Informative Issue No. 105 2013

Seeking Martial Artists, Not Just People Who Do Martial Arts When Training Alone Strength Conditioning and Stretching Master Jose Isidro - Isidro Modern Arnis Strength and Flexibility Conditioning Guro Tony Torre - Miami Arnis Group Master Jose Isidro - Isidro Modern Arnis Stances and Footwork Master Jose Isidro - Isidro Modern Arnis Daniel Arola - DAMAG-Inc. Kali Balance, Timing, Coordination, and Endurance Training Master Jose Isidro - Isidro Modern Arnis Maestro Melchor William Amosco - Armado FMA DEFTAC Guro/Kru Joel Huncar - Rocky Mountain Academy of Martial Arts (RMAMA) Grand Maestro Greg Henderson - Henderson’s Diamondback Eskrima Dr. Ron Parente - Amara Arkanis

Each issue features practitioners of martial arts and other internal arts, other features include historical, theo-retical and technical articles; reflections, Filipino martial arts, healing arts, the culture of the Philippines and other related subjects. The authors, publisher and owner of this online magazine are not responsible for any injury, which may result from the instructions contained in this online magazine. Before embarking on any of the physical activates described in the magazine, the reader should consult his or her physician for advice regarding their individual suitability for per-forming such activity. The ideas and opinions expressed in the FMA Informative online magazine are those of the authors or instruc-tors being interviewed and are not necessarily the views of the publisher, editor or owner of the FMA Informative. The articles are the property of the author’s that wrote them and cannot be used without the permission of the author. The FMA Informative is for the promulgation and promotion of the Filipino martial arts and the Culture of the Philippines. NO issue can be printed and Sold for Monies, without the express permission of the Owner and Publisher of the FMA Informative.

The FMA Informative having a group on Facebook (Click Here) and viewing many Solo Training videos (Vid-eos a big thing on Facebook) thought it would be great if some of its members of the group (since there were over 800 members at the time the request went out) could explain what they were doing for the benefit of others. The FMA Informative must apologize for it was under the assumption that a teacher, could demonstrate, vocally put forth and even write about what they do. Some said they could not speak or write good English (FMA Informative is in English), however the FMA Informative staff offered to ensure to help and make sure that what they wanted to express would be done professionally, but as they say “keep the flavor of the author.” Some said they have no time? What no time to promote yourself as a teacher or your art? Anyway, the FMA Informative was very lucky to have the following professional practitioners contrib-ute to this issue. And though some of the solo training seems to be very easy and simple, it is all important in the development of strength, skills, balance, timing and coordination.So the FMA Informative wants to thank: Master Jose Isidro - Isidro Modern Arnis Guro Tony Torre - Miami Arnis Group Daniel Arola - DAMAG-Inc. Kali Maestro Melchor William Amosco - Armado FMA DEFTAC Guro/Kru Joel Huncar - Rocky Mountain Academy of Martial Arts (RMAMA) Grand Maestro Greg Henderson - Henderson’s Diamondback Eskrima Dr. Ron Parente - Amara ArkanisFor their contribution and professionalism, and realizing that others will benefit from what they have submitted.

Well one thing that the FMA Informative learned is that not many practitioners can write down what they demonstrate. They can pop a video on Facebook and maybe even put a couple words and maybe a sentence with it. And even talk during the video. However it seems some cannot put into writing what they are actually doing and write down the benefits of what they are doing. So they are most definately Instructors, and not really teachers. And it is hoped that practitioners know the differance between an Instructor and a Teacher. So if a prac-titioner is a Guro, Maestro, Punong Guro or Mataw-Guro be one and teach the art. Do not be an Instructor that just duplicates the art like a book and cannot really explain like a Teacher.

Seeking Martial Artists, Not Just People Who Do Martial Arts By Sensei Tom Gillis

People come to the dojo for many reasons. Some seek fitness, some self confidence, and some a hobby. Some people want to test their grit and challenge themselves. Some people show up and just barely put in enough energy to go through the motions, and some take what I’m teaching and make it their life. This last group of people, the ones who make martial arts a lifestyle, are truly martial artists. The former categories are people who are doing martial arts. There are ways to tell which you are. If you are constantly mak-ing excuses to not train, you’re a person who does martial arts. I’m constantly surprised with the ex-cuses I hear. Just the other night a student told me that they couldn’t train because they didn’t have any clean clothes for after work or any money. And then that same student went out to a bar in clean clothes where I suspect they had to spend at least what a drop in fee costs. This is an excuse to not train. Excuses to not train really boggle my mind. If we look at other artists, painters, musicians, sculptors, chiefs, etcetera, they strive to find time to practice their art. People who do martial arts

seem to constantly strive to find reasons not to. Recently one of my Shodans was on holidays and while on holidays made it part of his trip to visit some martial arts clubs that he was interested in and train. This is a mark of the martial artist. To find reasons to train, not reasons not to train. Many people can’t stay plugged into class for the dura-tion of the class. Not only do their minds wander but they become distracted and training becomes social time. Sometime their whole reason for attending class becomes to see their friends. Turning train-ing time into social time is another indicator that someone is doing martial arts, and isn’t a martial art-ist. A martial artist values their training time. They might even get upset with people who are distracting the group or “stealing” valuable time by turning class into a social engagement. They want to train. Not only are they able to plug in for the entire class and want to be there with every ounce of their being but they take the les-sons with them when they leave. This brings me to the last

indicator of whether you’re doing martial arts, or are a martial art-ist. Many students only train when they’re at class. They don’t do any homework. Again this really blows my mind that martial arts students think this is acceptable. If you look at other artists (as listed above) they would all practice on their own time. In some cases more than they would practice in class. A martial artist doesn’t even need to be told what or when to practice. They’re hunger to understand and get better kicks in and they practice at home at least 1 hour for every hour they’re with their instructor, if not more. As you’re reading this you might relate more to the descrip-tions of someone who does martial arts. That’s ok if that’s what you want. But if you want to become a martial artist you have to take action. It’s not a passive activity. Look for reasons to train, instead of excuses not to, plug into class when you’re there, and practicing on your own are three steps to get you there.

Foothills Training Service ftsma.com

When Training Alone By Paul Ingram

and his intellect before flawlessly executing his technique in spar-ring and then taking it to the fight. There is a formula for progression when you are training alone. This formula is consistent and always rotating in a clockwise circle there-fore commanding solo training is a practice of persistence. The first is the perfection of coordination. This process must start slow, smooth and precise. Never maneuver your weapon or footwork beyond the speed which you can control 100% and follow visually the precise line through the complete range of motion. Building coordination is a process and if done in the correct manner can accelerate the growth of your technique sufficiently and quite quickly, however, if you rush and become ignorant to coordination then you will not succeed in fur-thering your skill development. This will transition to the feeling of being behind or lost and gener-ate a low feeling about yourself, leading into a broken emotional state which then resulting in either a damaging and self-destructive ego and/or into the reaction of quitting. Coordination comes down to three (3) objectives, full control of motion, line familiarization and precision and muscle memory. Coordination is the fighter’s first recognition of progress.

The second is the enhance-ment of agility. Agility is built through pushing the body through stress and learning how to bal-ance, control and propel your body and mind forward in the times of anxiety and pressure. It’s about building muscular endurance and training the body and mind to keep moving forward regardless. This can be done through intense rounds of shadow movements with advancement in tempo and intent. Building circuits is a great example of agility training. Build a circuit of intense martial move-ment and explosive exercise. At the break points drink some water and move slowly to refine coordi-nation during fatigue and to stay in motion until the next agility round. To build agility physically and mentally you cannot stop moving. When you’ve pushed your muscles and lungs to their limits, then slow down but, do not stop. The third is flexibility. I’m not talking about physical flex-ibility here; I’m talking about the flexibility of adaptation of physi-cal skill and levels of intent. It is in solo training where you learn to control your intensity both physi-cally and mentally. It’s important to be able to turn off the violence just as quickly as turning it on almost like a split personality all while maintaining complete focus

on your movements, environment and training. Flexibility is the ability to force directional change, control momentum and the break-ing of tempo and rhythm all both physically and mentally. Always be flexible, always be fluid and never be stagnant whether that is stop-ping motion or stagnant being in one tempo or direction. Solo training should reflect the goals you want to accomplish in sparring and in the fight. When training alone there must be a tremendous amount of focus and self-discipline and done with the tools you intend to use. Do not spend your time on unnecessary movements, unnecessary thinking and unnecessary training methods. Combat is about doing only what is necessary to win and capitalizing on the moments when you have the dominance of range and tim-ing. Solo training is both physical and psychological preparation and is the hardest form of training. It is the hardest because you have to do it alone. You are your inspi-ration, you are your motivation, and you are your most challeng-ing opponent. It is about spending those challenging hours within the depths of you.

Time spent with just yourself and your sword, knife or other mar-tial skill covers majority of your training time. This is the time of perfection in your technique and mastery over your body, strategy and tactics. When training alone, this is the time to really slow

things down, break down and dis-solve and refine your technique and find your physical and intel-lectual martial balance. If you neglect solo train-ing then you will never know your potential. A great guitarist locks himself into a closet to practice

undisturbed for hours and once masters his technique for himself; he can now take that technique and build it under the pressure of an audience. The martial way works in this exact same formula. The fighter needs to master his tech-nique, his body’s dynamic ability Paul Ingram

Strength Conditioning and Stretching

Strength Condition without getting dirty and can be done anywhere. These exercises are good for elderly and anyone who likes to build wrist, arm, chest, shoulder, stomach, and leg strength, without the hassle of get-ting on the ground or with expensive equipment. I do this myself when I travel and there are no Gym facilities in the hotel or out in the boonies. Just as long you have something to lean or sit on.

Master Jose Isidro - Isidro Modern Arnis

Knuckle Pushup - Building strong wrist and arm.

Video Review: Click Here

Chair exercise - Strengthening the core and quads (stomach and legs)

Video Review: Click Here

Finger Pushup - Building strong finger, wrist, forearm, and deltoid.

Video Review: Click Here

Flat Hand Pushup - Building strong wrist, forearm, and deltoid.

Flat Hand Diamond Pushup - Building strong wrist, forearm, and deltoid.

Leg Stretching - Building strong legs and mobility.

This chair exercise is strengthening for the arms, core, and the traps.

Video Review: Click Here

Video Review: Click Here

Strength and Flexibility Conditioning

Guro Tony Torre - Miami Arnis Group

Wrist Exercises As martial artists’ we often spend the bulk of our training time working on the technical skills of our style. We often neglect the equally important preparatory training which prepares our bod-ies for the rigors of training. The exercises I am going to share with you in this treatment will benefit Filipino martial arts practitioners, who by the nature of their chosen style will need to manage the shock and drag created when weapons impact targets (or opponents). It is important to note the exercises we will be looking at today will pair an isolating exercise of the wrist with an integrating exercise which will tie in the wrist to a whole body motion. This both brings awareness to the region being worked but also brings stability to the joint in question. This will go a long way

to creating a more resilient fighter but will also allow the fighter to express a much greater amount of power. It is also important that the reader understands that while we are using a steel pipe for in-creased resistance it is more than simply using a heavy implement to increase the resistance in our moves. The moves we’ve chosen align with gravity in such a way that it produces good results in those planes of movement. Heavy implements in some planes of mo-tion will register as completely dif-ferent techniques. This is because the motor units within the muscles involved will be forced to fire off in patterns different than the actual technique in order to manage the weight. This made lead to sloppy techniques. Unless you are plan-ning to fight with a pipe then the

bulk of your training should be done with your regular fighting stick or at least similarly weighted ones. This type of training can be implemented in many ways. Be-cause it is supplemental the overall volume will be much lower. Since the weight of the pipe, while sig-nificantly heavier than your stick is still considered sub maximal, you can use this type of training relatively frequently, my choice being 2-3 times a week. Two of my favorite methods for working these types of exercises into my training are in the warm up and as a finisher at the end of a session. In the warm up I’ll start with a very brief ses-sion of maybe 5-10 reps just after I break a sweat. I will then move into speed drills taking advantage of that feeling of lightness I am experiencing immediately after

swinging the pipe. As a finisher I increase the volume till I get an arm bursting pump. This will not only give you great strength endur-ance but will give you tremendous grip strength as well. This is a very important part of our system’s training proto-cols. Here are two very functional sets. The first one will address ad-duction and abduction. The second one will address pronation and su-pination. These are normally done as part of our skills training since they are more integrative. Flexion and extension being more basic movements are usually worked in separate sessions involving more traditional strength training imple-ments such as barbells and wrist rolling windlasses. Finger exten-sion is usually worked though out the day with rubber bands as a way of maintaining healthy strength balance. A form of prefab if you will.

Set 1 The first ex-ercise in this pairing will be simple adduc-tion and abduction at the wrist. Letting the pipe hang at your side while standing and lift the tip using just your wrist. The resistance can be in-creased or decreased by either reducing or increasing the length of the butt of the stick protruding from the pinky side of your hand. Once you’ve completed the pre-scribed reps of the previous exercise it’s time to work the wrist isometrically in a more integrated exercise. Starting with the stick at your waist with your wrist in a 90 degree angle smoothly thrust it over your opposite shoulder and back to the waist. The goal now it is to prevent the pipe from over travelling out of that 90 degree angle. Here are some important wrist exercises every Filipino

martial artists practitioner should be doing.Video Review: Click Here

Set 2 This pairing will begin with you standing and your arm hanging by your side similarly to the first exercise in set 1, except that this time your forearm will be at a 90 degree angle. With the pipe perpendicular to the ground your will rotate it all the way to one side and then the other. Supinating and pronating the forearm each time. The integrative exercise will be an Abaniko double action where we hold the stick over head parallel to the ground and fan it from one side to the other. It is

important that you keep the wrist steady and move from the shoulder and hip. The goal again will be to prevent over travel of the wrist by maintaining an isometric contraction. The movement is merely creating inertia to provide the resistance needed.

Video Review: Click Here

Master Jose Isidro - Isidro Modern Arnis

Stick-Wrist Strengthening How to build stronger wrist, arm, and shoulder muscle by using two Kamagong and/or Bahi Double Baston. This will also build speed in your striking, especially doing the Abaniko and twirls. This exercise drill is like good for people who have weak wrist, arm, and shoulder who want to build muscle and strength while building your muscle memory and coordination.

Forward Stance with Straight Posture How to build great Forward Stance with straight posture with strong stance.

Master Jose Isidro - Isidro Modern Arnis

Stances and Footwork

Video Review: Click Here

Attack Triangle footwork is the forward-pointing pattern of the triangle as applied in forward angular motions in attack and entry in Filipino Kali. There’s a whole lot more to footwork than just knowing where to step. This still involves active coordination of the body from top to bottom. Sometimes the foot is re-quired to rock from heel-to-toe or step lightly from toe-to-heel. Step-and-slide, slide-and-step, skip-and-slip-etc... much like the runner or boxer’s form and stance with the knees bent and “juiced-up” to perform in every possible direction according to positioning, distance and timing-etc.

FootworkHow to practice Modern Arnis V-leg Switching and Body shifting. This build great footwork in avoiding center-line hit by attacker, strong counter strike, and learning how to avoid being striked.

Good for a beginning: Video Review: Click Here

Video Review: Click Here

Attack Triangle Footwork and Weapons Coordination (Footwork Practice On The Parking Lot Posts)

Daniel Arola - DAMAG-Inc. Kali

Footwork is meant to be fluid, solid and in-synch with mid-line, and upper body mechanics, and with enough value invested into the attention and awareness given to it in order to produce maximum results.

This exercise in particular trains the body to move in slanted angles to hone the lateral steps and the cutting of corners in the moves. To enter in from one angle and out through another from either side.

Video Review: Click Here

Master Jose Isidro - Isidro Modern Arnis

Balance, Timing, Coordination, and Endurance Training

Solo Training that can be done on a tree, a pole, a dummy, a Bob dummy, or punching/kicking bag. The object on this tree example is to train with control of not hitting the tree and because you don’t have the equiptment to train such as a punching/kicking bag or Bob the Dummy. You can use the tree as a human target. This builds control, accuracy, speed, body movement/shifting, and muscle memory reflexes.

Video Review: Click Here

Video Review: Click Here

Espada Y Daga training with control on Bob the Dummy

Maestro Melchor William Amosco - Armado FMA DEFTAC

Redonda Movement with Tire TargetBenefits: Develop stamina,strength,power,endurance,focus,flexibility,timing,distance and advancement of skills. Application: Head, Temples, Body, Legs. Counting: 1R-2L-3R other side 4L-5R-6L Note: The movements are done in a continuous circular strikesTarget: Have a target in front like tire. How to make tire target, buy a used second hand tire of car at least 10 pcs and make it stand same as your height level. make a hole side to side of tire then put an screw and locks, then follow alternately the tire then put again screw and locks, till it reach the height you want, then place it into a safe area so you can train without harm-ing others or no disturbs your training.

Position: Stand and a ready position. - Face the target, stand naturally and relax right foot forward. - Right hand up holding Arnis sticks over your right shoulder - Left hand under your right armpit holding Arnis sticks - First attempt strike slow motion then if feel comfort go for fast and put power.

1. Right hand strike circular diagonal downward to left temple and place it to left side of your ear or neck. 2. Left hand strike circular diagonal downward to left temple

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3. Right hand from left side of ear or neck strike circular diagonal to left temple again while your left hand raised up to left shoulder for preparation into another side. 4. Left hand strike circular diagonal downward to right temple, while left hand place under left armpit.

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5. Right hand strike circular diagonal to right temple, while left hand place into right ear or neck. 6. Left hand strike circular diagonal to right temple again, while right hand raised up to right shoulder and left hand back to right armpit and back to original position. 7. Back to ready position

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Video Review: Click Here

Guro/Kru Joel Huncar - Rocky Mountain Academy of Martial Arts (RMAMA)

If there is one truth in martial arts that is universal it is that great skill comes from great effort and discipline. Skill does not come simply from having a great teacher, belonging to a great gym, great equipment or even great knowledge. Skill can only come from hard won work. Blood, sweat and pain are the building blocks of

a great martial artist. However one thing that is true is that most Arnisadors only get instruction a couple of times a week And train-ing partners are not always reliable and realistically setting up training times can be very difficult as some

times it is hard to line up sched-ules. So that does not mean that you can only train on class days and days you can get together with your training partners. If you truly want to master martial arts you must be able to discipline yourself and train solo. Solo training in my opin-ion is one of the most important

aspects of martial arts training. I can’t remember which Grand-master said that there are no great Arnisadors who do not have a great imagination. You need to be able to train against imaginary oppo-nents; you need to be able to defeat the phantom warriors in your own space while you practice your skills. However this is not wav-ing your sticks around like some kind of child playing make believe. You need to train your solo skills in a way that builds fighting skills instead of going off on silly flights of fancy. I follow a methodology that is very good for building solid fighting skills. This is not rocket science though it is a very basic system that any Arnisador can use regardless of style or system.

Mindset is as important as ability when it comes to fighting.Hit Targets Target training is very important. It develops strength and endurance and teaches how to hit properly without injury to your weapon bearing hand as well as your empty hands, wrists and feet. However you have to do this with the right mindset. Treat the bag like an op-ponent and move in and out and around the bag. Move in with a block as well and move your body

Start With the Basics I always start my solo rou-tine with my basics. In my case as a Balintawak practitioner I would practice my 12 strikes, blocks and solo forms. In fact I start with my basics as a warm up to most of my solo training. I honestly believe you can never repeat your basic foundational skills too much. However if you want to develop as a fighter you have to do more than simply copy routines.Get Dynamic When you are warm it is time to get going. Now you need to add spontaneity and footwork to your solo training. Move around and imagine attackers on lots of different angles around you. Hit hard, move quick and try to use the footwork and balance you were taught by your Guro. Observe where you are off balance or wob-bly and improve on that and make sure you concentrate on having good body mechanics. If you train poorly you will hinder your devel-opment. When you are doing this make sure you defend and attack, not just attack. You are training to fight and survive, so you need to be well rounded; so practice all your skills. Also you need to be able to visualize yourself hitting and defeating your opponents. See yourself succeeding and being victorious in battle. See every block stopping vicious attacks while every strike lands true with devastating effect. See yourself overcoming great odds and do not let up until you are bathed in sweat and all your imaginary warriors are defeated. This may see silly but it is important that you develop a mindset of fearlessness in battle.

around as if you were dodging and avoiding strikes. Don’t just hit with whatever weapon you have in your hand, also hit with your off hand, kick and stomp your heavy bag as well. If the bag is swinging use that movement to time hitting a moving opponent. One of the most impor-tant things to practice is to hit hard, be explosive, use combinations and get out once you have delivered your vicious combination. This type of training needs to be built up over time. Your joints have to become accustomed to the impact so don’t overdo it. As your

body becomes more accustomed to the rigors of hitting targets you can become more lengthy and intense and this should be your goal.Vary Your Weapons Don’t become stuck on one type of training. Vary your weap-ons; do this training with paired weapons, short weapons as well as long weapons and of course your empty hands. Whatever type of weapons you want to become pro-ficient in you should practice this way. It is important to work with

many different types of weapons because it is not just about the lit-eral weapon you are training with you are also developing the ability to adapt and use whatever impro-vised weapon you come across if you have to use your skills for real. If you don’t vary the types of weapons you train with you may find it hard to improvise in a survival situation.Don’t Forget Fitness It is not enough to just be skilled, a good fighter is a fit fight-

er. Do strength training and train for explosive fitness. The fitter and stronger you are the better your chances are to survive real vio-lence. There is no getting around that fact. However you need to work within your own physical-ity and capabilities. You will only hurt yourself if you try to push be-yond your own abilities. However if you do this right your abilities will change over time. This is the beauty of fitness training. Another important aspect of fitness training is that it devel-ops mental strength. The ability to “just do one more rep” when your body is fatigued teaches you to overcome pain and exhaus-tion. This mindset will help you in every aspect of your life and can mean the difference between giv-ing up in a fight and just keeping on going through the pain and the blood. I can’t stress this enough. Hard work and discipline are core to becoming a warrior. There are no short cuts and anyone who tells you different is lying.

Video Review: Click Here

When Im training alone then one of my favourite training device is easy to make and cheep... Get 4 golf balls drill the centre and feed some clothesline through the centre and tie them for what ever hight you want as targets. Tie it to a point above you and place a weight on the bottom. This makes it like a speed ball that you can use for speed and accuracy plus power and focus. It can be used for weapons as well as empty hand.

Grand Maestro Greg Henderson - Henderson’s Diamondback Eskrima

Solo Training Techniques: Impact Stick Training Dr. Ron Parente - Amara Arkanis USA From what I gather over the years of discuss-ing the Filipino martial arts with teachers of various styles, most Arnis drills in most schools consists nearly exclusive of partner drills, with some shadow drills. In fact, Arnis was for centuries taught one on one in secret along fam-ily lines. Since partner drills, by definition, require a partner, this limits the ability of some students to effectively train. As a busy chiropractor, I myself was, at times, unable to attend class and found myself in this situation. Solo training techniques provide viable methods for busy students to develop skill sets be-tween attending structured classes. In Amara Arkanis, a brand new student is taught the dimensions of the baston and how to hold the stick. We start with double stick to train the less dominant hand, which later in solo baston, will become the live hand. This is followed by instruction in the proper angles of basic forehand and backhand strikes. Strikes are first taught with a stationary foreword facing, preparatory stance, then with bio-mechanics added. The drills may then be employed from a fighting stance. Later, the basics of sliding and/or stepping forward and back-ward are added. This is shadow drill training, as the student is striking at thin air. Students are encouraged to

continue the above maneuvers be-tween classes, at home. After all, repetition is the mother of mastery. At this point, impact stick training, or salpukan, is added to the students arsenal. (Salpok means impact). Initially, the student is again introduced to this concept in a stationary stance. Now, instead of striking the thin air, the student strikes his other stick, attempting to make contact

Learn Impact Training during class

with the tip. Students are cautioned to begin slowly. Particular attention is paid to the proper angles of the strikes. Once a student has the feel of impact training, this opens up a nearly unlim-ited series of drill sets that may be employed to fur-ther develop skill, timing, coordination, etc. Stationary impact drills quickly prog-ress to impact alternating hands, with body mechan-ics, with moving forward and backward, with turn-ing movements, etc. Still later, impact training can be inserted into forms, adding a whole new dimension and rhythm to the movements. The benefit of impact drills are multi-fold. Impact training imparts accuracy, speed and power. Again, the student can easily gauge the angle of his or her strike by observing the angle between the target stick and the striking stick. In this way, correct muscle mem-ory is ingrained. This is particularly beneficial prior to adding partner drills,

since dealing with a partner tends to initially create a degree of anxi-ety in the novice. As such, it’s easy for a beginner to get lost just trying to keep up with the strikes coming at him or her and lose all sense of proper angles and body mechanics. In this way, partner drills can foster bad habits which will only have to be corrected and relearned later. Speed and power are also imparted in impact training. These attributes may be developed in

partner drills, but only after a certainly level of competency is at-tained. Impact training accelerates this growth. Arnisadors should note that impact stick training works wonderfully with any two count maneuvers, such as classical Kru-zada, Abanico, Single Sinawali and Single Redonda. It should quickly become obvious, however, that three count maneuvers such as double Sinawali and double Re-donda, do not lend themselves to impact drills, due to the weaving

character of such techniques. Impact training may be inserted into various drills of varying complexity from begin-ner to advanced, adding another dimension to the standard training maneuvers. In Amara Arkanis, we learn the classical 24 count Abece-dario, employing defense using Ginunting. If the Arnisador angles the scissor movements of the Ginunting to meet, impact can be used in the defense as well as the counter offense, creating a Philip-pine folk dance with the tick-tack

of the stick providing the rhythm, both martially deadly and cultur-ally beautiful. In this way, impact stick greatly enhances the sight and sound of your system’s form patterns. Demos using impact stick tend to garner increased attention due to the powerful sounds gener-ated. The versatility of this drilling technique is such that the applications are limited only by the imagination of the Arnisador. One should imagine a real opponent and endeavor to strike your target stick with precision and power. Later, one can create a moving tar-get, simulating various body parts. If the Arnisador loses him or her-self in the drill, imagining multiple attackers and strikes with proper mechanics, power and repetition, it will not be long before the martial artist is rewarded with the smell of smoke and development of flow. Impact stick training was developed by Mataw-Guro Louelle Lledo. I am told it was adapted from the empty hand training drills taught to him by Maestro Emman-ual Querubin, Mantas in Sikaran. Maestro Querubin would have stu-dents perform punching and elbow drills with one hand into a mitt covering the other hand. Students became acquainted with the feel of impact while muscle memory was ingrained. When tournament fight-ing, such skills then simply came out as second nature. I hope that I have sparked your curiosity regarding this valuable training tool. For more information, I highly recommend Mataw-Guro’s books featured at the end of this periodical.

Two count maneuvers, such as classical Kruzada, Abanico, Single Sinawali and Single Redonda

Houston Stick Fighting Association Daniel Arolahoustonstickfighting.org

Isidro Modern Arnis Master Jose Isidro

3105 Willow Pass Road Baypoint, California

isidromodernarnis.webs.com Facebook: Click Here

Foothills Training Service Sensei Tom Gillis 107 Stockton Point

Okotoks, Alberta, Canadaftsma.com

Impact Drills 1. Ron Parente demonstrating impact stick short form, high block, Kruzada strikes. 2. David McMillan demonstrating impact stick short form, middle block, Kruzada strikes. 3. Ron Parente demonstrating impact stick short form, low block, Kruzada strikes. 4. David McMillan demonstrating impact stick short form, Abanico strikes. Video Review: Click Here

Miami Arnis Group Miami Beach Martial Arts

Guro Tony Torre 909 Alton Road

Miami Beach, FL 33139www.miamiarnisgroup.com

Yahoo Group: Click Here

Armado FMA DEFTAC Maestro Melchor William Amosco

Marikina Sports Park Center 3rd floor, Marikina Sports Bldg

Marikina City, PhilippinesFacebook: Click Here

Rocky Mountain Academy of Martial Arts Guro/Kru Joel Huncar

Unit D 517 Industrial Rd. D Crescent Cranbrook, British Columbia

www.rmama.ca

Henderson’s Diamondback Eskrima Grand Maestro Greg Henderson

Perth, Western Australiawww.diamondbackuma.co.nz

Facebook: Click Here

Amara Arkanis Filipino Martial Arts Education

Dr. Ron Parente 5 Scott St.

Riverside, New Jersey USA 08075www.amaraarkanis.com

Facebook: Click Here

Windy City - Pekiti-Tirsia Kali Paul Ingram

1212 Capitol Dr. Addison, IL. 60101

www.windycityptk.com

www.FMAinformative.info

School Submission The schools listed teach Filipino martial arts, either as the main curriculum or an added curriculum. If you have a school that teaches Filipino martial arts, or you are an instructor that teaches, but does not have a school, list the school or style so individuals who wish to experience, learn and gain knowledge have the opportunity.Be Professional; keep your contact information current. - Click Here

Event Submission Submit your event whether - Seminar, Workshop, Training Camp, tournament, or Gathering - Click Here

Advertisement Submission Advertising in the FMA Informative Website is FREE. An Ad in the FMA Informative can create Business. Your Advertisement for Filipino martial arts fo-rums, blogs etc, can be included in the FMA Informative. Advertisment is for the Filipino Martial Arts and the Philippines.To submit Forums Click Here. To submit advertisement for products and/or Services Click Here

Article Submission Finished manuscripts should be accompanied by color or black and white photographs. Though we take care of materials, we can not be responsible for manuscripts/photographs and accept no liability for same. Every photograph or graphic must be accompanied by a caption Carefully key photos to caption information with a letter or number. We reserve the right to use any photo(s) as cover material or additional compensation. We also re-serve the right to edit material and to crop photographs.We reserve the right to use articles or parts of articles that are given and approved from time to time as needed to promote the Filipino martial arts and the Culture of the Philippines. Physical manuscripts should be typed in black, double spaced, and set to 1-1/2 margins (right and left). Emailed manuscripts should be typed in Ariel or Times Roman, on programs such as Notepad, Wordpad, Microsoft Word, Word Perfect and can be sent as an attachment. Photo(s) can be sent as a .jpg, .gif, .bmp, or .tiff - to submit material for either the FMA Informative Newspaper or an Issue Click Here We welcome your article, ideas and suggestions, and look forward to working with you in the future.