Balintawak History(

Nickelstickz

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Balintawak History(

Below is a copy of an article written by on of GM Elizar Students Born in 1912, Venancio “Anciong” Bacon . He was born in Carcar, Cebu, and moved later to San Nicolas Town, just outside of Cebu City. He learned eskrima in the 1920s as a teenager. His evolution as an eskrimador began in San Nicolas. This journey would later lead him to death matches, attacks, and eventually to jail. Venancio Bacon’s legacy, Balintawak, has become a title synonymous to Deadly.This is the story of Great Grandmaster Venancio Bacon and the account of his legacy. In the early 1900s, the Spaniards had just left the Philippines, ending their 300 year rule. In their place, came the Americans. The vanguard elite of Cebu still spoke Spanish, while the Americans began to “pacify” and teach the rest of the Filipinos American English and culture. It was during this time that Venancio Bacon was born into, a nation in the midst of change and upheaval. He was born in Carcar, Cebu, but grew up in San Nicolas Town outside of Ciudad de Cebu, which at that time was populated by Cebu’s elite upper class. This elite class was made up of Europeans, Americans, Chinese and mestizo Filipinos. In contrast, San Nicolas was composed of local Cebuanos and immigrants from neighboring towns, or from other islands in the Visayas. The people who lived in San Nicolas were farmers, carpenters, fishermen, peasants, cargadors and the servants for the City of Cebu’s upper class. Venancio Bacon began training in the art of eskrima in the 1920s. His only teacher was Lorenzo “Ensong” Saavedra, of San Nicolas, who during this time had established the historic Labangon Fencing Club. At a time when many different styles of eskrima abound, Lorenzo Saavedra’s was called the Corto Linear, although he was also known to have mastered other styles. His best students would be Teodoro “Doring” Saavedra, his nephew, and Venancio Bacon. The two were also very close friends. Both matured into great eskrimadors, improving each other’s skills and answering challenge matches that came as a result of their newly acquired titles. The Labangon Fencing Club eventually dissipated into oblivion. In 1933, the Doce Pares Club was formed. Headed by Lorenzo Saavedra, the club was composed of three Saavedra eskrimadors and nine from the Canete family. This composed the original twelve needed to symbolically actualize the title Doce Pares, which was taken from a popular roving play in the Philippines during the late 1800s and early 1900s depicting the twelve warrior swordsmen of Charlemagne. Another twelve were inducted to the club soon after, making the initial membership twenty-four, or Twelve Pairs. Venancio Bacon was among the first twenty-four. World War II broke out in the 1940s. With the onset of Japanese occupation, many eskrimadors became guerilla fighters, employing their art for the defense of their nation. It was during this time that, Teodoro Saavedra died at the hands of Japanese soldier-executioners. Long after the War, in 1952, Venancio Bacon established the club now known as Balintawak. He finally had enough of the personal bickerings and internal politics of the Doce Pares club. Along with Vincente “Inting” Atillo, Delfin Lopez, Jesus Cui, Timoteo “Timor” Maranga, Lorenzo Gonzales, Isidro Bardilas, Andres Olaibar, and a few others, Venancio Bacon began a new club. The significance of the name Balintawak evoked the three virtues of strength, courage, and honor befitting that of the new club. So, from that day forth the word Balintawak would forever be intertwined with the name Venancio Bacon and to the style of eskrima which has proven its calculated violence effective time and again. Standing at 5 feet, 2 inches tall and weighting no more that 120 pounds, Venancio Bacon was a very unassuming man. He was a veteran of a great many death matches in Cebu. Described by many of his students as lightning fast, Venancio Bacon maneuvered through a fight smoothly while exploiting his opponents’ balance and coordination. He was known to be very surgical with a stick, able to employ varying force to his exact targets throughout his adversary’s body. Among his very first students was Delfin Lopez, a Cebu icon in his own right. He was a tough cop, a strike breaker, enforcer, and a womanizer. Delfin Lopez was already an experienced fighter when he met Venancio Bacon, but he saw something in the small man. Mr. Lopez stood at 5 feet, 10 inches, muscular, easily towering over the diminutive Venancio Bacon. Testing his strength in a light, friendly match with Venancio Bacon, Delfin Lopez soon realized the sad reality of his skills as a fighter. The two men with single sticks faced off, Mr. Lopez took the offensive and rushed towards his opponent only to be disarmed and tripped. Bacon had just won over another loyal student. The 1950s and 1960s saw the “Golden Age” of eskrima in Cebu. Eskrimadors from various camps, mainly the two already mentioned, tested each other’s skills in all out challenges. These resulted in injuries and sometimes deaths. Vincente “Inting” Carin of Doce Pares found himself attacked by multiple assailants, incurring various injuries, while doubly reciprocating lethal injuries on to his attackers. Delfin Lopez was knifed from behind, placing him in a small lot in Calamba Cemetary. Venancio Bacon was ambushed in the dark while walking to his home in Labangon. He killed his assailant. . Venancio Bacon was paroled from prison in the mid-1970s. When he returned to Cebu, he continued to check up on students, making sure the quality of Balintawak was still up to his standards since he left it. Mr. Bacon regularly attended training sessions conducted by Jose Villasin and Teofilo Velez. . Venancio Bacon knew that his old students, Arnulfo Mongcal, Jose Villasin, Teodoro Buot, Teofilo Velez, and a few others would carry on the name Balintawak and produce high caliber eskrimadors for years to come. A few years after, Venancio Bacon died leaving behind a legacy now known around the world. That legacy of Balintawak. Today, through the efforts of master Eskrimadors like Nick Elizar, Bobby Taboada, and Nene Gaabucayan, Balintawak is known the world over as one of the most respected style of Eskrima
 

Nickelstickz

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Balintawak Training Method -1

Balintawak Methodology Balintawak is defense oriented. We assume automatically that our opponents are skilled. Because of this, skills in defense are first perfected. Once timing and speed in defense are fully developed, progress in the offense is automatic. When both defense and offensive skills become flawless, fluidity in movement is achieved. It is here that one’s skill as a eskrimador becomes true. This is the essence of Balintawak. Balintawak has always trained its students one on one. Whether it be a beginning-advance student training a fresh beginner, or a master training an advance fighter, Balintawak has consistently produced effective eskrimadors through this method. Because of this individualized training, learning becomes efficient and with purpose. The realization of the detailed subtleties of the art is grasped quicker by students of Balintawak. The concept of agak is central to Balintawak’s training method. Literally, this Cebuano word means to guide and assist. When a skilled guide, familiar with the local terrain, helps a weaker, less knowledgeable person, taking him by the arm to maneuver through a raging river during a downpour to cross to the other side—this is agak. So, it is with this philosophy in mind that Balintawak transfers its knowledge of eskrima from master to instructor and from instructor to student. During the days of Venancio “Anciong” Bacon, training was straight to the point. In the very first day, the student was handed a stick (olisi or garote in Bisaya), was given the “on guard” warning, then he was struck. The student was free to use any defensive maneuver he so wished. After the student was hit, he was then taught the correct method of which to defend himself for that particular strike. Specific techniques were also introduced in the same manner. This was Venancio Bacon’s method of teaching, which he perfected, producing many notable master eskrimadors. His most noteworthy student, Jose Villasin, unable to copy the nuances of Anciong Bacon’s teaching method, decided to systematize the more salient aspects of Balintawak. He created the grouping system, which he and his close friend Teofilo Velez would use to train their students in Balintawak. The essence of Balintawak was still transferred from instructor to student, the only difference was the system now employed to transfer this knowledge. With this system, there is a clear progression from which the student could effectively gauge his knowledge of Balintawak. The student is first introduced to the 12 basic strikes. Strike 1 and 2 are to the left and right temples. Strike 3 and 4 are to the left and right elbows, or rib cage. Strike 5 is a thrust (or tochada) to the solar plexus. Strike 6 and 7 are thrusts to the right and left shoulders. Strike 8 and 9 are to the left and right knees. Strike 10 and 11 are thrusts into the right and left eyes. The last strike, strike 12 is to the top of the head. These strikes have to be performed with correct leg positioning to maximize balance, thus achieving power, speed, and maneuverability with each individual strike. That student is then introduced to the 12 basic defenses for each strikes. For every defense, the student is taught to move the stick in tandem with his left hand, while purposefully shifting his balance. Once the strike is deflected by the student’s stick, his left hand controls, “feeling” his opponent’s stick while delivering the proper counter strike. This will serve as the student’s first introduction to the purpose of Balintawak’s alive hand. Again, as with the 12 basic strikes, the 12 basic defenses require correct positioning of the legs to ensure proper balance. This in turn will create the proper foundation for power, speed, and movement. Once the basics are out of the way, agak begins in earnest. The student is introduced to the grouping system. This is first done through palakaw, or to walk through. The student is first “walked through” the grouping method, to ensure proper execution of all the basic movements, paying close attention to his leg positioning and overall body movement. The student is delivered a strike, in which he is to defend, then check or clear the instrutor’s stick, finally delivering the proper counter strike. The instructor receives the students counter strike, then clears it and delivers another strike to the student. All 12 strikes and all 12 defenses to these strikes are all used by the student during this exercise. Throughout, the palakaw, the instructor is making corrections to the student’s overall movement pattern. But, more importantly, the instructor is gauging the student’s development, increasing his speed and power for each strike delivered. As the student’s reflexes become sharpened, the instructor begins to add the groups to the exercise. Eventually, this exercise morphs into the padagan, or to run through, as the intensity of the training heightens. The student is constantly bombarded with strikes delivered randomly by the instructor, who never lets up until the student begins to lose control of his own stick, at which time rest is awarded.
 

Nickelstickz

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Balintawak training 2

The groups are then systematically added into the padagan. The groups are forms of attacks used by the instructor to teach the student certain movements he will need to master. The first of these movements, require the student to use his left hand, specifically to grab, lift, and clear. Next, the student is introduced to the instructor’s butt of the stick, or pok-pok in Bisaya. The student is now required to bob, while deflecting his opponent’s pok-pok with his left arm. The third group of movements, are the various angles of tochadas, or thrusts, delivered by the instructor. Here, the student is expected to weave away from the thrusts while deflecting and countering. The fourth group involves abaniko style strikes. The student is trained to duck and twist his torso to avoid and block the strikes. The fifth, and last group, involves trapping and punches, familiarizing the student to traps while perfecting his parrying. The individual groups of movement are inserted sporadically throughout the padagan, serving as the framework for other various possibilities of attack. The instructor at this time is analyzing and probing the student for strengths and weaknesses. His goal is to finely tune his student, dissecting his movements and removing all flaws that will prove costly in an actual violent encounter. The cowering of the eyes are the most common of these flaws, to include rigidity of the body, unnecessary tensing of the muscles and improper balance. The moment the instructor feels the student is ready, he will instinctually increase the level of the training. As the student progresses, he is expected to cultivate an individual fluidity of movement, which will increase his ability to perform power strikes at any angle with utmost speed. Fluidity of movement will also increase the student’s ability to block or evade strikes from his opponents. After achieving the very basic level of this endevour, the student is introduced to pakgang, which will acclimate him to his instructor’s many options of counter. The student will also become familiar with the witik, which the instructor utilizes to constantly improve his student’s defensive reflexes. The instructor will also introduce sweeping, kicking, disarming, pushing, pulling, butting, tripping, locking, kneeing, elbowing, punching, chopping, throwing, and head-butting into the padagan, familiarizing the student with more defensive and offensive possibilities. There is also an empty-hand version of the padagan which uses much of the same movement without the stick. The student will realize that without a weapon, the skills he already learned are still very effective, because the stick is an extension of his arm. Specifically, the empty-hand padagan trains the student in the various entangling techniques, in addition to many lockings. Knife training focuses first in the avoidance of this attack. The student is taught to weave and twist away from the direction of the knife. Eventually, he will be able to apply the various disarming, locking, and hitting techniques he has learned from the padagan. At the advance stages, the differentiation between student and instructor fades. It is at this level that sana-sana begins, introducing the student to the concept of cuentada, or calculation. Unbeknownst, to the student the components of sana-sana has already been introduced to him in the padagan. Cuentada involves the anticipation of your opponent’s offensive intent, while effectively countering his movement with a specific technique meant to produce finishing moves. At the heart of cuentada is the fighter’s ability to “read” his opponent’s attacks, while he in turn makes his own intent non-telegraphic. It requires impeccable timing, flow, and the ability to disrupt the opponent’s rhythm. It is here that the student begins to understand Balintawak. Although the basic student curriculum can be taught in 6 to 12 months, assuming the student trains regularly with a very qualified instructor, the quest for perfection in Balintawak never ceases. The philosophy of Speed, Power, Elegance, Fluidity, and Economy of Movement by Venancio Bacon has been transferred. This package of skills comes complete, all unnecessary movements and techniques still apparent in many systems are absent in Balintawak. Simplicity is at the core of Balintawak. It has been tested, it has stood its ground. Balintawak will always stay faithful to this philosophy. There are no costly stick twirling lessons, since our intent is to train fighters.
 

roy33itc

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כל הכבוד על ההשקעה ותודה על

שהבאת את החומר לפורום.
 

Tonjin

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תודה, ועוד שאלה קטנה...../images/Emo13.gif

איזה תפקיד (אם בכלל) המשפט "Simhota ko dong" (או באנגלית: smell me, boy) משחק בבאלינטאווק של גראנדמאסטר אליזר?
 

Nickelstickz

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Simhota ko dong

this is a purely cebuano dialect (Balintawak origin place - Cebo city), for example if you are using perfume, then somebody will tell you, simhota ko dong (smell me man or boy)how ever it is nothing to do with Balintawak Fighting style
 

Tonjin

New member
ישנו סיפור שזהו משפט מפתח של

ווננסיו-בייקון, כשהכוונה היא שאתה צריך "לחוש" את היריב ולא להסתמך על ראיה של ההתקפה, עיבוד של המידע ואז ביצוע תגובה כי אז התהליך איטי מידי.. ביחוד בטווחים של הסגנון הספציפי הזה.. לפי הסיפור הוא היה חוזר על המשפט הזה באופן קבוע באימונים עד כדי-כך שהוא הפך למעין מוטו של כמה סגנונות באלינטאווק, תהיתי אם הוא משמש גם אצלך..
 

Nickelstickz

New member
GM Nick

Is using the terms "you can see the light" or "your eyes are opened now" in reference to filing the enemy ,you are very much correct in mention this since we (me and GM Nick) had a long chat about it several month ago when I mention to him being frustrated after he (GM Nick) disarm me over and over again using the same drill (with me un able to react), his answer was "your eyes are going to be open soon" he was referring to our subject ,he also mention the important part that the left hand is doing which inc. filling the enemy weapon and weapon hand ,body movement and direction and indeed I can find myself today blocking and hitting back with out it registering in my head, my eyes are actually seeing my stick moving as somebody else directing it
 
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