Balintawak Canada Chapter

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Balintawak Canada Chapter Balintawak Canada is a WOTBAG based Cebuano Heritage Filipino Martial Arts. From us to you! Be sport! This Page is created for all Balintawak Arnis System Lovers.

I'm just a humble lover of our Filipino Art and Culture and aims to promote best sportmanship with the guidance of our Elders in the WOTBAG system from whom I owe so much lasting gratitude. I thank so much GM Monie Velez, Master Oliver Mag-uyon, Master Kirt Velez, Chester, Carl and others for patiently teaching me during my 2 weeks training in Cebu last July 2017. I promise to keep your good counsel sacred always in my life.

10/11/2026
Come and join us...
09/29/2026

Come and join us...

Check our website... it's quite cool!!!
09/18/2026

Check our website... it's quite cool!!!

Visit our Website at
09/16/2026

Visit our Website at

Cebuano Heritage. Living Art. Disciplined Training. Balintawak Canada preserves and shares the living Cebuano tradition of Balintawak Eskrima in Ontario.

09/16/2026
What is a "StickTalk"? “When the body is true, the stick will talk.”StickTalk is the audible proof of true intent, corre...
07/01/2026

What is a "StickTalk"?
“When the body is true, the stick will talk.”
StickTalk is the audible proof of true intent, correct mechanics, and clean impact. It is the sound produced when the stick travels honestly through space, gathers force through the body, releases through the wrist, and lands with a sharp, living punctuation.

It is not merely “loudness.” A stick can make noise without speaking. StickTalk is not noise; it is language.

A dead strike only hits.
A rushed strike only slaps.
A tense strike only crashes.
But a well-travelled Balintawak strike speaks.

The Science Of StickTalk
The sound comes from several things working together:

Acceleration
The stick must travel with increasing speed, not lazy motion. The sound becomes alive when the strike is not pushed, but released.
Relaxation Before Impact
A tense arm kills the whip. The body must be loose enough to let the stick accelerate, then firm enough to land with structure.
Dakdak
The wrist gives the final punctuation. This is where the strike changes from mere swing into spoken language. Dakdak is the period, comma, or exclamation mark at the end of the sentence.
Angle And Contact
A clean angle produces a cleaner sound. If the strike lands flat, dragged, weak, or misaligned, the sound becomes dull. If it lands with proper edge, line, and timing, the stick cracks with authority.
Body Integration
The sound is not made by the hand alone. It comes from foot, knee, hip, shoulder, elbow, wrist, and stick becoming one sentence. The stick becomes the last syllable of the body.

The Philosophy
StickTalk is honest because the stick does not flatter the student.

It tells the truth.

It tells if the strike is afraid.
It tells if the body is disconnected.
It tells if the wrist is asleep.
It tells if the student is merely performing or truly entering intent.

That is why GM Monie’s term is so profound. StickTalk is the conscience of the strike. The ear hears what the eye may miss.

In Balintawak, where motion is close, fast, and alive, sound becomes a teacher. The stick says: “This one landed. This one had body. This one had timing. This one carried sincerity.”

In The Language Of Your System
StickTalk can be woven into your cycle:

Balintawak Principle StickTalk Meaning
Plastada The stick is prepared to speak.
Lihok The body gives it grammar.
Kuha The movement finds its proper use.
Lusot The sound lands and returns to readiness.
Dakdak The punctuation of intent.
Cuentada The strike speaks at the right time.

A Book-Style Passage
StickTalk is the audible signature of Balintawak sincerity. When the stick is pulled, swung, flicked, and landed with dakdak, it produces a sound that is neither accidental nor decorative. It is the voice of correct travel, proper timing, and committed intent. In the hands of the beginner, the stick often makes noise. In the hands of one who understands, the stick begins to talk. It tells the truth of the body, the sharpness of the wrist, the courage of the entry, and the clarity of the line. There is nothing so honest as StickTalk, because the sound cannot be faked for long. It is combat art becoming audible.

Balintawak Footwork for the 12 Basic Strikes and ThrustsOne of the fundamental principles in Balintawak is that the atta...
06/18/2026

Balintawak Footwork for the 12 Basic Strikes and Thrusts

One of the fundamental principles in Balintawak is that the attack should be delivered in motion. A strike is not merely an arm action; it is a coordinated movement of the body, feet, balance, timing, and intent.

General Footwork Principle

When attacking, the artist moves with either:

* Half-step or full-step
* 40/60 balance (mobile and ready)
* 30/70 balance (committed forward pressure)

The strike and the footwork arrive together.

Another important rule is:

The foot corresponding to the opponent’s offensive stick side should be positioned at the back.

This creates a safer angle, keeps the body protected, and places the artist in a stronger position for counterattack, cuentada, and follow-up actions.

Offensive Rule

Whether delivering a forehand or backhand, the principle remains:

Attack in motion. Foot forward.

The body should never be frozen. The strike rides on the movement of the feet, hips, shoulders, and intent.

⸻

Footwork Pattern for the 12 Basic Strikes

Strike 1 – Right Temple

* Forehand strike
* Foot Forward
* Attack in motion

Change Footwork

Strike 2 – Left Temple

* Backhand strike
* Foot Forward

Steady (No footwork change)

Strike 3 – Right Elbow

* Backhand strike
* Foot Forward

Change Footwork

Strike 4 – Left Elbow

* Forehand strike
* Foot Forward

Steady

Thrust 5 – Side Floating Ribs

* Thrusting attack (Forehand)
* Foot Forward

Change Footwork

Thrust 6 – Right Shoulder

* Thrusting attack (Backhand)
* Foot Forward

Change Footwork

Thrust 7 – Left Shoulder

* Thrusting attack (Forehand)
* Foot Forward

Steady

Strike 8 – Right Knee

* Forehand strike
* Foot Forward

Change Footwork

Strike 9 – Left Knee

* Backhand strike
* Foot Forward

Steady

Thrust 10 – Right Eye

* Thrusting attack (Backhand)
* Foot Forward

Change Footwork

Thrust 11 – Left Eye

* Thrusting attack (Forehand)
* Foot Forward

Steady

Strike 12 – Crown / Top of Head

* Finishing forehand strike
* Foot Forward
* Complete the cycle and prepare to return to the ready stance.

⸻

Teaching Note: The Rhythm of the Footwork

Observe the rhythm hidden in the sequence:

#1 Change → #2 Steady #3
Change → #4, Steady #5
Change #6 → #7, Steady #8
Change #9 → Steady #10
Change #11 → Steady #12

This creates a natural Balintawak cadence where movement is neither excessive nor static.

The purpose is not merely locomotion. The footwork serves to:

* Generate power
* Control distance
* Create angles
* Break the opponent’s rhythm
* Position for cuentada
* Prepare the next strike before the current one finishes

As taught in Palakaw-mology:

The feet carry the body, the body carries the weapon, and the eyes carry the mind.

A Balintawak strike is therefore not a hand technique alone. It is a whole-body expression of timing, balance, and intent. The artist does not simply hit the target.

He arrives at the target.

Address

2105 Midland Avenue, Unit 1B Toronto
Ajax, ON
M1P3E3

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