FMA Informative Issue No #227

Informative Issue No. 227
2016
Federic Beleno
Jonah Geronimo
Sandata Kamao Basics of the Presas Brothers
Modern Arnis
Kombatan
Hinigaran Arnis de Mano
Sandata Kamao Filipino Martial Arts
Basic Principles and Concepts Situational Techniques
EmptyHand vs Empty Hand
Baston vs Baston
Bolo vs Bolo
Empty Hand vs Knife
Federic Beleno of Sandata Kamao FMA, is a very energetic, enthusiastic, and young profession-al Filipino
martial artist. A student of Grandmaster Ernesto Presas Sr. and Grandmaster Ernesto Presas Jr. of Kombatan,
Federic stated that he was one of the students took care of Grandmaster Ernesto Presas Sr. before his passing,
and was thought of like an adopted son.
Federic Beleno also stated that the Presas brothers Remy, Ernesto and Roberto, all taught Modern Arnis
in reality it all comes from the basics or the root of Modern Arnis, as taught from their father Jose Presas, a
well-known Escrima practitioner of his time all are one even though they are called different style / systems,
and have different philosophies.
Federic has had a brief training session with Grandmaster Rodel Dagooc a student of Remy A. Presas of
Modern Arnis and also personally with Roberto Presas of Hinigaran Arnis de Mano for just a brief period and
instead of taking away from his original knowledge of Kombat-an, has added to it, constantly improving what
he teaches to fit into today’s society.
Assisted by his senior instructor Jonah Geronimo they continue to promote and promulgate Sandata Kamao.
Federic Beleno teaches in the Philippines the:
NBI (National Bureau of Investigation)
NBI Academy
Martial Arts Ministries (church)
Underground Battle MMA
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Sandata Kamao Basics of the Presas Brothers
The Presas brothers Remy, Ernesto and Roberto. (Before Grandmaster Ernest Presas passed away Federic
Beleno was one of the students that took care of him, he was like an adopted son to Grandmaster Ernesto Presas).
Grandmaster Ernesto Presas which promoted Kombatan was/ is under the Modern Arnis system. Even
though top practitioners come from Grandmaster Ernesto Kombatan and some from Professor Remy
Presas Modern Arnis in reality it all comes from the basics or the root of Modern Arnis, all are one
even though they are called different style / systems, and have different philosophies.
Modern Arnis
Remy Amador Presas December 19, 1936 was the Founder of Modern Arnis, a
popular Filipino martial art.
Modern Arnis is the system of Filipino fighting arts Founded by Remy
Presas as a self-defense system. His goal was to create an injury-free training
method as well as an effective self-defense system in order to preserve the older Arnis systems.
Remy Presas recognized that the classical arts of their country were
losing their appeal and therefore slowly dying. He modernized the native arts
into an effective fighting system that would be appealing to martial arts students living in modern Filipino society and called it Modern Arnis. His dream
to re-introduce the native arts led to the development of Modern Arnis.
Kombatan
Ernesto A. Presas Sr. was born in the coastal town of Hinigaran, Negros
Occidental on May 20, 1945. At age 8 he began his martial arts training under his father, Jose Presas, a well-known Escrima practitioner at that time.
He went on to be an athlete in his college years, participating in
various sports. His training in the martial arts is eclectic, having studied
Judo, Jujutsu, Karate, and various forms of Filipino and Japanese weaponry. He was Lakan Sampu (10th Dan) in Arnis and Mano Mano (hand-tohand combat) and Lakan Walo (8th Dan) in Philippine Weaponry.
The term Modern Arnis was used by Remy Presas’ younger brother
Ernesto Presas to describe his style of Filipino martial arts Ernesto Presas
continued the work after his brother immigrated to the US in 1975. He
changed his version of the art a lot in the nineties and then he re-christen
his version of the art to the name of Kombatan.
Kombatan is a Filipino martial arts system. The founder of the
system was Ernesto Amador Presas. The style is known for its double stick
techniques, but it features other stick and blade techniques, as well as empty-hand methods.
It is derived principally from the traditional Presas family style of the Bolo (machete) and the stick-dueling art of Balintawak Eskrima, with influences from other Filipino and Japanese martial arts.
In 1970 he began to teach the Filipino martial arts in the University of the Philippines and Lyceum of the
Philippines. Later other classes expanded to the University of Santo Tomas, Central Colleges of the Philippines,
the Far Eastern Military Academy, Philippine National Police Academy, and the Philippines Air Force Officer’s
School. Also in 1970 he was invited to Japan at Expo ‘70’ to demonstrate Arnis. He quickly earned the respect
of many of the Japanese Masters who called his Art Filipino Kendo. After returning home, with the help of his
friend Frederico Lazo, he opened his first club. Later he formed the Modern Arnis Association of the Philippines
International and the ARJUKEN (which stands for Arnis, Jujutsu, Kendo) Karate Association to formally spread
the art within the Philippines.
In 1975 he founded the International Philippine Martial Arts Federation (IPMAF) and began to spread
the Filipino art to the outside world. In time his Arnis Presas Style and techniques became widely accepted
and adopted by countries in Europe, the United States, Canada, Mexico, Australia, New Zealand, South Africa, Saudi Arabia and Puerto Rico. He has also published numerous books and videos and has been featured on
the cover of Inside Kung Fu magazine with the title “Ernesto Presas: The Father of Mano-Mano” (which art he
created).
Ernesto Presas traveled the world teaching seminars to spread his art. Many visited the Philippines to
take lessons from him in Manila.
Major practitioners include: Ernesto Amador Presas (deceased), Fred Lazo (deceased), Ernesto Presas Jr., Pepe Yap, Mike Bowers, Alex France, Lito Concepcion (deceased), Juerg Ziegler, John R. Malmo, Jon
Rudy, Andy Elliott, Shelley Millspaugh, Vincent Pernice, Wolfgang Schnur, Walter Hubmann, Edwin Lao,
Thorbjørn “Toby” Hartelius, Johan Skålberg, Audy Ercia, Tomi Harell, Jose G. Paman, Randy Remolin, Jess
Pablo (deceased), Carlos Pulanco, Andreas Boruta, Giovanni Zagari, Patrick Paulo, and Marina Regnér.
Hinigaran Arnis de Mano
Roberto Presas (August 24, 1947) is a teacher of Filipino martial arts and
founder of Hinigaran Arnis de Mano.
Born in Hinigaran, Negros Occidental, Philippines, he was the son
of Jose B. Presas and Lucia Amador, and brother to Remy Presas and Ernesto Presas. Roberto became interested in the martial arts at an early age.
He began training in Karate in 1960 at the age of 13, followed by the
Presas Family Style of Arnis, in 1967. In 1973 he became an instructor
in Ernesto Presas style of Filipino martial arts. After attaining the rank of
Grandmaster (making him the 3rd Presas Grandmaster), Roberto decided
to introduce his personal system of Hinigaran Arnis de Mano to the public.
Around that time (2001) Roberto learned that a travel advisory had
been placed on him labeling him a flight risk and effectively making it impossible for him to leave the Philippines. At this time the reasons for this action are still undetermined.
The system of Hinigaran Arnis de Mano is primarily a “largo” (long) range system known for powerful
strikes and is also considered an “old style” system where stance and proper movement are emphasized before
developing speed or countless patterns. It continues to be taught to Philippine Law Enforcement agencies as
well as civilians.
Similar to most other Filipino martial arts, a student of Hinigaran Arnis de Mano trains with a weapon
from day one. Focus is placed on the use of rattan sticks known as “bastons” and include single baston, double
baston, and espada y daga (stick and dagger / sword and dagger), as well as bolo, bo (staff), nunchauku, and
empty hand.
The core of the system is based on six angles of striking, 6 basic blocks, 6 basic disarms, siniwali patterns and anyos (katas). The footwork focuses on a deep forward stance and horse stance and is able to work
both on a linear attack as well as circular. More advanced techniques such as locks, take-downs, freestyle,
Balintawak, and espada y daga are taught to the advanced practitioner over time.
Sandata Kamao Filipino Martial Arts
EmptyHand vs Empty Hand
Sandata Kamao Filipino martial arts is a mixed martial arts which makes it
a complex complete system.
There are 3 sides of the Filipino martial arts the Sports side, the Fancy side,
and the Combative side.
1st the Sport side, is governed by rules with what is allowed and what is
not allowed, by rules and regulations.
2nd the Fancy side, which is demonstrations.
3rd the Combative side, which is reality situations, to prepare for the combative side training is mandatory both single and with a partner training on
practical situations.
The concept to train is body manipulations like water and fire, if
the opponent is like fire then go like water or if the opponent is like water
then become the fire.
Sandata Kamao actually comes from Modern Arnis, Kombatan
which has modern and classical.
In Sandata Kamao it has been modified in the way it was not reduced or taken from, but has been added too.
Most know that martial arts is 70% fancy techniques and 30% is combative effective techniques in a real
life situations, practitioners cannot do a 100 techniques, one must realize that in reality the practitioners uses
one or two techniques or even the drills taught.
Sandata Kamao is a complete complex system which if the practitioner learns the flow, “for the flow
is what it is about). The flow from the baston, the empty hand, cause some techniques are more about fancy
(showing off techniques) which are not effective.
So if you learn the flow you will know everything just like any other martial art.
One will definitely know the effectiveness of an art once coming upon a reality situation scenario, when
combat is survival.
Underground battles in the Philippines basically in the provinces in the past, were situational. Federic
Beleno personally has been in the situational scenarios which were life and death. This gives the knowledge
which brings about an art that is effective or not.
Practitioners cannot set aside fancy part of the art which makes the practitioner good in coordination of
the mind and body movement and footwork. But keep in mind the combative situation is the major and most
important part of any martial art.
1
2
1. Street Fighting position
2. Opponent will frontal kick, Block the weak point
3
4
3. Opponent will follow up a straight punch, Block and distract with follow up elbow break
4. Take down opponent to the ground
Basic Principles and Concepts Situational Techniques
1. Footwork - is the most important for it is the foundation
2. Striking - using multiply strikes on specific targets, develop power which comes from the foundation (footwork) through the body as a force to the arm out to the hand and then to the baston if used.
Train hard, good stance – good precise strikes using stacked tires or 3 to 5 sticks taped together hitting
the tire either stacked or hanging from a rope or even just shadow sparring this develops speed and strength,
then when just using one stick it is faster and more power is developed.
3. In Blocking - deflect the opponents strike with power and continue to counter the opponent.
4. Kicking - flexibility by stretching and power with the training of leg weights. Train with high licks for flexibility and with leg weights. Practice sweeps and stomps.
5
5. Follow up a strike
6. Apply Neck and Arm Locking Technique
6
Baston vs Baston
1
2
3
4
5
Close Up
6
7
1. Block/Deflect and grab opponent’s Cane to control opponent.
2. Position to strike
3. Hit/Strike Fatal points
4. Position to Disarm/Locking. Make sure to position at the right Pressure point
5. If opponent will follow up a straight punch, Block with two cane that you are holding
6. Out balance opponent and move the cane down
7. Follow up with a fatal strike
8. Fatal hit to the temple/face
8
Bolo vs Bolo
1
2
1. Block/Hit the arm of attacking. Opponent using live bolo
2. Parry / Check the Hand moving down
3. Follow up a fatal strike. Go for the kill.
3
Empty Hand vs Knife
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2
3
4
5
9
10
1. Opponent Pointing a knife in a tactical position.
2. Hold your hands up, talk to the opponent then unexpectedly grab nape of your neck, make sure his elbow is locked so that it will not move.
3. Hit the groin
4. Grab and hold the wrist, secure the knife
5. Break the opponent’s elbow joint
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7
6. Opponent may release the knife if elbow break applies.
7. Grab the shoulder and position to throw
8. Shoulder throw the opponent
9 - 10. Follow up strike (Punch, Kick or Dumog Ground)
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