Inosanto Kali Manual

Instructors Confidential Manual
Supplemental Handbook
by
Sifu Guro Bud Thompson
PITTSBURGH, PENNSYLVANIA 15222

The contents of this work including, but not limited to, the accuracy of events, people, and places depicted; opin-
ions expressed; permission to use previously published materials included; and any advice given or actions advo-
cated are solely the responsibility of the author, who assumes all liability for said work and indemnifies the
publisher against any claims stemming from publication of the work.
All Rights Reserved

Copyright © 2010 by Bud Thompson
No part of this book may be reproduced or transmitted
in any form or by any means, electronic or mechanical,
including photocopying, recording, or by any information
storage and retrieval system without permission in
writing from the author.
ISBN: 978-1-4349-9041-9
eISBN: 978-1-4349-4062-9
Printed in the United States of America
First Printing
For more information or to order additional books,

please contact:
RoseDog Books
701 Smithfield Street
Pittsburgh, Pennsylvania 15222
U.S.A.
1-800-834-1803
www.rosedogbookstore.com
Dedicated To:
This manual is to the devoted students who have spent

countless hours, weeks, months and years training. They
have earned the privilege and right to be called Sifu/Guro. It
is my wish that the instructor will continue to grow in the
knowledge of the art and become creative in his or her own
right.
The full instructor has been granted the right to change

anything he or she has been taught in order to benefit his or
her own needs and the needs of the students, as he or she
sees fit to change. Change is necessary so that the
practitioner can adapt to the ever-changing times and
situations as he or she deems necessary.
Sifu/Guro
Bud Thompson
Bud Thompson’s Academy of Mixed Martial Arts
Registered in the Library of Congress

Register of Copyrights, United States of America
Registration Number TXu 1 – 313 – 040
June 29, 2006
Kali Academy of Martial Arts
Jun Fan • Gung Fu Institute
Whittier, CA USA
For non-commercial and private use only
Any public use or copying is strictly prohibited
All rights reserved under copyright
Revised 2 nd Printing February 1 st 2007
FORWARD
By Dan Inosanto:
I am honored to have been asked to write this forward for my long time student
and friend Bud Thompson.
I first met Bud, a former body builder, at his Hollywood Natural Foods store, in
1965. I along with my instructor Bruce Lee would frequent the Hollywood book
stores for our research on martial arts, and we would stop in to see” Buddy “for
the latest on nutritional supplements.
When I opened the Kali/Chinese Gung Fu Academy in Torrance California in

1974 Bud was there to train and has been with me ever since, Actively training at
the Kali Academy and following me to the IMB Academy(Inosanto-Martinez-
Bustillo),now International Martial Art and Boxing Academy in Torrance.
Bud opened up his school the Kali Academy of Mixed Martial Arts in 1989 and he
is still going strong.
As my oldest student (Bud is even older than me!), he has never ceased to grow
in his love and dedication to the arts. As a student his loyalty and dedication is
exemplary. Perhaps his greatest attribute, as a martial artist is open mind,
continuing to honor the art and training of the past coupled with his enthusiasm
for embracing what is new and innovative.
Bud is a true example of one who continues to absorb what is useful, reject what
is useless and add what is specifically his own for himself and his students.
Bud knows that change is necessary so that his students can adapt to the ever
changing times and situations. It has always been my wish that my instructors
continue to grow in knowledge and wisdom and become creative in their own
right. Bud Thompson is a great example of this.
Bud’s students will benefit from his years of training and teaching not only by
studying with him at his academy, but by reading his new manual, which will
enhance their skill and knowledge and aid them on their own path.
Dan Inosanto
Founder & Head Instructor

The Inosanto Academy of Martial Arts
Marina Del Rey, California
USA
Table of Contents
Page 1 Table of Contents
Page 2 Table of Contents (continued)
Page 7 Introduction
Page 8 Filipino Martial Arts
Page 9 Phase I Curriculum
Page 10 Advanced Phase I Curriculum
Page 11 Phase II Curriculum
Page 12 Advanced Phase II Curriculum
Page 13 Phase III Curriculum/JKD Status
Page 14 Eskrima #1 Numbering System
Page 15 Portrait Johnny LaCoste/Dan Inosanto
Page 16 LaCoste’s 1st Cinco Teros Pattern
Page 17 LaCoste’s 2nd Cinco Teros Pattern
Page 18 LaCoste’s 3rd Cinco Teros Pattern
Page 19 LaCoste’s 4th Cinco Teros Pattern
Page 20 LaCoste’s 5th Cinco Teros Pattern
Page 21 LaCoste’s Numbering System #1 Ending
Page 22 LaCoste’s Numbering System #2 Ending
Page 23 LaCoste’s Numbering System
Page 24 LaCoste Salutation
Page 25 Villabrille Salutation
Page 26 Villabrille Numbering System
Page 27 Floro Villabrille Kali Structure
Page 28 Raymond Tabosa’s Martial Arts Structure
Page 29 Largo Mano Numbering System
Page 30 Cabelas Numbering System
Page 31 Lameco Numbering System
Page 32 Inosanto’s Seventeen Count Numbering System
Page 33 Inosanto’s Twenty Five Count Numbering System
Page 34 Five Point Knife Stroking Drill A
Page 35 Five Point Knife Stroking Drill B
Page 36 Eight Point Knife Stroking Drill
Page 37 Seven Balance Control Points
Page 38 Pekiti Tirsia Numbering System
Page 39 Pekiti Tirsia Sak Sak Drill Five Count Drill
Page 40 Pekiti Tirsia Pekal Three Count Drill
Page 41 Doce Pares Numbering System Cacoy Canette 1978
Page 42 Old Balintawok Numbering System
Page 43 Contra Sumbrada
Page 44 Hubad Terms / Abcedario Weapons Progression
Page 45 Hubad
Page 46 Seven Ways to Train Twelve Areas
Page 47 Kali - Dumog - Kunsis / Positions in Kali
1
Table of Contents (con’t)
Page 48 Kali Eskrima Silat Knife Basics

Page 49 Kali Eskrima Silat Sensitivity Drills
Page 50 LaCoste Kali Systems of Progression
Page 51 Long and Short Abcedario
Page 52 Long and Short Ugats
Page 53 Long and Short Stick • Espada Y Daga Drills
Page 54 Sinawalli Drills (Doble Baston)
Page 55 Sinawalli Drills (continued) (Doble Baston)
Page 56 Sinawalli Six Count Variables (Doble Baston)
Page 57 Kali Eskrima Vertical Gunting
Page 58 Map of Southeast Asia
Page 59 Meaning of the Triangle
Page 60 LaCoste-Inosanto Twelve Sub-Systems of Kali
Page 61 Eskrima Terminology LaCoste
Page 62 Kali Terminology Villabrille-Largusa System
Page 63 English Visayan Tagalog
Page 64 Basic Training Methods
Page 65 Abcedario Training
Page 66 Abcedario Contradas Format
Page 67 Sibat Bangkaw Progression
Page 68 Solo Baston - Solo Espada - Solo Sundang Versus
Page 69 Doble Baston Doble or Doble Espada Versus
Page 70 Baston Y Daga Espada Y Daga Versus
Page 71 Daga Basics
Page 72 Solo Daga Versus Pangamut Versus Doble Daga
Page 73 Areas of Kalibadman
Page 74 Contra Sumbrada Progression
Page 75 Agaw on Second Feed
Page 76 Pangamut Drills Higot - Hubad - Lubad
Page 77 Long Range Basics
Page 78 LaCoste – Inosanto System Series #1
Page 79 LaCoste – Inosanto System Series #2
Page 80 LaCoste System Sub-System Area #7
Page 81 Breakdown for Sinawalli Six Count Patterns-LaCoste Inosanto System
Page 82 Basic Training Methods
Page 83 Elements in Higot-Hubad- Lubad Counters for the Neck Grab
Page 84 Series #1 LaCoste-Inosanto System
Page 85 Stick & Dagger Basics-Espada Y Daga Olisi Baraw
Page 86 The Moslems of the Southern Philippines (Moros)
Page 87 Bathala
Page 88 Philippines System of Writing
Page 89 Patnubay Sa Pagsulat At Pagbasa Ng Abakada
Page 90 Ancient Majapahit Empire
Page 91 Sri-Visaya Empire
2
Page 92 Understanding Martial Arts

Page 93 Jun Fan Gung Fu as Developed By Bruce Lee Has a Definite & Set Style
Page 94 Jun Fan Gung Fu Is A Set Curriculum As Developed By Bruce Lee
Page 95 Jun Fan Gung Fu Bruce Lee’s Base System /Set Curriculum of Material
Page 96 The Facts of Jeet Kune Do
Page 97 Basic Terminology
Page 98 Cantonese to English
Page 99 Cantonese to English (continued)
Page 102 The Five Ways of Attack
Page 103 The Five Ways of Attack (continued)
Page 104 The Match
Page 105 Jun Fan Gung Fu 1966-1967
Page 106 Jun Fan Method of Jeet Kune Do Sensitivity Drills Basics
Page 107 Bruce Lee Philosophy
Page 108 Regulations of Jun Fan Gung Fu Jeet Kune Do Chinese Kickboxing
Page 109 Jun Fan Gung Fu Jeet Kune Do Titles of Respect
Page 110 JKD Classification for Types of Speed
Page 111 Jun Fan Method Cross Counters To Hand and Kick Combinations
Page 112 Jun Fan Method Lead Hook Counters
Page 113 Jun Fan Method Middle Juk Tek Counters
Page 114 Jun Fan Method Lead Leg Middle O’ou Tek Counters
Page 115 Jun Fan Method Counters For Low Lead O’ou Tek
Page 116 Jun Fan Method Counters For Low Rear O’ou Tek
Page 117 Jun Fan Kickboxing Drills
Page 118 Basic Trapping Progression Jun Fan Method 1966 Progression
Page 119 Basic Trapping Progression Jun Fan Method 1966 Progression (continued)
Page 120 Basic Trapping Progression Jun Fan Method 1966 Progression (continued)
Page 121 Basic Trapping Progression Jun Fan Method 1966 Progression (continued )
Page 124 Jun Fan Trapping Progressive
Page 125 Noy Da Series Jun Fan / JKD Focus Mitt Drill /PIA #1
Page 126 Noy Da Series Jun Fan/JKD Focus Mitt Drill /PIA #2
Page 127 Noy Da Series Jun Fan/JKD Focus Mitt Drills /PIA #3
Page 128 “Quotations”
Page 129 “Quotations” (continued)
Page 130 Attack by Combination
Page 131 Jun Fan Method of Jeet Kune Do Sensitivity Drills Basics
Page 132 Left Hand Stance
Page 133 Right Hand Stance
Page 134 Jun Fan Kickboxing Drills
Page 135 What Is?
Page 136 The Truth In Combat Is Different For Each Individual
3
Page 137 It Has Been Stated

Page 138 Pukulan Pentjak Silat Sera Family Tree
Page 139 ITBA Inosanto Four Count
Page 140 ITBA Inosanto Twelve Count
Page 141 ITBA Inosanto Fifteen Count
Page 142 ITBA Inosanto Eighteen Count
Page 143 ITBA Inosanto Teep Counters
Page 144 Six Count Single End Staff
Page 145 Eight Count Single End Staff
Page 146 Twelve Count Single End Staff
Page 147 Top of the Box Single End Staff
Page 148 Kali Goddess of War
Page 149 Tribes of the Philippines
Page 150 Important Dates in the Philippines
Page 151 Rajah Lapu Lapu Filipino Warrior
Page 152 The Benefits of Meditation
Page 153 Bibliography
Page 154 Areas of the Kaliradman
Page 155 Areas of the Kaliradman (con’t
Page 156 Kali Origins
Page 157 Kali Emblems
Page 158 Kali Emblems (con’t)
Page 159 Triangles of Kali
Page 160 Kataastaasan the Highest of the Highest
Page 161 Kataastaasan the Highest of the Highest (con’t)
Page 162 Spiritual Training One with the Creator Your Place in the Universe
Page 163 Speed-Power-Deception
Page 164 Ancient Kali Script
Page 165 History of the Philippines #1
Page 167 History of the Philippines #3 Shrivijaya Empire
Page 168 History of the Philippines #4 Kali – Ancient Philippine Law
Page 169 History of the Philippines #5 Judicial Procedure Maragtas Code
Page 170 History of the Philippines #6 The Code of Kalanthlaw
Page 172 History of the Philippines #8 Majapahit Empire
Page 173 History of the Philippines #9 Kali Goddess of War
Page 175 History of the Philippines #11 Magellan’s Voyage
Page 180 History of the Philippines #16 Spanish Control
Page 182 History of the Philippines #18 Liga Filipina
4
Page 183 History of the Philippines #19 The Katipunan

Page 184 History of the Philippines #20 The Crest of Katipunan
Page 185 History of the Philippines #21 The Philippine Revolution of 1896
Page 186 History of the Philippines #22 Emilio Aguinaldo
Page 189 History of the Philippines #25 Seal of Aguinaldo
Page 191 History of the Philippines #27 Emilio Aguinaldo, Pres. Filipino Republic
Page 193 Origins of Wing Chun
Page 194 Wing Chun The History – Popular Version
Page 195 1950’s and Yip Man to the Present Day
Page 196 What is Wing Chun Gung Fu?
Page 197 The Three Hands Forms
Page 198 Chi Sao - The Sticky Hands of Wing Chun
Page 199 Wing Chun Dummy Exercise Set #1
Page 209 Mook Jong (Wooden Dummy)
Page 210 Jeet Kune Do Dummy Exercise Set #1
Page 212 Jeet Kune Do Dummy Exercise Set #2 (con’t)
5

Page 236 Bruce Lee’s Ranking Systems
Page 237 Regino Ilustrismo Numbering System
Page 238 Single Stick (Solo Baston)
Page 239 Single Stick (con’t) Solo Baston)
Page 240 Single Dagger (Solo Daga)
Page 241 Joint Locks – Wrist Locks
Page 242 Arm Locks – Elbow Locks
Page 243 Finger Locks – Leg Locks
Page 244 Modified Wing Chun
Page 245 Modified Wing Chun (con’t)
Page 246 Kali Hands
Page 247 Boxing
Page 248 Kicking
Page 249 Kicking (con’t)
Page 250 Foot Work
Page 251 Sinawalli Six Count Drills (Doble Baston)
Page 252 Sinawalli Six Count Drills (Doble Baston)(Continued)
Page 253 Sinawalli Eight And Twelve Count Drills
Page 254 Cabelas Serrada System
Page 255 Tumbling And Falling
Page 256 The Symbolism Behind The Filipino Martial Arts Logo
Page 257 My Version on JKD by Bruce Lee
Page 258 The Art of Bridging The Distance
Page 259 Distance As Attack
Page 260 Bruce Lee’s Scientific Street Defense AKA Jeet Kune Do
Page 261 Bruce Lee’s Scientific Street Defense AKA Jeet Kune Do Terminology
Page 262 JKD Training and Discipline
Page 263 JKD Takedowns and Sweeps
Page 264 JKD Four Ranges of Combat
Page 265 JKD General Training Format
Page 266 Breakholds
Page 267 JKD Grappling Basic Application Drills
Page 268 Technical Aspects of Jeet Kune Do
Page 269 In Memory of Punong Guro Edgar Sulite
Page 270 In Memory of Guro Teddy Lucay Lucay
Page 271 In Memory of Sifu James Yimm Lee
Page 272 In Memory of Bruce Lee / Brandon Lee
6
INTRODUCTION
This manual is a guide and supplement hand book for instructors of the Kali
Academy of Mixed Martial Arts • Jun Fan • Gung Fu Institute. It is for the
support of the instructor in the various martial arts taught at this academy,
and in his or her endeavor to pass on the knowledge to future generations.
The information in this manual is to be taken serious with honor and
respect and not to become common knowledge. “To achieve positive
results one must become a positive person” It’s not just the speed and
power in combat but the skill, sensitivity, and control that is most effective,
speed and power may lessen with advancing age; sensitivity, control and
knowledge will last you for a life time. “One should never be down on, what
one is not up on.” and the most difficult of obstacles you will ever face in
your life lies within yourself. It is my wish that the instructor will continue to
grow in knowledge and become creative in his or her own right. The
instructor has been granted the right to change anything he or she has
been taught in order to benefit his or her own needs and the needs of the
students, as he or she sees fit to change. Change is necessary so that the
practitioner can adapt to the ever changing times and situations.
Special thanks to Sifu/Guro Dan Inosanto for contributing to the publication
of this manual…………………..
Sifu/Guro
Bud Thompson
Head Instructor
7
FILIPINO MARTIAL ARTS
Kali is the native art of the Philippines, It consists of both weapons and
bare hand skills.
The Art Mainly Uses Synchronized Stick Training Drills Along With Body
Angling And Fluid Movement, Gearing A Person Toward Better Hand And
Eye Coordination And Being Stable In Almost Any Position During
Confrontation, Along With Phasing Out The Factor Of Fear Associated With
Being Confronted With A Weapon.
While it may seem that this art is more of a man’s art that is deceiving a
thought. Due To the Timing, Balance, And Rhythm Involved a woman has
just as much of a chance of becoming proficient at this as she has of
becoming a proficient dancer. Along with all the great stories of the
Philippines, the blind Princess Josephine stands out. Because no one
could beat her in a fight, she would always lead her warriors into battle.
It is said among Eskrimadors that “By Understanding the Weapon First,

You Come To Know the Bare Hand”. There are an uncountable number of
styles in the Philippines among them, there are known by other names
such as Arnis De Mano, Arnis Lanada, Eskrima, Sikaran, Silat, Kuntao,
Kalibadman, Kalirongan, Pagkkalikali, and Tjakalele also described as
Indonesian fencing. Each style having methods and synchronized
techniques to set it apart from another, Yet All BeingTogether By A Common
Thread, Concentrating On The Basic Angles Of Attack.
We encourage a person to experiment with all the concepts and principles

of as many systems as possible. This type of liberal attitude is what makes
a free-thinking individual. One Who Make a Style Their Own, and who use
their wits and instincts to the best of their ability.
To quote the late Bruce Lee who advanced this concept beyond anybody
else “A Style Should Never Be Like A Bible In Which The Principles And
Laws Can Never Be Violated”.
8
PHASE 1 CURRICULUM 26 WEEKS (78 hrs.)
Foot Work R/L

•Step slide • Step/slide step through step slide/push shuffle/angle shuffle
•Slide step • Slide step/step through slide step
•Cover left/cover right w/ above combinations
Kicking Shield: R/L
•Left hook kick •Inward crescent kick
•Rear hook kick •Outward crescent kick
•Side kick •Inverted kick
•Heel hook •Combination kicking
Focus Gloves: R/L
•Jab: single/double/triple
•ABC series: J/C/H •J/C/UC•J/C/OH
•2/3 series: J/H/C•J/H/RUC•J/H/ROH
•2/3 series: C/H/C•C/UC/C•C/OH/C
•ABC=attack by combination, 1/3 series=jab hook, 2/3 series=cross hook
•J=jab, C=cross, H=hook, UC=uppercut, OH=overhand
Eskrima:
•12 angles of attack
•1-5 countermove of attack point up
•1-5 counters of attack point down
•#1-#2 angle of attack w/quick disarm w/vine & snake (stick/arm)
•1-5 Sumbrada box pattern
•Bukti Negara salutation
Wing Chun: R/L
•Pak sao da (hold center line)
•Pak sao lop sao da (pass center line)
•Pak sao da hold center line noy pak sao da
Kunsi:
•Figure 4 lock • extended wrist lock • wrist throw • chicken wing lock
(vertical/horizontal) • bent elbow wrist lock • vertical wrist lock • goose neck
lock • straight arm bars lock • bent arm bar lock
ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS

THE INSTRUCTOR SEES FIT AS TO FURTHER ENHANCE THE
STUDENT’S SKILLS.
9
ADV. PHASE I CURRICULUM 26 WEEK (78 hrs.)
Foot Work R/L
•Step slide • Step/slide step through step slide/push shuffle/angle shuffle
•Slide step • Slide step/step through slide step
•Cover left/cover right w/ above combinations w/kicking & punching
Kicking Shield: R/L

•Double RHK calf/thigh/ribcage q/s repeat
•Spin kick • side angle kick • chicken kick • knee drops
Focus Gloves R/L

•Fake jab C/H/C •slip C UC/C/H/C •Low C HH/C/H/ROH • scoop LC/w/rear
hand H/C/H
•Shoulder roll C C/H/ROH, Counter J w/C/UC/RH/OH
•J=jab, C=cross, H=hook, UC= uppercut, OH= overhand, RUC=rear
uppercut, ROH=rear overhand, RH=rear hook, LH=low hook, HH=high
hook, W=with
Wing Chun: R/L

•Pak sao da bil gee pak sao da w/foot work
•Pak sao da bil gee lop sao Chung chuie da
•Pak sao da bong sao lop sao Chung chuie da (five hits)
•Mook Jong 1-6
Kali/Eskrima: R/L
•Sumbrada, empty hand sumbrada
•Sinawalli drills (all six counts)
•Four levels standing, kneeling, ground, circling
•Sinawalli sumbrada •Punyo sumbrada • Hubad Lubad /variables /empty
/weapon
•Guntings: horizontal/vertical/diagonal
•Bukti Negara salutation • Kali salutation
Kunsi: R/L
•Figure 4 lock • extended wrist lock • wrist throw • chicken wing lock
(vertical /horizontal) • bent elbow wrist lock • vertical wrist lock • goose neck
lock • straight arm bars lock • bent arm bar lock
ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE

INSTRUCTOR SEES FIT AS TO FURTHER ENHANCE THE STUDENT’S
SKILLS.
10
PHASE II CURRICULUM 36 WEEKS (108 hrs.)
Foot Work: R/L

•Step/slide • step/slide step through step/slide •slide step • slide step/step
through slide step •step/slide step through slide step/push shuffle/angle
shuffle
•Cover left/right w/above combinations kicking/punching
Thai Pads: (Quick Switch Drills) R/L
•Right lead q/s double kick q/s double kick
•Step through right teep plant forward q/s double kick q/s double kick
•Right lead teep q/s single kick q/s double kick plant forward two right
knees two left knees push out double kick
Q/S= quick switch, Teep= foot jab
Focus Gloves: (Jun Fan) R/L
•Catch J/slip C/UC/OH/UC • Catch J/parry C/C/H/C
•Parry LC with lead forearm C/H/C • Shoulder roll cross C/H/C • Shoulder
roll cross C/LH/HC
•Jik Chung/Chung Chuie (vertical fist) *J=jab, C=cross, H=hook,
UG=uppercut, OH=overhand, RUC=rear uppercut, ROH= rear overhand,
RH=rear hook, LH=low hook, HH=-high hook, LC=low cross, HC=high
cross W=with
Kali/Eskrima: R/L
•All sinawalli six counts (all levels) standing/kneeling, ground/circling
•Eight count (Villabrille) •Twelve count •Eight count (LaCoste) heaven,
standard, earth
•Guntings, take downs • Kali salutation • Bukti Negara salutation • LaCoste
salutation
Wing Chun: R/L
•Pak sao da counter w/ pak sao da • Pak sao da counter w/tan sao da
•Pak sao da counter w/lop sao da • Pak sao da counter bong sao da lop
sao da
•Pak sao da/bil gee /lop sao da
•Pak sao (1/2 motion) lop sao left tan right shoulder huen sao/sat sao da
Mook Jong 1-10
Kunsi: R/L
•Figure 4 lock variables/counters • extended wrist lock • wrist throw •
chicken wing lock (horizontal/vertical) • bent elbow wrist lock • vertical wrist
lock • goose neck lock • straight arm bar lock • bent arm bar lock

SKILLS.
11
ADV. PHASE II CURRICULUM 52 WEEKS (156 hrs.)
Foot Work: R/L

shuffle
Thai Pads: R/L
•DK q/s DK P/F two R knees q/s two L knees P/O DK
•SK q/s SK PF R Elbow L elbow R elbow P/O SK
•SK q/s SK P/F grab behind neck interlock fingers R knee to
L temple L knee to R temple R knee to L temple P/O DK, SK=single kick
*DK=double kick, QS=quick switch, PO= push out, PF=plant forward,
R=right, L=left
Focus gloves: (Jun Fan) R/L
•LHK PF C/H/C LHK • LHK PF H/C/H/C LHK
•LHK PF pak sao da lop sao da C/H/C LHK RHK
•RHK PF C double B&W LH /HH/C/H/C sapo • LHK RHK PF S B&W
H/C/H/C
*J=Jab, C=cross, H=hook, UG=uppercut, OH=overhand, RUC=rear
uppercut,
ROH= rear overhand, DK=double kick, RH=rear hook, LH=low hook, HH=-
high hook, LC=low cross, LHK=lead hook kick, RHK=rear hook kick,
PF=plant forward, B&W=bob & weave
W=with, sapo=foot sweep, DK=double kick, SK=single kick, S=single
Kali/Eskrima R/L Wing Chun R/L
•Sectors • Disarms snake/vine •Bong sao drills unmatched stanches
•Knife drills, take downs, dumog A. Lop sao switch
•Largo Mano, Serada, Numerado B. Tan sao switch
•Staff drills, box pattern/6 count •Don Chi •Chi Sao, Chi Sao
8 count Sparring
•Bukti Negara, Kali, •Mook Jong 1-10
LaCoste salutations
Kunsi: R/L
Figure 4 lock variables/counters • extended wrist lock • wrist throw •
chicken wing (horizontal/vertical) bent elbow wrist lock • vertical wrist lock •
goose neck lock • straight arm bar lock • bent arm lock • advanced locks

SKILLS.
12
Phase III Curriculum 104 Weeks (312 hrs.)
“Congratulations You Have Reached “Jeet Kune Do Status”
Foot Work: R/L

shuffle
Thai Pads: (ITBA) R/L Focus Gloves: (Jun Fan) R/L

•Four count drills •Coordination drills
•Twelve count drills •Progressive focus gloves drills
•Fifteen count drills •Contact sparring 3 min. Rd. H/F
•Eighteen count drills abc
Kali/Eskrima: R/L Wing Chun: R/L

•Aamara four corners •Progressive trapping
•Pekiti Tirsia drills •Progressive countering
•Advance knife drills •Progressive chi sao sparring
•Flowing hu hud/punyo sumbrada/ •Sticky hand flow
sumbrada empty hand •Mook Jong 1-10 sets
•Contact stick, sparring 3 min. Rd. •JKD Mook Jong
•Advance take downs, controls & submissions
•Dumog • Empty hand/pocket stick
Numbering systems:
•Kali Academy • Inosanto 17 count/ Inosanto 25 count
•LaCoste • Largo Mano • Lameco • Villabrille
Kunsi: R/L
Figure 4 lock variables/counters • extended wrist lock • wrist throw •
chicken wing lock (horizontal/vertical) • bent elbow wrist lock • vertical wrist
lock • goose neck lock • straight arm bar lock • bent arm bar lock •
advanced locks • bud bud

SKILLS.
13
14
16
17
18
19
20
21
22
23
LACOSTE SALUTATION
I present myself to the creator and to mankind on earth
I am striving for the knowledge of the third eye of the five

senses and beyond the five senses
I am striving for the love of all mankind and there will be

no shedding of the blood
I bow down to you not in submission but in respect to you
I extend the hand of friendship because I prefer it over the

hand of war, but if my friendship be rejected, I am
trained to be a warrior with wisdom
I stand in symbolism because I serve only The Creator, my

family and my country
I cherish the knowledge given to me by my instructors, for

it is my very life in combat
I am prepared to go against you even through your skill

may be greater than mine
Because even if my physical body should fall before you to
the earth
I am not worried because I know my spirit will rise again

as it is unconquerable
24
VILLABRILLE SALUTATION
O heavenly spirit, forgive me for my faults and weaknesses,
And in your mercy and kindness bless me with the spirit
That will give me the guidance, strength and power
For a strong mind and body so I may develop to be a good
Disciple of Kali.....
25
26
FLORO VILLABRILLE KALI STRUCTURE
(uncle)
Leoncio (blind lady)
Villeganio Josephine
Pio
Floro Villabrille
Hawaii
California Kenneth Villabrille Hawaii
Ben Largusa Raymond Tobosa Teofisto Tobosa
Frank Mamallas Patrick Layusa
Rudy Orlando Richard Terioka
Matt Ihara Ismile Espanola
Fred Lawas Beau Van Dan Ecker
Rose Souza
Connie Amasiu
REALTIVITY
UPMAAH Braulio Pedoy

Floro Villabrille
California Hawaii Hawaii

Hawaii
Ben Largusa Kenneth Villabrille Edwardo Pedoy
Teofisto Tobosa
Raymond Tobosa Patrick Layusa
Frank Mamallas Richard Terioka
Rudy Orlando Ismile Espanola
Matt Ihara Beau Van Dan Ecker
Fred Lawas
Rose Souza
Connie Amasiu
27
RAYMOND TOBOSA’S MARTIAL ART STRUCTURE
Instructed by these individuals
(father) Esabelo Richard Fred Tin Chan Atanascio Masutatsu Floro Felciano Bonifacio Tolesfero
Maximo Cuba Takamoto Lare Lee Acosta Oyama Villabrille Magsanide Lonzaga Subing-Subing
Tobosa
Kali Boxing Judo Kempo Tai Chi Arnis Karate Kali Arnis Eskrima Eskrima
Eskrima
Batikan/O’Sensel Segunda Batikan/Sensel

Raymond Tobosa Teofisto Tobosa
Individuals taught:
Nick Joey Juanito Ben Ben Ricky

Mica Del Mar Ambrosio Arcamo . Arcamo Jr. Tobosa
Mike Ronald Lenny James Everesto

Young Camanse Ea Abril Tabion
Glenn Rick Mike Mat Al Emie Romero D. Rodolfo S. David S.

Hamaning Mills Mulconnery Ihara Dacoscos Libarios Rebujio Trias Jr. Yagen
(Idaho) (Idaho) (Idaho) (Germany)
Dolly Pat Laverne Darlene Lord Tammy Ralph
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
CONTRA SUMBRADA
1. Hit block hit to the limb

2. Hit block hit to the body with check
3. Hit block two to three hits (defender can defend on both hits)
4. Hit – block -2-3 hits with alongain or enganio (PIA) on bangkaw (ABD)
5. Punyo y punyo – Sumbrada (PIA), (ABC)
6. Hikot – Hubad – Lumbad – Hampak
Twelve areas (in hubad)
7. Entrada – Retorada (break in – break out)
8. Add elements Kunsi, (locks) Buno, (throws) etc.
9. Block and hit limbs
10. Use different weapons – staff, daga, etc.
11. Counter with dumog
12. Total free sparring
43
HUBAD TERMS
Lubas – twist Hubad applies to:

Tuok – chokes 1. Elbow catch
Humbot – wave 2. Shoulder stop
Dungad – knife thrust 3. Neck grab
Yuta – earth 4. Wrist grab
Bunbon – sand 5. Hip check
Calibut – ground 6. Knee check
Tuhod – knee 7. Foot check
Siko – elbow
Songab – finger
ABCEDARIO WEAPONS PROGRESSION
1. Olisi y Daga vs. Olisi y Daga

2. Olisi vs. Olisi y Daga
3. Double Olisi vs. Olisi Y Daga
4. Olisi vs. Olisi
A. Strike with middle of stick
B. Strike with end of stick
C. Strike with but of stick
5. Double Olisi vs. Double Olisi
6. Solo Daga vs. Solo Daga
7. Solo Daga vs. Double Daga
8. Double Daga vs. Double Daga
44
HUBAD
Three speeds for hubud

Three heights for hubud
High (standing)
Middle (on knees) Low (sitting or lying)
Twelve foot work patterns
Twelve methods to work within hubad
1. Strikes (all)
2. Punches implies (left & right hand)
3. Elbows (outside against tricep, inside against funny bone)
4. Knees
5. Kicks
6. Chokes
7. Strangles
8. Leg locks (hip, knee, ankles & toes)
9. Arm locks (shoulder, elbow, wrist, & fingers)
10. Throw
11. Sweeps
12. Take downs
• Variations 1-4-1
• Double 2 strike add jao sao to routine
Hubad Terms
Higot-Hard Tie
Higot-Soft Tie
Hubad-Untie, loosen
Hubad Bud Bud
Lubad-Twist
Lubad-Blend Harmoniously
Bud Bud-Untie loose
45
SEVEN WAYS TO TRAIN TWELVE AREAS
1. Abcedario – One side continually feeds the other side defends and
counter acts. Analogous to throwing batons practice Abecedario has
twelve stages.
2. Contra Sumbrada – counter for counter training method, you hit me, I
defend and hit you back, you defend and hit me back too. Analogous to
playing catch Sumbrada has twelve sages.
3. Mining Sumbrada and Abecedario.
4. Solo Training
5. Hitting Objects
6. Sparring
7. Visualization
TWELVE STAGES OF ABCEDARIO
1. Receive one hit – One block and hit

2. Receive one hit – One block and two hits
3. Receive one hit – One block and three or more hits
4. (A) Receive two hits – Two blocks and one hit
(B) Receive two hits – Two blocks and two hits
(C) Receive two hits – Two blocks and three or more hits
5.
(A) Receive three hits – Three blocks and one hit
(B) Receive three hits – Three blocks and two hits
(C) Receive three hits – Three blocks and three or more hits
6. Receive fakes to positive hits
7. Use/Receive different weapons
(A) Use different weapons
(B) Receive different weapons
(C) Using throws, locks, sweeps, trips, chokes, takedowns, disarms
8. Receive while retreating
9. Receive while moving right or left
10. Receive while circling (left or right)
11. Receive low to high, high to low
12. Receive on different terrain, environments or situations
46
KALI • DUMOG • KUNSI
1. Face down Upper Section

2. Face up Upper Section
3. Right Side Up
4. Left Side Up
5. Theory of Clock Approach
6. Entries:
A. Gunting (Horizontal)
B. Gunting (Vertical)
POSITIONS IN KALI
1. Tindog (standing position)

2. Katin Katin (squatting position)
3. Lahod (kneeling position)
4. Lingcod or Pung Ko (sitting position)
5. Higda or Hega (lying position)
47
KALI • ESKRIMA • SILAT KNIFE BASICS
1. Slash/Slash/Slash • Five Ways of Knife

2. Slash/Slash/Thrust 1. Disarm
3. Slash/Thrust/Thrust 2. Keep
4. Slash/Thrust/Slash 3. Return to Sender
5. Thrust/Thrust/Thrust 4. Lock
6. Thrust/Thrust/Slash 5. Throw
7. Thrust/Slash/Thrust
8. Thrust/Slash/Thrust
==================================
Kali Eskrima Knife Training
1. Slash
2. Thrust
3. Butt
4. Tear (Rip)
==================================
Escala Exercises
1. Slash/Thrust
2. Thrust/Slash
3. Slash/Slash
4. Thrust/Thrust
5. Slash/Butt
6. Butt/Slash
7. Butt/Butt
8. Thrust/Butt
9. Butt/Thrust
10. Slash/Tear
11. Tear/Slash
12. Tear/Tear
13. Tear/Butt
14. Butt/Tear
15. Tear/Thrust
16. Thrust/Tear
48
KALI • ESKRIMA • SILAT SENSITIVITY DRILLS
• Higot/Hubad/Lubad
1. Tabon/Siko/Cycle
2. Tabon/Siko/Ordabis Cycle
3. Tabon/Siko/Siko
4. Tabon/Gunting/Siko/Ordabis
5. Siko/Siko/Ordabis
6. Siko/Siko Series
• Dakop/Dalsa/Diko /Deft
7. Dako/Alsa/Tabon/Siko Right
8. Vertical Gunting/Vertical Straight/Back Hand
9. Horizontal Gunting/Horizontal inside Return/Out Side Return
10. Gunting Sa Ordabis (Back)
11. Pae Was At Dongab (Paa Was)
12. Tuhod/Tuhod
13. Songab/Ordabis/Siko
14. Songab/Siko/Ordabis
15. Songab/Siko/Siko
16. Songab/Songab/rear Siko
17. Songab/Songab/lead Siko
18. Songab/Alas/Rear Siko
19. Alsa/Rear Siko Vertical
20. Alsa/hueng/Lead Siko
21. Pae/Songab (Paa Was)
49
LACOSTE KALI SYSTEMS OF PROGRESSION
•Daan and Lihok System
A System of Paths and Routes of Motion

A. Weapon Routes and Motion
B. Footwork Routes and Motion
C. Body Routes and Motion
D. Hand Routes and Motion
E. Elbow Routes and Motion
F. Knife Routes and Motion
G. Kicking Routes and Motion
•Numbering System/Stick or Weapon

1. Stick
2. Sword
3. Ax
4. Staff
5. Spear
6. Flexible Weapon
7. Dagger
8. Palm Stick
A. Inside Defense System/Parry/Cover-Block
B. Outside Defense System
C. Wing Defense System
D. Roof Defense System
E. Umbrella Defense System
F. Shield Defense System
G. Largo Mano (La Contra/Follow)
50
LONG AND SHORT ABCEDARIO
I) • Tuo Series (Open)

1. Tuo Six
2. Tuo Five
3. Tuo Four
4. Tuo Three Downward
5. Tuo Three Upward
II) • Wala Series (Close)
1. Wala Five
2. Wala Six
3. Wala Seven
III) • Abcedario Blend
Numbers 1 Thru 25
IV) • Daan Series (To Be Used With Series I thru II)
1. Female Triangle
2. Male Replace Triangle
3. Lateral Triangle Left
4. Lateral Triangle Right
Tayada (Circle)
51
LONG AND SHORT UGATS
1. Inside Cover 10. Inside Switch W/Hit
Left Parry Down W/Dagger Outside Deflection/Slash Down
Right High Back Hand W/Stick ========================
Right Low Back Hand W/Stick 11. Inside Switch W/Hit
Left Low Thrust W/Dagger Umbrella W/Upward Slash or Roof
Inside Cover W/Dagger Thrust W/Upward Slash
====================== =================
2. Inside Cover 12. Inside Switch W/Hit
Left Parry W/Dagger Parry W/Dagger Horizontal Hit W/Stick
Right Back Hand W/Stick ===========================
Inside Left Thrust W/Dagger 13. Inside Switch W/Hit
Counter Clockwise W/Dagger Outside Deflection Thrust
===================== W/Dagger
3. Inside Cover ===========================
Left Parry W/Dagger 14. Inside Switch W/Hit
Right Back Hand W/Stick Parry W/Dagger Horizontal Backhand
Inside Left Thrust W/Dagger Clockwise W/Stick
W/Dagger =================
=============================== 15. Inside Switch W/Hit
4. Inside Cover Gunting W/Dagger/Stick
Back Hand W/Stick ===================
Counter Clockwise W/Dagger 16. Inside Cover
Inside Cover W/Stick W/Dagger Thrust Clockwise W/Dagger
============================= Double Hit W/Stick
5. Inside Cover ==================
Clockwise W/ Dagger 17. Inside Cover
Inside Cover W/Stick W/Dagger Thrust Backhand W/Stick Clockwise W/
============================== Dagger Double Hit W/Stick
6. Inside Switch =======================
Clockwise W/Dagger 18. Inside Cover
High Dagger Thrust Clockwise W/Dagger
=============== Clockwise W/Dagger Double Hit
7. Combinations Of Inside Switches ===========================
========================== 19. Largo Mano Meet
8. Inside Switch Backhand W/Stick
Clockwise W/Dagger Overhand Thrust W/Dagger
=========================== Backhand W/Stick Palm Up Thrust
9. Close Quarter
Inside Switch W/Hit High Wing Slash Dow
52
LONG & SHORT STICK•ESPADA Y DAGGA DRILLS
FOUR COUNT:
Inward Step In #6 Thrust back hand palm up thrust/repeat left
FIVE COUNT:
Inward back hand step in #6 thrust back hand palm up thrust/repeat left
SEVEN COUNT: (Back hand drill)
Back Hand Step In #6 thrust back hand high palm up thrust low palm down thrust
high palm up thrust inward/repeat left
BLOCKING SYSTEM:
A. Check #1 strike w/ long & short #6 thrust comes check w/long & short thrust to
chest area W/dagger dagger goes underneath #6 thrust hit head/basic four count
B. Check #1 strike w/long & short #6 thrust comes check w/long & short thrust to
chest area w/dagger dagger goes over #6 thrust to rib cage/basic four count
C. Check #1 strike w/long & short opponents dagger thrusts low line at rib cage
dagger hand goes other opponents dagger hand thrust mid-section back hand
opponents dagger hand/basic four count
D. Check #1 strike w/long & short parry #6 thrust w/dagger hit opponent dagger hand
rake opponents throat while going over opponents dagger hand to mid-section
thrust/basic four count
E. Check #1 strike w/long & short scoop outside low line thrust to mid-section return
low mid-section thrust back hand opponents dagger hand/if disarm fails snake #1
strike w/dagger hand for disarm-hit head disarm dagger hand/basic four count-at
times hit opponents dagger hand w/stick/basic four count-other times hit opponents
dagger hand w/forearm/basic four count
F. Inside sweep & snake #1 strike w/knife hand check opponents thrust to mid-section
w/stick hand return thrust to mid-section/disarm opponent’s knife hand
G. Inside sweep #1 strike & thrust chest counter clockwise snake #1 strike clockwise
snake opponents thrust low line thrust stick & dagger inside collar bone
LEARN REFLEX BEFORE TECHNIQUE; WITHOUT REFLEX TECHNIQUE

IS WORTHLESS
53
SINAWALLI DRILLS (DOBLE BASTON)
•Four Count: (heaven/standard/earth)

Inward back hand back hand inward
•All Six Counts: (heaven/standard/earth/right & left)
•Abcedario: High inward low back hand high back hand
•Kobb Kobb: Shoulder/waist/knee (all inward strikes)
•Back Hand Kobb Kobb: Shoulder/waist/knee (all back hand strikes)
•Heaven: Inward back band back hand/Inward back hand back hand
•Standard: High inward point up low back hand point down high back hand point up
(repeat left side)
•Earth: Inward back hand back hand tuck right under left repeat left side) tuck left
under right
•Roof: High inward horizontal wipe high inward (tuck right under left/left side repeat
left tuck Left under right/right side)
•Umbrella: Inward circle head point downward back hand inward (tuck right under
left/left side repeat left side tuck left under right/right side)
•Back Hands Six Count Heaven: Right back hand left back hand right back hand
(umbrella switch repeat)
•Back Hand Six Count Standard: Right back hand heaven left back hand earth right
back hand heaven (umbrella switch repeat)
•Back Hand Six Earth: Right back hand left back hand right back hand (umbrella
switch repeat)
•Abeniko: Left temple right temple left temple left high left back hand high right high
back hand (tuck right under left/left side repeat left side tuck left under right/right side)
•Alto De Bajo: Inward high low high left back hand right back hand (tuck right under
left/left side repeat tuck left under right/right side
•Double Odd Heaven: High inward retract high left back hand high right inward (tuck
right under left/left side repeat left side : tuck left under right/right side)
•Double Odd Standard: High inward retract low left back hand high inward-(tuck right
under left/left side repeat: tuck left under right/right side)
•Double Odd Earth: Low inward retract low left back hand low inward (tuck right under
left/left side repeat: tuck left under right/right side)
•Odd Heaven: High right inward high left back hand from right to left from left side:
high right back hand tuck right under left/left side high left inward retract: high right
back hand retract: high left inward retract repeat: left/ right (follow up with standard/
earth position
54
SINAWALLI DRILLS (DOBLE BASTON) (cont.)
•Bacala: High right inward 2 circles around head right ends on left side left back hand
right back hand tuck right under left/left side repeat: back to right (follow up with
standard/earth positions)
•Split Bacala: High right inward circle around head high left back hand 2nd high
circle around head tuck right under left/left side: repeat/right (follow up with
standard/earth positions)
•Upward Figure Eight: Figure eight motion from standard position (waist) right palm
up palm down palm up left high back hand right high back hand tuck right under
left/left side: repeat: left/right
•Downward Figure Eight: In figure eight motion from heaven position right palm down
palm up palm down high left back hand high right back hand tuck right under left/left
side: repeat: left/right
•Horizontal Figure Eight: In figure eight motion from standard position (waist) right
palm up palm up palm up left back hand right back hand tuck right under left/left side:
repeat left/right
•Sungkite: Right high thrust to left side(palm outward) left high back hand right high
back hand tuck right under left/left side: repeat left/right heaven/standard/earth
•Rice Pounding Grips: Earth position both points down• right point up left point down
•left point up (heaven position) right point down (earth position)
(heaven/standard/earth)
•Movements/Positions:
A. Tiada: Circling clockwise/Counter
clockwise/Diagonally/Forward/Backwards/Latterly
B. Standing C. Kneeling D. Ground (On Back) E. Alternating Between A/B/C/D
•Sumbrada: Right/Left • Use of Obstruction: A. Chair B. Wall C. Bench D. Bushes E.
Low Ceiling • Disarms: Snake/Vine
•Eight Counts: •Abecedario: High right inward low right back hand high left inward low
left back hand high right inward high right back hand high left inward high left back
hand •Kobb Kobb: Shoulder/Waist/Knee/Ankle (inward strikes)
•Back Hand Kobb Kobb: Shoulder/Waist/Knee/Ankle (back hand strikes)
•Villabrille Eight Count: Right/Left (See instructor for sequence)
•LaCoste Eight Count: Heaven: Right high inward low right back hand high left back
hand high right back hand: left to right • Standard: Right High inward low right back
hand high left back hand low right back hand: repeat left to right • Earth: Right High
inward low right back hand low left back hand low right back hand: repeat left to right
•Twelve Counts:
•Villabrille Twelve Count: Right/Left (See instructor for sequence)
•Villabrille Numbering System: 1/12 •Villabrille Numerado Circle:
A. Classical Sigung-Long/Short C. Free Lance/Long/Short
B. Classical Espada Y Daga D. Free Lance/Espada Y Daga
55
SINAWALLI SIX COUNT VARIABLES
(DOBLE BASTON)
•Variables:
1.) I/I/I Family (Inside/Inside/Inside) 64
2.) I/B/B Family (Inside/Back Hand/Back Hand) 64
3.) I/B/I Family (Inside/Back Hand/Inside) 64
4.) I/I/B Family (Inside/Inside/Back Hand) 64
5.) B/B/B Family (Back Hand/Back Hand/Back Hand) 64
6.) B/I/I Family (Back Hand/Inside/Inside) 64
7.) B/B/I Family (Back Hand/Back Hand/Inside) 64
8.) B/I/B Family (Back Hand/Inside/Back Hand) 64
Total Variables 512
•Key To Variables:
1.) H/H/H (High/High/High)
2.) L/L/L (Low/Low/Low)
3.) H/L/H (High/Low/High)
4.) L/H/L (Low /High /Low)
5.) L/L/H (Low/Low /High)
6.) H/H/L (High/High/ Low)
7.) L/H/H (Low/High/High)
8.) H/L/L (High/Low/Low)
56
KALI • ESKRIMA VERTICAL GUNTING
1. Siko (Elbow)
2. Tuhod (Knee)
3. Batiis (Shin)
4. Ya Tuck (Stomach)
5. Sangot (Inverted Round Kick)
6. Sipa (Incline Kick)
7. Songab (Finger Jab)
8. Ordabis (Back Hand)
9. Sikod (Push Kick)
57
58
MEANING OF THE TRIANGLE
59
LACOSTE- INOSANTO (Twelve Sub-Systems Of Kali)
1st Area 8th Area

Single Stick Staff (Sibat), Oar (dula)
Single Sword Paddle (bugsay), Spear (bangkaw)
Single Ax Spear & Circle Shield
Single Cane Spear Rectangular Shield
Spear Rectangular Shield
2nd Area Spear & Sword/Stick
Double Stick Spear & Dagger
Double Sword Two Hand Method (heavy stick)
Double Ax Two Hand Method Using Stick
3rd Area 9th Area

Stick & Dagger Sarong/Malong
Cane & Dagger Sarong/Malong
Sword & Dagger Belt/Whip, Rope/Chain
Sword & Shield Scarf/Head Band, Handkerchief
Long & Short Stick Olisi Toyok, Tabak Toyok
Yo-Yo
4th Area Tabak Lubid
Double Dagger Sting Ray Tail
Double Short Sticks
10th Area
5th Area Hand Throwing Weapons
Single Dagger Spear Dagger
Shingle Short Stick Wooden Splinte, Spikes
Coins, Washers, Coins, Rocks
6th Area Sand, Mud, Dirt, Pepper, Powder, Any Object
Palm Stick
Double End Dagger 11th Area
Projectile Weapons
7th Area Blow Gun (sumpit), Sling Shot (pana)
Panantukan (boxing) Lantanka (portable cannon)
Panadiakan or Sikaran (kicking)
Dumog, Layug, Buno, Detschon (grappling)
Anak-Pagkus (bite & punch) 12th Area
Higot-Hampak (tie & hit) Mental, Emotional, Spiritual Training
Huhad- Hampak (untie & hit) Healing Arts, Health Skills
Lubad- Hampak (blend & hit) Rhythm/Dance
History, Philosophy, Ethics
60
ESKRIMA TERMINOLOGY / LACOSTE
TO SHAKE UYOG
TO RECEIVE DAWAT
HOLD THE HAND KAPTAN SA KAMOT
GUNITAR ANG KAMOT
TO CLAW KAWRAS
MOVEMENT
MOVEMENT OF THE BODY LIHOK
MOVE TO THE RIGHT LIHOK SA TUO
MOVE TO THE LEFT LIHOK SA WALA
MOVE TO BELOW LIHOK SA UBOS
MOVE TO TOP LIHOK SA TAAS
STEP TO THE RIGHT MO LAKANG SA TUO
STEP TO THE LEFT MO LAKANG SA WALA
STEP THE FRONT MO LAKANG SA ATUBANG
STEP THE REAR MO LAKANG SA LOKID
MO LAKANG SA LIKURON
SHIN OF LEG BUKOGSA BATIS
PALM PALAD
PUSH TULAK OR TULOD
PULL BE”RA
GRAB SUBNIT OR KAWHAT OR HAWID
DOUBLE GRAB DOBLE ‘ PAG HAWID
OR KAWHAT OR SUBNIT
DOUBLE PUSH DOBLE’ PAG TULAK OR TULOD
TRIPLE PUSH TULO PAG
TULAN OR TULOD
TO BLOCK SAGANG
TO COVER TABON
TO SLIDE LIKAY
CHOKE TUOK
PUNCH SUNTOK
SLAP SAGPA
HIT IGO OR BUTANGAN
FINGER THRUST SONGAB
61
KALI TERMINOLOGY
VILLABRILLE – LARGUSA SYSTEM
Parada Stance
Payong Defensive parry
Pinuti Garote or sundang
Pitik Flick with finger(s)
Praele Defensive method
Punal Short-bladed weapon;daga
Saggang Defensive x-block
Sargento de Armes Sergeant at arms
Semud Mouth (same as Baba)
Senang Light; sun
Siko Elbow
Sinawali Interwoven motion; Doblicara
Sulod To move in
Sumbrada Counter for counter, style
Sundang Large - bladed weapon
Tabas Strike from the right
Tambak Path; forward / backward movement
Taming Shield
Tayada To circle opponent
Tiel Foot (same as Siki)
Tiel Lihok Foot movement
Tigbas Strike with bladed / non bladed weapon
Tindolo Finger (same as Tudio)
Tindug To stand; to get up
Tuhan Master
Tuhud Knee
Tulo Pesagi Triangle
Utbong Tip
Witik Whip – like strike pull back motion
62
ENGLISH VISAYAN TAGALOG
1. Sagang Sangga
2. Parry Pa’awas Pa-uyon
3. Catch Dakup Huli-Hulihin
4. Thrust Dunggag Saksak-Doyu
(illocano)
5. Slash Panastas Hiwa
6. Punch/Hit Sumbag Suntok
7. To Strike W/Blunt Hampak Suntok Hampas
Instrument
8. Word Used to Describe Panastas Yastas Hiwa
Blade Strike
9. Throw Labay Tapon Buno Tapon
10. Choke Tu-ok Sakal
11. Sweep Walis
12. Run Dagan, DFumagan Takbo
Dumalagan (verb)
13. Trip Binte
Bintehon (verb)
14. Break Bali Bali
15. Lock Kunsi (old) Trangkada
16. Pull Bira Hela
Berahon (verb) Heling (verb)
17. Push Tulak, Tuklod
18. Hit Hampak Tama
19. Slap on Arm Tapi
20. Slap on Face Sagpat
21. Over Run or Charge Sagasa Sagasa
22. Pull & Push Bera Ug Tuklod Hela at Tulak
23. Let It thru Palusut
24. Let It Thru & Look Palusutan
For Openings
25. A Strike That Goes Up Boklis
Like a Block & Go Up
W/Wing like Motion
26. Receive Dawat
63
BASIC TRAINING METHODS
1. Abcedario Contradas
2. Contra Y Contra Sumbrada
3. Mixture of Abecedario Contradas & Contra

Y Contra (Contra Sumbrada)
4. Away Ang Hanngin (Karensa) (Sayaw)
5. Hampak Training
6. Visualization / Meditation
7. Sparring
64
ABCEDARIO TRAINING
Stage 1 Block & Return 1hit
Stage 2 Block & Return 2 hits
Stage 3 Block & return 2 or more hits
Stage 4 Receive 2 hits
Stage 5 Receive 3 hits
Stage 6 Receive fakes to positive attacks
Stage 7 A. Using different weapons

B. Receiving different weapons
C. Using different throws, locks, trips, sweeps,
disarms, takedowns
Stage 8 Receive while retreating
Stage 9 Receive while moving to right or left
Stage 10 Receiving while circling (cc & cw)
Stage 11 Receive Low – High - & High – Low
Stage 12 Receive on different terrains, training

environment & situations
65
ABCEDARIO CONTRADAS FORMAT
1. By the Numbers
2. Mix the Numbers
3. Mix the Combination
4. Isolate the Numbers
5. Isolate the Combinations
6. Fake & Feed the Numbers
7. Feed & Fake at Random
66
SIBAT BANGKAW PROGRESSION
1. Numbering System #1 – 17
Single End
Reverse Grip
2. Numbering System #1 - 17
Double End
3. Hour Glass (8 count)

Rt. & Lt.
4. Hour Glass (12 Count)

Rt. & Lt.
5. 5 Count X 3 (15 Count)
6. ABECEDARIO Contradas
#1 – 5 Single End
7. ABECEDARIO Contradas
#1 – 5 Double End
8. High Box
9. High – Middle – Line Box
10. High – Low Line Box
11. Mixtures of the boxes
12. 9 Count
Hour Glass to 5 Count Box
13. Pasok Tusok 3 Count (4 ways)
14. Kombansion entries to Box Pattern
15. Laban Ug Laban

Hand Strikes and Thrusts
16. Laban Ug Laban

Free Lance
67
SOLO BASTON•SOLO ESPADA•SOLO SUNDANG VERSUS
1. Solo Baston
Solo Espada
2. Doble Baston
Doble Sundang
Doble Espada
3. Baston Y Daga
Espada Y Daga
4. Baston Largo Dos Manos
5. Sibat
6. Bangkaw Spear/Lance
7. Baston Ug Sibat
Espada Ug Bangkaw
Sundang Ug Taming
Sundang Ug Karasak
68
DOBLE BASTON OR DOBLE ESPADA VERSUS
1. Solo Baston
Solo Espada
2. Doble Baston
Doble Espada
3. Baston Y Daga
Espada Y Daga
4. Baston Largo
Dos Manos
5. Sibat
6. Bangkaw
Spear or Lance
7. Baston Ug Sibat
Espada Ug Bangkaw
Espada Ug Taming
69
BASTON Y DAGA - ESPADA Y DAGA VERSUS
1. Solo Baston / Espada
2. Doble Baston / Espada
3. Baston / Espada Daga
4. Baston Largo (Dos Manos)
5. Sibat / Staff
6. Bangkaw, Spear or Lance
7. Baston Ug Sibat
Espada Ug Bangkaw
70
DAGA BASICS
1. Rt. vs. Rt.
2. Rt. vs. Lt.
3. Lt. vs. Rt.
4. Lt. vs. Lt.
5. S vs. Rt.
6. S vs. Lt.
7. Rt. vs. S
8. Lt. vs. S
9. H vs. H
10. H vs. E
11. E vs. H
12. E vs. E
13. DE vs. H
14. DE vs. E
15. E vs. DE
H = Heaven
E = Earth
DE = Double End
S = Single End
71
SOLO DAGA VERSUS
1. Solo Daga
2. Doble Daga
PANGAMUT VERSUS
1. Solo Daga
2. Doble Daga
DOBLE DAGA VERSUS
1. Solo Daga
2. Doble Daga
NINE METHODS OF DOBLE DAGA
72
AREAS OF KALIBADMAN
1. Single Olisi Concept & Principle:
(a) Single Stick (b) Single Sword/Ax Etc.
=====================================================
2. Double Olisi Concept & Principle:
(a) Double Sticks (b) Double Sword (c) Double Ax
(d) Sword & Shield (e) Ax & Shield (f) Shield & Dagger
=======================================================
3. Olisi/Baraw Concept & Principle:
(a) Long Stick (b) Short Stick (c) Stick & Dagger (d) Sword & Dagger
(e) Stick & Shield (f) Sword & Shield
=====================================================
4. Baraw-Baraw Concept & Principle:
(a) Dagger & Dagger (b) Dagger & Shield
=====================================================
5. Baraw-Kamot Concept & Principle:
Dagger & Empty Hand
=====================================================
6. Kamot-Kamot Empty Hands Pangamut Concept & Principle:
(a) Panadiakan (sikaran) Kicking System
(b) Panatukan (boxing) System
(c) Dumog (grappling & wrestling)
(d) Hampak-Higot- Hu Bud (bud-bud) Hit/Tie/Untie
(e) Kinomutay/Kagat/Angkab-Epit/Pinch/Bite/Choke
(f) Songab (finger thrusting)
(g) Siko/Tuhod System / Elbow Knee
=====================================================
7.Olisi Palad Concept & Principle:
Palm Stick
=====================================================
8. Banckaw/Sibat Spear/Staff & Oar System
=====================================================
9. Flexible Weapons Concepts & Principle:
(a) Whip (latigo) (b) Rope (lubid) (c) Chain (kabit) (d) Scarf-
Handkerchief (panu)
(e) Jacket (kanggan) (f) Sting Ray Fish/Tail (g) Olisi Tyuk Clike
Nunchak
(h) Head Band Cpugont Tagus (i) Belt Csabitan (j) Cloth Around
Waist (sarong)
=====================================================
10. Tapon-Tapon Throwing Weapons Or Objects:
(a) Sand (b) Coins (c) Mud (d) Yo-Yo (e) Top (f) Dagger (g) Spikes
(h) Rattan Darts/bamboo darts (i) Spear (j) Simbalan (light spear)
=====================================================
11. Flying Projectile Weapons: Clipad-Lipad
(a) Bow & Arrow (pana) (b) Blow Gun (sumpit) (c) Sling Shot
=====================================================
12. Dos Manos of Sword/Stick
73
CONTRA SUMBRADA PROGRESSION
Stage 1. One block and one hit

Stage 2. Hitting block and hit
Stage 3. One block and two-three hits
Stage 4. One block and two-three hits
Negative to positive hits
Hagad / Lansi to Tinoud
The use of Enganio and Alanganin
Stage 5. Punyo Y Punyo Sumbrada
A. With Punyo only
B. With Dungab only
C. Punyo Y Punyo mix
Stage 6. Higot -Hubad-Lubad with Punyo and Punta Sumbrada
Stage 7. Entrada Y Retierada: moving in and out of long range, middle range and
close quarter range: Break-In-Out, mix angles
Stage 8. Add elements to Contra Sumbrada: disarms chokes, strikes, kicks, trips,
sweeps, takedowns, locks, etc.
Stage 9. One block and hit limbs
Stage 10. Use different weapons and receive different weapons
Stage 11. Add different environments and counter with Dumog with or without
weapons
Stage 12. Sparring:

A. Non-contact distance sparring
B. Light contact
1. Middle and close quarter
2. Long range to limbs and hands
C. Medium contact to all parts
D. Medium to heavy contact with armor and head gear
E. Heavy to medium contact (armor is mandatory) includes all
elements
74
AGAW ON SECOND FEED
#1 #4
#1 #12, #10
#1 #2
#1 #6 Backhand Thrust
#1 #7 Forehand Thrust
#1 #1
#1 #5 Mid-Section Thrust
#5 #4
#5 #12
#5 #2
#5 #6 Backhand Thrust
#5 #1
#5 #7 Forehand Thrust
#5 #5 Mid-Section Thrust
75
PANGAMUT DRILLS
HIGOT – HUBAD – LUBAD BASICS
1. Seek the Path

2. One for One cycle
3. 1-4 to 1-4 cycles
4. 1-4-1 to 1-4-1 cycle
5. Siko to Siko cycle
6. Doble Siko cycle
7. Angle #2 to Angle #2 cycles
8. 2-4-2 to 2-4-2 cycle
9. 4-2 to 4-2 cycle
10. Kamot to Kamot cycle
Parry, Place, Trap & Punch
11. Vertical Gunting, Trap & Punch
12. Catch, Place Trap & Punch
13. Inward Gunting, Place, Trap & Punch
14. Inside Vertical Gunting, Trap & Lt. Punch
15. Inside Vertical Gunting, Trap & Rt. Punch
16. Switch & Reverse #1
17. Inside Ubon with Songab
18. Outside Ubon with Songab
76
LONG RANGE BASICS
DISTANCIA LARGO
CONCEPTS
1. Principle of Meet
2. Principle of Follow
3. Serada Position
4. Abierta Position
5. Mixed Serada and Abierta Position
6. Range Concept
A. Largo Largo
B. Largo Media
C. Largo Corto
77
KALI – ESKRIMA – SILAT- KUNTAO – BERSILAT
PANGAMUT - PANANTUKAN
LACOSTE – INOSANTO SYSTEM
SERIES #1
COUNTER THE LEAD PUNCH BY
1. Pa’awas
2. Dakup
3. Palasut / Waslik
COUNTER THE REAR PUNCH BY
1. Siko 4 Ways
2. Backhand Gunting (Ordabis) To Rear Backhand
3. Backhand Gunting (Ordabis) To Lead Hand Strike
4. Backhand Gunting (Ordabis) To Rear Straight Punch
5. Backhand (Ordabis) To Face
6. Lead Songab /Dongab
7. Rear Songab/Dongab
8. Inside Gunting To Arm
9. Inside Gunting From Inside Thrust
10. Inside Gunting To Inside Thrust
11. Inside Vertical Gunting And Paths
12. Outside Vertical Gunting And Paths
13. Low Rear Dongab
14. Shield And Hit (Taming Ug Hampak)
15. Parry To Shield And Hit (Pa’awas-aming Ug Hampak)
16. Lead Tuhod (Pinasaka)
17. Rear Tuhod (Pinasaka)
18. Upward Bukton (Pinasaka)
78
KALI – ESKRIMA – SILAT- KUNTAO –BERSILAT
PANGAMUT - PANANTUKAN
SERIES #2
COUNTER LEAD PUNCH BY OUTSIDE VERTICAL GUNTING
COUNTER REAR PUNCH BY:
1. Taming Ug Hampak
2. Taming Ug Siko
3. Taming Ug Ordabis
4. Backhand Gunting (Ordabis)
5. Inside Vertical Gunting Counter Lead Punch By Outside ½
Vertical Gunting
COUNTER REAR PUNCH BY:
6. Inside ½ Vertical Gunting Usually To Rear Sikod To Lead

7. Inside Songab/Dongab
8. Backhand Gunting (Ordabis)
9. Inside Vertical Gunting With Lead Siko And Rear Elbow
10. Inside Vertical Gunting With Rear Vertical Upward Elbow
79
LACOSTE SYSTEM SUB – SYSTEM AREA #7
PANGAMUT SEMINAR PROGRESSION
SERIES #1
LEAD PUNCH REAR PUNCH
1. DAKOP/PA’A WAS 1. HIGOT UG SIKO
2. DAKOP/PA’ A WAS (FOUR WAYS)
3. DAKOP/PA’ A WAS 2. BACKHAND GUNTING
4. DAKAOP/PA’ A WAS 3. INSIDE GUNTING
TO INSIDE THRUST
4. INSIDE GUNTING
TO ORDABIS OR
OUTSIDE THRUST
SERIES #2
LEAD PUNCH REAR PUNCH
1. DAKA /PA’A WAS 1. V ERTICAL GUNTING
2. DAKAOP/PA’ A WAS OUTSIDE
3. DAKAOP/PA’A WAS 2. VERTICAL GUNTING
4. DAKAOP/PA’A WAS INSIDE
3. ½ VERTICAL GUNTING
OUTSIDE
SERIES #3 4. ½ VERTICAL GUNTING
LEAD PUNCH INSIDE
1. INWARD GUNTING
2. INWARD GUNTING
3. BACKHAND GUNTING REAR PUNCH
4. BACKHAND GUNTING 1. BACKHAND GUNTING
2. INSIDE VERTICAL
GUNTING
3. BACKHAND GUNTING
SERIES #4 4. INWARD GUNTING
LEAD PUNCH
1. OUTSIDE ½ VERTICAL GUNTING REAR PUNCH
2. OUTSIDE VERTICAL GUNTING 1. OUTSIDE ½ VERTICALGUNTING
3. OUTSIDE VERTICAL GUNTING 2. INSIDE VERTICAL GUNTING
4. OUTSIDE VERTICAL GUNTING 3. INSIDE BACKHAND GUNTING
5. OUTSIDE VERTICAL GUNTING 4. TABON UG SIKO/SONGAB
5. TABON UG ORDABIS
80
BREAKDOWN FOR SIX COUNT SINAWALLI
PATTERNS
1. High – High – High High – High - High
2. High – High – Low High – High - Low
3. High –Low - Low High –Low - Low
4. High – Low – High High –Low - High
5. Low – High – Low Low – High - Low
6. Low –Low - Low Low – Low - Low
7. Low – Low – High Low – Low - High
8. Low – High – High Low – High - High
81
THE EIGHT BASIC FAMILY COMBINATIONS
HAVE SIXTY FOUR VARIABLES
BASIC TRAINING METHODS
1. Abecedario Contradas
2. Contra Y Contra Sumbrada
3. Mixture of Abecedario
Contradas & Contra Y Contra
(Contra Sumbrada)
4. Away ang Hangin

(Karensa) (Sayaw)
5. Hampak Training
6. Visualization / Meditation
7. Sparring
82
ELEMENTS IN HIGOT – HUBAD – LUBAD
COUNTERS FOR THE NECK GRAB
1. Parry & Grab Neck

Paawas ug Subnit ang Ulo
2. Parry, Backfist & Grab Neck
Paawas Ordabis ug Subnit ang Ulo
3. Parry Elbow (Horizontal & Grab Neck)
Paawas Pinatag Siko ug Subnit ang Ulo
4. Parry, Vertical Elbow & Grab Neck
Paawas, Pinatindog ang Siko ug
Subnit ang Ulo
5. Parry, Songab & Grab Neck
Paawas, Songab ug Subnit ang Ulo
6. Double Parry & Grab Neck
Doble Paawas ug Subnit ang Ulo
7. Parry To Cover & Hit To Grab Neck
8. Parry, Songab To Cover & Hit To Grab Neck
9. Humbak ang Abaga To Grab Neck
10. Berahon ang Siko (Over Elbow)
To Grab Neck
11. Berahon ang Siko (Inside Under Elbow)
& Grab Neck
12. Berahon ang Siko
Tulak ang Siko & Grab Neck
A. Palm (Palad)
B. Forearm (Bukton)
13. Alsa ang Bukton Using One Hand
14. Alsa ang Bukton Using Two Hands
83
SERIES #1
1. Supine Arm Bar

(one leg over body)
(three directions of thumb)
(no leg over body)
2. Supine Arm Bar

(two legs over body)
3. Supine Arm Bar

(scissor over neck region)
4. Triangle Strangle With Arm Bar

(left leg over base)
5. Triangle Strangle With Arm Bar

(right leg over base)
6. Branch Up
7. Branch Down
84
STICK AND DAGGER BASICS
ESPADA Y DAGA OLISI BARAW
TUO SIDE (RIGHT)

FOUR COUNT
FIVE COUNT
SIX COUNT
A. HEAVEN-EARTH-HEAVEN
B. HEAVEN THREE
1. LABTIK
2. WITIK
WALA SIDE (LEFT)
FIVE COUNT
SIX COUNT
SEVEN COUNT
85
THE MOSLEMS OF THE SOUTHERN PHILIPPINES
(MOROS)
As seafarers, this branch of the Oceanic_Malay has no superior. They carried the cargo of
that early day. The famous Venetian traveler, Eben Wahab, wrote about them in 898 in the city of
Confu in China, which was the gathering place of southeastern traders. Arabian geographers of the
10th century mention them and their trade in spices. The Phoenician sailed the Mediterranean. The
Oceanic-Malay voyaged the wide Pacific from Africa to the Easter Island, from China to the coral
seas of the south. The wanderings of these early Malays were remarkable achievements of
navigation. The reading of the stars was known to them, as was the making of charts. That these
voyages took place at an early date is suggested by the fact that as early as BC 2300 the Chinese
had charted the heavens to pave the way for the navigator. The Arabic “Book of Miracles”
describes a voyage of three hundred ships made to Madagascar in 945. Strong evidence shows
that the African coast was reached at this early date.
The Malay had sailed over a region approximating 2/3 of the circumference of the earth as
early as the 9th century. From the Malay sailors Marco Polo learned of Zanzibar, Madagascar, and
Abyssinia, carrying back to Europe geographical knowledge the absorption of which was far beyond
the capacity of European nations of that period. There also appears faint evidence that the praos of
the Malay reached the coast of America. His heritage as a sailor retained for himself the reputation
of producing the greatest pirates of all history.
The southern region of the Philippines is one of the oldest battlegrounds in the world. The
unconquerable Moros were beset upon all sides by land grabbing aggressors. Men of all creeds
and colors have scrambled for a foothold in the southern Philippines—from India, Ceylon, Borneo,
Celebes, Java, China, Japan, Portugal, France, Spain, Holland and England. Their bones moulder
there and only the spirits of intrepid adventurers remain. They reckoned not on the courage of the
defenders of this soil. During the period of the European expansion and colonization of Asia, the
southern Philippines remained unconquered. They successfully defended their island empire from
a period a century before 1 AD until their power was finally broken by the dismounted cavalrymen of
United States at the battle of Bud Bagsak in 1913.
86
BATHALA
87
88
89
ANCIENT MAJAPAHIT EMPIRE
1. Indonesia
2. Malaysia-Singapore
3. Maralikas (Philippines)
4. Siam (Thailand)
5. Parts of Southern Burma
6. Parts of Laos-Cambodia
7. Parts of SE India
8. Madagascar
9. Easter Islands
90
SRI - VISHAYA EMPIRE
1. Malaya
2. Ceylon
3. Borneo
4. Celebes
5. Maralikas Philippines
6. Parts of Formosa
7. Exercise Suzeraintyn over Cambodia and Champa
8. The Two Main Centers of Sri-Visayan Were Sulu

And Visayas
91
UNDERSTANDING MARTIAL ARTS
To Better Understand The Martial Arts

You Must Understand The History
To Understand The History

You Must Understand The Cultures
To Understand The Culture

You Must Understand The
Philosophy and Philosophers
What They Were Trying To Express To The

People of That Time And Period
Sifu/Guro Dan Inosanto
92
JUN FAN GUNG FU AS DEVELOPED BY BRUCE LEE
Jun Fan Gung Fu As

Developed By Bruce Lee Has
A Definite and Set System Of
Progression and Material To
Be Taught and Learned.
Jeet Kune Do Was Conceived

By Bruce Lee as His Personal
Form of Combat Based On
His Research and Findings.
Not to Be Standardized,
Because Each Individual Has
Different Needs.
93
Jun Fan Gung Fu is A Set Curriculum As Developed By Bruce Lee
Jeet Kune Do Uses Jun Fan Gung Fu As its Base Curriculum
Through
1. Research
Internally (within the group)
Externally (outside the group)
2. Exploration
3. Experimentation & Development

These Three Points Lead to
Discovery Of New Material Creation Of New Material
94
JUN FAN GUNG FU
IS BRUCE LEE’S
BASE SYSTEM AND IS A
SET CURRICULUM OF MATERIAL
1. Exploration
Internally
Internally from within yourself
Internally from within your school
Externally
Externally what others do in your school
Externally outside of your school (system)
2. Research
Internally
Internally from within yourself
Internally outside of your school (system)
3. Experimentation
Knowledge from Creativity & Discovery
95
THE FACTS OF JEET KUNE DO
1. The economy – tight structure in attack and defense

(attack: the alive leads / defense: sticking hands)
2. The versatile and “artless – artful,” total” kicking and striking weapon
3. The broken rhythm, the half – beat and the one or three-and-a-half
(JKD’s direct in attack and counter)
4. Weight training and scientific supplementary training plus all-around fitness
5. The “JKD direct movement “in attacks and counters-throwing from where it
Is without repositioning
6. The shifty body and light footwork
7. The”un-crispy”stuff and unassuming attacking tactics
8. Strong in-fighting - A. shifty blasting

B. throwing
C. grappling
D. immobilization
9. All-out sparring and the actual contact training on moving targets
10. The sturdy tools through continuous sharpening
11. Individual expression rather than mass product; aliveness rather than
classicalness (true relationship)
12. Total rather than partial structure
13. The Training of” continuity of expressive self” behind physical movements
14. Loose power and powerful thrust-drive as a whole. A springy looseness but not
a physical lax of body. Also, a pliable mental awareness
15. The constant flow (straight movement and curved movement combined-up
and down, curved left and right, sidesteps, bobbing and weaving, hand circles
16. Well-balanced posture of exertion during movement, constantly. Continuity

between near all-out an near all-loose
96
BASIC TERMINOLOGY
SIFU TEACHER – INSTRUCTOR
JOAP HOP GROUP TOGETHER
YU BAY READY
GIN LAI SALUTE (SALUTATION)
GUNG (COMMAND) ATTACK
BAI JONG READY POSITION – STANCE
HEY START – BEGIN
YUT ONE
YEE TWO
SAM THREE
NG FOUR
LOK FIVE
CHUT SIX
BAK EIGHT
GOW NINE
SUP TEN
97
CANTONESE TO ENGLISH
Cantonese English
Jik Tek Straight Kick
Hou Jik Tek Rear Leg Straight Kick
Jit Dum Tek Straight Stomp Kick
Hou Jik Dum Tek Rear Straight Stomp Kick
Juk Tek Side Kick
Hou Jut Tek Rear Leg Side Kick
O"Ou Tek Hook Kick/Round Kick
Hou O"Ou Tek Rear Leg Hook Kick/Round Kick
Noy O"Ou Tek Inside Inverted Hook Kick/Unmatched
Qua Tek Reverse Crescent Kick/Inverted
So Tek/So O"Ou Tek Heel Hook Kick
Dum Tek Stomp Kick
Hou Dum Tek Rear Leg Stomp
Juen Juk Tek Spinning Side Kick
Juen Qua Tek Spinning Crescent Kick/Inverted
Juen So Tek Spinning Heel Hook Kick
Chung Chuie Vertical Fist
Hou Chung Chuie Rear Vertical Fist
Ping Chuie Horizontal Fist
Hou Ping Chuie Rear Vertical Fist
Ha Ping Chuie Low Horizontal Fist
Choap Chuie Half Fist/Leopard Fist Punch
Qua Chuie Backlist
Lau Sin Chuie Vertical Backfist Down
So Chuie Quarter Swing With Fist
Jin Chuie Uppercut
O"Ou Chuie Hook With Fist
Ha Pak Low Slap Parry
O"Ou Sao Hook Hand Parry
Kao Sao Wide Horizontal Hook Hand Parry
Jeet Tek Stop Kick/Intercepting Kick
Jit Chung Chuie Straight Vertical Fist/Straight Blast
Pak Sao Slap Parry
98
CANTONESE TO ENGLISH (con’t)
Pak Sao Da Slap Parry With Hit
Lop Sao Pull Hand/Grab Hand
Lop Sao Da Pull Hand/Grab Hand W/Hit
Jut Sao Jerk Hand
Jut Sao Da Jerk Hand W/Hit
Huen Sao Circling Hand Parry
Jao Sao Running Hand/Disengage
Ha Jao Sao Low Running Hand/Disengage
Li Sao Pulling Palm Up Deflection Toward
Tan Sao Palm Up Deflection
Tan Sao Da Palm Up Deflection W/Hit
Bil Gee Finger Jab/3rd Win Chun Form-Palm Down
Bil Sao Palm Deflection Vertical
Bil Sao Da Palm (Vertical)Deflection W/Hit
Bong Sao Wing Hand Deflection/Elbow Up In Air Block
Fook Sao Forearm Down Deflection/Bent Elbow In Block
Talk Sao Palm Up Deflection Under Elbow
Sat Sao Knife Hand Palm Down/Kill Hand
Jong Tao/Kow Tao Head Butt
Sut Da Knee Hit/Knee Strike
Woang Pak Cross Slap Parry
Ha Woang Pak Low Cross Slap Parry
Goang Sao Hard Inward And Downward Block/Outside
Quan Sao Palm Up Low Wing Deflection/Inside
Seong Jut Sao Two Hand Jerk Hand
Go Da High Hit
Joan Da Middle Hit
Ha Da Low Hit
Jern (Jeong) Palm
Woang Jern Cross Palm Hit
Dim Jern Da Vertical Palm Hit
Jee Yao Bok Gik Free Style Sparring
Kwoon - (Goon) Gym/School/Training Place
Lin Lop Sao Cross Grab Hand/Cross Pull Hand
Mah Bo Horse Stance
Noy Inside
Gnoy Outside
Noy Moon Chuie Inside Gate Punch
Ling Wood Fast And Accurate
Jik Chung Chuie Straight Blast/ Vertical Punches
Goang Hard
Gnoy Lop Sao Outside Pull Hand
Noy Pak Sao Inside Slap Parry
99
Gnoy Lop Sao Outside Pulling Hand
Noy Lop Sao Inside Pull Hand
Jang (Jiang) Elbow
Chum Jang Elbow Down Deflection
Jong Sao 108 Techniques On Dummy
Yuen Soft
Don Chi One Hand Chi Sao/Single Striking Hand
Seong Chi Sao Two Hand Chi Sao
Fak Sao Backhand Using Knife Hand
Sot Kil Hammer Fist
Jao Mah Running Horse
Ng Moon Five Gates
Mo Hay Chinese Weapons/Kung Fu Weapons
Do Sword Or Knife
Gim Sword Or Knife
Lin Sil Die Da Simultaneous Hit And Block
Chin Na Grappling, Locks, Chokes, Throws
Man Sao Lead Hand/Inquisitive Hand
Wu Sao Rear Hand
Yu Bay Ready
Jeet Tek Stop Kick/Intercepting
Gin Lai Salute
Joap Hop Group Together
Phon Sao Trapping Hands
Bai Jong Ready Stance
Chum Kiu Seeking The Bridge/Bridging The Gap
Toy Retreat
Yao/Yow Right
Joe Left
Chun Advance
Yut,Yee, Sam, Say, Ng, Lok, One, Two, Three, Four, Five, Six, Seven,
Chut, Bak Eight
Gow, Sup Nine, Ten
Fu Jow Eagle Talon
Luk Sao Moving Hands
Poon Sao Questioning Hands While Rolling
Lung Tao Dragon Head
Hay/Hey Begin/Start
Jang Da Elbow Hit/Elbow Strike
Gung (Command) Attack
Sa Fot Hand Techniques
Sibak Instructors Senior
Sidal One Who Learned After You • Your Jr
Sifu Instructor
100
Si Gung Your Instructors Teacher/Grandfather

1 Who Learned Before You/Senior Or
Si Hing Brother
Si Joy Founder Of The Style
Sil Lim Tao 1st Wing Chun Form/"Little Imagination"
Si Sook Instructor's Junior
Tan Dar Attacking From The Palm Up Block
Toe Dai Students
Toe Suen Student's Student/Grandchildren
Woang Jeong Sideward Palm Strike
Yee Kim Yang Mah Pigeon-Toed Stance
Yun Jeong Vertical Palm Strike
Har Dar Low Blow
Jee Yao Bok Gik Free Style
Joan Dar Middle Blow
Jor Mah Sitting Horse Stance
Jull Da Running Hand And Strike
Kok Soot National Art
Kwon Staff
Mah Horse Stance
Mook Jong Wooden Dummy
Noy Moon Chuie Inside Gate Punch
Noy Pak Inside Slap Block
Noy Sing Patience-Perseverance
Nuie Toe Female Student
Pak Dar Attacking From The Slap Block
Bi Jong On-Guard Stance
Cheong Spear
Cheong Kil Lik Long Bridge Strength
Chum Jiang Drop Elbow Block
Chum Kil Searching The Bridge/2nd Wing Chun Form
Die Jong Downward Palm Strike
Ding Sao Bent Elbow Forward Energy Block
Gnoy Lop Outside Slap Block
Go Dar High Blow
101
THE FIVE WAYS OF ATTACK
A. Simple Angle Attack (S.A.A.)

(Check the eight basic blocking positions)
1. Leading with the right, guarding with left, while moving to the right
2. Leading Right Stop Kick – (Groin, Knee, Shin)
3. Broken Timing Angle Attack (B.T.A.A.)
B. Hand Immobilizing Attack (H.I.A.)

(Close own boundaries while closing distance
-Watch out for stop hit or kick-
Ready to angle strike when opponent opens or backs up)
-Use feint before immobilize-
C. Progressive Indirect Attack (P.I.A.)

(Moving out of line whenever possible
-Boundaries close accordingly)
1. High to Low
A. R. Str. to Low R. Thrust
B. R. Str. to R. Groin Toe Kick
C. R. Str. to L. Str. (or Kick)
D. L. Str. To R. Groin Toe Kick
2. Low to High
A. R. Str. to High R. Str. (or Hook)
B. R. Groin Kick to High R. Str.
C. R. Groin Kick to High Hook Kick
D. L Str. To R. High Str.
102
THE FIVE WAYS OF ATTACK (con’t)
3. Left/Right or Right/Left
A. R. Str. to R. Hook
B. L. Str. To R. Hook
C. Snap Back and L. Cross’s opponent’s R.
D. Opponent Cross Hand Block (L. Cross)
E. Attack By Combination (A.B.C.)

(Tight Boundaries –Broken Rhythm-
Surprise Opponent –Speed)
1. The One-Two (O-N-E- Two)
2. The O-N-E-Two – Hook
3. R-Body – R-Jaw – L-Jaw
4. R-Jaw – Hook-Jaw – L-Jaw
5. The Straight High/Low
F. Attack By Drawing (A.B.D.)

(Awareness – Balance to Attack)
1. By Exposing
2. By Forcing
3. By Feinting
103
THE MATCH
TIMMING DISTANCE SPEED AND AGGRESSIVENESS

RHYTHN
THE
MATCH
ATTACK COUNTER ATTACK OFFENSIVE

ATTACK
#1 #2
S.A.A
STOP TIME
S.D.A. 4 BASIC
#1 WITH OR WITHOUT
THRUST THRUST
OFFENSIVE
B.T.A.A. KICK KICK #1 DEFENCE
EVASION NO
EVASION
P.I.A. YEILDING
#2 #2 PARRY
I.A.
BEFORE BEFORE
H.I.A. RIPOSTE
A.B.T. DURING DURING ATTACT AFTER A
#3 #3 DEFENCE
AFTER AFTER
A.B.C.
#4 A.B.C.
COUNTER TIME SINGLE INDIRECT COUMPOUND DELAYED

A.B.D. RIPOSTE RIPOSTE RIPOSTE RIPOSTE
#5 A.B.D.
# 1 STOP THRUST
RECOVER RENEWED DEFENCE

ATTACK # 2 TIME THRUST
104
JUN FAN GUNG FU
1966-1967
A. Pak Sao, Lop Sao, Qua Chuie, Rear Chung Chuie, Lop Sao Da to Figure ‘4”
Takedown to:
1. Arm Pit Arm Bar

2. Wrist Flexion to Supine Arm Bar
3. Wrist Flexion to Prone Arm Bar With Head Trap With Leg
4. Wrist Flexion to Prone Arm Bar While Lying on Side
B. Pak Sao, Loy Pak Da, Jang (Elbow Strike) to Under Arm Hook to Arm to:
1. Bent Arm Lock Takedown to Prone Bent Arm Lock with Head Crank
2. Kneeling Straight Arm Lock
3. “Under Arm Hook Takedown” to Supine Arm Bar
4. “Surfboard”
5. Standing Face Lock
6. Standing Front Choke
7. Rear Choke “A”
8. Rear Choke “B”
C. Pak Sao and Opponent Grabs Punch to:
1. Side Wrist Flexion Lock

2. Side Wrist Flexion Lock to Arm Pit Arm Bar
3. To 2 Finger Hyper Lateral Extension
D. Counter Pak Da & Lop Da
1. Two Finger Lock, Rear Hand, (Palm Down)

2. Two Finger Lock, Rear Hand, (Palm Up)
3. Two Finger Lock, Palm Lateral
4. Lateral Wrist Lock (Lead Hand or Rear Hand)
E. Countering Right or Left O’ou Tek
1. Sitting Leg Lock

2. Standing Leg Lock
3. Single Boston Crab
105
JUN FAN METHOD OF JEET KUNE DO
SENSITIVITY DRILLS
BASICS
1. Hinge Principle
Lop Sao, Qua Chuie
2. Ball & Socket Principle

Pak Sao, Qua Chuie
3. Biu Gee to Pak Sao Da
4. Biu Gee to Lop Sao Da to Pak Sao Da
5. Bong Sao & Lop Sao Cycle

A. Using Chung Chuie
B. Using Qua Chuie
C. Using Sat Sao
D. Using Sot Kil
6. Pak Sao Cycle
7. Combination of Lop Sao Cycle with Pak Sao Cycle
8. Don Chi Progression
9. Seong Chi Basics with Seong Chi Progression
10. Mix Don Chi Basics with Seong Chi Progression
11. Mix with Push Hand Basics with Chi Sao Basics
12. 2nd Motion Counter 1st Motion Basic Progression
106
BRUCE LEE PHILOSOPHY
“Abandon all the martial arts you have learned… yet not really abandoning
them.
In a well not dug, in the water not filling it, a shadow is reflected; a man
with no form, no shadow is drawing water from this well.
A man with no form, no shadow, turns into a rice pounder when he pounds
rice.”
Bruce Lee
It was Bruce’s habit to forever expound the advantages and disadvantages

of the various combat styles… none were overlooked. He counseled his
disciples not to think in terms of East vs. West, Chinese vs. Japanese,
Okinawan vs. Korean, Karate vs. Judo, boxing vs. wrestling, Aikido vs.
other Jiu-Jitsu styles, Thai boxing vs. Burmese boxing, Filipino fencing vs.
Western fencing, etc. for the purpose of determining which was better; but,
rather. To examine each method individually, find its pluses and minuses,
then inquire of ourselves, “When will this work for me?” In other words, if I
have two weapons, a hand grenade and a knife, and someone asks which
is superior, I’d reply, “It depends.” If the enemy is fifty yards away… I’d
heave the grenade. If we were in a phone booth, I’d be better off with the
shorter weapon. Methods of combat also have their range of efficiency.
107
REGULATIONS OF THE JUN FAN GUNG FU
INSTITUTE
JEET KUNE DO CHINESE KICKBOXING
1. Any member, instructors, and students alike, will be immediately

expelled for teaching Jeet Kune Do without permission from the head
of the school.
2. Do not get involved in situations that will jeopardize the reputation of
our Institute. Exercise your better judgment.
3. Treat your instructor with great respect and listen to his advice.
Always address your instructor formally and consult him when in
doubt regarding the program and/or reputations of the Institute.
4. Each student must carry his current quarterly card for inspection
upon request. This up to date card will indicate your authenticity as a
Jun Fan official member. Be sure to observe the date of expiration,
membership will terminate without renewal.
5. Recommendation is required to join the Jun Fan Gung Fu Institute.
6. Be punctual for classes and do not fail to report your absence to your
instructor. The door will be locked during practice, and no one
should open it unless the right knock is given.
7. Always bow before and after each practice. If you are late to class,
you are required to wait at the door till your instructor acknowledges
you for salutation. Observe the difference between student to
student salutation and student to instructor salutation.
8. In the event of the absence of the instructor, an appointed senior
member will take over the class.
108
JUN FAN GUNG FU – JEET KUNE DO
TITLES OF RESPECT
SI JOY Founder of system – Bruce Lee
SI GUNG Grandfather or teacher of your Sifu

BRUCE LEE
SI TAI GUNG Great-Grandfather, your instructor’s SI GUNG
SIFU Your instructor, your father in Kung Fu
SI HING Your senior, your older brother.
SI DAI Your junior, your younger brother.
SI JAY Your female senior, your older sister
SI MUI Your female junior, your younger sister
SI BAK Uncle, your instructor’s senior

TAKY KIMURA & JAMES LEE (deceased)
SI SUK Uncle, your instructor’s junior
SI MO Your mother in Kung Fu (or wife of SIFU)
SI BAK GUNG Elder Kung Fu brother of SI GUNG
SI JUK Nephew, student of SI DAI
TOE DIE Student, disciple
TOE SUEN Grandson, student of TOE DIE
YUT HING Number one brother
TUNG MOON Follower of same style
109
JKD CLASSIFICATION OF TYPES OF SPEED
1. Physical Speed
Performance speed: Quickness in a chosen motion.
Examples: Side Kick, Hook Kick, Jab, etc.
2. Initiation Speed
Economical starting to a stimulus.
A. Visual stimulus
B. Audial stimulus
C. Tactical stimulus
3. Perceptual Speed
Visual speed. The ability to see opening and incoming attacks and
targets. Works in conjuncture with Initiation Speed.
4. Mental Speed
Quickness of the mind to select the right move for the appropriate counter
attack or attack or opening.
5. Alteration Speed
Ability to change direction quickly.
6. Combination Speed
Ability to deliver a series of movements in combination.
7. Sensitivity Speed (Contact Reflex)

Ability to react instinctively to an outside stimuli.
8. Footwork Speed (Speed in Mobility)

Ability to move your base or stance quickly.
9. Hand Trapping Speed

Ability to trap quickly in combination.
10. Ability to “calm yourself” and react quickly and effectively to any given
situation.
110
JUN FAN METHOD CROSS COUNTERS
TO HAND & KICKING COMBINATIONS
1. Shoulder Roll & Kick Hand ABC
2. Bob & Weave
3. Jeet Sao
A. Shoulder Stop
B. Bicep Stop
C. Inside Leverage
4. Gnoy Woang Pak Da
5. Outside Parry & Cross High
6. Outside Parry & Cross Low
7. Outside Parry & Hit Outside
8. Tan Sao with Da (Tan Da)
9. Pak Sao – Tan Da
10. Loy Woang Pak Da
111
JUN FAN METHOD
LEAD HOOK COUNTERS
1. Cover Hand ABC – KC
2. Bob & Weave to Hand ABC to KC
3. Cover & Hit Simultaneously to Hand ABC KC

1. Tan Da
2. Jung Da
3. Biu Da
4. Tight Jung Da
4. (Jeet Sao) Shoulder Stop

With Rear Hand
Hand ABC to KC
5. (Jeet Sao) Advancing with

Switch Lead with Rear Hand
To Hand ABC to KC
112
JUN FAN METHOD
MIDDLE JUT TEK COUNTERS
1. Ha Pak & Riposte
2. O’ou Sao & Riposte
3. Kao Sao & Riposte
4. Jit Tek under leg
5. Jeet Juk Tek
6. Jeet Tek & Riposte
7. Tan Tek & Riposte
113
JUN FAN METHOD LEAD LEG
MIDDLE O’OU TEK COUNTERS
1. Ha Woang Pak
Low cross slap
2. Jeet Juk Tek (Rear Leg)

Intercept with Juk Tek
3. Gnoy O’ou Sao

Outside hook hand
4. Lop Gerk – Juk Tek / O’ou Tek

Grab leg with Juk Tek / O’ou Tek
5. Lop Gerk – Jik Tek

Grab leg with Jik Tek
6. Jo Ma – O’ou Tek
Move left and O’ou Tek
7. Yow or Yao Ma – O’ou Tek

Move right and O’ou Tek
8. Toy Ma - Gung
Retreat and attack
Attack with
PIA to ABC
PIA to HIA-ABC
9. Jeet Juen Tek

Intercept Spinning Juk Tek
114
JUN FAN METHOD COUNTERS FOR
LOW LEAD O’OU TEK
1. Toy Ma – Gung or
Toy Bo – Gung
Evade both feet back and attack
2. Toy Gerk – O’ou Tek

Retreat lead leg and attack with lead or rear O’ou Tek
3. Toy Gerk – Juk Tek

Retreat lead leg and attack with rear Juk Tek
4. Tu Ma – O’ou Tek
Lift and O’ou Tek
5. Tu Ma – Dum Tek
Lift and Dum Tek
6. Pak Tek
Slap Kick rear leg
7. Hou Dum Tek

Rear Dum Tek
8. Jeet O’ou Tek

Intercept with O’ou Tek
9. Lau Ma
Female stance & attack
10. Boang Gerk / Jeet Gerk

Wing Leg / Intercepting Leg
115
JUN FAN METHOD COUNTERS FOR
LOW REAR O’OU TEK
1. Jeet Juk Tek (lead leg)
2. Jeet Juk Tek (attack rear leg)
3. Jeet Jik Tek to body
4. Jeet Jik Dum Tek to body
5. Jeet Jik Dum Tek to hip
6. Jeet Jik Dum Tek to leg
7. Jeet O’ou Tek to base leg / body
8. Boang Gerk / Jeet Gerk
9. Jeet Juk Tek to leg
10. Yao Ma or Jo Ma & Riposte
11. Lead Biu Gee / Lead Chung Chuie
12. Toy Ma & Attack
116
JUN FAN KICKBOXING DRILLS
1. Catch and JAB

2. Parry and JAB
3. Catch and JAB & HOOK
4. Parry and JAB & HOOK
5. HA PAK and Return 1-2-3
6. KAO SAO and Return 2-3-2
7. Parry and JAB and Return JAB and Lead O’OU TEK
8. Parry and JAB and Return JAB and Lead JUK TEK
9. Parry JAB and Return JAB and REAR O’OU Tek
10. Counter LEAD O’OU TEK with Side Step 3-2-3
11. Counter REAR O’OU Tek with Side Step 2-3-2
12. Counter LEAD JUK TEK
A. JIK TEK with 2-3-2
B. JEET JUK TEK with O’OU TEK 2-3-2
C. KAO SAO with HA JUK TEK 1-2-3-2 or 2-3-2
13. Counter Lead JUK TEK with SIDE STEP to Inside

With HA JUK TEK, Lead O’OU TEK 2-3-2
14. BLOCK Rear O’OU TEK, CROSS, HOOK,
Rear O’OU TEK, Lead HA JUK TEK
15. Parry JAB on the Outside Lead O’OU TEK 2-3-2
16. Counter 1-2-3 with Catch the JAB, PARRY CROSS,
Bob and Weave THE HOOK 2-3
117
BASIC TRAPPING PROGRESSION JUN FAN
METHOD
1966 PROGRESSION
1. PAK SAO DA
A. BY REFERENCE POINT ATTATCHMENT
B. BRIDGING THE GAP TO ATTATCHMENT
C. BY FEINTING AND THEN BRIDGING GAP TO
PAK SAO DA BY CAPTURING.
D. PAK SAO DA BY CAPTURING.
1. IN FLIGHT DURING ATTACK
2. IN CHAMBERING POSITION BEFORE
ATTACK
3. IN CHABERING POSITION AFTER ATTACK
2. TYPES OF PAK SAO DA

A. GNOY DA OR O’UY DA
B. LOY DA [TWO TYPES]
1. INSIDE OF WU SAO
2. OUT SIDE OF WU SAO
C. JUNG DA
D. HA DA
3. PAK SAO DA TO JIK CHUNG CHUIE
4. PAK SAO DA, --- BONG SAO, --- LOP SAO DA WITH
QUA CHUIE OR SAT SAO (FAK SAO) – GUM SAO DA
5. PAK SAO DA, --- LOY PAK SAO DA

6. PAK SAO DA, --- CHUNG CHUIE --- LOY PAK SAO DA
7. PAK SAO DA, --- BIU SAO AS WEDGE, --- PAK
SAO DA, --- LOP SAO DA --- PAK SAO DA
8. PAK SAO DA, --- BIU SAO AS WEDGE, --- LOP SAO
WITH CHUNG CHUIE --- PAK SAO DA
9. PAK SAO DA --- BIU SAO AS WEDGE

LOP SAO DA
Rt. SAT SAO (FAK SAO)
GUM SAO DA
118
METHOD
1966 PROGRESSION (con’t)
10. PAK SAO DA ---BIU SAO AS WEDGE

PAK SAO DA
Lt. SUT SAO (FAK SAO)

LOP SAO DA
PAK SAO DA
Lt. SUT SAO (FAK SAO)

LOP SAO DA
Rt. SUT SAO (FAK SAO)
CUP SAO DA (KAO SAO DA)
13. PAK SAO DA ---JAO SAO---DOUBLE JUT SAO

GUM SAO DA
JANG (ELBOW)
14. PAK SAO DA ---JAO SAO ---DOUBLE JUT SAO

DUM TEK
GUM SAO DA
JANG (ELBOW)

REAR HAND BIU GEE OR REAR CHIUNG CHUIE
GUM SAO DA TO ANY TYPE OF FOLLOW UP

JONG TAO (HEAD BUTT)
SUT (KNEE)
JANG (Elbow) OR GUM SAO DA (VICE VERSA)
17. PAK SAO DA---JAO SAO---DOUBLE JUT SAO

SUT (KNEE)
GUM SAO DA
119
METHOD

DUM LOY TEK TO KNEE
GUM SAO DA
JANG (ELBOW)

WITH ANY OF THE COMBINATION OF HEAD BUTT
(JONG TAO), PUNCH (CHUNG CHUIE), KNEE (SUT)
FOOT STOMP (DUM TEK), ELBOW (JANG), FINGER JAB (BIU GEE), ANY
PALM STRIKE (JERN), INSIDE STOMP KICK (LOY DUM TEK) BACKHAND
KNIFE HAND (WISK HAND) SAT SAO/FAK SAO ETC.
20. PAK SAO DA

GO JAO SAO DA
HA JAO SAO DA
GO JAO SAO DA
DOUBLE JUT SAO
GUM SAO DA
TO OTHER COMBINATION ROUTES
21. PAK SAO DA

GO JAO SAO DA
HA JAO SAO DA
GO JAO SAO DA
DOUBLE JUT SAO
GUM SAO DA
TO OTHER COMBINATION ROUT
120
METHOD
22. PAK SAO DA

GO JAO SAO DA
PAK SAO WITH QUA CHUIE
23. HALF PAK SAO

LOP SAO DA
TO OTHER COMBINATION ROUTES OF ENERGY
24. HALF PAK SAO DA

LOP SAO DA
PAK SAO WHEN PARRY HAND PASSES
PAK LOP SAO DA
PAK SAO DA
25. HALF PAK SAO DA

LOP SAO DA
CHUNG CHUIE AFTER PARRY HAND PASSES
JUT SAO DA
GUM SAO DA
26. HALF PAK SAO DA

LOP SAO DA
HUEN SAO TO REAR HAND SAT SAO
GUM SAO DA
27. FAKE PAK SAO DA WITH DELAY

CHUNG CHUIE AFTER PARRY HAND PASSES
JUT PAK SAO DA
GUM SAO DA
28. PAK SAO DA

GNOY LOP SAO DA
PAK SAO DA
121
METHOD
29. PAK SAO DA

GNOY LOP SAO DA
LOY KAO SAO DA
30. GNOY WOANG PAK DA

GNOY LOP SAO DA
GNOY LOP SAO DA ON THE REAR ARM
31. HALF PAK SAO DA

LOP SAO DA
CHUNG CHUIE BEHIND REAR PARRY
32. HALF PAK SAO DA

LOP SAO DA
PAK SAO DA
LOP SAO DA
PAK SAO DA
33. HALF PAK SAO DA

CHUNG CHUIE BEHIND RETURNING PARRY
GUM SAO DA
FAK SAO DA
GUM SAO DA
34. CHOAP CHUIE ---QUA CHUIE

LOP SAO WITH QUA CHUIE
35. CHOAP CHUIE ---QUA CHUIE

PAK SAO DA -----BONG SAO WITH LOP SAO
WITH QUA CHUIE OR FAK SAO (SUT SAO)
(FOR LEAD HAND BLOCK)
36. CHOAP CHUIE ------QUA CHUIE -----JAO SA

122
METHOD
TO ALL THE BASICS IN THE JAO SAO SERIES
37. CHOP CHUIE ------- QUA ---

GNOY LOP SAO DA ---- PAK SAO DA
38. FAKE CHOP CHUIE ----- FAKE QUA CHUIE TO
1. JUK TEK (HA, JUNG, GO)

2. O’OUI TEK (HA, JUNG, GO)
3. JIK TEK (HA, JUNG, GO)
4. ILA HOU O’OU TEK
5. HOU SUT
6. JUNG DUM TEK
7. JUN JUK TEK
8. JUN QUA TEK
9. JUN SO TEK
10. JUN O’OU TEK
11. JUN JUNG DUM TEK
12. JUN JIK TEK
NUMBERS #1 - #2 ARE IN THE JUN FAN GUNG FU

CHUM KIU SERIES. THE JUN FAN CHUM KIU
TECHNIQUES ARE NOT TO BE MISTAKEN FOR THE
WING CHUN CHUM KIU TECHNIQUES. JUN FAN CHUM
KIU TECHNIQUES ARE “SEEKING THE BRIDGE” OR
ATTACHMENT ENTERING TECHNIQUES OR BRIDGING
THE GAP TECHNIQUES.
123
JUN FAN TRAPPING PROGRESSION
1. PAK SAO DA
2. PAK SAO DA/CHUNG CHUIE (5 HITS)/PAK SAO DA
3. PAK SAO DA/LOP SAO QUA CHUIE
4, PAK SAO DA/NOY PAK SAO DA
5. PAK SAO DA/CHUNG CHUIE/NOY PAK SAO DA
6. PAK SAO DA/TAN SAO DA/NOY PAK SAO DA
7. PAK SAO DA/LI SAO DA/NOY PAK SAO DA
8. PAK SAO DA/NOY LOP SAO DA/NOY PAK SAO DA
9. PAK SAO DA/BIU GEE/LOP SAO DA/PAK SAO DA
10. PAK SAO DA/BIU GEE/PAK SAO DA/LOP SAO DA
11. PAK SAO DA/ BIU GEE/PAK SAO DA/PAK SAO DA
12. PAK SAO DA/BIU GEE/PAK SAO DA/CUP SAO DA/PAK SAO DA
13. PAK SAO DA/(W1/2 DA) PAK SAO DA/CHUNG CHUIE
14. PAK SAO DA/(W1/2 DA) PAK SAO DA/HUEN SAO/SAT SAO DA W/PAK CUP
SAO/ PAK SAO DA
15. PAK SAO DA/W1/2 DA/PAK SAO/PAK SAO DA/REVERSE (OUTSIDE) PAK
SAO/PAK SAO DA
16. PAK SAO DA W1/2 DELAY/PAK SAO DA
17. PAK SAO DA W1/2 DELAY/CHUNG CHUIE/JUT SAO DA/ NOY PAK SAO DA
18. PAK SAO DA/ LOP SAO DA/ PAK SAO DA
19. PAK SAO DA OR BIU GEE/LOP SAO DA/LOP SAO DA
20. PAK SAO DA/JAO SAO DA/JUT SAO/NOY PAK SAO DA
21. PAK SAO DA/JAO SAO DA/JUT SAO/DUM TEK/NOY PAK SAO DA
22. PAK SAO DA/JAO SAO DA/JUT SAO DA/NOY PAK SAO DA
23. PAK SAO DA/JAO SAO DA/HUEN SAO/GO DA
24. PAK SAO DA/HA JAO SAO/GO JAO SAO/JUT SAO DA
25. PAK SAO DA/JAO SAO/HA JAO SAO/GO JAO SAO/JUT SAO (VARIATIONS)
26. BIU GEE/LOP SAO/JUT SAO
A. SUT (KNEE) D. HEAD BUTT
B. RIGHT CHUNG CHUIE E. JANG (ELBOW)
C. LEFT CHUNG CHUIE F. DUM TEK (FOOT STOMP)
27. PAK SAO DA/CHOAP CHUIE/QUA CHUIE DA
28. PAK SAO DA/CHOAP CHUIE/QUA CHUIE DA/JAO SAO-JUT SAO
(VARIATIONS)
124
NOY DA SERIES #1
JUN FAN/JKD FOCUS MITT DRILLS PROGRESSIVE INDIRECT ATTACK/PIA
Matched Leads:
NOY DA or SPLIT ENTRY WILL PRECEDE EACH SERIES OF ATTACK

COMBINATIONS
NOY DA IS AN EXAMPLE OF DEFENSIVE OFFENSE AND IS IN RESPONSE TO
AN ATTACK FROM JAB OR CROSS
1. NOY DA/CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK CHUIE)/LEAD
HOOK KICK (O’OU TECK)
2. NOY DA/JUT SAO* CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK
CHUIE) LEAD HOOK KICK (O’OU TECK)
* Jut Sao is in response to a stiff-arm jab or cross that doesn’t retract
3. NOY DA/QUA CHUIE* CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK
* Qua Chuie proceeds without Pak Sao by rolling off the inside hit of Noy Da
4. NOY DA/LOP DA/CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK
*Note mitt holder defends with rear hand and crosses centerline w/blocking hand
5. NOY DA/ PAK DA* LOP DA/CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK
* Note mitt holder defends by raising the lead barrier to initiate trapping
combination
6. NOY DA/PAK DA*GNOY PAK DA**PAK SAO/QUA CHUIE*** LOP DA/CROSS

(JIK CHUIE) HOOK (O’OU
CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (O’OU TECK)
combination
** Combination know as Double Pak Sao
*** Defender Parries “Wong Pak” Across centerline in Response to Double Pak,
Ball and Socket Principle Is Applied Here
125
NOY DA SERIES #2
JUN FAN/JKD FOCUS MITT DRILLS PROGRESSIVE INDIRECT ATTACK/PIA
7. NOY DA/PAK DA* BIU GEE WEDGE/PAK DA/LOP DA** PAK SAO/QUA
CHUIE/LOP DA/CROSS (JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK
combination
** Defender Parries “Wong Pak” Across centerline in Response to Double Pak,
Ball and Socket Principle Is Applied Here
8a. NOY DA/PAK SAO/JAO SAO (TO OUTSIDE)* DOUBLE JUT/THROW ACROSS
CENTERLINE/NOY DA** PAK DA/LOP DA/CROSS (JIK CHUIE) HOOK (O’OU
CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (O’OU TECK)
combination
** Hit to interrupt timing and to allow for stance change to adjust to different facing
or lead change
8b. NOY DA/PAK SAO/JAO SAO* DOUBLE JUT/DOUBLE THROW ACROSS

CENTERLINE AND BACK**NOY DA*** PAK DA/LOP DA/CROSS (JIK CHUIE)
HOOK (O’OU CHUIE) CROSS (JIK CHUIEW)/LEAD HOOK KICK (O’OU
TECK)
combination
** Essentially a fake to confuse and interrupt timing
*** Hit to interrupt timing and to allow for stance change to adjust to different facing
or lead change
126
NOY DA SERIES #3
JUN FAN/JKD FOCUS MITT DRILLS PROGRESSIVE INDIRECT
ATTACK/PIA
8c. NOY DA/PAK SAO/JAO SAO*JAO SAO** NOY DA*** PAK DA/LOP DA/CROSS
(JIK CHUIE) HOOK (O’OU CHUIE) CROSS (JIK CHUIE)/LEAD HOOK KICK
(O’OU TECK)
combination
** Lead does not change only running hand moves, fakes to outside and comes
back to original position
*** Hit to interrupt timing and to allow for stance change to adjust to different facing
or lead change
Miscellaneous Terminology:
Pak Sao Slapping Hand
Pak Sao/Da Slapping Hand w/Hit

Biu Gee Finger Spear (Palm Down)
O’ou Chuie Hook Punch
Ping Chuie Horizontal Punch
Ha Lower Gate/Low Line
Go Middle Gate/ Mid Line
Lo High Gate/High Line
Seong Double
Wong Pak Slap Block Across Center Line
Noy Pak Da Split Entry Hit/Slap Parry Outside w/ Hit Inside
Noy Pak Inside Slap Block/ Parry
Jik Chuie Straight Punch
Jao Sao Running Hand
127
QUOTATIONS
“IT MATTERS NOT WHAT SYSTEM YOU HAVE STUDIED. TRUE OBSERVATION
BEGINS WHEN DEVOID OF SET PATTERNS AND FREEDOM OF EXPRESSION
OCCURS, WHEN ONE IS BEYOND STYLES, METHODS, SYSTEMS, AND
ORGANIZATIONS.”
BRUCE LEE
“THE WORD ‘MASTER’ DENOTES A SLAVE AND STYLE MANIFESTS ITSELF IN

NARROW HORIZONS AND BONDAGE. IT IS ONLY WHEN MASTER AND STYLE
ARE TRANSCENDED THAT TRUE FREEDOM OF EXPRESSIONS BEGINS.”
JAMES LEE
TO FULLY UNDERSTAND, ONE MUST TRANSCEND THE DUALITY OF “FOR”

AND “AGAINST” INTO ONE ORGANIC WHOLE. A GOOD MARTIAL ARTIST
RESTS IN DIRECT INTUITION.
MOST STYLES GIVE PARTIAL TRUTHS, NO MATTER HOW GOOD THEY ARE.
THIS PARTIAL TRUTH BECOMES A SECT, A LAW, OR WORSE STILL A
PREJUDICIAL FAITH. EVENTUALLY IN ORDER TO PASS ALONG THIS
“KNOWLEDGE” FROM GENERATION TO GENERATION, VARIOUS RESPONSES
AND MY OWN NATURAL TENDENCIES HAVE BEEN TO ORGANIZE AND
CLASSIFY MATERIAL AND PRESENT IT IN A LOGICAL ORDER TO MY
STUDENTS. SO WHAT MIGHT HAVE STARTED OFF AS SOME SORT OF
PERSON FLUIDITY OF ITS FOUNDER IS NOW SOLIDIFIED KNOWLEDGE,
PACKAGED FOR MASS DISTRIBUTION AS WELL AS MASS INDOCTRINATION.
SINCE YOU ARE A CREATING INDIVIDUAL, YOU ARE MORE IMPORTANT THAN
ANY EXISTING STYLE OR SYSTEM DEVISED BY ANY MARTIAL ART MASTER
OR NATION OR GROUP. KNOWLEDGE COMES FROM DISCOVERING THE
CAUSE OF YOUR IGNORANCE. PROBLEM SOLVING JOINED WITH DIRECT
INTUITION GIVES US THE WISDOM FOR THE USAGE OF THIS KNOWLEDGE.
128
QUOTATIONS (con’t)
“ABANDON ALL THE MARTIAL ARTS YOU HAVE LEARNED… YET NOT
REALLY ABANDONING, THEM. IN A WELL NOT DUG, IN THE WATER NOT
FILLING, A SHADOW IS REFLECTED;
AND A MAN WITH NO FORM, NO SHADOW IS DRAWING WATER FROM
THE WELL.
A MAN WITH NO FORM, NO SHADOW, TURNS INTO A RICE POWDER
WHEN HE POUNDS RICE.”
BRUCE LEE
IT WAS BRUCE’S HABIT TO FOREVER EXPOUND THE ADVANTAGES AND

DISADVANTAGES OF THE VARIOUS COMBAT STYLES… NONE WERE
OVERLOOKED. HE COUNSELED HIS DISCIPLES NOT TO THINK IN TERMS OF
EAST VS. WEST, CHINESE VS. JAPANESE, OKINAWAN VS. KOREAN, KARATE
VS. JUDO, BOXING VS. WRESTLING, AIKIDO VS. OTHER JIU-JITSU STYLES,
THAI BOXING VS. BURMESE BOXING, FILIPINO FENCING VS. WESTERN
FENCING, ETC. FOR THE PURPOSE OF DETERMINING WHICH WAS BETTER;
BUT. RATHER. TO EXAMINE EACH METHOD INDIVIDUALLY, FIND ITS PLUSES
AND MINUSES, AND THEN INQUIRE OF OURSELVES, “WHEN WILL THIS WORK
FOR ME?” IN OTHER WORDS, IF I HAVE TWO WEAPONS, A HAND GRENADE
AND A KNIFE, AND SOMEONE ASKS WHICH IS SUPERIOR, I’D REPLY, “IT
DEPENDS.” IF THE ENEMY IS FIFTY YARDS AWAY… I’D HEAVE THE
GRENADE. IF WE WERE IN A PHONE BOOTH, I’D BE BETTER OFF WITH THE
SHORTER WEAPON. METHODS OF COMBAT ALSO HAVE THEIR RANGE OF
EFFICIENCY.
129
ATTACK BY COMBINATION
USEFUL ABC ATTACKS FROM KICKING RANGE TO HAND RANGE
TO KICKING RANGE
POSSIBLE BASIC 5 COUNT COMBINATIONS
1. LEAD ROUND KICK

2. CROSS
3. LEFT UPPERCUT
4. RIGHT UPPERCUT
5. LEFT ROUND KICK
1. LEAD ROUND KICK

2. RIGHT UPPERCUT
3. LEFT UPPERCUT
4. RIGHT CROSS
5. LEFT ROUND KICK
1. LEAD ROUND KICK

2. CROSS
3. LEFT ELBOW
4. RIGHT ELBOW
5. RIGHT KNEE OR RIGHT ROUND KICK
1. LEAD ROUND KICK

2. RIGHT ELBOW
3. LEFT ELBOW
4. RIGHT ROUND KICK
5. LEFT ROUND KICK
1. LEFT ROUND KICK

2. RIGHT ROUND KICK LOW
3. LEFT ROUND KICK
4. RIGHT CROSS
5. LEFT ROUND KICK
1. LEFT ROUND KICK

2. RIGHT ELBOW
3. LEFT ELBOW
4. RIGHT KNEE
5. LEFT ROUND KICK
130
JUN FAN METHOD OF JEET KUNE DO
SENSITIVITY DRILLS BASICS
1. HINGE PRINCIPLE
(LOP SAO, QUA CHUIE)
2. BALL AND SOCKET PRINCIPLE

(PAK SAO, QUA CHUIE)
3. BIU GEE TO PAK SAO DA
4. BIU GEE TO LOP SAO DA
5. BONG SAO AND LOP SAO CYCLE

A. USING CHUNG CHUIE
B. USING QUA CHUIE
C. USING SUT SAO
D. USING SOT KIL
6. PAK SAO CYCLE
7. COMBINATION OF LOP SAO

CYCLE WITH PAK SAO CYCLE
131
132
133
JUN FAN KICKBOXING DRILLS
1. CATCH AND JAB

2. PARRY AND JAB
PARRY AND JAB & HOOK
3. CATCH AND RETURN 1-2-3 PARRY AND RETURN 1-2-3
4. CATCH AND RETURN 1-3-2 PARRY AND RETURN 1-3-2
5. HA PAK AND RETURN 1-2-3
6. KAO SAO AND RETURN 2-3-2
7. PARRY JAB AND RETURN JAB AND LEAD O’OU TEK
8. PARRY JAB AND RETURN AND LEAD JUK TEK
9. PARRY JAB AND RETURN JAB AND REAR O’OU TEK
10. COUNTER LEAD O’OU TEK WITH SIDE STEP 3-2-3
11. COUNTER REAR O’OU TEK WITH SIDE STEP 2-3-2
12. COUNTER LEAD JUK TEK
A. JIK TEK WITH 2-5-2
B. JEET JUK TEK WITH O’OU TEK 2-3-2
C. KAO SAO WITH HA JUK TEK 1-2.-3-2 OR 2-3-2
13. COUNTER LEAD JUK TEK WITH SIDE STEP TO INSIDE
WITH HA JUK TEK, LEAD O’OU TEK 2-3-2
14. BLOCK REAR O’OU TEK, CROSS, HOOK
REAR O’OU TEK, LEAD HA JUK TEK
15. PARRY JAB ON THE OUTSIDE LEAD O’OU TEK 2-3-2
REAR O’OU TEK, LEAD O’OU TEK LEAD HA JUK
16. COUNTER 1-2-3 WITH CATCH THE JAB, PARRY CROSS,
BOB AND WEAVE THE HOOK 2-3
134
WHAT IS?
What is learning? A journey and process, not a destination

and conclusion.
What is an instructor? A guide, not a guard or dictator.
What is a discovery? A constant process of questioning the

answers, not answering the question.
What is the goal? Open minds so that you can “be” not
Closed achieve the goal.
What is the test? Being and becoming, not just .

remembering and reviewing
What do we teach? Individuals; not lessons, not styles, not

systems and not methods or
techniques.
What is the school? Whatever we choose to make it.
Where is the school? Wherever we are
135
“THE TRUTH IN COMBAT IS DIFFERENT FOR EACH
INDIVDUAL”
1. RESEARCH YOUR OWN EXPERIENCE
2. ABSORB WHAT IS USEFUL
3. REJECT WHAT IS USELESS
4. ADD WHAT IS SPECIFICALLY YOUR OWN
136
“IT HAS BEEN STATED”
IT HAS BEEN STATED THAT “JEET KUNE DO” IS A

PROCESS OF ELIMINATION AND NOT
ACCUMULATION OF KNOWLEDGE BUT IT MUST BE
REMEMBERED THAT THIS IS A PROCESS AND NOT A
PRODUCT.
THE KEY WORD HERE IS “PROCESS.” YOU ARE

CONSTANTLY, THROUGHOUT YOUR ENTIRE
LIFE ACCUMULATING AND THEN ELIMINATING
WHAT IS USEFUL AND NOT USEFUL IN YOUR
LIFE.
137
Pukulan Pentjak Silat Sera • Family Tree
Badui Tribe
Pak Sera
Mas Djut Mas Rhum

Johan de Vries
(uncle of John and
Ernest to Mas Djut)
John de Vries Ernest de Vries Ferdie de Vries

Theo Schryn (Lineage holder of the original system)
Ernest Paul de Thouras Maurice Willem Benny Dolf de Vries Joop

Tremeullen (linage holder) de Thouras Reeders Zeventer Brewer
Victor Stevan Plinck Dan Inosanto

De Thouras (no longer Gus Van Ham Nono de Vries
(no longer
(no longer affiliated) affiliated)
Affiliated) Ralf Burgemeestre
Robert Vanatta Pukulan Pentjak Silat Bukti Negara

Narin Lattitham Family Tree
Louis Campos
Clifford Stewart Pendekar Agung Paul de Thouras
Jonny Ronko (Creator of Bukti Negara)
Arie Hunto
Guru Stevan Plinck Guru Danny Huybrechts

1 st Instructor (lineage holder of Bukti Negara
(no longer affiliated)
Board of Directors
Guru Pangkat Tuo Guru Pangkat Tuo Guru Pangkat Tuo Guru Pangkat Tuo
Vahid Aminian Clifford Stewart Louis Campos Larry Watanabe
(Senior Guru) (Senior Guru) (Senior Guru)
(Senior Guru)
Guru Pankgat Dua

Regional Directors Guru Pankgat Satu
Tim Anderson Pete Poching
Guru Pankgat Satu John Tessier
Dave Moss (Indiana) Freda Doyle
Rick Jackson (Pennsylvania)
INACTIVE IN CURRENT ORGANIZATION
Bart Berner (Ohio) Guru Martin Beijer
George Darish (Michigan) Guru Burton Richardson
Guru Mike Gallo
138 Guru Vernon Ford
ITBA INOSANTO FOUR COUNT
FIRST SERIES
1. LEAD HOOK KICK/CROSS/HOOK/REAR HOOK KICK

2. LEAD HOOK KICK/CROSS/HOOK/LEAD HOOK KICK
3. REAR HOOK KICK (RETRACT KICK) LEAD HOOK/CROSS/LEAD
HOOK KICK
4. REAR HOOK KICK (RETRACT KICK) LEAD HOOK/CROS /REAR
HOOK KICK
SECOND SERIES
1. JAB/CROSS /RIGHT HOOK KICK LEFT HOOK KICK

2. JAB/CROSS/LEFT HOOK KICK/RIGHT HOOK KICK
3. JAB/CROSS/DOUBLE RIGHT HOOK KICK
4. JAB/CROSS/DOUBLE LEFT HOOK KICK
THIRD SERIES
1. CROSS/HOOK/CROSS LEAD HOOK KICK

2. HOOK/CROSS/HOOK REAR HOOK KICK
3. JAB/REAR HOOK KICK/LEAD HOOK KICK/REAR HOOK KICK
4. CROSS/LEAD HOOK KICK/REAR HOOK KICK/LEAD HOOK KICK
MISCELLANEOUS COMBINATIONS
1. (COUNTER CROSS) DOUBLE PARRY/DOWNWARD RIGHT

KNEE/LEFT HORIZONTAL ELBOW RIGHT DOWNWARD
ELBOW/RIGHT KNEE/RIGHT HOOK KICK
2. (PARRY THE LEAD TEEP) LEFT HAND PARRY TO OUTSIDE/
HOLD LEG/RIGHT KNEE TO THIGH/RIGHT HOOK KICK TO
THIGH/LEFT HOOK KICK TO THIGH/FOLLOW W/ LEFT LEAD
HOOK KICK/CROSS/HOOK/RIGHT REAR HOOK KICK
139
ITBA INOSANTO TWELVE COUNT
MUAY THAI CURRICULUM
TWELVE COUNT
LEFT LEAD
1. LEFT ROUND KICK
2. CROSS
3. HOOK
4. RIGHT DIAGONAL DOWNWARD ELBOW
5. HOOK NECK/RIGHT KNEE
6. RIGHT ROUND KICK
7. RIGHT ROUND KICK
8. HOOK
9. CROSS
10. LEFT DIAGONAL DOWNWARD ELBOW
11. HOOK NECK/LEFT KNEE
12. LEFT ROUND KICK
140
ITBA INOSANTO FIFTEEN COUNT
LEFT LEAD
1. LEAD HOOK KICK/CROSS/HOOK/REAR HOOK KICK
2. LEAD PARRY TO CROSS/LEFT COVER TO HOOK
3. LEAD HORIZONTAL ELBOW/REAR DOWNWARD ELBOW
4. RIGHT KNEE / LEFT HOOK KICK/CROSS/HOOK/RIGHT

KNEE/ RIGHT HOOK KICK
5. TEEP COUNTERS CROSS/SLIP TO OUTSIDE OF

SECOND CROSS AND BUMP TO WITH RIGHT
SHOULDER (THIS PUTS THE RIGHT LEAD FORWARD)
FOLLOW WITH CROSS/HOOK/DOUBLE LEAD HOOK
KICK
141
ITBA INOSANTO EIGHTEEN COUNT
THREE PART SERIES LEFT LEAD
# 18 A/SERIES
1. (COUNTERS LEAD TEEP) LEAD PARRY TO OUTSIDE/REAR
HOOK KICK TO LEAD THIGH/FOLLOW FOUR COUNT TO BODY
2. (COUNTERS REAR LOW HOOK) LEG SHIELD/REAR HOOK KICK
TO INNER THIGH LEAD/FOLLOW FOUR COUNT TO BODY
3. (COUNTER CROSS) SHOULDER STOP/CROSS/HOOK/REAR
ELBOW/REAR KNEE/REAR HOOK KICK (ALL RIGHT SIDE)
# 18 B/SERIES
1. (COUNTERS LEAD HOOK KICK TO SHOULDER) RIDE KICK USE
RIGHT HIGH COVER AND LEFT HAND PARRIES DOWN/RIGHT
HOOK TO SIATIC NERVE/FOLLOW FOUR COUNT TO BODY
2. (COUNTER MID LEVEL REAR HOOK KICK TO WAIST) SLIP KICK
OR CATCH KICK WITH BODY ZONING/SIMUTANEOUSLY
DELIVER HOOK KICK TO SUPPORT LEG/FOLLOW W/ FOUR
COUNT TO BODY (MAY KICK SUPPORT LEG SECOND TIME W/
OPPOSITE LEG PRIOR TO FOUR COUNT)
3. (COUNTER CROSS) CIRCULAR PARRY TO OUTSIDE W/ LEAD
HAND/ FOLLOW CROSS/HOOK/REAR ELBOW/REAR KNEE/REAR
HOOK KICK
# 18 C/SERIES
1. (COUNTERS LOW HOOK KICK TO SHIN) THAI SWITCH TO LEAD

HOOK KICK TO INNER THIGH/FOLLOW FOUR COUNT
2. (COUNTERS LOW RR RD) LEAD LEG SHIELD SWITCH TO REAR
HOOK KICK TO THIGH/FOLLOW FOUR COUNT TO BODY
3. (COUNTERS CROSS) RISING LEAD ELBOW INSIDE
CROSS/LEAD ELBOW/ REAR ELBOW/REAR KNEE/REAR ROUND
NOTE: CROSS COUNTER SERIES CAN BE BROKEN UP INTO ANY

COMBINATION OF CROSS/HOOK/ELBOW/KNEE/HOOK KICK.
EXAMPLE PARRY CROSS/FOLLOW WITH CROSS/HOOK/REAR
ROUND
142
ITBA INOSANTO
TEEP COUNTERS INSIDE PARRY
FEEDER SERIES/LEFT LEAD
1. LEAD PUSH KICK/RIGHT LOW ROUND KICK

2. LEAD PUSH KICK/RIGHT MID ROUND KICK
3. LEAD PUSH KICK/RIGHT HIGH ROUND KICK
4. LEAD PUSH KICK/RIGHT CROSS
5. LEAD PUSH KICK/RIGHT DIAGONAL DOWNWARD ELBOW
6. LEAD PUSH KICK/RIGHT KNEE KICK
DEFENDER SERIES TO COUNTER FEEDER SERIES/LEFT LEAD
1. PARRY PUSH KICK FROM INSIDE TO OUT/LEFT LEG

SHIELD/LEFT KICK LEG/FOLLOW W/ 4/COUNT (LEFT
ROUND/CROSS/HOOK/RIGHT ROUND)
2. PARRY PUSH KICK FROM INSIDE TO OUT/CUT KICK W/OR
WITHOUT CATCH/FINISH W/ 4.COUNT
3. PARRY PUSH KICK FROM INSIDE TO OUT/HIGH DOUBLE
COVER/CUT KICK/ FOLLOW W/ 4-COUNT
4. PARRY PUSH KICK FROM INSIDE TO OUT/CIRCULAR
PARRY/CROSS/HOOK/RIGHT DIAGONAL DOWNWARD
ELBOW/RIGHT KNEE/RIGHT ROUND KICK
5. PARRY PUSH KICK FROM INSIDE TO OUT/INSERT LEFT LEAD
BETWEEN ELBOW/HEAD/FOLLOW REAR DOWNWARD
DIAGONAL SNAP ELBOW/RIGHT KNEE/RIGHT ROUND KICK
6. PARRY PUSH KICK FROM INSIDE TO OUT/SIDE STEP/HOOK
UNDER KNEE W/RIGHT ARM/PUSH BODY W/LEFT (PUSH FOR
THREE STEPS) CUT KICK W/RIGHT ROUND UNDER
KNEE/FINISH W/ 4-COUNT
143
144
145
146
147
KALI GODDESS OF WAR
The goddess is full breasted, naked and standing on one foot. Her other leg
bends at the knee, with the sole of her foot resting on the other knee of the
supporting leg. Both ankles have several anklets enriching each. Kali’s dark
hair is bejeweled and piled on top of her head. The top of Kali’s coiffeur
culminates with three spires, the center most being the highest. Her tongue
fully extends from her mouth, with teeth bared. She wears a garland of
skulls around her neck, dangling bracelets on her wrists and a slave bracelet
around each bicep. A drooping belt of severed hands encircles her narrow
waist. Four arms extend two from each shoulder, with her hands holding a
kamagon (battle stick), sword or a knife, shield, a strangling noose or a
severed hand of a giant. An empty hand extends forward, palm out. Kali, in
Sanskrit means “black” and sources describe the goddess Kali as a black
faced demon with blood smeared all over her face. They also state the
paintings and sculptures show Kali’ stepping prone figure of consort, Shiva.
The Hindu meaning for the Kali is a devouring destructive goddess who is
blood thirsty.
148
TRIBES OF THE PHILIPPINES
Agta (Negritos) Manobo-Upland tribe of Mindanao

Apayao, Tingguian Descendents of Maranaw (Moslems)-Last Islams
headhunters and live close to rivers. Mindoro Mangyans
Ata (Negritos) Fishermen turned agriculturists do
Ati (Negritos) to new settlers pushing them into
Ayta (Negritos) the jungles and hills.
Badjao-Sea Gypsies Alagan Hanunoo
Bagobo-Upland tribe of Mindanao Tadyawan
Batak-Semi-nomadic tribe of hunters Buhid Iraya
& gathers. Pala’wan
Bontol (Igorots)-Head hunters. “Tooth Samel (Moslems)
for a “tooth attitude. Subanon-Upland tribe of Mindanao.
Dumaget (Negritos) Tboli-Live in Tinuary highlands
Ifuago (Igorots)-Built giant rice Taganua-Palawan island forest
terraces. dweller ethnic group.
Ilokano-Malay Ancestry Tasada-50, 000 years has passed
Ita (Negritos) them by.
Jama Mapun- Muslim people of the Tau’t Batu-People of the Rock
Cagayan Islands. Animism, they live in caves.
Kalinga (Igorots)-Head hunters. Tausug (Moslems) - The first
Mandaya, Marisaka-Animism strongly Islams, love & ceremonial tribe
practiced. living mainly on Basilan Island.
149
IMPORTANT DATES IN THE PHILLIPINES
3000 Malays from Indonesia and Malaysia arrive

1000 AD Chinese traders
1250 Datu Sumakwel’s Maragtas Code
1433 Rajah Kalantiaw’s Code of Kalantiyaw
1521 Ferdinand Magellan landed in the Philippines
1565 Spanish explores claimed the Philippines for Spain and
established a permanent settlement
1571 Spanish control Philippines
1896 The Spaniards execute Jose Rizal, a leader of the Philippine
Independence movement. Emilio Aguinaldo led the revolt
against the Spaniards.
1898 Philippines declare independence from Spain
1898 Spain gave the Philippines to the United States after the
Spanish American War
1899 Malolos Constitution, the Philippines was declared a
republic
1899 Philippine-American confrontation
1942-1944 Japan controlled the Philippines
1946 The Philippines gained independence
1954 The Philippine Army defeated the Communist led Huk
rebels after a five year fight
1972 President Ferdinand E. Marcos declared a state of martial
law, which lasted until 1981
1986 Widespread protests against President Macros forced him
to leave office
150
RAJAH LAPU LAPU FILIPINO WARRIOR
Conqueror of Magellan at the Battle of

Mactan 1521
151
THE BENEFITS OF MEDITATION
Spiritual
Developmental
Triangle
Physical Mental
1. Patience is increased
2. Will is strengthened
3. Efficiency improved
4. Thought ability improved
5. Fuller personality is achieved
6. A sense of stability is achieved
7. Spiritual insight can be achieved
152
BIBLIOGRAPHY
1. Dan Inosanto The Filipino Martial Arts, Know Now Publishing Co.
1980 P.10-13.
2. Abdul Muhammed Ehmee, A Short History of the Fighting Art of the
Philippines.
3. Buji Mateen, Majapahit.
4. Rasaan Lateef Mateen, The Quest for the Fountain Culminates.
5. Alan Villiers, “Magellan, a Voyage into the Unknown” National
Geographic, Vol. 149 No. 6. June 1976, P. 720-753.
6. Tim Joyner, Magellan, International Marine, 1992.
7. Leukosis-Mendelssohn, The Universal Standard encyclopedia, Vol.
15 Unicorn Publishers, Inc., New York, 1954.
8. Fontaine-Couch, Collier’s Encyclopedia, Vol. 15, P. F. Collier & Son,
Crowell-Collier Publishing Company 1954.
9. Encyclopedia Britannica CD, 1994-1998.
10. Worldbook Encyclopedia CD.
11. American Heritage Dictionary CD.
12. Francis St. Clair, The Katipunan, The Rise and Fall of the Filipino
commune, Manila 1902.
13. Henri Turot, Aguinaldo et les Philippines, (Emillo Aguinaldo, First
Filipino President, 1898-1901.) Paris 1900.
14. Richard Brinsley Sheridan, Barrister at Law, Inner Temple, The
Filipino Martyrs, A Story of the Crime of February 4, 1899, John
Lane : The Bodley Head, London & New York, 1900.
15. Dr. Antonio De Morga, History of the Philippine Islands, Vol. I-II.
Kraus Reprint, Arthur H. Clark Company, 1907.
16. Blair and Robertson, Customs of the Pampangos in their Lawsuits,
op. cit. Vol. XVI. p. 329.)
17. Blair and Robertson, Relation of the Conquest of the Island of
Luzon, Manilia, April 20, 1572, op. cit. Vol.III. p.165.
18. Book of Knowledge, Volume 9, 1952.
19. Robert Reish, Kali Training Manual, 1993, P. 1-36.
153
AREAS OF THE KALIRADMAN
Kaliradmam: From Kali (Visayan) meaning
knowledge & wisdom
Three Areas of Arnis Seven Areas of Eskrima (Pangamut)

1. Single Stick 1. Single Stick/Sword
2. Double Stick 2. Double Stick/Sword
3. Stick Dagger 3. Espada y Daga
Sword & Dagger 4. Single Dagger
Sword & Shield 5. Staff/Spear/Oar
6. Palm Stick
7. Empty Hands
TWELVE AREAS OF KALIRADMAN

According to Guro Dan Inosanto there were originally 12 categories in Kali
and possibly some master may have mastered them all:
1. Solo Baston/Olisi
a. Single stick, can d. Slipper art
b. Single sword e. Newspaper art
c. Single ax f. Tjaband - sai
2. Doble Baston/Olisi (Sinawalli)
a. Double sticks, canes d. Sword and shield
b. Double sword e. Ax and shield
c. Double axe f. Shield and dagger
3. Espada y Daga, Olisi y Baraw
a. Long stick – short stick d. Stick and shield
b. Stick and dagger e. Sword and shield
c. Sword and dagger
4. Baraw – Kamot, Daga (single knife)
a. Dagger and empty hands c. Single short stick
b. Bali song (butterfly knives)
5. Daga y Daga/Baraw y Baraw (two knives)
a. Dagger and dagger c. Double short sticks
b. Dagger and shield
6. Tabak Maliit/Olisi Palad
a. Palm, pocket, or yawara stick
b. Double end dagger
7. Panantukan (Mano Mano)
- Kamot Kamot – Pangamut (empty hands)
a. Panatukan (boxing) system
b. Panadikan/Pananjakan (Sikaran) kicking system
c. Dumog, Layug, Buno, Destchon (grappling & wrestling) system
d. Hampak-Higot-Hubud-Lubud (tie & hit, untie & hit, blend & hit)
e. Kinomutay/epit (pinch) – Kagat/Angkad (bite) – Kugat (choke)
f. Songab – finger thrusting
g. Siko – Tuhod System (elbow-knee)
154
AREAS OF KALIRADMAN (Con’t)
8. Sibat (staff), Bangkaw (spear) e. Duta (oar)

a. Bangkaw (spear) f. Heavy stick (Dos Manos)
b. Bangkaw Taming g. Log stick (Dos Manos)
c. Bangkaw & Kalasag h. Spear & stick, sword or dagger
d. Sibat (staff)
9. Maluwag Maluwag (flexible weapons)
a. Latigo (whip) f. Olisi Toyok (nunchaku long & short)

b. Lubid (rattan or rope vine) g. TabakToyok (nunchaku)
c. Kabit or De Cadena (chair) h. Putong Tagkus (stick blend)
d. Kanggan (jacket) i. Putong Tagkus (head hand)
e. Buritot – Page (sting ray fishtail)
j. Sabitan (belt)
k. Sarong (cloth around waist)
10. Tapon – Tapon (Throwing weapons & objects)
a. Dirt, pepper, mud f. Baraw (Dagger)

b. Stone, rock, sand g. Spikes (metal)
c. Coins h. Rattan darts / bamboo darts
d. Yo-yo i. Bankaw (Spear)
e. Top (spinning) j. Simbalan (Light Spear)
11. Lipad – Lipad (Projectile Weapons)

a. Pana (bow & arrow) c. Pana (sling shot)
b. Sumpit (blow gun) d. Lantanka (portable canon)
12. Hilot Ancient & Modern Healing Arts

a. Healing Arts d. Ethics & Moral Training
1. Massage e. History
2. Trigger Points f. Rhythm Training (music & dance)
b. Health Arts g. Spiritual Training
c. First Aid h. Mental Training
DAN INOSANTO’S KNOWLEDGE

1. Regino Ilustrismo 11. Max Sarmiento 21. Edgar Sulite
2. Juanito LaCoste 12. Dentoy Revillar 22. Emil Saturion
3. Floro Villabrille 14. Art Miraflor 23.”X” Factor
5. Pedro Apilado 15. Telesporo Subingsubing 24. “X” Factor
6. Pasqua lOvalles 16. Bravlio Pedoy 25.”Z” Factor
7. Jack Santos 17. Leo Gaye 26. Flesimo Maxcrenede
8. Sam Tendencia 18.Cacoy Canete 27.Vincent Evangelista
9. Leo Giron 19.Ted Lucay Lucay 28.Tedero Ramos
10. Angel Cables 20.Greg Lontanyao
155
KALI ORIGINS
Luzon Region (Northern Philippines)

Arnis Largo Mano
Sikaran Kabroan
Visayan Region (Central Philippines)
Kali
Pangamut - Empty Hand Fighting System (Eskrima)
Kali (Silat)
Mindanao Region (Southern Philippines)
Kuntao (Maranaw, Magmindano, etc.)
Silat (Tausog – 10 types)
Bersilat (Maranaw , Magmindano)
Kali (Silat)
Southern Thailand Malaysia
Silat Pulat
Muay Thai Bersilat
Kabri Kabrong
Silat Pattani
Indonesia
Pentjak Silat Silat
Pukulan (Dutch Indonesian Pukulan Pentjak Silat
term for Pentjak Silat) Kuntao
Kali Villabrille – Largusa System

Eskrima (Visayan) Kuntao (Mindanao)
Arnis (Luzon) Kaliradman (Panay – Visayan)
Sikaran (Luzon & Visayan) Kalirongan (Panganasan)
Silat (Mindanao) Pagkalikali (Ibang Tribe)
Visayan Kamarohan – LaCoste System

Much of John LaCoste’s training came from the Visayan Region, the island of Cebu,
Bohol and Panay. The island of Panay, one of the western most islands, was thought
To be the birth place of Kali. He also studied in the Oriental Negros, Occidental Negros,
Samar, Leyte and the Suriago.
Visayan Region (Central Philippines) Kamoro (Southern Philippines)

Pagamut (empty hand) Tausog Tribe – Kuntaw, Silat
Kali (Eskrima) Maranaw Tribe – Silat & Bersilat
Pandiakan (Sikaran) Langka Silat
Panantukan (Filipino Boxing) Magmin Tribe – Kali Silat
Dumo, Layug, Buno Bersilat, Langka Silat
Detschon (Grappling Art) Kuntaw (Silat)
156
KALI EMBLEMS
When Dan Inosanto studied the Filipino martial arts, he noticed that each Kali system had its own
particular emblem or school patch. Although each design was slightly different, they all had common
elements. The circle, triangle, and one or more weapons appeared in just about all school emblems.
Dan developed his emblem to take into account the history, religion, and cultural diversity of the Filipino
people. He intended the symbols to represent the development of Kali from the early 1500’s until the
present time.
Initially the design incorporated the “all seeing eye” of God. The eye, and now the circle, represents the
omnipresent (present in all places at all times), omnipotent (a force of unlimited power & authority,
omniscient (having infinite awareness, understanding, & insight possessed of universal or complete
knowledge), and omnificent (unlimited & creative power) of the Creator.
The emblem also had the Roman numeral XXV representing the 25 Kali systems Dan had studied at
that time.
External
The circle represents Diyos (the Triangle
Creator). The two apparent triangles
Depicted are the outside triangle Internal Diyos
representing the external Kali Triangle (Creator)
system. Hidden within these
triangles, or symbolized by them,
are other triangles representing the
numerous concepts, strategies, and
moral values of the warrior.
The Buwan (moon) symbolizes how the warriors trained, in secrecy
and at night by moon light. The half moon recognizes that only half of
the Philippines were conquered.
The Suntok (fist) represents the Pangamut (empty hand) Filipino Fighting
Kali (Kamot Lihok), Kaliradman
Kalirongan, or Kaltan.
Lamay
Eskrima, Escrima, Egrima, Estoke,
(Vigil Wake)
And Estocada. Subo
(Sunrise)
Silat and Sikaran.
Oeste Este
Asar Gabi Bulan

Sunset) (Night) (Moon)
157
KALI EMBLEMS (con’t)
The Bolo and the Olisi divide the
emblem into four quadrants representing
Norte (north), Este (east), Sur (south), and North
Oste (west). These four quadrants also San Raphael
represent the four patron (guardian or Diyos
protector) Saints San Raphael, San (Creator)
Miguel, San Gabriel, and San Uriel.
The Olisi (hard stick) is divided by the
Bolo (blade) into three sections
representing the Norte (northern) Luzon
region, Centro (central) Visayan region
and Sur (southern) Mindanao region of
the Philippines. The Lohot represents the
Visayan blade, but also symbolizes blades
West East
From Mindanao in the southern in the
southern Philippines. San Uriel San Miguel
At the top of the universal triangle is
the Diyos (creator). This followed by Ka
(self) and Kaaway (opponent)
Ka Kaaway
(Self)
(opponent)
South
Kamagong San Gabriela
Luzon (North)
Olisi
Lahot
Visayan (Central) Visayan Blade
Adlaw
(Sun Line) Bulan
Mindanao (Southern) (Moon Line)
Future
Triangle
Of
Knowledge & Wisdom
Visayan Group Present Past Kali

(Central Islands) Total Art
Triangle Triangle
Of of
Heritage The Art
Mindanao Group Luzon Group Eskrima Empty Hand Skill

(Southern Islands) (Northern Islands) Arnis Kuntao - Silat
(Stick) Suntokan Panantukan
Panantukan Hampak At Hubud
Hampak At Higot
158 Dumog & Bersilat
TRIANGLES OF KALI
Diyos
(Creator) Love
Kali
Triangle Attributes of the Creator
Langit Lupa Compassion Humility

(Heaven) (Earth)
Spiritual Training
One with the Creator
Your place in the Universe
Triangle
Lalaki Ng Tatsulok Of Babae Ng Tatysulok
Development or Level
Physical Training Mental Training

or level or level
Three in Three Stages or Levels Seven Stages or Levels
Diyos (Creator)
Supreme Being Spiritual
Father Supernatural Spirit
Spiritual Triangle Universal Triangle Developmental Triangle
Physical Mental
Son Holy Spirit Iyong Kalaban
(Used by most Eskrimadors) (Yourself) (Opponent)
Duty
God (To self, family, tribe, country, creator
Triangle
of service & duty
Family or Friends Tribe or Country Loyalty Courage

(To face inner and outer conflict)
159
KATAASTAASAN
THE HIGHEST OF THE HIGHEST
Triangle
of
Idealism
Kagalang - Galang KaliKalian

The Most Respected Ancient Martial Art
of the Philippines
Kaalam
(Wisdom) Father Respect
Code
Triangle Of
of Progression Spiritual Triangle
Ethics
Self Discipline
Kalaki Kina Adman Son Holy Spirit Discipline Honor

(Skill) (Knowledge) (Used by most Eskrimadors)
Speed
Safety – Play
Energy Drills
Types of Attack
&
Flow Training
Development Triangle
Deception Power
Energy of Attack
Technical Skill Fighting Skill
Triangle
of
Combat Adjustment
Angle of Attack Timing & Rhythm

of Attack
160
KATAASTAASAN THE HIGHEST OF THE
HIGHEST (con’t)
Media Medium Range
(middle range)
Triangle
of
Fighting Distance
Close Range In-Fighting Style Long Range Distance Fighting

Corto Largo Attack by Trapping Hand Attack by Drawing/Exposing
(Close Range) (Long Range) Immobilization Serada Style Retreating Style Largo Mano Style
Muhahuna Muhahuna
Mind (Mind) (Mind)
Internal Triangle Internal Triangle Rhythm Triangle
Hands Feet Seat Point of Contact Teel Kamont

Of (Feet) (Hands)
Internal Strength
Observation
Moderate Of
Neutral
Triangle
Triangle Triangle Triangle

Of of of
Touch Experience Combat Personality
Soft Hard Passive Aggressive

Practicing Receiving
Technique Technique
Single Positive Attack
Rhythm
In
Attracting
Combination Combination
Positive-Positive Attack Negative- Positive Attack
161
SPIRITUAL TRAINING ONE WITH THE
CREATOR
YOUR PLACE IN THE UNIVERSE
Triangle
Of
Development or Level
Physical Training Martial Training

Or Level Or Level
Three in Three Stages or Levels Seven Stages Or Levels
Guro (Teacher)
Spiritual Guide or Healer
Balanced
Martial
Artist
Warrior Seeker of Wisdom

Mandirigma Dumog or Karunungan
Manggugubat-Cebu Philosopher, Teacher, or Learner
Triangle for 3 in 1 Martial Artist

12
10-11 1-2
Left Front Right Front
11 12
10 1
Left Side Right Side
9 2 9 3
Left Rear Right Rear
8 3 Side Side
Left Rear Right Rear

7-8 4-5
6 4
7 5 6
Footwork Triangle
Footwork Triangle
Of
John LaCoste
162
SPEED - POWER - DECEPTION
Speed Power
Speed Deception Speed Power
Deception Power
Types of Attacks
Energy & Flow

Energy of Attack Drills (Play)
Triangle Developmental
of Triangle
Adjustments
Technical Skill Fighting Skill

Angle of Attack Timing & Rhythm
of Attack
Empty Hands Retaining Energy
Triangle Triangle
of Of
Progressive Training Combat Energy
Sticks Blades Following Energy Deflecting Energy

& Harmony
Other Weapons Function
Blend
Triangle
Of
Harmony
Female Male
Soft Hard
Left Eye Right Eye
Left Nostril Right Nostril
Night Day
163
ANCIENT KALI SCRIPT
164
HISTORY OF PHILIPPINES #1
Filipinos are recognized for their skill in martial conflict, particularly in the use of bladed
weaponry. This reputation defines both modern martial artists and warriors of past centuries. Current
Filipino systems represent an accumulated wealth of knowledge and experience passed down by
those who first struggled to reach the islands and then battled to maintain recognition, land, or
independence.
The Philippines is a large archipelago or group of islands located in the Pacific Ocean. The
islands were known as the Maharlikas prior to the coming of the Portuguese and Spanish in the 15 th
th
and 16 centuries. The Philippine Islands
lie on a Sundra Shelf, approximately 500
miles east of the coast of Southeast Asia.
The Sundra platform is a stable continental
platform and southward extension of the
Southeast Asia mainland. In ancient
history, the entire 690,000 square miles of
Sundra Shelf was above sea level but now
is mostly covered by shallow seas. Borneo
and parts of Java, Sumatra, and associated
islands are eroded metamorphic sections of
the shelf which will still remain above sea
level.
The Philippine Archipelago is

surrounded to the north and west by th4e
South China Sea; to the east is the Pacific
Ocean, and south, the Celebes Sea. T he
archipelago is approximately 1,150 miles
long from north to south, and nearly 700
miles wide from east to west, and has a
total area of 115,600 square miles. Its
coastline totals 14,400 miles, and includes
20 harbors. The Philippine Islands are
compromised of 7,000 islands, of which the
corners are Celebes and the Molucca
Islands to the south, Formosa to the north,
and Borneo to the southwest. Seven of the
Philippine Islands have an area of more
than 1,000 square miles each, and contain
the majority of the population. In order of size, from largest, they are Luzon, Mindanao, Leye, Cebu,
Boho, and Masbate.
Borneo is considered one of the gr eat islands of the world. It is located southwest of the
Philippines, boundedc by the South China Sea to the northwest, and, clockwise, by the Sulu and
Celebes seas, the Makassar Strait, and the Java Sea. Borneo lies southeast of the Malay Peninsula
which juts out from the Malay Archipelago.
Borneo, and Palawan, which is a western Philippine island and the Blabak- Bugsuk, a group of small
islands off the southern tip of Palawan, are the remains of a land bridge that connected them during
the Pleistocene Epoch (1,600,000 to 10,000 years ago). Consequently Borneo’s flora and fauna are
more closely related to Palawan than to those of other islands in the Philippines
165
HISTORY OF THE PHILIPPINES #2
.
Ancient land bridges, evidence by the Sundra Shelf; Borneo and Palawan, make it reasonable to
assume that early man may have used them to cross from mainland Southeast Asia to the
Philippines. Determining exactly how the first man arrived in the Philippines, either by land bridge or
across the ocean in sea worthy vessels, is debatable. Concurrently, pinpointing the exact racial origin
of the first man to arrive in the Philippine islands remains open to theory.
Nevertheless, pottery shards derivatives of ancestral languages geography and blood genetics
all help researchers’ discover racial origins. Three races are each found in the insular projection of
lands south of Asia and are revealed as the probable ancestors of the Pacific Islander: The
Australoid, Veddoid, or Negritoid people. Research further narrows the earliest settlers top the
Philippine Island as being of the Negritoid or Veddoid races.
Blood group genetics support that Philippine Negritos descended from late Pleistocene
peoples, called Proto Malays, who inhabited the island of Southeast Asia more then 30,000 years
ago. It is theorized that these people with dark skin and sometimes frizzy hair, traveled by land from
Central Asia. Perhaps the Negritos walked across the ancient land bridge. The Negritos are credited
with bringing the pana (short bow) and later developed the long bow. Although some people have
thought that African Negroid people originally related to the Proto Malays, blood group research does
not support that theory.
In addition to the Negritos, researchers have pointed to the curly hair Veddoid race as being
among the early men to arrive in the Philippines. They are also Proto Malay, and were believed to
have migrated to the islands of the Indonesia from mainland Asia, during the Neolithic Period (Stone
Age, Bronze Age and Iron Age) until about 1000 BC. The Veddoid were related to the Lakai, of the
Malay Peninsula, and the Vedda of Ceylon, India. Some researchers’ state that the Veddoid features
and preference to live on the Philippine mountain slopes tie them to the Mongol race. Inhabitants
among the inland tribes of northern Mindoro, in the west central Philippines, are believed to have
traces of the Veddoid.
The first to arrive in the Philippines by boat were probably Indonesian sailors of the Veddoid
race who have been described as tall, burly, sea-loving and fearless. Additionally, farm and fishing
immigrants described as shorter, darker complexioned then the preceding Indo Aryan group would
have been of the Negrito race.
Research informs us that the Veddoid, Negrito and Austronesian races were all forerunners
of the various Pacific Island tribes. Certainly immigrants continued to arrive in the Philippines in a
series of migrations throughout the centuries. Some think that the first groups of the Malays to the
Philippines were Austronesian. They would have been fro a Mongoloid race whose descendants were
the pagan head hunting tribe of Igorots (also spelled Igorrotes). The Igorots were any of the various
ethnic groups who lived in the mountains of northern Luzon.
Subsequent Proto Malay (Indonesian) invaders usually settled on the outskirts of islands,
while previous coastal Malays fled to other islands or moved inland. Some escaping inhabitants
chose to seek isolation and maintain their culture. Others chose the converse and regardless of how
relatively “pure” a race may have been originally, or which race arrived first, those who remained
without evading invaders, ultimately intermarried and produced a racial blending.
Just as intermarriage produces a blending of races, so does it also result in a greater wealth of
knowledge and culture. This held true regarding knowledge of martial arts. It would be absurd to assume
that an individual left his country and abandoned his experience or knowledge of anything. Warrior arts
and skillful implantation thereof were vital for protection and preservation of an individual or group.
Emigrants needed to be prepared for hostile encounters during travel and for their uncharted futures and
would heavily rely on their marital arts.
166
Cultures who remained relatively isolated from others also exemplified a passion for the combat
skills. They continued to refine and perfect their knowledge martial arts. The Philippines Islanders,
whether assimilated or isolated, retained, developed and exemplified a highly developed level of martial
skill. Their techniques and weaponry were undoubtedly a reflection of a people who valued, cultivated,
and practiced these warrior arts. As waves of migrants arrived, former island residents could learn from,
or practice against the newcomers.
Its is estimated that around 3000 BC, more groups of Malays, from Indonesia and Malaysia, began
settling in the Philippines. The area of the central Philippines where they initially arrived, is now call the
Visayan (also, Bisayan) region.
Chinese trades arrived adding to what would become a cultural mixture in the Philippines, as well
as eventually all of the Pacific Islanders. They were known to have resided in the Philippines from
approximately 1000 AD.
SHRIBIJAYA EMPIRE
Shrivijava (also Srivijawa or Scrivishaya) tribes of Asian and Indian Hindus migrated into Indonesia
th th
and Malaysia during the 5 and 6 centuries. They began as a Hindu group, call the Brahins, who
migrated from India and arrived in the Palembang, Sumatra around the fifth century. This Brahin group
grew into one of the earliest of the great Asian empire and became the famous Hindu-Malayan Empire of
th
Shrivijaya. Palembang served as its capital city from the 7 century until the kingdom was overthrown by
th
the Hindu Majapahit Empire in the 14 century. Meanwhile, the Shrivijayan Empire flourished in the Malay
Peninsula, western Java, and Sumatra through the 9th and the 13th centuries. Shrivijaya based its great
power on successful commercial and maritime endeavors. It dominated international sea trade by
controlling the Strait of Malacca and establishing trade with China and India.
The Srivijayan Empire utilized a combined advantage that facilitated their ability to conquer. They
possessed superior physical height, martial expertise, organization, and bladed weaponry. Balangay
(sailboats arrived with the Malays of this new culture. Each Balangay contained a lager family group, or
social unit, established a new settlement that sometimes grew to be 30 to 100 families. This family was
labeled the barangay (village), or “boat village.” Barangay villages were the first to leave written records
in the Philippines and remained relatively isolated from other barangays.
The Srivijayan colonized Borneo, and then invaded further into the Philippine. Again, those who
didn’t flee were eventually assimilated into the Srivijayan culture. The Taglogs, Ilocanos, Pampangos,
Visayans, and Bicolarios all claim Srivijayan ancestry. The Vijayans are considered to be the second
Malay invaders, and descendants from them were later, to become Christians during the Spanish
occupation.
The Shrivijayan’s influence was significant through the spreading of its cultural wealth. The religion
of the Shrivijayans was Buddhism and Hinduism. They were endowed with knowledge of philosophy, art,
seamanship and agriculture. Additionally, the Srivijayans were equppied with a calendar, a Sanskrit
alphabet and the Maragtas Code (1250 AS) and the Code of Kalantlaw (also Kalantiyaw: 1433 AD) these
codes were among the few written documents remaining from the pre-Spanish Philippine culture, and
both were found on the Island of Panay.
The Philippine Island fell into there division, geographically, and politically: 1) the northern region
was the Luzon. 2) The central region, the Visayas; 3) the southern region, Mindanao. Panay is the
farthest west of the Visayas. Its shape is somewhat triangular and covers an area of 4,446 square miles.
It has a rugged mountain range paralleling its western coast. Between this range and a hilly eastern
protiuon, a fertile plain extends for about 95 miles from the northern to the southern coasts. Deltas of the
Jalaud, Jaro, and Sibalom rivers from broad lowland in the southeastern part of the Panay. There are
many fishponds in the northern and eastern sections of the island. Current inhabitants of Panay are
mostly Hiligaynon (Ilongo or Panayan) ethnolinguistic group, and nomadic Negritos both residing in the
mountains.
167
KALI
Many Filipinos believe that Panay was the birthplace of kali (kalian), the name for early combative
arts within the Philippine Islands. Kali is a Sanskrit word which literally means black. Inherently, kali was
an art for the preservation of life. It was the mode of combat used to protect an individual
(kalitao/kaliman) his family, village, and culture. It was also a way of life that embodied philosophy,
physical training, combative and restorative arts, literature, and religion. The kaliman confronted death, or
the threat of death, as part of his daily life, until ultimately; he became released from its inherent fear.
The importance of jail was emphasized in kaligayahau (happiness) and kalayon (freedom), words that
denote both the spirit of kali and a kalitao’s perspective of the world. In his confrontation with the darker
side of life, the kaliman came to view and live life devoid of false illusion, empty dreams, and anxiety
regarding combat, old age or long term illness. He could live his life unencumbered from his fear of
consequence. Today, Tuhon Leo Gaje expresses that this worldly view “engendered mutual respect
among and a respect for life itself.” Therefore, the god of violence (Kali) was also one of respect and
peace.
The head of each family unit was a kalitao (kaliman) or martial artist who earned rank or title in
accordance with his fighting skills, etc. The kalitao’s rank was signified by his kali (Bladed weapon). An
individual’s blade would reveal his rank, locale (Barangay, region) and religious heritage (Hindu,
Indonesian, or Moslem). Persons of greater status and authority wore respectively shorter blades, called
danganan, indicating that their marital ability was superior to others. Although there are up to twenty five
or more variations of Filipino bladed weapons, more common are the kris, balasiong, barong, hunong,
kampilan, lahot, and utak.
Kali was named differently, depending on the people and region of the Philippines to which it
belonged. It was 1) Pananandata to the Tagalogs, 2) Kalirongan to the Pangasinenses, 3) Didya or
Kabaraon to the Ilocanos, 4) Kaliradman or Pagaradman to the Visayans, 5) Sinawalli to the
Pampaguenos, and 6) Pagkalikali to the Ibanag.
Each region had a master teacher, or tuhon, who commanded the most respect and honor from
the people. He held the responsibility of passing on the culture of the Philippine Islanders to younger
generations. The tuhon was the leader of a central community bothoan (school). The Filipino culture at
that time included history, astronomy, engineering, medicine, and language, both oral and written.
Languages differed among regions, and even now a number in excess of 300 major dialects, with
Tagalog being the current national language.
The highest in the political power system of the Visayan, central region of the Philippines was a
sultan (Moslem for ruler of a country). He ruled over all the Barangay (village) datus (chiefs). The
predominantly Islamic region of the Philippine islands, Mindanao, had no larger governing political group.
However, one researcher offered that some thought there may have been a time when three sultans the
Philippines.
ANCIENT PHILIPPINE LAW
Philippine judges were consistently easier on first time delinquents, but more heavily penalized
repeat offenders. Gregorio Araneta, a notable Filipino jurist stated, “These primitive laws could compare
very favorably to those of the Greeks and Romans.”
Any judicial system calls for laws to be created for its society. Ancient Philippine law sanctioned
the datu (chief) of each barangay (village) to make the local laws for his village. The datu could receive
assistance from the elders. In instances of creating regional, confederate laws, a superior datu held that
power. The chief datu would assemble lower ranking datus in his home, brief them as to the need of a
law and readily obtain their agreement. The new law would be put in writing and became effective
immediately. A village crier would then travel throughout the barangays carrying and clanging a bell,
while he called “umalahokan!” This noisy attention would assemble the villagers. The, the crier would
announce the new law, and all subjects could beware. From that time on the law went into effect, and
any person who violated it incurred its penalties
168
JUDICIAL PROCEDURE
Before the Spanish arrival, when the datus (rahahs), tuhons, and sultans were still in power, trials
affecting either criminal or civil case were held in public. The judiciary process was comprised of a
barangay court, consisting of datus, elders and the defendant who represented himself in the trial. The
defendant was required to swear an oath, prior to stating his case. These oaths were taken very
1
seriously and perjury was almost nonexistent. Examples of oaths included, “May the crocodile eat me.”
“May I die if I should tell a lie!” “May the lightning strike me!” “May the sun kill me!” “May no woman love
me!’ or “May the moon frown upon me!”
When two people were in opposition to each other in a trial, each being a litigant, the court
usually moved in favor of the litigant who presented the most proof. If the accused attempted to resist his
sentence, “the judge made himself a party to the cause, and all of them (winning litigant and judge) at
once attacked with full force the resisting party, and execution to the required amount was levied upon
him.
If datus required mediation to resolve a disagreement among residents of different barangays, or
among datus, themselves, then outside datus or elders would arbitrate the dispute. Usually, they were
able to settle the dispute before tribal conflict between opposing barangays would occur, and avoid
further distress or even war.
TRIAL BY ORDER
According to ancient Philippine law, if proof remained insufficient regarding which accused person
was truly at fault, then the court would use a trial by ordeal to determine the guilty party. This was
especially true regarding criminal cases. Religious belief supported the Philippine perspective that the
gods would favor the innocent and condemn the guilty. The court would utilize three ordeals, or tasks, to
which toe defendant(s) would submit, in order to determine the guilty party. They were 1) the river ordeal,
2) the boiling water ordeal, and 3) the candle ordeal.
The ordeals were reminiscent of trials used during the witch hunts of 1692 in Salem,
Massachusetts Bay Colony, in which 19 convicted “witches” were hanged 150 suspected “witches” were
imprisoned. In both the Philippines and Massachusetts, the methods used were extremely unfair, but
ended in a simple conclusion. The three Philippine ordeals were as follows: 1) The river ordeal involved
forcing suspected persons into the river at spear point. The first suspect to surface was found “guilty.” 2)
The boiling water ordeal demanded that each guilty party reach into a pot of boiling water to retrieve a
stone from its depths. The person burned the most severe was determined to be the “guilty” one. 3) In
the candle ordeal, each suspected person had a candle of equal dimension placed in front of him. The
candles were lit and the person’s candle which burned down first, convicted him as “guilty.”
MARGATAS CODE
Many Filipino Scholars and researchers agree that the Margatas Code2 was written in 1250 AD
by Datu Sumakwel, and is, therefore, also known as the “Sumakwel Code.”3 Datu Sumakwel was
considered the oldest and wisest of the Borneo datus who colonized ancient Panay, and the same
adjectives are used to describe his code.3 However, Datu Sumakwel chose to name code Margatas,
which is Sanskrit for “Great People.”
The full text of the Margatas Code is as follows:
1. Deliberate refusal to work in the fields or to plant anything for daily subsistence is a most serious crime
which deserves severe penalty.
a. The lazy person shall be arrested and sold to a rich family to serve as a slave and, as such, to
learn the lesson of service and the value of work in the house and in the fields.
b. Later, when he has been trained for work and has come to love it, he shall be restored to his family.
The price paid for him shall be returned and he shall no longer be considered a slave, but a free
man who has been regenerated and desires to live by the fruit of his labor
169
.
c. If much later it is found out that he has not reformed in any way and that he wastes his time in
idleness, he shall be arrested again by the authorities and sent to the forest. He shall not be
allowed to associate with the rest of the community because he is a bad example.
II. Robbery of any sort shall be punished severely. The fingers of the thief shall be cut off.
III. Only those who can support a family or several families can get married more than once and
have as many children as they can.
a. The poor family cannot have more than two children because it cannot support and properly
bring up in the community a greater number of children.
b. The children who cannot be supported by their parents shall be killed and thrown into the river.
IV. If a man has had a child by a woman and he runs away from her because he does not want
to marry her, his child by this woman shall be killed because it is difficult for a woman without
a husband to support a child.
a. The parents of the woman shall disinherit her.
b. The village authorities shall look for the man, and when they catch him and he still
refuses to marry, he shall be executed before the child of the woman he has abandoned. Father
and child shall be buried in the same grave.
THE CODE OF KALANTIAW

The penal Code of Kalantiaw (also Kalantiyaw) was one of the few written documents to survive
from the pre-Spanish Philippine culture. It was apparently written in 1433 by Rajah Kalantiaw, third chief
of Panay, and then passed on to his overlord, Rajah Besar. It is the second oldest known written code of
the Filipino people and was discovered on the island of Panay in 1614.4 The Code of Kalantiaw contained
eighteen orders, the first of which was “Thou shall not kill.” It contained principles and values by which to
live (or die) and listed punishments that were then considered appropriate for moral or social
disobedience.
A Spanish priest, Father Plasencisa, wrote that the early judges of the Philippine Islanders “received
testimony orally from both sides,, under oath, according to their usage, which was swearing by the
crocodile, the sun, the moon, and many other things by which they swore.” Another Spanish document
supported Father Plasencia’s findings and added, “all islands have this (type of swearing of) oath(s) in
common, a fact that I have noticed since our coming to his land.”
A range of punishments, depending on the violation, included light fines, up to being cut into pieces and
thrown to crocodiles. Breaches of ancient Philippine religious beliefs resulted in many violations. These
included singing during night walks, killing white monkeys, and cutting sacred trees. The latter explained
why the superstitious Philippine Islander of that day would respectfully say, “excuse me” even when
urinating on a tree.
The full text of the Code of Kalantiaw is as follows:

1. Do not kill, nor steal, nor hurt the aged, for your life will be exposed to the danger of death. All
those who violate this order will be drowned with a stone in the river or in boiling water.
2. See to it that all your debts to the chiefs are readily paid. He who fails to comply will be lashed
with a whip one hundred times for the first offense. If the debt is large, the debtor’s hand must
be immersed in boiling water three times. For the second offense. The debtor will be put to death by
blows.
3. No one should marry very young girls nor marry more than he can take care of, nor be
excessively lustful. He who disobeys this order for the first time will be compelled to swim for
three hours. For the second offense, he will be put to death with the prongs of a spine.
170
4. Follow and obey: Do not disturb the graves in passing before them, wherever they may be,
whether in caves or trees, show your respect for the dead. He who disobeys this order will be
put to death by exposure to ants or be whipped to death with prongs.
5. Agreements for bartering food should be fulfilled to the letter. If one fails to comply with this
order, he will be whipped for one hour. For the second offense, he will be placed among the
ants for one day.
6. Respect holy places, such as trees of recognized worth and other spots. For the first offense,
one will be fined the equivalent of one month’s labor in gold or in honey. For the second
offense, the punishment is five years.
7. The death penalty will be imposed upon the following: Those who kill sacred trees; those who
shoot arrows at night at old men and women; those who enter the homes of the chiefs without
permission; those who kill sharks or striped crocodiles.
8. Slavery for one year will be the penalty for stealing the wives of chiefs; for keeping bad dogs
who bite the chiefs; for setting on fire another’s crops.
9. To be beaten for two days: Those who wing in their night walks; those who kill birds known as
“Manaul;” those who destroy the chiefs’ records; those who deceive with wicked intention;
those who trifle with the dead.
10. It is the duty of the mother to instruct her daughters secretly in sex hygiene and prepare them
for motherhood. Husbands should punish their wives if they catch them in adultery in
flagranti. Whoever disobeys this order will be cut into pieces and the pieces thrown to the
crocodiles.
11. The following will be burned alive: Those who, through force or cleverness, escape and
evade punishment; those who kill too young children; those who try to steal the wives of old
men.
12. The following will be drowned: The slaves who attack their chiefs or owners and masters;
those who are lascivious; those who kill their idols by breaking them or throwing them away.
13. The following will be placed among ants for half a day: Those who kill black cats at the new
moon; those who steal objects; however insignificant, from their chiefs and elders.
14. The following will be reduced to slavery for life: Those who refuse to marry off their beautiful
daughters to sons of the chiefs or hide them in bad faith.
15. Regarding beliefs and superstitions. The following will be whipped; Those who eat the bad
meat of sacred insects or useful herbs; those who injure or kill chickens of Manaul or white
monkeys.
16. The fingers of the following will be cut off: Those who destroy idols made of wood or clay on
their altars; those who break the pick used by priestesses for sacrificing pigs, or who break
wine vessels.
17. The following will be put to death: Those who desecrate the places where idols and sacred
objects pertaining to their gods and chiefs are found. Whoever does his necessities in these
places will be burned.
18. Those who disobey the above orders, if they are elders, will be thrown into the river to be
eaten by sharks and crocodiles.
Done in the Year 1433 Kalantiaw, Third Chief Aklan, Panay
171
1
Vide “Penal Legislation of the Philippine Islands” in Philippine Law Journal (manila, February, 1914).
2
The first version of the Maragtas in the Ilongo Bisayan language was published by Pedro A. Monteclaro
in Iloilo, 1907. For an English translation, see Manual L. Carreon Margatas (Manila, 1943, typescript).
3
Guilliermo Sl Cuino, “El Codigo de Margatas.” El Debate. Manila, February 20, 1938.
4
The Kalantiaw Code was discovered in 1614 in the possession of a Filipino Chief of Panay, acquired by
Marcelino Orfila of Saragoza, Spain, and translated into Spanish by Rafal Murviedo y Samanev. The first
Spanish text of the code appeared in Father Jose Ma Mavon’s manuscript entitled Las Antiguas
Leyendas de la Isla de Negros (written in Himalayan, Negros, 1837-1839). The first English translation
was printed in James A. Robertson’s “Social Structure of and Ideas of Law Among Early Philippine
Peoples,” M. Stephen and H.E. Bolton (editors). The Pacific Ocean in History, New York, 1917, pp. 182-
191. See also Josue Soncuya, Historia Prehispana de la Isla de Panay (Manila 1917), pp. 27-28;
Encarnacion Alzona, A History of Education in the Philippines 1565-1930 (Manila 1932), pp. 4-7 and
Gregorio F. Zaide, Early Philippine History and Cuture (Manila, 1937), pp. 30-32.
Note: Other historians dispute the ancient laws. They comment, “The Code of Kalantiaw, a well known
code of laws supposedly given by Datu Kalantiaw of Aklan in 1433 is a clever hoax. The hoax was done
by Jose E. Marco, and antique collector from Negros Occidental, who gave the document to James E.
Robertson of the National Library in 1914. It could not be authentic because of its suspicious origin, the
strange writing and modern words in the text, and the un-Filipino harshness of its laws (e.g. flogging,
exposure to ants, swimming for hours).”
The same holds for the Margatas Code, which was taken from the Margatas, a book where the
legend of the Ten Datus of Borneo was taken, is only the imaginary creation of Pedro A. Monteclaro, a
visayan public official and poet. He wrote the Margatas in 1907 based on folklore and oral tradition.
Source of information “Philippine History and Government” by Gregorio F. Zaide and Sonia M. Zaide
While the Srivijayans still had control in the Philippines, the Chinese made a significant impact on the
culture during the 12th century. Even though Chinese traders had been trading in the Archipelago since
th
1000 AD, and some had taken residence in the islands, they immigrated by the thousands during the 12
century. This was due to the Manchurian invasion of China. Since this was not a first appearance to the
islands of the Philippines, the Chinese were readily accepted into the culture and, significantly, added to
the racial/cultural mix. The Chinese, following suit with previous cultures, introduced their kuntao martial
arts of the Tang Dynasty. These, too, were blended into the Philippine system of martial arts.
MAJAPAHIT EMPIRE
By the end of the 12th century, Shrivijaya shrunk in power, became a small kingdom, and the
th
Javanese Majapahit kingdom rose in the 13 century. This Moslem (also Muslim) empire was founded by
Vijaya, a prince of SIngsari, and was the last “Indianized” kingdom to rule in Indonesia. The Majapahit
had its base in eastern Java, but spread throughout Southeast Asia, conquered Srivijaya and dominated
Indonesia. The Majapahit people were greatly influenced by Aram Moslem missionaries and became
known as a Moslem Empire. Majapahits arrived, as a third major wave of Malay invaders to the
Philippine Islands. They and subsequent Mohammadean Malay invaders, chose mostly to reside in the
southern region. From those Malays, descended the fierce Moros (Moslem/Islam) of the Philippine
Islands. They were a proud culture who chose isolation, and still remain as a distinct culture. They too,
as the Srivijayans before them, used the Sanskrit based writing system. The Majapahit zenithed in the
14 th century under the leadership of King Hayam Wuruk and his prime minister, Rajah Mada.
Researchers are not in agreement regarding Majapahit’s territory. Some say that during its peak,
the empire included areas that are today Burma, Indonesia, Thailand, Malaysia, Cambodia, the
Philippines, and Madagascar. Others state that the Empire covered present day Indonesian and part of
Malaysia. Still others claim that its territory was confined to eastern Java and Bali. Regardless, the
Majapahit became a significant power and maintained intercourse with China, Cambodia, Annam (central
Vietnam) and Siam (Thailand). The Majapahit Empire lasted until the early 16 th century, when it was
defeated by the Arab Moslem missionaries, who, earlier, had so heavily influenced their culture. Some
theorize that perhaps the Moros would have conquered the Philippine Island, Had not the Spanish taken
possession in 1565
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KALI -THE GODDESS OF WAR
The martial system of kali cannot be considered a separate entity from its philosophy, religion, or
historical aspect, as an object of worship, and of kali, the fighting art. Thus, it is important to study, both
th th
the historical and spiritual influence on the art. Philippine Islanders, from the 6 century through the 16
century, are believed to have worshipped the goddess of violence and death, Kali.
The Goddess is full breasted, naked and standing on one foot. Her other leg bends at the knee,
with the sole of its foot resting on the knee of her supporting leg. Both ankles have several anklets
encircling each. Kali’s coiffeur culminates with three spires, the center most being the highest. Her
tongue fully extends from her mouth, with teeth bared. She
wears a garland of skulls around her neck, bangle bracelets
on her wrists and a slave bracelet around each bicep. A
drooping belt of severed hands encircles her narrow waist.
Four arms extend, two from each shoulder, with her hands
holding a kamagon (Battle stick), sword or knife, shield, a
strangling noose, or a severed hand of a giant. An empty
hand extends forward, palm out. Kali, in Sanskrit means
‘black: and sources describe the goddess, Kali, as a black
faced demon with blood smeared all over her face. They also
state tat paintings and sculpture show Kali stepping on the
prone figure of her consort, Shiva.
The Hindu meaning for the Kali, is a devouring

destructive goddess who is bloodthirsty. This stems from an
incident in her life in which she was called to kill Raktavija, a
demon. Raktavija seemed immortal since he could instantly
reproduce at the rate of 1000 clones per drop of blood that fell
to the ground from his body. To circumvent this, Kali speared
and held Raktavija aloft so she could drink his blood as it fell,
and not one drop reached the earth.
Indians honored the goddess, Kali, by daily sacrifice of goats at her temple in Jalighat, Calcutta.
Also, assassins in India (also defined as thugs; sthaga, thag, thagi, thags, or thuggee), ritually offered
their sacrificial victims to Kali. Ironically, however, the Philippine Islanders viewed Kali as a peaceful god.
They and the Asian Indians, were able to rectify life’s apparent contradictions. Further illustration of this
was that the Asian Indians believed their supreme goddess, Devi, revealed her multiple, contradictory
personalities in other goddess forms. Kali is associated with another goddess, Durga (also a fierce
aspect of the Devi), and represented the forms of her dark, terrifying, fierce side. Devi also took other
forms in which she represented peace and tranquility.
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More illustrations of the Indian Hindu religion folklore may shed light on the belief system of the
Filipinos who shared this religious heritage. The following is from northern India where
Shaivism/Shaktism is foremost. The people believe there is a great goddess, Mother Earth, who is
married to an earth god, or the sun. The people annually celebrate her anniversary, the period of
impurity, with a festivity devoid of routine agricultural duties. Then, during the harvest season, the people
appease Mother Earth by engaging in orgiastic activities. Remote areas of central India identify Mother
Earth as Devi, the supreme goddess most worshipped in northern India. Kali/Mari, again, is portrayed as
the malevolent “Mother Death” form of Devi, “Mother Earth.” Then, the mountain dwellers of hilly,
forested northern India make piles of stone s or tree branches. These piles are to honor mountains and
forests personified as “mothers” to the believers. These rugged shrines are then left, and other believers
leave offerings as they pass.
In east and northeast India, Shaivism is broadly popular, and Shaktism is common. There the
people believe that a deceased relative will be re-born within one year, through a child born into the
relative’s family. They believe that Sasthi (the sixth) is to be worshipped on the sixth day of a child’s birth,
and is represented by placing a compost pile of manure or dirt in the birthing room. Sasthi is supposed to
be the teaching god of young children and women in childbirth.
The east and northeast Indians additionally believe Candi to be a form of the fierce goddess
Durga, who is (along with the goddess, Kali) the dark side of the supreme goddess, Devi. They believe
that Candi resides in trees and is appeased by clumps of earth. Believers in Gaya, an Indian Bihar state,
ward demons and ghosts away by holding a ceremony that honors their deceased.
The east and northeast Asian Indians also worship Manesa, a great mother snake goddess who
resides in stone statues of her image seated on a snake and in the Manesa plant. In writings, it is she
who is supposed to protect and bless travelers as they journey through life and during the rainy season
when reptiles are most dangerous. Sanskrit writing and poetry also identifies Manesa with demonic
snake characters.
The snake, especially the cobra, is also a sacred to most Asian Indians. Cobra statues and
snake stones (nagalkals) are objects of worship and offerings in order to elicit protection from living
snakes and blessings of rain and fertility. The snake stones are more popular with women desiring
fertility. However most people, including every joint family of the Coorgs in Karnataka state have a
guardian snake deity. Brahman priests served in small sanctuary or private garden ceremonies.
Vaishnavism is prevalent in western India where many lower caste people choose it as a way of
life to fulfill the demands of existence, and aspirations towards salvation or social elevation. They do
anticipate an ultimate reunion with their supreme god. Black magic, use of scapegoats and ritual nudity
are components within their belief system. Mediums and exorcists use self torture to elicit divination, or
the will of mother goddesses, and Brahman priests are present to conduct important functions.
Other regions or India, especially in the south, use devil dancing as a means of exorcising evil
spirits. An outlawed method of appeasing gods to ward off evil was the hook swinging festival. Cadak-
puja, and usually held in cases of famine or other calamities. This practice lasted into the twentieth
century and involved swinging a man suspended by hooks that were attached to the end of a long pole.
The man would be swung around in sacrificial pain, in the hopes of invoking the gods to end famine or
other major catastrophes.
In many regions, especially in western India, where Vaishnavism is dominant, many believe that
righteousness will improve their life in a subsequent world. In order to discover divine will, exorcists and
mediums seek to be possessed by mother goddesses and submit themselves to self-torture. They are
then called upon to prophesy about future events. In western India the worship of snakes is more
prominent, with some temples even dedicated to the serpent. There is also widespread practices based
on the belief in blaming others, ritual nudity, and black magic.
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In peninsular India, Shaivism and devotional forms of Vaishnavism are primary. Each village
ascribes a shrine, or sacred place to honor the goddess Devi or her multiple, multipersonalitied forms.
Many detailed stories sing praise of goddesses who protect from disease. These goddesses are relied
on for daily needs and protection against infection of cholera and small pox for the villager and his cattle.
The goddess, Mariyamma, particularly addresses smallpox resistance, and she presides over a large
region of peninsular India. These goddesses are viewed as mothers who bestow all good of bad luck.
They are personified in clay, sticks, or stone pillars, without regard to permanence, and worshipped with
animal sacrifices. Other offerings may include rice, fruit, or flowers. They are offered daily, or whenever,
since no calendar of festivals is imposed. Most shrines are rugged and simply made of small bricks,
buildings, or stone flat areas beneath a tree. The priests (pujari) of these cults are not of the Brahman
sect.
Male deities surface among these females. They are Shiva and Aiyanar. Shiva is the supreme
male god, of all India, or general Hinduism. Shiva’s consort is Durga (name varies according to village, or
temple) one of the fierce forms of Devi. AIyanar is the other male god, who is worshipped in Shiva
temples and ranks higher than his complement goddesses, due to his vegetarianism. Aiyanar is believed
to protect villages, act as their patron, and grant blessings, including the fruit of offspring. Fixed annual
festivals were arranged for the male deity, or for exorcism of evil power and, generally, occurred during
major agricultural seasons.
MAGELLAN’S VOYAGE
The Philippines is the only nation in Southeast Asia that became subject to western colonialism
before it had the opportunity to develop an advanced elite culture or a central government that ruled over
a large territory. Due to many invasions, the Philippine Islanders developed over centuries, martial arts
prowess in accordance with their culture and heritage. The Moslem Moro Filipino skills made history
when they were threatened by a Portuguese navigator, Ferdinand Magellan, in 1521.
History credits explorer Magellan with two firsts: 1) he was the first European to discover the
Philippine Islands (April 7, 1521) and 2) he successfully circumnavigated the earth for Spain. This
cursory glance at Magellan’s successes gives rise, historically, to a brilliant victory. However, personally,
Magellan’s voyage was plagued with disaster and death, including his own.
Portuguese Ferdinand Magellan, was probably born in 1480 and served a military career under
Emanuel, King of Portugal. Magellan’s assignments took hi to the East Indies in 1505. Then, from 1508-
1512 he made exploratory missions to Sofala, Malacca, Java and the Moluccas (Spice Islands). In 1513,
he was wounded and Lamed for life while serving a Moroccan assignment. However, Magellan’s
disagreements with Emanuel, King of Portugal, caused Ferdinand to secede from his native country and
adopt Spain as his homeland. Where Emanuel, King of Portugal, opposed Magellan’s vision to
circumnavigate the earth and was unwilling to boost his salary, Charles I, King of Spain, shared and
funded Magellan’s goal.
Under Spanish sail, Magellan’s fleet of five ships left Seville, Spain on September 20, 1519.
Within two months they’d reached South America. By March of 1520, Magellan’s fleet arrived in Port
Julian, near the southeastern tip of South America and remained almost six months. During that time,
one of his ships was wrecked and his crew mutinied. Magellan was successful in quelling the mutiny, but
as his fleet sailed into the Pacific Ocean through what is now the Strait of Magellan, another of his ships
deserted. Magellan’s three remaining ships reached the Ladrones (Island of Thieves, later named
Marianas) on March 5, 1521. However, many of his crew were weak and sick with scurvy.
Magellan’s fleet then anchored off Guam and was quickly approached by fast sailing, remarkably
maneuverable outrigger canoes. These people were Micronesian people called Chamorros, who were
tall, fair and good looking according to the Spanish explorers. However, when the Chamorros boarded
one of Magellan’s ships, the Trinidad, they “stole” according to the Spaniard’s eyes, but believed
themselves to be honest recipients as guests of the strangers. Nevertheless, Magellan was determined
to retrieve the more important item taken by the Chamorros, the ship’s long boat. So with armor
and crossbows they regained their boat. Magellan then ordered the vengeful burning of forty or fifty
houses in a small local village and killed seven inhabitants. Afterward, Magellan’s fleet set sail and
headed south.
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On March 16, 1521, Magellan sighted the mountains of Samar (Zambia). It was a portion of the
Philippine Islands archipelago, located southeast of the central Vasayan Islands. Magellan named it St.
Lazarus, since he first saw it on March 16, or “St Lazarus’s Day.” Samar’s coastal reefs prohibited
landing, so Magellan’s fleet sailed southward and then west into Leyte Gulf. He sighted natives in many
canoes off the shores of Suluan, but feared possible conflict with the islanders and decided to ford ahead.
Magellan sailed another eleven miles and anchored at Homonhon, apparently an uninhabited small
island. Its bay was a pleasing half moon shape, with a white sand beach and appealed to Magellan and
his scurvy weakened sailors.
Two days later, nine natives, apparently from Suluan, arrived aboard a prau, a swift Malayan
single outrigger boat with a triangular sail. Another source said pirogue/piragua, a canoe made from a
hollowed tree trunk. A few came aboard Magellan’s ship and received trinkets, including red cloth,
mirrors, hawk bells, and ivory. In return, they gave all the food they carried in their vessel. Antonio
Piagafetta, was a gentleman passenger and adventurer aboard Magellan’s ship. Pigafetta kept a journal
and much of the information about this voyage was due to his faithful writings. The food items were a jug
of palm wine, fish, two kinds of bananas, which Pigafetta described as “figs a foot long,” plus “cochi”
(coconuts). Pigafetta also noted that they were naked except for loin cloths of park, and named them
Caphri (Kaffirs), Arabic for unbelievers.
Through sign language, the natives agreed to return with fresh provisions. True to their
commitment, four days later they brought coconuts, rice, palm wine, oranges, and chicken. They were
accompanied by their chiefs, whom Pigafetta described as extensively tattooed, adorned with gold
armbands, earrings, and wearing silk embroidered cotton skirts. Imagine how delighted Magellan must
have been to see the clothes and ornaments indicative of trade with China.
March 25th, Magellan sailed west from Homonhon, and then south until he landed in front of
Limasawa, a small island south of Leyte. The wary islanders came by canoe, but stayed aloof of
Magellan’s ship. So, Magellan plied the natives with trinkets offered on a plank, which was gently slid
towards their canoe. Once the gifts were received, the islanders departed. A few hours later, two
balangays arrived bearing their leader, Rajah Kolambu (Colambu) who ruled Limasawa, Suluan, and a
district in Mindanao. Rajah Kolambu sent a few of his men to Magellan’s ship, bearing gifts of a gold bar
and basket of ginger. With great restraint, Magellan politely declined, to avoid appearing eager.
Meanwhile, to his delight, Magellan’s Malayan slave of ten years, Enrique, understood these natives’
language. Scholars believe that Enrique was reared in the central Philippines, captured, taken to
Sumatra, and then to Malacca islands (east Indies) and eventually sold to Magellan.
As the days passed, Magellan earned Rajah Kolambu’s trust and, the latter, invited Magellan to
be bonded to his as a blood brother casi casi ceremony. This ceremony was popular in Malay at the time
and involved each drinking a few drops of the other’s blood. Magellan introduced the islanders of
Lamsawa to Christianity, by holding a solemn Easter mass on the beach. Antonia Piagefetta’s journal
account was, “After the mass, some of our men took communion. The captain general then ordered the
performance of a sword dance, at which the kings we greatly pleased.” This display of swirling blades
would have appealed to the blade wielding Filipinos, and Pigafetta confirmed its success. Magellan
further bragged about the superiority of Spanish warriors, claiming that they could take on and defeat
Filipino warriors three to one.
Magellan also queried the natives and ascertained that a greater selection of spice commodities
could be had from Seylani (Leyte), Zubu (Cebu) and Clagan (Mindanao). Rajah Kolambu then offered to
escort Magellan’s fleet through the tricky reefs and through his quest, if Magellan would delay two days
th
and help with the rice harvest. Magellan, short of staples, agreed. A week later, on April 4 , Ferdinand
Magellan, his new blood brother, Rajah Kolambu and men, in their respective ships and balangay headed
northeast for Cebu. They chose Cebu because it served as the trading center for the Philippine Islands
as was ten times larger than Limasawa.
176
Magellan entered the Cebu port with a huge show of artillery intended to impress the short, fat
local ruler, Rajah Humabon. When ordered to pay a required harbor fee, common to sea faring traders,
Magellan refused. He then intimidated the ruler by claiming that his king was more powerful than that of
the notorious Portuguese, who ruthlessly conquered Malacca and Calicut. Next, Magellan used gifts and
the promise of strong trade to successfully endear himself to Rajah Humabon. Magellan was invited to
the palace where Rajah Humabon was comfortable in a loincloth. Humabon, in order to secure friendship
with Magellan engaged him in the casi casi blood brother ceremony.
Where the two Rajahs used casi casi to bond relations with Magellan, he in turn used Christianity
as a tool to manipulate them. Particularly, Magellan wanted to cement future Spanish trade through Rajah
Humabon. With Cebu as a base trading center, business could be networked throughout the
Archipelago, and extended to the Asian mainland. Magellan even bribed prospective converts with the
promise of new suits of armor, gave showy displays of piety, and promised favored treatment to
Christians. Magellan additionally informed Humabon that as a Christian, he could more easily subdue
enemies. Humabon expressed a desire to become a Christian, but worried that the other chiefs, as
equals, wouldn’t obey him. Consequently, Maellan boasted that resistant chiefs would be killed and their
possessions seized. On April 14, 1521, Magellan’s fleet chaplain baptized the two rajahs: Kolambu and
Humabon, the latter’s wife, and approximately 800 others. Within the next eight days, 2,200 people on
Cebu and some neighboring islands followed the lead of the two rajahs and became Christians.
The irony was while their captain and fleet chaplain were baptizing souls into Christianity, many of
the sailors were debauching the Cebu island women. According to Pigafetta, however, Cebu males
participated in the custom of palang which subjected their women to painful sexual relations. Pigafetta
described. “The males, large and small, have their penis pierced from one side to the other near the
head, with a gold or tin bolt, the thickness of a goose quill. In both ends of the same bolt, some have
what resembles a spur with points on the ends, others like the head of a cart nail. I very often asked
many, both old and young, to see their penis, because I could not credit (believe) it. In the middle of the
bolt is a hole, through which they urinate. The bolt and spurs always hold firm.”
Pigafetta’s additional information was the men of Cebu, “have as many wives as they wish, but
one of them is the main wife. Whenever any of our men went ashore, both by day and by night, everyone
invited them to eat and drink… the women loved us very much more than their own men. All of the
women from the age of six years upward have their vaginas gradually opened because of the men’s
penises.” The horrific custom of palang, in all its facets, outrages our culture. However, in line with our
beliefs, the natives of Cebu were outraged by the philandering of their wives and daughters. Magellan
shared their anger, and in fact, demoted one of his participating ship captains for his wanton
licentiousness.
Meanwhile, the newly baptized Rajah Humabon told Magellan that several local chiefs were
unwilling to submit to his authority. Magellan then ordered the neighboring chiefs to acknowledged
Humabon as their superior or suffer the consequences. Regardless, three chiefs remained unmoved.
So, Magellan dispatched a small group of his militia to use one chief’s village as an example to the
others. Magellan’s men punished the chief, burned his village of Bulaya and returned with livestock, as
contraband. That was enough to convince the remaining two defiant chiefs to acquiesce and pay the
more strict tribute to Humabon, as demanded by Magellan for their resistance: a goat, pig, basket of rice
and jug of honey. The remaining chief, Rajah Lapulapu, of Mactan (Magtam) Island remained fiercely
defiant and challenged Magellan to battle.
Mactan is a small (area 24 sq. mi.). coral, rectangular shaped island, off eastern Cebu and
several hundred miles south of Manila. Rajah (Ci)Lapulapu and his tribesmen, consistent with the history
of Philippines, were skilled fighters of Sri Vijayan ancestry. They were used to battles, having spent years
fending off neighboring Rajah Humabon’s tribe. Mactan has extensive mangrove swamps, and perhaps
the reason for the tribes’ territorial disputes.
177
Magellan was determined to deal with Rajah Lapulapu’s resistance as effectively as he had the
Bulaya village. However, one of his ship captains attempted to dissuade Magellan from invading Mactan.
Magellan had boasted that only sixty men would be required for the assault that would prove Spanish
superiority in warfare and teach Rajah Lapulapu a lesson as welled. The captain who’d warned Magellan
not to battle, declined participation, but sent another instead. Additionally, Rajah Humabon warned
Magellan that his plan to attack Mactan was not sound, but Magellan’s mind was set.
In any event, Rajah Humabon backed Magellan with thirty of his own canoes, bearing 1,000
Filipino warriors in total. Rajah Humabon offered his men to lead the attack, but Magellan unwisely
refused and ordered Humabon and his men to remain in their canoes. Then, Magellan adhered
stubbornly to his deadly plan and disregarding the advice of all headed to Mactan with his sixty men. He
was flanked by his blood brothers Kolambu, Homubon and warriors. They arrived on Mactan on April 7,
1521, with the deadly intent to destroy Rajah Lapulapu and subjugate his people. An over confident
Magellan, usually thorough, neglected considering the tide or a reef that prevented his ships from coming
closer than 1,000 yards from shore. This meant that his mounted swivel guns were ineffectively out of
range and Magellan and his men had to wade to shore.
The Spaniards carried only their muskets which proved ineffective in penetrating the native
wooden shields. Furthermore, Magellan and his men wore only half of their armor, which exposed their
legs. This proved to be Magellan’s “Achilles hell.” Lapulapu and his tribesmen responded with fire
hardened bamboo spears (some iron tipped), blades resembling large scimitars (bolos), stakes, arrows
(tipped with poison), stones, and dirt. Magellan was struck in the leg with a poisoned arrow and ordered
his men to slowly retreat. Magellan continued to battle along with just a few of his men. He was struck in
the face with a hardened bamboo spear, and succumbed to death when an arm injury prevented any
further fighting on his part. Magellan suffered that resounding defeat and lost his life on April 27, 1521.
His body was never recovered by Europeans. Conversely, Rajah Lapulapu became a hero and his city,
formerly called Opon, was renamed Lapulapu in his honor.
Antonio Pigafetta, was a gentleman passenger and adventurer aboard Magellan’s ship. Pigafetta
survived the voyage and kept a journal. Much of the information about Magellan’s voyage was due to his
faithful writings. In great detail he described their encounters in the Philippines:
“On Friday the twenty-sixth of April, Zzula, lord of the aforesaid island of Mattan (Mactan) sent
one of his sons to present to the captain-general two goats, saying that he would keep all his promises to
him, but because of the lord Cilapulapu (who refused to obey the King of Spain) he had not been able
to… And he begged that on the following night he (Magellan) would send but one boat with some of his
men to fight.”
“The captain-general resolved to go there with three boats. And however strongly we besought
him not to come, yet… at midnight we set forth, sixty men armed with corselets and helmets, together
with the Christian king (Humabon, whom Magellan had baptized): and we so managed that we arrived at
Mattan three hours before daylight.”
“The captain would not fight at this hour, but sent… to tell the lord of the place (Cilapulapu) and
his people that, if they agreed to obey the King of Spain, and recognize the Christian king as their lord,
and give us tribute, they should all be friends. But if they acted otherwise they should learn by experience
how our lances pierced. They replied that they had lances of bamboo hardened in the fire and stakes
dried in the fire, and that we were to attack then when we would…”
“When day came, we leapt into the water, being forty-nine men, and so we went for a distance of
two crossbow flights before we could reach the harbor, and the boats could not come further inshore
because of the stones and rocks which were in the water. The other eleven men remained to guard the
boats.”
“Having thus reached land we attacked them. Those people had formed three divisions, of more
than one thousand and fifty persons. And immediately they perceived us, they came about us with loud
voices and cries, two divisions on our flanks, and one around and before us. When the captain saw this
he divided us in two, and thus we began to fight. The hackbutmen and crossbowmen fired at long range
for nearly half an hour, but in vain, (our shafts) merely passing through their shields, made of strips of
wood unbound, and their arms. Seeing this, the captain cried out, ‘Do not fire, do not fire any more.’ But
that was of no avail. When those people saw this, and that we fired the hackbuts in vain, they shouted
and determined to stand fast… they fired at us so many arrows, and lances of bamboo tipped with iron,
and pointed stakes hardened by fire, and stones, that we could hardly defend ourselves.”
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“Seeing this, the captain sent some of his men to burn the houses of those people in order to
frighten them. Who, seeing their houses burning, became bolder and more furious, so that two of our
men were killed near these houses, and we burned a good thirty of their houses. Then they came so
furiously against us that they sent a poison arrow through the captain’s right leg. Wherefore he ordered
us to withdraw slowly, but the men fled while six or eight of us remained with the captain. And those
people shot at no other place but our legs, for the latter were bare. Thus for the great number of lances
and stones that they threw and discharged at us we could not resist.”
“Our large pieces of artillery which were in the ships could not help us, because they were firing
at too long range, so that we continued to retreat for more than a good crossbow flight from the shore, still
fighting, and in water up to our knees. And they followed us, hurling poisoned arrows four or six times,
while, recognizing the captain, so many turned upon him that they knocked his helmet off its head twice.”
“But as a good captain and a knight he still stood fast with some others, fighting thus for more
than an hour. And as he refused to retire further, and Indian threw a bamboo lance (spear) into his face,
and the captain immediately killed him with his lance, which he left in the Indian’s body. Then, trying to
lay hand on his sword, he could draw it out but halfway, because of a wound from a bamboo lance that he
had in his arm. Which seeing, all those people hurled themselves on him, and one of them with a large
javelin thrust it into his left leg, whereby he fell face downward. On this all at once rushed upon him with
lances (Spears) of iron and of bamboo and they slew our mirror, our light, our comfort, and our true guide”
“While those people were striking him, he several times turned back to see whether we were all at
the ship. Then, seeing him dead, as best we could we rescued the wounded men and put them into the
boats which were already leaving.”
“After dinner the Christian king… sent to tell those of Mactan that if they would give us the bodies
of the captain and the other dead men, we would give them as much merchandise as they desired. And
they answered that they would not give up such a man, as we supposed, and that they would not give
him up for the greatest riches in the world, but that they intended to keep him as a perpetual memorial.
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Magellan became too overconfident regarding the fighting ability of his soldiers and intended to
prove that to his Christian Filipino cohorts. He believed that the spear, kalis (broadsword) and baraws
(daggers) of Lapulapu and his men were no match against their own European steel armor and muskets.
He had hoped to conquer Mactan as a present to Rajah Humabon. He therefore, took only 60 men who
wore only half their armor (legs exposed), ordered Humabon’s back up force to remain in their balangays,
neglected to judge the tide or reefs and waded to shore. His own arrogance and pride defeated the
otherwise cautious Magellan, and so he paid with his life. Magellan had his chance to fight with the native
in habitants. He learned too late, however, that aside from the confidence of Lapulapu and his men, and
of the magic powers of their anting-anting (amulets), they were skilled in the art of kali using bladed
weapons.
For the first time in history, the Filipino art of fighting was used against Europeans in defense of
the country where it was developed. Villagers in cotton cloth fought the armored Spaniards to the beach.
They battled Spain’s finest steel with pieces of rattan, homemade lances and fire hardened sticks with
points. At noon that day, Magellan died at the hands of the fiery chieftain Lapulapu, the first Filipino to
successfully resist foreign aggression.
Lapulapu and his 1,050 men effectively used fired hardened bamboo
spears (some iron tipped), blades resembling large scimitars (bolos), stakes,
arrows (tipped with poison), stones, and dirt in defeating Magellan’s invading
force. Perhaps Lapulapu kept Magellan as a trophy or idol, but there is no
evidence that this was ever done. A tall column overlooking the bay where the
battle took places commemorates the death of Magellan. Bit according to Filipino
history, Magellan was a pirate. He burned their homes and trade to enslave their
people as part of the great Spanish conquest. In the little township a mile or two
away, a new bronze statute of Lapulapu, leader of the warriors who killed
Magellan, shines in the sun.
Magellan and his men were the first Westerners to witness and gain knowledge of the fighting
arts of the Philippines. The battle of Mactan became notorious, and whereas Magellan’s fate was
mourned, Lapulapu became a hero in the Philippines. Rajah Humabon never fulfilled his plans to attack
Lapulapu. The latter had gained a reputation as being extraordinarily powerful. However, both rajahs
would have been accomplished in pangamut, an early form of kali. It consists of eight strokes, two
slashes each to the head, chest, and kidney; then two thrusts, to the head and chest. Lapulpalu’s
weapon was the kampilan (double pointed blade) and his kali would have been a harder, more powerful
style. Lapulapu was reputed as having the ability to throw a short stick that would pierce a coconut tree.
Humabon would have used a softer, lighter, more evasive kali style.
SPANISH CONTROL
Philip the II of Spain, for whom the archipelago was named, continued to send expeditions to the
Philippines, under the following series of leaders: Garcia Jefre de Loyasa, Alvaro Saavedra and Lopez
de Villalobos. It was not until 1563, when the fifth expedition (Magellan counting as the first) arrived with
its captain adventurer, Miguel Lopez de Lagaspi (also spelled Legazpi, in some sources). Lagaspi made
headway into the Philippines.
In May 1565 he established a permanent European colony on Cebu. His Spanish conquistadors
successfully used fire power, military strategy and the advantage of the barangay’s isolation from each
other to conquer Cebu and annex neighboring islands. Then, in 1570 Legazpi’s grandson, Juan Salcedo,
sailed to Luzon and established friendly relations with the Rajah of Tondo, Lacandola, and the Rajah of
Manila, Soliman. By 1571, just forty years after Magellan’s death, the elder Miguel Lopez de Legaspi
proclaimed Spanish sovereignty over the Philippine Archipelago and named Manila as its capital.
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In 1574, an exiled Chinese pirate, Li Ma Hong, attempted to take control of Manila. He came with
sixty-two armed junks, containing some 5,000 men. Li Ma Hong demanded control of the city, but was
defeated. Most of his men escaped to the north and intermarried with the islanders. The Dutch,
traditional enemies of Spain, often tried to invade the islands and wrest control from the Spanish, but
were consistently forced into retreat. Spain continued to dominate and chose to retain the barangay as
their basic unit of local administration in the islands. Unfortunately, they sadly disregarded the venerated
tuhons careful passage of writings, which were passed down through centuries, one generation to the
next. The Spanish destroyed most of the Philippine Islander’s writing and eclipsed many areas of Filipino
culture.
Most certainly, Spanish rulers would have viewed the Filipino martial arts, kali, as a potential
threat attempted to squelch it by prohibiting the Filipinos from displaying or carrying bladed weapons.
However, as fast as the Spaniards tried to eradicate kali, the arts transitioned to alternate seemingly
innocuous avenues of Filipino culture. Although practice with the blade was still continued in secret,
usually at night under moonlight, kalimen switched their ancestral art’s emphasis from kalis (bladed
weaponry) to bahi (hardwood) or oway (rattan) sticks. Additionally, mono mono plays were staged as
mock battles of Moors against Crusaders. However camouflaged within the play’s dances, kali, (now
arnis in Spanish) was retained, hidden, and legally practiced directly before the unsuspecting Spanish
despots. Arnis survived the Spanish conquest and later, as we shall see, the American occupation. The
Spaniards did their best to completely immerse the Philippine Islanders into Spanish ways. They even
changed the entire blocks of Filipino surnames from their native names into completely different Spanish
ones. Kali names changed accordingly and gleaned additional techniques. Kali became arnis de mano
(Spanish for arnis, trapping or defensive armor). Kali also changed to the Spanish names: 1) estocada,
to Tagalogs, and 2) egrima, escrima, or eskrima (to fence or skirmish) to Visayans. Other areas knew kali
as estoque, fraile, arnis de mano, or arnis. The stick became known as the baston, garrote, or tabak, and
the blades were often grouped under the term bolo. Espada y daga was what the Spanish called the
blade and dagger. Sinawali or doble baston refer to the use of two sticks.
Kali cultivated mutual respect among men while preserving life and freedom. This was mostly
clearly observed in the unconquerable spirit of the Moors in the southern Philippines. Dan Inosato
related, “the Muslim warriors opposed the Spanish conquests with their religion, their courage, and their
unparalleled fighting ability.” Spain was never able to subjugate or even extort tribute from the Moslems
in the south. The Spaniard’s strategy was to capture Moro chiefs and then break and force them to make
their people submit, as they had done to Montezuma in Mexico. It never happened. Spain misjudged
these descendants of the Moslem Majapahit Empire. Moro leaders were fiercely committed to retaining
freedom, and would mete out death or die attempting to protect this fundamental value. They boldly,
competently and successfully keep their people and territory free from invaders since the time when they
themselves were conquerors. The Spanish were not the first to fail in an attempt to control Moro territory
and they would not be the last. To date no one has succeeded in conquering or dominating the proud
strong people of the Mindanao.
Another Filipino point of contention regarding three religious orders, Dominicans, Augustinians,
and Recollects and their ownership of one tenth of all the Philippine island’s unimproved land. This had
occurred because the Catholic Church had been united with the Spanish government for over three
hundred twenty seven years. Plus, the Filipino clergy resented the power the Spanish clergy held in the
church. Despite sporadic opposition from the Filipino clergy throughout the years, the Spanish retained
power in the islands. Additionally, the Spanish continued to repulse foreign attempts to take over the
Philippine archipelago, including the time in 1762 when the British captured the city of Manila. Spain
regained the city, however, according to the Treaty of Paris in 1763.
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LIGA FILIPINA
In 1872, Filipino soldiers at Cavite arsenal rebelled, killed their Spanish officers and demanded
independence. This revolt failed to produce freedom and resulted in the martyred deaths of three Filipino
priests: José Burgos, Mariano Gómez, and Jacinto Zamora. They were blamed for sedition and
executed. Their deaths served to further incite bitter resentment toward Spanish rule. Discontent bred
the “Propaganda Movement” against the Spanish by Filipino refugees in Europe. Foremost among them
was Dr. Jose Rizal, who was residing in Spain to further his education. Rizal wrote a novel, Noli me
Tángere, (The Social Cancer) in 1886. It centered around the Spanish corruption of Manilan society.
The nineteenth century brought forth an educated middle class that yearned for independence.
When Rizal returned to the Philippines in 1892, from Madrid, he was pardoned by the captain
General of the Archipelago. Three days later, Rizal threw a reunion with Filipinos of some wealth and
having the same zest for independence from all Spanish control, as himself. In the beginning of 1893 the
society of the Liga was formed as an imitation Filipino form of the Spanish Freemasons. Rules were
made and officers decided upon an initiation rite for new members. The initiation included swearing
oaths, kissing a skull and signing documents in the blood of the person swearing allegiance to the Liga.
Further, the nationalistic ideas of the Liga were spread through conferences, books, pamphlets and its
underground paper, “La Solidaridad.” Only wealthy men and members of Masonic orders were invited to
join the Liga and unite in plotting the abolition of Spanish rule.
Pio Valenzuela’s testimony regarding his initiation into the Liga Filipina was:
“Once in the house, they spoke of many things, en resumé, that the aim of the
association was to obtain the independence of the Philippines, oppressed and enslaved
by the Spaniards. Placing a dagger at his breast, they obliged him to throw himself upon
it. But lacking the courage they placed it in his hand, leading him to a man whom
recognized to be seated, and ordered him to strike the man with the dagger, a thing
which de hared not do either. He was then conducted into a room and addressed by a
person he knew to be Bonifacio by the voice, who informed him that he could not retrace
his steps because he knew of the existence of the society, he could not assist at the
juntas, nor could they teach him the signs of recognition til he had been re-initiated; they
moreover made him sign two sheets of blank paper, causing him to swear never to reveal
the existence of the society to anyone, under the pain of assassination. They then
removed the blindfold and he saw around him eight or nine individuals dressed in cloaks
and hoods; he signed the two sheets of paper and was again blindfolded and conducted
to a considerable distance from the house where the bandage was again removed.”
nd
Another member of the Katipunan, in his declaration made on the 22 of September in 1896,
stated during the month of February 1893, one Sunday morning, a certain Estanislao Legaspi entered his
store, telling him to accompany him in a calesa. He listened to tirades against the Spanish government til
their arrival at the house of a certain Tranquilino Tories, in Calle Elcano. Here “his eyes were bandaged
by Legaspi and he was handed over to the care of another individual who conducted him to the upper
story of the house and made him sit down; he then heard a person whom he knew to be Legaspi by his
voice speak, saying several things against the Spanish Government, demanding of him an oath of blind
obedience, and a defense of the Philippines til the shedding of the last drop of his blood, threatening him
with fearful punishments if he should turn traitor.
The ceremony being terminated, his eyes were unbound and he saw, on a table, a skull which
they made him kiss, and Legaspi handed him a lance commanding him to wound himself in the arm; but
he felt a feeling of feint-heartedness come over him, and manifested to those present that he had not the
courage enough to wound himself and wished that the oath he had taken had been enough; he was
dispensed from the operation. When the bandaged was removed the eight individuals composing the
junta were masked with black hoods, but after he kissed the skull and attempted to wound himself they
removed the hoods and he then recognized Estanislao Legaspi, who presided, Mariano de Vera, Teodoro
Plata and Juan de la Cruz, who was a clerk of the Tabacalera and who had led him upstairs; he did not
know the other three. The witness paid two pesos as entrance fee, promising to pay 50 cents monthly.
He then asked Legaspi what association it was and he replied it was the Liga Filipina.”
182
The Liga Filipina was well organized according to provinces: Each province had a provincial
council, organized similarly as the main Supreme council, but each headed with only six councilors.
Those councilors had under their orders as many popular councils as pueblos in the province. The chain
of command began with the powerful Supreme Council and filtered down through the well organized
provincial councils. Dues were collected from the membership in order to further its mission toward
national independence. However, by 1894 when the society was one year old, its membership voted to
disband. Nevertheless, another secret society had already been established prior to the Liga, with
similar, but more radical initiation practices. This other society would move to the forefront, and last until
1898, long enough to perpetrate rebellion and death. That society was the Katipunan.
THE KATIPUNAN
Additionally, other persons significantly affected the Filipino move toward independence.
Philippine patriot, Andres Bonifacio was born in Manila of poor parents of Chinese and Tagalog descent.
He later emerged as a primary advocate for Filipino nationalism. Bonifacio was well-read and a graduate
of the University of Santo Tomas in Manila. He wanted complete severance from Spanish rule. Bonifacio
worked as a warehouse clerk and messenger prior to 1892. In that year, Andres Bonifacio founded and
led a secret nationalist revolutionary society known as the Katipunan. The full name of the society was
Kataastaasan Kagalang-Galang Na Katipunan Nang Manga Anak Nang Bayan meaning, “Supreme
Worshipful Association of the Songs of the People.” The Katipunan fulfilled Bonifacio’s ideal, it was a
Filipino nationalist organization founded to oppose Spanish rule.
The Katipunan was organized under the umbrella of the order of Freemasons as was the Liga
Filipina. Masonic orders are traditionally secret, anyway. So for Filipino Freemasons to initiate members
and swear them to silence as to words and actions within the sect, was not questioned by the Spanish.
Again, the Spanish had introduced the Filipinos to Masonry. The organization of the free Masons worked
out to perfectly suit the Katipunan. Members, respectively, were ruled from the top by the Supreme
Council, which was similar to the organization of the Spanish Masonic orders. Power filtered sequentially
downward to the provincial council, popular council, sections, and delegates.
Freemasons initiated rites, through secrets, are not mystical. By comparison, initiation rites were
mysterious with the Ligas, and even more radical with the Katipunan. Its initiates and those involved, all
wore masks. The new initiate was faced with a table bearing a skull, crossbones, triangles, and two
candles. The Katipunan initiation would include an explanation of its purpose: the liberation of the
Tagalog people, and expulsion or destruction of the Spanish. Then, the new initiate would somberly be
reminded of the three martyred Filipino priests (1872) and would witness imitations of assassinations or
suicide.
Then, the Katipunan initiate took oaths of obedience, and would dedicate himself to freedom of
the people unto death, protection of the brotherhood’s secrets to the grave and commitment to increasing
membership. The initiate was required to cut his own arm with a dagger and used the flowing blood as
ink in signing written oaths. Initiates were warned that grave repercussions were to be imposed upon any
Katipunan member who violated his oaths. Masonic brothers all used special signs and passwords to
recognize brother members of their society. They also promise strict compliance to orders from superior
members. Monthly dues were collected and used by the Supreme Council’s central Masonic treasury to
publish propaganda, and procure weapons.
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In the diagram to the left, the triangle represents the Holy Trinity: Father,
Son, and Holy Ghost. The top of the triangle represents the Kataastaasan, Supreme
or highest of the highest. The lower left corner of the triangle was the Kalagayan,
the most loyal of the loyal. One whom is of the highest virtue, morality, honesty,
loyalty, nobility, and compassion. The lower right side of the triangle was the
Katipunan – Sons of the Katipunan, a secret organization. The eye represented the
all-seeing eye of God. And the crosses were symbols used during the great
crusades.The words forming a circle around the symbol, “Acmunera Acsanta
Sacrificia Cometio Spiritusam, CG Sacdona Porvn (?) Credo ix Deum Patrem Omni
Potentem Sancto Illi Sancto Aila (?)” translate to “Both gifts and holy sacrifice in the
company of the Holy Spirit. Sacred gifts (?) believe in God, the father Almighty to the
holy of the holies (?)”
Inside the circle, Triunfus unus solos Deus,” translates to “Triumphant one: only God.” The other
symbols may be initials or coded initials of the leaders of the Katipunan, or have other meanings.
“Hocuar gran turret gran torclam gran torcibam sancta mimitam sancta saiamitam” may be a mix
of corrupt Spanish, native dialect, and a blend of Latin
The book entitled “Lithim Na Karunungan Ng Diyos” (Secret knowledge of God) translates many
of the Katipunan text, symbols, and coded messages. It may possible to recover this book from
other sources, perhaps in the Philippines or Spain.
Ac – And or both. Munera – Gifts. Sancto – Holy.

Acumunera – Both gifts. Munero – Honor, to reward. Santa – Holy.
Acsanta – And holy. Omni – All. Solus – Only, – single, sole,
Ai – Alas! Omni – Potentern – All Alone, lonely,
Aila - ? mighty to the. solitary.
Cometio – In the company Patren – The father. Solus – only, is one.
of. Porvn - / Spiritus - Life, breath,
Credo – Believe. Potent – Mighty. Spirit, courage, pride.
Deum – God. Sac - Contracyion for Arrogance, moral.
Deus – God. sacred. Spiritusam. (Spiritu
em – To the. Sacdona – Sacred gifts. sancto) – Holy spirit.
Evante – Advance. Sacrifice – Sacrifice. Toreuma – atis – Embossing,
Gran – Great. Sam. – Abbreviation for relief.
illi – That. Sancto (spirit) Triunfus - (Triumphus) -
illic – that, he (pron.). Sancta – Holy. Triumphant.
ix – in. Sancte - Solemnly. Unus – One.
reverently. Special thanks to
Katipunan - Secret religiously. Father George Kanard for
organization. Sons of conscientiously. the translations of the
the Katipunan. purely. Katipunan crest.
Anti-Spanish sentiment ran so strongly within the Philippines that the Katipunan society was
known to have had 100,000 members by 1896, when discovered by the Spaniards, and believed to have
had up to 400,000 during the course of its existence. Its members were mostly of Tagalog workers and
peasants. The urban middle class members favored reform rather than revolution.
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Commensurate with its large membership was the Katipunan’s growth, geographically, from
Manila to branches in central Luzon. Panay, Mindoro, and Mindanao. They were organized by
provinces, much as the Liga had been, and this organizational system proved very effective.
In 1895, Andres Bonifacio concretely moved toward armed rebellion. He began futile
negotiations with Japan, hoping to solidity that country’s backing in the event the Katipunan rebellion was
successful. Wealthy Filipinos contributed funds enough to purchase “a good number of arms” which were
deposited on the coasts of Cavite and Balangas. The assault plan was to massacre all Spanish men,
women, children, religious, or lay people. Once that nefarious deed was accomplished, the Katipuna’s
were sanctioned to ravage and pillage at will. To better his position within the organization, Bonifacios
became mayor of Vacite Viejo in August, 1896.
From August 19-21, 1896 the Spanish discovered the insurrectional conspiracy of the Katipunan
and began making arrests accordingly. This was confirmed two days later by a telegram sent to Colonial
Minister Señor Castellano, from Governor General Blanco, in Manila. The telegram read as follows:
Manila, August 21, 1896- The Governor General to the Colonial Minister
-Vast organizations of secret societies discovered with anti-national tendencies.

Twenty-two persons detained among them the Gran Oriente 9of Philippine Freemasonry)
of the Philippines, and others of importance. Immediate action taken and special judge
will be designated for greater activity.
Blanco
THE PHILIPPINE REVOLUTION OF 1896
The Spanish knowledge of Katipunan intent to purge the Philippine Islands of all Spaniards
intensified the need for the Katipunan society to act, or abolish their resolve of Filipino independence.
th
Bonifacio subsequently held a meeting on the 24 of August with five hundred of the Katipunan members
in attendance. They voted to either return as legal subordinates of Spanish authority or to proceed with
armed and immediate rebellion. Andres Bonifacio supported immediate rebellion and the Katipunan
membership overwhelmingly agreed as indicated by the vote.
Therefore, orders were sent to Manila, Cavite, Nuevo Ecija and other provinces to rebel on
Sunday, August 30 th. 1895, at sunrise. As planned, the entire province of Manila, Luzon erupted into the
anti-Spanish revolt of the Katipunan. Atrocities were perpetrated against, “as many Europeans and loyal
natives as were encountered.”
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HISTORY OF THE PHLIPPINES #22
Nevertheless, the Katipunan was not invincible. Spanish forces subdued Andres Bonifacio’s
groups and they fled northward to Montalban. Additionally, Spanish military forces successfully protected
the province of San Juan del Monte with two sections of artillery. Meanwhile, sixty Veteran Guards were
able to stay off rebels in the Sampaloc suburb.
With Andres Bonifacio in exile, another rebel lieutenant, , assumed leadership of the Katipunan
and commanded an assault in the province of Cavite, on August 31,
1896. The Katipunan targeted, disarmed and assassinated the
resisting Spanish Civil Guard. They also invaded Roman Catholic
convents and estates in the province and ruthlessly murdered all
within.
Next, on September 3, 1896, Aguinaldo led another ferocious

Katipunan revolt at the Luzon capital city of Nueval Ecija. Again, the
Katipunan successfully targeted and defeated the Civil Guard. By the
time reinforcements arrived from Manila, there were very few
Spaniards left to rescue. Finally, Spain was spared from further
massive Katipunan atrocities by Teodoro Paino, a mere initiate of the
Katipunan. He was a workman for Diario de Manila, a printing
business serving the Katipunan by secretly producing its
proclamations, lithographic stones, daggers, and harboring receipts.
However, the Katipunan’s recent mobilization as a mass killing
machine had convicted Teodoro Paino’s conscience. So, Paino Emilio Aguinaldo
shared his regret for having belonged to the Katipunan and disclosed
its secrets to his sister. She was a student at the College of Looban, where
she reported her brother’s testimony. The college was operated by the Roman Catholic Sisters of Mercy
who, in turn, sent Paino to repeat his confession to the parish priest of Tondo.
Then Teodoro Paino’s knowledge was passed to the subdivision’s lieutenants and on up to their
district chiefs. It ignited a 15 day non-stop manhunt that exposed valuable evidence of paper goods and
paraphernalia associated with the Supreme Council of the Katipunan and resulted in more than 500
arrests. The Spanish continued their request to eradicate the Katipunan. They were able to defeat a fifty-
two day campaign by using reinforced Spanish troops. Andres Bonifacio had lost the confidence of the
Katipunan as their military leader since his forces had been pushed into retreat of the first day of the
rebellion. Meanwhile, the Spanish rounded up a scapegoat to avenge themselves against the insurgents.
They targeted Dr. Jose Rizal, founder of the defunct Liga Filipina. Although Dr. Rizal had written years
earlier to elicit support for political reform and Filipino independence, he had never advocated rebellion or
violence. Nevertheless, the Spanish arrested Jose Rizal and publically executed him on December 30,
1896. Rizal’s death served to further fuel the Filipino’s animosity against Spanish control in the Philippine
Islands.
K.K.K.N.M.A.N.B.
Kataastaasang Kalagayan Katipunan Nang Manga Anac Nang Bayan

(Supreme Society of the Sons of the People)
The words Supreme Society express the idea of supreme Social Situation, of a society formed of
noteworthy people. A well-read writer on the subject of “El Katipunan o elfilibusterismo en Filipinas,”
says, speaking of this union of such notable folk: “A reunion of people who meet to concoct
assassinations cannot be a reunion of noteworthy people but should rather be a reunion of noteworthy
criminals.” There is not the shadow of a doubt that this is the best and, in fact, the only title to which such
a society as the Katipunan can justly lay claim.
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Opinions are divided as to the origin of the word Katipunan and as to the manner in which it
should be written. Some spell it with C whilst the majority use K. As to the derivation: the root word is
undoubtedly tipon which, prefixed with the particle ca and terminated with an gives us a word, which
signifies very select association. The word is, however, generally written with a K so as to be in keeping
with the Tagalog way of spelling, as they (that is to say, the redimidos) have taken to the use of K for C
whenever C has a hard sound as in “cat.” In like manner, to the insurgent and his sympathizers, Cavite
should be Kawite. The K and W are Blumentrittisms, i.e., of German descent.
The organization of the Katipunan society was analogous to that enjoyed by the Liga Filipina but
amplified to the extent of anarchism, swearing hatred and destruction to everything of a character or
nature Spanish, and sowing the seed of a race-hatred. The Supreme, Provincial, popular Councils,
sections and the delegations ruled this association.
As in freemasonry, the initiations were performed with a wealth of the ridiculous and with
unending extravagancies; but of such a nature that the ignorant Indian was fascinated and became
converted into a slave of his oath.
The initiated and the person to be initiated were masked and lead into a room. Before a table
was placed a skull and crossbones, a triangle and two candles. The skull and crossbones symbolized the
transition to a different reality. The person about to be initiated was told that the object of the Katipunan
was the liberating of the Tagalog people, and the expulsion of the Spaniards from the archipelago or their
destruction. Following this came a series of questions and replies in the which the martyrdom of the
Gomez, Burgos and Zamora, native priests judged and condemned for their part in the rebellion of Cavite
in 1872, was exalted, and they passed on to the proofs which consisted in imitating an assassination and
suicide. This was followed by the taking of an oath of striving to effect the liberation of the people til
death, an oath which demanded a blind obedience to the commands of the superior and the preservation
of the secrets of the association under the pain of death. Finally, to terminate the ceremony, they made
an incision in the arm of the person initiated and with the blood which flowed from the wound thus made,
the new katipunero signed his compromise.
The initiated were called brethren and had their sacred words and their special signs of recognition. They
were ruled by a code which established severe punishments including whipping til death and received no
orders from anyone, or had no intercourse with anyone, except with their immediate superiors.
Matters of importance and organization were dealt with in assemblies constituted by the Supreme
Councils and all the presidents of the provincial and popular councils. The accords were taken and
discussions decided by a majority of votes. Both the Supreme, provincial, popular Councils, and the
sections held their periodical sessions in which were discussed a thousand different affairs, and the
decisions of the Councils had to be submitted to the approval of the immediate superior. The gatherings
were always held in different houses and localities, no day being set aside as fixed, but the days of
festivities were chosen for that purpose, under the pretext of banquets or dances in the which the
authorities had no suspicion and because on the said days these semi-public rejoicings were permitted
without the necessity of seeking the license of the governing authorities.
Both the provincial and the popular councils and the sections were known by special names: the
initiated were “Baptized” with symbolic appellations; and the documents were drawn up in the Tagalog
dialect, the most important being in secret code.
Under the Presidency of Bonifacio, the society commenced an era of febrile activity; the greater
umber of the tribunals of the pueblos were converted into centers of propaganda, which were directed by
the municipalities. Pamphlets and proclamations against the friars and Spanish element were circulated
in profusion.
Injuries and outrages were invented, and by these and a thousand and one other infamous
means, little by little, hatred and revenge were inculcated into the mind of the Indian
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.
In 1895, Bonifacio took the first decisive steps towards the organizing of an armed rebellion; he
sent different delegations to Dapitan to confer with Rizal and receive his advice and instruction; he
opened negotiations with the Japanese Government but did not succeed therein. But with his immense
ascendancy over the popular masses, ascendancy beyond imagination, he declared himself dictator. The
secrets aiders of the Katipunan who pertained to the upper classes offered funds of considerable amount
with which were acquired a good number of arms which were landed on the coast of Cavite and Batangas
with the aid of wealthy persons.
In August of this year (1896) exaltation among the masses reached its full height, and Bonifacio,
realizing the fact, prepared to take what was necessary in order that in a short time the conspiracy, which
was to take effect on the same day and hour in almost all Luzon, should be in readiness. The plan of the
attack and taking of Manila was coarsely conceived but it might have been successful, and massacre,
sacking and pillage would have crowned the iniquitous work.
Astounding is the number of the initiated; in Manila and its province alone they exceed 14,000 and
in the provinces of Cavite, Batangas, Laguna and Nueva Ecija there are no less than 20,000. Adding to
this number those of the remainder of Luzon, the total will ascend to an enormous mass of “illusioned”
who bowed in obedience to an iniquitous schemer. It must be recognized, however, that Bonifacio is not
a common man, of active character, energetic and bold, gifted with a facility of expression in his language
which suggested itself to his countrymen, of a criterion clear but badly cultivated by the reading of books
of an elevated style and a pernicious character and possessed of an unfathomable ambition—such was
the warehouse proter who had charge of the storehouse of the foreign commercial house of Fressel and
Company in Calle Nueva, Binondo.
The orders were circulated with rapidity throughout Manila, Cavite, Nueva Eciia, and other
provinces, commanding that armed rebellion should commence at day-break of Sunday the 30 th.
The day and hour assigned finally arrived, and the whole province of Manila broke out, the rebels
committing a thousand and cone abuses and crimes upon as many Europeans and loyal natives as were
encountered. Like wild beasts they attacked the waterworks and the powder station situated at San Juan
th
del Monte from whence they were valiantly driven back by a section of artillery and another of the 70
regiment. Simultaneously they attempted to invade the suburb of Sampaloc by way of Santa Mesa and
there also they were combated and dispersed by 60 Veteran Guards who prevented, by their defense, a
day of mourning for the city of Manila.
All Cavite, except the capital, arose in insurrection on the afternoon of the 31st, assassinating and
disarming the whole of the Civil Guard of the province, after a heroic defense on the part of the latter.
They assaulted the convents and estates of the Religious Orders and murdered the defenseless ministers
rd
of the Lord. On the 3 of September the capital of Nueva Ecija was attacked by large masses of rebels,
and the colony and the Civil Guard heroically resisted until the arrival from Manila of a column which
combated the enemy and saved that handful Spaniards from a certain death.
In the daily report of the secret police department made to General Blanco on the 30th of June
1896 is the following notice:
“Herewith is given translated most faithfully from Tagalog, the result of an interview held with a
well-to-do Indian who belonged to the most popular of the Masonic lodges, who tried to draw into it a
friend. Questioned upon certain affairs, he said: “In the Masonic lodges of San Juan del Monte and of
Pandacan, the whole pueblo, rich and poor, is inscribled.”
“In the reunions the brethren attend blindfolded, and the chiefs with the face covered.”
“The person who desires to enter the lodge is obliged to have his face covered and his eyes
bandaged in sign of blind obedience; the proofs are carried out and signature made as follows. The
person receiving the initiated takes a dagger and gives it to him, saying to him:
188
“Do you swear to be steel like that which you hold in your hand and not to bend in the exigencies
which oppress and vex us, and to labor in pro of the independence of your enslaved country? “ “I swear,”
answers the person to be initiated. “Do you swear not to have father, mother, wife, child, nor any relative
but the revenging arm which shall sleep and live with you?” “I swear.” Then they surround him with arms
of all classes and say to him: “Here is they family, thy only work, and may it give thee thy life and open thy
eyes for the good of the country.” Then they make a small incision in the form of a cross in the right arm
near the shoulder.”
“At present our meetings are held at night and in the most lonely fields, with the object of not
being surprised.”
“It is well known among us masons that Rizal is attributed with the faculty of being able to
translate his person instantaneously from one point to another.”
With a March 1897 convention in Tejeros, came another step toward Filipino independence. The
Filipino rebels named Emilio Aguinaldo as president of their new unofficial republic. Andres Bonifacio,
however, refused to acknowledge the decision of the 1897 convention and attempted to create his own
rebel government. Aguinaldo responded by having Bonifaciou arrested, tried for treason, and found guilty
as charged. Andres Bonifacio received the death sentence. Ironically, the very man Andres Bonifacio,
who founded the Katipunan and fought for supreme independence of the Filipino people, was executed
by the new independent Philippine republic’s firing squad. Another irony was when Bonifacio’s forces
became militarily weak early in the rebellion, he lost the confidence of the Filipino people. Then, toward
the latter part of 1897, Emilio Aguinaldo also became militarily weak. The
Spanish army, bulked with Filipino mercenaries, sent the new president
Aguinaldo’s rebel troops into retreat in the mountains, southeast of Manila.
On December 15, 1897, the Spanish governor general induced

President Aguinaldo to sign the Pact of Biac-na-bato. Ints purpose was to
have both sides make concessions towards peace and temporarily halt the
Philippine Revolution. The Filipino revolutionaries were to stop the
violence and their leader, Aguinaldo, was to voluntarily exile himself to
Hong Kong. The Spaniards sweetened Aguinaldo’s acceptance of exile
with offering him a bribe of 400,000 Spanish pesos. Spain’s end of the
bargain was a promise to implement liberal reform within a three year
period. Unfortunately, the Pact of Biac-na-Bato didn’t bind either side to
reform their intent or honor their pledges. The Spanish didn’t carry through
with their promises of reform in the Philippines.
Aguinaldo, meanwhile, realizing the reneged reform spent his bribe money purchasing arms and
ammunition in Hong Kong, his new residence of exile. Aguinaldo also met with American consulates and
Commander George Dewey in Singapore, to elicit US support for Philippine independence from Spain.
US Sympathy for rebels against Spanish control began when several American newspapers published
photos in 1895 and exposed Spanish brutality in quelling revolt. Rioting erupted against the Spanish in
Havana, Cuba. In response, American sent its battleship (USS Maine) on January 1898, to protect
American citizens and property caught in that hot spot. However, on February 15, 1898 while in
Havana’s harbor, an explosion aboard the USS Maine caused the battleship to sink and take 260
American seamen with it.
The cause of the detonation was never determined, but the ensuing deaths outraged the US
public, who adopted a newspaper’s quote, “Remember the Maine, to hell with Spain.”
189
th
Although Spain called an armistice on April 9 and scurried to grant Cuba some power of self
government, the United States intervened. William McKinley was president of the United States and
demanded that Spain completely remove its forces from Cuba and grant it independence. America
assured Spain it would not annex Cuba for the US but would back Cuba’s right to freedom and use
whatever force was necessary to ensure it.
Spain declared war against the United States on April 24, 1898. The US responded in like by
th st
declaring war against Spain on April 25 , but made it retroactive to the 21 of April. Meanwhile, the US
ordered Commodore George Dewey to destroy the unprepared Spanish fleet in Manila Bay, Philippines.
Commodore Dewey’s own ship led the US fleet, single file, into the Manila Bay in the early morning of
May 1, 1898. Had the Spanish prepared for war with competency and strategy, the entrance to Manila
would have been peppered with mines and virtually impenetrable. To the contrary, however, Commodore
Dewey’s route was clear of mines and they met very little resistance. The Spanish fleet was anchored
and consisted of thirteen ships (“tubs,” according to one source). History describes Dewey’s victory as
“relatively bloodless.” On the American sides there were no fatalities and only seven seamen wounded.
If rumor is correct, it would have explained Commodore George Dewey’s crushing defeat of the
Spanish. The rumor had it that when war was declared, 224 Spanish sailors deserted their ships,
commanders stayed Manila cafes the evening before Dewey’s fleet struck, and some of the Spanish
ships scuttled themselves! Apparently, the Spanish army and navy commanders in the Philippines were
ill-trained, equipped, or motivated to resist foreign invasion as supported by history recording the
American takeover from the Spanish, as a “relatively bloodless event.” Spanish Governor Fermin
Jaudenes had secretly arranged a surrender after a mock show of resistence to salvage his honor.
Commodore Geroge Dewey then took possession of Cavite and declared a blockade of Manila
until ground troops arrived three months later.
Other foreign ships stayed in the bay with Dewey’s permission, including seven English and four
German warships. Common opinion held that the German supported Spain. SO when the German
commander violated international law by sending his boats from ship to ship without Commodore
Dewey’s permission, he took stern measures. At one point Commodore George Dewey fired warning
shots across the bow of the German ship. He next invited the German commander aboard his ship and
informed him that ship to ship visitation without permission was an act of war. Commodore Dewey then
offered, “As we are in for it now, it matters little to us whether we fight Spain, or Germany, or the world.
And if you desire war, you can have it right here. You need not cable to Berlin, nor need I to Washington.
You can just have war here and now.” The German commander backed down from the challenge, and
Commodore Dewey thereby further reinforced US control of the Philippines.
It appeared as though the German presence was there to assure that the US would not take over
the Philippines, as Prince Henry (of Germany) had stated back in a Hong Kong conference that “Germany
would not permit America to annex the Philippine Islands.” On the other hand, perhaps Germany was
waiting, as a vulture, to swoop in itself. It was believed that England stood by as an ally. Again, it was
not US intention to annex the Philippines at the time Commodore Dewey destroyed the Spanish fleet, or
when US forces took possession of Manila, on August 13, 1898.
Commander George Dewey requested Emilio Aguinaldo to return from Hong Kong to the
Philippine to help eradicate the Spanish from the land. On May 19, 1898, Aguinaldo returned to resume
authority and presidency over what he understood would become the free republic of the Philippines.
Aguinaldo’s troops governed all of the Philippines, other than the city of Manila, which was occupied by
American forces. With the intent of working as allies, Aguinaldo’s men were given American arms and
ammunition. The Filipino forces then efficiently rounded remaining Spanish delegates on Luzon and
delivered them to US forces in Manila. On June 12, 1898, the Filipinos declared independence of Spain.
190
On June 30, 1898, three thousand American servicemen arrived to the Philippines aboard the US
cruiser, Charleston. Then, on August 13, Manila fell after a bloodless “battle.” The Treaty of Paris was
enacted on December 10, 1898. In accordance with its terms, the US paid Spain $20,000,000 for
sovereignty of Guam, Puerto Rico, and the Philippine Islands. This accumulation of property tipped the
international scales, making the United States a world power with new weight in international politics.
In 1898, then, the Spanish colonial government was replaced by an American military
government. Consequently, the Filipinos realized that America, formerly viewed as the savior of the weak
and oppressed, was no longer intending to grant independence to the Filipino republic. In fact, it
appeared that America was replacing Spain as a formidable oppressor in the Philippines. Clearly,
Aguinaldo and his countrymen had not fought all those years to continue in slavery. Nor had they battled
with intent to submit to yet another foreign power. The goal of the Filipino people was to govern
themselves as an independent republic. Therefore, on January 23, 1899, Emilio Aguinaldo established a
provisional Filipino government at Malolos under the Malolos constitution. Malolos, in central Luzon,
became the Filipino capital. Again, the Filipinos resumed the fight for independence. This time it was
against the United States of America.
Fighting on the outskirts of Manila broke out between the Filipinos and US servicemen on
February 4, 1899. It was found the next morning that the brave but reckless Filipinos were severely
defeated.
While the fighting was in progress, Emilio Aguinaldo issued a proclamation to his people dated
February 5, 1899. It read as follows:
“By the proclamation of yesterday, I have published the outbreak of hostilities

between the Filipino forces and the American army of occupation in Manila, unjustly and
unexpectedly provoked by the latter. My manifesto of January 8 th last, published the
grievances suffered by the Filipino army at the hands of the American army. The
proclamation of General Otis relates to the insults to the Filipino people. The constant
outrages and taunts which have caused the misery of the people of Manila, and finally
the useless conferences proved a premeditated transgression of justice and liberty. I
know that war always has produced great disasters. I know that the Filipino people have
not yet recovered from past losses, and are not in the best position to endure others. But
I also know by experience how bitter is slavery, and by experience also I know that we
should sacrifice all on the altar of our honor and the national integrity so unjustly
attacked. I have tried to avoid, as far as it has been possible for me to do so, armed
conflict, in my endeavor to assure our independence, by pacific means, and to avoid
more costly sacrifices. But all my efforts have been useless before the measureless
pride of the American government and all of its representatives in these islands, who
have treated me as a ‘rebel’ because I defend the sacred interests of my country and do
not make myself an instrument of their dastardly intentions. Past campaigns will have
convinced you that the people are strong when they wish to be so. Without arms we
have driven from our beloved country our ancient masters, and without arms we can
repulse the foreign invasion as long as we wish to do so. Providence always has means
in reverse and promptly helps the weak in order that they may not be annihilated by the
strong, and that justice may be done and humanity progress. Be not discouraged; our
independence has been watered with the generous blood of our martyrs; blood which
may be shed in the future will strengthen it; nature has never despised generous
sacrifices. But in order that our efforts may not be wasted, that our desires may be
listened to and our independence gained, it is indispensable that we adjust our actions to
the rule of law and of right leading to triumph over our enemies and to conquer our own
evil passions.”
-Emilio Aguinaldo, President of the Filipino Republic
Mololos, February 5th, 1899
191
Two days later the United States ratified the Treaty of Paris against Spain and America
dispatched reinforcements to the Philippines. And now the Philippine-American war continued.
Throughout the spring of 1899, American troops pushed Aguinaldo’s forces northward into the central
Luzon Plain, and by the end of that year Aguinaldo and what was left of his government forces retreated
into the inaccessible northern mountains. By November 1899, Aguinaldo’s forces, extremely weakened,
were operating under tactics of guerilla warfare.
However, in 1901, fighting continued with increased bitterness on the island of Samar. General
Jacob F. Smith, enraged by a guerilla massacre of US troops, launched a retaliatory campaign of such
indiscriminate ferocity that he was court-martialed and forced to retire.
The insurrection was finally brought to an end when, in a daring operation led by General Fredrick
Funston, General Aguinaldo was captured in his secret headquarters at Palanan in northern Luzon on
March 23, 1901. Aguinaldo subsequently appealed to Filipinos to cease fighting and accept US
sovereignty. He then took an oath of allegiance to the United States, and retired to private life.
Although an end to the insurrection was declared in 1902, sporadic fighting continued for several
years thereafter. After 1902 the American civil government regarded the remaining guerillas as mere
bandits, though the fighting continued. About 1,000 guerrillas under Simeon Ola were not defeated until
late 1903, and in the Batangas province, south of Manila, troops commanded by Macario Sakay resisted
capture until as late as 1906. There, the rebels’ tactic of burning pacified villages contributed to their own
defeat. The United States gained an undisputed control of the Philippines and retained possession of the
islands until 1946.
In 1935 when the commonwealth government of the Philippines was established in preparation
for independence, Aguinaldo ran for president but was decisively beaten. He returned to private life until
the Japanese invaded the Philippines in 1941. The Japanese used Aguinaldo as an anti-American tool.
They caused him to make speeches, to sign articles, and to address a radio appeal to General Douglas
MacArthur on Corregidor to surrender in order to spare the flower of Filipino youth.
When the Americans returned, Aguinaldo was arrested and, together with others accused of
collaboration with the Japanese, was held for some months in Bilibid priso until released by presidential
amnesty. As a token vindication of his honor, he was appointed by President Elpidio Guirino as a
member of the Council of State in 1950. In the later years of his life, he devoted his major attention to
veterans’ affairs, the promotion of nationalism and democracy in the Philippines, and the improvement of
relations between the Philippines and the United States.
It was not until July, 1946, that the Philippines truly became an independent republic and was
recognized as such by the rest of the world. It continued under the US sovereignty during the intervening
years with control gradually shifting toward Filipino self-government. These various transitional stages of
government ultimately led to 1946 when the Filipino dream of foreign independence was finally realized.
It may be noted that the Moros, true to their fierce commitment of independence, as always,
successfully resisted any foreign intervention. In fact American servicemen found their .38 caliber hand
guns proved ineffective to halt assaulting Moro warriors who were protected by their religion and anting-
anting. Therefore, the US government issued .45 automatic weapons as a direct result of the Philippine
conflict with the Moros. Additionally, consistent with their heritage and reputation, the Moros of today
continue to resist government interference.
192
ORIGINS OF WING CHUN
The origins of the Wing Chun Gung Fu system

are still uncertain to this day. This is
particularly due to the lack of written records
about Wing Chun in the past, and much of
what we know today has only been passed
down by word of mouth. Nevertheless, there is
a generally excepted version of events. The
myth surrounding who designed the system
only serves to heighten the mystery and
history of Gung Fu.
193
WING CHUN'S HISTORY
THE POPULAR VERSION

In the late 1600's and early 1700's Gung Fu became very popular
at the Siu Lam (Shaolin) monastery in Honan Province, China.
The Gung Fu exercises were designed to help keep the monks
and abbots awake during long periods of mental training and
meditation. By exercising their bodies as well as their minds; they
developed even further in their spiritual training. The Manchu
(non-Chinese) government in the North at the time was deeply
suspicious of such activities, believing the monastery to be
training an army. They eventually attacked the monastery,
burning it to the ground and killing many of the monks and
disciples.
A few escaped the attack though, and they are thought to have
been Buddhist nun Ng Moi, Abbot Chi Shin, Abbot Pak Mei, Fung
To Tak and Master Miu Hin.
Ng Moi hid on Mt. Tai Leung and it was there that she met Yim
Yee and his daughter Wing Chun. Wing Chun was a beautiful
teenager who had attracted the unwanted attention of a local
man. Ng Moi liked Wing Chun and agreed to teach her Gung Fu
to defend herself. After training Wing Chun eventually challenged
her persistent admirer and beat him in a fight. Wing Chun carried
on training in Gung Fu and taught her husband when she married
- Leung Bok Chau. He named the system after his wife and
passed it on to Leung Lan Kwai. Leung LAN Kwai in turn passed
the Gung Fu techniques to Wong Wah Bo who taught a man
named Leung Yee Tai. Leung Yee Tai had already learnt a pole
form from escaped Abbot Chi Shin, and thus the pole form was
incorporated into the system. Leung Yee Tai passed the system
to Leung Jan, a doctor of Fatshan, China. Leung Jan became an
absolute Master of Wing Chun and defeated many challengers
from other styles of Gung Fu. He taught everything he knew to
Chan Wah Shun.
194
1950'S AND YIP MAN TO THE PRESENT DAY
Chan Wah Shun taught the system to a man named Yip Man,
who attained the highest level of skill within Wing Chun and
taught many people, including Bruce Lee in the 1950's in Hong
Kong. Yip Man simplified the system, particularly removing the
long and complicated names and is mainly responsible for the
Wing Chun system as we know it today. He was a superb teacher
and taught according to the individual's own skill and knowledge,
adapting his approach where necessary. Wing Chun flourished in
Hong Kong and Yip Man also passed his knowledge to his two
sons, Yip Chun and Yip Ching. They continue the tradition and
have themselves many students and instructors under them. Sifu
Shaun Rawcliffe, Chief Instructor of the Midlands Wing Chun
Kuen, is a representative of Grandmaster Yip Chun. Today, both
Yip Chun and Yip Ching continue to teach and pass on their
wealth of knowledge through seminars, and their health and
vitality is an example to us all.
195
WHAT IS WING CHUN GUNG FU?
Wing Chun was made famous by Bruce Lee. Wing Chun was
Bruce Lee's first discipline and the art of Wing Chun is tightly
integrated into his style of Jeet Kune Do. The Wooden Dummy is
a major component of Wing Chun Training. Wing Chun
specializes in the techniques of the hand, whereas many northern
Chinese Gung Fu specializes in kicking. Wing Chun combines
many short punching techniques designed to reach the opponent
faster and more efficiently. Wing Chun was one of the original
Shaolin Temple styles and was designed for smaller people to
defeat bigger foes. So it is ideally suited for women.
Wing Chun [widely translated as 'beautiful springtime' or

'springtime song’] is a Southern Chinese Martial Art, one of the
branches of the generic term Gung Fu. Wing Chun is a direct,
scientific and clinical style of fighting, in which the attacker is
quickly overwhelmed by speed and power. Being a martial art, the
fighting aspect is only one part of the whole system, and
emphasis is also placed on relaxation and physical health, with
Wing Chun practitioners continuing to practice well into old age.
This relaxation and health is something which can benefit the
practitioner everyday in today's stressful society. The confidence
gained from ability is often enough to see the practitioner through
conflict, but techniques can be applied in a real self defense
situation safe in the knowledge that they work.
196
THE THREE HAND FORMS
Siu Lim Tao is Wing Chun's first form. Translated as 'Way of the
little Idea', the practitioner uses the form to study and perfect
certain Wing Chun techniques and principles. These include the
centerline - the center of the body which must be protected; elbow
position; leg strengthening; basic techniques; use of energy (in
the last few inches) and body limits. The form is learnt in the class
and practiced at home, lasting anything from five to forty-five
minutes, with about twenty minutes being the generally accepted
time limit.
Chum Kiu (‘seeking the bridge') is Wing Chun's second form and
introduces the practitioner to stepping, turning and moving the
body in the correct way to face different directions. It also contains
some of the Wing Chun kicks, all of which are low for maximum
effect and minimum risk.
Wing Chun's last hand form is called Biu Tze, literally translated
as 'Shooting Fingers'. Traditionally a secret form only taught to
close and loyal students, Biu Tze is the emergency form of Wing
Chun, allowing the practitioner to view possible mistakes or wrong
positions, and offers solutions to those problems. The third form
also allows the practitioner to train his or her elbow strikes, a
powerful close range weapon.
Following on from the three hand forms are the more advanced
forms of Wing Chun - the Wooden Dummy, the Pole form and the
Knife form. All these continue on from the hand forms and
progress the training, through correct positioning and use of the
weapons, more energy and strength is built up. The Wooden
Dummy provides a useful 24hr training tool to use for positioning,
footwork and training energy.
197
CHI SAO
THE STICKING HANDS OF WING CHUN
Chi Sao, or 'Sticking Hands', is the backbone of Wing Chun and

the training that bridges the forms and free-fighting. Rather than
sparring, Chi Sao gives two practitioners the opportunity to test
and explore each other's strengths and weaknesses, allowing a
unique and unplanned learning process to take place. Chi Sao
practice should be viewed as a game rather than a competition.
Chi Sao helps to hone footwork, reflexes, positioning, techniques,
energy and the automatic response to a situation for which Wing
Chun has become famous. Chi Sao has some similarities to Tai
Chi's pushing hands.
198
WING CHUN DUMMY EXERCISE SET # 1
1. IN FRONT OF DUMMY RIGHT HAND IN FRONT OF

LEFT HAND BOTH IN BIU SAO POSITION
2. RIGHT HAND PALM SAO LEFT HAND LOP SAO

RIGHT HAND GRABS DUMMY BEHIND NECK AND
PULLS AT THE SAME TIME WITH LEFT HAND
LOPS LEFT ARM
3. (GOING TO LEFT) RIGHT BONG SAO, RIGH TAN

SAO, LEFT MIDDLE JERN DA WHILE CHECKING
DUMMY LEG WITH RIGHT SHIN
4. GONG SAO MOVING TO RIGHT QUAN SAO TO

LEFT TAN SAO, RIGHT MIDDLE JERN DA
CHECKING DUMMY LEG WITH SHIN
5. RIGHT GONG SAO TO LEFT JAO SAO, RIGHT

HUEN SAO, GO DA LEFT PALM
6. DOUBLE TALK SAO
199
1. IN FRONT OF DUMMY LEFT HAND IN FRON OF RIGHT

HAND BOTH IN BIU SAO POSITION
2. LEFT HAND PALM SAO RIGH HAND LO SAO,

LEFT HAND GRABS DUMMY NECK AND PULLS AT
THE SAME TIME THE RIGH HAND LOPS RIGHT ARM
3. (GOING TO RIGHT) LEFT BONG SAO TO LEFT TAN SAO,

RIGHT MIDDLE JERN DA WHILE CHECKING DUMMY LEG
WITH LEFT SHIN
4. RIGHT GONG SAO MOVING TO LEFT QUAN SAO, RIGHT

TAN SAO, LEFT MIDDLE JERN DA CHECKING DUMMY LEG
WITH RIGHT SHIN
5. LEFT GONG SAO, TO RIGHT JAO SAO PALM GO DA, LEFT

LOP SAO
6. DOUBLE TALK SAO
200
1. RIGHT INSIDE WOANG PAK, LEFT INSIDE WOANG

PAK, RIGHT INSID WOANG PAK
2. LEFT SOT SAO TO LEFT LOP SAO, RIGHT HA CHUNG

CHUIE DA BETWEEN ARMS
3. LEFT INSIDE WOANG PAK, RIGHT SOT SAO
4. RIGHT LOP SAO, LEFT HA CHUNG CHUIE DA

BETWEEN ARMS
5. RIGHT GONG SAO, RIGHT HUEN SAO LEFT JAO SAO

RIGHT GO JERN DA
6. DOUBLE TALK SAO
201
1. RIGHT LOW BONG SAO
2. HIGH RIGHT DOUBLE WOANG PAK, RIGHT JUK TEK TO

DUMMY TRUNK
3. LEFT LOW BONG SAO, HIGH DOUBLE WOANG PAK,

LEFT JUK TEK TO DUMMY TRUNK
4. RIGHT GONG SAO, LEFT JAO SAO, ROLL BOTH HANDS

TO DOUBLE MIDDLE JERN DA, ROLL HANDS BACK UP
TO DOUBLE HIGH JERN DA
5. DOUBLE TALK SAO
202
1. THREE HUEN SAOS TO RIGHT BONG SAO, RIGHT TAN

SAO, LEFT MIDDLE JERN DA, RIGHT JIT TEK TO LEG
2. (LEFT SIDE) GONG SAO THREE HUENG SAOS TO LEFT

BONG SAO, LEFT TAN SAO, RIGHT MIDDLE JERN DA,
LEFT JIT TEK TO DUMMY LEG
3. RIGHT GONG SAO, LEFT JAO SAO SIMULTANIOS RIGHT

HUEN SAO GO DA
4. DOUBLE TALK SAO
203
1. THREE EYE RAKES BETWEEN DUMMY ARMS (ONE TO

RIGHT - ONE TO LEFT - ONE TO RIGHT, RIGHT CUP SAO,
LEFT MIDDLE JERN DA
2. RIGHT QUAN SAO, PO PAI (RIGHT HAND OVER LEFT)

LEFT BONG SAO, PO PAI (LEFT HAND OVER RIGHT)
RIGHTGONG SAO PO PAI (RIGHT HAND OVER LEFT)
RIGHT BONG SAO, PO PAI (LEFT HAND OVER RIGHT)
3. GONG SAO, LEFT HUEN SAO TO MIDDLE JERN DA, RIGHT

JAO SAO GO DA (SIMULTANIOUS)
4. DOUBLE TALK SAO
204
1. RIGHT - LEFT - RIGHT GONG SAO, RIGHT BONG SAO,

RIGHT BIU GEE, PAK SAO, LOP SAO
2. LEFT BONG SAO, LEFT BIU GEE, PAK SAO, LOP SAO,
RIGHT BONG SAO
3. RIGHT TAN SAO LEFT MIDDLE JERN DA WITH LEFT JIT

TEK TO DUMMY TRUNK
4. LEFT BONG SAO, LEFT TAN SAO, RIGHT MIDDLE JERN DA

RIGHT JIT TEK TO DUMMY TRUNK
5. RIGHT GONG SAO, LEFT JAO SAO, RIGHT GO DA

(SIMULTANIOUS)
6. DOUBLE TALK SAO
205
1. LEFT TALK SAO, RIGHT HAND BUI SAO POSITRIONED IN

CENTER LINE, RIGHT JIT TEK TO DUMMY TRUNK, LOW
RIGHT JUK TEK TO DUMMY LEG
2. RIGHT TALK SAO, LEFT HAND BUI SAO POSITIONED IN

CENTER LINE, LEFT JIT TEK TO DUMMY TRUNK, LOW
LEFT JUK TEK TO DUMM LEG
3. RIGHT HAND KAO SAO TO MIDDLE ARM, LEFT MIDDLE

JERN DA
4. LEFT HAND KAO SAO TO MIDDLE ARM, RIGHT MIDDLE

JERN DA
5. RIGHT GONG SAO LEFT JAO SAO, RIGHT, GO DA

(SIMULTANIOUS)
6. DOUBLE TALK SAO
206
1. LOW RIGHT BONG SAO, LOW LEFT BONG SAO, LOW

RIGHT BONG SAO
2. RIGHT TAN SAO TO GO JERN DA
3. LOW LEFT BONG SAOT LEFT TAN SAO TO GO JERN DA
4. RIGHT BONG SAO, TWO HAND LOP SAO ON LEFT

DUMMY ARM, RIGHT JIT TEK ON DUMMY LEG
5. LEFT BONG SAO, TWO HAND LOP SAO ON RIGHT

DUMMY ARM, LEFT JIT TEK TO DUMMY LEG
6. GOING LEFT, RIGHT BONG SAO, RIGHT SO TEK TO

DUMMY LEG
7. GOING RIGHT, LEFT BONG SAO LEFT SO TEK TO DUMMY

LEG
8. RIGHT GONG SAO, LEFT JAO SAO, RIGHT GO JERN DA
9. DOUBLE TALK SAO
207
1. RIGHT OUTSIDE WOANG PAK, LEFT OUTSIDE WOANG

PAK, RIGHT OUTSIDE WOANG PAK
2. (LEFT SIDE) LEFT HAND IN BIU SAO POSITION ON TOP

LEFT TOP ARM, RIGHT HAND IN FIST POSTIONN PALM
UP RIGHT TO REAR OF LEFT, RIGHT JITTEK TO
DUMMY LEG
3. KAO SAO MIDDLE ARM WITH LEFT

HAND TO RIGHT SIDE OF DUMMY
4. RIGHT SIDE, RIGHT HAND IN BIU SAO POSITION ON

RIGHT TOP ARM, LEFT HAND IN FIST POSITION PALM
UP TO REAR OF RIGHT, LEFT JIT TEK TO DUMMY LEG
5. RIGHT GONG SAO, RIGHT SO TEK TO DUMMY LEG
6. LEFT GONG SAO, LEFT SO TEK TO DUMMY LEG
7. DOUBLE TALK SAO, LEFT JIT TEK TO DUMMY TRUNK
208
MOOK JONG
WOODEN DUMMY
209
JEET KUNE DO DUMMY EXERCISE SET #1
1. PAK SAO DA , WOANG PAK WITH BUI GEE , WOANG

PAK WITH BIU GEE
2. PAK SAO DA
3. DOUBLE GOANG SAO HUEN SAO AND GO DA WITH

RIGHT, HUEN SAO AND GO DA WITH LEFT
4. HUEN SAO AND HA DA WITH RIGHT, HUEN SAO AND

HA DA WITH LEFT
5. PAK SAO WITH DA OUTSIDE OF REAR HAND, DOUBLE

JUT SAO, GUM SAO WITH GO DA

JUT SAO, GUM SAO WITH GO DA

JUT SAO, DOUBLE TALK SAO WITH RIGHT JUK TEK

JUT SAO, DOUBLE TALK SAO WITH LEFT JUK TEK
210
JEET KUNE DO DUMMY EXERCISE SET # 2
1. PAK SAO DA, BONG SAO, LOP SAO WITH SOT SAO
2. SWITCH (TO OTHER SIDE)
3. PAK SAO DA, BONG SAO, LOP SAO WITH SOT SAO
4. SWITCH
5. PAK SAO DA, BONG SAO, LOP SAO WITH QUA CHUIE
GUM SAO WITH CHUNG CHUIE, LOP SAO WITH SOT SAO,
GUM SAO WITH CHUNG CHUIE
6. SWITCH
7. PAK SAO DA, BONG SAO, LOP SAO WITH QUA CHUIE,
GUM SAO WITH CHUNGCHUIE, LOP SAO WITH SOT SAO,
GUM SAO WITH CHUNG CHUIE
8. SWITCH
9. DOUBLE GOANG SAO ON YOUR LEFT SIDE OF DUMMY
10. LEFT HUENG SAO AND LEFT JERN DA LOW
11. RIGHT HUEN SAO AND RIGHT JERN DA LOW
12. LEFT HUEN SAO AND LEFT JERN DA HIGH
13. RIGHT HUEN SAO AND RIGHT JERN DA HIGH
211
(con’t)
14. PAK SAO WITH LEFT DA ON OUTSIDE OF REAR ARM
15. DOUBLE JUT SAO, GUM SAO WITH DA BETWEEN ARMS
16. SWITCH
17. PAK SAO WITH RIGHT DA ON OUTSIDE OF REAR ARM
18. DOUBLE JUT SAO, WITH DA BETWEEN ARMS
19. SWITCH
20. PAK SAO WITH LEFT DA, LEFT JAO SAO, DOUBLE JUT
SAO, DOUBLE TALK SAO WITH LEFT JUK TEK
21. SWITCH
22. PAK SAO WITH RIGHT DA, RIGHT JAO SAO, DOUBLE JUT
SAO, DOUBLE TALK SAO WITH RIGHT JUK TEK
212
1. LEFT SIDE OF DUMMY
2. PAK SAO DA
3. LOY PAK SAO DA
4. RIGHT SIDE OF DUMMY
5. PAK SAO DA
6. LOY PAK SAO DA
8. PAK SAO DA
9. LEFT CHUNG CHUIE
10. LOY PAK SAO DA
11. RGHT SIDE OF DUMMY
12. PAK SAO DA
13. RIGHT CHUNG CHUIE
14. LOY PAK SAO DA
213
(con’t)
16. DOUBLE GOANG SAO
17. LEFT HUEN SAO TO HA DA
18. RIGHT HUEN SAO TO HA DA
19. LEFT HUEN SAO GO DA
20. RIGHT HUEN SAO GO DA
22. PAK SAO WITH HA DA
23. JAO SAO - JUT SAO - GUM SAO DA ( DA OUTSIDE

OF NEAR ARM
25. PAK SAO WITH HA DA
26. JAO SAO - JUT SAO - GUM SAO DA (DA OUTSIDE

OF NEAR ARM)
28. PAK SAO WITH HA DA TO JAO SAO TO DOUBLE

JUT SAO, JONG TRO, SUT, DUM TEK
30. PAK SAO WITH HA DA TO JAO SAO TO DOUBLE JUT

SAO, JONG TRO, SUT, DUM TEK
214
1. CHOAP CHUIE, QUA CHUIE, JUK TEK
2. KAO SAO, JU TEK
3. CHOAP CHUIE, QUA CHUIE, JUK TEK
4. KAO SAO, JUK TEK
5. CHOAP CHUIE, QUA CHUIE, O’OU TEK
6. KAO SAO, O’OU TEK
7. CHOAP CHUIE, QUA CHUIE, O’OU TEK
8. KAO SAO, O’OU TEK
9. CHOAP CHUIE, QUA CHUIE
10. COUNTER REAR HAND OBSTRUCTION
11. WITH LOP SAO, SOT SAO, GUM SAO DA
12. LOP SAO DA, GUM SAO DA
14. COUNTER REAR HAND OBSTRUCTION
15. WITH LOP SAO, SOT SAO, GUM SAO DA, LOP SAO
DA, GUM SAO DA
215
JEET KUN DO DUMMY EXERCISE SET # 4
(con’t)
17. COUNTER FRONT HAND OBSTRUCTION
18. WITH PAK SAO DA LOP SAO,QUA CHUIE
19. GUM SAO DA, LOP SAO DA, GUM SAO DA
21. COUNTER FRONT HAND OBSTRUCTION
22. WITH PAK SAO DA, LOP SAO, QUA CHUIE
23. GUM SAO DA, LOP SAO DA,GUM SAO DA
24. DOUBLE GOANG SAO (LEFT SIDE OF DUMMY)
25. LEFT HUEN SAO AND HIT LOW
26. RIGHT HUEN SAO AND HIT LOW
27. LEFT HUEN SAO AND HIT HIGH
28. RIGHT HUEN SAO AND HIT HIGH
30. PAK SAO WITH DA ½ MIDDLE HIT
31. JAO SAO DOUBLE JUT SAO
216
(con’t)
32. SWING TO LEFF DA, LEFT GUM SAO, LEFT GUM SAO
WITH RIGHT DA
34. PAK SAO DA WITH ½ MIDDLE HIT
35. JAO SAO, DOUBLE JUT SAO
36. SWING TO RIGHT DA, RIGHT GUM SAO WITH LEFT DA
39. JAO SAO, HUEN SAO
40. DOUBLE TALK SAO
41. WITH LEFT JUK TEK
44. JAO SAO, HUEN SAO
45. DOUBLE TALK SAO
46. WITH RIGHTJUK TEK
217
(con’t)
47. ***PING CHUIE MAY BE SUBSTITUTED FOR CHOAP

CHUIE IN THIS SET
48. ***SOT SAO MAY BE SUBSTITUTED FOR QUA CHUIE

IN THIS SET
49. ***BIU GEE MAY BE SUSTITUTED FOR QUA CHUIE IN

THIS SET
218
1. BIU GEE, PAK SAO DA, LOP SAO DA, PAK SAO DA
2. O’OU SAO, LEFT JUK TEK ON LEG
3. BIU GEE, PAK SAO DA, LOP SAO DA, PAK SAO DA
4. O’OU SAO, RIGHT JUK TEK ON LEG
5. BIU GEE, LOP SAO DA RIGHT BIU GEE OUTSIDE OF

DUMMY ARM
6. LEFT BIU GEE INSIDE OF DUMMY ARM
7. LEFT LOP SAO DA INSIDE OF DUMMY ARM
8. RIGHT LOP SAO DA INSIDE OF DUMMY ARM
9. RIGHT BIU GEE INSIDE OF DUMMY ARM
10. LEFT BIU GEE OUTSIDE OF DUMMY ARM
11. LEFT LOP SAO DA OUTSIDE OF DUMMY ARM
13. RIGHT BIU GEE NSIDE OF DUMMY OF DUMMYARM
14. RIGHT LOP SAO INSIDE OF DUMMY ARM
15. LEFT LOP SAO DA INSIDE OF DUMMY ARM
219
(con’t)
17. RIGHT BIU GEE OUTSIDE OF DUMMUY ARM
18. RIGHT LOP SAO DA OUTSIDE OF DUMMY ARM
19. RIGHT BIU GEE OUTSIDE OF DUMMY ARM
23. LEFT LOP SAO DA OUTSIDE OF DUMMY ARM
27. RIGHT BIU GEE OUTRSIDE OF DUMMY ARM
28. RIGHT LOP DA OUTSIDE OF DUMMY ARM
29. DOUBLE GOANG SAO (LEFT SIDE OF DUMMY)
220
(con’t)
30. LEFT HUEN SAO WITH LOW HIT
31. RIGHT HUEN SAO WITH LOW HIT
32. LEFT HUEN SAO WITH HIGH HIT
33. RIGHT HUEN SAO WITH HIGH HIT
34. YOUR LEFT SIDE OF DUMMY
35. PAK SAO DA (WITH MIDDLE DA)
36. RIGH JAO SAO
37. DOUBLE JUT SAO
38. SWING TO RIGHT GUM SAO WITH LEFT DA BETWEEN

ARMS
40. PAK SAO DA (WITH MIDDLE DA)
41. LEFT JAO DA
42. DOUBLE JU SAO
43. LEFT GUM SAO WITH RIGHT DA
221
JEET KUNE DO DUMM Y EXERCISE SET # 5
(con’t)
44. SWINGTO LEFT GUM SAO WITH RIGHT DA BETWEEN

ARMS
46. PAK SAO DA WITH MIDDLE DA
47. RIGHT JAO SAO
48. DOUBLE JUT SAO
49. DOUBLE TALK SAO
50. RIGHT JUK TEK
51. YOUR RIGHT SIDE OF DUMMY
52. PAK SAO DA WITH MIDDLE DA
53. LEFT JAO SAO
54. DOUBLE JUT SAO
55. DOUBLE TALK SAO
56. LEFT JUK TEK
222
JEET KUNE DO DUMMY EXERCISE SE # 6
2. PAK SAO WITH HA TEK (WITH CHUNG CHUIE, LOP

SAO, PAK SAO DA)
3. PAK SAO DA, (OUTSIDE HIT) JAO SAO, DOUBLE JUT

SAO, GUM SAO DA
4. PAK SAO DA, (MIDDLE HIT) JAO SAO, DOUBLE JUT

SAO, GUM SAO DA
5. PAK SAO DA (LOW HIT) JAO SAO, DOUBLE JUT SAO,

GUM SAO DA
6. PAK SAO WITH PING CHUIE, QUA CHUIE, JAO SAO,

DOUBLE JUT SAO, GUM SAO DA
7. YOUR RIGHT SIDE OF DUMMY
8. SAME AS # 1 RT. SIDE
9. SAME AS # 2 RT.SIDE
13. SWINGING JUT SAO TO LEFT WITH RIGHT KAO,

SAO AND RIGHT JUK TEK TO O’OU TEK
223
(con’t)
14. DOUBLE GOANG TO YOUR RIGHT
15. LEFT HUEN SAO TO LEFT HA DA
16. RIGHT HUEN SAO TO HA DA
17. LEFT HUEN SAO TO LEFTGO DA
18. RIGHT HUEN SAO TO RIGHT GO DA
19. (AT RIGHT SIDE OF DUMMY) LEFT HA DA TO JAO SAO

TO SWING JUT SAO TO LEFT WITH LEFT DA TO LEFT
GUM SAO DA AND RIGHT DA
20. (LEFT SIDE OF DUMMY) RIGHT HA DA TO JAO SAO TO

SWING JUT SAO TO RIGHT WITH RIGHT DA TO RIGHT
GUM SAO A ND LEFT DA
21. (RIGH SIDE OF DUMMY) LEFT HA DA TO JAO SAO,

DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT O’OU
TEK TO LEFT JUK TEK
SIDE STEP TO LEFT
22. (LEFT SIDE OF DUMMY) RIGHT HA DA TO JAO SAO ,

DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT O’OU
TEK TO RIGHT JUK TEK
224
RT. SIDE 1. PA SAO, TAN SAO DA
LT. SIDE 2. PA SAO, TAN SAO DA
RT. SIDE 3. PAK SAO DA, WOANG PAK DA

TAN SAO DA (DUMMY RT. SIDE)
LT. SIDE 4. PAK SAO DA, WOANG PAK DA

PAK SAO DA (DUMMY LT. SIDE)
RT. SIDE 5. RT. BIU TO BIU SAO DA
LT. SIDE 6. LT. BIU TO BIU SAO DA
RT. SIDE 7. RT. BIU TO WOANG PAK DA - BIU SAO DA
LT. SIDE 8. LT. BIU TO WOANG PAK DA - BIU SAO DA
RT. SIDE 9. RT. BIU TO LEFT LOW GOANG SAO DA
LT. SIDE 10. LT. BIU TO RIGHT LOW GOANG SAO DA
RT. SIDE 11. DOUBLE GOANG SAO TO LEFT
RT. SIDE 12. RT. HUEN SAO TO RT. GO DA
LT. SIDE 13. LEFT HUEN SAO TO LT. GO DA
RT. SIDE 14. RT. HUEN SAOTO RT. HA DA
LT. SIDE 15. LT.HUEN SAO TO LT. HA DA

225
(con’t)
RT. SIDE 16. RT. PAK SAO WITH LT. HA DA, LT. JAO
SAO, DOUBLE JUT SAO, RT, HA DA GUM
SAO WITH LT. DA
LT. SIDE 17. LT. PAK SAO WITH RT. HA DA, RT. JAO
SAO, DOUBLE JUT SAO, LT. HA DA LT.
GUM SAO WITH RT. DA
RT. SIDE 18. RT. HA DA, JAO SAO, DOUBLE JUT

SAO SWING, JUK TEK TO JUT TEK
LT. SIDE 19. LT. HA DA, JAO SAO, DOUBLE JUT SAO
SWING, JUK TEK TO JUK TEK
226
BETWEEN BOTH ARMS
1. LEFT TAN SAO
2. RIGHT TAN SAO
3. LEFT TAN SAO
YOU’RE LEFT SIDE OF DUMMY
1. RIGHT JAO SAO TO RIGHT JUK TEK
2. LEFT PAK SAO DA
3. RIGHT LOP SAO DA
4. LEFT PAK SAO DA
BETWEEN BOTH ARMS
1. RIGHT TAN SAO DA
2. LEFT TAN SAO DA
3. RIGHT TAN SAO DA
227
(con’t)
RIGHT SIDE OF DUMMY
1. LEFT KAO SAO TO LEFT JUK TK
2. RIGHT PAK SA DA
3. LEFT LOP SAO DA
4. RIGHT PAK SAO DA
CLOSING SECTION (RIGHTSIDE OF DUMMY)
1. DOUBLE GOANG SAO TO LEFT
2. RIGHT HUEN SAO & RIGHT GO DA
3. LEFT HUEN SAO & LEFT GO DA
4. RIGHT HUEN SA AND RIGHT HA DA
5. LEFT HUEN SAO AND LEFT HA DA
228
(con’t)
6. RIGHT HIT BETWEEN ARMS & RIGHT JAO SAO,

DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT JUK
TEK
7. LEFT HIT BETWEEN ARMS AND LEFTJAO SAO, DOUBLE

DOUBLE JUT SAO, DOUBLE TALK SAO, TO LEFT JUK
TEK
8. RIGHT HIT BETWEEN ARMS AND RIGHT JAO SAO,

DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT O’OU
TEK
9. LEFT HIT BETWEEN ARM AND LEFT JAO SAO, DOUBLE

JUT SAO, DOUBLE TALK SAO TO LEFT O’OU TEK
229
BETWEEN BOTH ARMS
1. RIGHT WOANG PAK WITH LEFT BIU GEE
2. LEFT WOANG PAK WITH RIGHT BIU GEE
LEFT SIDE OF DUMMY ARM
1. RIGHT KAO SAO ON LOW ARM WITH RIGHT JUK TEK
2. LEFT PAK SAO DA
3. RIGHT LOP SAO DA
4. LEFT PAK SAO DA
BETWEEN BOTH ARMS
1. LEFT WOANG PAK WITH RIGHT BIU GEE
3. LEFT WOANG WITH RIGHT BIU GEE
230
(con’t)
RIGHT SIDE OF DUMMY ARM
1. LEFT KAO SAO ON LOW ARM WITH LEFT JUK TEK
2. RIGHT PAK SAO DA
3. LEFT LOP SAO DA
4. RIGHT PAK SAO DA
CLOSING SECTION RIGHT SIDE
1. DOUBLE GOANG SAO TO LEFT
2. RIGHT HUEN SAO, RIGHT GO DA
3. LEFT HUEN SAO, LEFT GO DA
4. RIGHT HUEN SAO, RIGHT HA DA
5. LEFT HUEN SAO, LEFT HA DA
6. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT SAO,

DOUBLE TALK SAO TO RIGHT JUK TEK
7. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO,

DOUBLE TALK SAO TO LEFT JUK TEK
231
(con’t)
8. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT

SAO TO DOUBLE TALK SAO TO RIGHT O’OU TEK
9. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO

TO DOUBLE TALK SAO TO LEFT O’OU TEK
232
THIS SECTION IS SIMILAR TO JUN FAN WING CHUN

SECTION # 8
1. LEFT WOANG PAK WITH RIGHT MIDDLE JIK DUM TEK
2. RIGHT KAO SAO ON LOWER ARM
3. RIGHT JUK TEK
4. RIGHT WOANG PAK WITH LEFT MIDDLE JIK DUM TEK
5. LEFT KAO SAO ON LOWER ARM
6. LEFT JUK TEK
7. LEFT WOANG PAK WITH RIGHT MIDDLE JIK DUM TEK
8. RIGHT KAO SAO ON LOWER ARM
9. RIGHT O’OU TEK
233
JEET KUNE DO DUMMY EXERCIS SET # 10
(con’t)
10. RIGHT WOANG PAK WITH LEFT MIDDLE JIK DUM TEK
11. LEFT KAO SAO ON LOWER ARM
12. LEFT O’OU TEK
13. RIGHT HA DA
14. LEFT WOANG PAK WITH MIDDLE WOANG JERN
15. LEFT HA DA
16. RIGHT WOANG PAK WITH MIDDLE WOANG JERN
17. RIGHT HA DA
18. LEFT WOANG PAK WITH MIDDLE CHUNG CHUIE
19. LEFT HA DA
20. RIGHT WOANG PAK WITH MIDDLE CHUNG CHUIE

234
JEET KUNE DO DUMMY EXERCIS SET # 10
(con’t)
21. RIGHT HA DA
22. LEFT WOANG PAK WITH LEFT FAK SAO
23. LEFT HA DA
24. RIGHT WOANG PAK WITH LEFT FAK SAO

DOUBLE TALK SAO TO RIGHT JUK TEK

DOUBLE TALK SAO TO LEFT JUK TEK

DOUBLE TALK SAO TO RIGHT O’OU TEK

DOUBLE TALK SAO TO LEFT O’OU TEK
235
BRUCE LEE’S RANKING SYSTEMS
There was no ranking in classical Gung Fu, but a color ranking system based on the yin
and yang had been devised Jun Fan (Bruce Lee) There are eight ranks in the Jun Fan
System and in Jeet Kune Do. Note: the two curved arrows surrounding the yin and yang
symbol are omitted for simplicity in illustration.
Bruce Lee used this ranking system from 1965 to about 1968. This was both for Jun
Fan Gung Fu, the Tao of Chinese Gung Fu and Jeet Kune Do. Tacky Kimura was at the
highest level with fourth rank. Both James Lee and Dan Inosanto was third rank. This
ranking system began about Match 1968, and was disbanded somewhere in 1969. Dan
Inosanto reinstated this ranking in his backyard school in 1970 and dropped it out in
1974. The Jun Fan Gung Fu Clan in pursuit of Jeet Kune Do Concepts Ranking system
was reinstated in 1988 by Tacky Kimura and Dan Inosanto.
th Unranked – Beginning student

8 Rank – Sijo (Founder of the system)
and Sigung (Grandfather of the system)
1st Rank Intermediate student

Unranked - Beginner
nd
2 rank Advanced student, eligible for Apprentice instructor level
st
Junior 1 rank – After six months to one of training
3rd rank – Associate instructor level

st
1 rank - Intermediate student
th
4 – rank Full instructor level
Junior 2n rank – advanced and intermediate student
th
5 rank – Senior instructor level
nd
2 rank – Advanced and senior student
th
6 rank – Dan Inosanto
rd
3 rank - Instructor level
7th rank – Tacky Kimura

th
4 – rank Instructor level
8th rank – Bruce Lee

Sijo (Founder of the system)
5th rank – Sijo (Founder of the system) Sigung (Grandfather of the system)
Sigung (Grandfather of the system)
236
237
SINGLE STICK (SOLO BASTON)
SINGLE STICK STROKING

ANGLES 1 -12 VILLABRILLE
ANGLES 1–12 LAMECO
MEASURE THE DISTANCE ANGLES 1 -5
BLOCKING
INSIDE SWEEP
OUTSIDE DEFLECT
WING BLOCK HIGH AND LOW
SHIELD
ROOF
UMBRELLA
FOLLOW UMBRELLA
CROSS BLOCK OR WIPE
PASS
DROP STICK
FRILAY
SCOOP
RUDIMENTARY BLOCKING
POINT UP
POINT DOWN
POINT OUT
STRICKING DRILLS
LOBTIK
WATIK
FOREWARD THRUST
BACK AND THRUST
PUNYO (FOREHAND AND BACK STRIKE)
REDONDO
ABENIKO
BACALA
BROKEN STRIKING
FLIUDING STRIKING
REPETATIVE STRIKING
ABCEDARIOUS
EXAMPLE INSIDE SWEEP CHECK AND RETURN
238
SINGLE STICK (con’t) (SOLO BASTON)
DISARMS
SNAKE
VINE
STRIP
SECTORS AGAINST FOREHAND STRIKE AND BACKHAND
STRIKE
SUMBRADA
BOX PATTERN
PUNYO SUMBRADA
PUNYO SUMBRADA WITH TAKE OUT (INSIDE AND OUT)
PUNYO ATAPI CHAMBER POSITION
HUBUB LUBUD INSIDE
HUBUD LUBUD OUTSIDE
STRIKE CONTROL DRILLS (CARENZA)
FOREWARD TWIRL AND PAT

BACKWARD TWIRL AND PAT
UNDERARM SWITCH
REVERSE UNDERARM SWITCH
CHAMBER PIYUNG ROOF OR UMBRELLA
CHAMBER SWITCH PIYUNG ROOF OR UMBRELLA
BEHIND BACK SWITCH
FOREWARD TWIRL SWITCCH
THRUST STRAIGHT KICK OVER SWITCH
ALPHABET
FOUR CORNERS
INCLUDE THEORY OF HIP MOVEMENT WHEN STRIKING MAKE

RELATIONSHIP TO BOXING
239
SINGLE DAGGER (SOLO DAGA)
PASS SLASH AND THRUST DRILLS (PST)

STRIKING ONE THROUGH EIGHT
GRIPS:
A. PICAL (HAMMER GRIP)

B. SAK SAK (THRUST)
DISARM:
A. EJECTION
B. STRIPE
GET OTHER DRILLS FROM LUCAY LUCAY, INOSANTO, SULITE
TWO PERSON DRILL:
PERSON #1 SAK SAK POSITION

PERSON #2 PICAL POSITIONS
PERSON #1 ANGLE SIX ATTACK (FOREHAND THRUST)

PERSON #2 BLOCKS WITH BLADE CHECK AND PASS
THE KNIFE
PERSON #1 ANGLES SEVEN (BACKHAND THRUST)

PERSON #2 BLOCKS WITH BLADE AND LOCK WRIST WITH V
LOCK TWIST OUTWARD BRINGING BOTH KNIVES INTO
POSITION SO THEY’RE FACING PERSON #1 NWARD DISARM
PEERSON #1 THRUST INWARD DISARM PERSON #1 STEPS
BEHIND INTO THROAT SLASH AND ARM BRAKE
240
JOINT LOCKS - WRIST LOCKS
1. FIGURE FOUR
2. REVERSE WRIST LOCK
3. CHICKEN WING HORIZONTAL
4. CHICKEN WING VERICAL
5. BENT ELBOW WRIST LOCK
6. VERICAL WRIST LOCK
7. GOOSE NECK
8. STRAIGHT ARM GOOSE NECK
241
ARM LOCKS - ELBOW LOCKS
1. STRAIGHT ARM BAR
2. BENT ARM BAR
3. REVERSE BENT ARM (HAND)
4. REVERSE BENT ARM (BICEP)
5. HIP LOCK
6. BRANCH UP (GROUND) SEVEN VARIABLES
7. BRANCH DOWN (GROUND) SEVEN VARIABLES
8. FIGURE FOUR (GROUND)
9. BRANCH DOWN WRIST LOCK
242
FINGER LOCKS - LEG LOCKS
1. FINGER LOCKS
2. SKIN GRABBING
3. TRIGGER LOCK
4. ONE FINGER LOCK
5. TWO FINGER LOCK
6. REVERSE FINGER LOCK
7. COMPRESSION FINGERS LOCK
LEG LOCKS
1. FIGURE FOUR
2. ANKLE LOCK
243
MODIFIED WING CHUN
BASIC ARM POSITION

ON GUARD
TAN SAO PALM UP DEFLECTION

BONG SAO WING HAND DEFLECTION ELBOW UP
FOOK SAO FOREARM DOWN DEFLECTION
QUAN SAO PALM UP LOW WING DEFLECTION INSIDE
GOANG SAO HARD INWARD & DOWNWARD BLOCK OUTSIDE
CHUN SAO ADVANCING HAND

JAO SAO RUNNING HAND DISENGAGE
GUM SAO PINNING HAND
PAK SAO SLAPPING HAND
LOP SAO PULLING HAND
HUEN SAO CIRCLING HAND
PO PAI DOUBLE PALM STRIKE
BIL GEE FINGER JAB
CHOAP CHUIE HALF FIST
GUA CHUIE BACKFIST
CHUNG CHUIE VERTICAL FIST
SAT SAO KNIFE HAND PALM DOWN
SENSITIVITY TRAINING (STICKY HANDS)

DRILLS:
PARRY
HARMONIOUS SPRING
REPOSTE
WOANG PAK (CROSS PARRY)
BONG SAO DRILL (WING HAND DEFLECTION ELBOW UP) UNMATCHED
STANCES
A. SWITCH WITH LOP SAO
B. SWITCH WITH TAN SAO
C. DON CHI ONE HAND CHI SAO (STICKY HAND)
D. CHI SAO DOUBLE HANDS (STICKY HANDS)
CENTER LINE THEORY

CENTER LINE
SIX QUARDENTS:
1. OUTSIDE HIGH FORWARD

2. INSIDE HIGH FORWARD
3. OUTSIDE MID FORWARD
4. INSIDE MID FORWARD
5. OUTSIDE LOW FORWARD
6. INSIDE LOW FORWARD
244
MODIFIED WIN CHUN (con’t)
OUTSIDE HIGH REAP

INSIDE HIGH REAR
OUTSIDE MID REAR
INSIDE MID REAR
OUTSIDE LOW REAR
INSIDE LOW REAR
TRAPPING:
HIGH REFERENCE - MATCHED LEADS

PAK SAO GUA CHUIE
PAK SAO LO P SAO GUA GHUIE
LOP SAO GUA CHUIE – LOP SAO CHUNG CHUIE
LOP SAO CHUNG CHUIE - HUENG SAO GUM SAO CHUNG CHUIE
PAK LOP SAO GUA CHUIE – HUENG SAO JUT SAO NOY PAK SAO
WING CHUNG DUMMY: (MOOK JONG)
YIP MAN BOOK

MOI YAT BOOK
MODIFIED
JKD VERSION #1
JKD VERSION #2
FREELANCE
EQUIPMENT:
WING CHUN DUMMY (MOOK JONG)

ONE –TWO LB. HAND WEIGHTS
DRILLS:
MECHINAL
SENSITIVITY TRAINING
BLIND FOLD
REACTION
SPEED
JIK CHUNG CHUIE (STRAIGHT BLAST)
245
KALI HANDS
GUNTING: (SCISSORS)
HORIZONTIAL
VERTICLE
SPLIT
INSIDE PARRY BICEPT DESTRUCTION
INSIDE PARRY EYE RAKE
INSIDE PARRY WITH SLBOW HIT
ATOPI
INWARD BACKHAND BACKHAND
CONTROLLING A PUNCH
GET HIT
CATCH
HOOK
REDIRECT
DESTROY
SLIP
CONTROLLING KICK ON MID TO HIGH LINE

GET HIT
CATCH
HOOK
REDIRECT
DESTROY
EVADE
DESTRUCTIONS: (JOINTS & NERVES)

HAND
LEG
FOOT
DRILLS:
PUSH HANDS
HUBUD LUBUD
1. INSIDE HUBUD LUBUD (CONTROLLING)
2. INSIDE HUBUD LUBUD (WITH ELBOW TRAP)
3. INSIDE HUBUD LUBUD (WITH ELBOW ROLL)
4. OUTSIDE GRAB HUBUD LUBUD
5. OUTSIDE GRAB WITH ELBOW ROLL HUBUD LUBUD
246
BOXING
FOOTWORK
SHUFFLE FORWARD AND BACKWARD (STEP AND SLIDE)
SHUFFLE FORWARD AND BACKWARD (SLIDE STEP)
COVER LEFT, COVER RIGHT
EVASION AND SHUFFLE
OFFENSIVE SKILLS
JAB
CROSS
HOOK
UPPERCUT
OVERHAND
ELBOW
KALI SLAP
ELBOWS
DEFENSIVE SKILLS
CATCH
HOOK
REDIRECT
DESTUCTION AND DEFLECTION (ELBOWS)
BOB
WEAVE
SLIP
COVER
EVADW
DRILLS
REFLEX
SPEED
TIMING
SHADOW BOXING
CIRCUIT TRAINING
STATIC TRAINING
FREELANCE DRILLS
COORDINATION DRILLS
COMBINATION DRILLS
1 – 2 SERIES
CATCH AND SLIP SERIES
247
FOOTWORK
FRONT HORSE
BOX PATTERN
X PATTERN
TRIANGLE
RIGHT STANCE
LEFT STANCE
CAT STANCE (RIGHT)
CAT STANCE (LEFT)
RIGHT SIDE STANCE (ANGLE 1 POSITION)
LEFT SIDE STANCE (ANGLE 2 POSITION)
CROSS STANCE (FORWARD)
CROSS STANCE (BACKWARD)
CROSS SPIN (FORWARD)
CROSS SPIN (BACKWARD)
HALF SPIN
RIGHT LEAD
LEFT LEAD
SHUFFLE (FORWARD, BACKWARD, LATERAL)
1. STEP AND SLIDE (FORWARD - BACKWARD)
2. SLIDE AND STEP (FORWARD - BACKWARD)
3. COVER LEFT - COVER RIGHT
4. STEP AND SLIDE, SLIDE AND STEP, COVER LEFT, COVER
5. RIGHT, FORWARD AND BACKWARD, USING ANGULATION
SEMPOK: (BEHIND FOOTWORK)

DEMPOK: (FRONT FOOTWORK)
FOOT SECTORS 1 THROUGH 6
250
SINAWALLI SIX COUNT DRILLS
(DOBLE BASTON)
1. ABCEDARIO
2. KOBB KOBB
3. BACKHAND KOBB KOBB
4. HEAVEN
5. STANDARD
6. EARTH
7. ROOF HEAVEN
8. ROOF STANDARD
9. ROOF EARTH
10. UMBRELLA HEAVEN
11. UMBRELLA STANDARD
12. UMBRELLA EARTH
13. ABENIKO HEAVEN
14. ABENIKO STANDARD
15. ABENIKO EARTH
16. ALTO DE BAJO HEAVEN
17. ALTO DE BAJO STANDARD
18. DOUBLE ODD SIX HEAVEN
19. DOUBLE ODD SIX STANDARD
20. DOUBLE ODD SIX EARTH
21. ODD SIX HEAVEN
22. ODD SIX STANDARD
23. ODD SIX EARTH
24. BACALA HEAVEN
25. BACALA STANDARD
26. BACALA EARTH
27. SPLIT BACALA HEAVEN
28. SPLIT BACALA STANDARD
29. SPLIT BACALA EARTH
30. SUNGKITE HEAVEN
31. SUNGKITE STANDARD
32. SUNGKITE EARTH
33. UPWARD FIGURE EIGHT HEAVEN
34. UPWARD FIGURE EIGHT STANDARD
35. UPWARD FIGURE EIGHT EARTH
251
SINAWALLI SIX COUNT DRILLS
(DOBLE BASTON) (con’t)
36. DOWNWARD FIGURE EIGHT HEAVEN

37. DOWNWARD FIGURE EIGHT STANDARD
38. DOWNWARD FIGURE EIGHT EARTH
39. HORIZONTAL FIGURE EIGHT HEAVEN
40. HORIZONTAL FIGURE EIGHT STANDARD
41. DOWNWARD FIGURE EIGHT EARTH
42. RICE POUNDING GRIP BOTH ENDS DOWN
43. RICE POUNDING GRIP RIGHT END UP, LEFT END DOWN
44. RICE POUNDING GRIP LEFT END UP, RIGHT END DOWN
45. DRILLS:
A. SINAWALLI TIADA (CIRCULING, CLOCKWISE, COUNTER
CLOCKWISE)
B. SINAWALLI STANDING
C. SINAWALLI KNEELING
D. SINAWALLI GROUNG
E. ALTERNATING BETWEEN A, B, & C
45. SINAWALLI BOX PATTERN

46. SINAWALLI OUT OF BOX PATTERN (FREE LANCE)
47. SINAWALLI WITH OBSTRUCTION
A. CHAIR
B. BENCH
C. LOW WALL
D. LOW CEILING
E. BUSHES
F. ETC.
252
SINAWALLI (DOBLE BASTON)
EIGHT AND TWELVE COUNT DRILLS
VILLABRILLE
1. VILLABRILLE EIGHT COUNT – RIGHT

2. VILLABRILLE EIGHT COUNT – LEFT
3. VILLA BRILLE EIGHT COUNT RIGHT AND LEFT
4. VILLABRILLE TWELVE COUNT RIGHT TO LEFT
5. VILLABRILLE TWELVE COUNT LEFT TO RIGHT
LACOSTE EIGHT COUNT
A. LACOSTE HEAVEN
B. LACOSTE STANDARD
C. LACOSTE EARTH
D. LACOSTE HEAVEN, STANDARD, EARTH
253
CABELAS SERRADA SYSTEM
1. ONE TO TWELVE NUMBERING SYSTEM

2. ONETO TWELVE LOCK AND BLOCK IN SEQUENCE
3. FOOT REPLACEMENT DRILLS
4. ONE TO TWELVE LOCK AND BLOCK WITH FOOT
REPLACEMENT IN SEQUENCE
5. ONE TO TWELVE LOCK AND BLOCK WITH BASTON AND EMPTY
HAND IN SEQUENCE WITH FOOT WORK
6. ONE TO LOCK AND BLOCK WITH BASTON AND DAGA IN
SEQUENCE WITH FOOT WORK
7. ONE TO TWELVE LOCK AND BLOCK OUT OF SEQUENCE WITH
FOOT WORK
8. ONE TO TWELVE LOCK AND BLOCK IN SEQUENCE WITH FOOT
WORK AND DISARMS
9. ONE TO TWELVE LOCK AND BLOCK OUT OF SEQUENCE WITH
FOOT WORK AND DISARMS
10. FREE LANCE ALL NUMBERS WITH DIARMS
11. FREE LANCE ALL NUMERS WITH DISARMS AND THROWS
12. IN SEQUENCE ONE TO TWELVE WRENCHING DRILLS WITH
FOOT WORK
13. OUT OF SEQUENCE WRENCHING DRILLS WITH FOOT WORK
14. FREE LANCE ALL NUMBERS WRENCHING DRILLS
254
TUMBLING AND FALLING
1. FORWARD ROLL
2. BACKWARD ROLL
3. RIGHT SHOULDER ROLL FORWARD
4. RIGHT SHOULDER ROLL BACKWARD
5. LEFT SHOULDER ROLL FORWARD
6. LEFT SHOULDER ROLL BACKWARD
7. DIVE AND FORWARD ROLL
PREPARE FOR FALLING
8. ROLL BACK RIGHT

9. ROLL BACK LEFT
10. ROLL BACK
11. FALLING BACK RIGHT FROM STANDING POSITION
12. FALLING BACK LEFT FROM STANDING POSITION
13. FALLING BACK FROM STANDING POSITION
14. ROLL BACK FROM KNEELING POSITION
15. ROLL BACK RIGHT FROM KNEELING POSITION
16. ROLL BACK LEFT FROM KNEELING POSITION
17. ROLL BACK FROM KNEELING POSITION
255
The Symbolism
Behind the
Filipino
Martial
Arts ©
Logo
1. The Universal triangle

2. The circle represent the Creator; from continuous motion
3. The Kali triangle: love, compassion, humility
4. The stick, the core of the Filipino martial art. The first weapon
taught, from which to learn all other weapons
5. The blade (points upward toward “Life”), is taught after the stick
6. The fist represents the empty hand art of the Philippines
7. The half moon symbolizes the “half” of the Philippines
(Southern Philippines) which were never under Spanish rule, and
also the “moonlight” which was the only time Kali practitioners
could safely practice their art during Spanish rule
8. The four parts of the circle represents the four saints called
upon by Kali practitioners: Saint Michael, Saint Gabriel, Saint
Uriel, and Saint Raphael
9. Ancient “K” for kali, kalirodman
10. Ancient “E” for eskrima, estocado and estke
11. Ancient “S” for silat
© Inosanto Academy
256
MY VIEW ON JKD
© By Bruce Lee 1962
Some instructors of marital arts favor forms, the more complex and fancy the better. Some,
on the other hand are obsessed with super mental powers (like Captain Marvel or
Superman). Still some favor deformed hands and legs, and devote their time on fighting
bricks, stones, boards, etc. To me the extraordinary aspect of JKD lies in simplicity. JKD is
simply the direct expression ones feeling with the minimum of movements and energy.
Every movement is being so of itself without the artificialities which people tend to
complicate it. The easy way is always the right way, and JKD is nothing at all special; the
closer to the true way of JKD, is less wastage of expression there is. Instead of facing
combat in it such ness, quite a few systems of martial art accumulate fanciness that distort
and cramp their practitioners and distract them from the actual reality of combat, which is
simple and direct and non-classical. Instead of going immediately to the heart of things,
flowery forms and artificial techniques (organized despair) are ritually practiced to simulate
actual combat. Thus instead of being in combat, these practitioners are idealistically doing
something about combat. Worse still, super mental this and spiritual that are ignorantly
incorporated until these practitioners are drifting further and further into the distance of
abstraction and mystery that what they do resembles anything from acrobatics to modern
dancing but the actual reality of combat. All of these complex nesses are actual futile
attempts to arrest and fix the ever changing movements in combat and dissect and analyze
them like a corpse. Real combat is not fixed and very much alive. Such means of practice
(a form of paralysis) will only solidify and condition what was once fluid and alive. When
you get off sophistication and what not and look at it realistically these robots (practitioners
that is) are blindly devoting to the systematic uselessness of practicing routines or stunts
that lead nowhere.
JKD is to be looked through without fancy suits and matching tiers, and it will remain a
secret when we anxiously look for sophistication and deadly techniques. If there are really
any secrets at all, they must have been missed by the seeking and striving of its
practitioners (after all, how many ways are there to come on an opponent without too much
form the natural course?) JKD values the wonder of the ordinary and the cultivation of JKD
is not daily increase, but daily decrease. Being wise in JKD does not men adding more, but
to be able to get off with ornamentation and be simply simple, like a sculptor building a
statue not by adding but by hacking away the unessential so that the truth will be revealed
unobstructed. In short, JKD is satisfied with one’s bare hand without the fancy decoration of
colorful gloves which tend to hinder the natural function of the hand.
Art is expression of self. The more complicated and restrictive a method is, the lesser the
opportunity for the expression of one’s own original sense of freedom. The techniques,
though they play an important role in the early stage, should not be too restrictive, complex
or mechanical. If we cling to them we will become bound by their limitation. Remember,
you are expressing the technique and not doing toe technique. When someone attacks it is
not technique number one (or is it technique number two, stance two sections four) that you
are doing, but the moment you’re aware that he attacks you simply in like sound and echo
without deliberation. It is as though when I call you, you answer me, or when I throw
something to you, you catch it, that’s all.
257
THE ART OF
BRIDGING THE DISTANCE
AN attack can rarely succeed unless one can “lodge” oneself at the correct
distance AT THE MOMENT it is launched. A parry is most likely to
succeed if it can be made just as the opponent is AT THE END of his
lunge. Many a chance to riposte is missed by the defender stepping back
out of distance when he parries. To these examples must be added the
obvious importance of choosing the correct measure (as well as time,
cadence) when making a counter-attack by stop hit on time hit.
The tactical use of changes of measure, that is stepping forwards and

backward, should also be studied. Variations of measure will make it more
difficult for the opponent to time his attacks or preparation. A fighter with a
good sense of distance, or one who is difficult to reach to launch an attack,
may often be brought to the desired measure by progressive shortening of
a sense of step backward or by the movement known as gaining on the
lunge.
258
DISTANCE AS ATTACK
The first principle for fastest contact in distance attack is by using the lunge
to get at the closet.
In kicking: the leaning shin/knee side kick
In striking: the finger jab to the eye
(Note: Study both the progressive targets chart as well as the progressive
weapons chart.)
The second principle is economical initial (non-telegraphic) - Latent motor

training forwards intuition.
The third principle is correct on-guard position to facilitate freedom in

movement, ease small phasic bent-knee position.
The fourth principle is constant shifting of footwork to secure correct

measure (Broken rhythm—to confuse opponent’s distance while control
one’s own).
The fifth principle is catching opponent’s moment of weakness, physically

as well as psychologically.
The sixth principle is correct measure for explosive penetration.
The seventh principle is quick recovery or appropriate follow-up.
259
BRUCE LEE’S SCIENTIFIC STREET DEFENSE
AKA JEET KUNE DO
TIMMING DISTANCE SPEED & RYTHMN AGGRESSIVNESS
THE MATCH
ATTACK COUNTER ATTACK OFFENSE

DEFENSE
SAA
STOP TIME
IPA THRUST THRUST 4 BASIC
KICK KICK OFFENSE
DEFENSE
PIA
IA
YIELDING
COUNTER PARRY
HIA TIME
FIA
RIPOSTE
ABC
ABD
RECOVER RENEWED DEFENSE

ATTACK
260
BRUCE LEE’S SCIENTIFIC STREET DEFENSE
AKA JEET KUNE DO
TERMINOLOGY
1. SAA = SINGLE ANGULAR ATTACK
2. SDA = SINGLE DIRECT ATTACK
3. IPA = INDIRECT PROGRESSIVE ATTACK
4. PIA = PROGRESSIVE INDIRECT ATTACK
5. IA = INDIRECT ATTACK
6. HIA = HAND IMMOBILIZATION ATTACK
7. FIA = ABC ATTACK BY COMBINATION
8. ABD = ATTACK BY DRAW
9. RIPOSTE = IN FENCING A SWIFT THRUST MADE AFTER

PARRYING AN OPONENTS LUNGE (SWIFT RETURN)
261
JEET KUNE DO
TRAINING AND DISCIPLINE
JEET KUNE DO is training and discipline toward the ultimate

reality in self-defense, the ultimate reality in simplicity. A true JKD
man never opposes force or gives way completely. Be pliable as a
spring. Be the complement not the opposition to opponent’s
strength. Make his technique your technique.
You should respond to any circumstances without any

prearrangement, your action should be like the immediacy of a
shadow adapting to a moving object against the sun.
Your task is simply to complete the other half of the oneness

spontaneously.
There is nothing to “try” to do in the final stage of JKD, opponent, self,

“techniques”, are all forgotten. Everything simply “flows”.
The true art of JKD is not to accumulate but to eliminate. Respond

like an echo. Adapt like a shadow. Strike like an arrow.
Totality and freedom of expression toward the never changing

opponent should be the goal of all practitioners of JKD.
When you understand the root of JKD you will know all its
manifestations.
Bruce Lee
262
JEET KUNE DO
TAKES DOWNS & SWEEPS
1. REAR TAKEDOWN
2. FRONT TAKEDOWN
3. REAR SWEEP
4. FRONT SWEEP
5. TWO FINGER TAKE DOWN
6. WRIST TORQUE TAKEDOWN
7. FIGURE “4” TAKEDOWN
8. UNDER ARM LOCK TAKEDOWN
9. HANDSHAKE WRIST THROW
10. ARMBAR TAKEDOWN
11. ELBOW UP TAKEDOWN
12. AIKI JITSU TAKEDOWN
263
JEET KUNE DO
FOUR RANGES OF COMBAT
1. KICKING
2. PUNCHING
3. TRAPPING
4. GRAPPLING
THREE PHASES OF LEARNING JKD
1. SHARPENING (LEARNING) OF THE TOOLS (TECHNIQUES)

2. UTILIZING OF THE TOOLS (HOW TO USE THE TECHNIQUES IN
COMBAT SITUATIONS)
3. DISSOLVING OF THE TOOLS (DEVELOPING FIGHTING SKILLS
TO WHERE THEY ARE PURELY INSTINCTIVE AND INSTANT
REFLEX)
THE THREE “R’S” OF JEET KUNE DO
REALISTIC RELATIONSHIP OF THE OPPONENTS RHYTHM
JEET KUNE DO PHILOSOPHY
1. STRICTLY FOR COMBAT AND SELF-DEFENSE APPLICATIONS.

NO SPORT ASPECTS OR FLOWERY TECHNIQUES.
2. ALL TECHNIQUES ARE NON-CLASSICAL, SIMPLE AND DIRECT.
3. INDIVIDUALITY, EACH JKD PRACTITIONER NEEDS TO

EXPRESS THE TECHNIQUES WHICH FIT HIS/HER OWN
PHYSICAL SIZE, BUILD, HANDICAPS, PERSONALITY AND
MARTIAL ARTS BACKGROUND.
264
JEET KUNE DO GENERAL TRAINING
FORMAT
BASED UPON THE ORIGIONAL OAKLAND,

CALIFORNIA
JKD TRAINING PROGRAM
1. Loosening and stretching exercises

2. Gung Fu coordination punching drills
3. Hand speed drills (bil jee or fist)
4. Front snap kick from natural stance
5. Displacement / shifting footwork drills
6. Forward lunge footwork drills
7. Front snap kick from JKD stance with shuffle footwork
8. Body rotation power striking drills with focus gloves
9. Power punching with focus gloves and footwork
10. Basic JKD snap punch from JKD stance (both right and left lead)
11. Basic side kick / back kick drill from natural stance (use kicking pad)
12. Displacement footwork for side kicks
13. Basic side kick from natural stance at kicking shield
14. Burning foot side kick from JKD stance at kicking shield
15. JJD backhand from JKD stance
16. Combination punching (right backhand, left snap punch, right cross
power punch
17. JKD hook kick to leg
18. Side stomp kick to leg
19. JKD Gung Fu blocking drills
20. Stationary kicking drills with focus gloves
21. Elbow striking drills
22. Knee striking drills at legs (must use partner)
23. Basic blocks and counters
24. Basic cross energy drills
265
BREAKHOLDS
FRONT CHOKE:
1. Using both of your arms, simultaneously strike both of your opponents arms at
the bend of he arm, and pin them against your chest, one or more right knees to
groin or low midsection, then double iron palm strike to opponent’s face or side of
neck.
2. Two finger nerve gouge to throat.

Aiki-Jujitsu take down-into opponent with right foot stepping straight into opponent.
3. Right palm strike to face as your left hand grabs opponent’s right wrist, apply wrist
torque take down on his right hand.
4. Left bar wrist lock or “S” lock.
5. Double ear slap, then both hands wrap around the neck of opponent’s, pulls his head
down (your elbows tucked in close to each other for protection), then apply a series of
knee strikes.
6. Right heel hand to chin, and fingers dig into eye sockets forming a tight grip onto face
of opponent.
7. Double eye gouge, double thumb gouge into eye sockets, foot stomp into instep.
8. Right punch into bicep, wrist torque take down on opponent’s right hand.
9. Right strike or punch to groin, apply over the shoulder arm break, over your left
shoulder against his right arm.
10. Left foot steps back at a 45° angle as your torso turns counter- clockwise to the left,
as your right arm is raised (elbow straight) and is pointed to the ground,
consequently breaking opponent’s grip and pulling him off balance.
To follow up with a forearm or elbow strike to his face.
11. Same as #10 but follow up with side kick.
12. Knee to groin fist choke.
13. Knee to groin stomach choke.
14. Simply turn and walk away.
15. Two fingers to the throat (nerve center) as he steps back in response to
the pain, follow up with a burning foot side kick.
266
JKD GRAPPLING RANGE
BASIC APPLICATION DRILLS

RIGHT OUTSIDE RIGHT RIGHT OVER RIGHT (LOW)
(Right Punch – Right Outside Tan) (Right Low Punch – Right Outside Sweep
Rear Takedown Basic Wrist Lock

Front Takedown Combination Armbar / Wrist Lock
Front Wrist Lock Bar Hammer Lock
Rear Wrist Lock Rear Take Down
Hanging Choke Hanging Choke
Figure “4” Take Down
Vertical Hand Push Down LEFT UNDER RIGHT (LOW)
Two Finger Take Down (Right Low Punch – Left Inside Sweep)
Wrist Torque Take Down
Forehead Aiki Takedown Bar Hammer Lock
Over The Shoulder Armbar Wrist Torque Takedown
LEFT OUTSIDE RIGHT

(Right Punch – Left Outside Pak) LEFT OVER LEFT
(Left Punch – Left Outside Tan)
Wrist Torque Takedown
Rear Takedown Rear Sweep
Two Finger Takedown Elbow Up Wrist Lock
Front Wrist Lock
Over The Shoulder Armbar
Vertical Hand Pushdown
Hanging Choke
Finger Push
LEFT INSIDE RIGHT

(Right – Punch Inside Tan)
Basic Wrist Lock RIGHT INSIDE RIGHT

Combination Armbar / Wrist clock (Right Punch – Right Inside Pak)
Rear Take Down (From Outside)
Front Armbar Basic Wrist Lock
Underarm Lock Combination Armbar / Wrist Lock
Fist Choke “S” Lock
Stomach Choke Rear Takedown (from the inside)
Wrist Torque Takedown
Stomach Choke
267
TECHNICAL ASPECTS OF JEET KUNE DO
AS PRESENTED BY THE
JKD ASSOCIATION
The JKD as taught and promoted by the JKD association

Is based on the non – classical, combat modified Chinese –
American Gung Fu System with influences from boxing and
fencing as it was developed by Bruce Lee and taught and
taught at the Oakland, California JKD School and
co – instructed by James Yimm Lee.
FOUR RANGES OF COMBAT HAND TECHNIQUES

KICKING-PUNCH TRAPPING-GRAPPLING The hand techniques (fist and open hand) are
THREE PHASES OF LEARNING JKD some of the fastest and hardest hitting in
1. Sharpening (learning) of the tools. existence today. They are fast, deceptive and
2. Utilization of the tools (techniques). powerful. The JKD hands are a cross of
techniques from Wing Chun and Ali’s style of
3. Dissolving of the tools (developing pure
instinct and reflex in combat. boxing, also using some concepts from fencing .
THE THREE “R’s” OF JEET KUNE DO KICKING
Realistic Relationship of the opponent’s Rhythm. JKD emphasis low level kicking due to its combat
aspects. The kicks are quick, strong, and geared
STRICTLY FOR STREET SELF-DEFENSE to disable an assailant immediately.
JKD is only for street combat and self-defense. BLOCKING
There are no sport aspects, no flowery forms, no JKD utilizes few blocks and most of those are
acrobatics. JKD is “scientific street fighting.” deflections with evasive footwork .
NON-CLASSICAL GRAPPLING
JKD techniques are simple, direct, and functional, Our extended system of JKD incorporates
without any traditional, classic maneuvers. There is techniques from Ju-Jitsu such as joint-locks,
no chambering or unnecessary movements
throws, chokes, and sweeps in order to enhance
INDIVIDUALITY its street effectiveness.
The original JKD is our base, our nucleus. We still SIMPLICITY
grow by using workable combat techniques from No flash, no fancy moves, no acrobatics. Keep it
other sources. The HKD practitioner expresses the simple, keep it effective.
techniques which fit his/her own physical build,
personality, and martial arts background. PHYSICAL & MENTAL BENEFITS
JKD training provides physical conditioning,
develops balance and coordination, builds up
cardio-respiratory endurance and stamina, and
helps in confidence, self-esteem, and mental
discipline.
268
IN MEMORY OF
Punong Guro Edgar Sulite
September 25, 1957- April 10, 1997

Kali/Eskrima
Founder of Lameco Eskrima System
Sining ng Lameko Eskrima
269
IN MEMORY OF
Guro Teddy Lucay Lucay
October 4, 1945 – March 30, 1996

KALI /JKD
Senior Instructor under Sifu/Guro Dan Inosanto
270
IN MEMORY OF
Sifu James Yimm Lee
January 20, 1920 - December 28, 1972
Before meeting Bruce Lee, James Yimm Lee was already a well known Sil Lum Gung
Fu instructor and Iron Palm Master in Oakland, California. He was also an amateur
boxer, a bodybuilder, and a welder by occupation. He is responsible for making Bruce
Lee’s personal Gung-Fu and Jeet Kune Do training equipment.
James was the elder of the JKD clan and was also "second in command" there. He
converted his garage to a Jeet Kune Do studio, and conducted Jeet Kune Do and Gung
Fu classes to a select group of dedicated students.
He leaves behind a legacy of excellence that is still talked about in the Martial Arts
community to this day.
271
IN MEMORY OF
Bruce Lee
November 27, 1940 – July 20, 1973

Founder of Jeet Kune Do
IN MEMORY OF
Brandon Lee
February 1, 1965 - March 31, 1993

Son of Bruce Lee
272

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Instructors Confidential Manual

Sifu Guro Bud Thompson

PITTSBURGH, PENNSYLVANIA 15222

All Rights Reserved

For more information or to order additional books,

This manual is to the devoted students who have spent

The full instructor has been granted the right to change

Registered in the Library of Congress

When I opened the Kali/Chinese Gung Fu Academy in Torrance California in

Founder & Head Instructor

Page 48 Kali Eskrima Silat Knife Basics

Page 92 Understanding Martial Arts

Page 137 It Has Been Stated

Page 183 History of the Philippines #19 The Katipunan

Page 229 Jeet Kune Do Dummy Exercise Set #8 (con’t)

It is said among Eskrimadors that “By Understanding the Weapon First,

We encourage a person to experiment with all the concepts and principles

Foot Work R/L

ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS

Kicking Shield: R/L

Focus Gloves R/L

Wing Chun: R/L

ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE

Foot Work: R/L

ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE

Foot Work: R/L

ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE

Foot Work: R/L

Thai Pads: (ITBA) R/L Focus Gloves: (Jun Fan) R/L

Kali/Eskrima: R/L Wing Chun: R/L

ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE

I present myself to the creator and to mankind on earth

I am striving for the knowledge of the third eye of the five

I am striving for the love of all mankind and there will be

I bow down to you not in submission but in respect to you

I extend the hand of friendship because I prefer it over the

I stand in symbolism because I serve only The Creator, my

I cherish the knowledge given to me by my instructors, for

I am prepared to go against you even through your skill

I am not worried because I know my spirit will rise again

O heavenly spirit, forgive me for my faults and weaknesses,

And in your mercy and kindness bless me with the spirit

That will give me the guidance, strength and power

For a strong mind and body so I may develop to be a good

UPMAAH Braulio Pedoy

California Hawaii Hawaii

Instructed by these individuals

Batikan/O’Sensel Segunda Batikan/Sensel

Nick Joey Juanito Ben Ben Ricky

Mike Ronald Lenny James Everesto

Glenn Rick Mike Mat Al Emie Romero D. Rodolfo S. David S.

Dolly Pat Laverne Darlene Lord Tammy Ralph

1. Hit block hit to the limb

Lubas – twist Hubad applies to:

ABCEDARIO WEAPONS PROGRESSION

1. Olisi y Daga vs. Olisi y Daga

Three speeds for hubud

1. Receive one hit – One block and hit

1. Face down Upper Section

1. Tindog (standing position)

1. Slash/Slash/Slash • Five Ways of Knife

•Daan and Lihok System

A System of Paths and Routes of Motion

•Numbering System/Stick or Weapon