Issue No #6 2011

Senkotiros Basis, Highlights and Unique Aspects

Painting by the Numbers By Dr. Ronald J. Parente

Garitony C. Nicolas of MAMFMA New Mataw-Guro Association Vice-President

First Female FMA Practitioners accepted as Mataw-Guro’s

Bella Marie “Peachie” Baron-SaguinEnrica “Nickie” Esmero

The articles are the property of the author’s that wrote them and cannot be used without the permission of the author. The Mataw-Guro Notebook is the property of the Mataw-Guro Association and is for the promul-gation and promotion of the Filipino Martial Arts Education. NO issue can be printed and Sold for Monies, without the express permission of the Mataw-Guro Asso-ciation.

New Association Vice-President: Mataw-Guro Garitony C. Nicolas Maria Clara is Now a Mataw-Guro - Emmanuel Querubin Painting by the Numbers - Dr. Ronald J. Parente Senkotiros - Basic Concepts

Mataw-Guro Garitony C. Nicolas: New Association Vice-PresidentGaritony Carlos Nicolas was born in Manila on July 21, 1968.

He was bestowed the club’s “Outstanding Instructor of the Year award” on December 18, 1987 by International Philippine Martial Arts Federation - Grand-master Ernesto Presas. Nicolas is most noted for creating numerous variations of sinawali. His style that he called “Modern Sinawali” boasts of more than 363 variations of double-stick fighting earning him the title “Father of Modern Sinawali.” In July 23, 2005, he was awarded the International Hall of Fame Instructor of the Year award by the United States Martial Arts Association (USMAA). Two years later, his organization, the Modern Arnis Mano-Mano Filipino Martial Arts was awarded the “2007 Organization of the Year “by the FMA-digest. Nicolas’ extensive exposure in show business landed him on projects as fight director of several televi-sion shows the most recent was Encantadia – Etheria aired on GMA 7. He has likewise appeared and was featured in several TV programs among them were Sheka Show (NBN 4), Open House of the Global News Network (GNN), Unang Hirit, Mel and Joey, SOP variety Show (GMA 7) and Sports Unlimited (ABS-CBN). Nicolas has been featured in different Philippine publications like the Manila Bulletin, Manila Times, Philippine Star Week Magazine Sports Digest Magazine, Tempo, People’s Tonight, Herald, Bongga, Super Star Komiks, People’s Journal, Bisaya Magazine, Abante, People’s Taliba and Kislap Magazine. A prolific writer, Nicolas is also the author of several books on the Filipino martial arts: Single Sinawali, Sistemang Pang-Oran, Freestyle, The Official Anyo of MAMFMA, Eagle, Arnis for Kids, Arnis Kickboxing System (ARKIBOS), The Principles of a Good Arnisador, The Philosophy of Arnis Nicolas Sys-tem, Modern Sinawali, Mano-Mano, Arnis de mano Releasing and Locking, Katutubong Sining ng Pilipino – Arnis and Espada Y Daga.

Main Headquarters: Modern Arnis Mano-Mano Filipino Martial Arts Gym Unit 204 CK Sy Diamond Building, 156 Libertad Street Pasay City

Tel No. 466-7290 Email: filipinomartialarts@yahoo.com

All books published and distributed by Central Books Supply

Website: central.com.ph/centralbooks

Or order directly from Grandmaser Garitory Nicolas, Email:filipinomartialarts@hotmail.com

Note: No portion of any book or MAMFMA information may be copied and reproduced in books, pamphlets, outlines or notes, whether printed, mimeographed, typewritten, photocopy, or in any form, for distribution or sale, without the written permission of Punong Laken Garitory C. Nicolas. All rights reserved.

Maria Clara is Now a Mataw-Guro By: Emmanuel Querubin

The Filipina has always been typi-fied as mayumi (demure) and mahinhin (gentle in act or behavior). Their rightful place was the kitchen. Their recreational activity was sewing, cooking and everything domestic. Sports or physical activity was not their domain. The likes of Gabriela Silang was the exception rather than the rule. The atrocity of the Second World War changed all that. The urgency to mend lives shattered by the cruelty of war transformed the Filipina from a “walk behind the man” existence to a “take charge” presence. The influence of changing times altered the attitude of the Filipina and exigency brought about a metamorphosis from a “butterfly to an eagle.” The Filipina “invaded” what was once uncharted territory. Slowly they encroached in the male-only dominated world. This encroachment turned to infiltration and now the Filipinas have even outrun the Filipino male in the Philippine chauvinistic sexist society. The once locked doors of the male-controlled trade and labor Professions were blasted open by the Filipina, not by explosives but by assertive determination. The upper echelon of the business world, once an exclusive field of male executives has been over-run by skirt-wearing, high heeled administrators. Even politics, once a preferential turf of privileged men turned into a wide-open arena for the Filipina. A Filipina housewife succesfully ousted a dictator who ruled for decades. An ordinary housewife became the first female President of a country of over seventy-five million Filipinos. And she did this, not in the fashion of Gabriela Silang and her trusty tabak shed-ding blood and chaos. She did it, not wearing baro at saya but a western-inspired yellow suit. This is the Filipina of today, the modern Maria Clara. With the change of role, the Filipina also changed her native attire of baro at saya. There was a time when the Filipina covers herself from the neck down to the ankles and the elbows. It is now considered fashionable to wear see-through dresses, micro-mini skirts, hot pants, body-hugging tights, exposed midriff shirts and pants, sleeveless and backless tops, plunging necklines and other gar-ments once branded “decadent”. Perhaps the most surprising transformation is the fact that the Filipina now dons martial arts at-tire and exchange blows and sometimes bested men they once considered superior in the field of combat. The Filipina took up martial arts for varying reasons. Martial arts offer physical exericise that promotes health and fitness. Some took it for health reaons. Some took it to learn a system of self-defense. Some took it for fun and to while away the time in a more exciting and challenging way. Some were persuaded or influenced by friends, family members, and the movies. Some took it as part of their chosen profession. Sometimes it was all of these motivations. Whatever their reason was, the Filipina of today, the modern Maria Clara who wears martial arts attire is now the rule rather than the exception.

Bella Marie “Peachie” Baron-Saguin In her own words, Peachie, the name she is best known with, said: “ I al-ways had the urge to practice the martial arts since childhood. Ever since I was a child I have always dreamed of becoming a good martial artist. I always imagine myself involved in a fight, fighting and clawing my way to victory, reigning over my vanquished opponents. This deep ambition burned in me for a long time. At first I was just contented with simply fantasizing and us-ing my imagination. Later on this desire turned into a consuming passion and martial arts became an obsession. My golden opportunity came when I had a chance meeting with an old acquaintance who invited me to attend and observe

a Korean discipline he was training in. I was fascinated by this martial art and decided to join. My first day of training was really exciting. It was the realization of my dreams, or so I thought. I was oblivious of the time, of the hard training and the rigid discipline. The more I trained the more I got excited. However, although I was engrossed in my training, I felt there was something missing. But my search for the “miss-ing link”, so to speak, did not last very long. In the same place I ws training at there was another class of another discipline. I watched and I was thrilled and filled with excitement. Deep within me, my spirit was shouting this is it Peachie. This is what you’ve been looking for. This led me to make a graceful exit from my other class with the blessing of the instructor. The instructor was happy I found what I was looking for. In my new class I was taught different styles of defense and offense . I was trained in unarmed combat as well as in weaponry skills, including sticks and knives. My skills have improved and my self confidence bolstered to the point that to me sparring sessions have become the norm rather than the exception. Looking back, I know and realize that I am now a very diffferent person, a far cry from where I was. When my instructor left for the United States I started training with my current teacher Tony Diego who is now the Master of the Kali Illus-trisimo system. After considerable drills with a wooden sword, Master Tony gave me, as a gift, a real live sword to practice with. Tony Diego is a tue Master “in name and in heart.” Peachie has been designated by Tony Diego to teach new stu-dents, especially foreigners who want to learn Kali Illustrisimo. But humble as she is, Peachie is contented to be called Senior Student Second Generation. Filipino martial arts is only one of the many activities Peachie is engaged with. She is the Secretary of the National Fili-pino Martial Arts Association. She is a Water Rescue Instructor of airline stewardess and an above par mile swimmer of the National RedCross and a consistent “sweeper” in the annual Red Cross mile race. She is a runner, a singer and a dancer. She is a linguist and a writer of prose, poetry, and everything in-between and beyond. In 2008 she was named Woman of the Year by the FMAdigest aside from being a recipient of various awards from this internet magazine published in the United States. Her culinary skill rubbed off on her son who now has his own cooking show. She graduated from the University of the East with a Degree in Business Adminstration Major in Marketing and Advertising. Professionally, Peachie finds the time to be a career woman as an

Executive Producer of her own shows at UNTV37. On February 27, 2011, Bella Marie “Peachie” Baron-Saguin was inducted in the elite Mataw-Guro Association Martial Arts Education for Arnis de Mano. She was offered an officer’s position in the association which she gracefully turnd down due to other commitments which will prevent her from giving 100%, a condition that is unacceptable in her standard.

Enrica “Nickie” Esmero Another proof that the Filipina of today has invaded the male-dominated world is Nickie. Nickie graduated with a Bachelor’s Degee in Agriculture from the University of the Philippines in Los Banos, Laguna. Her goal is to help make the Philippines the dominant force (again) in rice production, rice being the staple of Filipinos and of Asians. She has no illusions of the Philippines competing with the industrialized countries. She knows that the Philippines is an agricultural country rich in natural resources. She is also aware that Filipinos have a vast reservoir of knowledge as far as agrculture is concerned. “Just look at the Banaue Rice Terraces,” she added. She is also aware of the

fact that in order to make the Philippines competitive in rice production, the industry has to replace the old practices of the kalabaw and the trusty but obsolete araro, with new modern mechanized farming and irrigation. To broaden her academic horizon she joined the Cavite State University, formerly the Don Sev-erino delas Alas Agricultural School in Indang, Cavite. While pursuing her degree at the University of the Philippines she took up Karate to while away her time from the books. Karate awakened her dormant desire and interest in the martial arts. Upon hear-ing that the Cavite State University has a martrial arts program in the Physical Education Department, Nickie approached her immediate superior, Dr. Alejandro Mojica who in turn introduced her to the martial arts teacher Louelle Lledo. Louelle’s class cordially accepted Nickie who was treated as “one of the boys.” Louelle saw in Nickie the potential of not just being a champion fighter but also a first rate teacher, coach and a tournament official. Nickie’s martial arts repertoire included Karate, Judo and now Arnis de Mano. Through train-ing under a teacher whose philosophy was to “do one technique a thousand times, rather than do one thousand techniques one time,” Nickie better understood the underlying principles of the techniques and her progress was “fast and furi-ous.” Louelle made Nickie his assistant in teaching and in coaching. With their combined talents the Cavite State University Martial Arts Varsity Team started garnering gold medals one after the other. Nickie capably assisted Louelle and soon the martial arts team of Cavite State University became the team to beat in the Schools, Colleges, Universities Athletic Association (SCUAA) Region 4. Nickie did not stop there. With encouragement from Louelle, himself an international referee / judge certified by the World Union of Karate-do Organizations (WUKO), the team and the officials of Cavite State University she took the examination for Karate Tournament Official and passed. The Philippine Karate-do Federa-tion, the ruling body of Karate in the Philippines, issued her a Judge’s License. But that was only the start. She was also licensed by the Asian Karate-do Federation and by the World Karate-do Federation. When Louelle left for the United States, Nickie took over as Head Coach of the Cavite State Univer-

sity Martial Arts Varsity Team. In the last Philippine Association of Schools, Universities and Collges (PASUC) 2011 Martial Arts Olympic hosted by the Romblon State University, they garnered 4 gold medals, 1 silver medal and 3 bronze medals, which was a medal away from the over-all champion. On February 27, 2011, Nickie was inducted in the elite Mataw-Guro Association Filipino Martial Arts Education for Arnis de Mano. She was also appointed to be an officer of the association. During the 2011 Mataw-Guro Gathering and Assembly, Nickie was the Master of Ceremonies. Guest of Honor during the event was Honorable Senator Miguel Zubiri, author of Republic Act 9850 more popularly known as the Arnis Law. Peachie and Nickie are pioneers worthy of emulation. There are other, hundreds if not thousands, female martial artists but they are the first two who were bestowed the title Matawguro.

Nickie (left) with Gloria Querubin

and Senator Zubiri.

Painting by the Numbers By Dr. Ronald J. Parente

When I was a kid, someone gave me a “paint by the numbers” kit. I can’t remember what picture I was supposed to produce. I just remember how tedious it seemed, as it turned out, to match the number on a specific spot on the paper with the corresponding pain color and then paint the allotted area, careful to not let the color run into the wrong spot. When I started the painting, I thought it would be really fun. But, less than half way through, I found it to be very boring. What I didn’t realize then was that I had been excited to paint, and I ended up disappointed because I really wasn’t painting. Well, I guess I was painting in the strictest sense of the word, but something very important was missing, at least for me. I felt like I was pretending to be a painter. See, the kit doesn’t teach you how to paint. It just paints a picture through you. You don’t really create the picture. True painters are artists. They learn skills and techniques important to their craft, brush strokes, shading and the like. Then, they take those skills and apply them creatively in expression of themselves. It requires both a thorough understanding of how to manipulate the brush, the canvas and various colors, and a deep personal insight, real understanding, internally and externally. Artists put paint on canvas in unique combinations and configurations. They create. This is in stark contrast to the paint-by-number painter. He or she learns little to no technique and produces no true self expression. One is a true artist. The other is a technician, a hobbyist, following a pre-prescribed routine without any real knowledge of the basic concepts of the art of painting or how it all comes to together to produce a work of art. We see the same scenario in the martial arts as well. In my estimation, most martial “artists” paint by the numbers. Sure, they “learn” the required techniques, the kicks or punches, throws, or strikes, “be it empty hand or weapons training”. They demonstrate these techniques when called upon to do so. They pass tests and progress through ranks. But, most do not really understand when, where, why or even

how they do the things they do. They can robotically mimic but they cannot explain, recombine or create. They endlessly perform front kicks, yet never seem to ask, “When do I throw a front kick”? This dichotomy even exists in Arnis de Mano. I’ve witness some martial “artists” with years of FMA training who can faithfully perform the common “12 strikes”. But, they lack true understand-ing and thus cannot really apply the techniques they faithfully mimic. I have one such friend who has trained far longer than me at a different school. In fact, many years ago, he was the first person to show me a pair of rattan sticks. Several months ago, he came to my office for a visit and, upon learning that I have been training in FMA for the past several years, proceeded to show me the twelve strikes. He then asked “How many strikes do you have”? I replied “Two”. The horrified look on his face motivated me to explain,”…a forehand and a backhand”. He said “To where?” I said “wherever I choose!” He then pointed out with a smirk “Then your art is lacking. You have no stabbing techniques”. I explained “Yes, I do. Again, still just a forehand and a backhand” “How about blocks”? “Two. Forehand, backhand” Then I asked him “What patterns of motion do you strike through”? “Huh”? Catching on, he showed me classi-cal Sinawali. I said “Very nice. But, really, it’s all just either a forehand or a backhand expressed in the form of a line or a circle, using single stick or double stick, individually or simultaneously, or some recom-bination of all of it”. He blinked, swallowed and shook his head. I had lost him. I then showed by friend the basic movements of Kruzada, Abanico, Sinawali and Redonda, explaining the similarities between them all, then combined them (not in a pre-arranged pattern), then exchanged my stick for a knife and adapted the same movements to the shorter weapon. Now, whenever I bump into my old friend, he has several questions about Arnis he’s been pondering and several techniques he wants me to understand the ap-plication of. Now, none of that was intended to pat myself on the back. I am no master, but my teacher is a Master Teacher. I’m blessed that he has imparted knowledge and skills to really apply techniques. We too practice sequences of movements, but, it’s more important to him that a student understand the principle behind a movement rather than perfectly mimic the pattern. In fact, Mataw-Guro Lledo con-tinually tells us “Do not memorize. Do not go through the motions like a robot. Focus. Visualize your attacker. Learn how the stick moves. Learn how your body moves. Do not be in a rush. Be patient. If you make a mistake, it’s not a mistake. Learn from it. Put only positive things into your computer (brain). When needed, they will just come out. Learn structure, but in the end, forget the structure”. There’s nothing wrong with having a numbered sequence of blocks and strikes, but a beginner should not start there and a senior should not end there. The same holds true for foot work, partner drills, etc. If you just memorize a sequence and go through the mo-tions, you are training to be a martial technician, painting by the numbers. You become a martial hobby-ist. I try to approach learning the art from the perspective of an artist. I don’t want to fall into the trap of striking only by the numbers and going through the motions. I want to understand and internal-ize the basic principles and skills so that they become second nature, an intrinsic part of me that will come to life when the moment is right. I believe that, whenever you pick up your stick, it should come alive

Ron Parente with his teacher Mataw-Guro Lledo

Senkotiros Basic Concepts

Senkotiros, Basis and Highlights Senkotiros is unique when compared to many forms of the Philippine martial arts in that it is taught and practiced to be a free-formed style of martial art. In its purest form, the movements, counters and fighting techniques of the style are based on some very simple rules and concepts. These rules and con-cepts are the building blocks of the style, rather than the patterned or repetitious responses and techniques common to many other styles. The response to an attack is based on what the Senkotiros practitioner feels and senses in response to what is presented by the attacker.

Printed with permission of Grandmaster Max Pallen of Senkotiros Inc.

Senkotiros is a style of Filipino martial arts that originated in the Southern Luzon Province of the Philippines. Unlike other Philippine martial art styles, Senkotiros originators were probably not able to pass on the art to their descendants primarily because of the widespread necessity to find work in other provinces and cities. The demand for work forced the practitioners to spend most of their time away from home. As in most Filipino fighting art systems, it is difficult to determine the exact origin of Senkotiros. Some say that it was derived from the “Camarin” style. The word “Camarin” means a place to store rice or “palay” or any other grains harvested during the harvest season. The Camarin system was practiced in the “camarin” (warehouse or factory) to avoid being seen by the public and thus maintain the secrecy of their style. “Camarin” also became the name

given by the locals to those who worked in the Camarin. When asked about their style of Arnis, the practitioners would respond, “Camarin Style”. Others thought

that the system was named after the Camarines Province of the Philippines. It was not until after World War II that the art of Senkotiros started to surface in the urban communities of the Bicol region of Southern Luzon. Luis Moratillo, a Barangay chief and police officer, was one of the practitioners of this style of Arnis in Sipocot, Ca-marines Sur during those days. Grandmaster Max Pallen was born and raised in the province of Camarines Sur, in Bicol Region, located at the Southern part of Luzon in the Philippines. He was first exposed to the Philippine martial arts at the tender age of six by

his Grandfather Luis Moratillo. His father, Zacarias “Kid Baron” Pallen also exposed him to the art of “Panuntukan”.

In 1947 Luis Moratillo passed away, leaving the art of Arnis to his young grandson’s mind (emong) only to be revived 20 years later.

In the 80’s Grandmaster Pallen started conducting Filipino martial arts seminars and tournaments in Northern California. In the year 2000 he officially revived the

Senkotiros style he had learned from his grandfather Luis Moratillo. Combining Senkotiros with the knowledge that he had gained from other Masters now makes Senkotiros a complete

style of its own.

through you and with you. When you understand the fundamentals and make those principles a part of you, then you are simultaneously the instrument, the artist and the art, and you can create and perform spontaneously. Do you want to be a martial technician or a martial artist? Is FMA an art of a hobby? What kind of students do you want to create?

Free-Form, Non-Patterned Many Philippine martial arts teach patterned movements as the method to respond to an attack. If the attacker does this, you do that, is often the way encounters are dissected. The responsive techniques are practiced over and over. The Senkotiros practitioner, however, does not respond to an attack with a single prescribed or predetermined technique. The Senkotiros practitioner views a counter attack as a response with an infinite number of possibilities. In any combat encounter the interactions are unpredictable, complex and varied instantaneously. Senkotiros looks upon the response to an encounter as the ability to respond to anything, with anything. The actual movements or techniques are based more on the dynamics of the situation and combined with what the practitioner senses at the given moment of the response.

Sensitivity Concept The style is taught and practiced in such a way as to allow the experienced practitioner to react and respond instantly to the situation presented by the actions or movements of his opponent. What the practi-tioner sees, feels (with the hands, arms and arnis stick) and hears is combined with the intuition he has developed over the course of the training. It is commonly referred to as the Sensitivity Concept.

This heightened level of awareness comes naturally as the practitioner comes to understand the complex interactions of his and his opponent’s movements. The Senkotiros training helps the practitioner to inte-grate this with the physical techniques that one is taught in the Philippine martial arts. Such traditional techniques such as distance, angle of attack, hand and foot position, footwork, etc., when combined with this high level of sensitivity, enables the Senkotiros practitioner to respond in a way that is sudden and devastating.

Senkotiros Principles and Theory Several of the more important principles and theories presented here are at the foundation of the style of Senkotiros. These are based on the teachings and philosophies of Grandmaster Max M. Pallen.

Unique Aspects Of SenkotirosFighting Style Senkotiros is a fighting style. All Filipino martial arts were ultimately developed to defend their homeland from the many invaders they encountered over hundreds of years. Many modern day styles of the Philippine martial arts have come to emphasize different elements of Arnis. Some have come to stress ele-ments of other martial arts such as locking and jujitsu type moments. Further confusing this, the Philip-pine martial arts has been integrated into other martial arts styles and presented as a part of those styles. Senkotiros emphasizes fighting and is based on the traditional method of self-defense practiced in the Camarins of the Bicol region of Southern Luzon, in the Philippines. The style represents a fighting system that addresses all aspects of combat (from all distances or ranges) between individuals with much emphasis on striking (with the baston or hand). As a testament to this, the Senkotiros system has produced several WEKAF World Champions and its practitioners are always competitive in national and international competition.

The Five Angles Senkotiros measures strikes different from other arnis styles. Strikes are measured by angle and direction. Striking areas are more simply illustrated. Senkotiros targets the most vulnerable areas of the

body such as joints (fingers, wrist, knees, etc), shallow bones (forearms, shins), nerve endings or pressure points, and vulnerable areas of the body (eyes, nose, ears, groin, solar plexus, etc.).

Senkotiros measures all strikes by three factors: 1. The direction of the strike (from the right or left side, or from overhead). 2. The angle of the path of travel of the tip of the baston (horizontal, angled downward or angle upward). 3. The motion of the strike created by the rotation of the wrist.

Senkotiros has only five strikes, each measured as described, by direction and angle. Each can be delivered from the right or the left side of the striker’s body. They are referred to as.

The Five Angles of Strikes Angle One Strike: Horizontal angle at a plane parallel to the ground. Angle Two Strike: Downward at an angle (plus/minus 30 degrees). Angle Three Strike: Upward at an angle (plus/minus 45 degrees). Angle Four Strike: Any thrust with the tip of the weapon. Angle Five Strike: A witik strike (a very fast whipping motion with the wrist) from either side, or from overhead downward.

This is how the Senkotiros striking techniques, both offensive and defensive, are measured and taught. These are the base techniques and much of the methodology and terminology is built from The Five Angles.

The Cross Section Defense There are many methods of defense in the Philippine martial arts. Many styles emphasize force-to-force blocks or defecting blocks, checking to the hand or arm, etc. Senkotiros uses all of these types of blocking techniques, but there is an emphasis on one aspect of defense: the Cross Section Defense. The Cross Section Defense involves using an object placed perpendicular to the force of an attack, and placed between the strike and its target. The Cross Section Defense places the center of the blocking object at the center of the force of the attack. If the attack is with a baston, the Senkotiros practitioner will place his baston at a perpendicular angle where each baston meets in the approximate center, thus forming a cross. This cross, when properly applied and supported (or braced), intercepts the strike and shields the Senkotiros practitioner from the force of the blow.

Shielding Shielding is the combat application of the Cross Defense. Senkotiros uses many different ways to counter an attack. Sometimes a check is used, or an intercepting strike to the hand. Other methods can be used as well. But the retraction to place the weapon between an attack and its target in the form of a cross is the most common technique of defending and setting up for a counter attack. Senkotiros teaches to use this technique as the best method to respond to an attack, if no better options are available. This is re-ferred to in Senkotiros as Shielding.

The Second Hand Concept The philosophy of dealing with a follow up attack of the second hand is called the Second Hand Concept. The Senkotiros practitioner’s training is geared to developing the ability to instantly deal with a follow up attack by the second hand of an opponent. In the Philippine martial arts, this is often the open hand (the hand without the baston) performing some type of control technique in the form of a punch,

grab, trap, etc. Many times the second hand contains a long or short knife, a baston or some other type of weapon. The Senkotiros practitioner is taught to see, feel or sense this attack. They are taught to instantly respond to the second hand with some kind of defense such as a block, intercepting strike with a baston, check, grab, etc. Senkotiros Practitioners are trained to do this quickly and with authority, without break-ing the rhythm or the flow of their actions.

The Concepts of MovementCircle Concept The circle concept refers to the many movements in Senkotiros that use a circular motion. This circular motion is applied in many ways and many of the hand combinations and the footwork follows circular patterns. The strikes, twirling patterns, and the baston-open hand combinations follow this type of pattern. The Circle Concept represents all of these motions and is an important concept in understanding the movements and patterns of Senkotiros.

The Torquing The torquing is the circular movements made by the entire body while executing the offensive and defensive movements of Senkotiros. The torquing movements are found in the striking motion, the shielding (defensive) motions, and footwork and in the simultaneous use of the hands. A common philosophical element in Senkotiros is to move off the center of the attack, or off of the center of the force applied by a punch, kick or grab. Movement to escape, jam or counter the attack can include backward and forward movement, either on a straight line or at angles, is a common and effective method of response in many styles of the martial arts. Senkotiros uses all of these but also emphasizes a torquing type motion against an attack.

Cushioning or Absorbing Cushioning or absorbing is a method that is often used in close range fighting to help extend an op-ponent and draw them in close to the body of the Senkotiros practitioner. This is done to get better position for a counter attack. Intercepting an attack and then cushioning its force inward for a counter such as dis-arming, locks, traps, takedowns, etc, is a staple for the defensive and countering applications of Senkotiros. It is a key component in Shielding and in the Methods of Blocking.

Levels of SensitivitySeeing Without Seeing Seeing Without Seeing is a byproduct of the Sensitivity Concept. As one develops this higher level of awareness and sensitivity in the outer appendages, they began to sense the movements of their opponent through this interaction. The Senkotiros practitioner begins to feel where the person is going, how they are turning, if they are going to strike or kick, and which hand or foot they may be attacking with. After a time, reactions are made instantly in response to the information picked up by other parts of the body, not just the eyes. Often times these movements are picked up by a contact made during the interaction of the en-counter or may be sensed with a simple touch of the open hand. The movements, angle and direction of an attack can be understood with one’s own body, if one knows how to sense these things, without depending on the eyes. Anyone can see the advantages to this type of perception in the martial arts. The reaction time can

be cut to split seconds. One responds based on actions that are sensed in the attacker and are picked up on in an instant. One can almost respond with the proper counter before the attacker has even completed the at-tack. The effects can be devastating. When one reaches this level of sensitivity and can execute it to a high level, it is said that they can see without seeing.

Conclusion Senkotiros, as with most Philippine martial arts, is simplistic in its basic ap-proach to self-defense. Any motion or technique in the style is straightforward, short, and makes the simplest of motions. With this simplicity comes speed and power. Senkotiros is also based on the natural movements of the human body. For instance, bringing the hands up to block an attack is an instinctive action and one that comes naturally to us all, passed on from thousands of years of our ancestors defending themselves from the attacks of others. Senkotiros simply uses this instinctive motion, in much the same way, to achieve the same goal. In many instances students need not learn new techniques, but give in to the instinctive motions they already possess. This also makes the basics easy to learn and quick to understand. The real challenge exists where one must put all of the small simple movement together

as one. Many times every part of the body will have a different job to do, or a different technique to execute, all simultaneously. This is what makes the style so challenging and interesting. For many, it is addicting.

To Learn More about Senkotiros Visit: www.senkotiros.org Visit Senkotiros on FaceBook: Click Here

www.pmasupplies.com

Conscious of the need of developing enthusiasm, interest and dedi-cation in the field of Filipino Martial Arts Education, and in order to act as guardians of the noble and beneficial aims of Arnis de Mano and compelled by our desire to establish an Association which shall be the rallying point of all teachers of Arnis de Mano as a Filipino Martial Arts Education, the Mataw-Guro’s hereby mutually agree to unite and associate ourselves for such a purpose.

www.MatawGuro.com