Batangas Knife Part 2: An Innocent Question

Knife for Batangas Style - custom made in the PI

The same reckless curiosity that led to my involvement with Filipino martial arts in the first place took hold of me at that point, and I unobtrusively pulled myself away from the seminar and approached Jay Saludo’s Dad there on the sideline.

“Mister Saludo can I get you anything…some water maybe?”

To this day I can neither forget, nor exactly describe the particular feeling that went through me the first time that “Jay’s Dad” addressed me directly – but it made me wonder if I hadn’t just made a very big mistake in walking up on him like that.

“Don’t call me ‘Mister Saludo’ ka Jeff, just ‘Tito Jun’. Thank you, I’m fine.” [very uncomfortable silence]

“Are you enjoying the seminar Mister…er…I mean Tito Jun?”

“It’s okay. It’s nice to see all you boys together.” [I half expected him to pat me on the head…more very uncomfortable silence]

“Do you also study Kali, Mister…er… Tito Jun?” [I swear it was an innocent question]

Some people can communicate an entire range of thoughts and expressions using only their eyes. Right then, Tito Jun was looking at me as if the most ludicrous, most outlandish, most preposterous, and wrong-headed casual assumption that I could ever consider – even for a minute – was the patently outrageous idea that he practiced Kali or even took the slightest interest in it beyond his son’s involvement.

Did I say something wrong? Whoops. Time to get back to the seminar, I thought.

Before I could slither away back to the main group, his expression softened and he said quietly, in a deadpan voice: “Ka Jeff, I am not a great martial arts Master like he is [pointing to the featured instructor]. I don’t even practice martial arts.” There was the slightest trace of disdain in his voice.

And then: “The way we used a knife where I come from is a lot different.”

I considered that last statement. If a Filipino belonging to the “older generation” just told you that he doesn’t practice or care about ‘martial arts’ yet has his own ‘way’ with a knife – what do you think that might mean? Well…draw your own conclusions. I did, and just like he was reading my mind, Tito Jun slightly nodded as if to confirm that I wasn’t mistaken on that assumption. Then I took a big gamble:

“How…ah…I mean…uh….how do you…uh… do it, Mister…er…Tito Jun?”

For a few more uncomfortable moments, he stayed silent and seemed to be weighing the situation. Finally, he looked around. “Is there a more private room we can go to ka Jeff?”

Stay tuned...

Batangas Knife Part 1: Meeting "Mr. Saludo"

There were close to 70 seminar participants on the floor of the gym, staggering, and panting like a pack of sled dogs. Probably, no one had expected a ‘warm-up’ of over 1000 knife jabs in double time to lead off the morning. The students who had heeded my admonition not to eat a heavy breakfast were pleased – the others not so much. With that finished, all eyes were fixed on the two people in the center of the floor – the seminar host and the featured instructor- as they commenced a very impressive exposition on a knife drill we were about to practice, which incorporated a number of important points from the jabbing exercise. The pace showed no signs of slowing down, and I wondered how some of these folks were going to make it thru the next 6 hours.

While I was catching my breath, I fell into an old habit that an associate of mine, a retired FBI agent had given me: anytime you’re in a crowd, look for the person who “doesn’t belong”. Not that I’m paranoid, it’s just something I’ve learned to do whenever I’m in a large group people. I did my customary scan. Everyone was winded, but energetic and engaged. Most everybody’s attention was focused intently on the center of the floor, trying to learn this new drill, even the seated observers were taking it in.

…except for one unassuming older Filipino gentleman.

This guy was in fact turned away from the group, slowly pacing the floor with the look of a man whose mind was focused elsewhere. I had actually met him at the previous night’s training session. What stood out in my mind then, was not anything he did, but rather what he didn’t do. We had all been together, the night before, enthusiastically sharing technique after technique from our respective disciplines. It had been like a great Kali ‘jam session’ with each new idea/variation eagerly received by the group. Some people had better ideas than others, but hell…we were all very happy to be together sharing knowledge.

Even then, this gentleman had made such a non-impression on me that I didn’t remember his Christian name, I just remembered him as “Jay Saludo’s Dad.” He hadn’t offered anything that night, other than to be supportive…yet with that same look of bored detachment. Every time our senior teacher would awe us with a new combination, this guy just watched – apparently unmoved. He kind of just stayed out of focus that night. In the background, as it were.

Now at the training facility, with the seminar in full swing and all eyes on the instructor, he seemed to be making a point of not being noticed.

To be continued...

Prologue to Batangas Knife

Cumpadres: Tito Jun and Tuhon Gaje at my House

Before I continue my exposition on the Batangas style of knife-fighting, I want to talk about the first time I met Tito Jun, the man who would eventually open my eyes. I'll break that up for you guys in the next few posts.

The Heart of a Master

Ama Guro Jun with Detroit Students

My dear students:

You have just witnessed a demonstration of the absolute highest level of skill in the Martial Arts. I’m not only speaking about FMA. I mean that each of these great Masters that you have been privileged to study with this weekend has refined his craft to a level that very few practitioners of any Martial Art will ever reach – although that doesn’t mean you should ever stop trying!

I myself am nowhere near to them. I wouldn’t even presume to demonstrate anything that could even approach what they do, but instead I want to give you some advice - while your eyes are still bulging and your jaws are still on the ground – that may serve you well whenever you remember what you have witnessed here today.

A great Silat teacher who was also a sufi mystic once gave me the following admonition: “To do this Art, you have to do it with your whole Heart”. That was so many years ago, but it has guided me ever since I first heard it. So I ask you students a simple question…

“What is in your Heart?”

There are so many “teachers” and practitioners of the Martial Arts who can kick, punch, throw, stab, and slash with a high degree of proficiency, but if you look into their “hearts” you would maybe also find a great deal of Negativity. We cannot/should not ever presume to judge another person, but the evidence may be clear for you to see. Some of these people are motivated by such things as greed, envy, hatred, bitterness, and the burning desire to be put on a pedestal by others. They will tell you why they are “the Best” or “the Only” or “the Most Deadly” as they denigrate everyone else around them. G-d help you if you fall under their influence.

In the Heart of a true Master – such as these honorable men you are learning from today - you will find powerful, ever-present, and uncompromising Love. Love for their Art; Love for their Elders; Love for their Peers; Love for their Students; Love for their Culture. This Love is so strong that they are unwilling to compromise themselves for anyone or for any reason. People seek them out from all over the world to study with them - and yet they have come here today to you – to share one of their greatest treasures.

Many of you are just beginning your journey, and no doubt you are truly inspired now. But I tell you: if you want to follow in the footsteps of men like these, you will have to make a lot of sacrifices…the most painful of which may be your own Ego.

Anyone can become proficient in fighting. But what is their character? What kinds of people are following them? What do they inspire you to become? Although you may find a few people with the skill of a Master, the Heart of a Master is what you should strive for in a teacher – and in yourselves.

Brotherhood! - part 2

May I have this Dance???

We were delighted to have a rather large group of beginning students present at this year’s event. Following lunch on Saturday afternoon, after a full morning of training under the clear, crisp sky of upstate New York, Kuya Doug arranged for each instructor to give a brief demonstration/overview of their respective discipline(s) for the benefit of the newbies.

It could not have been worse for me…

Imagine! My presentation had to follow behind three virtuosos: Ama Guro Jun de Leon, Tito Jun Saludo, and MM Rommel Tortal. Well, at least I had more time to prepare, right? But no sooner had I centered myself mentally, than Rommel called me up to assist him in his demo. For the next 15 minutes (which seemed like an eternity) I was punched, stomped, thrown, choked, locked, swept, twisted, and handcuffed in every conceivable way, with every weapon that Rommel could put his hands on. I was not quite 100% when my turn came immediately after that, so if you were there I beg your forgiveness if my presentation was somewhat less-than-coherent. I’ll still probably need an MRI sometime this week.

Anyway, if I had another 15 minutes to address the audience, I would speak about what I consider to be an all-to-often overlooked aspect of Martial Arts practice, and it was inspired by a discussion I had with Ama Guro Jun De Leon over a cup of coffee on Sunday morning.

Stay tuned for the next post!

Brotherhood!

We have just returned safely from Rochester, New York, where the most recent annual gathering of Brotherhood of the Blade took place.

As readers of this blog will already know, the Brotherhood of the Blade was formed in 2003 by Kuya Doug Marcaida of Rochester, Ka Jay Saludo of Saskatchewan, and me here in Detroit – with the full support and blessing of our Grand Teacher Leo T. Gaje Jr. In those early days, it was The Pekiti-Tirsia Brotherhood of the Blade. However, a few years ago we decided it would be proper to ‘amend’ the name of our Organization, because in truth it is bigger than one system. Those whom we humbly consider to be our Mentors include Ama Guro Jun De Leon of Kali De Leon and Manong Leon “Tito Jun’ Saludo of Barako Batanguenio. The Arts that we have dedicated ourselves to studying hail not only from the Philippines, but also Malaysia and Indonesia. Remember, in the distant past, the entire Malay Archipelago was essentially part of the same empire.

Once again, it has been our distinct honor to support our Kuya Doug Marcaida, - who embodies the Spirit and Vision of the Brotherhood. Kuya Doug masterfully outmaneuvered some terrible last-minute obstacles in planning and executing this year’s Gathering, which brought together students and teachers from literally all over the World. We are all proud to call him our Leader. Mabuhay!

This year, we were duly blessed to have as our Special Guest Instructor none other than Mandala Maginoo Rommel Tortal – the esteemed Master of the Pekiti-Tirsia system of Kali, and nephew of Grand Tuhon Gaje. You’ve seen Rommel on the Discovery Channel, National Geographic, the BBC, and in the documentary movie Kali Means to Scrape. A lot of folks from all over the world come to the Philippines to train with him, and we are proud and thankful that he spent so much time with us on his monumental first visit to the United States. Honestly, we know that Tuhon Gaje will probably live forever, but when the time comes for him to retire from teaching his beloved Art, I think there can be no question that the torch will pass to Rommel as the undisputed heir of the Pekiti-Tirsia Kali system.

Serial Knife Posting #2: PTK vs Batangas Knife

Her we will begin our general comparison of the Pekiti-Tirsia and Batangas knife fighting

Pekiti-Tirsia Knife

I have been studying Pekiti-Tirsia Kali (PTK) directly with Tuhon Gaje for 11 years. I studied PTK with other instructors prior to this, and I continue to learn from my own ‘older brothers’ in the Art in various parts of the country. Over the years I have seen many ‘interpretations’ of PTK from various teachers. Some I consider inspired and innovative… some I can’t even stand to look at. That which I like, I embrace. It makes me sad when I see people claiming “official” this or “authentic” that. I just look at how the person moves…either he gets it or he doesn’t.

At this point I cannot say for certain if there is actually something that could be called “Pekiti-Tirsia knife fighting” per se. Of course, there are certain drills which are usually trained with a knife, and given the fact that very few practitioners ever seem to progress beyond merely learning/performing the drills, these exercises have become “fossilized” to the point where folks think that the drills are the system. That’s bad for our Art.

I have said time and again that (at least in my opinion) Pekiti-Tirsia is two things:

1) Body Mechanics

2) Mindset

If you understand these, then (in my opinion) you are doing Pekiti-Tirsia. I have two particular (new) students that both previously trained in Wing Chun. When I watch them perform a certain knife drill, it looks like Wing Chun with a knife. Sure, they are doing the drill – but are they doing Pekiti? Likewise, many new students who come to me with previous training in other martial arts are sometimes thrown for a loop because while we have several techniques which are also found in many different systems, we don’t execute them in nearly the same way. What makes a Pekiti-Tirsia inside-wrist-lock different from a Jujutsu inside-wrist lock? The answer is found in the above two points. Add to this the fact that PTK drills have been co-opted or pirated into just about every FMA school in the United States since the 70’s, and you have a wide variety of people doing our drills while not looking anything like we do. Whether their own interpretation is good or bad, I leave to your own discretion.

The bottom line is that someone who has been trained in Pekiti-Tirsia will move, react, and think in a certain way regardless of what weapon or combination of weapons they are using at the moment. As an example, my student Panday who was already an accomplished handgun expert, has developed an approach to tactical pistol training which is pure Pekiti-Tirsia. If you were to watch him at work with a pistol, and another of my students with a knife, you can clearly see that they are doing the same system.

At the end of the day, we can say this for certain:

- Tuhon Gaje was one of the first to introduce tactical knife into the milieu of FMA and martial arts in general in the United States.

- A lot of people erroneously equate a drill or technique with the “whole system”

- There are certain tactics with a knife that are favored by PTK

- Tuhon Gaje has created “sub-systems” of PTK that teach some specialized aspect of a particular weapon

- The idea of a PTK “knife fighting style” is misleading.

Approaches to Teaching and Learning pt. 6

Further on the Expression Method:

Natural University
Naturally, the advantages include a complete education that shapes and coordinates both aspects of the mind and body. A deepened understanding of the physical and psychological self rids one of muscular and mental inhibition, which could prove disastrous in combat situations.

It makes the adherent a master of himself and a student of none and frees his mind from mental barriers. He thinks in three dimensions and automatically chooses the path of least resistance and most profit.

Most of the students who study this way have an affinity for the esoteric and live their lives by the philosophy that they have been taught/ discovered.

Because of the understanding of his abilities, he is not tied down to one style of fighting, but adapts to the threat, irrespective of whether it comes from man or beast. In silat, this was eventually coded into the form of tari, bunga or kembangan. These flowing forms which have been compared to kata in effect educate the player about himself.

The degree is in Self-Discovery. His core courses are physics, biology, chemistry, biomechanics, balance and percussion while his elective courses are attitude adjustment, psychology, neurolinguistic programming and so on. When he graduates, it is with the ability to control himself. And self-control facilitates the control of others.

Student Appreciation and Announcement...

I have some of the most thoughtful students that a teacher could ask for. I know that everyone appreciates their training, and some students will do those little "extra" things for their instructor that just say "Thank you" in a special way.

For example, Guro Panday is always crafting strange and exciting clubs and blades for me. Guro Bassam is always giving very generous gifts to the school - especially antibiotics during cold/flu season. Ka Dave from time to time will bring me a pouch of my favorite pipe tobacco. Ka Chris will always bring an extra bottle of 0-carb vitamin water on a hot afternoon...etc, etc.

One simple pleasure which I really appreciate is COFFEE (with no sugar). Nothing makes it easier to watch a student botch a technique for the hundreth time - or do a drill I'm absolutely sick of for the 10th time in a day like a nice hot cup of java (with no sugar), and my students know this. In fact, I know that every week without fail, Guro Damon, Ka Jason, Ka Mike (both of them) and Ka Darryl will be walking through the door at class time with a respectful greeting, and a steaming 16 to 20oz cup of black gold (with no sugar) instead of an apple for the teacher. You guys are the best and I am truly grateful for your generosity.

And I'm no snob. I like coffee from Einstein Bros, Dunkin Donuts, 7-11, Tim Horton's, and even from the Fast Track station down the street equally (with no sugar).

At this time of the year, I am especially partial to the seasonal "Pumpkin Spice" varieties. But whatever the flavor - it's all good (with no sugar). And, if you happen to be coming to class on a THURSDAY evening from 7:30pm - 9:00pm and you are so inclined...you are most welcome to bring that coffee (with no sugar) to the Philippine American Community Center in Southfield, where we will be holding Thursday class until Spring!

Approaches to Teaching and Learning pt. 5

Expression Method

Next is the Expression Method (EM). Counter to IM, the Expression Method seeks to draw personal ability out of the student and makes his thinking a large part of the development process.

Instead of forcing him to accept indoctrination, he is guided through several stages of empowerment, namely physical (re)education, attitude orientation, affinity identification, skill development and practical application.

Because of the unpredictability and delicate psychological processes involved, it can sometimes take years or a matter of months before any noticeable change can be observed. This training method can also be described as experience-guided learning. It is the hallmark of many traditional martial arts and to be fair, traditional education.

A fictional scene reflects this training orientation. A student who had come to study from a silat master was told he had to perform physical duties around his master’s home. The reason is often and justifiably so, that if the master was to devote time to training him, his energies couldn’t be put to sustaining his livelihood.

However, tending to the garden or performing menial tasks served a double purpose. It was meant to educate the student in physical efficiency. Not only would he be taught to swing a hoe properly – using minimal strength and maximum leverage – to reduce long term physical damage and increase work efficiency, he would obviously receive superb physical conditioning.

Going to the gym always ends up with no productivity and glistening muscles, but farmwork got you that and potatoes as well.

Doing work would eventually bore the young student and once in a while, for displaying patience, kindness, diligence – and other good qualities that the master would have deliberately inculcated within him – he would be rewarded with a lesson of empowerment.

The master then identifies the student’s strength in a particular area and develops him towards mastering that end. If his coordination leans toward high fighting, his skills would be developed in that direction.

If he seems comfortable on the ground, then ground fighting and so on. However, the student wouldn’t be forced into any direction, simply given the opportunity to develop.

Finally, the student is given the opportunity to see for himself what he has achieved. He is tested not for what he has learned from his master, but for what he has discovered about himself.

Thus, confidence-breakers such as wrestling with wild animals, engaging full-fledged masters of rival schools, jumping into pits full of sharpened bamboo or being buried alive ensure that the student brings not his master with him to his tests, but that he has all the tools already at hand. He just had to discover them with a little help.

Brotherhood of the Blade Gathering

It's Coming!

Approaches to Teaching and Learning pt. 4

Disadvantages of IM

Unfortunately, there are two sides to every coin. A fighting-focused student usually shies away from the more esoteric aspects of the art such as ethics, responsibility, philosophy, religion, etc. Only a small percentage actually do find themselves interested in such topics and even less finally adopt it as an integral part of their worldview.

Secondly, a realistic setting doesn’t necessarily mean real. A reflex-conditioned fighter may find himself dealing with situations that were not inherent in his training. Since his analytical mind has already been trained to take a back seat to his reflexes, he may survive by sheer effort, but will rarely escape unscathed.

Thirdly, large group training creates minor mistakes and bad habits that unless attended to personally by a trained instructor (and not mass-produced carbon copy yes-men), could result in the ineffectiveness of the technique when applied combatively, or worse, muscular and ligament injury that will lead to permanent damage.

Fourthly, strict IM style training often mentally cages a student and teaches him to think within the box and rarely outside of it. This cuts off important avenues of creative and lateral thinking in problem solving. In combat, life or death hangs in the balance.

IM arts have been very popular in Malaysia because of their apparent systematic pedagogical style and are quite well represented among the major silat styles. Silat Seni Gayong[1], Silat Cekak and Silat Lincah are some of the better examples. Each of them has encountered the setbacks of the Impression Method and have compensated for them in their own ways.

For example, in Silat Cekak, after the initial memorisation and drilling of the standardised buah to completion, students are taken through a Skill Set. Unusual and sneaky attack styles are introduced, of which no standard answer was provided for in the syllabus. Students are guided to analyse the tools provided in the memorised buah and apply them in their unique fashion to counter these new threats.

Approaches to Teaching and Learning pt. 3

Teaching Pekiti-Tirsia in West Africa

Impression Method

The Impression Method (IM), which is technique or buah-based, relies heavily on the impression of the syllabus upon the mind and physique of the student.

This involves the creation of standardised blocks of movement with a set beginning and an end. The student begins with nothing and is taught to mimic and act out the blocks and eventually string them together.

The key characteristics of this system is the initial rigidity of the process, the stressing of reflex as against analytical thought and the belief that a particular block of movements (often termed technique) are a result of strenuous research and is the best possible answer to a particular incursion.

Although the term ‘buah’ is also used to describe any strikeform that makes contact with the opponent, even if it isn’t a reflex action but a result of strategic analysis, most modern Malaysian Silat styles subscribe to this impression method to achieve immediate results.

The advantages are numerous. It keeps the student’s attention focused upon the apparent physical goals of silat: that is learning how to fight. It creates a realistic setting in which the student learns: reacting off a partner who is simulating violence.

It also allows for minimal supervision of a large group: several instructors could monitor a group of hundreds. It allows for training of large numbers of students in a short span and it also produces immediate results: The student usually apply the technique drilled into him almost immediately.

Approaches to Teaching and Learning pt. 2

I. Impression

II. Expression

III. Activation

The truth is that all three methods are considered standard practise by many Melayu martial artists in Malaysia. Ironically, because of the often exclusiveness of major Silat Melayu styles in Malaysia, not many pesilat are aware of alternative training methods. That is, alternative to their own.

Approaches to Teaching and Learning pt. 1

Learning from the Master

We'll resume the knife discussion soon. In the meantime, we had an out of town visitor last week. A gentleman came to train with us from the West Coast who very little in the way of previous experience. I only had a few days to teach him, and I had no gauge of his ability nor capacity to learn. I wanted him to have the best, most fulfilling training experience possible under the circumstances, and I considered what would be the best approach to teaching under these parameters. In that spirit, I want to share an article written by my brother in Malaysia - Mohd Nadzrin Wahab - in serial form as promised...

Learning Silat: Nurture, Nature, or Gnosis

It is a standard scene. The student has come here to study silat. He harbours a personal goal in wanting to be able to defend himself. It may be for revenge, for protection, for self-development or simply for recreation.

He sees the other students milling about, talking about things other than martial arts until one of them becomes aware of the teacher approaching. He is the first to stand at attention followed by the others.

The teacher says a few words and indicates the beginning of the class. The students salute the teacher, their friends and begin training. Here, the commonality of this scene fractures into three separate realities.

I.

In one reality, the teacher asks one of his students to strike him in the chest. One obligingly does and is met with an evasion and a parry, a strike to the vitals, usually just indicated, followed up with a lock or takedown.

The teacher then repeats it a few more times, ensuring they remember what they see. Once he is satisfied, he tells them to copy his exact movements and apply them on their partners.

End of scene one.

II.

In a second reality, the teacher has prepared his student for months in the field. The work he does on the farm has given him proficiency in his physique.

When he executes the wardance, it is something neither master nor student has seen before. It comes naturally to him, and yet, each blossoming of the hands and prancing of the feet are calculated, as if reacting to an unseen enemy.

Every angle is in his control, every imbalance correctable, every muscle in its proper place, every beat of the accompanying rhythm matched note for note. His movements are both pleasing to the eye and intoxicating to the self.

End of scene two.

III.

In a third reality, the teacher sits in front of his student and clasps his right hand, or recites some verses into a glass of water, which he drinks, or pats the small of his back, or, or, or... Almost immediately, the student feels empowered, as if his sinews have been charged by a battery. He is pit against a senior student and they fight.

He defends successfully against all his senior's attacks and manages to beat him back and wins the round. He has never studied a martial art before. End of scene three.

Three foreign students who come to Malaysia with the specific intention of studying Silat Melayu may get a shock of their lives when they meet each other at the airport to compare notes on their way home.

Each of them has trained in a different system with different methods and has been indoctrinated with a different idea of what silat is. None of them can comprehend what the other is rambling about because the methods they studied make no sense. Is this a familiar problem?

(stay tuned for part 2)