Escrima and Knife

The Escrima system now is up and running which will include the knife section coupled with also the hand drills section. Shendo Martial Arts is looking for between ten and twenty students to start training in this system, many of the concepts and principles of this system cross reference to the Karate practices.  If you are interested in learning the Escrima or want to learn a little more about this dynamic art please talk to me at the club or attend one of the weapon courses held on a Sunday (see dates for courses on the website site, www.shizendo.co.uk) the next course is 3rd June. Friday night Cascades Leisure Centre 7.30pm is concept and principle based which reflects many training formats from our art. Also taught on a Friday night are the Escrima, Knife and hand drills and is a good night to attend if interested in this system. Escrima trining will first cover the basic Escrima form then the student will move onto some basic two person Escrima drills and then advance onto the two person lift and clear Escrima drills.

 Escrima stick fighters BALIBABALINTAWAK, also known as Balintawak Eskrima or Balintawak Arnis, is a style of Filippino Martial Art developed by Ve

Balintawak Arnis is a form of Filipino martial art whose inception started in the early 1950‚Äôs by Venancio ‚ÄúAnciong‚ÄĚ Bacon. In Balintawak Escrima, the ‚Äúolisi‚ÄĚ (rattan stick) is used primarily as a training tool to familiarise students with weapons and blows. The olisi represents a Filipino sundang or bolo. The theory is that the stick is an extension of the arm and that the body can only move in so many ways.

In Balintawak, the student is taught that there is a defense and counterstrike for every attack and subsequent counterstrike delivered by the opponent. In short, a counter for every counter.

Anciong‚Äôs style was known to be a ‚Äúcuentada‚ÄĚ system. Cuentada comes from the Spanish word ‚Äúcontar‚ÄĚ, to count. Cuenta in Bisaya means to calculate or count. In effect, Anciong‚Äôs style was calculating and like maths, precise.

Balintawak can be like a dance ‚Äď elegant, balanced, and sometimes baffling. The techniques are direct and fundamental. He taught ‚Äúsuyop‚ÄĚ a visayan word for ‚Äúsucking‚ÄĚ which means to draw in your opponent.

Anciong also believed in continuous research and discovery and he was often seen walking along Colon Street in Cebu, ducking and weaving. He was shadow fighting, constantly thinking of scenarios of possible attacks and its counters.

Balintawak is reaction based, training the body‚Äôs reflexes and balance thus wonderful for developing agility, flexibility and coordination. Anciong‚Äôs catchphrase was, ‚ÄúSimhota ko dong!‚ÄĚ verbally translated it means come and smell me. It actually means, ‚ÄúCome and sense me!‚ÄĚ

Balintawak focuses on learning defense rather than offense. An offensive attack is inherent in everyone. Even a two year old kid knows how to hit.

Reacting in a protective manner is something that needs to be refined. After all, we go out in public without the intention to attack anyone. More often, we don’t expect to be assaulted and it is vital to know some form of self defense.

Balintawak practitioners, in its early days, were taught to be fighters. Part of the knowledge imparted to them was psychological warfare. And they were taught to ignore the pain if they were hit.

Back then Balintawak training was shunned by some because it was considered to be a brutal way of learning a martial art. Only the patient and strong took part. Daily practice at Balintawak Street produced blood and welts.

It was also at the time a closed system, where only family members were taught. Non-blood relatives who did get invited or accepted became part of the family. Family and Christian values were upheld especially respect for the elders.

Balintawak was considered to be ‚Äúsagrado‚ÄĚ or sacred. A divine art given to Anciong and learning Balintawak was a privilege. Some teachers of Balintawak refused payment from devote students.

Anciong disliked stick twirling. He considered it unnecessary and impractical in real fights. He further developed his style which dealt a simple block for an attack followed by an immediate counter. Anciong Bacon started his own group because he thought that training should concentrate on defense, one block followed by one counter, rather than attack. There is no limit as to what part of the body may be hit, and control of power and technique is taught in order to protect the training partner. Injury is avoided and safety is imposed.

Balintawak is not a sport. There are no rules when a person is being attacked in the street. What is considered foul in other arts is taught in Balintawak.

The word ‚ÄúBalintawak‚ÄĚ also refers to the area in Luzon where Filipinos, in the late 1800‚Äôs first started their revolution against Spanish rule. The ‚ÄúCry of Balintawak‚ÄĚ, was understood to refer to the first skirmish between the katipuneros and the guardia civil. It is now taken to refer to the tearing of the cedulas, or community tax certificates, followed by patriotic shouts, to mark their withdrawal from Spain.

The Filipinos fought with what they had, their bolos and sticks. The few guns and little ammunition they had were mainly captured from the Spanish forces.

Little by little, the revolutionary forces gained ground in Visayas and Luzon. At one point, the revolutionary leaders were reported to have written to the leaders of the kingdoms in Mindanao only to be told that they have been fighting the Spaniards for the last 300 years.

The spread of Balintawak to the world was made easier when Attorney Villasin broke down Anciong’s system to groupings. These levels of skill ensured that students became increasingly adept with Balintawak.

Teofilo Velez embraced this form of education and to his credit, students of ‚ÄúTeovel‚ÄĚ, notably Bobby Taboada and Nene Gaabucayan, primarily introduced this form of Filipino Martial Art to Europe and the United States. Bobby Tabimina is also currently introducing his form of Balintawak to the rest of the world.

Anciong taught at the back of a barber shop at Balintawak Street in Cebu. Anciong’s Arnis being a non-conformist art fittingly became christened Balintawak.

nancio “Anciong” Bacon in the 1950s from earlier tutelage of Lorenzo Saavedra. It is named after Cebu City’s ¬†Balintawak Self Defense Club, where it was originally taught. In turn, the club took its name from the street of its location, Balintawak Street, where the original Balintawak masters trained.

Early in the 20th century, the colonizing Spaniards left the Philippines, ending their 300-year rule. In their place, came the Americans. It was during this period of change that Venancio Bacon was born in 1912 in Carcar, Cebu.

He learned eskrima in the 1920s as a teenager. His formation as an eskrimador began in San Nicolas. This would later lead him to death matches, attacks, and eventually jail.

Bacon’s only teacher was Lorenzo Saavedra, of San Nicolas, who during this time had established the Labangon Fencing Club. At a time when many different styles of¬†eskrima¬†abounded, Saavedra‚Äôs was called the¬†Corto Linear, although he was known to have mastered other styles. His best students were Teodoro Saavedra, his nephew, and Venancio Bacon. The Labangon Fencing Club, however, eventually dissipated into oblivion.LINTAWAK, also known as Balintawak Eskrima or Balintawak Arnis, is a style of Filippino Martial Art developed by Venancio “Anciong” Bacon in the 1950s from earlier tutelage of Lorenzo Saavedra. It is named after Cebu City’s ¬†Balintawak Self Defense Club, where it was originally taught. In turn, the club took its name from the street of its location, Balintawak Street, where the original Balintawak masters trained.

Early in the 20th century, the colonizing Spaniards left the Philippines, ending their 300-year rule. In their place, came the Americans. It was during this period of change that Venancio Bacon was born in 1912 in Carcar, Cebu.

He learned Eskrima in the 1920s as a teenager. His formation as an eskrimador began in San Nicolas. This would later lead him to death matches, attacks, and eventually jail.

Bacon’s only teacher was Lorenzo Saavedra, of San Nicolas, who during this time had established the Labangon Fencing Club. At a time when many different styles of Eskrima¬†abounded, Saavedra‚Äôs was called the¬†Corto Linear, although he was known to have mastered other styles. His best students were Teodoro Saavedra, his nephew, and Venancio Bacon. The Labangon Fencing Club, however, eventually dissipated into oblivion.

In 1932, the Doce Pares Club was formed and was headed by Lorenzo Saavedra.

Venancio Bacon was among the first members in the club and a few months later left the club due to arguments that the Doce Pares system was not an effective escrima.

World War II broke out in the Philippines in the early 1940s. With the onset of Japanese occupation, many eskrimadors became guerilla fighters, employing their art for the defense of their nation.

After the war, in 1952, along with Vincente Atillo, Delfin Lopez, Jesus Cui, Timoteo Maranga, Lorenzo Gonzales, Isidro Bardilas, Andres Olaibar, and a few others, Bacon established a new club, calling it the Balintawak Street Self-Defense Club.NTAWAKak Self Defense Club, where it was originally taught. In turn, the club took its name from the street of its location, Balintawak Street, where the original Balintawak masters trained.

Early in the 20th century, the colonizing Spaniards left the Philippines, ending their 300-year rule. In their place, came the Americans. It was during this period of change that Venancio Bacon was born in 1912 in Carcar, Cebu.

He learned Eskrima in the 1920s as a teenager. His formation as an eskrimador began in San Nicolas. This would later lead him to death matches, attacks, and eventually jail.

Bacon’s only teacher was Lorenzo Saavedra, of San Nicolas, who during this time had established the Labangon Fencing Club. At a time when many different styles of¬†eskrima¬†abounded, Saavedra‚Äôs was called the¬†Corto Linear, although he was known to have mastered other styles. His best students were Teodoro Saavedra, his nephew, and Venancio Bacon. The Labangon Fencing Club, however, eventually dissipated into oblivion.

In 1932, the Doce Pares Club was formed and was headed by Lorenzo Saavedra.

Venancio Bacon was among the first members in the club and a few months later left the club due to arguments that the Doce Pares system was not an effective escrima.

World War II broke out in the Philippines in the early 1940s. With the onset of Japanese occupation, many eskrimadors became guerilla fighters, employing their art for the defense of their nation.

After the war, in 1952, along with Vincente Atillo, Delfin Lopez, Jesus Cui, Timoteo Maranga, Lorenzo Gonzales, Isidro Bardilas, Andres Olaibar, and a few others, Bacon established a new club, calling it the Balintawak Street Self-Defense Club.ught. In turn, the club took its name from the street of its location, Balintawak Street, where the original Balintawak masters trained.
BALINTAWAK, also known as Balintawak Eskrima or Balintawak Arnis, is a style of Filippino Martial Art developed by Venancio “Anciong” Bacon in the 1950s from earlier tutelage of Lorenzo Saavedra. It is named after Cebu City’s ¬†Balintawak Self Defense Club, where it was originally taught. In turn, the club took its name from the street of its location, Balintawak Street, where the original Balintawak masters trained.

Early in the 20th century, the colonizing Spaniards left the Philippines, ending their 300-year rule. In their place, came the Americans. It was during this period of change that Venancio Bacon was born in 1912 in Carcar, Cebu.

He learned eskrima in the 1920s as a teenager. His formation as an eskrimador began in San Nicolas. This would later lead him to death matches, attacks, and eventually jail.

Bacon’s only teacher was Lorenzo Saavedra, of San Nicolas, who during this time had established the Labangon Fencing Club. At a time when many different styles of¬†eskrima¬†abounded, Saavedra‚Äôs was called the¬†Corto Linear, although he was known to have mastered other styles. His best students were Teodoro Saavedra, his nephew, and Venancio Bacon. The Labangon Fencing Club, however, eventually dissipated into oblivion.

In 1932, the Doce Pares Club was formed and was headed by Lorenzo Saavedra.

Venancio Bacon was among the first members in the club and a few months later left the club due to arguments that the Doce Pares system was not an effective escrima.

World War II broke out in the Philippines in the early 1940s. With the onset of Japanese occupation, many eskrimadors became guerilla fighters, employing their art for the defense of their nation.

After the war, in 1952, along with Vincente Atillo, Delfin Lopez, Jesus Cui, Timoteo Maranga, Lorenzo Gonzales, Isidro Bardilas, Andres Olaibar, and a few others, Bacon established a new club, calling it the Balintawak Street Self-Defense Club.

Early in the 20th century, the colonizing Spaniards left the Philippines, ending their 300-year rule. In their place, came the Americans. It was during this period of change that Venancio Bacon was born in 1912 in Carcar, Cebu.

He learned eskrima in the 1920s as a teenager. His formation as an eskrimador began in San Nicolas. This would later lead him to death matches, attacks, and eventually jail.

Bacon’s only teacher was Lorenzo Saavedra, of San Nicolas, who during this time had established the Labangon Fencing Club. At a time when many different styles of¬†eskrima¬†abounded, Saavedra‚Äôs was called the¬†Corto Linear, although he was known to have mastered other styles. His best students were Teodoro Saavedra, his nephew, and Venancio Bacon. The Labangon Fencing Club, however, eventually dissipated into oblivion.

In 1932, the Doce Pares Club was formed and was headed by Lorenzo Saavedra.

Venancio Bacon was among the first members in the club and a few months later left the club due to arguments that the Doce Pares system was not an effective escrima.

World War II broke out in the Philippines in the early 1940s. With the onset of Japanese occupation, many eskrimadors became guerilla fighters, employing their art for the defense of their nation.

After the war, in 1952, along with Vincente Atillo, Delfin Lopez, Jesus Cui, Timoteo Maranga, Lorenzo Gonzales, Isidro Bardilas, Andres Olaibar, and a few others, Bacon established a new club, calling it the Balintawak Street Self-Defense Club.