Rapido Realismo

Want an FMA style that is Fast and Street Effective?

Rapido Realismo Kali specializes in aggressive encounters where conventional self defense systems may not work.  Urban predators “hunt” in packs, and RRK practitioners are trained with this in mind.  You must dispose of the opponent in front of you as fast as you can using the deadliest techniques that expend the least amount of energy, because ten more of his friends are probably waiting in ambush.  If you are looking for fancy techniques, you may want to look elsewhere. You will not find them in Rapido Realismo Kali.

Punong Guro Henry Espera ( Grandmaster and Founder) of Rapido Realismo Kali International was born in Barcelona, Sorsogon, Philippines on the island of Luzon in 1953. He is the fourth of thirteen children.

When Grandmaster Henry Espera was young he trained in the arts of Kali Ilustrisimo, Moro Moro Orabes Heneral Eskrima and Automatic Arnis.

Integrating Kali empty hand movements, Boxing (Panantukan/Suntukan), Trapping (Tapik-Patibungan), Kicking (Sipaan), Grappling and Wrestling (Buno/Dumog) with his own style of tactical footwork, he developed Rapido Realismo Kali International. .

The art emphasizes the use of small moves made powerful by footwork, body position, and timing.

Click the picture to see GM Espera in action

Punong Guro Espera espouses the mantra that repetition in your training is key and that students should practice techniques hundreds or even thousands of time. “Muscle memory is crucial,” he says.

The Rapido Realismo Kali System is a highly effective close-quarters combat art that develops both the mind and the body. Aside from self defense techniques, the RRK practitioner is also taught to develop a combative mindset, which is to always expect that the assailant is armed, is willing to take your life and is not alone.

Rapido Realismo Kali training includes:

Empty hand arts of:

Panatukan/Santukan/Sabakan – dirty boxingSipaan/Sikaran – kicking artsBuno/Dumog – grappling, throws, takedowns, off-balancing

Edged and impact weapons:

Single stick, double stick, sword, sword & dagger, single and double daggerFlexible weapons – sash, handkerchief and whipImprovised weapons such as ballpoint pens and umbrellas.

Punong Guro Espera believes that students should show humility by being careful with your words and not say anything that would provoke others.

They should strive to be a good person. Having martial arts skills is dangerous if you don’t have character.

And finally to teach young people to love the country and its national sport of Arnis.  If you see an interested young person, teach him well.

Click the photo below for a short video clip of GM Henry Espera

GM Henry Espero

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Sayoc Kali: All Blade, All the Time

Sayoc Kali: All Blade, All the Time

Sayoc Kali is a relatively new art officially coming into existence in the early 1980’s.

The original Sayoc Family system was taught by Baltazar (Bo) Sayoc. He and many of the elders in the family referred to it as “Dugo ng Bansa” or “Blood of the Nation”. This implied that the arts of the Philippines belonged to all the people of the Philippines and was a legacy of those who had shed blood to preserve their culture. Later as they started teaching the public they simply referred to it as Arnis.

Bo’s eldest son Chris Sayoc began teaching the system as well as training in Pekiti Tirsia Kali, another blade oriented art.
During this time Chris started to formalize the style and set up a curriculum for the students to follow.

Included within the curriculum:
Edged weapons
Impact weapons
Scenario training
Non linear striking
Vital Templates
Transition Drills
Teaching methodologies
Whip
Projectile usage
Multiple man teamwork
Multiple blade usage
Firearms training (optional)

Sayoc Kali

Tuhon Chris Sayoc

Click photo to see Video

All Blade, All the Time

As time went on more and more focus was put on knife training. Tuhon Chris created a new and highly evolved knife system that would focus on mastering vital targets of the body, installing reflexes that are honed to perfection and that consider the tactical use of multiple edged weapons in high stress environments. Through the use of Transition Drills, Vital Template, Multi-Man drills, Training Modifiers and target-specific tapping against intelligent, skilled and resisting opponents.

Sayoc Kali stresses the need for two-man forms. It is only through physical contact that one can learn how the body will move and react. These are introduced almost immediately in one’s training.

Every category in the Sayoc system has two-man drills. Many of the drills and training methods of Sayoc Kali involve partner training.

Sayoc Kali has practitioners within its organization from systems such as Atienza Kali, Pekiti Tirsia Kali, Bahalana escrima, Inosanto/Lacosta kali, JKD, Ninjutsu, Boxing, and various grappling systems which help the Sayoc organization continue to grow and evolve.

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Filipino Kung fu?

Kuntaw, Ancient Filipino Martial Art

Kuntaw is said to be one of the oldest self-defense arts devised by Filipino Muslim royalty prior to the Spanish regime. Long before the coming of the Spaniards to the Philippines, systems of unarmed (Kuntawan) and armed (Kali/Escrima) fighting were being taught and developed.

Kuntaw is a Filipinized term for the Chinese and Indonesian martial arts of KunTao and is sometimes referred to as ‘Filipino Kung Fu’. The particular styles of Kuntaw practiced by Filipinos since the 14th century were considered a secret fighting art and have evolved into two distinct branches over the years.  The first is Kuntawan, which is the combination of hand and foot techniques and the other is Sikaran, which is mainly the use of kicking and foot techniques.

One of the foremost existing proponents of the Kuntaw system is Grand Master Carlito Lanada of the IKF Kuntaw Federation.

“The art originally consisted of only soft, open hand techniques with emphasis on holding and locking while striking with either hand or feet”, explained GM Lanada.  “After World War II, the Japanese, Okinawan, and Korean arts came to the Philippines. This gave me an opportunity to see different hard styles of martial arts. I studied them, borrowed what I needed, and synthesized them into my own techniques.”

“No one style contains all the answers or a magic formula which can transform a weakling into a human fighting machine. What I did was revise the old to satisfy the new. I was willing to try something different in my school for the sake of my students to help them grow to his or her fullest potential. I chose to expand and modernize the art and added hard techniques to the style. This made Kuntaw into a hard/soft style with avenues of response to any kind of attack.”

“In Kuntaw, the study of vital points of the human body and how to hit them is a special art in itself, which is called Kuntaw sapol, meaning hitting the vital points,” said Grand Master Lanada.  “These points are broken down into three categories: primary, secondary, and tertiary.  There are a hundred or more vital points in the human body, but many of these can only be reached by an acupuncturist’s needle. The points we emphasize are the easiest to get to and are where nerves, sensitive bones, breakable joints, and vital organs are located.”

“For centuries the deadly fighting art of Kuntaw was passed from father to son,” said Grand Master Lanada. “When my grandfather, Amang Huenyo, left the island of Mindano and settled on Luzon he brought with him his knowledge of the art of Kuntaw.  He taught my father who in turn taught me and as legal heir I continue to pass on the art of Kuntaw. The legacy of my ancestors will be kept alive through my students and family”.

Kuntaw Arnis Lima Lama has many different styles incorporated into it and along with empty hands it also uses the Stick and the Blade. Still, locks, takedowns and disarms continue to be a major part of this art used in self-defense and street applications.

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Cabales Serrada Escrima

 

Bigger isn’t always better: Serrada Escrima

Cabales Serrada Escrima

The system of Philippine martial arts known as Cabales Serrada Escrima was founded by Grandmaster Angel Cabales (1917-1991) and first taught publicly in the year 1966 in Stockton, California.

Originally GM Cabales’ system consisted mainly of Espada y Daga (Stick and Dagger) techniques, but after opening his school in Stockton, GM Cabales started adding Empty Hand, kicking and other Weapons.

In the beginning GM Cabales did not have a name for his close range system which was based on the DeCuerdas  style of escrima.  It is said that one night an old Filipino man stopped by to observe the class and mentioned that the techniques had many ‘serradas’ meaning that it had many ‘closing in’ movements.  Shortly after this event the system had a name.

Angel Cabales was born on the island of Panay in the Visayas (central) region of the Philippines.  He began his training as a disciple of Felicisimo Dizon who taught him the DeCuerdas style of escrima.

DeCuerdas is a close range system that is very difficult to find today.

After immigrating to the United States he introduced his unique brand of escrima, and being one of the first to commercially teach the Filipino arts he became known as the “Father of Escrima in America”.

The art uses the single stick, stick and dagger/sword and dagger, knife, and empty hands.  The curriculum of the system is well known for core training drills known as “Lock and Block” and “Flow Sparring.” 

Emphasis is placed on footwork, speed, reaction, correct angling, superior position, technique precision, and weapon accuracy.  Disarming maneuvers, skills in feinting known as “picking” and methods of countering the adversary’s skills known as “reversing” are essential components of the system.

One of the more unique aspects of the art is the use of a shorter than normal stick.  Although the art is known to wield sticks in the 18-24 inch range, 20 inches seems to be the standard among many practitioners.While this may seem too short to be effective to many of you, the speed, accuracy and power that can be generated with the shorter weapon is nothing short of amazing.

On its surface, this system of escrima seems to be very simple and direct.  When viewing an exponent perform the art, its signature movements are executed with swift and decisive grace.  However, this simplicity is exactly what is necessary to fully investigate the complex biomechanical movements and tactics of deception at the disposal of an escrimador.

Click the Images below to see a video demonstration.

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Click for video

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Pekiti Tirsia Kali

Pekiti Tirsia Kali

Pekiti Tirsia Kali

History

The Pekiti-Tirsia system of Kali originates from the province of Negros Occidental in the Philippines and was formulated by the Tortal family of Negros and Panay islands in the late 1800’s. The family patriarch, Conrado B. Tortal, passed this system and its attributes onto his only grandson, the sole heir and its present guardian, Grand Tuhon Leo Tortal Gaje, Jr.

Pekiti-Tirsia is a traditional family system of Filipino martial art that traces its existence back to a time and era when the carrying and use of the bladed weapon was common and required among most men. Oral history of the Tortal family testifies to four generations practicing the family system of Pekiti-Tirsia.

Norberto Tortal taught the system to his son Segundino Tortal.Segundino taught his five sons; Balbino, Tedoricio, Francisco, Quirino, and Conrado. Of the five brothers, Conrado was chosen as inheritor of the system with Balbino as one of his principal training partners.

Training

Pekiti-Tirsia Kali is a close-quarters in-fighting combat system used against multiple opponents based on the use of the Blade. Pekiti-Tirsia is a system of strategies and tactics utilizing all close quarters weapons at all ranges. The essence of close quarters combat is manifested in the flow – the continual combative process of offense, counter offense and re-counter offense.

Footwork is extremely important in Pekiti Tirsia and is based on the principle of the Triangle. The triangle serves as the basis for footwork, striking, and the tactical principles of close quarter combatives.

A unique aspect of PTK that you don’t find in most systems is the use of the open hand. Pekiti Tirsia fighters don’t punch, but rather use the open palm for striking.  A lot of training is involved to condition the hands and to learn to put power into the strike.

It is also a very comprehensive system, for example, under the sixty-four (64) attacks system of Pekiti-Tirsia, seven (7) subsystems or methods and eight (8) combative drills are presented.

Each method addresses a specific strategy and then provides different tactics and techniques that simultaneously incorporate footwork, offensive and counter-offensive combative application and attribute development. Each of these components can be isolated and trained individually to perfect each particular movement and can be magnified through the analytical and study processes.

Within this structure each method complements and builds upon previous methods as instruction progresses.  As each method and technique is analyzed and explored in depth, new questions and answers are provided. Principles and systems already thought to be understood become clearer.  This enlightenment is accomplished by the thought provoking process of learning verses the rote memorization process of a particular style.

The advanced system of the Contradas is composed of the Contradas, Recontras, Recontradas, and other advanced combat methods. This is not a series of numerous multiple techniques, but it is a system of continually counters and recounters any angular attack from your opponent.

The philosophy of Pekiti-Tirsia Kali is:

We believe in life, not in death.

We believe in health, not in sickness.

We believe in success, not in failure.

Click on the picture below to see a short video clip of the art.

Grand Tuhon Leo Gaje

And one more video clip showing the Knife and Empty Hand

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HeyRosa DeCuerdas Escrima

Ever Hear of HeyRosa DeCuerdas Escrima?

Heyrosa De Cuerdas Eskrima

The Liborio G. Heyrosa De Cuerdas Eskrima system is an extremely unorthodox Filipino fighting system that utilizes stick, knife and hand-to-hand fighting methods coming out of Cebu.  It is characterized by its close-quarter combat techniques where students must be able to fight in tight spaces with little to no lighting, using multiple defensive/offensive combinations.

Previously an underground fighting system, this style of FMA has currently come to light in the past few years. This system was developed in the 1960’s by the late Liborio “Tiboring” Heyrosa, a student of Venacio “Anciong” Bacon and Nene “Ingko Nene” Rosales of the famed Balintawak system. The system is now kept alive by his son “Titing” Heyrosa and student Manuel “Owit” Jecong.

The emphasis is on direct and simple fighting techniques. They focus on the simple and less complicated maneuvers both in armed and unarmed offensives.

Techniques and usage of the knife are stressed and are more of a priority than trying to rely on disarms. Sticks and other weapons use close combat techniques regardless of the situation. Speed, timing, flexibility and accuracy  are the key elements in this traditional based combat system.

There are a few other systems that use the name De Cuerdas but the Liborio Heyrosa De Cuerdas is totally unrelated to any of these other De Cuerdas styles. There are many differences between Heyrosa De Cuerdas and  other De Cuerdas styles ranging from the striking patterns, techniques and teaching format.

The art was featured in two FMA documentaries: Eskrimadors and The Bladed Hand.

Click on the picture below to see a short video clip of the art.

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Modern Arnis

 

Modern Arnis and creator Remy Presas

Modern Arnis is the system of Filipino martial arts founded by the late Remy Presas as a self-defense system.  His goal was to create an injury-free training method as well as an effective self-defense system in order to preserve the older Kali/Escrima/Arnis systems.  It is derived principally from the traditional Presas family style of the Bolo (machete) and the stick-dueling art of Balintawak Eskrima, with influences from other Filipino and Japanese martial arts.

It is said that, originally, the stick was considered sacred by practitioners, and therefore an arnis practitioner was expected to hit the hand or forearm of his sparring partner and not the stick.  While this worked well in combat, it discouraged many would-be practitioners who found this type of training too painful and produced too many injuries.  The result was that the Filipino martial arts became in danger of dying out in most areas of the Philippines.

Japanese martial arts such as Karate and Judo were much more popular than the indigenous martial arts systems and Remy Presas’ modernization of the training method was intended to help preserve the Filipino martial arts.  He taught the method of hitting cane-on-cane during practice, which attracted more newcomers to the art and allowed the art to be taught in the Philippine school systems.

The training covers empty-hand self-defense (striking, locking, throwing, etc.) as well as the trademark single and double stick techniques of the Filipino martial arts.  Other aspects of the art include Espada y Daga (sword and dagger fighting), Sinawali (double stick weaving patterns), and Tapi-Tapi (locking drills with the stick).

In addition to partner drills, Modern Arnis includes the use of Anyo (kata), solo forms training, very few FMA arts even have forms training of any type.

Emphasis is placed on fitting the art in with a student’s previous training (“the art within your art”), smoothly reacting to changing situations in the fight (“the flow”), and countering the opponent’s attempt to counter strikes directed at him (“tapi-tapi”).

Click for video

Remy Presas studied his family’s system from an early age and went on to study the Japanese systems of Shotokan Karate and Judo, as well as training in a variety of other Filipino systems, most notably Venancio Bacon’s Balintawak.

In 1974 Professor Presas moved the the USA where he met GM Wally Jay of Small Circle JuJitsu and added this system to Modern Arnis.

Professor Remy Presas passed away in 2001, but has hundreds of instructors and thousands of students to carry on his legacy.

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Balintawak

Balintawak Escrima

Venancio “Anciong” Bacon (1912-1981) stood at 5 feet, 2 inches tall, and was no more than 120 pounds, but was known as a fierce fighter.  He started his training in the 1920’s at the Labangon Fencing Club, learning the Corto Linear style from Lorenzo “Ensong” Saavedra, his only FMA teacher.

During his time with Saavedra, Bacon became steeped in the Corto Linear style while also studying boxing, Dumog (Filippino grappling) and Jiu Jitsu.  

The Corto Linear style that he learned from Lorenzo Saavedra suited him well, allowing him to close the distance and work on the inside of his opponent’s range. In numerous matches Bacon became known for his speed, precision, and ability to off balance his opponents, making it difficult to attack him.

During a match he would flow smoothly, striking a vital target and moving onto the next before his opponent had a chance to react. However, perhaps Bacon’s greatest trait was his desire to improve and his ability to learn from these matches to refine his art, stripping away anything that did not prove its worth in combat.

In 1932 the Doce Pares Club was established by the Saavedra’s and Canete’s. Anciong Bacon was one of the first twenty-four members. According to an interview in Bladed Hand, a Filipino documentary about Filipino martial arts, Grandmaster Ciriaco “Cacoy” Cañete said that Bacon was among the best fighters in the Doce Pares Club, second only to “Doring” Saavedra.

In 1952, Bacon along with Delfin López, Timoteo Maranga and others, left the Doce Pares Club, citing skepticism of the system’s combat effectiveness and established a new club.

The newly formed club began training in the backyard of a watch shop owned by one of Bacon’s students. The shop was located on a small side street in Colon, called Balintawak St., which eventually became the name of the style.

He was described as lightning fast and surgical with a stick. He had a rare talent to be able to employ varying force to his exact targets on his adversary’s body, and exploiting their balance and coordination.

During the 1950s and 1960s, eskrimadors from various camps, mainly Doce Pares and Balintawak, tested each other’s skills in all-out challenges, sometimes by arrangement and sometimes by ambush, often resulting in injuries and, more rarely, deaths.

In one such ambush, Venancio Bacon was caught in the dark while walking to his home in Labangon, and killed his assailant by snapping his spine.  Bacon was tried and imprisoned, with the judge ruling that Bacon’s martial arts skills could be considered a lethal weapon and should have been used with restraint.

While in prison, he recruited further students, including Bob Silver Tabimina who would regularly travel to the prison to train with Bacon. Upon his release on parole in the mid-1970s, Bacon returned to Cebu and Balintawak. He did not resume leadership, but did regularly attend training sessions conducted by José Villasin and Teofilo Velez until his death a few years later.

In Balintawak, the stick is only used to enhance and train the individual for bare hands fighting, and to achieve perfection in the art of speed, timing and reflexes necessary to acquire defensive posture and fluidity in movement.

The typical method in martial arts is to teach unarmed techniques first and weaponry later. Filipino martial arts turns this around, beginning with weapons and then moving to empty hands. This develops attributes relevant to combat such as speed, timing, power, and control at a faster rate by engaging in a more intense experience. If you can successful manage sticks that routinely move at 60+ mph, then a punch coming towards you doesn’t seem like that big of a deal. The concepts and techniques that are developed with the stick in Balintawak work regardless of whether we are using a stick, a blade, or empty hands.

Some of Bacon’s successors soon began to systematize the Balintawak curriculum. José Villasin and Teofilo Velez began grouping the techniques in various categories such as punching, grabbing and thrusting so that the students could more easily master the techniques.  Teofilo Velez’s son’s are still teaching his version of Balintawak under the name (W.O.T.B.A.G.)

Today, there are a number of Balintawak groups teaching different versions of the system. Most instructors use the “grouping” method for teaching the techniques while others continue to teach in the traditional way, as Bacon used to teach.

Balintawak is built around 12 basic strikes which take into account any angle of attack that the human body is capable of. Each strike is paired with a defense and counter strike. Balintawak places a heavy emphasis on defense. Anyone can swing a stick but it takes skill to stop a stick moving at your head with intent. It doesn’t matter how powerful you are, if you don’t stop that strike you aren’t going to get a chance to launch your own.

Once proficiency is shown in the basic strikes and the defense and counters the student is taught the groupings. Each grouping consists of a small number of related movements that focus on a different attribute or concept of combat. Once these building blocks are assembled the student learns to improvise and develop their own personal style. This is the framework of Balintawak. If you have no prior martial training it provides a solid foundation on which to stand and it allows those with previous experience to integrate their other arts.

An important aspect in the development of the Balintawak practitioner is being able to teach. Balintawak is not meant to be taught in a group setting, by its very nature it is to be taught one on one.  One teacher, one student.  As the student progresses they are tasked with sharing their knowledge with newer students. This helps develop a deeper understanding of the concepts and techniques by forcing the practitioner to focus on every aspect of them. This is most prominent in the concept of “Agak”, their version of sparring.

While “Agak” does not have a direct English translation it can be taken roughly as “to lead or to guide”. A senior practitioner will feed strikes to a junior practitioner and correct their form as they defend and counter them. As the junior practitioner progresses the groupings are added. These exchanges are never scripted and are meant to test the reactions and defense of the junior practitioner while allowing the senior practitioner to train their offense.

This practice culminates at higher levels in a free flowing exchange between the two practitioners, each vying to “take the flow” and put the other on the defensive, ultimately rendering them unable to continue the flow either through a trap, a disarm, or some other technique.

The principles and concepts of Balintawak have, however, found their way into many different Filipino martial arts. Modern Arnis, founded by Remy Presas studied Balintawak under Arnulfo Mongcal, who also introduced him to Anciong Bacon as well as Liborio “Tiboring” Heyrosa founder of Heyrosa De Cuerdas Escrima, an unorthodox close range fighting system.

Tat Kun Tao which was created by Joe Go, one of Venancio Bacon’s earliest students is a unarmed form of Balintawak with influences from Chinese martial arts such as Tai Chi and Five Ancestors Boxing.

Click each picture to see video of the GM in action

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Saavedra Escrima

Saavedra Escrima

The island of Cebu in the Central Visayan Islands of the Philippines is considered the home and motherland of the Filipino Martial Art of Escrima.  The most prominent and influential Escrimador in the history of Cebuano Escrima was the great, Lorenzo “Tatay Ensong” Saavedra (1852 – 1944).

The Saavedras are arguably are among the most famous practitioners of the arts in the last 100 years. However, they are not widely known outside of Cebu.

Lorenzo “Tatay Ensong” Saavedra was a Senior member of the Saavedra clan. Saavedra founded the Labangon Fencing Club in 1921 and taught his unique style of Escrima the “Corto Linear Style” to his nephew Teodoro “Doring” Saavedra (1911 – 1944) and Venancio “Anciong” Bacon (1912 – 1982).

Lorenzo Saavedra was an original member of the famed Doce Pares Club in 1932 and continued teaching his unique style of Escrima until WWII and the Japanese invasion of Cebu on April 10, 1942.

It was during this time that Teodoro “Doring” Saavedra rose through the ranks and became one of the most feared and respected Escrimadors in the Philippines.  His legendary exploits and hard-hitting and aggressive style of Escrima made him an icon and legend of Cebuano martial arts.

During the war in 1944, while serving alongside Doce Pares Club original students, Vicente “Inting” Atillo and Delfin Lopez, Doring Saavedra was captured and summarily executed by the Japanese.  Soon after, Lorenzo Saavedra died of natural causes at the age of 92.

After the war, many of the original Doce Pares Club members reunited and resumed training however the post-war club was shadowed by the deaths of Lorenzo Saavedra and Teodoro “Doring” Saavedra.

Venancio “Anciong” Bacon, a student of Lorenzo Saavedra and life-long family friend and training partner of Doring Saavedra prior to the war was becoming frustrated with the politics of the Doce Pares Club and eventually split off and started his own group in order to propagate the pure art of the Saavedra system and get back to the combative applications of Escrima.

During this time Vicente Atillo, a lifelong friend and student of both Saavedra and Bacon, taught the hard-hitting Saavedra Style of Escrima to his son Crispulo “Ising” Atillo. In addition to his father, Crispulo Atillo spent his youth learning from many of the original founding masters of Balintawak Escrima to include Venancio “Anciong” Bacon and the notorious and feared Escrimador, Delfin Lopez.

The original Saavedra system is now taught under the names “Atillo Balintawak World Arnis – Escrima Original Saavedra Style” and “Applied Escrima.”


Click to watch video of GM Atillio in action

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Doce Pares (12 Pairs)

“Doce Pares” is an Eskrima/Arnis Martial Arts Club that was founded in Cebu City in January 12, 1932. Originally it was a breakaway group of students and instructors from the ‘Labangon Fencing Club’ of the 1920’s which was influenced heavily by the Saavedra and Cañete families.

The original instructors of the Doce Pares taught their own particular family, island or region styles of Eskrima.

Lorenzo Saavedra, who was recognized as the foremost eskrimador in Cebu City founded Doce Pares along with his nephews Teodoro and Federico Saavedra,  and Eulogio and Filemon Cañete.

Eulogio Cañete, Filemon’s older brother, was elected first president of Doce Pares and remained in that position until his death in 1988. A younger Cañete brother, Ciriaco “Cacoy” Cañete, concentrated on boxing but later became an eskrimador while also training in Judo and other arts which he incorporated into his system, one component of which is called “Eskrido”.

Teodoro ‘Doring’ Saavedra rose to prominence as the best fighter in the Doce Pares society. Saavedra, an active guerrilla fighter, was captured and killed by the occupying Japanese forces in World War II.

Venancio Bacon was also among the first members in the club, but after a short time he left due to disagreements over the effectiveness of the Doce Pares system and founded Balintawak Eskrima.

Doce Pares is a form of Arnis, Kali and Eskrima, or a Filipino martial art that focuses primarily on stick fighting, knife fighting and hand-to-hand combat but also covers grappling and other weapons as well.

In reality, the stick is merely considered an extension of the hand, and is meant to represent almost any weapon, from sticks to swords to knives to anything else you can place in your hand and use as a weapon in the modern context.

Doce Pares was brought to prominence in the international scene during the 60’s, 70’s, 80’s and 90’s by the Cañete family, especially Ciriaco ‘Cacoy’ Cañete.

Following the death of Ciriaco Canete in February 2016 there are only two surviving Doce Pares Supreme Grandmasters, Dionisio Canete and Danny Guba.

Doce Pares means “twelve pairs” in Spanish, the name was meant to honor the twelve people who originally planned to form the organization.

There are seven (7) main components of the Doce Pares multi-style system:
Single Stick Eskrima (Solo Olisi)
Double Stick Eskrima (Doble Olisi)
Long Stick Fighting (Bangkaw)
Long and Short Weapon Fighting (Espada y Daga)
Knife Fighting (Baraw)
Long Blade / Sword Fighting (Estokada / Sundang)
Empty Hand (Mano-Mano)

The three (3) ranges of Mano-Mano are:
Corto – Close Range
Media Largo – Medium Range
Larga Mano – Long Range

Also within the Mano-Mano section is:
Sumbag-Patid – Punching and Kicking
Lubag-Torsi – Locks and Immobilizing
Layog-Dumog – Takedowns and Grappling

Specialized Subjects:
Sinawali – to Weave
Tapi-Tapi – Alive Hand (a method of moving and flowing)
Sayaw/Karanza – Kata or Forms

All the above subjects are incorporated under the comprehensive 5-year training curriculum of the Doce Pares “Multi-Style” system.


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