tag:blogger.com,1999:blog-94238492024-03-06T20:58:36.677-08:00Stickman's Escrima BlogStickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.comBlogger282125tag:blogger.com,1999:blog-9423849.post-14986247162702994652023-05-03T21:30:00.001-07:002023-05-03T21:30:33.343-07:00<p> </p><p style="line-height: 100%; margin-bottom: 0in;">The Immersion Lab Difference</p><p style="line-height: 100%; margin-bottom: 0in;">
Seminars have become an established feature in the modern martial
arts landscape, particularly in the West, and come in a variety of
flavors ranging from one-day single instructor courses to all weekend
multi-instructor sessions. The purpose of these is generally to
expose students to new ideas and techniques without the commitment of
time and expense of weeklong camps. Some events are dedicated to one
particular style or system and generally cater to those already
studying that art and might connect material presented to rank
requirements and promotions.</p>
<p style="line-height: 100%; margin-bottom: 0in;">Events presenting
multiple styles are more likely to have to limit time available for
each presenter. A criticism often raised is that instructors, given
the time constraints, cannot focus in depth and so will often focus
on flashy techniques or drills which may be short on practicality and
are all too often forgotten by participants soon after the event has
passed. Two day events alleviate this somewhat by stretching an event
over the weekend, but if there are multiple sessions occurring
simultaneously, students might have to choose what catches their
interest, and this can lead to cliques sticking together with what's
familiar rather than experiencing new and different perspectives.</p>
<p style="line-height: 100%; margin-bottom: 0in;">The Immersion Labs,
seminar extensions of The Immersion Foundation, take a somewhat
different approach. First a word about the Foundation itself. The
Immersion Foundation is dedicated to hoplology, the study of weapons
and related fighting arts, both historic and current.
</p>
<p style="line-height: 100%; margin-bottom: 0in;">The term hoplology
was created by Sir Richard Burton in the 19th century, popularized in
the 20th century by the late great Donn Draeger, and now
reinvigorated in the 21st century by the Immersion Labs.</p>
<p style="line-height: 100%; margin-bottom: 0in;">Donn Draeger was a
prolific author and promoter of the martial arts, a WWII U.S.
serviceman who lived for many years in post-war Japan and became one
of the highest ranking Westerners to train in several of their arts.
His goal was to propagate martial arts not only through actual
training but to establish an intellectual framework for studying and
contrasting arts from different cultures around the world. To this
end he organized expeditions every few years to visit various
countries, to discover and research martial systems often hidden in
obscure byways. In doing so he was a pioneer in establishing
connections between living systems of the Far East with audiences in
the West.</p>
<p style="line-height: 100%; margin-bottom: 0in;">The Immersion
Foundation is the brainchild of Mahipal Lunia, who himself has lived
in several countries and holds serious rank in a number of martial
arts. Following the example of Draeger, he has organized trips to
various countries to find and record indigenous martial arts. To this
end he has enlisted traveling companions ranging from martial art
masters to university professors and videographers, to record and
study the styles encountered on these expeditions. This process of
documentation goes on long after the expeditions end, with further
collaboration and research geared towards publication. One such
research associate is Michael Belzer, who as a junior associate of
Donn Draeger in Japan was invited along on a month-long expedition
through the jungles of Malaysia and who now, as curator of many of
Draeger's original notes and writings, is sharing those archives with
the Foundation.</p>
<p style="line-height: 100%; margin-bottom: 0in;">The Labs are the
flagship public face of the foundation; starting in 2018, there have
been four Labs so far, with a covid-related break in 2021-22. These
are three day events, each designed to showcase the chosen arts
around a central theme. Stretching 10-12 hours over each day, the
10-12 instructors each get several hours of undivided attention from
the limited enrollment of just 25 participants. In keeping with the
thematic relationships between these arts, the instructors are also
participants in each other's presentations, embracing the sense of
cohesion and camaraderie through the weekend.</p>
<p style="line-height: 100%; margin-bottom: 0in;">As perhaps the only
person, besides staff, who has been at each of the four Labs (I've
been invited as the sole vendor as well as participant) I've
witnessed some of the finest presentations by top martial artists
from around the world: from the Philippines, Malaysia, Indonesia,
Thailand, Cambodia, Japan, South Africa, northern Africa, Mexico, the
Caribbean, South America, Spain, Portugal, Italy, as well as
representation from legendary academies from Hawaii, Stockton, Los
Angeles and more.</p>
<p style="line-height: 100%; margin-bottom: 0in;">Lab 1, <i>Legacy of
the Blade</i>, was organized around knife and sword from various
countries, with a strong though not exclusive nod to FMA (Filipino
martial arts). Lab 2, <i>Stickmata</i>, focused specifically on stick
fighting arts. Lab 3, <i>Born of Blood</i>, featured arts from the
S.E. Asia archipelago and Pacific islands while Lab 4, <span style="font-variant: normal;"><span style="color: #050505;"><span style="font-family: Liberation Serif, Times New Roman, serif;"><span style="font-size: small;"><span style="letter-spacing: normal;"><i><span style="font-weight: normal;">Holy
Blood, Holy Blade</span></i></span></span></span></span></span><span style="font-variant: normal;"><span style="color: #050505;"><span style="font-family: Liberation Serif, Times New Roman, serif;"><span style="font-size: small;"><span style="letter-spacing: normal;"><span style="font-style: normal;"><span style="font-weight: normal;">,</span></span></span></span></span></span></span>
explored the influence of Spanish sword within many arts from around
the world.</p>
<p style="line-height: 100%; margin-bottom: 0in;">With generous time
allotments, each teacher is able to begin with an historic overview
of their art and its underlying principles, including demonstrating
basic concepts, before taking students into hands-on practice. Given
the high experience level of most participants, each session tends to
move smoothly, and the generous time allotments mean material can be
covered with a degree of detail not often found outside of academies.</p>
<p style="line-height: 100%; margin-bottom: 0in;">As mentioned, Lab 4
was designed around the influence of Spanish sword on various arts
from around the globe, some of which were quite new to most
participants. Here are several brief examples from this most recent
event, highlighting both the diversity and relationship between arts
presented over the weekend:</p>
<p style="line-height: 100%; margin-bottom: 0in;"> Adam Myrie
opened with an intriguing taste of North African Barbary
sword-and-shield, a sophisticated style of combat that helped
establish the reputation of Islamic warriors;
</p>
<p style="line-height: 100%; margin-bottom: 0in;"> Mushtaq Ali
book-ended the weekend with an equally esoteric presentation of Moro
spear and shield as well as kampilan from Mindanao, which far
exceeded anything I'd ever seen regarding use of that latter weapon;
</p>
<p style="line-height: 100%; margin-bottom: 0in;"> Joaquin Marcelo
ran a brilliant session on the influence of Spanish fencing in modern
JKD;</p>
<p style="line-height: 100%; margin-bottom: 0in;"> Hollywood
actor, trainer and stuntman Anthony DeLongis brought a room full of
absolute novices to a level of safe competency with bullwhips that
few in the room would have imagined.
</p>
<p style="line-height: 100%; margin-bottom: 0in;"> Mahipal Lunia
and Dexter Miksch, for the first time by any of James Keating's
students, unveiled techniques for the American bowie knife in a
distinctly unique approach that differs from almost anything else
presented about that blade.
</p>
<p style="line-height: 100%; margin-bottom: 0in;"> The entire list
of teachers was equally impressive (and I've posted a link below to a
more specific review). As different as each was from another, all
were able to capture the essence of their respective arts within the
common theme.</p>
<p style="line-height: 100%; margin-bottom: 0in;">To summarize the key
points:</p>
<p style="line-height: 100%; margin-bottom: 0in;">1) 30-40 hours of
training over 3 days, allowing for a deeper dive;</p>
<p style="line-height: 100%; margin-bottom: 0in;">2) Renowned
teachers from across the globe coming together to share rare and
unusual arts;
</p>
<p style="line-height: 100%; margin-bottom: 0in;">3) Limited
enrollment for a high teacher-student ratio;</p>
<p style="line-height: 100%; margin-bottom: 0in;">4) Historic and
cultural overviews of the arts presented;</p>
<p style="line-height: 100%; margin-bottom: 0in;">50 Hoplology, as to
how various weapons evolved within different cultures and
environments</p>
<p style="line-height: 100%; margin-bottom: 0in;"><br />
</p>
<p style="line-height: 100%; margin-bottom: 0in;">Immersion Lab #4:
Holy Blood, Holy Blade review on Martial Myths' page</p>
<p style="line-height: 100%; margin-bottom: 0in;"><a href="https://www.youtube.com/watch?v=_Ljzm4sG4jI">https://www.youtube.com/watch?v=_Ljzm4sG4jI</a></p>
<p style="line-height: 100%; margin-bottom: 0in;"><br />
</p>
<p style="line-height: 100%; margin-bottom: 0in;">Michael Belzer's
review on Facebook</p>
<p style="line-height: 100%; margin-bottom: 0in;"><a href="https://www.facebook.com/michael.belzer.3/posts/pfbid06mKxZvvnxK1XzG2FfEAR98vP37Ds2xWEBPXo9XuDsMH1KJ1EU6hxrFA4MtaBL8E3l">https://www.facebook.com/michael.belzer.3/posts/pfbid06mKxZvvnxK1XzG2FfEAR98vP37Ds2xWEBPXo9XuDsMH1KJ1EU6hxrFA4MtaBL8E3l</a></p>
<p style="line-height: 100%; margin-bottom: 0in;"><br />
</p>Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-87101137997633382662021-02-06T11:45:00.001-08:002021-02-06T11:45:48.070-08:00<p><span style="background-color: black; color: white;">SECRETS OF RATTAN</span></p><p><span style="background-color: black; color: white;">In the interests of preserving this info, I'm re-posting it again. I know a number of FMA practictioners who have used this information over the years for their own sticks or even for production.</span></p><p><span style="background-color: black; color: white;"><b><i><span style="font-family: Arial;">The article below is one that I posted on the Eskrima Digest sometime in the mid-1990’s. I’m sure if you do an archive search there for Stickman you will find it. This information has been posted on other sites over the years, so I didn’t bother posting it myself. I gave this info out because I was moving away from doing rattan and focusing on developing synthetic sticks. I was the first person to successfully market those, and it was years before others began cloning my products in those styles. I still get orders for rattan from time to time, though, and so I keep a hand in doing these. </span></i></b></span></p><p style="margin-left: 0in; margin-right: 0in;"><b><i><span style="background-color: black; font-family: Arial;"><span style="color: white;">I’ve eliminated a step or two along the way, mostly the oven burning. I’ve got to the point where I can monitor the wood coloration closely enough with just the propane torch that I don’t feel the bake stage is as important. The danger of over-drying the wood by baking is it will splinter quickly. I also no longer burn or “candle” the ends because I have a way of cutting the sticks that leaves a hard glazed darkened surface on the ends already, which I think looks even better. The end burn is cosmetic for those without the equipment and technique to do this. These days the glaze cut is a signature for my rattan. <o:p></o:p></span></span></i></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><i><span style="background-color: black; font-family: Arial;"><span style="color: white;">Since the glaze cut is also accurate for a square angle, I don’t need to flatten the end on the disk sander. Consequently I’m using a bench grinder with a Scotch-brite wheel to round the edges and smooth the nodules. They’re a lot more expensive than disk sandpaper. I wish they lasted longer! The advantage is a nice finish with less chance of gouging out the wood.<o:p></o:p></span></span></i></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><i><span style="background-color: black; font-family: Arial;"><span style="color: white;">BTW, I STILL have and use my two 6’ rattan bo staffs from 1986! Rattan might blow up from absorbing power in shorter lengths, but it’s a great wood in longer sizes.<o:p></o:p></span></span></i></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><i><span style="background-color: black; font-family: Arial;"><span style="color: white;">Jeff “Stickman” Finder, Feb. 2, 2006<o:p></o:p></span></span></i></b></p><p style="margin-left: 0in; margin-right: 0in;"><span style="background-color: black; font-family: Arial;"><span style="color: white;"> <o:p></o:p></span></span></p><p style="margin-left: 0in; margin-right: 0in;"><b><u><span style="background-color: black; font-family: Arial; font-size: 16pt;"><span style="color: white;">Secrets of Rattan<o:p></o:p></span></span></u></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">I got my nickname "Stickman" from supplying rattan to many Stockton escrimadors about 10 years ago. Since I don't make much rattan anymore, I might as well pass along some of my secrets. You can quickly see why making good rattan sticks is labor intensive, but the results will, if done properly, be worth the effort. The steps are simple, but there is a lot of technique in doing it right. A very Zen exercise, actually, as loss of focus at any stage can ruin a "perfect" stick.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">First, I cut it to the length I want. I then grind the ends flat on a disk sander, then bevel the edges to eliminate sharp edges and prevent splintering. Next I sand down the nodes until they are smooth, again to prevent splintering. This involves angling the side of the stick against the rim of the sanding disk; an improper angle will gouge into the wood and the stick must be turned constantly to avoid flat spots.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">After the sanding is done, I use a propane torch to bring the oils to the surface of the wood. Again, the stick must be kept in motion to avoid burning it, and hot pads are used because the stick can get very hot and retain the heat a long time. I will usually bring the oils up on one half of a stick, then put on my burn pattern, before switching ends and doing the other half. I like a "leopard spot" pattern, which involves darkening patches of the wood. It is imperative to keep the stick moving, and as soon as coloration begins, to get off the spot. One can see poor burn technique on most commercial sticks. In the burnt area there will be little blisters or holes in the skin where the oils popped from the heat. These weaken the wood from over-drying. A little color is better than too much. One trick for burnt areas, also good for the sanded nodes, is to rub the oil from your nose onto the wood (you can use your fingers; this is as fine a grade of natural oil as sperm whale oil, the finest grade sought by old-time whalers. Also good for repairing scratches in furniture, musical instruments etc., or defogging your glasses).<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">During this stage, I also like to burn the ends of the stick. I will basically light the end like a candle, then keep turning it to prevent deep burns, finally blowng it out.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">Another burn pattern, called "tiger stripes", can be done by rolling the sticks across an electric stove element. I learned this one from Sonny Umpad. Some Hawaiian escrimadors I trained with would throw their sticks on the bbq after cooking their meat, to bake the wood and get their patterns off the grill. Reversing the stick angle can give a cross hatch pattern).<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">After this stage, I bake the sticks in an oven at about 375 degrees for 10-15 minutes. It is important to monitor the sticks constantly, so they don't over-bake. During this process, steam will come out of the end of the stick (you may see some of this with the torch as well). As soon as the steam stops, the stick is done! Sometimes one end will finish before the other; let the dry end stick out of the oven. I like to pull the sticks out and tap the ends on tile. A wet sound means "not finished". As soon as it has a crisp click, it's ready. By constant monitoring, the sticks get moved and turned, so they don't overbake on one side or one end.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">If a stick is crooked, straighten it out while still hot. I just lay it on the floor and bend the other end up (using hot pads). As it cools, the stick will retain the adjustment. A properly heat treated stick is essentially hollow; you can blow on one end and feel warm breath come out the other end! The again, an over-dry stick will do the same . . .<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">Finally, when the stick is warm, I rub it down with the bone. You can hear little crackles as parts of the wood or skin compress. Finally, I buff the stick out on a buffing wheel. This gives it a good shine, spreads the natural oils evenly, and improves the adhesion of the grip. It feels much nicer than lacquer and will give off the familiar "burning" smell during training.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">These, then, are my 7 steps: cut, sand, burn, bake, bend, bone, buff. Using this process, I've had some rattan last for years, such as my bo staffs made in 1986, which I still use for contact drills, with no splintering. The biggest problem is over-drying; that'll kill a stick quickly. A "perfect" stick is rare; I usually can spot my blemishes, but done right, these will last as well as can be expected for rattan.<o:p></o:p></span></span></b></p><p style="margin-left: 0in; margin-right: 0in;"><b><span style="background-color: black; font-family: Arial;"><span style="color: white;">BTW, one reason to train with power is to get used to handling it, a point well emphasized by the Dog Bros. I can finesse lots of my students, but when a big strong guy comes along, I either handle it or not, and that is experience. I'm not saying power is necessary to deal with power, but if you haven't felt it (or haven't worked with it recently) it can be a rude surprise. Again, really well prepared rattan should handle power, though obviously not as well as other materials such as certain hardwoods, plastics or metals.</span></span></b></p>Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-27438934610296837992020-06-19T10:57:00.000-07:002020-06-19T10:59:33.326-07:00Espada y Daga positionsThe late Decuerdas GM Art Gonzalez used to talk about the emotional
value of different positions – defensive, offensive, etc. In that
vein, I’m again thinking of espada y daga, especially if one is
confronted by multiple opponents.<br />
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 100%; margin-bottom: 0in;">
In a typical
right-hand, right lead position, a stick or primary weapon would be
in that front hand, a knife or backup weapon in the left, guarding
closer to the body. The purpose of the longer lead weapon is to
maintain distance and keep opponents at bay, while the purpose of the
retracted secondary weapon is to punish anyone who gets inside that
perimeter. As such, this is a more defensive posture (as in mindset,
not a static pose).
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 100%; margin-bottom: 0in;">
A left lead, on the
other hand, is more aggressive. That brings the shorter weapon into
a more active countering range, where it and the lead hand have
overlapping reach and the ability to coordinate and cover each other
more effectively. The attitude there is “come in if you dare”, as
an opponent will be facing both fangs at once, not as much
sequentially. A savvy opponent will note such thing, but which can
change in a split second. Footwork can fix
many problems such as distance and angle, as well as hide intention and probe to set up an opponent.</div>
<br />
<br />Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-46127981365041890482018-02-21T14:28:00.000-08:002018-02-21T14:28:32.302-08:00Lefty vs RightyTraining left-handed fighters in a predominantly right-handed world is a topic of endless conversation, particularly when it comes to weaponry. My teacher, grandmaster Angel Cabales, said to just teach lefties with the stick in the right hand to keep things simple. I've had many left-handed students over the years, and what I tell them is the weaker right hand will gain strength and coordination while their strong left hand will become proficient in checking, joint locking, disarming, etc., and for the most part that works. As Angel put it, each hand develops specialized skills, so neither is ignored. On the other hand, his son Vincent (and some other instructors in Serrada) teach left-handed students to use the weapon in their stronger hand, which may be simpler for them at the beginning but creates complications down the line. This debate is as old as military formations, where one person in line who is not in conformity with the rest not only stands out like a sore thumb, but in the old days of shield lines could create a dangerous gap for the enemy to break through. Even today in rifle drills and marching formations, everyone is expected to be on the same page. <br />
<br />
I've seen similar debates when it comes to things like teaching guitar. There is no particular reason a left-handed guitarist needs to flip the instrument upside down, usually requiring modification of the instrument's bridge and restringing. One hand simply learns the fingerboard, the other how to strum or pluck; simple. It's exceptionally rare to find someone like Jimi Hendrix who could truly play ambidextrously regardless of how the guitar was strung.<br />
<br />
Now in many FMA styles such as Serrada, there are drills such as lock-and-block or numerado where one training partner feeds strikes with either hand while the other practices counters, as well as double stick sinawallis which ostensibly train us to deal with an attack to either side of our body. That's all fine and good, but when it comes to sparring with weapons, it gets more complicated. Many are familiar with what the Inosanto/IMB folks call the "box drill" or sumbrada, a counter-for-counter exercise which, as far as I know, was introduced in western FMA practice by Angel Cabales. It is a symmetrical flow drill where each partner essentially is doing the same pattern, albeit 180 degrees out of sync. This teaches the shortest, most efficient counter to certain basic strikes, though at more advanced levels it becomes free flowing and any counter can be used. However, if one partner is left-handed and the other right-handed, this symmetry no longer exists and the pattern is irrevocably broken. As far as I can tell, there is no easy way to reconcile the two opposing sides, though it is possible to create and practice it as an asymmetrical exercise.<br />
<br />
Recently two new students began training with me. One of them was born without a right hand, while the other is decidedly right-handed. This introduces the complexity of opposite handedness right at their fundamental level of training. While I can certainly go lefty myself to teach that individual, it is certainly more difficult for them to learn to practice together, especially as the right-handed one will have to learn twice as much as usual in the earliest stages. We're a long way from introducing them to counter-for-counter sparring, but I've already put some time into figuring out how that will work. Frankly, it's harder than the basic symmetrical drill, and will certainly create extra challenges if and when they reach that point in training. Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-29763996266279943472017-09-16T12:08:00.002-07:002017-09-16T12:09:14.939-07:00Cross-stepping in Serrada Escrima?<div style="line-height: 100%; margin-bottom: 0in;">
Serrada Escrima, as
taught by GM Angel Cabales, emphasizes simple, direct movement. This
is especially seen in the footwork, which focuses on linear heel-toe
alignment with an opponent’s centerline. Angel eschewed things
like cross-steps or twisted body positions, though in fact examples
of these can be found within the system. His “punch block” for
angle #3 is an example of the latter. Cross-stepping, however, was
not formally taught, at least in my experience. However, as with
kicking, which Angel used sparingly and with just a couple of simple
variants, he would tell students with experience in other systems to
use what they knew from there too. While the basic concept taught is
to learn to hold your ground with that linear alignment, in fact
Angel understood movement, sometimes saying we weren’t born where
we stood, so we knew how to move already. In practice, it isn’t
always practical or possible to remain directly in front of someone,
in their line of fire, and so lateral movement is necessary to find
more advantageous positioning. Of course the first technique usually
taught is the outside block for angle #1, which involves moving
off-line without a cross-step, but are there times when the
cross-step is a valid or even necessary option? I would argue yes.
For instance, in backpedaling in a circular manner vs. a #2 (high
strike to one’s right side), as opposed to the classic technique of
facing the attack in place, one has the option to step ito the
outside first with the lead right foot, which opens one’s
centerline, or with the rear left foot, which will be a cross step.
Of course either option is a brief transition, as we typically
re-align into the linear centerline alignment. One clear example of
cross-stepping from Angel himself, as captured on video, was a
powerful #1 slash (high downward diagonal right forehand) while
cross-stepping back to the left with the lead right foot. It’s a
finishing type power blow, but as Serrada teaches constant vigilance
against a persistent opponent, we don’t pose in that posture but
continue to step through to re-establish our “spot”. Now on a
personal level, given my background from Kenpo, Aikido, and
especially Sonny Umpad’s “Visayan Style Corto Kadena”, I will
sometimes in free flow carenza (form) utilize more cross-stepping and
low stances compared to classic Serrada. Sometimes I’ll use these
as well in sparring. After all, Serrada wasn’t designed to fight
other Serrada fighters, but to deal with any style, and so I will
simulate other methods as a way to give students or training partners
a different look, as well as do practice deceptive ways to move in
and out of range. Ultimately combat is free-flowing and
unpredictable, as Bruce Lee famously preached, and so exploring
various methods has value. In this I like to quote the famous artist
Pablo Picasso, who said “Learn the rules like a pro, so you can
break them like an artist.”</div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-71294936136497552972017-09-11T11:55:00.000-07:002017-09-11T11:56:05.557-07:00Relationship of Serrada's lock position with Wing Chun's chi sao<div style="line-height: 100%; margin-bottom: 0in;">
Many martial artists
have at least some glancing knowledge, if even only from YouTube, of
Wing Chun’s chi sao exercise where partners face each other and
interlock hands, each with one in a palm up position (tan sao) and
the other in a downward hooking position (fook sao) … and hopefully
I recalled those correctly. The hands are then rotated back and
forth between these positions in the basic form of the exercise.
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 100%; margin-bottom: 0in;">
Less well known is
the “lock-and-block” position used in Serrada Escrima, and
perhaps some other FMA (Filipino Martial Art) systems as well – GM
Hortensio Navales’ system from Panay comes to mind. In this
position, the main weapon, be it a stick or blade, is in the primary
hand, which generally and for this description we’ll assume to be
the right. The hand is palm down (pronate), with the weapon basically
parallel to the front of the body, pointed at a downward diagonal
angle towards the left. In this manner it essentially can cover the
torso defensively from about the right armpit to the left hip. The
other (left) hand, holding a shorter weapon, generally a knife or
dagger (daga), is basically on the same level as the right hand, so
that it is above the longer primary weapon, but held back closer to
the body, in reserve, and also so as not to impede any upward
movement of the primary weapon. The shorter weapon generally points
forward towards the opponent, so that the two weapons essentially
form an x and y axis, or two sides of a box (your torso being a third
side).
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 100%; margin-bottom: 0in;">
Now, take away the
weapons, and what you see looks like one position from Wing Chun’s
chi sao, with the left in tan sao and the right in fook sao.
Conversely, put those weapons in the hands of a Wing Chun
practitioner doing that and you pretty much can’t miss the
similarity!</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 100%; margin-bottom: 0in;">
Whereas Wing Chun
rolls the hands between these positions, Serrada does not …. but it
can and sometimes should. Why? The lock-and-block position is
designed for the primary weapon to jam and trap the opponent’s arm,
allowing the opposite hand to strike targets. That sets up perfectly
if you are outside of the right arm, or even inside of the left, but
other positions can be trickier and possibly force you to have to
cross yourself in less optimal manner. However, using that Wing Chun
chi sao roll, we’ve now reversed the position of the weapons, where
the short weapon takes on the role of checking while the primary
weapon in the right hand does the dirty work.
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br /></div>
<br />
<div style="line-height: 100%; margin-bottom: 0in;">
So which position do
we use? The right hand in the lock position, as first described
above, is the main and most common position. One of our primary
concepts, however, is directness, and so in checking, we try to
utilize the hand closest to the limb being checked as it can orient
more quickly and efficiently. This means there are times when we’ll
need to check with the off-hand, which is where this rolling switch
comes into play. GM Angel Cabales utilized this daga checking from
time to time, though it wasn’t stressed in the curriculum and he
always finished back in the primary position. That being said, we
always want to have versatile options that meet the needs of a given
situation. </div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-78315919931364189592016-11-21T09:17:00.000-08:002016-11-21T09:17:24.562-08:00<span style="background-color: black; font-family: Helvetica, Arial, sans-serif; font-size: 14px;"><span style="color: white;">It is with great sadness I learned this morning of the passing of my friend, grandmaster Ron Harris, who died suddenly yesterday of heart failure. Ronald was an amazing person, a university professor who championed conservative values while promoting the economic success of black Americans. As a martial artist, he trained with the best, from Dan Inosanto to Leo Gaje, with whom he traveled to many seminars. Ron held a 7th Dan in Kajukenbo and was once tapped by Sijo Emperado to create an escrima system specific to that art, though it never caught on due to lack of qualified instructors at the time. He taught "Classic Eskrima", as well as Muay Thai, Boxe Francaise/Savate and Taekwondo. He contributed articles to Black Belt and Inside Kung Fu and other publications, and sponsored seminars around the country, first coming to my attention with tournaments he threw in San Diego in the 1990's. He was well-versed in BJJ, and his younger brother Russ trained the first American to beat the Brazilians in the Octagon. Ron trained Marines in hand-to-hand over the years (he currently has a son at Annapolis) and just this summer I designed a training dagger for his program, which I was showing to folks at the MACE seminar just two days ago. Through Ron I've met some amazing martial artists, like Jan Miernyk and Dan Medina. I'm still in shock over this news, and I'm sure he will be missed by many.</span></span>Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com3tag:blogger.com,1999:blog-9423849.post-3505757925812263752016-08-27T17:47:00.001-07:002016-08-27T17:47:20.648-07:00<div style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-bottom: 6px;">
<span style="background-color: black; color: white;">Today I received the second email I've had of someone saving their life with one of my lightweight plastic flutes. This is the kind of thing that really makes my day!</span></div>
<div style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-bottom: 6px;">
<span style="background-color: black; color: white;"><br /></span></div>
<div style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-bottom: 6px; margin-top: 6px;">
<span style="background-color: black; color: white;">"I'm writing to let you know that the wonderful shakuhachi flute I purchased from you about one year ago finally failed, but despite being a beloved possession and a joy to train with and play it broke while saving me from hospital bills or my life. I was walking to my car after my HEMA class that I supplement <span class="text_exposed_show" style="display: inline;">with FMA when I observed a disheveled man swinging a bat at someone's car screaming obscenities. I called the police but he observed me doing so and started swinging his bat angrily on the ground screaming. All I had in my hand and not my bag was the flute. He swung at me as I rushed in with a guard and I heard a crack as his bat struck my flute. Had the flute not been there the bat would have hit the back of my ribs cleanly but the flute STILL HADN'T broken. THe break instead occurred when I redondoed the flute around and began beating him hard about the head. One of the strikes sent the top of the flute flying leaving me to punyo and knee until the cops arrived. Had your flute not been there, I could have been hurt severely or killed by a dangerous man. It may be a while before I can get another one of your beautiful pieces to play and train with. But I am grateful for your weapon and hope I never have to use one again in earnest. Between the flute, FMA, and HEMA, I'm in one piece today."</span></span></div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com3tag:blogger.com,1999:blog-9423849.post-9950730549211552582016-04-05T09:46:00.000-07:002016-04-05T09:46:26.865-07:00<div align="CENTER" style="margin-bottom: 0in;">
<u><b>The Three T's</b></u></div>
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
The "three t's" are a basic progression of learning, which
can apply to a broad range of physical skills, which I'll reference
here to the pursuit of skill in martial arts. They are tools,
targets and timing.
</div>
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
The first T is tools, and these are primary. Can you imagine going
to a carpentry class to learn to build things, and not be taught the
safe and proper use of the various implements before starting to use
them, or driving a car without first knowing basic controls? In
karate, for example, among the first things taught will likely be a
horse stance and how to throw a basic punch. From there one branches
out into other stances, blocks, parries and strikes, and how to
combine them. In styles that feature footwork, one may start with a
on-guard position and a simple step or two, combined with related
hand movements. Eventually both methods ought to achieve similar
goals.
</div>
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
The second T is targets. Without these, we're simply dancing.
Targeting brings specificity to our action. Tools teach "how";
targeting teaches where and why. For instance, the various
applications of finger jabs, claws, chops and punches. This engages
the imagination by creating external focus and takes us through the
various stages of mechanical development of skill.
</div>
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
The third T is timing, which is knowing "when" to do what
is needed. Initially it is a mechanical process as our conscious
mind struggles to control all the details. When we learn techniques,
it is an internal dialog about coordinating information. As we
progress, it becomes relational to external circumstances. Just like
learning to drive a car, what feels awkward at first eventually
becomes unconscious and automatic. Without timing, we have a pile of
pieces from which to assemble a puzzle. It is the difference between
"dead" (self-involved, unresponsive) and "live"
(fully responsive and aware) martial arts. No longer do we try to
figure out which technique corresponds to whatever confronts us; our
action is innate and appropriate. Bruce Lee described this using
water as a metaphor; it has no shape but simply fills whatever vessel
into which it is poured. Circumstances are our container through
which our actions now flow accordingly.</div>
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="margin-bottom: 0in;">
In application, these three elements tend to come into play in
reverse. For example, when someone throws a punch, we need to move
inside or outside of the opponent's body structure to avoid the blow
and set up counters. Our entry is timing. Once we have position,
targets become accessible, to which we apply various tools (strikes,
grapples, takedowns, etc). Our goal is to become un-self-consciously
proficient in the mechanics involved, freeing our conscious awareness
to monitor and evaluate what is appropriate and necessary.</div>
<br />
<div align="LEFT" style="margin-bottom: 0in;">
<br />
</div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-54883158349800952032014-11-12T20:44:00.000-08:002014-11-12T20:48:36.995-08:00Fitness Quest<div style="margin-bottom: 0in;">
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;"><span style="background-color: black; color: white; font-size: medium;">Well, today was mission accomplished. A wild idea that popped into my head about my
60th birthday was today brought to fruition. On October 12th I
suddenly thought "my birthday is exactly in one month. What
should I do to mark it?" and then the idea of doing 600 push-ups
appeared. At first I tried to dismiss it as ridiculous. After all, I
could be doing fun stuff, and this sounded like work. But the idea
hung around persistently, waving at me from the edges of awareness,
and soon I came to embrace the idea of this as a worthy challenge, a
kind of quest. A friend from the <i>aiki</i> side of martial arts
turned me on to a Japanese term, shugyo, for a similar type of
disciplined spiritual endeavor.</span></span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">I'd
probably gone years without doing 600 push-ups, and with some
shoulder injuries, I'd only begun doing them somewhat regularly about
a year ago for rehabilitation. If I was going to make this happen,
I'd have to train for it, and so I set a secondary goal of 3000
push-ups in the one month run-up to my birthday. That meant
averaging 100 push-ups a day, which I broke up into numerous sets of
10 or 20, logging every set in my notebook. Exercise can be
addictive, and I quickly realized that 3000 was too low a goal, so
within the first few days I refocused on 4000 pushups for the month.
Sundays were my big days, doing upwards of 300 push-ups during
football game commercials, getting ahead on the count so I could rest
on another day during the week. </span></span>
</span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">I
reached 4000 Monday evening, giving me Tuesday to rest up before the
big day today. Ironically, I'd been pain free all month, but the
last few days one of my shoulders was sore from working so hard. Now
the underlying goal of this quest was to strengthen deep muscle and
connective tissue. The push-ups were varied to hit muscles from
different angles to support the shoulder joint, incorporating
inclines, declines, close grip, wide grip and uneven grip push-ups as
well as traditional flat ones. Some were done for explosiveness,
others on slow count to feel the burn deeply. This was pure volume
work, more like the 6x daily Bulgarian power lifter workouts than
fatigue-and-rest body building. It was harder to start these last few
workouts because of the soreness, but once I'd done a couple of sets
to warm up, everything felt fine. I also supplemented the push-ups
with yoga stretches, Indian clubs, kettlebells, squats, pull-ups and
planks. </span></span>
</span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;"><span style="background-color: black; color: white; font-size: medium;">After
the focus and consistency to get ready, today almost felt
anti-climactic. Last night, waiting for midnight, I meditated and
examined my mental state of readiness. In my mind, I felt I had
already accomplished my goal. After the stroke of midnight I did 7
sets of 20 before going to bed, so that I wouldn't feel pressured for
time when I awoke. By noon I'd finished half, 300, and then late in
the afternoon I did the rest. Almost. I got to 580, only one more
set of 20 to go, and couldn't just do it. I felt the distance I'd
come, all the emotional and mental energy driving the physical work,
and had to let the moment marinate awhile. Finally, as with every
other set, I felt the time was right, and then it was done.</span></span></div>
<div style="margin-bottom: 0in;">
<span style="background-color: black; color: white;"><br />
</span></div>
<span style="font-family: Times New Roman, serif;"><span style="background-color: black; color: white; font-size: medium;">So how do I feel,
now that it's done, besides sore, or tight from pumped muscles? My
posture is better and I stand taller. I feel more fit and energized.
There's currently a calm sense of euphoria, that I accepted and
followed through on a crazy, spontaneous thought. There are lots of
deadlines in life, but a challenge for its own sake is different.
Unlike work or bills, there are no external consequences if we choose
not to do something of our own volition. Everyone who competes in
any sport, however, knows the feeling and sacrifice of preparing for
an event, as do those who take on solitary pursuits for their own
sake.</span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="background-color: black; color: white; font-size: medium;"><br /></span></span>
<br />
<div style="margin-bottom: 0in;">
</div>
<span style="font-family: Times New Roman, serif;"><span style="background-color: black; color: white; font-size: medium;">Having done this,
I'm enjoying the feeling of accomplishment, and also the urge to
build on it rather than see it as a single endeavor. I don't know
what my next will be, but it won't focus on push-ups! Perhaps
100,000 punches on a heavy bag before the end of the year? Hmm .....</span></span></div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com1tag:blogger.com,1999:blog-9423849.post-46765389534337579262014-09-08T08:53:00.002-07:002014-09-08T08:53:30.006-07:00<div align="CENTER" style="margin-bottom: 0in;">
<div style="margin-bottom: 0in; text-align: left;">
Disputes between martial artists are
like disputes between academics. It's as though a geology professor
in Montana were to declare exclusive purview over the entire field,
and declare those credentialed professors at other institutes of
higher learning to be unqualified in the discipline all have studied
from the same sources. Outside a narrow group of initiates in the
field, does anyone take that seriously or even care? </div>
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
At best titles reflect achievement; our
society is a meritocracy, where pieces of paper declare worth. At
worst they feed the ego, all too often poisoning a person's
self-inflated sense of importance. Introducing oneself as a
grandmaster might raise an eyebrow in an elevator, as much because of
the esoteric reputation it connotes than any real appreciation. It's
no different than a lawyer introducing himself as a senior partner in
some law firm of which you've never heard. You may appreciate the
long climb it took to reach such a position, but even if you are
interested in services offered, which will probably be a narrow field
of specialized expertise, you would probably be wondering how much
coin he would charge, and in reality much of the work on your behalf
would be done by much less exalted, and certainly less expensive,
low-level "associates" grinding their way through the
corporate hierarchy.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
When I was starting my journey in
martial arts nearly half a century ago, actual grandmasters were as
common as real dragons. If you were to meet one, it would probably
be at a distance. Even if it was in a seminar, the actual hands-on
mentoring would almost undoubtedly be from lower ranking instructors.
That may be less true nowadays, especially in some arts, but that is
because rank, like the dollar, has inflated. I can meet more
grandmasters at a party now than I encountered in my first 30 years
on the mat. Does this somehow diminish the value of what was learned
from those other teachers? Certainly not. If anything, without
developing a background and depth, encounters with the higher ranks
would be no more significant than that introduction in an elevator.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
My Tai Chi teacher, the late John Wong,
held rank of 5th degree or higher in at least 4 systems. He trained
under William Chow, was a trusted associate of Adriano Emperado, and
taught his grandfather's system of Tai Chi at his Wu Shing Academy.
He told me that my knowledge was like a PhD in martial arts, but to a
novice, little of that matters. It is the basics that they need, and
it takes years to pour so much information into those just starting
their journey.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Back when I was a freshman at Cal
Berkeley in 1973, it was explained why that university had more
winners of the Nobel Prize and other high honors than almost any
other school on the planet. It was because professors there had
teach classes for underclassmen, unlike other institutions where
tenured professors could reside in their ivory towers amongst their
peers and learned journals. What this meant was they had to
constantly ground themselves in the fundamentals of their discipline.
It's a lesson that applies to many areas of life.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Aikido, an art in which I spent some
time back in the 70's and 80's, has one of the most logical ranking
systems I've seen. First and second dan black belts assist more
senior instructors. By third dan their skills are more clearly
evident, but it generally takes a fourth dan to teach at one's own
school. Fifth and higher were quite rare, generally encountered in
seminars or as visiting teachers, a practice I truly appreciated in
that style. It was a rare privilege if you trained at a school where
such presided, but again, much of the hands-on monitoring and
correction came from those under the head instructor.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Back around 1990 I met an elderly
Taekwondo teacher who held a fifth dan in that art. He flatly stated
that ranks beyond that were for politics, not skill. In truth, by
the time most get to such a level, their physical skills are
diminishing with age. Their value is what they can pass on to those
below them. In my own chosen art of Escrima, my teacher, the late
grandmaster Angel Cabales often said that his Master's certificate
was "for politics. While rank such as that is generally
reserved for the closest and most dedicated students, the truth is
much of the art will be passed on by the much larger pool of
instructors and even advanced but uncertified students. some of whom
might be as skilled in the art despite lacking a piece of paper.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<br />
<div style="margin-bottom: 0in;">
This is not to denigrate those who rose
to high rank, but simply to point out the pyramid structure of
hierarchy. Much like an iceberg, what is seen is only the tip,
supported by the vast mass often undetected beneath the surface. In
truth, what rises to the top once was below; do not presume those who
toil without recognition are less worthy than those who once were
such themselves.</div>
Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-59953542297249742512014-06-13T09:04:00.004-07:002014-06-13T09:04:52.997-07:00An interview I did in 2014 with Professor Paul-Raymond Buitron (visiting from Laredo, Texas) at VEA Martial Arts in Manteca, Ca., in which I talk about my personal history in Escrima:<br />
<a href="https://www.youtube.com/watch?v=R5CGjOQtQmA">https://www.youtube.com/watch?v=R5CGjOQtQmA</a><br />
<br />
Check out all the other interviews with various masters and grandmasters by Prof. Buitron under "Sages of Escrima" on Youtube!Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-36820810031697203852014-05-21T08:29:00.001-07:002014-05-21T08:44:54.294-07:00Dogs are psychic. I learned this back in the late 1970's. I began training in a couple of martial arts and in yoga in 1978, figuring I'd decide which one to focus on after getting a taste of each. I soon set aside Tai Chi for later, focusing on Kenpo, but I kept up the yoga practice with private instruction for about a year. In hindsight, I wish I'd stayed with it longer; if I'd realized how popular it would become worldwide (especially with young women) that probably would have enticed me to stay. Regardless I did get a lot out of the principles, which I continued to use in my martial arts stretching over the years. <br />
<br />
So what does this have to do with dogs? I had two malamutes living with me back then. Every time I would start a routine, they'd immediately crowd around, making it impossible. It wasn't that they were trying to stop me, it's that they loved the energy of what I was doing. My solution was to put them in the back yard, and this is where I discovered their ability to sense things. The spot where I would practice was not visible to them. I could sit there for any length of time and they'd be content to lie on the porch. The second I started a routine, however, they'd immediately begin howling and scratching at the back door to get in! This wasn't random either; it was every time! It took a lot of focus to ignore them; it wasn't easy, and perhaps one reason I abandoned that particular practice. Instead I began doing the Tai Chi stretching routine I learned at the Wen Wu school. These are standing stretches, so I could do them with the dogs in the house. Being upright, I wasn't down on their level where I was vulnerable to their interference, and for whatever other reason, those didn't excite the same response.<br />
<br />
In more recent years I've noted other times dogs take to act in response to what I'm doing. In particular, they always seem to know when I'm going to the bathroom. The dogs can be quietly out in the yard, but the instant I'm unable to run out to correct them, they begin barking at neighbors or fence fighting with their dogs! Yelling from inside the house won't work when they know I can't come out, and how they know this is a mystery known only to them.<br />
<br />
So what exactly is it to be psychic? If nothing else, it's the ability to sense things unrecognized by others. The first time I recognized this in dogs was the behavior of our miniature schnauzer in the 2-3 days before my father's death when I was 14. It was odd, my mother noted, how the dog was slinking out of the room whenever my father walked in. That was unusual, as they had a good relationship, and my father would often take the dog with him on long walks. Suddenly the dog was nowhere to be found when dad got the leash. On the last day of my father's life, the dog was missing. Eventually I found him quivering under the couch. That night, after dinner, my father had a massive heart attack; I found him slouched in his chair when I went to play chess with him. The ambulance arrived, and my mother, usually a slow and cautious driver, tailgated it across town to the hospital while I was left home alone. That dog and I had never been close, but that night he crept into my room and joined me on my bed, the first time he'd sought me out in the five years he'd lived with us. Though he and I never closely bonded (he was definitely my mother's dog) it was the turning point in our relationship.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-39785417947932867982013-03-16T08:11:00.000-07:002013-03-16T08:11:36.429-07:00SpontaneityThere are different priorities in training. One of mine is spontaneity. This involves the abilities to both think and act in a quick and fluid manner, all terms that can be further qualified. Working backwards:<br />
<br />
Fluid means smooth. Smooth can be fast or slow; what matters most is timing. Impeccable timing will neutralize many things. <br />
<br />
Quick is acceleration, the ability to get from A to B in as short a time as possible. Fast is the speed at which you are moving when you get there. In longer performances, such as a foot race, winners may not be moving as fast as second place, but they get there first. The faster runner, not being as quick to reach speed, plays catch-up. In longer races, though, the overall speed of the winner will be decisive. It matters not how quickly you initiate movement off the line in a marathon.<br />
<br />
Action springs from the mind; of that there is no question. Training increases neuromuscular connections, building faster, more efficient responses. How well one performs, though, is as much about the clarity of mind and will as it is about the condition of the body. Whatever we do when we train, we are training our minds how to use our body.<br />
<br />
Notice I used "minds" in the previous sentence, the plural form of the word. We have both conscious and unconscious systems in operation. Which is in charge and how well they cooperate is key.<br />
<br />
We spend a lot of time being aware of our conscious thoughts. Seems self-evident, but we really spend most of our time in unconscious states. It's when we tune in that we become self-conscious. This state of awareness is fantastic for thinking thoughts, analyzing information, reading this or having a conversation. It is good for directing the unconscious mind, which is where willpower comes in, but cognitive perception is always the last link in a chain that starts from physical stimuli interpreted unconsciously and then elevated to immediate attention. At that point, decisions are made, and the unconscious mind sends signals back downstream to activate physiological responses.<br />
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The unconscious mind, however, is capable of making its own decisions, whether it is to jump if we hear a rattle in the bushes, or to reach for the phone when it rings. In a sense martial art training is very Pavlovian; we see/hear/feel a stimulus and we respond reflexively. It is possible to react even before the conscious mind is activated because there are sub-brains throughout the body. These are the major ganglia, such as the solar plexus and at the tailbone. We used to mock dinosaurs that were so big they had brains at each end of their body; it turns out that isn't such a bad model after all.<br />
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There are other levels of the unconscious, however, beyond just mastery of the physical body. <br />
There is a higher level of awareness, so refined as to be unbeknownst to many people. This is a place where things like wisdom come from, and root awareness. Nothing can happen on any level without recognition. How we move through the world, how we project ourselves, is all an image chosen on such a deep level. <br />
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When we train, we can practice mindfulness, becoming aware of every thought, move, nuance in each and every moment. Conversely, we can practice no-mindfulness, where there is no thought, or more correctly, no awareness of thought. Paradox is wonderful; there are many ways to the mountaintop. Either way, the inhibition of conscious thought is removed from the director's seat, relegated to a more appropriate role as spectator. Sometimes I've experienced it as a commentator, like a sports announcer, but such is a distraction, a ploy to pay attention not to the action but the chatter, a status once-removed. Thought may become awareness of one's thinking; the point is there are ways to capture or corral the monkey mind. What is hypnosis but fixating the mind very specifically?<br />
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Now that we've popped down the rabbit hole, how does this apply? When we learn to flow, we learn to think more quickly than other people. We recognize possibility in motion; we respond to changing circumstances before they overwhelm us. We allow intuition and feeling to operate tactically, while our conscious mind strategizes goals.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com2tag:blogger.com,1999:blog-9423849.post-6998892989834716742013-03-13T10:18:00.000-07:002013-03-13T10:18:44.016-07:00Keeping the details aliveI see many videos of Serrada these days where people are doing things that Angel worked so hard to train me not to do, things like cocking a #1 strike back behind the shoulder, or reaching in with the check hand automatically in lock position at the end of techniques, or stepping into daga range on basic techniques. Those are details I try so hard to pass along to my students so that Angel's insights don't simply disappear. After all, he had reasons for ever inch of movement, and we went to train with Angel to gain his insights from real combative experience, so why would we ignore what he shared with us?<br />
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Most of those details should be familiar to direct students, certainly those from the 80's when Angel claimed to open up his teaching completely. There are of course some variations between practitioners, based on skill and application in the moment, but overall the folks who were training during my time with Angel are technically very similar to how I was taught. <br />
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Passing along a martial art is like the childhood game of telephone, where kids sit in a circle and pass along a message whispered from one to the next. By the time the message goes full circle, it is often completely scrambled from the original. This is common to many arts, and one reason why different lineages appear. It's one thing to innovate and explore, making the art one's own, but it's another to lose sight of the original intent and practices.<br />
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I'm by no means saying I'm the sole repository of Angel's knowledge. He taught many people, and some lessons may only have come from a specific question in a class or been shared with those whom he trusted. This is why there is benefit in training with a variety of instructors. That's one thing I really liked about Aikido training, that teachers would visit each others' schools and share their insights. An arm bar is an arm bar, but there are different ways to make it effective, after all. Still, Angel was as sharp and discerning a teacher as I've ever met, and it would be a pity if years from now the art bearing his name were to become something he would not recognize or acknowledge.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-64140363839325286042013-03-07T10:05:00.002-08:002013-03-07T10:05:31.196-08:00Twirling For PowerWhy twirl a stick? There is a reason for this if done properly; it isn't just to look cool. First, the downside. It can leave you open to a high counter if you're not careful. Timing and positioning are important considerations.<br />
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The reason to twirl is to generate power in a very compact motion compared to a linear strike. If I throw a #1 strike (high right forehand) in a linear motion from a fully retracted position, my hand travels approximately 20 inches. I can add some arc, either by cocking my wrist or positioning the stick over my shoulder. Both add power, but affect timing because my hand has to travel the distance, and the over-the-shoulder position leaves my face unguarded. A twirl moves the tip of the stick a tremendous distance, further and more quickly than retracting and reversing direction. <br />
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Let's do some math. The circumference of a circle is pi (3.14) times diameter (C=pD). If I have a 20 inch stick, the diameter of a twirl is 40 inches but the distance the tip travels is approximately 10.46 feet! That greater distance allows tremendous acceleration. With a 28 inch stick, the tip covers some 14.65 feet! All this is done with minimal hand travel; add a short "pump" to the motion and the effect can be devastating. <br />
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I've often demonstrated this by having someone hold out their stick for me to strike. First I hit it in as linear a motion as I can, as though I'm throwing a punch, a relatively weak hit given the lack of mass in the stick even compared to impact from a fist. Then I tell them to hold on tight as I strike with a twirl, moving my hand as little as possible. If the stick doesn't fly out of their hand (I warned them to hold on tight!) they'll certainly feel a much greater shock. If that had been their wrist, the fight likely would have been over.<br />
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Of course there are other reasons to twirl, such as reversals around blocks or for secondary hits to targets, or to hide intention before attacking a target, but as a hidden way to hit hard, it's something that is often overlooked.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-81577396190029945572012-11-29T18:52:00.002-08:002012-11-29T18:57:32.196-08:00<a href="http://www.stickman-escrima.com/Products/T-Shirts.htm" target="_blank">Stickman Escrima T-shirts</a> now available! The silk-screened mandala image started as a photo of an array of training knives for an escrima club; the fist and stick were done by renowned rock 'n roll artist John Seabury, one of the featured artists in the book "Art of Rock".<span style="font-style: italic;"></span><br />
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<br />Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-17846873086959800242012-07-22T13:51:00.002-07:002012-07-22T13:53:09.535-07:00Ballistic PunchingRecently I've been reading up and watching video of Systema, a Russian system that's becoming more popular in the West. I see a lot of similarity with things I do, incorporating some of the concepts I've learned over the years from Aikido and Tai Chi as well as Escrima. One is something Val Riazanov call "ballistic punching", a term I've used as well to describe the idea. It involves relaxation, not tension; more like firing a bullet than pushing a car. Extreme examples, but to get the idea ...
Here's a simple example of how it works. Punch your fist into your opposite open palm. You can do it like a baseball player pounding the palm of his glove, just putting it in there so it sticks. Now keep doing this: stick, pull it out, repeatedly. Now throw one punch that's faster but not "harder" or deeper, just faster. Let it snap back on impact. Feel the difference in energy?
There are specialty spark plugs that have capacitors. This takes the incoming electrical charge, stores it for a millisecond and then discharges it in a much shorter but more intense burst of energy, resulting in a hotter spark. Just another analogy.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com5tag:blogger.com,1999:blog-9423849.post-14656291230000417662012-06-02T12:27:00.001-07:002012-06-02T12:27:05.217-07:00Vallejo's Pistahan Festival sure appears successful. I say "appears" because I couldn't get in! It took maybe 15 minutes to drive there, then I spent longer than that looking for parking. It didn't help that there were dozens of cars ahead of me, circling block after block and double parking in hopes someone would leave. I finally gave up and went home. My consolation prize was stopping off in Hercules on the way and picking up some Filipino food. Choko's Cuisine had dinuguan today ... not bad!Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-82345934377786741472012-06-02T12:20:00.000-07:002012-06-02T12:20:52.212-07:00Somehow LinkedIn is posting update digests here that have nothing to do with Escrima or any activity I have (haven't had) on their site. I need to figure out how to shut that off. It's irrelevant here!Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-12474935892264516562012-03-18T13:58:00.001-07:002012-03-18T13:58:32.761-07:00Public Safety Video About Kitchen Oil FiresThis is a 30 second <a href="http://www.stickman-escrima.com/Video/KitchenOilFire.wmv">public service announcement</a> about kitchen oil fires that I've had on my website for several years. It could save a life!Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-16246454730220160222011-10-11T08:41:00.000-07:002011-10-11T09:03:27.465-07:00Marc Denny meets Arthur Gonzalez - GM to GMYesterday I went out to Lodi for the first meeting of GM Arthur Gonzalez of Tenio's Decuerdas Eskrima and GM Marc Denny of the Dog Brothers. Since I was the person who put them in touch with each other, I was very interested to see the results of my matchmaking. I met Art Gonzalez a little over a year ago and was immediately impressed with his no-nonsense down-to-earth approach to self-defense. I first met Marc Denny back in 1988 at the 1st National Eskrima Championships in San Jose, and I've appreciated his savvy in developing the Dog Brothers as an organization and as a vehicle for FMA education. I thought I saw a commonality in the approach of these two men, hence the introductions.<br /><br />When I arrived at GM Gonzalez' home at 11am, Marc was already there, along with a couple of Art's students. I could tell right away that there was a good rapport between the two grandmasters, without any sign of formality or stiffness. It was raining, so we drove to the business district in Lodi where Art sometimes teaches at a student's location. There Art gave a 90 minute presentation of his system, introducing Marc to the concepts and principles of his approach. The half-dozen of us in the room practiced a few techniques for grappling against someone with a knife to get a taste of practical application. When I say a few techniques, I mean we were all drenched in sweat by the end of the session, and I for one was a little bit sore, the sign of a productive workout.<br /><br />Afterward we all went to lunch, where discussion ranged from martial arts experiences to travel to neurolinguistic programming (NLP). By the time we broke, it was 4pm, and a few of us headed back to Art's place. There we practiced some flow drills in the yard until the rain picked up again, at which point we called it a day. When I left, Art and Marc were heading out again to meet some more of Art's friends. I could see a high level of respect between the two men, and what looks like the beginning of a new friendship.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-85636300841213635742010-10-28T13:25:00.000-07:002010-10-29T08:22:34.867-07:002010 World Series has a Filipino twistCongratulations to the San Francisco Giants and starting pitcher Tim Lincecum on their victory last night to open the 2010 World Series. What few people know is that Lincecum is half-Filipino on his mother's side.<br /><br />In 2008 the Giants also became only the second major league baseball team to have a full-blooded Filipino on the roster. Geno Espinelo pitched one season before going back down to Giants' minor league affiliates. The first Filipino to play in the majors was Bobby Balcena, who briefly appeared with the Cincinnati Reds in 1956.<br /><br />Of the three, Tim Lincecum is by far the most successful. Called up in 2007, he already has two Cy Young awards, in only his second and third seasons! He's known as "The Freak" because he generates so much power and control from a diminutive 160 lb. frame, using a highly unorthodox throwing style taught to him by his father.<br /><br /><a href="http://fanhsis25.blogspot.com/2010/10/fanhs-stockton-california-news-giants.html">Here's more</a> from the Filipino American National Historical Society, documenting Lincecum's family roots in Stockton, California.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com0tag:blogger.com,1999:blog-9423849.post-24165559910831716522010-10-06T16:53:00.000-07:002010-10-06T16:58:40.722-07:00An Odd PremonitionIt is with sadness that I learned yesterday of the deaths of two pillars in the Filipino martial arts community, with the passing of grandmaster Ben Largusa and master Christopher "Topher" Ricketts. Ben Largusa, age 83, was head of the Villebrille-Largusa system and one of the early big-name instructors here in northern California. Christopher Ricketts, only age 55, was a protege of Tatang Ilustrisimo and the founder of the Bakbakan association. The following story, which I was already writing, begins some 72 hours prior to getting these messages .....<br /><br />* * * * * * *<br /><br />The weekend following Bruce Juchnik's event saw a different kind of gathering, a memorial service in Stockton on Saturday for the late Isidro Javier, a relatively unknown grandmaster from the Stockton area. This was attended by many from Bahalana, with whom he was associated, as well as folks from Serrada, the Kenpo community and more. There were speeches from those who knew him, and a few demos, including Chaz Tibon and Gelmar Cabales (Serrada), Dexter Labanog (Bahalana), Max Pallen (Cinco Teros). Among other notables present were Eric Lee and Glenn Abrescy. <br /><br />I was pleased to see so many Serrada people in attendance. Virtually all the active teachers from the area were there with students, including grandmaster Vincent Cabales and masters Ron Saturno, Carlito Bonjoc, Darren Tibon and Jerry Preciado. <br /><br />Again this is one of those things that makes Stockton so unique, that there is such a broad community linked by the Filipino martial arts. It's one thing to learn techniques, but there is something very much alive in meeting people and knowing the stories. Events such as this are markers in the history of the FMA, bringing people together to acknowledge a community that is bigger than the differences we use to define ourselves. <br /><br />Years ago I read about how Yip Man would bring students along to tea houses, where he'd spend time with old friends. At the time the students did not always appreciate the invitation and were bored. I thought I understood how the "kung-fu life" included such ostensibly "teachable" moments, but one has to live a while to really begin to feel the connection of those roots. The art is a living thing which we experience, through the movement that we embody and through the stories which imprint value upon that knowledge.<br /><br />The next morning, Sunday, I attended a Kilohana meeting at the invitation of Art Gonzalez, an association member and grandmaster of Decuerdas escrima. Kilohana is planning an FMA festival in 2011 and would like to expand involvement of the FMA community. Professor James Muro was there, and after the meeting I got to hear him share his wealth of knowledge about Decuerdas escrima, in which he holds a rare master's certificate from the late grandmaster Gilbert Tenio. Afterward I walked to lunch with Art Gonzalez and his crew, yet another opportunity to delve deeper into local escrima lore.<br /><br />* * * * * * *<br /><br />That night I had an odd dream. I was on an airplane with some top martial artists. Art Gonzalez was to my left, the others were sitting just ahead of us and I couldn't identify them. I knew the plane was going to crash and that I'd be alright, but a voice told me clearly that a couple would die. I awoke thinking "that was odd", and even mentioned it to my wife in the morning. Twenty-four hours later the emails arrived about Ben Largusa and Christopher Ricketts ....Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com1tag:blogger.com,1999:blog-9423849.post-15439313586459868852010-10-06T14:18:00.000-07:002010-10-06T14:24:10.543-07:00Bruce Juchnik's Sacramento GatheringThe past couple of weeks have had a lot of intense martial arts energy. The weekend before last I went up to Sacramento for Bruce Juchnik's annual martial arts gathering. It's a busy event, with dozens of instructors from nearly as many disciplines and styles. <br /><br />The FMA were a popular draw, with participants filling the conference room to which we were assigned. That was the first problem; as I looked at all the people crowded together, most clutching double sticks, I knew this was going to be a challenge for all. The second problem was the number of instructors sharing a tight schedule, meaning each one only had 20 minutes to teach.<br /><br />First up for the morning session was Graciella Casillas, who grasped the issue and immediately told everyone to put down one stick. Watching her perform Serrada was quite interesting. Everyone has their own idiosyncratic personal style, and there's something to be gleaned from seeing that diversity. Graciella still has very fast hands, one of the hallmarks that made her the first fighter to ever hold simultaneous world championships in boxing and kickboxing.<br /><br />Next up was grandmaster Arthur Gonzalez of Tenio Decuerdas Eskrima. A large man with an intense manner, he projects a commanding air, reflected in techniques honed for the street. He taught a couple of no-nonsense close-quarter self-defense scenarios against a knife that were simple yet quite effective in their details.<br /><br />Remy Presas Jr. followed, demonstrating disarms and joint locks with the single stick. His ability to flow through techniques impressed the crowd, leaving many wondering how he could make it look so easy!<br /><br />I taught next, and went back to knife work largely because of the crowded room. I showed how and why to bring an attacker's weapon hand tight to the hip when doing an arm bar, then finished with a basic wrist lock to teach the principle of finding the open direction in any disarm.<br /><br />After that things became a bit of a blur as I circulated the room helping the familiar instructors, who followed: Mata Sa Bagyo founder and Serrada master Carlito Bonjoc, Serrada grandmaster Vincent Cabales, and Serrada master Ron Saturno. <br /><br />We broke for lunch after that, and a couple of car loads of folks from Decuerdas and Serrada drove to a Chinese buffet. Listening to Stockton natives reminisce about that town's FMA history is an education in itself. There was a time when Arthur Gonzalez was a teenager and his father had both Angel Cabales and Gilbert Tenio working for him. Arthur was stunned when he discovered their pictures in a martial arts magazine! <br /><br />Those are the kind of roots that make Stockton such an authentic breeding ground for FMA here in the United States. Just as in the Philippines, there are generations of families and students who have trained over decades. It's a tough town, where the art has not just survived but thrived in response. It's a wonder more students in America don't visit this Mecca to train; it's certainly as real and intense as the Philippines, and a heck of a lot closer!<br /><br />The afternoon session was largely dedicated to Pentjak Silat with Victor and Paul De Thouars, assisted by Bernard Langan and another whom I don't recall. As always, I love the deadly beauty and sophisticated knowledge of body mechanics found in Silat. Alfredo Bandolan spent his time on Doce Pares sparring. The last person up was Glenn Abrescy, but that segment ended abruptly when he had to go to a different session scheduled at that same time.<br /><br />I've since heard that there were some teachers at this weekend who were upset at the brevity of time allotted, or felt they should have had more priority billing, but one feature of this gathering is that teachers are introduced by name and style, but not by rank. This is to level the playing field so that participants choose with whom to train based on the art alone. Regardless, the key to my weekend was getting to meet and socialize with some of the best martial artists on the planet.Stickmanhttp://www.blogger.com/profile/10450774466528642673noreply@blogger.com1