Physics
Geometry
Physiology
Psychology
Image Source Facebook…. not mine at all, but cool, right?
Hello #ISEtribe, the above is a beautiful illustration of one of the truths in the Martial Arts. I intend to flesh this out as a complete article for your consideration. I look forward to your comments and participation!
So to start, there is definitely an importance to historical roots of any given system. We can look at the contributing influences of different instructors in a lineage, the political background and religion of prevalence in an area, or the fashion of the day for when that particular art was being used. All of the aforementioned have a part to play in influencing an art in general, and a practitioner individually.
Though it should be noted, the 4 things listed at the top of this little post are always present. No matter where or when the art was used or by whom. The physics at play while fighting at full tilt will be the final arbiter in the truth of your art. The intention of yourself and that of your opponent(s) to harm, maim, or kill will have a part to play in the dance. Your position relative to the opponent, their line of force, your stance will determine much of the outcome of each instant of contact. Your fitness or the lack of fitness will determine how long and how many opponents you can deal with.
In the Inayan System, and by extension what is taught in the protocols for the Spyder Dumog System, have always taken into account the above, more so the physics, geometry, and psychology of fighting. Ultimately, insofar as Mangsursuro was concerned in the design of testing and standards for the Inayan System, if you can’t block a full power blow at full speed then you can’t be really an “Inayan Eskrimador”, this was but one of his standards that are enforced to this day for the art bearing the name of the Inay family.
If truth in combat is what you seek, as it was sought after by Mangisursuro, then you would walk the path of harder hitting, willingness to step into the fray, and proper relative positioning to make the art work for you.
Take Inayan Serrada for example, the standard for proper footwork is such that deviation from the proscribed standard is either eliminated or proven acceptable by simply testing the efficacy through powerful attacks. The angle of the step, the foot used, and when it is used on what kind of terrain are taken into account. The anecdotes of GM’s Cabales, Sarmiento, and Giron are all brought to the fore when looking at the rendering of any given element in the Inayan System of Eskrima. “Does it work?” is the final question insofar as performance is concerned. In the end, your opponent doesn’t care if you are doing it “wrong”, they only care if it is terrible for them.
In the end if your angle is right, your structure sound, your body fit enough to use that particular response, and willingness to step into harms way, only then will you be walking the path. Only then…