An Eskrimador is an individual who practices Eskrima of Filipino Stick Fighting. Both these terms are of Spanish's influence in the Philippines. In Spanish, “Eskrima” means “fencing,” and “Eskrimador” means a “fencer.”
In this post, we discussed the 12 fundamental principles of Filipino Stick Fighting. These principles will guide you through your learning and training in the art.
1. Being one with the Weapon
An olise or a stick is the primary weapon in Balintawak Eskrima. It's made of a tough, fibrous vine called a rattan. Its length must be the distance from the armpit to the fingertips. It is supported by about 2-3 inches of the exposed butt-end. Since it's very light, it can be moved rapidly and in succession. Since it's made of rattan, it's almost unbreakable.
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The Role of Filipino Stick Fighting Weapons Training
Most of the oriental martial arts such as Chinese and Japanese try to teach a trainee to fight with no weapons, then, progress to just fighting with weapons in the next stages of training. Consequently, very few individuals in such arts are capable of using their weapons training during sparring.
The Filipino Martial Arts are subject to highlight the exercise of weapons first then secondly, the exercise of the empty-hand. Thus, Eskrimadors are more skilled during weapons sparring than other martial artists.
2. Drilling
Through two-man drills is how an escrima stick fighting student is trained, under the management of a more practiced Eskrimador. The most important and fundamental drill, known as “1 to 12,” entails alternate defense and the block against the 12 basic blows. In the beginning, the strikes are performed in a particular pre-arranged order.
Two roles are being played; that of junior and senior Eskrimadors. The senior Eskrimador will try to train the junior with the correct methods of moving and redirecting motions, as well as through experienced advice. Simultaneously, the senior will help improve his movements.
First, the strikes are delivered in an identified order, 1 to 12, but afterwards, this order is going to be randomized.
If both trainees are rather more advanced, a few additional techniques will be added. The junior isn't expected to be on par with his senior practitioner. However, his skills will improve faster. In the end, the strikes won't necessarily be executed with the stick; all four limbs may be utilized.
Left-hand strikes can be done to trigger a finger nudge towards the eyes, a chop or a punch to the gullet or a hook to the torso. In practice, this will correspond to a light touch or slap. Due to the remarkable speed wherein the exercise is performed, the student immediately discovers not to blink the timing, speed, distancing, and eyes.
For apparent reasons, the triceps are hit rather than the temple during training. This is regarded as an equivalent to striking the head. The groin is hit instead of the lower abdomen, and instead of hitting the knees, we hit the lower leg or thigh.
3. 12 Angles of Attack
In Eskrima stick fighting, there are 12 attack angles and 12 corresponding defenses. Every angle of striking targets specific spots of a body.
Example: 12 Basic Angle of Attack in Balintawak Eskrima
- Angles number 1 and 2 are lateral strikes from head's top to neck's base
- Angles 3 and 4 are lateral strikes from shoulders to hips. The primary targets are the elbows, the hands, and the shoulders
- Angle 5 is a midline push from below upward
- Angles 6 and 7 are lateral strikes to the armpits or chest
- Angles 8 and 9 are lateral strikes from hips to feet. The target spots are the shins, ankles, knees, or feet
- Angles 10 and 11 are lateral strikes to the neck or eyes
- Angle 12 is a midline strike from above downwards
These strikes can be executed with a stick's end, the feet or left hand.
The fundamental training for the 12 angles is performed with a stick against a stick. This offers the foundation for all succeeding Balintawak Eskrima methods, whether executed with a stick, a knife, or perhaps unarmed.
4. Vision
Look at your enemy's eyes at all times. If you're a skilled fighter, you look at the eyes of your opponent to get an overall view of his body and movements. If not, look at the upper body. Some fighters keep their look focused at the opponent's lead elbow, particularly when that limb holds a weapon. The elbow and shoulder are slow in motion and present a clue as to the opponent's hand movement.
Don't blink. It could cause your defeat in a fight. Look with two eyes and never lose sight of the opponent.
5. Timing and Rhythm
You should know when to use your technique. This is imperative, but hard to teach. An opportunity occasionally presents itself very briefly and is gone before you can even react. Utilize the well-placed pauses and proper rhythm. The rhythm should be impeccable; however, this is delicate and hard to learn.
Don't rush it; you'll lose power and balance. Sometimes, a quick movement is less efficient than a slower one. Some styles depend on a slight pause to get the proper timing. This doesn't mean that you have to be slower than your opponent though and you must deliver strikes fast at the right opportunity.
6. Mental States
Pay strong attention to your enemy and your environment, but move with no forethought or thinking. The thinking process is slow and oftentimes, you will be late if you think before you react. Therefore, rely more on your muscle memory which is faster and more efficient.
7. Speed
At numerous demonstrations, professional martial artists of different techniques have been provided with a stick and a helmet and asked to block a stick strike in escrima fighting. To this point, nobody, including some black belts, has been able to perform at their best.
This isn't asserted to demean the black belts' abilities, but to show that a strike in eskrima kali is extremely fast. A great amount of practice is what it takes to safeguard against a stick used in this way before one could even notice the stick move – you'd be hit before you know it. It takes particular styles like Balintawak Eskrima to block a fast blow.
Make the blows faster and more unpredictable by not winding-up. To maximize the blow's speed during the fighting, snap the wrist while striking with the body. Much of the power is generated in this way as well. The elbow and shoulder joints can also be used to adjust the distance.
Proper torque creates power for finishing blows generated from the shoulder and hip joints.
8. Economy
Economical movements are a necessity. Seek out the shortest trajectory. This can be compared with the more extended circular trajectories for strikes and blocks that take a longer time to hit the target. In stepping, don't perform 270-degree turns just like the ones found in a few other martial arts. In Balintawak Eskrima, for example, cross-stepping, as observed in other techniques, isn't practiced.
9. Relaxation
Stay relaxed and loose, to make each motion explosive. For speed, utilize muscular explosion. The relaxation principle is one that's applicable to swift motion because relaxed arm and body will speed up faster.
10. Principles of blocking, throwing and striking with power
Numerous principles of body dynamics are utilized to build superior power. The most imperative perhaps is the twisting for power principle. All arm movements, whether executed with the rear front leg, are performed with a powerful body twist.
This, in fact, provides strikes in the lead hand almost as much control as strikes in the rear hand. Another significant component in obtaining power is using gravity by dropping your weight. This can be increased when stepping through, or allowing the blow to drop into the body before planting the stepping foot.
Power can be created in strikes when one slants into a blow. Finally, many blows create extra power by snapping or twisting the wrist.
11. Distance and Range
Even though it's obvious to the inexperienced person, controlling the space between you and your enemy might be the one most significant aspect of achieving success. Additionally, at various ranges, various dynamics just appear out of nowhere and various techniques can be applied.
During the engagement, you might come across numerous distinct ranges in an explosive exchange. The following classification scheme resembles several others in regular use and must be functional. Distance is arranged from far away range to a very close one, with five categories.
1st – outside range – initial distance. At this point, no contact is made with a weapon or foot without coming closer first. You keep your head farther than the range and utilize long-range defense styles. This is temporarily a safe position. If you move toward any nearer than this range, you must stay at the offensive.
2nd – long-distance range. This will allow you to successfully strike your enemy with a long weapon or a leg, without stepping. You must never remain within this range and do not engage in the attack.
3rd – punching range. This will let you hit your enemy with close kicks, hand, or a knife.
4th – in the – fighting range -a little closer. At this point, you can utilize hook punches, elbows, disarms, uppercuts, arms leverage kind takedowns, off- sweeps, balancing, restraining, trapping and turning techniques.
5th – grappling range – the closest. You may utilize judo and wrestling kind groundwork and take-downs. This is the ideal range of the Jiu-jitsu exponent or the wrestler.
Even though the ground is typically related to grappling styles, it is likely to use in- fighting styles on the ground and not get into wrestling holds.
12. Positioning Yourself
Weapons must be delivered at the proper distances for defense or attack. Use the body motion to set the weapons for a successful attack. Apply body motion to evade from the attacker's weapons. Thus, excellent footwork is necessary. If your footwork is very slow, the evasion or attack would be slow, and power won't be optimal.
When positioning in proportion to the opponent, you should control your distance. If you control the distance, you can control the fight. Remember that different styles and techniques are appropriate for various ranges.
No Stick of Knife? No Problem!
Learn how you can turn something as trivial as soda bottle into a deadly weapon with this awesome video!
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