Hubud Lubud (Revisited)

In this cycle, we are working on Hubud Lubud (tying and untying), a drill common to many FMA systems - including ours.  I have written about the benefits of this training in prior posts (even using the same picture), but it is worthy of a deeper explanation here.

In my 2014 post (linked above), I explained the Hubud Lubud drill as a beneficial training method and briefly explored some of the ways in which it can be used to build skills and understanding of key FMA principles.  To go a little deeper, I have been using this drill as a platform or blueprint from which I am teaching the following bodies of knowledge:

1) Basic Hubud Lubud Empty Hand Pattern --- the basic drill, done on right and left sides, including various ways to switch from right hand to left hand feeds.

2) Weapons Training --- using this pattern to explore similar movements done with knife/karambit/stick/scarf.  FCS and Doce Pares also include (at least) the stick version of hubud lubud in their curriculum and it makes a particularly nice segue when used to transition from single stick 5-count sombrada to punyo sombrada patterns.  The knife/karambit versions are an effective way of starting to understand passing/trapping with blades, especially in CQB/corto distance.

3) Guntings --- Kali Majapahit's commonly taught hubud lubud patterns include several variations of classic horizontal/vertical elbow and pass/split knuckle guntings.  In particular, we drill a 5  step pattern that includes elbow guntings (inside/outside/sandwich) followed by low and high elbow locks.  Inosanto Kali includes these principles, as seen here in a video by Sifu Paul Vunak.

4) Hakka Kuntao 5 Gates --- Since Hubud Lubud is performed at corto (close) distance, it is an ideal base to develop hakka kuntao flows.  In Kali Majapahit, we use Hubud Lubud (often with an angle 2 reply) to see the common trapping concepts  of Hakka Kuntao, specifically scooping/passing/tan sao/bong sao/fook sao - also known as Hakka "5 Gates".

5) Aiki Flows --- My background in Traditional Japanese Martial Arts (Takeda Ryu Aikijujitsu and Yoshinkan Aikido) instilled in me the importance of learning to control the opponent's hands/wrists, called "Te No Tori" (手の取り）, a kind of Aiki version of Chi Sao.  The framework of Hubud Lubud lends itself very well to these setups, and I teach them often on both right and left sides.  Some of my favorites include applications of Ikkajo, Hiji Shime, Kata Shime, Kote Gaeshi, Ude Garame (short and full), Ushiro Udegarame, Shiho Nage, Shomen Irimenage, Sokumen Iriminage and others.  Using an angle 2 reply (see above) allows drilling most of these on the left side as well.

6) Multiple Angles/Lines --- Most students spend the majority of their training on the basic (angle 1) Hubud Lubud drill.  In fact, variations of this drill include other angles as well.  In particular, angle 5 (straight punch) and angle 2 (backhand) and two of the most common variations.  Hubud Lubud applications also exist for elbow strikes as well (usually received with a Sin 6 outside pass).  Once these are understood, Hubud Lubud can be trained with a combination of different attacks, thus becoming a more comprehensive flow drill.  See also this excellent example done by Guro Peter Weckauf of SAMI Systems.

Furthermore, advanced variations of Hubud Lubud include passing from high line to low line (often including guntings) as a way to drill redirection of the attacks.  This is a very helpful drill for knife defense and knife versus knife flow.

Standard Hubud Lubud etiquette suggests that we respond with whatever attack we are fed (if given angle 1 we give back angle 1, etc), but for a more advanced drill random angles (angle 1/2/5/elbow) can be fed back and forth.

One three-month cycle is barely enough to scratch the surface of all the learning that can be gained from studying this foundation movement and its many applications.  Please consider the above and how you can use this template to your maximum training benefit.

More to come... 

Blueprints for Success

Filipino martial arts differs from "traditional" Japanese, Korean and even Indonesian/Malaysian martial arts in many ways.  One of the most obvious is the lack of forms or "kata" in FMA.  We do have a wide variety of drills, but most FMA systems do not have forms or "kata" the way they are usually seen in other traditional fighting arts.  Forms were historically used as blueprints: a way of preserving techniques and transmitting them to larger groups in a consistent way before the advent of detailed texts and manuals.  We know the origins of many kata from various styles of Karate, Tae Kwon Do, Hapkido, Aikido, Judo, Wing Chun and even some styles of Silat (Jurus) and yet we do not clearly know the origins of many of the old, traditional kung fu katas, for example.

In FMA, we tend to use patterns or templates as a way of illustrating key concepts, but rarely with the idea that they are a fixed format for fighting.  These templates or patterns show a basic combination, and can then be "flavored" with other guntings/strikes, set ups for clinches/take downs/throws/chokes/strangles, or even modified to be done with a variety of different weapons including sticks, knives, karambits, scarves and so on.

Recently, Tuhon Kit Acenas of Kali Mundo visited Tokyo to conduct a joint seminar with Guru Maul Mornie of Silat Suffian Bela Diri - both experienced masters at the highest levels of their respective arts.  They worked in combination, taking turns teaching their two different styles (PTK and SSBD) from the same basic template.  Tuhon Kit referred to it as a "platform" and I really liked this expression.  A platform is a starting point or foundation, on top of which other structures can be built.  Over the course of a fantastic training weekend we built a lot on top of the platforms that Tuhon Kit and Guru Maul kindly shared.  My own teacher, Guro Fred, uses the term "solutions" and I like this very much also.  "Solutions" suggest more than one single possible answer, and include the idea of creative and dynamic problem-solving.

I often see students doing their best to exactly imitate the movements they see in a platform.  This is important, especially early on, since we need to train the eyes to observe the various important parts of technique - footwork, hand position, weight shift, kuzushi, atemi, irimi, distance.  At some point, however, we must learn to go beyond, to build on the platforms we are given, and to take them in new directions.  This is the basis for discovering our own "flow".

In summary, it is important to respect the form/pattern/drill/template, but not to the extent that we become a prisoner of it.  Use every drill fully, wring out every last drop of knowledge you can, but then break apart, break through and extend/expand beyond the limitation of it so you can achieve actual mastery.  Use the platforms as foundations to build on, but keep going until the knowledge from them becomes universal and applies to everything else you do.

FMA contains a lot of bodies of knowledge including single/double sticks, several systems of empty hand self defense (striking, kicking, locking, throwing, boxing, grappling), knife/karambit, staff, tomahawk, scarf/sarong, and other improvised/specialized weapons to name but a few.  At first these all seem like disparate sets of understanding, each very different from the others.  In the end, after years of training, they all become one big "knowledge lake" and blend together seamlessly.  In my case, after 10 years of Kali and almost 40 years of martial arts study in total, I feel like things are coming together and becoming part of a common core body of knowledge I can share with my students.  I could not have reached this point simply by mimicking the movements of others.

Keep training.  More importantly, keep learning, growing and exploring.  Eventually it will all come together.

"Obey the principles without being bound by them." - Bruce Lee

The Professional

One of my favorite scenes from one of my favorite movies - Akira Kurosawa's "Seven Samurai" (1954).  Of course, the original epic movie that spawned the western classic "The Magnificent Seven".

Here, we see the master swordsman, Kyuzo, played by the stoic and resolute Seiji Miyaguchi.  He is challenged by a nameless Ronin to test his skill with bokken (wooden swords) and accepts.  He knows he won but his opponent boasts a different story, insisting on it until the score must be settled with steel.  As expected, Kyuzo cuts the man down with a single, well-timed stroke.

Watching carefully, we see the brash and boastful ronin, who is not satisfied with the academic discussion of skill or sparring with the less lethal wooden swords. The ronin cannot accept that another man could be a better swordsman than he and feels desperate to back up his big words.  In front of the crowd, his insecurity and vanity cause him to put his life on the line.  In this case, unfortunately, against a truly superior swordsman.

There are many lessons here.  It is easy to respect Kyuzo as a master who is only interested in becoming the best he can be, and is willing to put that skill to the test to improve himself.  He is not boastful, but rather calm and confident in his skills.  He is not swayed by idle words or threats and ultimately accepts a real duel only when the ronin simply won't give up.  We must always be careful to de-escalate situations where we get challenged, since most people want to test us because of their own fear and insecurity rather than any interest in our skills.  Likewise, knowing there is always someone better, we should never feel a need to display our prowess in front of others. Vanity has no place in proper martial arts training.

Mastery of the sword - in fact, mastery of all martial arts - is really about mastery of the Self.  Mastery of the emotions, especially the Ego.  It is a lifetime process of discovering yourself and growing in your understanding and skill.  It is about looking inward rather than outward - about trying to make yourself better rather than trying to make other people worse.

People are sometimes surprised at the very few times I've had to fight in the past 38 years in and around martial arts.  They shouldn't be.  With nothing to prove and nothing to gain, I simply walk away.  I intend to use my physical skills only if the situation is unavoidable and cannot be resolved in any peaceful manner - really only to protect others from harm.

Last night at a dinner, my old colleague introduced me as a martial arts instructor, which I admitted, and our dinner guest felt the immediate need to want to challenge me with his "unbeatable Wing Chun".  I declined.  Losing might have gotten me injured.  Winning would have gotten me nothing.  Those are fights I always try to avoid.  My ego does not need to be appeased like that.  In such contests, "winning" is actually losing.

I love martial arts.  I love to meet and train with everyone I can regardless of background, so that we can all learn and grow.  I have ZERO interest in a duel of any kind, friendly or otherwise.  I know exactly what I can and cannot do, and feel no need whatsoever to have to prove that to anyone else.

Hagakure, by Tsunetomo Yamamoto, is an excellent book on the stoicism of the martial way, written by a man to his younger peers whom he felt were slowly losing their commitment to The Way.  I read this book in my early studies under my original teacher and it influenced me greatly.  I highly recommend it.

In the meantime, train more.