System Vs. Style
Paraphrased from a lecture By Grand Tuhon Leo T. Gaje, Jr.

In ancient times the method of education of the Kaliman, which began as a child, was a thought provoking process. Instead of direct answers to questions he was often met with another question. Thus, he was taught to examine both questions and answers throughout the learning process. While the physical aspects of Kali were absorbed through repetitious practice the mind was also trained. As each strike with the baston was learned the student questioned its uses, examined its effectiveness against different target areas, and modified it so that it could be applied with a wide variety of weapons or with the empty hand. Just as the Kaliman entered the physical and mental phases of the art simultaneously, so too did they progress together step by step. This was symbolized by the Kali triangle in which the mental and physical levels of the art are placed along the base. They form the foundations of the art.

This tradition continues today. The very core of Kali is the ability of the individual to foster continual change and adaptation within the art. Rather than ask what a technique is, the modern day Kaliman or Kaliwoman is taught to examine the What, Where, When, Why, and How of that technique. He or She is taught to systemize.

The conceptual difference between a style and a system is vital to a thorough understanding of Kali. The key is in the learning process. A style is a particular grouping of strikes, techniques, and counters. A system stresses basic principles that can be applied to an unlimited number of situations. Once the basic principles are understood the only limit is the imagination of the individual. A style is merely lists techniques, a system classify them according to form and function.

In the Pekiti-Tirsia System, as taught by Grand Tuhon Leo T. Gaje, Jr., the various types of strikes (or attacks) are reduced to their most basic elements. A broken attack is one in which the strike is controlled so that it either immediately returns upon impact with the target or cuts through the target and returns without “breaking” (i.e. turning over) the wrist. The former example is called a jab and the latter a slash. One advantage of the broken attack is that it can readily be converted into a thrust as it returns back to the point of origin, along the path it was delivered on. This would be a possible application of the slash. If, as in the case of the jab, the strike returns immediately upon impact with the area (e.g. #1 jab followed by a #9). These same principles can be applied in reverse. If the original attack is a thrust – it can be delivered in either a slashing (hooking) or a jabbing manner. It is then possible to convert a thrust into a strike or punyo (strike with the butt of the stick). A jabbing #9 could be followed by strike #1 or a punyo to angle #1. A fluid #9 could be followed by a #2 or a punyo to angle #2.

The opposite of a broken attack is a fluid attack. The fluid attack or strike passes through the target and continues to the other side of the body with a turnover of the wrist. If the strike started palm up and to the right it will be palm down and to the left upon completion. The fluid attack has more speed and power than the broken attack. It tends to eliminate breaks in the flow of motion. It is therefore useful for delivering powerful blows and keeping up a constant barrage of strikes. Fluid attacks are often used offensively to fake an opponent through twirls and redoubles and to drive him before you in order to gain the initiative. They are used to destroy broken attacks.

Despite the many advantages of the fluid attack, broken attacks are considered more dangerous. This is due to their ability to combine with thrusting actions and to change the angles rapidly and unpredictably without the commitment of the fluid attack. Furthermore, the broken attack is the primary type of attack in the close quarter. Fluid attacks are unwieldy here. The broken attack is used to destroy the fluid attack.

A second way of categorizing attacks is by their essential angle – vertical, horizontal, or diagonal. Horizontal can attacks destroy vertical attacks. Vertical attacks can destroy horizontal attacks. Diagonal attacks may destroy either vertical or horizontal strikes or other diagonal strikes. With proper body mechanics, footwork, and timing, a particular strike may be used to destroy a number of other strikes.

Classification of attacks goes into higher levels as different types of fluid and broken attacks are presented. For example a horizontal fluid attack like #1 (Abecedario) may be destroyed by the Four Wall #1. The Four Wall is kind of diagonal broken attack which is used to jam or break horizontal and diagonal attacks. When combined with closing footwork, it can jam a fluid attack and prevent it from passing to the other side of the opponent’s body. The use of the Four Wall thereby limits the fluid attack so that it cannot be converted into a broken attack or another fluid attack.

The Payong or Umbrella is the next set of techniques in this process. The Umbrella is an upward diagonal attack, which may be either broken or fluid in its delivery. The Umbrella is used to destroy Four Wall. It is also used to destroy diagonal and vertical blows. In the example given above, when the attacker’s horizontal fluid attack is about to be jammed by four wall he converts the fluid #1 into umbrella #1 which contacts the hand of the opponent.

The method of Dakup and Punyo or practical in-fighting techniques expressed in the tapping and advanced tapping drills provides a combination of the first three methods of the Doce Methodos, or twelve methods of Pekiti-Tirsia Kali. Abecedario, Four Wall, Umbrella, and punyo attacks are all executed in this counter for counter drill. This combination of methods 1-4 is also called the Abecedario method since it shows the A,B,C,’s of attacks, counters, and recounters in one drill.

As each method and system is explored in depth not only is ancient knowledge based upon the combative experience of thousands of years handed down, but new questions and answers are provided. Principles and systems already thought to be understood become clearer in the light of more advanced systems. The whole is greater than the sum of its parts. The Kaliman realizes that he has learned how to learn.

As the Kaliman goes deeper into the art he must “forget” what he has learned, for in the forgetting is “knowing”. Knowing, not intellectually, but intuitively. There is no longer any separation between the individual and the art.