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Filipino Kali

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Solo Baston - Filipino Kali Single Stick

Inosanto LaCoste Kali Blend Curriculum

Ranges: How a weapon will be used is predicated by the range of the target. In the Inosanto LaCoste Kali method we study 4 major ranges:

Corto: Hubud (Close Range). The range where opponents are too close to effect Long or Medium strikes. Attacks with the butt of the stick utilizing a back fist like motion are common, as are punches with the clenched fists, hooking of limbs and neck. Which can lead to: Stick Grappling (Clinch, or Dumog Range), the range when the stick is utilized to effect holds, bars and submissions.

Medio: Sumbrada (Medium Range). The range where the body becomes accessible and the off hand can check, cover, or disarm.

Largo: (Long Range). The range at which, without moving opponents cannot hit each other in the head or body. The main target at this point is the hands and arms.

Inosanto LaCoste Kali Single Stick Angles 1-25

1. Diagonal down forehand
2. Diagonal down backhand
3. Flat midline forehand
4. Flat midline backhand
5. Midline thrust
6. Thrust backhand
7. Thrust forehand
8. Straight down
9. Diagonal down lowline forehand
10. Diagonal down lowline backhand
11. Diagonal up lowline forehand
12. Diagonal up lowline backhand
13. Flat highline forehand
14. Flat highline backhand
15. Straight down
16. Reverse umbrella
17. Upward thrust forehand
18. Redondo
19. Redondo angled
20. Upward thrust backhand
21. Witik forehand
22. Witik backhand
23. Abaniko backhand
24. Abaniko forehand
25. Two hand downward

The Concept of Distance

Distance can be defined as any distance from which your opponent can strike you with an edged, impact, or anatomical weapon. There are three main distances. Offensive as well as defensive strategies must be understood, developed, and mastered in each of the three ranges. The concept of distancing must be understood because there is no set numerical distance between each range, it is determined by the height of the opponent and the length of the weapons.

Largo Mano - meaning Long hand, represents the farthest distance at which you can strike or be struck by your opponent. It is a range at which your opponent cannot strike you with his weapon, but you can strike your opponent's hand with yours.

Medio - meaning "medium," is the distance that you and your opponent are given the opportunity to strike one another in the head. Because of this danger, the alive hand is introduced. In other words, you can monitor your opponent's weapon hand with your free hand.

Corto - meaning close or short, is the closest range that is encountered while standing. In this range, you are a bit too close to execute many of the actual striking techniques, with the exception of the Punyo. Consequently, this is typically when disarms occur and unarmed combat ensues.
 

Basic Striking Angles

There are an uncountable number of styles in Filipino stick fighting, but they all have one common denominator that gives them adaptability. Their principles of combat are based on a pattern of angles that all attacks must fall into, regardless of style, regardless of weapon, discounting of course the use of firearms. The pattern takes the form of combinations of what may be recognized today as mathematical symbols.

With the addition sign (+) and the multiplication sign (X) and dot (.), a pattern forms that any trusting attack, such as a jab with the fist or a stab with a knife, or any arching attack, such as the wide swinging blow of a club, must follow. The pattern of angles is the same whether the attacker is jabbing and swinging with a weapon or kicking and punching.

The addition sign stands for the vertical and horizontal strikes and the multiplication sign stands for the diagonal strikes. The dot in the center of the pattern represents all thrusting or jabbing motions, as opposed to the wide swinging blows. Though the dot only appears in the center of the pattern, representing primarily the center thrust that comes right down the middle, trust may actually occur at any of the angles.

Within some stick fighting styles, the angles of attack are treated as the pie-shaped areas between the lines of the mathematical symbols. Any attack, for instance, between the top vertical line of the pattern and the next diagonal line to it is treated as one angle. Eskrimadors from other styles direct their attention to the lines themselves and practice their defenses against each line that represents an angle of attack. The important thing is that you keep the defenses you will learn flexible enough to blend either way with the attack. Even more important is that you remain flexible enough to flow with sudden changes in angle.

The infinity sign (8) that completes our drawings is the standard motion of the stick to keep the Eskrimador's movement fluid. This figure-eight motion is used in its complete form or partially.
 

Numbering Systems

There are many styles of Eskrima, Arnis, and Kali, and they can all be divided into northern, central, and southern styles of the Philippines. But it is interesting to note that two students coming from, say, the Toledo style, descending from the same man names Santiago Toledo, can be completely different in their movement approach and training methods. Styles borrow from each other, expand and contract like the universe, but each student makes a style workable by individualizing it for himself. Instructors remove and add their own elements to the style the teach and students, likewise, may add things to a style that were thrown out by their instructors. So in my opinion, there are no styles. I prefer to use the terms methods or systems of training. Style is something individualized.
 

Largo Mano Contradas Inosanto LaCoste Kali

Largo Mano Contradas train the basics of the "long range game" as well as developing your stick combinations (offensively and defensively).
 

La Contra

"Meet the force"; to destroy any strike with an opposing strike i.e. forehand vs forehand or backhand vs backhand.

La Contra y Wetik Meet the force followed by a forehand or backhand wetik.

La Contra y Redondo (power slash) Meet the force followed by a forehand or backhand redondo.

La Contra y Ikis (downward-X) Meet the force followed by: a backhand diagonal slash and a forehand diagonal slash or a forehand diagonal slash and a backhand diagonal slash.

La Contra y Kilat ("Lightning Blow") Meet the force followed by: a backhand wetik, a backhand diagonal slash and a forehand diagonal slash or a forehand diagonal slash, a backhand wetik and a backhand diagonal slash.

La Contra y Crossada (full cross) Meet the force followed by:
a vertical backhand redondo, a backhand horizontal slash, a forehand horizontal slash and another vertical backhand redondo or a vertical forehand redondo, a forehand horizontal slash, a backhand horizontal slash and another vertical forehand redondo.

La Contra y Kawayan (double - x) Meet the force followed by: a backhand horizontal slash, a forehand horizontal slash and a vertical backhand redondo or a forehand horizontal slash, a vertical backhand redondo and a backhand horizontal slash.

La Contra y Ikis y Redondo Meet the force followed by: a backhand vertical redondo, a backhand diagonal slash and a forehand diagonal slash or a forehand diagonal slash, a backhand vertical redondo and a backhand diagonal slash.
 

La Seguida

"Follow the force"; to destroy any strike with a complementary strike i.e. forehand vs backhand or backhand vs forehand.

La Seguida y Wetik Follow the force followed by a forehand or backhand wetik.

La Seguida y Redondo (power slash) Follow the force followed by a forehand or backhand redondo.

La Seguida y Ikis (downward-X) Follow the force followed by: a backhand diagonal slash and a forehand diagonal slash or
a forehand diagonal slash and a backhand diagonal slash.

La Seguida y Kilat ("Lightning Blow") Follow the force followed by: a backhand wetik, a backhand diagonal slash and a forehand diagonal slash or a forehand diagonal slash, a backhand wetik and a backhand diagonal slash.

La Seguida y Crossada (full cross) Follow the force followed by: a vertical backhand redondo, a backhand horizontal slash, a forehand horizontal slash and another vertical backhand redondo or a vertical forehand redondo, a forehand horizontal slash, a backhand horizontal slash and another vertical forehand redondo.

La Seguida y Kawayan (double - x) Follow the force followed by: a backhand horizontal slash, a forehand horizontal slash and a vertical backhand redondo or a forehand horizontal slash, a vertical backhand redondo and a backhand horizontal slash.

La Seguida y Ikis y Redondo Follow the force followed by: a backhand vertical redondo, a backhand diagonal slash and a forehand diagonal slash or a forehand diagonal slash, a backhand vertical redondo and a backhand diagonal slash.
 

Ordabis

Using the backhand wetik to defend against any incoming strike.

Ordabis y Wetik Using a backhand wetik followed by another backhand wetik.

Ordabis y Redondo (power slash) Using a backhand wetik followed by a backhand redondo.

Ordabis y Ikis (downward-X) Using a backhand wetik followed by a backhand diagonal slash and a forehand diagonal slash.

Ordabis y Kilat ("Lightning Blow") Using a backhand wetik followed by a wetik, a backhand slash and a forehand slash.

Ordabis y Full Crossada (full cross) Using a backhand wetik followed by a vertical backhand redondo, a backhand horizontal slash, a forehand horizontal slash and another vertical backhand redondo.

Ordabis y Kawayan (double - x) Using a backhand wetik followed by a backhand horizontal slash, a forehand horizontal slash and a vertical backhand redondo.

Ordabis y Ikis y Redondo Using a backhand wetik followed by a backhand vertical redondo, a backhand diagonal slash and a forehand diagonal slash.

The Alive Hand

Guro Dan Inosanto once said, "If a good Eskrimador were asked to point out the single most important aspect that makes his fighting work, chances are he would refer to the use of the alive hand.".

Bantay Kamay is the "Alive Hand" or your empty hand. This is the hand responsible for the checking or monitoring of your opponent's hand or the weapon itself. It is also used for disarming, striking, thrusting with a knife and passing. 

Most often, the alive hand is the one that holds the opponent's weapon hand or arm in place after the defensive motion has stopped or diverted the blow and is, therefore, a close-quarter tool. It is the transition between the fighter's defensive motion and his counterstrike. Without the alive hand holding the opponent's hand in place, his weapon might easily return again before the fighter has time to make his counterstrike. During the Spanish reign in the Philippines, and in combat situations where the ancient Filipinos fought against the Spanish in swordplay, the alive hand played an important part in confusing the Spanish swordplay. This was especially true in the southern Philippines where they were unconquered for 366 years. When the alive hand is not being used, it is generally kept near the center of your chest.
 

Footwork

Kali use the symbol of the triangle to explain many of their combative principles. The core of the offensive and defensive movements is the knowledge of zoning and the skills in movement through footwork.
 

Zoning

Zoning refers to movements made with the intention of effectively blocking or evading an opponent's strike. There are two reference points, at the beginning and at the end of a given motion. If someone were to strike you, his maximal force would be aimed at a specified area; for example, your face. At the points just before and just after the desired point of impact, there is considerably less force. This is because you have to build up the force needed to accelerate your weapon, and after the point of impact it is necessary to slow down to halt the momentum of your strike. It can be very dangerous to attempt to block a strike at its point of full impact. It is best to either jam, meet the strike before it has built up full force, or pass, follow the weapon and employ a check during its retraction. A third method is to combine the two to make a meet and pass defense.
 

Triangle Stepping

A large percentage of footwork patterns are based on the triangle. There are both forward (female) and reverse (male) triangles. The forward triangle is generally used for defensive purposes and the reverse triangle is generally used for offensive movements. There are three points to a triangle: a frontal location, known as the point of the triangle, and two rear locations, known as the base of the triangle. When fighting, one generally places his stick or strong side on the point of the triangle and steps to either base of the triangle to initiate both offensive and defensive techniques.
 

Replacement Stepping

Replacement stepping is the core of the defensive movements because in Kali one rarely steps back or retreats, instead one employs body shifting and zoning. When defending attacks to the left side of your body, it is better to have your right side forward, and vice verse. You can defend against an attack to your right with your right side forward if the timing does not allow replacement stepping; however, it is stronger and much safer to zone. This type of footwork is called replacement stepping because you are replacing the front foot with the rear foot. Although this is also triangle stepping, the distinction is made in order to emphasize its importance.
 

Striking Motions

Lobtik - The long arc or stemmed blow, similar to the motion of a sword slashing through something. This is a full-powered strike that is aimed through a desired target. This method of striking does not retract or stop at the point of impact; rather it follows its path from beginning to end. This strike does not stop until it comes to the end of its motion, unless it is met with resistance or is blocked. A variation of this motion is the stem less blow, the shortened arc or stem less blow that is pulled inward halfway through the swing.

Witik - The "rap" which is a blow that returns along the same path that it went out. This method of striking involves retraction, which is useful when switching directions or angles of attack. The advantage of this strike is its speed and uncertainty of where the next strike will come from. Faking maneuvers and multiple striking are all executed in the witik form.

Saksak - The thrust or jab. Thrusting attacks primarily go right down the middle, but may occur at any angle. There are two types of energy that go into a thrusting motion.

The first is much like a jab with the end of the weapon. With a jab equal emphasis is given to the striking and retracting motions. The motion of the jabbing thrust is much like that of the witik where the retraction flows directly into the next motion.

The second kind of energy is the stab that suggests a weapon with a pointed tip such as a sword or dagger. The stabbing thrust is a fully committed killing move, delivered as a coupe de grace. The only place it might be used otherwise is as a body shot with a long or heavy blunted weapon.

Abaniko - The abaniko strike is a fanning motion that is made with the stick. It is a witik strike that switches angles of attack. The abaniko can be executed horizontally, diagonally, or vertically. It is important that the body and arms move in sync to provide the proper mechanics needed for a powerful whipping motion. Many times the abaniko is used to fake or set-up your opponent, enabling you to pick your desired target area.

Arko - The arko is the basic Kali twirl or circle of the stick. The stick can be twirled in an upward or downward motion. Relax your hand but keep your fingers grasping the stick.
 

Specifics of Striking Motion

Basically, there are four striking motions that can occur in any attack:
Lobtik - The long arc or stemmed blow.
Lobtik - The shortened arc or stem-less blow that is pulled inward halfway through the swing.
Witik - The rap which is a blow which returns along the same path that it went out.
Saksak - The trust or jab.
A strike should take less than 2/10ths of a second.
 

Inosanto LaCoste Kali 12 Stages Of Sumbrada

1. 1 Block - 1 Hit

2. Hitting Block and Hit

3. 1 Block & Return 2-3 Hits

4. 1 Block & Return 2-3 Hits
Negative to Positive
Haga / Lansi to Tinuod
The use of Enganyo and Alanganin

5. Punyo & Sumbrada
a. With Punyo Only
b. With Dungab Only
c. Punyo & Punyo Mix

6. Hubud with Punyo and Punta Sumbrada

7. Entrada Y Reterada
Moving in and out of Long, Medium and Close Ranges

Break in - Break out, Mix Angles

8. Add to Contra Sumbrada
Disarms, Chokes, Strangles, Breaks, Throws, Elbow Strikes, Punches, Knee Strikes, Body Strikes, Kicks, Trips, Sweeps, Takedowns, Locks, etc.

9. 1 Block and Hit Limbs

10. Using different weapons and receiving different weapons

11. Add different environments and counter with Dumog, with or without weapons

12. Sparring
a. Non-contact distance sparring
b. Light contact
i). Middle and Close Quarter
ii). Long range to limbs and hands
c. Medium contact to all parts
d. Medium to heavy contact with armor and head gear
e. Heavy to medium contact (armor mandatory) all elements
 

Inosanto LaCoste Kali 12 Stages Of Abecedario

The 12 angles of attack
#1 block - 1 hit 2 hits 3 hits
1. receive:

a. combinations of two hits
b. combinations of three hits
c. fakes to strike
d. using different weapons - receiving different weapons
e. using different weapons - receiving different weapons
f. using different locks - receiving different locks
g. using different takedowns - receiving different takedowns
first 7 stages are done stationary (De Fondo)
Footwork - forward triangle - reverse triangle
Strikes: retreating / advancing
Moving Left / Right
Circling clockwise/counter clockwise
Low-high / high-low
Strikes - on different terrains in different environments, situations

Contra Sumbrada, the second way to train in the Lacosta system
#1 block 1 hit (hitting block)
2-3 hits
3-4 hits
a. negative to positive (enganis)
b. like a drift (alanganin)

Punyo y Punyo
a. with punyo y punyo sumbrada
b. with punyo only with dungab
c. punyo y punyo mix
d. Hubud
e. entrada y baterada moving in-out of long-middle-close range

Add to Contra Sumbrada:
Agaws (disarms)
Kuni (locking)
Dumog (grabbing)
Buno (grappling)
Walis (Sweeps)
Elbows - knees - head butts - punching and kicking

#1 block-1 hit limbs
 
using different-receiving different weapons
add different environments and counter with Dumog with or without weapons
1. sparring

2. non contact

3. middle / close quarters
Long range limbs / hand, medium contact to all parts
Medium to heavy contact armor optional but wear head gear include all elements

The third way to train in the Lacosta system by combining Abecedario and Contra Sumbrada

The forth way to train in the Lacosta system is by solo training
1. Carenza - free style
2. Amarra - basic striking

The fifth way to train in the Lacosta system is Hampak hitting objects

The sixth way to train in the Lacosta system is sparring

The seven way is meditation / visualization

Inosanto LaCoste Kali 18 Contra Sumbradas

1. Roof, #1 & #2

2. Sumbrada 3 count - using inside deflection and drop stick

3. Sumbrada 3 count - using gunting and low wing

4. Roof, pass gunting, outside deflection or shield

5. Roof, pass and gunting against #3 or #5

6. Roof, high inside gunting for forehand thrust, outside deflection or high shield right

7. Roof, inside deflection, high shield right

8. Same but add #7 and #6

9. Sumbrada 5 count

10. Vertical redondo or Paglibot, roof block, hampak #1 and #2

11. Outside witik, roof, hampak #1 & #2

12. Low inside gunting & #8, outside deflection, roof (Ilustrisimo influence, nephew of Villabrille)

13. Low inside gunting for #5, outside deflection, roof, hampak #1 & #2

14. Left hand parry #5 and hit overhead, roof, hampak #1 & #2

15. Low wing parry #5 and punyo, left dakup, vert backhand, roof shield right, left waslik with #5

16. Drill #15 with #3 strike

17. Drill #15 with #1 strike

18. a. Inside gunting with pagsakay & thrust #5

b. Low wing & punoc, dakup & high shield

d. Palisut down & thrust #5 or strike #3

e. Low wing left and punyo with vertical ordabis

f. Dakop and high shield right

g. Palisut down and high forehand strike

Inosanto LaCoste Kali Abecedario Training Progression

"Abecedario" equates to "ABC's" or learning the basics. This training emphasizes learning both the offensive and defensive aspects of the weapon and learning how to control the center, passing the center, hold and pass, etc.

Stage 1 Block & Return 1 Hit
Stage 2 Block & Return 2 Hits
Stage 3 Block & Return 2 or more Hits
Stage 4 Receive 2 Hits
Stage 5 Receive 3 Hits
Stage 6 Receive Fakes to Positive Attacks
Stage 7 A. Using Different Weapons
B. Receiving Different Weapons
C. Using Different Throws, Locks, Trips, Sweeps, Chokes, Disarms, Takedowns
Stage 8 Receive while Retreating
Stage 9 Receive while Moving to Right or Left
Stage 10 Receive while Circling (CCW & CW)
Stage 11 Receive Low-High & High-Low
Stage 12 Receive on Different Terrains, Training Environments & Situations

Inosanto LaCoste Kali Abecedario Contradas Format

1. By the numbers
2. Mix the numbers
3. Mix the combinations
4. Isolate the numbers
5. Isolate the combinations
6. Fame & Feed the numbers
7. Feed & fake at random

Inosanto LaCoste Kali Flow Drills

“Flow Drills” are training exercises commonly associated with the Filipino Martial Arts. Known by many names such as “Sumbrada Drills” (or simply “Sumbrada”), Transitional Drills or Evolutions, Flow Drills are two-person pre-arranged sequences constructed to convey lessons or develop attributes. Not unlike the two-man sets sometimes found in Chinese Martial Arts, Filipino Flow Drills utilize the energy based nature of the Filipino Martial Arts and require a living, breathing and responsive opponent.

In the Inosanto LaCoste (Inosanto Blend) method of Kali, Sumbrada Drills (also known as Contra Y Contra or Contra Contrada) are taught to introduce students to the concept of counter-for-counter. As one student initiates an attack, the other second student counters the attack and returns a counter attack. The first student then counters the attack (thus, counters the counter) and the reciprocal dynamic creates a back and forth, fluid exchange. Typically, many of the drills taught by Guro Dan cycle continuously so that both sides have the opportunity to flow in an even and symmetric manner. Guro Dan also emphasizes the highly valued benefit of “flow”, encouraging students to play in a manner that is fluid and continuous rather than rigid, static or broken. This not only develops a sensitivity to adapt, modify and recover from unexpected changes but also enables participants to engage in an infinite number of repetitions. Paul Vunak, one of Guro Dan’s more well known students has stated that since we fight in an environment of continuous motion, we should train in motion as well.
 

Inosanto LaCoste Kali Solo Baston

General Outline

Long Range counters to opponent's strikes:
1. Backhand
2. Forehand
3. Meet
4. Follow
5. Meet-Follow
6. Follow-Meet
7. Evade

Stickfighting basics:
1. Down X
2. Up X
3. Sun line
4. Moon line
5. Lawin (Abanico)
6. Wind line
7. Redondos (3 ways)

Abecedario Contradas

1-2-1 Blitz entries

Blitz tactics in long/medium range
1. Praction
2. Florete
3. Pusdac Luac
4. Hanos Travis
5. Rapillon
6. Witik-Lobtik

Sumbradas various drills with all weapons

Hubud drills

Break in Break out
Connecting long range striking pattern, to sumbradas, to hubud and back out.

Close Quarters finishes:
1. Disarms and Disarm counters
2. Kunsi
3. Throws
4. Trapping to striking

Inosanto LaCoste Kali Amarra

1. Labtik-Witik
2. Witik-Labtik
3. Witik-Labtik-Witik
4. Labtik-Witik-Labtik
5. Witik-Labtik-Witik
6. Labtik-Labtik-Witik
7. Witik-Witik-Witik
8. Labtik-Witik-Witik
9. Kawayan
10. Alibangbang
11. Hangin Sa Upat
12. Entrada Sa Tatlo
13. Lawin to Abaniko Adlaw
14. Lawin to Paglipot
15. Lawin to Flourite
16. Lawin to Baho-Alto
17. Lawin to Dagat
18. Lawin to Double Flourite

Long Range Basics (Distancia Largo)

1. Principle of “Meet”
2. Principle of “Follow”
3. “Serada” Position
4. “Abierta” Position
5. Mixed “Serada” & “Abierta” Position
6. Range Concept
A. Largo Largo
B. Largo Media
C. Largo Corto

Agaw on second feed (Disarms)

1. #1 #4
2. #1 #12, #12
3. #1 #2
4. #1 #6 Backhand Thrust
5. #1 #7 Forehand Thrust
6. #1 #1
7. #1 #5 Mid-section Thrust
8. #5 #4
9. #5 #12
10. #5 #2
11. #5 #6 Backhand Thrust
12. #5 #1
13. #5 #7 Forehand Thrust
14. #5 #5 Mid-section Thrust