| "> | | | | always moving. Drills with single/double stick are used |
| After more than 20 years in the Japanese martial | | | | to create âchainsâ of movement |
| arts (Iaijutsu/Kenjutsu, Aikido, Aiki-jujutsu, kobudo) | | | | that are later seamlessly linked into a never-ending |
| and 16 years living in Japan, I walked into Ni Tien | | | | loop of attacks. This is radically different from the |
| Martial Arts School in Singapore curious but not quite | | | | solid stances that typify Japanese and Okinawan arts. |
| sure what to expect. What a surprise! | | | | The Filipinos believe a fight to be dynamic and |
| After about six monthsâ training in Kali | | | | unpredictable, and that view is represented by the |
| Majapahit, here are the key differences I have found | | | | flow. I was reminded of Capoeiraâs hypnotic |
| between FMA and traditional Japanese martial arts: | | | | ginga, which keeps the opponent guessing all the |
| Constant Motion | | | | time. In the Japanese arts, there is a lot of focus on |
| Kali places a lot of emphasis on | | | | âcommitting the attackâ and using |
| âflowingâ (called âtuloy | | | | oneâs full body power to deliver a strike or |
| tuloyâ). We spend a lot of time working to | | | | kick. |
| develop fluid movements, and good Kalista are | | | | |