John Bednarski
Martial Artist and Owner of School Of Arms Media.
In the late 18th early 19th century, the beginning of what we know of as, English Pugilism, or “Boxing,” was coming into itself as a combative sporting method.
British Boxing in the American Colonies was considered unmanly, if not even too polite. At the time, in the American colonies, the common method of fighting was “Rough and Tumble,” sometimes locally referred to a “Gouging.” Gouging, being, that the emphasis was on maiming an opponent; they would do this by biting off a piece of ear, nose, or even gouging out an eye. Nevertheless, African Americans were drawn into prizefighting very early on, as it was a means to improve upon their position.
An example of this, comes from the war of 1812, in the racially segregated prison of Dartmoor. This is where, African American prisoners of war, led by prizefighter Richard Carafes, charged tuition to their fellow Americans and British captors for lessons in dancing and boxing.
In the late 18th, early 19th century, a former slave by the name of Bill Richmond, rose to the top of the ranks and introduced innovations that were very alien to the world of English boxing. Bill Richmond liberated himself from slavery when his former Master fled from the British occupation of Staten Island; it was here, that Bill Richmond enlisted in the British Army, where he would impress General Hugh Percy, whom would make him his personal valet. It was this relationship, that allowed Bill Richmond to travel to England and enter the world of prizefighting.
The British method of pugilism at this time period was a very static affair. The idea was to “toe the line,” where a specific set distance was marked by a line on the ground to set the range. This line marked the distance where each would stand in place to pulverize the other. Though, the rules did allow, for movement and defense, it was considered bad form to do so. This was where Bill Richmond broke the mold and introduced his revolutionary methods of defense. The methods he used were described as “hitting and getting away,” “side-stepping,” and many “dodges and jumps.” Instead of taking a punch “like a man,” he “hopped and danced about the ring, sometimes falling down, at others jigging round somewhat in the style of an Otahetian dance.”
It was this new form of defense that allowed Bill Richmond to fight and defeat opponents that were much larger than he was; it is also why he was given the cognomen, “The black terror.” With a very long and successful fight career, Bill Richmond's “antics,” became accepted as an actual system. This allowed Bill Richmond to become a successful trainer, and passed down his revolutionary system of defense; making a lasting contribution to “Western boxing.”
Nevertheless, how did a former slave with no formal training in English pugilism come to develop this type of defense? It seems from the outset, there may be a connection to the African diaspora martial arts mentioned in my previous article; However, not much is known about Bill Richmond's early life, so the evidence is anecdotal, but deserves to be explored further.
The Dance of War by Johann Moritz Rugendas, 1825 (Wikimedia commons)
John Bednarski
Martial Artist and Owner of School Of Arms Media
As the work of Dr. Henry Louis Gates Jr. shows us, the Slave trade between the Americas and Africa had several distinct periods.
In the late eighteenth century, the emphasis by plantation owners was to get slaves whom had marketable skills; these would be those skilled in a variety of crafts such as metalworking, pottery making, fabric dyeing, and other marketable skills. This was also before the era of “King cotton,” and these skills were hired out to bring income into the slave-holding household.
Many of these people were taken from Central and West Africa, bringing with them their skills in military, as well as local martial sporting traditions. In the deep South is where many of these people were taken to; a unique cultural fusion occurred, which created a unique form of ritual dance, ritual combat, and martial art/sport.
In the deep South of the United States, a Martial Sport tradition evolved among the enslaved peoples called “Knockin,” “Knock boxing,” or “Kicking and knocking.” This was a composite style that derived from a variety of Central and West African Martial Art/sport systems. This composite style included head butting (an Angolan practice), kicking and hand striking, which were taken from the Angolan Engolo (Martial Art) tradition of foot sweeps and high kicks; as well, wrestling/grappling methods culled from Nigerian MGBA and the Senegalese art of Laamb.
These “low” sports, as Fredrick Douglass described them, were encouraged by plantation owners. This encouragement had nothing to do with any sense of altruism, as Frederick Douglas surmised, this was “among the most effective means in the hands of the slaveholder in keeping down the spirit of insurrection.” If you were kept busy fighting for scraps among each other, then important things could be pushed to the wayside; like reading, writing, or even planning an insurrection.
Coming soon part two…
Stono Rebellion - Image Courtesy of the Library of Congress
John Bednarski
Martial Artist and Owner of School Of Arms Media.
One of the fascinating aspects of The Piper Tripwire system, a South African System of Martial Art, Is its use of the body as a percussion instrument, in order to produce dramatic audio and visual distractions.
Similar types of distractions can be found in the Southeast Asian systems of Silat; and yes, Silat has some minor influences upon the Piper Tripwire system. However, I will argue, the way it is done in The Piper Tripwire system, is uniquely African in origin. As a matter of fact, it is something also found in the African Diaspora here in the United States.
In African martial arts, there is a strong relationship between dance, rhythm, and Martial Art technique. In South Africa, in lieu of having any instruments, certain dances developed around using the body; foot stomps and snapping as the percussion instrument to set timing.
The body as a musical instrument can also be accompanied by chanting or singing; this is where The Piper Tripwire system derives it methods of percussion distraction. In the United States, we have a unique form of dance called "stepping," which also uses the body as a percussion instrument; this form of dance, has its roots indirectly in martial traditions and directly in an event called the Stono Rebellion.
The Stono Rebellion took place in South Carolina in 1739; a literate man by the name of Jemmy, sometimes in history referred to as "Cato," decided that the ideals of liberty and freedom were worth fighting for, and therefore revolted with other enslaved individuals; wherever they went, they freed others, and did this while chanting and playing drums.
The rebellion itself was short lived and brutally put down. The ramifications of the rebellion however, had long lasting repercussions as to how the "peculiar institution" would evolve in the United States. Laws were enacted limiting education, the size of groups, and the use of the African drum. This historical event gave rise for the need to improvise musical instruments, and the unique beginning of the body as a percussion instrument. Over time evolving into the dance form we know as "Stepping."
Though not related to The Piper Tripwire System, You can see an interesting correlation between the two.
Below is a short clip of some Piper Tripwire Methods
Some of the most effective knife skills are presented in this video.
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In a past blog called “What Are The Differences Between Pekiti Tirsia and Pekiti (Dekiti) Tirsia Siradas?” I intimated, that there was unknown, or "secret" techniques in the System of Pekiti (Dekiti) Tirsia Siradas system of Escrima.
The "Secret” part, was actually from a comment, not from my own words. So, I would like to clarify with these two points:
Point one, there is no "secret" techniques within the system of Pekiti (Dekiti) Tirsia Siradas Escrima. I would say there is some, very jealously, and closely guarded methods within in the system. Also, I would not confuse the Tortal family system with the "Modern Technology" either; Nor, with any of the never ending all-encompassing ancient nonsense.
Point two, click the below link, to read our previous blog on this related subject matter: “In FMA, there is always a private and a public curriculum”
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This blog is a follow up to my previous blog post about, GrandmasterJerson "Nene" Tortal. To be frank, I should not have to rewrite him back into F.M.A. history here in the United States, but I think it is important. No matter what history or politics you ascribe to, the simple fact is Grandmaster Jerson "Nene” Tortal is well respected by his peers (with good reason), and a fearsome Escrimador; In simple terms, Grandmaster Jerson "Nene" Tortal is a true "Badass."
It is also true that Grandmaster Tortal is not a braggart, he prefers to let his movement and teaching speak for itself. Nevertheless, in quiet moments, he would lay out stories in very matter of fact terms. For those whom do not know, in 1979, Grandmaster Tortal fought in the first Arnis Tournament on Negros, an impressive achievement, but how he did it, is even more so.
"We fought with Guava sticks," Grandmaster Tortal said. I noticed in the photo that he showed me, while talking about the tournament, it appeared he was wearing something more akin to TKD (Taekwondo) or Karate foam headgear. I asked him about this and he replied, "I didn't like the headgear they wanted me to wear. They were not going to be able to hit me, at least not in the head."
As we talked, he would show me technique he used in these tournaments, and share very nonchalantly, the brutal results. Finally, I asked him what place he came in at this tournament, he answered, "I came in second, but I was very ill that day." Later on that year, he would fight in the NARPHIL (National Arnis Association of the Philippines) tournament, in Cebu the same way, and would win his division.
John Bednarski
Martial Artist and Owner of School Of Arms Media.
The politics of F.M.A. (Filipino Martial Arts) are annoying, counterproductive, and always shifting sand at best.
I am not writing this article to anger anyone, but to clarify some history. Much has been written about the differences between the method of my teacher, Grandmaster Jerson "Nene" Tortal, and his Pekiti (Dekiti) Tirsia Siradas, and the method of his Nephew, Grandmaster Leo T. Gaje, of Pekiti Tirsia. Both claim that their respective systems of escrima represent the "true" system of the Tortal family. However, I will let them argue about that, and I shall lay out the facts as I know them.
First, why the differing system names? Prior to the political split, both teachers used the term Pekiti Tirsia freely to describe their methods. Nevertheless, when it came time to register the name with the Philippine SEC, Grandmaster Gaje registered the name first. Years prior to this, Grandmaster Tortal had already been using the name Pekiti Tirsia, but now because of the legal rules in the Philippines, he had to come up with a differing name to register; hence, Dekiti Tirsia Siradas. Simply put, Grandmaster Tortal had used the term Pekiti Tirsia at the same time and even before Grandmaster Gaje did; to state otherwise, is a distortion of history, and at best, calculated misinformation.
Second, Why do both systems move somewhat differently? I will borrow from Guro David Gould of Lameco Eskrima, whom trained with both teachers. Guro Gould said, "They move differently because they are two different people." Bottom line, both men have differing experiences that influence how they teach and apply escrima.
Third, is there such a thing as the art of the Tortal family? Now in answering this question, I am giving my opinion which will probably anger many. So, be forewarned this is my opinion and mine alone; the answer to this question is Yes, it is found within the sword methods associated with the Tortal Family.
It should be noted that no matter whom you train with, very few people have been taught these methods. It is also my opinion, that Grandmaster Jerson "Nene" Tortal, is the encyclopedia of these methods. This is the other reason these two men and their respective systems move differently. No matter whom claims what, in my opinion, Grandmaster Jerson "Nene" Tortal is the true Master of the sword.
I have given my opinion and it is up to you to believe what you want. So, as always, what do you think?
John Bednarski
Martial Artist and Owner of School Of Arms Media
For those that are unfamiliar with Chi Sao, or Double sticky hands, it is a drill that encourages bi-symmetrical understanding of where your limbs are at while interacting with another individual. The goal of this drill, is to stay attached to the other individual by sensing changes in pressure (sometimes called energy) while in movement.
In the past I use to think that the Chi Sao drill was extremely important; mostly because I only had a passing familiarity with Wing Chun Kung-Fu. After all, most practitioners of the Ip Man lineage, and its off shoots really emphasize the importance of Chi Sao.
I have also heard, at points, that Ip Man kept his students doing Chi Sao for a long period of time, for a specific purpose, but I do not want to spread rumors.
That being said, I assumed the importance of Chi Sao was universal throughout all lineages of Wing Chun Kung-Fu systems; That is until I met Grandmaster Ing, whom teaches his own family style of Wing Chun.
I asked Grandmaster Ing about Chi Sao and his answer was direct, "it isn't as important, as you think." It was not until several years of training with Grandmaster Ing that I realized, much of what I was originally taught about Chi Sao was misguided. This is not to say others are doing it wrong, just incompletely, or quite possibly, they were not taught every aspect of it by their teachers.
In the Ing Family system of Wing Chun Chi Sao is not the central aspect of training; however, when it is trained, it has many more facets to it than other systems I have seen.
Nevertheless, I am one individual giving an opinion from a limited perspective, so, what do the rest of you think?
There are many different forms of Wing Chun that have been explored and categorized; This family system is none of these. See why Grandmaster Ing is a sought after instructor in Wing Chun, as well as a striking coach for aspiring fighters.
John Bednarski
Martial Artist and Owner of School Of Arms Media
If you are reading this blog, you probably already have some understanding of martial arts or Wing Chun Kung Fu, or perhaps some knowledge of Wing Chun Kung Fu history. As for me, I have been training and teaching martial arts for over thirty years; In this time period, I have had interactions with many martial artists, whom practiced a wide variety of styles. Some of these systems have included practitioners of Wing Chun Kung-Fu and its off shoots.
For the most part, these interactions left me with a somewhat skewed, and lackluster opinion about Wing Chun Kung-Fu; that is until I met Sifu Ing. I am not going to go into detail, as to how I met Sifu Ing, but it was fortunate for me, that we did. Shortly after our initial introduction, Sifu Ing invited me to train in his family system of Wing Chun.
Now in all humbleness, at this time, I was a bit skeptical, and assumed our training would follow a similar progression, as I had encountered in the past. To be frank, when we started training I was utterly surprised. Most of my encounters with previous Wing Chun practitioners, they had relied on strong forward pressure, however, when training with Sifu Ing, pressure came and went as needed, there was no over-reliance on timing or speed tricks. When I tried to escape, he easily followed, and when it came to it, I felt as though I was stuck in a washing machine that didn't like me.
When Sifu Ing struck, it felt as though I was being hit by the aforementioned washing machine. Normally, I would not use a buzzword, but here I am forced to, as it is the only one I can think of to describe what happened. When it comes down to it, Sifu Ing's family system, has the aliveness we strive for in martial art training. Nothing was forced, overpowered, or dependent on an artificial, prescribed formula; it was all question and answer, and very organic or natural. Not only can Sifu Ing apply and do, but he can also explain and teach his family system of Wing Chun in a way that others are able to understand and excel at.
To this day I still train with Sifu Ing, and I believe his system of Wing Chun can greatly add to, and or expand, one’s own martial arts skill sets, as it has mine.
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John Bednarski
Martial Artist and Owner of School Of Arms Media.
It’s known, that FMA has become popular around the world. From an obscure fighting art, to a known entity, to become a worldwide phenomenon, it takes a unique set of circumstances.
Now, for the most part, it is common knowledge that more than anyone else, it is Guro Dan Inosanto; whom popularized, what we now know today as FMA.
The question is, how did Guro Dan Inosanto come to train in these, at the time, obscure arts?
A long time ago in California, long before anyone had ever heard of Arnis, Escrima, FMA, and the mother of all arts, Kali; Dan Inosanto was training with the martial arts genius, and “Father of American Kenpo Karate,” Ed Parker.
In a conversation with Grandmaster Parker, Guro Inosanto, (before he was a Guro) asked Grandmaster Parker if he had ever heard of these martial arts? Grandmaster Parker told Guro Inosanto that he had heard of them and even recommend that Guro Inosanto train in them.
You wouldn’t think this now, but Guro Inosanto replied with a common misnomer, that people whom don't know much about FMA often blurt out, “Isn't it just stick-fighting?” Grandmaster Parker's reply replied, “No, it is more than that.” It was at this moment, that Guro Dan, decided to learn FMA, and a pivotal point in FMA history occurred.
This is the story I heard, what do you think?
John Bednarski
Renowned Escrima enthusiast and teacher in the Piper Tripwire System.
After World War I, certain blade types were supposedly banned by the Geneva Conventions. Most notably, blades that were either, triple bladed, or ones that had hooks, or saw teeth attached to them.
So the rumor goes, that these types of blades were banned, because they caused undo harm and suffering, as the wounds were difficult to treat and stitch closed. However, I think it is more plausible, that knives and bayonets became less complicated, to reduce the weight burden of what soldiers carry onto the battlefield.
Nevertheless, certain blades, such as circular knife blades and others, are considered to uncivilized for the battlefield. So, this then leads us to the question, where does the Piper Tripwire System fall into this continuum? Why would it be banned by the Geneva Conventions rules? After all, it only uses a pocket knife in its applications.
It would be conceivable that the Piper Tripwire System would be banned by the Geneva Conventions rules because, the system uses extremely unconventional methods of application in its offensive principles.
What I mean by this is that the Piper Tripwire System does not use conventional or Martial artsy stab and slash techniques in its offensive methodology. Most of us understand a stabbing motion from the European fencing terminology of Stoccata (Italian) or the Spanish variation Escotada, which means a thrust that follows the same trajectory in and out. While a standard slash, just as it sounds, is usually done out and away motion, in an attempt to get a clean cut.
So, I am not going to talk directly about the offensive methodologies of the Piper Tripwire System, except in vague generalities. Simply because any written explanation can be misconstrued to a point. Nevertheless, The offensive methodology of the Piper Tripwire System will do damage that the Geneva Conventions would strictly prohibit. Again, this is all hypothetical and if you are curious about the Piper Tripwire method after reading this, I would say attend one of the seminars given by Lloyd De Jongh or Myself, or purchase the series below.
As usual, what do you think?
First developed within the prison system of South Africa, these proven knife skills then metastasized onto the streets where gang members who could not easily get a gun, resorted to the use of a pocket knife.
A definite need to have - some of the most effective knife skills are presented in this video!
A must for soldiers, special operators, and law enforcement.
Several years ago, I was invited to an invite only seminar in Michigan, in the dead of winter, during the time we had a polar vortex covering the Northern United States. Yeah, that sounds as bad as it is. However, If I hadn’t attend this seminar, my trajectory in life would have been completely different.
I was invited to go to this seminar by my friend and mentor Mushtaq Ali Al-Ansari, who is an elder statesman within both the Southeast Asian and African Martial Arts community. Since he asked, who was I to turn him down.
This invite only seminar was to introduce a Mr. Lloyd De Jongh and his Piper Tripwire system to the attendees of this seminar.
At the time, I knew very little about the Piper Tripwire system and even less about Lloyd De Jongh. But, due to Mushtaq’s prompting, I decided to make the journey. I felt that at least I might see something moderately interesting.
At this point in my life, I had been training FMA and Silat for years and was fairly adept at weapons usage, and a Guro in several different systems of FMA. So already, I had my biases lined up; I mean after all, a martial art coming from Africa? Let alone involving the use of a pocket knife? This made me naturally suspicious. I should point out that, I knew even less about the rich vast variety of martial arts coming from the African continent then about the Piper Tripwire system.
Here’s how my introduction to Mr. Lloyd De Jongh went, after a brief introduction, he attempted to demonstrate an advanced knife switch in front of me, and he promptly dropped the knife. At this point, my skepticism was shooting through the roof, and Lloyd proved himself at that moment, to be a mere mortal. My thinking was, “what can this guy teach me?”
The following day when the seminar began, Lloyd moved like a panther, bang! Lloyd moved with an intensity and timing, as well as off-timing, that few of us whom have studied martial arts, had ever seen! Most froze like a deer in the headlights or were just plain confused enough, stuck in a paradigm reset, to be struck by the weapon or empty hand; just about every time. The funny part about this is Lloyd was incredibly jet-lagged so my thinking was, “Dear God, what would he be capable of doing if he were well rested and completely focused!” To be frank, this was some of the most effective and for lack of a better term, dangerous methodologies I had ever encountered. A hard lesson for the martial art egotist to learn, at least it was for me.
It was at that moment, that I decided that I needed to learn this method. The reality being, you can only truly possess what you experience. So take it from me, once you experience this method, you too, will want to learn it!
Click the below link to learn more and never stop learning.
Until only a few years ago, there were numerous online criticisms from people ignorant of what the Piper System was. This situation has definitively changed.
I have been fortunate enough to share Piper with martial arts luminaries like Guron Dan Inosanto at his world famous academy, with Marc Denny of the formidable Dog Brothers Martial Arts system, with Burton Richardson and a host of others in Europe.
It was Guro Marc Denny who gave me the keys to modifying and enhancing my then-unknown skill set for the Western world. That process demanded 3 years of letting go of the past and growing up, followed by 5 years of diligent research and testing. The raw, criminally-derived system has spawned ideas and tools that is leading to a change in the way many top-tier martial artists think about movement, offering ideas that turn old concepts on their head, and offers tools for ranges and problems that were not part of the combatives landscape until now.
Extracting the fundamental components of the Piper System and generalising them into stealth-oriented, ambush-proof movement that works for the Western practitioner is yielding fruit, an arsenal that allows one to regain initiative and fight in gaps that previously were used for transitions, setups and recovery at much tighter ranges, forcing reset after reset in the adversary who is always one step behind the curve.
The empty hand component has been fleshed out after research into the African roots of the system - N'guni stick and Zulu spear and shield fighting. The historical boxing/Silat footwork has been streamlined for modern usage, simplified and specifically dialed in for the ranges we work at and the use cases we specify.
Two distinct approaches have evolved:
1) Piper Empty Hand (Enhanced "Form Style") - ambush and offense from a standing start and extreme close quarters: load and explode with little-to-no tell, fully integrated into the edged/improvised weapons methodology.
2) Tripwire System for counter-ambush/counter-impact/optimal recovery from a natural standing position with no bracing stance, no load up, with hands at sides.
Another Development has been the Full Metal Elbows (mob defense). A new paradigm for escape from a massed attack. It's worse than having wet cats thrown at you, or trying to give a bath to half a dozen angry cats at once.
These are difficult problems with innovative solutions from a little-known culture that excels at these things - heavily tested and refined for optimal performance. If it satisfies the insane :-) Dog Brothers then it satisfies, because G*d knows they kicked my ass enough times in testing.
With each seminar this material has been refined with the exposure to a myriad of different levels of skill, experience, mass, reach, temperament and body types. It is an evolving, cusomised to fit the practitioner and adaptable across a range of categories.
This is only the beginning.
In the US anyone near Chicago, IL can reach out to Guro John Bednarski; in Los Angeles, CA to Guro Marc Denny of Dog Brothers fame and in Texas my friend Jaime Aguilar is showing amazing creative flair. He's got moves I wish I had ;). Piper/Tripwire is not set in stone, it's what you make of it - and these gentlemen have made something of it.
If anyone is interested in learning more from me I live in central Europe - Warsaw, Poland is my new home. I am available for seminars.
For More Information on The Piper Tripwire System Please Click Below:
The Piper Tripwire System Available Through School Of Arms Media
To learn more about Lloyd De Jongh And The Piper Tripwire System, Click below:
THIS IS A REVIEW BY: HOLGER JONGEN
"On a sunny afternoon mostly everything I believed to be the foundation of my martial art, collapsed. On a seminar about Knife Fighting I met the astonishing Lloyd De Jongh teaching some basics about the Piper System.
After some jaw dropping first moves to point out the effectiveness of this style, Lloyd teaches eloquently about the cultural differences between western and African people start by the way they walk.
Demonstrating a walk over the toes with a great ability of stopping without stumbling and a great move ability when it comes to changing directions he delivers an alternative to everything I’ve learnt and in fact it worked out well, when I gave this walk a chance.
Following Lloyd took us into an imaginary journey into the wrong corners of Cape Town, explaining that most of the techniques where not taught from elders to youngsters in any form of schooling or training, but develops in the backyards of Cape Town in the tryouts between kids and teens.
Lloyd explained that Piper is not an educated martial art but more something to disrupt martial arts. The focus is laid on the usability of the moves not for aesthetics and go along with irritating maneuvers and cunning approach of a suggested victim. Lloyd’s acting is scary and about everybody in the room failed to stop him from an approach far in the close range, where a quick kill is nearly inevitable. In my opinion the presentation of these criminal tactics could we be life savers for people traveling dangerous areas or any form of law enforcing personnel.
In the following lessons both empty hand and knife basics Lloyd managed to proof the Piper works against non-cooperative partner quite well. We did not give the man an easy time but in the end we all were defeated. The way this man can switch from high, mid and low attacks with a precise timing was a great experience.
Lloyd explained that he wants to create an unpredictable chaos that breaks the structure of an opponent be attacking his body, his line and angles and his mind in equal measures. These chaotic moves are often generated by a special way of stepping which Lloyd calls a slip.
Searching a balancing point Bez hand contact to the opponents chest, he suddenly seems to stumble to get in behind us. This worked several times, even though we knew, what was happening.
At the end of the seminar Lloyd showed tactics to use which multiple opponents and escape ways when stuck in corners of against a wall. In my times I have seem many martial arts or self defense seminar but this Piper seminar was a true eye opener that I personally would recommend for anybody with interest in authentic street fighting – even if it was just for the knowledge of the tactics."
This review was done by Holger Jongen
At the end of this blog, there will be an option to buy!
The Piper Tripwire System is now starting to gain notoriety and is being sought out by some of the world’s top martial artists to add to their respective skill sets. It is a true African martial art method well worth exploring. However, with notoriety, there can come controversy, so I shall attempt to address these controversies and dispel them.
If you have read my previous blog posts, you will know that the Piper Tripwire Systems techniques, descend from those used by the criminal subculture of South Africa. Sadly, there are some groups which practice a different branch of the Piper System that try to emulate the behaviors of this criminal subculture. Fortunately, our branch of the Piper Tripwire System, headed by Lloyd De Jongh, teaches the content while separating it from the toxic culture. No one wants to be associated with that type of behavior. Unfortunately, like most martial arts, some people try to become more like those that developed it, rather than focusing on physical skills.
The Second controversy is whether or not, the Piper Tripwire System is African enough to be considered an African martial art. At face value, this may seem ridiculous; however, there has been some debate on this subject online. So, I thought I would cover this subject as well, ridiculous as it is.
Since the Piper Tripwire System has two minor elements that do not come from Africa, the debate is, it is not 100% purely African. These elements are western boxing, and Indo Malaysian Silat. Nevertheless, the boxing element, has been so modified and synthesized to the local needs, that it looks barely recognizable as anything that could be considered western boxing. The Indo Malaysian Silat element, is also or would be, unrecognizable to somebody from Southeast Asia, as something that would be considered Silat. This Indo Malaysian Silat element, has been completely submerged in the uniquely South African rhythms. So, I would argue, that these minor elements do not diminish the major elements (see previous blogs) that are uniquely African and unquestionably African.
It is unfortunate when you get people that are looking for something pure or whom are purists. There is nothing that is not all blended in martial arts. This type of argument then, would be like arguing that Capoeira is not Brazilian because a large majority of its methodologies come from Africa. The same could be argued that FMA is not Filipino enough because there are elements of European martial art in it. This is an example of improper Socratic linking, and this type of thinking can lead us down a very long rabbit hole with no ending.
So, if you want to see what all the chatter is about, and what top martial artist now want to train in, follow the link to purchase The Piper Tripwire System In Context:
The Piper system is synonymous with the use of a pocket knife. I thought I would do a quick article on the two knives used for training in the Piper system which people have asked me about.
The first blade type is colloquially referred to as an Okapi knife, as if it were manufactured by the Okapi Knife Company; however, this would be inaccurate, as this pocket knife is made by Okapi a division of Southey Holdings, one of South Africa’s largest privately owned industrial companies. The style, however, is called an Okapi and has somehow become synonymous with the blade itself.
The pocket knife itself, is of a Spanish design, and very much resembles a Navaja style knife. Originally, this ring tab, ratchet-lock knife, was made by a German company, and exported to Germany’s African colonies before becoming popular in South Africa.
The second type of pocket knife, is called the Sable, and it is similar to a standard lock-back knife, which can be found here in the United States.
These knives, because of their affiliation with criminal activity in South Africa, have been given a nefarious reputation. It should be remembered that, in the Piper system, the knife is only a tool, and a tool for training.
It should be noted that Lloyd De Jongh, will be coming to the Chicagoland area, April 14th and 15th 2018 to teach this unique African fighting system.
Click here for Piper system merchandise or feel free to visit School Of Arms Media to find out more about us.
I have been asked this question numerous times, so, I shall try to elaborate as best I can on this subject.
Piper as a method developed from the knife methods and tricks employed by gang members inside the prison system of South Africa. These methods then metastasized out into the criminal world on the streets of Cape Flats.
It was in Cape Flats, that various gang members and criminals were interviewed to see, exactly what they were doing; from this point, the various tricks were organized into what we now call the Piper system.
It should be noted, that this particular method of fighting, first started out as a way to organize a way of training against criminals, and not as a full blown martial art.
The elements that compose the Piper system are, Indo-Malayian Silat, N'guni stick fighting, form boxing, and Zulu spear and shield.
The Indo-Malayian Silat comes from skilled slaves taken from Indonesia and Malaysia; they were brought to South Africa by the Dutch and British. This is where the understanding of using a knife in close quarters came into the mix. The Silat system that influences it might be the Kilap (lighting) system of Silat, but that is still up for debate.
Nguni stick fighting, is a regional method of stick fighting found throughout South Africa, and heavily lends its particular movement structure to the Piper system. I should mention, and is paramount, it lays most of the particular foundation.
Form boxing, which sounds very martial arts cool, is actually short for Reform school boxing. Kids in reform school, fight using both western boxing and Nguni (sans the stick) movements.
Lastly, is the Zulu spear and shield methods, which lends itself to close quarter knife movement, by giving a fearsome understanding of stabbing.
So, to recap, if we look at what the Piper System is, I would say, it is a truly African fighting system.
For Videos on the Piper Tripwire System follow this link:
When it comes to African martial arts, the one system that influences, and in many ways is a part of the School of Arms, is a little-known system of knife usage, called the Piper System.
I have been training in the Piper system for many years now, under Lloyd De Jongh and I can say it is truly African; more precisely, South African in structure and movement.
Many as we know, many in the online universe, claim that it is part and parcel of some other system or somehow related to another Martial Art. Unfortunately, these people have probably seen only a very small piece of the Piper System.
So, in this blog, I am letting everyone know that Mr. De Jongh will be in the United States demonstrating the authentic Piper System movement and methodology.
Please check our website under Events to learn more. I can say once you have experienced the Piper System, it might change the way you think, not only about African martial arts, but improve your understanding of movement as a whole. It may also challenge your preconceptions of movement, or what you consider “martial art” movement as well. Nevertheless, do not take my word for it, research and check it out yourselves.
So as always, what do you think?
Since I have been writing my blogs on FMA, I have delved into history, and the various influences upon what we know as, FMA.
I have written about the European influences, but I do not make or assert that FMA is somehow only of European origin. Nevertheless, this brings me to this blog's subject.
When looking through the internet a few years ago, a friend pointed me to a web page that made an interesting, but flawed argument for FMA being of African origin. Now I understand that the continent of Africa is the cradle of humanity and because of this, one might be able to say that all martial arts are technically African. However, I would say it is a technicality, and there is a lot of stuff in between that I am simply not going to argue.
Now the crux of this individual’s argument, stemmed from the word Moro, or Moro-Moro. His teacher had said something vague about FMA being originally called Moro-Moro, or something to that effect. The individual then proceeded to say the “Moors” come from North Africa, and since the word “Moro” means “Moor” hence all FMA is of African origin.
It should be mentioned at this point, that in previous blogs, I have discussed these terms in-depth. Needless to say, the improper Socratic linking one needs to push the previous argument is very flawed. Using the same line of reason, I could say the Kalis Ilustrisimo must be of African origin because the signature sword they use is called a sansibar (Zanzibar). Since Zanzibar is in Africa, KI must be African.
The reality is… We will slide down a long dark rabbit hole, if we fall for such arguments. Nevertheless, what do you think?
17th Century Bronze Plaque showing the Oba of Benin with his attendants carrying iron swords
It should be noted that in Morolandia, as the Spanish called it, has its own unique and very old systems of martial art. These being the various Silat and Kuntaw methods found within the region. It should also be noted that there is quite a bit of cross pollination between central and Southern Filipino martial arts, due to several factors. First, many Visayan Escrimadors were employed as bodyguards by various Datus. Second, raiding and trading were constantly happening within the wider region and method and movement, if not, concepts could be borrowed by observation or discussion.
So, it could be noted that Indo-Malayan martial arts do exert an influence upon modern FMA. Nevertheless, the sword blade types have nothing to do with Northern or Central Filipino bladed systems... So, why again are these blade types associated with modern FMA particularly with methods found here in the United States? In my speculation, it is because of two specific reasons. The first is the persistent myth of the undefeated Moro people. This is a nice myth, and a useful one for hyperbole sake if one is trying to attach a mythos to one’s system of martial art. Second is the memory here in the United States or lack thereof, of the Moro wars, and more particularly of the Juramentado.
A Juramentado derives from the Spanish term for one who takes an oath. In this case, it was an oath to become a human guided weapon. While in a state of religious fervor, the goal was to kill as many enemies (in this case U.S. Service personnel) as possible before being killed. This begs the question, just how much skill in any system of martial arts is necessary if one is in this state? Oddly, there were also pseud-Christian religious fanatics in both the central and Northern Philippines called Pulahauns, yet they did not make quite as much of an impact. However, that is a discussion for later articles.
I'll be posting on our Youtube Channel a bit of this cross pollinated movement-
Youtube Bladefiles link:
https://www.youtube.com/channel/UCFZ_M6xBPrb1nnc5I6Jhh-g
Years ago, my teacher Grandmaster Jerson “Nene” Tortal, had finally had enough of one individual’s bad etiquette. He decided it would be proper and right, to challenge this person to a duel. After all, how better to settle all of these charges and counter-charges being thrown about. However, the challenged party felt the need to stipulate the rules to this duel, which to say the least, were way out of bounds in terms of fairness. Grandmaster Tortal with a great look of disappointment on his face said, “John, he stated that I can’t have any weapon at all - empty handed ONLY but he will be allowed to have a ginunting (scissor bladed sword) to start with.” Wow, I said, that is absolutely unfair and ridiculous."
I bring this story up not to refuel old feuds or stir up any animosity, but to highlight the unique understanding of what a duel means within Filipino culture. Just as a caveat, all of this information I am presenting is based upon my personal observations. This way of thinking, seems on the surface, to be a bit of what Anthropologists call “cultural drift.” It is influenced by the Western notion of defending one's reputation from insult (this is not found in other countries in Asia that had not been exposed to the Western notion of machismo). The other Western influence is the ideal of fairness - One wins or loses by skill alone, not by unfairly stacking the deck with a better weapon, or by other means; this aspect of FMA, at least to me, points to Western influences, and is one of its more unique aspects.
I have attached a copy of the rules for the "death match" between Ciriaco Canete and Crispulo Atillo. In this death match I'd like to report - Nobody died.
Check Out The Dueling Rules Here!!
This idea comes from a comment on one of my previous posts, any comment is appreciated, as they help to spur further articles. This question however, is a very loaded one which I shall try to answer, but my answers will not be definitive, as most evidence is anecdotal at best. We shall have to examine history, as well as some idiosyncratic bits of Filipino culture.
Historically, Spain by the early 19th century was impacted by political and economic changes happening on the European continent and thusly, so was the Philippines. The monopoly of the galleon trade ended and by the mid 1830's Manila was opened up to foreign merchants almost without restriction.
Did these individuals know any methods of fencing or self-defense? Possibly, though again there are no definitive answers. During this time period a new land holding class of Chinese-mestizo families emerged. This newly wealthy and politically active class, sent its children abroad to be educated in Europe. Along with bringing back new political and nationalistic ideas, these elites also practiced fencing, like their European counterparts. In Europe, they may have been influenced by both the modern sport, as well as older ideas of Self-protection. How and when any of these methods found their way into or influenced FMA is debatable. I personally have my own theories on this but you’ll have to buy my book.
Culturally with FMA one encounters multiple aspects which are idiosyncratic. The ones we shall be focusing on are Hyperbole, colonial mentality, and the problems of taxonomy and terminology.
Hyperbole, or tall tales are a part of FMA (Kali the mother of all arts anyone). Though I would say that this problem exists within all martial arts circles to one degree or another. The colonial mentality, is where anything foreign is somehow automatically considered better, or more legitimate than something native. Last, is the problem of Taxonomy and terminology; It should be noted there is a system of Escrima from the Philippines called Etaliano. Now, the question of how this system gets its name is debatable, was it called Italian, because someone thought it looked similar to Italian systems, or was it called Italian just to make it seem more legitimate? Whatever the reason, it may be lost to history. Most whom practice Italian fencing say it has nothing to do with their methods, so odds are good that it is not a transplanted Italian system.
All of these quirks can be found in the story of the founding of Doce Pares:
“In 1932, the Doce Pares club was formed, headed by Lorenzo Saavedra, the club was composed of three Saavedra eskrimadors and nine from the Canete family; this composed the original twelve needed to symbolically actualize the title Doce Pares, which was named in honor of a Frenchmen who befriended and shared his combat techniques with Lorenzo Saavedra in jail, and symbolized the twelve peers of France/Doce Pares SA Francis the Knights, or Paladins of King Charlemagne. Venancio Bacon was among the first members of the club. Although there were certain personalities in the club that ran counter to Venancio Bacon's own personality, he stayed and carried his weight as one of its representing eskrimadors.”
So, was there a Frenchmen? What did he teach Lorenzo Saavedra? History does not give us much, could this person have been real, possibly, but there still is much research to be done to untangle the Gordian knot of what is FMA.
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“At a White House reception the other day, the president (Teddy Roosevelt) appeared with his arm bandaged, and it then developed that he and General Leonhard Wood, during rainy days, were getting their exercise by having bouts at single-stick in the upper rooms of the Executive Mansion.”
- Harper's Weekly 1905
Most forget that the Stick along with the stone are the Adam and Eve of both tools and weapons within human culture. The stick and staff, as a weapon is found throughout the world. No less so, then in European Martial arts. Now, similarities in technique and influence between FMA and European Martial arts stick in usage may be circumstantial, but these cannot be over looked. So we shall examine the arts of Staff, Single-stick, cane, and cane and dagger.
As an equal opportunity iconoclast, I have decided to start with the staff. It is true in the Philippines, staff and spears predate the Spanish colonial era, and European staff and pole-arm methods have little and or no influence on what we now understand as FMA. However, it should be noted that the Spanish governor of the Philippines throughout the colonial era always had an honor guard composed of men carrying Halberds. Think of the Popes Swiss guard in a ceremonial dress, as an example of this type of honor guard. Later, when Aguinaldo declared himself President of the Philippines, he reinstated this honor guard for himself.
The staff also appears; like the platypus to argue against a linear evolution from ancient art to the modern sport form of fencing. In actual fighting the staff usually proved itself superior to the sword, “John Peeke of Travistock fought three Spanish rapier-and-dagger men at once in the presence of the Duke of Medina-Sidonia at Xeres and defeated them all.” (J.D. Aylwand The English Master of Arms, Routledge 1936). To Paraphrase J. Christoph Amberger, sport fencing would be more about pole-arms and staff work if it reflected combat reality.
Single stick and walking cane developed from the methods of Saber/cut and thrust play of military fencing. By the 19th century, training with a dull or live sword for the purpose of training no longer became cost effective, not to mention the fact that even with a dull training sword the chance for injury is still great. The most cost effective option became the adoption of the stick, with a guard made of either wicker work or Buffalo hide (the former colony known as the United States was offering a cheap supply of the stuff). (see pictures) Later, the Gentlemen’s cane became the main training tool for saber fencing, as well as the fencing method being adapted for personal self-defense with the cane. Here in the United States on May 22, 1856 Representative Preston Brook of South Carolina attacked Senator Charles Sumner of Massachusetts with a cane on the floor of the U.S. Congress, beating him savagely with his walking stick, the best weapon he had at hand. Unfortunately, this act of personal and political violence had terrible repercussions for more than just the two men involved, though I add this as an example of just how fearsome a weapon, a walking stick could be...
Later the gentlemen’s cane held the added surprise of a sword or a knife within. For the most part the shaft of the cane became the primary weapon, held in the right hand and wielded like a Saber, while the knife was used in the left hand. This sounds suspiciously like FMA stick and dagger work, though connections between these two methods may be hard to locate within FMA history. It should also be noted that FMA has many more constituent parts than just WMA and I shall be writing further articles about these other parts as well.
In continuing my articles on the European martial arts influence on FMA, we shall exam the concepts of abecedario, numerado and the modern positions of Saber fencing and its relationship to military fencing.
Abecedario or ABC's is an alphabetical order to strikes (see picture) which is a training method within military fencing. Numerado, or (by the numbers) conceptually can point to both a numbering system to strikes and thrusts (see pictures), as well as a preset partner line drilling of a give and take nature.
Oddly, here in the United Stated the term Abecedario has come to signify a numbering system of striking. Now anyone whom trains FMA, knows about its preoccupation with triangles. In modern sport saber fencing, as well as Esgrima Militar, defenses were taught from the triangle (see pictures). Also, many of the body positions remind me of FMA positions, especially those that wield heavy sword blades (see pictures). Also, I modern sport saber fencing, the familiar concept that is in most FMA systems is also present. The ubiquitous stop hit or as we know it in FMA, the infamous hit to the hand (see picture). Nevertheless, European Martial arts are but only one influence upon modern FMA.
So just how much of an influence does European, specifically Spanish Martial Arts have upon Filipino martial arts?
This is a complicated question which at times becomes more convoluted due to misunderstanding and nationalism.
To start, one of the key characteristics of Indo-Malay martial culture, is the ability of synthesis, the ability to adapt (indigenize) foreign fighting systems to fit local needs. Spanish martial arts are heavily blade influenced, as firearms came late to the Iberian Peninsula, and when the Spanish arrived in the Philippines it could be described as a collision of blade cultures.
At this time period, Spanish and European martial arts were undergoing an evolution from cut and thrust sword play, to the thrust and cut usage of the rapier. However, most scholars of the sword cannot tell you exactly what constitutes a rapier, or exactly when this transition happened. Nevertheless, Spanish fencing (esgrima) began to evolve toward the usage of this weapon.
By the time of the early colonial adventure of the Spanish absorbing the Philippines into empire, the method of Rapier fencing had been distilled into the method called La Verdadera Destreza, or the “True Art of Dexterity.” This was a comprehensive martial arts system that required proof of proficiency in a wide variety of weapon types and combinations. These included, single sword, sword and dagger, sword and shield, two-handed sword, and pole-arms such as the halberd.
In many ways Destreza, though primarily revolved around the sword; in intent, it was supposed to be a universal conceptual method for usage of any weapon. Evidence though limited, does suggest there is a minor bit of influence in FMA Stemming from Destreza. The number one thing being the use of the knife (dagger) in the left hand, in Espada Y Daga systems.
The other bit of evidence comes from a unique weapon grip called the pistol grip (please see photo). When using a rapier in Destreza, one pinches the blade between the forefinger and the thumb, between the quillions while holding the sword in point. However, the Filipino Balaraw dagger (see photo) was also supposed to have been held in a similar manor.
As time passed, European martial arts continued to evolve. By the 18th century Esgrima Militar (Military fencing), revolved around two sword types. The officers carried the “small-sword” which is primarily a dueling and ceremonial weapon - the fencing foil (florette in Spanish) being the training tool for it; later, it would evolve into the sport we know today. The other being the heavy cut and thrust swords of the day, sometimes called hangers or sabers; this type of cut and thrust sword play, reminds me of FMA today.
As the Spanish empire shrank, it would not be unusual for Filipino axillary, Spanish colonial units, to be taught this type of sword play. Evidence for this type of sword play can be seen in both terminology and in the saber grip (please see photo) of the weapon mostly used in thrusting in FMA. Also, the late Grandmaster Floro Villabrille said there were two types of Escrima, one being on the table, which was demonstrational and the other, being anything goes, ostensibly a duel. These terms relate to the small sword and the fencing foil as sports fencers of the foil, fight on the piste (a table) or if the gentlemen was challenged to a duel it could be to first blood, to the death, or until honor was satisfied.
Nevertheless, there is much more research to be done be for reaching definitive conclusions.
The following photos we have included: plates from Petter and Hooghe for an unarmed man to deal with a dagger attack. The other, Mendoza y Quixada demonstrates everything for the Spanish swordsman needs to know on a single page – ENJOY!
Before I begin, I would like to thank a few people for giving me the inspiration for this article. So, I would like to thank Glen llamador, Stephen Shy, and Prof. Felipe Jocano! If it were not for their comments on my previous posts, this article might never have happened, so please keep commenting and questioning.
In FMA, there is always a private and a public curriculum that is taught by the Masters and Grandmasters. This could be compared to the outer (omote) and inner (ura) teachings of many Japanese Ryuha. The public curriculum is just what it sounds like, and generically speaking it usually consists of basics with other elements added into it. Personally, my experience of a public curriculum with Grandmaster “Nene” Tortal, consisted of a heavy dose of basics with a stick, disarms by the ton, and a great deal of grappling. Nevertheless, the private curriculum is always hidden behind the public curriculum. If your teacher never teaches you the all-important hidden pieces, then one may never or rarely ever make the connections on their own. Now, the private curriculum of “Nene” Tortal is the sword, and things do change when you’re applying sword techniques vs. stick techniques - please read my previous posts for more context.
Now, why would a Master or Grandmaster only teach students the public curriculum? Hypothetically speaking, maybe the person does not have the right temperament to represent the art. Also, with the trend toward re-branding FMA into something else like “modern” “combatives” or “edged or impact weapons usage” -whatever, the Master/Grandmaster may feel people will only look at the private curriculum as passé and not value it.
Much of the instruction in FMA even today is relational and informal; if you don’t have the relationship with your teacher and physically interact with him/her you may be missing a great deal. The controversial part of this is when those whom have only been taught the public part of the curriculum, assume that they have it all and start teaching. These instructors do their students and themselves a disservice, as well as their former teachers.
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In my first article about the bolo (machete), I discussed the difference between it and a dedicated sword (espada). Nevertheless, there is an in between blade type, a longer version of the agricultural tool used for self-defense and fighting; after all, length does give reach and therefore an advantage when fighting or dueling. However, I am focusing in on the agricultural tool and weapon of opportunity. During World War II when the Japanese occupied the then U.S. Territory of the Philippines, the first thing they did was ban and confiscate all deadly weapons; in other words, they confiscated all the firearms, the bolo (machete), being viewed as a tool was left off the list. So, the bolo became the most pragmatic weapon to arm those whom decided to resist the occupation. These brave souls were taught limited fighting techniques (though they have a myriad of applications) and for the most part due to their former lives as farmers and laborers, they had used the bolo daily and were very familiar on how to use it to its full potential. On Bladefiles (Coming Soon), my YouTube channel, I will be showing some of the methods taught to me by Remy Presas, that he learned from his father, who taught these techniques to the bolo brigades during World War II. Also, please follow me on Twitter at: John_Bednarski.
Please see attached photos below.
First and foremost, the bolo is actually an agricultural tool, it is used throughout the Philippines for just about any agricultural or working task you can think of, however there are a few systems that use it purely as a dedicated weapon, and many of those have a tendency to be very small methods.
Systems such as those of the Presas family, and Lightning Scientific have a relatively short curriculum on the bolo. Though known primarily for being stick arts, these systems look at the bolo as a weapon of convenience since they are readily available; so, the bolo is a tool and a weapon of convenience while the sword is primarily a dueling/fighting weapon.
Even though there is a great deal of overlap in techniques existing between an Espada, bolo, and even a knife, sword systems are more specialized (based on blade type) with a much longer curriculum.
I am most familiar with the Modern Arnis and Kombatan methods of play involving a bolo and a knife. So, instead of trying to explain all of these in writing please subscribe to my YouTube channel Bladefiles coming soon. I will be doing a quick video on these topics and a wide variety of other topics.
The first picture below is of a fighting ginunting sword with guard, and below it, as a comparison, a Batangas made bolo style ginunting.
The second picture is of a Sansibar style fighting sword blade with dragon head pommel and matching dagger. Underneath it is a bolo made by the same smith, which is an agricultural tool.
One of the most persistent myths within the FMA community, is that there is no difference between training to use a stick or a blade. This has occurred for a variety of reasons, and I had not given it much thought until Stephen Shy of School of Arms Florida came up to Illinois for some training. In the recent past, this myth started along with the other myth of the all encompassing martial arts method, due to either misunderstanding, or out right hyperbole. Nevertheless, this myth once started remains, and it is time to put it to an end. First, truly bladed (sword) FMA methods are rarely available here in the United States. If you find yourself lucky to have been taught an authentic method, count yourself lucky and please pass it along. Even in the Philippines these systems are dying out and very few smiths know how to manufacture a true fighting sword. It is true, that many sword based methods use and train with stick as wasters, after all no one wants to damage their very expensive sword blade in training. It is also true that many sword based systems will also fight with sticks. However, whether fighting or training, a sword based method will wield the stick as if it is the sword blade type which guides all the techniques and strategies of the method. I am not saying however, anything negative about stick based methods, just that there are true differences and we need to understand them to be more effective teachers and ambassadors of the wonderful arts that we teach.
Transmission... such a remarkable process. In this picture I am trying to learn from my teacher, things that he was taught by his master. Despite a handful of good stories over the years, can I really ever understand what or how my teacher was taught? Yes and No. But retracing the movement, loyally and repeatedly, some of the essence of that teaching is distilled, becoming a part of my own movement.
The form I am learning I had seen before, but then it was shown in a slightly different manner. By refusing to stop, no matter what hardships lie in the way, you eventually get to a point where by training with the teacher, layers and layers of the form are peeled away, until the truth is revealed.
The teacher has a great responsibility, because he must always be truthful yet careful in how the teaching is transmitted. Too much before the student is ready and the learning process will crumble. He must know how to portion it out over time and wait for the student to pick up the bait. But he must never lie or deceive. When you as a student reach the point where the truth is revealed, you will understand that the final form was there the whole time. Your world has been expanded. You, yourself, have more to give to the world.
Many things in life can be understood by this process. Please think about this, and remember that the most important things in life are not easily acquired, but once you have them, they stay with you forever.
One of the teachers that influenced me greatly was Grandmaster Jerson "Nene" Tortal, with whom I studied for a decade. Here is a story of training under the Grandmaster. Enjoy!
“Deliver!”
So there I was training with Grandmaster Jerson “Nene” Tortal, a man who, for very good reasons, had a fearsome reputation as an escrimador. This was my first time training with him one on one and to my shock he had decided to swing a live ginunting sword at me! “Deliver! Move! Get out!”! All were yelled repeatedly at me until I could comprehend the smooth integration of footwork and body mechanic, though he as my teacher would never use such words...
To be quite frank it was a culture shock in many ways for both of us. In the Philippines, learning is a visual process. You are shown once, maybe twice before you are expected to replicate the movement. Here in the United States, the learning is more theoretical and broken down for the student with a heavy emphasis on drills. Also, real blades are almost never displayed, let alone used in actual training. Grandmaster Tortal overemphasized that the training was about fighting and for self preservation. He wasn’t concerned with looking good, only with being good for the sake of possibly saving your life. The blade was a training instrument to improve your awareness (you pay very close attention to detail when a sword is coming at you), as well as allowing you to experience the adrenal dump of the flight or fight response. After all, he reasoned, if you have never experienced any of this you’d better to get it out of the way first and foremost.
After he was satisfied with our ability to do the footwork and ride the adrenal dump which he colorfully called the “fire of the fight”, we would switch to the stick – or as the Grandmaster would say, the “impact weapon”. Now one had the ability to take the fear and channel it into action! However, now we needed to learn how to properly preform not defenses, but “counter-offenses”. We repeatedly counter timed over and over again until it became second nature. Then to my shock any preset attacks would now become something different! Later on when teaching groups, Grandmaster Tortal would teach techniques differently. This was again done not to confuse, but to teach savvy and awareness. After all in a real fight nothing stays the same, so if you cannot pay attention and keep up with these little tricks, there is no need to move further along in instruction. However, if you caught on much more information came your way.
After a training session was over, and we had all retired to have dinner at some restaurant, training did not really cease. Now was the time for stories mixed with questions and answers. Unlike most martial arts where one is told to stick to the traditional way of doing things, FMA is alive now! Grandmaster Tortal did not just teach you techniques because he was taught them or because they were written in a scroll somewhere. He had actually used what he taught! Stories would be told of why he used a particular technique and when a particular technique was not good etc... One particular story ended with the phrase, “lots of blood.” I once asked him: “What about anting-anting”? Grandmaster Tortal scowled at me and replied “anting-anting is not real, if it were how come we did not anting-anting the Japanese when they invaded”! “What about prayers”? I asked, “Say our Father” was his reply “be concerned with what you are doing or what you can do, if not, nothing else will help.” Sometimes the best training comes after the fact.
I trained with Grandmaster Tortal for about a decade. I also trained with other escrima masters as well, some you have heard of some not so well known. I started the Three Treasures School of Arms (Tatlo Pusaka Senjata) in order to honor all that my various teachers had taught me. Grandmaster Tortal included, I preserve what he taught me in our curriculum as both a part of the school and as a stand alone method of swordsmanship.