Top of the Art

[bloodwood]

What is truly the pinnacle of the art in Modern Arnis? Is it Tapi-Tapi or is it really Cuentada. I remember a story I was told (can't remember the source) about Professor's beginning training with GM Bacon. Professor thought he had pretty good stuff but every time he spared with Anciong he got wacked. Remy couldn't figure out what he was doing wrong until he finally asked Anciong why he ALWAYS bested him. He was told that it wasn't that he wasn't good, but that Anciong was always setting him up and was always there with his response to whatever Remy or anyone else threw at him. He was the chess master of Arnis. From the first strike he knew where it would go and could end it any time he wanted. This is what it was all about. GM Bacon didn't earn his reputation because of his physical stature. He was fast and knew what you were going to do even before you did. If you can do that, your at top.

 

[Emptyglass]

Hi Bloodwood:

I was told this story by Professor Presas himself. As I remember it, he stated that Bacon would tell him to pick one spot on his body to defend and that Bacon would always be able to hit the spot he chose regardless of how hard or craftily he tried to defend it. Chessmaster indeed.

As for what part of Modern Arnis is the pinnacle, I would say that it depends on the practitioner. My impression of what the Professor was teaching was that his Modern Arnis was perfectly suited to him, his particular mental state/personality and his physicality. However, I always remember Modern Arnis being described as the "Art within your Art." Many people might limit their definiton of this to simply their physical technique or style. However, I would propose that what this meant was that the addition of the techniques the Professor was teaching to the student's own personal style of movement and bank of experience in Escrima and other martial arts as well as their set of personal values and beliefs as to how self-defense should be applied was what he was saying.

It is this concept that truly made Modern Arnis "modern" in that there was encouragement for making each technique your own as well as adaptation. Now this doesn't mean that you shouldn't strive to make your technique perfect in a technical sense. However, there was less stress on perfectly mimicking each movement and technique of the instructor (in my case at least) and more stress on understanding the reasons and concepts of a technique and understanding where the connections lay between it and the rest of the techniques in the lesson. Again, this isn't to say that the student shouldn't learn to do the technique properly. However that understanding (the light that goes on over their head) when they truly make the relationship between the movement and the purpose of the movement, makes, in my opinion, superior Filipino martial artists.

So in answer to your question. I don't think any technique in Modern Arnis is the pinnacle for any particular person. There is no secret "killer" move which is the ultimate expression of the art. To me it is the artistry and adaptation of the individual practitioner which is the pinnacle of Modern Arnis.

With respect,

Richard Curren

 

[arnisador]

I don't know the answer to the question. What always blew me away about the Professor's technique and ability was the way he could reach in and take control of your stick whenever he wanted it. That was what impressed me the most.

For my students I tend to emphasize the Flow as the heart of the art--flowing for blocks to attacks, flowing with the triangular footwork, etc. The pinnacle though? Historically, actually sparring, but the Prof. discouraged that. I don't know!

 

[bloodwood]

For one to be a master of cuentada you had to know every aspect of the art inside out and backwards. You couldn't defend against what you didn't know. Complete knowledge of footwork, angling, angles of attack, strikes as well as being able to read an opponents face would be a must to master cuentada, thus a complete knowledge of arnis. One instructor of mine told me that even in corto range during rapid fire striking, with stick and hand, that the Professor would stand right in his face and hardly even move and still block everything with ease. Why? Complete knowledge of the art. He didn't have to react in a split second (although he could) because his block was already there waiting for you. I guess Cuentada is not just setting up your opponent but more knowing what he will do and when. Quite a handy thing to have during a fight. I believe this was the most important thing the Professor got from Anciong.

 

[bloodwood]

My brain is still rolling on this subject so I'll add a little more of my thoughts.
In my humble opinion I believe that Tapi-Tapi is just a drill. Is it important? Absolutely, just as disarms, angles of attack, innovations and forms are. It takes a combined knowledge of the art to reach the top, not just mastering a drill. Cuentada is taking Tapi-Tapi to the next level. I have seen new students come in off the street and start right in on Tapi-Tapi. No basics, no footwork, not much of anything but memorizing movements for a drill. Instead fill their heads with good basics and innovations and the ability to think outside the box and their Tapi-Tapi skills will develop naturally, and thus the road to Cuentada and the ability to control the situation.

 

[DoctorB]

Originally posted by bloodwood

For one to be a master of cuentada you had to know every aspect of the art inside out and backwards. You couldn't defend against what you didn't know. Complete knowledge of footwork, angling, angles of attack, strikes as well as being able to read an opponents face would be a must to master cuentada, thus a complete knowledge of arnis. One instructor of mine told me that even in corto range during rapid fire striking, with stick and hand, that the Professor would stand right in his face and hardly even move and still block everything with ease. Why? Complete knowledge of the art. He didn't have to react in a split second (although he could) because his block was already there waiting for you. I guess Cuentada is not just setting up your opponent but more knowing what he will do and when. Quite a handy thing to have during a fight. I believe this was the most important thing the Professor got from Anciong.

You have made a couple of good points, however I would suggest that you go back and read what Richard Curren, posted on the topic. You will find the keys to understanding cuentada and tapi-tapi in his comments.

Your ideas about footwork, angeling, strikess and blocks are all good, but one must move beyond technical knowledge and mere mechanical movements to be able to "flow". There is a very good reason that professor did not have to move when he sparred with most of his students and the answers are divded between Professor and the students.

Come to the Symposium and I can point you tyoward several instructors and Mr. Curren, who will answer your questions and show you how to make the cuentada work for yourself.

Jerome Barber. Ed.D.

 

[Roland]

Or are you being sly and trying to get someone else to mention baititng?

 

[bloodwood]

Roland,
I've got no hidden agenda here. I'm glad you brought that word into the mix. Baiting and setting up was a big reason for Professor's success. Baiting someone's first couple of moves is one thing but knowing the outcome many moves ahead, now that's a different story.
It's obvious you have something to say on baiting, so please do.

 

[Dan Anderson]

Originally posted by bloodwood

What is truly the pinnacle of the art in Modern Arnis? He was the chess master of Arnis.

For me, the pinnacle of Modern Arnis are the two things RP stressed and had in spades: the Flow and the ability to counter the counter.

Those are my guidelines.

Dan Anderson

 

[Roland]

Got you to talk more on the baiting issue already.
Did not think you had a 'hidden' agenda, just being sly!

 

[bloodwood]

Wow! I got baited to talk about baiting. Speaking of taking the bait.
Who remembers working with the Professor and taking the bait even though you knew you were going to pay for it. At the end of the technique he was demonstrating he'd just gently throw the bait and just give you that look to grab it even though you didn't want to. From that point on you got to see just how high you could get on your tip toes or see what the ground tasted like. We were always told to let go when your partner tapped out but I guess the Professor missed that class. He'd bring you just to the point of you hoping someone would just shoot you, then smile and move on to the next lesson. I miss him.

 

[Roland]

It was only about a half dozen times or so.
Sometimes he would bait and be gentle about it, 'to show you', other times he would just take you out so 'you could feel it', worked great either way!