TO TEST AND APPROVE WHAT IS RIGHT

An exclusive interview for FMAM

By Kristine Strasburger

        All people who study and train in the martial arts long enough to become proficient in their style eventually come to the place in their journey where they wonder how well their particular art will stand up against opponents from different fighting backgrounds.   It is not too difficult to find opportunities to test one’s skills against others in the same or very similar arts.  Competing in tournaments, whether large or small, is an excellent way to test your skill against people with whom you are not used to training.

        The main drawback to tournaments is that they are usually governed by rules of engagement that may prohibit the true testing of one’s skills.  This is particularly true for the martial artist who desires to test what he or she knows against an entirely different martial art.  An example of this would be the eskrimador who desires to test his empty hand skills against a Tae Kwon Do practitioner.  He simply couldn’t test himself very well in a normal tournament setting because of the limiting parameters of what is acceptable at a TKD tournament.

        The Martial Arts Research Fellowship (MARF) was formally established in July of 2000 to encourage and assist martial artists of all backgrounds in that segment of their training that asks the question, “Does it work against ________?”   The following is an interview with Sifu Darrin F. Coe, founder of MARF.

Kristine Strasburger:  Darrin, what do you want the readers of FMAM to know about MARF? 

Darrin Coe:  I’d like the readers to know that MARF is an inclusive organization.  It is not about rank, or about whose style or system is better.  It’s not about martial arts politics.  MARF exists to create an environment where “my” system and “your” system can complement each other if we are willing to work together.    It is about creation and generation of martial arts.

K.S.:  The vision statement for MARF says it exists “to establish and spread the belief that there is only one martial art.”  Please define the term martial art, and explain what you mean by this vision statement.

D.C.:  Certainly.  By “one martial art” I mean that there is only one combative system.  Each person has his personal viewpoint on it-- this makes each system look like a different art-- but it is all one in essence.  Many have observed before me that there are only so many ways that a human being can strike or kick; only so many ways that the joints can be manipulated; only so many ways a human can move.  With this in mind the true martial artist will seek to boil it all down, and also create something new.  He or she will find a new way to express these limited numbers of movements.

        In my opinion, the martial arts world as a whole is going through a stagnant period right now.  I am not saying that everyone out there is stagnant.  There are quite a few individuals who are not.  But within our modern society there seems to be a general lack of creativity and effort to discover new things.  I really think that the only way to get out of this stagnation is for more martial artists to be willing to explore and create.  That is what the Martial Arts Research Fellowship is all about.

K.S.:   One of the ways that MARF helps individual martial artists mature and expand in knowledge and experience is by hosting an annual “Convocation of Warriors”.  Please tell us what this Convocation is all about.

D.C.:  I have a personal belief that what we do should be useful.  The Convocation is a gathering time where any and all martial artists can come together across system and style barriers in a sort of laboratory setting to watch, participate and learn.  It is a form of training.  It is a time to find out what works and what doesn’t; where one needs some fine-tuning; where one’s glaring weaknesses are.

        The Convocation is absolutely not a competition or a tournament.   It is self-directed group training where people can test themselves against a huge variety of fighting situations.  It is a time where martial arts creativity can be set free and experienced.  It is also a place where fears and apprehensions can be confronted.

K.S.:  How does the Convocation of Warriors event differ from the formal and informal fighting events hosted by other groups?

D.C.:  Well, for starters, MARF does not claim to be the only group who is hosting or sponsoring this type of event.  Every group is different, and there really is no way to know if we are the only ones doing something a certain way or not.  I’d also like to point out that some of the established groups have been very encouraging and supportive in helping me to organize and establish the Convocation event.

        The best way I can answer your question is to point out the main things we do feature at the Convocation of Warriors.  First, we let the individual fighters arrange their own fights.  They decide between themselves the rules for the fight, the duration, the weapons, the amount of padding, everything.  This gives individuals the opportunity to explore new areas and to work on personal weak areas.

        For example, a fighter desires to go empty handed against an opponent wielding a training knife and a stick; they might decide on three one-minute rounds with a twenty second rest between rounds; they could agree to groin and head protection only, or opt for more padding; and they have the choice to make take-downs illegal in order to focus on foot and hand work, or permit them in order to practice their take-down techniques.

        Fighters can also choose to go against multiple opponents, or even have several members on each side for a team fighting experience.  Only the individual limits the number of fights he participates in.  We strive to give each person as much time in the “ring” as they want, and as many fighting experiences as they can think up.

        Second, because the Convocation is open to all martial artists, the fighters are encouraged to match different styles and any combination of weapons and empty-handed fighting (barring obviously mutilating and lethal weapons).  We try not to focus solely on one fighting type.  The styles seen at any given Convocation will, of course, be determined by the practitioners who are present that day, but we want to include everything the fighters can bring to the mix.

        Keeping in mind that all forms of fighting are built upon the one martial art, we even encourage fighters to bring out their boxing and wrestling skills from high school and college days.  The purpose of the Convocation is to test and approve one’s techniques and skills against as many things as possible in order to stimulate creativity and growth.  I’d like to stress here that martial artists of all skill levels are encouraged to participate in the Convocation.  Every fighter can benefit from the experience.

        Finally, we do not place any restrictions on women fighting against men.  We leave it totally up to the individual fighters to pair themselves.  Not all people may agree with this stand, but it is in keeping with our entire philosophy to give every person an opportunity to test themself as fully as they desire.  In a very real sense, the Convocation fighting experience can be a terrific learning tool for women because it is most commonly against a man that a woman will have to defend herself.

K.S.:  How can practitioners of the Filipino martial arts benefit from participation in the Convocation of Warriors event?

D.C.:  For many practitioners of the Filipino martial arts, the Convocation is an excellent opportunity to put often static skills to the test in a dynamic setting.  I do not mean this in a derogatory way.  There are very good schools and teachers for the Filipino martial arts, and the Filipino arts are known for not being static.

        However, a great number of people are trying to learn Filipino arts without the benefit of a qualified full-time in-person instructor to teach them.  Many people just do not have the opportunity to work their art in real time and under pressure very often.  The Convocation offers a supportive and encouraging environment in which to do just that.

        For those martial artists who do enjoy the luxury of direct instruction in the Filipino arts, the Convocation is a great place to test yourself against people who are unfamiliar with your timing, rhythm, footwork, and movements; and vice versa.  It offers an environment of unpredictability that will help you get to that next level in your fighting skill and maturity.

K.S.:  In what way is MARF able to benefit the Filipino martial arts and the people who practice them?

D.C.:  As a fellowship which includes all kinds of martial artists, MARF can help by bringing the Filipino arts into the limelight as complete systems, not just weapons add-ons as they are perceived by many martial arts schools today.  MARF, as an organization, can be used as an avenue to showcase the Filipino martial arts.

        Through participation in the annual Convocation of Warriors, fighters can demonstrate the diversity and adaptability that the Filipino martial arts are known for.  MARF also can assist with recognition and verification of rank.

K.S.:  To conclude this interview, can you tell the readers when and where the next Convocation of Warriors is scheduled to be held and how interested persons might contact you?

D.C.:  I extend a warm welcome to all FMAM readers who would like to participate in the 2002 Convocation of Warriors.  It is scheduled for late August, in Colorado, U.S.A.  Mention that you read this article in FMAM, and receive a free stickfighting video when you attend the Convocation.  For more detailed information I can be contacted personally at the following addresses:

Darrin Coe, 1019 Clover, Canon City, CO  81212.

Darrin F. Coe, MA is Director of the Martial Arts Research Fellowship.

He is a 3^rd degree instructor in Hao Chuan, a 1^st degree instructor in Quan Li K’an, and a student of Arnis de Mano Baston Batongas.  He was the Fellowship of Christian Martial Artists 1999 Instructor of the Year.

The author, Kristine Strasburger, has been a student of Eskrima since 1981.

She served as an Executive Member of the Martial Arts Research Fellowship while it was active.

Inayan Old School Remembers

An Interview with John Peterson, Frank Defanti, Benjamin Berry and Rob McDonald

By Kristine Strasburger

Kristine Strasburger:  It is my privilege to introduce a group of men who, as teachers and mentors on the path of Eskrima, had a huge impact on my life.  These four men were among the most active teaching Guros of Mangisursuro Mike Inay when I began my Eskrima training in 1981 at the age of seventeen.  At Mike's request, they each invested a lot of time and effort in my training, and I can truly say that I would not be the person I am today if it were not for the unique strengths and perspectives that each of these men brought to bear on my Eskrima training.  This article is a compilation of a series of emails between the five of us, reflecting on our experiences and relationships with our teacher, Mangisursuro Mike Inay.

Kristine:  Gentlemen, please introduce yourself by giving your name, the year you started training with Mangisursuro Mike Inay, how old you were when you started training with him, and the martial arts background you had at that moment in time.

John:  My name is John Peterson.  I began my Eskrima training at the age of twenty, in the first week of November of 1975.  Previously, I received training in Okinawan Shorin Ryu Karate, while I was in the Navy from 1972 to 1975.  I trained with First Class Petty Officer Lincoln Brevard (3^rd Degree black belt) at Moffet Naval Air Station in California in 1973, and I trained with Jun Estrella (4^th Degree black belt) in 1974 to 1975, while stationed at Agana Naval Air Station on Guam.  I started Aikido training on Guam, but there was a conflict of time between my working schedule and the Aikido training schedule.  But I was exposed to Aikido’s way of performing martial arts.

Frank:  Hi, Kristi.  The answers to your questions:  I believe it was January of 1976 I started my training.  I was twenty-seven years old.  My previous martial arts background was in Karate, Tai Kick boxing, and Aikido.

Benjamin:  I'm Benjamin Berry.  Thank you, Kristine, for organizing this conversational forum.  Greetings, fellow brothers in Eskrima.  Noting each person’s various prior training backgrounds, it seems we share one common theme, that once we came into contact with Eskrima, it pretty fully took center stage, and became the centerpiece and focus of our lives.  Such is the force of this powerful art form.

I first learned of the Art in early 1977, and began my training under Suro Mike Inay that summer, at age eighteen.  My first formal training was in a Junior High School judo club taught by an instructor with collegiate competition background. After that I enrolled in YMCA Tae Kwon Do classes under a succession of instructors (where Rob also attended- same home town). But in High School I ended my training in those programs, not satisfied with the applicability of what I was learning. Instead, I immersed myself in ongoing self-study through reading widely published books of the day (Tegner, Oyama and others), and intensive solo practice.  It was not as effective as inter-personal training, but it kept hope alive while I held out, waiting to find an art form that I felt I could invest in over a lifetime.  I believed persistence would eventually lead me to a system that was right for me. Enter Eskrima.

Rob:  My name is Rob McDonald.  I started training with Mike Inay in October 1977.  I had just turned eighteen shortly before Garry Bowlds, Phil McLuckie and I made the trip from Ft. Wayne, Indiana to California for the sole purpose of training with Mike. Prior to my introduction to Eskrima by Garry I had started training in a couple of Korean styles at the Central YMCA. I say a couple because they had problems keeping instructors around for longer than a few months, so we students were exposed to more than one Korean system. It was there that I met Al McLuckie (who, a year after I arrived in California, made the journey himself to train with Mike) who coincidentally lived two houses down from me there in Ft. Wayne.  What's the old saying about it being a small world? 

After blowing out my knee trying to get my very awkward body to perform high kicks (talk about mission impossible) I looked around for another system.  One night Al and I ventured over to the Southwest YMCA where we witnessed a Goju-Kai class, and we decided to try this system. It was a good move because there I met lifelong friend and training partner, Kim Satterfield. My body seemed better suited to practice Goju-Kai and I enjoyed the training; however, my spirit was searching for something else. That something else arrived when I met Garry, and began training in my lifelong love, Eskrima.  

Referencing the title of this article, I think that it is appropriate.  It brings back a memory of a funny incident at the gathering following Mike's funeral.  Frank Defanti, Ben Berry, John Peterson, Garry Bowlds, Remy Estrella, Fred Madrid and I were all sitting at a table reminiscing when I heard this young lady who was passing by the table mutter to her friend, "That's the old guys’ table." It still brings a chuckle to my heart when I think about it.

Kristine:  Think back to the day you first met Mike Inay in person.  What do you remember thinking about him?  What impressed you about Mike and his Eskrima play?

Frank: He was very approachable and easy to talk to.  We shared many personal interests, and hit it off pretty quickly.  He was also a very patient teacher. If you asked him the purpose of a move, he would always take time to show you and explain why it was done in a certain manner, not give you the standard, "because that is the way I was taught, and that is the way you do it" type answer.

Rob:  What I remember most was that I was both frightened and excited at the same time.  I met Mike the day after arriving in California.  It was a Sunday, and Garry Bowlds took Phil and I (the three of us had just moved from Indiana to California), over to Mike's house to meet him.  When we arrived at Mike's house, Remy Estrella and Jeff Elliott were also there awaiting our arrival.  My first impression of Mike was, "Geeez, he's a big guy."  He was heavily muscled, and in the prime of his life when I met him.  I also remember wondering about how hard he hit. 

Be careful of what you wish for or wonder about.  By the time that I arrived in California Garry had gotten me about half way through the strikes, and had also introduced me to lock and block and flow sparring.  Garry introduced us, and Mike had us go through what Garry had taught us.  I could not really tell what Mike, Remy, or Jeff were thinking about our performance as they all maintained their silence which was somewhat nerve-racking in its own right.  I very much doubt that it was my proficiency (I've always been somewhat of a klutz) as much as it was my desire to learn Eskrima that prompted Mike to invite me to join the class. 

The following Tuesday night I attended my first Mike Inay Eskrima class.  We arrived at class and met the students that were present, and I apologize that today I cannot remember who specifically was at class that first night as I was extremely excited.  I do remember thinking, "I am really here in California, in Mike Inay's class learning Eskrima."  I had numerous other thoughts that first night which were quickly vanquished with the first strike that came whistling hard at my head.  You see, Mike was not the only person who wanted to see what the new guys were made of.  Mike did "play" with me a little that first night.  I remember thinking, "Boy, he hits hard. Sure answered my previous musings."  Garry told me later that it was simply Mike's way to see what a person was made of, and that Garry was happy that I didn't embarrass him. Thus began my California journey.

Benjamin:  Rob, I was there the first night you arrived.  In fact, I remember you coming in the door, stick under your right arm, and actually where I was standing in the indoor training room at the time.  Class had begun, and we were paired up, working on basic strikes and counters.  Like you, I was working my way up through strike five.  I was really happy to see you there; a familiar face from the Indiana homeland!

Eskrima training for me began as an adventure from the outset, having hitch-hiked over a thousand miles just to reach the starting point.  That warm morning under a blue sky I found myself walking through a quiet suburban California neighborhood along a street lined with exotic trees and vegetation.  I was so mystified by the sense of semi-reality; I may as well have been entering the Land of Oz.  I carefully studied each address, slowly counting down each house number as I came closer to my destination; looking for the one number that would signal I had arrived.  Then, at long last, there it was!  I took in a deep breath with much anticipation of what would come next.  I started up the front walkway.  As I approached the door, the last step was finished as if in slow motion.  I paused a moment to breathe a prayer of thanks that I had made it, and a blessing for where this door might lead.  I rang the bell, and waited.  Moments later it opened.

I was overwhelmed by a feeling of amazement and disbelief.  Before me stood a most impressive and imposing man, his figure lacking nothing I had imagined.

Penetrating eyes and a curious gaze looked me over as if sizing me up. Soon a smile crept over his face as I re-introduced myself, having spoken only briefly by phone months earlier when I had called to request permission to meet him, and had expressed my desire to be considered for training. His manner was all business, but gracious and hospitable. He invited me into his house, and ushered me to the large side-room that served as an indoor training space. It was filled with amazing photographs and artifacts of Eskrima lore, history and culture. He asked questions and spoke at length about the art. Then he showed me the outdoor training area in his large private backyard, and finally offered a warm introduction to his family. He finished by saying "Well, you hitch-hiked across the country, how can I say no? Come to the next class!"

Seeing Mike move for the first time was like watching a study in fluid dynamics. It confirmed what I had seen on film, only amplified into three dimensions; even more so when I saw how he imparted fighting traits into his instructors and even into his new students. You could see quality forming at all stages. There was no aspect of the training I didn't like, except the knots, contusions, bleeding, and the (thankfully rare) occasion of being called out as a demonstration during class of how NOT to perform a technique.

Finding Eskrima fulfilled all expectations of what I had searched for in a martial art, and more. It was naturalistic and adaptive to different body types; implemented many weapons; emphasized outdoor and environmental training and had been tested...as I was about to be.

John:  I can remember that I was impressed that he knew Danny Inosanto personally because at the time I was interested in Bruce Lee’s Jeet Kun Do and Kali.  Mangisursuro Mike had an article that he clipped out of Inside Kung Fu magazine that he posted on the inside window of his Bay Area School of Escrima Academy on El Camino Real in Sunnyvale.  The article was by Danny Inosanto, and it discussed Bruce Lee’s Jeet Kun Do and the Filipino martial arts.  Meeting Mangisursuro was the link to the Jeet Kun Do that I was extremely interested in.  Later, though, I just came to prefer the Filipino Martial Arts as a whole. 

Additionally, I was impressed with Mangisursuro Mike’s size and machismo, which I would prefer in an instructor that I would follow.  It’s like, if I had to go to war with a leader, I would expect him to be someone that I could look up to. That is what I found in Mangisursuro.  Mangisursuro was someone that I could look up to as the type of guy that I would feel confident about following.  Once I was shown what Escrima/Eskrima looked like, I knew that it was for me.  Mangisursuro displayed skills that I never saw before, and I was very impressed with him and Guro Estrella.

Kristine:  Who else was teaching alongside Mangisursuro Mike Inay besides his brother-in-law, Guro Remy Estrella, when you first started?

John: There were no other full instructors teaching, but Mike Anderson was an assistant instructor, still in training to become a full instructor.  He never received a full instructor’s title that I can recall.

Frank:  Angel Cabales, Max Sarmiento, and Leo Giron would stop by and work with the class on occasion.  Jimmy Tacosa was there sometimes, but never taught.

John:  I just recalled Mel Wong was also an assistant instructor along with Mike Anderson, but neither received the Ivory Medallion that was awarded to full Guros in 1979.  Mel Wong and Mike Anderson were Cabales-era practitioners.  I can’t believe that my memory didn’t recall Mel earlier! 

Rob:  By the time that I arrived in California neither Mike Anderson nor Mel Wong were in class.  Mike Inay was the instructor; everyone else was a student.  At that time there were no ranks outside of Instructor and Student.  The six levels and their variants would come years later.  We had a saying in class, "Your stick does your talking for you."  The vast majority of the classes over the years were always small, with the exception of a time in the mid-nineteen-eighties when Mike, despite being out of work, decided not to charge for his lessons.  Having small classes meant there was no real reason for ranks, visible or not, as everyone knew where everyone else was as far as skill level goes.  When I began training, and continuing throughout the years, we all learned from one another, as well as from Mike.  Each classmate had their very own unique way of doing things, and I learned a lot from the others. 

Benjamin:  Individuals contributing to teaching classes besides Suro Mike Inay were mentioned by others: Remy Estrella, who, thankfully, was in class relatively often, observing and also teaching one-on-one.  He left such an impression on me.  His stylistic traits and mastery are in a class all their own; Jimmy Tacosa, very occasionally though very impactfully; Michael Amistoso, who did teach when present, and often brought a contingent of his own students when he attended.  He was a fighter first, and had a very unique style and mentality, besides being left-handed (and you had better not forget about his right hand!) 

During this Calle Margarita Backyard school period there were rare but notable visits from Grand Masters Angel Cabales, Max Sarmiento, Leo Giron and also Masters Dan Inosanto and Dentoy Revelar.  Not only did Mike have a large number of teachers dropping by the school, there was also a rich environment created by the energy and synergy of the senior and peer level practitioners.  One of the things that continually amazed me was the intrinsic pull Eskrima had which attracted such high-caliber people into its orbit, including a strong student core.

For example, both Frank and John had been training for up to a year or more already, thus both were senior to me by a significant measure, having preceded me not only in terms of chronological training, but by exposure to the old masters way ahead of me.  Additionally, they were very consistently present and active in virtually all the classes at the time.  They both have and deserve my respect for possessing a precedent standing in terms of the Inayan legacy, but even more, they were instrumental as advanced students in helping me along right from the start, and I owe them both a great deal. 

I’ll add that Rob is certainly a peer of the highest order, and no less significant a contributor to my Eskrima learning experience, both in class and in knowing him as a person.  Rob was more than a beginner when he arrived on the scene, having begun his Eskrima training under the excellent teaching of Garry Bowlds.  Rob has been an always positive influence on my training, study and understanding of the art, and many of my students have benefited from his teaching, as well. 

Lastly, another name comes to mind.  Robert Ramirez was a solid martial artist practitioner and senior class member I always liked and looked up to.  And, while we all were awarded official instructorships in a fairly close time-frame, all of these practitioners were of immeasurable help in my advancement, and I look up to them.

Kristine:  You guys underwent your training with Mike during a unique and distinct phase of Mike's teaching.  Looking back at it now, where do you think he was on his own personal path in the arts; what stage was he in as a teacher?  What effect did this have on you and on your training?

Frank:  I believe Mike was approaching a crossroads when I started my training with him.  He was an extremely creative strategist and martial artist, and it was inevitable that he would explore more of his Philippine martial heritage.

After his falling out with Angel Cabales he spent a lot of time with Danny Inosanto discussing Philippine martial arts. It was during this time that Mike really started to evolve. We would fly down to Danny's school in LA sometimes, and Danny would give seminars at Mike’s place. It was a real Renaissance of the Philippine arts during that time. Mike wanted to unite the Philippine arts, and conceived of the West Coast Eskrima Society (WES) as a way to do that. The more members of the martial arts community Mike came into contact with, the more he evolved and improved his mother art of Serrada. He expanded Largo Mano concepts and knife disarming and pressure point control. He reminded me of Bruce Lee in many ways, reading and studying everything, using and creating concepts and improving his warrior art, polishing what he felt was relevant and creating what we now today call the Inayan System of martial arts.

As for me, his training gave me the tools to understand martial arts principles, and will continue to promote my own personal evolution in martial arts: Truly a priceless gift for which I will forever be grateful.

Rob:  Throughout his life, Mike was always exploring the possibilities, and this period was no different.  Most of the class time was spent working on the basics, and then performing those basics in different settings.  This is one main area that I have always kept and stressed in my own training and teaching.  The emphasis on training was always on Serrada, although during training time Mike would also work on integrating the other two core styles, Larga Mano and Kadena De Mano, more fully.  One of his main concerns during his lifetime was that students have the capability to flow throughout the ranges, and utilize their tools in the appropriate time and matter. 

His teaching was, as with most instructors, both verbal and nonverbal.  At times, for example during lock and block where Mike would deliver multiple hits, Mike would explain what you were doing wrong, and at other times he would simply repeat the sequence of hits and stabs until your body came up with a solution, hopefully before the numerous bruises grew cousins.  During non-class times with me, Mike would often work on things that he would be teaching the following week.  I guess he figured that if a slow learner like me got it, the other students should pick it up when he showed it during the next class. 

It was during this time, outside of class, that I also started to understand Mike's development both as an Eskrimador and as an instructor.  There were outside influences at this time, such as Dan Inosanto, but there was also an immense amount of internal influence.  My phone would ring and Mike would be on the other end asking me to come over to the house.  When I got there I usually found Mike alive and animated with something he wanted to try.  This was only the beginning.  First, there would be the technique; then there would be the counter; then the counter to the counter; then the application of the technique or counter during "play."  This period was where Mike truly solidified the basics within his system, later to be called Inayan Eskrima.  This early work allowed Mike in the later years to more fully explore other areas such as Pressure Point Control Tactics (PPCT), seminars, other styles outside of the core three, etc. 

This period truly had a profound impact on both my development as an Eskrimador and my future as an instructor.  I have carried many of Mike's lessons with me throughout my life, and have passed them on to various students, both my own, and other people's students.  I have at times overheard others refer to me as "old school" which, thanks to Mike's numerous Eskrima and life lessons, I am.  Like Popeye said, "I yam what I yam."

Benjamin:  I feel that Suro was finding himself on several levels. He always kept his eyes open, cognizant of that was happening in the world around him, but he also began to reach more fully inward, seeking greater self-understanding and depth of artistic comprehension. As he redefined himself he further refined his system, always developing, seeking, questioning, yet never in a wandering sense. Rather more as a quest; he was on a treasure hunt for new discoveries, integrations and "permutations" as he called them. He was always striving for enhanced functional form, never artifice. Whether the end point was something as practical as law enforcement training or fostering the simple beauty and mystique of live blades in motion, “flowering,” he lived his life as he practiced his art, with attentiveness, responsiveness and almost magnetically drawn to his vision; a vision that was always greater than himself.

On the diplomatic front this was illustrated through his leadership in reaching out across stylistic lines by co-founding and chairing the inception of the West Coast Eskrima Society (WES). He sought to help the entire Filipino martial arts community see its day in the state-side sun, and to strengthen and assure its preservation as a unique cultural art form. He rightly felt the Filipino martial arts deserved greater recognition, and that the public would be the chief benefactor of that. This required making tough decisions to weigh and balance issues of hard core traditional training with the current trends in the modern martial arts world.  Mike strove to retain essential core qualities without compromise while opening up and broadening the appeal to a wider audience. His many contributions certainly helped that aim. And this excellent example of leadership left an indelible impression on at least one young Eskrimador.

John:  Kristi, could you be more specific about what period of time are you referring to?  Mangisursuro Mike was on the road to continual improvement throughout his life, so it would be necessary to pin down a particular time or year that you wanted an answer to!

1.)   The Cabales Serrada Stage                                (circa 1975 to 1978)           

2.)   The West Coast Eskrima Society Stage            (circa 1979 to 1983)

3.)   The Santa Cruz Mountains Stage                      (circa 1984 to 1989)

4.)   The Campbell Martial Art School Stage           (1991 to 1993)

5.)   The Post Campbell School Stage                      (1994 to 1998)

These are the different training eras or waves that various students had received their exposure to a continually evolving program that Mangisursuro had shared with them.  Each era had a different paradigm in which the training emphasis changed, as Mangisursuro changed. It was a very dynamic adventure for me!

Kristine:  John, I was specifically referring to the period during which you were first training, but since you have distinguished the different periods like you have here, it would be great to have you give your insights into each period as you saw it. 

John: Where do you think he was on his own personal path in the arts?

I think that he was on the path of Independence, trying to figure out where his place in the martial arts community would or should be!  He knew that what he possessed and achieved was a very rare gift, and that he must treat it with serious respect. Mangisursuro Mike had a warrior’s spirit, and he probably felt somewhat out of place in modern day society, so the question he had to answer for himself was, “What do you do with what you know and what you can do (skills wise)!”

I think that he was fully aware that Eskrima is not going to be as commonly practiced as your typical “fast food karate schools”, as far as commercial schools go.  Mangisursuro Mike’s Eskrima training is not suitable to the mass production method of teaching.  This was a sad thought for us all, because what he had was way too valuable to just die out from the lack of wide-spread support and appeal.

I will answer part two, tomorrow!  Thus answering the 64,000 dollar question of: What effect did this have on you and on your training?  I’m loving this one!

John:  Welcome to the “Oz Files.”  Thanks Benji!  It sure is great to read about all you   guys’ past accounts!  I’ve been using the spell check feature like it’s going out of style.  I hope you guys are all doing really well, and are thriving with life’s challenges.  Long Live the Inayan Eskrimadors!  Hail Mangisursuro Mike Inay.  Time now to answer part two of this collective query! 

What effect did this have on me and my training?  I think that it gave me humble confidence.  Humble, because I know damn well that I ain’t the best!  I’m just another “Eskrima Brick in the Wall” practitioner!  Confidence, because I know that I’m better now than I was before training with Mangisursuro Mike.   Mangisursuro Mike impressed upon us to “figure it out” when we received our lock and block training.  One of Mangisursuro Mike’s sayings to me, and I’m sure some of the others may remember is; “Don’t let your form be your defense, let your defense be your form.”  This means to let your personal way of problem solving become your form.  Sursuro Frank and I both have taken that to heart, and we both have put that saying into practice over the decades, although Sursuro Frank may have initiated it way before I did.  I used to think that we should all move like Angel, because it was his system that we were learning, but we all have different body sizes, heights, weights, mental attitudes, sets of philosophies and unique peculiarities that require us all to move differently. 

Additionally, Mangisursuro Mike set an example to us all, in that he practiced a “Big Picture Perspective” in regards to the martial arts.  To elaborate further, think of Cabales Serrada.  Cabales Serrada specializes in several particular weapons in its training processes.  It includes short sticks, knives, short swords, and hands.  It is, by definition, a specialized system.  Now Mangisursuro Mike introduced the broader perspective of allowing any and all other weapons to be included in the training processes.  What I especially got out of that influence is the “Big Picture Perspective Mentality”, so that whatever I am involved with, it is a value added resource, a force multiplier (especially when it comes time to create innovative techniques to deal with difficult problems.)  Over the years the “Big Picture Perspective Mentality” has provided a necessary ingredient to helping me in solving the various problems that came up in the process of trying to improve my performance in Eskrima.

Mangisursuro Mike also applied the “Big Picture Perspective” in the limited training drills that were in Cabales Serrada.   Mangisursuro Mike had not only come up with new and innovative training drills, but he gave the instructors under him the freedom to also add any innovative training drills that they would like to experience.  One of my favorite training drills is to perform counter for counter flow sparring, two on one.  Two individuals would team up together to combat a third person.  The third person would have to practice a continuous, dynamically executed flanking strategy.  It nurtures the third person’s peripheral awareness, mobility, and cardiovascular state.

Kristine:  What was the most intense training experience you remember having with Mike? 

Frank:  Training was always pretty intense back in the "old days" ... LOL (laughing out loud)!  However, the first thing that comes to mind for me was the unforgiving dequerdas stick.  For those that don't know about this training aid, it was a staff that was suspended by a rope and bungee cord from the middle, and hung from a tall tree in Mike’s backyard.  We would form a circle around the stick and take turns hitting it as it flew into our range.  Mike would call out "Circle to your left," and we would move around the stick in a clockwise circle while hitting and blocking the stick as it came into our range as we moved. He would then call out, "Now move to your right,” and we would all switch direction and move counterclockwise while hitting the stick.  It was totally unpredictable and would whirl and spin in all directions. 

Mike was always looking for new ways to increase the difficulty with this training tool.

One of his additions was to put an empty-handed student in the middle of the circle next to where the stick hung, so that he had to deflect it while the circling students hit and blocked the swinging stick.  Another addition was placing a circle of old tires around the stick which we had to step in and out of while we circled the stick hitting and blocking it.  However, the most intense adaptation of this exercise was when Mike put a real live spearhead on the end of the stick. It really got your attention, and tightened up your movements very precisely.

One time he put nails through one end of the dequerdas staff, but it really tore up our sticks.  Another time he stuck the staff through an old tire to add heavy weight; this made our blocking better, as we were unable to just whack it away when it came flying at us.

Needless to say, cuts, bruises and a little blood were spilled during these sessions.

I can remember on several occasions when other instructors came to train with us.  They would just shake their head and say, "You guys are crazy."  Yeah, it was a pretty intensive training tool. Hence the phrase Mike loved to use, "Snooze, you lose."

John:  Well, here goes! 

I would have to say that several things stand out in my mind with regards to your query. First, during an Eskrima demonstration that we gave at Independence High School in San Jose, Mangisursuro Mike and I performed counter for counter flow sparring with machetes.  I wasn’t used to it, and I was on “high alert status” because I didn’t want to cut or get cut in front of all those people who were watching the demonstration.  I don’t remember exactly what year it was, but I think it was probably around 1978 or 1979.  We did great, though, and no one got cut, but man, you could see the sparks fly from the machetes clashing into one another!  The audience loved it.  You certainly didn’t see any black belts in other martial arts doing such things back then. 

Additionally, before making the rank of Guro, I was put in my place time and time again, because I was somewhat cocky, being from New York and all, and that wasn’t going to cut it.  So, Mangisursuro Mike would dish out some corrective Lock and Block based discipline to straighten me out, and bring me back to a more humble minded state of being.    Mangisursuro Mike was just what I needed to bring me back to Earth. 

Lastly, I would like to mention that Mangisursuro Mike used to have us use the “Dequerdas” training aid.  It wasn’t bad by itself, but when he started attaching machetes on both ends of it, and a tire to add weight and momentum to its effect, and tacks that were taped to the shaft; you kind of wonder where it will end!

Benjamin: Mike was a gifted teacher on many levels. He was able to "read" students and give appropriate challenges to test their skills and confidence levels; to unlock abilities they didn't know they possessed. He would also conduct experiments. For example, one night Mike invited a member of the SCA (Society for Creative Anachronism, the group that does medieval re-enactment) to come observe class, and asked him to bring traditional fighting gear...for two.

Suro introduced him to the class, noting he was "King" of the local chapter, and top victor in their armored-battle competitions. Mike believed in his students and had confidence in their ability to hold their own against virtually any style. After staging an Eskrima demonstration by the class for the special guest, Mike looked around for someone to match up with the battle-seasoned King. I don't know why, but he randomly chose me to go toe-to-toe with the King. The only protective gear we used were steel helmets that looked like large coffee cans. The weapons he brought were heavy wooden clubs of sword length and thinly padded. Usually they wore suits of body armor for these exchanges, but not in this case.  The impromptu rules: full contact, no particular strike restrictions, sequential rounds, no formal points- just see how things turned out. And with that, we clashed. 

I defended as I would in our lock and block drills and sparring exercises, and countered with some telling hits of my own. Round after round, to my surprise, my conditioning, and my thin confidence held. At last the game was called to a halt. And to my relief I'd gone uninjured despite the intensity and heavy blows of this bulky guy. This proved to me the value and caliber of Mike's training, even as a relative beginner against an unknown opponent. Afterwards our guest challenger thanked and commended Mike, saying he had gained respect for the strong showing of Inayan Eskrima. I went home grateful my training had carried me through, and feeling privileged for being associated with such a talented teacher and dedicated classmates.

Do any of you recall this night? If so, what is your memory of it? Did we switch weapons? Did anyone else have the opportunity to fight, or was it as I remember, just me? Maybe one of you recalls this person about whom I refer?

Rob:  I remember that night.  A few things stand out in my mind.  First, Ben did a very good job.  We were all proud of him for putting up, not only with the SCA player, but with the other students’ various "comments" and “suggestions” on how to handle the strikes coming repeatedly at his head and body.  The calls of, "Get him, Crazy Christian!" coming often.  (Note: This last comment was and is in no way meant or implied to be a derogatory comment.  "Crazy Christian" was our fond nickname for our Eskrima brother, Ben.)  I doubt that Ben heard anything we other students were shouting at him as he was in the moment, but glancing over at Mike near the end of Ben's ordeal you could tell by the expression on his face that he was extremely proud of Ben that night.  

John:  In response to Benji’s question, I remember the SCA guys visiting at Mangisursuro Mike’s home, and us getting some exposure to each others’ respective arts, but I was glad it was Benji and not me on the receiving end of that exchange.  As I remember, the King was Paul Porter, and he was taller, and I would assume, heavier than Mangisursuro Mike.  I would be hesitant to try out Paul, because if I failed it wouldn’t look good for the School as a whole.  I would have expected Mangisursuro Mike to represent his School, but I do understand that to test the Teacher is often done by testing one of his students, in order to measure the Teacher’s ability to impart knowledge and skills.  Back then I only weighed about 140 pounds or so! Clint Eastwood once said “A man has to know his limits,” and Brother, was I aware of my limitations!

Rob:  To answer your question, Kristine, as Ben said, Mike was a gifted instructor in many ways.  Mike helped me develop, not only as an Eskrimador, but particularly as an instructor.  Mike always considered the two as separate parts.  What he wished for in his students was that each student would take the two halves, Eskrimador and instructor, and form a whole.  Unfortunately I cannot remember any one particular intense training moment with Mike, as there were several over the years.  However, I can relate how the intense moments helped shape me and many others over the years that Mike taught. 

As other students’ and my own time with Mike increased, most of us began to understand more about the control of fear during the intense moments.  Whenever I trained with Mike, especially in private sessions, I was, like when I first met him, both excited and nervous. As time grew, I was better able to control the fear so that it did not lock up my counters and responses.  This mental control of fear, I have always believed, was one of the greatest gifts that Mike bestowed upon me.

I and others have mentioned some of Mike's more creative training approaches, such as attaching machetes to the end of the De Cuerdas staff.  In some cases, what many do not understand was that it was done in part to gauge the students’ reaction, and to determine if the student was capable of overcoming their initial fear of the moment.  Mike would always seek to study the students’ first reaction.  For example, did they step back or did they gleefully move towards the challenge?  If they did step back, was it because they wished to study the new challenge a bit, or did they simply allow the fear to take full control, much as when you observe someone taking a fetal position when they perceive themselves to be in danger.  And as an instructor I have carried this practice with me in evaluating students. 

The student often does not realize that the instructor has not quite put them in the danger they perceive themselves to be in.  For example, when you attach machetes to the end of the De Cuerdas, it changes the dynamics of the staff's movement dramatically.  Due to the weight of the machetes and the way that they flex, the staff now moves quite a bit slower.  Therefore, the student isn't in quite the danger that he or she may perceive them selves to be in.  There are still risks, but in the case of the machetes, we had dulled the edges quite a bit.  This training was to greatly help me in later years during my Special Forces training; not the actual techniques or counters that I had learned in Eskrima, but the overcoming of obstacles placed in my way.

Another way that Mike helped me progress was in teaching me to read body language and threats, both verbal and nonverbal.  At first, like many students, I was unaware of all the lessons that were being taught during intense training moments. Working with Mike, I eventually started to learn how to better read what my opponent was about to do.  Some of this came consciously; some occurred unconsciously.  What I didn't realize until years later were all of the lessons that were being taught nonverbally.  Mike would often attack with the same sequence numerous times in a row, particularly for students like myself, who were (and are) somewhat klutzy, and didn't figure out how to counter the moves until our bodies grew weary of the repeated pain reminders that our counters were failing.  It is then that the body reacts on its own to do its best to prevent future reminders from occurring.  Mike understood this, and knew just when to apply this kind of nonverbal instruction.

Whenever he was serious, Mike's body and demeanor would take on an increased intensity level.  After working with him for awhile, the students’ bodies, whether they consciously realized it or not, would then also increase their own intensity level.  This helped the students on many levels.  They would start to learn to better sense and evaluate threats, and to also hopefully learn to deal with threats rather than be overcome from the fear of those threats.

Benjamin:  Rob, you hit on a very relevant point about testing responses to fright reflex characteristics in students.  Students do well to realize much can be done to condition against “Fear Freeze”, and locking up under stress.  Knowing how to break down the situation and instantly analyze probability versus possibility of injury (or victory) through risk assessment can help keep a cool head, even amidst apparent chaos.  Mike taught us how to train the mind to rationally select threats to counter and targets to address on-the-fly with maximum effectiveness.

And one more thing, Rob:  You, “klutzy”?  I beg to differ!  There is nothing about you I would remotely associate with the word; quite the contrary.  Other words maybe:  tough, aggressive, hard to hit, a hard hitter, but not klutzy.  B