"The Doce Pares Orihinal System of Eskrima Under Eskrima Combatives FMA" by Magtutudlo Ramon Rubia, Part I of III
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.
"TRAINING IN - Part II" and "TRAINING PHILOSOPHY & DEVELOPMENT - Part III" coming soon...
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This is my blog, a collection of thoughts on my journey in eskrima.