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1001 Years of Missing Martial Arts
1001 Years of Missing Martial Arts IMPORTANT NOTICE: Author: Master Mohammed Khamouch Chief Editor: Prof. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Deputy Editor: Prof. Mohammed Abattouy accessing these web pages, you agree that you may only download the content for your own personal non-commercial Associate Editor: Dr. Salim Ayduz use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: April 2007 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 683 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2007 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it. -
FILIPINO MARTIAL ARTS the Filipino Martial Arts
Ronald A. Harris, Ph.D. FILIPINO MARTIAL ARTS The Filipino martial arts (FMA) can be called Filipino fencing, because they are methods of personal armed combat that emphasize skills in weaponry over skills in empty hands. Unarmed combat is practiced in FMA, but is traditionally studied after weaponry. This training sequence sets FMA apart from other martial arts that initiate with empty hands. Armed combat is known as Arnis, Eskrima (fencing, Spanish), and Kali. Arnis derives from the Spanish arnes meaning armor. It also comes from “harness,” referring to the battle harness worn by Filipino soldiers under Spanish command. Arnis-de-mano means “harness of hand”, referring to deft hand movements of Filipino grooms for Spanish officers. These lightning fast hand movements were native martial arts techniques in disguise. Forbidden by the Spanish to practice martial arts, defiant Filipinos retained their fighting skills in secret by hiding them in dance forms called Santikan, Sayaw, and Moro-Moro. Other etymologies have been suggested for the names of the various Filipino arts. Dueling an opponent is “to skirmish”. The Spanish term Esgrima is in the Pilipino language. Kali might be named after the Hindu Goddess of c:\mars\clio\fma 1 Ronald A. Harris, Ph.D. Destruction. Dan Inosanto says Kali is the conjunction of the first syllables of two words from the Philippine Islands Visayan language--kamot meaning “hand” and lihok meaning “motion”. Thus, Kali means “hand motion”. An etymology of the Pilipino language indicates otherwise. In the Hiligaynon dialect of the Western Visayas, the term kali means “to dig”, as with a shovel (pala). -
Martial Arts of the Middle Age
IQP JLS-0072 Martial Arts of the Middle Age Interactive Qualifying Project Report Submitted to the Faculty of the Worcester Polytechnic Institute, Worcester, MA in partial fulfillment of the requirements for graduation by Andrew Aveyard ___________________ Jason Cardwell ___________________ Brad Davison ___________________ Daniel Haggerty ___________________ May 6, 2014 _______________________________ Professor Jeffrey L. Forgeng, Advisor 1 Table of Contents Table of Contents .......................................................................................................................................... 1 Abstract ......................................................................................................................................................... 4 Introduction .................................................................................................................................................. 5 History of European Martial Arts ................................................................................................................ 10 Medieval Time Period ............................................................................................................................. 10 Environment of the Medieval Age ...................................................................................................... 10 Knightly Combat .................................................................................................................................. 12 Masters and their Manuscripts -
Symbolism in Pre-Colonial Filipino Warrior Culture by Perry Gil S
FMA CORNER: Symbolism in Pre-Colonial Filipino Warrior Culture By Perry Gil S. Mallari - January 7, 2010 Symbolism is part and parcel of pre-colonial Filipino warrior culture. A certain clothing, tattoo or cicatrix may connote the wearer’s status in the warrior society. Tattooing was widely practiced in pre-colonial Philippines both for the purposes of ornamentation and rite of passage. This was particularly prevalent in the Visayas and among the highland tribes of northern Luzon. So widespread was the practice of tattooing in the Visayas that the Spaniards coined the Visayans “pintados” [painted] because their bodies were covered with tattoos. Batuk is the general term for tattoos in the Visayas. Even today, an annual feast called Pintados Festival is celebrated in Tacloban to pay tribute to the ancient tattooing tradition of the Visayans. On the other hand, in the mountainous part of northern Luzon, tattooing traditions are still preserved today within certain tribes. The Visayas William Henry Scott, in his book “Barangay: Sixteenth Century Philippine Culture,” explains that the display of tattoos plays an important part in psyching up one’s opponent in battle, he wrote, “Still more rugged were those who submitted to facial tattooing. Indeed those with tattoos right up to the eyelids constituted a Spartan elite. Such countenances were really terrifying and no doubt intimidated enemies in battle as well as townmates at home. Men would be slow to challenge or antagonize a tough with such visible signs of physical fortitude.” The location of a tattoo also indicates a warrior’s experience in battle as Scott notes in the following texts, “Chest tattoos which looked like breastplates – less frequently, tattoos on the abdomen – only came after further action in battle; and still later, those on the whole back, widest field for the tattooer’s artistry. -
FMA-Vol1-No3.Pdf
Publisher Steven K. Dowd Contributing Writers Isagani C. Abon Phil Elmore Alfred Plath Contents From the Publishers Desk Grandmaster Vicente Sanchez - "A Magical Tour of Learning" Punong Guro Henry Espera - The art of Rapido Realismo Maestro Elmer Ybanez Train the Stick to Learn the Blade? 2nd Filipino Martial Arts Festival - in Dortmund FMA Future Events Filipino Martial Arts Digest is published and distributed by: FMAdigest 1297 Eider Circle Fallon, Nevada 89406 Visit us on the World Wide Web: www.fmadigest.com From the Publishers Desk Kumusta Just recently I had the opportunity to travel to the Philippines. It was very prosperous in that I met with and interviewed many Grandmasters and Masters in the Filipino martial arts. I owe many thanks to Datu Halford E. Jones, David Foggie of Australia 'who is spending several months in the Philippines continuing to enhance his knowledge of the Filipino martial arts', and Guro Roland Dantes. All are instrumental in introducing me to many of the best Filipino martial artist their. So it will be in future issues of this digest you all will get a glimpse of some of the most interesting Filipino martial artists that I had the privilege to meet. However it is hoped that anyone that can contribute articles to this digest will do so, for their article will most gladly be accepted, and are a most significant benefit to all readers of this online digest/magazine. I remind everyone that there is a practitioners section on the website and it is asked if you know of any Grandmasters, Masters, Instructors, or practitioners please send in a photo with name and style to be added. -
A Brief Look at Filipino Martial Arts
A Brief Look at Filipino Martial Arts It is said that, originally, the cane was considered sacred by practitioners (Arnisadores), and therefore an arnis practitioner was expected to hit his cane at the hand or forearm of his sparring partner and not at the latter's cane. This had the advantage of being the preferred method in actual combat, referred to as "defanging the snake", that is, making the opponent drop his weapon so that he is less of a threat. However, it discouraged many would-be practitioners who found this training too painful and injury-inducing. The result was that the Filipino martial arts became in danger of dying out; in most areas of the Philippines, Japanese martial arts such as Karate and Judo were much more popular than the indigenous systems. Remy Presas' modernization of the Filipino Martial Arts refers to ancient and newer fighting training method was intended to help preserve the Filipino methods devised in the Philippines. It incorporates elements martial arts. He taught the method of hitting cane-on-cane from both Western and Eastern Martial Arts, the most popular during practice, which attracted more newcomers to the art and forms of which are known as Arnis, Eskrima and Kali. The allowed the art to be taught in the Philippines' school system. intrinsic need for self-preservation was the genesis of these "Defanging the snake" remains a principle of Modern Arnis, systems. however, and in practical application, one would typically strike the hand or arm. The technique can be used empty- Filipino Martial Arts have seen an increase in prominence due handed, where it is known as "limb destruction". -
Filipino Martial Arts and the Construction of Filipino National Identity
Filipino Martial Arts And the Construction of Filipino National Identity A thesis submitted to the University of Manchester For the degree of Doctor of Philosophy In the Faculty of Humanities 2015 Rey Carlo T. Gonzales School of Arts, Languages and Cultures Table of Contents Plates…………………………………………………………………………….........4 Abstract…………………………………………………………….…………………5 Declaration…………………………………………………………………………...6 Copyright Statement……………………………………………..……………….. …7 Acknowledgements and Dedication………………………………………………….8 Introduction…………………………………………………………………………9 Historical Framework……………………………………………………….11 Method and Sources…………………………………………………….…..27 Scope, Structure and Contents………………………………………………32 Chapter I - Old School: Homogeneity, Diversity, and the Early Practice of FMA………………………………………………………………………………..37 Sixteenth Century Warfare in Visayan Barangays…………………………39 Arnis, Kali, Eskrima and the Historical Narrative of FMA………………...45 FMA Old School……………………………………………………………54 Conclusion………………………………………………………………..…69 Chapter II - New School: The emergence of FMA Clubs and the Construction of National Identity from FMA…………………………………………………...71 Emergence of the New School……………………………………………...74 Juego Todo and Martial Prowess as Prestige……………………………….79 Conflicts between and within FMA Clubs, and the strengthening of local FMA identities………………………………………………………………87 Creation of ‘Filipino’ in FMA from abroad………………………………...94 NARAPHIL and ARPI: State Appropriation of FMA and FMA’s Appropriation of Nationalism………………………………….98 Conclusion…………………………………………………………………105 Chapter -
The Embodiment of an Authentic Filipino Art of Self-Preservation and Well-Being 1* 2 Domenic T
Alinteri J. of Agr. Sci. (2021) 36(2): 115-121 http://dergipark.gov.tr/alinterizbd e-ISSN: 2587-2249 http://www.alinteridergisi.com/ [email protected] DOI:10.47059/alinteri/V36I2/AJAS21123 RESEARCH ARTICLE The Embodiment of an Authentic Filipino Art of Self-Preservation and Well-being 1* 2 Domenic T. Sanchez • Rafael D. Sanchez 1* College of Education, Cebu Technological University-NEC, City of Naga, Cebu, Philippines E-mail: [email protected]; ORCID: https://orcid.org/0000-0003-4752-439 2 College of Engineering and Architecture, Cebu Institute of Technology-University, Cebu City, Philippines. E-mail: [email protected]; ORCID: https://orcid.org/0000-0003-0685-731 ARTICLE INFO ABSTRACT The study discussed the cultural and historical significance of arnis, the indigenous art of self- Article History: Received: 12.05.2021 preservation developed by the early Filipinos. As a form of self-defense, arnis, kali, or eskrima is deemed to have evolved in the Philippines during the pre-colonial period through ingenuity, multi- Accepted: 22.06.2021 Available Online: 14.07.2021 cultural interaction, and friendship between aboriginal Filipinos and Asian traders. Arnis is a graceful yet exquisite hand-to-hand and armed routine intended for combat with a peculiar history linked to Keywords: rebellion and struggles among commoners who sought freedom from the ruling colonizers. It is interesting to report that the symbolic authentic Filipino Martial Art (F.M.A.), which has been passed Well-being on through generations, had eventually reached the pedestal of recognition as a national sport, art, Heritage and culture of the Philippines under the Republic Act 9850. -
Amara Arkanis: a System of Systems 2 Steven K
Dedicated to the Filipino Martial Arts and the Culture of the Philippines Special Edition 2010 Contents FMAdigest Publishers Desk Publisher Amara Arkanis: A System of Systems 2 Steven K. Dowd The Founder of Amara Arkanis Punong Mataw-guro Luis Rafael C. Lledo 4 FMAdigest Representatives Filipino Martial Arts Education 6 Marc Lawrence Comparison of Teaching Approach 7 Punong Mataw-guro Lledo Migration to the United States 9 Abecedario or Abakada 11 Filipino Martial Arts Education Requirements 15 Samahan ng mga Mataw-guro 20 Contributors Phil Weathers Emmanuel ES Querubin Louelle Lledo, Jr. The FMAdigest is published quarterly. Each issue features practitioners of martial arts and other internal arts of the Philippines. Other features include historical, theoretical and technical articles; reflections, Filipino martial arts, healing arts and other related subjects. The ideas and opinions expressed in this digest are those of the authors or instructors being interviewed and are not necessarily the views of the pub- The articles are the prop- lisher or editor. erty of the author’s that wrote them We solicit comments and/or suggestions. Articles are also welcome. and cannot be used without the The authors and publisher of this online magazine are not responsible permission of the author. for any injury, which may result from following the instructions contained in the The FMAdigest is the magazine. Before embarking on any of the physical activates described in the property of Steven K. Dowd and is magazine, the reader should consult his or her physician for advice regarding for the promulgation and promo- their individual suitability for performing such activity. -
Fma-Special-Issue-1St-Nfma-Festival
Publisher Steven K. Dowd Contributing Writers Bambit Dulay Peachie Baron-Saguin Rudy Vivero Tony Aguirre Abner Anievas Jean Paul Zialcita Michael Gubat – videos Contents From the Publishers Desk Introduction The Hidden Wealth of the Philippines The Birth of the National Filipino Martial Arts Organizing Committee Officers and Organizers Event Schedule Instructors Seminar Basics and Advance Courses Gala Night Activities Introduction of Different Filipino Martial Arts Styles Cultural Dance Presentation Demonstration of Different Filipino Martial Art Styles Celebrities who are Arnis practitioners 1st NFMA Comments: Guro Abner Anievas A Pinoy and Regal Atmosphere Videos of the 1st NFMA Filipino Martial Arts Digest is published and distributed by: FMAdigest 1297 Eider Circle Fallon, Nevada 89406 Visit us on the World Wide Web: www.fmadigest.com The FMAdigest is published quarterly. Each issue features practitioners of martial arts and other internal arts of the Philippines. Other features include historical, theoretical and technical articles; reflections, Filipino martial arts, healing arts and other related subjects. The ideas and opinions expressed in this digest are those of the authors or instructors being interviewed and are not necessarily the views of the publisher or editor. We solicit comments and/or suggestions. Articles are also welcome. The authors and publisher of this digest are not responsible for any injury, which may result from following the instructions contained in the digest. Before embarking on any of the physical activates described in the digest, the reader should consult his or her physician for advice regarding their individual suitability for performing such activity. From the Publishers Desk Kumusta The 1st National Filipino Martial Arts Festival was a gathering of practitioners that turned out to be a brotherhood and a demonstration of how the arts can come together and promote the culture and history of the Philippines. -
FMA Informative Newspaper Vol3 No.12
Vol 3 No 12 - 2014 Newspaper Propagating the Filipino Martial Arts and the Culture of the Philippines 2012 FMA Informative FMA Informative 3rd Year Anniversary Newspaper Articles This is the 3rd Anniversary of the FMA Infor- phone calls or emails some of the best in the mative. The owner would like to thank the Filipino martial arts (also some outside of the 2013 FMA Informative staff, all the writers, practitioners etc., for their Filipino martial arts that have much to offer) Newspaper Articles support, and of course the FMA Informative people and is honored to promote and prop- Article wants to thank the subscribers which is just agate them and their art and their activities. 2014 FMA Informative a little over 6,000 at the time of this issue and Of course there are those that are lazy, Newspaper Articles the Face Book crowd which is moving to- unprofessional, their word is worth noth- Article wards 3,000 members for all their support.. ing, and some that just talk crap and are The FMA Informative reaches out to assholes that no matter what one tries to 2011 FMA Informative all writers and practitioners and historical do in bringing forth and promoting them Issues avenues available to bring information on it just is not going to happen - to those the Article organizations, styles, groups, practitioners, FMA Informative has found it is better just 2012 FMA Informative events, etc., also every aspect of the Filipino to let them alone and to not bother pub- Issues martial arts and culture that it can think of. -
FMA Informative Newspaper Vol6 No.4
Vol 6 No 4 - 2017 Newspaper Propagating the Filipino Martial Arts and the Culture of the Philippines Adaptability the To Master or Not to Master Hallmark of Eskrima By Joel Huncar By: Mustafa Gatdula What type of Filipino martial artist are The first part of answering this ques- Article you? How far do you want to take this thing? tion is to state emphatically that mastery of The Sticky Subject of What are your goals in the arts? Is it necessary the art can only occur after one has commit- Weaponry Training to complete curriculums, teach the art, fight ted himself/herself to long term discipleship By Burton Richardson in matches, cross train, or aim for mastery? under a true master of the art. If you wanted Article And that, today my friends, is the ques- to learn to become a master mechanic, you tion. This question is not one that you need will not be able to achieve this goal under Cutting Class: to answer aloud, but is one you should be a man who has never worked on cars for a 10 Reason By Jerome Teague answering to yourself so that you can navi- living. You will not learn it from a book. You gate the martial artist lifestyle. “That” be- will not achieve mastery of automechan- Article ing the why of your martial arts journey– ics from YouTube clips. You will not be able not so much the eight questions I posed. to find a weeklong workshop anywhere You see, we tend to filter everything that will give you the tools, I don’t care if the we see in the arts through our own eyes–and seminar was taught by Henry Ford himself.