Florida Kali

Florida Kali Representing Marcial Tirada Kali Florida

Lakan Guro Marcial Tirada Kali

FCS Kali Clearwater Fla.

Kali, Eskrima, and Arnis are umbrella terms for the traditional martial arts of the Philippines that emphasis weapons based fighting skills. Our main training tool is a single rattan stick known as solo baston. We train in three main areas of combat, impact weapons, bladed weapon, and empty hand. Many of our body mechanics and techniques cross over to all three areas of study. Kali is excellent in

developing attributes such as timing, coordination, reflexes, and speed. Kali is highly effective and used by elite military and counter terrorist organizations worldwide. Also, because it is dynamic exciting martial arts it has been featured in many action movies such as the Bourne series, The Book of Eli and the Hunted.

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07/24/2026

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๐™†๐™ž๐™ฃ๐™Š๐™ข๐™ช๐™ฉ๐™–๐™ฎ,
๐™†๐™ž๐™ฃ๐™๐™ข๐™ช๐™ฉ๐™–๐™ฎ,
๐™†๐™ž๐™ฃ๐˜ผ๐™ข๐™ช๐™ฉ๐™–๐™ฎ.

๐›๐ฒ ๐€๐ง๐๐ซ๐ž๐š ๐‘๐จ๐ฅ๐ฅ๐จ

The term ๐™ ๐™ž๐™ฃ๐™ค๐™ข๐™ช๐™ฉ๐™–๐™ฎ, together with several similar spelling variants such as ๐˜ฌ๐˜ช๐˜ฏ๐˜ฐ-๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ and ๐˜ฌ๐˜ช๐˜ฏ๐˜ฐ๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜ช, began to spread within the Western terminology of the Filipino martial arts toward the end of the 1980s, largely through Paul Vunak, who described it as โ€œkaliโ€™s pinching, biting, and choking art.โ€

A particularly significant example appears in his article ๐˜’๐˜ข๐˜ญ๐˜ชโ€™๐˜ด ๐˜”๐˜ฐ๐˜ด๐˜ต ๐˜‹๐˜ข๐˜ฏ๐˜จ๐˜ฆ๐˜ณ๐˜ฐ๐˜ถ๐˜ด ๐˜ž๐˜ฆ๐˜ข๐˜ฑ๐˜ฐ๐˜ฏ๐˜ด, published in July 1988:

ยซThe other side of the Filipino grappling coin is kinomutay, kaliโ€™s pinching, biting, and choking art. As simple as these elements sound, they involve complex and subtle factors. Both the grip and the jaw must be strengthened. The natural reaction to being bitten is pulling away, and a powerful grip is needed during biting or pinching so the opponent canโ€™t pull free.ยป

This interpretation, developed and popularized in the United States, does not appear to be supported by the available Philippine documentation or by accounts collected from senior FMA masters. In particular, there is no evidence of a traditional, independent style or method called ๐˜ฌ๐˜ช๐˜ฏ๐˜ฐ๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ specifically organized around the use of biting, pinching, and choking.

Naturally, this does not mean that techniques of this kind were entirely absent from Filipino fighting practices. Biting, scratching, pressure techniques, facial holds, and choking may occur in many different grappling and fighting contexts. The issue, rather, concerns the use of ๐˜ฌ๐˜ช๐˜ฏ๐˜ฐ๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ as the traditional name of a specific martial style or a distinct branch of the Filipino martial arts.

In their 2007 book ๐˜Š๐˜ฆ๐˜ฃ๐˜ถ๐˜ข๐˜ฏ๐˜ฐ ๐˜Œ๐˜ด๐˜ฌ๐˜ณ๐˜ช๐˜ฎ๐˜ข: ๐˜‰๐˜ฆ๐˜บ๐˜ฐ๐˜ฏ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜”๐˜บ๐˜ต๐˜ฉ, Ned R. Nepangue and Celestino Macachor address the question directly and offer a linguistic explanation of the different terms involved:

ยซThe Cebuano wordโ€”๐‘˜๐‘ข๐‘š๐‘œ๐‘ก simply means โ€œto crumple by squeezingโ€โ€”this is the root-verb for ๐’Œ๐’Š๐’๐’–๐’Ž๐’๐’•, โ€œcrumpled.โ€ The word ๐‘˜๐‘Ž๐‘š๐‘ขฬ๐‘ก, which literally means โ€œa hand,โ€ is the root word for ๐’Œ๐’Š๐’๐’‚๐’Ž๐’–ฬ๐’•, โ€œby handโ€ and ๐‘๐‘Ž๐‘›๐‘”๐‘Ž๐‘š๐‘ขฬ๐‘ก. So the word ๐‘›๐‘Ž๐‘”๐‘˜๐‘–๐‘›๐‘ข๐‘š๐‘œ๐‘ก๐‘Žฬ๐‘ฆ roughly means โ€œsqueezing each otherโ€™s anatomy.โ€ Thus Cebuano word ๐‘”๐‘Ž๐‘š๐‘ขฬ๐‘ก, which means โ€œroot of a plantโ€ and has nothing to do with the words just mentioned. One more thingโ€”there is no traditional FMA style called ๐‘˜๐‘–๐‘›๐‘ข๐‘š๐‘œ๐‘ก๐‘Žฬ๐‘ฆ (which, by the way is also used to loosely describe two women crumpling each otherโ€™s face, squeezing each otherโ€™s breast and pulling each otherโ€™s hair).
If we want to describe the โ€œbiting each otherโ€ then the generic words ๐’‘๐‘–๐‘›๐’‚๐’‚๐’Œ๐’‚ฬ๐’š (from the root verb ๐‘๐‘Ž๐‘Ž๐‘˜) or ๐’‘๐‘–๐‘›๐’‚๐’ƒ๐’Š๐’•๐’‚ฬ๐’š (from the root verb ๐‘๐‘Ž๐‘๐‘–ฬ๐‘ก) are more appropriate. Gouging each otherโ€™s eyes is termed ๐’๐‘–๐‘›๐’–๐’ˆ๐’Š๐’•๐’‚ฬ๐’š (from word ๐‘™๐‘ข๐‘”๐‘–ฬ๐‘ก), while choking each other is described as ๐’•๐‘–๐’๐’–๐’๐’–๐’Œ๐’‚ฬ๐’š (from ๐‘ก๐‘ข๐‘–ฬ๐‘˜).ยป

The authorsโ€™ observation is important because it makes it possible to distinguish between words that sound similar but derive from different roots.

The Cebuano word ๐˜ฌ๐˜ถ๐˜ฎ๐˜ฐ๐˜ต or ๐˜ฌ๐˜ถ๐˜ฎ๐˜ถ๐˜ต denotes the act of squeezing, compressing, crumpling, or clawing with the hands. From this root comes ๐™ ๐™ž๐™ฃ๐™ช๐™ข๐™ค๐™ฉ๐™–๐™ฎ, which may describe a reciprocal action in which two people grab, squeeze, claw, or pull at one another. In certain colloquial contexts, the term may be used to describe a disorderly scuffle involving hair-pulling, scratching, and grabbing at the face, sometimes associated with the stereotype of the so-called catfight.

The root ๐˜ฌ๐˜ข๐˜ฎ๐˜ฐ๐˜ต or ๐˜ฌ๐˜ข๐˜ฎ๐˜ถ๐˜ต, meaning โ€œhand,โ€ is different. From it comes ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถฬ๐˜ต, a term that may refer, in a general sense, to an action performed by hand or with the hands. The affix -๐˜ข๐˜บ frequently forms reciprocal actions and, in other cases, intensive ones. Morphologically, therefore, ๐™ ๐™ž๐™ฃ๐™–๐™ข๐™ช๐™ฉ๐™–๐™ฎ may be understood as acting reciprocally with the hands. In a fighting context, this meaning may become more specialized and describe a physical struggle or hand-to-hand combat.

This fighting sense appears in some historical attestations from military contexts that I recently identified.

In Sebastian D. Javelosaโ€™s book ๐˜ˆ๐˜ฏ๐˜จ ๐˜ฌ๐˜ข๐˜ฃ๐˜ข๐˜ฏ๐˜ต๐˜ถ๐˜จ ๐˜ฏ๐˜จ๐˜ข ๐˜ช๐˜ญ๐˜ข๐˜ฏ๐˜จ ๐˜ฏ๐˜ข๐˜ข๐˜ฏ๐˜จ๐˜ฌ๐˜ฐ๐˜ฏ (๐˜›๐˜ฉ๐˜ฆ ๐˜๐˜ข๐˜ฎ๐˜ฆ ๐˜›๐˜ฉ๐˜ฆ๐˜บ ๐˜Ž๐˜ข๐˜ช๐˜ฏ๐˜ฆ๐˜ฅ), published in 1955, thirty-three years before Vunakโ€™s article, the term ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ is used in connection with close-quarters and hand-to-hand combat.

In one passage, Javelosa writes:

ยซGipaarosan ko ang ulo sa akong mga sundalo aron makabintaha sila sa dutdotay ug kinamutay nga sambunot (โ ๐˜ฉ๐˜ข๐˜ฏ๐˜ฅ-๐˜ต๐˜ฐ-๐˜ฉ๐˜ข๐˜ฏ๐˜ฅ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฃ๐˜ข๐˜ต) batok sa mga Moros, kay sa ingon nga paagi ang ulo nga walay buhok malisud kahawiran sa Moros nga buut mogulgol sa liog sa sundalo nga higunitan. Sagad man ugod nga batasan sa mga Moros ang paghawid sa buhok sa ilang kaaway sa dili pa nila punggotan sa ulo ang biktima sa ilang kris kun kampilan. Akoy unang nagpakiskis sa akong bagul-bagol, ubos sa mahait nga gunting sa among opisyal nga barbero, Private Peque. Sa pagkahumag tupi sa akong mga sakop, gitugon ko silang tanan pagpahulay aron makaandam alang sa dakung buluhaton sa sunod adlaw.ยป

It is important to clarify that the English expression in parentheses, โ€œhand-to-hand combat,โ€ appears in the original text and was not added by me.

The passage may be translated as follows:

ยซI had my soldiersโ€™ heads shaved so that they would have an advantage in close-quarters hand-to-hand combat against the Moros, since a hairless head was harder for the Moros to grab when they intended to slit the throat of a soldier they had restrained. It was in fact customary for the Moros to seize an enemy by the hair before beheading the victim with a kris or a kampilan. I was the first to have my head completely shaved under the sharp scissors of our official barber, Private Peque. Once they had finished cutting my menโ€™s hair, I ordered them all to rest so that they would be ready for the great task of the following day.ยป

The construction used by Javelosa is ๐˜ฅ๐˜ถ๐˜ต๐˜ฅ๐˜ฐ๐˜ต๐˜ข๐˜บ ๐˜ถ๐˜จ ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ ๐˜ฏ๐˜จ๐˜ข ๐˜ด๐˜ข๐˜ฎ๐˜ฃ๐˜ถ๐˜ฏ๐˜ฐ๐˜ต. The English gloss โ€œhand-to-hand combatโ€ appears to refer to the expression as a whole, rather than necessarily to the word ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ alone.

The expression describes a violent and disorderly struggle fought at extremely close range. Within this construction, ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ helps convey the manual and reciprocal dimension of the encounter, while ๐˜ด๐˜ข๐˜ฎ๐˜ฃ๐˜ถ๐˜ฏ๐˜ฐ๐˜ต evokes the idea of a fierce struggle involving grabbing and pulling.

On another page of the book, Javelosa writes:

ยซGisubli pagsaysay ni Pregonero ang pipila ka halandumong hitabo sa iyang kaagi kuyog sa mga kostabling Amerikanhon. Dili gayud mapapas sa iyang handurawan kadtong gihimo sa usa ka maisug opisyal Amerikanhon nga mitugyan sa iyang kinabuhi sa bung-aw sa kamatayon aron lamang pagluwas sa kinabuhi sa usa ka Pilipinong sundalo nga natigbas sa kris sa Moros sulod sa usa ka dugoong sangka nga kinamutay.ยป

The translation is:

ยซPregonero recalled several memorable episodes from his past, which he had spent alongside the American members of the Constabulary.
He would never forget what a brave American officer had done: risking his own life and going to the very brink of death solely to save a Filipino soldier wounded by a Moro kris during a bloody hand-to-hand fight.ยป

This second example is particularly significant. The expression ๐˜ถ๐˜ด๐˜ข ๐˜ฌ๐˜ข ๐˜ฅ๐˜ถ๐˜จ๐˜ฐ๐˜ฐ๐˜ฏ๐˜จ ๐˜ด๐˜ข๐˜ฏ๐˜จ๐˜ฌ๐˜ข ๐˜ฏ๐˜จ๐˜ข ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ may be translated as โ€œa bloody hand-to-hand fight.โ€

In this case, ๐˜ด๐˜ข๐˜ฏ๐˜จ๐˜ฌ๐˜ข denotes a contest or fight, while ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ specifies its manual dimension; the context shows that the passage refers to a hand-to-hand encounter.

The word ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ therefore does not appear to designate a formalized martial style, but rather a concrete mode of fighting: a physical struggle in which the opponents confront one another directly, at close range, and through immediate physical contact. The reference to the ๐˜ฌ๐˜ณ๐˜ช๐˜ด also shows that this form of hand-to-hand combat did not necessarily exclude the presence and use of bladed weapons.

Javelosaโ€™s attestations do not demonstrate the existence of an ancient Filipino martial system called ๐˜’๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ. They do, however, show that the word ๐˜ฌ๐˜ช๐˜ฏ๐˜ข๐˜ฎ๐˜ถ๐˜ต๐˜ข๐˜บ was already in use in the Cebuano language by at least 1955 and that it could appear in descriptions of close-quarters and hand-to-hand fighting.

The conclusion therefore requires several distinctions.

There is no documented traditional Filipino martial arts method called ๐™ ๐™ž๐™ฃ๐™ค๐™ข๐™ช๐™ฉ๐™–๐™ฎ specifically devoted to biting, pinching, and choking in the sense popularized by Paul Vunak toward the end of the 1980s.

The form ๐™ ๐™ž๐™ฃ๐™ช๐™ข๐™ค๐™ฉ๐™–๐™ฎ, derived from ๐˜ฌ๐˜ถ๐˜ฎ๐˜ฐ๐˜ต or ๐˜ฌ๐˜ถ๐˜ฎ๐˜ถ๐˜ต, may instead describe a physical struggle involving grabbing, scratching, pulling, squeezing, and hair-pulling. In some colloquial usages, it may be associated with a disorderly fight or a catfight, but this does not make it the name of a traditional martial style.

The form ๐™ ๐™ž๐™ฃ๐™–๐™ข๐™ช๐™ฉ๐™–๐™ฎ, connected with the word ๐˜ฌ๐˜ข๐˜ฎ๐˜ฐ๐˜ต or ๐˜ฌ๐˜ข๐˜ฎ๐˜ถ๐˜ต, โ€œhand,โ€ has a more general meaning. Javelosaโ€™s attestations show that it could be used to characterize a physical struggle and hand-to-hand combat.

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1501 N Belcher Road
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