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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
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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 Thompsons Academy of Mixed Martial Arts
Registered in the Library of Congress Register of Copyrights, United States of America Registration Number TXu 1 313 040 June 29, 2006 Kali Academy of Martial Arts Jun Fan Gung Fu Institute Whittier, CA USA For non-commercial and private use only Any public use or copying is strictly prohibited All rights reserved under copyright Revised 2 nd Printing February 1 st 2007
FORWARD
By Dan Inosanto:
I am honored to have been asked to write this forward for my long time student and friend Bud Thompson. I first met Bud, a former body builder, at his Hollywood Natural Foods store, in 1965. I along with my instructor Bruce Lee would frequent the Hollywood book stores for our research on martial arts, and we would stop in to see Buddy for the latest on nutritional supplements. When I opened the Kali/Chinese Gung Fu Academy in Torrance California in 1974 Bud was there to train and has been with me ever since, Actively training at the Kali Academy and following me to the IMB Academy(Inosanto-MartinezBustillo),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. Buds students will benefit from his years of training and teaching not only by studying with him at his academy, but by reading his new manual, which will enhance their skill and knowledge and aid them on their own path.
Dan Inosanto Founder & Head Instructor The Inosanto Academy of Martial Arts Marina Del Rey, California USA
Table of Contents
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Table of Contents Table of Contents (continued) Table of Contents (continued) Table of Contents (continued) Table of Contents (continued) Table of Contents (continued) Introduction Filipino Martial Arts Phase I Curriculum Advanced Phase I Curriculum Phase II Curriculum Advanced Phase II Curriculum Phase III Curriculum/JKD Status Eskrima #1 Numbering System Portrait Johnny LaCoste/Dan Inosanto LaCostes 1st Cinco Teros Pattern LaCostes 2nd Cinco Teros Pattern LaCostes 3rd Cinco Teros Pattern LaCostes 4th Cinco Teros Pattern LaCostes 5th Cinco Teros Pattern LaCostes Numbering System #1 Ending LaCostes Numbering System #2 Ending LaCostes Numbering System LaCoste Salutation Villabrille Salutation Villabrille Numbering System Floro Villabrille Kali Structure Raymond Tabosas Martial Arts Structure Largo Mano Numbering System Cabelas Numbering System Lameco Numbering System Inosantos Seventeen Count Numbering System Inosantos Twenty Five Count Numbering System Five Point Knife Stroking Drill A Five Point Knife Stroking Drill B Eight Point Knife Stroking Drill Seven Balance Control Points Pekiti Tirsia Numbering System Pekiti Tirsia Sak Sak Drill Five Count Drill Pekiti Tirsia Pekal Three Count Drill Doce Pares Numbering System Cacoy Canette 1978 Old Balintawok Numbering System Contra Sumbrada Hubad Terms / Abcedario Weapons Progression Hubad Seven Ways to Train Twelve Areas Kali - Dumog - Kunsis / Positions in Kali
Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132 Page 133 Page 134 Page 135 Page 136
Understanding Martial Arts Jun Fan Gung Fu as Developed By Bruce Lee Has a Definite & Set Style Jun Fan Gung Fu Is A Set Curriculum As Developed By Bruce Lee Jun Fan Gung Fu Bruce Lees Base System /Set Curriculum of Material The Facts of Jeet Kune Do Basic Terminology Cantonese to English Cantonese to English (continued) Cantonese to English (continued) Cantonese to English (continued) The Five Ways of Attack The Five Ways of Attack (continued) The Match Jun Fan Gung Fu 1966-1967 Jun Fan Method of Jeet Kune Do Sensitivity Drills Basics Bruce Lee Philosophy Regulations of Jun Fan Gung Fu Jeet Kune Do Chinese Kickboxing Jun Fan Gung Fu Jeet Kune Do Titles of Respect JKD Classification for Types of Speed Jun Fan Method Cross Counters To Hand and Kick Combinations Jun Fan Method Lead Hook Counters Jun Fan Method Middle Juk Tek Counters Jun Fan Method Lead Leg Middle Oou Tek Counters Jun Fan Method Counters For Low Lead Oou Tek Jun Fan Method Counters For Low Rear Oou Tek Jun Fan Kickboxing Drills Basic Trapping Progression Jun Fan Method 1966 Progression Basic Trapping Progression Jun Fan Method 1966 Progression (continued) Basic Trapping Progression Jun Fan Method 1966 Progression (continued) Basic Trapping Progression Jun Fan Method 1966 Progression (continued ) Basic Trapping Progression Jun Fan Method 1966 Progression (continued ) Basic Trapping Progression Jun Fan Method 1966 Progression (continued ) Jun Fan Trapping Progressive Noy Da Series Jun Fan / JKD Focus Mitt Drill /PIA #1 Noy Da Series Jun Fan/JKD Focus Mitt Drill /PIA #2 Noy Da Series Jun Fan/JKD Focus Mitt Drills /PIA #3 Quotations Quotations (continued) Attack by Combination Jun Fan Method of Jeet Kune Do Sensitivity Drills Basics Left Hand Stance Right Hand Stance Jun Fan Kickboxing Drills What Is? The Truth In Combat Is Different For Each Individual 3
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 Its 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..
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: (ITBA) R/L Four count drills Twelve count drills Fifteen count drills Eighteen count drills abc Focus Gloves: (Jun Fan) R/L Coordination drills Progressive focus gloves drills Contact sparring 3 min. Rd. H/F
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
ANY OF THE ABOVE DRILLS MAY BE CHANGED AT ANY TIME AS THE INSTRUCTOR SEES FIT AS TO FURTHER ENHANCE THE STUDENTS SKILLS.
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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
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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.....
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Pio
Floro Villabrille
Hawaii Kenneth Villabrille Raymond Tobosa Frank Mamallas Rudy Orlando Matt Ihara Fred Lawas Rose Souza Connie Amasiu
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 27
Hawaii Hawaii Edwardo Pedoy Teofisto Tobosa Patrick Layusa Richard Terioka Ismile Espanola Beau Van Dan Ecker
(father) Esabelo Richard Fred Tin Chan Atanascio Masutatsu Floro Felciano Bonifacio Maximo Cuba Takamoto Lare Lee Acosta Oyama Villabrille Magsanide Lonzaga Tobosa
Tolesfero Subing-Subing
Judo
Arnis
Karate
Kali
Arnis
Eskrima
Eskrima
Individuals taught:
Nick Mica
Juanito Ambrosio
Ben Arcamo
Ben Ricky . Arcamo Jr. Tobosa Mike Young Ronald Camanse Lenny Ea James Abril Everesto Tabion David S. Yagen
Mat Ihara
Al Dacoscos (Germany)
Emie Libarios
Dolly
Pat
Laverne
Darlene
Lord
Tammy
Ralph
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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
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HUBAD TERMS
Lubas twist Tuok chokes Humbot wave Dungad knife thrust Yuta earth Bunbon sand Calibut ground Tuhod knee Siko elbow Songab finger
Hubad applies to: 1. Elbow catch 2. Shoulder stop 3. Neck grab 4. Wrist grab 5. Hip check 6. Knee check 7. Foot check
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
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HUBAD
Three speeds for hubud Three heights for hubud High (standing) Middle (on knees) Low (sitting or lying) Twelve foot work patterns Twelve methods to work within hubad 1. Strikes (all) 2. Punches implies (left & right hand) 3. Elbows (outside against tricep, inside against funny bone) 4. Knees 5. Kicks 6. Chokes 7. Strangles 8. Leg locks (hip, knee, ankles & toes) 9. Arm locks (shoulder, elbow, wrist, & fingers) 10. Throw 11. Sweeps 12. Take downs Variations 1-4-1 Double 2 strike add jao sao to routine Hubad Terms Higot-Hard Tie Higot-Soft Tie Hubad-Untie, loosen Hubad Bud Bud Lubad-Twist Lubad-Blend Harmoniously Bud Bud-Untie loose
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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)
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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)
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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)
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10. Inside Switch W/Hit Outside Deflection/Slash Down ======================== 11. Inside Switch W/Hit Umbrella W/Upward Slash or Roof W/Upward Slash ================= 12. Inside Switch W/Hit Parry W/Dagger Horizontal Hit W/Stick =========================== 13. Inside Switch W/Hit Outside Deflection Thrust W/Dagger =========================== 14. Inside Switch W/Hit Parry W/Dagger Horizontal Backhand W/Stick ================= 15. Inside Switch W/Hit 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
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 opponents 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
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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
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Variables:
1.) I/I/I Family (Inside/Inside/Inside) 2.) I/B/B Family (Inside/Back Hand/Back Hand) 3.) I/B/I Family (Inside/Back Hand/Inside) 4.) I/I/B Family (Inside/Inside/Back Hand) 5.) B/B/B Family (Back Hand/Back Hand/Back Hand) 6.) B/I/I Family (Back Hand/Inside/Inside) 7.) B/B/I Family (Back Hand/Back Hand/Inside) 8.) B/I/B Family (Back Hand/Inside/Back Hand) Total Variables 64 64 64 64 64 64 64 64 512
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)
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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)
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7th Area Panantukan (boxing) 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
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KALI TERMINOLOGY
Parada Payong Pinuti Pitik Praele Punal Saggang Sargento de Armes Semud Senang Siko Sinawali Sulod Sumbrada Sundang Tabas Tambak Taming Tayada Tiel Tiel Lihok Tigbas Tindolo Tindug Tuhan Tuhud Tulo Pesagi Utbong Witik
Stance Defensive parry Garote or sundang Flick with finger(s) Defensive method Short-bladed weapon;daga Defensive x-block Sergeant at arms Mouth (same as Baba) Light; sun Elbow Interwoven motion; Doblicara To move in Counter for counter, style Large - bladed weapon Strike from the right Path; forward / backward movement Shield To circle opponent Foot (same as Siki) Foot movement Strike with bladed / non bladed weapon Finger (same as Tudio) To stand; to get up Master Knee Triangle Tip Whip like strike pull back motion
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ENGLISH
1. Sagang 2. Parry 3. Catch 4. Thrust (illocano) 5. Slash 6. Punch/Hit 7. To Strike W/Blunt Instrument 8. Word Used to Describe Blade Strike 9. Throw 10. Choke 11. Sweep 12. Run 13. Trip 14. Break 15. Lock 16. Pull 17. Push 18. Hit 19. Slap on Arm 20. Slap on Face 21. Over Run or Charge 22. Pull & Push 23. Let It thru 24. Let It Thru & Look For Openings 25. A Strike That Goes Up Like a Block & Go Up W/Wing like Motion 26. Receive
VISAYAN
Sangga Paawas Dakup Dunggag Panastas Sumbag Hampak Panastas Yastas Labay Tapon Tu-ok Walis Dagan, DFumagan Dumalagan (verb) Binte Bintehon (verb) Bali Kunsi (old) Bira Berahon (verb) Tulak, Tuklod Hampak Tapi Sagpat Sagasa Bera Ug Tuklod Palusut Palusutan Boklis Dawat
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TAGALOG
Pa-uyon Huli-Hulihin Saksak-Doyu Hiwa Suntok Suntok Hampas Hiwa Buno Tapon Sakal Takbo
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
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ABCEDARIO TRAINING
Stage 1 Stage 2 Stage 3 Stage 4 Stage 5 Stage 6 Stage 7 A. B. C. Block & Return 1hit Block & Return 2 hits Block & return 2 or more hits Receive 2 hits Receive 3 hits Receive fakes to positive attacks Using different weapons Receiving different weapons Using different throws, locks, trips, sweeps, disarms, takedowns Receive while retreating Receive while moving to right or left Receiving while circling (cc & cw) Receive Low High - & High Low Receive on different terrains, training environment & situations
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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
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Numbering System #1 17 Single End Reverse Grip Numbering System #1 - 17 Double End Hour Glass (8 count) Rt. & Lt. Hour Glass (12 Count) Rt. & Lt. 5 Count X 3 (15 Count) ABECEDARIO Contradas #1 5 Single End ABECEDARIO Contradas #1 5 Double End High Box High Middle Line Box High Low Line Box Mixtures of the boxes 9 Count Hour Glass to 5 Count Box Pasok Tusok 3 Count (4 ways) Kombansion entries to Box Pattern Laban Ug Laban Hand Strikes and Thrusts Laban Ug Laban Free Lance
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2. 3.
4.
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
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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
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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
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PANGAMUT VERSUS
1. Solo Daga 2. Doble Daga
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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 (f) Shield & Dagger (d) Sword & Shield (e) Ax & Shield ======================================================= 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: (c) Chain (kabit) (d) Scarf(a) Whip (latigo) (b) Rope (lubid) Handkerchief (panu) (e) Jacket (kanggan) (f) Sting Ray Fish/Tail (g) Olisi Tyuk Clike Nunchak (h) Head Band Cpugont Tagus (i) Belt Csabitan (j) Cloth Around Waist (sarong) ===================================================== 10. Tapon-Tapon Throwing Weapons Or Objects: (a) Sand (b) Coins (c) Mud (d) Yo-Yo (e) Top (f) Dagger (g) Spikes (h) Rattan Darts/bamboo darts (i) Spear (j) Simbalan (light spear) ===================================================== 11. Flying Projectile Weapons: Clipad-Lipad (a) Bow & Arrow (pana) (b) Blow Gun (sumpit) (c) Sling Shot ===================================================== 12. Dos Manos of Sword/Stick 73
One block and one hit Hitting block and hit One block and two-three hits 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
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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
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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
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REAR PUNCH
1. HIGOT UG SIKO (FOUR WAYS) 2. BACKHAND GUNTING 3. INSIDE GUNTING TO INSIDE THRUST 4. INSIDE GUNTING TO ORDABIS OR OUTSIDE THRUST
REAR PUNCH
1. V ERTICAL GUNTING OUTSIDE 2. VERTICAL GUNTING INSIDE 3. VERTICAL GUNTING OUTSIDE 4. VERTICAL GUNTING INSIDE
REAR PUNCH
1. BACKHAND GUNTING 2. INSIDE VERTICAL GUNTING 3. BACKHAND GUNTING 4. INWARD GUNTING
REAR PUNCH
1. OUTSIDE VERTICALGUNTING 2. INSIDE VERTICAL GUNTING 3. INSIDE BACKHAND GUNTING 4. TABON UG SIKO/SONGAB 5. TABON UG ORDABIS
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1. High High High 2. High High Low 3. High Low - Low 4. High Low High 5. Low High Low 6. Low Low - Low 7. Low Low High 8. Low High High
High High - High High High - Low High Low - Low High Low - High Low High - Low Low Low - Low Low Low - High Low High - High
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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
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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
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BATHALA
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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
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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
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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.
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Jeet Kune Do Uses Jun Fan Gung Fu As its Base Curriculum Through 1. Research Internally (within the group) Externally (outside the group) Exploration Experimentation & Development These Three Points Lead to
2. 3.
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JUN FAN GUNG FU IS BRUCE LEES 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
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BASIC TERMINOLOGY
SIFU JOAP HOP YU BAY GIN LAI GUNG (COMMAND) BAI JONG HEY YUT YEE SAM NG LOK CHUT BAK GOW SUP
TEACHER INSTRUCTOR GROUP TOGETHER READY SALUTE (SALUTATION) ATTACK READY POSITION STANCE START BEGIN ONE TWO THREE FOUR FIVE SIX EIGHT NINE TEN
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CANTONESE TO ENGLISH
Cantonese
Jik Tek Hou Jik Tek Jit Dum Tek Hou Jik Dum Tek Juk Tek Hou Jut Tek O"Ou Tek Hou O"Ou Tek Noy O"Ou Tek Qua Tek So Tek/So O"Ou Tek Dum Tek Hou Dum Tek Juen Juk Tek Juen Qua Tek Juen So Tek Chung Chuie Hou Chung Chuie Ping Chuie Hou Ping Chuie Ha Ping Chuie Choap Chuie Qua Chuie Lau Sin Chuie So Chuie Jin Chuie O"Ou Chuie Ha Pak O"Ou Sao Kao Sao Jeet Tek Jit Chung Chuie Pak Sao
English
Straight Kick Rear Leg Straight Kick Straight Stomp Kick Rear Straight Stomp Kick Side Kick Rear Leg Side Kick Hook Kick/Round Kick Rear Leg Hook Kick/Round Kick Inside Inverted Hook Kick/Unmatched Reverse Crescent Kick/Inverted Heel Hook Kick Stomp Kick Rear Leg Stomp Spinning Side Kick Spinning Crescent Kick/Inverted Spinning Heel Hook Kick Vertical Fist Rear Vertical Fist Horizontal Fist Rear Vertical Fist Low Horizontal Fist Half Fist/Leopard Fist Punch Backlist Vertical Backfist Down Quarter Swing With Fist Uppercut Hook With Fist Low Slap Parry Hook Hand Parry Wide Horizontal Hook Hand Parry Stop Kick/Intercepting Kick Straight Vertical Fist/Straight Blast Slap Parry 98
101
102
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THE MATCH
TIMMING DISTANCE SPEED AND RHYTHN AGGRESSIVENESS
THE MATCH
ATTACK
S.A.A S.D.A. WITH OR WITHOUT B.T.A.A. P.I.A. I.A. H.I.A. A.B.T. A.B.C. A.B.C. A.B.D. A.B.D.
COUNTER ATTACK #1
STOP THRUST
#2
TIME THRUST KICK NO EVASION
OFFENSIVE ATTACK
4 BASIC OFFENSIVE DEFENCE YEILDING PARRY RIPOSTE ATTACT AFTER A DEFENCE
#1
KICK EVASION
#1 #2
#2
#3 #4 #5
RECOVER
#3
COUNTER TIME
# 1 STOP THRUST
SINGLE RIPOSTE
INDIRECT RIPOSTE
COUMPOUND RIPOSTE
DELAYED RIPOSTE
RENEWED ATTACK
DEFENCE
# 2 TIME THRUST
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Pak Sao, Loy Pak Da, Jang (Elbow Strike) to Under Arm Hook to Arm to: 1. 2. 3. 4. 5. 6. 7. 8. Bent Arm Lock Takedown to Prone Bent Arm Lock with Head Crank Kneeling Straight Arm Lock Under Arm Hook Takedown to Supine Arm Bar Surfboard Standing Face Lock Standing Front Choke Rear Choke A 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. 2. 3. 4. Two Finger Lock, Rear Hand, (Palm Down) Two Finger Lock, Rear Hand, (Palm Up) Two Finger Lock, Palm Lateral Lateral Wrist Lock (Lead Hand or Rear Hand)
E.
Countering Right or Left Oou Tek 1. Sitting Leg Lock 2. Standing Leg Lock 3. Single Boston Crab
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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
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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.
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2.
3.
4.
5. 6. 7. 8. 9.
10. Ability to calm yourself and react quickly and effectively to any given situation.
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1. 2. 3.
Shoulder Roll & Kick Bob & Weave Jeet Sao A. Shoulder Stop B. Bicep Stop C. Inside Leverage Gnoy Woang Pak Da
Hand ABC
4. 5. 6. 7. 8. 9.
Outside Parry & Cross High Outside Parry & Cross Low Outside Parry & Hit Outside Tan Sao with Da (Tan Da) Pak Sao Tan Da
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1. 2. 3.
Cover
Hand ABC KC
Bob & Weave to Hand ABC to KC Cover & Hit Simultaneously to Hand ABC 1. Tan Da 2. Jung Da 3. Biu Da 4. Tight Jung Da (Jeet Sao) Shoulder Stop With Rear Hand Hand ABC to KC (Jeet Sao) Advancing with Switch Lead with Rear Hand To Hand ABC to KC KC
4.
5.
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1. 2. 3. 4. 5. 6. 7.
Ha Pak & Riposte Oou Sao & Riposte Kao Sao & Riposte Jit Tek under leg Jeet Juk Tek Jeet Tek & Riposte Tan Tek & Riposte
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1. 2. 3. 4. 5. 6. 7. 8.
Ha Woang Pak Low cross slap Jeet Juk Tek (Rear Leg) Intercept with Juk Tek Gnoy Oou Sao Outside hook hand Lop Gerk Juk Tek / Oou Tek Grab leg with Juk Tek / Oou Tek Lop Gerk Jik Tek Grab leg with Jik Tek Jo Ma Oou Tek Move left and Oou Tek Yow or Yao Ma Oou Tek Move right and Oou Tek Toy Ma - Gung Retreat and attack Attack with PIA to ABC PIA to HIA-ABC Jeet Juen Tek Intercept Spinning Juk Tek
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9.
1.
Toy Ma Gung or Toy Bo Gung Evade both feet back and attack Toy Gerk Oou Tek Retreat lead leg and attack with lead or rear Oou Tek Toy Gerk Juk Tek Retreat lead leg and attack with rear Juk Tek Tu Ma Oou Tek Lift and Oou Tek Tu Ma Dum Tek Lift and Dum Tek Pak Tek Slap Kick rear leg Hou Dum Tek Rear Dum Tek Jeet Oou Tek Intercept with Oou Tek Lau Ma Female stance & attack
2. 3. 4. 5. 6. 7. 8. 9.
Jeet Juk Tek (lead leg) Jeet Juk Tek (attack rear leg) Jeet Jik Tek to body Jeet Jik Dum Tek to body Jeet Jik Dum Tek to hip Jeet Jik Dum Tek to leg Jeet Oou Tek to base leg / body Boang Gerk / Jeet Gerk Jeet Juk Tek to leg Yao Ma or Jo Ma & Riposte Lead Biu Gee / Lead Chung Chuie Toy Ma & Attack
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Catch and JAB Parry and JAB Catch and JAB & HOOK Parry and JAB & HOOK HA PAK and Return 1-2-3 KAO SAO and Return 2-3-2 Parry and JAB and Return JAB and Lead OOU TEK Parry and JAB and Return JAB and Lead JUK TEK Parry JAB and Return JAB and REAR OOU Tek Counter LEAD OOU TEK with Side Step 3-2-3 Counter REAR OOU Tek with Side Step 2-3-2 Counter LEAD JUK TEK A. JIK TEK with 2-3-2 B. JEET JUK TEK with OOU 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 OOU TEK 2-3-2 14. BLOCK Rear OOU TEK, CROSS, HOOK, Rear OOU TEK, Lead HA JUK TEK 15. Parry JAB on the Outside Lead OOU TEK 2-3-2 16. Counter 1-2-3 with Catch the JAB, PARRY CROSS, Bob and Weave THE HOOK 2-3
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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 OUY 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
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10. PAK SAO DA ---BIU SAO AS WEDGE PAK SAO DA Lt. SUT SAO (FAK SAO) 11. PAK SAO DA ---BIU SAO AS WEDGE LOP SAO DA PAK SAO DA Lt. SUT SAO (FAK SAO) 12. PAK SAO DA ---BIU SAO AS WEDGE 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) 15. PAK SAO DA ---JAO SAO ---DOUBLE JUT SAO REAR HAND BIU GEE OR REAR CHIUNG CHUIE GUM SAO DA TO ANY TYPE OF FOLLOW UP 16. PAK SAO DA ---JAO SAO ---DOUBLE JUT SAO 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
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18. PAK SAO DA---JAO SAO---DOUBLE JUT SAO DUM LOY TEK TO KNEE GUM SAO DA JANG (ELBOW) 19. PAK SAO DA---JAO SAO---DOUBLE JUT SAO 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
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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
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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 CHUNG CHUIE BEHIND REAR PARRY PAK SAO DA LOP SAO DA PAK SAO DA 33. HALF PAK SAO DA CHUNG CHUIE BEHIND REAR PARRY 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
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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. OOUI TEK (HA, JUNG, GO) 3. JIK TEK (HA, JUNG, GO) 4. ILA HOU OOU TEK 5. HOU SUT 6. JUNG DUM TEK 7. JUN JUK TEK 8. JUN QUA TEK 9. JUN SO TEK 10. JUN OOU 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.
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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 (OOU CHUIE) CROSS (JIK CHUIE)/LEAD HOOK KICK (OOU TECK) 2. NOY DA/JUT SAO* CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * Jut Sao is in response to a stiff-arm jab or cross that doesnt retract 3. NOY DA/QUA CHUIE* CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * Qua Chuie proceeds without Pak Sao by rolling off the inside hit of Noy Da 4. NOY DA/LOP DA/CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) *Note mitt holder defends with rear hand and crosses centerline w/blocking hand 5. NOY DA/ PAK DA* LOP DA/CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * 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 (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * Note mitt holder defends by raising the lead barrier to initiate trapping 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
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NOY DA SERIES #1
NOY DA SERIES #2
JUN FAN/JKD FOCUS MITT DRILLS PROGRESSIVE INDIRECT ATTACK/PIA
7. NOY DA/PAK DA* BIU GEE WEDGE/PAK DA/LOP DA** PAK SAO/QUA CHUIE/LOP DA/CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * Note mitt holder defends by raising the lead barrier to initiate trapping 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 (OOU CHUIE) CROSS (JIK CHUIE) LEAD HOOK KICK (OOU TECK) * Note mitt holder defends by raising the lead barrier to initiate trapping 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 (OOU CHUIE) CROSS (JIK CHUIEW)/LEAD HOOK KICK (OOU TECK) * Note mitt holder defends by raising the lead barrier to initiate trapping 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
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NOY DA SERIES #3
JUN FAN/JKD FOCUS MITT DRILLS PROGRESSIVE INDIRECT ATTACK/PIA
8c. NOY DA/PAK SAO/JAO SAO*JAO SAO** NOY DA*** PAK DA/LOP DA/CROSS (JIK CHUIE) HOOK (OOU CHUIE) CROSS (JIK CHUIE)/LEAD HOOK KICK (OOU TECK) * ** *** Note mitt holder defends by raising the lead barrier to initiate trapping 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 Pak Sao/Da Biu Gee Oou Chuie Ping Chuie Ha Go Lo Seong Wong Pak Noy Pak Da Noy Pak Jik Chuie Jao Sao Slapping Hand Slapping Hand w/Hit Finger Spear (Palm Down) Hook Punch Horizontal Punch Lower Gate/Low Line Middle Gate/ Mid Line High Gate/High Line Double Slap Block Across Center Line Split Entry Hit/Slap Parry Outside w/ Hit Inside Inside Slap Block/ Parry Straight Punch Running Hand
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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.
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QUOTATIONS (cont)
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 BRUCES 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, ID REPLY, IT DEPENDS. IF THE ENEMY IS FIFTY YARDS AWAY ID HEAVE THE GRENADE. IF WE WERE IN A PHONE BOOTH, ID BE BETTER OFF WITH THE SHORTER WEAPON. METHODS OF COMBAT ALSO HAVE THEIR RANGE OF EFFICIENCY.
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USEFUL ABC ATTACKS FROM KICKING RANGE TO HAND RANGE TO KICKING RANGE
ATTACK BY COMBINATION
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
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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 OOU TEK 8. PARRY JAB AND RETURN AND LEAD JUK TEK 9. PARRY JAB AND RETURN JAB AND REAR OOU TEK 10. COUNTER LEAD OOU TEK WITH SIDE STEP 3-2-3 11. COUNTER REAR OOU TEK WITH SIDE STEP 2-3-2 12. COUNTER LEAD JUK TEK A. JIK TEK WITH 2-5-2 B. JEET JUK TEK WITH OOU 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 OOU TEK 2-3-2 14. BLOCK REAR OOU TEK, CROSS, HOOK REAR OOU TEK, LEAD HA JUK TEK 15. PARRY JAB ON THE OUTSIDE LEAD OOU TEK 2-3-2 REAR OOU TEK, LEAD OOU TEK LEAD HA JUK 16. COUNTER 1-2-3 WITH CATCH THE JAB, PARRY CROSS, BOB AND WEAVE THE HOOK 2-3
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WHAT IS?
What is learning?
A journey and process, not a destination and conclusion. A guide, not a guard or dictator.
What is an instructor?
What is a discovery?
A constant process of questioning the answers, not answering the question. Open minds so that you can be not Closed achieve the goal. Being and becoming, not just remembering and reviewing .
Individuals; not lessons, not styles, not systems and not methods or techniques. Whatever we choose to make it.
Wherever we are
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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.
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Theo Schryn
Ernest Tremeullen
Maurice de Thouras
Willem Reeders
Benny Zeventer
Dolf de Vries
Joop Brewer
Nono de Vries
Robert Vanatta Narin Lattitham Louis Campos Clifford Stewart Jonny Ronko Arie Hunto
Board of Directors
Guru Pangkat Tuo Clifford Stewart (Senior Guru) (no longer affiliated)
Guru Pangkat Tuo Louis Campos (Senior Guru) (no longer affiliated) Guru Pankgat Dua Tim Anderson
Regional Directors Guru Pankgat Satu Dave Moss (Indiana) Rick Jackson (Pennsylvania) Bart Berner (Ohio) George Darish (Michigan)
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THIRD SERIES 1. 2. 3. 4. CROSS/HOOK/CROSS LEAD HOOK KICK HOOK/CROSS/HOOK REAR HOOK KICK JAB/REAR HOOK KICK/LEAD HOOK KICK/REAR HOOK KICK 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
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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
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# 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
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MUAY THAI CURRICULUM TEEP COUNTERS INSIDE PARRY FEEDER SERIES/LEFT LEAD
1. 2. 3. 4. 5. 6. LEAD PUSH KICK/RIGHT LOW ROUND KICK LEAD PUSH KICK/RIGHT MID ROUND KICK LEAD PUSH KICK/RIGHT HIGH ROUND KICK LEAD PUSH KICK/RIGHT CROSS LEAD PUSH KICK/RIGHT DIAGONAL DOWNWARD ELBOW LEAD PUSH KICK/RIGHT KNEE KICK
ITBA INOSANTO
DEFENDER SERIES TO COUNTER FEEDER SERIES/LEFT LEAD 1. 2. 3. 4. 5. 6. PARRY PUSH KICK FROM INSIDE TO OUT/LEFT LEG SHIELD/LEFT KICK LEG/FOLLOW W/ 4/COUNT (LEFT ROUND/CROSS/HOOK/RIGHT ROUND) PARRY PUSH KICK FROM INSIDE TO OUT/CUT KICK W/OR WITHOUT CATCH/FINISH W/ 4.COUNT PARRY PUSH KICK FROM INSIDE TO OUT/HIGH DOUBLE COVER/CUT KICK/ FOLLOW W/ 4-COUNT PARRY PUSH KICK FROM INSIDE TO OUT/CIRCULAR PARRY/CROSS/HOOK/RIGHT DIAGONAL DOWNWARD ELBOW/RIGHT KNEE/RIGHT ROUND KICK PARRY PUSH KICK FROM INSIDE TO OUT/INSERT LEFT LEAD BETWEEN ELBOW/HEAD/FOLLOW REAR DOWNWARD DIAGONAL SNAP ELBOW/RIGHT KNEE/RIGHT ROUND KICK 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
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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. Kalis dark hair is bejeweled and piled on top of her head. The top of Kalis 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.
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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 Palawan 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. Taut Batu-People of the Rock Animism, they live in caves. Tausug (Moslems) - The first Islams, love & ceremonial tribe living mainly on Basilan Island.
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3000 1000 AD 1250 1433 1521 1565 1571 1896 1898 1898 1899 1899 1942-1944 1946 1954 1972 1986
Malays from Indonesia and Malaysia arrive Chinese traders Datu Sumakwels Maragtas Code Rajah Kalantiaws Code of Kalantiyaw Ferdinand Magellan landed in the Philippines Spanish explores claimed the Philippines for Spain and established a permanent settlement Spanish control Philippines The Spaniards execute Jose Rizal, a leader of the Philippine Independence movement. Emilio Aguinaldo led the revolt against the Spaniards. Philippines declare independence from Spain Spain gave the Philippines to the United States after the Spanish American War Malolos Constitution, the Philippines was declared a republic Philippine-American confrontation Japan controlled the Philippines The Philippines gained independence The Philippine Army defeated the Communist led Huk rebels after a five year fight President Ferdinand E. Marcos declared a state of martial law, which lasted until 1981 Widespread protests against President Macros forced him to leave office
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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
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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, Colliers 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.
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Kaliradmam: From Kali (Visayan) meaning knowledge & wisdom Three Areas of Arnis
1. Single Stick 2. Double Stick 3. Stick Dagger Sword & Dagger Sword & Shield
According to Guro Dan Inosanto there were originally 12 categories in Kali and possibly some master may have mastered them all: 1. Solo Baston/Olisi a. Single stick, can d. Slipper art b. Single sword e. Newspaper art c. Single ax f. Tjaband - sai 2. Doble Baston/Olisi (Sinawalli) a. Double sticks, canes d. Sword and shield b. Double sword e. Ax and shield c. Double axe f. Shield and dagger 3. Espada y Daga, Olisi y Baraw a. Long stick short stick d. Stick and shield b. Stick and dagger e. Sword and shield c. Sword and dagger 4. Baraw Kamot, Daga (single knife) a. Dagger and empty hands c. Single short stick b. Bali song (butterfly knives) 5. Daga y Daga/Baraw y Baraw (two knives) a. Dagger and dagger c. Double short sticks b. Dagger and shield 6. Tabak Maliit/Olisi Palad a. Palm, pocket, or yawara stick b. Double end dagger 7. Panantukan (Mano Mano) - Kamot Kamot Pangamut (empty hands) a. Panatukan (boxing) system b. Panadikan/Pananjakan (Sikaran) kicking system c. Dumog, Layug, Buno, Destchon (grappling & wrestling) system d. Hampak-Higot-Hubud-Lubud (tie & hit, untie & hit, blend & hit) e. Kinomutay/epit (pinch) Kagat/Angkad (bite) Kugat (choke) f. Songab finger thrusting g. Siko Tuhod System (elbow-knee) 154
1. Regino Ilustrismo 2. Juanito LaCoste 3. Floro Villabrille 5. Pedro Apilado 6. Pasqua lOvalles 7. Jack Santos 8. Sam Tendencia 9. Leo Giron 10. Angel Cables
21. Edgar Sulite 22. Emil Saturion 23.X Factor 24. X Factor 25.Z Factor 26. Flesimo Maxcrenede 27.Vincent Evangelista 28.Tedero Ramos
KALI ORIGINS
Luzon Region (Northern Philippines)
Arnis Sikaran Kali Largo Mano Kabroan
Visayan Region (Central Philippines) Pangamut - Empty Hand Fighting System (Eskrima)
Kali (Silat)
Southern Thailand
Silat Muay Thai Kabri Kabrong Silat Pattani
Malaysia
Pulat Bersilat
Indonesia
Pentjak Silat Pukulan (Dutch Indonesian term for Pentjak Silat) Silat Pukulan Pentjak Silat Kuntao
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 1500s until the present time. Initially the design incorporated the all seeing eye of God. The eye, and now the circle, represents the omnipresent (present in all places at all times), omnipotent (a force of unlimited power & authority, omniscient (having infinite awareness, understanding, & insight possessed of universal or complete knowledge), and omnificent (unlimited & creative power) of the Creator. The emblem also had the Roman numeral XXV representing the 25 Kali systems Dan had studied at that time. External The circle represents Diyos (the Triangle Creator). The two apparent triangles Internal Diyos Depicted are the outside triangle Triangle (Creator) 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. The Buwan (moon) symbolizes how the warriors trained, in secrecy and at night by moon light. The half moon recognizes that only half of the Philippines were conquered. The Suntok (fist) represents the Pangamut (empty hand) Filipino Fighting Kali (Kamot Lihok), Kaliradman Kalirongan, or Kaltan. Eskrima, Escrima, Egrima, Estoke, And Estocada. Silat and Sikaran. Oeste Asar Sunset) Gabi (Night)
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Kaaway (opponent)
Kamagong Olisi
Mindanao (Southern)
Future
Present
Past
Triangle Of Heritage
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Empty Hand Skill Kuntao - Silat Suntokan Panantukan Panantukan Hampak At Hubud Hampak At Higot Dumog & Bersilat
TRIANGLES OF KALI
Diyos (Creator) Love
Lupa
(Earth)
Compassion
Humility
Spiritual Training One with the Creator Your place in the Universe
Lalaki Ng Tatsulok
Triangle Of Development or Level Physical Training or level Three in Three Stages or Levels Mental Training or level Seven Stages or Levels
Babae Ng Tatysulok
Father
Spiritual
Spiritual Triangle
Universal Triangle
Iyong (Yourself)
Kalaban (Opponent)
Triangle of service & duty Family or Friends Tribe or Country Loyalty Courage (To face inner and outer conflict)
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KATAASTAASAN
of the Philippines
Kaalam (Wisdom)
Father
Respect
Triangle of Progression
Spiritual Triangle
Kalaki (Skill)
Discipline Speed
Honor
Power
Angle of Attack
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Muhahuna (Mind)
Muhahuna (Mind)
Internal Triangle
Internal Triangle
Rhythm Triangle
Hands
Feet
Point of Contact
Teel (Feet)
Kamont (Hands)
Moderate
Observation Of Triangle
Neutral
Rhythm In Attracting
Combination Positive-Positive Attack Combination Negative- Positive Attack
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11 10 9 8 1
12
Left Front
Right Front
1-2
Left Side
2 3
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Speed Power
Types of Attacks
Energy of Attack
Triangle of Adjustments Angle of Attack Empty Hands Timing & Rhythm of Attack
Retaining Energy
Triangle Of Combat Energy Following Energy Harmony Function Blend Deflecting Energy
Triangle Of Harmony Female Soft Left Eye Left Nostril Night Male Hard Right Eye Right Nostril Day
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HISTORY OF PHILIPPINES #1
Filipinos are recognized for their skill in martial conflict, particularly in the use of bladed weaponry. This reputation defines both modern martial artists and warriors of past centuries. Current Filipino systems represent an accumulated wealth of knowledge and experience passed down by those who first struggled to reach the islands and then battled to maintain recognition, land, or independence. The Philippines is a large archipelago or group of islands located in the Pacific Ocean. The islands were known as the Maharlikas prior to the coming of the Portuguese and Spanish in the 15 th th and 16 centuries. The Philippine Islands lie on a Sundra Shelf, approximately 500 miles east of the coast of Southeast Asia. The Sundra platform is a stable continental platform and southward extension of the Southeast Asia mainland. In ancient history, the entire 690,000 square miles of Sundra Shelf was above sea level but now is mostly covered by shallow seas. Borneo and parts of Java, Sumatra, and associated islands are eroded metamorphic sections of the shelf which will still remain above sea level. The Philippine Archipelago is surrounded to the north and west by th4e South China Sea; to the east is the Pacific Ocean, and south, the Celebes Sea. T he archipelago is approximately 1,150 miles long from north to south, and nearly 700 miles wide from east to west, and has a total area of 115,600 square miles. Its coastline totals 14,400 miles, and includes 20 harbors. The Philippine Islands are compromised of 7,000 islands, of which the corners are Celebes and the Molucca Islands to the south, Formosa to the north, and Borneo to the southwest. Seven of the Philippine Islands have an area of more than 1,000 square miles each, and contain the majority of the population. In order of size, from largest, they are Luzon, Mindanao, Leye, Cebu, Boho, and Masbate. Borneo is considered one of the gr eat islands of the world. It is located southwest of the Philippines, boundedc by the South China Sea to the northwest, and, clockwise, by the Sulu and Celebes seas, the Makassar Strait, and the Java Sea. Borneo lies southeast of the Malay Peninsula which juts out from the Malay Archipelago. Borneo, and Palawan, which is a western Philippine island and the Blabak- Bugsuk, a group of small islands off the southern tip of Palawan, are the remains of a land bridge that connected them during the Pleistocene Epoch (1,600,000 to 10,000 years ago). Consequently Borneos flora and fauna are more closely related to Palawan than to those of other islands in the Philippines
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SHRIBIJAYA EMPIRE
Shrivijava (also Srivijawa or Scrivishaya) tribes of Asian and Indian Hindus migrated into Indonesia th th and Malaysia during the 5 and 6 centuries. They began as a Hindu group, call the Brahins, who migrated from India and arrived in the Palembang, Sumatra around the fifth century. This Brahin group grew into one of the earliest of the great Asian empire and became the famous Hindu-Malayan Empire of th Shrivijaya. Palembang served as its capital city from the 7 century until the kingdom was overthrown by th the Hindu Majapahit Empire in the 14 century. Meanwhile, the Shrivijayan Empire flourished in the Malay Peninsula, western Java, and Sumatra through the 9th and the 13th centuries. Shrivijaya based its great power on successful commercial and maritime endeavors. It dominated international sea trade by controlling the Strait of Malacca and establishing trade with China and India. The Srivijayan Empire utilized a combined advantage that facilitated their ability to conquer. They possessed superior physical height, martial expertise, organization, and bladed weaponry. Balangay (sailboats arrived with the Malays of this new culture. Each Balangay contained a lager family group, or social unit, established a new settlement that sometimes grew to be 30 to 100 families. This family was labeled the barangay (village), or boat village. Barangay villages were the first to leave written records in the Philippines and remained relatively isolated from other barangays . The Srivijayan colonized Borneo, and then invaded further into the Philippine. Again, those who didnt 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 Shrivijayans 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.
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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 persons candle which burned down first, convicted him as guilty.
MARGATAS CODE
Many Filipino Scholars and researchers agree that the Margatas Code2 was written in 1250 AD by Datu Sumakwel, and is, therefore, also known as the Sumakwel Code.3 Datu Sumakwel was considered the oldest and wisest of the Borneo datus who colonized ancient Panay, and the same adjectives are used to describe his code.3 However, Datu Sumakwel chose to name code Margatas, which is Sanskrit for Great People. The full text of the Margatas Code is as follows: 1. Deliberate refusal to work in the fields or to plant anything for daily subsistence is a most serious crime which deserves severe penalty. a. The lazy person shall be arrested and sold to a rich family to serve as a slave and, as such, to learn the lesson of service and the value of work in the house and in the fields. b. Later, when he has been trained for work and has come to love it, he shall be restored to his family. The price paid for him shall be returned and he shall no longer be considered a slave, but a free man who has been regenerated and desires to live by the fruit of his labor
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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 Plasencias 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.
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Vide Penal Legislation of the Philippine Islands in Philippine Law Journal (manila, February, 1914). 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 Mavons 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. Robertsons 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. 182191. See also Josue Soncuya, Historia Prehispana de la Isla de Panay (Manila 1917), pp. 27-28; Encarnacion Alzona, A History of Education in the Philippines 1565-1930 (Manila 1932), pp. 4-7 and Gregorio F. Zaide, Early Philippine History and Cuture (Manila, 1937), pp. 30-32. Note: Other historians dispute the ancient laws. They comment, The Code of Kalantiaw, a well known code of laws supposedly given by Datu Kalantiaw of Aklan in 1433 is a clever hoax. The hoax was done by Jose E. Marco, and antique collector from Negros Occidental, who gave the document to James E. Robertson of the National Library in 1914. It could not be authentic because of its suspicious origin, the strange writing and modern words in the text, and the un-Filipino harshness of its laws (e.g. flogging, exposure to ants, swimming for hours).
The same holds for the Margatas Code, which was taken from the Margatas, a book where the legend of the Ten Datus of Borneo was taken, is only the imaginary creation of Pedro A. Monteclaro, a visayan public official and poet. He wrote the Margatas in 1907 based on folklore and oral tradition. Source of information Philippine History and Government by Gregorio F. Zaide and Sonia M. Zaide While the Srivijayans still had control in the Philippines, the Chinese made a significant impact on the culture during the 12th century. Even though Chinese traders had been trading in the Archipelago since th 1000 AD, and some had taken residence in the islands, they immigrated by the thousands during the 12 century. This was due to the Manchurian invasion of China. Since this was not a first appearance to the islands of the Philippines, the Chinese were readily accepted into the culture and, significantly, added to the racial/cultural mix. The Chinese, following suit with previous cultures, introduced their kuntao martial arts of the Tang Dynasty. These, too, were blended into the Philippine system of martial arts.
MAJAPAHIT EMPIRE
By the end of the 12th century, Shrivijaya shrunk in power, became a small kingdom, and the th Javanese Majapahit kingdom rose in the 13 century. This Moslem (also Muslim) empire was founded by Vijaya, a prince of SIngsari, and was the last Indianized kingdom to rule in Indonesia. The Majapahit had its base in eastern Java, but spread throughout Southeast Asia, conquered Srivijaya and dominated Indonesia. The Majapahit people were greatly influenced by Aram Moslem missionaries and became known as a Moslem Empire. Majapahits arrived, as a third major wave of Malay invaders to the Philippine Islands. They and subsequent Mohammadean Malay invaders, chose mostly to reside in the southern region. From those Malays, descended the fierce Moros (Moslem/Islam) of the Philippine Islands. They were a proud culture who chose isolation, and still remain as a distinct culture. They too, as the Srivijayans before them, used the Sanskrit based writing system. The Majapahit zenithed in the 14 th century under the leadership of King Hayam Wuruk and his prime minister, Rajah Mada. Researchers are not in agreement regarding Majapahits territory. Some say that during its peak, the empire included areas that are today Burma, Indonesia, Thailand, Malaysia, Cambodia, the Philippines, and Madagascar. Others state that the Empire covered present day Indonesian and part of Malaysia. Still others claim that its territory was confined to eastern Java and Bali. Regardless, the Majapahit became a significant power and maintained intercourse with China, Cambodia, Annam (central Vietnam) and Siam (Thailand). The Majapahit Empire lasted until the early 16 th century, when it was defeated by the Arab Moslem missionaries, who, earlier, had so heavily influenced their culture. Some theorize that perhaps the Moros would have conquered the Philippine Island, Had not the Spanish taken possession in 1565
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MAGELLANS VOYAGE
The Philippines is the only nation in Southeast Asia that became subject to western colonialism before it had the opportunity to develop an advanced elite culture or a central government that ruled over a large territory. Due to many invasions, the Philippine Islanders developed over centuries, martial arts prowess in accordance with their culture and heritage. The Moslem Moro Filipino skills made history when they were threatened by a Portuguese navigator, Ferdinand Magellan, in 1521. History credits explorer Magellan with two firsts: 1) he was the first European to discover the Philippine Islands (April 7, 1521) and 2) he successfully circumnavigated the earth for Spain. This cursory glance at Magellans successes gives rise, historically, to a brilliant victory. However, personally, Magellans voyage was plagued with disaster and death, including his own. Portuguese Ferdinand Magellan, was probably born in 1480 and served a military career under Emanuel, King of Portugal. Magellans assignments took hi to the East Indies in 1505. Then, from 15081512 he made exploratory missions to Sofala, Malacca, Java and the Moluccas (Spice Islands). In 1513, he was wounded and Lamed for life while serving a Moroccan assignment. However, Magellans disagreements with Emanuel, King of Portugal, caused Ferdinand to secede from his native country and adopt Spain as his homeland. Where Emanuel, King of Portugal, opposed Magellans vision to circumnavigate the earth and was unwilling to boost his salary, Charles I, King of Spain, shared and funded Magellans goal. Under Spanish sail, Magellans fleet of five ships left Seville, Spain on September 20, 1519. Within two months theyd reached South America. By March of 1520, Magellans fleet arrived in Port Julian, near the southeastern tip of South America and remained almost six months. During that time, one of his ships was wrecked and his crew mutinied. Magellan was successful in quelling the mutiny, but as his fleet sailed into the Pacific Ocean through what is now the Strait of Magellan, another of his ships deserted. Magellans three remaining ships reached the Ladrones (Island of Thieves, later named Marianas) on March 5, 1521. However, many of his crew were weak and sick with scurvy. Magellans fleet then anchored off Guam and was quickly approached by fast sailing, remarkably maneuverable outrigger canoes. These people were Micronesian people called Chamorros, who were tall, fair and good looking according to the Spanish explorers. However, when the Chamorros boarded one of Magellans ships, the Trinidad, they stole according to the Spaniards eyes, but believed themselves to be honest recipients as guests of the strangers. Nevertheless, Magellan was determined to retrieve the more important item taken by the Chamorros, the ships long boat. So with armor and crossbows they regained their boat. Magellan then ordered the vengeful burning of forty or fifty houses in a small local village and killed seven inhabitants. Afterward, Magellans fleet set sail and headed south.
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SPANISH CONTROL
Philip the II of Spain, for whom the archipelago was named, continued to send expeditions to the Philippines, under the following series of leaders: Garcia Jefre de Loyasa, Alvaro Saavedra and Lopez de Villalobos. It was not until 1563, when the fifth expedition (Magellan counting as the first) arrived with its captain adventurer, Miguel Lopez de Lagaspi (also spelled Legazpi, in some sources). Lagaspi made headway into the Philippines. In May 1565 he established a permanent European colony on Cebu. His Spanish conquistadors successfully used fire power, military strategy and the advantage of the barangays isolation from each other to conquer Cebu and annex neighboring islands. Then, in 1570 Legazpis grandson, Juan Salcedo, sailed to Luzon and established friendly relations with the Rajah of Tondo, Lacandola, and the Rajah of Manila, Soliman. By 1571, just forty years after Magellans death, the elder Miguel Lopez de Legaspi proclaimed Spanish sovereignty over the Philippine Archipelago and named Manila as its capital.
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THE KATIPUNAN
Additionally, other persons significantly affected the Filipino move toward independence. Philippine patriot, Andres Bonifacio was born in Manila of poor parents of Chinese and Tagalog descent. He later emerged as a primary advocate for Filipino nationalism. Bonifacio was well-read and a graduate of the University of Santo Tomas in Manila. He wanted complete severance from Spanish rule. Bonifacio worked as a warehouse clerk and messenger prior to 1892. In that year, Andres Bonifacio founded and led a secret nationalist revolutionary society known as the Katipunan. The full name of the society was Kataastaasan Kagalang-Galang Na Katipunan Nang Manga Anak Nang Bayan meaning, Supreme Worshipful Association of the Songs of the People. The Katipunan fulfilled Bonifacios ideal, it was a Filipino nationalist organization founded to oppose Spanish rule. The Katipunan was organized under the umbrella of the order of Freemasons as was the Liga Filipina. Masonic orders are traditionally secret, anyway. So for Filipino Freemasons to initiate members and swear them to silence as to words and actions within the sect, was not questioned by the Spanish. Again, the Spanish had introduced the Filipinos to Masonry. The organization of the free Masons worked out to perfectly suit the Katipunan. Members, respectively, were ruled from the top by the Supreme Council, which was similar to the organization of the Spanish Masonic orders. Power filtered sequentially downward to the provincial council, popular council, sections, and delegates. Freemasons initiated rites, through secrets, are not mystical. By comparison, initiation rites were mysterious with the Ligas , and even more radical with the Katipunan. Its initiates and those involved, all wore masks. The new initiate was faced with a table bearing a skull, crossbones, triangles, and two candles. The Katipunan initiation would include an explanation of its purpose: the liberation of the Tagalog people, and expulsion or destruction of the Spanish. Then, the new initiate would somberly be reminded of the three martyred Filipino priests (1872) and would witness imitations of assassinations or suicide. Then, the Katipunan initiate took oaths of obedience, and would dedicate himself to freedom of the people unto death, protection of the brotherhoods secrets to the grave and commitment to increasing membership. The initiate was required to cut his own arm with a dagger and used the flowing blood as ink in signing written oaths. Initiates were warned that grave repercussions were to be imposed upon any Katipunan member who violated his oaths. Masonic brothers all used special signs and passwords to recognize brother members of their society. They also promise strict compliance to orders from superior members. Monthly dues were collected and used by the Supreme Councils central Masonic treasury to publish propaganda, and procure weapons.
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Anti-Spanish sentiment ran so strongly within the Philippines that the Katipunan society was known to have had 100,000 members by 1896, when discovered by the Spaniards, and believed to have had up to 400,000 during the course of its existence. Its members were mostly of Tagalog workers and peasants. The urban middle class members favored reform rather than revolution.
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From August 19-21, 1896 the Spanish discovered the insurrectional conspiracy of the Katipunan and began making arrests accordingly. This was confirmed two days later by a telegram sent to Colonial Minister Seor Castellano, from Governor General Blanco, in Manila. The telegram read as follows: Manila, August 21, 1896- The Governor General to the Colonial Minister -Vast organizations of secret societies discovered with anti-national tendencies. Twenty-two persons detained among them the Gran Oriente 9of Philippine Freemasonry) of the Philippines, and others of importance. Immediate action taken and special judge will be designated for greater activity. Blanco
The Spanish knowledge of Katipunan intent to purge the Philippine Islands of all Spaniards intensified the need for the Katipunan society to act, or abolish their resolve of Filipino independence. th Bonifacio subsequently held a meeting on the 24 of August with five hundred of the Katipunan members in attendance. They voted to either return as legal subordinates of Spanish authority or to proceed with armed and immediate rebellion. Andres Bonifacio supported immediate rebellion and the Katipunan membership overwhelmingly agreed as indicated by the vote. Therefore, orders were sent to Manila, Cavite, Nuevo Ecija and other provinces to rebel on Sunday, August 30 th. 1895, at sunrise. As planned, the entire province of Manila, Luzon erupted into the anti-Spanish revolt of the Katipunan. Atrocities were perpetrated against, as many Europeans and loyal natives as were encountered.
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-Emilio Aguinaldo, President of the Filipino Republic Mololos, February 5th, 1899 191
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The origins of the Wing Chun Gung Fu system are still uncertain to this day. This is particularly due to the lack of written records about Wing Chun in the past, and much of what we know today has only been passed down by word of mouth. Nevertheless, there is a generally excepted version of events. The myth surrounding who designed the system only serves to heighten the mystery and history of Gung Fu.
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Chan Wah Shun taught the system to a man named Yip Man, who attained the highest level of skill within Wing Chun and taught many people, including Bruce Lee in the 1950's in Hong Kong. Yip Man simplified the system, particularly removing the long and complicated names and is mainly responsible for the Wing Chun system as we know it today. He was a superb teacher and taught according to the individual's own skill and knowledge, adapting his approach where necessary. Wing Chun flourished in Hong Kong and Yip Man also passed his knowledge to his two sons, Yip Chun and Yip Ching. They continue the tradition and have themselves many students and instructors under them. Sifu Shaun Rawcliffe, Chief Instructor of the Midlands Wing Chun Kuen, is a representative of Grandmaster Yip Chun. Today, both Yip Chun and Yip Ching continue to teach and pass on their wealth of knowledge through seminars, and their health and vitality is an example to us all.
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Wing Chun was made famous by Bruce Lee. Wing Chun was Bruce Lee's first discipline and the art of Wing Chun is tightly integrated into his style of Jeet Kune Do. The Wooden Dummy is a major component of Wing Chun Training. Wing Chun specializes in the techniques of the hand, whereas many northern Chinese Gung Fu specializes in kicking. Wing Chun combines many short punching techniques designed to reach the opponent faster and more efficiently. Wing Chun was one of the original Shaolin Temple styles and was designed for smaller people to defeat bigger foes. So it is ideally suited for women. Wing Chun [widely translated as 'beautiful springtime' or 'springtime song] is a Southern Chinese Martial Art, one of the branches of the generic term Gung Fu. Wing Chun is a direct, scientific and clinical style of fighting, in which the attacker is quickly overwhelmed by speed and power. Being a martial art, the fighting aspect is only one part of the whole system, and emphasis is also placed on relaxation and physical health, with Wing Chun practitioners continuing to practice well into old age. This relaxation and health is something which can benefit the practitioner everyday in today's stressful society. The confidence gained from ability is often enough to see the practitioner through conflict, but techniques can be applied in a real self defense situation safe in the knowledge that they work.
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CHI SAO
THE STICKING HANDS OF WING CHUN
Chi Sao, or 'Sticking Hands', is the backbone of Wing Chun and the training that bridges the forms and free-fighting. Rather than sparring, Chi Sao gives two practitioners the opportunity to test and explore each other's strengths and weaknesses, allowing a unique and unplanned learning process to take place. Chi Sao practice should be viewed as a game rather than a competition. Chi Sao helps to hone footwork, reflexes, positioning, techniques, energy and the automatic response to a situation for which Wing Chun has become famous. Chi Sao has some similarities to Tai Chi's pushing hands.
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1. IN FRONT OF DUMMY LEFT HAND IN FRON OF RIGHT HAND BOTH IN BIU SAO POSITION 2. LEFT HAND PALM SAO RIGH HAND LO SAO, LEFT HAND GRABS DUMMY NECK AND PULLS AT THE SAME TIME THE RIGH HAND LOPS RIGHT ARM 3. (GOING TO RIGHT) LEFT BONG SAO TO LEFT TAN SAO, RIGHT MIDDLE JERN DA WHILE CHECKING DUMMY LEG WITH LEFT SHIN 4. RIGHT GONG SAO MOVING TO LEFT QUAN SAO, RIGHT TAN SAO, LEFT MIDDLE JERN DA CHECKING DUMMY LEG WITH RIGHT SHIN 5. LEFT GONG SAO, TO RIGHT JAO SAO PALM GO DA, LEFT LOP SAO 6. DOUBLE TALK SAO
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1. RIGHT INSIDE WOANG PAK, LEFT INSIDE WOANG PAK, RIGHT INSID WOANG PAK 2. LEFT SOT SAO TO LEFT LOP SAO, RIGHT HA CHUNG CHUIE DA BETWEEN ARMS 3. LEFT INSIDE WOANG PAK, RIGHT SOT SAO 4. RIGHT LOP SAO, LEFT HA CHUNG CHUIE DA BETWEEN ARMS 5. RIGHT GONG SAO, RIGHT HUEN SAO LEFT JAO SAO RIGHT GO JERN DA 6. DOUBLE TALK SAO
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1. RIGHT LOW BONG SAO 2. HIGH RIGHT DOUBLE WOANG PAK, RIGHT JUK TEK TO DUMMY TRUNK 3. LEFT LOW BONG SAO, HIGH DOUBLE WOANG PAK, LEFT JUK TEK TO DUMMY TRUNK 4. RIGHT GONG SAO, LEFT JAO SAO, ROLL BOTH HANDS TO DOUBLE MIDDLE JERN DA, ROLL HANDS BACK UP TO DOUBLE HIGH JERN DA 5. DOUBLE TALK SAO
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1. THREE HUEN SAOS TO RIGHT BONG SAO, RIGHT TAN SAO, LEFT MIDDLE JERN DA, RIGHT JIT TEK TO LEG 2. (LEFT SIDE) GONG SAO THREE HUENG SAOS TO LEFT BONG SAO, LEFT TAN SAO, RIGHT MIDDLE JERN DA, LEFT JIT TEK TO DUMMY LEG 3. RIGHT GONG SAO, LEFT JAO SAO SIMULTANIOS RIGHT HUEN SAO GO DA 4. DOUBLE TALK SAO
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1. THREE EYE RAKES BETWEEN DUMMY ARMS (ONE TO RIGHT - ONE TO LEFT - ONE TO RIGHT, RIGHT CUP SAO, LEFT MIDDLE JERN DA
2. RIGHT QUAN SAO, PO PAI (RIGHT HAND OVER LEFT) LEFT BONG SAO, PO PAI (LEFT HAND OVER RIGHT) RIGHTGONG SAO PO PAI (RIGHT HAND OVER LEFT) RIGHT BONG SAO, PO PAI (LEFT HAND OVER RIGHT)
3. GONG SAO, LEFT HUEN SAO TO MIDDLE JERN DA, RIGHT JAO SAO GO DA (SIMULTANIOUS)
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1. RIGHT - LEFT - RIGHT GONG SAO, RIGHT BONG SAO, RIGHT BIU GEE, PAK SAO, LOP SAO
2. LEFT BONG SAO, LEFT BIU GEE, PAK SAO, LOP SAO, RIGHT BONG SAO 3. RIGHT TAN SAO LEFT MIDDLE JERN DA WITH LEFT JIT TEK TO DUMMY TRUNK
4. LEFT BONG SAO, LEFT TAN SAO, RIGHT MIDDLE JERN DA RIGHT JIT TEK TO DUMMY TRUNK
5. RIGHT GONG SAO, LEFT JAO SAO, RIGHT GO DA (SIMULTANIOUS) 6. DOUBLE TALK SAO
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1. LEFT TALK SAO, RIGHT HAND BUI SAO POSITRIONED IN CENTER LINE, RIGHT JIT TEK TO DUMMY TRUNK, LOW RIGHT JUK TEK TO DUMMY LEG 2. RIGHT TALK SAO, LEFT HAND BUI SAO POSITIONED IN CENTER LINE, LEFT JIT TEK TO DUMMY TRUNK, LOW LEFT JUK TEK TO DUMM LEG 3. RIGHT HAND KAO SAO TO MIDDLE ARM, LEFT MIDDLE JERN DA 4. LEFT HAND KAO SAO TO MIDDLE ARM, RIGHT MIDDLE JERN DA 5. RIGHT GONG SAO LEFT JAO SAO, RIGHT, GO DA (SIMULTANIOUS) 6. DOUBLE TALK SAO
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MOOK
JONG
WOODEN
DUMMY
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1. LEFT SIDE OF DUMMY 2. PAK SAO DA 3. LOY PAK SAO DA 4. RIGHT SIDE OF DUMMY 5. PAK SAO DA 6. LOY PAK SAO DA 7. LEFT SIDE OF DUMMY 8. PAK SAO DA 9. LEFT CHUNG CHUIE 10. LOY PAK SAO DA 11. RGHT SIDE OF DUMMY 12. PAK SAO DA 13. RIGHT CHUNG CHUIE 14. LOY PAK SAO DA 15. LEFT SIDE OF DUMMY
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(cont)
16. DOUBLE GOANG SAO 17. LEFT HUEN SAO TO HA DA 18. RIGHT HUEN SAO TO HA DA 19. LEFT HUEN SAO GO DA 20. RIGHT HUEN SAO GO DA 21. RIGHT SIDE OF DUMMY 22. PAK SAO WITH HA DA 23. JAO SAO - JUT SAO - GUM SAO DA ( DA OUTSIDE OF NEAR ARM 24. LEFT SIDE OF DUMMY 25. PAK SAO WITH HA DA 26. JAO SAO - JUT SAO - GUM SAO DA (DA OUTSIDE OF NEAR ARM) 27. RIGHT SIDE OF DUMMY 28. PAK SAO WITH HA DA TO JAO SAO TO DOUBLE JUT SAO, JONG TRO, SUT, DUM TEK 29. LEFT SIDE OF DUMMY 30. PAK SAO WITH HA DA TO JAO SAO TO DOUBLE JUT SAO, JONG TRO, SUT, DUM TEK
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47. ***PING CHUIE MAY BE SUBSTITUTED FOR CHOAP CHUIE IN THIS SET 48. ***SOT SAO MAY BE SUBSTITUTED FOR QUA CHUIE IN THIS SET 49. ***BIU GEE MAY BE SUSTITUTED FOR QUA CHUIE IN THIS SET
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1. BIU GEE, PAK SAO DA, LOP SAO DA, PAK SAO DA 2. OOU SAO, LEFT JUK TEK ON LEG 3. BIU GEE, PAK SAO DA, LOP SAO DA, PAK SAO DA 4. OOU SAO, RIGHT JUK TEK ON LEG 5. BIU GEE, LOP SAO DA RIGHT BIU GEE OUTSIDE OF DUMMY ARM 6. LEFT BIU GEE INSIDE OF DUMMY ARM 7. LEFT LOP SAO DA INSIDE OF DUMMY ARM 8. RIGHT LOP SAO DA INSIDE OF DUMMY ARM 9. RIGHT BIU GEE INSIDE OF DUMMY ARM 10. LEFT BIU GEE OUTSIDE OF DUMMY ARM 11. LEFT LOP SAO DA OUTSIDE OF DUMMY ARM 12. LEFT BIU GEE OUTSIDE OF DUMMY ARM 13. RIGHT BIU GEE NSIDE OF DUMMY OF DUMMYARM 14. RIGHT LOP SAO INSIDE OF DUMMY ARM 15. LEFT LOP SAO DA INSIDE OF DUMMY ARM
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16. LEFT BIU GEE INSIDE OF DUMMY ARM 17. RIGHT BIU GEE OUTSIDE OF DUMMUY ARM 18. RIGHT LOP SAO DA OUTSIDE OF DUMMY ARM 19. RIGHT BIU GEE OUTSIDE OF DUMMY ARM 20. LEFT BIU GEE INSIDE OF DUMMY ARM 21. RIGHT BIU GEE INSIDE OF DUMMY ARM 22. LEFT BIU GEE OUTSIDE OF DUMMY ARM 23. LEFT LOP SAO DA OUTSIDE OF DUMMY ARM 24. LEFT BIU GEE OUTSIDE OF DUMMY ARM 25. RIGHT BIU GEE INSIDE OF DUMMY ARM 26. LEFT BIU GEE INSIDE OF DUMMY ARM 27. RIGHT BIU GEE OUTRSIDE OF DUMMY ARM 28. RIGHT LOP DA OUTSIDE OF DUMMY ARM 29. DOUBLE GOANG SAO (LEFT SIDE OF DUMMY)
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30. LEFT HUEN SAO WITH LOW HIT 31. RIGHT HUEN SAO WITH LOW HIT 32. LEFT HUEN SAO WITH HIGH HIT 33. RIGHT HUEN SAO WITH HIGH HIT 34. YOUR LEFT SIDE OF DUMMY 35. PAK SAO DA (WITH MIDDLE DA) 36. RIGH JAO SAO 37. DOUBLE JUT SAO 38. SWING TO RIGHT GUM SAO WITH LEFT DA BETWEEN ARMS 39. RIGHT SIDE OF DUMMY 40. PAK SAO DA (WITH MIDDLE DA) 41. LEFT JAO DA 42. DOUBLE JU SAO 43. LEFT GUM SAO WITH RIGHT DA
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44. SWINGTO LEFT GUM SAO WITH RIGHT DA BETWEEN ARMS 45. YOUR LEFT SIDE OF DUMMY 46. PAK SAO DA WITH MIDDLE DA 47. RIGHT JAO SAO 48. DOUBLE JUT SAO 49. DOUBLE TALK SAO 50. RIGHT JUK TEK 51. YOUR RIGHT SIDE OF DUMMY 52. PAK SAO DA WITH MIDDLE DA 53. LEFT JAO SAO 54. DOUBLE JUT SAO 55. DOUBLE TALK SAO 56. LEFT JUK TEK
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14. DOUBLE GOANG TO YOUR RIGHT 15. LEFT HUEN SAO TO LEFT HA DA 16. RIGHT HUEN SAO TO HA DA 17. LEFT HUEN SAO TO LEFTGO DA
18. RIGHT HUEN SAO TO RIGHT GO DA 19. (AT RIGHT SIDE OF DUMMY) LEFT HA DA TO JAO SAO TO SWING JUT SAO TO LEFT WITH LEFT DA TO LEFT GUM SAO DA AND RIGHT DA 20. (LEFT SIDE OF DUMMY) RIGHT HA DA TO JAO SAO TO SWING JUT SAO TO RIGHT WITH RIGHT DA TO RIGHT GUM SAO A ND LEFT DA 21. (RIGH SIDE OF DUMMY) LEFT HA DA TO JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT OOU TEK TO LEFT JUK TEK SIDE STEP TO LEFT 22. (LEFT SIDE OF DUMMY) RIGHT HA DA TO JAO SAO , DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT OOU TEK TO RIGHT JUK TEK
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RT. SIDE LT. SIDE RT. SIDE LT. SIDE RT. SIDE LT. SIDE RT. SIDE LT. SIDE RT. SIDE LT. SIDE RT. SIDE RT. SIDE LT. SIDE RT. SIDE LT. SIDE
1. PA SAO, TAN SAO DA 2. PA SAO, TAN SAO DA 3. PAK SAO DA, WOANG PAK DA TAN SAO DA (DUMMY RT. SIDE) 4. PAK SAO DA, WOANG PAK DA PAK SAO DA (DUMMY LT. SIDE) 5. RT. BIU TO BIU SAO DA 6. LT. BIU TO BIU SAO DA 7. RT. BIU TO WOANG PAK DA - BIU SAO DA 8. LT. BIU TO WOANG PAK DA - BIU SAO DA 9. RT. BIU TO LEFT LOW GOANG SAO DA 10. LT. BIU TO RIGHT LOW GOANG SAO DA 11. DOUBLE GOANG SAO TO LEFT 12. RT. HUEN SAO TO RT. GO DA 13. LEFT HUEN SAO TO LT. GO DA 14. RT. HUEN SAOTO RT. HA DA 15. LT.HUEN SAO TO LT. HA DA
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RT. SIDE
16. RT. PAK SAO WITH LT. HA DA, LT. JAO SAO, DOUBLE JUT SAO, RT, HA DA GUM SAO WITH LT. DA 17. LT. PAK SAO WITH RT. HA DA, RT. JAO SAO, DOUBLE JUT SAO, LT. HA DA LT. GUM SAO WITH RT. DA 18. RT. HA DA, JAO SAO, DOUBLE JUT SAO SWING, JUK TEK TO JUT TEK 19. LT. HA DA, JAO SAO, DOUBLE JUT SAO SWING, JUK TEK TO JUK TEK
LT. SIDE
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BETWEEN BOTH ARMS 1. LEFT TAN SAO 2. RIGHT TAN SAO 3. LEFT TAN SAO YOURE LEFT SIDE OF DUMMY 1. RIGHT JAO SAO TO RIGHT JUK TEK 2. LEFT PAK SAO DA 3. RIGHT LOP SAO DA 4. LEFT PAK SAO DA BETWEEN BOTH ARMS 1. RIGHT TAN SAO DA 2. LEFT TAN SAO DA 3. RIGHT TAN SAO DA
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8. RIGHT HIT BETWEEN ARMS AND RIGHT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT OOU TEK 9. LEFT HIT BETWEEN ARM AND LEFT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT OOU TEK
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1. DOUBLE GOANG SAO TO LEFT 2. RIGHT HUEN SAO, RIGHT GO DA 3. LEFT HUEN SAO, LEFT GO DA 4. RIGHT HUEN SAO, RIGHT HA DA 5. LEFT HUEN SAO, LEFT HA DA 6. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT JUK TEK 7. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT JUK TEK
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8. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT SAO TO DOUBLE TALK SAO TO RIGHT OOU TEK
9. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO TO DOUBLE TALK SAO TO LEFT OOU TEK
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1. LEFT WOANG PAK WITH RIGHT MIDDLE JIK DUM TEK 2. RIGHT KAO SAO ON LOWER ARM 3. RIGHT JUK TEK 4. RIGHT WOANG PAK WITH LEFT MIDDLE JIK DUM TEK 5. LEFT KAO SAO ON LOWER ARM 6. LEFT JUK TEK 7. LEFT WOANG PAK WITH RIGHT MIDDLE JIK DUM TEK 8. RIGHT KAO SAO ON LOWER ARM 9. RIGHT OOU TEK
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10. RIGHT WOANG PAK WITH LEFT MIDDLE JIK DUM TEK 11. LEFT KAO SAO ON LOWER ARM 12. LEFT OOU TEK 13. RIGHT HA DA 14. LEFT WOANG PAK WITH MIDDLE WOANG JERN 15. LEFT HA DA 16. RIGHT WOANG PAK WITH MIDDLE WOANG JERN 17. RIGHT HA DA 18. LEFT WOANG PAK WITH MIDDLE CHUNG CHUIE 19. LEFT HA DA 20. RIGHT WOANG PAK WITH MIDDLE CHUNG CHUIE
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21. RIGHT HA DA 22. LEFT WOANG PAK WITH LEFT FAK SAO 23. LEFT HA DA 24. RIGHT WOANG PAK WITH LEFT FAK SAO 25. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT JUK TEK
26. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT JUK TEK 27. RIGHT HA DA, RIGHT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO RIGHT OOU TEK 28. LEFT HA DA, LEFT JAO SAO, DOUBLE JUT SAO, DOUBLE TALK SAO TO LEFT OOU TEK
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8 Rank Sijo (Founder of the system) and Sigung (Grandfather of the system)
th
Unranked - Beginner
2 rank Advanced student, eligible for Apprentice instructor level Junior 1 rank After six months to one of training
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4 rank Full instructor level Junior 2n rank advanced and intermediate student
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5 rank Senior instructor level 2 rank Advanced and senior student 6 rank Dan Inosanto 3 rank - Instructor level
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5th rank Sijo (Founder of the system) Sigung (Grandfather of the system)
8th rank Bruce Lee Sijo (Founder of the system) Sigung (Grandfather of the system)
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SINGLE
MEASURE THE DISTANCE ANGLES 1 -5 BLOCKING INSIDE SWEEP OUTSIDE DEFLECT WING BLOCK HIGH AND LOW SHIELD ROOF UMBRELLA FOLLOW UMBRELLA CROSS BLOCK OR WIPE PASS DROP STICK FRILAY SCOOP RUDIMENTARY BLOCKING POINT UP POINT DOWN POINT OUT STRICKING DRILLS LOBTIK WATIK FOREWARD THRUST BACK AND THRUST PUNYO (FOREHAND AND BACK STRIKE) REDONDO ABENIKO BACALA BROKEN STRIKING FLIUDING STRIKING REPETATIVE STRIKING ABCEDARIOUS EXAMPLE INSIDE SWEEP CHECK AND RETURN
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SINGLE
DISARMS
SNAKE VINE STRIP SECTORS AGAINST FOREHAND STRIKE AND BACKHAND STRIKE SUMBRADA BOX PATTERN PUNYO SUMBRADA PUNYO SUMBRADA WITH TAKE OUT (INSIDE AND OUT) PUNYO ATAPI CHAMBER POSITION HUBUB LUBUD INSIDE HUBUD LUBUD OUTSIDE STRIKE CONTROL DRILLS (CARENZA) FOREWARD TWIRL AND PAT BACKWARD TWIRL AND PAT UNDERARM SWITCH REVERSE UNDERARM SWITCH CHAMBER PIYUNG ROOF OR UMBRELLA CHAMBER SWITCH PIYUNG ROOF OR UMBRELLA BEHIND BACK SWITCH FOREWARD TWIRL SWITCCH THRUST STRAIGHT KICK OVER SWITCH ALPHABET FOUR CORNERS INCLUDE THEORY OF HIP MOVEMENT WHEN STRIKING MAKE RELATIONSHIP TO BOXING
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SINGLE
PASS SLASH AND THRUST DRILLS (PST) STRIKING ONE THROUGH EIGHT GRIPS: A. PICAL (HAMMER GRIP) B. SAK SAK (THRUST) DISARM: A. EJECTION B. STRIPE GET OTHER DRILLS FROM LUCAY LUCAY, INOSANTO, SULITE TWO PERSON DRILL: PERSON #1 SAK SAK POSITION PERSON #2 PICAL POSITIONS PERSON #1 ANGLE SIX ATTACK (FOREHAND THRUST) PERSON #2 BLOCKS WITH BLADE CHECK AND PASS THE KNIFE PERSON #1 ANGLES SEVEN (BACKHAND THRUST) PERSON #2 BLOCKS WITH BLADE AND LOCK WRIST WITH V LOCK TWIST OUTWARD BRINGING BOTH KNIVES INTO POSITION SO THEYRE FACING PERSON #1 NWARD DISARM PEERSON #1 THRUST INWARD DISARM PERSON #1 STEPS BEHIND INTO THROAT SLASH AND ARM BRAKE
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JOINT
LOCKS - WRIST
LOCKS
1. FIGURE FOUR 2. REVERSE WRIST LOCK 3. CHICKEN WING HORIZONTAL 4. CHICKEN WING VERICAL 5. BENT ELBOW WRIST LOCK 6. VERICAL WRIST LOCK 7. GOOSE NECK 8. STRAIGHT ARM GOOSE NECK
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ARM
LOCKS - ELBOW
LOCKS
1. STRAIGHT ARM BAR 2. BENT ARM BAR 3. REVERSE BENT ARM (HAND) 4. REVERSE BENT ARM (BICEP) 5. HIP LOCK 6. BRANCH UP (GROUND) SEVEN VARIABLES 7. BRANCH DOWN (GROUND) SEVEN VARIABLES 8. FIGURE FOUR (GROUND) 9. BRANCH DOWN WRIST LOCK
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FINGER
LOCKS - LEG
LOCKS
1. FINGER LOCKS 2. SKIN GRABBING 3. TRIGGER LOCK 4. ONE FINGER LOCK 5. TWO FINGER LOCK 6. REVERSE FINGER LOCK 7. COMPRESSION FINGERS LOCK
LEG
1. FIGURE FOUR 2. ANKLE LOCK
LOCKS
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SENSITIVITY TRAINING (STICKY HANDS) DRILLS: PARRY HARMONIOUS SPRING REPOSTE WOANG PAK (CROSS PARRY) BONG SAO DRILL (WING HAND DEFLECTION ELBOW UP) UNMATCHED STANCES A. SWITCH WITH LOP SAO B. SWITCH WITH TAN SAO C. DON CHI ONE HAND CHI SAO (STICKY HAND) D. CHI SAO DOUBLE HANDS (STICKY HANDS) CENTER LINE THEORY CENTER LINE SIX QUARDENTS: 1. OUTSIDE HIGH FORWARD 2. INSIDE HIGH FORWARD 3. OUTSIDE MID FORWARD 4. INSIDE MID FORWARD 5. OUTSIDE LOW FORWARD 6. INSIDE LOW FORWARD
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KALI HANDS
GUNTING: (SCISSORS) HORIZONTIAL VERTICLE SPLIT INSIDE PARRY BICEPT DESTRUCTION INSIDE PARRY EYE RAKE INSIDE PARRY WITH SLBOW HIT ATOPI INWARD BACKHAND BACKHAND CONTROLLING A PUNCH GET HIT CATCH HOOK REDIRECT DESTROY SLIP CONTROLLING KICK ON MID TO HIGH LINE GET HIT CATCH HOOK REDIRECT DESTROY EVADE DESTRUCTIONS: (JOINTS & NERVES) HAND LEG FOOT DRILLS: PUSH HANDS HUBUD LUBUD 1. INSIDE HUBUD LUBUD (CONTROLLING) 2. INSIDE HUBUD LUBUD (WITH ELBOW TRAP) 3. INSIDE HUBUD LUBUD (WITH ELBOW ROLL) 4. OUTSIDE GRAB HUBUD LUBUD 5. OUTSIDE GRAB WITH ELBOW ROLL HUBUD LUBUD
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BOXING
FOOTWORK SHUFFLE FORWARD AND BACKWARD (STEP AND SLIDE) SHUFFLE FORWARD AND BACKWARD (SLIDE STEP) COVER LEFT, COVER RIGHT EVASION AND SHUFFLE OFFENSIVE SKILLS JAB CROSS HOOK UPPERCUT OVERHAND ELBOW KALI SLAP ELBOWS DEFENSIVE SKILLS CATCH HOOK REDIRECT DESTUCTION AND DEFLECTION (ELBOWS) BOB WEAVE SLIP COVER EVADW DRILLS REFLEX SPEED TIMING SHADOW BOXING CIRCUIT TRAINING STATIC TRAINING FREELANCE DRILLS COORDINATION DRILLS COMBINATION DRILLS 1 2 SERIES CATCH AND SLIP SERIES
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FOOTWORK
FRONT HORSE BOX PATTERN X PATTERN TRIANGLE RIGHT STANCE LEFT STANCE CAT STANCE (RIGHT) CAT STANCE (LEFT) RIGHT SIDE STANCE (ANGLE 1 POSITION) LEFT SIDE STANCE (ANGLE 2 POSITION) CROSS STANCE (FORWARD) CROSS STANCE (BACKWARD) CROSS SPIN (FORWARD) CROSS SPIN (BACKWARD) HALF SPIN RIGHT LEAD LEFT LEAD SHUFFLE (FORWARD, BACKWARD, LATERAL) 1. STEP AND SLIDE (FORWARD - BACKWARD) 2. SLIDE AND STEP (FORWARD - BACKWARD) 3. COVER LEFT - COVER RIGHT 4. STEP AND SLIDE, SLIDE AND STEP, COVER LEFT, COVER 5. RIGHT, FORWARD AND BACKWARD, USING ANGULATION SEMPOK: (BEHIND FOOTWORK) DEMPOK: (FRONT FOOTWORK) FOOT SECTORS 1 THROUGH 6
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DOWNWARD FIGURE EIGHT HEAVEN DOWNWARD FIGURE EIGHT STANDARD DOWNWARD FIGURE EIGHT EARTH HORIZONTAL FIGURE EIGHT HEAVEN HORIZONTAL FIGURE EIGHT STANDARD DOWNWARD FIGURE EIGHT EARTH RICE POUNDING GRIP BOTH ENDS DOWN RICE POUNDING GRIP RIGHT END UP, LEFT END DOWN RICE POUNDING GRIP LEFT END UP, RIGHT END DOWN
45. DRILLS: A. SINAWALLI TIADA (CIRCULING, CLOCKWISE, COUNTER CLOCKWISE) B. SINAWALLI STANDING C. SINAWALLI KNEELING D. SINAWALLI GROUNG E. ALTERNATING BETWEEN A, B, & C 45. SINAWALLI BOX PATTERN 46. SINAWALLI OUT OF BOX PATTERN (FREE LANCE) 47. SINAWALLI WITH OBSTRUCTION A. CHAIR B. BENCH C. LOW WALL D. LOW CEILING E. BUSHES F. ETC.
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VILLABRILLE
1. 2. 3. 4. 5. VILLABRILLE EIGHT COUNT RIGHT VILLABRILLE EIGHT COUNT LEFT VILLA BRILLE EIGHT COUNT RIGHT AND LEFT VILLABRILLE TWELVE COUNT RIGHT TO LEFT VILLABRILLE TWELVE COUNT LEFT TO RIGHT
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1. 2. 3. 4.
ONE TO TWELVE NUMBERING SYSTEM ONETO TWELVE LOCK AND BLOCK IN SEQUENCE FOOT REPLACEMENT DRILLS ONE TO TWELVE LOCK AND BLOCK WITH FOOT REPLACEMENT IN SEQUENCE 5. ONE TO TWELVE LOCK AND BLOCK WITH BASTON AND EMPTY HAND IN SEQUENCE WITH FOOT WORK 6. ONE TO LOCK AND BLOCK WITH BASTON AND DAGA IN SEQUENCE WITH FOOT WORK 7. ONE TO TWELVE LOCK AND BLOCK OUT OF SEQUENCE WITH FOOT WORK 8. ONE TO TWELVE LOCK AND BLOCK IN SEQUENCE WITH FOOT WORK AND DISARMS 9. ONE TO TWELVE LOCK AND BLOCK OUT OF SEQUENCE WITH FOOT WORK AND DISARMS 10. FREE LANCE ALL NUMBERS WITH DIARMS 11. FREE LANCE ALL NUMERS WITH DISARMS AND THROWS 12. IN SEQUENCE ONE TO TWELVE WRENCHING DRILLS WITH FOOT WORK 13. OUT OF SEQUENCE WRENCHING DRILLS WITH FOOT WORK 14. FREE LANCE ALL NUMBERS WRENCHING DRILLS
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PREPARE FOR FALLING 8. ROLL BACK RIGHT 9. ROLL BACK LEFT 10. ROLL BACK 11. FALLING BACK RIGHT FROM STANDING POSITION 12. FALLING BACK LEFT FROM STANDING POSITION 13. FALLING BACK FROM STANDING POSITION 14. ROLL BACK FROM KNEELING POSITION 15. ROLL BACK RIGHT FROM KNEELING POSITION 16. ROLL BACK LEFT FROM KNEELING POSITION 17. ROLL BACK FROM KNEELING POSITION
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1. The Universal triangle 2. The circle represent the Creator; from continuous motion 3. The Kali triangle: love, compassion, humility 4. The stick, the core of the Filipino martial art. The first weapon taught, from which to learn all other weapons 5. The blade (points upward toward Life), is taught after the stick 6. The fist represents the empty hand art of the Philippines 7. The half moon symbolizes the half of the Philippines (Southern Philippines) which were never under Spanish rule, and also the moonlight which was the only time Kali practitioners could safely practice their art during Spanish rule 8. The four parts of the circle represents the four saints called upon by Kali practitioners: Saint Michael, Saint Gabriel, Saint Uriel, and Saint Raphael 9. Ancient K for kali, kalirodman 10. Ancient E for eskrima, estocado and estke 11. Ancient S for silat
Inosanto Academy
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MY VIEW ON JKD
By Bruce Lee 1962
Some instructors of marital arts favor forms, the more complex and fancy the better. Some, on the other hand are obsessed with super mental powers (like Captain Marvel or Superman). Still some favor deformed hands and legs, and devote their time on fighting bricks, stones, boards, etc. To me the extraordinary aspect of JKD lies in simplicity. JKD is simply the direct expression ones feeling with the minimum of movements and energy. Every movement is being so of itself without the artificialities which people tend to complicate it. The easy way is always the right way, and JKD is nothing at all special; the closer to the true way of JKD, is less wastage of expression there is. Instead of facing combat in it such ness, quite a few systems of martial art accumulate fanciness that distort and cramp their practitioners and distract them from the actual reality of combat, which is simple and direct and non-classical. Instead of going immediately to the heart of things, flowery forms and artificial techniques (organized despair) are ritually practiced to simulate actual combat. Thus instead of being in combat, these practitioners are idealistically doing something about combat. Worse still, super mental this and spiritual that are ignorantly incorporated until these practitioners are drifting further and further into the distance of abstraction and mystery that what they do resembles anything from acrobatics to modern dancing but the actual reality of combat. All of these complex nesses are actual futile attempts to arrest and fix the ever changing movements in combat and dissect and analyze them like a corpse. Real combat is not fixed and very much alive. Such means of practice (a form of paralysis) will only solidify and condition what was once fluid and alive. When you get off sophistication and what not and look at it realistically these robots (practitioners that is) are blindly devoting to the systematic uselessness of practicing routines or stunts that lead nowhere. JKD is to be looked through without fancy suits and matching tiers, and it will remain a secret when we anxiously look for sophistication and deadly techniques. If there are really any secrets at all, they must have been missed by the seeking and striving of its practitioners (after all, how many ways are there to come on an opponent without too much form the natural course?) JKD values the wonder of the ordinary and the cultivation of JKD is not daily increase, but daily decrease. Being wise in JKD does not men adding more, but to be able to get off with ornamentation and be simply simple, like a sculptor building a statue not by adding but by hacking away the unessential so that the truth will be revealed unobstructed. In short, JKD is satisfied with ones bare hand without the fancy decoration of colorful gloves which tend to hinder the natural function of the hand. Art is expression of self. The more complicated and restrictive a method is, the lesser the opportunity for the expression of ones own original sense of freedom. The techniques, though they play an important role in the early stage, should not be too restrictive, complex or mechanical. If we cling to them we will become bound by their limitation. Remember, you are expressing the technique and not doing toe technique. When someone attacks it is not technique number one (or is it technique number two, stance two sections four) that you are doing, but the moment youre aware that he attacks you simply in like sound and echo without deliberation. It is as though when I call you, you answer me, or when I throw something to you, you catch it, thats all.
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DISTANCE AS ATTACK
The first principle for fastest contact in distance attack is by using the lunge to get at the closet. In kicking: the leaning shin/knee side kick In striking: the finger jab to the eye (Note: Study both the progressive targets chart as well as the progressive weapons chart.) The second principle is economical initial (non-telegraphic) - Latent motor training forwards intuition. The third principle is correct on-guard position to facilitate freedom in movement, ease small phasic bent-knee position. The fourth principle is constant shifting of footwork to secure correct measure (Broken rhythmto confuse opponents distance while control ones own). The fifth principle is catching opponents moment of weakness, physically as well as psychologically. The sixth principle is correct measure for explosive penetration. The seventh principle is quick recovery or appropriate follow-up.
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TIMMING
DISTANCE
AGGRESSIVNESS
THE MATCH
COUNTER ATTACK
OFFENSE DEFENSE
COUNTER TIME
YIELDING PARRY
RECOVER
RENEWED ATTACK
DEFENSE 260
1. SAA = SINGLE ANGULAR ATTACK 2. SDA = SINGLE DIRECT ATTACK 3. IPA = INDIRECT PROGRESSIVE ATTACK 4. PIA = PROGRESSIVE INDIRECT ATTACK 5. IA = INDIRECT ATTACK 6. HIA = HAND IMMOBILIZATION ATTACK 7. FIA = ABC ATTACK BY COMBINATION 8. ABD = ATTACK BY DRAW 9. RIPOSTE = IN FENCING A SWIFT THRUST MADE AFTER PARRYING AN OPONENTS LUNGE (SWIFT RETURN)
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JEET KUNE DO
Bruce Lee
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JEET KUNE DO
1. REAR TAKEDOWN 2. FRONT TAKEDOWN 3. REAR SWEEP 4. FRONT SWEEP 5. TWO FINGER TAKE DOWN 6. WRIST TORQUE TAKEDOWN 7. FIGURE 4 TAKEDOWN 8. UNDER ARM LOCK TAKEDOWN 9. HANDSHAKE WRIST THROW 10. ARMBAR TAKEDOWN 11. ELBOW UP TAKEDOWN 12. AIKI JITSU TAKEDOWN
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JEET KUNE DO
3.
INDIVIDUALITY, EACH JKD PRACTITIONER NEEDS TO EXPRESS THE TECHNIQUES WHICH FIT HIS/HER OWN PHYSICAL SIZE, BUILD, HANDICAPS, PERSONALITY AND MARTIAL ARTS BACKGROUND.
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BREAKHOLDS
FRONT CHOKE:
1. Using both of your arms, simultaneously strike both of your opponents arms at the bend of he arm, and pin them against your chest, one or more right knees to groin or low midsection, then double iron palm strike to opponents face or side of neck. 2. Two finger nerve gouge to throat. Aiki-Jujitsu take down-into opponent with right foot stepping straight into opponent. 3. Right palm strike to face as your left hand grabs opponents right wrist, apply wrist torque take down on his right hand. 4. Left bar wrist lock or S lock. 5. Double ear slap, then both hands wrap around the neck of opponents, pulls his head down (your elbows tucked in close to each other for protection), then apply a series of knee strikes. 6. Right heel hand to chin, and fingers dig into eye sockets forming a tight grip onto face of opponent. 7. Double eye gouge, double thumb gouge into eye sockets, foot stomp into instep. 8. Right punch into bicep, wrist torque take down on opponents right hand. 9. Right strike or punch to groin, apply over the shoulder arm break, over your left shoulder against his right arm. 10. Left foot steps back at a 45 angle as your torso turns counter- clockwise to the left, as your right arm is raised (elbow straight) and is pointed to the ground, consequently breaking opponents grip and pulling him off balance. To follow up with a forearm or elbow strike to his face. 11. Same as #10 but follow up with side kick. 12. Knee to groin fist choke. 13. Knee to groin stomach choke. 14. Simply turn and walk away. 15. Two fingers to the throat (nerve center) as he steps back in response to the pain, follow up with a burning foot side kick. 266
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The JKD as taught and promoted by the JKD association Is based on the non classical, combat modified Chinese American Gung Fu System with influences from boxing and fencing as it was developed by Bruce Lee and taught and taught at the Oakland, California JKD School and co instructed by James Yimm Lee.
FOUR RANGES OF COMBAT KICKING-PUNCH TRAPPING-GRAPPLING THREE PHASES OF LEARNING JKD 1. Sharpening (learning) of the tools. 2. Utilization of the tools (techniques). 3. Dissolving of the tools (developing pure instinct and reflex in combat. THE THREE Rs OF JEET KUNE DO Realistic Relationship of the opponents Rhythm. STRICTLY FOR STREET SELF-DEFENSE JKD is only for street combat and self-defense. There are no sport aspects, no flowery forms, no acrobatics. JKD is scientific street fighting. NON-CLASSICAL JKD techniques are simple, direct, and functional, without any traditional, classic maneuvers. There is no chambering or unnecessary movements
HAND TECHNIQUES The hand techniques (fist and open hand) are some of the fastest and hardest hitting in existence today. They are fast, deceptive and powerful. The JKD hands are a cross of techniques from Wing Chun and Alis style of boxing, also using some concepts from fencing . KICKING JKD emphasis low level kicking due to its combat aspects. The kicks are quick, strong, and geared to disable an assailant immediately. BLOCKING JKD utilizes few blocks and most of those are deflections with evasive footwork . GRAPPLING Our extended system of JKD incorporates techniques from Ju-Jitsu such as joint-locks, throws, chokes, and sweeps in order to enhance its street effectiveness. SIMPLICITY No flash, no fancy moves, no acrobatics. Keep it simple, keep it effective. PHYSICAL & MENTAL BENEFITS JKD training provides physical conditioning, develops balance and coordination, builds up cardio-respiratory endurance and stamina, and helps in confidence, self-esteem, and mental discipline.
INDIVIDUALITY
The original JKD is our base, our nucleus. We still grow by using workable combat techniques from other sources. The HKD practitioner expresses the techniques which fit his/her own physical build, personality, and martial arts background.
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IN MEMORY OF
Punong Guro Edgar Sulite
September 25, 1957- April 10, 1997 Kali/Eskrima Founder of Lameco Eskrima System Sining ng Lameko Eskrima
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IN MEMORY OF
October 4, 1945 March 30, 1996 KALI /JKD Senior Instructor under Sifu/Guro Dan Inosanto
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IN MEMORY OF
Sifu James Yimm Lee
IN MEMORY OF
Bruce Lee
IN MEMORY OF
Brandon Lee
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