“Secrets” of the Filipino Fighting Arts
Words from a Modern-Day Warrior


I’d like to apologize to our readers for the confusion. You will see that we have added a “Members” category to the blog and they require a password. Allow me to explain.

I have long stated that I did not intend to teach by blog. When writing about the arts, I will sometimes end up talking about my curriculum material and in order to drive a point home we may have to explain terminology or techniques from my classes/curriculum. In addition to that, I have students now all over the place who I rarely see and they occasionally ask me about something I’ve taught and will put it on the blog. Thus, I end up teaching by blog.

Anyway, this blog–which is 7 years old this summer–has brought me many students, some local many not so local… even internationally. Then there are those I don’t actually teach classes to, but mentor by blog and email–and lately, by private YouTube video. Ain’t that a bitch. ūüôā lol

They acknowledge me as a teacher because ultimately, I have become their teacher; as teachers of teachers are often more mentor that curriculum instructors. I view this blog and my readers as a form of students. We have barely been doing this a decade, and already I’ve had schools named after me and/or something in my system & organization. I am an advisor to others, I have been asked to sign certificates as witnesses, even sit on boards and test students–all to people I’ve met and taught through this blog.

So I acknowledge that while one cannot fully learn a martial arts style through correspondence, martial arts development can be guided and some skills and strategies can be taught this way. It’s 2016, not 1976. Times have changed, I get that. With the change of times, so has my outlook on modern methods of transmitting the art.

This fall, the Filipino Fighting Secrets Live Blog will introduce our Inner Circle Membership, where I will teach limited pieces of my curriculum, (ugh, here it goes…) by blog. We will have a combination of articles and videos uploaded to those who subscribe. This will be real training videos and fighting techniques from my Kuntaw and Eskrima curriculum, and over at our sister blog, the DC Jow Ga Federation, we are offering the same with my Kung Fu curriculum–including a private group on Facebook. This membership will come with some other offerings–TBA–as well as an invitation to train with me in the Philippines, and it won’t cost an arm and a leg.

I didn’t intend for the members-only articles to show up on the list of posts, but I don’t know enough about this computer to make it go away. We’ll just treat them as teasers, but stay tuned. By late October or early November we will open for membership. And there will certainly be a special, dirt-cheap rate offered to charter members! (Think Filipino prices!)

Thank you to everyone who regularly supports this blog. Thank you for the shares, the arguments you engage in to defend my articles (I see plenty on social media, I just don’t have the energy to engage anymore), thank you for buying my books, and thank you for the donations. There are already over 500 articles on the blog, and there is a lot more information we have to share. Now that there will be an instruction part, we’ll have even more for our readers. Maraming salamat po sa inyo!

Thank you for visiting my blog!


Alright folks, you enjoy the blog right?

Well, for a limited time, you can purchase my books as a PDF file at an affordable price!

You may have already heard about these two:

  • Make a Living with Your Backyard/Garage/Community Center Dojo
  • Mustafa Gatdula’s How to Build a Dominant Fighter in 12 Months

Well, here are two more!

Eight Tips to Boosting Your School’s Income

In this book, I share 8 simple steps (note: I say that they are simple, I did not say they were easy…) to making more money out of your school. You update your knowledge base by purchasing books, attending workshops, classes and seminars–why haven’t you pursued any education to help your school become more profitable?

If you are planning to open a school, then why wait? Get this book now, and have your plan in place when you’re ready to hang your shingle!

Filipino Fighting Secrets Live:  Philosophy of the Martial Arts

This book is a collection of articles from this blog and a few essays I wrote addressing my ideas about the philosophy of the martial arts. Many of you have said that you agree with much of what I say. While it may seem that we are a tiny minority in this difference, there are actually many, many more like you and me. Here is one place that you will be able to go and read thousands of words about this unique approach to the martial arts.

Face it, these seminars that make up the bulk of the learning in the FMA community do not dig deep into the traditions and mindset of the FMA man. They are mostly technical classes on how to strike with a stick, slash and stab with a blade, and take a weapon away. This book deals with how you interact with the martial arts community, how you live as a modern-day warrior, and how this art affects you as a practitioner and community trainer of warriors. This book will talk about things your Guro does not have time to talk about in his classes.

Philosophy is the first in the series “Filipino Fighting Secrets Live on Hardcopy”. Don’t wait until the price increases to get your copy–you won’t regret it!

“So, how much is it?”¬† You may be wondering…


Soft copies of “Backyard Dojo” and “Eight Tips” are $7.

Soft copies of “Dominant Fighter” and “Philosophy” are $15.

If you check out the Offerings page, you will see that my books are considerably more. But if you purchase them now, you will get them before the prices double!

More books coming soon, we are editing as we speak!


Then spread the word!

This is what I’d like you to do… please go to your personal email and send the link, www.filipinofightingsecretslive.com, to your martial arts friends and associates! Invite them down to take a look at what we’re doing here, because if you like it they’re sure to love it!

Then again, if what I write about pisses you off… still send them! I am not above being corrected and have been persuaded of the “other” view plenty of time–just through a good debate, I’m not hard-headed! But, don’t be one of those guys who just get mad and talk trash from the safety of your dojos, websites and Facebook pages. Come on over, leave me a comment (or send email like most of you do) and let’s engage!

I have some books and other products coming, so stay tuned. And if you haven’t gotten a chance to read my book, get a copy! It’s a lot better information than this stuff you’ve purchased through Panther or one of the “if-you-seen-one-you-seen-it-all” DVDs.

Thanks for visiting my blog…


Why don’t you subscribe, and that way we can notify you when there are new posts?


This is the only blog of its type on the internet for Filipino Martial Artists, and we have so much to share with you!  Please spread the word and tell your friends about it!


In the upcoming week, I will have video review added to the blog under “Video Review”. Talk to me before you buy! I promise to give you only the truth about what’s on the DVDs and not to fluff it up (honestly, I am not getting commissions to do this!). The good folks over at Goldstar Video have been nice enough to supply me with more sickening martial arts instructionals than I can keep up with, and I have plenty to say about what I’ve seen.


Please check back with me daily, as I am adding new posts all the time!


Thank you for reading my blog!


I’ve written a small book, which my editor calls a “mini-book” because it’s only 22 pages long. I wrote it for the Masters of small, independant martial arts schools who would like to feed their families with their schools. These are not men who want hundreds of students and million-dollar high-tech dojos. They are true to tradition, in both skill and business practice, and the most they want¬†is to open a humble commercial location that pays the bills and puts food on the table and their kids through college.

I have invested thousands of dollars trying to learn the business side of the martial arts. I’ve been talked into offering a belt system, utilizing contracts, teaching in day care centers (seriously), teaching seminars on tour, even opening satellite classes across the country. I have taught in the middle east, in central america, as well as in sober living homes. All this, in pursuit of wanting nothing more than to afford teaching the real art to my most dedicated students¬†while these other ventures paid my bills. My ultimate goal back then was to offer my training for free. I learned a lot about business, and learned a lot about how I can market and run my business without doing what everyone else does.

Anyway, the one thing I noticed was that I could not find business information that was directed at a guy like me–who teaches full contact; who uses profanity in my classes; who yells at students; who has ex-cons and gang bangers in my classes; a man whose students (including children) leave the school bruised, banged up, bloodied, and sometimes in need of stitches. Yes, I have insurance. Yes, I pay taxes. And yes, there is a market for my type of martial arts. I have a website, I’m in the Yellow Pages, occasionally I am on the radio and on cable TV, and I don’t promise good grades.

I have seen many good friends and good martial artists who have closed shop because they did not have the business tools to stay in business. One of the painful reminders of this, was last year, when I had refused several students of a friend’s dojo who¬†attempted to join when they saw the writing on the wall. 6 months later, they were there after his school closed, and then he stopped teaching out of his garage. I’ll say this here, and some of those students read this blog, but I thought as traditional¬†Karate teachers in Sacramento go, he was absolutely the best… even better than me.

So I wrote this book for you guys. The guy who surfs the net looking for ways to keep his school going while his wife urges him to “get a real job”. The guy (who, like I once was) working for minimum wage on a graveyard shift job in order to keep a school. The guy (like I was) who used money from tournament winnings to pay bills because his enrollment was too low to pay rent and eat.

I was asked to make it at least 40 pages, but I had a message to give, and it came out to 22 pages. Sorry Mike! I didn’t want to fluff it up or pad with filler just to make it seem “worth the money”… I know people who teach their martial arts that way. You’ll find that the other books I write will be the same way:¬† short, to the point, but full of good, useful information. And I am not some young, wet-behind-the-ears MBA who knows nothing about what the real business world is like.¬† Just like I am not some 50-something millionaire Karate clown trying to convince you that you’re not legit unless you’re selling belt exams and birthday parties. If you want to really put bread on the table with good, quality martial arts, this book is for you.

Look at our “Offerings” page off the main page, and you’ll see ordering information there. Please, leave comments or at least email me to give me feedback after you’ve read it!

Thanks for reading my blog!


“Listen 10 times, ponder 1,000 times–speak once.”

–Turkish proverb

One recurring theme you will see repeated on this blog is the idea that martial artists too often fail to think for themselves. Over the last half-century, you will notice that the tides of martial arts philosophy sways with the coming and going of “new” arts and training methods. Everyone, it seems, has had their day. Those who have dedicated their entire lives to an art will suddenly, after decades of training and learning (even teaching)–then drop what they are doing to get certified in and claim expertise in the “soup du jour”:¬† Ninjitsu, Muay Thai, Jeet Kune Do, FMA, MMA, Krav Maga, et al. Look back in the Filipino Fighting Secrets Live archives, you will see that I have often predicted correctly the “new” martial arts fad. I have notice in recent years, Datus, Tuans, Grandmasters of Southeast Asian styles, MMA wannabes once again don the traditional gi that they’ve tossed aside like a pregnant girlfriend and once again claim that they have always loved the Japanese/Okinawan/Korean martial arts styles that gave them their start in the arts.

So what happened? I’ll tell you. Somebody got out there in the fighting arena and showed that no, grappling does not beat traditional stand up arts every time, and that theses arts are valid as fighting styles… even in the octagon. Even in the streets. You would think that after 30, 40, 50 years of martial arts training, some of these guys would know that. Well, my observation that most martial artists–even you masters and grandmasters–have not done their own research. They hear once, they ponder once, then a thousand times–strap on the “expert” label and blab what they’ve been told as if this knowledge came from firsthand experience. Many will argue that there’s nothing wrong with this. After all, the masters who came before us were wise men and did the research for us and presented us the most valuable martial arts they could find. Right? Who are we to negate what they’ve done and reinvent the wheel?

That’s the thing, though. They did the research, and they presented the art that they found. I’m sorry to tell you this, my friends, but you have to get your own. Each generation that an art is not stripped down, crucified on the doubter’s cross, reexamined, tested, fortified, strengthened, and rebuilt/repackaged/repurposed–it becomes stale and diluted. Imagine two generations ago, your great grandpa died and left your grandfather his lifetime’s savings that he worked so hard to obtain. A whopping $25,000. Which would have been worth a whole lot more today, btw. Then your grandfather took that money, did nothing with it, then willed it to your father. Who in turn did nothing but save it, and then willed it to you. Bearing in mind that as interest rates stay the same and will add to money at a much slower rate than inflation decreases it’s value–how valuable do you think Great Grandpa’s $25K would be worth today? Not much. But if your grandfather used the money to start a business, multiplied it to say $50K, then your dad invested it and doubled that to $100K, and so on… do you see where I’m going with this?

If someone tells you something good, don’t just take it at face value and pass it on. Scrutinize it. Dissect it. Understand it. Find ways to diminish it and see if you could fortify it so that it cannot be diminished. See if you can fully understand it, test it, improve it, then pass it on. That’s the thing about “respecting” your master’s art. Every art had a previous form. Jeet Kune Do was once Wing Chun. Jow Ga was once Hung Gar and Choy Gar. Brazilian Jujitsu was once Judo. Judo was once Jujitsu. Even the sweet science had humble beginnings as a rudimentary form of fighting under the Queensbury rules. Everything can be improved. Everything should be improved. And each of us who learned from our teachers owe it to our masters before us to take the knowledge they’ve given, their life’s work–and continue the development. Each of us will run out of time one day, and leave unfinished martial arts for our students. If you ever find a master who said his art is perfected and therefore cannot be evolved or improved, I can assure you that your teacher is a foolish old man who is no master. For martial arts mastery is an action word. A martial art is not a “master”; one masters the martial arts. Mastery of an art is not something you do once and then it becomes a state. It is a process. The perfection of the art is an ever-changing, ever-evolving, evolution process that occurs over several lifetimes. Perhaps your teacher’s teacher began it, your teacher continued it, and today–the torch has been passed to you to carry on. Carry ON, not hold still. Capisci? When you are given an art, don’t become a follower of that art–become a student of it. Learn it, study it, especially after you have been granted teaching credentials. You may be an expert to the students and the general public, but to your masters and seniors–you will always be a student. And you should. Keep researching and understanding and developing.

So you do not want to just take art as-is and pass it on without a personal stamp on it, otherwise your martial arts system has wasted a generation on you. Give your students the best version of what you learned, because you didn’t follow your teacher–you were a student of your teacher’s teachings. Don’t give that art as it is because your teacher’s teachings; give it because of your own conclusions. Do it because you tested it, discovered that it works, and it makes sense.

This is why one mighty grand tree doesn’t just grow in one direction. It may have a big and strong trunk, but what gives that tree life are the many branches that shoot in many directions and feed the single trunk they all share in common. This is how arts benefit from having many views and variations and specialties within its family tree.

Thank you for visiting my blog. If you enjoyed our articles, please subscribe, share our articles, invite others to read, and check out our books on Amazon!


In the path to mastery of the martial arts, including especially fighting arts such as Eskrima and Arnis–one must have a certain degree of innovativeness. While not absolutely necessary, for most martial artists perfection and a mastery-level degree of knowledge and skill is impossible without being at least somewhat innovative.

Before I begin, let me summarize the opposite approach to mastery. That is, mastery without developing new ideas and skills within the arts:

A rarely found type of master in the arts is one who has achieved pure perfection in the art–one who has taken an art as it was taught to him and execute this art with unmatched speed, power, precision, understanding, and timing. In calling this martial artists “perfect”, he is one who seemingly cannot be beaten. He is physically unrivaled by all opponents, and no equal or superior can be found.

If the above seems to be idealistic and impossible, that’s because it seems to be. Most of you reading this article have never encountered such a man and probably never will. I have met a few men like him, so I know this type of fighter exists. One would call him a Master because “good martial artist” is not strong enough a phrase to describe him. Just the idea of a man you cannot touch and have never seen lose is peculiar enough. There are such few martial artists out there who have reached this level of skill that most of us will never meet nor fight this type of man. I’m not talking about the Masters you see frequently on the internet and in books, DVDs and seminars. I’m not talking about the old man who moves “pretty good for his age”. I’m not talking about the beloved teacher of your teacher to whom you give respect because you love and admire him. I’m talking about literally the best martial artists you have ever seen. One who is stronger, faster, more agile, totally unbeatable than anyone you have ever seen. You do not need to imagine how good he was in his prime because you can see it. The guy in the magazines you would love to bring to your city to teach? Shit, I’m talking about the men HE talks about in his stories. Keeping this level of skill in mind, hopefull you can understand why I contend that the term/title “Master” is a highly overused, prematurely claimed, almost arbitrary, meaningless term today. Not only will 99.9% of those reading this article never meet such a man–99.9% of you will never reach this level.

So let’s move along.

Because pure physical perfection is such a difficult level of skill to reach, most dedicated FMA fanatics may be happy to discover there is another way to achieve mastery without undeservedly slapping on the title or paying a GM or organization for a piece of paper. It is still a skill-based method of mastering the art without having to isolate oneself from the world for five years and live the life of a celibate fighting monk. And this is to find shortcuts in the art.

If you are a long time follower of this blog, you might want to shake me and insist, “But you said there ARE no shortcuts in the arts!!”¬† Yes, I have said something similar to that many times. I never said there are shortcuts in the art, however–I said there are not shortcuts to proficiency in the art. One must still pay his dues, train diligently, study intensely, test frequently. Some may be able to shorten the length of time it takes to master an art by training more frequently and finding more or better opponents. Yet the path to mastering the art is the same: Learn, develop, train, test, revise, develop based on the results, and train with the outcome–then wash, rinse, repeat until no new discoveries are made. That process will never go away. Too often, in the martial arts, we want to take arts intact from our teacher’s curriculums to our students without dissecting his knowledge and revising it based on our tastes, fancies, failures and successes–then do this for a few years and then call ourselves a “master”. This is not the path to mastery. Mastery, my friends, is not a level or title people call you when you are popular or old. Mastery is a level of skill you achieve after treating “master” as a verb for many years until, as I stated a second ago, no new information can be discovered through testing (ahem, sparring and pressured use) and practice.

So where do shortcuts enter this process? Let’s take a scenario to serve as an example. You have an opponent who is greatly advantaged over you. He is faster than you are. He may be stronger than you. He may be more agile and evasive. Perhaps he has a sixth sense and can read what you are about to do–and blocks your strikes before your attacks even arrive. For all intents and purposes, he is a superior fighter. He has trained longer, he is more physically gifted, perhaps he has spent more time in the gym or the ring than you have. He is the better man than you and you say to yourself that perhaps you should just be realistic and accept that this opponent is the better man than you and you are about to lose. This situation seems hopeless, and all of us have seen outclassed fighters in the ring with the best fighter in the world, and you know from Round 1… He’s about to get his ass whipped. Well, now is the time for the shortcut. Your opponent has a gun, you have a knife. Find a way to beat him. All the chips are stacked against you, and anyone who isn’t a fool would bet the bank that you are too disadvantaged to be the victor.

Opponent is bigger, stronger, more athletic, faster, more gifted, has a sharper weapon than you. How can you beat him? Well, when you figure that out, then you have discovered the shortcut I am referring to, and you are approaching mastery of the art. Yes, the art should turn you into a human weapon. YOU should be the one who is faster, stronger, more agile and have more pain tolerance and better tactics in the fight. But we all know there are always better fighters out there. The true master is one who knows how to win a gunfight with a knife. He can touch the faster opponent on the chin and block his punches. He can knockdown the bigger, stronger fighter. He can make the sharper fighter look like a bozo. He can make the younger man look old. Every fighter has a thumbscrew, but it takes a true master of the art to know how to uncover and then exploit it. This is the difference between average martial artists who can only beat opponents when he has the upper hand, when he is faster, stronger, “better” than the opponent. The true master of the art may be outclassed, but he is never outsmarted. So yes, you don’t have to be the most fit. You don’t have to be the most powerful. You don’t have to be the superior opponent. But you find a way to be the victor anyway.

Does that sound impossible? Well remember… Buster Douglas beat Tyson. Ali knocked out George Foreman. Hopkins beat De La Hoya AND Trinidad. Tarver beat Roy Jones Jr. Randall beat Chavez. Many lower skilled, physically disadvantaged fighters have found a way to be victorious over superior fighters. Being innovative and finding ways to be the exception to the rule will help you maintain superiority even as an out of shape, aging master. Now… Go forth and make it happen.

Last article, I was told that my ideas were idealistic and that this level of skill does not exist. Well, my answer to that can be summed up in two maxims I was taught as a child:

  1. If you think you can, you are probably right. If you think you can’t, you are CERTAINLY right
  2. Those who believe secrets do not exist in the martial arts, simply have not learned any

This level of skill does exist. But it will never exist to you if you never pursue it–and you won’t pursue it if you don’t believe it can be achieved. That’s all I will say about this until later.

One last piece of advice, concerning shortcuts and innovation:¬† You must develop something unique. You must research. You must doubt what you know of the martial arts, try to disprove it or try to be disproved. You must test what you know and can do. You must seek out those who can beat you. You must gravitate towards your “haters”–those who don’t believe in your art and skills–not flee from them. You must find new ways to view and apply your craft. You must deconstruct the art your teachers gave you and put them against the question, “If I had to build this art from scratch, what are the most effective and efficient ways for me to do it?” See if your master actually did give you the best fighting art he could, and be prepared to admit if you find that he didn’t. Check to see if perhaps the skills he gave you are no longer relevent for today’s application, or if it should be tweaked. Find alternative ways to use the skills you already possess. Look for the weaknesses in what you do. Answer the question, “How would I beat someone using my art?”–and then find a way to counter the counters for your art. Step outside the box and break free of the same old way everyone before you trained these arts, and I guarantee that you will master the arts. You may not be carrying a warrior’s DNA in your veins, but it does not mean that the higher levels of the art are off limits to you.

And “Mastery” will no longer have to be a political or self-applied term for you.

Thank you for visiting my blog. If you like these articles, please subscribe–and check out my books!


Most styles of Eskrima have as their #1 strike an out to in strike to the temple or a downward strike to the crown, nose or collarbone. Both of these strikes, in my opinion are underrated and can be your best weapon if you treat your Eskrima with respect.

“With Respect”?

Yes, with respect. See, most FMA people (and this includes most teachers) do not respect the Eskrima Day Number one basic skill enough to practice it. Let me explain:

You pay your money, buy your school T shirt, buy a stick. You’re taught to salute, learn a few Tagalog terms–“Handa, Galang, Magpugay, Suntok, Guro, Isa, Dalawa, Tatlo…”, how to hold the stance, learn a little history, the stick is a machete is a knife, is a hand, blah blah blah… Now here’s strike #1, strike #2, strike #3, strike #4. Now here are a few drills…

Several months later:¬† Here’s drill #15….

Teacher teaches the first strike on the first day of class, and never teaches more than the same basic description unless another new guy joins. There is no in-depth study of the strike. No return to hone, fine-tune, or perfecting. It’s almost as if the #1 was only taught so that you can do the sinawali without getting your hands crossed up… oh wait–you need to practice more sinawali drills before you’re good enough to learn the next one.

And this is why I say your Eskrima was not treated with respect. First of all, two questions:

Can you kill with your #1 strike?

Can you throw a #1 strike that can neither be blocked, evaded, or survived?

They sound like silly questions to someone who neither understands the devastating effects of a fully developed, fully trained and respected #1 strike. First, the #1 strike, depending on how your systems uses it, is a throat slashing, cranium splitting, hand-dismembering weapon. You can cripple a man, end his life, kill a group of men within seconds with that strike your Guro “taught” you in about 2 minutes on your first day of Eskrima practice. Maybe some teachers may have students practice the #1 for a few minutes before teaching the next move. Most often, I have witnessed teachers teach their entire basic striking series within 5 minutes of a students first day! This is clearly someone who doesn’t think very highly of that strike, and those two strikes are often the most practical (or only practical) skills in that teacher’s entire arsenal.¬† Don’t laugh, I’ve seen it, and I know it’s true.

The basic strike must:

  • be pack bone-shattering power, whether executed at close quarters or long distance
  • be completed in the blink of an eye, whether the fighter is in a fighting stance or in a neutral position
  • be accompanied by footwork that is so fast, so accurate, and so explosive–that the opponent can not escape it once you have locked into a target, nor can he be able to counter it
  • be capable of breaking the opponent’s arm or stick if he attempts a block
  • be delivered from any variety of positions and foot maneuvers
  • *be delivered from any hand position*

And let me elaborate on this last item (be delivered from any hand position). It doesn’t matter what you were attempting to do or where your hands are when it is time to deploy this weapon. The Eskrimador, before he should bother with disarms, take downs or tricks–should have thrown his system’s basic strike more than 10,000 full power blows just to achieve adequate skills to move on. I am amazed by how many Eskrimadors are doing “advanced” Eskrima whose wrists and forearms are not strong enough to strike 500 blows without getting blisters. Boxers who are training for competition often will throw 5,000 or more punches in a day’s training, for a fight where he will only be expected to throw 50 – 80 punches per round. In the few seminars I’ve taught, I notice that many Arnisadors find it difficult to throw 100 full power strikes with a basic, first-day, number one strike. Back to my point, once you have developed your Arnis skill to the point that you can deliver 500 strikes with full speed and power, you will be able to accomplish this simple use of the basic strike. And just as I wrote it, a fighter should be able to change positions, stop his motion in an instant and deliver a deadly, wig-splitting, juglar rupturing, neck-breaking basic Arnis strike as soon as he needs it.

I must make this point:¬† Too often, Arnis is practiced as a coordination skill rather than as a destructive power that can cripple or maim–even kill–a man. Too many people value the “drill” or the fanciest disarms, rather than how much damage one can inflict with that little stick of yours. I have noticed the new trend in the Filipino arts is to use your stick to whip up a man, and then forget about the stick to resort to Brazilian Jujitsu when the potential Arnis victim closes the gap and turns it into a wrestling match. Excuse my rudeness, but if you need grappling for your FMA, you have forgotten what these weapons were made for. Develop a strike that hurts, injures and sends men to the hospital, then you won’t have to add other arts to back your Arnis up. Train those stick strikes until you can break bricks with them. And, yes, an Arnis stick can break bricks.

Back to the conversation–we need our strikes to be mastered and perfected so that you can pull the trigger when you need it. The reason a grappler can get past a 28″ stick is because your reflexes and strikes are not developed and accurate enough to stop any man you encounter. Don’t worry if you spar and it get beat; it just means you have more developing to do–not that Eskrima is insufficient. Every old master I’ve met in the Philippines didn’t have fancy drills and disarms. Most didn’t even have names for their techniques and styles. They offer the most simplistic of instructions for Arnis: Develop your hands to be like a hair trigger to a mobile sledge hammer. Develop your feet to become lightning quick so that no man can catch you, and no man can escape you. Be capable of covering 4-5 feet in a split second. Be capable of popping a coconut with your strike.

Then as your opponent is trying to figure you out, and you are trying to figure out your opponent–your eyes are searching for a chink in his armor. The momentary loss of balance, eyes pan down to obstacles on the ground. a quick distraction, a missed attack, a reaction to a successful strike… And then end that fight before your opponent blinks next.

^^ And this is one of the secrets of the masters. Modernize, develop new theories, come up with great ways to showcase the Philippines and our arts. But do not do so at the expense of forgetting the age old wisdom of our great masters who created this arts. I want you to commit that last two paragraphs to memory, because if you only learn your style’s first strike and then follow the advice of these two short paragraphs–it will be all the martial arts you will ever need. Develop your attack to a high, lethal degree–and then develop your reflexes and awareness to know the right time to strike… and no opponent can defeat you.

Thank you for visiting my blog.


This is a continuation of an article I wrote last year introducing a few suggestions about an “FMA Revolution” I thought should take place. If you hadn’t read it, follow this link and take a look. I think you might see some things that will help you bring your martial arts up to modern times. Times change, along with the needs of the average student of those times. Everything from the needs of the martial arts student, to how the art is imparted, to who the art is used against–all change. 100 years ago, Arnis fighters used these arts against foreign invaders. During times of peace, Arnis fighters use the arts for self defense needs as well as for duels to settle disputes. In recent times, Arnisadors have contests which allow them to preserve the art in safe conditions using safety equipment. With introduction of safety equipment, the attributes needed to be a so-called “skilled” Eskrimador changed–which in turn will change the way the art is changed. In old times, power, accuracy and pain tolerance were the focus of an Arnis student’s training. Teachers used a smaller arsenal of techniques while spending more time developing those skills and attributes. Today, which safety equipment and two/three round fights, students have larger arsenals with more techniques as well as an emphasis on endurance and fitness that fighters of old could care less about. One may argue that arts that do not change with the time are keeping to tradition, but they may not necessarily be relevant to the needs of the modern student. Therefore those arts often die out, save for a handful of those with nostalgic leanings. At the same time, an FMA purist (such as the¬† younger version of myself) will argue that arts that keep up with the times are diluted and therefore illegitimate. If an old dog like myself can admit that perhaps I was mistaken about past criticisms of the Filipino arts, maybe there is a chance for you young guys. ūüėČ

So here’s something I’d like to throw out at you…

It’s time to award or create “majors” in the Filipino arts. Majors as in “major” fields of study. Just as it’s true that every art can’t contain or specialize in everything–every expert won’t be an expert in every subart of the FMA. We love to brag about the 12 weapons or fields of study, the 4 subarts of the FMA, blah blah blah… but how often have you seen a so-called Grandmaster teach a seminar over a period of 5-10 years, and teach the same stuff as his knowledge of throwed weapons, flexible weapons, or empty hand skills? This is a conversation I have with this community often, and is the premise of the unpopular “FMA Empty Hand” article. Sure you know some “Empty Hand”. But do not be mistaken my friends:¬† Many of you are stick guys showing a few translations without the stick. Very few Eskrimadors who claim “the stick is the knife is the long weapons is the empty hand” can really get down with every weapon he knows. There is nothing wrong with having a specialty, and sending your students to another master if they wish to learn something you are unfamiliar with. But it is fashionable to pretend you can use anything as a weapon just because you are knowledgeable with a few weapons–and this just isn’t true. A good test is if you can be competitive with–and beat–a fighter who is only versed in that art.

An inside joke I shared with my FMA friends came from a video we once watched at a friend’s house, where a highly skilled Eskrima master declared to the viewer that “Kali is also ADVANCED Judo, ADVANCED Karate, ADVANCED Kung Fu…” Do we have grappling in the FMAs? Yes we do–some. But we are not grapplers. Do we have boxing in the FMAs? Yes, some. But we are not comparable with boxers who specialize in fist fighting. Do we have knife fighting in the FMAs? YES. And now we are getting somewhere! How would you feel if a Tae Kwon Do guy announced, that he was just as good as an FMA guy with a knife? Like me, you’d probably fall out laughing. But that’s how we look to boxers when we try to pass off “Dirty boxing” as something that can defeat boxing.

And this leads me to the point of the article. You must think outside the box. The Filipino arts has many, many skills within our curriculums. In my opinion, the Filipino arts are the superior fighting art of most of the martial arts world. Give me two years with a student, and in two years, I would bet my life savings on that student, armed with a knife, using his Eskrima against your favorite MMA fighter. This art isn’t perfect, but I believe the Filipino fighting arts are as close to being the most unbeatable art on the planet. And this, without having to cross pollinate with BJJ, Muay Thai, or any other non-Filipino art. Am I being biased? Perhaps. But in my prime, I trained more than anyone I knew, and could take anyone. I am fully confident that you give me a guy for a few years, and he’ll be better than I ever was. But due to the mismatch of the changing times, the unchanging art, and the foolish changes that did occur–we collectively weakened the art by trying to add too much, too easily, and taught them too soon and too fast. The way to reach your potential in the art is to choose a specialty and develop it as fully and completely as possible. One cannot accomplish this while attending seminars and adding new techniques and skills every six months. The goal is development–not learning. That is the flaw of the “always a student” philosophy. You can take classes until you’re blue in the face; but it does you not one lick of good until you develop and hone and perfect those skills.

There are many facets of the martial arts we can certify students in, and when we award blanket “Teaching credentials”, what are we claiming they are experts in? Self-defense? Street fighting? Competition fighting? Armed combat against armed opponents? Unarmed combat against armed opponents? Boxing? Self-defense experts are not ring fighters. Ring fighters are not street fighting specialists. Street fighting specialists are not experts at teaching children’s self-defense against bullies. None of the above can coach an Arnis student to championships in an Arnis competition. And then once you’ve identified what style of fighting or self-defense this student is qualified to do, we must then decide if he is qualified to TEACH. Many of you may have been good fighters, but you never learned the art of teaching. Perhaps it would be more appropriate to distinguish between someone who has learned your curriculum, someone who has exceled at your curriculum, someone who is an expert at combat with your curriculum, and someone who has learned the art of teaching and coaching.

And here’s the big question… Do YOU know all these areas of the martial arts?

Eskrima/Arnis, Kuntaw, Silat, Sikaran, Buno–all have many weapons and skills. Do you simply know these weapons, or have you actually exceled, tested, perfected, or mastered each weapon and skill? Honestly, many people are teaching weapons and skills that they barely know themselves. My cousin who teaches Tapado was once visited by a group of Eskrimadors who witnessed his Tapado skills. A few months later, our students encountered these men teaching a Tapado-like art to their students. I had met a man who claimed to teach “Filipino boxing” and when I offered to box him and bring my students to test their skills, declined the match because his students weren’t ready and he didn’t learn Filipino boxing to actually “box”. I politely suggested that he decided what he was actually an expert in–and stick to teaching that.

Like I said guys–it’s time for an FMA Revolution.

Thank you for visiting my blog.



If you’ve been around for a while on the non-seminar side of the FMAs, you may be familiar with this term, the “Personal Combat” style. Other terms you may hear are something like “Combat Arnis”, “Combat Judo”, “Filipino Karate/Filipino Kung Fu”, etc. My old friend and for a short time, mentor, Carlito La√Īada, who is the founder of Kuntaw ng Pilipinas/IKF is often smeared on the internet for a similar thing. I would like to explain a little background on the origin of this term, as told to me by my grandfather. It may not explain all of the origins of the terms, but it will definitely shed some light on it. So for those whom this does not apply–don’t take offense. I’m merely passing on what I was taught.

So here goes.

Understand that the Philippines is a melting pot for Asian culture, and as a result–our language, our food, our superstitions, and even our martial arts have influence from outside sources. I know that people like to search for purely Filipino arts and techniques, but if anyone ever passed up an FMA simply because it had some elements of non-Filipino arts involved in it… I got news for you. Having mixed origins is very Filipino. Being newly created by the teacher is very Filipino. Being only one generation old, very Filipino. Being obscure and unorthodox, very Filipino. In GM Lito’s case, his Kuntaw ng Pilipinas has Shorin Ryu origins. The forms themselves are personalized touches on Okinawan forms. Master La√Īada himself, prior to his new art, was a member of the Happy Eagles Shorin Ryu club. But he adopted this style for himself, came up with a practical and Filipino-ized version of the art, adding Arnis, angles, and structure. Regardless of what people may say about his art having non-Filipino origins–that art is Filipino. “Filipino” Kuntaw/Kuntao of Mindanao itself has non-Filipino origins.

But this article isn’t about what makes an art “Filipino” other than the nationality of its founder, its about the personlization of arts. So let’s go back to that discussion.

I believe that the whole idea of styles outlasting their creators is a new thing. Every person who learns an art, at one time, personalized his art. Very few fighters had only one teacher, in fact, and not all techniques were learned from a teacher or an expert. If you look at the histories of most of our older masters, you will hear them refer more to training partners, sparring partners, and past opponents more than they will refer to their teachers. It is a very non-Filipino institution to think that martial arts that came from a source other than a bonafide “master” was illegitimate. Most of our manong learned from a family member or family friend. Sometimes, a local teacher had only minimal training himself. However, what stands out for the customary martial arts source and the modern martial arts “teacher” is that the Filipino uncle, father, or family friend who taught the Eskrima is not pointing to a scrap of paper, an organization, or past teacher’s reputation for validation. The truly Filipino litmus test for credibility is strictly whether or not that person had fighting experience, and if he still possessed the ability to fight. As a boy I remember seeing men who worked as farmers, construction workers, working on base (at Clark AB, Angeles City) winding down their day, eating food and sparring with each other. Some were better than others, some were stronger than others, but all could fight. Our family was one of the few families with a lifelong Eskrimador, so anyone who knew how to fight hung out with us. I heard the stories, and few spoke much about who they learned from and instead talked more about who they trained with to develop the skills they had. As a young adult, I have hung in groups of other young fighters who have done the same with boxing and karate. Some had formal training, many did not, but everyone trained hard and fought hard. I consider these fighters to be just as credible as anyone paying his dues in a dojo. According to our culture, there is little difference. We are a practical people.

And I said all that ^^ to say this:¬† In the older model of passing along martial arts, you learned from whomever you came in contact with. You practiced, and then you tested yourself out on other guys just like you. Sometimes you will have a passion for the stuff and train a lot; sometimes, you only practiced sometimes, and whipped out your skills at social gatherings or actual fights. But credibility and validation in the western sense did not exist. All that menered was if you could use the art you had. And I am proud to report that because of the culture of the Filipino, nearly everyone could. Now there were many exceptions to this, but I wasn’t raised around large organizations and formal schools. Training was conducted about 100 feet from our home. And I would argue that it was more useful, more valid, than 90% of those who came from schools with histories.

Today, Filipino martial arts is sophisticated and much more developed than it was 30 years ago. In fact, it is too sophisticated. With the amount of information and cross-pollination influencing today’s martial arts curriculum, if you factor how much time and interest the average student has to develop and process this information–today’s student is receiving more than he needs. Arnis students today are little more than collectors of drills and techniques, very few even devote enough time to obtain the physique yesterday’s FMA man possessed. About ten years after I began my martial arts training, I was old enough to travel alone and began to meet and train in some well-known, established FMA schools. I found that in many of the cases, I was stronger and more combat-ready than even many of the teachers I encountered. Today at 47 years old, I no longer attribute this fact to the superiority of my family art. I realize now that a student must have sufficient time and drive to process the amount of information learned. I had the same techniques and strategy that many of my counterparts had–except my curriculum consisted of much less than theirs. But unlike them, I did not work a regular job or attend school and was able to spend entire days training where students of larger schools only attended two hour classes a few days a week. In addition to that fact, my grandfather was part of the old guard who judged martial ability by only two factors:¬† one’s effectiveness in combat and one’s destructive power. The two things I did most through my training were sparring and breaking things with my hands and sticks, and these two things were done by my counterparts the least.

I have mentioned several times that I had a teacher whose name I’ve forgotten in Angeles City, Pampanga. I quit his school in order to devote more time to Bogs Lao’s rigorous training. Before I left, I had a sparring session with the teacher’s son, and after the fight, he told me that the Eskrima I had learned was “combat eskrima”, where his was “classical eskrima”. I would encounter this term over and over throughout my life. Most of the time it was used, there were essentially two definitions:

  1. The martial artist who adopted the term had learned a “full art”–meaning a full curriculum–but chose to specialize and streamline a highly concentrated, potent version of the full art for fighting. Not wanting to use his name, a student of late Grandmaster Ernesto Presas, had such a term for his arnis. He had a Black Belt in Arjuken, which consisted of learning Judo, Shotokan, Kendo, and Arnis. But his “Combat Arnis-Karate” only contained favorite fighting techniques that he used for fighting–and he was extremely effective in fighting. No drills, no forms, no give and take, no disarming. Just attacks and defenses. He kept the original curriculum intact, but created a sub-art for himself, which he canonized for himself for fighting.
  2. The martial artist who took what he had learned of an art (if he formally studied it at all) and forged it into a combat-ready fighting style. I met a man who called his art ComJuKa Arnis, not associated with Grandmaster Ruby, who learned local Arnis from several people, and studied Karate and Judo from books. My cousin was one of his sparring partners and brought me to him to fight. Prior to meeting him I had studied Judo but only learned one skill, which was randori (throwing and sweeping), but had done enough with bigger opponents that I could easily beat most guys my size–plus I was well-experienced in fighting. This man, whose only formal training had been in stick and knife fighting, was one of the toughest fighters I’d faced in my youth. I don’t remember his name, but I would argue against anyone who claims he was unqualified to claim Karate and Judo. And there are many like him. May have only observed Judo, Kendo, and/or Karate–but trained with what they knew or came up with, and used it so often against opponents that they were extremely effective.

I would like to say something about these two definitions. Yes, it is true, that many of us who learned Karate or Judo from our FMA teachers may not have a clear lineage of who taught them. I was fortunate enough to meet men who were unapologetic about not having teachers or about how they learned, because it saved me from the foolishness of worrying about lineage and formalities. For our culture, rank and title and lineage are not as important as actual, developed, provable skill. As long as the person wielding that art can use it and back up the claims he makes about his creation–we don’t have a problem at all. But there is a third definition, which I don’t think needed to be added–but let’s add it anyway:

3. Those who wish to differentiate their art from others like it as “strictly made for the purpose of fighting”. This is sort of the reason I named my personal Eskrima style “Gatdula Fighting Eskrima”, as not all Eskrima styles are appropriate for fighting. Our old men understood this, that some arts were merely art forms, and others were created for actual life-and-death combat. This shouldn’t require any further explanation.

So when a master tells you he can teach you either Arnis or if you’d like, “Combat Arnis”, you should know exactly what he is talking about.

When they say that the old Filipino masters took techniques and arts from wherever they could find it–don’t think for a minute that “wherever” always meant formal training. Just remember that the only thing that matters is whether or not those techniques will allow you to walk home or be carried home.

Thank you for visiting my blog.


Let’s take a break from our discussion of FMAs and turn our attention towards MMA for a second. Because of the nature of the modern FMA man’s martial philosophy–one of “learn what works, discard what doesn’t”–this subject is highly appropriate for this blog. On top of that, it is highly relevant to the modern FMA man.

So many lessons for today's martial artists in this fight...

So many lessons for today’s martial artists in this fight…

First, let me state that I am a Ronda Rousey fan. Not because of her; I actually dislike her personality, her unnecessary rudeness in the ring, her weak response to losses, her disrespect of opponents. I like Ronda because of who her mother is. Secondly, I do not celebrate her devastating losses as moral lessons against her supposed arrogance. I do believe that a certain amount of confidence-borderline-arrogance is needed to make it in the fight game. You do not pursue fight sports if you feel anything short of superior to everyone else. I saw her loss as a blow to the arrogance of Edmond Tarverdyan–a man I believe has displayed much of what is wrong with MMA and martial arts in general. Basically, we have men who know little to nothing about fighting in the ring, charging students money, training them poorly, and watching them get destroyed in the ring. I am convinced that Edmond saw Ronda as not much more than a come-up. He took a student who already had skills, pretended to train her in a skill that neither he nor she knew anything about–then planned to take credit for her wins when she steps in the ring and (hopefully) becomes the victor for skills and abilities she already possessed. He must have been clueless of how little he knew about stand up fighting–or didn’t care. This type of foolishness could have gotten Ronda killed in the ring. It certainly, at a minimum, destroyed her career. He made so many mistakes in training her–from allowing her to skip post-fight interviews to avoid facing the public after such a horrific display, to allowing her skills to decline while actively training, to failing to insist that she show respect to opponents, to failing to stop the damned fight when his fighter went 15 seconds under attack without defending or returning fire. Bottom line, Edmond Tarverdyan was a complete failure in every sense of the word–and this was one of the poorest examples of a fight trainer I have ever seen in my life. And trust me, I’ve seen some pretty bad ones. This is the first Olympian I’ve ever heard of being dominated so badly–and under his watch.

The Ronda Rousey-Amanda Nu√Īez fight highlights, proves, and brings several points home that I make on this blog all the time. When I preach against cross-training in favor of cross-fighting, one needs to look no further than this fight and a few others like it to see the point I’m making.While many use the dominance of MMA fighters over traditional martial artists to prove the validity of cross-training, I believe that such a match-up only proves the validity of rigorous training of MMA fighters over the casual training of their traditional opponents. When Ronda first hit the scene, just as Royce Gracie had done–as did Cung Le, Lyoto Machida, and a few others, they dominated because of their expertise at their specialty–not because of any cross training. Ronda was dominant at Judo, which her opponents could not figure out. Royce at ground fighting, Cung Le at San Shou, etc. Stand up didn’t help Ronda unless she was fighting smaller opponents who were lousy at stand up. Royce never came close to knocking anyone out while striking and kicking. The golden rule to this issue is to become better at what you do than your opponent is at what HE (or she) does, and learn to use what you do best to beat what he does best. What Ronda was trained to do completely violates this rule. She ignored her aces and face cards, and played with her numbered cards:¬† She is a Judo expert who tried to box a boxer. When a martial artist spends the majority of his education with one style of fighting, and then years later undertakes another for a short period of time, he cannot expect to defeat an opponent who specializes in his newly undertaken skill. In Ronda’s case, she was a grappler who began studying stand-up fighting in her 20s after a lifetime of Judo training. Without taking into consideration the level of stand-up instruction she received–she attempted to defeat a champion boxer with boxing she had only studied a few years. Those of you who are Karate, Kenpo, Muay Thai, Kung Fu, Eskrima fighters who study Jujitsu in case you end up fighting a grappler will suffer the same fate. You believe that a few years of study in BJJ (or sadly, less) will aid you in defeating someone who is heads above you in skill. A foolhardy idea.

If Mike Tyson were to face a college wrestler on the street, do you believe he would stop boxing to grapple with the wrestler? Or do you believe he would try to knock the wrestler out? Let me pose something to you:¬† Many of you feel Mike should know at least “some” grappling in the event he is taken down. This is an amateurish notion. You are assuming that because many stand up fighters get taken down in the ring, stand-up will always get taken down. I hear it all the time. Guys will say “All you gotta do is duck below his punch and then execute a takedown, and…”¬† Easier said than done. Just because you saw a refridgerator repairman on TV get taken down it doesn’t mean every stand up fighter will too. It’s a simple, basic formula:

  1. You better at what you > He is at what he does = You win
  2. He is better at what he does > You at what you do = He wins
  3. You know how to beat his skill with your skill = You win
  4. He can beat your skill with his skill = He wins

That’s it. Plain old common sense and mathematics.

I will repeat what I’ve said a million times on this blog… The higher level of martial arts is not “blending” or “mixing” or “reinventing”–not even “self-expression”. The higher level of the martial arts is MASTERY–doing what you do at the highest level possible, leaving no stone unturned concerning investigation, development and testing, and the ability to adapt your art to almost any situation. Think a guy who can repair almost any car problem with a wrench, hammer and duct tape. Don’t think of the cliched “Don’t bring a knife to a gun fight”; think winning a gun fight with a knife. Think McGyver, who can jerryrig himself out of any problem with a paperclip and scotchtape. Develop your art until you can’t squeeze anything else out of it’s potential. Too many martial artists–like Ronda–are leaving all kinds of meat on the bone while searching the fridge for something else to eat. You leave too much on the table while looking to add something else to your repertoire. Mixed martial arts isn’t supposed to be adding lousy boxing to good grappling. It should be adding great boxing to great grappling, or great grappling to great boxing. But in my opinion, the higher level to that is putting great boxing up against great grappling and let the masters figure it out. That, I would pay an arm and a leg to see (or compete in!)

One last thought.

How cool would it be if Rousey came back after being trained by her mother and winning the UFC with just her Judo? A true test of styles!

How cool would it be if Rousey came back after being trained by her mother and winning the UFC with just her Judo? A true test of styles!

I would love to see Ronda give it one more shot, but train with her mother instead. And instead of trying to learn to box, just try to figure out a strategy to beat stand up fighters with her #1 weapon: Judo. It would be a great display of one specialty against another. I do NOT believe you have to learn to box to beat a boxer or that you have to learn to grapple to beat a grappler. The key is to figure out *how* to used your specialty against his specialty. Ronda last fight is a perfect example of trying to fight someone else’s fight. You can’t. Just like if Mayweather tries to use BJJ to beat a grappler, he will get trashed if he ignores the sharpest tool in his toolbox. If anyone could get this article to her, I’d love for her to do this. I believe I read that she is a Catholic. The Fifth Commandment is to “Honor Thy Mother and Father”. Well in the spirit of this directive, what better way to honor your mother than by finally doing what SHE recommends? Let the world see what Ronda can do by approaching it your mom’s way? You’re already a pioneer in MMA, pioneer something else by being the first mother-daughter duo to enter the UFC and show these folks how it’s done?

How many of you would like to see that?

I don’t believe she’s washed up. She is still young, she is still hard-working. She just followed behind a jackass who misled her career. There is plenty of time to come back, reinvent herself and jump-start her career again. There are those of you who think she has nothing left. So what? What could be sweeter than coming back from two devastating losses and returning to your roots and becoming Queen of the Mountain once more? Ronda, you are still young, you may be still hungry, you’re not even 30 yet. This is what champions are made of. So what you lost twice. Champions aren’t counted by how many times they’ve been knocked down; they are counted by how many times they get up. Even the great Muhammad Ali suffered THREE defeats and came back. You’re young enough to do it; just don’t give up, and don’t try to come back doing the same thing you did before.

Okay guys, 1600 words. It’s not like I get paid to do this stuff. Back to laughing at Japanese pranks on YouTube. Thanks for visiting my blog.




What type of Filipino martial artist are you? How far do you want to take this thing? What are your goals in the arts? Is it necessary to complete curriculums, teach the art, fight in matches, cross train, or aim for mastery?

And that, today my friends, is the question. This question is not one that you need to answer aloud, but is one you should be answering to yourself so that you can navigate the martial artist lifestyle. “That” being the why of your martial arts journey–not so much the eight questions I posed.

You see, we tend to filter everything we see in the arts through our own eyes–and our eyes tend to be discriminating eyes. If I have an insecurity about my actual fighting ability, I have been traumatized after becoming the victim of a crime, or perhaps I am a natural scrappy guy who likes to fight, I might be guilty of seeing all study in the martial arts through the eyes of a fighter. If I aspire to be called some lofty martial arts title, or maybe grew up feeling pushed around or held back, I may see the martial arts as a journey that begins with a low rank and ends in a high rank. If I am a community oriented man, have an infatuation with Filipino culture, or an interest in Filipino history, I might look at the Filipino martial arts as a way of preserving, practicing, promoting, or rediscovering Filipino culture. There are many reasons for studying the art, and we must consider why we undertake this lifestyle as well as decide what we would like to do with our knowledge once we have it. Even if your purpose is undeveloped or as simple as you simply thought it was “cool”–each reason to study is valid and has its nuances. Your journey won’t be the same as someone in the same art with a different reason for study and a different plan for his acquired knowledge. Because of this, the question does not have a simple answer. Rather than try and answer for everyone, I will answer when I believe mastery of the art is necessary. You can then decide if you fit this category, and if this path is for you.

Studying by Seminar, Distance Learning, and Long Term Discipleship

The first part of answering this question is to state emphatically that mastery of the art can only occur after one has committed himself/herself to long term discipleship under a true master of the art. If you wanted to learn to become a master mechanic, you will not be able to achieve this goal under a man who has never worked on cars for a living. You will not learn it from a book. You will not achieve mastery of automechanics from YouTube clips. You will not be able to find a weeklong workshop anywhere that will give you the tools, I don’t care if the seminar was taught by Henry Ford himself. You can tinker around in the backyard and learn a few things on your own about cars, but that is nothing compared to the guy who spent ten years under the tutelage of the master mechanics at a car dealership. There are many lessons that, while may be revealed to you through trial and error–are not going to be learned like you will learn after repairing thousands of vehicles with all types of problems 40-60 hours a week for a decade. There simply is no comparison.

Yet, the Filipino martial arts community is heavily populated by men who have absolutely no actual combat experience, no sparring experience, have 20+ teachers (and fewer than 10 actual lessons with 19 of them), and learned from the same source as hundreds of thousands of other FMA students… who consider themselves a “master” of the arts. Preposterous.

If one is a “dabbler” or wishes an introduction into the FMA, then distance learning, seminars/workshops, and extracurricular classes in a school specializing in another art will suffice. These environments, whether the intensity is casual or whether the training is difficult, can do little more than introduce concepts and give moderate explanations about techniques and theories. However, for building an actual foundation in an art, a consistent and regular, regimented and ongoing program is needed. Just as you cannot expect to take 5-6 “seminars” in learning to speak a foreign language fluently, what the average FMA man is doing very similar to the old retired Navy veteran who can say “Please”, “Hello”, and “Thank you” in 10 different languages–but can’t hold even a basic conversation in any of them. Even most “veteran” FMA seminar jocks, who can ramble off Tagalog and Cebuanu terminology as a regular part of his speaking vocabulary and transition from drill to drill, showing a plethora of escapes, disarms, takedowns, and other wonderful demonstrations–cannot hold a “conversation” (i.e., sparring match) using 90% of his knowledge without a feeder or otherwise cooperative partner. Keeping the analogy of language going, a martial artist who can “flow” his techniques through demonstration but cannot fight with those same techniques has the fluency of a 6 year old child. That 6 year old can speak as fluently as the Eskrimador moves–just as quickly, just as clearly–but is no “master” of the English language. Bottom line, dabbling for 20-plus years does not a master make.

Defining Mastery

I’m glad you asked. In conversations like this, a common question is brought up. It goes like this:

To each his own. Who are you to decide what a ‘master’ is to me? We create our own path. We look at things our own way. My definition of ‘mastery’ may not necessarily be your definition. Who do you think you are? Master So-n-So has been in these arts XX years, and has taught hundreds–maybe thousands–of guys. He has world champions/Dog Brother members under him, I guess they’re wrong, huh? Blah blah blah, quack quack quack…

Rather than engage in this debate for the umpteenth time, let me throw out my very simple, short answer. And then expound on that short answer.

Plainly put, A Master is one who has left no stone unturned in his study and development of his art, and anyone in his presence dare not challenge his worthiness of the title.

Is that easy enough to understand? Notice that this definition has two parts:

  1. A Master is one who has fully studied and developed his art, and
  2. His skill is visible enough that no one would argue that he has, in fact, mastered the art.

We must demand more from ourselves besides simply learning techniques, drills, and new arts. I could learn all the mathematical equations in the world–but if I cannot apply those formulas in the real world and use them, that knowledge is of no use at all. Too often, FMA practitioners can demonstrate the art beautifully. They can look as deadly and impressive as ever. But if they cannot use this knowledge to stop a simple aggressive, unfriendly attacker, his demonstration was nothing more than slick choreography. At the same time, we have men who can fight. They can crack a skull, they have the pain tolerance to endure all types of stinging slaps from the stick, broken fingers, etc., but most of the techniques in their arsenal is not used in those fights because he has only developed 10% of what he knows–he is nothing more than a good fighter, not a master. He could be friends with the guy from Ong Bok, he could have hundreds of pictures with GMs and celebrities, he could have certified tens of thousands of students. But if his art has not been fully developed, investigated, absorbed into his reflexes, and can be/has been used against hundreds of opponents, he has not mastered the art.

And once all that research has been done, the sparring partners have been trained with and beaten, the art has been revised and reduced and concentrated and renamed–he should have developed his skill to such a high degree that most people who encounter him cannot name ten men with the same level of skill… or he is no master. You cannot call yourself a master when most people know plenty of people with better skill. Age is irrelevant here. If you’ve ever encountered a master musician (and I have) a master artist, a master mechanic, a master physician, a master of academics, a master chef–then you would know exactly what I mean. Many of us just don’t know what a true master is, so it is easy to call a likeable, older fellow with mediocre or above average skills as “Master”. I get that. But once in a while, you encounter a true master of the arts–any art. One who seemingly has no peer. One with nearly perfect technique. One who can answer every question, not from his opinion file–but his been there, done that file. To bring it home, at a bare minimum, and this is not mastery but the first step towards achieving mastery–you should have developed every strike in your arsenal to the level that you can shatter bones with it. I have met many so-called masters who tell me that they don’t do backhand strikes and abaniko strikes “because they aren’t destructive enough”. Telling that to a guy who can break objects with every technique in my curriculum is actually telling on yourself. Let’s be blunt here; very few men in these arts have full investigated their art. And very few have developed their physical skills to a destructive level, and this is just the ground floor of the uphill climb to mastery.

But of course, there are men who feel that fighting with blunt weapons and blades do not require physical fitness and therefore knowledge is sufficient to combat effectiveness. If that were true, I could put a razor-sharp blade in the hands of a determined 16 year old and none of these “combat experts” will fuck with him while empty handed. There is a higher level to this martial arts thing, and that path is not for everyone. Most guys don’t even know that the path exists. Let me drop a few tips that will help you get started on your path towards mastery:

  • perform every technique in your system–attack as well as defense–at least 5,000 times
  • face and fight 100 opponents
  • develop and train at least 3-4 defenses for every attack 1,000 times
  • regularly work with 500 repetitions in training
  • impact training and testing; you should be able to break wood, bricks, coconut, baseball bats with your skills
  • have a specialty, that if you used that skill, weapons or technique–you know you will defeat 90% of your opponents
  • you can actually BEAT 90% of your opponents and have done it regularly
  • accomplish and then revisit a technique that you have used 10,000 times–and do this regularly

To most people reading this blog, this section ^^ above will sound unrealistic. However, if any of you know my personal students, anyone who has studied with me more than 4 years has already done this. Plus I know several other martial artists who train this way and these numbers do not sound unreachable or unreasonable to them. If you truly want to explore the possibility of achieving mastery, give it a shot. It is a simple, but difficult goal to achieve. Anyone with the will, and anyone with the guidance and motivations can do it.

Depending on your goals in the martial arts, this may inspire you. Others may thing it’s overkill. Plenty of folks have ridiculed me for saying these things. But only those who have been to the summit of this climb know how real and lonely this journey is. This is not for the dabbler, and it is not for the guy who lacks the vision and stomach to make it happen. Achieve it and you will have few peers, but you will understand how silly awarding a “Master” certificate in a weekend seminar actually is. Yes, this is a physical goal and we did not touch on the nonphysical benefits of such a training regimen. Perhaps next time. Either way, there are many benefits to fully developing an art as far as your body will allow you to–and during this training you will find that your brain’s creativity will come up with much more material than even your teacher gave you. Understand that there is another dimension beyond simply knowing a martial arts, and another past being good at that arts. Few will understand, but take the nonconventional road to proficiency and that other dimension will be revealed to you. I hope this article sparks your curiosity to digging deeper than most of your peers will.

Before I let you go, I would like to introduce you to a FMA Vlog I recently came across:

His name is John, and he just started making videos such as this. Make sure you go over to YouTube and subscribe and support his channel. I suspect that there will be some great topics being discussed over there! Thank you for visiting my blog!


One thing that the modern FMA man tends to neglect in his pursuit of martial arts ability is the study of fighting strategy. This is not a flaw in the tradition of Filipino martial arts, but a flaw in the way that our arts are taught. Because of the casual method most western FMA people learn–in seminars taught by out-of-town teachers, or in classes taught by local teachers taught by out-of-town teachers–the study of the fighting arts for us is very shallow and superficial. Students spend too much time in activities that do not challenge the body and mind. “Skill” is more often than not a test of coordination and rhythm rather than a true measure of combat effectiveness. Drills are described far too often as “fun”. The occasional hit hand or head when a strike is missed in choreographed practice are the war stories told by today’s FMA guy, rather than stories of lessons learned against actual opponents. Unlike yesteryear, FMA skill is mostly demonstrated with dance partners instead of proven against unfriendly, adversarial opponents. This has lead to entire generations of “fighters” who cannot teach a student to defeat a semingly superior opponent. The difference between a teacher who imparts an art to students limited by their size and physical ability versus one who can increase the effectiveness of any student’s achieved physical prowess is the study of application through strategy.

To illustrate this point:

Fighters A and B are similar size and experience in the art. They both know the same amount of techniques, and have put in the same amount of training time. They are both physically matched in strength, speed, agility and power. For this example, let’s say both fighters come from teachers who studied the same art, and have learned the same curriculum. Is the difference between the two fighters as simple as “power is in the martial artist himself, instead of the art”? This saying of it’s-the-fighter-not-the-art is oversimplified and lazy and terribly cliched. Both fighters may have learned the same techniques, both fighters may have trained just as well. But one fighter employs his art more effectively, efficiently, and with better planning than the other. Just as two boxers of similar stature know the same techniques–it is their use and mastery of strategy that makes one the victor and the other the loser. Chess players know the same moves and have the same pieces. But one is a superior strategist while the other is simply “playing chess”. Study strategy and psychology of fighting to dominate fighters on a level that is not limited to physical ability.

Here are a few basic strategies you should explore and utilize in your training and teaching. They are universal principles that apply to all styles and forms of combat–whether in the ring, on the street, armed, or unarmed:

  • Intercept your opponent’s movement with your own movement. Anticipate what your opponent will do next, where he will go–and then attack him, cut him off, or move your position before he can do/complete it. This can be based on your observation of his habits, his footwork, even repetitive techniques. Look for things like a short step he may take before launching an attack, where his eyes look before moving, or habits like dropping the front hand before kicking. This will give the impression that you are reading his mind
  • Keep your opponent off balance. Never allow your opponent to sit for more than a few seconds in a comfortable fighting stance. Force him to move back, move to the side, follow you. Change your position often, which forces him to change his position as well. By initiating the movement, your opponent becomes predictable because he is following you. If you notice that you can now force your opponent to move when you want him to–you can also change mid-motion, which causes a short stumble or change in balance. When he is off-balance, it is only for a fraction of a second if he is a good fighter–so you must attack him in an instant
  • Make use of obstacles. Obstacles can be things that get in your opponent’s way like walls, the ropes of a boxing ring, even bystanders, other attackers, or the referee if you are fighting for sport. Obstacles limit where and when the opponent can move, they can interrupt his movement, even distract him for a second. Look at the opponent’s eyes. When his eyes shifts to, say, the referee or trash on the street–capitalize on it and destroy him
  • Bring his targets to you. Tall opponents, faster opponents, and opponents with better mobility than you have can all be frustrating to fight. But they are not unbeatable. You can force a faster fighter to fall into a trap by attacking you in positions where you have the advantage. For example, attacking less frequently or dropping your guard will certainly invite a faster fighter to attack and make use of his skill. Wait for the attack and then lean away or step away to put more distance between you. This will cause your opponent to fail in his attack–and he will try again. The second, unplanned attack will almost certainly be slower–especially if you moved away from the position he was attacking. This is your cue to take advantage of the unexpected second attack. Had he been smarter, he would have backed away and reset his stance to attack again. But an opponent with a superior advantage over you would be less likely to take precautions and launch that second, unprepared attack. The same strategy works against bigger men, who assume their reach will not fail. By forcing a bigger man to attack twice, he is most likely going to have disrupted balance, in a longer, stretched-out stance, and his hands will not be in a position to protect himself. This is how bigger, stronger men get knocked out by smaller, weaker men–after launching a failed attack or missing a punch… and the smaller opponent was waiting on him
  • Miss your attack. Sounds like bad advice, right? I learned this after almost getting knocked out myself. My opponent was a Kyokushinkai fighter who was much older and slower than myself. I saw him miss a hook punch several times in another fight (which he won anyway), and planned to take advantage of his poor punching skill. Sure enough, like clockwork he missed me while headhunting and unlike the earlier opponent, I had the speed to close in on him and BAM. I walked into a spin kick. I ultimately won the fight, but asked him for a rematch after the tournament. He laughingly told me that he waited all day to use the combination, and I was the sucker who fell for the bait. Turns out, he had developed several “missed technique” follow-ups as he aged. His name is David Rhodes, and this old fox taught me that martial arts can still evolve and change to accomodate an aging competitor as he gets slower and loses his endurance. It is born of wisdom and experience and takes advantage of the cockiness of more youthful, but naive fighters. These techniques are now a part of my own martial arts practice, and as I approach my 50s I look forward to trying out this strategy myself. For a colorful example of a fighter who evolved as he aged, watch the difference in methods used by George Foreman, who maintained his power but lost speed while improving his ring wisdom. Not only did he defeat men half his age–he dominated them while they sought to take advantage of his “disadvantages”. You can “miss” in your own way while you are young, too. If you have great feet but less developed hands, let your opponent try to take advantage of your lack of fist speed. If you are a shorter fighter, let your opponent become sloppy because he thinks his height will help him. Pretend you are out of breath. Fake an injury or pulled leg muscle. On the street, pretend to be afraid–then make him pay when he tries to use his assumed upper hand. Perceived advantages/disadvantages can be very powerful if you learn to use them!

We will save the other items on my list for a future article. Hope you like these! Give yourself some time to come up with techniques that are already in your arsenal and how you can express them through my suggestion. Then, grab a few opponents and try them out. You’d be surprised how many ways you can skin a cat with some slick thinking (and good acting). Subscribe so you don’t miss the rest of them! Happy Veteran’s Day for my fellow vets (and shot out to the 459th MAW, Andrews AFB)….

Thank you for visiting my blog.


This article is a continuation of yesterday’s article, answering a reader’s question about the effectiveness of FMA empty hand. If you haven’t read it, please do, because you will need to understand where I am coming from in order to fully grasp what I am saying here.

One part of Mike’s question is that he wanted to transition from weapons to empty hand, and this is a conversation that I believe is sorely needed in the Filipino arts. My articles on this blog, which I’ve got several that address this idea, are almost always met with anger and opposition and even a few challenges here and there. Unfortunately, the only two who had ever shown up to follow through have been non-FMA guys who had limited exposure to the FMAs. Both, in fact, became students of mine. So let’s just give the short answer first, then I will give the longer answer afterwards.

In short, weapons translations to empty hand is a waste of time if your interest is combat and self defense.

And here’s why.

I have yet to meet, spar/fight, or see spar/fight a martial artist who subscribes to this philosophy who could spar or fight well. Are there Eskrimadors who can fight empty handed? Of course, there are many. But I have never met a man who can fight empty handed using skills called “Empty Handed Eskrima”. Where I’ve met Eskrimadors who can fight empty handed, he is using Muay Thai, boxing, BJJ, or something else. Trust me, I’ve tried! But I gave up in the 1990s on finding FMA guys who could use this stuff, and then I just changed my focus on developing what I do into something that is hard to beat. I doubt there are many men reading this article who have been challenged as often as I have, so good luck finding such a fighter. Now, for those who wondered if I believe that FMA empty hand is ineffective… No I don’t. I understand and teach many of the things taught in seminars and DVDs and certification courses, but as I say in my articles–they don’t work the way most people teach them. This is what is ineffective. Ideas like “catching a jab”, gunting, and other FMA empty hand staples are in fact effective, but the way most people teach them will get students clobbered on the street. The test of it all is if these skills can be used effectively and with dominance against a non-FMA man who is both an adversary as well as unfriendly and combative. In the rare occasions I have seen FMA folks use their empty hand skills against myself, my students, or a non-FMA fighter the skills were ineffective. So if someone would like to demonstrate these skills used effectively, I’d welcome the opportunity.

This is not to suggest that weaponed movement is not similar to empty hand movement. Doesn’t take advanced science; of course the movements may be related. But it is NOT true that if you study stick fighting, “you can pick up a stick, a knife, a broom, a sword, a common household object, blah blah blah, quack quack quack…”¬† We need to stop spreading that nonsense. A fist is a fist, a stick is a stick, a small blade is a small blade, a staff is a staff, and a nightstick is a nightstick. Each of these are very different from the other, and must be learned and trained separately. So an Eskrima #1 to the temple may come at the same angle as a right hook, an Eskrima #1 with a knife, and an Eskrima #1 with a staff–but the distance is completely different, the damage caused is not the same, power is generated completely differently, the TARGETS on the opponent will be different, and the method of defending each is not even closely related to the other. For example, let’s create a small matrix below:

  1. Eskrima #1 with rattan stick–distance of about 3-4 feet away/designed to break or shatter bones/power generated mostly with arm/striking the temple, neck or eye socket/defend by leaning out, stopping striking arm with either hand or blocking stick itself close to the opponent’s hand
  2. Hook Punch with fist–distance of 2-3 feet away/intended to lacerate eye or rended opponent unconscious/power generated from waist/targets are eye socket, jaw, cheekbone/defend by raising elbow to meet punch, ducking, shooting punch straight at opponent’s face while protecting jaw with punching arm’s shoulder
  3. Eskrima #1 with knife–distance less than 3 feet/intended to cut flesh/power originates from attacker’s grip, arm movement, and how much of blade makes contact with skin/targets are primarily neck, face, arms–but any available exposed skin (may not damage if opponent is wearing jacket, sweater or blade is serrated)/defended by blocking followed by grappling, intercepting, or evading
  4. Eskrima #1 with staff–distance greater than 4 feet/used to break bones or maintain range/power generated by momentum of the strike/targets are head and limbs/defended by intercepting opponent’s range of motion at close range

Throw in speed (each of these are used at different speed and tempos), ability to attack in combination (some weapons are likely used in combination, others will be single strikes), and either fighter’s familiarity with the weapons–you will see that you cannot simply “translate” one to the other without any serious study. Each is so different from the other–they are completely different arts and skill sets. So while they all come at a similar angle, once cannot just make a blanket claim to proficiency or ability at each weapons just because you know Eskrima. It is impractical, dishonest, irresponsible, and foolish. Try a stick defense against a knife, and you’ll be in big trouble. Use a hook defense against a staff, and prepare to be thrashed. The footwork is different for these weapons, the timing is different, and the distance and likelihood of a counter attack varies, depending on which weapon is being used. To think that one can translate a staff to a hand, a knife to and elbow, a chair to a rattan stick is naive and foolish. Shame on the teachers out here teaching that stuff.

In order to be an effective empty hands fighter, you must simply train and investigate empty hands fully. Eskrima Empty Hands can be highly effective, but one cannot just devote 15 minutes of class time to it, playing patty cake and hitting focus mitts and think you’re preparing for the streets. The nuances and intricasies of fighting without a weapon must be dissected, studied, trained, and tested–then studied some more. Much more than what the average FMA guy is doing, and darned sure not in the same way you would practice stick and knife. If I could ever fault our pioneering Grandmasters in the western FMA world for anything (besides promoting this as an art one could “add-on” to other arts in seminars and video), it would be this one fallacy, that learning weapons means your empty hands improves. It simply is not true. They are separate schools and separate specialties. Students will suffer a great disservice by teachers who teach and promote classes without fully investigating these skills and subarts. It would be better to drop those weapons from one’s curriculum and inform students that we have not specialized in those arts, than to lie to them and say we know it all because we know how to swing a stick. If you want to become proficient at small blades, you must train primarily with small blades. If you want to become an expert at the rattan stick (as opposed to the hard wood stick; I consider these different weapons and skill sets), you will need to choose it as a specialty. If you want to specialize with the staff, empty hands, the bolo, yo yo, or other weapons–you must undertake it like a college major. The Filipino martial arts are indeed one of the great combat arts. Our arts are practical, simple, and deadly. We are most effective at fighting with weapons, rivaled only by Japanese Kendo/sword related arts. Our masters are walking libraries of information because unlike most other stylists–they have actually fought with the weapons they teach. But they are not all-inclusive. Just as a libary is a place of learning for nearly all subjects, you cannot possibly know everything just because you walk in one–not even just because you work in one. You cannot absorb knowledge through osmosis. The information is there, but most of it must be explored, deciphered, and developed. Sticks and knifes can indeed enhance empty hand skill–but this is not automatic, and it is not 100% relatedable. Please remember this. We are, at our core–weapons fighters.

I should also add that it is not necessary to go to other arts to supplement FMAs as well. There is enough in the Filipino arts to gain this knowledge; but it must be studied, trained, and tested. In tomorrow’s segment, we will discuss how to do so even further. Thank you for visiting my blog.

And if you haven’t read my book, How to Build a Dominant Fighter, make sure you get it. It is an easy, quick read; my training philosophy is summed up in its pages. It’s a great place to start!


Ah, that “Fallacy of FMA Empty Hand” article… I thought my Hermit article would be my defining article, yet the Empty Hand article seems to be the one that endears me to my readers–or make me the FMA public enemy #1. No need to fret FMA brothers and sisters, by this time in 2017, I will be retired and back in the Philippines and will be able to accept the many challenges I’ve received over the last 15 years. Being that we are all Filipinos and part of this beautiful culture, I expect that those who issued challenges will actually show up? I would like to announce here on this blog that the Typhoon Philippine School is coming to Batangas and Manila, so I will need such matches both on the mat and off–in the dojo and out–to build credibility for my schools. If you are interested in a match, training, or just to have lunch–please leave a comment under this article and we will see you soon, kumpadres!

So I receive a question that I’ve often answered by email or in person. I’d like to post my reply here, because it is one that the Fallacy article has sparked. I received it via Facebook and it is from one of our readers who was not offended by the article.

By the way, I should admit. When I wrote the article, I wasn’t angry–but feeling silly that day, and the article was meant to be sarcastic and humorous. The articles following the fallout were written while I was angry, but not this one. I am shocked, but not disappointed by the response. Let me say this, FMA brothers:¬† You should welcome people who doubt the validity of your art; not be offended. We are martial artists. We grow through our experiences, through stress-tests, through defending our arts, and by having our skills and ideas challenged. A man who says he does not think your art is fully effective should become your best sounding board after your response. You should prove yourself to him, and make him a believer. People keep saying, “I don’t have anything to prove to you.” Oh no? Then you are in the wrong art, my friend. Fighting is not about opinion; fighting is all about proof and what you can do. Theories in the martial arts should not be theories for long. In order to convert your theories to actual combat methods, you absolutely must “prove” its validity to yourself, to your rivals, to your peers, to the public. Otherwise, an unproven martial arts theory isn’t worth the paper they are written on. They are as smelly and undesirable as the breath you explain them with. You can dress them up with mints and fruit juice and bubble gum all day long, but at the end of the day and unproven, untested martial arts theory is nothing more than smelly old, hot air. This is not what the FMA is all about. So when a guy says, I don’t believe your art–this is a great opportunity for you to pick up your stick or put on a pair of gloves and make this guy a believer. And when you do, you will end up like me:¬† admired or hated.

That said, doubters have a second important role in the martial arts. They cause you to think. I don’t discount any new idea I encounter in the art. If unable to test the theory, I will at least reflect on what I do to ponder if the guy has a point or not. Quite often, I have been perplexed by something a martial artist had said and went on to test the idea. Once, I was showing a technique to a friend who was not a martial artist. He was a police officer, and had fought for a weapon on several occasions. He was helping me put together a curriculum I was teaching to some Maryland State Troopers, and thought my techniques wouldn’t work. We took a plastic water gun and a knife, and spent a few days fighting over the knife as well as the water gun. At the end of the week, we both had learned about disarming, neutralizing and weapons retention. He learned how realistic disarming and neutralizing could be–I learned the limitations of disarming and neutralizing–and we both learned more about weapons retention on top of what he was already taught to do. I’d like to add a side note here. My friend’s name is Brad (won’t use his last name), and he is one of those “good cops”. I didn’t realize it then (1996), but each time I showed something, he kept saying, “We can’t do that”, and “That technique is banned”, things to that nature. I realizing retrospect that Brad was exploring ways to deal with an armed, combative subject without killing him. In fact, he wouldn’t even allow me to teach him simple skills like punching to the face, striking the head with a baton, and redirecting a knife into the attacker’s belly. In my opinion, he is a truly respectable officer who puts his life on the line–rather than the rhetoric I hear today of “kill the subject if you think you’re in danger”.¬† If the average citizen must use appropriate level of force even in self-defense–our trained police officers should do the same. Political rant over. Anyway, I was humbled. I realized that many things I was teaching at that time were either inappropriate for Western culture, or plain old impractical. After only four days of wrestling with a man who had never studied the martial arts, I modified a good portion of my Eskrima permanently into the art I teach to day. Encountering doubters can do wonders for your development as a martial artist, even if you are a Master of the art–if you allow it to.

And now, the question:

Question for you sir if you have a few minutes…I follow your blog, and I appreciate the honesty you put out, I’ve read your post on the fallacy of FMA empty hand combatives in the sense it’s taught now days in the different kali organizations. I do believe myself the FMA are superior when it comes to the use of tools but me wanting to specialize in being not only a high weapons practitioner but to be able to transition from empty hands to a tool, against one or mass attack scenario. What would you recommend and thoughts on this subject? Thank you for your help and time

All articles on this blog are edited before being published, so please stay tuned for part II. Thank you for visiting my blog.