Kali Tudo 4 – The Dracula You cannot view this unit as you're not logged in yet. 9 thoughts on “Kali Tudo 4 – The Dracula” Wow this is really great stuff! Log in to Reply I love how the dracula can be used for cage or flinch response and the footwork is amazing! I love how silat translates well for MMA> Log in to Reply The Dracula is part of my draw stroke as well. (AIWB carry of CCW). For the longest time I wondered why we weren’t seeing silat in MMA. IMHO certainly training method plays a big part. Silat is tough to train both with safety and exuberance– by its inherent nature the throw and techniques are more destructive than we want to see in a hierarchical fight. Thus there is an inherent conflict with the principle “You will tend to do in the adrenal state what you have trained in the adrenal state.” The silat to which I have been exposed (notice how carefully I hedge here!) also has a strong tendency to train almost always against a stepping into a right lead right hand strike. “Joe Generic” MMA tends to have blend of Muay Thai/boxing/Greco Roman/Wrestling/BJJ as its agreed upon understanding of “what works”. The active “up on your toes” moving around footwork is something that prototypical silat practitioner has not worked, let alone gone adrenal, with silat. The attacks coming at him are far, far more varied than the step through right punch which is the main technique against which he has trained. And so the silat does not appear when it comes time, even if the fighter has good MMA and good silat training (An exception here is Guro Inosanto’s Maphilindo (MAlaysian, PHILipino, INDOnesian) Silat which is always trained against the basic Muay Thai four count combinations!) The trick is to fight in striking range so as to create the angle necessary for the silat; yet invariably people use striking methods (MT and Boxing) which are based upon a rule structure that requires that strikes attack the front and sides only. The accomplishment of getting an angle (45, 60, 90, 120, 150, 180) in my experience usually is done half with the footwork and half with the striking. Remember, the KT striking, because of third hand structures (e.g. the Dracula!) and movement we can have two and sometimes three hits per shift of body weight. A very common response to this is to “cage up”, which usually includes purposively rooted feet. Thus if our strikes are done with purposeful footwork we acquire the angular advantage. Log in to Reply I would like to see more information on timing as related to music theory. I u Der stand the 4 count and also see the four half note beats as well . But that is just 4/4 time. Log in to Reply Woof Bryan: This area is not a forte of mine, but here is my understanding: In 4/4 the bottom four means that each quarter note is considered one beat and the top four means that there are four beats to each measure/bar (i.e. the rhythmic unit). Thus in a waltz, which is 3/4, each quarter note is one beat and there are three beats to each measure. In 6/4, which is how I conceive of the core idea of Kali, there are two triplets (three notes over two beats) over the course of four beats. In my way of thinking a combination such as “Heaven Six” is two triplets. When done against a typical four count such as “Open 8s” (L Backhand, R forehand, R Backhand, L Forehand) this means we have six strikes to his four. Guro Guard Dog Ryan Gruhn is a serious drummer and is likely to have understanding quite a bit above mine. Let me see if I can get him to jump in here. Log in to Reply I think it the simplest of of contexts we can use Open 8’s as a great example. If all three strikes (slash/slash/redondo) are fluid in nature and equal since there are three strikes per side it would be 3/4 or 6/4 depending on how you want to view one measure. However, in “heaven” (slash/slash/jab) the jab returns under the arm for a fourth beat. In such a case you could view it as 4/4 or 8/4, again depending on how you want to split up the measures. Regardless they are all quarter notes because (as stated above) the lower number of the time signature is “4” meaning each beat counts for 1/4. WOOF! 🙂 Log in to Reply Thanks for this material again guys I love using silat for sport Log in to Reply Ummm , , , venturing now out of my safe space against my better in these things but , , , here goes: a) There are no redondos in Open 8s. Open 8s is a four count so named because the hand never cross (L Backhand, R forehand, R Backhand, L Forehand) ; b) I disagree with defining Heaven as 4/4. The jab’s retraction under the other arm should be simultaneous with the next strike of the other hand. Indeed in all six strikes of Heaven (or any of the forehand backhand backhand series of which Heaven is but an example) each strike is initiated during the returning portion of the previous strike, be it a slash or a jab, Thus, Heaven 6 is in 6/4. Log in to Reply Think for example of a Kabaroan 4 count. The initial chamber is like that of Heaven, but there is a prefix backhand jab with the bottom hand before doing a Heaven 3. Now apply this to the first two motions of a four count, or against a basic Siniwali Caveman structure. The initial backhand jab accounts for the lead stick of the opponent and against the rear power caveman strike of the first motion of Heaven 3 triplet accounts for the power of the strike, the second motion is a hand hit, and the third motion hits the head in the sector now vacated by that stick. (supporting footwork necessary.) Log in to Reply Leave a Comment Cancel replyYou must be logged in to post a comment.