Dan Most Important Master

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; opinions
expressed; permission to use previously published materials included; and any advice given or actions advocated
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 2nd Printing February 1st 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
1
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
2
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
3

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
4

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
5

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)
6

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
7
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
8
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”.
FILIPINO MARTIAL ARTS

9
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.
10
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.
11
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.
12
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.
13
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.
14
16
17
18
19
20
21
22
23
24
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
25
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.....
26
27
FLORO VILLABRILLE KALI STRUCTURE

(uncle)
Leoncio
Villeganio
(blind lady)
Josephine
Pio
Floro Villabrille
Hawaii
Teofisto Tobosa
Patrick Layusa
Richard Terioka
Ismile Espanola
Beau Van Dan Ecker
California
Ben Largusa
Hawaii
Kenneth Villabrille
Raymond Tobosa
Frank Mamallas
Rudy Orlando
Matt Ihara
Fred Lawas
Rose Souza
Connie Amasiu
REALTIVITY
Floro Villabrille
UPMAAH Braulio Pedoy
Hawaii
Edwardo Pedoy
California
Ben Largusa
Hawaii
Teofisto Tobosa
Patrick Layusa
Richard Terioka
Ismile Espanola
Beau Van Dan Ecker
Hawaii
Kenneth Villabrille
Raymond Tobosa
Frank Mamallas
Rudy Orlando
Matt Ihara
Fred Lawas
Rose Souza
Connie Amasiu
28
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
Segunda Batikan/Sensel
Teofisto Tobosa
Batikan/O’Sensel
Raymond 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
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
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
44
HUBAD TERMS
Lubas – twist
Tuok – chokes
Humbot – wave
Dungad – knife thrust
Yuta – earth
Bunbon – sand
Calibut – ground
Tuhod – knee
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
Hubad applies to:
1. Elbow catch
2. Shoulder stop
3. Neck grab
4. Wrist grab
5. Hip check
6. Knee check
7. Foot check
45
HUBAD
Three speeds for hubud
Three heights for hubud
High (standing)
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
Middle (on knees)
46
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
47
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)
48
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
49
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)
50
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)
51
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)
52
1. Inside Cover
Left Parry Down W/Dagger
Right High Back Hand W/Stick
Right Low Back Hand W/Stick
Left Low Thrust W/Dagger
Inside Cover W/Dagger Thrust
======================
2. Inside Cover
Left Parry W/Dagger
Right Back Hand W/Stick
Inside Left Thrust W/Dagger
Counter Clockwise W/Dagger
=====================
3. Inside Cover
Left Parry W/Dagger
Right Back Hand W/Stick
Inside Left Thrust W/Dagger Clockwise
W/Dagger
===============================
4. Inside Cover
Back Hand W/Stick
Counter Clockwise W/Dagger
Inside Cover W/Stick W/Dagger Thrust
=============================
5. Inside Cover
Clockwise W/ Dagger
Inside Cover W/Stick W/Dagger Thrust
==============================
6. Inside Switch
Clockwise W/Dagger
High Dagger Thrust
===============
7. Combinations Of Inside Switches
==========================
8. Inside Switch
Clockwise W/Dagger
===========================
9. Close Quarter
Inside Switch W/Hit High Wing Slash Dow
10. Inside Switch W/Hit
Outside Deflection/Slash Down
========================
Umbrella W/Upward Slash or Roof
W/Upward Slash
=================
Parry W/Dagger Horizontal Hit W/Stick
===========================
Outside Deflection Thrust
W/Dagger
===========================
Parry W/Dagger Horizontal Backhand
W/Stick
=================
Gunting W/Dagger/Stick
===================
16. Inside Cover
Clockwise W/Dagger
Double Hit W/Stick
==================
17. Inside Cover
Backhand W/Stick Clockwise W/
Dagger Double Hit W/Stick
=======================
18. Inside Cover
Clockwise W/Dagger
Clockwise W/Dagger Double Hit
===========================
19. Largo Mano Meet
Backhand W/Stick
Overhand Thrust W/Dagger
Backhand W/Stick Palm Up Thrust
LONG AND SHORT UGATS

53
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
54
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
55
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
56
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)
57
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)
58
59
MEANING OF THE TRIANGLE

60
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
61
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
62
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
63
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
64
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
65
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
66
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
67
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
68
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
69
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
70
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
71
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
72
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
73
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
74
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
75
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
76
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
77
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
78
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)

79
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
80
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
81
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
82
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
83
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
84
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
85
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
86
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.
87
BATHALA
88
89
90
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
91
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
92
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
93
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.
94
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
1. Research
Internally (within the group)
Externally (outside the group)
2. Exploration
3. Experimentation & Development
These Three Points Lead to
Through
Discovery Of New Material Creation Of New Material
95
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
96
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
97
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
98
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
99
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
100
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,
Chut, Bak
One, Two, Three, Four, Five, Six, Seven,
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

101
Si Gung Your Instructors Teacher/Grandfather
Si Hing
1 Who Learned Before You/Senior Or
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

102
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.
103
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
104
THE MATCH
#1 #2
#1
#1
#2 #2
#3 #3
#4
#5
DISTANCTIMMING E SPEED AND
RHYTHN
AGGRESSIVENESS
THE
MATCH
H.I.A.
A.B.T.
ATTACK COUNTER ATTACK OFFENSIVE
ATTACK
YEILDING
PARRY
P.I.A.
I.A.
4 BASIC
OFFENSIVE
DEFENCE
S.A.A
S.D.A.
WITH OR WITHOUT
B.T.A.A.
RIPOSTE
ATTACT AFTER A
DEFENCE
A.B.D.
A.B.D.
TIME
THRUST
KICK
NO
EVASION
STOP
THRUST
KICK
EVASION
BEFORE
DURING
AFTER
COUNTER TIME COUMPOUND
RIPOSTE
A.B.C.
A.B.C.
BEFORE
DURING
AFTER
SINGLE
RIPOSTE
# 2 TIME THRUST
INDIRECT
RIPOSTE
DELAYED
RIPOSTE
# 1 STOP THRUST
RECOVER RENEWED
ATTACK
DEFENCE
105
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
106
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
107
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.
108
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.
109
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
110
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.
111
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
112
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
113
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
114
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
115
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
116
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
117
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
118
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
119

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
120

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
121

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
122

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
123

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.
124
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)
125
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
126
NOY DA SERIES #2
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
127
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
NOY DA SERIES #3
ATTACK/PIA
128
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.
129
“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.
QUOTATIONS (con’t)
130
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
131
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
132
133
134
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
135
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
WHAT IS?
136
“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
137
“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.
138
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)
Theo Schryn
John de Vries Ferdie de Vries
(Lineage holder of the original system)
Ernest de Vries
Ernest Paul de Thouras Maurice Willem Benny Dolf de Vries Joop
Tremeullen (linage holder) de Thouras Reeders Zeventer Brewer
Gus Van Ham
Ralf Burgemeestre
Nono de Vries
Victor
De Thouras
(no longer
Affiliated)
Stevan Plinck
(no longer
affiliated)
Dan Inosanto
(no longer
affiliated)
Robert Vanatta
Narin Lattitham
Louis Campos
Clifford Stewart
Jonny Ronko
Arie Hunto
Pukulan Pentjak Silat Bukti Negara

Family Tree
Pendekar Agung Paul de Thouras
(Creator of Bukti Negara)
Guru Stevan Plinck
1st Instructor
(no longer affiliated)
Guru Danny Huybrechts
(lineage holder of Bukti Negara
Board of Directors
Guru Pangkat Tuo
Vahid Aminian
(Senior Guru)
Guru Pangkat Tuo
Clifford Stewart
(Senior Guru)
Guru Pangkat Tuo
Louis Campos
(Senior Guru)
Guru Pangkat Tuo
Larry Watanabe
(Senior Guru)
Guru Pankgat Dua
Tim Anderson Guru Pankgat Satu
Pete Poching
John Tessier
Freda Doyle
Regional Directors
Guru Pankgat Satu
Dave Moss (Indiana)
Rick Jackson (Pennsylvania)
Bart Berner (Ohio)
George Darish (Michigan)
INACTIVE IN CURRENT ORGANIZATION
Guru Martin Beijer
Guru Burton Richardson
Guru Mike Gallo
Guru Vernon Ford
139
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
140
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
TWELVE COUNT
ITBA INOSANTO TWELVE COUNT
MUAY THAI CURRICULUM
141
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
142
# 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
ITBA INOSANTO EIGHTEEN COUNT

THREE PART SERIES LEFT LEAD
143
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
ITBA INOSANTO
TEEP COUNTERS INSIDE PARRY
144
145
146
147
148
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.
KALI GODDESS OF WAR

149
TRIBES OF THE PHILIPPINES

Agta (Negritos)
Apayao, Tingguian Descendents of
headhunters and live close to rivers.
Ata (Negritos)
Ati (Negritos)
Ayta (Negritos)
Badjao-Sea Gypsies
Bagobo-Upland tribe of Mindanao
Batak-Semi-nomadic tribe of hunters
& gathers.
Bontol (Igorots)-Head hunters. “Tooth
for a “tooth attitude.
Dumaget (Negritos)
Ifuago (Igorots)-Built giant rice
terraces.
Ilokano-Malay Ancestry
Ita (Negritos)
Jama Mapun- Muslim people of the
Cagayan Islands.
Kalinga (Igorots)-Head hunters.
Mandaya, Marisaka-Animism strongly
practiced.
Manobo-Upland tribe of Mindanao
Maranaw (Moslems)-Last Islams
Mindoro Mangyans
Fishermen turned agriculturists do
to new settlers pushing them into
the jungles and hills.
Alagan Hanunoo
Tadyawan
Buhid Iraya
Pala’wan
Samel (Moslems)
Subanon-Upland tribe of Mindanao.
Tboli-Live in Tinuary highlands
Taganua-Palawan island forest
dweller ethnic group.
Tasada-50, 000 years has passed
them by.
Tau’t Batu-People of the Rock
Animism, they live in caves.
Tausug (Moslems) - The first
Islams, love & ceremonial tribe
living mainly on Basilan Island.
150
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
151
RAJAH LAPU LAPU FILIPINO WARRIOR

Conqueror of Magellan at the Battle of
Mactan 1521
152
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
153
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.
154
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)
155
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
156
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)
157
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.
The circle represents Diyos (the
Creator). The two apparent triangles
Depicted are the outside triangle
representing the external Kali
system. Hidden within these
triangles, or symbolized by them,
are other triangles representing the
numerous concepts, strategies, and
moral values of the warrior.
External
Triangle
Internal
Triangle
Diyos
(Creator)
The Suntok (fist) represents the Pangamut (empty hand) Filipino Fighting
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.
Lamay
(Vigil Wake)
Subo
(Sunrise)
Oeste Este
Asar Gabi Bulan
Sunset) (Night) (Moon)
Kali (Kamot Lihok), Kaliradman
Kalirongan, or Kaltan.
Eskrima, Escrima, Egrima, Estoke,
And Estocada.
Silat and Sikaran.
158
KALI EMBLEMS (con’t)

The Bolo and the Olisi divide the
emblem into four quadrants representing
Norte (north), Este (east), Sur (south), and
Oste (west). These four quadrants also
represent the four patron (guardian or
protector) Saints San Raphael, San
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
From Mindanao in the southern in the
southern Philippines.
At the top of the universal triangle is
the Diyos (creator). This followed by Ka
(self) and Kaaway (opponent)
North
San Raphael
Diyos
(Creator)
West
San Uriel
East
San Miguel
South
San Gabriela
Ka
(Self)
Kaaway
(opponent)
Lahot
Visayan Blade
Kamagong
Olisi
Adlaw
(Sun Line)
Luzon (North)
Visayan (Central)
Mindanao (Southern)
Future
Triangle
Of
Knowledge & Wisdom
Visayan Group Present Past
(Central Islands)
Triangle
Of
Heritage
Mindanao Group Luzon Group
(Southern Islands) (Northern Islands)
Kali
Total Art
Triangle
of
The Art
Eskrima Empty Hand Skill
Arnis Kuntao - Silat
(Stick) Suntokan Panantukan
Panantukan Hampak At Hubud
Hampak At Higot
Dumog & Bersilat
Bulan
(Moon Line)
159
TRIANGLES OF KALI
Duty
(To self, family, tribe, country, creator
Loyalty Courage
(To face inner and outer conflict)
Family or Friends Tribe or Country
Triangle
of service & duty
God
Iyong Kalaban
(Yourself) (Opponent)
Universal Triangle
Diyos (Creator)
Supreme Being
Supernatural Spirit
Physical Mental
Developmental Triangle
Spiritual
Son Holy Spirit
(Used by most Eskrimadors)
Spiritual Triangle
Father
Physical Training Mental Training
or level or level
Three in Three Stages or Levels Seven Stages or Levels
Triangle
Of
Development or Level
Spiritual Training
One with the Creator
Your place in the Universe
Lalaki Ng Tatsulok Babae Ng Tatysulok
Kali
Triangle
Diyos
(Creator)
Langit Lupa
(Heaven) (Earth)
Compassion Humility
Attributes of the Creator
Love
160
KATAASTAASAN
THE HIGHEST OF THE HIGHEST
Triangle
of
Idealism
Triangle
of Progression
Triangle
of
Combat Adjustment
Kagalang - Galang KaliKalian
The Most Respected Ancient Martial Art
of the Philippines
Kaalam
(Wisdom)
Kalaki Kina Adman
(Skill) (Knowledge)
Father
Spiritual Triangle
Son Holy Spirit
(Used by most Eskrimadors)
Respect
Code
Of
Ethics
Self Discipline
Discipline Honor
Safety – Play
Energy Drills
&
Flow Training
Development Triangle
Technical Skill Fighting Skill
Types of Attack
Speed
Deception Power
Energy of Attack
Angle of Attack Timing & Rhythm
of Attack
161
KATAASTAASAN THE HIGHEST OF THE

HIGHEST (con’t)
Moderate
Neutral
Muhahuna
(Mind)
Combination Combination
Positive-Positive Attack Negative- Positive Attack
Mind
Medium Range
Muhahuna
(Mind)
Media
(middle range)
Triangle
of
Experience
Single Positive Attack
Rhythm
In
Attracting
Practicing Receiving
Technique Technique
Soft Hard
Triangle
Of
Touch
Teel Kamont
(Feet) (Hands)
Observation
Of
Triangle
Passive Aggressive
Triangle
of
Combat Personality
Rhythm Triangle
Seat
Of
Internal Strength
Hands Feet Point of Contact
Triangle
of
Fighting Distance
Internal Triangle Internal Triangle
Close Range In-Fighting Style
Attack by Trapping Hand
Immobilization Serada Style
Long Range Distance Fighting
Attack by Drawing/Exposing
Retreating Style Largo Mano Style
Corto
(Close Range)
Largo
(Long Range)
162
SPIRITUAL TRAINING ONE WITH THE

CREATOR
YOUR PLACE IN THE UNIVERSE
Balanced
Martial
Artist
Guro (Teacher)
Spiritual Guide or Healer
Warrior
Mandirigma
Manggugubat-Cebu
Seeker of Wisdom
Dumog or Karunungan
Philosopher, Teacher, or Learner
Triangle for 3 in 1 Martial Artist

Footwork Triangle
Of
John LaCoste
10 1
64
92
83
11
7
12
5
Left Front Right Front
Left Rear Right Rear
Left Side Right Side
Left Rear Right Rear
Side Side
12
6
93
7-8 4-5
Footwork Triangle
Triangle
Of
Development or Level
Physical Training
Or Level
Three in Three Stages or Levels
Martial Training
Or Level
Seven Stages Or Levels
10-11 1-2
163
SPEED - POWER - DECEPTION

Speed Power
Deception Power
Speed Deception Speed Power
Types of Attacks
Triangle
Of
Harmony
Female Male
Soft Hard
Left Eye Right Eye
Left Nostril Right Nostril
Night Day
Harmony
Function
Blend
Energy of Attack
Energy & Flow
Drills (Play)
Developmental
Triangle
Technical Skill Fighting Skill
Triangle
of
Adjustments
Angle of Attack Timing & Rhythm
of Attack
Sticks Blades
&
Other Weapons
Following Energy Deflecting Energy
Empty Hands
Triangle
of
Progressive Training
Triangle
Of
Combat Energy
Retaining Energy
164
ANCIENT KALI SCRIPT
165
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
and 16th 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
166
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.
167

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
and Malaysia during the 5th and 6th 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
Shrivijaya. Palembang served as its capital city from the 7th century until the kingdom was overthrown by
the Hindu Majapahit Empire in the 14th 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.
168

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
169

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
seriously and perjury was almost nonexistent.1 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 Code 2 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
170

.
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.
171

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
172

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
1000 AD, and some had taken residence in the islands, they immigrated by the thousands during the 12 th
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.

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Instructors Confidential Manual

Table of Contents (con’t)

Table of Contents (con’t)

Table of Contents (con’t)

Table of Contents (con’t)

Table of Contents (con’t)

FILIPINO MARTIAL ARTS

PHASE 1 CURRICULUM 26 WEEKS (78 hrs.)

ADV. PHASE I CURRICULUM 26 WEEK (78 hrs.)

PHASE II CURRICULUM 36 WEEKS (108 hrs.)

Phase III Curriculum 104 Weeks (312 hrs.)

FLORO VILLABRILLE KALI STRUCTURE

RAYMOND TOBOSA’S MARTIAL ART STRUCTURE

KALI • DUMOG • KUNSI

KALI • ESKRIMA • SILAT KNIFE BASICS

KALI • ESKRIMA • SILAT SENSITIVITY DRILLS

LACOSTE KALI SYSTEMS OF PROGRESSION

LONG AND SHORT ABCEDARIO

LONG AND SHORT UGATS

LONG & SHORT STICK•ESPADA Y DAGGA DRILLS

SINAWALLI SIX COUNT VARIABLES

KALI • ESKRIMA VERTICAL GUNTING

MEANING OF THE TRIANGLE

LACOSTE- INOSANTO (Twelve Sub-Systems Of Kali)

ESKRIMA TERMINOLOGY / LACOSTE

ENGLISH VISAYAN TAGALOG

BASIC TRAINING METHODS

ABCEDARIO CONTRADAS FORMAT

SIBAT BANGKAW PROGRESSION

SOLO BASTON•SOLO ESPADA•SOLO SUNDANG VERSUS

DOBLE BASTON OR DOBLE ESPADA VERSUS

BASTON Y DAGA - ESPADA Y DAGA VERSUS

SOLO DAGA VERSUS

CONTRA SUMBRADA PROGRESSION

AGAW ON SECOND FEED

LONG RANGE BASICS

KALI – ESKRIMA – SILAT- KUNTAO – BERSILAT

COUNTER THE REAR PUNCH BY

11. Inside Vertical Gunting And Paths

12. Outside Vertical Gunting And Paths

13. Low Rear Dongab

15. Parry To Shield And Hit (Pa’awas-aming Ug Hampak)

16. Lead Tuhod (Pinasaka)

17. Rear Tuhod (Pinasaka)

18. Upward Bukton (Pinasaka)

KALI – ESKRIMA – SILAT- KUNTAO –BERSILAT

LACOSTE SYSTEM SUB – SYSTEM AREA #7

BREAKDOWN FOR SIX COUNT SINAWALLI

THE EIGHT BASIC FAMILY COMBINATIONS

ELEMENTS IN HIGOT – HUBAD – LUBAD

STICK AND DAGGER BASICS

THE MOSLEMS OF THE SOUTHERN PHILIPPINES

ANCIENT MAJAPAHIT EMPIRE

SRI - VISHAYA EMPIRE

UNDERSTANDING MARTIAL ARTS

JUN FAN GUNG FU AS DEVELOPED BY BRUCE LEE

JUN FAN GUNG FU

THE FACTS OF JEET KUNE DO

CANTONESE TO ENGLISH (con’t)

CANTONESE TO ENGLISH (con’t)

CANTONESE TO ENGLISH (con’t)

THE FIVE WAYS OF ATTACK

THE FIVE WAYS OF ATTACK (con’t)