Das Stockkampf-System

Wir trainieren ein sehr fortschrittliches fern und nah Distanz Balintawak Escrima Arnis Stockkampfsystem, begründet von der Rosada Familienlinie, die direkt mit Venancio "Anciong" Bacon verbunden ist.


Detailierte Ausführungen hierzu findet Ihr in dem Englischen Artikel von Druss Armstrong.

Escrima Article

Serrade: Win Chun Kung Fu reborn

Life finds a way, both in function and in purpose, within any art. Chinese Kung Fu Chi Sau, commonly accepted as exclusive to Wing Chun, has done just that in a new incarnation. It is called Serrada. Fathered by Grandmaster Ramon Rosada in rural Lapu Lapu, Cebu; Philippines, this chi sau-like training drill has spontaneously come to life within the living art of Escrima, bearing an uncanny resemblance to its Wing Chun counterpart. It not only brings a validity to its universal application, but also may serve to silence those who would dismiss it as a dead kung fu training drill. This incarnation inspires hope that the martial arts community may one day embrace all martial arts and artists as kindred brothers.

The Filipino martial art of Escrima has taken a rightful place as one of the foremost martial arts in the World. initially it was an art of the common people, passed down generation to generation. In 1933, the Doce Pares Club formed in Cebu (Philippines), where a relatively small group of practitioners honed their approach to stick fighting with flows, drills and sensitivity training.

To this day, Doce Pares remains the touchstone of elite Escrima training. Their focus on the use of double sticks training fueled with the advancement of the art but also led to splinters withing the group. One resulting faction formed on neighboring Balintawak Street. Balintawak Escrima too one stick "out of the hands" of the escrimadors -- leaving one hand empty -- in order to better deal with the range of close-quarter combat.

This refinement of freeing up one hand would prove pivotal to a re-examination of the style by Grandmaster Rosada some seventy odd years later. Hi Rosada Double-Handed Balintawak style, which he refers to as Serrada, would also unknowingly inspire the birth of a training that would parallel the form and function of chi sau.

Chi sau focuses on sensitivity training designed to help you "feel" opportunities at the "engagement" range of direct contact. Hubad/Lubad, central to much of Escrima training (and sometimes seen as the "chi sau" of this art), uses striking outside this engagement range due to its origins in edged weaponry training, rather than "fist" or "kick" centered arts.

Grandmaster Rosada was devoted to the use of single stick. Yet, despite this devotion, his style would fly in the face of not only single stick conventions but also of its edged weaponry based origins. Hi s Serrada rejects the traditional "tapi-tapi" fee flow drills, because it makes a fundamental paradigm shift in thinking within the art.

This shift in thinking bloomed with the bittersweet realization that, at close range, double sticks are more effective than single sticks.

However, this revelation came with an ironic twist, as the two sticks the Grandmaster was referring to were, 1) his stick, and 2) that of his opponent.

In fact, he proposed that both sticks belonged to him the minute that he laid hands on the stick of his opponent. Grandmaster Rosada maintained that by controlling and stripping your opponent of their stick at close range, you were essentially giving yourself a double stick position and naturally gaining the upper hand.

This groundbreaking approach not only utilizes single (double)-stick mentality but maintains that the fight for the dominance is often in close range, and that only by controlling the stick of your opponent can you disarm him, thus gaining the upper hand. The commonly held "tapi-tapi drills are ineffective, and another drill needs to takes its place in order to effectively train for combat at this range. In this way, the seeds of Serrada was planted.

Two simple concepts laid the foundation for this style.

The first concept attacks the very foundation of the Escrima training methodology. A stick is not an edged weapon - "engagement of contact" is possible. Thus, when facing an opponent armed with a stick, controlling both his and your own stick is key, and since it is not an edged weapon, one can engage it at close range without the fear of being cut.

The second concept stems from the first, insofar as it is based on the fact that in real combat, range is often at close quarters and combatants have to "deal" with their opponents weapons.

By viewing sticks as 1) extensions of ones arms and 2) not as edged weapons, and by understanding that "owning" both sticks renders your opponents stick harmless, Rosada evolved training into a sensitivity drill allowing him not only to strike once he "felt" an opportunity, but also to control centerline in order to disarm his opponent.

Superior training at this range would demand sensitivity and split second reflex training, and the Grandmaster determined that hubud/lubad would not serve as well as another drill might.

In hubud/lubud, contact is made when blocking or striking, and reaction is based (for the most part) on what you see. At this closer range and with the engagement of contact, what was needed was a reaction to what you felt.

Slowly, painfully, the rolling dynamics of Sarrada began to take shape.

In Serrada, although sticks may cross, it demands that your live hand make contact with that of your opponent with a forward pressure that compromises the wrist in order to execute disarms or arm breaks.

Serrada views each stick as an extension of ones limbs. While drilling, sticks make contact at cross angles while "live" hands "check" their partners stick at points either higher or lower than the contact point and work to gain control by "feeling" the ebbs and flow of the energy while remaining nearly constantly in contact. Outwardly, the circular motion of the drill disguises the inherent forward pressure and control of centerline needed to uncover opportunities to attack.

In chi sau, the forearms and wrists make contact using defining structures in a flow that serves to turbo charge attributes needed in combat.

Chi sau and Serrada both demand an opponent to maintain contact with their respective limbs or risk being struck and/or disarmed. Each enhances touch sensitivity to micro-movements, balance, footwork, rapid-fire reflexes at close range and fine-tuned attributes stressing technique over sheer force. Serrada, like chi sau, is best trained wiht a partner in order to develop a "feel" and "stickiness", so that rather than sparring, it allows both practitioners the opportunity to test and explore each others strengths and weaknesses in a unique and unplanned organic way.

The Grandmasters creation of a training drill for close-quarter combat that bears such a striking resemblance to that of Wing Chun's chi sau serves to validate not only its relevance in that art form but within any martial art where close range combat comes into play.

To many within its art, "No Chi Sau, No Wing Chun" reflects the passion and protective nature of its practitioners; and although long considered the very "heart and soul" of Yip Man Wing Chun, here we find it in the Philippines, not taught as a critical element of Wing Chun but independently birthed withing the exotic and unforgiving nature of Filipino stick fighting martial arts. Here it has taken root, seeding, nuturing and blooming into a newfound variety while remaining true to its nature and now serving its singular purpose withing Escrima.

The is a new life in the art of Escrima, new life in the martial arts, which serves as a reminder that there remains room for innovation, for exploration, and room to question existing forms, while perhaps validation others.

If these questions challenge the notions of a "dead drills" and their functional applications in the minds and lives of new martial artists and their respective cultures, then the art - and those artists seeking expression, screaming out with the descovery of it - has done nothing short of brinning us one step closer together.

One cannot ask much more out of art and life.

Druss Armstrong.
Background in JKD and FMA