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FMA Informative Issue No #160

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FMA Informative Issue No #160 Informative Issue No. 160 2015 An Interview with Grand Maestro Jon Bais A long time friend and fellow practitioner of Steven Dowd a staff member of the FMA Informative, the FMA Interview with Grandmastro Jon Bais Informative was very fortunate in being able to interview Grand Maestro Jon Bais of Bais Tres Manos. And the Basic Fundamentals purpose was to have Grand Maestro tell the history of his family’s art commencing with when it all started with Parts of the Stick (Olisi) the Disalon system and progressed to today’s Bais Tres Manos. Gripping (Gunit) Also in this issue is some of the very basic fundamentals of Bais Tres Manos. It is planned that if Grand 8 Basic Strikes and Blocks Maestro is willing to expand on Bais Tres Manos the FMA Informative would like to do another issue or two on 13 Strikes (Desalon) Bais Tres Manos on how the style progresses in knowledge and training 13 Blocks Balangkas-Disalon (Sayaw-Uno) Philosophy and Principles of Bais Tres Manos The Bais family adopted the three principle martial arts objectives of native Filipinos. The family also improved and developed unique self-defense movements that are applicable in sport martial arts and actual combat. They were designed for application by either gender. The objectives are to promote camaraderie, health and personal self-defense which have to be applied only in unavoidable circumstances. The first training starts with bladed and non-bladed weaponry. Continued practice develops the body instinct’s and raises awareness of the true danger of weaponry. The concept of this training is to attack in a simultaneous manner, neutralizing the opponent and controlling the fight. Continuous follow up (strike) on every tactical strike is a must. The end of every strike should be the beginning of the next one. This will redirect your oppo- nent’s counter moves and let you control the fight. Blocking is essential for effective counter-options. Balance is a factor of technique. Foot work is the stable structure of defense and offense. The second principle is the use of hand and foot fighting for offensive and defensive techniques to out-ma- neuver the opponent. Understanding the importance of balance, the ranges of target and foot work are vital on every attacking and countering aspect. The effectiveness of hand and foot as a weapon is the base form of each distance. Leg kicks are used for long range distance and mobility of jumping. Sliding and body shifting are additional factors on distance maneuvers. Circular punching, straight punches, back hand and chopping are for medium range. The elbow, knee kicks and upper cut punches are for short ranges. The main key is to understand how your own body functions in every position. Then reach beyond as your body adopts and applies these tech- niques. The third principle is the continued practice and preservation of the “dancing ways” of patterned drills and bais3manos.com forms which Filipinos called “Sayaw” (a dance). These practices are armed and unarmed and performed in non-aggressive body movements. This is dedicatedly performed for the development and preservation of the arts and for training the body. This principle teaches your physical being and mind to react instantly according to the situation of the attack, if engage in real fighting. Each issue features practitioners of martial arts and other internal arts, other features include historical, theo- retical and technical articles; reflections, Filipino martial arts, healing arts, the culture of the Philippines and other related subjects. The authors, publisher and owner of this online magazine are not responsible for any injury, which may result from the instructions contained in this online magazine. Before embarking on any of the physical activates described in the magazine, the reader should consult his or her physician for advice regarding their individual suitability for per- forming such activity. The ideas and opinions expressed in the FMA Informative online magazine are those of the authors or instruc- tors being interviewed and are not necessarily the views of the publisher, editor or owner of the FMA Informative. The articles are the property of the author’s that wrote them and cannot be used without the permission of the author. Grand Maestro’s kids and family his inspiration The FMA Informative is for the promulgation and promotion of the Filipino martial arts and the Culture of the Philippines. NO issue can be printed and Sold for Monies, without the express permission of the Owner and Publisher To Contact Grand Maestro Jon Bais of the FMA Informative. Email: [email protected] The FMA Informative in obtaining this interview with Grand Maestro Jon Bais wants Grand Maestro dor or Arnisador in their training to punch. self-defense, the training was only Bais to tell the history of his family’s fighting art system from the beginning. Some may know part of the history, identify the motion of strikes were: FMA Informative: In winning more impasses in Panay due to however it is always good to know it from the man himself. Papayong and Abanico. My great several actual combat challenges forming of the group. According So it is with great appreciation that Grand Maestro Bais consented to answer a few questions. grandfather, Juan, popularized the in the Barotac, Viejo region. In to my elder family who remember term ‘Tira Pilon” – meaning twist- 1936 the group was disbanded and expounded the background ed strikes. after a bloody and serious con- history of my family martial arts. FMA Informative: The original now I called “Aninong Galaw’ ing brother) Ibrahim was incorpo- An example of this training, frontation with a rival group of The old methods of teach- system of your family was Disa- meaning Shadow movement drills rated because of the bladed aspect which combines all three methods: Eskrimadors. It is said that Mae- ing of martial arts in the Philip- lon system from Bantayan, Ban- which Maestro Arturo Mayo made and combative principle of the Largo/Medya/Corto is the drill stro Juan Bais moved and settled pines before are not elaborated to tayan-Island. In 1934 the Juan proficient. These are some of his Southern Native Filipino fighting we call: Sinanga-Sinaltik-Pinalo in Negros, Occidental with his form as pattern moves as compared Bais moved the family from Ban- contribution to the Kalis-Disalon. ability. These techniques were (Block-Parry-Strike). family to continue the practice of to “Japanese Kata” the Filipino tayan to Barotac, Viejo, of Panay, He was a prior practitioner of the applied in a more powerful, ag- FMA Informative: The system the family system which began in training before was said to be more bring the art with them. Once in original Siete Pares. gressive, and rapid motion in low Kalis-Disalon retained its basic Panay. He re-organized his system in muscle memory of training to Barotac Juan Bais he joined up Among these old say- positions and angles. principles but due to the popularity and called it Kalis Disalon-Walay react according the attacked. In with Arturo Mayo, who originally aw-pangaway were: Kurat-Sa, This is where one of their of Arnis de Mano the group trans- Atras (meaning no retreat). my personal opinion it could be came from Batangas, Province Wara-Wara, Moros-Moros. mottos in training originated from: formed the bladed practice into Were there any changes in one of the reason why the Filipino of Luzon the main island of the Some of the more famous “Di Mag Dugay Basi Mapatay” a comprehensive system of stick the basic principles of the art? martial arts has many styles/system Philippines. Their acquaintances Philippine fork art dances are Sin- meaning don’t prolong the fight fighting which was renamed Eskri- Grand Maestro Bais: There was because no unity and uniformity a Muslim friend (Igsu) Ibrahim gkil, Nilatik and others. because you might be luckily hit ma Disarma. It is said due to the no changes but improved and de- in the arts of training in that early Khalil from Jolo, Sulu who was and die. Kuratsa: Emphasis of footwork exemplary skills and unique fight- velop into a fast fighting combat- generation. It was long told that skilled in Kalis fighting had them The Bais Sinawali drills are while wielding a weapon without ing techniques of Juan Bais, using ive of Disarming than countering Filipino Masters before are selfish incorporate two methods of fight- composed of Largo Mano (Long- set patterns or direction. This is the Tira Pilon and Trangkada the counter attacks. The system of not teaching their martial art it ing and decided to form a system, range strikes), Medyo Mano (Mid- being performed in a wild manner techniques, he was respected and name was just changed to avoid which they called Kalis-Disalon. range strikes) and Corto (Short- of footwork techniques, which is honored by the group as the Mae- being easily traced from avenges/ range strikes). comparable to an old folk dance stro de Maestro of the system. revenges of previous confronta- without set movements. There are 3 application methods Can you explain the Tira tion. Wara-Wara: Emphasis on hand used by Bais Tres Manos: Pilon and Trangkada techniques? FMA Informative: 1943 - Mae- ability wielding a weapon in a First Method: “Tira Larga” which Grand Maestro Bais: “Tira Pilon” stro Regino Bais Sr., son of Mae- fast motion with no set pattern or is a long strikes using the twisting is a powerful and twisting strike stro Juan Bais; became skillful direction where to strikes. It is a motion of the body from the hips delivered towards the incoming in the family art.
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