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Author Topic: krabi krabong and kali, what are the diffr. & similariti  (Read 2771 times)
Anonymous
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« on: September 26, 2003, 06:49:01 PM »

ok, im like really new to kali and havent heard much about krabi krabong other than what i have read on www.usmta.com.  so i'd like to know what are the main differences and the similarities in the 2 arts.  currently i have just gone to sign up taking classes from a pekiti-tirsia kali instructor (www.maphindo.com) and i would like to also know more about it and its relationship to krabi-krabong as well.  thanks for any assistance...

the pugilist
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Anonymous
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« Reply #1 on: September 27, 2003, 12:30:04 AM »

Woof Pugilist:

  Thanks for that www.usmta.com -- I just skimmed throught the portion of the site on KK and enjoyed it very much.  The Ajarn Jason Webster mentioned therein was Salty Dog's first KK teacher and Salty received his rank of Ajarn from the Buddai Swan Institute discussed in this site.  Any description of KK there would be far superior to anything I could write.

Grand Tuhon Leo Gaje's Pekiti Tirsia Kali is an excellent and highly influential FMA system which is the core system for Top Dog, as well as being a core system for Sled Dog (the highest ranked PT man in North America) Tricky Dog and others.  I am a member of the PT family (accepted during my training in RP with GT Gaje)  PT is a major influence on my core system (Inosanto Blend) as well as on Lameco Eskrima (the third of the prionciple FMA systems upon which DBMA draws).  

Over the years I have learned to be very cautious about entering into "differences and similarities" conversations-- it seems to be very easy to step on somebody's toes when saying "X is this and not that"-- and one winds up having to write like a lawyer -- yech.

So instead allow me to briefly describe KK's role in DBMA:

KK is primal and power crazed and has many drills that are extremely simple which allows for primal, power-crazed training.  This is excellent for learning to hit hard and to block hard hits.  The way practitioners learn to step through, either forward or backward, is a desirable quality lacking in many FMA only trained fighters.  It lays a good foundation for bilateralism.  We seek to blend it into the triangles of Kali and Kali approaches to hitting.  This is a brief description.   Our material which blends the two I call "Los Triques"  which simply is my effort at humorously saying "the three Ks": Kali and KK.

Hope this helps,
Guro Crafty
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Anonymous
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« Reply #2 on: September 27, 2003, 12:57:42 AM »

it helps a bit.  and it was similar to what i was hoping...that the two arts really complement each other and fill any aspects that arent emphasized in the other art.  the person teaching muay thai here is one of the founders of the usmta and he himself told me that he started learning PT kali (he studied krabi krabong while in thailand and with arjan tony moore).  so i think my plan would be to stick with really soaking up the kali as i am really fresh into it, and also purchase the KK video from this site as well.

another question: i started taking ju-jitsu (from a purple belt under rickson gracie) about 2 months ago as well and i currently have the oportunity to study 2 other arts (muay thai & kali).  my issue is that i really only have time to take classes in 2 of them as the days conflict and they are form 3 different instructors with conflicting schedules, plus my time isnt that free.  so what would you and those famliar with these 3 arts suggest???
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Anonymous
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« Reply #3 on: September 28, 2003, 12:28:59 AM »

It seems as if you have overdivided your energies.  For some, attending classes count as studying the art.  Personally, I believe that any martial arts study is more than just attending class.  You need to put in partner and solo training outside of class.  The partner training is even better if you can teach the art to someone of lesses knowledge in that area.  If you don't have time to train outside of class, you art only lives in the class.

Since I have a musical background, I find it convenient to make comparisons to my high school musical program.  Only half of the musicans would take their instruments home.  Of those, only half actually cracked open the case.  Those that put in an extra few hours a day were good.  The rest just played in the band at the bottom half of the line and blew the entire group's time by using group time as personal practice time.  Have you ever seen an martial arts entire class stopped so an instructor can tell a student the basic moves of an art because they forget them every time?  Don't be a group drag.
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