GMA’s Amaya: Fact or Fiction? Part III: Hoplological Perspective By: James U. Sy Jr.

Since Amaya is set at a time where piratical raiding is the norm of the day, fight scenes are therefore a major part of the script. And from a theatrical point of view, this is the icing of the cake which action enthusiasts are waiting for. Thus, it is only proper to have a hoplological commentary on the realism of these fight sequences.

Hoplology is a new science started by the late Donn F. Draeger, a high ranking Japanese Martial Arts (JMA) master, scholar, and author. Hoplology is the study of human combative behavior. The way humans fight will largely depend on their geographical location, culture, religious, philosophical, and other beliefs, technology, political climate, social structure, and a host of many others.

For example, the fight scenes in Amaya are fast paced since it is mostly fought on the seashores which are level plain. This may not be the cause when the same conflict will be fought on rocky, mountainous, and uneven terrain, on snow, or in muddy rice fields or swamps.

A good example of how religious beliefs may influence combative behavior is that the Christianized and Islamized population of the Philippines do not practice headhunting. Of the more than fifty tribes of the Philippines, five have been identified to practice headhunting, in order of their importance: the Ilongots, Kalingas, Ifugaos, Igorots, and Tinguians, all of whom are found in Luzon, particularly in the Cordillera, Sierra Madre, and Caraballo, which are situated in Ilocandia and the Cagayan valley (Anima 1).

It is noticeable in Amaya that the female oripuns do not carry weapons nor women of nobility, including the Binukots. If fact, when Datu Bugna was teaching the young Amaya how to use the kampilan it came to a surprise to both Amaya and her half sister(s) because a Binukot is not meant to be a warrior but the better half of datu or a ginoo.

Which brings us to the first point I want to raise from a hoplological perspective. As previously stated by my good friend, colleague, and fellow researcher Dr. Ned R. Nepangue, co-author with Celestino Macachor of the best selling book “Cebuano Eskrima: Beyond the Myth,” and I concur with him, the kampilan is a heavy sword, a detail made clear by the fact that even muscular men hold it with both hands. So, it would be difficult physically, if not entirely impossible, for a young lass to handle it with ease and efficiency. The kampilan was specifically designed for the male physiology. The current Director of the Center for West Visayan Studies (CWVS) at the University of the Philippines in the Visayas (UP-V) also stressed that a Binukot is a princess, not a warrior.

The statue of Lapu-Lapu in Mactan shows him holding a kampilan.

A review of history texts will reveal almost no distinguished women warriors of the pre-Hispanic Philippines. One may come across the legendary warrior princess Urduja who is said to only marry the man who can beat her in personal combat. While the legend of this princess has been taught in schools before, today many historians agree that she is an unhistorical figure.The story of Princess Urduja reportedly came from Muhammad Ibn Abdullah Ibn Batuta a.k.a. Ibn Batuta (1304-1378).

So in the spirit of accurately educating the viewing public, it should be remembered that Amaya is a historical fiction and although it is based on historical and cultural data, it has to twist certain details to make the series meatier. On the other, GMA must be prudent enough to only make justifiable claims so that the viewing public may not be confused in believing that what has been offered to them are all historically accurate.

The first fight scene of the series showed Rajah Mangubat killing a datu using only his index finger. I strongly believe that this is not a Filipino technique and concept but that of the Chinese Martial Arts (CMA), more commonly known as Dim Mak “Death Touch.” In my research of the Filipino Martial Arts (FMA), I haven’t come across such technique as part of our martial culture, unless it has been introduced from another source, in this case Chinese Kung Fu. It is also important to note that piercing the human body with just a finger is a long standing belief in the martial arts world although to date it has not been medically supported/documented.

Also during that battle scene, as well as the one where Rajah Mangubat attacked the banwa of Datu Bugna, it was depicted that the warriors were in certain formations, like the shield men and the archers. This seems to be a western military concept, like the Greek Phalanx, which I believe is not well developed in pre-colonial Philippines because the conflicts in the archipelago at that time were not large scale wars like in Europe considering that the barangays were very small units, consisting of anywhere from 30 to 100 families. And sad but true, the Spaniards were more advanced in military discipline, tactics, and technology that inspite of their few numbers managed to conquer the then fragmented Filipinos.

I have also noticed that the archers of Rajah Mangubat shoot their arrows even if their enemies were not that close enough. Under normal combative conditions, archers would wait for the charging enemies to close in before shooting.

In the difference fight scenes, action had been blurred. Understandably this is for the safety of the actors so they can do their sequences in slow motion and speed is just adjusted mechanically. However, this will diverge from the excitement that a clear fight scene would give its viewers, considering that this is the icing on the cake. This became very apparent during the fight scene between the white Goddess Pandaki and the black Goddess. In the fight between Amaya and Angaway portions of the scene were clear enough though. Angaway, in that fight, assumed a fighting stance with the weapon in the rear, which is not ideal unless one has a taming “shield.” Amaya used a kris knife, a wavy blade generally associated with Muslim warriors of Mindanao. The Panay Bukidnon, from whose Binukot Amaya was inspired, used the blades talibung and sanduko; these are the blades displayed at the Museo Iloilo, together with the bangkaw and taming.

Since the fight scenes make use of blades, it would be nice, just to be in line with GMA’s claim to authenticity, if the production crew does not show edge-to-edge sword fights that are most often characteristic of stage combat. Skillful sword fighting makes proper manipulation of the sword so there is no, or at least minimal, edge to edge contact. This phenomenon is a unique trait of edge weapons, unlike impact weapons, such as sticks.

In one scene where Rajah Mangubat was sparring, he did a side kick, a fighting technique that is obviously of Okinawan origin, not Filipino. What’s worse, the side kick is designed for empty handed combat, hence Karate “empty hands.” The body alignment and movements for empty handed and weapons (more so on blade) fighting differ. A side kick is not compatible with movements for the use of a kampilan, remembering that it is a heavy sword. Every time a person raises his leg, he needs to shift his weight to the remaining foot. Things are complicated by the added weight of the sword in the hands. And every time a kick is thrown, the executioner of the technique risks his leg being cut off. And a cut from a kampilan can do more damage than a kick can.

Marian Rivera (Amaya) is also seen doing roundhouse, crescent, and spinning kicks in a promotional video which shows her training for her fight scenes against multiple opponents. The types of kicks she were doing were obviously derived from Korean Taekwondo, another empty handed fighting art. The same argument applies.

It should be noted that the Filipino Martial Arts (FMA) are primarily weapons-based systems even if they have their own arsenal of empty handed techniques. This makes our fighting arts unique from other Asian Martial Arts which starts training empty handed and later progresses to weapons. A soldier goes to war with weapons, as the Samurai class of Japan and the knights of Europe would show us. This is no different from the hangaway of pre-Hispanic Philippines.

In the scene where Datu Bugna was training Amaya, and in his fight with Rajah Mangubat, Raymund Bagatsing explicitly picted the left bantay kamay “guard hand” that is so indispensible in most Arnis systems of our archipelago. Bagatsing is a karateka but he gives justice to the movements inherent in a weapons fight. Also in the training scene, it was accurately depicted that sticks are primarily used for practice, especially for a child.

And most importantly, I am happy that the makers of Amaya did not adopt the term Kali to refer to the fighting art of its characters. While the term Kali has grown in popularity in the US over the years, it has never been used as a traditional term for the martial arts of the Philippine archipelago. The earliest record of the term Kali was in the 20th Century, in a book written by Placido Yamabao. In comparison, Arnis was used by Francisco Balagtas in his Florante at Laura in the 1800’s and church records show the use of Escrima as late as the 1700’s. Kali is essentially a modern term passed on as an ancient term for the Filipino Martial Arts (FMA). No historical basis can be found to prove its myriad of claims.

It is also commendable for the makers of Amaya for not using either Arnis or Eskrima, inspite of the fact that they were historical terms used by the Filipinos for their fighting arts. Both Arnis and Eskrima are Spanish-derived words that would be inappropriate in a pre-Hispanic setting. Not giving a name to the pre-Hispanic Filipino Martial Arts (FMA) and just referring it by the weapon used, i.e. kampilan, is an accurate depiction, just like when an Ilonggo says “bastonon ta karon (I’ll beat you with the stick)” or when a Karay-a says “yamingon ta ka (I’ll beat you with the stick).” In this case, baston (Sp.) and yaming (Karay-a) are terms for the weapon used.

(Next: Part IV: Religious Perspective)

References:

Anima, Nid. The Headhunting Tribes of the Philippines. Quezon City: Cultural Foundation for Asia, 1985.

GMA’s Amaya: Fact or Fiction? Part II: Linguistic Perspective By: James U. Sy Jr.

Renowned historian, professor, and author William Henry Scott, Ph.D., clarified in his classic work “Pre-Hispanic Source Materials for the study of Philippine History” that the only valid pre-colonial source materials for our archipelago’s storied past are archaeological finds, two medieval Chinese accounts, and a comparison of Philippine languages (Scott 139).

Of course, this is not to imply that pre-Hispanic Filipinos did not have a method of writing. Morga wrote in his Susesos en las Islas Filipinas that “almost all the natives, both men and women, write…” This has been echoed in the works of Fr. Collins, Paterno, and Retana. The sad fact is that early Filipinos wrote on barks of trees or on banana leaves, materials that do not stand the test of time (Zaide 29).

The effort of the makers of Amaya to include specific words that are indigenous to the culture depicted in its storyline is one of the reasons I hold it highly as a significant step in making Filipinos aware of their varied native cultures.

Language is a good reflection of the civilization that is using it. It is through language where emotions, abstract ideas, skills, knowledge, and tradition are transmitted by native speakers. It is a manifestation of the sophistication of a culture. The Binukots of Panay, for one, makes extensive use of chanting to transmit culture, at times reaching 33 hours, the longest recorded in our land.

When I was still in secondary school, I often hear of Hiligaynon and Cebuano being called dialects. But when I started my path to research, I found out that they were not dialects and are actually languages. A language is a system of vocal conventional signs characteristic of the interaction of one or two communities of human beings (“Language, Science of”). A language is mutually unintelligible with other people’s speech. A dialect is a regional variation of a language (Scot 33-34). Ilocano and Cebuano are both languages because their native speakers can not understand each other. However, there are languages which share cognates, i.e. words that are present in at least two languages with the same meaning, making their speakers understand each other to some extent. An example of a cognate is bangkaw which in both Cebuano and Hiligaynon means “spear” and balay which in both Hiligaynon and Pamapangeño means “house.” Boholano, on the other hand, is a dialect of the Cebuano language, characterized by its changing of the Y to J in Cebuano words.

All the native languages in the Philippines except for one belong to the Malayo-Polynesian subgroup of the Austronesian linguistic family, which is spoken from Hawaiian to Madagascar and from Easter Island to Taiwan. The Malayo-Polynesian family has over 1,200 living languages (“Philippines” 752).

The primary language used in Amaya is Tagalog, which is the basis of the national Filipino language. The series’ use of deeper Tagalog words is commendable and creates greater awareness for the classic version of the language. The effort to exclude Spanish-derived words in the series is also a big step in realism as the series is set in 15th Century pre-Hispanic Philippines. However, it is noticeable that several Spanish loan words had inadvertently found their way into the script, such as lugar (in the 7th episode), para, sobra, sigurado, etc. The production team needs to look into this closer if they wish to remain true to GMA’s ad that the Spanish loan words had been left out of the series.

For Tagalog viewers who do not speak any of the Visayan languages, it would be prudent to note that not all the words in the series are Tagalog. Many of these “new” sounding words are actually Hiligaynon and/or Kinaray-a, the two major languages out of the more than 40 languages/dialects spoken in Panay, the island from which the cultural foundation of Amaya was based from (Regalado & Ernesto 56). Hiligaynon ranks is the fourth in the 8 major languages of the Philippines according to the number of speakers (Zaide, G. & Zaide, S. 23). Hiligaynon is concentrated in Iloilo and Negros Occidental Provinces as well as in the Panaynon Provinces of Aklan, Antique, Capiz, and Guimaras and many parts of Mindanao such as Koronadal City, South Cotabato, and Sultan Kudarat. As a second language, it is spoken by Karay-a in Antique, Aklanon and Malaynon in Aklan, Cebuano in Siquijor, and Capiznon in Capiz.

Noteworthy of these Hiligaynon and/or Kinaray-a words are babaylan (shaman), bakunawa (mythical snake like creature), balay (house), bana (husband), banwa (town), baroto (small boat), bangkaw (spear), baladaw/baladao (dagger), binukot (hideen princess), bulawan (gold), coral/codal (fence), datu (chief), dungan (life force), gubat (fight/warfare), hampang (play), himalad (palm reading), husay (comb), iloy (mother), hanagaway (warrior), kalag (soul), and oripun (slave) among others.

Baladaw (baladao), Hiligaynon and old Cebuano for “dagger,” is variously rendered as balaraw in Tagalog and baraw in modern Cebuano.

Dungan has been translated in the series as “soul” and/or “willpower,” if I remember it right. Dungan is a very abstract Hiligaynon term which one will have difficulty in finding an exact English translation. The Ilonggo dungan is comparable to the Chinese chi, Japanese and Korean ki, Indian prajna, and Greek pnauma, all referring to the vital life force that energizes the body and gives it life. It is not a soul per se because one can extend it out of one’s body like in healing or injuring another person. The usual usage of the word dungan by Ilonggos is often found in the expression unahan sang dungan, in reference to two people having either a physical or verbal conflict where one could not move or say anything temporarily. In this case, one’s dungan had overpowered another’s. Unahan sang dungan is akin to what is called as aura (of the human body) in Kirlian photography. If one’s dungan is strong, it pushes another’s dungan back before it can be projected outward, thus that person is rendered motionless temporarily.

Gubat is a Hiligaynon word which means “fight.” When used as a verb, gubat becomes mangubat (the name of the evil rajah in the series) or gubaton (a real life surname of Arnis grandmasters in Bago City, Negros Occidental). Another term for “fight” in the Hiligaynon language is away, the root word of hangaway “warrior” and mangaway “to start a fight.” Angaway, one of the characters in Amaya, is a variation of hangaway.

Oripun is obviously Kinaray-a. Its Hiligaynon and old Cebuano equivalent is olipun. Note the difference in R and L. Kinaray-a is the parent language of Hiligaynon. The name Kinaray-a was derived from iraya (ilaya in Tagalog) “people living in the mountainous area.” The Kinaray-a language is spoken by the Karay-a people in interior parts of Antique Province in Panay as well as most towns in Iloilo Province and some villages in Mindanao which traces their origins to Antique. It is said that the Chinese mestizos who lived in the lowlands of Panay could not pronounce the R of Kinaray-a and ended up replacing it with L. A good example is paray to palay and turun-an to tulun-an. The term oripun is found in Dr. Scott’s work.

It is also important to note that some of the Visayan words that have been used in Amaya were among those recorded by Antonio Pigafetta, Ferdinand Magellan’s chronicler, during their landing and stay in Cebu in 1521, and some are also cognates that are found in the Hiligaynon language. Among these old Cebuano words (modern Cebuano equivalents in parenthesis) were Abba (God), bulawan (gold), baladao (dagger - baraw), and campilan (cutlasses - kampilan) (Pigafetta). Amaya also made use of modern Cebuano words (older versions as recorded by Pigafetta in parenthesis) such as bangkao (spear - bancan), baroto (small boat - boloto ), rajah (king - raia), and ulipon (slave - bonsul) (Rubrico).

In at least two instances, when Datu Bugna was training the young Amaya, Cebuano counting was introduced i.e. isa, dua, tulo. Since the setting of the story is Panay, I was expecting the counting to be in Karay-a, i.e. sara, darwa, tatlo, or at least in Hiligaynon, i.e. isa, dua, tatlo.

Bagani is the word for “hero” in a language in Mindanao the name of which escapes my mind at the moment while lumad is a Cebuano word for “indigenous people.” Lumad is the same as tumandok of Hiligaynon.

During the first few episodes Bahasa Indonesia “The Indonesian Language” was used in a scene where Dian Lamitan was talking to Malay traders. In another scene where she was selling Dal Ang to Chinese merchants, the Sino traders spoke the Hokkien dialect from Southern China. During the pre-Hispanic period, Malay was a widespread medium of communication in trade. Even the earliest Spanish expeditions to the Philippines used Malay interpreters to communicate with the locals.

The different Philippine native languages had assimilated many loan words from various languages spoken by merchants who traded with pre-Hispanic Filipinos, among them Sanskrit, Chinese, Malay, and Arabic. This is best exemplified in Amaya when Bagani said to Amaya “Ikaw ang aking buwan, ang aking tala.” Buwan (buan) “moon” is the Tagalog rendition of the Malay bulan; it is also bulan in Hiligaynon (Pelmoka 52) and Cebuano. The Tagalog tala “star” was derived from the Sanskrit tara. Diwata “fairy,” raha “king” and kudyapi “guitar,” are some of the words used in Amaya that trace their origins from Sanskrit dewata, raha and kacchapi.

Another thing I’ve noted is that the pronunciation of some words is incorrect, like those in iloy and bugay. Obviously this comes to no surprise since the actors and actresses are not born speakers of these languages. But aside from this shortcoming, the effort to integrate these words into the storyline are noteworthy.

More can be said about the language component of the epic teleserye Amaya because linguistics is a very broad and interesting topic but due to space restrictions, I will wind up here and will consider adding some more inputs whne the time warrants.

(Next: Part III: Hoplological Perspective)

References:

“Language, Science of.” The Encyclopedia Americana, International ed. Vol. 16: From Jefferson, Charles E. to Latin. New York: Americana Corporation, 1973.

Nepangue, Dr. Ned R. Phone conversation. 12 Jun. 2011.

Pelmoka, Dr. Juana J. Pre-Spanish Philippines. Caloocan City: Philippine graphic Arts, Inc., 1996.

“Philippines.” The Encyclopedia Americana International ed. Vol. 21: Orley to Photographic Telescope. New York: Americana Corporation, 1973.

Pigafetta, Antonio. "First Voyage Around the World (1519-1522)" Document 15. Documentary Sources of Philippine History. Gregorio F. Zaide. Manila: National Bookstore, 1990. 81-210.

Regalado, Felix B. & Ernesto, Quintin B. History of Panay. Iloilo City: Central Philippine University (CPU), 1973.

Rubrico, Jessie Grace U. “Some of the Cebuano Words Recorded by Pigafetta in 1521.” Language Links.

Scott, Dr. William Henry. Pre-Hispanic Source Materials for the Study of Philippine History. Quezon City: New Day Publishers, 1984.

Zaide, Dr. Gregorio F. Philippine History for High Schools. rev. ed. Manila: The Modern Book Company. 1969.

Zaide, Dr. Gregorio F. & Zaide, Dr. Sonia M. Philippine History and Government. Quezon City: All Nations Publishing Co., Inc., 2004.

GMA’s Amaya: Fact or Fiction? Part I: Overall Perspective By: James U. Sy Jr.

GMA’s new epic teleserye Amaya is a two-edged sword. It has its own merits and shortcomings and as to be expected, it received mixed reviews of both praises and criticisms. This commentary is by no means contributory to the raging network wars on cyberspace. Instead it is meant to give credit to what this teleserye means to the awareness of certain aspects of Philippine culture and at the same time, point out certain irregularities in the use, or misuse, of certain cultural and/or historical data in its storyline.

What is most commendable about the project is its effort to present the story based on cultural and historical researched data, something which is unheard of before, or at least not of this caliber. Amaya is both a milestone and a big risk for GMA. As far as is recorded and known, and as GMA advertised it, the teleserye is the first ever on Philippine TV to be explicitly based on pre-Hispanic Philippine history and culture. This makes it stand out immediate among its peer programs. Of course, the saleable programs are those centered on love stories and emotions, as Filipinos are fond of this formula as Korean telenovelas would show us. In essence, GMA is taking a big step by making something that has not been tried and done before. And it seems, they did well. The viewers just love Amaya.

As a native Ilonggo living in Region 6, I am glad and feel honored that the project Amaya took pains in presenting the rich pre-Hispanic culture of Panay, from which majority of the ancestors of the inhabitants of Negros Occidental also came from.

I am a professional and businessman, who in my free time engage in the research, study, documentation (and writing), promotion, and propagation of the various Ilonggo and other Visayan systems/styles of Arnis/Eskrima. While conducting data gathering for my book on Arnis, I traveled to several parts of the Visayas and a few in Luzon and Mindanao. I met the late prominent Ilonggo professor, historian, and author Dr. Henry Florida Funtecha, then the Director of the Center for West Visayan Studies (CWVS) at the University of the Philippines in the Visayas (UP-V). I was so inspired for his call for locals to write their own history and not to be passive to let outsiders do it for them. He believed that such history can be written nearer to its real essence if seen from the eyes of a local who has a fuller knowledge of the inner workings of the subject.

Although he himself had written several books on local Ilonggo history and culture, Dr. Funtecha stressed that much more has not been documented about the rich local traditions, culture, and history and that the work I’m working will be one of the milestones once finished because it is the only academically prepared work in its category in Western Visayas of date. If Dr. Funtecha is only alive today, I know he will be happy to see Amaya propagating Karay-a/Ilonggo culture and history.

It is a mistaken notion that the Philippines has only one culture. Since time immemorial, our archipelago was home to many different cultures. The history, culture, and language that have largely been associated with the Filipino people is that of Luzon, where our capital is located. But in reality this will vary from place to place. In Luzon itself, the Ilocanos and Igorots have their own unique cultures as compared to say, the Tagalogs. Although we have a national language, the Tagalog-based Filipino, the Philippines is home to more than a hundred languages, all except for one belonging to the Austronesian “Southern Islands” (Malayo-Polynesian) family of languages. Amaya is a big step in showing and instilling respect to this diversity of the different cultures housed in what is now known as the Republic of the Philippines.

It is my belief, as well as some of my researcher friends, that before we can be proud to be Filipino, one must first be proud of one’s own ethnic cultural heritage be it Karay-a, Ilonggo, Cebuano, Tausug, etc. Once one’s ethnic identity had been identified and appreciated, then we can join hands and say, inspite of our varied cultures, we are all Filipinos. The Philippines is home to several cultures and that is what makes Filipinos adaptable to different situations.

History is derived from either primary or secondary sources. Primary sources are those that have witnessed the event that took place or have been part of the incident being studied, i.e. written records, fossils, artifacts, and testimony from living witnesses. Secondary sources are those that are not part of the event in question, i.e. magazines, newspapers, pamphlets, typescripts, and articles written about the primary sources (Halili 5). Admittedly, Amaya is not perfect in fully depicting “accurate” historical/cultural details. This would be understandable because obviously, the makers of Amaya relied on secondary sources. While about a year was given to research the details in Amaya, it is not enough to conduct a primary sources search, which in itself is mostly reserved to the most scholarly of scholars. And it would not be practical to do so.

Whereas the makers of Amaya have consulted two UP professors, let us not forget that academicians themselves have their own fields of expertise or specialization, much as doctors and lawyers do. Some are into indigenous lifestyles, like Dra. Alicia Magos of UP-Visayas, who lived among the Panay Bukidnons and as far as I know, did the most extensive actual and live-in study of the Binukots. So consultants function best in their own field of specialization. It is my belief that the makers of Amaya had to fill in certain details which to them may remain gray areas even after consultation with noted experts.

I agree that Amaya is a good medium to educate but I take exception to what has been said during “The Making of Amaya” that all historical details used has been checked to be authentic. There are certain depictions that are not entirely true (I’ll point them out in the next parts of this article) and the average viewers may accept it as true. A distortion repeated many times ultimately becomes “the truth” and becomes hard to correct. As a researcher myself, I’ve seen this repeated over and over in the dissemination of the history of Arnis/Eskrima. If we want to study our culture and history we need to study it in earnest and with utmost dedication.

So let me give this cavet to all Amaya supporters and fans. Let us not forget that inspite of being based on actual history, Amaya is still historical fiction. History and historical fiction are two different things. Just like when we say “based on a true story,” which is not exactly the true story. GMA is prudent enough to include in their opening this line, “Mula sa original na katha para sa GMA ni Suzette Doctolero.” I don’t know if viewers have noticed this but they should see the teleserye as it is - historical fiction.

(Next: Pert II: Linguistic Perspective)

References:

Halili, Maria Christine N. Philippine History. Manila: Rex Book Store, 2004.

Brgy. Luna, Lapaz Arnis Held

Getz Pharma Arnis Icox Seminar A Success

Tanod Arnis Graduation Held By: James U. Sy Jr.

The Barangay Public Safety Officers (BPSO) who completed the Barangay Tanod Arnis and Adino Self Defense Training during their Graduation Exercises recently at the Don Bernardo Benedicto Plaza, Cadiz City.The Skills Enhancement Training was conducted by the Zion Original Disciples in Arnis and Combat Sports (ZODIACS) Self Defense Society of the Philippines, Inc. (James U. Sy Jr./CMAS photo).


Government officials, Training Directors and Staff, Guests, and graduating Barangay Public Safety Officers (BPSO) at the conclusion of the Barangay Tanod Arnis and Adino Self Defense Training Graduation Exercises held by the Zion Original Disciples in Arnis and Combat Sports (ZODIACS) Self Defense Society of the Philippines, Inc. in cooperation with the Cadiz City Office of the Mayor under Hon. Patrick G. Escalante, M.D., and Public Assistance and Reaction Against Crime (PARAC) recently at the Don Bernardo Benedicto Plaza, Cadiz City (James U. Sy Jr./CMAS photo).

The Barangay Tanod Arnis and Adino Self Defense Training Graduation Exercises were held by the Zion Original Disciples in Arnis and Combat Sports (ZODIACS) Self Defense Society of the Philippines, Inc. of Founder/Grandmaster Pastor Julius B. Delasan, 9th Degree Red Belt, in cooperation with the Cadiz City Office of the Mayor under Hon. Patrick G. Escalante, M.D., and Public Assistance and Reaction Against Crime (PARAC) under Reg. 6 President Dave Michael D. Sevillo, 6th Degree Red White Belt, recently at the Don Bernardo Benedicto Plaza, Cadiz City, Negros Occidental.

At least 65 Barangay Public Safety Officers (BPSO) or Barangay Tanods representing not less than 8 barangays graduated from the training. Course Instructors were Master Romeo G. Banas, 7th Degree Red Belt, ZODIACS VP & Deputy National Director, and Master Ian B. Negrido, 5th Degree Black Belt, Founder of BASSDUMAS Combat Sports and ZODIACS Provincial Coordinator with the assistance of the Training Staff: Salvador Segura, 4th Degree Black Belt, Bambie Lampon, Jr. V. de los Santos, and Arthur Dollosa, all 1st Degree Black Belt, and Alvin Aligarbes, Brown Belt.

Hon. Mayor Patrick G. Escalante, M.D., was represented by Hon. SP Member Antonio U. Lacson III, Chairman of the Committee on Peace and Order and Public Safety.

The training was conducted to better equip Barangay Tanods as the partners of the Philippine National Police (PNP) in curbing crime, especially in the more far flung areas. The training consisted of Scripture studies, fundamentals, of stances, blocks, punches, kicks, releases from holds, knife and gun disarming, and handcuffing and arresting techniques.

The Barangay Tanods of the different barangays gave a demonstration of their new found skills during the graduation rites. Arnis sparring was also showcased by the Training Staff.

Those who graduated were (Zone 2) Noe Abelido, Lope Bacayo Jr., Fulton Barilea, Rosevil Besa, Rammel Enriquez, Jolly Lanotes, Mitchell Llema, Dario Matarong, Salvador Pecayco, Brgy. Tanod Head Bernardo Pergamino Sr., Eduardo Pudadua, and Jerome Tumabiane; (Zone 4) Estanislao Agupuyan III, Diego B. Ascura, Cirilo F. Babaylo, Renante Canencia, Rodel de la Cruz, Harmie Doedocil, Bernardo Esperancilla, Hon. Kagawad Ismael Lampon, Romeo Laya-og, Primo Negre, and Brgy. Tanod Head Adonis Plana; (Zone 6) Crisanto Dejualian, Brgy. Tanod Head Arnel Española, Reynaldo Jarina, Greg Repolon, Cecil de los Reyes, and Renato Siason; (Burgos) Eduardo Aboniawan Jr., Fernando Alquisar, Romel and Rudy Ambrona, Joebert Ayco, Dante Belera, Eddie Demacutac, Romulo Dequinto, Hon. Kagawad Jerry C. Ditching, Nicomedes Dondoy Jr., Rodel Evedente, Aquilino Fortaleza Jr., Manuel Gomez, Eddie Guintao, Abnel Meraiz, Brgy. Tanod Head Roberto A. Oñates, Renante Sales, Ronilo Supuesca, and Armin Vito; (Cabahug) Eduardo Clamares, Jonito Enfanto, Ernesto Gilbuena, Brgy. Tanod Head Joel Gregorio, Ricardo Lumangyao, Bernardo, Edwin, and Vivian Mahinay, Julianito Parihos, Alex Sitjar, Jordan Tequihanon, Virgilio Tingson, and Jimmy Vasquez. (Magsaysay) Rodolfo Bachinela, Roberto Borja, Alfonso Castor, Michael Daguia, Elacris Delfin, Glomon Derecho, Manuel Ediz, Brgy. Tanod Head Arnie Lamis, Roger Lanis, Wilfredo Legaspi, Arnulfo and Ronito Libre, Ronnie Mendoza, Estelito Padernal, Reynaldo Pleridad, Richard Rebeoco, and Pedro Salvano.

Awards given were Best in Arnis Hon. Brgy. Capt. Rodel Evidente of Burgos (1st Place), Bernardo Pergamino Jr. of Zone 2 (2nd Place), and Maya of Brgy. Magsaysay (3rd Place); Best in Disarming Joebert Ayco of Burgos (1st Place), Adonis Plana of Zone 4 (2nd Place), and Hon. Brgy. Capt. Antonio Ferrer of Cadiz Viejo (3rd Place); Best in Handcuffing Harmie Doedocil and Diego B. Ascura of Zone 4 (1st Place), Reynante Sales of Burgos (2nd Place), and Jimmy Vasquez and Ricardo Lumangyao of Cabahug (3rd Place); Best Brgy. Tanod Participation Brgy. Burgos (1st Place), Brgy. Magsaysay and Zone 4 (2nd Place); Most Outstanding Arnis and Adino Player Hon. Brgy. Capt. Rodel Evidente of Burgos; Special Citations Brgy. Cabahug, Zone 2 & 6, and Cadiz Viejo; and Special award Vivian Mahinay of Cabahug.

Other officials who received Certificates of appreciation were ABC President Hon. Arthur N. Lanis, Cadiz Sports Coordinator Jun Bani Saravia, Cadiz Mayor’s Aide Rigor d. Rosario, City Book Binder Lorie Joy R. Maja, Pastor art Legaspina of CCC, Talabaan, Hon. Brgy. Capt. Macario Baroba (Zone 2), Hon. Brgy. Capt. Ma. Zenaida Po (Zone 4), Hon. Brgy. Capt. Jose Dino Hautea (Zone 6), Hon. Brgy. Capt. Eduardo Javier (Caduhaan), Hon. Brgy. Capt. Dionisio Villaruz (Cadiz Viejo), Hon. Brgy. Capt. Ray P. Yee (Cabahug), Hon. Kagawad Alex S. Jasmin (Cabahug), Hon. Kagawad Ireneo Cabahug (Peace and Order, zone 6), Chief of Police P/Supt. Santiago Y. Rapiz, ZODIACS Reg. 6 Secretary Janeth F. Banas, ZODIACS Instructor Ron Van Jay F. Banas, Master James U. Sy Jr. of Conceptual Martial Arts Society (CMAS), Inc./Negros Daily Bulletin (NDB), Brgy. Tanod Head Nestor Teruel (Caduhaan), and Brgy. Tanod Head Santiago Solatorio (Cadiz Viejo).

36 Sports Events to be Played in the Upcoming PNG By: James U. Sy Jr.

The 1st Philippine National Games (PNG) "Synchronized National Championships of NSAs” will feature 36 sports events when it is held by the Philippine Sports Commission (PSC) and the Philippine Olympic Committee (POC) on May 22-29, 2011 in several locations in Negros Occidental, including Bacolod, Bago, Silay, and Talisay Cities. Of the 36 sports events, 9 will be combat sports:

Events to be held in Bacolod City (with scheduled play dates and venue in parenthesis) are Fun Run (May 22, Bacolod City New Government Center), Athletics (May 22-26, Panaad Track Oval), Badminton (May 23-28, Pohang Badminton Court), Beach Volleyball (May 23-28, St. La Salle University - Sand Court), Billiards (May 24-29, Gaisano Mall), Fencing (May 24-27, UNO-R Gymnasium), Gymnastics (May 22-29, St John Institute & San Agustin College Gymnasium), Judo (May 23-26, Riverside College), Karatedo (May 23-25, Bacolod Arts Center - Bacolod City National High School), Lawn Tennis (May 23-29, Center Court Tennis Club / Noah's Haven), Motorcyle Sports (May 28-29, Bacolod City Airport Runway), Sailing (May 24-28, Lopue Family Beach Resort), Softball (May 24-29, Bacolod City National High School), Soft Tennis (May 27-29, UNO-R Outdoor Court / Panaad Tennis Court), Swimming (May 22-26, (May 25-26, Panaad Swimming Pool), Taekwondo (May 25-26, Negros Occidental Multipurpose Activity Center), Volleyball (May 23-29, St. La Salle University - College and High School Covered Court), Weightlifting (May 27-28, SM North Terminal), Wind Surfing (May 24-27, Lopue Family Beach Resort), and Wrestling (May 26-28, Bacolod Arts Center - Bacolod City National High School).

Events to be held in Bago City are Baseball City (May 24-28, Hall Housing Site), Canoe Kayak (May 26-28, Bantayan Park, Bago River), Dragon Boat (May 26-28, Bantayan Park, Bago River), Muay Thai (May 23-27, Manuel Torres Coliseum and Cultural Center), Wall Climbing (May 27-28, Bago Sports Center), and Wushu (May 28-29, Manuel Torres Coliseum and Cultural Center).

Events to be held in Talisay City are Cycling (May 23-24, Silay - Talisay City Hall), Futsal (May 22-29, Talisay City Gymnasium), Football (Women) (May 23-29, Carlos Hilado State College Football Field / Yanson Football Field), Pencak (May 23-27, Silat Talisay Public Plaza), and Table Tennis (May 24-28, Carlos Hilado State College Coliseum).

Events to be held in Silay City are Archery (May 24-28, Dona Monserat Lopez High School - Football Field), Arnis (May 22-27, Silay City Plaza), Sepak Takraw (Men) (May 24-28, Natalio Velez Multi-Purpose Gym), and Triathlon (May 28-29, Swim: Marina-Pacific Shore; Bike: Talisay-Silay; Run: Talisay).

The Pencak Silat competition, to be supervised by the Philippine Pencak Silat Association (Philsilat), will see action in the 1st Pencak Silat Junior Open Championship for Pesilats (Pencak Silat players) aged 14-17 years old and the 12th Pencak Silat National Open Championship for Pesilats aged 18 to 30 years old.

Meanwhile, the Muay Association of the Philippines (MAP) is planning a a seminar for all Muay Thai practitioners simultaneously with the staging of the PNG.

The PNG will feature the simultaneously conduct of the National Open Championships of the different National Sports Associations (NSAs). The main objective of the games is to scout for new potential athletes to be included in the national training pool.