SELF DEFENSE

WEEK 2
GERALD ABELLA, LPT
 ASIA PACIFIC COLLEGE OF ADVANCED STUDIES, INC.
City of Balanga, Bataan

Rules and safety

Character
A ruffian has no place in Arnis let alone in sports. Refinement in
character is important. A student must be taught the moral (and religious)
values of everything. It is an obligation of the teacher of Arnis to mold the
character of the student in such a way that his behavioral structure would be
motivated by righteous desire. It is what a man is that counts not the number
of trophies he won. In spite of the abetted fallacies of values of the present
world, it is who you are that will matter in the end.

Sincerity
Sincerity for victory's sake is not the all-consuming end of an Arnis
player. It is the sincerity in him to his fellowman and to his art that makes him
shine in the array of men. The will to win maybe inculcated, but such tutelage
should never end after the tick of the ultimate second in the game but beyond
the canvass and the arena of competition. The martial art of Arnis, it should be
remembered, is a good medium of development man's sense of dedication in all
his everyday endeavor and involvement. Sincerity is the mother of trust and
trust makes an institution of what has been shattered by doubts. A man who is
not sincere will never have a true friend.

Discipline
Arnis is a molder of discipline. Proper behavior in the sport and in life
itself will be the gauge of success. Personal discipline is important. The
kaleidoscopic invitations and temptations of life should never undermine man
in his obligation to his art, to himself and his fellowman. A student should
learn to control himself in the pursuance of his goal, not only to his art but also
to life in general.

Self-control
Losing one's head means defeat. One should learn to control his temper if
he hopes to achieve success in every endeavor. In Arnis, self-control is
important for without it, life and the good health of another may be lost. The
possession of an ability to kill or main a person should be handled with
extreme caution and prudence. Man's clear perception of things is anchored on
his ability to control the outbursts of his inner self. Provocation is dishonorable
but hasty reaction to it is just as dishonorable if not despicable.

Etiquette
Etiquette is allied to the main cardinal rules in Arnis. One's norm and
standard should never be imposed upon others. One should learn how to
respect others. Giving credence to the standard and ability of another person
should or will best prepare anybody in any endeavor. The pacific waters of
human understanding will stay unruffled if exercise of proper etiquette and
respect whether it be in sporty competition or in life itself is observed.

Student's loyalty
Loyalty should be emphasized to the student, loyalty to the art, to a
fellow player, and to his teacher. Ingratitude to one is ingratitude to the other.
A student should be loyal to a fellow player because any disloyalty to him is
disloyalty to the art itself. More important, a student should be loyal to his
teacher. Everything one has learned is owned by him to his teacher. Personal
whims should never cause one to be ungrateful to where he owes everything he
knows. Even if the ultimate aim of the art is already achieved by a student that
he can now manage on his own, he should never forget the teacher who labored
for him. In the skirmishes of things, the student should be always loyal to him.

Life has shown us many treacheries committed in the name of greed and
personal gratification. This has no place in the art of Arnis or in sports for that
matter. A true sportsman is always loyal to his art and to the prime movers of
the art. He sees with gratitude in everything and everybody from whom he had
owed everything he knows. In this world of muck and mire only those who look
back with gratitude shall succeed. Loyalty to the fundamental basis of his
achievements weighs for a greater measure in the merits of man. Ingratitude is
treachery and a traitor has no place in the forum of honorable men.
Harmful factors of assaults

Risk and Protective Factors

Risk factors are linked to a greater likelihood of sexual violence (SV)

perpetration. They are contributing factors and might not be direct causes. Not
everyone who is identified as at risk becomes a perpetrator of violence. A
combination of individual, relational, community, and societal factors
contribute to the risk of becoming a perpetrator of SV. Understanding these
factors can help identify various opportunities for prevention.

Risk Factors for Perpetration

Individual Risk Factors

• Alcohol and drug use

• Delinquency
• Lack of empathy
• General aggressiveness and acceptance of violence
• Early sexual initiation
• Coercive sexual fantasies
• Preference for impersonal sex and sexual-risk taking
• Exposure to sexually explicit media
• Hostility towards women
• Adherence to traditional gender role norms
• Hyper-masculinity
• Suicidal behavior
• Prior sexual victimization or perpetration

Relationship Factors

• Family environment characterized by physical violence and conflict

• Childhood history of physical, sexual, or emotional abuse
• Emotionally unsupportive family environment
• Poor parent-child relationships, particularly with fathers
• Association with sexually aggressive, hypermasculine, and delinquent
peers
• Involvement in a violent or abusive intimate relationship

Community Factors

• Poverty
• Lack of employment opportunities
• Lack of institutional support from police and judicial system
 • General tolerance of sexual violence within the community
• Weak community sanctions against sexual violence perpetrators

Societal Factors

• Societal norms that support sexual violence

• Societal norms that support male superiority and sexual entitlement
• Societal norms that maintain women’s inferiority and sexual
submissiveness
• Weak laws and policies related to sexual violence and gender equity
• High levels of crime and other forms of violence

Protective Factors for Perpetration

Protective factors may lessen the likelihood of sexual violence victimization or

perpetration. These factors can exist at individual, relational, community, and
societal levels.

• Parental use of reasoning to resolve family conflict

• Emotional health and connectedness
• Academic achievement
• Empathy and concern for how one’s actions affect others
The 12 Fundamental Principles of Filipino Stick Fighting

An Eskrimador is an individual who practices Eskrima of Filipino Stick Fighting.

Both these terms are of Spanish's influence in the Philippines. In Spanish,
“Eskrima” means “fencing,” and “Eskrimador” means a “fencer.”

Eskrima practitioner Miss Adriana Liang holding a Kris – a traditional Eskrima

weapon.
In this post, we discussed the 12 fundamental principles of Filipino Stick
Fighting. These principles will guide you through your learning and training in
the art.

1. Being one with the Weapon

An olise or a stick is the primary weapon in Balintawak Eskrima. It's made
of a tough, fibrous vine called a rattan. Its length must be the distance from the
armpit to the fingertips. It is supported by about 2-3 inches of the exposed
butt-end. Since it's very light, it can be moved rapidly and in succession. Since
it's made of rattan, it's almost unbreakable.
Filipino Stick Fighting – Sticks – Rattan – manufactured in the Philippines.

The Role of Filipino Stick Fighting Weapons Training

Most of the oriental martial arts such as Chinese and Japanese try to teach a
trainee to fight with no weapons, then, progress to just fighting with weapons
in the next stages of training. Consequently, very few individuals in such arts
are capable of using their weapons training during sparring.
The Filipino Martial Arts are subject to highlight the exercise of weapons first
then secondly, the exercise of the empty-hand. Thus, Eskrimadors are more
skilled during weapons sparring than other martial artists.
 Eskrima practitioner
Adriana Liang performing
creative Anyo with
traditional Eskrima
weapon.

2. Drilling
Through two-man drills is how an escrima stick fighting student is trained,
under the management of a more practiced Eskrimador. The most important
and fundamental drill, known as “1 to 12,” entails alternate defense and the
block against the 12 basic blows. In the beginning, the strikes are performed in
a particular pre-arranged order.
Two roles are being played; that of junior and senior Eskrimadors. The senior
Eskrimador will try to train the junior with the correct methods of moving and
redirecting motions, as well as through experienced advice. Simultaneously, the
senior will help improve his movements.
First, the strikes are delivered in an identified order, 1 to 12, but afterwards,
this order is going to be randomized.
If both trainees are rather more advanced, a few additional techniques will be
added. The junior isn't expected to be on par with his senior practitioner.
However, his skills will improve faster. In the end, the strikes won't necessarily
be executed with the stick; all four limbs may be utilized.
Left-hand strikes can be done to trigger a finger nudge towards the eyes, a chop
or a punch to the gullet or a hook to the torso. In practice, this will correspond
to a light touch or slap. Due to the remarkable speed wherein the exercise is
performed, the student immediately discovers not to blink the timing, speed,
distancing, and eyes.
Balintawak Eskrima defence and counter drill in transition.
For apparent reasons, the triceps are hit rather than the temple during training.
This is regarded as an equivalent to striking the head. The groin is hit instead
of the lower abdomen, and instead of hitting the knees, we hit the lower leg or
thigh.

3. 12 Angles of Attack
In Eskrima stick fighting, there are 12 attack angles and 12 corresponding
defenses. Every angle of striking targets specific spots of a body.
1. Angles number 1 and 2 are lateral strikes from head's top to neck's base
2. Angles 3 and 4 are lateral strikes from shoulders to hips. The primary
targets are the elbows, the hands, and the shoulders
3. Angle 5 is a midline push from below upward
4. Angles 6 and 7 are lateral strikes to the armpits or chest
5. Angles 8 and 9 are lateral strikes from hips to feet. The target spots are
the shins, ankles, knees, or feet
6. Angles 10 and 11 are lateral strikes to the neck or eyes
7. Angle 12 is a midline strike from above downwards
These strikes can be executed with a stick's end, the feet or left hand.
The fundamental training for the 12 angles is performed with a stick against a
stick. This offers the foundation for all succeeding Balintawak
Eskrima methods, whether executed with a stick, a knife, or perhaps unarmed.

Master Louis Lim demonstrates striking in Balintawak Eskrima.

4. Vision
Look at your enemy's eyes at all times. If you're a skilled fighter, you look at the
eyes of your opponent to get an overall view of his body and movements. If not,
look at the upper body. Some fighters keep their look focused at the opponent's
lead elbow, particularly when that limb holds a weapon. The elbow and
shoulder are slow in motion and present a clue as to the opponent's hand
movement.
Don't blink. It could cause your defeat in a fight. Look with two eyes and never
lose sight of the opponent.

5. Timing and Rhythm

You should know when to use your technique. This is imperative, but hard to
teach. An opportunity occasionally presents itself very briefly and is gone
before you can even react. Utilize the well-placed pauses and proper rhythm.
The rhythm should be impeccable; however, this is delicate and hard to learn.
Don't rush it; you'll lose power and balance. Sometimes, a quick movement is
less efficient than a slower one. Some styles depend on a slight pause to get the
proper timing. This doesn't mean that you have to be slower than your
opponent though and you must deliver strikes fast at the right opportunity.

6. Mental States
Pay strong attention to your enemy and your environment, but move with no
forethought or thinking. The thinking process is slow and oftentimes, you will
be late if you think before you react. Therefore, rely more on your muscle
memory which is faster and more efficient.

7. Speed
At numerous demonstrations, professional martial artists of different
techniques have been provided with a stick and a helmet and asked to block a
stick strike in escrima fighting. To this point, nobody, including some black
belts, has been able to perform at their best.
This isn't asserted to demean the black belts' abilities, but to show that a strike
in eskrima kali is extremely fast. A great amount of practice is what it takes to
safeguard against a stick used in this way before one could even notice the
stick move – you'd be hit before you know it. It takes particular styles like
Balintawak Eskrima to block a fast blow.
Make the blows faster and more unpredictable by not winding-up. To maximize
the blow's speed during the fighting, snap the wrist while striking with the
body. Much of the power is generated in this way as well. The elbow and
shoulder joints can also be used to adjust the distance.
Proper torque creates power for finishing blows generated from the shoulder
and hip joints.

Sports arnis practitioners in tournament.

8. Economy
Economical movements are a necessity. Seek out the shortest trajectory. This
can be compared with the more extended circular trajectories for strikes and
blocks that take a longer time to hit the target. In stepping, don't perform 270-
degree turns just like the ones found in a few other martial arts. In Balintawak
Eskrima, for example, cross-stepping, as observed in other techniques, isn't
practiced.
9. Relaxation
Stay relaxed and loose, to make each motion explosive. For speed, utilize
muscular explosion. The relaxation principle is one that's applicable to swift
motion because relaxed arm and body will speed up faster.

10. Principles of blocking, throwing and striking with power

Numerous principles of body dynamics are utilized to build superior power.
The most imperative perhaps is the twisting for power principle. All arm
movements, whether executed with the rear front leg, are performed with a
powerful body twist.
This, in fact, provides strikes in the lead hand almost as much control as
strikes in the rear hand. Another significant component in obtaining power is
using gravity by dropping your weight. This can be increased when stepping
through, or allowing the blow to drop into the body before planting the
stepping foot.
Power can be created in strikes when one slants into a blow. Finally, many
blows create extra power by snapping or twisting the wrist.
Balintawak Master performing “Cuentada” with student.

11. Distance and Range

Even though it's obvious to the inexperienced person, controlling the space
between you and your enemy might be the one most significant aspect of
achieving success. Additionally, at various ranges, various dynamics just appear
out of nowhere and various techniques can be applied.
During the engagement, you might come across numerous distinct ranges in an
explosive exchange. The following classification scheme resembles several
others in regular use and must be functional. Distance is arranged from far
away range to a very close one, with five categories.
1st – outside range – initial distance. At this point, no contact is made with a
weapon or foot without coming closer first. You keep your head farther than
the range and utilize long-range defense styles. This is temporarily a safe
position. If you move toward any nearer than this range, you must stay at the
offensive.
2nd – long-distance range. This will allow you to successfully strike your
enemy with a long weapon or a leg, without stepping. You must never remain
within this range and do not engage in the attack.
3rd – punching range. This will let you hit your enemy with close kicks, hand,
or a knife.
4th – in the – fighting range -a little closer. At this point, you can utilize hook
punches, elbows, disarms, uppercuts, arms leverage kind takedowns, off-
sweeps, balancing, restraining, trapping and turning techniques.
5th – grappling range – the closest. You may utilize judo and wrestling kind
groundwork and take-downs. This is the ideal range of the Jiu-jitsu exponent or
the wrestler.
Even though the ground is typically related to grappling styles, it is likely to use
in- fighting styles on the ground and not get into wrestling holds.
Balintawak eskrima practitioner performing basic strikes on target.
12. Positioning Yourself
Weapons must be delivered at the proper distances for defense or attack. Use
the body motion to set the weapons for a successful attack. Apply body motion
to evade from the attacker's weapons. Thus, excellent footwork is necessary. If
your footwork is very slow, the evasion or attack would be slow, and power
won't be optimal.
When positioning in proportion to the opponent, you should control your
distance. If you control the distance, you can control the fight. Remember that
different styles and techniques are appropriate for various ranges.

FMA Practitioner Adriana Liang performing creative Anyo.