L
Leo Daher
Guest
As the title says, this is an instructional video on the use of the Kerambit, shot during a seminar last year in Greensboro, NC. Guro Ray Dionaldo is well known in martial arts circles for his blade work. One of the highest ranking Sayoc Kali instructors, he heads the Filipino Combat Systems organization and holds teaching certifications in several other FMA styles.
Ray starts by talking about little known variations of the Kerambit found in the Phillipines, where they're used both as concealed carry weapons and agricultural tools, and how they differ from their Indonesian counterparts. They vary in size and shape, and not all models have the ring at the end of the handle; most are plain edged, but some have teeth, depending on the intended application.
Next, Ray explains how the Kerambit is ideally suited for in-fighting, working in tight spaces (what we would call "corto-corto" range). He shows some basic striking combinations, stressing economy of motion rather than wide swings.
Ray then demonstrates some spinning maneuvers, with a warning on the possibility of self-inflicted wounds if carelessly executed and how to avoid them.
Next, we see how the Kerambit can be deployed in conjunction with some classical FMA moves, such as Guntings ("scissors", or passing blocks with a limb destruction) and Palusuts (overcoming resistance by passing through). The Kerambit's unique design allows for its use in trapping, slashing, ripping and gouging. Shown are moves that, to a certain extent, can also be applied with small straight-bladed knives in reverse grip (Pakal).
In the last segment, we learn ways to manipulate the opponent's reactions through the use of baits and the "50/50 rule".
Ray's performance on video is sure to impress those not familiar with his blade work. His seamless combinations and effortless delivery of different techniques are as smooth as can be. The main characteristic of his brand of Kali is fluidity, which translates as lightining-fast speed. In a sense, Ray's style can be classified as a "soft" rather than a "hard" art.
Unlike most seminar tapes, this one was professionally shot and edited. Each technique is presented in detail from at least too different angles - there's no "filler" or unnecessary repetitions, so they were able to squeeze a lot of information in 30 minutes or so (be prepared to make extensive use of the "rewind" and "slow motion" buttons on your VCR). Picture and sound are excellent.
Finally, I'd like to make clear that I train regularly under Guro Ray, so my review might be less than totally unbiased; nevertheless, I strongly believe those with an interest in the fighting applications of the Kerambit should check this video out. I'm sure you won't be disappointed.
This video is available through FCS/KALI North Carolina.
Ray starts by talking about little known variations of the Kerambit found in the Phillipines, where they're used both as concealed carry weapons and agricultural tools, and how they differ from their Indonesian counterparts. They vary in size and shape, and not all models have the ring at the end of the handle; most are plain edged, but some have teeth, depending on the intended application.
Next, Ray explains how the Kerambit is ideally suited for in-fighting, working in tight spaces (what we would call "corto-corto" range). He shows some basic striking combinations, stressing economy of motion rather than wide swings.
Ray then demonstrates some spinning maneuvers, with a warning on the possibility of self-inflicted wounds if carelessly executed and how to avoid them.
Next, we see how the Kerambit can be deployed in conjunction with some classical FMA moves, such as Guntings ("scissors", or passing blocks with a limb destruction) and Palusuts (overcoming resistance by passing through). The Kerambit's unique design allows for its use in trapping, slashing, ripping and gouging. Shown are moves that, to a certain extent, can also be applied with small straight-bladed knives in reverse grip (Pakal).
In the last segment, we learn ways to manipulate the opponent's reactions through the use of baits and the "50/50 rule".
Ray's performance on video is sure to impress those not familiar with his blade work. His seamless combinations and effortless delivery of different techniques are as smooth as can be. The main characteristic of his brand of Kali is fluidity, which translates as lightining-fast speed. In a sense, Ray's style can be classified as a "soft" rather than a "hard" art.
Unlike most seminar tapes, this one was professionally shot and edited. Each technique is presented in detail from at least too different angles - there's no "filler" or unnecessary repetitions, so they were able to squeeze a lot of information in 30 minutes or so (be prepared to make extensive use of the "rewind" and "slow motion" buttons on your VCR). Picture and sound are excellent.
Finally, I'd like to make clear that I train regularly under Guro Ray, so my review might be less than totally unbiased; nevertheless, I strongly believe those with an interest in the fighting applications of the Kerambit should check this video out. I'm sure you won't be disappointed.
This video is available through FCS/KALI North Carolina.
). Too late to edit the post now.
