 Above : Group photo featuring Magtutudlo Ramon Rubia (Upper row, 2nd from left), Engr. Devaney 'Van' Tupas Fuentes (Upper row, 3rd from left) of Karay-a Uno-Blanco Eskrima, and Haku Brad Namahoe (Upper row, center) and Eskrima Combatives FMA students after the lecture given by Van. Below: Slides of photos taken during a recent lecture by Van Tupas Fuentes with an introduction by Magtutudlo Ramon hosted by Haku Brad at CSW Training Center in Fullerton, CA. It’s been a few months since I published a weblog. My dad got sick from cancer and suddenly died from complications in May. So, I made a personal promise to lay low for a specific period of time, and eventually I started to train and later started writing again. Even though my dad didn’t train, he supported my passion to train, and I will never forget that.
FMA Seminars: Faked or Fact? Throughout the year, I have been attending local FMA seminars for various reasons like curiosity, respect for certain elders, and confirmation of ideas about certain methods of training and their usefulness. Some seminars were good, while others were just okay, or not so good, all for various reasons. The content at some of the seminars was a glimpse into the training of some of the groups, while other seminars were an orchestration to keep the phony legends and deception going to keep the attention and money flowing to their headquarters. To me, there is a clear difference with what I see as typical FMA seminars, where we are expected to just follow along and go-through-the-motions, and the fruitful ones that leave a lasting impression and promote growth through thinking. In my observation, those typical seminars are basically the same old story, where some master is selling a generic package of their techniques. While they tend to be more organized with their instruction, they tap into that market of people who just want to see the self-made master, or authentic master or grandmaster demonstrate the moves that can easily be taught and in turn, expect to be able to copy it. They paid good money, after all - they wanna see results! One seminar that I attended was led by a self-made master with a box of training blades. He started off by dumping a box of aluminum training blades in the middle of the floor and went straight into doing techniques. To me, there wasn’t any explanation of the weapon - we were just told to grab an unsheathed trainer sword and start slashing with a partner and try to follow the blocking. In my observation, the self-made master was claiming a bladed-movement with the trainer blades, but was unable to differentiate his movement from that of a blunt stick. In this seminar training situation, the stick movement did not transcend to the blade. I personally wouldn't violate the ranges of combat against someone holding a live blade like what I saw - that's dumb - I pictured that I would get cut. Again, the self-made master or grandmaster just demos what can be done with an already unsheathed sword, and carelessly expects others to just follow along. The perfect or ideal target audience in this situation is the person new to FMA or those only interested in drills outside of their usual repertoire. Furthermore, the self-made master used typical “big-words” terminology without any historical reference or analogous Filipino-based concepts as they relate to fighting. Another seminar FMA group I observed has a really intense demonstration. This group also doesn't use Filipino terms, just words to describe their system as a construct. They execute their drills and hitting with speed and power. Using their generic "V" footwork, they make the drills look good, and there’s even a flow to it all. But at a certain point, one carefully starts to realize that they always end up in the same spot even when they continuously use the same lines of their “V” footwork. What happens when the other guy realizes this and moves off the straight line, beyond the range of what was demonstrated? Truth be told, I had previously seen them spar in tournaments and witnessed their art suddenly disappear, meaning there was no longer a connection between what is “the actual” for them versus their supposed “instinctive” movement as seen in their rehearsed drills or energetic forms. It made me question point of training that way if they don’t fight that way in the end. Another variable in those typical FMA seminars is the occasional entourage of masters and grandmasters visiting from the Old Country. They fly in, get off the plane, and ready their fancy patches, colorful uniforms and belts. They might show many forms or many drills that kinda look like something trying to be combative, but not really, again with no explanation, nor any real connection to actual fighting. It’s all a big show, a phony presentation meant to disguise a circus full of social media whores selling tournament medals, selling trophies, selling certifications and selling affiliations and associations to their group. Once again, this group of predatory seminar-peddlers is highly dependent on new people with real no clue about FMA. A good example of this exploitive behavior is when an FMA group manages to get a famous name, somebody notable in eskrima, to train them exclusively until their visa runs out. Their students are mesmerized by that visiting master or grandmaster, but they don’t think beyond that because they’re starstruck on training with a living relic who represents the bygone era of eskrima. The student-victims don’t realize that the real motivation to host the master or grandmaster was for their instructors to be recognized by them, pay for their instructor’s monetary tribute, and become legitimized on social media. Seems legit, right? Another type of seminar that I attended had a hidden agenda, where these local organizers were trying to make names for themselves and look good to their students, by somehow being recognized as an authority by the head of their own system. In reality, their students, who travelled about 90 minutes one-way, don’t even know any better because they were all starry-eyed while in the presence of grandmasters flown in from the Old Country to propagate their “style.” These organizers are straight-up scammers, trying to promote their agenda of making themselves look good, but in the end it backfired. Nobody could even properly explain the content being taught by the visiting grandmasters - this is a fact. The true skill and the knowledge at this seminar shined through when the true authority in the room - someone outside of their own organization - grabbed the mic and clearly explained and demonstrated the methods - it was Magtutudlo Ramon Rubia! One major obstacle in training with these visiting grandmasters is that they don’t really speak English. To say that they were able to transfer the knowledge of all the little nuances of their respective systems that day is not plausible. They couldn’t verbalize or articulate the little things, each only showing one technique, and demonstrated their stick play in the very short time they were allotted. In fact, the grandmasters they were trying to headline were actually sidelined during the 5+ hour seminar to only about 30 minutes of instruction from each. I feel bad for those visiting grandmasters, because they were forced to look silly by forsaking their own superior methods of eskrima in order to keep everything status quo, and reluctantly taught the fake eskrima as directed. The use of the visiting grandmasters’ likeness on the flyers using hashtags was nothing more than a vehicle to promote the business-side of tournament sparring and tournament forms, certificates, trophies and medals, as is the case with this style. When we take a look at the character and background of those unscrupulous organizers, you have to remember that they come from the thinking that being given an honorary rank makes them an authority in FMA - this is false. It’s all about the knowledge, which is something beyond their grasp, especially in the methods with which they claim. They’re still at the elementary level of copying drills and forms from other people and repeating the process. It doesn’t matter how many videos they put up, or how many tournaments they win, or how many sticks and blades they collect, the skill and knowledge still doesn’t shine through. In fact, one of them isn’t even a real master, albeit, a part of the bloodline and surname. During my era of training, they were too busy selling sticks, raising a family and taking care of babies. As a matter of fact, they weren’t even recognized on the Headquarters black belt listing until more recent years - I know because I used to check the list regularly until I stopped giving a crap. Even their own people know this phony master, but they don’t say anything. In contrast to those “typical” seminars, are the kind of seminars that make you think. The true grandmasters and masters are able to transcend the physical movement with their words. These instructors use historical references to make their point both by building on the attendees’ prior knowledge, and by using facts like geography and written accounts. They educate those attendees beyond the superficial, generally accepted view about FMA with what can be described as true FMA from their own personal experiences. Furthermore, the masters and grandmasters who traveled around the Philippines and have immersed themselves in aspects of the various local cultures, are able to dispel the superficial, generally accepted ideas about the training and the people in Philippines as written online and in certain books over the decades. This past August, our instructor, Magtutudlo Ramon Rubia, introduced Engr. Van Tupas Fuentes, of Karay-a Uno Blanco Eskrima from Panay, who gave a lecture to the group of attendees in the subjects of Pilipino warrior arts and sciences, hosted by GM Brad Namahoe at Erik Paulson's Combat Submission Wrestling World Headquarters in Fullerton, CA. Topics included an introduction on the language and geographical location of the Philippine island of Panay and how it relates to eskrima, further conclusions about the existence of kali based on his travels to deep, remote areas of the Visayas and Mindanao, and comparing and contrasting the traditional mindset of blade versus training in stick. He later explained, in detail, the anatomy and symbolism of a particular talibong with scabbard, given as a gift to his friend and our instructor, Magtutudlo Ramon Rubia. Van also briefly discussed sportive and survival dumog from Panay and took questions from the group. Learning about eskrima from outside of Cebu was an eye-opening experience, as it directly correlates to the philosophy and approach to how we learn in Eskrima Combatives FMA. I admired the lecture for many reasons, including hearing of his own experiences in seeking the truth about eskrima. While Van could have easily showed us drills, which is common, what he described showed that he’s into the art for more than just teaching drills - it’s about the blade culture. What I’ve learned so far is that there are those who want to get a good sweat and do FMA drills, and there are those who dedicate themselves to seeking the truth about eskrima. Filipino Martial Arts or Filipino Fighting Arts or Pilipino Warrior Arts and Sciences is more than just collecting drills. It’s a never-ending process that involves the most dedicated individuals continually striving to take themselves to another level. They search for meaning from the movement. If an individual is properly trained, they might come and attend these out-of-the-ordinary seminars to get an idea to propel their view. If they see something unique, some special nuance or attribute, it will either confirm or force them to reject their existing ideas. They will question if what they are doing outside of the seminar will lead to the same thing, or if it can only be accomplished in a way different from their own process. I was able to meet up with Van and Ramon initially for a dinner and some coffee with Alan and Leo, two of my brothers-in-training at Eskrima Combatives FMA. We got a second dose of Van's insight a week later while listening to his lecture at CSW, and even a third later that same night while sharing another meal with him and Ramon and Leo again. The lasting impression I got from Van is that he is a very deep and knowledgeable individual, and I can see why he and Ramon are friends. It’s about the mindset, which Van and Ramon plainly emphasized to us and in my estimation, is becoming a rare trait among those in pursuit of revealing the truth about FMA, and they both share it. LTT
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Transcending Conventional Eskrima, Part 3: Training & the Discovery of Movement Through Feeling1/31/2015  GM Felix "Tenciong" Gutang - Combat Judo Doce Pares Archives - picture from the upcoming book, "An FMA Journey" by Magtutudlo Ramon Rubia.  GM Felix "Tenciong" Gutang, an old student and instructor under GM Cacoy Cañete. Training methods part of Eskrima Combatives FMA. Magtutudlo Ramon trained with him 2003, 2004, 2005. GM Cacoy Cañete Doce Pares Eskrima *Picture used with permission from Magtutudlo Ramon Rubia There is too much ‘sport’ emphasis in today’s modernized eskrima. I plainly admit that I've said it before - tournaments are fun, and possessing great cardio and using a great hitting pattern prevails at the padded tourneys they are oriented towards. If winning eskrima tourneys are the focus of what eskrima groups are into, then good for them. But too many bad habits are learned and programmed when you spar with the gear too much. The average person would pretty much blame the system for that. Rather, what is being taught in the system and the level of expertise and understanding by the people teaching it is to blame.
This statement actually transcends eskrima, and describes other arts as well. It's a common complaint by martial artists looking for the ‘real thing.’ However, the focus of this writing compares classical expressions of eskrima to those popular, modern, tournament-oriented styles. Real eskrimadors, like those from Panay and Negros, can distinguish what is really combative and applicable from what is tournament hype and fluff. Did we even talk about the footwork? We'll save the footwork discussion for another blog entry. Sadly, the forms of this particular sport eskrima system of multiple-styles don’t have a real meaning - they are only meant for tournaments. Let’s take their basic 12-count form for example and break down each move. Everyone who knows it, knows the numbers or ‘counts’ and will count aloud up to 12 when twirling this form. If we look at it as moves rather than counts, we see that the first part is a forehand and backhand arko, an upward twirl, followed by another forehand and backhand arko, a sungkit thrust, a flywheel, and finally a downward, backhanded strike. After some practice, they can twirl it really quickly. I know this form is typically taught to beginners, and repeated throughout the length of stay for a practitioner of this system. This form is commonly twirled en masse when the big names in their system come to town for their annual 'Final Tour' seminar. Questions come up if we look at this 12-count form as more than just something to do at practice, like what does this form develop? My answer is that there are a lot of principles and concepts that can be taken just from that 12-count movement alone, as Magtutudlo Ramon teaches us. But those who know this form wouldn't be able to properly articulate it. If a new student with no experience in eskrima learns this form tonight, can they use it in a real fight against somebody tomorrow? The answer is probably ‘no’ which begs the question about the point of needing to learn that particular form. Is it because it's part of the Curriculum? Of course. We must be mindful of the fact that with the practitioners of this other system, there is truly a disconnect between the drills and forms that they spend time learning to earn the belt promotion, and the strikes and strategies of the padded sport sparring - all of that training stuff goes out the window when they put the gear on and just bang on each other with sticks and helmets. Today’s era of Instagram, YouTube and Facebook eskrima, including the conglomeration of multiple-styles, is taught by copying and not much explaining. Typically the instructor stands in front of the students and ‘shows’ the drill or form from the Curriculum. The students copy the form or drill and repeat, and they cycle through the elements of the Curriculum for the session. Upon closer inspection, all of the twirling forms and eskrima drills start to look and feel the same, still kind of empty, because it was just learning counts and the rhythm of those counts. Similarly, the true meaning of the strikes within the 12-count form is lost, due to the endless cycle of copying and not explaining the historical Five W's - who, what when where, why and how about eskrima. They were too busy learning the 'counts' rather than learning the actual moves, and the training partner is just standing there with their arm sticking out. The sparring doesn't match this training, either. Their connection within the movements doesn't exist. Go ahead and ask somebody who has been training for years in that system where the strikes and forms really come from, who used the style, what the strategy is behind that movement, etc.. They can't answer, because everything is watered down. The essence of their eskrima must then be lost, because it's something they do just because it's part of the Curriculum. On the other hand, Eskrima Combatives FMA is about knowing through feeling. Magtutudlo Ramon refers to this as the random approach. This alternative view and presentation of eskrima leads to what we know to be a personalized, self-discovery. Referring back to the previous writing discussing what Magtutudlo Ramon refers to as the trainer-based method and using the random approach, the practitioner experiences the nuances of eskrima first-hand. The goal of self-preservation is acquired when you train in the different systems of Eskrima Combatives FMA, including the San Miguel System of Eskrima, De Campo Uno-Dos-Tres Orihinal, and Corto Kurbada. You end up owning the movement, where it becomes a part of you, rather than a series of copied movements and playing follow the leader. The other method of tournament-oriented eskrima is empty and pointless. One might presume that the random approach is esoteric and too removed from how people expect to learn martial arts today. In actuality, when you train in the random approach, the reaction to execute this movement is natural. No bootleg moves, no more copying for the sake of copying until you’ve memorized it - you become the artist. The few, select forms and drills we train in initially are immediately applicable, and they actually work to teach you to strike and move. Your experience in learning eskrima becomes individualized in the one-on-one, live training. There is no distance learning here. All of the cool videos found on the Eskrima Combatives FMA websites, while entertaining and inspiring, are nothing compared to the first-hand training experience, and touching hands with Magtutudlo Ramon, our instructor. He is our trainer, and he is a martial artist. Instagram, Facebook and YouTube have their fare share of videos ‘showing’ eskrima. Some of it is vintage and authentic, from the personal collections of people involved in eskrima at some point in their lives since the advent of home video recording. The rest of the videos are part ego and part copying somebody else, somebody real. In relation to today’s eskrima being taught, very little is explained in these videos. It’s funny to think that the people who actually know enough to explain what is going on in some of these videos will get ‘trolled’ by internet tough-guys and keyboard warriors, which to me shows a sad state for eskrima. If very little is being explained in the videos, we can then assume that very little is actually being understood by the people posting the video, especially when it doesn't contain any names of the drills or forms they’re doing in the video. Thankfully, Magtutudlo Ramon not only identifies who is in the video, he explains what it's about. To be more than just a creepy lurker, or an everyday viewer, and make assumptions about eskrima based on what we see, all we have to do is ask him. The funniest videos, or rather, the most awkward, are those involving eskrima groups wearing their particular school uniform, but showing the moves of another system and playing if off as their own. Again, there’s no explanation. If they’re only showing off, and not saying anything, does that make it authentic? Do they really own the movement in the video, or are they pawning off somebody else’s material as their own? This parasitic trend of copying real eskrimadors in words and moves behind their back, and not giving credit where credit is due, has clearly got to stop. 
We had a great time at the Eskrima Combatives FMA Family Potluck. Looking forward to the next get-together! See you in 2015!
 From the Facebook of Magtutudlo Ramon Rubia: "Looking Back, Honoring my Teachers in the "Old School Eskrima" were Members, Fighters, and Instructors of the Doce Pares School, Cebu City: 1) Urbano "Banoy" Borja 2) Benjamin "Ben" Culanag 3) Genaro "Naro" Mendoza...also in the picture are GM's Eulogio "Yoling" Canete and Filemon "Momoy" Canete..." "A PICTURE IS WORTH A THOUSAND WORDS IF ONE KNOWS THE STORY BEHIND IT" NAMES OF: FIRST ROW L/R: : B. ONG, A.TANAN, F. MENDOZA, H. ABAYON, N. LIMCHUA, URBANO BORJA, P. ABRAHAN, J. YANGKEE 2ND ROW SITTING L/R: B. ABALLE, C. MABALHIN, EULOGIO D. CANETE PRESIDENT, DR. L. LARRAQUEL ADVISER, FILEMON D. CANETE PROFESSOR OF SELF-DEFENSE, A. NOVAL AND T. PACANA 3RD ROW STANDING L/R:F. TAN, J. LIM, B. MANLOSA, D. OMULON, S. PAHIMUTANG, GENARO MENDOZA, I. ONG, W . UY , BEN CULANAG (INSTRUCTOR), T. DIAGON Transcending Conventional Eskrima, Part 2: Differentiating the Movement
If we look at the bigger picture of Doce Pares Club eskrima in a more historical way, we can easily recognize that the true disciples of Momoy actually move like Momoy - there is no question of who is really who in the San Miguel System of Eskrima, especially when referring to the NMODE--DSG. There is definitely a connection that you can see. The core movements of Momoy and his followers are not flowery. There isn’t a supination or pronation movement within the San Miguel System of Eskrima which resembles those strikes of the modern-day conglomeration of multiple styles - the movements between the two are completely different. Magtutudlo Ramon teaches us that the way the body moves is the telltale sign when distinguishing the methods of the modern conglomeration from those representing NMODE--DSG. See for yourself and look at any video of Momoy and his disciples to prove the point. Simply refer to the footage graciously shared by Doug Marcaida and Tony Jones. Compare that to Magtutudlo Ramon’s YouTube and Facebook footage of the Nongs, including GM Banoy Borja, GM Ben Culanag, GM Naro Mendoza, and GM Federico Mendoza Jr. All of the generations of footage [1970’s, ‘80’s, ‘90’s, & 2000’s] show that the San Miguel System is blade-based. It’s a system that is deeply rooted in a forgotten history, with which very few people still know and can articulate today. There are no fancy marketing phrases or gimmicks when referring to the San Miguel System, because the truth found within the movement speaks for itself. The fighting strategies and tactics found in the methods have been provided for you, in plain sight. Very few people in the world can properly explain what is in the video. As of this writing, there is only one person in the Continental United States who can provide such explanations. In the San Miguel System of Eskrima, NMODE--DSG, we train in forms that have a meaning and a purpose. We have drills that lead to a particular skill set. The form we train in directly reflects in how we will move when prompted to do so. The form makes the structured movements ‘natural.’ The movements of NMODE--DSG are simple and natural in that they correspond with body mechanics. When we delve deeper into what is considered ‘real’ eskrima, the strategies and tactics to fighting are revealed to the dedicated practitioner. This is how you develop the ‘eye’ or the ‘trained eye.’ The mistakes from the training will be revealed in the fight. The eskrimador with the trained eye will recognize it. In the modern-day conglomeration of eskrima styles, they train in numerous sets of drills. Every few years, they manage to ‘rediscover’ components of their system that were somehow lost or forgotten to time. These newly presented drills and forms usually push veteran practitioners across the globe into scramble mode to learn these rediscovered add-ons. They’re scratching their heads because they had never seen this material before. The combinations of these drills are endless. But for those on the path to self-discovery in eskrima, they have to question what the movement will lead to in terms of fighting skill. Remember that a real eskrimador is someone who ‘uses’ eskrima. If practitioners learn all of the conglomerated forms and drills that their instructor has to offer, and only spar with padding and gear on, then chances are they’re going to revert to their tournament or ‘pillow’ style of fighting when pressed to do the real thing. Why is that? Because that’s the way they train. That conglomerated tournament style does not translate into real fighting with the impact weapon or blade. They will get hit on the head by the stick or cut by the blade if they think they can fight WEKAF-style against a true practitioner of eskrima, like those eskrimadors from Panay or Negros. So then what’s the point of training towards that black belt and in reality learning nothing applicable? Mastering drills? Earning a medal or a trophy in padded sparring or forms? Training to reach these goals in tournaments is great for physical fitness. But understand that tournament fighting is not real eskrima. I will discuss this in a future blog. THE DOCE PARES ORIHINAL SYSTEM OF ESKRIMA UNDER ESKRIMA COMBATIVES FMA Note this is based on my research and personal training in the Philippines mainly in the island of Cebu from the years 1993, 1994, 1995, 1998, 1999, 2000, 2002, 2003, 2004, 2005, 2006, 2008, 2010, 2011. Some of the years I went twice a year…
PART I OF III Doce Pares sa Francia (Twelve Peers of France) is an anonymous Philippine metrical romance (awit at corrido) based on France’s legend of King Charlemagne and his twelve peers who were his elite paladins or knights-the corps d’elite. The Twelve Peers were sort of like Arthur's Knights of the Round Table. In Cebu (Sugbo), the club, according to the founders, got its name from the group of famous fighting men in France during the reign of Emperor Charlemagne. The Doce Pares Club of Cebu has its roots in San Nicolas (Pasil) area in Cebu City, Cebu. The organization in its inception was headed by Lorenzo “Tatay Ensong” Saavedra while his nephew Teodoro “Doring” Saavedra became the fighter of the club, and Eulogio “Yoling” Canete became its first president. According to Orlando C. Sanchez who wrote an article in titled “Brief Historical Background” in the golden anniversary magazine or program souvenir 1932-1982 pg. 41 states, “The members pooled their knowledge and ability and took pains in researching and studying the various styles of other Filipino natives like the Tagalog, Pampango, Ilocano, Batangueno, Ilongo, Ibanag, Tausog, Waray, Bicolano, and many others. From the aforementioned classes of arnis-eskrima, they picked and adapted some techniques to blend into their own. In spite of the resourcefulness and progressiveness of the group, they did not deviate from the original style, in which arnis-eskrima was being performed mainly in long range method or “larga mano” as popularly known at that time. In “ larga mano” the players fought at a distance of about 2 to 3 meters from each other. “Garote y Daga” is performed in similar manner, except that this reguires, in addition to the garrote, the use of a wooden dull-pointed dagger.” In Eskrima Combatives FMA, we strive to promote both the The San Miguel Eskrima of GM Momoy Canete and the Corto Kurbada of GM Cacoy Canete encompassing the Doce Pares Orihinal. This is based on a conceptual perspective originating from several grandmasters and masters of the organization. In other words, in the San Miguel Eskrima, a list of grandmasters gives us this idea. The lists are as follows: Nongs Banoy Borja, Ben Culanag, Naro Mendoza, Jr. Mendoza, Kano Canete, Idring Casio, and Albert Sales. The first three are our main influenced, but mainly Nong Banoy. Thru the old or former students of GM Cacoy we experienced GM Felix “Tenciong” Gutang and the Mosqueda brothers Eric and Elmer.The latter started his training in 1959 thru the 80’s. There is also GM Vicente” Inting” Carin introducing his “Vicar Doce Pares”. I wish I would have spent more time with him. At the same time the method of Teodoro “Doring” Saavedra via GM” Ising” Atillo and Vivencio “Bebe” Paez; although, belonging to the Balintawak organization, the methods employed by the legendary fighter of the Doce Pares is probably the most powerful thru the stickfighting Bahad/Hagit-Juego Todo which is an orihinal Doce Pare’s method. When speaking of “Multi-Styles” is this a style of many? Or is it just a marketing ploy using a history of a club not many people have a clue of what is the original. In my study and findings of various people that I have met and interviewed, it seems a true depiction of the historical point of view is not totally correct. The most interesting facts gathered are from GM Cacoy, Nong Jovito Abellana, Nong Macario Atillo, Nong Vivencio “Bebe” Paez,Nong Demecrito “Kitong” Mendoza, Delfin Lopez, Jr. and the son of Teodoro “Doring” Saavedra, Lody and others etc... GM Cacoy who actually in my opinion is the only one that really knows the names of individuals in the old pictures of the Doce Pares Club, gave brief explanation of them. By getting an idea of the names of the people in the pictures, it reveals a certain story of the organization. Knowing various names reveals much information about the organization. Reading what’s available simply do not do justice in the accuracy of historical point of view. In our Doce Pares Orihinal, the development of the system is rooted in history alongside the Filipino culture. Not only is this but the diversity of adaptability tremendously emphasized with the various individuals’ contributions throughout the decades. Till today, I feel that this makes it a lifetime of research, in which I spent 10 years interviewing individuals and researching various written materials in the universities like University of San Carlos, Cebu Normal University and University of the Southern Philippines mainly in Cebu and also the Archives in Manila, linking written history to the fieldwork involved. This study based on the understanding of amalgamated concepts—a true scientific approach. When the Doce Pares Club was organized in 1932, many masters in the association continued to propagate their individual methods or brand of Eskrima. They are Jesus Cui, Canete Brothers (Yoling, Momoy, Cacoy), Benancio Bacon, Venturano Dilao and others just to name a few. In the Eskrima Combatives FMA, we strive to present the Doce Pares Orihinal System of Eskrima as how the founders envisioned it to be—A representation of different methods with emphasis in the fighting strategies and the concepts and principles of Eskrima, framing a complete system. 9-29-14 "TRAINING IN - Part II" and "TRAINING PHILOSOPHY & DEVELOPMENT - Part III" coming soon... 
This blog posting is months overdue. We've been busy training. We also lost a couple of living treasures in the world of eskrima, including Nong Tony Diego of Ilustrisimo Repeticion Orihinal, and more recently Nong Banoy Borja, our instructor's main instructor in the San Miguel System of Eskrima, Nong Momoy's Orihinal Disciples -- Depensa Seguidas Group (SMSOE, NMODE--DSG). This three-part blog was actually written prior to the unexpected passing of Nong Banoy. However, this piece will stay intact. We will proudly continue to honor Nong Banoy's training methodology and his teachings, as passed down from Grandmaster Momoy Cañete, and taught to us by Magtutudlo Ramon Rubia.
~LTT Transcending Conventional Eskrima: History Part 1 of 3 There is something missing in the legendary stories being marketed to the followers of the modern-day ‘conglomeration of multiple styles’ in eskrima. It’s curious that the stories of old are very limited in detail, right down to a very superficial level. Some even dare to modify their own history in the art in order to boost their name and recognition to a whole new generation of unsuspecting eskrima newbies. But people are keeping track. Perhaps the new people aren’t asking the right questions. The generic blueprint of the story being passed around the globe is the story that the Doce Pares Club was founded in 1932 in Cebu. Some Doce Pares-affiliated groups promote bits and pieces of the Club name inspiration involving the 12 guards of Charlemagne of France. They mention the involvement of the Saavedras and a couple of the older Cañete brothers, among others, and the eventual Club division which led to the rivalry with the Balintawak group during what we now refer to as the Golden Age of eskrima. There are plenty of black-and-white Club photos which can be freely found across the internet, with some recognizable faces and even fewer recognizable names of Doce Pares Club eskrima. The problem is that nobody is differentiating the methods of these oft-mentioned eskrimadors. Back in the day, Cebu was supposed to be the hub of eskrima. Eskrimadors travelled from all across the Philippines to duel with or train at the Club. Does anybody even care who these people are, or how they fought? The point that I’m trying to get at is that there doesn’t seem to be enough detailed history being told behind the story by these modern masters and grandmasters of eskrima. Grandmaster Urbano ‘Banoy’ Borja, or Nong Banoy, as Magtutudlo Ramon typically refers to him, is not widely known to the younger generations of people or those involved in learning Doce Pares eskrima outside of Cebu. Nong Banoy trained with GM Momoy and the Doce Pares Club in the 1950’s and 1960’s. He represented the Club in challenge matches with other eskrimadors. At the Doce Pares Club Branch #7 of Latophan, Toledo, Cebu, he was the Chief Instructor of his own group. The older Doce Pares Club members who were physically present during this time would know of this fact. When you mention his name to the older eskrimadors, they will most likely say that his combat judo was ‘very good.’ To be the Chief Instructor of any branch at the Club, for that matter, and carry a reputation especially for combat judo, was a big deal. It means that Nong Banoy actually used eskrima that worked effectively in combative situations, and his methods were teachable. It also helped that he was formally educated, held a good job with an international company as a driver, and speaks good English. These qualities helped Nong Banoy to articulate his deep knowledge of eskrima to the select few who have desired to go deeper into eskrima. Ramon introduced his senior students to Nong Banoy to personally train with him in Cebu. They’ve trained in what is called the Borja San Miguel System of Eskrima, which is part of NMODE--DSG and what we now call Eskrima Combatives FMA. It’s a unique system of eskrima that is not widely known or discussed. But, it’s an actual system developed from the teachings of GM Momoy to Nong Banoy. He was able to successfully apply these skills in matches as a representative of the Doce Pares Club. That means that his methods are battle-tested, and within them is a connection in the movement. We were all in Cebu when Ramon met him for the first time. I remember him describing the situation afterwards, as it had changed his life and global perspective about eskrima. He was pretty excited about the meeting and training. Nong Banoy now spends his days in western Cebu, performing the spiritual healing of others through faith, which happens to be the highest level attained in eskrima. In the meantime, Ramon continues the tradition of teaching eskrima in the old way, which we will discuss later. To be continued in Transcending Conventional Eskrima Part 2. Grandmaster Momoy Cañete, Doce Pares Orihinal, performing Corto Orihinal using stick and dagger. From the crossing sticks or 'bad-ay,' the counter of the abesedario, and controlling and then locking by way of Sera Todo. Credit of the video footage goes to Mr. Tony Jones. Explanation of the video is by Magtutudlo Ramon Rubia, our instructor in the San Miguel System of Eskrima, NMODE--DSG, part of Eskrima Combatives FMA.
Form versus Folly: Trying to Make it Functional
In a particular eskrima system that we do not train in, the San Miguel is nothing more than the name of a long form, which we are supposed to trust, so we're told. They try to use names of famous eskrimadors and their respective exploits in history to market this particular brand of eskrima to take money from the uninformed public. Their form is simply a collection of flowery movements that loosely resemble elements of the San Miguel System of Eskrima. Proponents of this other, ‘modernized’ eskrima system incorrectly state to their followers that the San Miguel is just a form - this is false. This form has even been known to be performed in seminars and large events to the sounds of ballroom dance music, like cha-cha or something, to make it look graceful and sweet. There are strikes mixed with fancy twirls, low crouch stances, and a bunch of other choreographed moves that are taught 'by-the-numbers' or counts of each move, strike, or step. Marketed as the 'final' form, the general public is ignorant to those who try to capitalize on this fantastic story being told. I personally find it boring to watch. The San Miguel ‘form’ is so long in duration, that the average person would quickly lose interest watching it being performed in its entirety. I can attest to this fact. At first glance, it’s seems like more of a dance, rather than something useful for a combative situation. Viewed in this way, the San Miguel ‘form’ looks kind of silly, and makes it hard to take the name San Miguel Eskrima seriously as an actual system, or rather, a strategy, depending on how it’s taught. A martial arts practitioner seeking to go deeper in eskrima could be turned away by the superficial, flashy tournament forms that were actually meant to attract new ‘believers.’ In fact, I’ve heard many times that people avoided training in this particular eskrima system because said practitioners look too flowery while striking, more like dancing, or even worse. In Doce Pares Orihinal - the San Miguel System of Eskrima (SMSOE) as taught by our instructor, Magtutudlo Ramon Rubia, each of the grandmasters had their own version of how the San Miguel is executed as a form. What that looks like depends on the decade in which they trained, taught, and fought for the Doce Pares Club. While there was an evolution from the 1950's through the early 1990's, at the root of it, San Miguel footwork enables the practitioner to move quickly while striking. Keep in mind that when we talk about mobility, in our view, this is not a simple boxing-style of footwork that shuffles or walks back-and-forth or side-to-side. By training in the ways of Nong Momoy’s Orihinal Disciples of Eskrima--Depensa Seguidas Group (NMODE--DSG), proper body mechanics is brought into play, and we learn to keep our balance when striking our opponents. We learn mobility from the classical teachings of the SMSOE in order to not get hit. In other words, the San Miguel footwork has a lot of variability in movement, while simultaneously allowing for continuous striking patterns. This translates to dictating the opponent’s movement in a fight, where they become ‘guided’ by reacting to your strategy in movement. Your understanding of this application enables you to become the 'puppet master,' pulling their 'strings,' creating opportunities and missteps with which to capitalize on. A sad truth, is that this could never be taught through the watered-down movement found in the modern ‘conglomeration’ of styles being marketed today. Instead, this is actually found in largo mano eskrima training, where you learn the ‘long’ and translate it to the ‘short.’ It doesn’t work the other way around. I’ve personally trained in elements of that particular system and occasionally attend seminars out of respect. But there are several differences in the ways that we train. They don’t teach that a fight is never stationary or what it means to have ‘proper’ body mechanics because they don’t train in the ways of utilizing movement as a strategy. These naysayers caught up with superficial things like ‘style’ are quick to criticize San Miguel Eskrima, because they haven’t gone deep enough into eskrima to understand it. They’re missing the bigger picture, or global view of fighting using the basic, classical eskrima principles found in the SMSOE. To relegate or dismiss the ‘old’ ways of moving and training as inferior to the ‘modern’ eskrima styles, is highly ironic. For years, Magtutudlo Ramon has been discussing the trainer-based method of learning that is taught in what we now call Eskrima Combatives FMA. If I jump on YouTube and search eskrima videos, I’m certain that a statistically significant number of videos will reveal that the trainer-based method is beyond the grasp or mentality of the people in the videos. This does not mean standing there in front of your trainee and throwing a ‘Number 1’ forehand strike and leaving your extended arm out there for them to attack you. You’re both standing there. A real fight is never standing still. That type of eskrima training is dead, with no purpose. The trainer isn’t conditioning a response in the form of a threat. Training with a 'one-armed bandit' doesn’t teach the give-and-take found in the trainer-based method of teaching eskrima. Simply feeding the angles in a static way, like the methods, becomes too predictable and unrealistic. I can easily imagine that military servicemen, law enforcement personnel, catch wrestlers and MMA guys who are looking to hone their impact weapons skills might take one look at this training and decide to look elsewhere. Taking the trainer-based approach to learning eskrima a step further, I believe that training in ‘live’ blade is the ultimate teaching tool. Magtutudlo Ramon is able to explain many of the nuances of live blade training, like using the bolo from the master bladesmiths in Leyte. This is not the same as using an aluminum trainer with a vinyl sheath or some padded stick used to simulate live-weapons training. This is the real thing, which throws all of the phony gimmicks and fancy moves-training out of the window. To take yourself to the next level, Magtutudlo Ramon teaches us that you have to go to the ‘edge’ and put yourself in harms way. I’m speaking personally because I know the pain of getting cut and being stitched up as a result of it. Live blade is not a toy, and requires a skill that is far beyond the average novice or intermediate who only trains in stick, let alone graduates away from trophies and medals. Following his extended travels throughout the Philippines, and having met many masters and grandmasters of eskrima, Magtutudlo Ramon Rubia was the first person Stateside to promote the ideas contained within the eskrima that he teaches, that ‘the truth is in the movement.’ This is a very profound statement, which is often duplicated, but never imitated properly. He teaches us that in the end, it’s not about style. It’s about the movement, and finding a connection in that movement. For these reasons, he teaches us to honor the Nongs, including Doce Pares Club Grandmasters Momoy and Cacoy Cañete, Nong Banoy Borja , Nong Ben Culanag, Nong Naro Mendoza, Nong Junior Mendoza, and Nong Mawe Caballero of Eskrima De Campo Uno-Dos-Tres Orihinal. Magtutudlo Ramon never fails to give any of them credit when showing their unique movements, their techniques, and sharing with us their words and mindset towards training. We are proud to be his students and to be recognized as such. We are reminded that if we continue to study the history of eskrima and its deeper aspects, certain truths will be revealed, especially if the prized information comes from outside the conventional or accepted circle of knowledge. The problem is, most people who have valuable information about eskrima pass it on through oral traditions, unsuspectingly allowing those who would capitalize on it to either publish articles or somehow take the information and use it to appear as if they are the authority on the matter. Like I’ve written before, it goes back to what we call the protocol, which in other words, means giving credit where credit is due. "THE AMARRA AND THE PANI-IL IN THE ANTAW, PART 2" Video featuring Magtutudlo Ramon Rubia of Eskrima Combatives FMA and Allan Tojino of Eskrima Combatives FMA, San Diego Chapter. Here we see the San Miguel in application of tactics and strategies, using footwork and strike-hit combinations through the Amarra methods. "You must have meaning when you move, specially doing the San Miguel. It develops the spirit in the fighting movements." - Nong Banoy Borja Informative read by Allan Tojino, our brother in training Eskrima Combatives FMA.
Here's the link: http://eskrimacombativesfmasd.com/ Click on "Notes" |
AuthorThis is my blog, a collection of thoughts on my journey in eskrima. Archives
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