Basically rewinding

 I started this year with a big step back. But not a drawback by any means. The idea is to boil the big chunk of my practice time down to the bare basics and work on it in earnest, in a fully deliberate manner for a while. How long will that while last...remains to be seen. Yeah, there is still ongoing work on the new material as part of the already undertaken studies, but at the moment there will be no new systems or arts introduced. 

So, what are the basics at hand? In terms of empty handed work it means a handful of ground maneuvers/exercises that are applicable to grappling (front, back and sideways rolls, shrimping, getting off the ground and engaging it); jab and cross; front knee kick and oblique stomp kick. When it comes to weapons work, just the forehand and backhand diagonal and horizontal strikes with stick; three thrusting and three cutting angles with a knife. 

That is it. When working on them in a solo regime, I'm using a "pyramidal" approach - a set of very slow and deliberate reps, a set of semi-fast reps, a set of max-speed reps, a set of mid-speed, another set of very slow and deliberate ones. Then do the whole thing 2-4 times. 

Is it tedious? Sure. But, what I do in order to combat the possible boredom and maintain focus is pick a visual target (or a physical one) and stay on it, because it provides feedback about the trajectory of hte technique, distance, structure etc. 

It takes commitment and discipline to do it, but it is worthwhile. Namely, I have noted certain wrinkles in my performance that have crept up over time, and now they are being ironed out. If you are like me and subscribe to the "advanced techniques are basics done really well" school of thought, then it is not hard to understand the satisfaction of improving those fundamentals, for the greater benefit down the line. Not to mention that sometimes KISS-ing is just so refreshing.

Changing views

 There is this thing of viewing, i.e. quantifying, one's training from one of two main vantage points - in term of hours spent, or years invested. It probably obvious that those two outlooks are nor really mutually exclusive, but rather complementary. Especially since both require certain level of commitment from the practitioner... Quite recently, the good folks from the FMA Discussion community had a very nice debate on the topic of hours vs. years, and it yielded an excellent episode of their podcast. 

All three participants in the talk were able to really nicely present their points of view and arguments relating to the subject, with a lot of excellent insights. I especially liked how they underlined that when things take their natural course, the hours will eventually turn into years. It really resonated with me, because it immediately reminded of how my path with Alex Kostic unfolded. Namely, when he first started teaching Systema as a guest instructor in the club/group where I was a member, it was only natural that my tendency was to squeeze in as many hours as possible with Alex whenever he was around (he was still based in Canada back then). Those hours contributed to our building a great relationship and ultimately into years spent training and researching together. 

Be as it may, at one point during the above program, the host asked the question that I had sent, whether if we take the look at the training time through the lens of hours, does it matter how far apart those hours are? While the answers were good, I may not have formulated the question adequately. Although, Mr. Steve Grody had already brought up what seems to me to be the central point - consistency.

So, here is my attempt to be a bit more specific. Let's say a person has 50 hours per year available for training. Would it be more effective then to train for one hour every week, or attend five seminars of 10 hours each throughout that year (thus, 10-12 weeks between training sessions)? Essentially, if there is absolutely no other training done outside those hours, it only makes sense that weekly hour-long sessions would be preferable, primarily for the sake of regular feedback regarding one's performance. Regardless of what kind of performance we're talking about here - forms, techniques, drills, sparring - consistent shorter sessions will take the cake over occasional longer ones.

 On the other hand, if we talk about 50 hours of INSTRUCTION, not all training, then the seminars with regular practice sessions between them may be the right way to go, particularly of otherwise we have limited access to the qualified instructors. After all, this how many arts and systems were able to spread around the world. Still, if regular instruction is available, weekly learning slots with reinforcing practice sessions on other days of the week would win, for the reasons mentioned above. 

It bear saying, nonetheless, that certain situations will naturally gravitate to one of the two vantage points. Say, a fight camp 6-8 weeks prior to a competition clearly goes towards the emphasis on hours spent over the period. Alternatively, in some systems require age limits for certain ranks, so the hours on those years may not be decisive. 

The bottom line is that it is how learning works - effort over time. The intensity and regularity are the fundamental factors here, and if those an be balanced, it is really an optimal situation. And again, if the commitment and discipline are there - the hours will definitely turn into years. 

Kaleidoscopic view

 A week ago I had a great pleasure of being interviewed by guro Tom Edison Pena of the FMA Discussion crew. During the chat, besides an overview of my background and journey in the martial arts, we touched upon several training related subjects. It mostly presents my views about the role of the instructor(s) in conducting the training for the adequate results and with proper approach. 

Some of you may be already familiar with some of the things stated here, but if you would prefer to watch and listen to me go on about various topics, check it out.

Here is a rough outline of the contents:

03.55 - Early beginnings and first steps in MA

14:00 - Physical attributes in technical development

22:05 - Starting RMA and learning perspectives

24:15 - Introduction proper to FMA

29:55 - Encounter with Lameco eskrima and doing long-distance learning

40:20 - Appreciating unpaid instruction

41:10 - Teaching as a learning tool

42:48 - Validity of training approaches

45:03 - Contextual functionalist

47:05 - Stint in MMA; on competition in general

53:30 - Role of luck

56:20 - Alex Zhelezniak and ACT system

57:40 - Teaching/Coaching methodologies

59:40 - Curriculum shortcomings

1:02:50 - Instructors vs Coaches

1:07:00 - Meeting Luis Preto and learning Jogo do Pau

1:11:15 - Tactics as a decision making process

1:12:15 - Mindset foundation for training

1:13:45 - Benefiting from Internet communication

1:18:00 - Importance of cultural and historical background

1:19:30 - Role of "flow" drills

1:23:45 - Forms pros and cons

1:30:50 - Differences between good athletes and coaches

1:33:05 - Sending students elsewhere for their sake or group sake

1:40:54 - Private vs group class

1:41:55 - Some recommended online FMA programs

1:47:54 - Importance of fundamentals and creative application

1:49:57 - Main requirements for teachers/instructors

1:51:35 - Need for education

1:55:40 - Craft before art

1:59:00 - FMA as a community?

Having done the interview, I believe there will be more articles on certain subjects mentioned, because as great as my host was, the boundaries of the format and flow of the conversation didn't necessarily get the fully fair insights into some of those. 

Hard AND Smart

 This one goes hand in hand with the previous post. That said, you do not need to read the last month's installment, but if you do, it will give you a bigger picture of the subject.

A typical student of a typical martial art is typically driven (early on at least) by achieving the next belt/degree, which is why after the 3-6 month mark, probably the biggest drop off point in the number of students is a year or so after they get their black belt. That is characteristic of extrinsically motivated people, i.e. a lot of them in today's consumer societies. Also a common feature of such practitioners is incessant hunt for new techniques and tricks. It is baffling, really, that to this day there are so many people believing the "secret" to greatness of success lies in the material itself, rather than in the person using it. After all, how do we explain the fact that some exponents can successfully pull off techniques others can't make work? As master Rey Galang says during his classes (albeit in the way I paraphrased it, to make it more memorable):

So, yeah, it boils down to elbow grease and dedicated work on the stuff one's instructors are teaching. And then, ask yourself, how much time during the day (if aiming at real competence, you can't allow yourself to think in terms of 2-3 times per week) you can invest in training? Well, how much material do you think one can cover efficiently and meaningfully? Hmmm...does it make sense to collect dozens upon dozens of techniques in that case? 

That brings us to the need and desire for cross training. I belong to the camp that argues for the necessity of such approach, if one is motivated by combative effectiveness in their martial training. The above considerations could be used here as a filter to help you decide which systems/instructors to work with in order to make your skill set compact and functional. Namely, their methods should be complementary, both in terms of fighting ability and training economy. When you can work on things that fit well together, it is easier to approach them in a single act, thus making every minute of practice count. Otherwise, you might be struggling in vain.

Be honest with yourself and it will be easier to be true to your quest. 

Challenges in training - commitment

 

So far, all the installments of the Challenges In Training “series” discussed the topics that mostly belonged the to the domain of responsibility for the instructors and coaches. Overall, this whole blog is sort of aimed that way, talking about the training methods, progressions, tools, approaches etc. And all those are important. However, the absolute key factor in any student’s progress is actually is or her own dedication and determination in training.

Naturally, when first getting into a martial art class, many potential students may not be fully aware of what is it they are looking for, due to a slew of various ideas about training. And that is fine. At some point, though, some of them will find some reason to choose one system/school or the other and stay with it. From that moment on, the instructor and the trainee have a kind of pact (maybe even a written contract) that binds them in the joint effort of making the latter better at that skillset. Now, contrary to the common initial view, at the early stages of training, the main burden of making that progress is ON the STUDENT! It is up to them to provide the foundation by being consistent and earnest in their work. Most importantly, having made your choice, give both yourself and your instructor some time to get things going. Make sure you are not in this category:

While it is certainly easy to find yourself nodding and agreeing with what Mr. Marsalis says (as an instructor), or be intimidated (as a student), it doesn’t mean the only good way to undergo effective training is what some people would call “old school” – absolute obedience and silence from the trainees, whereas the teacher or instructor is held on a pedestal, with dictator-like mandate to do whatever they feel like. The commitment on students’ part is also reflected in their curiosity and desire to know more/better, especially if what they have to ask and say helps the teacher understand how to prepare the classes and material for the best results.

That said, it does not mean total liberty for the students to just spout the first thing that comes to their mind. There has to be some discipline and self-control involved in the process. Essentially, you should be looking to have as meaningful relationship and communication between the two sides as possible. Remember, it is a pact, with the common goal in mind.

Probably the main hindrance nowadays is the exposure to too much information. I have to say, with the spread of free (quasi)instructional media on Youtube and similar services, it can be rather difficult for students to separate the wheat from the chaff and set up good filters before selecting adequate material to ask about or consult. My advice is, ask your instructor which sources are acceptable from his perspective, and from which phase of your training.

But, most importantly, the students need to understand that training is a process! As such it takes time and it is not linear. There will be ups and downs, plateaus and growth, frustration and inspiration…it is all part and parcel of doing it. But you must be doing it in the first place, and keep at it. Sure, there will be times when you don’t feel inspired or at your best, or when it is the case with your instructor…this is where your discipline and commitment have to carry you. Otherwise, haphazard training will only yield haphazard results.

Decade of babbling!

 Whoa, it just appeared to me that a month ago it was the 10th anniversary of this blog! Man...who would have thought. Back then, even with the first actual post, my sole intention was to share some personal views and insights into this beautiful, funny, frustrating and consuming world of martial art training. Maybe I was hoping to somehow contribute to improving that very training process a tiny bit. Well, while there is no way to say if the later hopes have been achieved, I sure did keep on sharing those views, thoughts and rants. And got more in return than ever having dreamt of!

Just like it is the case with training itself, the main benefit of writing this blog turned out to be getting to know some really great people and learning infinitely more along the way than possible being able to teach in any way, shape or form. As the matter of fact some true greats found it worthwhile to get in touch and grace me with their time in conversation. Others provided me with the opportunity of actually learning under their guidance on a regular basis. What more could a guy, who happens to be a lifer in the martial arts, ask for?

However, as a complete coincidence, probably the biggest honor that aligned with this anniversary was the invitation to teach along with guro Roger Agbulos during one of his incredibly popular Zoom sessions. As a token of appreciation for all those readers who made running the blog worthy, here is my segment of that session, in all its (in)glorious detail:

The things that I would particularly like you to notice are the interpretation of what good technique actually means in combative arts (at the very beginning of the video), as well as a helpful way to improve one's solo practice and make it more effective. If you get more out of it - take it as bonus! 

In conclusion, it has been an awesome ride... Let's see if we can go for another round! 

Modern classic

 Let's straight it out from the very beginning - what makes a book a classic? Well, in short, it has to be an excellent presentation on the given subject, holding its value over time, serve as a go-to source of information, and ideally reveal new insights with every reading/consultation even years later. In addition to all that, the work presented today was published in the 21st century, hence the term "modern". And the author of the subject of this review is master Reynaldo Galang.

Rey Galang doing what he loves most

Master Rey is a fairly well known name in the world of Filipino martial arts (FMA for short) and held in high regard, both for his teaching ability and penmanship. On the one hand, he is a co-founder and a driving force behind one of the most prestigious organizations in this sphere - Bakbakan. On the other hand, he wrote and edited four phenomenal books on various aspects of FMA, as well as numerous articles over the past couple of decades. Having had the good fortune to attend some of master Rey's online classes, I can confidently say that his dedication to the arts and commitment to students is absolutely of the highest order. This is probably the exact foundation that the success of Bakbakan was built on. 

Bakbakan

Among the four books mentioned, I would like to point to the one titled Masters Of the Blade. Now, the books that seek to portray several, or many, representatives of any martial art (maybe even comprehensive overview of various styles within the art) are not exactly a new idea. In the realm of FMA itself there have been several, including one also written by master Galang (Warrior Arts Of the Philippines). However, there a few features that make the MOB book stand out.

the book

Firstly, instead of opting to cast a wide net of entire art (say, FMA) or geographical region (e.g. Philippines), the author chose to focus on a single aspect of the art, specifically the knife, and then bring in the views and thought from a large number of contributors. To be honest, all of the featured exponents in this tome had been more or less influenced by the FMA approach to handling the knife and dealing with it, but some of them (Tom Sotis of Amok!, Michael Janich, James Keating and Hock Hochheim come to mind) have moved to one degree or the other away from the typical Filipino treatment of the tool. 

Secondly, the contributors are not grouped according to their stylistic affiliations, but rather presented in the alphabetical order. Why is that important? To start with, nobody can accuse the author or favoring his own "tribe" and pushing their agenda to the detriment of another one. Also, it makes for a more interesting read, because the expressions of the topics vary from one chapter to the next, so you will keep focus better. Finally, the absence of style/system chapters eliminates the proclivity for skipping some chapters, and in turn made me discover new people and learn about their insights with a more open mind. 

Thirdly, all the contributing authors were obviously given the full freedom to state their position on the subject, even if it does not align with those of other exponents or the main author, which is a refreshing approach to doing this kind of work. That way, the book serves almost as a forum for the exchange of ideas and experiences for the mutual learning benefit of the reader, regardless of his or her previous experience. 

Lastly, the technical presentation makes for a mighty nice package. Excellent print quality on glossy pages makes the photos clear; good binding provides years of perusing pleasure without the fear your book falling apart; format is just right...and at 450+ pages this book is chock-full of great information and will offer many hours of reading pleasure. 

still going strong

Ok, but is it any practical in terms of learning  something from it?

Why, am I glad you asked! If you don't mind a personal anecdote (hey, it is MY blog after all!), pondering this very question lead me to my currently main instructor of FMA. 

Namely, when the book came out in 2005, the quality instruction in the Filipino arts was seriously scarce in my neck of woods, so I would take any opportunity (indiscriminately) to learn something from anybody who had access to real teachers. No wonder that some of those teaching would be contradictory to each other occasionally, system names were just labels to me, and it made me confused at more than one point. Upon going through the book a couple of times, there seemed to be chapters that, if taken in certain order, could constitute a solid training progression. And then, I shared my thoughts in this regard on one of the more active knife forums of the day. Here is what I wrote:

1. Start with the chapter provided by Roger Agbulos. It is dedicated to what I feel is the groundwork for any fighting endeavor, i.e. footwork and non-telegraphic movement. After you've done that on your own for a few days...
2. Find yourself a partner and get into drills nicely featured in Steve Grody's chapter. It will teach you how to stay in a long range, where your skills are most likely to give you the advantage over an untrained opponent (as they say - "proximity negates skill"), and you'll be pushed to use your footwork from the step 1 in a situational environment of sorts.
3. If you've been doing the above two steps for a few weeks, and started developing some timing and feel for keeping your distance, maybe entering and disengaging comfortably to some degree, you might be ready for basic medio and corto drills, so turn to Hospecio Balani's portion of the book. There you will also get a feel for working with a reverse grip. I'd like to add that you should not stop working on previous material, because we all need constant improvement and brushing up in those areas. The same principle applies in further steps too.
4. OK, once you have your live hand in sync with your weapon hand, you should move to more demanding tasks, such as those shown in the chapter by Dave Gould. This is where all your previous skills will be put to test, along with your mental perseverance, ability to cope with stress and failure in training and struggle with your ego.
5. At this point, which in my estimation is after few months of regular training, you should have your solid foundation in place, so you can start adding other material from the book, in accordance with your needs and interests - empty handed against blade concepts or stalemate solutions from Steve Tarani; solo training forms, techniques and drills and their applications from Rey Galang or Michael Janich; empty handed scenarios from W. Hock Hochheim and John Jacobo; multiple adversaries or VIP protection scenarios from Atienzas or Bakbakan; drills for overcoming knife defense attempts from San Miguel Eskrima and Krishna Godania; insightful and thought provoking writing from AMOK!, Ron Balicki or Jim Keating...and so on.

In essence, after you have your essential skills included in your functioning arsenal, you can go out and do research on your own, as the above is just a basic outline/framework, based only on a single book, although a great one.
Finally, The fact that I haven't mentioned some people who contributed to the book (Ray Dionaldo, Bram Frank, Felix Valencia...) is not to say that they have nothing valuable to offer. It is just that I tried to make this as simple and functional as possible. After all, refer to the section on "doing your own research"...That's why they call it a homework - you do it on your own!

As it turned out, the person who was mentioned first was also a member of the forum ad reached out to say thanks about the review. We really hit it off from there, and have become friends, to my great learning and training benefit for 15 years now. 

Also, I soon figured out that the next three instructors mentioned, just like the first one, were all practitioners of the Lameco Eskrima system of FMA, so that effectively made my decision on which path I would like to pursue in this regard. 

In conclusion, this book has stood the test of time, especially if you keep in mind that it was published in the pre-Youtube era. While several new name instructors and training approaches have emerged in the meantime, most of those featured in the Masters Of the Blade are still pretty active and further honing their material. 

If you get a chance to get this book - don't waste it! It will be a staple of your martial art library. That said, while eagerly awaiting for master Rey's next book, I'm off to check a couple of things in my copy...