FILIPINO MARTIAL ARTS
Cabales Serrada Escrima
FILIPINO MARTIAL ARTS
Cabales Serrada Escrima
Mark V. Wiley
CHARLES E. TUTTLE COMPANY
Rutland, Vermont & Tokyo, Japan
Disclaimer
Please note that the publisher of this instructional book is NOT RESPONSIBLE in any manner whatsoever for any injury that may result from practicing the techniques and/or following the instructions given within. Since the physical activities described herein may be too strenuous in nature for some readers to engage in safely, it is essential that a physician be consulted prior to training.
Published by the Charles E. Tuttle Company, Inc.
of Rutland, Vermont & Tokyo, Japan
with editorial offices at
Osaki Shinagawa-ku, Tokyo 141-0032
©1994 by Charles E. Tuttle Publishing Co., Inc.
All rights reserved
LCC Card No. 93-61409
ISBN 0-8048-1913-0
ISBN 978-1-4629-0760-1 (ebook)
[email protected] www.tuttlepublishing.com
First edition, 1994
Fifth reprinting, 1998
PRINTED IN SINGAPORE
To the memory of Grandmaster Angel Cabales,
whose knowledge, skill, and kindness
are my greatest inspiration.
Through his dedication and integrity,
Escrima is in existence for yet another generation.
▲ Table of Contents ▲
| Foreword by Grandmaster Angel Cabales | |
| Foreword by Mike Young | |
| Acknowledgments | |
| Introduction | |
| PART ONE: The History and Philosophy of Escrirna | |
| 1. | Preliminary Background |
| History of Escrima | |
| 2. | The Evolution of Serrada Escrima |
| Felicisimo Dizon | |
| Angel Cabales | |
| Development of the System | |
| Legacy of the Grandmaster | |
| 3. | Filipino Cultural Beliefs |
| The Spiritual Beliefs | |
| Anting-anting | |
| Oracion | |
| Juramentado | |
| Their Relevance in Serrada Escrima | |
| 4. | Psychological Attributes |
| Awareness | |
| Motivation | |
| Imagery | |
| Emotional Control | |
| 5. | Concepts Needed for Practice |
| Progressions in Training | |
| The Path of Proficiency | |
| Escrima as an Art and Science | |
| PART TWO: The Fundamentals of Practice | |
| 6. | The Arsenal of Serrada Escrima |
| Anatomical Weapons | |
| Dagger Hand (Tagang Kamay) | |
| C-Hand (Ipit Kamay) | |
| Fist (Suntak) | |
| Forearm (Bisig) | |
| Knee (Tuhad) | |
| Foot (Paa) | |
| The Escrima Stick | |
| Materials | |
| Finding the Proper Length | |
| Gripping the Stick | |
| The Sword and Dagger | |
| The Espada | |
| The Daga | |
| 7. | The Foundation of Serrada Escrima |
| Body Positions | |
| The Natural Position (Tindig Luwagan) | |
| The Attention Position (Tindig Paggalang) | |
| The Courtesy Salutation (Bigay Galang) | |
| The Ready Position (Tindig Serrada) | |
| The Lock and Block Position (Laban Tayang) | |
| Footwork | |
| Zoning (Paak) | |
| Triangle Stepping (Hakbang Tatsulack) | |
| Replacement Stepping (Salit-salit) | |
| The Concept of Distance | |
| Distancia de Fuera | |
|
Distancia Larga Mana
|