Informative Issue No. 112 2014

WalterWalterWesleyWesley

The Crisostomo BrothersThe Crisostomo Brothers

Ultimate Eskrima Just a Word Pinakatay Arnis Sigidas Pinakatay Arnis Sigidas Strikes Basic Concepts Understanding Pinakatay

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The FMA Informative was honored to be able to get with Walter and Wesley Crisostomo while they were in Arizona at the 8th Arizona Filipino Martial Arts Friendship Gathering. In talking to the brothers about their particular kind of art called Pinakatay Arnis Sigidas, it is described as curvi-linear in nature and the emphasis is in handling any weapon ( the stick as their primary tool) in a manner where the delivery of the strikes comes in cursive and linear patterns. The skills developed provides a continuous, flowing, circular, vertical, horizontal and sudden changes in trajectory mixed strikes that is unpre-dictable and totally unexpected. It is kinda cursive as in handwriting and can be repetitive if so desired by the practitioner. Wesley and Walter consented to share some of the basics of their art with the FMA Informative.

Walter and Wesley Crisostomo are from Sudlon, Maguikay, Mandaue City, Cebu, Philippines and are second generation Eskrimadors stemming from the line of Liborio Heyrosa, Anciong Bacon and unnamed “manongs”. They have adopted the system name “Pinakatay Arnis Sigidas” under the banner “Ultimate Eskrima”. They learned the indigenous stick art since their childhood through their grandparents, father and close relatives both in Laguna and Cebu in a rather secretive way as was the custom during those times. They also have close rela-tives with the same passion in the neighboring islands of Panay, particularly in Tiring, Cabatuan, Iloilo. Some knowledge and training in Arnis were done with the Gonzales families in Davao. Intensive secretive training however was mainly in Cebu with “Iti” Boring. Their distinct skills went honed behind “close doors” during the height of the popularity of Arnis by many famous Cebuano Eskrimadors in late 60’s and early 70’s. They also have learned some of the survival ways of the negrito’s or Ita’s in their early childhood where they played and joined the little guys in hunting in what was then Tabok-Taytayan area in Mandaue Town (then). In the early years, the Crisostomo brothers (four of them) were exposed to the traditional ways of stick fighting using different kinds of indigenous materials and farm tools (guna, amol, sundang, pinuti, etc) used at home, backyard or daily living and primarily rattan that were remnants or scraps from their Aunt’s cane furni-ture business. Learning the skills were quite tough in those years considering head gears, body armors, arm and shin guards were not available in the rural areas at that time. They were under strick orders of “Iti” Boring and their father Benjamin A. Crisostomo to keep the training and knowledge to themselves and not to join any Arnis group at all. They thought then that it was silly but non conforming will result in painful whacks to the butt and head (sapok). Their unorthrodox training was mostly done after dark or after oracion (6 o’clock PM) and boy, do they dread it each time, according to the brothers. Pain and moral discipline was part of the training but the best part according to Wesley was the question and answer (Q&A) some minutes before each session ends. The art includes a lot of principles which the brothers helped develop with “Iti” Boring (Liborio Heyrosa) who learned it directly from Anciong Bacon. These are facts that are hard to prove since there are no written certifi-cates or authentications simply because of the lack of literacy of Iti Boring. Even Iti Boring himself was kept as a secret student of Anciong Bacon and was known only by the many Balintawak arnisadors during his later years. The brothers give due credit to these 2 great names in the history of Cebuano Eskrima. They deserve the title “Grandmasters” even if the titles were not popular at that time. They were simply called Manongs and Iti, according to Walter. The brothers refused to be called Master or Guro but would prefer to be addressed as Kuya or teacher on the premise that the title is earned and not otherwise. Another oral “fact” is the association of Manong Nene Rosales ( a highly skilled fencer of his time) with Anciong Bacon in developing the un-orthrodox style of Stick fighting to “Iti” Boring which in Wesley’s opinion should be considered Balintawak based. “Iti” Boring also taught three other groups with their distinctive styles in and around the Mandaue town (then) while riding his old rickety bicycle working as a carpenter and this is as far as the brothers know. Their training includes discipline and self control in the use of the art outside of the training yard. It was often times formal but Sunday sessions were “special” such that “Iti” Boring spars with them with out holding back and they get to hit back without hesitation too. Learning was to endure pain in so many forms as in bruis-es, welts, cuts, blisters all those growing up years. It was painful and rewarding at the same time and rewarded by a sweet delicacy called “masi”. They used to count the “labhag” or welts and the welts over the old welts.

Ultimate Eskrima Just a Word

The basic idea of Ultimate Es-krima was to bring the very best of Eskrima together, to share knowl-edge etc. However many practi-tioners did not understand the idea and concept of the name, so many practitioners thought the idea (said bluntly) sucked and there was no such art as Ultimate Eskrima Even when trying to join the Cebu Eskrima Society which

is a society of Eskrima groups of Cebu, took the name Ultimate Eskrima out of their registry, because they believed there is no such thing as an Ultimate Eskrima. Walter and Wesley Crisostomo tried to explain that it was only a name “just words.” The Cebu Eskrima Soci-ety asked Walter and Wesley to demonstrate their art, which in

actuality is Pinakatay Arnis Sigidas which they learned from Grand-master Liborio Heyrosa, which is a system and concept of principles. Upon demonstrating which was in fact like a screening to see if they were worthy, the Society accepted the Crisostomo brothers and their art. The Ultimate Eskrima once fully understood was put back on the website.

Now - that there is an understanding of the Ultimate Eskrima phrase let us delve into the art of Pinakatay Arnis Sigidas.

Pinakatay Arnis Sigidas

Pinakatay Arnis Sigidas (PAS) in theory means (Pinakatay) cursive as in handwriting which uses continuous flowing curves but without limitations to sharp cor-ners, twists, curls and backward / forward motions of letters that are combine in a successive manner. (Arnis) is the Filipino art. (Sigidas) means successive strikes or moves. To sum it up, Pinakatay Arnis Sigidas means basically to execute successive moves or strikes in a cursive manner. Now let it be understood that when the “Kuyas” Walter and Wesley were learning the art, they were not part of a group or class that were openly practicing but had learned separately from Grandmaster Liborio Heyrosa. “Iti Boring as he was addressed, would visit them at their residence sever-al times in his old rickety bicycle keeping them unknown fro all oth-er students of him Now this would seem odd and you might wonder “why”?. Did the Grandmaster find the brothers as his favorites? were they related? Maybe so and yet maybe not. Well, the thought be-

hind this separate training was just like what some other teachers back in the day did. The reason was that, one or more of their regular students would become over confident, boastful (hambogero) and big head in short and so to neutralized these dick-heads, the Grandmaster would bring out in the open his privately taught student to deal with the matter. For to be taught privately, the student must learn, train more and gain experience more in the art than the student that just at-tended classes where the knowl-edge or techniques were spread out with no real individual train-ing. Now let us understand some of the situations that were in the past. Grandmaster Liborio Heyrosa was basically illiterate and therefor could not read or write but would demonstrate and execute his art by example to his students. With this being said Wes-ley and Walter took his words and actions and made them into writ-ten words that is understandable

to all. Other followers of Grand-master Boring also tried doing the same thing but some techniques were taught in limited manners to other groups. Now, as previously men-tioned, Wesley and Walter were taught privately the basic princi-ples and concepts and then strong-ly encouraged to think beyond the art and the techniques that were presented in front of them. Often Grandmaster Heyro-sa would use figures showing what a baston was to do. The brothers developed a structured format and put it into a lesson plan for teach-ing. They however reserved a few techniques to teach only to the deserving students to use in neu-tralizing any dick-heads that might come along. They know that the groups that Grandmaster Heyrosa are also doing something similar. The methods he used how-ever were different in each group and so the brothers believe so. Wesley and Walter captured most of his wisdom of the art and be-cause of that rifts became common as soon as the brothers brought out

Pinakatay Arnis Sigidas Strikes

When new students (whether old or new practitioners) commence their training, they are taught the 12 strikes up front facing the opponent. As they become skilled and precise it their hits, they are taught the finer art of striking. They now are taught that the 12 strikes can still be executed with force, intent and efficiency no matter which way the opponent is facing or regardless of the position or range of the same.There are 12 strikes:1 and 2 precisely to the chin 3 and 4 around the hips or wrist area 5 is a thrust where targets start from the groin going up to the solar plexus (curving upward) up to the throat 6 and 7 to the shoulders (collar bones for advanced) 8 and 9 to the side of the knees (knee cap for advanced) 10 and 11 precisely to the temples 12 to the forehead (top of the head for advanced)

Opponents left chin area Opponents left hip areaOpponents right chin area

the system in the open there and in the United States. The brothers are the only ones teaching this distinc-tive system. They call it the “Sys-tem of Principles” So it was that the art will not be lost,Wesley and Walter put into words what they were taught and described in words the

movements. They did this for the Grandmaster so the art will not be lost, mis-represented, mis-inter-preted, adulterated and mis-used. There are political battles currently brewing and that is expected in the world of Filipino martial arts as in other martial arts. The only mission of the brothers

is to keep the system purely in its, original traditional teaching and lend a deaf ear to negative minds of undeserving individuals. They just want to pass on the art/system with words but this time, with documentation.

Opponents down to the solar plexus (curving downward)

Opponents knee area area Opponents left temple area Opponents right temple area

Opponents left knee areaOpponents right shoulder areaOpponents left shoulder area

Opponents forehead area

Basic Concepts The main concept is what the Crisostomo brothers call Curvi-linear. This entails the use of the joints through out the body to be able to deliver strikes and blocks. By developing the joints specially the limbs such as the ankles and wrists, it will create flexibility, strength, power, accuracy and flu-idity of motion all at once. In the concept of the curvi-linear or circular linear, the tool (weapon or stick) travels from point A to point B. Now, using deceptive moves, the baston moves as one would witness coming from point A, but knowing that the opponent would attempt to block would use the curvilinear principle to go passed the block and still get to point B. This method is de-scribed as penetrating a block from awkward angles and still maintain force and impact. Deception is well utilized as common arnis strike patterns are thrown out the win-dow. (No pun intended). In the concept of founda-tion, it is explained to the student that if one is taught seriously to adapt to stances in order to move

forward or backward as in the triangle foot works and the like, the focus will be on learning on stances and not on the strikes. The brothers admit that over time, the drills in those foot works will become instinctive but then getting use to it will diminish the fighters effectivity to relax and be flexible. Other styles foot works although good for them does not work for this system. The idea is to have a natural stance. A person when young learned to crawl, walk and then run so their balance and tim-ing is built in naturally. To specify that this student must have this stance or that stance, their mind is clouded by what this stance must be or this stance should be. Using the individuals natural stances, natural balance, timing and coor-dination is automatic and kind of built in making less thought on that aspect of their actions in ac-complishing the movements and flexibility of the strikes. After all the mission is to deliver that lethal hit. Another principle or concept of the style is that the

core or base of the body is where everything must be centered no matter which way the body moves or twists. And the lower the center of gravity , the better as in natural stance with the knees bend slightly for preparing to spring forward or backward. When learning and training Pinakatay Arnis Sigidas, all these concepts, principles and more will fall into line and become reflexive in nature. It takes a special kind of dedication to reach certain levels of skills. A serious practitioner how-ever won’t find learning this art impossible. More so, these skills are tested on opponents and not dummies. The dummies are at the same time practicing how to strike back so training is normally with an actively striking partner. All in all, Pinakatay Arnis Sigidas is a System of Principles. It may not have all the principles other arts have accumulated and it does not need all those principles, it just needs those that works for this distinctive art.

Finish up to the solar plexus (curving upward) Thrust starts from the groinOpponents right hip area

Strike 6: Backhand to the left shoulder while he’s guiding the stick past his stick hand

Strike 7: An upper fore hand to the shoulder, showing varying ways to hit one target, while he’s checking

Strike 8: Forehand to the knee while he’s checking with his left hand

Checking the opponents stick hand and delivering a backhand to the knee of the opponent

Using check hand to pin stick to the opponents body and delivers a back-hand to the right jaw of the opponent

Again using the check hand to guide as the opponent is hit with a strike 8 to the inner knee

Using the check hand to guide the op-ponent creating an opening to hit the back

Reversal to see one of the many vari-ous places we can hit on the back with a forehand strike while checking

Hitting the back as he checks the stick hand

Checking the opponents stick while de-livering a backhand to the collar bone

Backhand strike to the forehead while checking

Forehand to the jaw while checking

Forehand to the outer knee while checking

Backhand to the right jaw while checking

Forehand to the inner knee while checking simultaneously

In a position to start the inward back-hand strike while constantly checking

Roll your wrist and prepare for a upward backhand while constantly checking

Then hit the upward strike to the left jaw while constantly checking

Prepare for the backhand to the left jaw while constantly checking

Hit the left jaw with a backhand while constantly checking

Pinning the stick to oneself and deliv-ering a backhand to the back of the opponents head

Then finish with a forehand to the crotch while constantly checking

Since Pinakatay is a close quarter combat system it follows that there is no fight if opponents are far apart. Only you can have a real fight in closer range. Strikes are deceptive and executed in frac-tions of a second making it hard for the opponent to block or evade the strikes. A full committed strike can generate a 100 % power strike but not in Pinakatay which only delivers about 70 % but with an advantage of 1: 5 ratio vs. commit-ted strikes on average scale. Fan-ning and flow are the ingredients of the system to make a good offense/defense movement. Others call it Abanico or fanning motion. The system recognizes only two kinds of techniques, backhand and fore-hand. The pattern of striking is based on the geometrical angles

from one point to the next by combining the linear and curves that form an infinity figure making the flow in a continuous motion. We used the term curvilinear ran-dom striking patterns that makes Pinakatay style unique and one of a kind. Once a strike is delivered it will be continuously done until the opponent is subdued or on the defensive position thus multiple hits are expected. There are two personalities of the left and right hands. One hand will be for parry-ing, deflecting, guiding, disarming or blocking while the other hand sole purpose is do the striking as needed. Teaching Filipino martial arts simple is our principle. The system uses very prac-tical means of offense and defense both armed and unarmed. The principle of joint usage is taken

advantage to maximize movements resulting in efficiency and resil-ience of the warrior. Speed, ac-curacy and precision are honed to sharpen the skills thereby molding the practitioners The live hand of a Pinakatay practitioner is more active than the weapon hand and in reality close combat fighting is deadlier that the weapon hand. It may be hard to accept and understand but it can be proven once the concepts are learned. They can deliver strikes that changes trajectory in midair and seemingly disappear and reap-pear at will depending on the area of opportunity. The live hand clears and creates opening for the weapon hand to get to and the live hand can also be the main weapon hand. Hard to grasp. come learn the art and see for yourself.

Understanding Pinakatay

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