Archive martial arts training materials from Tandez Academy

JKD/Kali curriculum documents with markdown transcriptions:
- beginner_jkd_concepts: Wing Chun theory, centerline, trapping, five ways of attack
- filipino_kali_concepts: 12 areas of LaCoste Inosanto Kali, training methodology, knife system, panantukan
- jun_fan_terminology: Cantonese martial arts glossary (stances, terms of motion)
- jkd_level1_syllabus: Level 1 JKD Centurion curriculum (Hermes, Achilles, Ajax series)
- kali_level1_syllabus: Level 1 Kali Centurion curriculum (angles of attack, sinawali, sumbrada)

notes/martial_arts/beginner_jkd_concepts.md

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+# JKD Concepts - Centurion Curriculum
+
+## Beginner JKD Concepts - Jun Fan Gung Fu/Wing Chun Theory
+
+### Jeet Kune Do Symbol
+
+The Chinese phrases surrounding the symbol are: "Using No Way as Way" (Yee Mo Fat Way Yao Fat) and "Having No Limitation as Limitation" (Yee Mo Han Way Yao Han). Regarding the first statement, one is to approach combat without any preconceived notions, and simply respond to "what is." In this way, the martial artist is adaptable and pliable enough to fit in with any opponent and situation instantly. He is using no particular or set way that was preconditioned in him. "No-mindedness" is a term often used to describe this state of unconscious consciousness or conscious unconsciousness. And, indeed, it is an ideal state that is difficult to attain but which one aspires to. In addition, one tries to be like water when using this "no-way" approach. Water automatically assumes the container that it is poured in, thereby constantly fitting in with and adapting to the situation.
+
+By having no limitation as the only limitation, one can transcend martial arts boundaries that are set by style, tradition, race, individual preferences, etc. Lee gave the JKD man the freedom to explore other martial arts with the only limitation being that he has only has two hands and two feet and the objective is how to use them to the maximum. Furthermore, Lee wanted us to search deep within ourselves to find what works best for each one of us. No longer are we dependent on the teachings of various styles or teachers. But by taking an honest assessment of our own strengths and weaknesses, we can improve our martial skill as well as our daily living. Like he said, "Knowledge ultimately, means self-knowledge." With this freedom to improve our skill and life in any way that we like, one is able to honestly express one's self.
+
+### Centerline Theory
+
+- The centerline is an imaginary vertical line that runs along the center of the body from head to foot.
+- The primary targets of the body lie on the centerline, such as the eyes, throat, groin and knees.
+- The secondary targets also lie on the centerline, such as the nose, mouth, chin, sternum, solar plexus, stomach, liver, inner thigh, outer thigh, shin, and instep.
+- The rear targets are the back of the head, neck, spine, tailbone, hamstrings, back of the knee, and Achilles.
+- All offense is directed to the centerline.
+- All defense originates from the centerline.
+- All footwork is designed to intercept the centerline.
+- In emptiness, you hit in a straight line.
+- Control, occupy, and defend the centerline at all times.
+- Objective is to hit the centerline without being hit yourself.
+- The first thing you must learn is how to defend your centerline.
+- Herein lies the application of economy of motion. By always keeping the hand on the centerline, all blocking movements are kept to a minimum.
+- In learning how to correctly block attacks directed at the centerline, one also learns how to counter attack at the same time while maintaining the centerline guard.
+- All actions in Wing Chun are done with centerline theory in mind!
+
+### The Four Corners Theory
+
+- The four corners are imaginary boundaries in which the Wing Chun hands operate.
+- The hands never go outside these boundaries.
+- The concept is to allow the opponent to enter one of the four corners and then close the gate upon the attack.
+- By not going outside of one's boundaries, one learns not to chase for the illusive opponent.
+- The four corners are High Outside, High Inside, Low Outside, and Low Inside.
+
+### The Five Gates Theory
+
+- Bruce Lee added the fifth sector (gate), which went from the waist to the feet.
+- This was made for the kicking methods found in modern kickboxing.
+- The fifth gate is divided into the front leg and the rear leg.
+
+### Immovable Elbow Theory
+
+- The position of the elbow is one fist away from the body.
+- In Wing Chun, one learns to open and close the elbow for attack and defense.
+- The concentration of energy at only one point on the elbow gives rise to the immovable elbow.
+
+### Straight Line Attack Theory
+
+- The shortest distance between two points is a straight line.
+- In offense and defense, we utilize the nearest weapon to the nearest target.
+
+### Bridge Hand Theory
+
+- The forearm is referred to as the bridge.
+- The forearm is used to intercept the opponent's forearm or attack in both offense and defense. This interception is referred to as a bridge.
+- By using a bridge, we decrease the margin of being hit, and increase our margin of control.
+
+### Trapping Hands Theory
+
+- Referred to as the tying up of hands (immobilizing the hands).
+- The idea is to use one hand to pin the opponent's two hands with one hand so that the other hand is free to strike at will.
+- This theory also correlates that two hands should not be used to control one of the opponent's hands.
+
+### Economy of Motion Theory
+
+- Simple, direct, and non-classical (non-traditional)
+- Motions should be economical, not overly complicated, but should go directly to the target
+- No wasted energy and unnecessary motions in your actions. Use the least possible movement.
+- Falls in line with the straight line of attack theory and the four corners theory. This advocates using the shortest path and the line of least resistance.
+
+### Simultaneous Block and Attack (Lin Sil Dai Da) Theory
+
+- Applying the attack at the same moment of defense. Hence offense and defense are one thing.
+- By simultaneous block and attack, we want to change our defense into our offense in order to gain the momentum.
+- It also reduces the timing in an attack to the point that the strike is with the block. This is what is meant by lightning hand striking.
+
+### Triangle Theory
+
+- The triangle serves as the basic principle in the formation and use of all Wing Chun techniques.
+- It also serves as a strong and efficient device to redirect energy. The more precise the position, the less energy required by the technique.
+
+### Circle Theory
+
+- The circle is an effective means to absorb and dissipate power. It is also an effective means in which to generate power.
+
+### Three Sectors Theory
+
+- The three sectors are imaginary lines which separate the body into three sections.
+- The high section is from the solar plexus up to the top of the head.
+- The middle section is from the groin to the solar plexus.
+- The low section is from the groin to the feet.
+- Hands take care of the top two levels; legs take care of the bottom level.
+- The hands do not chase into the low level.
+
+### Power Side Forward Theory
+
+- Lead with your dominant side; you can hit harder, faster, and more accurately; weak side is in the rear, which gives it more power from hip rotation.
+- Both hands have "knockout" power - there is no "weak hand."
+- Bruce Lee adopted this concept from Fencing.
+
+### Forward Pressure
+
+- Powerful driving energy to push him back, forcing him to retreat
+- Used to destroy his base and balance
+- The Wing Chun Battle Punches and Western Boxing is often used to create pressure
+
+### Four Ranges of Combat
+
+1. Kicking
+2. Punching
+3. Trapping
+4. Grappling/Ground Fighting
+
+### Fighting Measure
+
+- The distance you want to maintain & control against an enemy
+- Proper distance is such that he can't touch you without first taking a step or making a big motion.
+- We avoid starting the fight in "trading blows" range, where he is close enough to touch you
+- Maintain a 360 circle of awareness and avoid "tunnel vision". Watch for his friends to ambush you
+- Always expect the unexpected
+
+### Non-Telegraphic Motion
+
+- Never show your enemy what you are about to do before you do it: do not alert him
+- Never show him anything. Telegraphing can be physical, emotional, and psychological
+- Hit from where you are; not re-setting to a better position before striking
+
+### Visual Focus Principles
+
+- Where your eyes look at during a fight
+- Use 360 degrees Peripheral Vision - Avoid Focal Vision
+- Primary Visual Focus: the solar plexus
+- Secondary Visual Focus: the head
+- Tertiary Visual Focus: the elbows (for punches) and knees (for kicks)
+
+### Five Ways of Attack
+
+- **S.A.A./S.D.A.** - Single Angular Attack/Single Direct Attack
+- **A.B.C.** - Attack by Combination
+- **H.I.A./F.I.A.** - Hand/Foot Immobilization Attack (Trapping)
+- **P.I.A.** - Progressive Indirect Attack
+- **A.B.D.** - Attack by Drawing
+
+### Time-Distance Variable
+
+- The less distance you have from your opponent, the less time you have to react.
+- The more distance you have from your opponent, the more time you have to react.
+- Defensively, you want more distance from your enemy to give you more reaction time.
+- Offensively, you want to close the distance on your enemy quickly to give him no reaction time.
+
+### The 9-Second Rule
+
+- You must end the fight in less than 9 seconds, or odds of success decrease dramatically
+- The longer the fight, the odds increase that you might end up on the ground, weapons will be drawn, and multiple enemies will attack you.
+
+### Worst-Case Scenario
+
+- Always train as if the enemy is bigger, stronger, and tougher than you are.
+- Always assume your enemy has a weapon, even if you cannot see it.
+- Always assume your enemy has friends coming to help him
+- Never underestimate anyone
+
+### Do Not Meet Force with Force
+
+- To defeat strength: leverage, angulation, body mechanics, speed, sensitivity, and explosive force.
+- If you have to strain your muscles to defeat your enemy, then your technique is incorrect.
+- Blocking vs. Deflecting: blocking means using force to move your enemy's kick or punch away while staying stationary; deflecting means moving yourself away from your enemy's kick or punch while using footwork and evasion and not using little or no force.
+- Blocking only works if you are bigger and stronger than your enemy. Otherwise you cannot block an enemy outside of your weight class without risking injury or failure. Deflecting and Parrying is preferable.
+
+### Immovable Elbow Moving Line
+
+- The lead elbow must be as strong as steel - never allow it to compress inwards
+- The lead elbow must be lined up on the centerline
+- The lead elbow must be placed about one and a half fist length from the body.
+- All punches and deflections begin from the elbow, not the hand.
+
+### Three Levels of Defense in JKD
+
+1. **Interception**: respond by intercepting the enemy's movement.
+2. **Evasion and Footwork**: respond by evading the enemy's attack, then counter-attack him.
+3. **Parrying, Trapping, and Counter-Attacking**: respond by parrying, trapping, and counter-attacking.
+
+### Hammer Principle
+
+By aiming (dropping your hand like a hammer) and lining up the lead hand at the target a split second before striking, you land a fast, accurate hit without telegraphing.
+
+### Types of Speed
+
+- **Physical** - the speed at which your body moves during an action
+- **Reaction** - the speed at which you receive a stimulus then take action
+- **Initiation** - the speed at which you go from inaction to action in response to a stimulus
+- **Perception/Visual** - the speed at which you see and perceive stimuli then take action
+- **Audible** - the speed at which you hear stimuli then take action
+- **Mental** - the speed at which your mind chooses the right action in response to stimuli
+- **Alteration** - the speed at which you can change directions in the middle of an action
+- **Combination** - the speed at which you can deliver a series of movements in one flow
+- **Sensitivity** - the speed at which you can read pressure using touch, then take action
+- **Footwork/Agility** - the speed at which you can move your feet properly
+- **Trapping** - the speed at which you can apply the right trapping attacks on your enemy
+
+### Relax - Explode Principle
+
+- Maintain a loose and relaxed physical and mental state, until the last moment when you strike.
+- The strike is delivered suddenly with maximum explosive force, velocity, and deep penetration. When you go from a relaxed state to a sudden burst of speed and high intensity, you create explosive force.
+- Explosive force accelerates towards the target and goes past it; non-explosive force (pushing force) will slow down as it nears the target, with very little penetration.
+
+### Three Attack Lines of Wing Chun
+
+1. **Attack Line 1** - Centerline (Attack is Straight)
+2. **Attack Line 2** - Slanted (Attack is Angled to Opposite Shoulder)
+3. **Attack Line 3** - Lateral Line (Attack Comes from the Side of the Head)
+
+### Three Sticks Concept
+
+1. **Stick 1 (Centerline)** - protect and defend at all costs - never give away your centerline
+2. **Stick 2 (Lead Elbow)** - "Strong as Steel" - never allow your elbow to collapse into your body
+3. **Stick 3 (Lead Forearm)** - "Soft as a Blade of Grass" - soft, yielding, flexible, sensitive, adaptable
+
+### Flow - Fluidity in Movement
+
+Flowing is a non-stop continuous motion that changes and moves without missing a beat. We never meet strength with strength, or force with force. You must flow with the situation.
+
+### Constant Forward Pressure - Be Like Water
+
+Make sure you apply constant forward pressure against your opponent, which is like water flowing through the smallest crack seeking an opening. Whether your opponent retreats or advances, he should feel an "Alive" tension against his arms or body at all times, affecting his motions and restricting him. From this pressure, he will be forced to backpedal or go backwards.
+
+### Simultaneous Attack & Defense (Lin Siu Dai Da)
+
+Your defense is also your attack. Attack and defense are the same. We treat his attack as an opportunity to counter-attack. Instead of blocking and then returning a strike, we block and strike at the same time. JKD is an offensive art - we don't believe in defense. "Attack the Attacker" is a more pro-active solution, since it doesn't allow him to lead the fight.
+
+### Comfortable in All Ranges and Adaptability
+
+You must be comfortable in ALL ranges. Learn to adapt and overcome anything. Learn to fight and adapt to any scenario. Bruce Lee states that JKD can "fit in with any style". It means that JKD can defeat an enemy regardless of their style or system. The JKD man adapts to all weapons, kicking, boxing, trapping, clinching, and ground fighting ranges. He is the master of entry and exit.
+
+### Always Follow-Up on The Enemy: Assume Nothing is Final
+
+Upon a successful entry, always continue your attack with aggressive ABC, Forward Pressure, and Killer Instinct. Never allow him to regain his base and balance. Never allow him to counter-attack.
+
+### Proper Body Mechanics
+
+Body mechanics involve compact power, efficient structure, and leverage.
+
+**Proper Striking Mechanics:**
+- Stage 1: Driving from Foot to Hip
+- Stage 2: Fast Rotation from Hip to Shoulder
+- Stage 3: Loose and Relaxed Whipping Energy from Shoulder to Hand
+
+**Effective Striking Principles:**
+- Correct Type of Force
+- Correct Line of Force
+- Correct Stability and Leverage Upon Impact
+- Proper Weight Transfer
+- Balance in Motion
+- Proper Breathing
+- Proper Footwork
+
+### Defend When You Attack: Always Cover Your Gates
+
+You are most vulnerable to attack when you attack. Always be sure to defend your gates.
+
+Wu Sao is 80% of defense and is responsible for defending centerline. You can hold it:
+- In front of your chin
+- Next to your Inside Gate jaw/cheek
+- Next to your Outside Gate jaw/cheek
+
+Whenever you strike, be sure to cover your head with the non-striking hand. Avoid dropping your hands.
+
+### Longest Weapon to Nearest Target
+
+Use your longest (or nearest) weapon on the opponent's nearest and most vulnerable target. Thus the lead hand and lead foot is preferred to using the rear hand and foot. Or in other words, as Bruce Lee said, "I would just as soon kick someone in the head as punch him in the toe..." For example, if your enemy's face is closest to your head, then a quick Headbutt to the nose might be the best choice for attack, rather than pulling away to punch.
+
+### Five Principles of Jun Fan Gung Fu/Wing Chun
+
+#### 1. Evade a Strong Force
+
+There is a limit to how much force any particular technique can handle. No matter how strong the stance or how precise the angle of hands, there will be a force strong enough to get through. Master Wong Kiu expressed this thought by saying "You cannot block a motorcycle with a Bong Sau." It just can't be done.
+
+Jun Fan teaches some direct confrontation techniques in terms of blocking kicks or roundhouse punches; however, when the attacks are too strong, then alternative methods must be used. The advantage of direct confrontation techniques is that they are faster than going with the flow methods.
+
+One of the best remedies against a strong force such as a spinning kick or wild hook punch is not to be there when it arrives. You always risk getting hurt when you clash with a strong force.
+
+#### 2. Combined Strength
+
+There is a Chinese term called "Garb Lik" which means combined strength. This term also means to not have one passive hand and one active hand. For example, don't hold someone's arm with one hand while hitting high and low with the other hand. The holding hand is passive while the hitting hand is active.
+
+When you punch, there is also an equal strength put into the Wu Sau (guarding hand). When you apply the Bong Sau (wing block hand), you also put a strong instantaneous force into the guarding hand.
+
+In the Chi Sao (double sticking hands), when you do a Jik Jern (center palm hit), don't have a weak high Fook Sau or else the opponent can hit by changing his Boang Sau to a Sat Sau (neck chopping hand). Always have "Garb Lik" in all of your actions.
+
+#### 3. Use Body Position
+
+During fighting practice, the opponent may have you jammed up so that your hand actions cannot be applied. In such cases, a shift of the body can sometimes change the angles in such a way that you again have room to maneuver.
+
+If shifting does not help, you may still be able to move the stance in such a way as to offbalance the opponent. Even a slight change in position can sometimes give you another chance to hit.
+
+Seemingly hopeless situations, such as where the opponent has grabbed your kicking leg, can sometimes be remedied by changing the body position. In this case, dropping to the ground in order to kick the opponent's joint with the other leg.
+
+In Jun Fan, it is not only the hands which provide shocking forces. When you are being trapped, violent rotations of the body combined with the use of the elbow can sometimes save the day. Think of trying to hold on to a wiggling fish.
+
+#### 4. Be Direct
+
+There are sayings in the martial arts world such as "Use Soft Against Hard" and "Go with the Flow." These principles are useful when handling large forces. When the forces are not large, such as in the case of a roundhouse punch thrown by a similar sized opponent, it is often much quicker to clash directly with the attack so that you hit the opponent immediately.
+
+If you are confident with your technique and can handle the opponent's force, then you can just charge in directly to the opponent's center. Provided you are able to keep the Center, you will have no problems.
+
+Use your common sense to figure out under what circumstances the general principles of Jun Fan apply. These principles were often sayings to help people remember what to do. If you stick too dogmatically to a saying, then you could also be done in by it.
+
+#### 5. Restrict Movement (Trapping)
+
+The most dangerous opponent is one who is at close range with free use of both arms and legs. At high speeds it is not possible to predict or deflect all attacks. You are bound to get hit. World champion boxers are not able to avoid all hits.
+
+When in close contact with the opponent, try to restrict the opponent's movement. This increases your chances and decreases those of the opponent. Use one arm to control two. For example, use Gum Sau (pinning hand) to control the elbow of the opponent. When at close range, use your leg to trap the opponent's leg so that he cannot kick. There is a famous saying, "Allow the opponent's useless actions, but prevent his useful actions." If you try to control the opponent totally, then he will fight much harder than usual.

notes/martial_arts/filipino_kali_concepts.md

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+# Filipino Kali Concepts & Principles
+
+Tandez Academy of Martial Arts
+
+## About the Filipino Martial Arts
+
+The backbone of the Filipino empty hand skills is derived from that of the Knife. In a knife fight your entire body is utilized - you can kick with either leg and strike with your free hand. The difference between life or death rests solely on your skill. Little wonder why the Filipino martial arts are so effective.
+
+There is no excuse for taking a man's life, for life is precious. Any man can take a life, but no man can give back a life. Killing is then a matter between a man and his personal conviction and conscience. It is a matter of your own personal belief of right or wrong. It is therefore important to train the mind before training the body.
+
+I once asked a close friend, "What can I do to make this world a better place to live?" His answer, "Develop yourself first." The martial arts have been my way of developing myself physically, mentally and spiritually.
+
+Bruce Lee once said, while philosophizing on martial arts, "Dan, before I studied the art, a punch to me was just like a punch and kick just like a kick. After I learned the art, a punch was no longer a punch, a kick no longer a kick. Now that I've understood the art, a punch is just like a punch, a kick just like a kick.
+
+The height of cultivation is really nothing special. It is merely simplicity, the ability to express the utmost with the minimum.
+
+To all seekers of the way, Knowledge comes from your instructor. Wisdom comes from within.
+
+*- Guro Dan Inosanto*
+
+## 12 Areas of LaCoste Inosanto Kali
+
+### 1st Area
+
+1. Single Stick
+2. Single Sword
+3. Single Axe
+4. Single Cane
+
+### 2nd Area
+
+1. Double Stick
+2. Double Sword
+3. Double Axe
+4. Double Cane
+
+### 3rd Area
+
+1. Stick and Dagger
+2. Cane and Dagger
+3. Sword and Dagger
+4. Sword and Shield
+5. Long and Short Stick
+
+### 4th Area
+
+1. Double Dagger
+2. Double Short Sticks
+
+### 5th Area
+
+1. Single Dagger
+2. Single Short Stick
+
+### 6th Area
+
+1. Palm Stick
+2. Double-End Dagger
+
+### 7th Area - Pangamut, Kamot-Kamot or Empty Hands
+
+1. Panantukan (Boxing, to include use of the Elbows)
+2. Pananjakman or Sikaran (Kicking, to include use of Knees and Shin)
+3. Dumog, Layug, or Buno (Grappling and Locking)
+4. Ankab-Pagkusi, or Kina Mutay (Bite and Pinch)
+5. Higot-Hubud-Lubud ("Tying-untying, and blending the two")
+
+### 8th Area - Long Weapons
+
+1. Staff
+2. Oar
+3. Paddle
+4. Spear
+5. Spear and Circular Shield
+6. Spear and Rectangular Shield
+7. Spear and Sword/Stick
+8. Spear and Dagger
+9. Two Handed Method (Heavy Stick)
+10. Two Handed Method (Regular stick)
+
+### 9th Area - Flexible Weapons
+
+1. Sarong (clothing worn in Southern Philippines and Indonesia)
+2. Belt or Sash
+3. Whip (Latigo)
+4. Rope (Lubid)
+5. Chain (Cadena)
+6. Scarf/Headband
+7. Handkerchief
+8. Flail (Olisi Toyok)
+9. Tabak Toyok
+10. Yo-yo
+11. Stingray Tail
+
+### 10th Area - Hand-Thrown Weapons, Tapon-Tapon
+
+1. Spear
+2. Dagger
+3. Wooden Splinter
+4. Spikes
+5. Coins, Washers
+6. Stones, Rocks
+7. Sand, Mud, Dirt
+8. Pepper, Powder
+9. Any object that can be thrown
+
+### 11th Area - Projectile Weapons
+
+1. Bow and Arrow (Pana)
+2. Blowgun (Sumpit)
+3. Slingshot (Pana Palad)
+4. Lantanka (Portable Cannon)
+
+### 12th Area
+
+1. Mental, Emotional, Spiritual training
+2. Healing Arts
+3. Health Skills
+4. Rhythm and Dance
+5. History, Philosophy and Ethics
+
+## LaCoste Inosanto Four Count Salutation
+
+1. I come to you with an open heart and an open mind
+2. I acknowledge that the hand of friendship is superior to the hand of war.
+3. I will take what I learn into my heart and my mind.
+4. And may we shed no blood.
+
+## LaCoste Inosanto Twelve Count Salutation
+
+1. I stand before the Creator and Mankind on earth.
+2. I am striving for the knowledge and wisdom of the third eye, of the five senses and beyond the five senses.
+3. I am striving for the love of all mankind and there will be no needless shedding of blood.
+4. I bow down to you not in submission, but in respect to you.
+5. I extend the hand of friendship, because I prefer it to the hand of war.
+6. But if my friendship is rejected, I am trained to be a warrior with wisdom.
+7. I stand in symbolism, for I serve only the Creator, my family, and my country.
+8. With my mind and heart I cherish the knowledge given to me by my instructor
+9. For it is my very life in combat.
+10. I am prepared to go against you even though your skill might be greater than mine.
+11. Because even if my physical body should fall before you to the earth, I am not worried.
+12. For I know that my spirit will arise to the heavens, as it is unconquerable.
+
+## The Symbolism Behind the LaCoste Inosanto Kali Logo
+
+1. The Universal Triangle
+2. The Circle represents the Creator - form with continuous motion.
+3. The Kali Triangle - love, compassion, humility.
+4. The Stick - the core of the Filipino Martial Arts; the first weapon taught, from which to learn all other weapons.
+5. The Blade (points upward toward Life) - the blade is taught after the stick.
+6. The Fist - represents the Empty Hand Art of the Philippines
+7. The Half Moon - symbolizes the half of the Philippines (Southern Philippines) which were never under Spanish rule; also the Moonlight, which was the only time Kali practitioners could safely practice their art during Spanish rule.
+8. The Four Parts of the circle represent the Four Saints called upon by Kali practitioners
+9. Saint Michael, Saint Gabriel, Saint Uriel and Saint Raphael
+10. Ancient "K" for Kali, Kaliradman
+11. Ancient "E" for Eskrima, Estocada and Estoke
+12. Ancient "S" for Silat
+
+## 7 Ways to Train LaCoste Inosanto Kali
+
+There are seven ways to train the 12 areas of Inosanto LaCoste Kali:
+
+1. **Abecedario** - One side continually feeds, the other side defends and counter-attacks. Abecedario has twelve stages.
+2. **Contra Sumbrada** - a counter-for-counter training method. Sumbrada has twelve stages.
+3. **Mixing Abecedario and Sumbrada**
+4. **Solo Training**
+5. **Hitting Objects**
+6. **Sparring**
+7. **Visualization, meditation**
+
+These 12 "areas" are sometimes referred to as "Sub-Systems" due to the fact that each sub-system can be broken down with several individual parts and each have their own specific traits and personality.
+
+At Inosanto Academy they have added Muay Thai to the Sikaran to make it more complete and to adapt to its training methods. Guro Dan Inosanto often uses this system because of its efficient organizational structure.
+
+## LaCoste Inosanto Kali Training Methodology
+
+### Abecedario Weapons Progression
+
+- Sword & Dagger vs. Sword & Dagger
+- Sword vs. Sword & Dagger
+- Double Sword vs. Sword & Dagger
+- Sword vs. Sword
+- Double Sword vs. Double Sword
+- Dagger vs. Dagger
+- Double Dagger vs. Dagger
+- Double Dagger vs. Double Dagger
+- Empty Hands vs. Dagger
+- Empty Hands vs. Double Dagger
+- Empty Hands vs. Empty Hands
+- Sarong, Handkerchief, Rope vs. Dagger
+- Sarong, Handkerchief, Rope vs. Double Dagger
+- Sword vs. Staff
+- Sword & Dagger vs. Staff
+- Double Sword vs. Staff
+- Staff vs. Staff
+- Sword vs. Double Sword
+- Spear vs. Staff
+- Staff vs. Spear
+- Spear vs. Spear
+
+### 12 Areas of Abecedario
+
+Stages 1-7 are done in De Fondo:
+
+1. Block and Hit
+2. Block and 2 Hits
+3. Block and 3 Hits
+4. Receive 2 Hits
+5. Receive 3 Hits
+6. Receive Fakes to Positive
+7. Mixed - Using Different Weapons, Receiving Different Weapons, Using Different: Chokes, Disarms, Locks, Sweeps, Takedowns, Throws, Trips
+8. Receive while Retreating
+9. Receive while Moving Right or Left
+10. Receive While Circling Right or Left
+11. Receive Low to High or High to Low
+12. Receive on Different Terrains, Environments and/or Situations
+
+### 12 Stages of Contra Sumbrada
+
+**Stage 1** - 1 Block and 1 Hit
+
+**Stage 2** - Hitting Block (Arm or Body) & 1 Hit
+
+**Stage 3** - 1 Block and 2-3 Hits
+
+**Stage 4** - 1 Block & 2-3 Hits, Negative to Positive Hit, Fake to a True Strike, Use of Progressive Indirect Attack & Deception
+
+**Stage 5**
+- Punyo Sumbrada
+- Punta Sumbrada
+- Punta Sumbrada with Dungab (punch)
+
+**Stage 6**
+- Punyo & Punta Sumbrada
+- Higot Hubud-Lubud to Punyo Sumbrada
+- Higot Ug Hampak (Tie & Hit)
+- Hubud Ug Hampak (Untie & Hit)
+- Lubud Ug Hampak (Blend & Hit)
+
+**Stage 7** - Entrada Y Retirada: Long Range to Middle Range to Close Quarter Range. Breaking In and Breaking Out.
+
+**Stage 8** - Add Elements: Joint Breaks, Disarms, Finger Strikes, Forearm Strikes, Hand Strikes, Kicks, Knees, Locks, Punches, Strangles, Other Strikes, Throws
+
+**Stage 9** - Block & Hit Limbs
+
+**Stage 10** - Using Different Weapons: Blade & Shield, Blades, Club, Spears, Staff, Tjibang Sticks
+
+**Stage 11** - Add Different Environments. Counter with Dumog. With or Without Weapons.
+
+**Stage 12** - Sparring
+1. Non-Contact Distance Sparring
+2. Light-Contact, Middle Range & Close Quarter
+3. Long Range to Limbs and Hands Only
+4. Medium Contact to Limbs, Body and Head - Body Armor and Headgear is Mandatory
+5. Medium to Heavy Contact - Body Armor and Headgear is Mandatory, including: Kicks, Punches, Strikes, Chokes, Arm Locks, Throws, Sweeps, Trips, Takedowns, Grappling
+
+## Kali (Origin of the Word)
+
+| | |
+|---|---|
+| **Ka**mot | **Li**hok |
+| Hand | Motion |
+| Body | Motion |
+
+According to Grandmaster Floro Villabrille - Kali is a weapons and empty hand system of combat.
+
+### Arnis De Mano
+
+1. Single Baston
+2. Double Baston
+3. Baston and Daga
+
+### Eskrima
+
+1. Single Stick
+2. Double Stick
+3. Stick and Dagger
+4. Dagger
+5. Empty Hands
+6. Staff
+7. Flexible Weapons
+
+### Villabrille-Largusa System of Kali (Components)
+
+1. Eskrima
+2. Arnis
+3. Sikaran
+4. Kuntaw
+5. Silat
+6. Kaliradman
+7. Kalirogan
+8. Pagkalikali
+
+## Kali - Crew of the Ships of Magellan
+
+1. 30 Italians
+2. 19 French
+3. A few English
+4. A few Flemish
+5. A few Sicilians
+6. A few from Cortiz
+7. A few Malays
+8. A few Blacks
+9. A few Maderanians
+10. A few from the Azores & Cotorzans
+11. And 1 Filipino - Enrique
+
+## Understanding the Martial Arts
+
+> To better understand the Martial Arts, You must Understand the History.
+> To Understand the History, You must Understand the Culture.
+> To Understand the Culture, You must Understand the Philosophy and the Philosophers, And what they were trying to express to the people of that time period.
+
+## Kali LaCoste - Systems of Progression
+
+### Daan and Lihok System
+
+A system of paths and routes of motion:
+
+- A. Weapon Routes in Motion
+- B. Footwork Routes in Motion
+- C. Body Routes in Motion
+- D. Hand Routes in Motion
+- E. Elbow Routes in Motion
+- F. Knee Routes in Motion
+- G. Kicking Routes in Motion
+
+### Kali Defensive Systems (Stick or Weapons)
+
+Weapons: Stick, Sword, Axe, Staff, Spear, Flexible Weapons, Dagger, Palm Stick
+
+- Inside Defensive System (Parry-Cover-Block)
+- Outside Defensive System
+- Wing Defensive System
+- Roof Defensive System
+- Shield Defensive System
+- Gunting Defensive System
+- Umbrella Defensive System
+- Largo Mano - Meet the Force (La Contra)
+- Largo Mano - Follow the Force (Seguidas)
+- Largo Mano - Backhand (Ordabis)
+- Largo Mano - Forehand
+
+### Ranges of Combat
+
+- **Largo Mano (Long Range)**: You can only hit the weapon hand, but not the head or body
+- **Sumbrada (Middle Range)**: You can hit the head and body - the Alive Hand is engaged
+- **Hubud-Lubud (Close Range)**: You can hit with the Punyo - also headbutt, elbows, & knees
+
+## Fundamental Kali Principles
+
+- **No Passive Blocks**: No true blocks in Kali - Blocks represent hits to the hands/arms
+- **Deflection Force**: Attack the weapon with sufficient energy and force to re-direct it
+- **Perpetual Motion**: Always stay in constant movement; never remain static or fixed
+- **Flow**: All motions are one continuous flow from block to hit
+- **Theory of Zero Pressure**: Avoid 100 degrees of pressure by zoning away using triangle footwork
+
+## Entry Methods of Kali
+
+- **De-Fanging the Snake**: Destroy the enemy's weapon hand/s to disarm him and incapacitate him.
+- **Angulation**: Use body angulation and footwork to avoid the attack, then hit any open targets.
+
+## Sinawali 6 Count Families
+
+| Pattern | | Variables |
+|---------|---|-----------|
+| I-I-I | Inward, Inward, Inward | 64 |
+| I-B-B | Inward, Backhand, Backhand | 64 |
+| I-B-I | Inward, Backhand, Inward | 64 |
+| B-B-B | Backhand, Backhand, Backhand | 64 |
+| I-I-B | Inward, Backhand, Backhand | 64 |
+| B-I-I | Backhand, Inward, Inward | 64 |
+| B-B-I | Backhand, Backhand, Inward | 64 |
+| B-I-B | Backhand, Inward, Backhand | 64 |
+| **Total** | | **512** |
+
+### Key to Variable Heights
+
+H-H-H, H-L-H, L-L-L, L-H-L, L-L-H, H-H-L, L-H-H, H-L-L
+
+## Inosanto Kali Numbering Systems
+
+- LaCoste #1-12
+- LaCoste #1-17
+- LaCoste #1-25
+- Illustrisimo System #1-12 (Regino Illustrisimo)
+- Illustrisimo System #1-8 (Regino Illustrisimo)
+- Kalis Illustrisimo #1-12 (Antonio Illustrisimo)
+- Lameco Eskrima #1-12 (Baston)
+- Balintawak Eskrima #1-12
+- Pekiti Tersia A & B
+- Villabrille #1-12
+
+## Kali Knife System
+
+### Numbering System
+
+- LaCoste Dungab #1-17
+- LaCoste Pakal #1-17
+- Lameco Escrima #1-17
+
+### Footwork
+
+- Forward Triangle
+- Reverse Triangle
+- Lateral Step
+- Push Shuffle
+- Advance
+- Retreat
+- Ambak Paewas
+- 180 Straight Line
+- Step-Swing Line
+
+### Cut Time Table
+
+- Flexor Muscles
+- Extensor Muscles
+
+### Knife Tapping
+
+- Single Tap
+- Triple Tap
+
+### Escala
+
+- Slash
+- Thrust
+- Tear (Rip)
+- Punyo (Butt)
+
+### Passing (Palusot)
+
+- Outside Ride (Palusot)
+- Stop (Segung)
+- Ambak
+- Waslik
+
+### Abecedario
+
+- Dungab vs. Dungab
+- Dungab vs. Pakal
+- Pakal vs. Pakal
+- Pakal vs. Dungab
+- Double-End Dagger vs. Single Dagger
+- Single Dagger vs. Double-End Dagger
+- Double-End Dagger vs. Double-End Dagger
+
+### Pathways
+
+- Vertical lines
+- Horizontal lines
+- Diagonal up and down
+- Circular lines
+- Thrusting lines
+
+### Targets
+
+- Bleeders
+- Immobilizers
+- Sudden Death
+
+## Panantukan (Filipino Boxing) Concepts
+
+### Creating Openings
+
+- **Stop-Hit** - Intercepting strike (Jeet Kune)
+- **Atapi/Tapi** - Slapping hand trap and strike (Pak Sao Da)
+- **Panastas** - Sliding Leverage Hit (Noy Bil Jee)
+- **Forearm Drop and Hit** - Low block against a low line strike (Low Cover)
+- **False Attack / P.I.A.** - Fake a strike then take advantage of an opening or over-commitment
+- **Engano** - Change of attack lines - Progressive Indirect Attack
+- **Projectiles** - Throw objects at or above his head to create an opening
+- **Spitting** - Spit at your opponent's face to create an opening
+
+### Identifying Openings
+
+- No Movement - Opponent is Static
+- Repeating Patterns
+- Dictating Patterns
+- Poor Stance
+- Narrow Position - "Tightrope" - easily unbalanced from a lateral attack
+- Staggered Wide Stance: open for attack - lead knee/shin, groin, thigh; can easily be unbalanced because feet are too wide apart; cannot move fast
+- Poor Footwork
+- Crossing Feet - opponent crosses foot behind foot, instead of slide-and-step
+- Opponent Focuses on One Area
+  - Focus on High Line/Punches: Attack the Low Line
+  - Focus on Low Line/Kicks: Attack the High Line
+
+### Panantukan Strategy & Tactics
+
+- Destroy/disrupt his Base and Balance before you hit
+- Use a variety of tools in different ways - Knowledge is Power
+- Use Nerve and Limb Destructions - DeFang the Snake
+- Use Angulation and Switching Leads - avoid meeting force with force
+- Use Sectoring aka the Chess Game: Always stay 10 steps ahead of your enemy
+
+## Kali Environmental Positions
+
+1. Standing Position - Tindog
+2. Squatting Position - Katin-Katin
+3. Kneeling Position - Luhod
+4. Sitting Position - Lingkud
+5. Lying Position - Higda/Higa
+
+## Kali Dumog - Areas of Kunsi
+
+1. Face Down (Upper Section)
+2. Face Up (Upper Section)
+3. Right Side Up
+4. Left Side Up
+5. Theory of Clock Approach
+6. Entries
+   - A. Gunting (Horizontal)
+   - B. Gunting (Vertical)
+
+## Carrenza (Shadowboxing w/ Weapons)
+
+Before you begin Carrenza, you must know the characteristics of the weapon you are using and the specific attributes that it develops.
+
+### Stroking Patterns
+
+- **X** = Diagonal Patterns - Downward Diagonal Slashing or Upward Diagonal Slashing
+- **+** = Crossing Patterns - Vertical and Horizontal Slashing or Smashing
+- **8** = Figure 8 Patterns
+- **0** = Circular Patterns - Redondos and any round patterns
+- **@** = Thrusting Patterns
+
+### Tools
+
+- **Witik** - Retracting or snapping back motions
+- **Labtik** - Follow through motions
+- **Abanico** - Fanning motions
+- **Redondo** - Tight circular motions
+- **Florette** - Flowery or circular motions
+- **Sungkite** - Thrusting motions
+- **Bacalau** - Wide motion that involve ducking your head and dropping your body weight

notes/martial_arts/jkd_level1_syllabus.md

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+# Level 1 JKD Centurion Curriculum
+
+Tandez Academy of Martial Arts - Jun Fan Gung Fu / JKD Concepts
+
+## I. Conditioning Requirements
+
+- Jump Rope Rounds: 3 x 3 Minutes
+- Knuckle Push-Ups: 2 x 30 Reps
+- Get Up to Base: 2 x 20 Reps
+
+## II. Jun Fan Gung Fu Stances
+
+- Gin Lai
+- Yee Chi Kum Yang Ma
+- Bai Jong - Traditional Wing Chun
+- Bai Jong - Jeet Kune Do
+- Hidden Stance
+- I Don't Want to Fight Stance
+
+## III. Jun Fan Gung Fu Footwork - Hermes Series
+
+1. Advance x 3 + Retreat x 3
+2. Side Step Left x 3 + Side Step Right x 3
+3. Advance + Retreat + Side Step Left + Side Step Right (x 3)
+4. Pendulum Shuffle Forward x 2 + Pendulum Shuffle Backward x 2 (x 3)
+5. Push Shuffle Forward + Push Shuffle Backward (x 3)
+6. Rocker Shuffle x 3 + Quarter Turn (Full Circle Left & Right)
+7. Push Shuffle Forward + Pendulum Forward (x 3)
+8. Circling Left & Right with switches x 1-minute round
+
+## IV. Jun Fan Kickboxing - Achilles Series
+
+Both Leads, 5 Counts:
+
+1. Jab - Cross - Jab - Cross - Ngao Tek
+2. Jab - Cross - Hook - Cross - Ngao Tek
+3. Jab - Cross - Uppercut - Cross - Ngao Tek
+4. Jab - Cross - Body Hook - Cross - Ngao Tek
+5. Jab - Overhand - Uppercut - Overhand - Ngao Tek
+6. Ngao Tek - Cross - Hook - Cross - Ngao Tek
+7. Ngao Tek - Cross - Body Hook - Cross - Ngao Tek
+8. Ngao Tek - Cross - Uppercut - Cross - Ngao Tek
+9. Ngao Tek - Cross - Body Hook - Hook - Cross - Ngao Tek
+10. Ngao Tek - Overhand - Uppercut - Overhand - Ngao Tek
+
+## V. Jun Fan Western Boxing
+
+### Ajax Series
+
+Footwork: Step Forward (Switching Leads)
+
+1. Jab - Cross - Jab
+2. Jab - Cross - Hook
+3. Jab - Cross - Body Hook
+4. Jab - Cross - Uppercut
+5. Jab - Cross - Overhand
+6. Cross - Jab - Cross
+7. Cross - Hook - Cross
+8. Cross - Body Hook - Cross
+9. Cross - Uppercut - Cross
+10. Cross - Uppercut - Overhand
+
+### Patroclus Series (Single Feeder)
+
+1. Partner feeds the Jab > Catch > Return Jab - Cross - Hook
+2. Partner feeds the Jab > Parry > Return Jab - Cross - Hook
+3. Partner feeds the Jab > Scoop > Return Jab - Cross - Hook
+4. Partner feeds the Jab > High Cover (Rear Hand) > Return Hook - Cross - Hook
+5. Partner feeds the Cross > Double Cover > Return Cross - Hook - Cross
+6. Partner feeds the Cross > George Foreman Peek-a-Boo > Return Cross - Hook - Cross
+7. Partner feeds the Cross > Full Cover > Return Cross - Hook - Cross
+8. Partner feeds the Lead Hook > High Single Cover > Return Hook - Cross - Hook
+9. Partner feeds the Rear Hook > High Single Cover > Return Cross - Hook - Cross
+10. Partner feeds the Rear Wide Hook > Intercepting Jab > Cross - Hook - Cross
+
+### Odysseus Series - Triple Jab Series
+
+1. Jab > Jab > Jab > (Catch)
+2. Jab > Jab > Jab > (Parry)
+3. Jab > Jab > Jab > (Scoop)
+4. Jab > Jab > Jab > (High Cover)
+5. Jab > Jab > Jab > (Sway Back)
+6. Jab > Jab > Jab > (Outside Slip)
+7. Jab > Jab > Jab > (Inside Slip)
+8. Jab > Jab > Jab - Hook > (Catch > High Cover)
+9. Jab > Jab > Jab - Hook > (Catch > Bob & Weave)
+10. Jab > Jab > Jab - Body Hook > (Catch > Low Cover)
+11. Jab > Jab > Jab - Lead Uppercut > (Catch > Low Cover)
+12. Jab > Jab > Jab - Cross > (Catch > Outside Slip)
+13. Jab > Jab > Jab - Cross > (Catch > Shoulder Roll)
+14. Jab > Jab > Jab - Cross > (Catch > Duck)
+
+### Diomedes Series - Triple Jab Series (Advance 2X on Double Jab / Partner Retreats 2X)
+
+1. Jab > Jab > Double Jab H-H
+2. Jab > Jab > Double Jab L-L
+3. Jab > Jab > Double Jab H-L
+4. Jab > Jab > Double Jab L-H
+5. Jab > Jab > Triple Jab > Sway Back - Slip - Slip
+
+### Menelaus Series - Jab - Cross - Hook Series
+
+1. You Jab > Partner returns Cross > You Outside Slip
+2. You Jab > Partner returns Cross > You Outside Slip > You Return Hook > He High Covers
+
+### Nestor Series - 5 Basic Jabs of Jun Fan
+
+1. Finger Jab
+2. Speed Jab
+3. Full Body Jab
+4. Entering Jab
+5. Body Jab
+
+## VI. Jun Fan Wing Chun
+
+### Paris Series
+
+- Jik Chung Choy 1 x 1 rep x 10
+- Jik Chung Choy 1 x 3 reps x 10
+- Jik Chung Choy 1 x 6 reps x 10
+- Jik Chung Choy 1 x 9 reps x 10
+
+### Hector Series
+
+1. Biu Jee > Jik Chung Choy x 6 > Jik Dum Tek
+2. Chung Choy > Jik Chung Choy x 6 > Jik Dum Tek
+3. Gua Choy > Jik Chung Choy x 6 > Jik Dum Tek
+4. Sat Sao > Jik Chung Choy x 6 > Jik Dum Tek
+5. Sat Kiu > Jik Chung Choy x 6 > Jik Dum Tek
+6. Jik Jern > Jik Chung Choy x 6 > Jik Dum Tek
+7. Won Jern > Jik Chung Choy x 6 > Jik Dum Tek
+
+### Aeneas Series
+
+1. Jik Tek > Cross - Hook - Cross > Ngao Tek
+2. Ngao Tek > Cross - Hook - Cross > Ngao Tek
+3. Juk Tek > Cross - Hook - Cross > Ngao Tek
+4. Jeet Tek > Cross - Hook - Cross > Ngao Tek
+5. Jik Dum Tek > Cross - Hook - Cross > Ngao Tek
+6. Dum Tek to Knee > Cross - Hook - Cross > Ngao Tek
+7. Dum Tek to Shin x 3 > Cross - Hook - Cross > Ngao Tek
+
+### Helen Series - 4 Types of Entries (Switch Leads)
+
+1. Feed the Jab > Outside Entry - Over the Bridge > Cross - Hook - Cross
+2. Feed the Jab > Outside Entry - Under the Bridge > Cross - Hook - Cross
+3. Feed the Jab > Split Entry > Cross - Hook - Cross
+4. Feed the Jab > Inside Entry > Cross - Hook - Cross
+5. Feed the Cross > Reverse Split Entry > Cross - Hook - Cross
+
+### Priam Series - Pak Sao Da Sectors
+
+- Pak Sao Noy Da
+- Pak Sao Loy Da inside the Wu Sao
+- Pak Sao Loy Da outside the Wu Sao (Jao Sao)
+- Pak Sao Joang Da
+- Pak Sao Ha Da
+
+### Agenor Series (From High Reference Point) - Trapping Series
+
+1. Pak Sao Da
+2. Lop Sao Da
+3. Pak Sao Da > Lop Sao Da (same arm)
+4. Lop Sao Da > Pak Sao Da (same arm)
+5. Pak Sao Da > Lop Sao Da (rear hand block)
+6. Pak Sao Da > Wedge > Pak Sao Da
+7. Pak Sao Da > Loy Pak Sao Da (rear hand block)
+8. Lop Sao Da > Lop Sao Da (rear hand block)
+9. Lop Sao Da > Pak Sao Da (rear hand block)

notes/martial_arts/jun_fan_terminology.md

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+# Jun Fan Gung Fu Terminology
+
+## Counting
+
+| Number | Cantonese | | Number | Cantonese |
+|--------|-----------|---|--------|-----------|
+| One | Yut | | Eleven | Sup Yut |
+| Two | Yee | | Twelve | Sup Yee |
+| Three | Sahm | | Thirteen | Sup Sahm |
+| Four | Say | | Twenty | Yee Sup |
+| Five | Mm | | Thirty | Sahm Sup |
+| Six | Luk | | Ninety-Nine | Gow Sup Gow |
+| Seven | Chut | | One Hundred | Yut Bak |
+| Eight | Bak | | One Thousand | Yut Ching |
+| Nine | Gow | | Ten Thousand | Yut Man |
+| Ten | Sup | | | |
+
+## Basic Terms
+
+| Cantonese | English |
+|-----------|---------|
+| Sao | Hand |
+| Jern | Palm |
+| Kuen | Fist |
+| Kiu | Forearm (bridge) |
+| Sut | Knee |
+| Jarn | Elbow |
+| Da | Hit |
+| Tat | Kick |
+| Oi Moon | Outside gate |
+| Loi Moon | Inside gate |
+| Sifu | Instructor of School |
+| Si mo | Sifu's wife, Kung Fu mother |
+| Si hing | Older kung fu brother |
+| Si dei | Younger kung fu brother |
+| Si je | Older kung fu sister |
+| Si mui | Younger kung fu sister |
+| Si gung | Sifu's Instructor |
+| Si bak | Elder kung fu brother of Sifu |
+
+## Stances
+
+| Cantonese | English |
+|-----------|---------|
+| Ma Bo | Stance |
+| Jong Tao | Fighting Stance (Facing head-on) |
+| Yee Jee Keem Yeung Ma | Facing horse stance (Character two adduction stance) |
+| Gee Ng Ma | Front stance |
+| Yow Ju Sun Ma | Right sideways slanting stance |
+| Jor Ju Sun Ma | Left sideways slanting stance |
+
+## Practices
+
+| Cantonese | English |
+|-----------|---------|
+| Duk Gerk | Single Leg |
+| Chi Gerk | Sticky Leg |
+| Chi Sao | Sticky Hands |
+| Dan Chi Sao | Single Sticky Hand |
+| Sern Chi Sao | Double Sticky Hands |
+| Poon Sao | Rolling hands |
+| Jow Sao | Running hands |
+
+## General Terminology
+
+| Cantonese | English |
+|-----------|---------|
+| Chung si | Grandmaster of a style |
+| Dai gee / Moon yan | Student(s) / Disciple(s) |
+| Di si hing | Oldest brother |
+| Gar | Family, style |
+| Kuen | Fist, fist fighting |
+| Kuen fa | Fist fighting method |
+| Kuen su | Art of fist fighting |
+| Kuen to | Boxing form |
+| Kung | Power or strength of a martial arts practitioner |
+| Kung fu | Colloquial term of martial art work, knowledge or technique |
+| Mo | Military |
+| Moon to | Disciple(s) |
+| Moon yan (Dai gee) | Formal term of martial artist |
+| Mo su | Martial art |
+| Pai | Style, system, school |
+| Si juk | Nephew (student of Si-dei) |
+| Si mo | Wife of Sifu, Kung fu mother |
+| Si bak | Elder Kung fu brother of Sifu |
+| Si bak gung | Elder Kung fu brother of Si gong |
+| Si jo | Founder of a style |
+| Si tai gung | Great grandfather |
+| Siu lam gee | Siu Lam Monastery |
+| Toe die | Student, disciple |
+| Toe suen | Grandson (student of toe die) |
+| Tung moon | Follower of the same style |
+| Yut hing | Number one brother |
+
+## Terms of Motion
+
+| Cantonese | English |
+|-----------|---------|
+| Bart chum do | Eight-cutting broadswords techniques |
+| Bo | Stance |
+| Biu gee | Thrusting fingers form |
+| Biu gee sao | Thrusting fingers |
+| Bong sao | Tying up hand |
+| Chaeng Jern | Spade (Scraping) palm strike |
+| Chair hung choi | Battle punches |
+| Chew yin | Face to face |
+| Chi sao | Sticky hands |
+| Chi gerk | Sticky leg |
+| Chi kwun | Pole clinging exercise |
+| Chi sheung sao | Double arm clinging |
+| Chin gum sao | Front pinning hand |
+| Chock sao | One hand at a time technique training |
+| Chong | Pre-fighting posture |
+| Chuen kiu | Piercing arm |
+| Chuen sao | Threading through hand |
+| Chum kiu | Arm seeking form |
+| Chung lo | Mid-level |
+| Chung sim | Median line |
+| Chung sum sin | Center line |
+| Chut sing ma | Seven star step |
+| Cue | Forearm (bridge) |
+| Cup jarn | Downward vertical elbow |
+| Da | Hit |
+| Dan chi sao | Single sticky hand |
+| Da gow | Street fighting |
+| Deem jern | Vertical palm |
+| Ding jarn | Butting elbow |
+| Dio jern | Even palm |
+| Dui kok ma | Diagonal stance |
+| Duk gerk | Single leg |
+| Fut sao | Whisking arm |
+| Fook sao | Bridge on arm; sensing hand |
+| Ga sao | Lying palm |
+| Gee ng ma | Front stance |
+| Gon sao | Slicing hand |
+| Gor sao | Passing the bridge |
+| Gum sao | Pinning hand |
+| Har lo | Low level |
+| Hau gum sao | Rear pinning hand |
+| Hau sahm hup jern | Rear three way palm |
+| Hau jarn | Rear elbow |
+| Hoi bo | Open stance |
+| Huen bo | Circling step |
+| Huen got sao | Circling cut hand |
+| Huen sao | Circling hand |
+| Jarn | Elbow |
+| Jean choy kuen | Arrow punch |
+| Jek | Straight thrust |
+| Jern | Palm |
+| Jing jern | Root palm |
+| Jing ma | Front stance |
+| Jong tau | Facing head on |
+| Jop sao | Close gate hand |
+| Jor | Left side |
+| Jow sao | Running hands |
+| Ju jern | Sideways palm |
+| Ju gum sao | Sideways pinning hand |
+| Ju sun kuen | Sideline punch |
+| Ju sun ma | Sideways facing stance |
+| Jum sao | Sinking block |
+| Jun bay | Ready (prior to opening) |
+| Jut sao | Snap energy hand |
+| Kan sao | Splitting block (complex motion) |
+| Kau sao | Circling hand (redirection) |
+| Kau bo | Plucking step |
+| Kuen | Fist |
+| Kuen to | Boxing form |
+| Kuo sao | Fighting practice |
+| Kwai jarn | Downward elbow strike |
+| Kwan sao | Rotating arms (simultaneous tan and bong sao) |
+| Kwan ma | Pole stance |
+| Lan sao | Bar hand |
+| Lap sao | Deflecting arm (complex movement) |
+| Larp sao | Roll around hand |
+| Lau sao | Scooping arm |
+| Lew goh bo | Mynah bird step |
+| Lin wan choy | Chain punches |
+| Loi moon | Inside gate |
+| Lok sao | Rolling arms exercise |
+| Lop jing | Attention stance |
+| Lop sao | Jerking down hand |
+| Lut sao | Freeing hand |
+| Luk dim boon kwan | Six and a half point pole techniques |
+| Ma bo | Horse stance |
+| Mang geng sao | Neck pulling hard |
+| Man sao | Inquisitive hand |
+| Moot sao | Whipping down hand |
+| Muk yan chong | Wooden dummy |
+| Muk yan chong fa | Wooden dummy form |
+| Noi moon | Indoor area |
+| Nuk sao | Free fighting |
+| Oi moon | Outside gate |
+| Pak sao | Slap block |
+| Pao jong sao | Capture center hand |
+| Pie jarn | Sideways elbow |
+| Po pai jern | Double palms (butterfly palms) |
+| Poon sao | Rolling hands |
+| Que sao | Bridge arm |
+| Sahm kok bo | Triangular steps |
+| Sahm sing chong | Three star dummy / Tripodal dummy |
+| Sahm pai fut | Praying thrice to the Buddha |
+| Sai | Relaxed alert energy. A look of sharpness in motion |
+| Sao | Hand |
+| Sau bo | Close stance |
+| Saun sao | Prearranged drills |
+| Saut sao | Throat cutting hand (killing hand) |
+| Saut geng sao | Tightening around neck hand |
+| Sahm hup jern | Three way palm (palm, elbow, shoulder) |
+| Say yim | Central line |
+| Sei ping ma | Quadrilateral level stance |
+| Sei ping di ma | Quadrilateral horse stance |
+| Sern chi sao | Double sticky hands |
+| Sern kuen | Double punches (complex movements) |
+| She sao | Snake hand |
+| Sheung lo | Upper level |
+| Siu nim tau | Little idea form |
+| Sut | Knee |
+| Tan sao | Showing hand (palm up) |
+| Tarn sao | Bounce off energy hand |
+| Tat | Kick |
+| Taw sao | Sticky drawing hand |
+| Tie sao | Lifting elbow hand |
+| Ting sao | Thrusting forward hand |
+| Tok sao | Elbow lifting hand |
+| Tsiu yim jern | Wind gate palm (kidney level) |
+| Tui sao | Horizontal snapping hand |
+| T'uo sao | Downward sweep and chop escaping hand |
+| Wan lan sao | Fence up hand |
+| Wang jern | Sideward palm |
+| Wu sao | Protecting hand |
+| Wu yum jern | Protect woman's part palm |
+| Wu yerng jern | Protect man's part palm |
+| Yan cheung | Stamping palm |
+| Yut jee kuen | Sun character punch |
+| Yut chi chung kuen | Sun character thrusting punch |
+| Yee jee keem yeung ma | Character two adduction stance |
+| Yow | Right side |

notes/martial_arts/kali_level1_syllabus.md

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+# Level 1 Kali Centurion Curriculum
+
+Tandez Academy of Martial Arts - Filipino Kali
+
+## Conditioning Requirements
+
+- Jump Rope Rounds: 3 x 3 Minutes
+- Evasion & Footwork Drill #1-5: 1 x 2 Minutes
+- Evasion & Footwork Drill Random: 1 x 2 Minutes
+
+## Ready Stance
+
+- Open Stance w/ Single Sword
+- Closed Stance w/ Single Sword
+
+## Basic Footwork
+
+- Advance
+- Retreat
+- Female Triangle
+- Male Triangle - Version 1
+- Lateral Triangle Forward
+- Lateral Triangle Backward
+
+## Angles of Attack: LaCoste #1-12, Single Strikes with Single Sword
+
+1. Diagonal forehand slash to collarbone
+2. Diagonal backhand slash to collarbone
+3. Horizontal forehand slash to hip
+4. Horizontal backhand slash to hip
+5. Forehand thrust to stomach
+6. Backhand thrust to the lung
+7. Forehand thrust to heart
+8. Backhand Vertical slash to top of head
+9. Forehand Vertical slash to top of head
+10. Diagonal forehand slash to knee
+11. Diagonal backhand slash to knee
+12. Upward diagonal forehand slash to groin / Upward diagonal backhand slash to groin
+
+## Amarra Series: Kali Striking Techniques
+
+### Figure 8 Family
+
+- Downward Fig 8
+- Upward Fig 8 - 1 & 2 lines
+- Upward Fig 8 - Flat - 3 & 4 lines
+
+### Abanico Witik Family
+
+- High
+- Middle
+- Vertical
+- Adlaw (angle 1 diagonal line)
+- Bulan (angle 2 diagonal line)
+
+### Redondo Family
+
+- High (horizontal overhead)
+- Middle (horizontal mid-line)
+- Diagonal forehand
+- Diagonal backhand
+- Vertical forehand
+- Vertical backhand
+
+## Sinawali Techniques
+
+### Open Position Sinawali
+
+- Kab Kab 6 - HHH HHH
+- Pai Pai 6 - HH MM LL
+- Abecedario 4 (HI - LB)
+- Abecedario 4 (HI - HB)
+- Abecedario 6 (HI - LB - HB)
+- Abecedario 8 (HI - LB - HB - LB)
+
+### Closed Position Sinawali (I-B-B)
+
+- Heaven 6
+- Standard 6
+- Earth 6
+
+## Sumbrada Blocks: Single Sword
+
+### Blocks vs. Angle 1
+
+- Inside Block - Retain Centerline
+- Inside Deflection - Labtik
+- Inside Deflection - Witik
+- Inside Deflection Witik to Angle 3
+- Inside Deflection Witik to Angles 3 & 4
+- Inside Deflection to Push Check to Angle 2
+- Inside Deflection to Push Check to Angle 4
+- Inside Deflection to Push Check to Angle 12
+- Inside Deflection to Eye Thrust
+- Solo Kambiada
+- Doble Kambiada
+- Roof Block
+- High Wing
+- Pass and Hit
+- Hit and Pass
+- Parry to Vertical Slash
+- Parry to Angle 5
+- Meet the Force Umbrella - Inside Deflection
+- Meet the Force Umbrella - Roof Block
+- Follow the Force Umbrella
+
+### Blocks vs. Angle 2
+
+- Outside Deflection Palm Down
+- Outside Deflection Palm Up - Under the Arm
+- Outside Deflection Palm Up - Over the Arm
+- Horizontal Shield
+- 45 Degree Shield
+- Pass and Hit - Closed to Open Gunting
+- Hit and Pass
+- Meet the Force Umbrella - Outside Deflection
+- Meet the Force Umbrella - Roof Block
+- Follow the Force Umbrella
+
+## Abecedario Series
+
+### Largo Mano: Single Sword Counters
+
+Meet the Force (Contra) & Follow the Force (Seguida):
+
+1. Meet the Force: 1 Block + 1-2-1 Blitz
+2. Follow the Force: 1 Block + 1-2-1 Blitz
+3. Meet the Force: 1 Block + 1-2-1 Blitz + Vertical Redondo
+4. Follow the Force: 1 Block + 1-2-1 Blitz + Vertical Redondo
+
+### Sumbrada: Single Sword Counters
+
+1. Inside/Outside Deflection Family + Witik
+2. Wing Family + Witik
+
+### Hubud-Lubud: Angles of Attack LaCoste #1-5
+
+**Hubud-Lubud Series 1:**
+
+1. 1 + 1 (Wide Angle 1)
+2. 1 + 1 (Narrow Angle 1)
+3. Segung
+4. Palusot
+5. Ambak
+6. 1-4-1