Secrets of Giron Arnis Escrima. Antonio Somera

PART TWO: The Nucleus of Giron Arnis Escrima 3. The Foundation of an Art The Clock Method of Teaching Distance The Eight Original Strikes Defining the Baston The Attributes of Striking The Natural Position The Attention Position The Ready Position Salutation With a Weapon Salutation Without a Weapon 4. Basic Defensive Concepts Blocking Parrying Deflecting Evading Hand Checking Releasing, Reversing, and Counter Blocking 5. Preparation for Training Escrima as Sport and Art Training the Mind, Heart, and Body Warm-Up Exercises PART THREE: Estilo de Fondo 6. The Twelve Strikes of Estilo de Fondo Discipline of Delivery Analysis of the Twelve Strikes 7. Basic Single Stick Defenses Introduction The Defensive System 8. Stick to Stick Disarming Introduction PART FOUR: Cadena de Mano 9. Empty-Hand to Knife Disarming Introduction 10. Basic Hand-to-Hand Defenses Introduction Afterword by Grandmaster Leo M. Giron Lineage of Giron Arnis Escrima Glossary

      ▲ Foreword ▲

      by Dan Inosanto

      It is indeed an honor and a privilege to write this foreword for Grandmaster Leo Giron’s book. Grandmaster Giron is the last living member of a legendary group of martial artists from the Stockton, California Filipino community.

      At one time, Stockton had the largest Filipino population in the United States. Because of this Stockton was nicknamed “Little Manila.” The population of Stockton consisted of Filipinos from all over the islands, representing the different ethnicities of the Philippines.

      The art of escrima was rarely taught in the Filipino community of Stockton. The Filipino martial arts were highly secretive and all training sessions were closed-door affairs. Many World War II veterans had at least a working knowledge of escrima. Most of them did not teach or share the art with the Filipino community or the general public. The art was held in such high regard that knowledge of it was considered “secured” and quite often the sons, daughters, spouses, etc., had no knowledge of the skill and expertise that existed within their own families.

      Grandmaster Giron was one of the first instructors to teach the art of escrima to the Filipino community in northern California, and one of the first to share his knowledge outside of the Filipino Community.

      In the late 1960s, I had the honor of training under Grandmaster Giron when very few people knew of the existence of escrima. I found Grandmaster Giron to be a very humble, generous, patient, and giving instructor, both in time and knowledge. One of the highlights of my martial art career occurred on December 26, 1973, when I became the first student to graduate from his system. I truly admire, respect, and love this man. I consider him to be my second father.

      Grandmaster Giron brings the rare combination of fighter and teacher to his students. His use of the art in actual combat in the jungles of the Philippines during World War II, displays the effectiveness and usefulness of his methods.

      Grandmaster Giron has produced many top level instructors in his system. His fighters competing in the full-contact tournament circuit are some of the best in the United States’ West Coast, and are renowned not only for their fighting tenacity but also for being hard-hitters. The principles and concepts he gave me in his art have allowed me to better understand the many other systems and styles that I later studied. The principles, concepts, and philosophy of the Giron system can be used in the empty-hand arts as well as in the weapon arts.

      This book is a tribute to the art and will shed more light on the man and his system. I feel that this book is long overdue, and will be a welcome addition to any martial artist’s library, not only from a technical stand point, but also for it’s historical and cultural value.

      ▲ Acknowledgments ▲

      I would like to thank Grandmaster Leo M. Giron who has shared his knowledge to so many of us and taught us not only the art of escrima but also the Filipino culture and history.

      I would like to thank the following guros (teachers) who have helped Grandmaster Giron and myself to illustrate the art: Dexter Labonog (the head and senior instructor of the Bahala Na Club), Roy Atay, Dave Paler, Glenn Abresy, June Gotico, Barry Shreiarr, David Hines, Steve Tarani, and Jim Johnson.

      I would like to thank Guro Dan and Paula Inosanto for all of their help and encouragement with this project and throughout the years.

      I thank our photographer, Kim Rose, who at a moment’s notice drives all the way to Stockton to take our pictures, whether for this book or for any other Bahala Na function.

      To Rob Farrens and the staff of the Stockton Athletic Club for allowing us at any time to use their wonderful facilities.

      To Besar Pendakar Herman Suwanda for your guidance and support.

      I thank the Bahala Na Martial Arts Association for keeping our art alive.