Bahay Kubo and Kali
The Bahay Kubo analogy underscores the simplicity at the same time the complexity of how our forefathers developed and taught the art, especially during a time when they were prohibited by colonizers to practice any form of martial discipline.
The way our forefathers hid concepts and techniques of Filipino martial arts in everyday objects and activities demonstrates Filipino ingenuity, resourcefulness and resilience.
Take for instance our cultural dances, which were used to learn and develop footwork and body mechanics. The famous tinikling is one great example of how triangle footwork can be developed through dance. There is also the maglalatik where the placement of the coconut shells served to teach students vulnerable targets relative to the Spanish soldier’s armor.
Allow me to attempt to expound on the Bahay Kubo analogy following the insights gained from Tuhon Jay.
There are traditionally three areas in a Bahay Kubo:
(1) the silong or area underneath, which is typically used for raising animals or as storage area for farm implements or produce.
(2) the silid or living area in the middle, where a family sleeps; and
(3) the bubungan or roof space, which typically has a steep pitch.
Technically, these may also be viewed as the three levels of the Bahay Kubo: low, middle and high.
Bubong (Roof)
The roof or bubong represents protection.
A roof keeps those inside the house safe from the elements. A roof over ones’ head denotes shelter, a home, a place where one feels safe.
A traditional Bahay Kubo has a triangular roof, it was designed as such so that rainwater flows down quickly during the monsoon season.
In Kali, the roof is represented by our payongs or umbrellas (Payong #1 and Payong #2). The execution of either payong is such that the same triangles, like the roof, are formed and placed above one’s head to serve as protection. One plane being the stick and the other plane the arm holding the stick.
Much like rainwater, the Kali payong is used to deflect your opponents’ Angle 1 or 2 strikes that allow these to slide down the spine of one’s stick or sword.
In addition, the equilateral triangular shape of the traditional Bahay Kubo roof clearly illustrates and gives students a framework for many fundamentals in striking, slashing, as well as footwork. This includes the diagonal and horizontal strikes, upward thrusts and horizonal slashes, and the triangle footwork (both close top and open top).
It is also noteworthy to mention that hidden within the equilateral or isosceles triangle shaped roof are vertical beams that serve to support the roof. This architectural feature of the Bahay Kubo are representative of centerline strikes (i.e. inside and outside circular strikes and vertical slashes).
The Abecedario or the 12 basic strikes can be learned using the roof as visual reference.
One might be lying in bed at night inside the Bahay Kubo and while looking at the ceiling, they would still be able to visualize the important geometrical symbolisms in the roof.
Dingding (Walls) and Silid (Room/Quarters)
In the same manner as the roof, walls also serve as protection, a shield of sorts. It serves to shield, as well as hide, those inside the house from any outside threat, natural or manmade.
A traditional Bahay Kubo has a single room or silid with four walls (may apat na dingding).
In PTK, the four walls are embedded in the 64 attacks. Wherein the first set of the ‘walls’ is a four-step movement that applies the diamond footwork together with double force upright counterattack strikes illustrative of the apat na haligi (four columns or posts) of a Bahay Kubo, which holds the walls in place.
In the same manner as the roof, the walls can also serve as reference for footwork strategy. Depending on how you orient yourself relative to the four walls, you can apply the diamond footwork, using the posts as reference points. Similarly, you may also apply the box and ranging footwork strategies using the walls or posts as reference points.
Hagdan (Stairs/Ladder)
The hagdan represents the three levels of attack – low, medium, high.
In Kali, we need to be agile and learn to strike at different levels – highline, midline and lowline. Being able to strike at different levels is essential to succeed in any fight.
The hagdan also symbolizes our journey as students of the art. Our growth in Kali necessitates that we start from below, learning the fundamentals, and slowly going up to learn more advanced skills and techniques, and embody the Kali culture and philosophy.
And as we know, the stairs of the traditional Bahay Kubo are sometimes made of bamboo placed in an acute angle, and if we try to rush going up, we face the risk of slipping or falling and injuring ourselves. Therefore in Kali, slow is fast and fast is slow. We must learn to crawl before we can walk.
Pinto (Door)
The door is the entry to a house.
A traditional Bahay Kubo often only has one door (pinto), located in front of the house, atop the stairs (hagdan).
In PTK, GT always speaks of doors, emphasizing that there are always multiple entries. As Kali practitioners, our objective is to find entries and break through our opponent’s protection or shield and place ourselves in an advantageous position.
Tuhon Jay, beautifully pointed out that as we enter a house, we knock to announce our arrival. Naturally, when we knock, we need to be close to the door. In Kali, knocking represents the punyo or hammer fist strikes and is applied during close quarters combat.
On the other hand, getting close to the door also illustrates our bridging techniques. Coming from long range (largo), our objective is to bridge distance so we can be in mid (medio) or close (corto) range. In PTK, that is where the real fight happens, especially if one is wielding a short weapon or using empty hands.
Dungawan/Bintana (Window)
Windows represent openings.
The typical Bahay Kubo will have more than one window that opens, revealing a triangle. Windows are kept open with a rod/stick that serves as a crossbar.
In Kali, we are trained to find and/or create windows - points of opening in our opponent. It dictates for us to break into our opponent’s defense and expose their vulnerabilities. As with the window of the Bahay Kubo, openings may be exploited through trankadas, where we lock or set up barriers, so our opponents’ movement becomes limited. Likewise, we may expose openings through thrusts.
Once you see a window, go for the opening and exploit it as best as you can to end the fight quickly. Because ultimately, our survival depends on it.
But beyond the technical aspects of Kali as a fighting system, I believe that the analogy of the Bahay Kubo is one that truly demonstrates the cultural aspect of Kali as a Filipino art. It is important for anyone to truly grasp the art, they must learn to connect with the culture where it originated from. You would not fully appreciate Kali or any other martial art, without understanding its’ roots - where it came from, why and how it came to be. Because Kali, as a fighting art is deeply rooted on the struggles of the Malay-Filipino people.
Understanding the history and culture of the people from which the art came from, offers the student and practitioner an entirely different paradigm on how they will learn the art. I will, however, reserve this discussion for another time.
Isang puso, isang diwa, isang lakas.
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1/ I have been a student of Pekiti Tirsia Kali (PTK) under the auspices of Pekiti Tirsia Katipunan, since 2018. PT Katipunan is a global organization that aims to promote and propagate the philosophy and practice of PTK throughout the world. It has members in the USA, Canada, Latin America and Southeast Asia.
2/ I have been privileged to be learning under some of the top PTK senior instructors in the world, namely Tuhon Mick Alcaraz, Tuhon Jay Bataclan, Tuhon RJ Gonzales and Tuhon Bob Rodriguez. As well as, my brothers and Guros from our training group, PTK Balangay Muralya.
3/ I have studied different foreign martial arts over the course of my life, but discovering PTK has completely changed by appreciation of Filipino Martial Arts. I am dedicated to being a student of this art for as long as I am able to practice it.
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