History of Eskrima

(Excerpted from Eskrima Kali Arnis by Dionisio Cañete)

Arnis, the only known traditional Filipino martial art, has its roots deep in the culture and history of the Filipino people. The exact date of its origin, however, remains unclear. Traces of historical evidence reveal that this manly art of self defense – involving the use a single stick, two sticks, a long and a short stick, a dagger, or some other blunt instrument had no doubt existed long before the arrival of the first Spanish colonizers in the country.

The first known Filipino hero, Lapulapu, was believed to be one of the foremost masters of arnis, which was known during that time in the native dialect as pangamut. In fact, Lapulapu had vigorously trained and prepared his men for “showdown” fights against his enemies long before his historic battle with Ferdinand Magellan on April 27, 1521, on Mactan Island. It was no surprise then, that when the first circumnavigator of the world tried to subdue the recalcitrant Lapulapu, who refused to come meet him in Cebu, Magellan and his men were met not with a hail of bullets but with wooden instruments, spears, and bolos. It was ironic that when the smoke of that epic battle cleared, the Spanish conquistadors more “modern” weapons were no match for the crude wooden arms of Lapulapu and his warriors. Magellan lost his life in that battle.

In the book De Los Delitos, printed in 1800 by Don Baltazar Gonzales in Madrid, Spain, the author tells that it may have been Datu Mangal, the father of Lapulapu, who brought the art of stickfighting to Mactan Island, and Sri Batugong and his son Sri Bantug Lumay who brought the art to the neighboring island of Sugbu (Cebu). Bantug Lumay was the father of Sri Humabon or Rajah Humabon. Humabon was the chieftain of Sugbu at the time when Megellan arrived in 1521.

The tribes of Lapulapu and Humabon were part of the Sri Visayan Empire in the 14^th century. After the empire was defeated by the Maja Pahit Empire of ancient Sumatra and Borneo, the tribes became part of a group who eventually settled in the islands of the Visayas in the central Philippines. Another group of those Sri Vasayans, which included the tribes of Datu Puti and Datu Sumakwel, went out and settled on Panay Island.

Lapulapu, even before his momentous meeting with Magellan, had been training his men because of his bitter rivalry with Rajah Humabon, whom he accused of having grabbed a portion of his father’s land, particularly the sea area between Mactan Island and Cebu. The feud between these two local chieftains contributed significantly to the early development of the “old” arnis. Lapulapu and Humabon’s showdown clash, however, was never realized. Rather, it was in the battle of Mactan where the native martial art was put to a real test against the modern weapons of the foreign invaders.

Thus, when Miguel Lopez de Legaspi landed in the Philippines and established the first settlement in 1565, he and his men noted that the Filipinos were in a class by themselves in the arts of stickfighting and swordfighting. Yet it was not until the 19^th century that arnis gained popularity among the Filipino citizens. The rapid growth was attributed largely to the rules imposed by the Spaniards prohibiting the display and carrying of bladed weapons. As a result, the people concentrated on mastering arnis using rattan or a piece of hardwood known as bahi, kamagong, or oway. Also, by disguising their training as stage plays, dances, or dance movements such as the moro-moro, the Filipinos were able to continue their training in arnis with the use of bladed weapons known as kali. A kali is a type of broad sword still popular among the Filipinos today, particularly the Muslims.

Due to the Spanish influence this Filipino martial art came be known as arnis de mano, which derives from the Spanish word arnes, meaning “trappings”, or“defensive armor”. It also acquired namesakes such as estokada, estoque, fraile, armas de mano, or simply arnis. Among the Tagalogs, it is known as pananandata; to the Pangasinan natives, kalirongan ; to the Ilocanos, didya or kabaraon; to the Ibanag, pagkalikali; to he Pampagenos, sinawali; and to the Visayans, kaliradman or pagaradman, or later, esgrima or eskrima.

The word eskrima is derived from the Spanish word esgrima which means a “game between two combatants with the use of blunt instruments”. The name of the stick use in eskrima, made either of rattan or hardwood, is called either olisi, garote, or baston.

“United World Serrada Escrima Federation”

WHAT IS ARNIS KALI ESCRIMA

Kali, Escirima, and Arnis are martial arts native to the Philippines. Includes knowledge of using various weapons. Arnis are defense systems of the northern Philippines, central Escirima and southern Kali. Accordingly, each has a local nature. If we start from here; Escrima were systems used on the central islands via Manila and on the Mindanao side of Kali. However, despite all this, differences could be observed in the style of each village, even each master. More importantly, units such as Illistrismo, Cabbellero or Cabales are important in terms of these arts.

HISTORY :

Kali is an older art than Arnis and Escirima. And it is more comprehensive in terms of the techniques it contains. Escirima and Arnis was revealed as an advanced technique with its streamlined and simplified structure that the Filipino people could use to defend against Spanish invaders. If Kali; It is known as the art of heroes, that is, superior warriors. Accordingly, Escirima and Arnis became a system used by soldiers.

EDUCATION :

While Kali systematizes the applications that can be made to the human body in 12 different regions, these regions vary between 8 and 9 in Escirima and between 4 and 6 in Arniste.

WEAPONS USED:

• Single stick (or long dagger) • Double stick or sword • Long and short and dagger • Single dagger • Double dagger • Palm tree-based stick / double-edged dagger • Bare hand combat (fist, kick and catch) • Spear / Stick , long weapons ( ambidextrous weapons ) • Weapons that can be bent and bent ( whips etc. ) • Throwable weapons • Weapons with bullets ( types of bow weapons; archery, etc.) • Healing methods (traditional medical arts)

At first glance, it is seen that Kali is a knife art and Escirima and Arnis are an art of using sticks. These arts have become the subject of discussion of their practitioners and schools.

The greatest feature of these arts is their excellent use of geometry. Lines and angles are of great importance in attack, defense and movement. Besides; The independent use of hands or the simultaneous practice of two different methods of hands and feet is a skill that can be achieved at high levels after long exercises.

Philippine styles do not classify attacks by weapons. The body separates according to the direction of its energy. For instance; an attack on the head is analyzed in terms of high lateral attack. A fist attack on the abdomen is equated with a knife attack on the same area, and the direction of the energy is adjusted. Students learn to deal with the energy of the attack. They then adapt this information to weapons of various lengths and types.

Students learn to use bare-handed techniques with various weapons in the future. This system generally makes every weapon usable.

In the Philippine martial arts, the emphasis is on footwork, mobility, body and positions. The same concept; Angles of attacks, deflections, traps, passes and others apply to similar situations in different orders. It is important to understand the sequences and apply the transitions between them.

By taking advantage of geometric shapes and integrating them into combat positions and movement combinations, the Filipinos have succeeded in turning the positions and movements of the fighters to their advantage. Some styles use sharp blocks and kicks (as in Wing Chun), while others try to get as deep into it as possible. It has systems that vary according to the student’s ability.

Most of the Philippine arts, but especially Kali, is a complete mastery of disarming an opponent. This is not usually done in a gentle way. It leads to results such as breaking the arm or dropping the weapon in hand.

Many of the Philippine arts are still learned by the secret services of some countries. In addition, Philippine arts stand before us as one of the greatest examples of human intelligence in terms of defense systems.

like…) • Healing methods (traditional medical arts)

At first glance, it is seen that Kali is a knife art and Escirima and Arnis are an art of using sticks. These arts have become the subject of discussion of their practitioners and schools.

Students learn to use bare-handed techniques with various weapons in the future. This system generally makes every weapon usable.

Many of the Philippine arts are still learned by the secret services of some countries. Also Philippine arts, defense systems of human intelligence

stands before us as one of the greatest examples of

FMA TECHNICAL TERMS

These names, which are frequently used in Philippine Martial Arts, are the common nomenclature of many systems. FMA TECHNICAL TERMS

These names, which are frequently used in Philippine Martial Arts, are the common nomenclature of many systems.

DİSTANCES:

-Corto : Close Distance -Medio : Medium Distance -Largo : Long Distance

– BARAW : Knife fight (FMA is one of the popular fights

DUMOG : Ground fighting, grappling (FMA is very popular in some systems. Even these fights are done with tools. But it is not common enough.

The reason is FMA’s don’t like to stay on the ground. The most effective solution is to stand

PANANTUKAN (other names of Panutukan-Suntukan): It is the general name of handcrafted without tools. It is also expressed as Philippine boxing.

TADYAKAN (Panandyakan-panandiyakan): It is the general name of kicks. In many systems of FMA, there are foot kicks based on destabilization of the altitude below the waist.

–ESPADA Y DAGA: It means Blade and Wedge. It has effective works to deceive the opponent. All these studies increase responses in acquisition.

GUNTING : It means shearing, neutralizing the joint areas or finding results with the method of pressure on the joints

LARGO MANO: It means wide or long hand. It is also expressed as the name given to the principle of working with long stick sizes, which are accepted by the systems.

SUMBRADA : It is called reciprocal work, when one is attacking, the other is meeting.

–HUBAD-LUBAD (Hubud-lubud): In instrumental studies, it is called the displacement of objects.

–CADENO DE MANO : It means chained hand. It is a nice work that helps to find results by moving the hand vertically or horizontally.

SİBAT BANKOW : Long stick

-LOCK AND BLOCK : It means blocking and locking. (It is the work name frequently used by Serrada Escrimatists.)

–SERRADA : It means to move close.

-ESCRİMA: It means collision, collision, crease.

ARNIS DE MANO: It means mastery of handicrafts.

KALİ: Derived from Kal, it is expressed as one of the Kalis (one of the FMA swords) in which the word KALI is used over time.

FMA some pronounce the word KALI as the name given to the gods of war in botanical Asian countries.

FMA has been used very little as a name. Many systems have given generalizing names.

Expressions vary regionally. The above are the common expressions frequently used in FMA and the most common ones.

It includes differences in today’s life with the forms of education passed from father to son.

Techniques differ with the warrior nature of the trainer.

“DEAD MAN TALKING” CHRONICLES OF LEGENDARY STICK- KNIFE FIGHTER GREAT GRANDMASTERANGEL O. CABALESBy Otto Watt

(l-to-r) SGM Angel Cabales & Grand Master *D*/1987Grandmaster *D* has over {40} + years of actual training in the field of martial arts. The combat arts that he has studied includes Kajukenbo, Chinese Kempo, Thai Boxing, Tai Chi Chuan, Western Boxing, Kali and the fine art of *Serrada Escrima* as personally taught to him by the late *Supreme Grand Master Guru Angel O. Cabales. Regardless of your skill level, style, experience or previous training in the pugilistic weapon or “empty-hand” arts…Grandmaster *D* thoughtfully, and thoroughly guides, and personally teaches you this “beginner to expert” stick-knife and empty-hand training program. The time worn notion that all students must train for 3 to 6, or even 10 yrs., is a misnomer, and, is a thing of the past. By extracting the essence of Serrada Escrima and combining it with his over {40} + years of martial arts expertise…You are presented with an “eclectic” modern day style that will give you the decisive edge in the absolute art of streetwise combat. With Grandmaster D, “It’s all about superior quality of service.” Serrada Escrima is not only based upon technique, but also, on theories, and concepts that were developed and refined throughout many years by SGM Guru Angel Cabales himself.

SGM Angel Cabales learned the rudimentary foundation of the Filipino art of escrima from his mentor, “Dequerdas” Sr. Grand Master Guru Felicisimo Dizon. Grandmaster D, began studying Cabales Serrada Escrima back in 1984 in Stockton, California. With several years of genuine combat experience already underneath his belt, GM D, knew instantly that after having witnessed SGM Angel Cabales in actual combat action, he was indeed a genuine weapons ‘Master’.

Grand Master Angel Cabales Merges With GMD’SFilipino Kali/Escrima Association 1984SGM Angel Cabales once said to GM D, that his intentions were not to inflict upon him his particular style of martial arts; but rather to demonstrate & to teach him some effective tactics that he could use to make his ‘own’ style of martial arts even more applicable & even more effective. SGM Angel Cabales also said to GM *D*, “Any student whose primary focus is to be a carbon copy of his teacher is doing themselves a great disservice. No one can be exactly like the teacher and still retain their own personal identity. “In essence, the ‘Cabales Serrada System of Escrima’ was designed as a method of personal self-discovery, and for self-transformation of the soul. In this hands-on learning system, SGM Cabales called the highest level of martial arts achievement “presence of mind” or “spontaneous intelligent reaction”. Around 1986-87, GM *D* arranged, and introduced GM Gura Graciela Casillas to SGM Angel Cabales, thus,is where she began her transformative stages of training within the field of Cabales Serrada Escrima.

(l-r) Great Grandmaster Angel Cabales & GM Gura Graciela Casillas
“When a person is seriously engaged in close-quarter combat, there is no time for thinking, feeling, choosing or judging what is occurring from moment-to-moment.” Here’s how SGM Guru Angel Cabales put it. On June 3, 1990, GM D traveled to SGM Angel Cabales’ home in order to conduct a very special interview on him. Although GM *D* had spoken to SGM Cabales many times about his style of fighting, he was always reluctant to ask him about his death matches. SGM Angel Cabales told GM D, that escrima death matches were an integral part of the ancient warrior code & traditions of the Philippines. “To willfully test one’s skills in an actual match to the death is the ultimate test of true fighting skill and indomitable courage”.

(l-r) GRANDMASTER D & GREAT GRANDMASTER ANGEL CABALESSGM Angel Cabales added, ” Whenever you are engaged in mortal combat you must forget about all of the antics of your opponent. One must not worry about things like how big or strong or how great your opponent’s reputation or image is. One must remain calm & cool, but as alert as possible and strike the enemy down with certainty, accuracy, and with overwhelming pinpointed, and strategic execution of overriding power.” SGM Angel Cabales insisted that in order to survive in any life or death encounter, you must bypass all negative and positive conflicts. Any type of conflictuality constricts the natural energy flow, or ” the presence of mind” of a person. Freezing in the midst of a life or death encounter can be very fatal. It is only in a natural state of mind that one can effectively defend himself against myriad of attacks.
SGM Angel Cabales taught GM *D* that obtaining high levels of rank or degrees should never be the primary focus of a martial arts aspirant. Instead, a practitioner should focus upon the fundamentals & upon the metaphysical ingredients that lie behind all external formulas for combat fighting.
According to SGM Angel Cabales, no level of rank could ever equate with the raw courage and skill that is latent within the hearts, bodies, and the minds of every human being. A real warrior works from a position of practicality, and begins the process of becoming a master craftsman by using whatever personality & circumstances he/she is in at the time. To SGM Angel Cabales, befriending and assisting a person with the elevation of their mind was his greatest and highest achievement award within his lifetime. The ‘Cabales Serrada System of Escrima’ was designed for thinkers, and for all those who are seeking a supreme martial arts type of lifestyle. The art of Serrada Escrima as developed by SGM Angel Cabales entails many aspects of the art of combat. “In order to make my art of Serrada Escrima serve the present time, we only have to assemble or reassemble my art into its fullest dimensions scientifically, and then my students have to bring to life my art of Serrada Escrima, and then make it their own.” SGM Angel Cabales stated that his style of fighting could not fail him in any combative encounter. In SGM Angel Cabales’ mind his art could never fail him because he always thought in a completely positivist way when it came to close-quarter-combat-fighting. SGM Angel Cabales was not afraid to engage in actual hand-to-hand or weapon-to-weapon encounters. The Serrada System of Escrima as taught by SGM Angel Cabales was very people oriented. SGM Cabales was not only the first escrimador master to open a commercial escrima academy in America, but also! like the legendary Bruce Lee; he was amongst one o the first Filipino masters to teach outside of his race. A good example of this are the top three African American master graduate students that Cabales personally taught escrima to; Professor Sultan Uddin, Master Jerry Preciado, and SR. Grandmaster D.

(l-to-r) GM Jim Mather, SGM Angel Cabales, Grand Master *D* & Professor *Sultan Uddin* GM D Awards Master Angel Cabales The Official Title: Of Grand Master/ 1985-86

Finally, Angel Cabales believed in the eternal goodness of man. Even when the usurers were closing in on him, he still had faith in his ‘Serrada System of Escrima’.. After several years of practicing, and promoting the “Cabales Serrada System of Escrima” worldwide; GM D still continues to discover hidden clues & further meaning that has unearthed some of the deepest secrets of the “Angel Cabales Serrada System of Self-Defense”. It’s these time energy-releasing secrets that continue to propel GM D upon an ” Endless Journey ” of self-discovery & further development within the area of close quarter combat. In a follow-up interview in early 1990, just prior to SGM Angel Cabales’ death, GM D asked the ‘Supreme Grand Master’ who he felt his top Serrada Escrima student (s) were; In a proud voice he said; “All of my students are top notch students.”