce Pares. I eventually competed in several events and ended up as a competitor in the 2022 WEKAF International tournament. However, early on in my WEKAF journey, I “drank the Kool-Aid'' and started full-contact (Real Contact) fighting with the NY Dog Brothers group. Even though I am not in the tribe of the Dog Brothers, I have consistent-

WEKAF bangkaw tournament (year unknown).

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ly trained with Dog Brother Tribe Members and have participated in the 2019 Dog Brothers’ Open, benefitting from the experiences.

What happened to me on my FMA journey was that I concurrently trained and sparred in both types of fighting. I am lucky enough to have experienced both of these worlds, and to explore what each asks of and offers a practitioner.

What Is WEKAF Fighting?

WEKAF was officially started in 1989 as a means to promote and preserve FMA. There are several local and regional tournaments that allow fighters to compete and qualify for the culminating international championship (held every two years at varying locations). Gold, silver, and bronze medals are presented to fighters as a reward for their performance.

There are clearly winners and losers.

WEKAF events are broken down into age groups (kids to adults, male and female) and categories.

The categories are padded knife, padded stick, full-contact single stick, team single stick, full-contact double stick, and full-contact bangkaw staff (there are also forms competitions, but for the sake of this discussion, we are going to focus on fighting).

Padded stick match at WEKAF 2022.

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All matches consist of three one-minute rounds overseen by a referee and judges. For the team matches, each of the five fighters gets one minute to fight their opponent in back-to-back combat.

Padded competition (knife or stick) works off of a point system: score a strike, and earn a point.

No thrusts to the face are allowed, even though the weapons are made of soft foam. Competitors are also required to wear a WEKAF helmet.

Full-contact is essentially scored off on four criteria: the number of strikes made, the variance of strikes (target areas), demonstration of defense, and ring control. No thrusts, whatsoever, are allowed, and there is no striking below the knees or to the back. Fighters can check the arm but cannot hold it. There are no throws or shoving permitted; the fight is to remain in the ring with both fighters standing. Fights take place in a seven-square-meter ring that ensures participants will be in close proximity.

Full-contact competitors are to use WEKAF 28-inch regulation sticks made of light rattan. They are required to wear a WEKAF helmet, full sparring jacket, and protective gloves (which vary in protection and mobility). Fighters may also choose to wear forearm guards, elbow pads, knee protection, and a cup. For the most part, the additional protective gear has no real regulation (though we can assume hard materials like wood or metal would be frowned upon) and is up to each individual fighter.

Criticism and Drawbacks WEKAF Fighting

of

Although the criticism of WEKAF is no secret, I found it peculiar that it resurfaced during the week leading up to the 2022 tournament.

Some of it was clearly clickbait,

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but several accomplished martial artists called into question whether there were any benefits to this style of fighting and training.

Perhaps the biggest criticism that WEKAF faces is that it is completely unrealistic in terms of actual combat. Point matches become a game of tag. Thrusts to the face would very well end a fight in real life, but in competition, they warrant a warning (of point deduction or disqualification) from the referee and do not count as a point. The judges do not see every strike, and sometimes the fighter that should have won does not. What is supposed to be Filipino martial arts

looks more like a fencing match more suitable for HEMA-trained fighters. Yet, there is still skill and tactics necessary to win. One cannot enter the ring and go into berserker mode. There needs to be the employment of tactics to beat your opponent and come out on top.

Full-contact matches can turn into a standoff between competitors as they simultaneously land strikes that would render both of them too wounded to fight, unconscious, or dead if they were not wearing armor. During the 2022 tournament, I noticed an interesting trend among the light and middleweight fighters. They

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Nick Merchant vs Foxhound

would give each other roughly 12 inches of space and just exchange hits, moving their weapons around each other (with some use of the check-hand in attempts to either disarm or disrupt their opponent).

Heavyweights tended to demonstrate more crashing, shoving, and holding. From an outsider’s perspective, it all looked chaotic and unrealistic, devoid of any real technique.

Overall, there is a feeling that the protection and light sticks give fighters a false sense of security.

The equipment is so protective that it prevents fighters from feeling any real consequences of being hit. Although jarring, the light

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sticks mixed with padding make it uncomfortable at worst (though hits to open flesh will still sting and give bruises or stick hickeys). This helps to prevent the nemesis of any athlete: injuries. The organization is protective of its fighters and ensures, as best it can, that they will be healthy enough to fight another day.

Additionally, there is criticism regarding the mindset of competition and fighter ranking which strongly influences a fighter’s attitude and training. When you give out medals, you open up the door for egos to emerge. Now, martial arts are plagued by egos in general, but competition brings about

a whole new monster. Winning becomes the focus, not growth.

Sportsmanship is present, but I can honestly say that some of it was only at face value. There are sore losers that will complain to the judges at length after the match.

Judges and referees make bad calls, leading fighters and spectators to question their visual acumen. For some, though, competition brings out the best in terms of skills and fighting acumen. There is a goal to drive the athletes to reach their utmost potential.

Skills and Benefits of Training for WEKAF But is there merit to this style of fighting? The short answer is “yes.”

For a fighter to succeed in the WEKAF world, they cannot just come off the street and compete.

Knowing your counter techniques and being able to perform carrenzas or sombradas is not enough.

There is a need for specific training and conditioning that will give a fighter worthy attributes and help them succeed.

Speed is crucial. You need to land more strikes than your opponent.

Hundreds of hits are thrown for each round by each competitor.

Power shots are present (quite a few fighters will crack you as you stole from their mother), but to

be honest, much of the protective gear negates all of that. That means you need to be relentless in your output. You have to go nonstop. This will require rounds and rounds of bag or tire work of continuous striking. I would warm up for a few rounds with a heavier stick, going as fast as I can (avoiding injury) and staying as clean as possible with my strikes. For each round, I would focus on a particular angle, sticking primarily to forehand and backhand attacks.

For the last round, I would send all angles of attack non-stop, switching to the lighter WEKAF stick. My strikes would just fly.

Next, a fighter really needs to work on sending a variety of accurate hits. That means working on combos and varying your targets.

If a fighter hits the same spot three times in a row, all successive strikes no longer count. So, it makes sense to avoid hitting the same spot more than twice. Again, bag or tire work is essential. I would do a few rounds of T-strikes, then move on to broken-U and X-patterns. The purpose is to keep the attacks unpredictable by changing sides and levels. Additionally, I would work in my own combos using the area-code system I developed. On these focused rounds, I would really practice the mechanics needed

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to execute the combinations, trying to economize my movement and target my strikes for accuracy.

For the last round, I would execute any and all combos in whatever order they felt natural in, developing my own rhythm and collection of chain combinations.

I would say defense is key, but honestly, it is defensive counters. You need to block a strike and then blast away at your opponent. This requires sparring. Here is where it gets tricky. You need to outmatch yourself. I always choose to spar the fastest, strongest, most skilled fighters I can. They will come with varied attacks and strikes and I must defend and counter them.

For my training, I focused on the umbrella (roof) and cross blocks as an entry (fairly standard), negating their initial strikes and setting me up for my return volley of attack.

It may seem basic, but basics win fights. And by outmatching yourself and consistently sparring, you will be forced to rise to the occasion.

One minute is an eternity in the ring, especially when you need to deliver a nonstop salvo of attacks while wearing bulky gear. Remember, each fight is three rounds. And if you win, you will be fighting in the next 5-10 minutes. That means

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cardio and endurance are a brutal necessity. Not only must you strike more than your opponent, but you must outlast him while donning cumbersome gear that does not let your body breathe. There were times when I have been fighting and my lungs were burning and my arm went numb with the painful strain of non-stop striking. Too bad; the fight was not over. I still had to continue. Any and all cardio exercises are needed. Part of my training philosophy was to “embrace the suck.” I would do my cardio/endurance work while wearing as much of my WEKAF gear as possible for as long as possible.

I would also use those elevations (restrictive breathing) masks. Now, I know there have been studies to prove that elevation masks do not improve cardio, but I found that they make me work under adverse conditions (i.e., not being able to breathe). By the week before the tournament, I was doing two hours’ worth of training like that.

To be honest, I have won fights against much more skilled eskrimadors because I still had gas in the tank and they did not. Cardio is king.

I feel that environmental conditioning is too often ignored. It is important to know where you are fighting and when, so you can

WEKAF 2022

best prepare your body. The 2022 WEKAF International was held in the Philippines and I knew that I would be dealing with the brutal humidity of the region. To prepare, I would often train in a sauna suit and with an elevation mask. I would only do this for 30 minutes at a time as I did not want to die of heat exhaustion. However, I wanted my body to work under extreme environmental stress. I also arrived about a week early to allow my body time to acclimate to the change of weather, time, and food.

Yes, food. Coming from America, one’s diet cannot easily escape

the processed chemicals found in American fare. I went through a short withdrawal and adjustment in those first few days. By the time the tournament started, my body had adapted.

Speed, accuracy, combinations, and endurance are all viable qualities for a fighter. Even though the actual combat of WEKAF is not wholly realistic, fighters do acquire skills that will help them.

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What is Dog Brothers Fighting?

The Dog Brothers culminated in 1988. The driving philosophy is: “Higher Consciousness through Harder Contact” (HCTHC)©.

There are no tournaments. There are no medals or trophies. Fighters participate in events called Gatherings. There are two types: Open and Tribal. Open means just that; they are open to anyone willing to take the plunge into “real contact” combat, regardless of their association or standing with the Dog Brothers tribe, as long as they are of good spirit and heart. This event is only for one day. Tribal Gatherings are strictly for members of the Dog Brothers tribe (Full Dogs, candidates, and dogs) and last for two days unless it is a 10-year milestone. Then there are three days of fighting. Both the Open and Tribal events are held three times a year, each in the US, Canada, and Europe.

There are no real “rules” aside from the belief that combatants should be friends at the end of the fight.

No one is to hold grudges. There is also this stipulation: “ON THIS DAY OR ANY OTHER, No suing no one for no reason for nothing no how no way! Also, please note that we are a corporation, so you

cannot sue us personally anyway.

PROTECT YOURSELF AT ALL TIMES. YOU ALONE ARE RESPONSIBLE FOR YOU. If you cannot do it in this spirit, you should just watch.” No one celebrates a win, even though someone may have clearly dominated and won the fight. It is about brotherhood and not ego.

Remember when I mentioned above about being of good spirit and heart? That means fighters are not going in looking to cripple one another. Punong Guro Mark “Crafty Dog” Denny said at the 2019 Open Gathering, “We are a tribe of warriors here to prepare for war. We are not looking to hurt each other but to make each other stronger through combat.” Fighters are there to test and elevate one another, not defeat.

The types of matches vary. From what I have experienced, fighters warm up with sport knife and bolo matches that are one minute and 30 seconds long. Then things ramp up to whatever weapons fighters agree to use. Typically, Dog Brothers use a 31-inch rattan stick that ranges anywhere from 1-1½ inches in diameter. This is much heavier and longer than the WEKAF tournament weapon. However, that is not always the case.

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Fighters may also choose to use double sticks, staffs, whips, swords, 2x4s, chains, or whatever they agree to fight with. Weapons can be matched or mixed. Some fighters will agree to fight two opponents at once or partake in a group fight (six fighters on each side). Matches are not relegated to strict reliance on and use of the weapon. Many fighters will resort to using empty-hand techniques and grappling to gain the upper hand. Sometimes a hidden knife will make an appearance. It is a mixed bag of styles and weaponry that fighters

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discuss and agree upon beforehand. Fights run for two minutes.

If the Ringmaster likes the way the fight is going, it may extend longer than the allotted time. Otherwise, fights run unless there is an injury or submission.

The Ringmaster’s responsibility is to start the fight and call time at the end of the match. He is also there to either remove masks when the fight hits the ground or call time on the account of simulated death (for example, getting your throat slit by your opponent, which has happened to me). The Ringmaster

is usually one of the more established Dog Brothers that makes sure the fights stay clean and honorable. Matches occur in a gym or park, so the size of the “ring” and the terrain will vary greatly. Fighters may have to contend with large open spaces or uneven surfaces.

Since the belief is HCTHC, there is minimal gear worn by participants.

You are expected to wear a fencing mask, mouthguard, gloves, and a cup. As for gloves, anything too protective (such as hockey or Red Dragon HEMA gloves) is frowned upon. Some participants choose to

fight with baseball batting gloves only to prevent their knuckles from grating on the mask while punching (if the mask happens to be on at that time). You may wear elbow or knee pads, but they must be soft. The reason is so that fighters will recognize and respect the consequences of being hit. There is no teacher as effective as pain.

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Criticism and Drawbacks of Dog Brothers Fighting As far as criticism of the Dog Brothers’ style of fighting goes, it really boils down to the risk of injury. With minimal gear and heavier weapons, you will feel the hits unlike in any other sparring you have done. It is not uncommon to see fighters with broken fingers, hands, or ribs after a match.

The bruises and lumps one will get from the fights will last for days.

And this is what the public sees and hears about. It is a very real risk, but it is one that fighters are well-informed about before they take part in an event.

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Another public misconception is that they envision a violent group of psychos beating each other into a pulp. I have had fellow martial artists cringe when I told them I participated in Dog Brothers events, all based upon this perception.

But I have not witnessed any bad blood or maliciousness on the mat.

Some of the most brutal matches ended with fighters putting arms and hugging as they walked off. My closest friends in the association have time and again bested me.

In regard to the actual fighting and its approximation to reality, there are those that say it is not effective.

An unnamed grandmaster once

told me, “You will not get into a fight wearing gloves, so why would you fight that way?” However, the goal is to push the limits without pushing a wheelchair or walker.

Fighters want to get as close to a real fight as possible without going to the hospital or morgue. To accomplish that, some protection is necessary. This is a tribe looking to elevate its members, not destroy them.

This also connects to the criticism of DB fighting being considered unsophisticated FMA, some even referring to it as barbaric and sim-

plistic. The honest truth is that, for the most part, under stressful and adrenalized conditions, a lot of technique goes out to pasture. This also happens in WEKAF matches. Yet, the more seasoned and well-trained fighters will exhibit a higher execution of technique that may go unnoticed by pedestrian eyes. There is a complexity to fighting a non-compliant opponent who is out to attack you while you do the same. Thus, it takes practice and self-reflection (on top of training) to evoke sophistication at this level.

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Skills and Benefits of Training for Dog Brothers It is essential that a fighter is versed in several forms of fighting. Stick and knife is all well and good until you clinch or you lose your weapon. Then what? Well, the fight does not stop. You need to finish the match. That is where the striking and grappling aspects come into play. Muay Thai is useful for sending kicks and clinching. Fighters will crash and get entangled, leaving you in a situation where you need to make the most out of close proximity striking, such as knees and punches. However, that does not always last too long, as many fights inevitably find themselves going to the ground (which is a harsh reality of what could happen in real life). That is why it is also

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important to have some proficiency in grappling as well. If you focus only on weapons, you are neglecting the reality of what may happen in real life. You do not have to be a BJJ black belt or Muay Thai champion, but you should be able to handle some striking and groundwork. So, train it. Versatility is a trait many martial artists outside of MMA neglect.

Power is definitely an attribute you need to acquire for this style of fighting. You need to be able to swing hard and make sure your opponent respects your range and attack. Additionally, you will need to fend off powerful strikes, and a soft block or counter will not cut it. There is only so much one can do with your arm to increase power. That is why there is a need

to develop mechanics that involve the full body to fuel a strike.

Shoulders, hips, knees, and feet all need to work in conjunction with the swinging of the stick. That is why tire training is so helpful in this area. As shown to me by Steve “Defender Dog” Sachs, a tire is an amazing tool to help you develop core strength and power for striking. The tire can be used while walking, swinging it side to side and coiling your body to appropriately and efficiently deliver the next strike with power. Additionally, throwing the tire will help you mimic sending a ferocious power-shot.

There is also a dire need to train to send strikes while moving.

Many Dog Brothers matches involve circling, entries, exits, and

stalking. You need to evade and invade while delivering offensive or defensive hits. A lot, and I mean a lot, of FMA stress footwork, but they seem to forget about actual movement. Your opponent is not going to stand in front of you waiting for an attack. And if he is, he has got something up his sleeve.

Therefore, a fighter must be able to move and strike simultaneously. This involves some of the power work training discussed above. Yet it can be as simple as “shadow boxing” with a variety of weaponry, paying attention to how different shapes and sizes want to move and adjusting your steps accordingly.

This will also help a fighter to develop explosiveness, knowing how to burst in with the best body mechanics and physics possible.

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One admirable aspect of Dog Brothers' fighting is the encouragement of participants to use different weapons. This will get you out of your comfort zone and open new doors for your practice. For me, doing double sticks with two 31-inch sticks proved to be an issue. So I switched one of them up to a 26-inch stick. Then I realized I was just doing a form of espada y daga. My double stick greatly improved. And as above with training with different weapons to help with your movement, you learn the attributes and deficiencies of each. A hatchet is top-heavy and not good for thrusting. A short stick loses range, but gains an advantage on the inside. Whips and chains require different coordination and mechanics. Knives introduce a different element of speed and range. Training and fighting with different types of weapons will offer you a broader perspective overall and will add to your arsenal of skills and knowledge.

That is why I incorporate as many different types as I can—sticks of varied lengths/thickness, blades of varied weights and materials, and mixing up weapons (for example, buckler and stick).

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Strategy is perhaps the most difficult to train. You can train a particular technique for weeks on end, and when given the perfect opportunity to execute it during a match, it does not happen like you thought it would. Why is that?

Well, GM Jeff Finder once asked me, “Did the technique not work, or did you just not work the technique?” What I derived from that was that I needed to reassess how I used and executed the technique.

Sure, in theory, or with a compliant partner, a technique is perfect.

However, in an open field with some adrenalized martial artist swinging at your head, the technique needs to adapt. So, it is important to reflect on your performance. That means you have to fight and run the movie in your head over and over again. Replay your steps. What worked? What left you open for that nasty shot to the midsection? How did your technique help you? How did you shortchange the technique? That all leads to the HCTHC concept at the core of Dog Brothers. If you fight and forget about the experience, you might as well have stayed home and watched reruns of Barney Miller. As physical as Dog Brothers fighting is, you need to reflect, learn, and grow from your experiences.

Closing I would be remiss if I did not say that both paths do not have their merits. I think at this point in the realm of martial arts, they do not have to be mutually exclusive. WEKAF has given me speed and endurance I did not think I could achieve, which has helped me during some grueling Dog Brothers fights. And Dog Brothers gave me a widened perspective of what my fighting is (and could be) and grit that helped me truck through some of my opponents in the WEKAF tournament. You may not have to fight both, but there needs to be respect (even a begrudging one) for each.

Please Check Out These websitses for more information: http://wekafinternational.com/ index.php/about/ https://dogbrothers.com/ the-gathering/

- Nick Merchant

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Scott Meredith @scott.meredith.393

YIQUAN LONG STAFF ENERGY Scott Meredith

THERE ARE AN INFINITE number of ways to strengthen and develop your internal energy power, just as there are an infinite number of ways to bulk up your physical muscles. One interesting group of energy methods uses tools or weapons for training awareness, intensity, and control of internal energy. This article describes a set of long staff drills used for this purpose.

I have practiced and taught traditional xingyiquan for decades. I have also briefly but intensely explored many related martial arts, including a modern descendant of xingyiquan called yiquan (意拳),

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which is well-known in Japan under the alternative name, taikiken (太氣拳). The core concepts and practices of both the Chinese and Japanese versions of this modern martial art come from the same source and are largely similar. Yet, long staff drills tend to receive less attention in both yiquan and taikiken.

I have trained yiquan intensively in Beijing under the tutelage of one of the most senior Chinese masters of the art, Yao Chengguang (姚成 光). Master Yao is a superb fighter, and a martial arts genius, comparable in combative power to Bruce Lee. The training program is very

rigorous, including a vast curriculum of special stances, arm and body movement drills, kicks and leg work, push hands, heavy-bag striking, cotton-ball striking, sparring, and much more. For twelve hours a day, seven days a week, for several strenuous months in Beijing, I trained under Master Yao’s

personal guidance, together with his small group of dedicated young students. It was a fascinating experience, but this art is huge and it takes a lifetime to even begin to explore. Here, I can only present one limited and specialized aspect of the program—the long staff drills.

A typical xingyiquan staff training drill, which involves a fast 360-degree full-body spin, ending with a low drop to dragon-step (龍步) and an instantaneous shoot-out of the full length of the staff to barely touch a high, pre-designated tree-leaf target. In xingyiquan, the energy vector originates from the grounded rear leg and lower body (arrow).

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Background Yiquan is historically derived from xingyiquan, which I have trained in and taught for many years. Traditional xingyiquan includes a full set of long staff training drills, for both internal energy and battlefield applications.

The physical and energetic power line of Xingyi staff techniques originates from the rear foot, and runs straight through the dantian, along the single unified vector of the arrow in the photo. This is a typical xingyiquan drill for laser precision in energetic projection, the kind of training which produced my teacher’s incredible fly-flattening ability mentioned in my book, Radical Xingyi Energetics (JXE).

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The yiquan long staff work is different, and not as well known.

In this article, I will describe the physical and energetic dynamics of yiquan staff training for internal energy. For this training, it is best to use a Chinese-style pole, tapered at one end, of length six to eight feet.

This is only the briefest introduction and smallest sample of the richness of these methods. For immersion in the full depths of yiquan fundamentals, you should arrange for intensive training at one of the several excellent yiquan academies in China.

YIQUAN LONG STAFF TECHNIQUES Feet In the most basic drill set, there are three different striking techniques and they all begin with the same lower body “rear” position, and all move to the same lower body “forward” position. In the starting (rear) position, your rear foot has 70 percent of your weight. Your front foot has 30 percent of your weight, and your front heel is raised a bit off the floor, not flat on the floor.

Both knees are well bent. You will transition with the strike from this rear-loaded 70-30 weight distribution into a more centered 50-50 distribution, which I will call the forward position. From the rear position, you simply straighten both

legs and move forward. This moves your body forward and distributes your weight as 50-50 on both feet.

It is an unusual stance in martial arts, particular to yiquan. You will basically end standing straight up, but your front heel remains slightly elevated off the floor. In all the techniques, you will move from the starting/rear position to the end/ front position and then return, on each rep.

The center-weighted forward stance is unusual, but it is one of the fundamentals across all yiquan striking techniques, not only in long staff.

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Grips

Master Yao Chengguang demonstrates to the author the forward 50-50 stance for a punching technique in Beijing.

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The hand positions are the same for the three techniques. You support the end of the staff against the heel of the palm in the center of the rear hand. Then you wrap three fingers and your thumb around the staff. Finally, your index finger extends straight and close along the top edge of the staff. With every technique, you begin with the rear hand back, close to your hip. You then extend the staff with clockwise rotation, while maintaining the same grip.

You rotate back counterclockwise as you return.

Rear hand grip with clockwise rotation on extension and counterclockwise rotation on retraction, for the right hand (reverse rotation directions when practicing the other side).

The forward hand grip is also invariant for every technique. You extend your thumb straight alongside the staff. Leave the top of the staff open and uncovered by your fingers, in a half-open grip.

As you extend the staff into any technique, you will rotate the grip clockwise until you have turned your hand over, then rotate counterclockwise in the return phase back to the starting position (reverse for practicing the other side).

In all techniques, the forward arm straightens completely at the farthest extension of the move.

The key thing is to grip softly. A tense or hard grip will kill your energy. Kendo masters grip the shinai softly, and for this drill you should do the same, using no more strength than necessary to hold the staff in position. Imagine that the staff is a living thing that you do not want to crush or drop.

Forward hand grip and rotation with clockwise rotation on extension and counterclockwise rotation on retraction, for left hand (reverse rotation directions when practicing the other side).

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Motion There are four axes of movement in these techniques. The primary three directions are: back and forth; left and right; and up and down (the staff rotation using the forearm and wrist adds a fourth).

These primary directions correlate to the three techniques: crushing, splitting, and crossing (these are names I have derived from xingyiquan, not the official terms of the yiquan curriculum).

In mechanical terms, you can see that these techniques are developing power along all possible vectors. This is the omni-dimensional power (混元力 or 全面力) of yiquan. The forces can be visualized as a sphere with major power dimensions specified. Beginning with the three major vectors, the student eventually learns to project force to and from any point on the surface of the sphere in which he is centered.

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The basic dimensions of omni-directional power (混元力). All dimensions are present in every technique. For left-foot forward, reverse.

•

Crush (left-foot forward) begins in position rear/up/left, is extended to front/down/right, and returns to rear/up/left. For right-foot-forward practice, reverse the left-right dimension.

•

Split (left-foot forward) begins in position up/rear/left, is extended to down/front/right, and returns to up/rear/left. For right-foot-forward practice, reverse left-right dimension.

•

Cross (left-foot forward) begins in position left/up/rear, is extended to right/down/front, and returns to left/up/rear. For right-foot-forward practice, reverse left-right dimension.

The major vector for crush is rear-front.

The major vector for split is up-down.

The major vector for cross is left-right (right-left when practicing the other side).

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The techniques are summarized in the table below: Technique

Major Dimension

Minor Dimension

Minor Dimension

Crush (崩)

rear/front

up/down

left/right

Split (劈) Cross (衡)

up/down left/right

left/right rear/front

rear/front up/down

The position before the slash (/) is the start and finish position, and the aspect after it is the extended position. The table directions are based on a left-foot-forward beginning stance. For right-foot-forward practice, the left-right dimension is reversed to right-left.

Your speed of movement should be slow and deliberate. Feel the alternating activation and relaxation of each nerve cell and muscle fiber as you extend and retract the staff. You should move slowly enough that you do not fall into a crude rhythm of breath, such as extension on exhale and retraction on inhale. This work is slower and more subtle than that—breathe freely and naturally.

Purpose Your practice of these yiquan staff drills should be followed by a few minutes of standing quietly upright, stilling your mind, relaxing yourself physically, and experiencing the internal energy throughout your body that has been triggered.

Over time, this quiet standing will become more and more powerful and pleasant. In daily life, you will feel that your hands are lighter and stronger, more sensitive in feeling and more precise in action.

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Beyond those obvious benefits lies the really deep internal power ( 內勁). Yiquan is a descendant of xingyiquan. The traditional xingyiquan energies of 明勁, 暗勁, and 化勁—as defined and taught by Guo Yunshen (郭雲深), the teacher of yiquan’s founder, Wang Xiangzhai (王薌齋)—are tangible realities. With practice, they will begin to pulse and reverberate throughout your body, and you can learn to feel, strengthen, and use them. For

example, practitioners of Chenstyle tai chi will find that the intensity of spiral energy (纏絲勁) in their arms is greatly enhanced by the grounded, multi-dimensional extension and rotation in these yiquan drills.

The yiquan staff drills are one of many thousands of interesting methods that can be used as exploratory probes. However, you must keep in mind that this article is merely cherry-picking one extremely narrow slice of the vast discipline of yiquan. If you are interested in pursuing the art fully, you will need to enroll in a professional training program, and hopefully you will experience its great benefits and devote your life to developing its fundamental skills.

This article is like a wine-tasting session, giving you only a sip from the barrel.

In the present time, it is fashionable to re-define the powers of the internal martial arts using socalled realistic physiological terms such as fascia tissue, nerves, blood, glands, muscles, and bones, or else in mechanical terms such as alignment, posture, and structure. But in fact, internal power is just as real as those material things—but it is not those things.

Any style, whether yiquan or any other, is simply one instrument for immersing ourselves in this universal internal experience, which is not limited to any one style or method. The great historical xingyiquan master, Che Yizhai (車毅齋), has written that there is a power that transcends all styles.

Unification with that essence is always the ultimate goal, regardless of the method or teacher: 所以練拳學者自虛無而起自虛無 而還也到此時形意也八卦也太極 也諸形皆無萬象皆空混混淪淪一 氣渾然 “Martial art starts from emptiness and returns to emptiness. When you understand this, the notions of xingyi, bagua, or taiji all melt into vast waves and vibrations, a unified resonance where there is no more “taiji” or “xingyi” or “bagua”. The power of the boxing arts does not lie in the postures, but only in the spirit and energy being fully rounded and without gaps.”

– Che Yizhai (車毅齋)

YIQUAN LONG STAFF ENERGY

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Mark Mikita @mark.mikita

Mark Mikita with Burton Richardson

I REMEMBER THINKING HOW cool it was going to be to have the skill to do what my teachers said I should be able to do, eventually: to be able not only to disarm every incoming angle but also counter every disarm and counter-disarm attempted against me, all in a real

fight with a tactically intelligent and actively resisting opponent, as opposed to a choreographed drill with a cooperative and habitually acquiescent partner.

The only problem was, while my teachers would go on and on about this mythical group of enlightened

Mark Mikita

CUENTADA

LEARNING TO PRIORITIZE 102 | The Book of the Stick

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"...if teachers do their job, their students will naturally evolve and advance their 'system.'"

grandmasters who could do such things with remarkable ease themselves, when it came to what I was being taught, they never actually laid out any real steps for me to acquire those skills myself.

Now, don’t get me wrong, I love a good yarn as much as the next guy, and stories of extraordinary prowess, however embellished, can serve to inspire the next generation of eskrimadors while also passing on the history and culture of the art, as well as the unique personalities and contributions of those who went before.

However, it seemed to me that we ought to be devoting at least some portion of our training to working on doing what they claimed the learning process would accomplish if we kept at it. But that was not the case—not ever.

Oh sure, they would teach jazzy variations and sophisticated "progressions" meant (we were told) to be so deeply ingrained through repetitive practice that—upon necessity—we would somehow tran-

scend the chasm between mechanical training and what the legendary combat general George S. Patton called the "orgy of disorder" that is battle and have full and unfettered access to everything we were ever taught.

It’s the same paradox that advocates of traditional kata espouse when anyone questions the set-pattern approach to training, except that, in the Filipino Martial Arts, our set patterns also include set answers to a seemingly well-thought-out list of what-ifs one need only memorize and work like a faith-based, twelve-step program to be ready for whatever may come.

And right about now, I’m probably starting to irritate the followers who staunchly believe their "system," with its "battle-proven" patterns, which is the real deal. How many of us have heard the droning of devotees claiming that theirs is the "original" system? If whatever the so-called "original" system included in its arsenal of dirty tricks

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was unequivocally and forever the only true art by virtue of it being the "original," why isn’t the United States Air Force still flying Orville and Wilbur Wright’s canvas and spruce contraptions?

In my opinion—and I am an admitted iconoclast—if teachers did their job, their students would naturally evolve and advance their "system." It’s certainly not a negative to move on from the original seed if one has the creativity to do so.

However, as doing so does require a certain degree of irreverence, it

can definitely undermine the presumed authority that insecure grandmasters of the "original" system tend to hold like guillotine blades over the necks of their followers when they demand blind allegiance, so it’s not a big surprise to me that such excursions are rarely encouraged. If you haven’t noticed, I’ve sprinkled in a few allusions to the borderline-religious mindset that pervades the Filipino Martial Arts because I feel very strongly that it is the atheists and heretics, if you will, who have always been the originators, the ones who scoffed at rules, restrictions,

"Often defined simply as 'accounting' or 'to do by calculation,' cuentada is all about learning to prioritize in the flow."

and rank to forge their own path.

Moreover, I believe we should take from their example not only the ideas and innovations they came up with but also, more importantly, their willingness to break from the security of the crowd to venture out on their own.

such unquestioning devotion. In the art world, no one but an idiot would ever say that they paint in the Leonardo Da Vinci style. Only Da Vinci did that and to be a devotee of his "system" of personal expression is a ludicrous idea. Anyway, I digress . . .

On a side note, as an artist, I have always found it odd that martial artists are so inclined to follow a certain teacher or system with

Returning to the point, to the dismay of anyone who has ever pressure-tested their systematized approach in the crucible of even

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CUENTADA

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light, padded-weapon sparring, the results more than likely did not inspire confidence in your training method.

To zero in on just one element of the art, if you have ever put on a fencing mask and exchanged even just moderately hard blows with a game partner using hard sticks, you have undoubtedly found it nigh on to impossible to pull off any semblance of checking in the manner you were taught. Rather than engaging your critical think-

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ing and digging into and questioning the manner in which checking was taught to you, though, if you’re like most practitioners—the followers—you probably leapt to the conclusion that checking was a useless remnant of the past and then discarded it.

I can’t be the only one who finds it ironic that that flies so directly in the face of the otherwise unquestioning devotion to systems and lineages. What I think the response reveals, though, is the inclination

"Cuentada is the apex."

of individual practitioners to make sweeping changes to their personal expression of the art when their experiences and research uncover weaknesses or deficiencies in what they were taught. That’s why they call martial arts training "the solitary path."

Functional checking, counter-checking, and counter-counter-checking; disarming, counter-disarming and counter-counter-disarming; masterful weapon control and manipulation; weapon seizure and preemptive counters to weapon seizure; control of distance and position such that the opponent’s options are minimized or entirely eliminated while your options are expanded and fully under your control . . . these are all elements of the art that you should be training from the earliest beginnings.

Furthermore, you should be doing so in a way that teaches you to get to checkmate quickly rather than simply exchanging techniques in

a cooperative exercise without developing the mindset to achieve victory.

On its face, the concept of cuentada would seem to offer a way to do just that. Often defined simply as "accounting" or "to do by calculation," cuentada is all about learning to prioritize in the flow. To illustrate, imagine that I have either directly seized or somehow entangled your weapon. Obviously, you need to regain control of it as soon as possible. However, if I am in position to immediately strike you with my weapon, that threat has to be your priority. Even if your system has a really cool technique for breaking the opponent’s grip on your weapon, you can’t just absorb a few full-power cracks in the skull while you pull off your cool technique. So, turning your attention to my weapon, how do you nullify it while also getting your weapon back under your control, all while I am actively and very skillfully

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maintaining my position of advantage? Mind you, I’m not talking about anything that is choreographed in any way. I’m describing a very real dilemma, one that finds expression in innumerable ways in the flow of a combative exchange.

By "combative," I mean the goal of both combatants is to effectively breach the other’s defenses and land a telling blow, followed by a withering barrage of confirmation blows.

While cuentada is alluded to in every system of Filipino Martial Arts I have trained in, Balintawak eskrima often includes the word in the various names practitioners come

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up with to distinguish their particular approach from that of another’s.

As a perfect example of what I was saying about individual practitioners making sweeping changes in their personal expression of the art, I’ve trained with a number of Balintawak grandmasters, and, to the uneducated eye, it might seem that they are all teaching entirely different arts. Crispulo Atillo, for example, teaches a brand of checking and counter-checking that is very preemptive. He’s a very little guy (I’m thirteen inches taller than he is) and he undoubtedly figured out, early on, that if a much bigger

opponent gets hold of his stick, he’s screwed. So, good luck trying.

On the other hand, when I worked out with Bobby Taboada years ago, he was an ox by comparison. Grab hold of his stick, and he would not only rip it out of your hand but he might also rip your hand off, just because he could.

What we’re talking about, though, is cuentada. Both Atillo and Taboada teach it, or at least allude to it in their teaching, and can do it themselves exceptionally well. If you aspire to acquire such skill, though, you will need to look beyond the "procedure of teaching," as Atillo calls it. You must distill the es-

sence of cuentada for yourself and, with all due respect to your teachers, tailor it to suit you, just as they did. But don’t presume for a second that their vaunted procedure of teaching will impart that knowledge to you directly without you engaging your critical thinking and doing the work it takes to slough off the imprisoning chains of their intentionally repetitive and mechanical procedure that’s only meant to give you a taste of what it is all about.

Simply put, if one person is feeding attacks and the other is answering those attacks in a prescribed manner, that is a choreographed exercise. That is not cuentada.

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Cuentada is the apex. Sparring is certainly important and essential, but the very first things you would actually want to do in a real fight are not what anyone wants to be hit with in a friendly sparring session. Cuentada puts those things first on the list of priorities in attacking. To practice cuentada, you have to consciously abandon any semblance of a cooperative exercise. However, that is certainly not to say that you should throw all caution to the wind and just fight.

You won’t survive the practice long if you take that approach.

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The beauty of cuentada training is that you can choose the degree of intensity at which you want to practice.

Right about now, I imagine you’re getting frustrated. I’ve talked about how a great many teachers who are, themselves, highly skilled at cuentada, often only allude to it in their teaching. I’ve also said that cuentada is meant to be very personally yours. Unfortunately, it’s only natural to look at something a teacher is trying to illuminate for you

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through the lens of your previous experience in the art, and therein lies the main problem with "teaching" cuentada. It is not a technique; it’s about being fully awake and in the moment. Attempting to access and make use of memorized skills will almost certainly fail in the context of cuentada because your opponent will be changing the circumstances constantly, and you’ll be doing the same in return.

In a sense, you’ll both be playing keep-away. Neither of you will do

anything that will provide any opportunity or advantage to the opponent unless you’re baiting him so you can then counter him and finish it. As opposed to basically every other drill in the art, in the practice of cuentada, the singular objective is to win. The one who wins does so by being better at it, period. Hence, it is a pure test of skill.

Going back to what my teachers said I should be able to do, about fifteen years ago, I resolved to figure out, for myself, how to do just that, as it was clear that no one was actually teaching that. Dismantling and restructuring my daily practice, I flipped the script. With freedom as the goal, I knew that I had to have freedom at the beginning. Hence, I began exploring applying the ideals of cuentada without using a mechanical exercise as a portal. I also made it a point to start there with new students, rather than only alluding to it as a high-level goal. No teaching basics.

No wasting time with teaching Filipino terminologies (the innumerable dialects and the rivalries that crop up because of them make that an exercise in futility). It’s quite simple, really: hit but don’t get hit.

Take line and immediately seize control of the opponent’s weapon but don’t let him touch your hand

or your weapon unless it’s to your advantage to do so (which, surprisingly, it often can be, particularly if the opponent doesn’t know what he’s doing). In my experience, very few possess such a level of skill.

Having been told, again and again, that I should be able to disarm every angle, that seemed like a suitable place to start. What I soon discovered, though, was that the way I was taught to look at disarming was, in and of itself, fatally flawed. Isolating disarms in a defensive framework made them easy to learn but impossible to actually pull off against a full-speed, full-power attack. Turning the situation around by aggressively putting the opponent on the defensive made disarming him significantly easier and more practicable. "ALWAYS BE ATTACKING," is a hallmark of cuentada. Immediately, the opponent is essentially cornered and likely to response by somehow binding or otherwise entangling your weapon as you endeavor to disarm him. That’s why they call it fighting. You need to effectively solve whatever problem he creates on the fly before he can take the initiative and attack, putting you on the defensive.

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I can well imagine a great number of you are nodding your heads right now, feeling absolutely certain that you fully understand what I’m saying. You are sure your system teaches a progression of counter-offensive techniques that ingeniously solve the problems you’re likely to encounter in a situation such as that. The problem with that belief, though, is that you won’t have access to those techniques when my stick is coming at your face at seventy miles an

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hour. In fact, even if I slow it down to just ten miles per hour, you still have no hope of coming up with anything from memory.

After all, that approach is equivalent to coming to a conversation with pre-rehearsed sentences. You may be able to impress people with your eloquence as an orator or speechmaker, putting on impressive demonstrations of advanced technique. However, as an eskrimador, your goal is to be a great conversationalist, able to open

your mind and give your full and complete attention to whomever you’re speaking with and express your thoughts and feelings in a way that leaves them unable to argue with you. When done well, cuentada can be compared to trying to get your ball back from your big brother. By virtue of his greater life experience and his dedication to torturing you, his keepaway skills are insurmountable. As silly as that analogy may seem, I often use the idea of simply playing keep-away to get students to stop trying to learn by memorizing techniques.

You all know how to play the game. To do it well, you have to be very present. You have to watch

your proverbial little brother like a predator stalks its prey. Watch his efforts. See how he tries to solve the problems you create. Then, adapt to him and, as you continue to torture him, expect the desperate lunge and be ready to counter it.

I know it’s reprehensible and politically incorrect to use such an analogy to illustrate my point, but, before you get your hackles up, know that I was the little brother and my beloved big brother John was a veritable genius at that infuriating game. In that fury, the seed of my personal expression of cuentada was sown.

- Mark Mikita

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*The following article is an edited transcription of the Stickmata Talks interview conducted

by Mahipal Lunia as part of The Immersion Foundation's Stickmata Lab (2019).

SWORDS, AXES, STICKS, AND FILIPINO FIGHTING ARTS INTERVIEW #1 WITH Mark Mikita

Starting Martial Arts I WAS THE YOUNGEST OF three boys and my brothers were significantly older than me. I was sort of trailing along them when I was a kid. My dad was constantly trying to figure out if I wanted to play Little League football or something

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like that, and I was never interested in any of those things. One day, when I was just a little boy, I saw a martial arts demonstration and that was what I wanted to do.

I think, like most parents, my parents thought that, well, he will be interested in this for a week. That was 51 years ago.

I was so crazily dedicated, that they finally just gave up on trying to interest me in anything else, because all I wanted to do was martial arts.

It was great, because they were supportive. Yet, I was not like the kid whose parents took him to karate class—I had to do all of it myself, I had to pay for it myself with my allowance. If I did not practice, my dad would question whether or not I was serious. There was an encouragement to, if I was going to take it seriously, actually do what was required, and do the kind of training that would make me into the kind of person that I sought to be. I had that kind of background and support with my folks. It was great.

My dad was a lifer in the military and discipline was a thing. In fact, my father fought in the Philippines in World War II. He was extremely impressed by the Filipino guerrillas during the time they were pursuing the Japanese when he landed in 1944 and all the way to the end of the war. When I got past that first couple of weeks of being interested in martial arts, and my dad realized it was serious, he kept saying we need to find you Filipino Martial Arts. Finally, when I was still a little boy, he found a first instructor for me. That is how I began in the Filipino Martial Arts.

That is still almost 50 years ago now. I have had several different instructors since then and I still pursue instructors. This art is so vast in its expression that there are so many different approaches, so many different ways that it can be looked at, not only from the cultural and environmental alterations, but also from individual to individual. I trained with Filipino guys who were pretty sizable and strong, and their art is extremely different from the next guy who might be 4'11'', and 100 pounds soaking wet.

I have actually tended to like the smaller guys' art more, because as a guy who is relatively tall—I am 6'3'', about 190 pounds—I do not generally run into people who are much bigger than me, as a norm.

Usually I am of the same size or a little taller. The kind of looming fear and background is the day I have to do this for real, and it will be some guy who is 6'11'', some guy who is a giant. I actually like training with people who all they ever train against are giants.

I have a teacher who is 4'11''. It is quite a significant difference in size. He had no problem dealing with me because that was what he was used to. He was so good at basically pre-empting everything, because he knew that—being as much bigger as I was than him—

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once I got a hold of his weapon, it would be very hard for him to take my hand off it. Getting a hold of his weapon was next to impossible. He was so good at controlling your movement that you just could not do it. I was just drawn to that: that essential genius of the artists, those pre-emptive countering skills that they teach.

Not only is it a genius to watch, but it is actually really easy to do.

It is completely commonsensical.

In teaching, it takes about two minutes to get the idea across, and everybody goes, okay, I understand that, that totally makes sense. You do not have to spend twenty years studying the spiraling energy theory or chi or any of these other fanciful ideas. Just: here it is, and here is how you do it; and bingo, you got it. While I have studied lots and lots of other martial arts, I think that is essentially the core that has always brought me back to Filipino Martial Arts: that it is just so practical. It is: this is how you do it, here is how we do it, there is no in-between. There is no mojo.

There is no old man on the mountaintop with white eyebrows; none of that foolishness.

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Teaching Weapons First A fundamental difference with other martial arts that most people immediately perceive, if they have never seen Filipino Martial Arts (FMA) before, is the prevalence of weapons in the beginning of the training. Most traditional arts start with empty-hand skills, and if they have any weapons at all, it will usually be reserved for he black belt levels. Something in martial arts is diametrically opposed to the idea that the very first thing you do is to put a weapon in your hand, and to start teaching you how to use it effectively.

That is necessary, though, when that other tribe comes and attacks us next Thursday. Kickboxing is not what we are going to be doing in that situation. They are going to be attacking us with bolos and spears, and we need to be able to fight with weapons. Weapons were the first thing, and it is still the first thing taught. The empty-hand skills are derived from the weapons skill. If you have trained in both, which I have, the weapon first makes so much more sense immediately.

It is unfortunate that in post-WWII politics they changed martial arts in many of the countries that we basically vanquished during the war. The arts that ended up coming back to the United States were neutered as they took the teeth out of the arts. This is prevalent idea in the West: that a martial artist should be without weapons. They are sometimes even called the "weaponless warriors." Solely in the West do we think that this is a good idea; not so in any other culture—they pick up a weapon. Only an idiot would go onto a battlefield without a weapon in his hand.

Many people in the martial arts world do not want to own up to the fact that there is a lot of racism in the martial arts, particularly between peoples who are very recent enemies like Korea and Japan. The collision of those two cultures, oftentimes on a political level, is very strong. Certainly, to new students, they will give lip service to being peaceful, loving, and harmonious.

But the underlying truth is that they are anything but, that there are a lot of divides and tensions between the different arts, cultur-

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ally and racially, which is both revealing and sad, but also truthful.

When you accept it, and you see it there, you understand why martial arts still exist, because those underlying frictions between cultures and races are still very present. Pretending they are not there gets us into problems.

Martial Arts and Warfare Most martial arts were used in warfare. Most of them found their roots or their seed in the problem that is presented by melee warfare, which is forty of you against forty of me in the jungle, in the darkness, with blades. We are not lining up like Napoleonic armies were; it was basically an every-man-forhimself kind of thing, except that I have my tribal members and you have your tribal members. We are trying to come out with as many of us alive and as many of you dead as possible. This is an absolutely horrifying kind of battle: you are flaying each other apart alive, you are eviscerating one another, you are decapitating one another. It was very personal. It was very intimate.

It was God awful.

Modern militaries are designed to make sure that melee warfare never happens as it is the worst kind of warfare. European knights, the armor, and all that is designed to deal with the fact that enemies are coming from every direction, rather than you having a duel when you are one on one with your opponent. You might be great at handling the guy who is in front of you, but another guy is coming to you from your left. If you are not aware of him, and commanding the battlefield in a way that you can create an effective defense, then your ability to handle that one guy is basically wasted. You will be killed on the battlefield in seconds.

All real martial arts have their roots in this, and, as we look at the martial arts that are available to the public today, very few of them are actually designed for melee combat. Certainly, Filipino Martial Arts are. Most of the arts that are presently available, while derived from melee warfare, are focused almost exclusively on dueling or self-defense, as opposed to melee work in groups. In a warfare situation, my ability to handle one person is certainly useful; I

need the weapons skills, I need the movement skills, but I also need to be awake and aware to everything that is around me. This is extremely important.

Another martial art, that people may or may not notice, is the root art of Muay Thai, krabi krabong.

This is also a melee battlefield martial art, yet not taught very widely. Unfortunately, most of it ends up being more of an athletic event than a martial art. I do think it is fantastic stuff. One of the fundamental problems with teaching krabi krabong is that you basically need a football field to do it. You need a giant area because it contains a lot of sprinting; it is kind of hard to teach that in a in a small enclosed space.

One of the nice things about Filipino Martial Arts is that we can take anything from any other martial art and just pour it into the smorgasbord. That is Filipino Martial Arts: immediately absorb it and use it effectively. We can steal from everything. Original samurai kenjutsu is a melee warfare art of how to deal with multiple opponents.

When you look at the art that way,

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all the fundamental principles like lines and the angulations, those are all important, but now they are about battlefield generalship.

It is awareness of an entire battlefield, and how to move with your troops or your tribe in a way that we can, for example, do a pincer movement on the opposing force, so that we can surround them, and do whatever, rather than just being about me versus you.

Real martial arts are not about testing your mettle, they are not about who is better. They are just about who is left—it is all it is about. This notion of “I am the best in the world,” this is sort of a child’s fantasy—the best in the world at what? Are you the tallest, the shortest, or the bluest eyes of all the martial arts? I mean, the "best" is such a subjective thing.

As hypothetical warriors on the battlefield, one day you might slay me, but the next day I might have slain you. This whole notion that you would somehow approach invincibility is foolishness. Anybody who studies real martial art figures out relatively early on that the last thing they ever want to do is actually to use the art in a real war. It kind of brings the need for diplomacy and conversation to the fore, instead of running at each other with sharp objects in our hands.

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Filipino Weapons If you look at Filipino weapon designs, the kampilan is particularly unique as it is bifurcated at both ends, point and hilt, making it the famous “split point sword.”

The split or the opening of the hilt and the blade are basically meant to symbolize the mouth of a crocodile. It is imbued with the power of the animals: it is very pagan, of pre-Muslim pre-Christian faith.

The same thing goes for the kris as well, as it symbolizes the serpent.

The kampilan is probably the most easily recognizable of all the handheld weapons besides the panabas, which is distinctly different in its design—it is more of just a big slashing weapon. When it comes to fencing, the kampilan has an extremely light feel to it, even though it can be up to 38 to 40 inches in length. To give this measurement some context: 40 inches is above the length of a walking cane.

Kampilan is designed to be used with two hands as its long handle allows you to fit both hands to it, but it can also be used with just one hand.

Kampilan is also rare among Filipino blades in that it is truly a sword. Many of the blades we refer to as "swords" in the Filipino arts are just really big knives. For

me in particular, as somebody who has also trained European fencing and kenjutsu, the difference is the presence of a guard. The kampilan has a relatively useful guard which has what they call “staples” added to it to give you almost a cup hilt rapier-like protection. I have seen hilts with all kinds of things, even monkey skulls. These also imbue the sword with the power of the animals.

When it comes to the blade itself, one of my students calls it “whistling thin.” Whip that blade through the air and it leaves a whistle behind it—it is quite a nice play. Sadly, some contemporary replicas, as nice looking as they are, tend to feel like sledgehammers compared to a real kampilan.

A true kampilan is extremely light and balanced—it just feels like a magical instrument in your hand.

Mark Mikita teaching at the Stickmata Immersion Lab (2019)

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The capa-capa (a type of axe with a curved blade) is certainly a less seen weapon. I personally have not seen an antique capa-capa although I have seen pretty much every other blade in its antique form. I certainly have used the training weapons, and I have seen modern versions of it. For the people who do not know it: if you have seen the ubiquitous Filipino weapons plaque, “The Weapons of Moroland,” they will have capa-capa on one side and the patul on the other. Patul is another kind of axe with a more of a square blade. I have never seen an antique version of those blades, and I have been doing this my whole life.

Many Filipino blades are tools that can be used as weapons—they are not necessarily just weapons.

Because a blade can be used as a tool, it probably just ends up on a farm somewhere being used to cut down brush or to chop trees.

It is certainly valuable for that, whereas a kampilan is specifically a battle blade. It would not be considered a bolo, which is a generic term for any kind of a useful knife. There are a lot of different kinds of knives that are used for

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cutting, for example, asparagus and so on—big knives that are referred to as bolos. I like the name, bolo, but it really is just like the word Kleenex, which is a generic word for tissue. Oftentimes when people say Kleenex, they just mean tissue; bolo is sort of the same. It is a nice word, but it gets misunderstood and people start looking for a specific blade called a bolo. There is no such thing.

Coming Back from Combat Even if you are competing in martial arts, there are a whole bunch of rules that make it not fighting.

There is an EMT standing by, waiting to take care of you if there is a problem. That is not going to be the case in warfare. In fact, when it comes to what is called patay, which is the killing aspect of the Filipino Martial Arts, the techniques that teachers with higher level of understanding and experience teach are the techniques that survived the battlefield. The techniques that some guy tried and did not work—well, he did not come back to talk about them. These techniques actually survived. Both fortunately and unfortunately, the

further generations away we get from melee warfare, the less sharp we are to keep our edges.

pened: “We know you had a hard time, and thank you for your service. We do not want to hear you.”

Let us say that you and I are members of a tribe. Maybe there are a hundred people in our tribe and you and I are charged with protecting our tribe with other able-bodied warriors. What our tribe wants us to be able to do on a moment’s notice is to set aside all of the things that we as civilized people have been taught to be: a good person, treating everybody kindly, giving everybody the benefit of the doubt. All of that is going to be pushed aside. Now we have a singular purpose: to go and kill everybody we can. Once I complete that neurological circuit, once I do that, I am no longer the same person. I come back as an entirely different being. To be reintegrated into the tribe, and to come back as a contributing member of the tribe, is significantly both difficult and an incredibly important thing for the tribe to do. If it is not successful, you are essentially creating monsters. That reintegration does not happen in today’s combat, and it is not even spoken of. It is essentially just pretending like it never hap-

When my father came back from the war after serving in the Philippines, he ended up being shipped to Germany as part of the occupation forces. It was a very big change in his career path. He spent several weeks on a ship coming back from the Philippines and getting to Pearl Harbor. On that ship, he was with all the buddies who survived the war. He said that basically all they did was cry and blow snot bubbles for all those weeks, because they had lost their buddies who went through hell. That was such an important thing for him to have done because he did not have to explain what had happened to him—the guys were there with him when it happened.

By the time my father came back, he had pretty severe post-traumatic stress, but probably nowhere near as severe as it would have been had he been in country on Thursday and sitting in front of his TV on Saturday, because there would not have been any decompression time. He had that time to actually,

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in a sense, reintegrate, or at least decompress and debrief from the war. He and his buddies could just be, metaphorically, if not physically, holding each other, and saying: “We have gotten through this, let us go back and be good men for our wives and our brothers and sisters and children.” I can only say that my dad did exactly that. He was an amazing guy.

I have, for several years now, run a group specifically for veterans with post-traumatic stress. I do not charge them as I feel they have paid their dues. I try to bring back that tribal idea of reintegrating this warrior back into the tribe. We are training and we are going back and looking at their training, very directly. I am telling them that I want them to sheath this knowledge, and learn how to keep it sheathed, so that it does not control them— they are in control of it. Society wants them to be these warriors, but it does not know how to help them to be persons again once they complete that circuit. That is what that tribal training can bring back.

I get a lot of fulfillment from doing this and teaching veterans.

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They are essentially in the metaphorical process of taking off that army jacket and putting on that civilian jacket—they are doing exactly that transition. It is the same thing that we seek to do with salutations in a martial arts class: to make a psychological transition from our ordinary world into this very special world of training. For example, if you and I were just training in a class, I might not actually know your name. And yet, here I am, telling you that here is my favorite right arm—now practice breaking it. There is an impersonal intimacy. I do not know you, but I am entrusting you with my health and safety. It is quite an interesting relationship and includes a lot of honor and integrity, because I am trusting you on a level that I would not trust a normal person—purely by virtue of the fact that we have made the transition into this group.

From a teaching standpoint, it is something that I have to maintain very vigilantly, because even very subtle breaches of that trust can disrupt the class very badly. If I was not a knowledgeable and vigilant

teacher, I might not understand why some students are leaving.

But if I can tune into that trust issue, especially when working with 60- to 70-mile-an-hour weapons, you got to watch everybody’s psychological response to that. Some people are invigorated by the experience; some people are terrified by the experience. Usually, it is a combination of both.

Teaching Martial Arts I am hesitant to train somebody who does not have a healthy respect and kind of terror for the weapon. There are sociopaths that are looking for this. You and I might take psychological tests and turn out to be sociopaths, but just because you have that potential does not mean you are going to express it in a negative way. However, I want to make sure of whom I am teaching. There is an aspect of it, from the teaching standpoint, where it is my responsibility to be certain of who I am giving this art to. I take that responsibility very seriously.

I say to my students who are learning to be teachers, that they are

responsible for every person that this art touches, no matter how it touches them. If it enriches their life, it makes their life better, then take that responsibility, because you have done something positive and you have earned the reward, that fulfillment. But you also have to own the negative touches, which do not necessarily have to be something evil or criminal. It can also be that, perhaps, as a teacher you unconsciously find yourself pulled toward the people who have more potential and you might be not paying as much attention as you should to that person who is uncoordinated—as I was, by the way, when I started. Desire is what overcame that awkwardness. You do that student a great disservice by not giving them the same intent, same attention, the same patience, the same willingness to help them learn, because while they may be seemingly physically stupid, if you give them that time, they can overcome their limitations.

Because I am taller, I will literally walk behind the awkward student, put my hands on theirs, and just put them in the right positions,

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and have them do the skill completely guided by me. That experience alone can sometimes help them to bridge that little synaptic mistake that is going on in their brains and that keeps repeating itself. I might have to do it ten times; I might have to do it a thousand times. That is what teaching is. I have to be infinitely patient and, I do not mean that with any negative connotation; that is really

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where the art lies. I oftentimes say to my students that I do not want you to memorize this, because memorized information is useless.

I want you to experience this so often and so correctly that it will become a part of your natural loop.

When we come upon problems, then I can help you to bridge that gap simply by saying, hey, it is alright with me if it takes me twenty or thirty or a hundred times. I do

not mind repeating it. That is why I am here. I will show you again and again.

The point here is that I want to try to remove the stress of them thinking that they should be able to do it. I do not have that thought in my mind at all: I do not think that you should be able to do it. I think you are endeavoring to do it.

Your personal endeavor might take ten times; the next guy might take a hundred times—one is not better than the other. You know, if I have to climb a hundred steps to get to something, and you have to climb ten steps, those ten steps may have been as tall as those hundred steps.

It may have been that difficult for you. I do not compare my students to one another in that regard, because that comparison is of no value.

I also ask my students not to make comparisons. I have a student who has been with me for well over twnety years. I will oftentimes say, please do not compare yourself to him because you cannot leap that twenty-year gap. You have to give yourself time, you have to be patient. I will be patient with you certainly, but you have to be patient with yourself. You have to allow yourself to go through the process of learning. If you give yourself

over to that and do not impose those “shoulds” on yourself, then this is actually a relatively easy art to learn because it is based on common sense. I say to people that you will have a lot of moments where you will slap yourself in the head and be surprised that you did not understand it in the first place. One of my students coined this phrase that now is stuck in the vernacular of my school: "stupid simple." It is so simple that when you figure it out, you will feel stupid for not having figured it out in the first place.

Speed and Different Weapons The principles that concern various types of weapons are both different and not different, because there are only a finite number of principles. Whether we are in a dueling situation with a smaller stick, or in a battlefield with multiple opponents with a much larger weapon, the principles will still be the same. How those principles manifest will be different, certainly. The expression will be different: with a longer weapon, timing changes, and the polar moment of the blade is different. I essentially have to leave earlier to hit the target—my timing has to change.

A mistake that many people coming to martial arts make is that

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they focus entirely on this idea of what they think of as "speed."

Speed is only one factor of timing.

More often than not, what people think of as speed is not speed but what Bruce Lee used to refer to as "suddenness," something happening very suddenly. That is generally not a factor of speed, that is a factor of the precursor of movements: all of the things that built up to that movement were so well hidden by that skill development, that only the very last part of the motion was actually perceived by the person on the receiving end.

This is why their brain inaccurately perceived that as happening fast, when in reality, it was not happening fast, it was just happening suddenly—two different things.

With larger blades, the idea of timing and learning how to be in the right place at the right moment is really where the art lies. When it comes down to it, irrespective of whether we are working with a Serrada stick or a kampilan, we are always talking about three things: distance, time, and position. Each one of those things is going to be altered by a couple of factors. First, my capabilities: I might be eighty

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years old, I might be three or seven feet tall—all those things are all going to play into the equation. I might have the flu on that day. I always say that everybody trains as if they are going to have sweatpants on and be warmed up when they fight. The reality is they are probably going to have a flu, and a broken arm, and be on black ice when they fight. The worst possible things are going to be on that day, in that moment. These arts are designed to deal with adversity; they are designed to function in that kind of a setting.

Position is a relatively obvious thing, if I am standing in front of you, and I show you the right place to stand and the wrong place to stand. There will not be any confusion in your mind; you will exactly understand why those positions are strong and the others weak.

Timing is different, though: it is about teaching somebody to have the right feel. Bruce Lee used to talk about how all of the techniques are easy to learn. The hard thing to get is the body feel, because, how do I convey that to you? Something that I am feeling when I am doing it, it is hard for me to get across.

When it comes to teaching, one of my teachers said it very well: a young man leaves late to catch the bus. He breaks world records running for the bus and jumping hedges, but he still misses the bus because he left late. The old man understands his limitations. He leaves with sufficient time to walk to the bus stop, and he catches the bus.

This is the epitome of what timing is: first and foremost, you have to recognize what your actual capabilities are. Am I able to move with X amount of speed? For example, what if we could go back in time to 1972 to work out with Bruce Lee? When you would watch him work with somebody else—and the readers may hate me for saying this—you would realize that Bruce was also limited by the physical laws, that he is actually not moving any faster than anybody else.

He is just a human being with the same limitations on his joints and so on as the rest of us have. What he was able to do, and what anybody who would have trained to that level would be able to do, was to compact and make his motions

simple so that he was doing only exactly what he needed to do, and nothing more.

I have painted a big mural on my wall. One of the things there reads: “By definition, enough actually is enough”. We tend to add more and more things, when the whole idea is that enough is actually enough.

You teach yourself to find that sort of singularity in your movement: just exactly what is enough and no more. You can do it very suddenly, because there is nothing extra. That was what Bruce worked on developing all the time. These days, you and I have access to far more martial arts knowledge than he ever even knew existed because of this fantastic thing called the internet.

To go back to the idea of timing: how to put your blade in the right place at the right moment? It is all about relationships. People ask the question, “What is martial art?”

We know that the word martial comes from Mars—it means "war."

My father would add that war is about killing and weapons—it is not about who is better. He did not get off a landing craft late on Oc-

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tober 20th, 1944, looking for a guy who was in his weight class. All of those silly sport things have no relevance there. While I do not mind sport martial arts, we have to really remove them from the equation because it does not exist in the real war.

In the context of warfare, how do we find that timing? There are a lot of ways to do it: finding out what your capacities are, how fast you move. The velocity itself is not so important. I do not care if your weapon moves 70 miles an hour, and their weapon moves 75 miles an hour, because you can still beat them—if you have the right timing.

Speed is just one factor of timing.

For example, I ask people, whose cadence do we fight in—mine or theirs? If you follow my cadence, you are just basically trying to match your things to mine. It is like two fists colliding in the air.

It becomes about who happened to be first, about luck. Maybe you will win, maybe you will not. If you do win, you will not know why you won; if you lose, you will not know why you lost.

This is easy to understand in conversation and in the abstract; it

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is generally the opposite of what people do when you are actually teaching them, because they are so involved in what they are physically doing that the idea evaporates.

This is where the art is very understandable for me as somebody who paints and draws. My objective as an artist is to become so capable with my skill that my hand does exactly what I tell it to do. The classic statement in art is “drawing what you see.” You have to take it from your eyes through your brain down to your hand, and then express it on that surface. How do I get all of those synaptic pathways out of the way of just drawing what I see? Getting the craft, getting the medium out of the way, so that I can be in a pure relationship—this is what the art is all about.

We understand that martial means warfare. But in martial art, the art is a relationship. That is our medium as martial artists: the relationship with your opponent. That relationship is based on distance and time. Those are essentially your paintbrushes and your colors.

If you do not understand those things, learning techniques is the easy part.

The relationship is why I have had the experience of training with a 90-year-old man who was half my size, who could destroy me without thinking, and be laughing the entire time he was doing it. It was not because he was Superman. In fact, I actually asked him one day, why is it that despite me being in every way superior to you—I am bigger than you and stronger than you, and faster than you, more flexible than you, and have a better endurance than you: every single attribute I have over you—you can eat me for lunch? He said that true martial arts mastery is not about physical attributes you will gain and lose. It is about mastery of distance, time, and position. His mastery of that included in the equation his diminishing capacities.

He factored in the fact that he was not as strong or flexible anymore; as long as he can masterfully factor them into the equation, it does not mean that he has to be lesser than somebody who has all those attributes over him. It is not about testing your mettle.

Getting Rid of Styles and Methods I have taught a lot of aikido people. I have tried to teach them the

notion of removing their art, of getting rid of that thing between them and their opponent. This is what Bruce Lee talked about— getting it all out of your way. I do not want to be a Wing-man or kali-man or aikido-man: I just want to be in this pure relationship with nothing in the way. As an artist, I do not think about my paintbrush or my pencil, I just think of getting that expression down.

A lot of people will read or listen to Bruce Lee talking about the idea of expressing an individual soul. They just think he is off in la-la land talking about New Age ideas. But that is exactly what he was talking about: he was all about getting rid of the medium in essence, and getting rid of the styles, the methodologies, and all that—just having a pure and direct relationship with the opponent. It is easy for us to talk about, and it is easy for us to intellectually understand, but to physically do it actually takes a lot of training. It is not training to accumulate more information. It is a getting rid of. It is a sloughing off of all of these things that impede you. When Bruce first saw the Filipino Martial Arts, he said, hey, that

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is JKD. He saw that what they were doing was a pure relationship.

We had the occasion to use a radar gun at one point. My teacher was 87 at the time and we clocked his stick at 135 miles an hour. This is just going to bang you into a bag of talcum powder; he is just going to turn bone into dust at that speed and you certainly cannot see it. I can do a shot in front of your face at half that speed, and your eye cannot see the weapon. All you are seeing is retinal retention; you are seeing a memory in your retina, but you are not actually seeing the weapon. If you are trying to relate to the weapon as you see it, we got news for you: you cannot see it. You cannot use that. That information is of no value. You have to learn how to find a way to relate to that weapon at that speed.

A world-class boxer’s fastest jabs are about 30 miles an hour. I can bring a grandmother in off the street, put a stick in her hand, and she can get the stick to go at 75 miles an hour. The stick is going to do a heck of a lot more damage when it lands than that jab will do.

The kind of actual velocity that

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we deal with in the Filipino Martial Arts is extraordinary. Factoring that into the relationship, to all of our movements, everything changes to deal with that kind of velocity; and I am here using specifically the term velocity because oftentimes people mistake speed for other things, but velocity is velocity, period. What we are talking about is just the velocity of that weapon. Our hands have to move in less time to do things: we have a smaller window, because the weapon is moving so quickly.

Also painted on my wall is “What is the difference between speed, fast, and quick?” Most people will think of them as the same thing, but fast is a factor of velocity; quick is a factor of time. This whole thing about distance and time is so prevalent and so terribly, terribly absent from most martial artists' training. They are thinking more about how to get more flexible, or how to throw this particular kick, or that particular combination, or whatever, than they are actually thinking about how to relate it to their opponent so they can land it effectively. For example, I use an

example from fencing. If you are having a difficult time landing a particular shot, or a particular attack is not working for you, there are four questions that you can ask yourself. The first question is: “Did I choose the right attack?” The second question is: “Did I execute it properly?” And then the last two questions are: “Did I have the right distance?” and “Did I have the right time?” Those are the questions you ask yourself.

On the other side of it, if your opponent is succeeding over and over again with particular technique, and you just cannot solve it, there are four questions you ask yourself. They seem kind of silly—that goes back to stupid simple. First, “What are they doing?” which is a seemingly simple question, but you may not actually know what they are doing and you really have to do some investigative work. “How are they doing it?”: if they are accomplishing something, how are they accomplishing it? Then the big questions for yourself are, “What can I do?” and “Can I do it?”

If you approach your training this way, it informs your practice.

When you go back to your training on your own or with your training partners, you now know what kinds of things you need to develop, and you want to develop that capacity. When you come back to that situation, and you ask yourself, “What can I do?”, “Can I do it?”, the answer should be: “Yes, I can do it.” You are basically doing problem-solving with an opponent. By the way, opponent is a fencing term, “the one who opposes.” It is not really an enemy, or an assailant. The one who opposes you is causing a problem in that problem-solving practice. We can be educated and informed on how to make our own training more efficacious toward developing that skill, rather than just mindlessly pounding on objects and thinking that that is going to lead somewhere.

Constraining Circumstances If I am coming at you with what we call a number one line (a diagonal forehand strike to the upper body), you probably have a couple of answers for that. But if there is someone to my left, who is going to kill you if you move to your right, now

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your answers are going to change, because going there would probably be a mistake. To use a great word from fencing, we have constrained your possibilities because you have only a certain number of viable possibilities that come into play. And if I am in a real military situation—battlefield, warfare— there might be a guy on both sides of me that are going to attack you.

Now you have to consider what weapons they have, which one is closer, which looks more aggressive, which one looks more timid.

Emotional factors and intention come into play, your ability to land an effective shot, to effectively block, or to counter—all of that is part of the relationship of the battle.

It is almost like when we were kids and used to write the ABCs on the yellow paper with the three lines on it, and we had to do the lower- and uppercase. That is the level at which your techniques exist. So rudimentary, so fundamental, that if you do not have that basic ABC ability, you are not going to survive to try any of your interesting tactics anyway. You have to have

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that solid as a rock. Then you go out and start saying, how do I actually solve this problem?

A good analogy is ranking. If I go back to the idea of rank, and I look at it from the standpoint of painting, if I am going to teach you how to paint, I am not going to start teaching you how to express your emotions on day one. What I am probably going to do is explain color theory to you. I am going to teach you how to stretch canvas, what the individual brushes are for, how to use a palette, how to position your colors on it; there are so many different things that go into the craft that you have to learn long before you are ever going to start talking about the art. When you get all of the craft of painting mastered, that is when you become a black belt. You still do not know how to paint. You are just a beginner painter, but now the craft belongs to you, and now you can teach yourself how to paint. That would be a first degree black belt— they are a master of the craft.

Unfortunately, people tend to think that a black belt is an expert, which is the opposite of the truth.

In fact, in most martial arts traditions, if they are using something like a kyu-dan ranking system from the Japanese tradition, you could not actually be teaching until at least third degree black belt. You certainly could not have a school until you are at least a third or even a fifth degree black belt. You would just basically be laughed at by all the other yudansha if you did try to open the school earlier, because they would think you were a sort of a pompous ass. I have, unfortunately, walked into martial arts schools that were run by purple belts. They opened a school and they had 200 students. How are they doing teaching? For me, I of course opened my first martial art school when I was 18 years old.

I had started martial arts when I was a kid, but now, when I look back, I had no business doing that.

I have been teaching ever since and I have certainly learned how to teach. The idea of teaching, and what teaching means to me, has always been very important to me; that was instilled in me by my father when I was a kid. But I would not have wanted to study with me when I was 18.

On the other hand, there is a trend in the Filipino Martial Arts nowadays where you see a lot of people going through all kinds of hoops to get certified as teachers. That is actually kind of sad, because I have met many people who have certification, and they would not be even beginning teachers in my school. Unfortunately, many people will just take money and gift certificates out. I could print up certificates and have 500 certified instructors but I have been teaching for 40 years, and I have just one person that I have promoted to teacher level. But that person can really teach. If I got hit by a bus tomorrow, you could study with him, and you would get a lot of what I taught to him. More importantly, you would also get his infusion into that art, his contribution, which is to me what really marks a teacher from just a guy who is parroting what somebody else told him. In tradition—if you want to call it that, because it is about tribal arts, and not really traditional in that sense—a teacher was not somebody who sought certification. A teacher was someone who distinguished themselves

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as a teacher and it was obvious to everybody that this person should teach. There was no class on how to teach. It just became obvious: this one is going to teach, they clearly know what they are doing.

They have that fire in them to convey this art.

paired with a dagger. It is also designed to be used with two hands, so it does not make sense for you use it with a dagger in your other hand, because you throw away the ability for a double-handed shot. If you did use another “weapon” with it, it would probably be a shield.

For me, it is not only a passion and very fulfilling to teach, but teaching is also the way that I repay the teachers that I started with: passing the art onto others has that service quality I learned as a young martial artist, that I owe my teachers for having taught me. I owe them a debt that money cannot repay. That is a debt that I owe forever. As the students will say, I am the end of the bloodline. The bloodline goes back from me, and then they become the next one in that bloodline, since it is a continuation. I take that very seriously.

It is part of the poetry of the art, if you will. It is what gives it heart and spirit rather than just techniques and technology.

The capa-capa axes are oftentimes used in pairs. If you were not going to use it as a pair, you would use it with a shield. The shield will change the use of the weapon, because it somewhat impedes you with regard to some kinds of strikes. It is still certainly better than getting straight out killed on the battlefield—a shield has a lot of value. The really unique thing about the capa-capa is that it can be used also as a thrusting weapon, as opposed to just an axe due to the way the (convex) blade is designed: you have a point out in the front.

It also has a point coming back, which allows you to do hooking, which can be brutal. As an alternative, you can turn the weapon around in your hand, whereby you can use the blade as a guard for your hand, and you can use it as a stick with a very sharp punyo (butt of the stick).

Filipino Axes Oftentimes, when we see the kampilan, it will be for visual purposes. For an exciting picture it will be paired with a dagger. This is actually less likely to have been the case in battle. A kampilan is a little bit too long to use as a blade that is

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For many years, my training partner was Burton Richardson. We were doing a demo in a college

somewhere. The stage was made of folding tables that were just all lined up and taped together, which is insane in itself, but I was using double axes, capa-capas, and Burton was wielding a staff. We were doing an exercise called numerado where he was feeding me attacks and I was doing counters. We were going slow; I always said to him that there is no reason to go fast as these people have no idea what they are looking at—there is no reason for us to risk our lives. We were going with what to the audience looked fast, but to us was just moderate speed.

I did a technique where I parried the staff and was basically decapitating him. I put the blade right to his throat, and, as he moved past me, I pulled the blade and the back point of my blade caught his shirt collar, making this terrible ripping sound. The whole audience just about died in their seats. We have it on video, it is pretty hilarious—I laughed about it for a week because it really made the show. I think either a few seconds before or after that, I was spinning these blades to give it some intablado, which means some show, some visual cinematic effect, and I hacked a big hunk out of a wall, as I went by. I did not even slow down, I just kept going. The audience is

just thinking we were two insane guys on the table. To be honest with you, as I look back on it, that is exactly what we were: we were insane guys because we practiced together all the time.

I was drawn to both of these blades because they are relatively rare in the Philippine martial arts world. The bolos, the kris, the barong—these blades are used a lot and I certainly use those and enjoy training with them. I am tall, so a longer weapon has an appeal to me, and they just have a different flair to them. The capa-capas are quite spectacular weapons to use visually. If you want to excite somebody and show them a portal into the art that invigorates their inner warrior, the capa-capa is pretty hard to beat. It just has a spectacular look to it.

With capa-capa you are dealing with a weapon that is extremely top-heavy. Learning how to move with it, your body movement, and all that changes significantly. You certainly cannot do the kinds of whipping or twirling motions that you can do with a light piece of rattan—you will just rip your arms apart trying. You have to incorporate in a much stronger understanding of inertia. Whereever that weapon is going is where it is

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going to keep going. You cannot suddenly change directions; it is too heavy. You have got to build the da’an, path into your movements (da’an means the path or the route of the weapon). The da’an of the capa-capa is very distinct, because by its weight and its length it has to be larger in its movement. The movement is aesthetically beautiful and terrifying at the same time.

escrima or kali. The two things complement one another. To me, one without the other is a partial training. If you really want to understand even a knife, you want to train with the staff and the spear, you want to have that larger motion that you will then refine to the smaller movement, and then those things all translate into empty-hand skills.

Most people are not going to have a pair of capa-capas in their car. But the beauty of that kind of training is that you bring it back down to even a weapon as small as a Serrada stick, a 18- to 24-inch rattan stick.

The grand movement that we are doing with those bigger blades is the movement that you want to refine into the tighter structure of the stick. When I am teaching the stick and people ask me how I develop that precision, that fluidity in the movement, I point to how I am always going back and forth between these weapons. The grand movements of heavier and longer weapons inform your body mechanics deeply, because you feel it so much better. Then you bring that back down, you tighten it all up, and compact it into that tight structure, which sort of defines

I am referencing geometry and physics in the class all the time, which drives people crazy. They probably thought when they were in their geometry class in high school that they would never ever need it. But it comes up a lot—I will say, I want you to chord the circle here. What does that even mean? I am like, come on, it is third grade geometry. Especially with the capa-capas, and the kampilan to a lesser degree, when you are translating that into a smaller weapons skill, the understanding of the conservation of angular momentum becomes very important; learning how to get that power in that small movement is not just a matter of swinging it like a hammer. There is a tightening arc that increases the velocity of that tip.

Once you see it, and once you feel

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that, it changes the art entirely. It really will, in a lot of ways, define the difference between somebody who is just wielding a stick and an escrimador.

Weapons and Empty Hands An escrimador can take a weapon and do things with it that an average person will not understand, much less be able to repeat. It all comes from that understanding of, not just relationship with the opponent, but in this case, a magnification of the relationship between you and your weapon. It is about learning how to make that weapon be an expression of your hand. The famous saying that we hear that is both true and false is: “Weapons are an extension of the hand.” When I say that it is false is when a martial artist who practices an unarmed skill, say boxing, will add to it the important word just: “Weapons are just an extension of the hand.” Well, if that were true, then I could put a stick in a boxer’s hand and they would be really good with it. This is not the case at all. Actually, the opposite is true: empty-hand techniques are an extension of the weapon, if you understand the use of the weapon.

All real martial arts and arts that have been used in war are derived from weapons. The empty-hand skills in Japanese martial arts all come from the sword, the yari, the tanto, and so forth. Muay Thai comes certainly from the double swords of krabi krabong. Western boxing, as we know it today, comes from the double-knife fighting art from the Philippines. It is not like the old Little John L. Sullivan days— it changed when the American marines and navy brought back that art. If you look in the early 1900s, of all the lightweight and flyweight weight classes, you will see lots of Filipino champions. It is nowadays referred to as pinoy boxing. Manny Pacquiao is definitely doing what we call panantukan or santukan, which is Filipino boxing. It is all from the double knife; all of these things come originally from weaponry.

Martial artists forget about this particular methodology. As martial artists, it behooves us to understand weapons as much as, if not more than, we understand our empty-handed techniques. They are the mother of our techniques, they are the birthplace of our empty-hand techniques. To ignore

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them, or to give them just minor lip service in practice with ridiculous, flexible, silly toy weapons and practice all these meaningless copies that have no basis in a real combat relationship with a resisting opponent, is to do yourself a disservice as a martial artist. You are essentially lying to yourself and saying, “I understand weapons.” If you walk into an escrima school, all that self-delusion will come crashing down very rapidly. It does not mean we are going to beat the crap out of you, it just means that you are going to find out really quickly what works and what does not. Most of that stuff that you are practicing for show does not work. The stuff that is really lethal, somebody who does not know what they are doing will not even see it; they will not actually understand what you are doing.

The lethality of the art is really hidden within it.

One of the things I liked about the Filipino Martial Arts is the semi-absence of a overwhelming number of names for techniques. They spend almost zero time talking about individual names of techniques, because you do not teach techniques individually—you teach them in groups, you teach them in families.

For example, I can show you probably 150 variations of a vine disarm

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(where you place your stick on the opponent’s arm). But all of them would be a vine disarm. You do not have to carry 150 names around in your memory all the time. Once you understand the principle, you will immediately recognize, or you will say that is a vine disarm. There are a lot of different variations, a huge number. It is the same thing with snake disarms (where your hand entangles the opponent’s weapon hand): there are a huge number of variations. There are also a huge number of counters to vine disarms, and a huge number of counters to the counters to vine disarms, and it goes on and on.

That is where the relation part of it comes from the understanding.

You will probably understand what I mean by the word proxemics—relational position, the understanding of how to put my body in exactly the right place. Your really cool technique is meaningless, if you cannot apply it to me because of my position. To me, this is where the art, the physical doing of the art, really lives. The individual techniques—how boring is doing just a number one strike over and over again? Although, I have to tell you, that when I was training with my old teacher, I went to his house. He had what he thought was a privacy fence, because he was

just 4'11'' and I could see over the fence. I am a little bit early, and I can hear him training. He has got an old tire hung on his fence. Mind you, he had been training since he was five; he had been training for 80 plus years. I come into the backyard. I set the bag down and asked what he was doing. He said: “I am practicing number one. I do not have it yet.”

At that time, I had been training probably for about 25 years. I thought to myself, “I need to go home and practice. This particular guy, doing it for 80-plus years, he says he has to practice, he does not have it yet.” It really did help me to put a lot of things in perspective, because—especially as a young man—you tend to think that, well, at a certain point, I will just have this. That is not the case.

I am still learning how to draw, I am still learning how to paint, I am still learning how to speak English.

When it comes to speaking, I still want to be able to express myself more eloquently and more fully, be essentially unimpeded by the language, so I can get my thoughts and my ideas across in a way that the other person understands.

Teaching Yourself Universal principles allow you to build relevant equations. When

you learn how to work with them, and then how to train them, you can keep expanding on them yourself. One of my teachers said something that blew my mind. He said that if you understand how to approach this art, this art will teach itself to you. If you understand the principles of it, you do not need to have teachers. The art is based in common sense, so you will know what to do. Teachers, rather than being storehouses of information or lexicons as we are oftentimes referred to, instead of being that, we become suggesters and pointers. What about this? Have you thought of this, and have you considered that? No one else can really teach this art. You have to teach this art to yourself.

It is just like my teachers who I learned illustration from; they did not teach me how to do it. They taught me how to teach myself how to do it. They were providers of that, and they were also inspirations; they themselves were terrific illustrators. I hope that I can be somebody who illuminates the art in a way that makes them not only excited about the technology, but also wanting to learn—essentially aspire to move as well as I do, or whoever is teaching.

- Mark Mikita

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*The following article is an edited transcription of the Stickmata Talks interview conducted

by Mahipal Lunia as part of The Immersion Foundation's Stickmata Lab (2019). To listen to the origianl interview, visit: https://soundcloud.com/theimmersionfoundation/sets/stickmata.

SUMBRADA AND CUENTADA INTERVIEW #2 WITH Mark Mikita

Introducing Sumbrada SUMBRADA IS SOMETIMES called one of the pillars of Filipino Martial Arts (FMA). It can be considered both a drill and an idea. I think that the idea of sumbrada is in many ways the guiding force of it. Many people get stuck in this imprisoning little drill that they were taught as beginners, and not realize that this is a much bigger thing than what they were originally taught.

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An analogy for sumbrada is volleying a tennis ball back and forth, with the idea of just getting the ball going and to see it coming in. The idea in sumbrada, more important than the drill, is that we are learning to see the stick coming in at us; we have to see it coming from every possible angle. Therefore, if we stick to any kind of a set program, then we are going to only see set attacks coming at us—which is contrary to the whole idea of the drill. So, the drill has to lend itself

back to that idea of learning to see things in a completely random fashion and covering every possible angle, including what we call both the northern and the southern hemispheres and going all the way down to getting the feet at the ankles.

Sumbrada is a back-and-forth, although it does not have to be just that: it can be two for two, three for three, five for five—there are innumerable ways that you can modify the exercise around its main idea, just like exercises in the gym. You can compress it, expand

it, or focus it so that you can work on specific ideas.

Sumbrada is not just, for example, a six-count pattern, which is a very common variation of it; there are also at least 10-count and 12-count versions. As one keeps checking the limitations that specific attacks create, patterns are going to arise as there are only so many things we can do with our arms and legs. But the idea is to not see patterns; rather, the idea is to be able to utilize patterns towards growth, towards expanding our understanding—we should not be imprisoned in and by the pattern.

Teaching Sumbrada If you go way back to most of the present generation’s exposure to the art in the U.S., it took place probably sometime from the late 1970s to early 1990s. Many of those people were exposed to it through seminars. When you are trying to illuminate the idea of sumbrada to 40 or 50 people in a seminar, it is not that easy to really get the idea across. Training person to person I could pull you into the flow, sort of throw you into the deep end and let you feel the flow, and then show you what sumbrada is all about. Doing that with a big group is not only next to impossible, it is also dangerous.

We always have to think about safety. So, to teach sumbrada to a group, I can say, “Okay, let’s use the six-count pattern as a way of exposing you to the idea”: from the number one angle, followed by an inside sweep to Number Four angle, followed by, more often than not, a drop-stick, followed by a number one angle again, and then either high inside wing or a roof block. Then they will repeat the drill as it just flips from one side to the other. In and of itself, that is not necessarily a bad thing.

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The problem is that, for a huge swath of people out there, that is all that it is. If there is anything more to it, they add variations or progressions, or they will do a disarm here, a disarm there, they will change a check this or that way.

They are not realizing that they are just barely scratching the surface.

They get stuck in that pattern.

More often than not, when I go to seminars, the first wall that I run into is this misguided understanding of sumbrada and I basically just have to take a wrecking ball and smash it into smithereens, and start from scratch. Most people will appreciate it, because when they see what it really is, they realize that it is so much more than what they thought. However, there are many people out there who do not want to take the blinders off.

When I teach people, the very first and foremost thing is always safety. I want you to get up to where the stick impacts are fairly rapid, fast, but that should be no more dangerous than doing it at a slower pace or speed—if you understand how to do it.

It is just that getting that understanding across is a chore. A lot of things start to happen uncon-

sciously; people start to adjust, thinking that they are making a technique more safe by no longer aiming at the actual target, but at some arbitrary point in space.

Now I have no idea where you are hitting, because you have not given me the coordinates of this arbitrary point. It is much easier and safer for me, if you just aim at me, because I know me, and I can block techniques that are coming at me.

But if it is some arbitrary target, that becomes more difficult. It also means that I am practicing defending against a technique that will never be thrown at me in reality.

This is destructive to the purpose of the drill, which is to teach me to perceive, and to angle my body and my weapon correctly, so I can block a real attack. Practicing essentially non-attacks is poisonous to the drill.

In the very beginning, for the first two weeks, I will remove thrusting techniques from the drill—not because thrusts are not a good idea, but because thrusts tend only to encourage and solidify bad habits.

We will start thrusting right after they understand the way to do thrusting: a) to keep it safe, and b) in a way that actually is a real ballistic technique for the person to

have to deal with. So, thrusts are out initially.

I will also initially remove the southern hemisphere, because there is plenty of complexity in the northern hemisphere to be almost completely overwhelmed by in the beginning. I am essentially cutting down the complexity so that they can get the idea. As soon as they dissolve this whole idea of there being a separation between the northern and southern hemisphere, we will start including low shots, and we will start infusing the thrust.

After that, it is all about the singular relationship. The only really important relationship within sumbrada that actually matters within the larger framework: how the point of your stick relates to the point of your opponent’s. It is not necessarily about whether it is pointing upward or pointing downward; it is only whether or not is up or down in relation to your opponent’s point. It is about understanding that, and understanding a principle called lines, which is a principle in fencing. If you understand those two things, we can actually start running in the drill.

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Then we can bring in cadena de mano, the flow of the hands, when everything is flowing, and now we can actually learn. We have got to get rid of the mechanicalness almost immediately as it really does change the way that strikes are thrown: there is no solid ending then a solid beginning, but each technique is the end of one technique, is the beginning of the next segment, links in a chain. If you do the links separately, you are really not doing sumbrada. You got to do it with the flow that is happening almost immediately.

When I start throwing shots, not necessarily fast, but at a realistic timing, you will find them very difficult to block in the way that you have been taught the block. That is almost assuredly based on the principle: I attack and then you attack, and then I attack and you attack again. If you are thinking about drumming terms, that would be “one-and-two-and-three,” whereas I just go like “one-two-three.” The shot is coming so immediately, so directly after the counter that you have next to zero time to do any intermediate action before you block. That is what is going to start constraining and compressing the

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drill and you begin to understand how you move based on what you can do, not what you might be able to do. What you can do is very limited and you learn how to do that in an effective way.

You have the right distance, the right time, the right position; all those things start to come into play. I am almost excessively particular about all those little nuances, because they make the difference between life and death in a combative situation. That nuance is almost completely absent in the way that most people are teaching it, unfortunately. That is certainly not their fault as they did not study it from somebody who knew those details. The way the art is taught, it is to not explore it yourself, not to find out for yourself, to always rely on the system, the method, the style. It is supposed to be done in a certain X-way, and to not question that.

I have never been that guy. I have always been the kind of guy that questions everything—but not in a disrespectful way. All this is information that I am devoting myself to: I want to make certain it really works. That is not necessarily just about going out and testing

it; If you do not understand how it was supposed to be done in the first place, going out and throwing it into the crucible of sparring will probably just show you that it does not work. You need to understand how and why you would do it the way it was shown to you.

If you do not, you can either ask your teacher, or—in case they do not know—hope that your teacher will know what the limitations of their knowledge are and that they will join you in seeking out the answers to those questions.

Good luck on that, unfortunately.

The martial arts world is not full of teachers who are open-minded in that regard.

The Safety Net in Sumbrada In sumbrada, there is a safety net that I teach. Going slow, in and of itself, is very much safer than going fast. But we want to get this drill up to sprinting speed, and you cannot learn how to sprint by jogging. Nobody is going to be fighting for their life at jogging speed— it is going to be explosively fast, and the responses are going to be as well. We need to make that the norm. Therefore we need to make that as safe as going slow.

There are several different pieces of the safety net. Just note that these things will be discarded as you become more skillful, and you no longer need them. The first thing we would use is rhythm. If we set a rhythm, we know not only how you are attacking because we can perceive that with our eyes, but we also know when you are going to attack, because you are sticking to a rhythm.

Secondly, strangely enough, aiming at the real targets is actually safer than not aiming at the real targets. If you are not aiming at real targets, you might as well just go and watch television—you are just making yourself progressively worse as you go along. If you are aiming at a certain target, you must also have the correct distance to actually effectively strike that target. The distance has to be true.

So, we have rhythm, we have correct distance to aim at real targets.

Beyond that, we start looking at the way checking is initially taught. In sumbrada there are many different approaches to this. You could think of it in as a staircase, where you can keep adding complexities.

The very first teaching is to basically make connection on the op-

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ponent’s hand. Then, literally in the very beginning of your own strike, you release the check. The only reason you are doing that is to allow the other person to block so that you can keep the ball going back and forth over the net.

Combatively, why would I ever release the check? I would hold on to the hand, and then I would have to teach you how to counter that— that would be a more advanced level. In the very beginning, it is I block, I check, I release my check because I strike a new blow, you check, you release your check as you strike, and so on. However, the moment that the check is released has to be exactly on time, because both late and early can be exploited against you by the other person.

It also destroys the flow when the whole idea is to get that ball volleying very quickly back and forth.

There are a few elements of the safety net that are more subtle and difficult to explain without showing them with an opponent. If you do not adhere to the safety net, people will not want to do sumbrada, because they will just keep getting bashed knuckles, as they are not blocking correctly because the person is not attacking correctly.

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It becomes just arbitrarily chasing the stick around in the air and that becomes very dangerous. There is a saying in Filipino Martial Arts: “The weapon does not forgive you for making mistakes.”

The safety net is about not making training mistakes. Sumbrada is not fighting, let us not make fantasies of it. Sumbrada is an exercise to develop perception, timing, and so on. It is like a foil in fencing: the foil was never intended as a weapon. It is a training tool that emphasizes certain aspects of fencing toward developing rapier skills, but in and of itself, is almost useless as a weapon. The blade is too flexible and the guard is meaninglessly small. It is specific tool for one purpose. Sumbrada is the same: it is an exercise towards a goal. For example, you cannot win in sumbrada. If you are winning, you do not understand the drill: if we are going back and forth in volleying terms, how am I winning?

Levels and Complexity in Sumbrada Let us say there are 20 steps in a flight of stairs. Apart from the possibility that you have a heart condition or some other ailment, the 20th step, or the 15th step is no more difficult than the first step. It

is just another step. The way to try to add more complexity, or more details to the drill should be right at the beginning; we go back to the very first idea that this is not a patterned exercise.

Patterns will arise. That is natural, and you want to exploit those patterns and to do everything within that pattern correctly. Using primary, secondary, and tertiary strikes1 will allow you options to break out of that pattern so that you are not stuck in it. You can come back with many different responses as opposed to the patterned response, which is detrimental to your growth.

One of the ways I was taught by one of my teachers was that you have stage one sumbrada that was always just one for one, using single intermediate-length sticks, and checks are released on the beginning of your strike. This is the click, click, click, kind of a thing. Stage two sumbrada, the way I was taught, was probably the most unique of all of them: there was no stick contact at all as it was more about a blade. You slash the 1 Each block position has multiple options for the counterstrike.

arm, you slash the body, and never make contact stick to stick. You are working on your left hand, what we sometimes call the thief-hand.

The weapon-hand is the hunter, and the left hand is the thief. The thief is going out, and countering, checking, and nullifying attacks, while the primary weapon is attacking.

After that you are going to do multiple attacks with the primary weapon. More often than not, I might say, okay, I will do the multiple attacks and you will stick with the basic drill, so that it does not just instantaneously become a mess. I might add a knife to it, using stick and a knife, and call this stage four. Here, I might add multiple attacks with the primary weapon or with a knife or just going to start attacking with a knife. Then we can go to stage five, and say, okay, we can now both do multiple attacks. Stage six: what if the person is trying to grab your weapon, how do we counter that? You can just keep adding. You could say, you can add disarms. Now, you can add counter-disarm to get counter-checking. It just becomes more.

As easy it is for me to say that the tenth step is no more difficult than

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the first step—and, once you understand, that is true—the problem with this approach is that people get frozen if I say, here is the basic one-for-one sumbrada, and now I want you to add multiple hits. It is like throwing a giant wrecking ball through that first drill, and the whole drill will fall apart. It is like they have to re-learn a whole new version of the drill. Then you add another thing, and that just changes it all over again.

In one system that I studied, the tenth stage of sumbrada was the inclusion of everything, meaning you could add kicks and punches, you could add punyo (butt of the stick) strikes, you could strike with the elbows, do headbutts, you could trap, you could lock, chokes, and grapple with the stick—everything. I cannot think of one person in that method I was studying who ever was practicing stage ten. They just were not doing it.

If I asked most people whom I have trained with, and who have trained with the same teachers, to show me, 40 years later, stage nine sumbrada, they cannot actually do it. It is because they do not actually go and practice it that way. It just becomes so complex, and so focused on the how-tos, that if I change anything, if I deviate from the patterns, the person will just fall apart, and their art will be useless. This exposes a problem with that approach: should I not be able to always throw wrenches at you, and have you always be able to adapt to it? Is not that what the art is supposed to be? It should not be that any change creates havoc; they should be easily absorbed, because you can just flow with it.

That would be the ideal.

Would you not think that that is what we are supposed to be doing all the time? Instead of it becoming just steps that are no more or less difficult, it became a box on your shoulders, just piling stuff up on you, becoming so burdensome that people just would not do it and instead went back to lighter stages. You would see that six-count pattern, and people were rocking and rolling at that box pattern. It seems, feels, and looks really cool.

Yet, it is garbage that does not lead anywhere.

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What I wanted to do, as I studied with so many different teachers, was to see if I could flip the box over and start at stage ten. Instead of starting at stage one, I started at everything. No checking without counter-checking, no disarming

without counter-disarming, and no striking without counter-striking—everything is countered. Everything is countering all the time.

As you hear me say all the time, “always be attacking.” Everything is about attack.

That sounds overwhelming to most people, but I can start right there day one with you and show you how to do that in a way that does not get imprisoned in a pattern. There are so many possibilities that it would be impossible for you to remember a pattern anyway.

Rather, you should start thinking of it in terms of a conversation.

Even in our scholastic education, we tend not to do the goal of what we are learning how to do. In language learning, we just tend to do sentence structures. We read literature; we look at excellent sentences, ideas, and expressions.

We do not learn about expressing ourselves, and then taking apart how we expressed ourselves to see whether we really did it as fully and as completely as we wanted to.

That is not how English is taught.

However, that is exactly the way we want to teach escrima: we want to get people conversant, not memorizing sentences.

Most people approach this art as if they had pre-rehearsed sentences and they were just waiting for the right moment to do their really cool techniques. Some of them can be magically cool and choreographed very well, but, as soon as you change any little nuance—an elbow position, an arm position, or torque of the shoulder—the technique falls apart. That just exposes the uselessness of practicing that way.

What I want to be as an escrimador is a tremendously skilled conversationalist, somebody who can adapt and flow no matter what you do.

I can go and work with somebody who is a master or grandmaster level, and easily adapt to what they are doing, flow with them, counter them, or disarm them. There really are only two arms and two legs, so there is a huge amount of predictability, simply because the opponent on the other side of that equation is human. I know their arms are tethered to the shoulders, I know they cannot pass through solid objects, I know they cannot fly. There is a whole bunch of parameters that both of us are inhibited by, so I know what they are capable of doing.

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While I do not follow the idea of teaching stages, I will sometimes isolate some piece of the drill and explore it. For example, isolating counter-checking just shows you that the hard part of doing that is not the counter-check. The hard part of doing that is the prison the previous form of the drill has created around you. You have to break out of that prison to do it. That is why it is actually more intelligent in the long run to teach it without any form whatsoever. We are, in a sense, obviously talking about Jeet Kune Do philosophy. From what I understand from studying with Dan Inosanto, he actually said that when Bruce Lee first saw escrima, he saw it as JKD, because they were doing exactly what he was talking about: just going with the flow and being able to adapt in the moment.

The reason why some see that form of training as a nightmare is because it does not provide security, which many people are looking for. If I know it, and you do not know, I can sort of stand up on my box and say, I have the knowledge and you can come to me, I can give you the knowledge, a certificate, and all this other hogwash. Rather, it is about conversation. Would you really be impressed, if I had a certificate on my wall that said I am certified in conversation? It is

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stupid on a certain level. But that is what the art is supposed to be.

It is about being able to be conversant, to adapt and flow and express my own ideas. Since a combative conversation is, in essence, an argument, I want to win. It is obviously metaphorical, but I want to express my ideas eloquently enough and forcefully enough, as-

sertively enough so that I actually change your mind. In this case, it would be by bludgeoning your mind out of your brain case. But the idea is the same. Having a system is very alluring. I do understand why people like it. But in the long run, what you are is a product of the system.

You can do your really cool system-training that looks fantastic.

It is really impressive, unless you understand that what they are doing is an exercise. It is pre-rehearsed, and it is choreographed.

They all know the choreography, and they have rehearsed it endlessly, sometimes for decades. So, it is really not that impressive that they are good at the choreography. But change it: have them switch the weapon over to the left hand and fight to see if they can apply any of their knowledge. Or just bring in another guy who knows a different method, and he is just going to try to take your weapon away from you. Can you make your system work?

When people say they have a system, I actually challenge the whole notion. No, you do not. You have a whole conglomeration of techniques that either one guy or a group of guys decided that they like. You can actually spell out a system. When you talk about a computer system, it is very clearly delineable, you can look at it. Compare that to a martial arts system: they are just deciding they like this block, compared to that block, or this range compared to that range.

That is just a preference, a collection of preferences. It is not a system.

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The seminar form of teaching sumbrada is problematic because it is a devolution in the art. If I am teaching yoga and I teach 100 things, you study my 100 things. For your body type, for your energy, or your personality, only 80 of those things really fit you well. The other 20 of them are more about me than they are about you. If you turn around and you now teach those 80 things, you see the problem, because the next guy might like 60 of those things, and the art just diminishes.

As a teacher, it is not just about parroting your instructor and being able to stand up on the box and have people go, “Uh-ah, you are the guru.” Teaching is a gigantic responsibility. On the level of the art alone, if I teach you 100 things, you should not only teach all 100 of those things, but you should, through your own exploration and your own innovations, add 20 things so that you now turn around and teach 120 things. If the next person teaches 140 things, the art should grow and expand in its beauty and its vastness. It should not be a devolution.

By virtue of the fact that you are studying a very huge exercise and idea in a seminar format and walk-

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ing away, and you turn around and say, “Let me teach this to you,” you are teaching not 80 things—you are teaching two things out of a million things. And then that person turns around from your two things, and they teach one and a half of those things, and the art just deteriorates over to nothing.

I cannot tell you how many times I have been face to face with different instructors from this or that system, saying “do sumbrada with me” and they are doing the seminar, six-count, garbage sumbrada.

They have no concept, no idea of what they are doing. As soon as I start to actually show them the real drill, they will say that I am doing it wrong and that I do not understand the correct drill, I should not be throwing this angle or that angle, and so on. They have no idea that they are just basically repeating the same six-word sentence over and over again, and thinking that that is a conversation.

There is this notion of, “Well, my instructor learned from so and so.”

If you play basketball with Michael Jordan, it does not mean you can do anything with the basketball. Who you studied with is really immaterial. It is about how much personal

research you yourself have done, and how much of the art you have found for yourself through your own efforts. I would never do this, but if I would sign a little piece of paper that said you are certified, it does not mean you have anything to offer a student at all. In fact, I would question it right away. The worst thing you could ever do is come to my school, show me a certificate, and tell me you are certified. I will just kind of snicker.

Especially in the Filipino Martial Arts, certification is a recent thing, not the old way. The old way was that the teacher distinguished himself, showed himself to be a teacher. It was really obvious to everybody, that he should be teaching: he really has it, he not only sees it, but can see it through other people’s eyes and show it to them the way it should be taught to them. That is what a teacher is.

It is not just somebody who parrots people. I have actually seen people who studied with particular instructors, and when they teach, I can hear that other instructor’s voice. They are literally using their phraseology, their intonation to speak just like their teacher. It is horrible.

Unfortunately, the unknowing student who walks in the door does not know that, and thinks: “Wow, this guy is great. He has all the certificates and all these huuhaa over the walls.” It is meaningless. If you walk into my school, you will see lots of history, lots of culture, lots of weapons; you will not see any certificates anywhere.

I always say this: come and touch hands with me. I am not challenging anybody; I mean, come feel it, let me show you my art, and you will know that I am a teacher; you will know that I understand this.

Then listen to me and ask me a question. See if I can either answer it, or if I do not know it, we will find out. I think it is an extremely important thing, too, that I find where I have reached the limit of my understanding, and let us go find that out together.

If you meet a teacher who gives you the impression that they have the answers to everything: turn around and run! They just do not.

I have studied with guys who are truly world-famous and a lot of what they were doing was junk, and they did not know what they are talking about. They did things that I admonished my student

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teachers about. The first rule is: do not fill in the blanks with bullshit.

If you do not know something, come to me and find out, or go and find out yourself. Your responsibility to that student is never to fill in the blanks with bullshit and leave them walking away thinking: “Oh, this is bullshit but the instructor says it is truth,” because again, you have a tremendous responsibility as a teacher.

I know very famous teachers who do exactly that: fill in the blanks with bullshit. For example, they talk about arts they have never studied. I studied fencing for over 20 years and have a very strong base of knowledge. I have talked to escrima instructors who start using fencing terms, and all of their terms are incorrect. Just pick up a book on fencing, the information is out there. It is not like you have to go and study for 20 years, but at least take the responsibility of being a teacher and disseminate the information correctly. I am very much into teaching anatomy and the science behind things.

How many times have I heard bogus anatomy terms used in classes, it is ridiculous. These are my pet peeves.

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Introducing Cuentada Cuentada is so simple that it is nearly impossible to explain what it is—it is so simple that most people will not understand it. I cannot really show you cuentada because it is not an exercise that is set in stone that would have a particular choreography. There are people who will reveal the idea of cuentada by teaching a choreographed feeding-counter exercise, but still, that is not cuentada they are showing you. They are basically showing what to look for when you embark on your own personal search for what cuentada is. Although I cannot directly show it to you, I can give you the feeling. Cuentada, the word just means "accounting" or "keeping track of," or "figuring out by calculating." A good way to think of it as prioritization, but that is only one aspect of it.

I see the tenth stage of sumbrada as cuentada where everything is possible. To teach that, we have to go back to the very first thing I said about safety. If everything is possible, the danger level is exponentially greater. You have to teach people how to practice it. In my school, the way I teach, the first thing we do is we give you safety

awareness, how to be extremely aware of safety. Then we teach you how to train, and only then we teach you how to fight.

If you think that you are going to learn fighting immediately, you are going to get your fingers broken and your teeth knocked out.

The weapon does not allow you to practice in that way; it is just not safe. It would be like two guys going into the garage with fencing masks and rapiers, with no knowledge of fencing, and just going at it. They would kill themselves. You have to learn how to train so that you can actually find the idea. That is the art. Sadly, most instructors do not actually understand that idea of teaching, of training toward fighting. They just want to show you all kinds of cool exercises.

Cuentada is about throwing some ideas at you. I go to strike you as soon as I am in the range to hit you. You parry. The only reason you parry is because if you do not parry, you will be struck. As soon as you parry, you are not attacking me. So, for a little blink, a little moment, your weapon is just doing a defensive action, which is why I can immediately reach out and seize it while you are blocking.

Now I have your weapon in my hand and I am also in range to hit you. So, you have two thoughts: you have to get your weapon back, and you have to not get crushed by my weapon. How do you prioritize?

In this conversation, I cannot answer that question, because I have to see and feel the actual incident with you. But you would know right away, which one you could do, and which one you could not do. That is really the essence: the necessity-is-the-mother-of-all-invention aspect is what really teaches you how to do cuentada. It is prioritization, based on: “Duh, here comes the weapon.” It is not going to be some stylistic thing: “In our system, we do this”—that is junk.

If you want to understand someone in a fight, you have to forget about what we are doing: stop thinking “Philippine,” stop thinking “rattan,” stop thinking “martial arts.” As soon as you let go of these, you actually start making really intelligent choices. It is really not that complicated to know where to put your weapon. Physics and all of that will become very, very accessible to you in a very

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short amount of time. We want to base everything we are doing on simple principles of time and distance. In other words, in physics, not on stylistic or cultural choices—those things are sort of time capsules.

strip your weapon off, and move it away from me, you may not be able to defend against my shot when it comes. So, you will probably want to strip your weapon off and put it in a position where you can now block.

We can go and look at how this particular group or that particular system solved a certain problem.

Their genius of solving a problem can be really valuable to us, because we can take that and we can apply that problem-solving idea to this present problem, rather than trying to do things the way somebody else did them before, as that is an impediment to the conversation. It is like me sitting here trying to say a really cool sentence that I heard last week. Well, I stopped listening to you and I just wait for an opening so that I can say my cool sentence.

That is how most martial arts are taught and that is the problem. I want to be thinking and conversing. For example, I have grabbed you, and I am going to hit you with the stick. There is a whole bunch of things you could do. You could just move away from my weapon, distance being time. If you move to one side, you have added a little blink of time. Now you might be able to strip your weapon off. If you

If you have a little bit more time, it would be even more intelligent to strip it away and force me to block by attacking me before I had the chance to attack you. Again, if I can always take the offensive initiative, that would be better. I can also start entangling, trapping both weapons by not letting go when you go to strip my hand off your stick. I have innumerable counters to prevent you from being able to do that. I can also switch my grip while you are doing it. So, you now have a different problem you have to recognize and solve. These all add time.

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Look at a boxer at the end of twelve rounds. He has practiced covering and shifting and moving, but he is still covered with bruises because he gets hit. With a weapon, we just cannot take shots; we cannot hit you in the eye socket or smack you in the teeth with the stick, and have you be happy at the end of the lesson.

To teach this, we have to understand what spiking is, and eliminate it. Spiking is an unnecessary increase or decrease in speed or resistance. You know how awful it is to practice with somebody who, while you are practicing a disarm, they just let go of the stick. That would be a negative spike. Not only would it make your disarm kind of stupid, but it could also get somebody hurt, because you might end up knocking your or their teeth out, hit somebody else’s feet, or break your windows.

Negative spikes are obviously dangerous, but what about positive spikes? Think of it this way: if you and I are fighting for real, and I am going 100 percent, you are going a 100 percent. How do we spike?

How can we go more than 100 percent? We cannot. So, if we are going to practice this, we can bring it down from a 100 percent and go all the way down to two. You can practice and go fast at two percent.

Keep it really light, really easy.

I want to compress this into your subconscious mind. I do not want you to be thinking about it. Just like in a conversation you do not have to actually compose sentences in your mind and write them out

when you talk. I want to have that fluidity, that flow happening: start very light, gently, keep the energy really low and get rid of all the spiking. Spikes just make things more dangerous.

Winning in Cuentada One thing that separates the idea of cuentada from sumbrada is that I can win in cuentada. My objective is to completely dominate you, take you apart, and get to checkmate as quickly as possible. I am going to counter everything you do to counter what I am doing; everything is countering all the time.

What this requires, more than anything else, is complete presence.

You cannot blink in your mind at all, you cannot be distracted, you cannot think about anything else.

You have to be 100 percent in the moment.

In a lot of ways it is meditation. It is meditation in its purest form because as soon as you are not present, you know it. It is not falling asleep while trying to be focused.

That can happen when you are sitting and meditation takes a long time. In cuentada, you find out really quickly if you are not present.

It really is about keeping your eyes open.

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Metaphorically, you are always on, you are always awake. That is not easy. For most people, that is where they falter and fail. One of my teachers used to say that a good way to look at most opponents is that their mind blinks. If you learn how to perceive that, you will see when they have, for a moment, their eyes closed in their awareness. Just take them apart then and they will never know what you did.

I can do that in kickboxing, I can do that in anything. It is something I have explored for decades, but in cuentada it is really revealed as it is extremely obvious. That is really the key to doing it well.

The beauty of cuentada done that way is that it is a very educational and revealing test of skill. You and I can actually, with friendliness and love of one another as martial artists, compete with each other and find out who is better—that is, if you do cuentada correctly by not spiking, and not disregarding whatever limitations you have decided you are going to apply. For example, we can say we are going to do just stick seizures and attacks, maybe including some lefthand attacks, and we are not going to kick, knee, or headbutt. That

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works if we accept that, if I kick or use a headbutt, now I have broken the exercise. As long as I stay within whatever parameters we have chosen for that exercise, I can beat you with skill, and you can beat me with skill.

It will be the teaching tool for yourself. You can go out and find that you can or cannot do “it.”

This knowledge is power for you and your progress as a martial artist. Sumbrada will also reveal itself much more comprehensively and inspirationally once you realize cuentada. Once you start practicing cuentada, you will go back to sumbrada and understand what it is really for: it teaches certain things that just could not be taught in a different way. Sumbrada is really valuable and this is one of the reasons why—even though it is rife with imprisoning diseases—I still teach it all the time.

You will not be able to get to the level of sophistication that escrima offers, if you disregard the idea of cuentada and all the other drills that lead toward cuentada skill, because all you will be doing is bashing each other. I can give two guys a stick, they can beat the crap out of each other, and they can

call themselves stick fighters. But that is not escrima, and they are not escrimadors. Escrima is fencing and fencing is an art. Fencing is how to take your opponent’s defenses apart and defeat them. It is not just about who hits soonest, or who hits hardest; that is just caveman mentality.

Cuentada and Randori Randori is what Brazilian jiu-jitsu would call rolling. Randori is an idea that can be approached and used many different ways, because it is an exercise, a thing you can do to test yourself. Cuentada is randori. It just allows you to do it in a way where I am going to try to get you and beat you, and to not just exchange with you and look really cool during our choreography, impress the girls, and so on. That is all fine and good when you are twenty. I certainly did it, laid on a bed of nails, that concrete brick block broken on my stomach—I did the whole nine yards.

But if you are really trying to understand the art, can you not only have a conversation and flow with it, and when we walk away, go: “What a great conversation that was!” Can you express ideas? Can you change your mind which is, es-

pecially in this day and age, huge, because most people, when they have a conversation, they are really arguing and being polite when they do it, because neither person ever actually opens themselves up to having their mind changed.

In martial arts, you hear people say the word science all the time. My first reaction is: hogwash. Show me your studies; show me how you have looked at it scientifically.

Probably they have not. But it is a nice idea, and I hope they will look at what it means to look at something scientifically, and then approach the art that way. But if you and I are scientists, the first order of business is that we both are totally open to having our minds changed. If you are not, you are not a scientist. If you are arguing a point, regardless of what I say, you just left the realm of science and entered the realm of religion.

While religion and philosophy come into martial arts with regard to answering perennial questions, martial arts, at its core, are scientific pursuits: let us find out how to make this work. If we are doing that, it means we are doing experimentation. We are keeping records of what we are finding in our ex-

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plorations, we are sharing them with other people, and having them do those same experiments, bringing their results back to us.

We are testing it constantly. Now we are actually studying martial arts. Cuentada is that and I oftentimes refer to cuentada as the apex of escrima. When you are studying this art, you want to get to cuentada as quickly as possible.

The philosophy really comes from Krishnamurti: if you want freedom at the end, you have to have freedom at the beginning. That sounds great and most people would agree with that. But that is not how most people are training. The very first thing that they are doing is that they are eliminating all of your personal impulses, so that you do the art right. There are a couple of reasons why you need to do that, safety being the most obvious one.

But it still begs the question: is it really a good idea to impress on your student a system and a method, a style, whatever you want to call it, with this idea that it is going to lead them to freedom, because the two things are diametrically opposed to one another.

In my own teaching, I start by turning the students’ childlike

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critical thinking abilities back on, because little kids keep asking questions. The first thing I want to do is to strip away all their imprisoning adult behaviors, in a sense to get them back down to that “why, why, why?” questioning. If I do not know the reason why, we will find out. Putting the answers down because of the system or method, that is just the destruction of the art. Instead we begin there, if we first begin with reigniting their curiosity and their wonder.

My favorite thing in the world to do is to practice with beginners, because they have so many wacko “what-ifs.” As much as people aspire to be advanced, they generally aspire to dance within systematized approaches, which means that they are predictable. My experience of practicing with advanced people is that they are boring. I already know what they are going to do before they left the house. That is not martial arts, that is them just taking out their box of little tricks and trying to throw them at me.

Over my 52 years of martial arts I have seen all the boxes of tricks.

They are not going to surprise me.

But the new person who has no tricks whatsoever and is just creat-

ing on the fly, that guy is fantastic to practice with. I love those guys.

really only so many things you can do with two arms and two legs.

Of course, beginners are a little bit more dangerous. I do not really mind that on a certain level, because I want to be right on the edge with regard to training without stepping over it and getting injured. When I personally do cuentada with people—unless I am teaching them how to perceive situations, circumstances, or specific positions—if you are just doing it with me to do it, I will never let you win. I will counter everything you do. If you win, it will be because you got me. I can be gotten. I am not invincible—not at all.

Would it not be bad if, when you did the art with me, a beginner or even an advanced student could easily take me apart? Would not that tell you that maybe the art does not actually lead where we talk about it leading? When I deal with my senior students, while they would destroy everybody, they do not destroy me. The hard part in martial arts is the ego thing. If you learn how to counter an armbar, you will be tapped out by an armbar 1000 times. You have it done to you, so you feel it. You will perceive all the precursors. You will see all the setups. Eventually, they will not be able to get you anymore, because you will have seen it happen so many times.

The purpose of the drill is to test yourself—to put yourself up against that wall and test yourself. When you are just doing it with me, I am going to beat you all the time. There is an old saying: at first you are the nail, then you are the hammer. I am not going to hurt you. I cannot obviously hit you with the weapon with other than light touches, but I am going to make you know that you were had every time. You will eventually get to where you do not get had as often. You will start to perceive all the things I am doing as there are

You just have to do it. But do it against a resisting, thinking, strategizing opponent, not somebody who is doing a pre-rehearsed, preset technique. While preset techniques are a way to reveal the technique to somebody, it is not the art. You have to create the art in the moment; you are not working from memorized information.

If you are grabbed by the throat and slapped in the face, you are

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unable to answer basic questions on familiar topics. You cannot access memorized information, when I put just that little bit of stress on you. Then, if you can feel bad intent, malevolence, and intention to create great bodily injury or death, you are not going to remember jack. It is a false prophet who is telling you that, if you just practice enough, you will be able to access information—hogwash, never going to happen. What you have to do is you have to inoculate yourself against that stress, so that you can actually create the art in the moment, because you have practiced the principles of the art so much that they are always accessible and available to you. In my feeling, you already know this art on the day you walk in. I just have to reveal why you do not know it at this point. That is my job as a teacher: to reveal the cause of your ignorance.

Pursuit Curves Think of two aircrafts pursuing one another. You want to get to the opponent’s six o’clock, or directly behind. In World War II, the aircraft were much closer in a dogfight. You had to get close enough to where you were going to be ef-

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fective. You only had so much ammunition, so you could not just endlessly fire your weapons like you can in a video game. You had to not let him get behind. And you also had to keep your eyes out for other enemies who are on the radio telling him to get behind you.

So you have got a whole bunch of plates to spin, the prioritization that cuentada talks about.

Ultimately, let us say we both have planes that go 450 miles an hour. If I keep going in the same direction with you all the time, you are always going to be exactly the same distance behind me. If, on the other hand, I am trying to deal with that, and I start to fly serpentine back and forth, by virtue of physics and geometry alone, I am now shortening the distance between the two of us. Therefore, you are immediately going to start catching me. Even in the case of only one turn, the pursuer can cut that corner. The pursuer always has the advantage because they can cut corners.

That part of the idea is very important in cuentada, as it is about defeating your opponent. You are never going to use pursuit curve mentality in sumbrada, where the idea is to learn to perceive angles,

not to defeat the opponent. But in cuentada, the absolute objective is to tear that guy to pieces.

The other side of a pursuit curve is that, instead of doing a counter, you attack. For example, I just got a kotegaeshi on you and I would do a wrist rotation on you. This technique can be countered in 20 different specific ways but, while you would do a counter, I would hit you with a hook. Now you would probably have to not just do a different technique, but you have to change the technique entirely to deal with that new problem.

If you understand the art, that is not a problem at all, you just adapt to it. But if you are a beginner who is trying to do your technique, you are just going to get knocked out. The problem is you are doing a memorized skill. The pursuit curve’s idea is to be countering constantly; I am always in a state of countering. I am not seeing an action, a risk, or a danger to myself; I am doing a counter, I am always countering. Every action you do, while you are doing it, I am changing what I am doing. You are having to reach, and it is a pursuit curve there. I am changing it so that there is a continuous state of countering.

This is so easy to show you when I do cuentada with you. It is the primary reason why it is very difficult to catch me at anything. It is because I am not actually doing counters, I am always countering. You will see me do techniques where I hardly hold on to the stick at all. And when you try to disarm me, I can still counter it, and yet I am barely holding it, and you cannot take the stick away from me.

It is not magic. It is because I am changing the circumstance so that what you think is a cool technique actually left a long time ago. You already lost the ability to do that technique, as I was just countering the end result of your technique.

It is very simple. Everything that I am doing that works is the simple stuff. It is not the advanced stuff, the advanced stuff is simple. The simple stuff is the benefit of doing the simple stuff as simply as possible. This is what your practice is for: to eliminate all the extraneous and unnecessary, and do just what is necessary in that moment. It is actually very easy.

If I give you a screwdriver, there is not that much complexity to fix: righty tighty, lefty loosey. It is simple. But if the thing that you

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have to screw is way up here, and you have to get up there—now you have to figure out whether it is this or that way. A little bit of experience will give you the feel of the screw, and the screw will give you the angle. You will start to learn to adapt to that very quickly.

If you have ever seen somebody who was used to framing houses, particularly before they started using nail guns, or if you saw a professional carpenter use a hammer, they will take what is sometimes called six-inch nails, and they will tap it in, and then drive it in one or two hits. For you it might take 10 or 12 hits to do it. That is the difference between a pro and an amateur. This guy has practiced that so many times that he basically never misses that nail, never gets that angle wrong, and can just do it perfectly. It is not that different from what we are trying to do when we are doing martial arts.

That is what sumbrada is for: to give you all possible angles; getting to where you can throw that nail in no matter what is presented to you as a problem.

In the midst of that you have the idea of pursuit curves. It is about how I can make this simpler, sim-

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pler, simpler. If you have to do three things, and I only have to do one, I am always going to win. If you do three and I can do two, I am going to win. It is always about time and distance. If I minimize my actions, if I am doing a pursuit curve, I am beginning my action before you are beginning your action. Even if my action is a three-count action, my first two counts happened before you did your technique, because I am in that curve. I am cutting the corner on you so I can perceive your attacks. I know what the possibilities are. I can start to design my defense, whether it is a particular quadrant or a particular zone, I can start to shut down your options. I will know what you are doing and it will seem almost like magic.

The actual truth is that it is that simple. Humans tend to lean towards sophistication; they add things as opposed to minimizing.

The beauty and the excitement of it is the simplicity of it. My whole thing is about going back to this essence, going back to being conversationalist, and being able to express our own ideas and opinions within the framework of this art. Even the word framework is

problematic, because it in itself is a prison. It is a circle without circumference; it does not actually have a framework. That is why it is so beautiful. I did not come into this conversation with you with a framework of how it was going to talk. Nor did you come with a framework of how you are going to listen, because those are the two sides of the conversation: listening and expressing yourself. That is exactly what we want to do when we do this art.

Cuentada in Systems You see people doing what is called ameral, which is exercising the twirling through the spinning, preset, choreographed drills. That will usually get just laughter from the old guys because they understand that, while you think you are doing the art, you are really not doing it because the essence is missing. You also have a lot of people who, when they went against their teacher, whoever it was, they tried to do his art to them, and they would just easily and methodically take them apart and laugh the whole time they were doing it. My personal feeling is that it was not because they were so much better at what they think the art was. It is because

they understood what the real art was, which is the relationship between you and your opponent: the relationship of distance, time, and point position. They understood that so well, so naturally—like a conversation—that they could just easily take your things apart. They knew what your possibilities were because they had practiced the art with that intention all of their life.

The teachers who used cuentada as part of the name of their art, I know them to be very good at doing cuentada. The beauty of it is that when you are going to study with each one of them, if you understand what cuentada is, it is worth the experience. I want you to be able to express your ideas, your innovations; the beauty of seeing somebody at that level is that you get to actually see how they have solved problems. There is not one way to do it, there are innumerable ways to do it, and you will see it. It will depend on body size. Sometimes the little guys will have a very different feel. They will be very pre-emptive in their techniques, whereas the big guys can just rip the weapon out of your hand. They are very strong, so their art will be different.

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You have to look at them and say, well, what kind of a martial artist am I? What can I borrow and steal from this person and apply to myself, and what does not really apply to me? It takes a lot of self-assessment and honesty with yourself to do this. I seek out the opportunities to study with all those guys and touch hands with them. That is super important: go and feel their art, do not just look at it. Videos are cool, but they are useless on a certain level. You got to feel it, let them do the art with you directly.

Good luck doing that, though.

Sometimes it is very difficult to get a personal one-on-one touchhands situation. You can definitely do that with me. As cuentada is not a thing, it is really not such an easy thing to teach. I think the fact that they reference it and they use the name, is because they understand that it is such an important thing.

It is the apex, it is the peak of what you are trying to do; you are trying to get to where you can, in the ease of a conversation, take your opponent’s defenses apart and defeat them. That is what the art is for.

It is plain and simple. That is what they are leaning their art toward.

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They will teach different methodologies. One teacher taught a particular preset, feeding-counter exercise that we learned. The person who is actually doing more of the cuentada is the person feeding, not the person taking the feed. The person who is feeding is actually doing a lot of cuentada skills, although it is still in a set form. They are just sort of practicing sentences, practicing words that they would use in conversation, but they are not practicing conversation. The beginner who is learning to just take the attacks and defend is just learning foundational skills.

It can become extremely intense and look fantastic. But it is not cuentada, it is a choreographed exercise.

Oftentimes, the language barrier, how they were taught, and so on, will make it so that the teacher never really tells you that what you are learning is actually not cuentada. It is a revelation of cuentada, it is a way for you to see it. If you have the wherewithal as a journeyer, or you are somebody who is journeying through the mountain of martial arts and studying, if you have the mind and the passion and the desire and the dedication, you will

uncover that. Most people never do. Most people wander around aimlessly, they follow methods, they put on the patches, they get their rank, and they have their certificates, and they are great.

They pay the rent in schools and they keep people’s livelihoods. But the people who are actually really studying, they are a much smaller group.

Going back to that idea of science: ask questions, do not be disrespectful, do not be cynical, but definitely be skeptical. Do not poopoo on things just because you do not understand them. A lot of people, for example, will say, “Oh, checking does not work.” Well, I can definitely show you that checking works; I will take you apart with checking like nobody’s business.

The way they learned checking is the beginner level, and then they tried to apply it, and wham, they ran into that giant wall that says: “Beginning checking is beginning checking is not real checking.” So, they made the mistake of presuming a little checking does not work.

That is a methodology problem, a teaching problem. That is not an art problem.

- Mark Mikita

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Ethan Minor @ethan.minor.58

Ethan Minor

THE BANDO STAFF HISTORY AND APPLICATIONS:

PAST & PRESENT SURVIVAL! SURVIVAL IS THE mother of necessity. The internal drive to survive has been an instinctual imperative for both humans and animals throughout history. Through the gift of instinct, humans have discovered myriad ways to ensure their survival and that of their clan. This quest for survival led humans to utilize the natural resources available to

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them to their advantage. The staff, which is just a very nice stick, has been an essential tool for survival since early Homo descended from the trees to the savannas. The ubiquitous stick can dig up roots, finish off wounded animals, and threaten those seeking to harm them.

The stick underwent a re-purposing and discovery of new purposes as early Homo evolved into

big-game hunters, agriculturalists, and empire builders. As far back as the 6th century, people began migrating from the Tibetan-Burmese highlands down into the Ayeyarwady, or as it was known, the Irrawaddy River valley that flows through Myanmar or what used to be called Burma. Here among the farming communities, staves are used today as in the past to dig seed holes. Longer staves had lanyards attached to thresh harvested grain or to take part in innumerable tasks a farmer must do.

The Staff as a Multipurpose Tool Staff use has also been documented on and off the battlefield to serve multiple duties. After a battle, rigging a pair of poles together served as stretchers. Or a pair of staves tied together could act as a travois to transport large amounts of gear. Long poles proved helpful in extending one’s reach. Staves help one ascend or descend steep ravines or traverse chasms or canals by walking on top of the poles or vaulting across them. The modern-day ladder combines parallel poles with multiple smaller dowels connecting them perpendicularly at regular intervals. The ladder, though complex, is still a form of the staff at heart. The use of the staff for walking was once a common sight across the

globe throughout many centuries.

Monks, priests, pilgrims, and other solitary or devout individuals have kept the staff as one of their few possessions during their pilgrimages and travels. These traveling aids served them well against bandits, highwaymen, or wild animals.

Healthcare is an essential piece of any person’s life, ancient or modern. Whether farmer or soldier, the ability to heal oneself or others and return is critical on or off the battlefield. Many cultures worldwide have viewed the staff as a symbol of healing. The first well-documented staff symbolizing a healing tool was representations of the Greek god Hermes.

Hermes carried a staff with two snakes wrapped around it. However, the Caduceus, some claim, goes back to the images of the Sumerian god Ningshizida from the ancient city-state of Lugash. Now it is familiar to all as the symbol of modern Western medicine. The staff ’s practical medical uses include acting as a massage tool to increase blood flow to weary muscles and taxed organs. Traditional massage with a staff strokes such as effleurage, percussion, and kneading, are all improved.

The hardness of the tool allows for deeper penetration and more even weight distribution. The leverage

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provided eases the strain on the person providing the treatment.

Additionally, an arm-sized staff can be used as a roller or poker to help dig into hypertonic muscles and agitated joints, relieving ligament adhesions. When employed in the form of bando yoga known as dhanda, the staff acts as a guide and support to help align the spine and stretch the limbs and trunk of the body beyond their usual capacity. On a more esoteric level, the dhanda represents the spine and is used as a visualization aid to channel prana or ch’i. With all these applications, be they in military or medical contexts, the integration of breath through the staff is essential for allowing the staff to become part of the individual.

Traditional Burmese thought believed everything was alive with a spirit, so removing an object from its habitat removed its connection to its spirit. For this reason, bando practitioners commonly infuse their staves with some of their spirit using breathing patterns, heartbeat synchronization, and other meditation techniques. In this way, the staff becomes a living extension of the person’s body instead of an inanimate object wielded by the practitioner.

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Martial Uses of the Staff The origin of the bando staff lies in the Kingdom of Pagan, the first kingdom to unify the regions that would later constitute modern-day Burma (Myanmar). Originally the kingdom was founded by a collection of Tibeto-Burman-speaking warrior tribes who came down the Irrawaddy River valley alongside soldiers of the Nanzhao Empire that reigned North of the valley in present-day Yunnan. Settling at a place they called Pagan in the 9th century, the small fortified town expanded into one of the major kingdoms of the region.

Over the next two centuries, the Kingdom of Pagan spread and assured the dominance of Burmese ethnicity, language, and culture in the region. As a ruling military elite, the warrior-citizens of Pagan had to maintain their military skills to ensure obedience from the conquered populations. Although the Pagan army relied on swords, spears, and bows and arrows, the staff was also part of their armaments. The staves used by warriors from this part of the world had to be strong and durable when fending off soldiers mounted on horses or elephants, or attacks by trained war dogs.

Choosing the Type and Length of Staff It was essential for soldiers and warriors of ancient times to expertly use the available tools. The versatile, convenient, and readily accessible staff was an obvious choice. Traditionally, each individual had to choose their staff. If one’s life hinged upon a preferred weapon, it must be of sturdy material, something nearly unbreakable and able to bear a considerable weight without losing structural integrity. For this reason, in the United States, the American ironwood tree is a common choice for the bando staff practitioner. Ironwood makes a good staff due to its fibrous nature and dense cellular structure; it tends to fray instead of cracking or splitting. Choosing a staff length is done relative to the size and build of the person intended to wield the staff. A short staff, called a “fist stick,” may be the length of the person’s pinky finger or the distance between a person’s thumb and pinky. An ideal short staff is the length of a person’s arm, and an exemplary middle staff would be the approximate height of the person with their arm extended above their head. A long staff is the height of the person with their arm extended above the head with an additional arm’s

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length. The relative nature of the size of the staff ensured the user would be able to control it for blocking and striking and other effective maneuvers, while at the same time allowing for the tool to be the appropriate size when used for digging, land-clearing, prying, levering, or other practical uses.

The circumference of the staff must also be relative to the relationship to the user’s needs.

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Selection and Preparation of the Staff Once one chooses a suitable branch, one can cut it with care.

Today, handsaws are preferable to chainsaws, which often leave jagged edges and tend to destroy the tree’s bark. The bark is vital for the staff, so bando practitioners prefer to leave as much of the bark intact as possible. When the staff has been

chosen and cut down with care and intention, the user then sets to it with either sandpaper or sandstone to round off and smooth any rough edges, knots, or burrs found on the staff. The practitioner’s hand must slide up and down naturally without any hitches or catches that could create friction points for the user. Natural curvatures in knots are welcome on the bando staff. Natural features such

as these are advantageous to the wielder. A flared bottom at the end of the staff is useful for creating a club. Midpoint knots are useful as an indexing grip so that the user knows precisely where their hand lies along the staff ’s length. Also, some curvature can help create more force and increase the speed of travel through the air. Bando employs a beneficial practice of curing and conditioning weapons.

After sanding the staff smooth, a seasoning product such as linseed oil comes next, with the staff soaking for up to 90 days. The impregnation of the linseed oil into the staff modifies the structure of the molecules and produces an incredibly water-resistant, hard, yet slightly flexible weapon. Staves treated in this manner are often as hard as metal or poles and can bend and flex slightly. They do not shatter or crack upon extreme use.

A final step of coating a staff with polyurethane will ensure that this impregnation and treatment will last for many years of rigorous use.

Staff Lengths The need for different lengths of staves is also important. A smaller version of the staff, which fits into one’s hand, is a fist stick. A fist stick protrudes outside the fist on both ends, often with pointed or hardened tips, and is easily concealable in a pocket or a purse. With the addition of a lanyard, it can become a very powerful, medium-range weapon. Both military and police techniques employ baton or small flashlights by drawing on traditional fist stick techniques. Fist sticks are also convenient for traveling or concealing when openly carrying weaponry is not legal.

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Forearm to arm-size staves are considered short staves as seen in modern-day use as the police baton or riot baton. A staff of this size is suitable for close, hand-tohand combat. Police employ the riot baton for crowd control, and at times to clear streets of rioters or protestors. The medium staff is commonly the height of the practitioner plus the length of their extended arm. The medium staff is the weapon of choice in many bando forms. The use of such a staff combined with nimble footwork, known as “Mandalay,” “Middle Staff,” or “Dissident Son,” permits an effective defense against multiple attackers on uneven or broken-up terrain.

Staff Grips When holding the staff, bando employs three gripping styles; the forward grip positions a great deal of the length of the staff behind the user, the middle grip positions one’s hands on both ends of the staff, and the rear grip positions the majority of the staff in front of the user. In addition to the type of guard one takes up when picking up a staff, the orientation of the hands is also a crucial consideration. One can use an overhand grip with the palms down, an un-

derhand grip with the palms up, or mixed grip with one palm up and one palm down. These grips change according to the user’s needs, moving from front to middle to rear grips and changing through mixed overhand and underhand grips.

Moving rapidly through the gripping variations creates not only an artful flowing movement, as demonstrated in kata, but effective, powerful use of the weapon.

Bando Fighting Technique As a martial system, bando relies on removing oneself away from the line of attack and then supporting this movement with a block or a parry if need be. Since blocks can often generate an incredibly high amount of force, parrying and deflecting is preferable to a hard block or a perpendicular block when one uses the staff to stop an incoming blow. Direct blocks create undue stress on the user and the weapon and are challenging to sustain over long, extended engagements.

Faster, agile movements of dodging and deflecting are preferable due to their sustainable nature, as well as the tendency to create a moment in which parries and deflections leave the opponent open for a counterstrike.

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Striking with the staff targets the lower portions of the body, such as the feet, ankles, and knees, because it is more challenging to defend the lower half of the body.

It is also more difficult to see the strikes coming, as most originate below the attacker’s eye level.

Blows straight to the head, shoulders, arms, chest, and abdomen are employed, though easily deflected or blocked. Strikes such as these need to be set up where the opponent is vulnerable to a strike to the chest, head, abdomen, or worse, the neck.

Stepping is also essential. Bando employs a “trident” stepping pattern, utilizing 45-degree angles to create a tactical advantage. Extended, shuffle, and full steps are used to maneuver oneself into an advantageous angle. Bando schools often have trident or star patterns painted or taped onto the floor and used as guidelines for stepping practice.

Long Staff

Uses of the staff in Bando Practice

The long staff, often between nine and 12 feet in length, is predominantly used for combat. Against mounted targets such as horseman and elephant cavalry, it was exceptionally useful. To be able to withstand the shock of fighting off mounted soldiers, the staff had to be durable yet flexible enough to take out the legs of a galloping animal, due to the force generated from a charging elephant or horse.

Tasked to deal specifically with mounted soldiers, groups of men armed with long staff successfully repelled these attacks. Other times, soldiers outfitted their staves with blades, spikes, or weights.

They proved to be incredibly effective against multiple attackers.

Polearms also proved effective in holding wide swathes of ground due to their reach and power. Adding a hook to a polearm added another weapon, for example, to pull riders from their mounts, remove the stability of the mount’s footing, and grasp or reach for weapons wielded by mounted combatants. It takes an incredible amount of stamina and strength to wield such a large weapon for any long period. Therefore, the training employed by the units utilizing these tools was rigorous and incredibly physically demanding.

Many martial arts systems employ the striking of invisible or “air” targets. Bando is more well known for its hard striking targets such as bricks, concrete blocks, hanging logs, and stones. It is not uncommon for a practitioner to hang a log from two to five feet in length and up to 12 inches in diameter from a chain and use this as a striking pole. The striking pole gives realistic feedback to the user. When one strikes a hard surface, the force generated reverberates back from the target into the user. If one has spent their time practicing striking the air the first time one strikes a real-life opponent, the possibility of the weapon vibrating right out of the user’s control is genuine.

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For this reason, grip strength and hand conditioning are critical to wield a staff weapon in combat realistically. To this end, hours of striking hard targets is required, along with recovery and healing practices to offset the abuse. The person and the staff must be strong enough to withstand the grueling training necessary.

Animal Forms and the Staff In the bando system, there are nine different animal forms. Each of these animal forms has a corresponding staff that is similar or appropriate for the animal to which it is related. For example, the “bull staff ” is traditionally larger, heavier, and denser. The bull practitioner utilizes body locking techniques to generate the magnitude of force uncommon to other animal styles. Another example is the “python staff,” which includes a slightly longer, narrower staff with an attached vine. In modern days, a rope or lanyard is attached to facilitate trapping, grappling, twisting, and pulling techniques.

links breath to the spirit and the universe. The bando stick practitioner seeks to harmonize the disparate elements of existence using the stick as an expression of this harmonization, which occurs through movement and engaging with life’s challenges with a simple yet profound tool provided by nature for the ultimate goal of survival.

- Ethan Minor

A third example is the “scorpion staff,” somewhat shorter in length and circumference yet equipped with a pointed and potentially hardened or even poisoned sharp end. In these examples, the variation of the staff ’s direct relationship to the practitioner’s needs is observable. A profound link connects the nature of the staff to the history of the Burmese people.

Within the grueling practices and vicious combat, a connection also

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Michael Mulconery @michael.mulconery

THE ONE AND THE MANY:

HAWAIIAN TOBOSA SYSTEM Michael Mulconery

“As one thinks, so does one become. You can do anything if you follow through. You should always have confidence in your abilities. No matter how strong you may be, you cannot break barriers with strength alone.

Strength alone is not Kali.”

-Grandmaster Raymond Tobosa

Danlan sa Kasag—The Way of the Crab

THIS ARTICLE IS ABOUT ONE thing and many things. The many-things are the history, foundation, and substance of the onething. For no one-thing stands alone, and every-thing comes from something else. The “one-thing,” which is two-things, because they are inseparable, is the journey of the Tobosa brothers and their founding of the Tobosa School of Arnis-Kali-Escrima. Raymond Tobosa, whom we called Batikan and Teofisto (Toby) Tobosa, whom we called Manoy, founded their discipline after many years of study and

selection of systems of combat, which seemed to them to work together well.

The Tobosa School of Filipino Fencing, as it was called early on, can also be known as Estilo Casag, Estilong ang Kasag, or Danlan sa Kasag. These terms—Crab Style, Swimming Crab Style, and Way of the Crab—are simply shortened into Casag. It is a Filipino/Hawaiian system that was developed, or we could say, “knit together,” by Raymond and Toby Tobosa in Hawaii, over a number of years.

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Raymond Tobosa “Batikan” & Toby Tobosa “Manoy”

Its roots stretch back to 1930 when Raymond Tobosa was six years old.

It was at this age that his father, Maximo, a Filipino immigrant from the Visayan region of the Philippines, began teaching him the rudiments of Filipino martial arts. He taught him a straightforward style called Cinco Tiro, meaning “five hits” or “five shots.” It was a larga mano (“large hand”), more commonly known as “long-range” style of fencing. It used two basic ways of responding to five strikes and angles of attack. When Raymond turned nine, his father began to teach him methods of empty-hand combat.

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From this early beginning, Raymond Tobosa, followed by younger brother Toby, was infused with a passion for martial arts knowledge.

He sought it out, as an artisan who searches for exquisite threads to form an interwoven tapestry. By the mid-1950s, the image of the tapestry began to take shape. So, this project is a brief look at the one-particular-thing, the tapestry of Estilo Casag, and the many-particular-things, the interwoven threads of an art form and system.

From its family beginnings through their father, Maximo Tobosa (18961948), Casag evolved eclectically

within the Hawaiian archipelago and stretched out to the mainland and beyond. The “family” today is predominantly made up of Tobosa’s “adoptees”—those who trained directly under them, bloodline family such as grandson Chaston Tobosa, who calls me his uncle, and others whom we have adopted.

The adoptees, as legitimate family members, make up the wider family, or ohana, of the Tobosa system. It is not like many families who suffer conflict between them and break apart, but it is “ohana” in the Hawaiian spirit of the word.

All of Hawaii, in a particular sense, is like this. When the connection of love, honor, and loyalty is made, one becomes kānaka māori kōhanga, roughly translated as “people of the nest.” It is a distinction which identifies members of a unique community, no matter where the world may have scattered them.

Tobosa arnis-kali-escrima, the Casag system, takes the “ohana” approach.

As noted, the many-particular-things of this article are those things which make up the Casag tapestry. Its many-colored threads and fabrics are sewn together to tell a story. It is not unlike any other story; it is just our story.

From as early as ancient Egypt, tapestries were weaved to serve multiple purposes, not the least of which was as a record of historical events, including the stories of families and individuals. For no tapestry is weaved of only one color, but of multiple colors. Like all families, as they grow, their story grows. As the embroidery of an unfinished tapestry increases, it becomes more than it once was.

Over time, the foundations of the past, the structure of the present, and a vision of the future, all become part of a family’s history. So, we must always look back and give homage to our roots—the first designs in the tapestry.

Casag, as an art form, is very much like Hawaiian culture. Formulated out of the melting pot of immigrant warriors, the Tobosas developed their own approach. In doing so, they preserved many voices that might otherwise have faded into oblivion. It is, in a real sense, an “ohana” of systems brought together by destiny, on a small group of islands in the Pacific. This is the origin and foundation of the Casag system of systems. As with all martial arts systems, Casag cannot be separated from the personalities of its history and the elements which give it a life of its own.

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Five Important Elements Understanding the elements of something helps us to see how its substance is held together. Casag, and really all martial art forms, consists of at least five elements in my evaluation.

These are purpose, system(s), systematics, art, and way. While these concepts flow together in the same background, as though one environment, they are also individual elements in that environment.

These are like the threads I have mentioned and serve to help explain the sort of tapestry involved in a well-rounded martial art.

Purpose: In philosophical terms, all things have a purpose. This notion of purpose is called teleology. The reason for something is also the goal of that thing. It is what it is, and the design itself is purposeful.

Its unique teleology includes an explanation of why it exists, and how it functions. Things, ideas, and methods are all intertwined with their unique purposes. The reason for a physical thing is evident by its design.

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Ideas are non-physical; they are designed within the mind. Unless they are only in one’s mental life, they enter into the physical realm to obtain fruition. The purposes behind ideas are a bit more complex and less obvious than physical things. If ideas are not just part of one’s mental life, they must be articulated to others, so that others can see the “goal” and participate in the means to achieve it.

Methods for achieving a goal vary and are process-oriented. Yet each part of the process is goal-oriented. This achieves that: once we have that, then we do this, etc. If the method is effective then the processes flow as one thing, almost indistinguishable from another.

All things, ideas, and methods possess particular attributes and rationales.

While some folks might not like the notion of everything having a purpose, they are only arguing for some other design. Even if they hold to chaos as being the “way” things are, they realize that chaos

is the “order” of things. In my estimation, purpose undergirds reality and anytime we ignore a thing’s purpose, we run into problems.

Even if we have not discerned everything involved with the purpose, it is ignorant to presume there is none. Better to search for it than to deny it.

As in all things, martial-craft is purposeful. It is the craft-of-war, the trade-of-combat, it is the study of effectively injuring, maiming, and killing an aggressor. It exists because we live in a world of fighting and wars. People want what other people have, and will take it if they are permitted. The purpose of martial-craft, then, is to cure aggression. The ideas and methods for halting aggression produce the arts which accomplish that goal.

Systems: There are a number of definitions for the concept of a system. An internet search reveals that there are 112,000,000 hits for the term system. Out of the many descriptions, I found three that seem to match up with what

I hope to convey. From the Free Dictionary and Merriam-Webster Dictionary, a system is: (1) a set of things working together as parts of a mechanism or an interconnecting network; (2) a set of principles or procedures according to which something is done; an organized framework or method; (3) a regularly interacting or interdependent group of items forming a unified whole.

Each of these definitions has a common theme, being: multiple elements, organized to work together in harmony. From my experience, and it is certainly true of Casag, no martial art stands alone. Even though every system has its own set of genres, the methods work together. So, there is a blade method, an impact method, the mixing of the methods, and so forth.

Systematics: A concept related to system is the principle of systematics. If multiple things are employed to work together in harmony, then something must also bind them together to accomplish a unique

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purpose. Technically, a systematic methodology involves the uniting of principles (systems) into a curriculum. A systematic curriculum involves a progressive hierarchy of knowledge and skills. Now, that is a mouthful.

More simply stated: a systematic approach is a step-by-step method.

We must crawl before we walk, and walk before we run. Knowledge and skills are built upon each other in a hierarchy. We are brought to the level of our ability through the construction of skills and knowledge. Each morsel of knowledge and achievement of skill becomes the foundation for the next. Each serves a “unique purpose” toward a higher unique purpose.

The systematics of a martial system, and of course one’s own tenacity, are what make a student into a disciple and then, into a master. It makes a master into a disciple and into a student again. It may seem like a cliché, but every enthusiast delights in the fact that the circle

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always comes back around to the beginning. Everything is the same as it was, but at the same time, it is not the same. It is like the Zen Kōan: “Before enlightenment, I chopped wood and carried water.

After enlightenment, I chopped wood and carried water.”

Art: I believe that if we appreciate beauty, we will see the art in all things. There are at least 734 million occurrences of the word art to be found in an internet search.

Now, that does not mean much of anything, but it is interesting.

While definitions of art vary as widely as do the genre to which it is applied, I believe there is an appropriate way to think about art in martial-craft.

Certainly, there are martial arts, which are more about beauty than combat, and others that are mostly about combat, with no esthetic values. Yet, an art form that is both esthetic and lethal seems to me to be the best way to think of a “true to purpose” martial art. It is an art

form which is best expressed in the depths of seriousness—at the moment of its engagement. Yet, when the struggle for life and death is not happening, it does not sit dormant but moves continuously in preparation for that moment.

I am convinced that martial art, as a means of combative reliance, is an art form like no other. It is created out of necessity and serves its artist and the objectives of its design. Its artistic beauty is perhaps best seen in its contrasting elements. Though it is rough and rigid, it is also supple and flexible.

It is internal and it is external. It is obvious, and yet, opaque and furtive. It does not stand alone but as a collection of fluid tactics, that lives at the heart of strategy. It is purposeful and pragmatic, and its beauty is seen in the survivability of its practitioners.

The great swordsman Miyamoto Musashi touched on such thoughts in his Book of Five Rings; he said: “If we look at the world, we see arts

for sale. Men use equipment to sell their own selves. As if with the nut and the flower, the nut has become less than the flower. In this kind of Way of strategy, both those teaching and those learning the way are concerned with coloring and showing off their technique, trying to hasten the bloom of the flower. They speak of ‘This Dojo’ and ‘That Dojo.’ They are looking for profit. Someone once said, ‘Immature strategy is the cause of grief.’ That was a true saying.”

Way: It may seem redundant to include a principle called way when systems, systematics, purpose, and art are all about ways, in a manner of speaking. But when I speak of a way in this context, I am thinking about the personalities of individuals and families, which distinguish themselves by their approaches to something. This is similar to when we recognize a unique quality, and say something like, “It’s his way,” “That’s just the way they do it in these parts,” or perhaps, “You have

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your way and I have mine,” and so on. So, whatever it may be, a way of talking, a way of thinking, a way of training, and so on, it is how something is done by one or more people, that is a bit different from other people.

All of this is to say that the Tobosas were purposeful, in their own way, as they developed Casag and its precursor system, KAJI. Like so many others in Hawaii from the early 1900s to about 1970, they were immersed in multiple martial arts systems. They were determined to systematically blend together many, to create one unique art form. While this is not an unusual idea today, not all environments are as naturally conducive to such a development as was theirs. Today, such blending is in vogue; then and there, it was as natural as the combined cultures around them.

Their goal was to weave together relevant methods. They reasoned that many-things can become onething together. What is brought

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together in a common framework, like reeds bound together, becomes something new and stronger than when solitary. They were not in competition with other approaches but simply desired to bring together the threads of their own experiences and training. What they developed could not be separated from their personalities, nor those of their teachers. One of their concerns was that what they might form could be of value to others.

They believed that if it could benefit others, then it was worth pursuing.

Before starting this article, I looked in my den at the myriad of swords and impact weapons on every wall.

I do not just enjoy them as showpieces; I train with every one of them. Each has its own unique set of attributes. Each is unique in beauty and construction, with features that give them a sort of personality. Yet, at the core, bladed weapons are designed to cut and thrust and impact weapons are

meant to wallop and break bones.

Even though I have seen walloping weapons cut and cutting weapons wallop, they are simply doing what we make them do. So, the point is, we used our weapons’ attributes with their best results in mind, but they will always share some qualities, which we can put to our use.

This is how I see the Casag system: when the blade is used as a blade, it thrusts and cuts best; when the baston is used as a baston, it wallops and breaks best. Whether slashing, thrusting, or walloping, the job gets done. If I have no weapon, I will not know it, until the battle is over. Though it sounds a bit esoteric, this is simply the mindset that martial artists share. One may not win the battle, but fighting as though he were dead, he will never be concerned with losing.

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Foundations There are multiple stories of Grandmasters, systems, and practitioners that have emerged from the mountains, forests, and fields of the Philippines. Such stories, however, must include those who migrated to America and other locations. They brought with them both their experiences, cultural influences, and of course, their martial-craft. It is very popular today to travel to the Philippines in pursuit of “authentic” FMA knowledge and training. That is not a bad thing, but some have been convinced or fooled into believing that, “If one’s knowledge was not obtained in the Philippines, then they have not received authentic knowledge, and their training is surely inferior.”

While a location will often give us a unique perspective—I love Hawaii—and maybe even inspire us, it cannot impart the sort of knowledge that the above statement implies. The transmission of training knowledge is from person to person. It is “authentic” knowledge if the transmitter has authentic knowledge to impart. The fact is, where goes the man, so goes his land, his knowledge, his abilities, and his art. He is a book of stories and illustrations. The truth is: he is an encyclopedia to be respect-

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Master Toby and Grandmaster Raymond Tobosa (Oahu, 1968).

fully studied. As a teacher, he will open up to his students like a book.

They can then respectfully read his story and make it part of their own.

Those to whom he lends his book, see his land, learn his ways, and know his story at length. The idea that a place of origin holds, perhaps, some mystical quality of

hidden knowledge, is, in a certain sense, an illusion. It is, at the least, an immature view of what constitutes genuine knowledge. I would rather sit around a campfire with people from different regions, hearing about their views and experiences and learning their ways, than pursue “better” knowledge elsewhere. The sharing and melding together of ways brings about the familiarity of wisdom that founds a brotherhood like no other.

In a certain sense, it is impossible to get clarity regarding Estilo Casag without having at least some understanding of its founders, Grandmaster “Batikan” Raymond and Master Toby (whom we called Manoy, our elder in the art). While Raymond is the main personality I am highlighting, Toby was there for most of it. He was Raymond’s brother, and my teacher as well as Batikan. Batikan made sure that his brother was involved, and a part of everything from the start.

When Batikan died, Manoy led us.

In the Casag system, Batikan is a title received as the highest achievable rank. I am uncertain of its linguistic origins other than to say that it appears to be a Cebuano term used to mean “chieftain” or maybe “revelator.” The closest

interpretation of the term Batikan seems to be the term Vatican. The Latin roots of Vatican, other than Vatican City where the Pope lives, indicate that it is connected to the concept of possessing “foresight,” or the gift of “revelation” in some context.

In Casag, the title is received at the Hangin, or “Wind” rank. It is in fact a headmaster position over a main school or schools. Like all of the Casag ranking levels, it has a mission assigned to it. The mission, or task at this level, is to be a “revelator,” or revealer of the true things. Simply put, one is to be an archetype of the truth. They are to uncover or reveal the deeper significance of the art to its practitioners. Although there may be more than one person at this level, they lead in harmony with each other. If the winds are of different temperatures, they simply become a whirlwind and move together.

At any rate, the title Batikan is unique. It became so synonymous with Grandmaster Raymond, that it became his name, or rather, his nickname of sorts. In fact, no one, including Grandmaster Toby, wanted to use the title of Batikan after his death. So, the title was, in a sense, retired. As far as our ohana is concerned, it belongs only to GM

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Raymond. Therefore, today, the title Pangulo Maestro, meaning “executive master” or “headmaster,” seems to best suit this position.

Interestingly, the title Batikan is used by our good friends in the Derobio system. We are uncertain as to whether the title originated with Grandmaster Braulio Pedoy or Grandmaster Tobosa. We have no doubt, however, that there is a connection, seeing that they were best of friends.

As noted, the Tobosa system comes from Hawaii. It emerged out of a melting pot of personalities, minds, experiences, and lands, all flowing together in the sugarcane and pineapple fields of the Hawaiian archipelago. Like the vegetable and fruit fields of California, the agricultural farms of Hawaii were a superior location to find talented martial artists. While there are many splendid places in the world, there is unique beauty and splendor to be found in a garden, where plants from all over have become rooted and are thriving.

The Hawaii of the early to mid20th century was just such a growing garden. People came from many places to set down their roots and share their heritage in the community. Like beautiful plants, people will bloom where they are planted.

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They must join with the soil and be a part of it, while still being the kind of plant they are. This is how roots work. What was foreign becomes native, and yet it retains its identity. So, people—craftsmen, teachers, warriors—have a heart for their two homes, which have now become one. They bring with them their ways, skills, and abilities, and also adapt themselves to their new surroundings. They may have left their first home to walk in new fields, but they are no less than what they were when they were in the fields of their homeland. In fact, they are more.

Batikan Raymond was a humble and quiet man. He was an authentic person and a father figure. He possessed capabilities far beyond what was known of him publicly because he did not seek public approval. Yet, he was certainly not unknown in the world and sub-culture of the martial arts.

He has been written about, quoted, and mentioned in numerous books and articles. When enthusiasts discovered that Hawaii was a storehouse of some of the greatest FMA practitioners alive, Batikan became a sort of ambassador to them. Be that as it may, he was still a bit of an enigma to people. This was no doubt because he was not focused on becoming popular. He

simply wanted to show how truly effective these arts are. He saw them as a way and means of preservation for individuals and their communities.

The Tobosas were not interested in showing off, but rather in helping people see how escrima could help them. They always encouraged people to consider what they could achieve by having the right perspective and developing the right skills. They had a serious passion for their art form and were not attempting to profit from it. They pursued it in their private lives and with their own resources. Many of us can relate to this. Raymond was a head-foreman over ware-

house operations at Pearl Harbor.

Among various jobs, GM Villabrille also worked at Pearl Harbor before moving to Kuai to work in the sugarcane and pineapple fields. Master Toby held a GS-18 position in the Federal Aviation Administration, which caused him to move around a lot. I, now retired, started as an educator, but became an insurance fraud analyst/special investigator. This is not to say that making a living from teaching martial arts is somehow ignoble. It certainly is not, but in my estimation, making a living and commercializing an art form for profit are different things.

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The ohana approach is different; it is a matter of personal relationships such as a healthy family might have. Batikan loved and protected his ohana. He felt the gravity of teaching an art form that could be misused. If a person was sincere, had an upright and peaceful spirit, and was brotherly at heart, Batikan was ready to adopt them into his family and home. If adopted, they must exercise their potential by developing themselves in the virtues of the tahana (home of training).

Though there are many important virtues, eight are addressed at the outset.

These are: knowledge, honor, loyalty, respectfulness, faithfulness, humility, wisdom, and ability. These are both virtues and matters of study for the development of integrity. They are in harmony with a warrior-class outlook. If one becomes a family leader—a Guro/ Gura, Maestro/Maestra, and certainly, a Pangulo Maestro/Maestra—they are responsible for maintaining the peace and health of the family. So, when someone is adopted, who, it turns out, will injure or cause strife in the ohana, they

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are summarily let go. The thought is this: there is a public-self, and a private-self; the self you show others to give a good impression, and the private or real self, which may be corrupt. The health of the ohana requires that these “selves” be the same. While others may be fooled for a time, a person cannot suppress their true-self for long.

Batikan’s view was that war arts are a necessary and serious craft in a dangerous and broken world.

As a young man during the attack on Pearl Harbor, he knew the harsh realities of life and had come through many firsthand conflicts.

So, he surrounded his ohana with moralistic barriers to help them govern their behavior. He never proposed a tangential approach to conflict resolution, but rather, a straightforward tenacity. This is similar to the approach of the sword master Miyamoto Musashi.

He knew the seriousness of life and death struggles, and that while we do what must be done, we do only what must be done. Batikan believed that, after the conflict was over, we had to go forward, bearing no malice in thought, word, or deed.

The Melding and Formation of a Way Perhaps contrary to popular belief, it is not a modern phenomenon for seekers of martial knowledge and skills to study multiple methods, styles, and approaches to combat; it is consistent with a warrior mindset. Such pursuit is fueled by a deep desire to perfect one’s aptitudes and prowess in effective self-defense. While some become obsessed with gaining deadly skills and are ever-eager to test their craft, others will seek to master soldierly wisdom for the moment of true conflict.

Put another way, one personality will hunt for occasions to express his violent abilities, while another sharpens and enlarges his skills while striving to avoid conflict.

His passion for justice is serious, and he knows his abilities gravely threaten an opponent who might test him. He practices restraint in his responses. It is in this latter vein—the possession of powerful yet restrained abilities—that Raymond Tobosa sought multiple martial disciplines. Having been

exposed to his father’s iskrima1 (escrima) training since his early childhood, his natural inclinations were stimulated.

During his youth, his family lived and worked in the sugarcane fields of Waipahu near Pearl Harbor on the island of Oahu. As noted above, he recalled seeing and doing the Cinco Tiro as young as six years old. Then, at as young as nine years old, he began learning various bare-hand and weapons skills.

Among the various skills taught to him by his father, he learned tactical and stylistic methods, angles of attack and defense, distancing for maximum effectiveness, and how to generate power in his strikes. As he grew, he also learned numerous striking methods or styles and how to effectively disarm an opponent.

Anyone who knew and trained under Batikan experienced his graceful moves, his elusive parries, his counters, and his extremely fast and accurate strikes. When a weapon was not at hand, he trained 1 Iskrima is thought to be a Cebuano spelling for escrima, a.k.a. eskrima.

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with makeshift weapons, such as a rolled-up newspaper or magazine.

He taught this to us, saying that this was a quick method of obtaining a commonly available self-defense tool. He also said that being aware of what is useful in our environment was an important skill to develop. He encouraged us to always carry a sturdy pen with us.

Had the tactical pens of today been available, he would have suggested those.

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When he was young and out in the fields working, he said that they would use the center portion of a banana plant cut to 28 inches. This fibrous stalk, known as the aerial true stem, is found within the trunk or pseudo-stem. It is made of tightly packed leaf sheaths. The stem and stalk are fleshy, but also quite sturdy. It provided an efficient on-the-spot training tool, which could deliver a sufficient impact, but not one that was too damaging.

Like so many Filipinos, Batikan’s father migrated to Hawaii in search of a better life. Although Batikan did not recollect the exact town, he recalled that his father was from Mindanao. At an unknown age, Maximo learned escrima from his uncle and, at some point, ventured off with him in pursuit of knowledge and skills to be found in differing styles of escrima. Their travels took them throughout the villages and mountain areas of Mindanao (also known as Moro Island). They further traveled throughout the Negros Island regions, specifically in Kasadpang Negros province, or Negros Occidental (the northwestern half of Negros Island), and the Negros Oriental region, comprised of the southeastern half of the island. Due to the pursuits of Maximo Tobosa, it was therefore from this area of the Visayas and Moro lands, that the foundation of Tobosa kali-escrima was born.

Growing up in the sugar plantation camps was by no means a soft life.

Everyone worked hard and enjoyed their free time to the fullest. Sugarcane was big business in Hawaii.

The plantations had been in full production since the 1840s and the lure of immigrants to work these plantations was strong. Historical

records show that from the early 1850s through the late 1880s, approximately 50,000 Chinese came to Hawaii in search of work. Then, from the mid-1880s to the mid1920s, upwards of 200,000 Japanese arrived. From the early 1900s to the 1930s, over 7,000 Koreans and approximately 113,000 Filipinos arrived. Although approximately 50 percent of these ethnic groups returned home due to the difficulties plantation owners had in supporting such populations and other factors, the melting pot that is Hawaii today had been established.

It was in this multicultural environment that Raymond Tobosa and his family lived, worked, and learned. From a martial artist’s standpoint, it was a dream come true. Warrior immigrants coming to Hawaii provided a smorgasbord of systems, skills, and experiences like no other location. The expertise in empty-hand and weapons combat, to be found just “down the way,” had incalculable value for the Tobosas and other martial arts enthusiasts. In a very real sense, the pursuit of martial arts know-how in Hawaii could not help but produce a diversified, multi-styled, and multi-skilled practitioner.

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Raymond Tobosa certainly took advantage of the opportunities that surrounded him. As he expanded the knowledge obtained from his father and great-uncle, he first ventured into boxing. This was of course Western boxing, as he never spoke of the idea of Filipino boxing. Boxing was a popular pastime in the sugarcane camps.

Raymond was taught boxing under the guidance of Esabello Cuba, who at the time was the boxing champion of the sugar plantation camps. He taught Raymond offensive and defensive punching, parries, and blocks. It was during this time that he learned how to execute a powerful strike, and to slip to the side and under punches to return counterstrikes.

During World War II, he began training in judo under Sensei Richard Takamoto, who had trained under his father-in-law, Professor Seishiro Okazaki (1890-1951). Okazaki was the leading proponent of Kodokan judo in Hawaii at the time and the founder of Danzan ryu jujutsu. Okazaki’s system incorporated aspects of Okinawan karate, Chinese kung fu, Hawaiian lua, Filipino knife-fighting/escrima, boxing, and wrestling. These char-

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acteristics made his methods very unconventional for the time and certainly influenced Raymond’s thinking about combining combat technologies, which later resulted in the development of KAJI Kumi, his precursor to Casag. Raymond also became proficient in yawara no kata (judo/jujutsu tactics and methods), nage no kata (free practice forms of throwing an opponent), and oku no kata (takedowns with locks, armbars, and chokes).

While still in Waipahu, Raymond’s next-door neighbor was Fred Lara, later to become Grandmaster Fred Lara. Fred trained directly under Grandmaster William Kwai Sun Chow, who was a student of Grandmaster James Mitose of Kosho ryu kempo. As friends and neighbors, Fred shared his knowledge of kempo and Raymond shared his knowledge of judo/jujutsu, and no doubt, boxing, escrima, and other skills.

The precepts of Chinese kempo served to inform Raymond’s decision to use a K to begin his first compilation of martial art styles known by the acronym K.A.J.I., or simply KAJI. His friend, Master Mas Oyama, also had some influence on the system.

At some point during or prior to 1958, when the formation of KAJI Kumi took place, Raymond had included aikido as part of his overall curriculum. His aikido training was with Robert Kuniyoshi Sensei.

Kuniyoshi’s aikido was influenced

by Master Koichi Tohei, Ki No Ken Kyukai’s founder, and later, organizer and head of Shin-Shin Toitsu aikido. Raymond also learned the

combative aspects of tai chi and baguazhang. His primary interest in these was in knowing how the mental, physical, and mechanical aspects of their combat systems could serve to inform his overall knowledge to enhance his newly forming system.

In tai chi, he trained under Sifu Tin Chan Lee, who was the old-

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est tai chi practitioner in Hawaii at the time. He noted that Master Lee gave him insight as to how one could build up and use internal energy rather than losing energy during movement, as do some martial arts. Master Lee taught him the art of proper breathing, which included a method for expanding or intensifying one’s breath to maintain energy. These principles later emerged in the KAJI curriculum in the form of breathing drills known as A-ten, B-ten, and C-ten.

These methods were also integrated into a student’s overall training, and their principles are taught in varied ways in Estilo Casag.

To be clear, regarding KAJI Kumi, the K represents karate, specifically Chinese kempo. The A represents aikido. The J represented judo and jujutsu. The I represents iskrima, again, the Cebuano spelling of the word escrima. Kumi is a Japanese word meaning “group” or “family”—in other words, the “KAJI family.” So, although I am not specifically writing here about KAJI, I have mentioned that it was the public precursor to Estilo Casag.

Although it was a fully systematized art form, I call it a precursor for a couple of reasons. First, any discussion of Tobosa’s Casag system of arnis-kali-escrima is in-

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adequate without the recognition of Tobosa’s KAJI Kumi. Before the Tobosas brought their Casag system into the public eye, students of KAJI enjoyed a long relationship with the art of iskrima within their KAJI training. While it has become vogue to incorporate Filipino martial arts into existing combat systems, KAJI always had such training at its core.

Though KAJI is no longer practiced as it was, much, if not all, of the philosophical foundations of KAJI can be seen today in Casag.

For those like myself, who transitioned through KAJI to Casag, there is a very clear blending and application of concepts and combative principles from KAJI that is woven into Casag, making it something more than it might have been without it.

Second, KAJI, in a certain sense, served as a vessel for the early journey of Estilo Casag. While Batikan chose 1972-73 to begin the transition from KAJI to Casag and introduce it to the public, it had not been his initial plan. He had discussed the notion with the old masters as far back as 1968. However, they did not support the idea, because they felt that the general public was not ready for it. Although Raymond believed it was a good idea and had

already embedded the principles of Casag into KAJI, he honored their apprehensions and waited for the right time.

So, while KAJI would eventually diminish in importance, the germination of Casag had been ongoing for some time. When, in those early years, we would show some aspect of Filipino martial arts to the public during a demonstration or in competition, it was an eye-opener. Many martial artists had never heard of or seen this in martial arts circles of the day. People wanted to know more about it than we felt authorized to provide.

In a real sense, the KAJI system provided the garden and cultivation in which Casag would one day blossom. In 1973 Batikan made the move to introduce Kinasag, or simply “Casag,” to the public as a complete system of self-defense.

The Filipino martial arts were starting to become known to the public and were rapidly gaining recognition as something unique.

While Raymond was not completely “old-school” as it were, he greatly respected his teachers and old-school etiquette. There was a certain way to impart knowledge, which he strove to honor. Much of the history of Batikan’s teachers is shrouded in mystery. How much

they shared about themselves, over meals, under the moon and stars, or by the fire at night, is uncertain.

However, to the best of my knowledge, the Tobosas were the only ones they would let film them.

What was not filmed involved volumes of knowledge.

I do not know how many Filipino practitioners Batikan met throughout the years and on various islands. Some were more open and more skilled than others. Of the many he encountered, he said that five masters stood out as being the most skilled and experienced. They were of high ability, and willing to share their stories

Batikan Tobosa with Grandmaster Floro Villabrille (circa 1969).

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and their knowledge with him and Toby. Though with some there were language barriers and hesitations to overcome, Batikan and Manoy won them over with their genuine “aloha spirit.” They were kindred spirits, respectful, humble, and truly open. They had an authentic character that put people at ease.

Batikan with Bonifacio Lonzaga (late 60s or early 70s).

In 1967 on the island of Kauai, Raymond and Toby met up with Grandmaster Floro Villabrille. How their introduction and close connection to Villabrille was established is unknown. It may have been through

At table, right to left: Raymond Tobosa, Floro Villabrille, Braulio Pedoy, and Eustaqio “Snooky” Sanchez.

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the shipyards at Pearl Harbor or even through their cousin, Ben Largusa. GM Largusa, as many know, was one of the inheritors of the Villabrille method. Of course, introductions might also have been the other way around. Since many of the escrimadors that Batikan was associated with were, in a sense, right in his backyard, it is difficult to know how he established his relationships with them, except to say that he sought them out and was welcomed in. I believe that these masters knew one another, and it was their friendships that brought the Tobosas into various inner circles. Being the friend of a friend is the best way to make new friends.

As noted above, while the Tobosas met and trained with various teachers, five of them became confidants and shared their knowledge and wisdom. Batikan would often describe their unique methods and personal characteristics during our training and discussions. It always seemed, however, that there was more to the story than what he related. He said that, of these five masters, Grandmaster Floro Villabrille’s capacity to communicate his thoughts, methods, and concepts was the highest, and consequently, the most influential. While Batikan spoke some Ce-

buano, Tagalog, and Spanish, his foremost language was English.

Of the teachers he encountered, Villabrille, he explained, was the one most knowledgeable of the English language, and was able to communicate his methods to him with the most clarity.

The Tobosas studied with Grandmaster Floro on the island of Kauai from 1967 on. They said that Villabrille referred to the style, which made up the core of his approach, as Winakle-Paspas, meaning to “push away quickly.” They described Villabrille’s methods as being the most intriguing and flamboyant of any of the styles they had seen. By flamboyant, they meant “beautifully effective.”

They especially appreciated his double-baston methods, called doble-kara. They said that this combat method was something to behold. The term doble-kara, derived from Spanish, means “double-face,” “double-sided,” or “on both-sides.” Consequently, the Casag methods of doble-kara were influenced considerably, yet not completely, by Villabrille’s approach. Certainly, many of Villabrille’s methods are deeply ingrained within Casag. It is part of the weft and woof of our tapestry.

He would often come to Oahu to oversee the progress of the Tobosa students.

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First public announcement flyer for the Tobosa school.

First page of the Fellowship Statement: United Filipino Martial Arts Association of Hawaii, Honolulu, 1980.

Four Other Influential Teachers The other four individuals of the top five are Grandmasters Feliciano Magsanide, Atanacio Acosta, Bonifacio Lonzaga, and Tolesfero Subingsubing. While much could have been written about his interaction and friendship with these men, Batikan only wrote brief summaries of their individual views and stylistic methods. They told us about their character, abilities, and how their various systems influenced Casag.

Batikan related that Feliciano Magsanide (1900-1983), who trained many full-contact escrima fighters for the civic auditorium fights of the 1930s and 1940s, taught “Estilo Barabara.” Barabara is a Cebuano term for staff, but it is also translated as “backing up—blocking or clogging up,” as in something that stops the flow of something else. It primarily uses a 42” baston/staff, but also a 36” cane is used. It has qualities applicable to the use of a spear, and many of the principles can be applied to longer-impact weapons such as a 60” or 72” staff/ spear. The 42” baston can be wielded with one hand but is also used with two hands when appropriate.

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Among various tactics and combat strategies, Atanacio Acosta showed them a different set of Cinco Tiros (five strikes) than the numerada (numbering system) they had learned from their father. Casag uses a V-pattern. The Roman numeral for “five” (V) is a good way to remember this. At each point of the V and on the underline is a numbered strike. Acosta, however, used an X-pattern for his first five strikes. He collectively called his methods Estilo Winakli, a Cebuano term representing “push-away style.” I am uncertain as to whether or not there is a relationship between Acosta’s Winakli method and Villabrille’s Winakle-Paspas, but I suspect there was.

Batikan noted that Acosta’s method could be employed from either an inside position or an outside position. “Inside” represents a face-to-face approach where the opponent can employ his right or left weapons directly, while “outside” represents a defense that moves to the side of the opponent to eliminate or suppress the threat of the opponent’s other weapons.

Acosta’s definitive on-guard posi-

Batikan with Atanacio Acosta.

Batikan with Feliciano Magsanide.

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to the opponent’s body. Lonzaga also incorporated a stepping-back or dodging method in response to an attack; he would then follow up with a swift and deadly thrust. His rhythm and timing were of a master swordsman.

Toby with Bonifacio Lonzaga.

tion for employing his method was to maintain his baston or sword in a vertical position in front of his chest, facilitating side-to-side movement.

Grandmaster Bonifacio Lonzaga was master of Estilo Hinaplos. Hinaplos, or simply haplos, means “to slide off, come off, come away, or detach” (due to a strong force). His distinctive method of doble-kara included skillfully twirling two bastons as he made passive sliding parries that morphed into cuts or jams against an opponent’s offensive movements. As these sliding defenses were employed, he would slide behind a strike to efficiently and deceptively deliver various cuts, thrusts, and strikes

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Grandmaster Tolesfero Subingsubing came to Oahu from Cebu. He was an aficionado of a moro-moro style he called Estilong Lúpad, or “fly style.” With a smile, he explained to the Tobosas that it was also known as Estilong Sinayop,

the “wrong-way style.” The term sinayop is derived from the Cebuano sayop nga paagi, which means “wrong way,” or perhaps “doing it the wrong way.” When some practitioners of other systems once observed Subingsubing’s methods, their opinion was that he was doing the opposite of what should work. So, they assigned it the pejorative label of Estilong sayop nga paagi, the “wrong-way style.” It seems, however, that he was not the least bit offended by their label.

Right or wrong, his methods were nothing to be taken lightly. They proved to be highly effective, especially against multiple attackers.

Although calling it the “wrongway” system was meant to be humorous, or even slanderous, Tolesfero proved that his wrong way worked as well, if not better than the “right way.” The Tobosas noted that he was highly proficient at connecting with a cut to the wrist, followed by a disemboweling stroke. They added that they saw great value in observing and learn-

ing his unorthodox methods. In their opinion, he was quite a dangerous man, whose methods could be emulated.

Among his various training methods, Subingsubing demonstrated a routine of offensive and defensive tactics, while maneuvering back and forth along a 4” x 16’ section of bamboo. He said that this drill taught one balance for moving over uneven terrain. A warrior’s feet must have eyes. He also explained that fighters needed to develop the ability to not blink their eyes for a length of time. He told them that this skill would teach visual focus so that an opponent could not avert one’s attention from an actual strike. In a similar vein, Batikan taught that we must develop our peripheral vision. This was so that our field-of-vision would catch movement coming in from the side and rear angles.

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Other training methods practiced by these men would not have been very popular in today’s “fearfulof-pain” world. One of these ways was to simply deliver a strike to some point on the body, so a person could experience the pain of being hit there. A teacher would hit his pupil, who knew he was going to receive a painful hit; then, he would simply say, “Now defend against that.” Parries, blocks, and moving out of the way became of great importance. At other times, a teacher might command a pupil to hit them however they pleased, at which time he would show various methods of defending against that strike. By doing it this way, a teacher could impart his stylistic methods in a profound, though somewhat painful, way. Batikan said that, while there was not a lot of explanation, the method spoke volumes. He appreciated the fact that, while the discussion is good, pain sears truth into the mind and, of course, the body, too.

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The Tobosas employed many of the basic ideas learned from these masters including varied styles of training. Additionally, the way these men moved naturally revealed their expertise and deep understanding of combat principles.

They certainly taught a multitude of “secrets” as they moved with ease during training. Even the look in their eyes revealed the reality of their focus and combat experience.

This teaching method was reflected in Batikan’s frequent exhortation to us to “move as I move.”

Watching him gracefully connect one movement with another was perhaps the highest level of teaching he could have imparted.

Subingsubing’s posture.

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symbolic

“fight-to-the-death”

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THE WAY OF THE CRAB, BAMBOO, AND OCEAN

The Crab The name Casag signifies the crab.

This creature, as well as other island images, was chosen by the Tobosas for very simple reasons.

Since early childhood, immersed in an island environment, they observed and interacted with their surroundings daily. The movements and attributes of the crab were impressed upon their thinking. Its ability to fight was as effective in water as it was on land.

It used its environment to its advantage. Its weapons were its two strong claws and its legs angled off in all directions. Its maneuverability was swift and sure. It easily achieved new angles of defense and attack as it frequently shifted and adjusted its position.

Not only did the crab’s natural inclinations impress them, but it

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also reminded them a good deal of their tactical training. To move decisively, while using all of the eight directions effectively, would be the Casag approach to combat. Forward and reverse movement with 45, 90, and 180° turns reflected what they learned from the crab.

The strategy, they surmised, was to drive an opponent to angles that

disadvantaged them. By moving in, out, and around to a position in changing ranges, the opponent has difficulty getting their bearings on their target. If they are disoriented, they are weakened. Therefore, the Tobosas determined that the crab imagery would represent the combative qualities of their self-defense system. The crab-like tactics, along with other images of island life, such as the bamboo and the ocean, would serve to represent their martial strategies and philosophies.

The Bamboo For the KAJI art form, they had chosen the imagery of a bamboo plant. This represented the idea of “fluid yielding with a lethal ridged return.” This is the “fluid-solid-fluid” aspect of combat Batikan considered basic in martial theory

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and practice. It was also intended to represent something about our own behavior. He explained to us: “The bamboo cannot be uprooted once it establishes itself in the ground. It will bend with the strongest wind and straightens up after it’s all over. The bamboo stands straight, tall, and true. It is very hard in composition, yet flexible in structure. Split it and it will split down the middle without deviating. Pick up one of the halves and you will find the edges sharp enough to cut. It is hollow between joints, but it can contain something, you can use it to hold water and drink from it.”

Considering these basic concepts and implications, Batikan continued: “We should not go against an adversary’s force but use his strength and speed to work against him. In our everyday life’s problem, find a solution to it, not evade, grumble and run away from it. You cannot run away from your personal problem; it will follow you wherever you go. So, solve it the

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best way you can. Be humble, honest, and true in all your dealings with people. Have a reputation so that people will say that, ‘Your word is as good as gold,’ or ‘Your word is your bond.’ Once you have decided to do something, follow it to the end; otherwise, don’t start on it. Be sharp in all your dealings, but not stepping on toes or taking advantage.”

Returning to the bamboo analogy: “The hollow spaces between the bamboo joints [are] likened to your ability to empty your thoughts to make room for new things to learn.

There are many spaces or rooms in your mind to use for new ventures to fill in. Always have an empty cup before you undertake any new ventures. If you have a half-filled cup, you will learn half only; a threequarters-filled cup—and you will learn one quarter only. Have a filled cup and you might [not] learn something, for your cup runneth over.”

The Ocean Like the crab and the bamboo, the Tobosas believed that they could emulate the inflow and outflow of the tide and the rising and falling of the waves by the force and calm of the winds. These elements impressed upon them the principles of flowing and broken rhythms, of moving-in and drawing-out, striking powerfully and regaining suppleness, plus other dynamics applied in combat. They saw how the ocean’s current moves unseen and how the undertow takes hold of a person to take them into the depths of the waters.

Underlying all of this is an exchange of assets, characterized by five interwoven dynamics.

This they simply called the Five S’s: strength, stamina, skill, speed, and surprise. They proposed that the development of these five attributes was the basis of martial prowess. They stand parallel to the virtues of courage, tenacity, expertise, decisiveness, and tactical-opacity. To master these qualities in combat means that an assailant, to their surprise, will find themselves engulfed in a wave that returns their violence to them.

These are all images of ocean and wave motions that engulf an opponent in the midst of its ebb and flow. They saw that it was important to perceive the rhythm of an opponent, so as to break that rhythm at the right time and neutralize the threat—likewise, to use one’s own rhythm to appear predictable and then to syncopate (modify or shift) in an encounter and deliver a decisive strike.

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Putting It All Together One of their main concerns was that Casag should be a practical, well-balanced combat system.

This has at least three categories: weapon-vs-weapon, hand-vs-hand, and hand-vs-weapon. Casag’s weapon-to-weapon training, or as Batikan referred to it, “Filipino Fencing,” is not less than what we think of as a fencing art, but also more.

But do fencing methods have significance in a non-fencing culture?

Yes, I think so. Casag’s position is that combat methods have a type of “language” that is translatable into “sister languages.”

In other words, my weapon can speak in a long, middle, or short “dialog.” It can speak through a variety of weapon types and at various ranges. A long arc strike becomes a short arc. A slash-through strike is abridged into an “in-out” strike. A straight-in thrust becomes a curved thrust. A hand with a weapon “speaks” somewhat similar to one without a weapon.

There are plenty of letters in this language for one to express themselves.

Additionally, we must be comfortable using abbreviations and slang.

Abbreviations have to do with varying ranges and weapon attributes, i.e., the fast-moving tip of

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the weapon and the slower-moving sections below the tip plus the butt of the weapon. Slang has to do with weapons acquired in an environment, as well as the environment itself. We must be able to speak with meaning in whatever vernacular is needed at the moment.

We are not weaponless when we have no bolo or cane. We are comfortable with what we have and not uneased by a threat. If our weapon is long, we use its best attributes of length. If short, we get a whole lot closer. This sort of reminds me of a scene in a movie called Quigley Down Under. When Matthew Quigley is stripped of his long rifle and given a pistol, his adversary, having heard Quigley saying that he preferred the long rifle to a pistol, presumes that he has the advantage. Yet, as our nemesis draws his pistol, Quigley is many times faster and shoots him dead center. Then he says, “I said I didn’t have much use for one; didn’t say I didn’t know how to use it.”

In this characterization, the language of the long-range methods, weapons, and tactics are immediately interpreted into a medium-range language, then, as it may occur, reinterpreted again into an abbreviated close-range language.

We must be linguists, in a manner of speaking. Switching from language-to-language is certainly possible when we understand the “root language,” no matter what our accent may be. I am speaking this way, to emphasize that Casag tactics, like most FMA art forms, are versatile and able to communicate damaging results at any range.

Additionally, we must recognize that people have diverse mental and physical attributes, which shape their expressions. Each one may master the same program of skills and drills, but like works of art, individual creativity will distinguish one from another. Such forces will, to some degree, shape Casag itself as it lives on into the future. The idea is this: When we make something our own, it will, in turn, make us its own.

To Move like the Crab: Casag Footwork The way of the crab is apparent in the footwork of Casag. It involves stepping forward and back, moving immediately to an angle, then shifting to a new angle—then moving along the new angle, and shifting again. These angle-shifting moves are to put the opponent at a disadvantage for employing or maintaining his attack. The idea is to move to a safety-zone and out of

the danger, or to a cut-zone. After shifting to new angles, the body’s centerline is realigned toward the opponent whether at long, long/ medium, medium, or close-range.

While there are many primary footwork patterns, all share certain qualities, and all flow together in combat. Each uses porma and estokada, forward and backward leaning postures. Each uses nagbalhin or simply balhin, meaning “to shift to one side or the other.”

Each may employ sunoy lakangthe (the rooster step), plus other stepping methods done in both abante (moving forward) and literada, or nagpaluyo in Cebuano, meaning “to back up or go in reverse.”

Distances and Strategies Like all combat strategies, the distance between combatants is of top importance. Casag methods strive to employ the most effective application of resources at various ranges. This is done through understanding the attributes, liabilities, and application of the weapon(s) in use, and the need for varying tactics at fluctuating ranges. The art of distancing involves knowing how to adapt to each range, as well as how to flow back and forth between ranges. There are at least three categories in tactical fluidity: a) fluctuating in distances, b)

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Batikan with GM Floro Villabrille, Oahu.

fluctuating in heights, and c) fluctuating in angles. Another way to characterize this is what we call inout and around. Keep in mind that the weapon’s attributes and effectiveness change as ranges change.

Learning to adjust weapon usage between these ranges is integral to combat.

Cut-Zone / Safety-Zone Thinking A cut-zone is determined by: (a) the proximity of the aggressor, (b) the attributes of the weapons at play, (c) the momentum and movement of the fighters, and (d) the commitment and angle of the weapon’s

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plane-of-cut. We may be cut and we may cut (or strike with baston) in the cut-zone. The safety-zone pertains to: (a) where the aggressor’s bolo/baston is too far away to make contact, and (b) an angle outside of or behind the plane of a cut. These are generally concepts in long and long-medium-range combat. At medium and close range, the zones are mixed together. This is where strikes, thrusts, holds, locks, or suppression moves become the rules of threat management.

Constant defensive and offensive adjustments are done in relation

to these factors. The “fine-tuning” involves the “in-out-and-around” flow concerning the position of the assailant. The obvious best place to be is where the opponent is in your cut-zone, but you are not in his—i.e., in your safety-zone.

Time in a safety-zone may be a millisecond, or we may be able to keep moving into safety-zones often. Getting into a safety-zone is not always possible, but it is a good way to survive.

We carve out, create, or get to a safety-zone by using varied tactics. I have mentioned one, called in-out and around or sa gawas libot. Variations of this are, out-in and around, around—in and out, and around—out and in. These concepts of movement dynamics are also characterized as front-toback or pangunahan sa likod. All of these are tactics for positioning ourselves during the defense to the side and rear of our opponent. These tactics are common to the Winakli—“push-away”—style.

Obtaining a side or rear position to our opponent, we “push” them away for safety, control, destabilization, a long-range strike, or simply to exit the zone. The image of an engulfing wave is seen in this tactic.

Shifting to various angles is done, of course, relative to the aggressor’s position. An important factor in this maneuver is that the defender realigns their body’s centerline toward the opponent as they move around them. This way, the defender’s posture is always in a strong position to counter and adjust further. In this tactical/ strategic approach, the application of long, medium and shortrange tactics blend and fluctuate as part of an overall strategy. It is an “always-moving” approach that makes it difficult for the aggressor to maneuver for the advantage.

Batikan and the author in Reno (1978).

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The constant change of defense and attack dynamics is somewhat like the strategies of guerilla warfare. Hit, move, hit from a new position, move, go close in, move out fast, move low, and re-emerge high, and so on.

The strategy of these tactics requires using stylistic methods at fluctuating distances and shifting angles with various bladed and impact weapons. Pushing, holding/

retaining, and suppressing along with hand strikes, locking, low kicks, leg maneuvers, and other related attacks make one’s strategy an effective and practical approach to being combat-minded.

The Attributes of Fighters and Their Weapon Martial artists, fighters, and warriors have within them a unique drive, one that not all people understand. They are warcraft-mind-

Training with Batikan in the Hinaplos (“Slide”) System (1986).

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ed; and while they think and train seriously for combat, they seldom favor war. They recognize that the world is a vicious place. It is full of violence, both on large and small scales. They see the bullies of the world as a corrosive disease. All would agree that a remedy must be exercised, wherever the disease. Such individuals form that segment of society that is inclined to pursue an antidote to injustice.

They know, perhaps innately, that passivity is not a viable remedy. If it were, they would likely embrace it. However, they know that aggression and domination will not be placated by passivity. Unjust hostilities must be met with justified aggression.

I suggest that people of courage are defenders at heart. If we are them, we are as interested in self-defense as in defending the helpless. Most of us, in time, will have learned how to manage our emotions and our abilities, to focus both physical and mental aptitudes to defeat an aggressor. The Filipino martial arts have a particular intrigue for those of us who are interested in understanding the raw warcraft of weapon-to-weapon, hand-to-hand, and hand-to-weapon combat.

Understanding and gaining proficiency in a variety of weapons are

simply parts of warcraft. Above, I quoted a line from the movie, Quigley Down Under, about knowing how to use a weapon, even if it is not a preferred weapon. Even if I like to use my barong/bolo, I also like and have trained to be proficient with my binagon and laring swords. I like a shorter, fast-maneuvering weapon, but am proficient in using a long heavy weapon also. To quote one of my longdead mentors, “You should not have a favorite weapon. To become over-familiar with one weapon is as much a fault as not knowing it sufficiently well” (Miyamoto Musashi, 1584-1645).

Like many martial artists, I have been trained in a variety of empty-hand combat arts, which also have their particular weapon traditions. I have also been trained in weapon combat arts, which have their particular empty-hand methods. The weapons have been both impact and bladed, long, short, and in-between. They have been light and fast, round and flat, and slow and heavy. Additionally, I have also received combat firearms training.

While I am not an expert shot by any means, I know how to confidently handle my Glock-17 as well as a semiautomatic rifle. I am more comfortable with a nice baston or bolo in my hands, but when more

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Instructors (2017): CJ Tobosa, Rico Agustin, Michael Mulconery, Lee Manibog, and Donald Mendoza.

distance is required, I do not want to be confused as to what to do.

If it has not been clear yet, the point is familiarizing oneself, even gaining confidence, with a variety of weapon types. This is a training principle that we should consider valuable. For impact and bladed weapons, training with at least three weapon types, and understanding their corresponding attributes, will help facilitate skills for all weapon types. This means short-to-long, light-to-heavy, and slashing/thrusting weapons.

The lengths might look something like this: 6”, 12”, 18”, 24”, 28”, 30”,

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32”, 36”, 42”, 60”, 72”. These sizes may apply to both stick and bladed weapons, but the longer lengths are generally in the bara (staff) and/or bangkaw (spear) categories.

At first, however, it is good to train and become familiar with one or two lengths/weights, and one or two blade attributes, single and double. An impact weapon can act as a surrogate for a bladed weapon, but since there is usually considerable weight and some handling differences, one should also train with a blade. This way, we get to know what a blade requires and gain knowledge of how different the movements become with it.

24” Weapons Early on, while Tobosa KAJI Kumi was the precursor art form (that is, 1958-1973), training was primarily done with a 24” rattan baston, hardwood flat stick, and bolo, usually a common machete. Twenty-four inches, as it turns out, is generally the distance from the base of one’s armpit to the bend of the wrist. This is important for when the weapon moves from an inside position out, as in an inside redondo, or round-strike. There was no upos (stub) or punyo per se.

The hammer fist (maso kumo) and the sun fist (adlaw kumo) served us well at closer ranges. The baston also called an estik or palilyo is assigned blade qualities when distinguishing between bladed and impact moves. With a baston, the knuckles are to be aligned to where the face of the blade would be. Impact methods and blade methods have their own details to be concerned with. Taking a blade away from an assailant is a bit more careful of a situation than taking a stick away.

Some of the original members of the West Coast Escrima Society (1986): Dentoy Revillar, Juan Eliab, Narrie Babao, Gilbert Tenio, Raymond Tobosa, Leo Giron, and Ramiro Estallila.

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Kahoyon-kampilan ug punyal, a.k.a. espada y daga (circa 1967).

28” Weapons In or around 1973 we also began using a 28” rattan or hardwood baston on a regular basis. This length corresponds to the approximate lengths of many prominent Visayan blades. With the baston we might either employ a slight upos/ punyo, or none at all. It depends on distance, weapon balance, and tactics training. At most, the punyo would not exceed four inches, about the average width of the inner palm. Also, the patag-palilyo (flat stick) or kahoyon-kampilan (wooden sword) is used. These are flat hardwood sticks, which provide a powerful alternative to the

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metal sword. These weapons are heavier than the rattan, and so have a bit more “serious” feel in one’s hand. The dagger (punyal) was also in use.

While these are our primary weapon lengths and types, as noted above, Casag embraces a variety of weaponry. To be skilled in adapting to an unusual weapon is as important as being skilled with a familiar one. Pretty much anything becomes a useful implement of self-defense. It is definitely worth thinking about. Remember, too, that a lightweight weapon is fast and can sting an opponent many times; it is a great deterrent. Yet, a

heavy weapon that lands well even once shatters bone and dislocates joints. A long weapon’s potential is hampered at closer range. A short weapon puts us closer to an assailant. A blade might or might not cut, but a thrust often causes damage. If a long blade fails to cut, its impact will still cause damage.

If I have one long and one short weapon, I can utilize them together in various ways, or use each one separately, at their most effective ranges.

Estilo Casag: Numerada Tiro / The “Numbered Strikes” of the Casag Style I have heard it said that perhaps 95 percent of all people are right-handed. I suspect it is more around 85 percent, but there is still a high majority of right-handed people in the world. Some cultures shun and try to convert lefties into righties, but I do not think they are quite successful at that. At any rate, most people are

Left to right: Frank Mamalias, Teofisto (Toby) Tobosa, Floro Villabrille, Raymond Tobosa, and Kenneth Villabrille (kneeling) (circa 1967-68).

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Portions of the Hawaii Club (2015).

right-handed. So, it makes sense that most FMA striking sequences begin at the upper right side. It seems to be the most natural and the strongest strike. I have also heard that attacks that have been filmed, and where the aggressor is using a weapon such as a bat, 2x4, hammer, machete, and so on, show that the initial attack comes from the upper right side—down.

The point is that most styles of FMA begin their first strike from a

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high-right-side position, and proceed diagonally down. We learn to deliver it with speed and precision, and also defend against it with multiple defenses. It is generally delivered at a 45°angle, but we know that it might be delivered vertically or horizontally as well.

At any rate, for most of us, it is the #1 strike delivered through the #1 angle. Its basic angle is a 45° plane of descent to its target. Of course, the strike might also be done at

0° to 90° depending on where the load, or starting point, was.

Presumably, all other strikes follow the number-one strike, as noted, in a logical flow sequence. The additional strikes are linked together through their flow patterns. While each flow sequence has options and differences between styles, each strike has a particular angle and zone, plus primary and secondary targets. Learning strike sequences and the potential of each serve as a teaching mechanism. It informs us of the possible results at impact/ cut: the option of targets in the zone and the severity of damage that might be expected. Dealing with multiple angled strikes and various distances informs us of a variety of defensive options. This is true no matter how striking sequences may differ.

In Casag, defense and offense are not two sides of a coin; they are simply the currency used in every engagement. This currency is used to purchase one’s survival. Therefore, of primary concern is the neutralization of an aggressor’s strengths. Their tools of aggression must be broken so that they fail them and they cannot continue. The opponent’s most basic powers are in their hands and their mobility. GM Villabrille spoke of the hands as the fangs of a snake. A broken fang is less able to transfer its poison. Yet, it may still move and cause damage to its prey. But, if its mobility is hampered, disabled, or neutralized, it cannot continue or get away to launch a new attack. If also the head, or as we call it, “the breath” of the snake is taken from it, then it is fully neutralized. No breath, no life.

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CASAG’S NUMERADA: PRIMARY AND SECONDARY STRIKES, ANGLES, AND ZONES (FANG, MOBILITY, BREATH)

The first diagram that follows shows the five points of the fang and the five points of mobility. The taking of the breath is another matter that is partially disclosed in the numerada diagrams that follow.

There are, of course, more than five methods to relieve a snake of its breath. The diagrams show the numerada up to the Veinte y uno tiro—21 strikes. They include the “alternate strikes,” found in Diez, Doce, and Veinte y uno sets. The strikes are studied in several ways: slashing flow, thrusting into, striking flow, and flicking, known as a witik.

Casag strike sequences are divided into five sets for teaching purpos-

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es. These are: set one—Cinco Tiro (five strikes), set two—Diez Tiro (10 strikes), set three—Doce Tiro (12 strikes), set four—Veinte y uno Tiro (21 strikes), and set five—Treinta cinco Tiro (35 strikes). Cinco Tiro is taught first and emphasized the most. Then the progressive sets are taught as a student advances.

The sets all lead to Nabasag-Numero—broken-number strikes. This might also be called Libre sa Agas, meaning “free-to-flow.” Free-toflow, or broken-number striking, is simply all strikes following a natural path. This approach is at the heart of Casag’s numbering sets. It is the weave that surrounds and entangles an enemy.

Five Points of the Fang: Five Points of Mobility Note that the black line in several diagrams below represents the approximate “end-cut point.” This is the approximate location where the blade exits the cutting zone on the opponent to move into a reload position. In most cases, it is the same for the baston as it is for the bolo.

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Strike 1: A downward diagonal slash connecting at the tip of the opponent’s left shoulder, and slashing through the angle, with the endcut location at the level of the opponent’s right hip. This is the blue diamond in the zone. The secondary target points in Zone 1 include: the clavicle (green diamond), base of the neck (orange diamond), and mandible/temple or left cranium (red diamond). The lower zone’s green line is to the elbow.

Strike 2: A downward diagonal slash connecting at the tip of the opponent’s right shoulder, and slashing through the angle, with the end-cut location at the level of the opponent’s left hip. This is the blue diamond in the zone. Secondary target points in Zone 2 include: the clavicle (green diamond), base of the neck (orange diamond), and mandible/temple or right cranium (red diamond). The lower zone’s green line is to the elbow.

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Strike 3: The primary strike with a baston is focused at the opponent’s left hip through to end-cut at the right hip (lower blue line and diamond). Higher in Zone 3 are the ribs (upper blue line and diamond).

With a bolo, the slash is at the left side of the opponent’s stomach through to the right side of the stomach, with an obvious end-cut past the stomach (red line and diamond). Secondary target points in Zone 3 include: the ribs with a baston, left bicep, elbow, and wrist, if found within the zone.

Strike 4: The primary strike with a baston is focused at the opponent’s right hip through to endcut at the left hip (lower blue line and diamond). Higher in Zone 4 are the ribs (upper blue line and diamond). With bolo, the slash is at the right side of the opponent’s stomach through to the left side of the stomach, with an obvious endcut past the stomach (red line and diamond). Secondary target points in Zone 4 include the ribs with a baston, right bicep, elbow, and wrist, if within the zone.

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Strike 5: Primarily, Strike 5 is a thrust (dusdos) or stab (dunggab) to the center of the opponent’s stomach (blue diamond). There is no “end-cut” as such, but the thrust is most effective at a 4-inch depth.

This is typically far enough to connect with vital organs. Also, after the thrust is done, the weapon is drawn back from its target to release any hold the opponent’s body may exert upon it. The green triangle indicates the zone. Secondary angles include the tip of the weapon directed to an ascending or descending angle. Secondary targets in Zone 5 may include the sternum or other internal targets. Delivery of Strike 5 may also involve shifting the angle right or left at 45 degrees of the primary point.

(Strike 5 completes the Cinco Tiro set.)

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Strike 6: This is a high-level straight-in thrust to the opponent’s left subclavian artery (blue diamond). As with the dunggab explanation for Strike 5, there is no end-cut other than depth. By altering the thrust in elevation or angle, the secondary targets in Zone 6 include: the neck cavity (red circle and star), orbital region of the eye, and armpit—a direct line to the lung delivered from a side angle.

Strike 7: This is a high-level straight-in thrust to the opponent’s left subclavian artery (blue diamond). As with the dunggab explanation for Strikes 5 and 6, there is no end-cut other than depth.

By altering the thrust in elevation or angle, the secondary targets in Zone 7 include: the neck cavity (red circle and star), orbital region of the eye, and armpit—a direct line to the lung delivered from a side angle.

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Strike 8: This is a low-level ascending hit/slash, with bolo or baston, to the opponent’s right knee (blue line and diamond) through to the groin or, with bolo, left femoral artery (red diamond). If the left leg is forward, it is a hit/slash to the left knee or the left femoral artery (green line and red diamond). The end-cut occurs at about the level of the opponent’s left hip. Secondary targets include ny target that falls into the zone. Note that the angle can be elevated to take in high targets such as hands and arms.

Strike 9: This is a low-level ascending hit/slash, with bolo or baston, to the opponent’s left knee (blue line and diamond) through to the groin or, with bolo, right femoral artery (red diamond). If the right leg is forward, it is a hit/slash to the right knee or the right femoral artery (green line and red diamond).

The end-cut occurs at about the level of the opponent’s right hip.

Secondary targets include any target that falls into the zone. Note that the angle can be elevated to take in high targets such as hands and arms.

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Strike 10—First Alternate: This is a unique striking maneuver and directional change. It is a strike to the opponent’s forehead, face, or upper chest that is delivered while shifting (sa lakang-balhin— to “step-shift”) approximately 180° (red diamond). It is best described as a tactical stratagem to execute a finishing or warding-off strike while changing directions to address a new threat. It may also facilitate a retreat or a feint to move behind an obstacle, a broken rhythm counter, or be used for distance.

Alternate Strike 10 completes the Diez Tiro set.

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Standard Strike 10: This is a low-level horizontal strike/slash to the right side of the opponent’s right knee, (blue line / red diamond). The intersecting black-angled line may also be an angle for this strike. The end-cut is simply at the point at which the weapon is past both knees. Secondary targets in Zone 10: If both knees are atypically available, the strike/ slash continues through the opponent’s right outer knee to the left inner knee. If only the left knee is extended, the strike goes to the left inner knee and may be elevated or lowered in the case of a bolo or kampilan (green diamond).

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Strike 11: This is a low-level horizontal strike/slash to the left side of the opponent’s right knee (blue line / red diamond). The intersecting black-angled line may also be an angle for this strike. The endcut is simply at the point at which the weapon is passed both knees.

Secondary targets in Zone 11: If both knees are atypically available, the strike/slash continues through the opponent’s left outer knee to the right inner knee. If only the right knee is extended, the strike goes to the right inner knee and may be elevated or lowered in the case of a bolo or kampilan (green diamond).

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Strike 12—Second Alternate: This is a double-thrust to the opponent’s right and left subclavian arteries. Though not necessarily done in unison, this move is done with both hands—daga (dagger) in the left and bolo in the right hand.

The dagger is drawn from one of three positions: front right, front left, or back left. Alternate Strike 12 introduces a change in range and a second shorter weapon. By the time students are ready for the Doce Tiro set, they are also learning considerably more medium to close-range tactics. The end-cut is the same as other thrusting hits.

Secondary targets are the same as in the zone targets of 6 and 7.

Without a daga the left hand may grab, push, or strike the opponent.

Alternate Strike 12 also represents a complex response to a more intricate close-range encounter. It is not simply a double-strike.

This completes the Doce Tiro set in which the Alternate 10 Strike has been dropped, and the flow continues from Standard Strike 10 and 11 to Alternate Strike 12.

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Standard Strike 12: This is a low-level strike or slash to the opponent’s right ankle, (blue line / red diamond). The end-cut is at the point past both ankles. Note that this strike may also be delivered from a descending angle.

Secondary targets in Zone 12: As in Strikes 10 and 11, if both ankles are atypically available, the strike/ slash continues through the opponent’s right outer ankle to the left inner ankle. If the left foot is forward, the strike goes to the left inner ankle and may be altered when using a bolo.

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Strike 13: This is a low-level strike or slash to the opponent’s left ankle (blue line / red diamond). The end-cut is at the point past both ankles. Note that this strike may also be delivered from a descending angle. Secondary targets in Zone 13: As in Strikes 10 and 11, if both ankles are atypically available, the strike/slash continues through the opponent’s left outer ankle to the right inner ankle. If the right foot is forward, the strike goes to the right inner ankle and may be altered when using a bolo.

Strikes 14-17: Strike 14 is a straight downward impact/slash to the opponent’s frontal cranium. It is the first strike of a fast-tactical set of strikes at medium range. This “quad” sequence is an assault on the head and neck. After Strike 14, Strikes 15 and 16 with a baston are delivered in Abaniko fashion, also known as Paypay, to the left and right temple areas of the opponent’s head. With a bolo, these are rapid slashes across the neck.

These are followed by Strike 17, a downward thrust into the opponent’s supra-sternal notch, the V of the neck, at the thyroid sheath.

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Strikes 18 and 19: Dropping straight down from a high position of Strike 17, Strike 18 goes directly to the instep of the opponent’s left foot. Secondary targets in Zone 18: With bolo, the strike may be used to cut whatever is in its downward journey. The toes of the opponent are a good target for this striking tactic. Strike 19 is also a strike to the instep or toes, now only on the opponent’s right side. Secondary targets with a bolo are present at the opponent’s knees and inner thigh during the arc of the move from 18 to 19.

Strike 20: This is an upward thrust from a lower level to impact under the opponent’s chin. Secondary targets in Zone 20: Strike 20 is done as the third move after Strikes 18 and 19. As an ascending and thrusting move, it may impact the opponent at any point of ascension. Possible impact points include the groin, lower abdomen, heart, and so on. The bolo or kampilan find their mark at a depth; the baston will not.

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Strike 21—Third Alternate: This is a reverse upward slash to the opponent’s groin. Similar to Alternate Strike 10, it is done while turning 180 degrees and is a unique striking maneuver and directional change. As a tactical stratagem, it is executed as a finishing or warding-off strike while changing directions to address a new threat. It may also facilitate a retreat or be used as a feint to move behind an obstacle, a broken rhythm counter, or for distancing. It is dropped when following through to the additional numbered strikes to the backside of an opponent.

Alternate Strike 21 completes the Veinte y uno Tiro set.

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Rear targets consist of numbered strikes for when the defender moves behind the aggressor in a tactical approach noted above as pangunahan sa likod, or front-toback. Practitioners are to learn important targets at the back of an opponent. These include: the right and left Achilles’ tendons, left and right lateral collateral ligaments, left and right hip joints, left and right rear shoulder blades, left and right sides of the neck and cerebral cortex, back of the head, and a thrust to the spine at mid-back.

Some Final Comments on Casag’s Numerada Casag’s numerada is set up in training sequences that have a logical striking flow in mind. When the student has a good understanding of the main striking points and the additional points of the zone, he/she will have a sense of the free flow of these strikes. In other words, the striking sequences only need to flow naturally, one into another at various angles.

There is no requirement for a specific numerada. However, having a specific numerada serves as a model for the flow of the strikes. Understanding the main focus point of each angled strike, which also has a probable damage result, is an essential skill. The secondary targets must also be understood as well as possible. The reason is, while perhaps the initial point in the zone might not be lethal, the next target in the zone may be. The point is, details matter. When a strike finds its mark, it is because it was skillfully placed there. Its impact will be successful, rather than useless.

In training, each numbered strike should be isolated from the flow-training drills. This is so that methods of dealing with its angle and dynamic can be studied at various ranges. The strikes must also be understood in double-baston/ bolo as well as baston ug palilyo (long and short stick) and estilo sa taas ug korto (“the style of long and short”—i.e., stick and dagger or sword and dagger).

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More on “Broken-Numbers” These are striking “patterns” that use the connections between various angles. This can be understood by pointing out varying patterns (perhaps from sister systems) of numerada. After a novice understands the value of varying angles, certain drills can be introduced. At first, this involves using “planned” sets of three strikes with corresponding defenses. The basic defenses are sagang sa gawas (defending/attacking to the outside) and a la contra (defending to the inside).

For example, Strike 1 flows well to the start/load position for Strike 8; Strike 8 then flows well up to the start/load position for Strike 1 again. So, the pattern is 1-8-1. This is a downward diagonal slash to the opponent’s left shoulder/neck, then an upward slash to his right knee/leg and another downward to his left shoulder/neck again.

The same can be applied to the other side of the opponent by doing a downward diagonal slash to his right shoulder/neck (Strike 2), then an upward slash to his left knee/leg (Strike 9), and another downward strike to his right shoulder/neck (Strike 2). This is a 2-9-2 pattern.

Other patterns would be along the lines of: 1-2-1, 1-4-3, 1-4-5, 1-8-6, or

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2-1-2, 2-3-8, 2-5-6, and so on. There are a great many combinations in the standard frontal strikes. The defenses can be easily combined with tactics for various ranges to test one’s skills for dealing with multiple strikes, one after the other.

Another method of doing broken-number training is a set of three drills simply called the usapara-usa (“one-for-one”), duha-para-duha (”two-for-two”), and tulo-para-tulo (“three-for-three”).

Beginning with usa-para-usa, the aggressor strikes any one strike of his choice, which the defender defends against. After the defense, the defender then becomes the aggressor and strikes his single strike, which is defended against. Following this pattern, a back-and-forth drill ensues. Duha-para-duha and tulo-para-tulo follow the same pattern: two strikes are defended against and two strikes are delivered back, and the same with three strikes. At long range, the simple rule is that the strikes and defenses must flow naturally and make no adjustments to new or out-of-flow angles.

These drills build into more complex patterns where the defender delivers fast counterstrikes after the initial defense of one, two,

The usa-para-usa (“one-for-one”) drill.

or three strikes. They then begin their strike or strike as the aggressor. These back-and-forth drills provide a good understanding of broken-number flow, angled defenses, and moving rapidly during an assault. Tulo-para-tulo, also called tulo-sumbrada, is generally the easiest of the three drills to start with, seeing that the other two drills move a bit faster.

The initial introduction to these drills is done at long range. As the student becomes more proficient in his craft, the drills become more free-style in their feel. Therefore, medium and close ranges, plus an understanding of fluctuating ranges, come into play. The usapara-usa drills provide the student with some basic understanding of the attributes of weapon length at

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varying ranges, and of when the free-hand can come into play. Understanding the changing dynamics of ranges is highly valuable.

There are multiple variables explored in this method of training, and the drills help build the skills needed for meaningful free-style play. These drills, as well as others that follow them, serve to develop a student’s craft of self-defense and ability to respond spontaneously to the threat of harm. This is also where jams, traps, locks, disarms, kicks, and other defensive methods can be considered or discovered.

Casag’s Approach to Combative Ranges Generally, when we think of Filipino martial arts, we think in terms of their varied origins. We think of a variety of regions, peoples, groups, and conflicts with diverse enemies over time. Like all craftsmen, their war art also developed over time. Multiple conflicts serve to produce multiple, yet distinctive, methods and weaponry. So, as they encountered different technologies and different weapons, they adapted their own.

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As disciples of these arts, we can speak meaningfully about weapon features, ranges, and other combat aspects, yet we might not always value the many genres they present us. These are “fencing arts” at the root. But they are not just fencing arts. They are, by design, concerned with warcraft. That makes them a serious matter. Yet, they come with blueprints; outlines that help us understand that combat is a highly diverse activity. We must constantly adapt to the loads and stresses of the moment. No engagement is free of its difficulties.

If we think so, then we have not understood the nature of combat or conflict in general. While any combat—whether with or without weapons—imposes the need to adjust to circumstances moment by moment, we must also learn to impose our conditions and rhythms upon those circumstances.

Below are descriptions of three fencing genres based on ranges of engagement with a long weapon (24-30”). These explanations do not fully reflect what we term as the translation principle, meaning how a tactic is translated into a

related strategy. Rather, these are more concerned with elementary weapon adaptation at three ranges. Most of us recognize that Filipino martial arts are at first cause combat fencing arts. They serve to develop a wonderful group of skill sets, which help us to think combatively and survive in the real world.

Fencing Genre 1: Taas (Long): The engagement between a long-range weapon and a weapon of equal or similar attributes, at long range.

The primary targets of the opponent are the hands, legs, and feet.

For the most part, this is the principle of fang and mobility disruption and destruction. The weapon is moving at its fastest speed because the attribute of its length is being employed to the greatest extent. The tip, 1-4 inches, moves fastest to bust or cut, with only the flesh resisting at the point of contact. This is the most efficient and safest method to dispatch an opponent. Long stances and stepping from the same side that the weapon came from, are used in this method. Defensive styles of sagang sa gawas and al a contra are both employed.

Fencing Genre 2: Taas-Tunga (Long-Medium): Long-rangeweapon vs long-range weapon of equal or similar attributes, at long-medium range. In this range, the weapon is used to reshape the opponent’s weapon in its plane of cut. This reshaping is a deflection done as a push, a draw, an up or down tap, or some other simple disruption of flow; all of these are done in order to deliver a secondary strike. The primary targets of the opponent are similar to the first scenario, but now include more vital targets because our weapon is closer to the opponent’s body.

This deflection or disruption is often part of the closing-in process, but may be used like a wave moving in to impact or cut, then drawing back out to long range to return in once more—only to draw back out again. At long-medium, the weapon is moving in a 1-2 cadence of deflect/strike, push/strike, descend-down/strike-up, and so on.

Generally, 6-12 inches of the weapon is used in this tactic. This method is less efficient and perhaps less safe than the long-range style,

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yet it is highly effective for flowing between ranges. Long stances and stepping from the same side that the weapon came from, are also used at this distance. Sagang sa gawas and al a contra methods are both used at this distance, as well as stylistic methods such as florete bobina, in which the weapon moves like a coil unraveling to deflect and strike again rapidly, the redondo, in which the weapon circles quickly after deflection, or perhaps witik, meaning to flick-in and return again on the same trajectory. All of these are effective tactical responses.

Fencing Genre 3, Tunga (Medium): Long-range weapon vs long-range weapon of equal or similar attributes, at medium or center range.

In medium range, the weapon is used to present direct barriers to the opponent’s weapon flow. This typically, but not always, involves employing secondary suppression checks, locks, or other controlling factors. Additionally, korto daga (short dagger) is used for control or to thrust/cut available targets. The cadence is similar to taas-tunga, in that there is often a 1-2 timing involved in the counter sequence.

The opponent’s weapon is stopped

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dead in its plane of cut or reshaped to suppress it. Typically, the center of the weapon is used most effectively in this range.

A secondary strike is a primary mechanism of damage, or of disarm. The opponent’s more vital targets have become available, and are vulnerable to the second hand or blade in hand. This might also be called taas ug korto—”long and short.” Baston y daga (“stick and dagger”) or espada y daga are other terms for the long and short stylistic methods used here. There is not always a dagger in our other hand.

It may simply be a palilyo (stick) or some other instrument.

These genres, though trained through stages, are in a certain sense never separate from each other. Once the particulars are understood, the fighter learns to move in-out and around (sa gawas libot) and front to back (pangunahan sa likod) using these ranges.

Even if they are locked in a struggle at korto range, they always strive to move to ranges where they can free themselves and employ the power of their weapon. These tactics make up the sayaw (dance) or sayaw sa hari (dance of a warrior).

Conclusion I have spoken quite a bit here about weapons training in the form of fencing genres. Yet I do not want it to seem as though I have ignored the highest skills of Casag and all Filipino martial arts, that being the categories of empty-hand vs blade and impact weapons. While carrying a short-bladed or impact weapon is a smart policy, we know that we, most of the time, have only our natural weapons—our two claws like the crab, and the inclination to move to angles and zones.

Batikan used the term Kalikali-han simply to emphasize that the principles of blade-vs-blade are not too dissimilar to hand-vs-blade, yet require a superior understanding of how the art translates across these genres. The Cebuano terms for this genre vary. It might be called mano-batok-hinagiban, (“hand against weapon”) or mano-batok-tabak (“hand against sword or knife”). Panantukan, meaning “to hit with the hand,” might be used to express empty-hand tactics as well as, simply, empty-vs-emp-

Batikan performing demonstration of Kalikali-han—the “hands of Kali.”

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ty, or haw-ang-batok-haw-ang.

At any rate, in these days of machete-wielding assailants both in the US and abroad, having knowledge of how it “all” works proves, in itself, to be an edge against it.

Take a Knee: Batikan’s Wise Advice When the Tobosas founded their schools, they strove to do more than simply produce a comprehensive approach to warcraft. While they could have focused on the physical over the non-physical and, in fact, separate the two, they knew that this would be akin to the separation of body and soul, a state of death. They understood the danger of power without restraint and the immorality of passivism. They wanted to offer people an understanding of courage, which society seldomly affords. Being men of resolve, they believed that men and women of courage do not need to be aggressors. Those whom they taught were encouraged to be insightful and decisive and to recognize bad behavior when they saw it—that is, in themselves first.

Honest self-examination is the key to self-control.

The principles of Casag are to choose one’s course of action thoughtfully and understand that there is a difference between brawling and fighting for real caus-

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es. Real causes are serious matters involving the right motives. To deal with any circumstance of conflict, both courage and skills are required. Brawling is for unskilled drunkards who lack legitimate motives and are ultimately cowardly in all their ways.

To live carefully, one must learn and exercise careful thinking.

Warcraft is messy business, but it does not need to be unintelligent.

We are not to desire violence, but, if possible, to seek a peaceful solution. Yet amid peaceful desires, we must understand the need for the sword in a world of fighting and wars. When violence befalls the innocent, a violent response may be necessary to resolve the circumstance.

Therefore, we must bear in mind that peace is not the goal of every man; so, peaceful men cannot afford to be pacifists. A man of peace must also be a man of courage, and, in fact, a truly dangerous man to those who would violate the peace. An appropriately ferocious response to violence does not disqualify us as seekers of peace. In fact, it qualifies us, providing we disdain it at the same time.

There are many in the world who want what others have. They do not cherish peace and hate civility.

They want only to take, injure, and destroy. Their guiding principle is self-aggrandizement. Others, however, desire peace and courtesy. So, they train themselves for war, to curb destruction and immorality. They understand that the war arts are a good and necessary discipline. Even more so, they are the arts of peace; this is a virtue and ideology that must be understood.

If we have no love of virtue or purpose for our training, its value to the world will be lost. In this respect, it is moral and just to protect oneself and others, and a greater thing to sacrifice oneself for others. Our training in responsive violence cannot be detached from a moral framework. A moral framework is a hedge we set around us.

This is because we must be honest enough to recognize that we have a natural desire to do exactly what our enemy does. We are prone to punish beyond what an offense has earned. The taste of power is sweet in the moment but bitter in the long run. So, we must strive to do what is right or at least seems to be right at the moment.

rates, “is a life not worth living.”

So, having powerful knowledge, we should help our fellows rather than hinder them. We should practice ferocity and docility simultaneously: doing what must be done—nothing less, nothing more.

A thing of awful beauty, an instrument of both justice and mercy, we must clean and polish our swords, keep them near, be watchful, and live resolutely.

- Michael Mulconery

If we should lack a strict moral framing, we may certainly become no different than thugs and tyrants who live unexamined lives. An unexamined life, according to Soc-

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THE "BARABARA" AND BASIC LONG-WEAPON APPROACH

Michael Mulconery

THE CEBUANO TERM, barabara, primarily means “staff ” but interestingly, it is also translated as “backing up—blocking, or clogging up,” as in “something that stops the flow of something else.”

Barabara primarily uses a 42-inch stick or staff, but a 36-inch cane is also used at times. It has qualities applicable to the use of a spear and many of the principles can be applied to longer impact weapons such as a 60-inch or 72-inch staff or spear.

To whatever degree it may have been, Batikan learned the Barabara system from the kali grandmaster, Feliciano Magsanide (19001983). Magsanide worked in the sugarcane fields and had lived in Lahaina Maui, Kauai, and finally on Oahu at Waipahu (Batikan’s hometown). It appears that he later moved to the Kalihi-Palama area of Honolulu, which is about a 19-minute drive from where Batikan then lived in Pearl City.

Batikan related that Grandmaster Magsanide trained many of the full contact escrima fighters for the Honolulu civic auditorium fights

that took place in the 1930s and 1940s. He said that Great-Grandmaster Floro Villabrille was well acquainted with Magsanide’s approach and, in fact, that they were good friends.

Casag (to the best of my estimation) has only bits and pieces of the Barabara system—really only some tactical approaches and practical applications. The reason for this is probably that Batikan did not want the unique qualities of the long-stick methods to become a distractor for the core principles of Casag. Additionally, it may simply be that Batikan died before he was able to demonstrate and articulate much of this system to us. At any rate, I do not interject these methods into training until students are advanced enough to sufficiently understand the application of Casag principles and methods as they apply to multiple types of weapons.

As was his way, much of what Batikan related about people and their approach to training or their particular systems was mostly done during times of “story talk” but

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also in some of his written notes.

To a small degree, he made them observable when it came about that he had to use a walking cane (36 inches or so) to walk with. He had, for a time, the opportunity, so to speak, to demonstrate some very interesting stylistic moves with his cane. He noted to us that he now went everywhere with a weapon.

Therefore, I consider these bits and pieces to reflect more of a “stylistic approach” than an additional system of kali within Casag (as it is not that). Now, I have no doubt that Barabara was practiced as a full system, and may still be found as such somewhere in Hawaii or elsewhere. However, it is my suspicion that the style or system of Barabara died with its founder and last known grandmaster, Feliciano Magsanide.

For the Tobosa kali-escrima/Casag system, like other stylistic approaches we embrace, Barabara is, in a manner of thinking, embedded within our martial culture.

Like many of Batikan’s strategies for Casag, and also in my assessment, Barabara methods served to

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uniquely inform Casag in its approach to longer impact weapons.

But overall, like any other weapon we train with, Casag principles, tactics, and strategies enfold it. It is not unlike what happens when someone immerses themselves or is assimilated into another culture and becomes integrated with it.

I believe that whatever Barabara principles Batikan found to be exceptional, served to inform his thinking and influenced his own approach. These principles were organized by him to fit with the system character, tactics, and strategies of Casag. As a protagonist under Batikan’s leadership, and based on his personal critique of the KAJI long staff, I believe that some of the Barabara qualities served to influence my development of the bo staff forms brought into the eclectic system of KAJI during its later development.

As a side note, and really a matter of speculation, I suspect that the Barabara system may have been a root system for later ones such as Oidos, or Oido de Caburata arnis founded in 1937, and the more re-

cent Tapado arnis founded in the mid 1960s. Both of these systems use stick weapons which are longer than most arnis systems use.

They also appear to use both single- and double-hand positions with various tactics.

Listed below are some of what I would call “classic” hand positions for the use of longer, mostly “impact” weapons of approximately 36-42 inches or more. These positions are essentially intuitive, meaning that a study of the attributes of longer weapons through movement reveals, to the trained mind, just what works or does not work well. However, it is good to note and train with these various hand positions, because effective use of a long weapon involves the fluid transition between these wielding methods.

Basic Hand Positions for a 42-Inch Long Weapon: 1. One hand with the right or left hand dominant: The Cebuano term for this positioning is usa tunol. The weapon is held at the counter-weight position where

the punyo (i.e. the back end of the stick) measures approximately 8 inches, or 2 fist lengths. With the top of the hand at approximately 12 inches from the base, the punya (i.e. the front end of the stick) measures approximately 30 inches.

However, the weapon’s reach varies in accordance with the practitioner’s arm length and stance width. This hand position can be adjusted to make the punya longer, but doing so will change the forward weight of the weapon, thus affecting its maneuverability to some degree. Accordingly, recovery time after impact and weapon reload is less certain. The liability of this method is in the punyo length, which can become entangled in clothing and even caught on the wrist of the wheeling hand to cause a self-disarm.

2. Two hands with the right hand dominant: The Cebuano term for this positioning is duha mitunol.

A two-handed position generally involves “push-pull” dynamics.

For the right-hand-dominant, or right-hand-above position, the right hand is in the top position,

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with the left hand placed at the base of the weapon. There is approximately 4 inches (one fist length) between them. The right hand is the dominant hand in all strikes, and maintains its position. Strikes coming from the left side will lack some strength, because the right hand is pulling. However, thrusts from the left side are stronger and more accurate than those coming from the right. In fact, this static two-handed position has some awkward qualities when delivering the various angles.

3. Two hands with the left hand dominant: The exact same circumstances as described in the “two hands with the right hand dominant” comments apply to the left-hand-dominant position as well.

4. Two hands augmented with the right hand dominant: This is an augmented or amplified method where the right hand grips the weapon at approximately 2 inches above the base, and the left hand is used to augment the right. This is the same method that is used in regular training, particularly when using a heavier weapon such as a heavy hardwood stick, or blade— e.g. a kampilan or barong. This method involves the left hand being positioned behind the right at

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the back of the hand or wrist. For the most part, these positions correspond to our parada hand positions learned in basic training.

When striking from the right side, the left hand pulls as the right hand pushes. This results in a very powerful impact and follow-through.

5. Two hands augmented with the left hand dominant: The exact same circumstances as described in the “two hands augmented with the right hand dominant” comments apply to the left-hand-dominant position as well.

6. Two hands together: There is no separation between the hands. Either the right or left hand holds the dominant position. This is a very powerful method, but it lacks the maneuverability of other methods. It is very much like swinging a baseball bat or sledge hammer.

7. Two hands centered at equal distance: Both hands are at equal distance from the center and ends of the impact weapon. This is not applicable to a bladed weapon, but may be used with spears of various lengths. This might typically be viewed like the rifle-and-bayonet combat methods taught in the military for close-quarters combat. In this method, like others, the hands are either right- or left-hand dominant, and the dominant position

is in constant flux. This method accommodates both hands with a palms-down position. A bothpalms-up position is not a legitimate method.

8. Fluid use of hand grips: As noted in the comments regarding classic hand positions, the truly effective use of a long weapon involves fluid transitioning between these wielding methods.

The flow of combat with shifting hand positions and methods is a quality of mastery over the weapon. One hand becomes two hands very rapidly; an augmented strike shifts immediately to a two-hand grip, and then perhaps back, and so on. Additionally, the weapon may be extended by sliding into a thrust (a spear tactic) and then back to a double-handed grip of one type or another. In close proximity, the punyo is used much like it is with the shorter stick. There are also a variety of locks and traps with the punyo and staff-type maneuvers where the punya of the weapon is used in particular ways to trip the opponent, or to thrust and strike with the weapon held like an oar.

weapon’s attributes and use at various ranges need to be understood.

Sagang sa gawas and al a contra at long-range are always preferred, and they are the main tactical approaches. To move or guard the target by distance, angle, elevation, deflection, barrier, and so on, and to destroy the opponent’s “fangs” and mobility are the primary strategies through the application of proper tactics. Also, bear in mind that our other stylistic methods such as hinaplos, wakil, or ligid-ligid, redondo, witik, and so on, apply very well to the use of the long weapon. Additionally, most of our standard drills, such as strike-cover-strike, the al a contra switches, particular sumbradas, and all the directional training sequences, function very well with the long weapon.

- Michael Mulconery

Finally, as for the use of our long weapon in Casag: as with our 2428-inch and shorter weapons, the appropriate adjustments for the

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Adam H. C. Myrie @ahc.myrie.7

STICK FIGHTING IN NORTH AFRICA THE FUNDAMENTALS OF COMBAT

Adam H. C. Myrie

IT WOULD BE AN UNDERstatement to say that there are a plethora of martial arts the world over that almost every culture possesses a fighting system. Through dance, dueling, self-defense, or warfare, swords, knives, spears, axes, cudgels, and even bare hands and feet are tools for inflicting or simulating violence. The stick is one tool in the vast array of options available to the aspiring and practiced martial artist that is almost universal across all systems.

A simple, usually straight piece of wood in varying dimensions acts as a weapon or a safer analog for other weapon systems. The stick is among the most versatile training tools for weapon-based martial arts, as the limits of what it can represent are bound only by the practitioner’s imagination. The stick is ubiquitous in North Africa, where over 5,000 years’ worth of traditions involve using the stick to train for other weapons of war, settle personal grievances, and carry into battle. Two of the most well-known and ancient forms of stick fighting in North Africa are tahtib and el matreg. As mentioned above, from Egypt and through the Maghreb, these two ancient arts have served in all three ca-

pacities. Among the tombs dating back to the days of the pharaohs are wall paintings representing different forms of Egyptian stick fighting. Tahtib, or Egyptian stick fighting, served as one of the three core disciplines in ancient military training. Here in this article, we will cover the use of Egyptian and Maghrebi stick fighting as training tools for other weapon systems through exploring their history, basic techniques, and current place in the modern world.

A Point about Sources Before delving further into the topic at hand, there is an elephant in the room to be addressed: sources.

While Africa’s continent’s history and martial traditions are ancient, these communities did not rely on the written word to transmit knowledge to future generations.

While North Africa has an admirable record of keeping written accounts through scrolls, manuscripts, and stone tablets, this was not the principal method to transmit this type of knowledge. Oral history is still an essential aspect of culture throughout the continent through direct lineages of training, poetry, historical epics, song, and dance. Written accounts

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of battles by both Africans and Europeans can also serve as sources of information. There are, however, a multitude of efforts currently underway to preserve Africa’s martial arts and ensure that they do not become forgotten relics of an ancient past.

For example, Dr. Adel Boulad has started the modern tahtib movement. To bring tahtib into the modern world, he traveled throughout Egypt, working extensively with living masters and experts on Egypt’s history. A renewed fighting system and a martial arts manual came from his efforts: Modern Tahtib: Egyptian Baton Martial and Festive Art. Dr. Boulad’s efforts have resulted in the successful enshrinement of tahtib on UNESCO’s intangible world heritage list (UNESCO 2013).

In Algeria, the Fédération Algérienne du Sport Traditionnel took shape in 1992 to bring the ancient art of el matreg into the modern era, complete with formalized progressive class structure, leagues, and tournaments. Currently, the federation oversees over 17 leagues and 8,300 practitioners (El Watan 2011). Instructors have begun to write treatises and instructional manuals to record their knowledge for future generations.

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The History of the Arts While it is nearly impossible to determine precisely how long formalized stick fighting has been present in North Africa, existing depictions provide clues to the age of these arts. Starting with tahtib, the full name of the art is fan a’nazaha was-tahtib, meaning “the art of being straight and honest with the stick.” “Tahtib” is the word for “stick” in the Egyptian dialect of Arabic. The earliest known depiction of tahtib lies on the walls of the Abusir Necropolis in Egypt, dating back to Egypt’s 5th Dynasty, approximately 2,800 BC (Boulad 2014). On the tomb walls are representations of the three core disciplines of Egypt’s military at the time: archery, wrestling, and stick fighting. It was through these three disciplines that soldiers prepared for battle. Also inscribed on the necropolis walls are the four principles of tahtib, which form the backbone of its practice today: attacking from the rear, movement, protecting the head, and striking past the opponent’s weapon. Despite the modern love affair with the iconic khopesh, a sickle-shaped sword, the bow, axe, mace, spear, or knife were the principal armaments of the Egyptian soldier (Mark 2017). These weapons were inexpensive to produce, and the

techniques and principles of tahtib were transferable to almost all of them. Given that most common soldiers were levies from the peasant class and could afford neither armor nor formal instruction beyond basic training before being sent off to war, this is an important factor (Mark 2017). Over time as Egyptian empire-building dreams died down, tahtib eventually became something only the common folk would do during inter-village disputes, honor contests, or as a

performance art during holidays until finally becoming a recreational activity among peasants in Upper Egypt.

The 1960s experienced a revival of tahtib as a dance and performance art on the stage with the Reda Dance Troupe (Bissada 2017).

Tahtib appeared at weddings, cultural events, and entertainment for tourists. And so, it remained until early 2000 when Dr. Adel Boulad began his journey across Egypt to return tahtib to its martial roots.

Figure 1- Engravings from the Abusir Necropolis [Source - Wikimedia Commons]

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During his research, he found that the entire art never survived completely intact in one location or another. One village practiced one set of techniques, while another stressed another set of moves. After several years of research and intensive study, Dr. Boulad compiled the knowledge and techniques from the various practitioners, formalized them, and developed a pedagogical approach to teach this art. He called this new rebirth modern tahtib. Dr. Boulad also pioneered some changes to the art; among the most notable was opening the study of the art to women, once banned from learning or practicing the art for the length of its known history (Bissada 2017).

El Matreg El Matreg has a different story.

“Matreg” is the Maghrebi Arabic word for stick or baton. Historically, stick fighting served as a safer training tool for teaching sword fighting to young boys. Besides, it served as a training tool for soldiers during the Mamluk sultanate (AD 1250 -1517). Scholars support the idea that el matreg originated in Algeria’s Orania region as an art of the original North African Imazighen, or Berber peoples and Arabs. For centuries el matreg served as the primary training tool

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Figure 2 - Training with sticks and daggers [Source: Kitāb al-makhzūn jāmi’ al-funūn (~1470)]

for elite soldiers and among the common folk. Some of the oldest depictions available appear in medieval Mamluk manuscripts showing training with the stick in place of the sword—at times with a sword alone and at other times with a buckler or other off-hand weapon. From this, its origins appear in an easily recognizable form at some point in the early to high Middle Ages, though it may be older. Among the Mamluks, stick fighting served as a substitute for the various single and two-handed weapons such as the spear, saif (sword), and the tabar (axe/mace).

Long after the practice had diminished as a tool for formal military training, el matreg remained a staple component of learning standard fencing. As swords and other medieval melee weapons became obsolete, el matreg transformed into a leisure activity.

In 1984, the Ligue Oranaise du Sport Tradition came together, and among its objectives was the preservation of traditional sports for future generations, el matreg being among them (El Watan 2011).

Over time, the efforts of this organization inspired further investment from the Algerian government in the art’s preservation as a vital part of local culture, leading to the birth of the Fédération Algérienne du Sport Traditionnel.

Techniques First, it is important to review several components such as the size and dimensions of the stick, martial context, movement, offensive techniques, defensive techniques, and pedagogical approach to understand the thinking and the conditions that led to the development of the art. While used in dueling historically, these stick fighting forms were primarily for training soldiers for the battlefield. This truth impacts how one learns to properly move one’s body in conjunction with the proper use of the weapon, protecting one’s vital areas while attacking the opponents. Without understanding these factors, the value of specific techniques and the ritualistic aspects elude the observer. Given that both of the arts discussed in this article are complex and have centuries of history behind them, the focus will be on the foundational elements of the training methods, basic techniques, and what they seek to accomplish with some brief overview of the process and rituals involved in a sparring engagement.

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Modern Tahtib The weapon used in modern tahtib is the rattan staff roughly 1.3 meters long and 2.5 centimeters thick.

Rattan is preferable for its durability, flexibility, and light weight. In ancient Egypt, soldiers would train with rolled papyrus reeds (Riddle 2007). For combat, men armed themselves with a harder wood called naboot (Riddle 2007), equivalent to using oak or ironwood.

Competitions are called duels or jousts and take place in a circle roughly three meters in diameter.

During formal jousts, musicians playing a saidi rhythm on the doumbek, daf, mizmar, and thavol accompany the duelists. The music signals the beginning and end of a match. The pace of the music also dictates or reflects the pace of the action. Victory occurs when one combatant succeeds in landing one strike on the head on any one of the five target points (forehead, top of the head, the rear of the head, and each side of the head) or three blows to the torso for the safety of the combatants; there are no thrusts allowed. However, it is permitted to target areas such as the knees in training. Jousts take place in four stages: the bow and retreat, the gage, the codified joust, and free joust. The bow is a salute where one takes the khalfeya pose,

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symbolically obstructing the path of lateral strikes to the head from the opponent’s right arm. The gage refers to the practice of performing a rasha or sprinkling motion when the stick is swung over the head in unison by the two fighters. It allows a person to calibrate the distance and timing needed in the actual free joust. The codified joust is a run-through of rehearsed attacks and defenses, which helps build the free joust energy, which is the actual martial contest between the two fighters to determine the victor. Upon one of the competitors winning, the two fighters salute each other in the khalfeya and then retreat to the circle’s edge.

Modern Tahtib’s foundations are rooted in four principles. These are engraved in stone at the Abusir necropolis in the second of four lines depicting ancient Egyptian military training basics.

Figure 3 - Saluting an opponent in the khalfeya pose [Source: HAMA Association]

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1

Starting with the first principle, striking from the rear serves three purposes. First, it helps to generate power in the attack. Like a boxer’s punch, the kinetic chain begins at the legs. The entire body is engaged in the attack, adding power and reducing the stress on the arms and shoulders of the fighter. Secondly, it hides the intention of the attack.

A fighter can deceive the opponent by broadcasting an attack from one direction by leaning to one side and following up with an attack from the other while still engaging the core. Third, if fighting in a formation with several other comrades, chambering all strikes behind the back increases control and reduces the likelihood of the fighter from accidentally striking their comrades in a combat unit.

Because this art developed at a time when most common soldiers did not wear armor, accidentally striking one’s comrades with a battle-axe or mace could prove disastrous.

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2

The second principle refers to the protection of the head. Common soldiers in ancient Egypt did not commonly wear head protection. Helmets were not common, and even in later periods, turbans were often worn in duels or on the battlefield. Otherwise, guards such as the sada, the khalfeya, and amameya were used to protect the head. In modern tahtib, the head is the prime target, as touching one’s opponent on the head during a joust is an immediate victory. As a result, strikes are almost always followed up with a defensive posture that protects the head.

Figure 4 - The Sada guard [Source: HAMA Association]

3

The third principle—movement— emphasizes footwork as an offensive and defensive tool. When a fighter is unarmoured, one of the best tools for guarding against being hit is to avoid the blow entirely and position oneself to return it in kind. On the ancient battlefield, when the lines would break down and combat would devolve into a chaotic melee, spatial awareness, sure footing, and constant movement became as essential as the weapon in the warrior’s hands. To train for this, practitioners of modern tahtib learn their footwork and develop their agility through a series of dance steps.

One prime example of this in action is the small horse, a small step that shifts the fighter’s weight from one foot to the other. When used defensively, a fighter can strike a guard while simultaneously stepping out of the centerline of the attack. Staying in one place is discouraged. Further extrapolated, in a multiple-attacker scenario, paying attention to one’s position assists in choosing the appropriate footwork to avoid getting trapped between opponents, how many attackers there are, and where to attack them.

Figure 5 - Stepping off line in the small horse under the pyramid guard [Source: HAMA Association]

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4

The fourth and final principle focuses on the opponent and not the opponent’s weapon. Necessarily, if the execution of the prior three elements is strong enough, a fighter should be sufficiently protected from the opponent. The objective of each attack should be a target area on the opponent. Watching the opponent’s movements will better indicate the direction of the attack than watching the weapon itself. Focusing on the weapon rather than the fighter reduces the response time needed. The priority changes from threat management to becoming the threat, pressing the opponent to focus on defense instead of offense.

The proper striking technique in modern tahtib uses a push-pull movement of the hands, like cutting with a Japanese katana. The practitioner places the bottom of the stick in the center of their right palm. The left hand is positioned approximately one and a

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half hands above the lower hand.

Taking this position is ideal for controlling the stick without compromising much of the potential power and speed. There are several exercises to assist in developing this skill. The most basic method is the use of power and control exercises. Because modern tahtib does not use protective gear, practitioners must regularly practice restraint in sparring and training.

The exercise typically requires two people, but as a solo exercise, it is also beneficial. Person A takes the role of attacker, person B is the defender. Person B will hold the stick in one of five defensive positions (either side of the torso, either clavicle, or the top of the head).

Person A will strike with the weapon at the target area covered by the defender.

First, the sticks will make contact, then person A repeats the attack but stops just shy of touching the stick of person B. Person B removes

Figure 6 - Performing a power and control exercise with a lateral strike [Source: HAMA Association]

the stick from the guard position for the third strike and exposes the target area. Person A then attacks the exposed area but stops short of touching it. One achieves this by reversing the push-pull movement to a pull-push. Successfully executing the action during the power and control exercise turns a strike at full speed to a light strike to avoid contact. Performing power and control exercises trains the fighters to exercise speed, proper striking mechanics, and control.

Additionally, it promotes proper technique, safety, and familiarity with the strikes. Beginners stand in one position while striking and blocking. More advanced practitioners practice moving around while practicing power and control exercises.

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El Matreg There are various forms of el matreg—for the street, for league competition, and as a reconstructed art for the battlefield. Variations include a single-handed stick, a single two-handed stick, two single-handed sticks, or canes.

Some forms of the art allow for kicks to the legs or midsection. For this article, the focus will be on el matreg as a method for training in swordsmanship with both one single-handed stick and two single-handed sticks.

A duel in el matreg takes place in a space agreed upon by the fighters. Contests begin with a salute, which is a slight bow and touching the tip of the stick to the ground.

After the salute, the fighters will exchange blows, where first one person will attack with four pre-arranged blows while the other defends, then they will switch roles, and the other person will deliver four pre-arranged attacks before beginning the contest. Winning occurs by contacting one of the target areas, at which point the fighters will salute each other and then end the match. El matreg is a fast-paced contest of wits, where the two fighters will try to outwit each other with feints, redirection of an opponent’s blows, and quick footwork.

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The stick used in el matreg is traditionally cut from an olivewood tree and measures roughly 1 to 1.3 meters in length and between 1.5 and 2 cm in thickness. Rattan or oak are reasonable alternatives in the absence of olivewood. Though wrappings are not necessary, a stick can have corded or leather wrappings that cover up to 1/3 of its length. The stick is gripped at roughly a forearm’s length away from the bottom. This allows for better balance and reduces the likelihood of it slipping from the hand. The proper grip for el matreg changes based on what the fighter seeks to accomplish with the stick.

There are two basic grips associated with el matreg: The defensive grip—customarily used in parries and concert with the knuckles, it can be used as an analog for practicing edge alignment. This grip reduces the give in the stick when receiving a blow.

The hammer grip—the most common grip which can be used both offensively and defensively. The benefit of this grip is that it increases the reach to the angle of an attack at mid-strike and during weapon recovery.

The last is the handshake grip.

Figure 7 - The defensive, hammer, and handshake grips [Source: HAMA Association]

Strikes in el matreg are done in an arc motion, drawing the point of percussion on a curved trajectory and drawing the hand back.

When using swords against an unarmoured opponent, this has several functions. First, the strike makes contact and draws the blade against the target area, increasing the blade contact. Second, this motion assists in recovery and guards against partially pulling the weapon back or following through and leaving the weapon out too far due to lack of control. Instead, this controlled motion pulls the weapon back and immediately chambers it for another attack without slowing, stopping, or awkwardly changing the direction. Third, it is a defensive maneuver to keep the hand and forearm safe from attacks. Most of the swords in North Africa, save a few exceptions like the nimcha, are absent a knuckle bow, and some of them, such as the common saif, do not have cross guards at all. Other weapons for which this system is applicable, like the tabar/battle-axe or mace, have no hand protection. For this reason, the lower arm is an especially vulnerable target area. To

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keep the hands and forearms of the fighter safe from injury, taking guard positions that expose the hand and arm or full extension of the arm when not in mid-strike are discouraged.

The empty hand is kept in two positions, as seen in Figure 2. Most commonly, one holds it at the chest with the elbow tucked, chambering it for defensively deflecting thrusts to the face, initiating grappling at close quarters, or disarming an opponent. The hand to the chest also holds off-hand weapons, such as a separ (buckler) or a knife. The other position for the off-hand is on the rear hip. Defensively, this provides fewer options for a fighter, but it is far safer for the off-hand, as a missed parry might mean a landed blow to the off-hand if held at the chest.

The basic footwork in el matreg is not the same as one would expect from a single-handed fencing art.

Instead, the foundational footwork is more simplistic and mostly walks towards, around, or away from the opponent while avoiding crossing the legs.

Unlike modern tahtib, el matreg has 14 targets: •

A cut to the left and right temples

•

A cut to the chin

•

A cut to the top of the head

•

A cut to the left and right clavicle or shoulder

•

A cut to the left and right elbow

•

A cut to the left or right sides of the torso

•

A cut to the left or right knee or thigh

•

A thrust to the center chest

•

A thrust to the neck or under the chin

Despite there being 14 targets, there are only 5 main categories of attack: tarcha barrania – a strike from the outside (the side holding the weapon) tarcha dekhlaniya – a strike from the inside (the off-hand side) lahiya – a strike from above ras – a strike from below d’aefarr – a thrust The parries and guard positions all cover the target areas of each attack.

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The same parries can be static or active, depending on the movement’s objective. Attacks can also blur the line between categories.

For example, strikes to the clavicle are a blend of the tarcha and lahiya categories and apply to both single and double sticks. With two sticks, there is an additional defensive technique in which the two sticks cross each other to catch heavy blows or bind and control the opponent’s weapon. This cross-blocking technique effectively redirects thrusts, adding leverage against heavier weapons, and clearing the opponent’s weapon from the line of attack to open for a riposte.

When using el matreg as a training method for battlefield weapons, ambidexterity is encouraged and often referred to in treatises and accounts of battles. A practitioner trains attacking and defending with both the right and left hands in training. During Mamluk Egyp-

Figure 8 - A Mamluk on horseback carrying a tabar battle axe [Source: Kitāb al-makhzūn jāmi' al-funūn (~1470)]

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tian times, this was common as warriors on horseback needed to be proficient from both sides of the horse. If, for example, the dominant hand suffers any injury, skill in a weapon’s use with the other hand becomes necessary for survival.

The most basic and effective exercise to train proper mechanics and accuracy is to run through the 14 attacks and parries with a partner, both making and at times not making stick-to-stick contact. Depending on the practitioner’s skill, this is dome standing in one position and with more dynamic footwork. Other exercises include flow and strike drills that focus on recovering the stick after hitting or missing a target and memorizing various patterns, similar in theory to a boxer’s combinations.

Figure 9 - Mamluks training for ambidexterity [Source: Kitāb al-makhzūn jāmi' al-funūn (~1470)]

Stick fighting in North Africa is a dynamic, versatile, and ancient practice. It links modern-day prac-

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Figure 11 - Cutting practice on wet clay [Source: Kitāb al-makhzūn jāmi' al-funūn (~1470)]

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titioners to thousands of years of martial tradition, stretching back to the birth of humanity’s great civilizations. On ancient battlefields, mastery of these techniques prepared warriors to protect themselves and their comrades with various tools. They learned footwork, defensive postures, and targeting and developed the muscle memory to make this practiced knowledge second nature. Tahtib has survived the thousands of years of conflict that rocked ancient Egypt, from its unification, through many invasions, and colonization. Today, its legacy is carved in stone and in the soul of the drum that beats as staves clash in a friendly contest.

El matreg has also stood the test of time, long after the sword and battle-axe gave way to the pistol and rifle. Once a battlefield art, now

Figure 10 - Cross Blocking in El Matreg double stick applied [Source: HAMA Association]

the victor shakes the hand of the vanquished at the end of the joust, and each goes their separate ways.

Time will only tell what the future of these arts will be as they become more organized and grow in popularity. For now, at least, let the players play as they continue the legacy of those forgotten beneath the sands of time.

- Adam H. C. Myrie

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REFERENCES

Bissada, Anne-Marie. “Egypt’s 5,000-Year-Old Secret Art - Tahtib.” AllAfrica. May 27, 2017 (accessed January 5, 2019). https://allafrica.com/stories/201705290170.html.

Boulad, Dr. Adel. Modern Tahtib: Egyptian Baton Martial and Festive Art. Shanghai: Budo Editions, 2014.

El Watan. “Sports traditionnels: Une caravane pour la promotion d’El Matrag.” El Watan.com. January 30, 2011 (accessed January 3, 2019). https:// www.elwatan.com/archives/sports-archives/sports-traditionnels-une-caravane-pour-la-promotion-del-matrag-30-01-2011.

Mark, Joshua J. “Weapons in Ancient Egypt.” World History Encyclopedia.

March 22, 2017 (accessed January 1, 2019). https://www.ancient.eu/article/1035/weapons-in-ancient-egypt/.

Riddle, Jonathan Wayne. “Ancient Egyptian Stick Fighting.” Electronic Journals of Martial Arts and Sciences. August 2007 (accessed January 6, 2019). https://ejmas.com/jcs/2007jcs/jcsart_riddle_0807.html.

UNESCO. “Tahtib, jeu du bâton.” UNESCO Multimedia Video & Sound Collections. 2013 (accessed January 6, 2019). http://www.unesco.org/archives/ multimedia/?pg=33&s=films_details&id=4360.

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Roger Norling @roger.norling.7

THE USE OF POLEARMS:

JOACHIM MEYER, THE 16TH-CENTURY FENCING MASTER Roger Norling

JOACHIM MEYER WAS BORN in 1537 in Basel of today’s Switzerland. His father, Jakob, was likely a papermaker and a cutler and may have moved to nearby Straßburg sometime before 1560. Joachim Meyer was noted as a burger and cutler in Straßburg in 1560 when he married a widow named Appolonia Ruhlman.

In his short, 34-year life, he became a renowned fencing master, teaching burgers, dukes, and princes and authoring five or six extensive fencing treatises, three

Portrait of Joachim Meyer, from Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain.

[Courtesy of Wiktenauer by HEMA Alliance]

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preserved, two of which are translated into modern English by Dr. Jeffrey Forgeng. Meyer wrote one treatise specifically for Duke Otto von Solms-Sonnewalde, who likely received Meyer in 1568. His second treatise, Gründtliche Beschreibung der Freyen, Ritterlichen und Adeligen Kunst des Fechtens (A Thorough Description of the Free, Knightly and Noble Art of Combat), was printed and written with both young boys and experienced soldiers in mind.

This was an exceptionally innovative and even revolutionary treatise in its pedagogical approach to teaching martial arts, teaching not just how to fight but also how to

learn how to fight. His third treatise was never completed or published and is a collection of older fencing treatises by earlier fencing masters, as well as a section of his own—on the rapier—bringing together his own learnings, having studied under Italian, Spanish, Neapolitan, French and German fencing masters.

All three treatises are directly attached to predominantly protestant dukes and princes. The second was the printed treatise dedicated to Johann Casimir—Count Palatine of the Rhine—a powerful man serving directly under the emperor.

Source: Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain .[Courtesy of Wiktenauer by HEMA Alliance]

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In 1571, a year after publishing his printed treatise, Meyer had taken an appointment as fencing master at the court of Duke Johann Albrecht of Mecklenburg. He was the same duke who gave the Freifechter von der Feder their first official recognition in Schwerin but seemingly caught ill while traveling to Schwerin and died two weeks later.

The Early Years Meyer’s time was an intense period of violent conflict, primarily between Catholics and protestants, various protestant groups, and infrequent mass murders of jews.

Mass slaughter was frequent on the battlefields and in city streets.

Of course, the Ottoman Wars in Europe were also in constant awareness, with the Battle of Lepanto in 1571—the very same year that Meyer died. Strasburg, where Meyer lived, was right in the middle of the conflict areas. Just five years after Meyer’s death, we see Count Palatine Johann Casimir, to whom Meyer had dedicated his printed 1570 fencing treatise, leading protestant troops outside of Straßburg.

Source: Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain.

[Courtesy of Wiktenauer by HEMA Alliance]

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Contemporary Weapons of War Common weapons of war were the Reitschwert (a cut-and-thrust rapier), an early saber named with a Czech word as dusack, the Schlachtschwert or the great two-handed war sword, the halberd, and the pike. Of course, dagger and grappling were also necessary skills, as was fighting in half or full armor and on horseback for some burghers and nobles.

Treatises on group combat in this time are scarce, with most (e.g., Machiavelli with his L’arte della Guerra of 1521) referring to Vegetius’s De Rei Militari, and Roman warfare at military commanders rather than troops. Individual combat practice occurred in the fencing guilds, at university or in private, with hired fencing masters or relatives.

Contexts for Combat War was, of course, a ubiquitous context, but far from the only one.

The pike and the halberd were vital weapons. Elaborate artwork

by Frans Hogenberg or the treatises on war by Johann Jacobi von Wallhausen give us an idea of how intricately designed such warfare could be, at least on the planning stage, before both opposing sides clashed together. Complex forma-

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tions were designed to be adaptable to different circumstances, with three front layers of pikes always able to reach the enemy and troops placed in such a way as to enable both easy retreats for exhausted fighters and advancement of others to face new threats.

The battlefield was not the only place for war, though. Just as important was urban warfare, with town militia fighting to protect a city from mercenary soldiers, either outside of or on the city walls, or in the streets, sometimes with pike combat on a narrow street, under a hail of roof tiles thrown by the townsfolk, and shots from arquebusier or crossbows raining down. Every household had to provide a man who would serve in the town militia and as a town guard, keeping the city streets in order.

Apart from the clergy and Jews, men were required to be armed, and since drunken brawls and even the occasional riot were common, this was no small task. Conflicts between university students, who lived under church law, and burgers, who lived under town law, were also widespread.

Naturally, self-defense was another important context for combat, not least when traveling. Likewise, dueling was a risk most men would

Source: Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain.

[Courtesy of Wiktenauer by HEMA Alliance]

have to consider and accept under certain circumstances. These contexts were regulated by different laws and customs, restricting what one was allowed, expected, and required to do, with actions that sometimes would surprise us because they might seem dishonorable. In other cases, they might appear stupid as we don’t understand the historical mindset. For this reason, to truly understand these martial arts, it is not enough to just study the weapons or techniques, but we also have to look at history, the customs, how people thought

and behaved in these contexts, and why. Otherwise, it will just lead to empty mimicking of movements, with no understanding of why an action is performed in a particular manner, thereby risking us to, over time, start executing it in a lacking manner.

Law and Customs A brief note on laws and customs before I get deeper into the martial arts that I study and teach is in order. Laws regulated all behavior, but it was not uncommon for custom to supersede the law. It

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was especially true for violent conflicts where the defense of honor, body, or family was concerned.

Important, however, was to be able to prove that you sought not to escalate the conflict yourself.

Witnesses were important, as was your own behavior and conduct.

Learning first to strike the opponent with the flat of the blade was crucial to avoid thrusting, which was held in deep contempt if used against one’s own fellow citizens, both in a civilian and military context. Proper and honorable behavior was also important in the

numerous Fechtschulen, the rather bloody fencing tournaments where the fighters won by scoring the highest bleeding wound on the opponent. While unusual, fencers sometimes received fatal injuries in such tournaments. Such incidents were closely examined similarly to any lethal incident in society to determine whether the behavior was criminal.

Characteristics Meyer himself wrestled with the same issue I now face, stating:

“First, because this knightly art is grasped with the fist and practiced with the application of the entire body, and so must be learned more through experience than out of books . . . . The other cause is that this knightly art of combat hardly allows itself to be written in books, or composed in writing since it must be executed through the practice of the entire body in the work. Since I have experienced this cause myself, I hold it, as intelligent people can judge, for the greatest and most weighty, but as with the first, I must again acknowledge (as I have said), that every art can be shown with less trouble, and may also be more readily grasped by the learner with the hand through the practice of the body when it is presented in good order.”

Translated by Dr. Jeffrey Forgeng, The Art of Combat, 2008).

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Source: Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain.

[Courtesy of Wiktenauer by HEMA Alliance]

I will still try to describe some of the aspects that I have found of particular note, and have focused in particular on, in my studies of Meyer’s combat art.

Earlier Masters As already touched upon, Meyer was part of a tradition, a lineage of masters, extending back to Johannes Liechtenauer, seemingly, in Meyer’s case, via masters and treatise authors like Hans Talhoffer, Hans Lekuchner, Martin Syber, and Jörg Wilhalm. Upon reading these texts, it is possible to see influences and inspiration from Austrian Freifechter and Trabant

(bodyguard) Andre Paurñfeyndt and his printed 1516 Ergrundung Ritterlicher Kunst der Fechterey, which format-wise bears a distinct resemblance to Meyer’s printed treatise. Likewise, the dagger section of the same Meyer treatise bears a striking resemblance to the dagger teachings of Achille Marozzo and his treatise of 1536, the Opera Nova, with a statistically significant percentage of overlap between the two. Finally, his last, unfinished fencing treatise contained copies of fencing treatises by Martin Syber and Sigmund Ringeck, Martin Huntfeltz, Jud Lew, and Andre Liegniczer, all of whom he must have known.

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Versatility

Weapon Another

The intent behind the combat art that Meyer taught was to create versatile fighters. It was one system, working with particular principles, but applied to many different weapons, with techniques and principles that often, but not always, extended over all of them.

The “weapons” were:

The structure in his second treatise is likely the same as what the fencing guilds followed in their teaching progression. And roughly the same treatise by Austrian fencing master Paurñfeyndt layous out: longsword, dusack, rapier, rapier & dagger, grappling, dagger, quarterstaff, halberd, and pike. The longsword lays the foundation for everything, especially the dusack.

The dusack, in turn, lays the foundation for the rapier, and the rapier then ties it all together. The quarterstaff, in turn, lays the foundation for the halberd and the pike.

1. unarmed 2. dagger, dusack, or early saber 3. two-handed longsword 4. cut & thrust rapier, rapier, anddagger 5. quarterstaff 6. halberd and pike In conjunction with the above, one learned to fight with all contemporary weapon categories, including large knives, swords, spears, and more. Essentially, one learned to fight with any weapon at hand, or just their own body, including what today would be considered “dirty” tricks, like attacking the testicles or breaking fingers.

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Groups—One

Teaches

All of them are, of course, also weapons in their own right, used both in civilian and military context, 100 years after Meyer’s time.

The longsword became more specialized, taking on the shape of the Schlachtschwert, the great two-handed sword. These types of weapons served asymmetrically numbered scenarios to protect dignitaries, banners, and cannons.

Longswords saw service as late as in the late 17th century by town guards and were carried by ship captains fighting as the last man on deck.

Differences Between the Three Polearms The use of individual weapons occurs according to shared principles. Yet they are also all different, requiring different handling. And the principles are embodied differently in other techniques. At least at higher levels, underneath it all lies a core understanding of what connects it all and what parameters are at play when working with the principles. Here, core terms like vor (before), indes (meanwhile), nach (after), nachreissen (traveling after), fühlen (feeling), sterck (strong) & sweche (weak), hert (hard), and wech (soft) are central to the understanding of leverage, feeling with the weapon, and timing. These terms are also elusive and hard to grasp for the beginner.

The quarterstaff is clean and straightforward and teaches you how to move, thrust, strike, parry, wrench, shift your weight, and time your steps with the motions. However, the halberd makes things far

more complicated, as the halberd blade is for cutting and slicing soft targets, the point for thrusting, and the hook useful for punching through armor. The whole halberd can hook and wrench both the opponent and his halberd and block and parry incoming strikes. Finally, the pike magnifies everything by many orders, with 9 pounds and 18 feet, requiring both strength and stamina, alongside fit body mechanics. Naturally, you can also not swing around a pike in circular or cross-cutting patterns the same way you do with quarterstaff and halberd. Like all polearms, it requires good judgment, both in training and certainly in combat, as Meyer and Giacomo di Grassi stated explicitly.

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ANATOMY OF WEAPONS

The Parts of the Quarterstaff The staff has four divisions in use. First, the forward part, about a hand’s length from the point, is handy for striking and deflecting incoming strikes and thrusts. The part near the leading hand is used for greater leverage when the weapons are bound together. Finally, the part between the hands can sometimes block a strike, and the back end is used for striking or wrenching.

The Parts of the Halberd The parts of the halberd are essentially the same, with the addition of a point for thrusting, a blade for cutting at soft targets, and a hook for reversed strikes against helmets or hooking and controlling the opponent’s halberd. The halberd head also commonly has semi-circular areas in the top part, sized and used for controlling the opponent’s weapon, be it a pike, a halberd, or a sword.

The Parts of the Pike The parts of the pike are the same as those of the staff, only with the size of the areas considerably greater and used somewhat differently.

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BODY & WEAPON MECHANICS While starting out with the longsword, as taught in the treatise

by Sigmund Ringeck, and the early longsword treatise named Hs.3227a—the so-called Döbringer treatise—I soon threw myself headfirst into the study of Joachim Meyer and in particular his halben stangen—the quarterstaff. Ten years later, I consider myself lucky, having started at the end of the treatise with one of the most challenging and most dangerous weapon categories to learn and master, i.e., the polearms. While the operator can use muscular force to manipulate bladed weapons, this is not true for the polearms. You have to use proper body mechanics, using posture and what I refer to as “crossroads,” but which are key stances for changing the weapon’s motion. I soon also realized that this particular way of moving runs underneath all of the treatise

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teachings, not just the polearms.

It is a single, cohesive system and way of moving in combat, regardless of weapon, meaning you move more or less the same way with the longsword as you do with the halberd.

It is quite possible that earlier masters also taught this similarly. Still, few earlier sources are as explicit or pedagogical as Meyer is with his treatises, so we can’t tell as clearly with those. However, looking at certain sources, like the treatises of Hans Talhofer and Albrecht Dürer, would seem to indicate strong similarities even in this particular area.

I will now try to describe this way of moving in more detail. Let’s begin with the most central thing of all, namely . . .

1. Weight Shifting, Footwork, and Extension Central to learning how to move this way is to learn to use weight shifting. This is similar to moving when you shovel snow, reach back, and then scrape forward, and push the shovel full of snow over your shoulder and side. It is similar to moving with a scythe, shifting the weight between the left and right foot. With Meyer, you do this in a low stance, going front to back, with the feet commonly kept in an L-shape at 90 degrees.

This weight shifting is also part of the footwork, where the rear leg straightens out. The foot is kept on the ground, accelerating the whole body for as long as possible before the foot leaves the ground, much like motocross riders sometimes break just before the jump, as once in the air, acceleration is no longer possible.

2. Core Rotation To move in a controlled fashion, you need to be able to move in balance, and this is where the concept of core rotation comes in. The torso rotates around your core as if a pole ran through your skull and torso when you step. Doing this allows you to fight in any direction of the compass, even spinning 180 or 360 degrees.

3. Twisting Another central aspect to the body mechanics is twisting, where the leading foot twists outward as the rear heel rises, leaving the toes in the ground. This twisting lets you extend the rear shoulder forward by several inches, compared to when leaving the foot straight ahead. Twisting allows a more extended reach towards your opponent while liberating your whole torso for more unrestricted move-

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ment with the weapon as you pass through, though, and to the various stances. This also prepares for the step, as the twisting of the leading foot provides better stability, setting it near the angle it should have at the end of the passing step done with the rear foot.

4. Leaning & Tilting At the end of the various steps you make, you can complete the weight shifting by leaning your whole torso forward to reach farther to the back or the side to get a better angle—or to protect your upper body, but always only as far as you

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can with maintained body control.

Never go lower than you can manage in actual combat, but train to go as low as needed in real combat.

This is advised explicitly by Meyer. The head, in turn, can also be tilted away from the opponent’s weapon, as it is a common target and, therefore, should be kept as safe as possible.

5. Grips & Grip Shifting Another fundamental skill taught in the system is “varied gripping” and “grip shifts.” The leading hand can grip the quarterstaff or halberd with the thumbs forward or

toward yourself, and the same is true for the rear hand, although it is usually held with the thumb forward. Holding the quarterstaff is primarily done at the end, the backhand mostly at the chest, at the flank or heart, and the left— leading hand—almost, but not fully, extended, high, forward, or back by the hip.

The leading hand slides and shifts positions as you work with the staff, with a wide grip when you need stability and structure—for example, in parries or in wrenching—but a close grip, with hands

together at the end of thrusts, when striking the opponent or the opponent’s weapon. Single hand strikes and thrusts are also frequent, even with the pike in a few techniques. In a few techniques, the rear hand also slides toward the leading hand—toward the center of the staff—so you can use the back end for wrenching and controlling your opponent’s staff while striking with the forward end, all in circular, wheeling motions.

To shift your grip to reorient the thumb direction of your leading

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hand, rotate the staff back, with the hand roughly at head height, just behind you on the left, opening up the grip to a “hello” before regripping.

To switch to a reversed grip, ensure the rear maintains a “bind” with the opponent’s weapon. One keeps the pressure on but lets the rear hand rotate over the butt, never letting go—then, lifting the back end while throwing the forward end down, rotating it for a complete vertical strike from above.

6. Striking & Striking Lines The most fundamental movement and exercise to practice is “cross-cutting,” or cutting in the shape of an “X,” where, if you use a halberd, you cut from your left, with the left hand and blade high, cutting diagonally down toward your right, first shifting your weight forward. Still, as the halberd comes down by your side, shifting your weight back, pressing the rear end down, the halberd is held diagonally behind you. The point comes forward to a good

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thrusting position, with the leading hand held right by your head, slightly above, and the rear hand extended fully behind you. Shifting your weight forward again, you extend the halberd, cutting down diagonally toward your left with the hook. Extend it, so it is stretched out somewhat diagonally in front of you, and with your rear leg, upper body, rear arm, and the halberd together forming a perfect triangle. Let the halberd fly back with the leading hand resting by your left hip and the rear hand at shoulder height, extended crooked before you on your right side.

Complete the whole sequence by letting the halberd go up behind you, recentering your rear hand over your heart, with the halberd extended high behind you on your left.

This is a basic exercise that includes several of the key stances of the quarterstaff and halberd: the Oberhut (high guard on the left), Mittelhut (middle guard), Unterhut (low guard), Wechselhut (chang-

ing guard), Oberhut on the right, Steürhut (rudder guard), and Nebenhut (side guard). All of these stances serve as starting and ending points, but more importantly, as points of transition, where you can choose to change the motion and direction of the weapon. And as Meyer notes, it is on the way there that you observe the opponent and decide where to go once you reach the stance, the “crossroads.”

Of course, you can also just as well cut diagonally from below, or just high-low, low-high, again like shoveling snow. You can also strike horizontally, along the middle line, vertically, along the centerline, or at any necessary angle. All of this should naturally be practiced with the simple quarterstaff first, then doing so the same way, as if you had a halberd head attached, minding the blade and hook as you strike from left and right.

You can strike in two different ways. You can use a wide grip, commonly done with hands together,

or just a single hand holding the staff. In the latter case, the dominant, strong hand is best for control. In the odd technique, striking with the back end is also done, but for the most part, striking is done with the forward part, about a hand’s length from the point. The same is true for deflecting a strike or thrust from your opponent.

The quarterstaff is most effective when used with large, circular strikes, combining weight shifting with extension to add more power to the strikes. But regardless of whether you attack, defend, or aim to provoke your opponent, all the strikes pass through the guards as you keep in constant movement, resting in guard only briefly.

7. Stances & Guards Regardless of weapon, there are several stances and guards available. You learn to perform different techniques so that you can respond to an attack wherever you find yourself in your movement between attack and defense. The

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polearms, in particular, are distinctly asymmetric in the use of guards, meaning the left and right stances can be distinctly different despite having the same name.

For the staff, you have five (plus one) named, “primary” stances: there is Oberhut (high guard) on the left with the point up, Mittelhut (middle guard) straight forward, Unterhut (low guard) on the left, middle, and right, Wechselhut (changing guard) which isn’t named, but exists with other weapons, is shown in the art, and is necessary for the entire movement, Oberhut on

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the right with the point forward, Steürhut (rudder guard) extended hanging diagonally to the side before you, and Nebenhut (side guard) with the back end forward on the right and the staff diagonally back by your left hip. The Nebenhut and the Steürhut also come in variants that involve looking directly opposite, behind you, just making minor adjustments with the body to enable that, without moving the weapon.

The halberd, in turn, uses the same stances as the staff. Interestingly, two more stances used with

the staff and halberd, and other similar polearms, are shown in the art but not mentioned in the text—here borrowing a term from the 14th century Italian fencing master Fiore de’i Liberi, Meyer also shows a stance reminiscent of Fiore’s Tuta Porta di Ferro (“Full Iron Gate”). It is like the Steürhut, only with the weapon not extended in front, but held closer to the chest, still diagonally forward, and with the rear hand reversed, with the thumb aimed at the end of the staff. Meyer also shows something reminiscent of the German Zornhut (guard), but exaggerated, with

the halberd held above your head, point hanging down behind you.

Meyer never names or mentions any but they are shown together in Image L in his treatise of 1570.

The pike, finally, also has eight named guards: Oberhut on the left, Mittelhut, also called Gerader Versatzung (straight parrying), Feldhut (field guard), which is the same as Mittelhut but holding the pike in the middle, Unterhut (Alber / the “fool”), Oberhut on the right, Dempffhut (suppressing guard).

Nebenhut, and Wechselhut, but the names are in part used somewhat

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differently. The weapon’s weight sometimes necessitates letting it rest on your body while threatening your opponent; for example, the Oberhut on the right has the pike resting on the left shoulder.

Nebenhut has here taken the place of Unterhut with other weapons and has the point extended forward and down. In contrast, Unterhut, in turn, now has the point up, with the back end by the forward knee, close to the Alber stance, which Meyer mentions as one of the main guards for the pike but never describes. Finally, the Dempffhut is unique to the pike, with the point aimed forward and up and the back end resting on the rear thigh, using a very wide stance, ready to suppress incoming pike thrusts.

8. Targeting Also closely related to striking lines is targeting. First, you divide the enemy into four quarters: left and right, high and low, with the horizontal line placed roughly at heart height. These are called the “Four Openings.” Similarly, the

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head is also divided the same way, with the horizontal line placed below the eyes, right where the neck starts.

Much of the targeting taught by Meyer with bladed weapons aims at three weakly protected areas— the neck, the flank below the ribs, and above the knee. Naturally, the power of the polearms means that even with armor, the impact of a strike or thrust will be massive. Common for foot soldiers in his time was half armor, where the lower legs were unprotected and therefore good targets. The face and the hands, too, were commonly unprotected for practical reasons, and consequently, the two were important targets.

However, halberds, staves, and spears found use both on the battlefield and in civilian context by burgers, bodyguards, and town militia—therefore, also used against opponents not wearing armor, allowing for more free targeting and breaking of bone and joints.

9. Thrusting & Durchwechseln (“Changing Under”) Equally important to the striking is the thrusting, and most commonly, they are of the “pool cue” kind, with the weapon sliding through your leading hand to a brief, close grip. Thrusts mostly come from a horizontal position—the Mittelhut—which Meyer makes up for half the fighting, with the rear hand starting at the right flank, and the leading hand extended.

Commonly, it requires a “gathering step” first, where the rear foot moves toward the leading foot, as you move up or down to the horizontal thrusting stance—the Mittelhut—and then complete with a wide step with the leading foot, landing the foot as the thrust hits at full extension. At times, extend both arms up, thrusting in from above or outside an opponent’s parry.

Very common with the thrust is feinting, provoking your opponent to move toward a particular direction, but disallowing the enemy a

bind by dropping your weapon underneath, letting the opponent’s weapon fly over, so you can thrust in on the other side. This can transform into a complex game of trickery, where you only pretend to go underneath, and as the opponent takes the opportunity to thrust straight in, as you let your point drop, you strike it away and counterthrust—and so on . . . .

10. Wrenching & Hooking The back end of the quarterstaff or halberd is also perfect for wrenching the opponent’s neck, wrist, or forearms, causing the opponent to let go of the weapon. The halberd head can also be pressed against the opponent’s throat, forearms, or shins. Likewise, the halberd head comes in handy for hooking both the head of the opponent’s halberd, neck, arms, behind the knee, or the lower legs.—preferably at the Achilles tendons, which causes immense pain, forcing the opponent to step and lose balance.

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11. Economy of Movement The economy of movement is quite characteristic of the system and often misunderstood by students of earlier masters within the Liechtenauer tradition. While particular strikes can appear wide, they are economical and fast. Furthermore, all predefined and named stances connect through actions such as cuts, strikes, thrusts. In fact, different edges of bladed weapons, and all actions, in turn, are con-

nected through the stances. As you attack, defend, deflect, or have your own attack deflected, you should commonly strive to return to the closest stance, letting the weapon move by itself toward it.

This preserves your stamina and strength while saving you time for a counter.

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12. Deceiving, Provoking, Taking, Hitting Quite central to Meyer’s style of combat are the words, Reitzen, Nehmen, Treffen (provoking, taking, hitting). Simply put, this means that you can provoke your opponent with an attack using your weapon against an opening or body language to force your opponent to move in a specific direction, opening himself for a strike. Other strikes and thrusts

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displace the opponent’s weapon, using power, structure, angle, or leverage to gain an advantage. Yet other strikes hit the opponent. A strike may also do several of these simultaneously, displacing the opponent’s weapon and hitting the opponent in the same motion. And a feint that the opponent doesn’t aim to defend is, of course, completed as a hitter.

13. Tactics & Psychology Unlike Pietro Monte and his late 15th century fencing treatise, Collectanea, where he divides combatants and their mental and spiritual natures by the four humors—blood (sanguine, active, enthusiastic), yellow bile (choleric, uncontrolled, anger), black bile (melancholic), and phlegm (apathy)—Meyer defines combatants by a seemingly more practical list of characteristics, roughly here translated as:

“overly aggressive and a bit stupid fencers,” “inexperienced but artful opportunity-seeking fencers,” “safety-first fencers” who only take a target when they are sure to have it and know they can retreat safely, and “passive and apathetic fencers” who just wait for the opponent to act.

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Meyer favors the third style in his own fencing, however, also stating that: “[t]he third will only cut to the opening when they not only have it for certain, but have also taken heed whether they can also recover from the extension of the cut back into a secure parrying, or to the Defence Strokes; I also mostly hold with these, although it depends on what my opponent is like.”

Translated by Dr. Jeffrey Forgeng, Art of Combat, 2008).

Source: Gründtliche Beschreibung der . . . Kunst des Fechtens (1570), public domain.

[Courtesy of Wiktenauer by HEMA Alliance]

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Now, Meyer teaches us what approaches and methods to use against all these types of fencers, but not only that; he also tells us that we should learn to appear to belong to all four to deceive our opponent and depend on the opponent’s particular nature:

“Now as the first ones are violent and somewhat stupid, and as they say, cultivate frenzy; the second artful and sharp; the third judicious and deceitful; the fourth like fools; so you must assume and adopt all four of them, so that you can deceive the opponent sometimes with violence, sometimes with cunning, sometimes with judicious observation, or else use foolish comportment to incite him, deceive him, and thus not only betray him concerning his intended device, but also make yourself room and space for the opening, so that you can hit him that much more surely.”

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A general guiding principle for all combat is to go with your weapon from the opponent’s body to the weapon, controlling it, so you are kept safe from harm. Likewise, you move from the weapon to the body, applying pressure to your opponent so you can exploit a given or created opening. Finally, you should retreat safely with a threat, like a strike.

Another guiding principle is to go from a strike to a thrust and a thrust to a strike, again sticking to the economy of movement, going a short and fast route to your target.

Studying, Teaching & Sparring with Polearms Luckily, when studying the combat art of Joachim Meyer, we have both quite detailed text descriptions regarding the use of our bodies and the mechanical manipulation of weapons and the body of the opponent, and advice on how to think, on psychology, character types, and how to manipulate them, and much more. The use of terminology is fairly restricted, instead of aiming to let students learn well from a book, without the use of personal eye-to-eye instruction.

We also have magnificent artwork from the studio of Tobias Stimmer.

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Carefully designed scenes, complete with square floor tiles, help us understand the angles of the feet and the relative position and angle of the opponents. The artist carefully illustrates the angle of the weapons, teaching us how to use the weapons in various applications of techniques. And with actions caught in mid-motion, we can even learn quite specifically how to move from the artwork. It is quite stunning, and little, if anything, ever exceeds it in quality, earlier or later.

Over the more than ten years that I have studied and taught this art, I have tried many different approaches. I have even learned a little bit of jogo do pau and naginata.

I have closely examined recordings of and literature on staff traditions worldwide—in Africa, the Americas, Asia, and Europe. Training with polearms is dangerous as we use “sharp” weapons, and no protection outside of actual armor protects you. Of course, in history, people didn’t typically practice in armor, instead mostly just wearing regular clothing, using control to keep the fencers safe. It is also the approach I finally made a choice to adopt, having gone through padded protection and padded or flexible

staves, only to end up frustrated with the severely restricted movement or the artifacts that inevitably come with padded and flexible weapons as many techniques are impossible to perform as intended.

Good control is the only practical and reasonable solution.

Naturally, such control doesn’t come quickly or easily, especially with such powerful weapons, which is likely why it was the last weapon category fencers learned to master on their path to mastership. For this reason, the staff became the very symbol of the fencing master. These men also used the same staff to separate the fencers in the tournaments going back to the summa rudis, or the judges and ex-gladiators of ancient Rome.

So, my advice is to let students wait on sparring with polearms until they have established reasonable control over their bodies and the weapons, which usually takes several years. Furthermore, no modern protection will ever keep your partner or student safe from even a medium-powered blow from a quarterstaff or halberd or any thrust with a nine-pound pike centered on a dollar-sized point.

Therefore, we have developed a unique form of sparring, which we

call “free fencing.” In this format, you are allowed to use all techniques, even the most dangerous ones, striking with full power, but under the condition that you can break your attack if you notice that your partner is incapable of defending. It might seem too restrictive, but it makes you even more observant of your opponent’s intentions and openings in their defense, all of which are essential to all close-quarters combat.

I hope this brief article on Renaissance polearms combat in the Meyer school has provided some interesting insights into what I find a genuinely fascinating and forgotten part of history. I sincerely hope it will inspire you to pick up the staff and start swinging it to see how it feels. It’s a truly wonderful feeling once your body works in unison with the movements of the staff, and vice versa, with the both of you moving together in a flow with little thought.

- Roger Norling

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Te Waitere Jason Paahi @paahij

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TRADITIONAL

MĀORI MARTIAL ARTS Te Waitere Jason Paahi Taura Pouwhakarae UmuTawhearangi

MAU RĀKAU IS WELL-KNOWN as a Māori stick fighting art. However, its scope is much wider than just fighting with a stick. Mau Rākau means “to wield a weapon” and is a general term referring to the skilled use of weapons. Mau Rākau covers a whole range of close-combat weapons and contains within it holistically much more than “just” fighting. Tra-

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ditionally, this art was practiced with weapons classed as matarua, or in other words, weapons with two-sided blades such as the taiaha, pouwhenua, and tewhatewha.

Each of these weapons was received as a gift from a different atua (god/ spirit), and represented different elements, purpose, protocols, and ceremonial functions. In combat, however, the function was always straightforward: to maim or kill opponents.

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Mau Taiaha and Te Whare Tū Taua o Aotearoa My journey in fighting arts began with learning the use of the taiaha, or mau taiaha, in 1985 when I started my formal education in the arts of war under Dr. Pita Sharples of the Te Runanga Tū Taua mau Taiaha o Aotearoa, later to be known as Te Whare Tū Taua o Aotearoa (“The International School of Māori Weaponry”). Te Whare Tū Taua o Aotearoa was founded during the

renaissance of the Māori language and customs in order to revive the ancient art of mau taiaha among the Māori. This was an innovative program including physical fitness, Māori history, knowledge of the Māori atua (gods/spirits), whakapapa (ancestor lineage), leadership skills, and, of course, all uses of the taiaha.

The taiaha is probably the most commonly known weapon of the Māori. It is an effective close-combat weapon which has been tested on battlefields and in one-onone combat for over 600 years.

The taiaha is made out of native hardwood such as maire, puriri, or matai, which is cut to various lengths, depending on the specifications of a given style. The length of the weapon is likened to the human body; the tongue (tip) is used to stab and slice vital organs, whereas the body (length) is used to defend, parry, or to get in close contact with the opponent. The taiaha is not used like a club or a heavy striking weapon.

Strikes are quick and accurate, and aimed to strike one-inch-deep into the body or used in a continuous movement—like the waves or the wind—until the weapon finds its mark. The blade of the taiaha has two sides used to strike key body parts in order to maim, disarm, or break bones.

The taiaha differs from a lot of stick martial arts in the fact that its user has a direct connection to his or her ancestors and Atua Māori. In fact, according to Māori history, these fighting arts can be traced all the way back to the origin of creation, the separation of Rangi and Papa (primordial sky father and earth mother), and the unbalance created between their children (Atua Māori). Thus, the traditional Māori see themselves as only a small part of nature, always connected to the universe, and surrounded by living elements and infinite energy identified as Atua Māori.

Learning the taiaha is only about 40 percent physical, the rest of it consisting of psychological and spiritual teachings by which the warrior learns to be in tune with his surroundings, elements, and nature. The taiaha can also represent an ancestor, so its user can connect to him on a spiritual level and thus the ancestor can also be present in defeating an enemy.

With this type of mindset and connectedness, the warrior is never alone on the battlefield, as the Māori believe that our ancestors are always with us. As an example, a warrior would use Tama-nui-tera (Atua of the rising sun), Hinepukohurangi (Maiden of the mist),

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Taura Pouwhakarae graduation (1997)

terrain, Hine-riporipo (Atua of water currents), or Tāwhirimatea (Elements of the wind) as part of their battle strategy. Sayings such as, “Taumaha waewae he kiri māku,” on the other hand, meant that, if your feet movement or body was not agile, then your skin would become wet in your own blood. Foot movement, fitness, and agility are essential to using this weapon effectively.

Taiaha schools and styles varied from tribe to tribe depending on the surrounding terrain or environment. For example, coastal

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tribes’ styles would be based on the ocean, tides, and elements present there, whereas other styles located further inland may resemble the bush and be limited to the mountain terrain. Formations might also be closing in as in the forest.

These various styles and tactics of the taiaha evolved and developed over time based on experience gathered from battles and duels fought. Only the most successful moves, strikes, or defensive counterattacks survived the test of time and were passed down from generation to generation.

It took me 13 years starting from a beginner to get to the eighth (and final) level, and to graduate as a master in this school of weaponry. Each stage was a journey of self-discovery, connection to culture, identity, history, combat, teaching, and mentoring. Once I graduated as a Pouwhakarae (Master) and achieved the fighting rank of Rakau kawa-nui, I was able to start my own school; however, I still felt that there were key gaps in my understanding of what traditional warrior knowledge, values, and further learning may consist of. At my Pouwaru (Master) grad-

uation, I likened my long journey to climbing a mountain, but also noted that there were now other mountains I had to climb in order to continue my study. In my search for the next mountain to climb, I met Hohepa Delamere (Papa Hohepa) who was a well-known and respected Tohunga (specialist) in the art of traditional healing and the ancient ways of the waananga (schools). He also has a military background and served in Malaysia. At that time, he had already started my younger brother’s learning path in the art of Rongomamau (traditional Māori wres-

Te Whare Tū Taua o Aotearoa

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He Tohu Atua using the signs of the elements to comliment training

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tling). I was then fortunate to be able to study with with Papa Hohepa intensively over the following years, especially the ancient school of Whare Aitu-a-Henga and other various waananga systems, the study of which would open my eyes to the wider traditional Māori worldview. This led me also to re-discover other traditional Māori weapons, methodologies, and knowledge that were not yet returned back to the world of light.

Meeting My Teacher’s Teachers I will never forget the early morning Papa Hohepa took me and my younger brother for a walk to Piha Beach (a secluded west coast beach in the Waitakere Ranges).

He told us he wanted to introduce us to his teachers to assist in our learning journey, as they also had assisted him in his. Once we got there, the beach was bare, and he told us to wait on a certain rock which was located between the beach and the ocean. He then left us sitting on that rock in the middle of nowhere, just walked off and left us sitting on a rock surrounded by wild surf crashing on the rocks and strong winds. After sitting there for a while, it became obvious that his old teachers were not in human form, but living ele-

ments of nature. We had to modify the way we were used to learning in a Western world, and adapt to this different reality so we could allow these ancient teachers to share their knowledge with us.

These are the true masters, “counsels of the gods”; from the clouds, the wind, the rain, waves that were calm and rough, the pounding of the rocks, the sand, the birds, the insects, the past footprints of our ancestors to the current context in which I was searching for the balance between life (healing arts) and death (fighting arts). We also noticed that each element had a duality which was male and female, but these halves also complimented each other to create a balance. When Papa returned to us, he had a huge smile on his face, because we were no longer sitting on the rock, only observing, but in the water with the elements, training with his teachers. My learning path took me to study these elements, and use these teachers in the context of weapons and close combat. I still use this methodology to teach and introduce students to these ancient teachers in order for them to develop their own learning style and relationship with the elements.

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THE BALANCE OF A WARRIOR The following is a learning pathway that I adapted throughout my journey—tangaengae o te toa (“the balance of a warrior”):

•

To be a great warrior in times of old, it was essential to be schooled in the art of war and instinctively know how to kill;

•

To know how to kill efficiently, it was essential to know the human anatomy intricately, and to know its functions and all the vital points;

•

To know the human anatomy intricately and to know the vital points in order to unbalance, hurt, or kill, it was natural and common sense to be able to balance those vital points in order to live or heal;

•

To be able to heal effectively, it was essential to be schooled in the art of healing using physical, psychological, and spiritual methods;

•

To have knowledge of one Atua or child of Ranginui and Papatuanuku, it was only natural to have knowledge of all the children of Ranginui and Papatuanuku, and knowledge of all elements and their significance to life or death;

•

To have a basic knowledge on all Atua, their significance and contribution to warfare, healing, life, death, mana tane, mana wahine (male and female rights), humans, and animals is to learn and be aware of the natural balance in all things Māori;

•

To have a natural balance in all things Māori, it is not possible to be just a warrior, but a master of all things in times of war and peace—for example: navigation, cultivation, healing, preserving ancient knowledge through waiata (song), and weaving or carving. As the seasons changed, so did our tupuna (grandfathers) naturally adapt. Traditional warriors were taught to excel and to understand how everything is connected in life and death, and in alignment with the universe.

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The rock we first met our teacher's teachers: Tangaroa, Hine Moana, Hine Kauika, Hine Riporipo, Tawhirimates, Hine Omairangi

Loss of Identity and Finding What Is Missing Due to over 180 years of colonization, suppression, and key legislation (such as the Tohunga Suppression Act of 1907) designed to assimilate the Māori population, the Māori language, knowledge, and traditional customs were either made illegal, lost, or driven underground. Land confiscations, introduction of alcohol, Christianity, and introduction of firearms

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assisted in this assimilation process. Traditions were either put to sleep, hidden, or taught by stealth within the shadows for over two generations. Throughout this period, Māori well-being plummeted.

The Māori became the bottom of most western statistics, including physical and mental health, corrections, abuse, violence, gangs, and education. Also, as a consequence, European anthropologists started writing about and recording Māori history, customs, lan-

guage, and Māori way of life. Many books were written by non-Māori theorizing about traditions and recreating traditional stories into myths and legends from a distinctly Western perspective, and propagating a narrative within which the Māori were seen as a dying race.

For my grandparents’ and father’s generation, this was a devastating time. For over 60 years the Māori were beaten, abused, and imprisoned just for speaking their own

Brothers-in-arms (Hawaii, 1999). From the left: Amorangi Papa Hohepa, Jason and Timoti Paahi, George Lindsey.

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language and practicing Māori customs. In my generation, we still see the after-effects on our physical and mental health, social disconnection, and psychological trauma that this period has caused. There is still a lot of distrust in sharing our traditional knowledge in fear of misuse, exploitation, and commercialization.

“Rapua i te e mea ngaro” (“Seek for what was lost, hidden or stolen”) is one of the many sayings that remind Māori descendants to search for, research, and awaken our ancient treasures that were put to sleep in order to be awakened and integrated back into Te Ao Māori (the Māori world) at a later time. This would also assist in the healing process for the Māori as a whole, and enable individuals to reconnect back to their culture and reclaim their identity in all areas of Māori knowledge.

The Tohunga Suppression Act was repealed in New Zealand 1962, but it was not until the 1970s that there was a push in the renais-

sance and revival of the Māori language, customs, and traditional practices. Through the revival of the language came the ability to unlock hidden knowledge within traditional songs, genealogy, stories, carvings, woven clothing, and weapons. Secrets that revealed traditional healing and fighting were hidden within the Atua, and could be understood by interacting with and studying the elements such as ocean, waves, currents, wind, forest, birds, fish, and insects. These elements also became teachers and were respected by students.

In this period, the Māori experts were able to reawaken this knowledge in all areas of the Māori world.

This included dispelling myths that were created in the assimilation process, such as: that the Polynesians navigated throughout Polynesia by mistake; that the Māori were a savage race and voluntarily gave up their sovereignty to a foreign power; and that the Māori were a lazy, violent, and sick people.

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Te Whare Aitu-a-Henga Te Whare Aitu-a-Henga was one of the many traditional schools that the late Hohepa Delamare brought back to the world of light. Through his instruction, this art has reemerged from the shadows into the light of this and future generations. Te Whare Aitu-a-Henga was founded and established as a school of healing and fighting arts in 1998 for both male and female students within the Hoani Waititi marae (school). It has schools throughout Aotearoa (New Zealand) and also abroad. Te Whare Aitu is a traditional Māori school dating back to the 1300s and distinguishing itself as an art of war utilizing weapons of physical, spiritual, and psychological nature.

Te Whare Aitu-a-Henga can be traced back all the way to the creation itself, to the realms of te kore (void), te po (darkness), and to the separation of Ranginui and Papatuanuku when the Atua Māori were at war with each other. Each Atua Māori contributed to the art of war in its own way, including Atua Tāne (male gods) and Atua Hinerei (female gods). This included weapons, movements, genealogy, customs, and a systems-based philosophy, which allowed the stu-

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dents to study and adopt their own learning style by connecting to the Atua that suited the way they thought or what came natural to them. The student would be dedicated to these elements depending on their purpose and destiny chosen. This enhanced and developed the uniqueness of each student; for example, the lesson of the day could be based on one type of a wave in the surf and its interactions with land, rocks, wind, and other waves. Ten students could be taught the same lesson; however, their understanding, adopting, and implementation of the teachings would be very different. This was encouraged, especially if the student was to integrate learning by using various weapons, or handto-hand methods, or using the teachings in a psychotherapy context. Students today are encouraged to return back to the source to test and modify their skills. This could mean that the student returned to the beach with high surf and riptide in order to navigate through the waves without being thrown or taken out to sea.

The Whare Aitu school has 12 levels and is made up of four main doorways or pou (pillars that make up the Whare Aitu):

1. Umurangi

2. Takarangi

Umurangi teaches traditional prayer, incantations, genealogy, anthropology, philosophy, astrology, history, connection to Atua, and phases of the moon and stars.

Students are blessed and dedicated to Atua Rei in order to open themselves for connecting with the elements, and to be able to read the signs of the universe. Takutaku (recital) was more than a prayer, as the words within it gave you guidelines or recipes depending on what your intended purpose was.

There are over 350 takutaku within this school that unlock hidden knowledge, traditional values, ethics, and key touchpoints to guide learners and teachers.

Takarangi is the doorway that teaches traditional healing, illness prevention, wellness, psychological therapy, plant medicines, massage, protection, and pressure point alignment. Every fighting art movement and weapon has a duality of balance which students are able to use in times of re-balancing. For example, the mere pounamu (short jade weapon) was used to decapitate the enemy in wartime, but during peacetime, it was used as a healing stone and also a doorway to rarohenga (underworld) when one could bid farewell to the dead and access the spiritual world. A huge emphasis is on prevention; it is encouraged to heal a sickness before it becomes a sickness, or heal a conflict or prevent a battle before things escalate to actual conflict. Rotū (hypnotherapy) and subliminal messaging through songs and chants are developed for use in psychotherapy.

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3. Tawhearangi

4. Pureirangi

Tawhearangi is the doorway that teaches weaponry (including their ceremonial use), fighting movements, physical fitness, stretching, movement, military games, battle formations, combat, and practice as a martial art. This is also linked with other traditional schools of fighting, such as Te Whare Tū Taua, Te Whare Maire, and Te Whare Ahuru. This pillar connects further also to other types of indigenous fighting arts throughout the world, and pays homage and respect to all cultures and arts of their ancestors. Tawhearangi allows students to train and practice ancient fighting arts without having to hurt, maim, or kill. This is done with sparring, games, competitions, and exercises. Sometimes in training, you are allowed to push the barriers and skills to drawing first blood, breaking a bone, or winning by submission. When we were learning, we were told that “if you break it, then you fix it,” which meant that if you hurt someone during training, then it was your responsibility also to heal them.

Pureirangi is the doorway that taught the art of killing effectively. This art was used for protection for over 2000 years, and although this doorway is currently shut, it is not locked. Students are taught to teach their children and grandchildren this art as self-defense and protection for their own whakapapa (generations). Traditional Māori fighting arts were commonly used in times of war and utilized by the New Zealand military.

These killing techniques were used throughout all the major conflicts including both World Wars and the Korean and Vietnam Wars. At least three of my previous teachers have shared their kairakau (war stories) on how traditional moves or techniques were used in dispatching the enemy. Tūpou, keira and urikore were traditional assassins (both male and female) that were taught from this doorway and specialized in the art of killing without being seen or used in stealth.They were taught how to blend in with the environment and strike with stealth to either make death look like an accident or to inflict psychological trauma by how they dispatch their target.

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TAWHEARANGI: WARRIOR TRAINING Military Games The art of war was taught from a very young age. The education began already while the child was in the kopu (womb) of the mother through love, songs, massage, oratory, and storytelling. Military games were developed into activities children would play to have fun and, at the same time, develop agility, competitiveness, strategy, and problem-solving skills. This allowed the tohunga (experts) to choose their students by observing their natural abilities and attributes, identifying those who may be future healers, weavers, leaders, food gatherers, navigators, negotiators, runners, and warriors.

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Teka, for example, was a competitive game in which children would propel darts amongst each other to see either who could propel their dart the furthest or how many darts each child could catch in midair.

To start with, the darts would be made out of light and harmless materials. However, once the children got older, the lighter dart would be replaced with a kotaha (stringlaunched arrow) which was, during times of war, used for battle and propelled towards incoming war parties. Tirakau, tititorea, poi, and whai are examples of other games used to develop the skills, mindset, and agility which could be easily adapted into fighting movements with weapons.

Ahunga

Tapene

Ahunga are traditional exercises developed to activate the whole body, including physical, mental, and spiritual awakening, from the fingertips to toe-tips. As the children grow older, these exercises will get progressively more difficult, or become even close to impossible to complete. The key focus is to encourage children to have fun, be competitive, and strive for excellence. Meditation and prayer are also included in training in order to induce in the trainee a trance-like state that would be useful in warfare. Traditionally, before battles, the warriors would perform forms of haka which would get their adrenalin pumping in addition to opening and calming their minds.

Tapene are body and foot movements that develop peripheral vision and manipulation of the physique in order to adapt to the elements, such as the ocean, water, and wind, as well as the rising and setting sun. Tāpene moanaroa exercises were used by the students to develop and train a natural flow of movement that would enhance their weapons’ skills by aligning their body mechanics with the elements and continuous movements.

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Rongomauri

Tohi Purea (Dedication Ceremony)

The Māori strive to develop and enhance an all-encompassing sensory system including senses such as sight, smell, hearing, touch, balance, proprioception, premonition, prediction, vibrations, and feeling. This is done in order to develop instinctive values, inner strength, and life force. Developing these senses is an integral part of the teachings and a prerequisite to access higher learning.

Both male and female warriors were dedicated to different Atua Māori and, depending on purpose, the dedication ceremonies would differ. Ancient rituals performed on warriors before battle or spilling of blood opened the doorways to be spiritually connected to their ancestors and Atua. They were no longer allowed to perform normal duties, such as preparing food or interacting with their family, before their task was complete. They were placed under tapu (sacred, restricted, set apart), where they had a specific purpose either in war, death, retribution, or revenge.

Sometimes preparing to go to war against another tribe or enemy was also a healing process. Unresolved issues between enemies could be healed also peacefully—for example, through intermarriage so that the future generations would have both bloodlines, and the conflict would thus be resolved.

We currently teach Rongomauri as sensory modulation wellness to health professionals when working to minimize stress and enhance wellness.

Kaupare Kaupare includes war armor, as well as other means of protection and ensuring of safety. War cloaks were traditionally made with care from flax, and they shielded the wearer from weapons. Kaupare was also a system of keeping safe and protected.

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He kahu kaupare potective clothing for training

Only after a battle was fought, or blood spilled, were warriors allowed to return back to their societies. Before entering back to their ordinary lives, they would have rituals performed to lift the sacred veil of war or death. Only after these rituals could they become their normal selves again and continue to interact with the tribe as fathers, mothers, healers, food gatherers, teachers, carvers, or or-

ators. In times of peace, also the weapons had peaceful purposes as eel spears, garden implements, healing stones, fish nets, and bird spears, as well as in military games and in pounding clothing and garments. At the completion of my training with Papa Hohepa, I was given the Tohi, which allowed me to become the Sacredotal Head of Whare aitu-a-Henga.

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He Tii

Nono-tī training

Hoani Waititi marae training

Sparring

Taa-karo sparring mau rakau against mauare

Te Waitere Jason Paahi (author)

TRADITIONAL TYPES OF WEAPONS

During my research with the old people and written archival documents, I have identified over 150 different types of weapons with distinct names, purpose, and tribal connections. A lot of these names are also embedded in traditional stories and chants, and thus carved in history. Through colonization, Christianity, and assimilation legislation, most of this information was lost, forgotten, or written off as myths or speculation. These weapons are now brought back from the darkness into the light so that we can learn, touch, experiment, and practice with them and, especially, give life back into the past.

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I have divided these weapons into categories based on how they were used; this includes weapons from close-combat to distance-fighting.

I will also briefly discuss some examples of them. Note that, because weapons belonging to Te Whare Aitu-a-Henga school were used in stealth and were hidden for a purpose, some details will not be disclosed in this article. Some of the weapons identified below vary throughout Aotearoa, Polynesia, and from tribe to tribe. Most of them can still be traced through genealogy, stories, legends, carvings, and songs. A lot of these weapons also have a tairua (duality of purpose); in wartime they were used as weapons and in peacetime

Cutting edge weapons

for other purposes. A lot of these weapons were used either by male, female, or warriors depending on the purpose or outcome required.

Each weapon had specific names for each of its parts or components, and these names related to human body parts. This would then determine whether the weapon in question was meant to be used by male or female warriors.

Two-Handed Long-Edged Weapons •

Taiaha

This weapon is unique to Aotearoa; however, its origin traces back to the creation stories. It is a very effective close-combat weapon as was described above.

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•

Pouwhenua

This is similar to a taiaha, but the end is more pointed, and sometimes the blade or body is wider than that of a taiaha. It is used to stab, parry, and strike. It was also used as a land marker.

•

Tewhatewha

A weapon made out of a single piece of wood, used to strike and thrust. The tewhatewha was used by war chiefs to signal to their war party various commands, usually on hilltops, or at a distance. It was also considered to be an effective close-quarter weapon.

•

Piaka/Pakiaka

A weapon very similar in appearance to the tewhatewha, but made from a tree root. It was used in war times by women.

Cutting Implements •

Koripi/Maripi

This was used as a weapon to slice or cut human flesh and vital pressure points.

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Short One-Handed Club Weapons •

Mere/Meremere

Commonly mistaken and confused with a patu, mere resembles a teardrop shape narrowing down to the handle and butt. It was designed to be fast and swift and to cut on impact. It was powerful enough to take off the top of the head of an enemy.

•

Patu

The patu has a similar shape to mere, except the blade is round and used to pound or break bones.

This difference between the mere and patu is evidenced in the oro (sound) each weapon makes when it impacts an enemy’s skull.

•

Meremere

A meremere is a blend between a patu and a mere. One side of the blade represents a male and the other a female element. The difference could be heard in the sounds that each blade would make on impact both in defense and offense.

bat. The distinctive shape of the blade was also used to castrate enemies if required.

•

Wahaika

This weapon was initially identified as a swordfish-type weapon, but it was also modified as a type of patu with a guardian figure for protection.

Long Thrusting & Stabbing Weapons •

Huata is a 10-feet-long defensive weapon used to stab attackers from a safe distance. The huata was rested along the cross beams of palisades and thrust into attackers aimed to wound them, and thus slow them down. Warriors with shorter weapons would then finish the attackers off.

Waananga weapons used for training

•

•

Patuki

Similar to a patu, but it has a distinctive pointed shape at the end of the blade.

•

Huata

Kotiate

There is a range of different types of koti; however, it is unique to Aotearoa, and used in close com-

Koikoi

Two-handed six-feet-long weapon with two pointed ends.

•

Tao

Similar to huata but with both ends pointed.

•

Tete Delete

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•

Tokotoko

Tokotoko is a traditional weapon about six feet in length used for defense and stabbing. It was used by the elderly to keep them safe, and to assist in walking. The term tokotoko refers nowadays to a walking or talking stick used by the elderly to hold knowledge or fight with their words on marae (court) of oratory.

•

Puraka

This weapon resembles an enlarged matarau or eel spear. The shaft is made out of manuka wood and it is about eight feet in length. At the business end of this shaft, there are three or four securely fastened points fashioned from mapara.

The weapon thus resembles a large fork, and it is used for stabbing.

•

Matarua

Double-pointed spear, the points being fashioned out of whale bone.

When fighting, it is grasped in the middle so that either point can be used to stab.

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Whale-bone weapons

Short Stabbing Weapons •

Oka

Oka is any rough stick or other material used to stab. It is used with a longer weapon to find a weakness in the opponent’s defense and exploit it.

•

Ti-Pokepoke-a-Tūmatauenga

This is a hidden dagger specifically shaped to penetrate the vital points of an enemy.

•

Ti-Pokeha

This is a hidden or concealed dagger used by women to get close on an enemy.

•

•

Ti-rakau

This was used in a children’s game to develop agility. However, when its both ends were sharpened, it was also used by adults as a stabbing weapon.

Barbed Weapons There are also weapons that have barbed points and look like spears, but it was not common practice to throw one’s weapon away. Despite this, the warriors were taught how

Kaniwha

A spear with two points (tara rua).

Each point was sharpened and hardened by fire. It is used as a spear to thrust, not as a striking weapon.

•

Ti-Torea

Ti-torea has been associated with the performing arts; however, traditionally it was used as an effective stabbing weapon when its points were sharpened.

•

to dodge, parry, and catch propelled or missile-type weapons.

Katete

A spear with two or more rows of barbs on its head. Katete were also used in the puwhara to throw and cast at evading enemy forces. The ends were deeply notched in order to break off on impact.

•

Tete-paraoa/Tete-whai

•

Tete

Long spear with barbed ends that were detachable once impaled or imbedded into enemy. Barbed ends were made out of stingray barbs, bone, or wood, and also laced with poison so wounds would become infected.

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Propelled, Thrown, & Missile Weapons •

Hoeroa

This weapon was made out of the jaw of a sperm whale or, in some cases, from hardwood. About five feet in length and two inches wide, one end was shaped in a transverse, convex edge, and the other carved with double spirals. A rope was secured to a hole in the butt end of the weapon, so that when it was thrown, its user could retrieve it.

•

Kopere/Maka

A sling, which was used throughout Polynesia, and imported to Aotearoa by early ancestors. Abel Tasman, the first known European explorer to reach New Zealand in the 17th century, recorded that stones were being cast or propelled from great distances from shore.

There is also a saying describing its use: “Pukoro koha Tū hei whakaruru ki te taua.”

•

Tarerarera

A short undressed spear thrown by means of a whip or cord. A deep

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notch was cut six inches back from the point as the spear was designed to break off on impact and to remain in the victim’s body.

•

Kotaha

Kotaha consisted of a straight rod about four feet in length with a cord attached to it. It was used to propel a dart or a short spear placed in the ground. These missiles could also be set in fire and propelled into enemy fortifications in order to create confusion and chaos among the defenders.

•

Kurutai

A stone weapon resembling a patu and attached to a cord. It was thrown at enemies and retrieved by the rope tied to the hand of its user. Traditionally, it was thrown at fleeing enemies in order to trip them up.

•

Peru

A type of stone that was shaped like a small or medium-sized potato. It was used in hand as an impact weapon or propelled at an enemy.

Hidden Weapons There were also special hidden weapons used by tūpou or urikore (traditional assassins). The names of the weapons described the wounds or the effect they had on an enemy. These were used by both male and female tūpou.

•

Karipiate

made out of wood, shark teeth, and obsidian.

•

Mairehu

A hidden weapon, which was thrown and used to kill in stealth.

•

Pūhau

A hidden weapon used in stealth to kill from a distance.

A hidden weapon used to assassinate and kill in stealth. It was

Training the mere pounamu

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•

Patuharere

Patuharere was used in times of peace as a flax-pounder, but in times of war specifically to pound the body of an enemy.

•

Ti-ure-a-Tūmatauenga

A very sacred specialist weapon used by tūpou.

•

Ti-pokehā

A specialist weapon used by keira (female assassins).

•

Nono-tī

A specialist weapon used to strangle an enemy in stealth.

•

Taiawhiau

This was a propelled weapon made out of stone and connected to its user by a rope.

•

Tokiawhiorangi

Made out of blue stone and used for delivering a killing strike to the head or temple.

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•

Kotihautoki

Weapon used to break bones and necks of an enemy. Also used in hunting and breaking the neck of the ancient Moa. Modern Hand-Weapons (post-1800s) •

Kakauroa

A long European axe with carvings.

•

Patiti

A short iron hatchet.

•

Patu pora

Patu made from iron.

•

Piharoa

•

Whakakau

Pu/Muskets (post 1800s) Types of muskets were given specific names based on their characteristics and effectiveness:

Whare Aitu training waananga in various weapons

•

Hakimana

•

Kauamo

•

Ngutu Parera

•

Putiti

•

Pu Toriri

•

Pu Toko

•

Purepo

•

Tahu Whenua

•

Tū para

There are many more weapons that were used and have not been named here. The list of weapons above is but an example of the weapons the Māori used, left disused or put to sleep over time depending on generation or purpose.

Furthermore, this list does not include those weapons that could not be seen, such as psychological or spiritual types of weapons that were used to unbalance the enemy. Evidence of the above-mentioned weapons and their fighting methodology is still embedded in genealogy, stories, songs, carvings, weaving, language, and customs.

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OTHER SKILLS

Nga Tohutohu From a Western historical perspective, the Māori did not have a written language. However, the ancient Māori used different symbols to collect and capture knowledge of the universe and teach it in schools. This knowledge and these symbols were then passed on from generation to generation. This traditional knowledge is captured, documented, and evidenced in activities and fields such as carving, navigation, house-building, weaving, tattooing, marae (courts), takutaku (chants), moteatea (lamentations), history, genealogy, and storytelling.

This type of learning was multidimensional and used all the sensory systems to activate the ancient memory. Students are still encour-

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aged to go to the source to research and find knowledge which is embedded within nature, or hidden by our ancestors to be accessed at an appropriate time or for a specific purpose. All of the curriculum and teachings of the schools such as Whare Aitu are based on this traditional practice rather than on the written word.

Parirau Awhiawhi This was a system of movement taken from the way birds interact with nature, synchronize as a flock, navigate the air currents, and hunt for food. Within this system, students will develop their offensive and defensive fighting styles, peripheral vision, and continuous motion. Students would study which of the animals or birds have similar personalities or

move similarly to them. Examples of warrior birds recognized in this process were: the hokio (Haast’s eagle), karearea, kawau, toroa, kahea, ruru, and tiwairaka (fantail).

Strategy and Psychology Indigenous psychology generally advocates examining knowledge, skills, and beliefs people have about themselves, and studying them in their natural contexts. Traditional Māori psychology and psychotherapy practice can be traced back all the way to the creation, to the separation of Ranginui and Papatanuku which led to sibling conflict, disconnection, emotional distress, desensitization, anger, and unbalance which was identified as the Paerangi.

Tatau is a traditional psychological art of war used to unbalance an opponent through means of conscious or unconscious activities or actions. These actions are designed to plant in the opponent seeds of doubt that can be manipulated or even used to prevent conflict. Tatau is a traditional form of assessment, analytics, evaluation, and strategy used both in times of conflict and peace. This art form is still used today by Whare Aitu practitioners to psychologically restore balance in professional settings such as Māori health, mental health, education, business, and psychotherapy.

On the level of strategy, the student was taught ways to always see twelve steps ahead, and to use peripheral vision.

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Te Whare Aitu Charitable Trust Te Whare Aitu has been a non-profit organization since 1998. All teaching and training has been done on a voluntary basis, and the school has had hundreds of students who have developed their own specialized pathways of learning that enhance their own destinies in life. By using the art of a warrior methodology, our students are encouraged to be well, healthy, and family-orientated, and to strive for excellence in everything they may do in life.

The thought of charging and paying money for ancient knowledge is a controversial one. Although time is money, and people’s time should thus be compensated, to pay for the knowledge itself is debatable. I was never charged for my teachers’ knowledge or time, and I myself have never charged my students. However, I believe that there should be a reciprocal relationship between student and

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teacher, where the student’s koha (gifts) give something back to the teacher rather than the student just taking and taking. One way of graduating is when the student becomes the teacher, but this is done in humility and with respect.

We have relied on public funding from time to time, donations from philanthropy funders, and contracts to deliver professional training to professional practitioners who may be working in areas such as Māori health or mental health.

Students of Whare Aitu are also expected to sign a confidentiality agreement that protects both the ancient knowledge and the integrity of the school, so that the knowledge is not misused or exploited in any way. To date, we have had no students that have breached this agreement.

The aims of the trust are as follows: •

To promote, advance, and enhance the principles of the Treaty of Waitangi;

•

To promote, advance, and enhance traditional Māori fighting and healing arts;

•

To instill high standards of physical fitness, well-being, and

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a positive attitude towards life; •

To validate and promote traditional Māori knowledge;

•

To promote traditional Māori fighting arts and traditional training methods as a sport indigenous to New Zealand;

•

To teach all ages, genders, and cultures the philosophies and values of Te Whare Aitu;

•

To create a positive learning environment for individuals and their whanau (extended family) through sharing the teachings of Te Whare Aitu-a-Henga traditional weaponry, te reo Māori (Māori language), and tikanga Māori (Māori culture).

Our future aims and goals are: •

To re-introduce traditional Māori art back into the world of light;

•

To formalize specialized learning modules for use in the fields of education, health, social work, and mental wellness;

•

To become self-sufficient and sustainable as a charitable organization.

We currently deliver the following specialist programs: •

Māori sports and Māori martial arts

•

Traditional waananga (school) education

•

Mental well-being

•

Family healing and wellness groups

•

Indigenous training

•

Indigenous sensory modulation systems

•

Strategic family therapy

We are currently developing a new way of delivering mental wellness services for minimizing stress and enhancing wellness by using traditional knowledge and strengths.

- Te Waitere Jason Paahi

psychotherapy

Currently we have active schools throughout New Zealand and Australia, and deliver, via Zoom, weekly waananga classes but prefer face-to-face training training at the source: in the ocean, on thebeach, in the forest, or on the marae/courtyard.

For the past 18 months, I have also been in the frontlines battling against COVID-19 with Māori health providers. Many of the traditional fighting art methodologies explained in this article have assisted in forming the Māori strategies used in the response to COVID-19 to ensure people are protected, educated, and safe.

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Scott Park Phillips @scott.p.phillips.7

RECLAIMING THE MAGIC OF THE

CHINESE STAFF Scott Park Phillips

THE FIGHTING STICK IS THE magical weapon of Sun Wukong, the wild-enchanted monkey of China’s religious theater tradition, worshipped and adored by people of all ages. Sun Wukong is an Indian yoga master much like Hanuman and a Buddhist initiate, who achieves enlightenment, and whose name implies opposites—a

dumb-vain personality and a sage emptiness. He is the model of an Iron Body Master, a form of training that makes the body impenetrable and indestructible.

Sun Wukong’s staff is the weapon of the fighting Chan Buddhist monks of Shaolin Monastery. Shaolin was an austere religious institution with a large orphanage and

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a public theater. Performing arts troupes regularly visited to perform at regional festivals and in hopes of acquiring a few trained “little monkeys” destined to become actor-acrobats. This explains why monks who took vows of non-violence also became experts in martial arts.

In the boring version, the staff was initially a walking stick with a bell at one end used for collecting alms, but there is a story—the staff was the first weapon wielded by the god Vajrapani, or Thunder Hands. He was secretly working in the kitchen at Shaolin when it came under attack by bandits; he grabbed a long hot poker from the hearth and joined the fight.

But more likely, the fighting stick came from comic theatrical performances of drunken, sex-loving, meat-eating monks who also happened to love fighting. This performance tradition predates Shaolin Monastery and is an apropos example of life imitating art.

Sun Wukong appears to be a characterization of such a monk. His fighting stick is a cosmic chaos-creating penis. His epic, Mon-

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key’s Journey to the West in Search of Enlightenment, under-shadows the improvised sexually explicit version, which troupes performed after midnight to crowds of men known as “bare sticks.” The term “bare sticks” (guanggun) refers to the penis of an unmarried man.

Unfortunately, before the 20th century, about 20% of the male population would never have an opportunity to marry because of burdensome dowry and concubinage obligations. Bare stick was a de facto legal category that included monks. By law, bare sticks received more severe punishments for comparable crimes. They were, as a rule, an unruly bunch. The word for stick/staff/cudgel (gun) also means “scoundrel” and is the likely origin of the American slang, “goon,” which is pronounced the same way and only came into use in the 1930s.1 Sun Wukong named his beloved gun “Needle” because it would 1 Although its etymology may simultaneously come from the Tamil goondas, which means the same thing and may have some distant connection to Chinese as well.

shrink to the size of a sewing needle when not in use and tuck nicely behind his ear. Before he stole it, it was a magical pillar holding up the Dragon King’s palace under the sea. When inspired, Needle can grow as large and hard as the pillar it once was. As the warrior-hero of bare sticks, Sun Wukong symbolically releases his sexual frustration by giving the Dragon King a good thrashing with his enlarged Needle. In China’s original theatrical-ritual-festival-fighting culture, dragons are responsible for keeping the weather regular and harmonious. Sun Wukong is one of many

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exorcist-gods who are called upon to give the Dragon King an educational beatdown when he causes a flood or a drought. In practice, Chinese communities would hire actor-acrobat-martial-artists to enact a theatrical exorcism by performing this story—as education for the gods.

Bare sticks, who often worked as porters, developed their own dark paths to enlightenment. The porter’s pole became a ubiquitous improvised weapon because it was illegal to bring weapons into the Chinese Capital, which had a pop-

ulation about one million for most of the 17th, 18th, and 19th centuries. Porters carried a stick with a basket on each end. The baskets were two chaotic swinging pendulums that the porter would synchronize with his own center of mass by extending his mind out beyond his body. This is the basic training for the internal martial arts method of counterbalancing.

In this method, referred to in the tai chi classics as “be like a scale” and “go left to go right, go up to go down,” one constantly neutralizes all incoming forces.

Sun Wukong’s size-changing Needle has a profound martial-religious significance extending to all stick fighters. For example, a

martial artist may begin by changing the weight of his stick with his mind, enacting, imagining, and visualizing it as alternately heavy and then light. This type of practice leads to emptying one’s arm of all intent and desire so that it floats up and down effortlessly.

The stick is held such that it becomes empty along with the arm.

Following this, one attains complete emptiness of the entire body traveling through space. Finally, contact occurs with the enemy/ opponent, who is empty and exorcised of chaos-inducing desires.

The stick is the liminal pathway for passing emptiness back and forth.

Sun Wukong, the monkey, and his friend-enemy, Zhu Bajie (the Pig),

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become fire and water respectively when they fight, trading positions with the stick in between them.

They represent the creation of the Golden Elixir, a Daoist meditation technique associated with martial prowess in the theatrical convention.

Emptiness is the source of an exorcist’s potency. Sun Wukong’s body is made empty by his yogic cultivation, making his body as hard as a stone. His method of achieving emptiness is comparable to a similar approach used in the Japanese tea ceremony in which one picks up heavy objects as if they were light, and light objects as if they were heavy. Over time, the practice causes the imagination

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to become a source of whole-body integration. It pre-activates the muscles and bones, enlivens balance and perception, making fine adjustments at lightning speeds.

This is a top-secret way of training to fight into emptiness while in an adrenalized state which distorts one’s perception of size, weight, and resistance. Adrenalized states were associated with possession by the gods. These dark paths to enlightenment were transmitted through the theater and were sources of everyday encouragement for bare sticks.

For hundreds of years, massive theaters built of bamboo or bare sticks were a common sight during rural festivals. These same bare-sticks

construction techniques are still in use today. I watched a scaffolding made of bamboo and zip-ties go up on a five-story building in Hong Kong in a matter of minutes.

To watch it go up was to witness young men embodying the martial prowess of the swinging monkey, zip-ties in their teeth, tossing and spinning poles in the air. The destiny of such temporary constructions is to return to their potential state—a simple pile of sticks—in the same way Sun Wukong puts Needle back behind his ear.

A few years ago, I had a limited opportunity to study the Sun Wukong role with Paulie Zink. He does a form of daoyin, a Chinese yogic tradition I translate as “tun-

ing and emptying.” His particular daoyin comes from the nearly extinct Daoist animal-role acrobatic contortionists of Chinese opera. It includes some thirty animals and insects, both earthbound and astral. One notable thing about Paulie Zink’s exquisite monkey-stick fighting is ground fighting with a stick.

The Northern Shaolin movement patterns I learned as a child worked as stick fighting without the stick.

In such a manner, empty-hand forms are transposable to stick forms without significant changes to the movement. I learned a continuous two-man Shaolin stick fighting routine that repeats using an AB-BA interlocking loop. It is

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excellent martial training for timing and distance. It is equally suited for carrying on an improvised dialog about the nature of enlightenment or a comic lovers’ quarrel over a mutual affection. The martial arts of Shaolin Monastery developed as a case of life imitating art, performances of transgressive monks having sex, and getting in fights. At the monastery, the art was refined by the discipline of Chan Buddhism, becoming the basic training for Beijing opera.

Before the 20th century, Chinese martial arts were a form of performance intended to educate the gods. One of its purposes was to convince the gods to behave better by modeling disciplined, upright, and courageous conduct. The martial arts were an integral part of the festival culture—transgressive and full of comedy. After the Boxer Uprising (1898-1901) ended in national humiliation for China’s gods, martial artists, and people, Chinese society responded by adopting the West’s tragic view of history and religion. We can summarize this view as “a stick is nothing but a stick.” In the first forty years of the 20th century, martial arts were cut off from centuries of enlightenment and enchantment.

They were stripped of theatricality and sacred stories. The once glori-

ous laughter-and-war orientation of martial arts collapsed in its native context During the Boxer Uprising, tens of thousands of bare sticks converged on the Capital, wielding swords and magical sticks possessed by Sun Wukong and other gods. They believed they had attained his powers of invulnerability, only to be shot down by foreign guns. It is easy to see why Chinese society instituted mass anti-superstition campaigns in hindsight.

All was not lost. Thanks to Bruce Lee and the Shaw Brothers, the spark of original glory survived in the kung fu movies. Many martial arts geniuses were also preserved by modernizers who invented pure martial arts and then taught it alongside YMCA-style athletics.

This short cultural history of the stick in Chinese martial arts is a glimmer on the surface of a deep ocean.

- Scott Park Phillips

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Stevan Plinck @mahagurustevanplinck

THE STAFF IN

PENTJAK SILAT SERA Stevan Plinck THROUGHOUT HUMANKIND’S existence, before the invention of writing, all human cultures have utilized some version of the staff.

Staves are—along with rocks—our first tools, the earliest weapons past bare hands and feet. And they are just as effective today as they were ten thousand years ago.

Being whacked on the head with a heavy stick will do as much damage to a skull now as it did when

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people were running around in fig leaves or bearskins. Techniques have evolved, but people’s bodies mostly have not.

Staves can help you walk, pry up a log to reveal food, and skillfully used, lay low an animal or human attacking you. With a long stick, you can help carry things looped over the ends to stir a fire or to pull somebody out of quicksand.

Put a point on a staff; it becomes a spear, the queen of close-quarters weapons, and with sufficient skill and numbers, a hunting tool capable of taking down a mastodon or a lion.

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Many martial arts consider a staff to be the most versatile of handheld non-projectile weapons. Many cultures still have people walking with staves, and all of them use a shorter version—the cane. There are few places on Earth where somebody with a gimpy leg cannot carry a stout cane, and it doesn’t need a sword hidden inside to be a dangerous weapon.

As with most societies using such tools, the Indonesians developed myriad ways of employing the staff. The village arts of Indonesia are many; there are hundreds of variations, and so the ways of

One doesn’t fight the weapon; one fights the opponent wielding it.

employing hand-held weapons will also be different, depending on the art. There are, however, only so many efficient ways to use a tool. Eventually, anybody seeking those ways is going to come up with something that looks like something someone else discovered. At some point, Little John’s staff from the band of Robin Hood of Nottingham Forest is going to look something like one swung in Japan, China, or Indonesia.

There are a lot of ways to use a fist, but doing it without breaking one’s hand narrows down the effective methods. “Boxer’s fracture” is a term that is used by doctors frequently for a reason. That metacarpal under the little finger doesn’t like smacking into a hard body part, and the expression, “Big bone beats little bone,” is as true today as it has always been. Breaking one’s hand is not generally considered the most effective way to defeat an opponent.

Our fighting system, Pukulan Pentjak Silat Sera Plinck (usually short-

ened to Silat Sera), developed in western Java, is a synthesis of several other arts, including Indonesian, Chinese, and even elements of brawling brought to Jakarta by European sailors. While it is primarily a blade system, featuring knives and swords of various sizes and shapes, it does employ staves and spears, as well as empty hands, with blends of striking and grappling techniques used in conjunction with force-multiplying weapons.

The art is named in honor of its founder, a mysterious fellow called Sera, supposedly for his hoarse voice. However, it could have been for his tricky manner, owl-like wisdom, or maybe that he had a particular shade of red hair, all of which the term can mean, depending on dialect, accent, and spelling.

Bapak Sera, according to our oral history, had a clubfoot and a deformed arm. He distilled an effective style to compensate for his disabilities from several fighting styles he studied over the years.

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One of Sera’s senior students, Mas Djut, helped his teacher formalize the art for those who had healthy limbs. And as did many martial artists, when they saw a useful technique done by somebody else, they promptly swiped it and incorporated it.

Sera, sometimes written as Serak, was brought to the U.S. in the early 1960s by a Javanese immigrant family, principally under the guidance of Paul de Thouars, one of four brothers who practiced martial arts in Java, Holland, and the United States.

Initially a closed-door art restricted to Indonesians or Dutch-Indo-

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nesians, Sera today has continued to evolve under de Thouars’ senior students. The silat of Bapak Sera and Mas Djut consists of interlinked laws and principles. It’s less about power and speed, and more about timing and position.

Any weapon used—biological, or an extension of the human body— must follow the laws and principles of the system, and by so doing, achieves a continuity and coherence that makes it more effective.

The staff—sometimes called toya, tisng, or kayu—can be of rattan, bamboo, wood, iron, or steel. One of the practice versions we use is made from a 1.5-inch-diame-

ter high-impact PVC pipe with capped ends and is sturdy enough for moderate contact, inexpensive, and easy to find. Indonesian staves typically range from as short as three or four feet to five or six feet long, an inch-and-a-half to two inches in diameter.

One of the most significant advantages of a staff is reach. An adept with a staff can keep an attacker with a knife or even a sword outside his cutting or stabbing range.

It is beyond the scope of this article to teach specific techniques, but we can address some general rules that apply not only to the staff but to all the weapons we use.

Size does matter. I would rather have a five-foot-long hardwood staff in hand against a knife or sword than be waving an eighteen-inch stick or my bare hands.

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For example: covering the highline, low-line, and the center-line.

On the face of it, this would seem self-evident; a knife to the inner thigh can nick a major artery and kill as quickly as a stab to the heart, so failing to cover either one is risky. A stab to the shoulder or the front of a thigh will find fewer serious targets than the organs and vessels in the torso. Police learn to shoot to center-of-mass for a reason—the spine, heart, lungs, liver, spleen, and the bowels are there.

With a staff, it is possible to cover more of one’s body without moving the weapon. If you are holding the staff with one end on the floor and the other straight up, and you are behind it, you are covering high, low, and center. When an attack comes, you can deflect, block, parry, or counter high or low.

At times, one cannot cover everything; by the nature of a counter or initiated attack, there will be a transition from defense to attack.

However, the default position in our art, one to which we return as soon as possible, is to protect both high and low lines. If you see a Sera practitioner with both hands in front of his face or both in front of his groin, you won’t see them stay that way for long, and you might want to beware of a trap. Some-

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times what looks like an easy shot might only appear to be such.

Another example: we use a triple-word term to describe what we consider a critical function in Sera—base-angle-leverage. (We aren’t the only ones who practice this, of course; it is a discovered principle, not one we invented, but it goes under different names.)

Here, before we go on, a little physiology: voluntary muscles work by doing just one thing—they contract. With the limbs as different kinds of levers, this results in two convenient ways to view motion: pulling or pushing. These actions are also hits, blocks, and parries and with an edged weapon, a cut, slash, or stab. A push sped up? A hit, a block, or a parry. A stab. A pull can be a throw. Or a block. Or a hit, or a parry, or a stab. It depends on the intent and position and the tool used.

Back to base-angle-leverage—when we speak of base in this instance, we are talking about footwork, but also balance and position. We differentiate between lower- and upper-base, which might seem counter-intuitive and a bit of a stretch for that term, but we know what we mean.

Angle is a push—or a hit or a block or a parry, or whatever . . . Leverage is a pull, likewise the same. Since we consider this fundamental to our art, these are an unspoken part of every action. We believe that, if you have all three done correctly, you can unbalance any opponent, no matter how big or how skilled, and once they are unbalanced, you have the momentum. With all three, the largest attacker will go down like a chainsawed tree—it is simple physics.

When using a staff, these three principles work the same as in bare-handed. An opponent is open to striking, being blocked, or upended, and one should not feel limited to the stick; hands, elbows, knees, feet, shoulders, all the other weapons are still available.

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One of the problems, as we see it in some martial arts, is that when using an impact or edged weapon, fighters tend to rely on it alone. If somebody is putting all their energy into blocking a stab by a right hand, the attacker’s left hand or a foot or elbow can do serious damage.

One doesn’t fight the weapon; one fights the opponent wielding it.

The underlying system of Sera is the same, regardless of the weapon(s) used. The patterns of learned movement won’t be precisely the same with a fist or a short knife or a staff, of course, but the principles will be.

So, targeting, back-up, feints, changing lines of attack, moving your targets off-line—not only do they work with the staff, you will likely have more time to affect your techniques. We believe that timing equals distance, and if you are outside your weapon’s range but inside mine? If I can hit you, but you can’t hit me? It is my advantage to lose.

Too, we believe that underestimating an opponent is a bad idea.

If I think you have a knife, and you don’t? It doesn’t cost me anything to be wrong. If I think you are empty-handed and you have a

It’s less about power and speed, and more about timing and position.

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concealed knife? That could be a fatal mistake. Assuming the worst and being prepared for it is generally a better idea than assuming the best and being surprised when the worst happens.

In our staff work, we tend to practice against each other using them.

An opponent who is equally skilled and equally armed is more dangerous than one who is less or unskilled and sporting inferior weaponry.

If my opponent has a weapon equal to mine? Then other factors decide the outcome.

Size does matter. I would rather have a five-foot-long hardwood staff in hand against a knife or sword than be waving an eighteen-inch stick or my bare hands.

With a spear, which is but a staff with a point, and one that can have sharp edges, there are more options, but nearly everything one can do with a spear other than slashing or stabbing is replicable with a staff, and using either end, much like escrima sticks can mimic blades.

As many arts do, we employ drills to get used to handling a fighting staff. These drills are not something one takes into a serious dustup.

Learning a weapon requires mindful practice, and the whirls and twirls and counter-for-counter get one used to the balance and feel and range of a tool. Just how far can it reach? How to choke up on it when the action gets close?

Moving in balance while striking or blocking? Some of these things are more productively practiced as solo drills, watching in a mirror.

As with our forms, the djurus, we like to think of such drills as primary ways to move efficiently.

One metaphor is the ingredients of flour, sugar, water, and eggs.

These ingredients all go into baking cakes, cookies, pie dough, or donuts. It all depends on how much and how they are mixed.

Sometimes, a stick is just a stick, but a well-practiced staff can be a lifesaver . . .

- Stevan Plinck

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Paul Porter paul.porter.944023

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SCA & STICK FIGHTING CROSSOVERS TO FMA AND OTHER ARTS Paul Porter

THE SCA HAS A DIFFERENT approach to fighting, and we pursue it in a particular way: armored. We use heavy weapons that are fairly long, and much longer, in some cases. We need to have our weapons move very fast, and hit very hard. I’ve developed a number of techniques and tactics that make them do exactly that, and others that improve movement, perception, and sneakiness. I think a number of them can cross over to FMA and other stick/sword arts.

Here is a preview.

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Biomechanics: Core-Based Power

•

The way I use the core to more or less bypass the muscles in the arm, wrist, and hand for forehand blows (the Snap) is a good example of core-based power.

The Power Waddle is a simplified but very effective footwork system based on judo.

•

The Slide Step creates a safe way of closing distance during an attack.

•

Tactics and Strategy

•

The Head Butt is a revolutionary method for supplying power to pull the sword back.

The teardrop path for sword handling utilizes core-based power by positioning the sword to whip as the body rotates to supply the energy.

•

None of these requires more than minimal movement.

•

They supply immense power and speed to the weapon.

•

They are biomechanically safe.

Physics I have identified a number of aspects of physics that can be applied in stick/sword fighting to make the sword jump through hoops. These are better used for longer weapons, but I’m not the only one who uses them.

Movement FMA fighters are very interested in footwork. I used some of it when I was constructing my system. Here are two of my techniques you may like:

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Over the last 50 years, I’ve come up with a few things in this area.

None of my techniques require a wind-up, and they don’t provide any Tells for my opponent to use.

Two of these are used together: commitment swings and infinite combinations. The first one uses feints that are full-power and fullspeed to cause an opponent to commit to a block that didn’t have to be made.

The second uses a couple dozen techniques to allow attacks that don’t stop, don’t pause to cock the weapon, and look a lot like several others until the sword is about half-way to the target.

Perception A major part of our training is learning to read the flow of the fight and notice Tells. When you get good enough at this, you can read intent. I’m always told that I’m very fast. I reply that I’m not, but I just start sooner than my opponent. We use the same method-

ology to integrate individual techniques into a functioning system.

The SCA Armored fighting in the Society for Creative Anachronism (SCA) is a martial artist’s dream: a full-contact weapons art in a sport setting that’s designed to avoid injury.

The SCA (Society for Creative Anachronism) is a recreationist/ educational/social group, mainly

focused on Europe prior to about 1650. It started in 1966 as a “medieval” party that included a tournament. There are many activities besides the armored fighting. Rank and status are gained through success in art, service, and fighting.

In fighting, ranks are: knight, viscount, count, and duke. By about 1970, rules had been established.

These have long since been codified, and the techniques and armor have improved dramatically.

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The fighting is based on and inspired by armored combat in medieval Europe, and has evolved into a martial sport. Matches are won by striking the opponent with a “telling” blow, with a high level of force, requiring the fighters to be well-armored. For safety reasons, the legal targets are the entire body above the knees and excluding the wrists and hands.

Judging the validity of the blows is the responsibility of the fighter

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who was hit, which requires both honesty and honor. There are no judges. There are no weight, age, gender, or skill-level classes. The combat includes both one-on-one duels and group battles.

The weapons are made of rattan. It transmits power well, and shreds instead of shattering, at failure.

The minimum diameter is 1.25 inches. The usual weapon is the broadsword. The lengths vary between 30 and 42 inches. The rat-

tan must be wrapped in tape, and protective edging can be used. The points are padded. The swords weigh between 2 and 4 pounds— somewhat higher than period steel swords. My personal swords weigh 3 pounds.

Other weapons are used, including: mace, axe, greatsword, polearms, and spears. Flails are prohibited.

Shields are used with most single-handed weapons. Shields vary in both size and shape.

The armor is made of steel, leather, titanium, plastic, and padding.

Several points on the body must be strongly armored, including the head, neck, elbows, hands and wrists, knees, groin, and kidneys.

The steel used varies from 16 to 10 ga, and is usually stainless steel.

The leather used in armor is often hardened. It’s advisable to armor most of the legal target areas. Basket hilts are often used for their superior protection.

In the combat, the blades of weapons are treated as if they were steel. They cannot be grabbed by the opponent. The handles of long weapons can be grabbed. A reasonable amount of contact, including shoving, is allowed with the weapon or shield. There is no grappling.

If a weapon is dropped, the fight is paused, so it can be retrieved.

If a fighter falls, they are allowed to stand. If a fighter is hit with a sufficiently strong blow to a limb, they must continue the fight without using it.

The tactics vary considerably, mainly in the attempt to bypass the shield. Some fighters like to close to short distance or actual contact, in an attempt to overwhelm their opponents. Some like to stay as far away as they can, attacking with quick charges, then rapidly retreating. In general, I prefer to follow my initial swing to close to where I am barely out of range. From there, I use continual combinations and offensive shield techniques to cause an opening for a winning blow.

My Background I started creating my fighting system when I joined the SCA in 1970.

I was an experienced black belt in judo from San Jose State University, with training in several other arts. At that time, my martial arts training made me unique in the SCA. Inspired by my love of judo, I set out to make SCA combat into an effective and cohesive system. I’ve continued creating new techniques and tactics, while documenting and teaching my approach. It’s been 52 years, and I’m still finding more subtleties and making improvements.

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My system is based heavily on judo.

I’ve found that the movements and timing required for fighting with heavy weapons are similar to those of judo. Like judo, the ability to practice at full speed and with full force makes the art very effective.

There is a limit to how good you can get in a fighting art, especially a weapons art, without being able to train in this manner.

I learned some important lessons from judo. One is that there are many factors affecting success: strength, speed, agility, perception, technique, etc. It’s possible to increase the usefulness of each of

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these, but there is a limit to how far you can improve the physical aspects. There is no limit to how much better you can become in the areas of perception and technique.

The second lesson is that each of these factors can be used to balance the others, but none is always superior. During my time in the army, this point was driven home.

I practiced judo, almost weekly for two years, with a fourth-degree Korean black belt. Neither of us managed to throw the other. But I outweighed him by 70 pounds, more than half his weight.

My size and strength plus my skill were almost exactly balanced by his much greater skill. At the same time, his much greater technique and perception were balanced by my physical advantages.

Not everyone learns this lesson.

I’ve had experiences where black belts discounted my strength, even though I demonstrated it overcame their technique. Likewise, I’ve had larger opponents who discounted my skill, even though I defeated them with it.

Goals of the System Be Effective for All I’ve made my system to be useful for both small, relatively weak fighters, and large, strong fighters.

Strength and speed are great, but they can be overcome by an opponent who is never in the right place for you to attack, who seems to know what you’re going to do before you do it, or uses techniques that confuse you sufficiently that you can’t block them.

Technique and perception are great, but what if your opponent is very much larger, stronger or faster than you?

It’s useful to improve yourself physically, to balance these deficiencies, but perhaps more use-

ful to improve at perception and technique, since the opportunity to improve in both these areas is greater. However, balance must be maintained.

The techniques I teach must be effective for fighters of all skill levels. I don’t say they will work every time they’re employed against any fighter, but superior technique and perception will provide the best chance of succeeding.

Use Optimal Biomechanics My techniques, including tactics, must allow the body to be used in an optimal manner with the maximum effect. They must be capable of being executed without wasted motion, and with the body in the most efficient position. This must be done without causing the body any harm, either immediately or as the result of repetitive stress on a joint or muscle.

For instance, if power is applied to the sword while the fighter’s elbow is above the line of the shoulders, the shoulder must “unlock” to support that position. Unfortunately, it “unlocks” from its optimum position for transferring force from the core. Because of this, all joints involved in the power transmission will experience extra stress because the shoulder is less able to

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The biomechanical system of the body is most efficiently powered by the core muscles, which: 1. Stabilize the body in support of movement; 2. Twist the body to supply rotational energy; 3. Move the weight of the torso to supply power from weight transfer.

The power transfer links (the joints between the core and the sword) must be efficiently used to deliver the power supplied by the core.

This mainly consists of holding the joint in an optimal position. My intent is to remove or limit the instances where the smaller muscles are required to supply power. transfer power from the core muscles. The weaker muscles of the shoulder, arm, wrist, and fingers must supply more power than they should, from an inferior position.

In another instance, if the sword is held mainly by the thumb and forefinger, the muscles of the hand must supply much of the power required to snap the sword forward.

The problem is, they can’t. They’re too weak and too slow. In my system, a properly executed “Snap” would be completed before the fingers could be closed.

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Make Optimal Use of Physics Please note that since my art generally uses swords, I will use the word sword in my discussion, since the wording corresponds most closely with the use of swords. In most cases, it could be replaced by the word weapon.

Physics has its own language. In order to discuss physics, you must understand some of the words of that language. The terms below are important ones that apply in the martial arts.

Definitions •

Vector: This is force moving in a direction. There are both straight and curved vectors. More than one vector is usually involved in a sword movement.

•

Center of rotation: As the sword swings on a curved path, there is a center of that curve, like the center of a circle. This is the center of rotation. It’s usually in the body of the fighter.

•

Rotational vector: This is a vector on a curved path that moves around a center of rotation.

•

Radius of rotation: A radius is the distance between the center of a circle and its edge (circumference). The radius of rotation is the distance between the center of rotation and the balance point of the sword.

•

Tangent: This is a line that passes by a circle (or curve), just touching it.

It’s at a right angle to the end of a radius.

•

Planes of rotation: A plane is a flat surface, like the floor of a room. If a disk were spinning on that surface, the floor would be its plane of rotation—a horizontal plane. If this were happening on a wall, the wall would be a vertical plane of rotation. These planes can be tilted in any direction.

When a sword is swinging around the body of a fighter, the plane of rotation is defined by the movement of the radius of rotation.

A moving sword can be redirected into another plane of rotation, if the transition moves along a smooth curve. These curves are usually much smaller than the initial curve, so the blade speeds up. The sword can also easily move to a parallel plane.

The one caveat is that if the sword is moved to a higher plane, the ascent must be fairly slow. If the sword hand moves upward too quickly during a horizontal rotation, the blade’s speed and power will be decreased. This is also true of Snaps.

The sword can be tilted up or down as its balance point moves along the plane.

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Uses of Physics Elements of physics are involved in swinging swords. Some specific uses are: •

Slowing or speeding up the sword movement Changing the radius of the curve of the vector on which the sword is travelling can increase or decrease the power and speed of rotational vectors during a technique that moves the sword.

•

Maintaining or lowering the speed of the sword movement Maintaining or lowering the speed and power of a curved rotational vector can be done by pulling the sword hilt toward the center of the curve. Slower pulls maintain the speed. Faster pulls decrease or stop the vector moving the sword.

•

Changing the direction of the swing It is possible to change the direction of a rotational vector without loss of speed and power, using smooth curves while not lifting the curve too rapidly.

•

Make it easier to start the sword moving A short starting radius for a curved rotational vector makes it easier to start the sword moving. This involves being aware of the increase of torque when a long radius is used.

•

Maximizing the “shock” of impact Maximizing the shock when the sword meets the target involves reducing the time that the sword is in contact with the target at impact.

•

Kinesthetics The body is a system of levers, so physics is involved here. Proper kinesthetics refer to the efficiency of use of these levers.

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Choosing Techniques There are a number of different types of techniques: standing, moving, hitting with a weapon, defending with a shield or sword, using feints, tactics, etc.

The SCA fighting community has difficulty in choosing techniques.

Our version of armored fighting is a very new martial art. There is very little standardization of techniques and their names. My system is by far the most defined as to techniques and their names, use, variations, utility, perception, and proper instruction.

Given this, fighters have no defined method of, or criteria for, choosing techniques. In addition, as with most new arts, pure physical ability makes a great difference in achieving success. The techniques of fighters whose success is based on the physical are often emulated. Unfortunately, this causes fighters to adopt techniques that require physical capabilities that they do not possess.

The results of this sort of emulation is made worse when it is taught by these physically talented people who think their success is because of technique, which is actually inferior.

Early on, I made the decision to teach my techniques to everyone who asked, rather than only to a restricted group of fighters. So, a lot of people use my techniques with varying degrees of accuracy and success. It has become a game of Telephone, where a word or phrase is whispered from the first person to the second person, who then whispers it to the third, and so on. The initial information rarely survives this process.

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I’ve had experienced fighters tell me that I was teaching the Snap incorrectly, even though they knew that I invented it.

In an attempt to correct this, I have created a list of specific criteria that should be considered when making the decision to use a technique, methodology, or tactic.

•

Position: Proper positioning can reduce risks for using offensive and defensive techniques.

•

Cohesion: Cohesive techniques mesh well with other techniques, improving efficiency.

•

Effectiveness: Effective techniques are potentially useful against the highest-level fighters.

•

Biomechanics: The body is designed to take advantage of the principles that concern movement and force application.

With proper use, they will make your fighting more effective, and reduce your chance of injury.

Criteria •

Time: Does the technique save you time during execution, or cause your opponent some delay?

•

Tempo: Does the technique or tactic create instances where your opponent is surprised?

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Commitment Commitment is “the state or quality of being dedicated to a cause or activity.” Here, I am using this word to refer to the ways a fighter commits to various motions and positions involved in a fight.

For example, if you run headlong toward your opponent, you are committed to traveling in a certain direction. Also, your speed will make it difficult for you to stop. If your opponent is aware of these commitments, they will use that information to effectively respond.

Both mental/emotional and physical commitments can be a “Tell” that warns your opponent of your intentions. It can also interfere with your mobility, and your offense or defense. A Tell is any action that warns the opponent of an impending attack, or of a good chance for them to attack.

Mental/Emotional Consider the expression: “You’re thinking too much.” This is often used when a person is failing at a physical activity, despite evident talent and considerable training.

Unfortunately, it’s often a true statement.

A fight is conducted by the subconscious mind, which can handle the necessary speed. The conscious mind can’t. A fighter may be thinking about what to do next, but if you’re thinking about it, the conscious mind has taken control of the fight away from the subconscious mind.

The conscious mind can be useful at times during the fight, but only when you are well out of range.

For optimum performance, you must be very aware of the fight.

That awareness should rise to the level of “feeling” the fight. There is no time for thinking through the alternatives during an attack; the answer has to be there when your subconscious mind wants it.

The Eastern arts use the term “no mind” to describe the proper state of mind. In this state, you are not thinking about anything. Instead of being passive, you become the perfect receptor. You take in any information provided during the fight and allow yourself to react without hesitation. When combined with effective training for how and when to use your tools for fighting, it produces optimal results.

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Committing to a strong emotion will disturb the no-mind state.

Feeling how terrible it would be to lose, or how much you dislike your opponent will interfere with your responses. If the emotion is powerful enough that it includes a physical aspect, it can become a “Tell” that your opponent may notice.

The bottom line is that if the conscious mind is engaged, the subconscious mind is not. The subconscious is the one that should be operating when you fight; the conscious mind is simply not fast enough.

For a more detailed presentation of this, I strongly recommend the book: With Winning in Mind by Lanny Bassham.

requires commitment that wastes time or gives your opponent a momentary advantage, it is not working for you.

Consider the fighting stance. Having researched and tested many different stances, I consider the one I teach to be optimum. It allows you to move in any direction and attack or defend powerfully, quickly, and without Tells. If a different stance is lacking in some respect, it is not optimum. These cases require a cost-benefit analysis.

Here is a sample of negative physical commitments and the results of making them.

•

Departing from an upright stance (by leaning or crouching) is a commitment. In addition, core-powered techniques work better from an upright stance.

•

If you lean in any direction, you have committed to move in that way. If you decide to move in another direction, you will have to return to a proper stance before you can move. This is a Tell, and takes time.

•

Any motion before an attack is a commitment that may cost time. It’s also a Tell. A preliminary motion is one that occurs before your weapon moves forward toward your opponent.

Physical Every offensive or defensive move requires some degree of physical commitment. A commitment is the price of a successful attack or defense. The trick is to design your techniques and tactics so you commit only as much as required and no more. Too much commitment, or commitment at the wrong time, may be a “Tell” that warns your opponent.

You can judge techniques and tactics using the criteria described above. For example, if a technique

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•

•

Any repeated pattern of movement or attack sequence is a Tell and a commitment, because the repetition gives a clue to how it will proceed, which is easy to detect.

Any movement of your blade that pulls you out of position is a commitment. For instance, if you commit to swinging through your target, you’ve committed to moving your body and sword for some time after the sword hits its target.

This reduces the swing’s effectiveness, and takes more time to recover.

•

Any over-long pause may cause you to commit to your position, which will require time to change your focus from “defend” to “attack.” Experienced fighters can read your change.

•

Holding your weapon or shield incorrectly is a commitment, if you have to think about holding it up.

Managing commitment is one of the many aspects of fighting you must master before you can achieve success.

The techniques and tactics of my system are designed to minimize any type of commitment. In fact, many are designed to cause the op-

ponent to make unnecessary commitments, which will give you an advantage.

Tells I’ve mentioned Tells several times.

Here’s a description of what they are and their importance.

Well over half the information in normal discourse is communicated through non-verbal mediums.

We all receive and process the information presented this way.

During combat, we interpret body language, motions, and tendencies, and even much of this is partially obscured by armor. If you are not careful, your opponent may be able to get information and warnings that you did not intend to share. Any advance information of your intentions that could inform your opponent is known as a Telegraph or Tell. The good news is that your opponent can supply these Tells for you to use.

Here are some of your opponent’s body language that you can use against them. You should notice and avoid doing these things yourself, so that you don’t supply information to your opponent.

Pay attention to motions: •

Gross movements like cocking your weapon, or subtle ones such as a small rotation of the

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sword hand, may indicate that an attack is imminent.

•

Obvious movements like leaning into each step of a forward walk, or less obvious ones such as a slight weight shift, indicate a commitment or signal an impending movement.

•

A slight pulling back of the shoulders or head can signal the shift from defense to offense. It is quite possible to strike at this time without your opponent being able to block.

•

Walking in a repeated pattern, waving the sword up and down, swinging the shoulders from side to side, or attacking with the same sequence of blows time after time. In these cases, it’s possible to time the points in the pattern of movement where your opponent can swing the sword forward, and when they can’t.

•

Perhaps there is a Tell that always precedes a particular attack. Or maybe your opponent overcommits in some specific way before using a certain technique.

Any of these provide clues about your opponent’s next move, allowing you to start your defense or counterattack before your opponent even begins.

Don’t assume that every motion by your opponent will allow you to immediately perceive an opening and take advantage of it. It is quite possible that one movement is a feint or a repositioning that may be an indicator of a following attack, which will give you a warning; or it might not. If you are correct, well and good. If not, it might be a trap. This is where good perception helps.

Pay close attention to patterns in your opponent’s movement or lack of movement. These include:

Any movement that occurs before the weapon is moving forward toward a target is a Tell.

Strategy

•

A habit of standing motionless too long

The overall strategy of my system is to make my opponent do what I want them to do.

•

A slight slumping of the shoulders indicates that the intent has shifted to defense from readiness to attack. A quick attack at this moment can often succeed.

Using these tactics and techniques chosen as described below have allowed me to design my system to help me fight at peak effectiveness, and for my opponent to do the opposite.

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Basically, I want to force my opponent to do what I want, when I want it, and how I want it. For example: •

•

•

•

By remaining out of range when I’m not attacking, I encourage them to overcommit when they attack, by making them cross a greater distance. This tactic often causes my opponent to use techniques that include a Tell.

I want them to overcommit when they try to block my attacks, so often my first swing only comes close enough to them to make them commit— to blocking a blow that wasn’t meant to land. This causes them to waste time that they should be using to block my next blow, which will arrive quickly.

To confuse them even more, I use “infinite” combinations while staying just out of range until I swing to actually hit them. My techniques usually give me a three-to-two shot ratio, so my opponent is likely a bit behind and confused when I actually try to hit them.

I encourage them to hesitate when trying to block any of my attacks. Any time my weapon approaches them, it could be any one of five or six variations,

which all look alike until it’s too late.

•

By exploiting the flaws in their stance, I encourage them to attack toward points where I am expecting them. My training allows me to sense intent, and I can “read the flow” to start my block while their attacking blow has not quite started.

Here are a few ways that my techniques help this happen: •

The techniques all have a similar starting point. This gives no clues to the opponent.

•

The techniques all have similar transition methods, so they can transition easily to the others.

•

The techniques look alike until very late in their execution— too late for your opponent to determine which technique it is, and respond correctly.

•

The techniques do not require a “reset” before going into the next one. The backswing from one technique flows into the strike of the next one.

The following sections will describe the physical tools: stance and movement, the striking techniques, the blocking techniques, and specific items of tactics used to accomplish this.

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MOVEMENT TECHNIQUES

Stance Stances must be able to provide you with a starting position that is biomechanically optimal for moving your weapon and shield into efficient attacks and defenses, as well as allowing you to move easily without Tells and unwanted commitment.

You should pay attention to several body adjustments when choosing a stance. The most basic one is to have your weight centered between your feet.

•

•

The body is upright, with the shoulders back and the pelvis balanced.

For a right-handed fighter, the body should be rotated so that a line passing through the shoulders would go from about 10:30 on the clock to 4:30. The shield shoulder and foot should

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be forward. The toe of the back foot should be at least two inches (5 cm) behind the front heel.

•

The feet should be in a semiopen stance, spread to about shoulder width, parallel with one another, and angled to point about 30 degrees toward the sword side. The back foot should be 2 to 6 inches (5 to 15 cm) to the sword side of the front foot.

•

The fighter’s weight should be centered and on the inside edges of the balls of the feet.

•

The shield arm should have the elbow below and slightly in front of the shoulder, and as close to the body as possible. The forearm should point up and forward, and about 30 degrees to the shield side. The palm of the hand should face toward the sword elbow of the fighter.

•

•

•

The upper sword arm should be horizontal at shoulder level, with the elbow pointing about 30 degrees to the sword side of straight back. Optimally, the shoulder must be locked, with the lower arm bent back on top of the upper arm toward the head.

The sword hand should be near the ear of the sword side of the head, with the palm facing forward or down. It can be positioned several inches up with very little loss of speed or power. The sword should be held firmly with the last two fingers.

The other fingers only supply support and direction.

The width of the stance should fit the occasion: wider when stability, closer when movement is necessary. The width of a stance refers to the distance between the two feet, not their orientation.

•

The stance should contain no built-in commitments (like leaning) to a specific movement, direction, or action.

This is what my recommended stance looks like before a forehand strike is executed. The striking techniques used from this position are the Snap and the Wrap, which usually start from a static stance.

The elements of the stance are maintained in other movement and striking techniques.

Power Waddle From a stance as described above, it is possible to move quickly and easily in any direction using this technique. This allows a fighter to quickly change range, or to move in any direction to avoid the focus of an attack, or to change the direction of their own.

It is very similar to the “crescent step” movements in karate, except

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that the feet don’t move in as much when they step from one position to the next. The main similarity is that all movement comes from your center of balance.

to that direction, and makes it more difficult for the ankle and foot to support lateral motion. If the fight moves, your feet should point slightly to the sides.

Here are the basics: •

Maintain an upright, centered stance. Every stance or step must leave your ankle outside your knees, and your knees outside your hips. This creates a slight outward pressure.

•

When you move, it should feel as if you are being pulled by your belt.

•

Walk primarily on the inside edges of the balls of your feet.

Walking on the outside edges stresses your ankles and makes balance difficult. Walking on your heels commits too much time to each step.

•

Don’t point your feet in the direction you are going to step.

Pointing the entire foot in the direction of travel commits you

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Execution: •

Slide your weight in the direction you wish to move, leading with the knee, allowing it to bend.

•

As the knee bends and moves forward, weight will be taken off the foot. Allow the heel to come up and the foot to move forward.

•

Tighten the insides of your thighs slightly to encourage the trailing foot to follow along if necessary, so you don’t end up doing the splits.

•

Again, your feet must always be outside your knees, and your knees must always be outside your hips.

TACTICS & MOVEMET TECHNIQUES

Slide Step This technique allows the fighter to step forward during a swing without reducing power. This allows the fighter to attack from out of range. It reduces risk and improves range control. The sword must move first, which causes your opponent to react. The step moving you into your desired range occurs during the swing, starting a fraction of a second after power is applied. The forward weight shift caused by the power application initiates the step.

This timing allows you to attack without a Tell.

From a standard stance: •

Start executing a Snap.

•

As your weight shifts toward your front (shield) foot, let the front knee start to bend and allow the heel to start lifting.

Your body should now be moving forward, with the hips leading.

•

As your knee reaches a point where it has bent and moved forward sufficiently that a step is required, let your foot slide forward into a step similar to a fencer’s lunge.

•

Ensure that your back foot moves forward with you. If necessary, you can take a full step with the back foot.

This contributes to offensive tactical advantages discussed below under “Parallel Circles.”

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Lateral motion These techniques allow nearly undetectable sideways movements during the execution of techniques. If your opponent sees the sword coming from one direction, it’s confusing when it lands as if it started from a foot to the right or left.

Here’s how it works. When you’re pulling your sword back into a swing to the next target (called a return), the blade will be pulling away from your center. If you maintain your starting position, your body will be constantly leaning away from the pull of the sword.

If, during the technique, you slightly raise the foot on the side to which you want to move, just after the sword has passed the opposite direction, the lean that is already occurring will move you in that direction. In the Single Hip techniques, you can move both left and right. In the Teardrop and Off-side Teardrop, you can use the lateral pull of the sword to move in ei-

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ther direction—to the sword side during the backward motion of the sword, and to the off-side during the forward motion.

In the Snaps and Wraps, the sword is powered very near the beginning of the techniques. During this time, the rotation of the body can be extended slightly into a step to the off-side.

Parallel Circles This is a movement tactic referring to two parallel circles drawn around the opponent. The inner circle is where an attacker’s front foot must be to enable them to hit their opponent. From the outer circle the attacker can have their blade swing close enough to their opponent to cause a reaction. Because the Slide Step can vary in length, it can be extended to the inner circle—or not.

Optimally, start your attack from out of range, entering to a point where you can swing close enough to make your opponent respond, while you’re still out of range (the

outer circle). That blow from out of range gains you several advantages: •

You have moved into an attack position without getting hit.

•

You can control distance by varying the length of the step.

•

You’ve caused your opponent to commit to some action or position that you can exploit.

Or you can cause your opponent to think, “Why are they attacking from out of range?

They can’t hit me from there.

Hey, that looks like it might hit me—shit!” By causing a surprise, you’ve likely caused your opponent’s conscious mind to grab control, which will slow their reactions.

If you swing your sword so that it misses but does not stop, it will get to its eventual target very quickly.

Here are some options: •

into a Single Hip technique as you step into the inner circle.

•

You can skim your blow off of your opponent’s shield as you Slide Step, moving the sword into a Moulinet, stepping into the inner circle as the blade moves forward again.

•

You can miss, allowing your swing to change into one of its variants.

You only need to step into range just as the last blow of the combination is approaching a target.

Surprise is as effective in forcing your opponent to make an actual movement, since it causes an inappropriate mental commitment.

This can give you time to swing another one or two blows.

Using the Power Waddle, you can continue any of these attacks, moving forward or back as necessary.

You can hit your opponent’s shield as you Slide Step to the outer circle, and then move

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POWER GENERATION & APPLICATION

There are two general categories of sword techniques: •

Forehand blows (or strikes): These are initiated when the sword is at rest. The normal target is on your sword side.

•

Returns: These are used to pull the sword back from a forehand blow and move it, without stopping, into a combination. Combinations are a series of blows thrown without stopping.

Combinations contain: ◊ Forehand (on-side or swordside) blows that strike on the attacker’s sword side; ◊ Off-side blows that strike on the other side.

Forehand Blows Forehand blows are thrown from the forehand (sword) side of the fighter, starting with the sword at rest in a cocked position, with the sword hand just above and in front of the shoulder, and the elbow back as far as possible, so that the shoulder is locked. The two types of these blows are Snaps and Wraps.

The Snap moves from rest toward a target on the side of the opponent corresponding to the forehand side of the fighter. The Snap can change into one of several variations that vary about half-way through the swing.

The Wrap has two phases. The first starts the same way as the Snap.

Then the sword hand stops as the

arm nears full extension, and the sword swings around the hand into a back-edge blow. The text below applies to the Snap, and the initial part of Wrap.

Source of Power It’s more efficient to use the core, especially early in the sword swing. I de-emphasize the use of the shoulder, arm, wrist, and hand because of their relative weakness and the greater chance of injury.

The arm joints are used as transmission links for the power transfer from the core to the sword.

Once the abdominals are tensed, the upper and lower body act as a unit.

The timing of power application is similar to that of a judo throw.

In karate, the hip moves well before the torso. In heavy-weapons fighting, the hip moves just barely in front of the torso. With heavy swords, the timing of the whipping effect used in karate blows results in the sword falling back, stopping the technique.

The most critical of the arm links is the shoulder. If not held rigidly during power application, the body can rotate without transferring power to the arm. Note that the shoulder cannot be held rigidly if the elbow is above the line of the shoulders.

The power for swinging the sword comes from a rotating pull from the center of the body, pulling the sword toward its hilt, and from shifting the upper body away from the sword to shorten the radius of rotation. Both factors require a center of rotation in the body.

Applying power with the wrist or fingers moves the center of rotation toward the wrist, reducing effectiveness of the power transfer by limiting the influence of the core on the center of rotation.

Concerning the fingers’ role in power generation, I grip the sword firmly with my lower two fingers, but more loosely with the upper ones, because I’m pulling the sword hilt toward me on a tangent to the rotation of my body. Using

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the lower two fingers keys the connection with the large core muscles in the back. Using the thumb and the first two fingers does not.

I never use my fingers to apply power. The Snap leaves no time for the fingers to contract. I want the sword to act as an extension of my arm, so it acts as an integral part of it. I don’t want the sword to pivot around my hand.

I don’t use triggers (finger loops) because they move the connection to the sword to the upper part of the hand, encouraging the sword to consider that point as a new center of rotation. Instead, I use a strap attached to the sword in front of the hilt and looped around my wrist. This holds the sword to my hand and maintains the proper connection.

Factors of Power Application Balance Point of the Sword: Once the sword is moving, it hits harder with a longer radius of rotation. My swords balance about

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five inches in front of the hilt, rather than at the grip. I prefer this because it promotes good handling characteristics and a heavier impact on contact. I would prefer the balance farther out, but using a steel basket hilt makes the sword too heavy.

Contrast a hilt-balanced sword with a single-handed axe of the same weight. The sword, with the closer balance point, is easier to start moving and can change directions (planes of rotation) in smaller curves. It won’t hit as hard as the axe, because while the small radius of rotation means that the sword tip will move much faster than the axe, only a small percentage of the sword’s weight is at the tip.

The axe, with the balance point farther away from the hand, is harder to start moving, and it needs wider curves to change directions. Because of the longer radius of rotation but the shorter length of the weapon, the head of the axe will be moving faster than the hand, but not as fast as the sword tip. Since a

large percentage of the axe’s weight is at the tip, it will hit harder than the sword.

In my experience, it is obvious that the heavy, tip-weighted sword hits much harder.

Weight vs. Speed:

The second reason is theoretical. I discussed this with two physicists.

They thought it was likely that the speeds at which we swing our swords are too slow for the V2 to have the greater influence.

Most of you are familiar with the formula, F = MV2, which indicates that force equals mass times velocity squared. The mass is the weight of the sword. The velocity is the speed of the sword. Given that the velocity is a second-power term (V2 = V times V), the speed of the sword seems to have more importance than the weight when creating power.

That isn’t necessarily the case. In my experience, the mass of the sword has a greater influence. I have two reasons for this position.

The first is experiential evidence when using my two-handed weapons, which are all balanced very tip-heavy, and hit like a ton of bricks. They are also on the heavier end of the range. While they move reasonably fast, they are not as fast as a lighter hilt-balanced sword.

Time of Impact: Another factor of power application is the time during which the force is actually applied to the target.

When force is applied to a rigid target, the force tries to move the target—to accelerate it in the direction the sword is swinging.

This acceleration is measured in velocity divided by the time during which the force is applied. If the acceleration is high, the target can deform or break.

I focus strikes just past the surface of the target, and do not “swing through it.” In this way, almost all the force I’ve put into the sword is delivered within a very short time of contact.

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If the sword is swung through the target, there is a longer period of contact time, turning the blow into a fast push. In this case, the target will move, rather than deform.

When the blow is swung through the target, it may knock your opponent around more. A blow focused closer to the surface delivers a more “shocking” force.

Area Of Impact: The size of the area to which the force is applied also influences how “shocking” the strike is. A specific amount of force delivered to a small area will accelerate the target more than the same amount of force delivered to a larger area.

This is how armor works. When struck, the rigid outer layer of the armor spreads the force over a larger area; the rigidity causes the armor to move as a whole. Then the padding below the rigid layer cushions the movement of a wider area.

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If sufficient acceleration is applied to the rigid layer, it may cause a small area to bend or break. This is how armor becomes dented. With enough padding to accommodate the bend, all is well; if not, it hurts.

Injury There are two major sources of injury to the fighter when using a Snap or a Wrap.

Even when using the larger muscles for pulling a sword, it is important to avoid injuries to the wrist, elbow, and shoulder caused by using poor biomechanics. The arm and wrist aren’t suited for use as major power sources, especially when used in biomechanically unsound positions. Here are the two major errors: When the sword hand is held forward and the shoulder is not locked, the sword will be moved forward by a push from the body rather than a rotation. With no solid connection to the body, it’s necessary to whip the sword forward with the arm and wrist.

When striking a forehand blow over the opponent’s shield, if the arm is raised before the power is generated, the sword must be wrenched around by the wrist and forearm, while both are in a terribly inefficient biomechanical position.

When throwing the Snap or the Wrap, the palm of the hand which starts out facing down or slightly forward, must be turned to palmup as the sword starts moving. If the hand is palm-down while in front of the shoulders, the fighter is applying power with the arm, not the core. The farther the hand is in front of the shoulder before the palm turns up, the more incremental damage is being done to the arm. Effective blows can be thrown this way, but they injure the arm in the long term.

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Characteristics of the Snap

•

Power is applied in the earliest part of the swing, when the radius of rotation (distance from the center of rotation to the balance point of the sword) is shortest and the sword is easiest to move. This causes the balance point of the sword to move as fast as possible as it whips around the body.

•

The sword continues on a tangent (to the rotating cylinder— the body) toward the target, with minimal or no additional power being applied.

The Snap is the technique used to swing forehand blows from a sword at rest. It’s relatively simple, but correct execution is required for proper use and injury avoidance.

Here are the characteristics of the Snap: •

The power is supplied by flexing the core muscles (torso plus hips & legs) simultaneously and hard, causing a slight rotation of the body, and a slight drop toward the knee on the off-side of the body. ◊ Smaller or weaker fighters may require a longer rotation. ◊ The torso and hips must move as a unit. If the hips move too much before the torso, much of the power supplied by the hips and legs is lost.

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◊ The hand should be ahead of the sword tip until the arm is almost completely extended. ◊ The arm should not fully extend during forehand blows, because this can cause injury to the elbow if the hand is stopped simply because the arm has reached its full extension. This can be avoided by training to execute the Snap with the thumb-edge slightly tilted up.

•

The sword acts more like a whip than a rigid object. This focuses the strike near the edge of the target rather than through it, shortening the time of contact.

The movement of the weight down toward the shield-side knee can be extended into a Slide Step.

Figure 1

Figure 2

Figure 3

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The Wrap Technique This technique allows the fighter to throw blows that swing around the edge of the shield to deliver a back-edge strike.

A Wrap is aimed at the point where the sword hand should stop to allow enough distance from the target for the “sweet spot” of the sword (about 4 inches down from the tip) to hit the target after it rotates around the stopped sword hand. The sword hand moves in a slightly curved path, so stopping is relatively easy.

Figure 4

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The initial part of the Wrap is the same as the Snap. As the arm reaches nearly full extension, but just before the sword tip passes the hand, the sword hand stops and the sword blade passes the hand continuing in a circular path centered on the hand. The sword hand turns to face-down and the blade turns to back-edge-leading during this time.

The sword hand must remain stopped at this point. Performing a short palm strike helps to stop the hand. This stops the rotational vector of the hand, but not the

blade, since the hand turns over, letting it continue.

When the hand stops, the center of rotation moves to the hand. This shortens the radius of rotation, which adds speed to the sword.

Wrap Strike Direction The angle at which the sword comes out of the turning point is the reciprocal of the angle at which the sword entered, and in the same plane of rotation. If the sword enters on a horizontal plane, it exits in the same plane. The same is true when swinging on a vertical plane, or on any tilted plane.

Figure 5

For example, with the hand (and turning point) at waist height, a Wrap that enters the clock at four o’clock (six inches below waist height) would impact at ten o’clock (six inches above waist height).

With the same hand position, a Wrap that enters the clock at two o’clock (six inches above the waist) would impact at eight o’clock (six inches below the waist). In both cases, the hand stops at waist height.

Figure 6

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BLOWS FROM BACKSWINGS: RETURNS & COMBINATIONS

This section deals with the other three of my five major techniques: Single Hip techniques, Teardrop Returns, and the Off-side Teardrop. These three techniques provide the ability to throw combinations of a potentially unlimited number of blows, each of which can land with power, with no pauses in between. They are called “returns” because they return the blade from a strike and start the sword into the next technique.

Without these techniques, most attacks are usually one or two blows, followed by a pause while the attacker’s blade is repositioned and cocked. Even worse, many fighters allow themselves to be pulled out of position by these two blows, and cannot maintain their balance sufficiently to continue the combination. If the fighter’s balance is not centered after a blow, there

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is always a pause. Even if a fighter can continue the combination, the subsequent blows usually lose power unless the blows are punctuated by pauses to cock the sword (and waste time).

The Single Hip and the Teardrop start immediately after a forehand strike has landed. They are very complementary techniques.

The Single Hip is used to attack the off-side (opposite of the sword side), although it can strike from side to side in combinations. The Teardrop is mainly used to attack the forehand side.

The Off-side Teardrop follows a forehand blow that intentionally misses the target, with the blade continuing to the off-side, retaining the power of the previous blow while moving into the technique.

This technique also attacks the off-side.

Power Application Both the Single Hip and the Teardrop get their speed and power by pulling back with the core muscles to accelerate the blade on a wide radius as it moves back from the strike, and then pulling the blade into a curve with a much smaller radius of rotation to increase speed and power.

Head Butt Returns usually start just after the blade has been stopped by hitting the target or by a block. The power application starts immediately. The main power application is

Figure 7

from a quick, short shifting of the upper body to the rear. This is similar to how your body would move if you were to head-butt an assailant who had just grabbed you from the back. (In Figure 8, the backward lean has been exaggerated.)

At full speed, the head only moves back an inch or two, at which point the body should quickly move back to a full upright position.

As the back muscles pull the head and shoulders back, the abdominal muscles tighten to cause the upper body to quickly return to its starting position.

Figure 8

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Rotation toward the sword side can be used at the same time and is useful for those fighters who need every bit of power they can get. It’s also useful as a timing mechanism in the Teardrop Return.

Besides being very efficient, these techniques have several important advantages: •

As soon as the motion is completed, you can step in any direction.

•

There’s no commitment to a rotational vector, as there would be if only rotation was used.

•

The technique is biomechanically safe.

As soon as the Head Butt starts, the sword arm executes a curl (as in weightlifting), but toward the outside, not up. Basically, the Head Butt does the heavy work, and the sideways curl modifies the direction. This curl aims the sword toward a direction about 30 degrees to the sword side of straight back.

This action accomplishes two things. It guides the power to move along the extended radius of rota-

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tion, which can then be manipulated by the return technique into a smaller radius to speed up the blade. It also prevents the sword being pulled too close to the body, which can actually stop the technique.

For both these techniques, the sword hand can be pulled back at a height between the hip and the shoulder. Teardrops are usually near the low end, while Single Hips are closer to the height of the shoulder.

Single Hip Continuing the execution of this technique, the sword follows a horizontal teardrop-shaped path.

From the tip of the teardrop at the point of impact on the forehand side, the movement continues around a curve near the head of the attacking fighter, and then out to a similar point on the off-side to deliver a full-power strike.

This set of capabilities makes the technique even more dangerous.

During this process, and very late in the curve leading to the strike, any of these variations can occur:

•

The sword tip and the hand can be raised or lowered.

•

The range of the blow can be shortened or lengthened.

•

The attack angle of the blade can change.

•

The strike can be changed into a thrust.

•

The target of the attack can change dramatically.

•

The attacker’s position can be moved to the left or right.

At the point where the sword has just passed over the attacking fighter’s head, going forward, one of 19 variations can be used to cause one or more of these things.

The eventual impact can be anywhere on a vertical arc from knee to head to knee, or change into a thrust (I stopped counting at 19).

Figure 9 - Single Hip

Figure 10 - Single Hip

All these variances happen with the sword moving at full speed and power.

Figure 11 - Single Hip

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These are some additional properties of the technique: •

•

•

•

The second blow occurs much quicker than expected. The time between the first and second blows is about half the interval between a first blow and “rechambered” second blow.

The power is generated by using the core muscles to quickly move the upper body backward about an inch, reducing the necessity for rotation.

The body is pulling the arm directly back, so there is no torque required to direct the backswing. The arm simply performs a brief sideways “curl” to direct the already moving blade.

As the blade moves through the forward part of the curve, it pulls to the shield side. This must be balanced by pulling the sword hand slightly toward the sword side as the sword moves forward. This causes a gradual reduction of radius, and retains the momentum from the preceding part of the curve.

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•

After the initial backward impulse, the legs are free to move in any direction, because there is no commitment to rotational vectors caused by a rotation of the body.

•

The outward pull of the sword as it moves around the fighter allows very late, almost undetectable, steps to either side.

If the technique ends at a high, offside target, the same head butt, together with a horizontal curl to the off side will whip the blade around to the forehand side to deliver another blow. This side-to-side sequence can continue indefinitely.

During both directions in this side-to-side sequence, the body continues to accelerate the sword by always leaning slightly in the direction opposite from where the sword is pointing. When the sword is pointing out from the sword side, the body is leaning to the offside. The lean makes a smooth reversal when the sword is pointing back.

As the sword actually moves in front of the fighter’s body, the sword hand must pull to the forehand side to allow the sword to retain its momentum.

Teardrop Continuing the initial acceleration, the Teardrop follows a teardrop-shaped curve, with the balance point of the sword moving in a vertical plane. From the tip of the teardrop at the point of impact on the forehand side, the movement continues around the vertical curve just outside of the forehand hip of the attacking fighter, and then out to any target on the forehand side to deliver a full-power strike.

Figure 12 - Teardrop

The curved part of the teardrop is to the fighter’s sword-side rear.

The path of the sword traces the teardrop by going backward on the lower half of the curve and going forward on the upper half of the curve.

As the sword moves through the curve, the radius of rotation gets smaller, thereby accelerating the blade. This is caused by the sword being pulled closer to the body.

Also, as the sword hand reverses its motion from going backward to moving forward, the hand slows.

This causes the center of rotation

Figure 13 - Teardrop

Figure 14 - Teardrop

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to momentarily move to the sword hand, causing the radius of rotation to get even smaller for a very short, but significant time. This also speeds up the sword.

As the sword starts forward on the upward edge of the teardrop, the body reverses its direction of rotation, from rotating toward the sword side to rotating toward the off-side. This creates considerable torque, which adds more speed and power. This rotation must be conducted smoothly, or the momentum of the sword will slow drastically. In any case, the rotation is only a few inches in either direction.

Off-Side Teardrop This is the only one of the major techniques that starts as a variant of another technique—either the Teardrop or the Snap.

In both cases, it starts as a diagonal forehand swing that is pulled short of the opponent, but close enough to make them react. The swing is aimed so that the tip of the sword passes across the opponent’s face, to draw their attention up. While the tip is high, the sword hand is

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kept low, since the blade continues down and across towards the fighter’s shield-side hip.

At the hip, the blade enters the teardrop. When the hand reaches its lowest point (the turnover point), the fighter pushes out along the line of their forearm to help hold the hand in position. After this, the technique continues like a regular Teardrop, with the body rotating to the forehand side. This technique with its variants can hit any target from the knee on one side, around and over the head, to the knee on the other side.

Note that a swing starts out like a Snap, but it moves into a deliberately curved vector that passes the target, while a Snap strikes the target. The decision has to be made as the Snap is initiated. Snaps move too fast to allow for unplanned course changes.

Thrusts I use my core to power thrusts.

This requires that my sword hand be oriented palm down or palm out when I initiate the thrust. These orientations key the connection to the large core muscles of the back.

Figure 15 - Off-Side Teardrop

Turning the palm down or out recruits the chains of core muscles to rotate or shift the body weight to provide power to the thrust.

This produces a much harder, faster thrust and protects the wrist from injury. Optimally, the elbow would be pulled back far enough to lock the shoulder, so the power transmission works as well as possible.

Thrusting with the palm facing in does not engage the core muscles, so the thrust is only powered by the arm.

Figure 16 - Off-Side Teardrop

When setting up for the thrust, a moving sword is pulled toward its hilt. This causes the sword to stop with the tip pointed at your opponent. It usually doesn’t matter what direction the sword is moving.

On a related note, a moving thrust can be aimed to narrowly miss the obvious target and easily move into other variations. The Moulinet is the obvious one.

Figure 17 - Off-Side Teardrop

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SWORD TACTICS

Commitment Swings Commitment swings are strikes that are designed to miss the obvious target. You can use one to force your opponent to make an unnecessary commitment, mental or physical, that will momentarily delay their response to your attack.

This gives you a major advantage.

When your opponent makes this error, your sword can continue to move toward the eventual target while they commit the error, and while they recover from it.

Commitment swings are perhaps the ultimate tool to accomplish this. They are full-speed feints that lead quickly into the next attack. The technique is designed to cause your opponent to commit to a block, a position, an attack, or any action or inaction that is unnecessary or inappropriate—hence the name, commitment swing. Even causing your opponent to think

about what’s going on will slow their reactions.

The swing must look as if it’s going to impact on a target. This will strongly incline your opponent to move their defenses to guard that target. Here are several methods that can be used to cause this effect: •

Swings can be aimed so they can strike in range but will miss the target.

One of the methods that contributes to the deception is to use swings that are not quite in a horizontal plane. For instance, if you are swinging a Snap directly toward your opponent’s head, the blade would likely be swinging in a horizontal plane.

If you were actually using the Moulinet version of the Snap, you would swing the blade so

the plane was angled slightly up as it approached the target.

When the blade is traveling at the speed a Snap produces, this small variance is undetectable.

The angle makes it easier to curve the blade up into a Moulinet.

•

They can be aimed to skip off your opponent’s sword or shield.

Most opponents will react if the blade comes close enough that their block makes contact.

Some are even trained to initiate their own attacks once they have performed a block where the blade touched. If the blow is aimed correctly, it will impact the shield or the blocking sword at a shallow angle, making it easier for the blade to skip off without being slowed.

•

They can be aimed so that the blade comes close enough to your opponent’s sword, shield, or sword hand to cause a reaction.

I mention the sword hand because commitment swings are very effective against oppo-

nents who are using a weapon system that does not include a shield, like two-sword or one of the great weapons. These swings are usually a bit slower than the full-speed Snap because you must ensure that your opponent sees them. They must, however, look as if they are likely to hit where they are aimed.

Swings that are slower than normal, but still reasonably fast, have the effect of looking dangerous, so they will elicit a response. However, the slight difference in speed can cause your opponent to start thinking about what’s happening.

At full speed, a skilled opponent will just react. As soon as they start thinking, their conscious mind takes over and their effectiveness is reduced.

The other major advantage of using commitment swings is that they can allow you to start the flow of the fight while you are still out of range. If you’ve been trained to read the flow of the fight, you have a considerable advantage be-

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cause you have a good idea of how to proceed with your attack. It is always easier to read the flow once it’s started, but it can be dangerous to start it.

When using a commitment swing along with a Slide Step, you can immediately start using the Parallel Circles tactic, which is specifically designed for use with commitment swings.

Commitment swings can be added together in sequences to reinforce incorrect commitments. For example if you are using the Moulinet variation of the Snap, the swing that comes out of the Moulinet can be aimed to miss as well, as it proceeds down into an Off-Side Teardrop: •

•

The initial swing of the Snap draws the opponent’s attention to their shield-side head.

The blade misses and—just as they are recovering from their attempted block—the blade comes in again toward the same target.

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•

Since the block is being withdrawn, moving back into the block will cause a stronger commitment. Meanwhile, the blade is now swinging toward a low off-side target.

Anytime you can cause your opponent to make an incorrect commitment, then cause them to immediately make another one, the commitment gets stronger, and it is more difficult for your opponent to recover.

Execution The sword movement that leads into a commitment swing looks the same, or nearly the same, as whichever of the major techniques you choose to associate it with.

There will be minor differences, but they are essentially undetectable at full speed.

The movement can also be a thrust.

When a thrust approaches your opponent’s face from your sword side, it is extremely difficult for your opponent to realize that the thrust is, in fact, aimed to miss.

1. You must swing through the target rather than snap to it, to allow the blade to continue its motion into the next technique. Therefore, you must use a swinging blow instead of a focused snapping blow. a. A swing moves in a circular path on a plane of rotation.

In this case, even if the blade skips off of the target, much of the momentum will remain. a. A true Snap strikes more like a bullwhip than a swing. It is focused on the near edge of the target and delivers all of its power at that instant.

2. You must carefully control the range. This is most easily done by extending the elbow of the sword arm an appropriate amount. If you are using a Slide Step, you can vary the length of the step.

If possible, commitment swings should usually be aimed to pass near your opponent’s face to cause them to notice and react.

Some, like the Single Hip Pulled-Through Strike, can pass in front of your opponent at a low level but it starts with a high threat, which gets the opponent’s attention.

3. After the glance or miss, your blade must continue its movement into the next swing. You do not want it to stop or even slow down as it moves into the next strike. One of the main attractions of commitment swings is that the blade accelerates when it goes around the curve into the next strike.

4. Much of the blade control through these maneuvers is done with body rotation and body weight shift, with the sword elbow kept as close as possible to the body until the final extension of the technique.

During commitment swings, the already-fast-moving blade is pulled into smaller curves to change direction. These curves cause the blade’s speed and power to increase significantly.

The arm does not have enough

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power to control this much speed by itself, so the core must be recruited.

Timing of the body’s rotation is also essential. If the blade is moving in one direction with the intent of moving around one of the small curves to reverse its direction, the body’s counter-rotation must be smooth and start well before the blade moves into the small curve.

•

Shallow S: This technique looks like a normal Snap or Teardrop, but it is pulled short, so it won’t strike the initial target. The blade passes over or by the opponent’s head, moving slightly upward into the Shallow S technique, where the sword is pulled around a shallow vertical curve and back to the opponent’s head from the opposite side.

•

Strike to Thrust: This is just like the strike of the standard Single Hip, but just before the tip of the blade reaches the target, the blade is pulled back along its long axis into a cocked position and then into a thrust.

•

X Shot: This changes a Wrap into an off-side blow to your opponent’s ribs. It starts by redirecting the initial forehand swing so that the blade curves up through what would have been the turning point to travel up the face of your opponent’s shield. When the sword hand is about the level of your chin and about one foot in front of

Variations The five major techniques have a total of 24 variations. There are several characteristics that make them very dangerous.

Here are some examples of variations.

•

Moulinet: This technique looks like a normal Snap or Teardrop, but it is pulled short, with the blade passing over or by the opponent’s head, into a tight horizontal circle into a second strike, possibly to a different target.

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you, you stop your hand. The sword reacts by continuing along its path, curving back to your shield side, then forward in toward your opponent’s offside ribs.

•

Pulled-Through Strike: This is just like the strike of the standard Single Hip but is delivered so that the blade will pass short of the opponent on a downward angle. The blade is pulled back, without impacting, to the forehand side into a Teardrop that targets anywhere on that side. This is an exceptionally fast technique.

Combinations A combination is a series of blows that follow one after the other without pause. This is distinguished from a series of individual blows punctuated by stopping or pausing the blade during the backswing to cock it. The offensive techniques in my system are designed to support the concept of “infinite” combinations that can be continued for as long as it is useful.

While the series of individual blows can be quick, it is not optimal for two reasons: •

However short the stoppage, it is still a waste of time;

•

Stopping the blade during the backswing diminishes the angles and power available to the next blow for an attack.

Without my techniques, you do see a series of individual blows, but they usually consist of the same blow thrown over and over, in the hope that the defender will falter and not block one, or that they’ll become so committed to blocking that a blow toward a different target will actually strike.

Infinite combinations are also distinguished from some two- or three-blow combinations that are possible only from an increasing rotation of the body from side to side. Because of the excessive commitment caused by the rotation, the fighter is not in the optimal position to throw the next blow, so they must apply more effort for subsequent blows, which further

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degrades their position. Another outcome is that their movement has taken them out of range. In either case, they need to stop to reposition and re-cock their sword.

In infinite combinations, the return contains the power and the biomechanics necessary to move directly into the next blow without pausing.

In my method of sword handling, every movement is a curve. After every blow of a combination, a core-driven shift of the upper body supplies the power to continue the combination. Pulling the blade into smaller curves as it moves causes the speed and power to increase significantly.

As the sword moves, the body weight is used to keep pulling the blade toward the center of the curve to maintain power and speed. The arm is only used to apply more precise corrections. The arm can’t be used to push forward during the swing because this moves the curve’s center of rotation to the sword hand, thereby losing the energy built up to that

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point. This starts a new curve that behaves more like a thrust, where the blade moves at about the same speed as the hand.

The other interesting property of curves is that they can be used to change a swing’s direction without stopping or slowing the blade.

With the proper weight shift, it is fairly simple to drastically change the angle of the rotation plane, or to move to a parallel plane at the proper time during the return.

The Teardrop Return is a good example. The return causes the blade to be pulled back slightly downward in a vertical plane on the forehand side of the fighter. As the technique progresses, the sword can continue toward a forehand target, or it can be easily pulled up and around a vertical curve into a high horizontal plane into a Single Hip technique. This takes the blade over the fighter’s head to impact on the off-side.

The availability of this and similar options support my “everything looks alike” tactic, which was discussed in the Strategy section.

The Magic Teardrop This is the shape of the sword path in both the Teardrop and Single Hip. Less obviously, this shape is used in every combination where the sword reverses direction— that is, most of them. If the sword reverses its direction by being stopped, and then accelerated in the other direction, a lot of time and energy is lost. That doesn’t happen with the teardrop.

The teardrop flight path accomplishes this with no loss of time, since the sword never stops. There is actually a gain in speed and power that occurs by shortening the radius of rotation. In addition, it is an easily used timing mechanism for reversing the body’s rotation.

Figure 18 - The Magic Teardrop

Figure 19 - The Magic Teardrop

For instance, when a Snap travelling from right to left turns into a commitment swing that moves into a Shallow S, which reverses the direction of the sword’s path, the body’s reversal of rotation must start just as the sword enters the variation—when it crosses directly in front of the fighter.

Figure 20 - The Magic Teardrop

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BLOCKING WITH THE SHIELD

Sword-and-shield is the most common weapon system used in the SCA. The usual shields are the round, heater, and kite. The heater is shaped like an iron used to press clothes. The flat end is on the top.

The kite is a longer heater with a rounded top. Each type can be held by either strapping it to the forearm, or gripping a handle near the middle of the back, behind a rounded “shield boss.”

I prefer small shields because they force the fighter to become more involved in the action and thereby to become more skilled at reading the movements and intentions of their opponent. They also give less static protection, requiring the fighter to integrate the shield into the flow of the fight, joining the sword and body. Also, I believe this style is more elegant than others.

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I prefer strapped shields to center-grips. They provide good control for both offensive and defensive techniques. Center-grip shields provide better static protection at the expense of their utility for active defense.

I recommend a strapped heater. I use one with a 20-inch width, and a 32-inch length. This shield provides good static protection, supports a punch-blocking style, offers good visibility, and has useful corners. I orient the shield to my arm by hanging it by the front corner, and then drawing a vertical line down from there. The forearm goes along this line, with the hand remaining four to six inches from the corner.

Punch Block The position described here is for a strapped heater. It is similar to the one used for a strapped round. In all cases, I prefer to hold my shield elbow as close to my body as possible.

•

The elbow at rest can be as far back under the shoulder as is comfortable or as much as several inches around toward the front.

•

The forearm is held diagonally up and across the chest toward the sword side of the body on an angle about 30 degrees to the sword side of the vertical.

•

The bottom edge of the palm of the shield hand is tilted enough that if the thumb were extended, it would point at the fighter’s chin.

•

The sword-side edge of the shield and the lower point are angled out.

The method of holding a center-grip shield is similar, except that the hand holding the shield is centered, and just low enough to

see over. The shield is held vertically, with the face toward the opponent.

With a Punch Block, the shield arm extends to move the forward edge of the shield out to block the blow.

The forward edge of the shield is the main blocking area. The target of the block to the opponent’s blade should be about six inches above the hand. When blocking a thrust, it is better to block with the face of the shield.

1. The block is like throwing a jab in boxing, with the top corner of the forward side leading. As the shield moves out, push forward with the shield hip and shoulder.

2. Open the shield as if it were a gate, while moving the front edge toward the approaching blade. The back edge of the shield only moves forward as much as necessary.

3. With strapped shields, aim as if blocking with the base of the little finger of the shield hand.

With a center-grip shield, punch with the shield boss.

4. Don’t rotate the shield.

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To Return To return, immediately withdraw the shield to approximately the starting position, keeping the top of the shield up and moving straight back. If the shield drops during the return, it must be lifted for the next block.

Offensive Techniques The two types of offensive shield techniques are the press and the hook. Both techniques are used to immobilize or remove the opponent’s shield so they can’t block.

•

A face press is where the face of the shield presses the face of the shield into the opponent’s shield. This is not recommended because the odds of succeeding are too close to even.

•

An edge press is where the leading edge of the shield presses into the face of your opponent’s shield. This is superior because it has considerable mechanical advantage. This is like an extended punch block.

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•

Hooks use the leading edge of the shield to hook the edge of the opponent’s shield to immobilize it, or move it out of the way of your attack.

The rules forbid using the shield to strike your opponent.

Defense against Presses and Hooks Face of the Shield Press If your opponent charges in quickly to perform a face press, they can be encouraged to overcommit by quickly extending your shield forward to deliver a light “pop,” then pulling it back into one of the counters, preferably as you move to a back corner. The charging fighter will often take the pop as real resistance and increase their effort to push it out of the way, thereby overcommitting.

When this happens, use either of these techniques: •

Slip to the sword side by pushing forward with the shield hand while withdrawing your other elbow back. The attacker

will move toward the side with the lack of resistance. You then step to the sword side.

•

this, allow your sword shoulder and body to rotate in the direction of the press, moving your sword back and around into a block. Allow the press to assist the rotation.

Slip to the shield side—The relative positions of the elbow and hand would be reversed to direct your opponent’s push to your sword side, allowing you to perform a slip to the shield side.

If the shield is pressed toward the shield side, use the same technique on the other side.

Rotate your shield in the direction of the push by allowing your shield shoulder to move back quickly, which will rotate your body as well. Move your sword into position to block the attack.

Keep your sword cocked, and look for attack possibilities as your opponent moves out of position.

Actually stopping an opponent’s charge is difficult, but you can deflect it while using the force of the charge to move yourself out of danger. If your opponent is moving too fast during their charge, you don’t even have to move your feet.

Edge of the Shield Press or Hooks •

Presses If the shield is pressed toward your sword side, allow your shield to be moved, instead of resisting the press. As you do

•

Hooks The avoidance strategy is the most effective. Let the hook succeed in moving your shield, but try to have it moved into a useful blocking position, preferably toward your opponent’s blade. Bring your sword into position to block, and back up if possible.

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SWORD BLOCKS

Punch Block The sword block is most effective when it is performed as a punch block with a vertical blade with the tip up, or as a horizontal block at a right angle from the attack. Block with the forte of your blade, about 4 inches up from the handle. Use your core to supply the power, just as if you were swinging. The blade only needs to move about an inch.

The effectiveness of the block decreases rapidly as the point of the block moves out from your hand.

It is sometimes necessary to use this block in rapid succession, such as when your opponent is fighting with two swords. In these cases, try to avoid moving the point of your sword. It will have to move in many cases, but put your effort into moving the hilt of the sword into the next block. Use your core

to whip the hilt of the sword into the proper position.

Simply interposing your blade into the path of your opponent’s weapon will most likely fail, considering the power we deal with.

Sliding Block This block works best against vertical or near-vertical attack. The blocking movements are similar to the punch block, but the purpose of this block is to divert the attacking blade while allowing its force to push your blade into a very quick repost.

When the attacking blade strikes the forte of your blade, allow your two outer fingers to relax, but retain contact with the sword handle. Simultaneously, use the thumb and forefinger to loosely hold the sword as the force of the attacking strike pushes the blade back. The

attacking blade will slide down the length of your blade. The resistance from the initial blocking motion will deflect the opponent’s blade into a path that will miss you.

As your blade is pushed into a rotation back and up, grip with the two outer fingers and continue the sword’s movement into a strike toward your opponent. This strike follows the contact very quickly, and is extremely difficult to block.

Slap Block This is performed by swinging your sword at the attacking sword to deflect or stop it. This has the advantage of having more range than a punch block. The disadvantage is that you must usually pull the blade back into the cocked position before resuming your attack.

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TRAINING Technique Training When learning a new technique, start with instruction on a pell (striking post) at slow speed. It always feels better if you do a technique fast, but you can’t tell if you’re doing it right unless you’re doing it slow enough to see and feel exactly what you’re doing. Learning a new technique at a fast speed is usually learning to do it wrong—possibly at the eventual cost of your wrist, elbow, or shoulder.

Here are some suggestions for working on a pell: •

Split the performance of each technique into several sections.

Practice the first section until your entire body is doing it right. Then do the same with the second section. Then practice both together. Each time you add a section, learn it by itself, then integrate it with the preceding sections. When you have learned all of the sections, practice the entire technique, slowly increasing the speed.

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Full-speed practice should be 10 percent, or less.

•

Have at least three techniques or variants that you practice at one time. Rotate between the three, doing a set number of repetitions for each. Cycle through the rotation at least three times. This will increase retention faster than doing all of the repetitions for one technique, then choosing another for your next practice. Add movements into the rotation.

•

The best speed to start with is when the sword is barely swinging rather than just being moved. Actually swinging the sword allows you to feel how the sword is moving while it is still moving slow enough for you to see what’s happening.

•

Each of my striking techniques has several variations. If you can really master even one variation of a major technique, it will be more useful than “sort of ” learning several.

SLOW WORK Proper slow work is the cornerstone of my teaching system. If done properly, it is the best method for integrating techniques into a functioning style, and for making the jump from integrating techniques to actual fighting. It is also the best way to learn the perception arts.

•

Always control the speed at which slow work exercises are conducted. Once the speed is set, all movements—including those of the body and shield— must occur at that speed.

•

All movements must behave as they would during full-speed combat. For instance, if a strike misses a target, the blade should continue along its path.

•

The strikes and blocks must occur in a set rhythm, which must be maintained during the entire exercise. Surprise stops learning. Having the exercise performed at a set rhythm prevents this.

•

There must be no abrupt changes in the direction or speed of any strike.

The goal is to move the fighter toward full-speed fighting in a controlled manner, getting as close as possible to actual fighting, while in a structured environment of rhythm and constant speed.

Practicing at full speed polishes already-learned techniques, putting the final touches on integrating them into a coherent whole. Learn slow and polish fast. Polishing immature techniques will result in polished errors.

It is not sufficient to simply slow the speed of the techniques. The motions change with the speed.

When the speed slows, movements become exaggerated and wider, since that’s what they look like when they are done slowly. When the speed increases, the motions naturally move in closer to the center of rotation.

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Fighters training with slow work must make sincere attempts to emulate the proper movements of the technique for the slow speed, where the greatest learning occurs.

When masters of the system do slow work, they often use medium-high speed, since their objective is to practice reading the flow of the fight.

When deciding which speed to use, choose a balance between learning and polishing. The goal is to get the fighters as close to real fighting as possible before making the final step to where armor is necessary. Consult with your partner.

The temptation is always to go too fast, but don’t.

There are many types of slow work; some use shields, others don’t. Armor is used at faster speeds. Using armor at slower speeds reduces the incentive to learn control.

Factors Rhythm The rhythm of slow work helps with developing a sense of the flow

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of a fight. Treat the exercise as a waltz performed with the partners several feet apart.

Rhythmic slow work supports learning to perceive the flow of the fight. With the movements in dance and fighting, the position, balance, and movement of one partner will lead the other to a following sequence. The rhythm helps develop a perception of this phenomenon, eventually allowing the fighter to acquire an acute sense of anticipation that carries over to high-speed fights.

Advanced fighters learn to change the rhythm by modifying swing paths, angles of attack, and timing.

Even if the rhythm is maintained, a common error is to move the sword too fast during part of the swing and too slow during another. Inconsistency has consequences. If part of the swing is too fast or too slow, the rhythm changes and the exercise stops flowing.

Speed Ensure that your speed remains at a constant, slow speed. An abrupt

change of speed may cause your partner to feel threatened or surprised. Learning stops at that point, since the conscious mind moves into a fight-or-flight mode.

Lack of control causes the speed to slowly increase during the exercise. Guard against this.

The Rules These rules must be followed for proper slow work. Some involve safety, but most are methodology.

•

You’re responsible for not striking your opponent, even if they look away at the wrong time.

This is the primary safety rule.

To support this, keep your wrist rigid, and don’t bend it forward at the end of a strike.

•

The movement during the exercise is constant, slow, rhythmic, and as uniform as possible; not just the sword, but the whole body. Don’t stop during the exercise.

•

Slow-speed movements must become wider and somewhat exaggerated. When movements speed up, the body and arms move in toward the center of rotation.

•

You shouldn’t feel rushed. Coordinate with your partner to determine a comfortable speed.

•

Since there is little or no momentum to keep the sword

Consistency Perform all movements in a realistic manner so they can be translated into full speed. For instance, if you were using a Snap, the speed of the sword would make it impossible to make it jump over the top of a shield, or change direction at a right angle, or for you to lean forward during the last part of the swing.

Movement When you move to swing the sword or to change position, coordinate the movement of your entire body.

Your leg movement should drive your body, and both should coordinate with the arm and sword to move as one entity. Failing this will interfere with power generation, movement, and effectiveness.

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moving, you must force it to move along the proper paths.

Don’t change the directions of a blow, or stop it mid-swing. If you miss a target, continue with the swing.

•

•

•

•

In the beginning and early intermediate stages, conduct the exercise out of range, with the swords or shields meeting at least a foot in front of each partner.

Don’t hit hard or push into your strikes. “Touch and go” is what you should be doing. Barely touch your target, then go into a return.

When stepping during a strike your shield foot should move while the push is coming from the sword foot. During a return, it is the opposite.

Don’t try to “win” the practice.

It’s not a fight. You have a partner, not an opponent.

Slow Work Variations Each variation emphasizes specific aspects of fighting or aids in learning from a different perspective.

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Some of the variations don’t look much like actual fighting. The main ones are listed below.

Slow work can be used to correct problems and errors by restricting techniques so that the partners can put their offense or defense on automatic, and focus on corrections.

Standard Without Shield This version doesn’t use a shield. It emphasizes sword movement and position. The sword movements can be restricted, allowing the partners to focus on movement.

•

The shield arm should be active, moving as if pulling the sword forward or pushing it back.

•

All blocking is done with the swords. Blocks should be about six inches above the hilt.

•

The fighters should stay at a range no closer than where their swords can cross.

•

For beginners, the sword tips must remain angled up when striking, and the only combination used is a forehand to high off-side and back using the Single Hip.

Standard with Shield

•

This is the main version of slow work when shields are used.

•

•

The exercise is conducted with shields held in the proper guard.

Sword and shield movements must be coordinated. Applying power for one prepares the following power application for the other.

•

All blocking is done with the shield using Punch Blocks.

•

The rhythm remains constant, with each fighter alternately striking and blocking.

•

•

Fast and Light This exercise could be considered the “graduating exercise” from slow work to unstructured fighting.

It’s done at two-thirds speed, where it’s easier to feel the sword pull as it moves through the curves of its path. The fight should be as close to being a dance as it can.

•

Focus on speed and flow while reducing power. You can move fast, but not as fast as possible.

The emphasis must be on the flow.

•

Use armor, and let the swords actually strike.

Start the exercise by using a Slide Step. Use the Power Waddle to move around.

As the exercise proceeds: Stay at a range where the swords can strike the shield but not touch the partner. When proficient, eliminate this guideline, and use the Parallel Circles tactic.

The combinations used and the targets attacked are not restricted unless the partners agree to do so, mainly to correct specific problems.

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Single-Sword Dodging This is an esoteric form of slow work used to help fighters learn perception, reading the flow, and proper reactions. It is a slow-motion exercise.

One partner is trained while the other is the trainer. The trainer uses a sword-length stick held with both hands at one end. The trainee is unarmed. The trainer uses a continuous series of strikes in an attempt to touch their partner.

These are swung so that the last six inches of the sword would have passed through the sternum. The trainee tries to dodge these strikes by reading the flow of the exercise and making minimal movements to dodge at the last instant.

Before the exercise, the trainee tries to establish a perceptual connection with the sword by visualizing stretchy, sticky webs to attach the sword to their hands or body, then “feeling” the web stretching or relaxing as the trainer moves.

User imagination to “feel” the sword movements.

The exercise starts with the trainer holding the stick vertical, about six inches from the trainee’s face.

They then take a half-step back while cocking the blade. The first strike is a vertical cut while taking a step with the off-hand foot. After this, movement is regular and constant.

Guidelines •

Keep movements slow and regular, while not rushing the trainee.

•

The trainer steps forward during backswings, which are exaggerated.

•

The trainee dodges at the last instant.

•

The trainee must stay in range, but not so close that the trainer cannot strike properly.

Double-Sword Dodging This is a very advanced exercise that focuses on reading the flow, managing range and movement, and controlling the sword. It is also a slow-motion exercise.

This is more like dancing than fighting. There are no shields, and

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no blocking is allowed. The swings are avoided by dodging. The goal is to execute a strike that cannot be dodged or avoided, while avoiding the partner’s next strike.

The speed can only be changed by varying the time taken for backswings and forward swings by changing the length of the sword’s path.

During The Exercise •

The swords must be in constant motion.

•

The shield hand should be moving as if aiding the sword movement.

•

A double strike is a failed exercise, not a draw.

•

Only one step, plus a small adjustment of the other foot, is allowed during any swing.

Starting •

Both fighters start in a normal stance.

•

The first partner’s sword is extended up and back. The other arm is extended forward, pointing to their partner’s waist.

•

The second partner’s sword is extended forward at waist level. The other hand is back and up.

•

The starting distance is about 12 inches out of range.

Performing 1. At the same time: a. The first partner swings toward the second partner; b. The second partner moves their sword into a return, while moving to dodge the strike.

2. Without stopping: a. The second partner continues the return into a strike at the first partner; b. The first partner continues their sword into a return while moving to dodge the strike.

3. Repeat while including a lot of movement.

4. The exercise stops when either partner is unable to dodge a strike.

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Choreographed Training Use this exercise to teach a complex technique using a choreographed engagement between the student and a partner. All movements are specified. The exercise consists of about four blows each, starting slow and repeated at increasing speeds until movements can be full speed. Add armor when needed.

The partners practice the script slowly until they have learned it. As competence increases, the speed is increased in small increments to allow the student to experience the flow of the movements.

Each time the complexity of the exercise increases, reduce the speed and then build it back up. Continual critiques are important.

The goal is to use the technique being practiced during an actual fight. Include the training partner in determining how to accomplish this.

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The exercise may take several sessions. It’s critical that the student is competent at a slow speed before increasing the speed or the complexity.

A good practice partner is essential. It’s detrimental if the exercise becomes a competition.

Focused Exercises These are exercises that focus on a specific part of a technique or movement, or on some basic quality of movement or power generation. They are ad hoc, and don’t need to look much like fighting.

Structured Sparring This is fighting with some restrictions—a limited number of blows, space, time, or techniques, possibly with special conditions. This allows the fighters to focus on some aspect of fighting that they need to improve.

It’s imperative to have a partner who will work with you, allowing you to learn and integrate the technique, rather than hitting you

as soon as you make a mistake.

Cooperation and mutual critique must be involved.

Sparring Sparring is a necessary part of training, but it isn’t the only part.

It tests how well you’ve learned.

Later, it hones and polishes your technique. Sparring is when your subconscious mind practices what it has been taught. It’s wise to do this later in a practice session, to ensure that technique training occurs.

nent can cause carelessness, complacency, and sloppiness that may carry into a tourney. You can fight the person again, later.

One of the best ways to prepare for a tourney is to fight in one. Occasionally, have a small tourney at practice. Imitate a real tourney as much as possible.

Learning is the reason you’re doing this. “Winning the practice” is not the goal.

Improving the art is important.

Any time that anyone finds something new, stop to discuss it. Try to improve and refine the impromptu technique, determine how to counter it, find variants, and see what else it suggests.

Don’t fight the same opponent more than three times in a row.

More fights with the same oppo-

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GREAT WEAPONS

Introduction Sword-and-shield is the major weapon style in the SCA. The system that I developed for great weapons is designed to fight against this and any other weapons.

For this article, I will only present information concerning fighting against other great weapons (long, and used with two hands) or single-handed weapons.

I use two great weapons. One is a nodachi, and the other is like a naginata, but with a blade that has a back edge. I will call it a naginata for convenience. Both are reasonably heavy, and have padded points for thrusting.

The nodachi is 56 inches long, with a 16-inch handle. This is long enough to provide me with about a half-step advantage against single-handed weapons, and it matches up well against the longer greatswords. I use that length

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because when I tried out a 68-inch nodachi, it delivered much harder strikes than I was willing to use.

My naginata is 84 inches long, with about a 30-inch blade. I have found that this can knock an opponent around more than the nodachi, but it’s more difficult to deliver the focused, shocking strike.

There are other great weapons used in the SCA, like great axes, but they are cumbersome in comparison to my weapons.

The rules of combat in the SCA do not allow long weapons to strike with both ends, like a quarterstaff. Striking with the shaft of the weapon is not allowed. Also, there can only be a blade at one end. Butt spikes can be used, but using them usually requires moving the weapon to positions that are very vulnerable to attack. I don’t use them.

This restricts the tactics to thrusts

and strikes with the front or back edge of the blade.

The rules allow a fighter to grab the shaft or handle of a great weapon.

I don’t consider this a good tactic, especially if the opponent knows something about aikido. The rules forbid throws or joint locks, but since your hands are spread for both weapons, the leverage is enough to get free.

When fighting other great weapons, most fighters want to stay at a reasonably long range. Occasionally, a fighter will close in, and try to “choke up” on the weapon to use a butt spike, but to my mind, this bypasses the advantages of a long weapon.

I prefer to fight both of my weapons at close range, and use the advantage of leverage supplied by the wide-spread, two-handed grip of these weapons, and the long defensive length of the blade or shaft.

Admittedly, this style particularly suits a person like me, who has a lot of strength but poor foot speed, and only average agility. However, if you fight with great weapons,

situations will occur where you have to fight at a short range, even those who are faster than I could ever be. I believe this method will provide a better chance of survival, escape, and even victory than would a style predicated purely on long-range techniques.

Stance/Guard I use two guard positions. They are designed to make it more difficult for an opponent to engage my weapon until they are well within range of either my edge or point.

The high guard, used only with the greatsword, does this very well, and keeps the sword in a cocked position. In the point guard for either weapon, with the points pulled back as far as possible, the opponent must enter your range to engage your weapon. This also makes it more difficult for them to estimate your range.

Most great weapon fighters extend their weapon in front of them in an uncocked position. This provides a great opportunity to engage their weapon in a manner of your choice.

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I do not use or advise stances that require the weapon to be in a position such as down and to the side, where the attack motions and angles are very predictable. Likewise, I strongly suggest that any guard position must allow the weapon to attack without cocking it.

I strongly recommend that you: •

Don’t use a stance where the blade of your weapon is extended forward. This makes your weapon liable to attack or manipulation.

•

Don’t stand in your opponent’s range if you are not attacking.

This makes the fight a “who’s quickest” situation.

•

Don’t touch your opponent’s weapon unless you are attacking. It seems cool, but it gives your opponent information, and an opportunity to manipulate your weapon.

Guard Positions High guard - Greatsword I use this guard against opponents who charge in quickly. In these cases, it has more offensive potential than the other guard position.

It provides hard, fast strikes to a number of targets; some of these land, and others transform into thrusts, different strikes, blocks, or different tactical positions.

Please note: For ease of writing, all descriptions assume that both the fighter and their opponent are right-handed, unless it is stated otherwise.

Figure 21 - High guard with the greatsword

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Stance

•

1. Feet •

Left foot forward

•

Feet pointed about 30 degrees to the right of straight forward

•

If a line is drawn directly towards the opponent, one foot should be on each side.

•

Feet a bit more than shoulder width apart, knees bent moderately

•

Right arm held with elbow up and back as far as is comfortable •

Forearm tilted up and forward to grasp blade just under hilt

•

Grip of the right hand need not be firm with all fingers.

Shoulders turned partially to the right

3. Sword is held vertically.

2. Body •

Upper body erect with weight balanced and hips rolled under and forward

•

Left arm bent horizontally across body •

With elbow pointed towards opponent

•

Hand just in front of right shoulder, holding butt of weapon

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Point Guard - Greatsword

Point Guard – Naginata

I use this guard against opponents who “stalk” me, or move in slowly. In these situations, it has more defensive potential than the other guard position. In this position, the point of the weapon is intimidating.

$ Insert picture – P4a-PW

Stance

If you are fighting an opposite-handed opponent using a single-handed weapon, your weapon must be moved to the same side as your opponent’s weapon. This requires learning to use your weapon with either hand.

1. Assume high guard, then:

Stance

a. Take a full stride back with your left foot, so that the relative positions and angles of your feet are reversed, as is the angle of your torso. b. Pull the hilt of the sword back and around your left side, as far back as the position of your arms and body will allow. Usually, the tsuba will be against your forward hip. c. Aim the tip at your opponent’s throat.

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1. Feet •

Right foot forward

•

Feet pointed about 30 degrees to the right of straight forward

•

If a line is drawn directly towards the opponent, one foot should be on each side of the line.

•

Feet a bit more than shoulder width apart, knees moderately bent

2. Body •

Weight balanced, hips rolled under and forward

•

Upper body erect

Figure 22 - Point guard with the naginata

•

The weapon is held in a roughly horizontal position, the shaft crossing in front of the body at about the height of the hips, and pointed towards the opponent’s throat.

3. Hands •

Back hand is near the butt of the weapon, and is held as far back as possible.

•

The opponent must move into range of my thrusts, if they want to engage my weapon.

•

Front hand holds the weapon fairly close to where it passes in front of my body.

•

This allows for more range on intermediate thrusts.

•

Front hand is supinated; back hand is pronated.

If you hold the weapon in any other way, it will limit the range of motion of the weapon.

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Power Generation

High Guard - Greatsword

Always strike to a point. The whipping action of the strikes produces a more “shocking” strike if aimed to a point. Swinging through a point makes the strike into a fast push, and leaves your weapon in a potentially dangerous position.

Striking

Striking to a point allows all of the power of the strike to be delivered as soon as the blade reaches the target. It also allows the weapon to move immediately into the next strike.

Swinging through the target spreads the force delivery over a longer period, and delays the initiation of the next strike. This delay is the time it takes for the blade to move from the actual target to where it stops, and ends when the blade has moved back to the target point.

1. Pull the back hand (holding the end of the handle) forward by extending the left elbow.

2. Guide the front hand (holding just under the guard) down toward the shoulder, curving forward as the left arm extends. a. Start rotating the counterclockwise.

torso

b. Push with the right hand as it moves forward and pull with the back hand. c. Ensure that the back arm stays straight throughout the entire motion (important). d. Continue rotating the torso counterclockwise.

This will cause the blade to swing forward.

Note: Don’t “scissor” your arms in an attempt to supply power and speed. It doesn’t work well.

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Point Guard – Greatsword and Naginata Striking Power Generation—for both forehand and backhand strikes REMEMBER: •

All horizontal motions of the blade are powered by the torso.

•

All vertical motions of the blade are powered by the arm.

•

You can combine these motions into complex attacks.

Simply moving the blade sideways from a stopped position will not produce satisfactory power in the strike. The proper technique requires two teardrops: one from the blade, and the other from the hips.

Figure 23

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1. For a forehand strike, use your core to move your body in a curl that starts moving slightly to the right (away from the direction of the strike) and very quickly moves around to the left until contact. This is the power generator of the technique.

2. Simultaneously, use a quick sideways curl with your arms to move the blade into a small teardrop to the right (the opposite direction from the intended strike). The start of the hip movement will assist in this. a. As the sword moves toward the target, adjust the angle of the front edge of the blade so that the edge hits properly.

2. The rotation of the hips continues, with the arms adding what lateral power they can. The arms should be bent, as needed, and rigid. Remember: strike to, not through the target.

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3. Note that the blade moves back much farther than the hips do, allowing the hips to lead the movement of the blade, since the hips will be moving toward the target before the blade even gets to the curve of its teardrop.

This produces a whipping effect that increases the speed of the blade and the power of the impact.

Note 1: Backhand blows are performed similarly, with the directions reversed. Also, the back edge will make the contact.

Note 2: When making forehand or backhand strikes, try to execute so that the blade will stop about an inch before the target. It won’t, but that action will enhance the whipping effect as the tip catches up with the handle/shaft. This is more pronounced when using a polearm.

The “14-Inch Game” To continue an attack following either a strike or a thrust: 1. If you wish to strike again on the same side, use a striking teardrop, which serves as a backswing, as shown in Figure 23.

Remember, forehand strikes use the front edge of your sword. Backhand strikes use the back edge.

4. Try to keep the length of the teardrop on either side to 14 inches or less. (This is a goal, not a requirement.)

2. If you are targeting your opponent’s head, and you wish to follow with a strike on the other side, use your core to move your blade back into the striking teardrop, but as it moves toward the target, pull it over your opponent’s head into another teardrop on that side that hits with the back edge.

3. This can be continued into more blows, with the same choice each time—to strike again on the same side, or cross over the opponent’s head to strike at the other side. The diagram shows the approximate paths of the blade in these sideto-side combinations.

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The diagram in Figure 24 shows the path of the sword through a combination of three strikes.

Please note that the sword is oriented with the front edge facing to the left. This does not change as the sword moves from one side to the other.

•

The first “head” shows the first strike at the point where the numeral “1” is shown. This is a front-edge strike.

•

The second “head” shows the blade pulled back into a teardrop that passes over the head into another teardrop. This is a back-edge strike to the point where “2” is shown.

•

The third “head” shows the sword pulled back into another teardrop that passes over the head into another teardrop.

This is a front-edge strike to the point where “3” is shown.

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Figure 24

Thrusting A thrust means a powerful “shocking” strike; not a fast push.

To perform a thrust, at the same time: 1. With the left hand, start pushing the weapon into a thrust; 2. Rotate your hips to the right; 3. Pull with the right hand; 4. Take a sliding step with your front foot.

Extension: 1. To extend the range of the thrust, allow the handle to slide through the front hand as the arm extends.

2. For longer extensions, let go of the weapon with the front hand as the back hand comes close, and over-rotate your shoulders.

Remember, the extensions pull you out of position. So, take care, if you use the longer extensions.

Keep in mind that while using low thrusts is tempting, they are dangerous to use. If the thrust fails, your opponent can move in past your point. This is dangerous to you, and you will have difficulty retrieving your blade.

Strategy Fencing This strategy is for those who are trained, and prefer to fight from a longer range. The thrust is the weapon used. It can be used directly, or as part of a group of techniques that causes your opponent to block incorrectly. If they commit to blocking the fake thrust, they may not be able to block the actual attack.

3. For really long extensions, execute step b, and take a striding step with your back foot.

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The attacks used in modern fencing work well with great weapons.

•

Thrust: This is performed as described above.

•

Beat: This is a lateral strike with the blade of your weapon to the blade of your opponent. This is used to bat your opponent’s point away from an attack line, or to clear the way for your thrust. It is performed similarly to the lateral striking attacks from the point guard.

•

Beat-Thrust: This is a combination of the previous two techniques. The beat moves the opponent’s blade out of its defensive position, allowing the thrust to be completed. A quick transition is required.

•

Beat-Disengage-Thrust: This starts just like the Beat-Thrust, except a slight delay is inserted before the thrust to entice the opponent to block. As their sword moves to block, the attacker’s sword point moves in a small semicircle under the op-

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ponent’s blade into a thrust on the other side of the opponent’s blade.

•

Beat-Double Disengage-Thrust: This is similar to the previous technique, except that, after the disengage, another short pause is inserted to entice the opponent to block the threatening thrust. Then a second disengage moves your blade back to the other side. If your opponent “bites” on both pauses, their block will be late.

•

Beat-Coupe-Thrust:This starts as does the Beat-Disengage, but instead of your blade circling under your opponent’s blade, it is lifted up to pass over their sword to move down into strike or thrust on the other side.

Remember that it is necessary to insert a very short pause between each movement to allow your opponent to react.

Moving In The tactic involves engaging your opponent’s weapon in such a way that it prevents strikes or thrusts as you move in—sliding along their blade to enter into close range while keeping control of their weapon, and denying them the center attack line.

This does not mean: “Hit their weapon hard, so they won’t be able to recover in time to stop the attack.” That is all well and good, but what if they perform a disengage instead of allowing your blade to contact their weapon?

Initiate your attacks out of range.

As your weapon moves into the attack, allow your front foot to slide forward in a Slide Step. Remember that the weapon always moves first, followed by your body after a very short interval. Your core should have completely powered your blade before your body moves.

If you need to cover more distance, use a striding step, and continue forward. You must control your opponent’s weapon with your

blade, or place the blade to deny them the use of any attack line. Position your blade so that it crosses theirs at a right angle.

Opponent in Point Guard When in range of your opponent’s weapon, strike or slash a foot behind the tip to move it out of the direct line from your opponent’s blade to your body or head. If you strike too close to the tip, your opponent may perform a disengage.

If you wait to strike farther down on their weapon, your opponent may move their weapon or themselves.

Don’t swing past the center line, so your weapon doesn’t move out of position. If your opponent moves their weapon back, hold your weapon to cross their line of attack at a right angle if possible, and keep moving forward.

As you initiate your block, start the blade moving slightly toward your right side. As it moves back in, use this to move your body farther right, out of the main thrust attack line.

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The opponent using low, centered point guard is especially dangerous. Use this method, but have your blade vertical as a moving block, so the handle or shaft of your weapon gives you more lower protection.

Proceed as above, leading with your weapon crossing their attack line. This becomes a “moving block.” Don’t swing your weapon.

Move it quickly into the position while closing the range.

If your opponent retreats, keep your weapon in between your opponent’s weapon and the attack line as described above, while you move forward.

If your opponent uses one of these guard positions, they have only two options available for them to attack: either they must swing or thrust in the obvious attack line, or they must use the reciprocal path, swinging back around, then forward. The former is obvious, and the latter is slow.

•

At this point, take alternating full strides. Don’t shuffle.

•

If you can contact your opponent’s weapon during the attack, work to maintain that contact.

•

You should be using the Power Waddle to chase your opponent. Most retreating opponents move in large curves.

This allows you to “cut across.”

Don’t simply stride after them.

Opponent in Upper or Lower Guard This refers to guards leading to a slashing attack, from an extended high guard, or a low guard with the blade out to one side.

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Fighting Inside When fighting inside against great weapons, stay about two feet away, if possible. This gives you room to use the following techniques.

Sticky Hands Once inside, I use an adaptation of Sticky Hands. This is a technique in which blows are blocked or diverted with the minimum pressure required, so that your blocking weapon isn’t moved out of a position from where it can block a reversed movement. Maintaining

contact allows you to control the attacking weapon. Remember to keep your blade crossing theirs.

If you can’t maintain contact, keep the point of your weapon near the middle line, and use your core to move your blade into the blocks.

This provides quicker and harder blocks.

While in contact with your opponent’s blade, using Sticky Hands, you can cause your opponent to move their weapon out of position by quickly and lightly pushing their weapon back toward them, expecting their return push, and reacting to it immediately.

This immediate acceptance of their movement encourages their blade to unintentionally move forward.

You can allow their blade to slide down yours, which actually cocks your blade. You can strike as soon as your opponent’s blade slides off.

You can accelerate this by leaning slightly to your left. This is a Sliding Block.

If Your Weapon Handle Is Grabbed Use one of these techniques, if they persist in hanging on.

Aikido Technique Use this if your opponent grabs with their hand on the side of your lower hand.

•

Using your core, pull your upper hand backwards and down while pushing up and forward with your lower hand.

•

This brings the handle or shaft of your weapon into contact with your opponent’s forearm, and applies strong leverage to the grasping hand. Your opponent can either fall forward, or release their grip.

•

If their grip is released, reverse the rotation of your body, bringing the blade of your weapon into a horizontal strike.

In the SCA, don’t apply enough pressure to stress any joints. If the opponent insists on holding on, my reaction is to gently lay them down into a prone position, and back out of range.

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Swinging Through Use this if your opponent grabs with the hand on the side of your upper hand.

•

•

Rotate your body to the left to move your upper hand forward into a strike. Pull back with your lower hand.

With their arm extended, your opponent will be unable to hold your weapon in place.

In either case, the techniques work best if applied immediately after your weapon is grabbed.

an opening appears, at which time you target the opening. Hold your weapon tightly to your body, and let the core do the work.

This can be quite tiring.

Arm Throw Use this if your opponent has moved in fairly close, and their elbow on the side of your lower (left) hand, is being held out from their body, or being moved out as part of the initiation of a blow.

•

Holding your upper hand steady, sweep the handle or shaft of your weapon forward and under your opponent’s elbow. A short step with the foot on that side may be required.

•

Push forward and up, angling towards your opponent’s head by rotating your body clockwise. Your other hand may move slightly back, but don’t try to make it do so.

•

If your opponent is well balanced, push toward the back of their opposite shoulder. When

Some Other Techniques Continuous Chopping This attack engages the weapon of your opponent while using a Slide Step followed by a full stride to move in. Follow this with a continual series of short, chopping attacks with the greatsword, or a series of short forehands and backhands with a naginata, towards the weapon and head of your opponent. Vary the angle of the attacks, but aim at the weapon until

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you feel their balance break, continue with the rotation.

•

•

As your opponent is forced to lean forward and away, slide your right foot back and around to assist the rotation of your body.

As your weapon slips off of your opponent’s elbow, quickly reverse your rotation into a strike. You may have to step back with your left foot to make enough room to do so.

Arm Pin Use this if your opponent has moved in fairly close, and their elbow on the side of your lower (left) hand is held close to their body.

•

Step around your opponent’s right side, pushing in the entire time. During this move, rotate your weapon until it is horizontal. Place it across your opponent’s elbow. The muscles around the elbow are not arranged properly to overcome a push at this point.

•

Push forward, more strongly with your left arm, pushing your opponent sideways and off balance.

•

As your opponent is forced to lean away, let the blade of your weapon move back. As soon as you can, stop pushing and swing a horizontal strike.

Strike Feint Pulled Back into Thrust Do a quick strike, but during the movement, pull your lower hand back as far as possible, bending the elbow and cocking the left hip back. Then thrust.

Thrust Feint Continued into a Strike Perform an intermediate thrust, but as the point of the weapon moves forward, smoothly pull your front hand up, cocking the weapon for a strike. Then strike.

- Paul Porter

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Luis Preto @luis.preto.50

PREVENTION OF INJURIES AND POWER OUTPUT IN STICK-FIGHTING Luis Preto

GIVEN THE NATURE OF stick-fighting, in the sense that landing powerful strikes on the body of the opponent is the central success criterion, traumatic injuries resulting from such events can only be prevented by expertly avoiding being hit altogether.

Nevertheless, one’s body may also succumb to other injuries, such as soft-tissue injuries, because of the specific accelerative and decelerative forces that the motions of this activity place on the body of its performers.

Injuries in Stick-Fighting Depending on the ruleset followed when competing in stick-fighting, striking only or a combination of striking and grappling is permitted.

Considering that the essence of weapon combat is to maximize striking effectiveness so that physically smaller or weaker individuals can avoid grappling altogether, the injury profile about to be presented will focus on striking-related soft-tissue injuries. Those competing in a mixed striking and grappling setting should look to complement this analysis of striking-related soft-tissue injuries with the research available on injury prevention strategies within grappling settings.

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THE ACTIVITY PROFILE FOR THE GENERATION OF MUSCLE & SKELETAL TENSIONS

Apart from the precision-based parrying actions, stick-fighting is, fundamentally, an activity in which combatants mostly perform overhead throwing-type actions, together with stepping actions.

Throwing-Type Actions The “thrown” object is, however, not thrown, given that it is never released. Nonetheless, such reference to throwing actions is relevant to study through the analogy of the forces imposed on the body.

Additionally, such analysis of the accelerative and decelerative forces that are specific to striking motions needs to account for what takes place within the scope of both two-handed and one-handed weapons.

In striving for maximum striking reach, two-handed weapons are momentarily held in front of the performer at the end of the striking motions. In doing so, the

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non-dominant upper-limb reaches full extension, while the dominant upper limb fails to reach such range-of-motion.

Additionally, given that the hands of stick-fighters wielding two-handed weapons are not overlapping, strikes on the forehand side of the performer call for the muscles of the dominant (forehand) shoulder to decelerate the forward throwing-type motions. On the other hand, strikes on the backhand side call for the muscles of the non-dominant (backhand) shoulder to decelerate these striking motions.

Grip with hands not overlapping.

In opposition to the latter, when wielding one-handed weapons, only one upper limb is in direct contact with the weapon. Therefore, only this limb (the dominant / forehand-side one) is subjected to the accelerative forward forces of the striking motions and, simultaneously, in need of developing decelerative forces meant to counter the latter ones, to protect the body of the performer.

Lastly, the combined effect of the forward (pulling) forces of striking motions and the placement of a body-of-mass (in the form of the weapon and upper limbs) in front of one’s center of gravity results in the forward off-balancing of the attacker’s upper body.

Stepping Actions The displacement performed by stick-fighters, usually referred to as footwork, is of mostly single steps sequentially taken in different directions. The most common examples of such sequences of individual stepping actions are the performance of one step forward followed by one step back, and vice versa.

As a result, and despite the relevance of footwork in the maximization of combat effectiveness, the simple performance of single steps fails to bring about injury concerns to the lower limbs, as so happens in many other sporting activities, in which the occurrence of ankle sprains and muscle tears command specific training attention in terms of preventative strategies.

Keeping upright posture versus leaning forward.

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THE ACTIVITY PROFILE FOR SOFT-TISSUE INJURIES

The previous description of stick-fighting allows for the conclusion that significant soft-tissue injuries that stick-fighters are in danger of succumbing to and, thus, should strive to prevent, are those related to overhead throwing actions and those associated with the forward off-balancing of the body.

Regarding overhead-throwing-related injuries, as shown within research on volleyball and tennis players: such actions are directly connected to shoulder and scapular injuries. The development of these injuries is a direct consequence of insufficient strength on behalf of the external rotators of the shoulder, to cope with the (eccentric) decelerative forces placed on them.1 1 H. Wang, “Mobility impairment, muscle imbalance, muscle weakness, scapular asymmetry and shoulder injury in elite volleyball athletes,” The Journal of Sports Medicine and Physical Fitness, 41 (2001): 403-410.

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As for the off-balancing effect of momentarily holding a mass in front of one’s center of gravity, as shown in other settings such as Olympic weightlifting, this circumstance increases the structural stress placed on the lower back.2 When unable to sustain such forward off-balancing forces, performers tend to lean forward in a way that they come to break the neutral alignment of their lower back. When such occurrence repeats itself regularly, it will be a mere matter of time before performers experience the structural damaging of their lower back and, consequently, come to develop chronic lower back pain.3

2 Mark Rippetoe, Starting Strength: A Simple and Practical Guide for Coaching Beginners (The Aasgaard Company, 2005).

3 Christopher M. Norris, Back Stability (Human Kinetics, 2000).

INJURY PREVENTION STRATEGIES

Shoulder The prevention of injuries to the decelerative muscles of the shoulder joint should be pursued by undergoing a strength training program that strengthens the external rotators of the shoulder.4 Note, however, that though the prevention of such injury should be a concern for all stick-fighters, in the sense that it includes both those wielding one-handed weapons and those using two-handed weapons, there are a few differences in terms of how one goes about managing each specific setting.

For starters, one-handed weapons only stimulate, and thus stress, the shoulder joint of the dominant 4 Yvonne Niederbracht et al., “Effects of a shoulder injury prevention strength training program on eccentric external rotator muscle strength and glenohumeral joint imbalance in female overhead activity athletes,” Journal of Strength and Conditioning Research 22, no. 1 (2008): 140-145.

side. As a result, the major training effect sought in this context falls on the strengthening of the shoulder joint of the dominant side, while the strengthening of the other shoulder joint merely needs to seek an above-average strengthening effect, so as to minimize the difference in strength output between the dominant and non-dominant shoulder joints.

Wielding two-handed weapons, on the other hand, means that both shoulder joints are called upon (at different times) to decelerate striking actions and, therefore, both shoulder joints warrant injury-prevention strength adaptations. Nevertheless, such weapons are held by placing the non-dominant hand in a leading position, and doing so results in the minimization of the decelerative requirements set on the dominant shoulder joint when performing strikes on the forehand side.

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In turn, this means that, while two-handed weapons mostly warrant the strengthening of the shoulder muscles of the non-dominant shoulder, one-handed weapons place the focus of strengthening the shoulder muscles on the dominant shoulder.

Still, within the context of two-handed weapons, another relevant variable that warrants consideration is the defensive tactical system implemented by stick-fighters. In short, opting for the performance of mostly side parries has stick-fighters performing counterstrikes on both sides, which stresses both shoulder joints and thus calls for the strengthening of both, as previously presented.

Side parries

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When, however, stick-fighters opt to perform mostly parries with the grip on the forehand side, most counterstrikes will also be on the forehand side.

Ultimately, this circumstance minimizes the performance of strikes on the backhand side, which, in turn, lowers the need to invest time and energy in the strengthening of the muscles responsible for the deceleration of the shoulder joint of the non-dominant (backhand) side.

Side parry and oblique parry 1

Lower Back As for preventing structural damage to the lower back, such type of injury concerns also calls for the implementation of a strength training program.5 This time, however, such a program needs to be focused on strengthening the back and core muscles.

In addition to the latter, such an injury prevention strategy ought to accompany technique-oriented drills that target the development of greater body awareness and postural control (technique).

Prioritizing Strategies

Injury

Prevention

Since injuries to the lower back are both more prevalent and more constraining of one’s physical performance, it is logical to assume that they ought to receive greater attention when planning a training program.

Additionally, the need for novice trainees to learn the fundamental techniques that make up performance in stick-fighting results in having execution speed kept at moderate to low levels during

this initial training stage. Consequently, the supplementation of sport-specific practice amongst novice level trainees should focus mainly on the injury prevention strategies listed for lower back issues.

As trainees progress in their skill level and, therefore, start performing overhead throwing-type actions progressively faster, strengthening the external rotators of the shoulder accompanies other supplemental (injury-prevention) drills. In doing so, and as previously explained, stick-fighters focused on one-handed weapons should focus mainly on strengthening the external rotators of the dominant (forehand) side, while those focusing on two-handed weapons should target both shoulder joints, though under special attention so as to be sure to effectively strengthen the external rotators of the shoulder of the non-dominant (backhand) side—especially if they happen to privilege a defensive tactical system that makes use of both-side parrying techniques.

5 D. M. Carpenter and B. W. Nelson, “Low back strengthening for the prevention and treatment of low back pain,” Journal of Medicine & Science in Sports & Exercise 31, no. 1 (1999): 18-24.

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SPEED, FORCE, AND POWER OUTPUT IN STICK-FIGHTING

Within the context of physical performance, the topic of speed encapsulates, for starters, two concepts: that of reaction speed and movement speed, also referred to as execution speed.

sists of identifying both a stimulus from a multitude of potential stimuli and its subsequent response.

The product of these operations is, then, designated as complex reaction speed.

Reaction Speed

Before one’s muscles are activated to respond to a stimulus, the identification of the stimulus in question is, in theory, followed by the selection of one’s response to it. However, this only happens when performers encounter a stimulus that was previously either unknown to them or unexpected. Furthermore, given the high-speed trait of most competitive settings, the need for a decision as to how to react proves to be, in most cases, too much of a challenge to overcome during an exchange with an opponent.6 Ultimately, this means that the speed at which performance takes place

Reaction speed refers to the time interval that precedes movement, in the form of the gap that goes from the presentation of a stimulus to the activation of the muscles by the performer who is about to respond to the stimulus in question.

Since the latter means that reaction speed measures a time interval during which no movement occurs, its improvement targets a quicker activation of one’s muscles, and not the improvement of movement performance. In the specific context of stick-fighting, this involves overcoming the uncertainty as to which stimulus one will encounter. In short, this con-

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6 Richard Schmidt and Craig Wrisberg, Motor Learning and Performance: A Problem-Based Learning Approach, 2nd ed. (Human Kinetics, 2000).

forces performers to study their activity beforehand and, thus, enter a competition while being already supported by a specific tactical system that identifies both the stimuli one should expect and the preferred response to each particular stimulus.7 Movement Speed Following the previous processing-centered stage, the coordinated activation of muscles by performers generates actual movement. The performance of movement can then be characterized using a multitude of traits, including the displacement rate of one’s limbs in space—in other words, speed or velocity.

Movement (be it raising a glass or raising a 40-pound dumbbell) is a product of one’s ability to activate his or her muscles, in the sense of shortening specific muscle groups

7

Ibid.

with the degree of tension that is needed for them to successfully pull on the bones they are attached to and, thus, displace the body of mass in question at the desired displacement rate.

Despite most movements sharing this common root, it has become customary for displacement rate to be referred to as either velocity or speed when displacing light loads in space (for example, swinging a racket) and, in opposition to the latter, for this same phenomenon to be referred to as either strength or force output when displacing heavy loads in space (for example, performing a back squat). The simple rationale that causes, as well as justifies, the existence of such distinction, is the fact that the ability to generate muscle tension is load-specific. Nevertheless, realizing that the same variable (one’s ability to produce muscle tension through the shortening of one’s muscles) fuels displacement rate

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within both speed-oriented tasks and strength-oriented tasks, simplifies both the planning and the execution of training programs.

Power Finally, in the context of physical performance, the term power typically refers to the peak muscle tension one can generate throughout a limited time interval. For example, when sprinting, one’s foot is in contact with the ground for just 100 milliseconds, which prevents anyone from generating their maximum force output. As a result, the peak muscle tension (force output) generated within such time-constrained tasks equals power output.

Ultimately, this has training still coming down to one simple variable: the maximization of one’s ability to generate muscle tension; , with the concept of power merely adding the specific time interval that limits performance and, therefore, on which one needs to focus when pursuing this performance-enhancement goal.

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TRAINING STRATEGIES

Reaction Speed Improving complex reaction speed can be accomplished through two processes: by improving one’s ability to identify the stimulus, and by lowering the time that it takes to select the adequate response to the stimulus.

Starting with the latter, lowering the time needed to select a response can be achieved mostly by developing a tactical plan that skilfully reduces the number of different reactions required in responding to the numerous stimuli provided by the opponent. In stick-fighting, this occurs when performers, for example, can use the same parrying technique to overcome more than one strike.

Within the realm of stick-fighting, this can lead to performers relying on only three parrying motions: one to parry their left side, one to parry the center (thrusts), and one to protect their right side. In an extreme case, performers may even try to lower this number to

two, by having one parrying technique for overcoming thrusts and one (generic) parrying technique for dealing with strikes on either the left or right side (overhead/ oblique parry).

Such strategic, tactical systems should, nevertheless, be sought only by advanced level trainees.

The reason for the latter boils down to the fact that the perfor-

Oblique parries 1 & 2

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mance of these defensive tactical systems calls for both blocking parries and deflecting parries, with the latter ones being too complex and, thus, inadvisable for novice-level trainees.

As for the improvement of one’s ability to identify each stimulus, and assuming that there are no pending issues with the sensory organs responsible for receiving the stimuli (for example, adequate eyesight), such improvement can be achieved through a combination of sport-specific practice, video analysis tasks, and mental imagery exercises (Schmidt, 2000).

These latter stimuli-familiarization options carry a vast potential for improving complex reaction speed amongst stick-fighters. Additionally, novice-level trainees are, by definition, new to the activity. Therefore, such sport-specific practice should be the central training approach in improving complex reaction speed among them.

Movement Speed The improvement of movement speed in stick-fighting lies in the combination of mostly two elements: first, through the development of one’s coordinated activation of the muscles in question, which is just a fancy way of

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referring to the improvement of one’s ability to execute the motor patterns (technique) that make up the art; secondly, through the enhancement of one’s ability to generate muscle tension (force) within the load range and time-frame intervals (power) that are specific to stick-fighting.

A simple but effective way of managing these training options boils down to asking oneself whether a trainee has enough (base) strength to perform the predetermined movement pattern. If so, a practice should focus on sport-specific coordinative training, which is the case amongst most novice-level trainees taking up stick-fighting. Should a trainee lack the base strength, which is most common when teaching either children or females, then an initial phase of strength enhancement is called upon before embarking on the practice of sport-specific technique.

When dealing with advanced-level trainees, on the other hand, their coordination (technique) has not only leveled out, but quite frequently it is preferable to refrain from frequent corrections to their motor patterns to avoid a drop in their ability to perform both automatically and with confidence.

Therefore, improving movement

speed amongst advanced-level trainees mostly calls for the enhancement of their sport-specific strength output. Doing so can be achieved, within stick-fighting, through the practice of sport-specific motor patterns with gear of different weight, in the form of both heavier and lighter sticks. The use of heavier sticks should be implemented when the goal is to improve the degree of muscle tension developed within the sport-specific motor pattern in question.8 The use of lighter sticks, on the other hand, is meant to get trainees to experience the proprioceptive feeling of performing faster actions, under the goal of improving one’s movement speed when performing with the standard gear of the activity.9 Though useful, neither of these training options ought to be used excessively, under the risk of disrupting the performance with standard gear.

Lastly, on the topic of motor patterns: a couple of their primary functions are to maximize the transference of kinetic energy between the body segments that are

in action during the performance of each technique, and to improve the timing with which different phases of a technique merge.

Therefore, there is a third important element one can drill to improve movement speed. This refers to the actual movement patterns (technique) that make up each school of thought of the stick-fighting community—in the sense that such motor patterns can (and should) be continuously analyzed and improved on whenever possible. One stick-fighting example of such a process was the development, within jogo do pau, of rotational strikes in which the swinging of the weapon started from the very beginning of the striking technique—instead of doing so only after raising the handle of the weapon over the head.

Such change brought about quicker strikes in that, by improving the timing with which different components of the techniques merged, the strikes began reaching the target in less time.

- Luis Preto

8 Yuriu Verkhoshansky, Special Strength Training: A Practical Manual for Coaches (Ultimate Athlete Concepts, 2006).

9 Ibid.

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