Sinawali: Arnis way of double-cane fighting

October 19, 2013 9:14 pm

Attacker (left) delivers a strike using both canes. Punong Lakan Nicolas blocks
using his left cane while countering with a left temple strike using right cane.

Sinawali is the double-cane method of fighting of arnis, escrima and kali. The name
sinawali came from the Tagalog word sawali, a woven split bamboo mats used as
walls of nipa huts. The crisscrossing movements of sinawali weapons fighting mimic
the pattern of these mats hence the name.
The high-speed nature of sinawali drills is good for developing fast reaction. The
rapid-fire contact of sticks in these drills will sharpen ones awareness of motion.
Developing the strength and coordination of both hands is another benefit of
sinawali training. Most of these drills teach the practitioner to relate the movement
of the weak hand to that of the strong hand hence promoting ambidexterity.
Punong Lakan Garitony Nicolas dubbed as The Father of Modern Sinawali,
developed more than 300 variations of the sinawali drill. In the photos above,
Nicolas demonstrates a fighting application of sinawali.

Reference: Manila Times: http://www.manilatimes.net/sinawali-arnis-way-of-doublecane-fighting/46107/

The grand dame of Filipino martial arts

March 30, 2014 12:36 am
By Perry Gil S. Mallari FIGHT Times Editor

Kalis Ilustrisimo Maestra Peachie Baron Saguin strikes a pose with espada y
daga (sword and dagger).
A womans beauty is accentuated by her strength. Living up to the tradition of
Filipino women warriors, Peachie Baron Saguin exudes both femininity and ferocity.
Saguin is a senior practitioner and teacher of Kalis Illustrisimo, the fighting art
created by the late venerable Grand Master Antonio Tatang Ilustrisimo and among
the original members of the famed Bakbakan International martial arts group. In an
interview with FIGHT Times, Saguin shares her vision for the Filipino martial arts
(FMA) and how its practice can empower women.
FIGHT Times: Please tell us about your personal and professional background.
Peachie Baron Saguin: Born in Manila, Philippines and christened Bella Marie Sotto
Baron, my first interest in sword play was at an early age, after seeing the cartoon
Sinbad. As a child I would play with a stick, swing it and pretend I am a mighty
warrior defeating enemies with my magnificent sword, and with my incredible skills
in fighting. I made my first weapons, a bow and arrow and a spear made from
broomsticks. Later in life I took up Business Administration majoring in Marketing
and Advertising at the University of the East, Manila. I was a working student then,

studying at night and working full time during the day as a secretary of the general
manager of a marketing outfit. At the end of each office hours, I would hurriedly
leave the office, where I was sent to La Salle as an exchange student. As a working
student, I had little time to read books, thus my answers in my examinations were
purely based on my day-to-day experiences in my working environment, interacting
with different personalities engaged in the field of marketing and advertising. In
2005, I resigned from the corporate world and devoted my time in promoting the
FMA. My goal is for FMA to gain recognition not only in other countries but in the
Philippines as well. In 2010, I joined UNTV37, a public service network and became
the executive producer of a healthy cooking show Cook Eat Right and of Rise N
Shine, a daily morning show.

Saguin works on a blade technique with Master Antonio Diego.

FT: How did you start in the FMA and who are your teachers?
PBS: I started in FMA when I found the group Bakbakan International which was
probably the first mixed martial arts group in the Philippines. My mentors in
Bakbakan are Master Christopher Ricketts (deceased) and Master Tony Diego.
Master Topher handles the training in empty hand combat while Master Tony
teaches us sticks/swords and knives, known as the system of Kalis Ilustrisimo.
Being the only lady training then, Master Topher would tell me to think like a man.
On other times he would create a scenario to inflame me, to waken he said the
killer instinct.
He was very strict on forms but very supportive to all his students, meticulously
documenting our moves through video from the moment we started training so that

we can see our progress. He would lend us films for us to watch, to inspire us and
help us hone our skills. He was a friend and a mentor.
With Master Tony, it is almost the same. His teaching method was also based on
accuracy and speed. He was also particular in forms and in the correct execution of
each strike. He would attack us on our unguarded moments just to see our reaction.
Just like Master Topher, Master Tony is a friend and a mentor to all his students.
The only distinction is, while Master Topher would deal with valor to anyone who
dares intimidate any of his students with threats, Master Tony would counter in
civility. My two great masters, one of fire, one of water.
FT: What are the main characteristics of your FMA style?
PBS: Kalis means blade and Ilustrisimo is the name of the propagator of the system
focusing on two methods, de campo or the long range and de salon, the short
range. The orientation of Kalis Ilustrisimo is based on bladed weapons, thus whether
we use a stick or a sword, the principle we use when we parry or deflect an attack is
base on a bladed weapon. The Ilustrisimo style has a lot of elbow and body
movements. We shift our body weight when we are attacked or when we execute an
attack. The body does not crouch, as we stand tall. The Ilustrisimo style put
emphasis on the economy of movement, and the use of the thrust.
FT: In your opinion how can FMA training empower women?
PBS: FMA being for me a perfect art would be ideal for women for them to learn how
to protect themselves from unexpected attacks. While it is true that we use sticks
swords or knives in training, these weapons are just an extension of our hands, our
arms. Without the training tools, the movements can be applied even with an empty
hand. How do I apply the principles of martial arts to daily living? I consider martial
arts as a way of life. It is discipline in its highest form, and knowing that for every
action there is an equal and opposite reaction, just like in every hits and strikes, I
have learned to be patient, more enduring more considerate and more cautious in
my dealing with people. In martial art if you have not mastered your footwork, one
wrong move and you have lost your balance. It is the same with life. Everything
should be balance. One false move and the man is ruined.
FT: What advice can you give to women who want to study FMA?

PBS: My only advice to women, who wishes to train in FMA, is to make it a part of
their life, because at the end of the day, it is the passion and the dedication that
would help them in understanding, absorbing and internalizing the system.

Reference: Manila Times: http://www.manilatimes.net/the-grand-dame-of-filipinomartial-arts/86238/

The power of the palm stick
November 23, 2013 9:35 pm
By PERRY GIL S. MALLARI
FIGHT TIMES EDITOR

Punong Lakan Garitony Nicolas (right) checks the punching hand of his attacker
while delivering a hit to the bicep with his dulo-dulo.
The palm stick is known by many names among Filipino martial arts (FMA)
practitioners. Among the more popular terms for this weapon are tabak maliit (small
sword), olisi palad (palm stick) and dulo-dulo (one end to the other).
The most common material for making palm sticks is hardwood though versions
made of steel or hard plastic are also available. There are even a few traditional
escrimadors who use deer antlers (sungay ng usa) as palm stick. While there are
FMA styles that offer extensive curriculum on the use of the palm stick, a
knowledgeable escrimador knows that it is just another weapon. If he understands
the essence of the FMA, he knows he can pick up any handheld weapon regardless
of shape and size and use it effectively, to quote Dan Inosanto, When you get to
the root of a technique, it doesnt matter what the hand is holding.

The most obvious benefit of training with the palm stick is that it is a weapon that is
easy to conceal. And even if you dont carry a palm stick, some common objects
can be used as a substitute like a thick pen, an eyeglass case or other sturdy
objects of similar shape. Folding knives like the balisong or the modern tactical
folder can be deployed in a less lethal manner by using them closed as a palm stick.
Some tactical folders are built with a glass breaker making them ideal bludgeoning
implements. In the case of the balisong, it is better to use the exposed tang of the
closed blade for hitting than the other end of the handle where the latch is located
because the latter is more susceptible to damage.
Another benefit of palm stick training is that after the dagger, it is the shortest
weapon that an FMA student can learn to understand the transition between
weapons and empty hand fighting. Take note that the FMA being originally a
battlefield art has a reversed progression of training compared to other Asian
martial arts. In arnis, escrima and kali, the student trains with weapons first then
later on progress to empty hand fighting. A quote from the late escrima master John
LaCoste in Inosantos book The Filipino Martial Arts reads, If you want to learn how
to use your fist you must first learn how to use the weapon. As a student
progresses in FMA training, he would realize that by shortening the weapon, all the
techniques would work just as well in empty hand combat.
The palm stick is primarily an impact weapon that can be employed using
hammering, hooking or jabbing motions. To me, the most damaging way to use the
palm stick is via trap and hit technique meaning you immobilize the opponents
hand with some kind of hold or lock so you can pummel on his skull with impunity. In
a grappling situation, you can use the palm stick to pinch on flesh or to dig on
nerve-rich areas.
All the basic angles of attack employed in stick and dagger training are applicable
to palm stick practice. From that, the student can progress to basic limb destruction
drills with a partner before proceeding to specific self-defense techniques and
eventually free sparring. While the angles of attacks remain constant in arnis,
escrima, kali training, the student must realize that there are subtle differences
when transitioning from weapons to empty hand combat. A change in reach will
obviously affect how you close the gap and score a hit on your opponent. A weapon
with a shorter reach also means more danger to the user. Using a palm stick
therefore requires more skilful footwork before you can close in and inflict damage
on your foe. A student must also realize that a palm stick cannot compete with a
regular fighting stick or a dagger in terms of stopping power. It simply lacks the

weight and mass of a hardwood garote or the sharp edge of a knife hence the
wielder of a palm stick must generate greater striking force and must carefully
select his target to inflict a disabling injury.
The palm stick is used in close range so the necessary attributes for fighting in that
kind of distance must be likewise developed. Besides hand speed, arm strength and
body placement, a crucial attribute in using the palm stick is kinesthetic sensitivity.
The latter is the ability to read the energy of ones opponent through touch. Tapitapi and other close quarter drills where you are taught to detect pressure or lack of
pressure in your partners limbs are good ways of developing kinesthetic sensitivity.
You need kinesthetic sensitivity when fighting close range because in that
environment you cannot depend much on your sight to detect strikes from your foe.
When you are in clinch or trapping range, your defense would most likely depend on
your kinesthetic sense.
Reference: Manila Times: http://www.manilatimes.net/the-power-of-the-palmstick/55126/
The importance of ambidexterity in weapons fighting
August 24, 2013 8:27 pm
By Perry Gil S. Mallari
Ambidexterity is the ability of being equally skilful with each hand. Attaining
ambidexterity is crucial to any individual who must depend on a weapon for survival
because in real combat, you are doomed if you cant wield your stick, knife or gun
proficiently with your other hand the moment your dominant hand got injured.
The ancient Greek physician Plato, considered the father of Western medicine
encouraged people to train for ambidexterity, Practice all the operations,
performing them with each hand and with both togetherfor they are both alike
your object being ready to attain ability, grace, speed, painlessness, elegance and
readiness.
On what defines handedness, modern science has this to say: There tends to be no
real difference in the strength or dexterity of the hands themselves. The main
reason for handedness lies in hereditary factors that determine which side of the
brain will be more developed and therefore dominant. Typically the left side of the
brain controls the left side of the head but the right side of the body. Likewise, the
right side of the brain predominantly controls the right side of the head but the left
side of the body. This is because the nerves crossover at the back of the neck. Thus

people with a dominant left side of the brain tend to be right handed, In fact, 97% of
right handers are left-brain dominant. Contrary to what might be expected, 68% of
left handers are also left-brain dominant. About 19% of lefties and 3% of righties are
right-brain dominant. About 12% of lefties (close to 1% of the total population) show
about equal dominance on both sides. (from Whats Right Is Right by David A.
Gershaw, Ph.D.)
Being ambidextrous is an esteemed quality among fighting escrimadors. An excerpt
from the life story of the late Leo Giron in Dan Inosantos The Filipino Martial Arts
reads, One of his instructors, a man the people called Mr. Delgado, used to travel
from camp to camp to fight their best escrimadors. He was good, Giron remembers,
and he could fight with either hand.
In arnis, escrima and kali, the most fundamental way of attaining ambidexterity is to
practice double stick drills like sinawali. In these drills, the weak hand is developed
by teaching it to borrow the movements of the dominant hand. There are
designated roles for the dominant hand and the weak hand (often called the alive
hand because its never idle) in the Filipino martial arts. If he were wielding a
single weapon, the alive hand would be the one that didnt have a weapon. If he
were wielding a long and a short weapon, the alive hand would be the one with the
shorter weapon. If he were empty-handed or wielding two equal-sized weapons, the
alive hand would generally be the one that come to play second, wrote Inosanto in
The Filipino Martial Arts. Training your weak hand to become as functional as your
dominant hand in combat means reversing these roles during practice.
A good way to start is by practicing the basic angles of attack with your weak hand.
Begin by just achieving the proper form then later on practice each angle of attack
separately with speed and power. Having attained proficiency in delivering
individual strikes, advance to practicing techniques in combination. With that
achieved, the next stage could be fine-tuning your form and flow by doing carenza
or shadow fighting with your weak hand. Finally, just like in training the dominant
hand, the final stage should be to spar using your weak hand.
It is good to take note of the development of specific attributes so you can fully
gauge if your weak hand is catching up with the abilities of your dominant hand.
First of these is power. Can you hit as hard or nearly as hard as your dominant hand
with your weak hand? Is there a great difference in gripping strength between your
left and right hands? How about speed and accuracy? How fast and accurately can
you hit a target with your weak hand as compared to your dominant hand?

Besides intentional training in specific martial arts skills, another way of increasing
your ambidexterity is by using your weak hands more often in simple everyday
tasks like opening a jar, pouring a drink or reaching for things.
Not surprisingly, the quality of ambidexterity was also given importance by the old
masters of Western swordsmanship (some aspects of arnis, escrima are borrowed
from Western swordsmanship). A part of the book The Sword Through the Centuries
by Alfred Hutton, reads, From its not being an article of everyday wear, it [double
sword] and its practice escaped the notice of most people, but it did not escape that
of the leading professors of fence. They taught it, they teach the cultivation of it,
and explained its method in their published works, and they earnestly advised their
pupils to take up its study, on account of the advantage which a knowledge of its
use would give them if engaged in a serious affair. Regardless as a game to be
played in the sale d armes, the case of rapiers is more interesting than even the
picturesque fight of the rapier and dagger, for in the latter the arms consist of a
very long sword and a short dagger, and the player is therefore obliged to fight all
through his bout as either a right-handed or as a left-handed man; but when
provided with the case, owing to the two swords being of moderate length and of
equal size, he is in a position to change from right hand to left, or left to right, as the
need to do so may flash across his mind, and that without the necessity of shifting
his weapons, thereby altering instantaneously and radically the scheme of his play,
and compelling a similar though unintended change in that of his adversary.
Reference: Manila Times: http://www.manilatimes.net/the-importance-ofambidexterity-in-weapons-fighting/32877/