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Arnis, also known as Eskrima and Kali, is the national sport and martial art of the Philippines. The three are roughly interchangeable umbrella terms for the traditional martial arts of the Philippines ("Filipino Martial Arts," or FMA) that emphasize weapon-based fighting with sticks, knives, bladed weapons and various improvised weapons. It is also known as Estoque (Spanish for rapier), Estocada (Spanish for thrust or stab) and Garrote (Spanish for club). In Luzon they may go by the name of Arnis de Mano, Pananandata (use of weapons), Sinawali (Pampanga, "to weave"), Sitbatan & kalirongan (Pangasinan), Didya and Kabaroan (Ilocos region). In the Visayas and Mindanao, these martial arts have been referred to as eskrima, kali, kaliradman and pagaradman. Kuntaw and silat are separate martial arts that are also practiced in the Philippine islands.
Arnis also includes hand-to-hand combat, joint locks, grappling and weapon disarming techniques. Although in general, emphasis is put on weapons for these arts, some systems put empty hands as the primary focus and some old school systems do not teach weapons at all.
Arnis masters Tinong Ybanez, Teofilo Velez, Johnny Chiuten & Jose Villasin along with students in Cebu City, Philippines
For all intents and purposes, arnis, eskrima and kali all refer to the same family of Filipino weapon-based martial arts and fighting systems.
Both arnis and eskrima are loans from Spanish:
Arnis comes from arnés,[3] Old Spanish for 'armor' (harness is an archaic English term for armor, which comes from the same roots as the Spanish term). It is said to derive from the armor costumes used in Moro-moro stage plays where actors fought mock battles using wooden swords.[4] Arnes is also an archaic Spanish term for weapon, like in the following sentence from "Ilustracion de la Deztreza Indiana" by Francisco Santos de la Paz in 1712:[5]
Siendo tan infalible la execucion desta doctrina, que no solo consigue ésta superioridad en concurso de armas iguales, sino tambien hallandose el contrario con la aparente ventaja de venir armado de los dos 'arneses', Espada, y Daga; pues aun con ellos experimenta la dificultad de resistir á esta Espada sola…
The execution of this doctrine is so infallible, that not only does it prove its superiority in contests with equal arms, but also when finding the opponent with the apparent advantage of showing up armed with two weapons, sword and dagger. For, even armed with those, experience shows the difficulty of resisting the single sword used in this way…
Eskrima (also spelled Escrima) is a Filipinization of the Spanish word for fencing, esgrima.[6][7] Their cognate in French is escrime and is related to the English term 'skirmish'.
Kali has multiple theories on its origin:
One theory is that the word comes from tjakalele,[8] a tribal style of stick-fencing from Indonesia. This is supported by the similarities between tjakalele and eskrima techniques, as well as Mindanao's proximity to Indonesia.
According to Guro Dan Inosanto, Kali is a portmanteau of the Cebuano words "kamot", meaning hand, and "lihok", meaning motion.[9][10]
In the Ilocano language, kali means to dig and to stab.[11]
There exist numerous similar terms of reference for martial arts such as kalirongan , kaliradman and pagkalikali.[12] These may be the origin of the term kali or they may have evolved from it.[8]
According to Grandmaster Vic Sanchez, the Pangasinense term Kalirongan means "Karunungan ng Lihim" or Wisdom of (the) Secret (fighting arts) or "Wisdom of Kali".
In his book KALI – History of a Forbidden Filipino Fighting Arts, Fred Lazo put forward that Kali was an ancient root word for blade, and that the Filipino words for right hand (kanan) and left hand (kaliwa) are contractions of the terms "way of the blade" (kali daanan) and "without blade" (kali wala) as weapons are usually held with the right hand and the left hand is typically empty.[13]
In their book Cebuano Eskrima: Beyond the Myth however, Dr. Ned Nepangue and Celestino Macachor contend that the term Kali in reference to Filipino martial arts did not exist until the Buenaventura Mirafuente wrote in the preface of the first known published book on Arnis, "Mga Karunungan sa Larong Arnis" by Placido Yambao, the term Kali as the native mother fighting art of the Philippine islands.[14]
Most likely, Kali derives from the pre-Hispanic Filipino term for blades and fencing, Calis,[15] documented by Ferdinand Magellan's expedition chronicler Antonio Pigafetta during their journey through the Visayas and in old Spanish to Filipino Mother Tongue dictionary and vocabulary books dating from 1612 to the late 1800s, such as in Vocabulario de Lengua Tagala by Fr. Pedro de San Buenaventura.[16] The term calis in various forms was present in these old Spanish documents in Ilocano,[17] Kapampangan,[18] Ibanag (calit),[19] Tagalog,[20] Bicolano (caris),[21] Waray (caris),[22] Hiligaynon[23] and Cebuano (calix, baladao[24] – "kalis balaraw/dagger" and cales[25]). In some of these dictionaries, the term calis refers to a sword or knife kris or keris, while in others it refers to both swords and knives and their usage as well as a form of esgrima stick fighting.[18][20] While Mirafuente posits that the original term was "Kali" and that the letter "S" was added later, the late Grandmaster Remy Presas suggests that the "S" was dropped in modern times and became presently more known as "Kali" in FMA circles.
Practitioners of the arts are called arnisador (male, plural arnisadores) and arnisadora (female, plural arnisadoras) for those who call theirs arnis, eskrimador (male, plural eskrimadores) or eskrimadora (female, plural eskrimadoras) for those who call their art eskrima, and kalista or mangangali for those who practice kali.
As Arnis was an art usually practiced by the peasant or commoner class (as opposed to nobility or warrior classes), most practitioners lacked the scholarly education to create any kind of written record. While the same can be said of many martial arts, this is especially true for Arnis because almost all of its history is anecdotal, oral or promotional. The origin of Arnis can be traced back to native fighting techniques during conflicts among the various Prehispanic Filipino tribes or kingdoms, though the current form has Spanish influence from old fencing which originated in Spain in the 15th century. It has other influences as well, as settlers and traders travelling through the Malay Archipelago brought the influence of silat as well as Chinese, Arab and Indian martial arts.[26][27] Some of the population still practice localized Chinese fighting methods known as kuntaw.
It has also been theorized that the Filipino art of Arnis may have roots in India, and came to the Philippines via people who traveled through Indonesia and Malaysia to the Philippine islands. Silambam, a stick/staff based ancient martial art of India influenced many martial arts in Asia like Silat. As such, Arnis may share ancestry with these systems — some Arnis moves are similar to the short stick (kali or kaji) and other weapon based fighting styles of Silambam.
When the Spaniards first arrived in the Philippines, they already observed weapons-based martial arts practiced by the natives, which may or may not be related to present-day Arnis. The earliest written records of Filipino culture and life, including martial arts, comes from the first Spanish explorers. Some early expeditions fought native tribesmen armed with sticks and knives.[28] In 1521, Ferdinand Magellan was killed in Cebu at the Battle of Mactan by the forces of Datu Lapu-Lapu, the Mactan king. Some Arnisadors hold that Lapu-Lapu's men killed Magellan in a sword-fight, though historical evidence proves otherwise. The only eyewitness account of the battle by chronicler Antonio Pigafetta tells that he was stabbed in the face and the arm with spears and overwhelmed with multiple warriors who hacked and stabbed at him:
The natives continued to pursue us, and picking up the same spear four or six times, hurled it at us again and again. Recognizing the captain, so many turned upon him that they knocked his helmet off his head twice, but he always stood firmly like a good knight, together with some others. Thus did we fight for more than one hour, refusing to retire farther. An Indian hurled a bamboo spear into the captain's face, but the latter immediately killed him with his lance, which he left in the Indian's body. Then, trying to lay hand on sword, he could draw it out but halfway, because he had been wounded in the arm with a bamboo spear. When the natives saw that, they all hurled themselves upon him. One of them wounded him on the left leg with a large cutlass, which resembles a scimitar, only being larger. That caused the captain to fall face downward, when immediately they rushed upon him with iron and bamboo spears and with their cutlasses, until they killed our mirror, our light, our comfort, and our true guide. When they wounded him, he turned back many times to see whether we were all in the boats. Thereupon, beholding him dead, we, wounded, retreated, as best we could, to the boats, which were already pulling off.[29]
Opinions differ on the degree to which Spanish rule in the Philippines affected Arnis. The fact that a large number of techniques and the names of the arts themselves (arnis/arnes, eskrima/esgrima, garrote, estoque, etcg) have Spanish names suggest an influence. Some argue though that Spanish names in the martial art simply reflect the fact that Spanish was the lingua franca of the Philippines until the early 20th century, and that actual Spanish martial influence was limited.
What is certain is that the Spaniards brought with them and used their bladed weapon arts (including the system of Destreza developed by Carranza when they started colonizing the archipelago in the 16th century. What is also known is that the Spaniards recruited and trained mercenaries and soldiers from local people like the Kapampangans, Tagalogs, Cebuanos and Ilonggos and Warays to pacify regions and put down revolts. Of the Kapampangans, Fray Casimiro Díaz relates in 1718:
"Los primeros que se decidieron á experimentar fortuna fueron los pampangos, nación la más belicosa y noble de estas Islas, y cercana á Manila. Y era lo peor hallarse ejercitada en el arte militar en nuestras escuelas en los presidios de Ternate, Zamboanga, Joló, Caraga y otras partes, donde se conoció bien su valor; pero este necesita del abrigo del nuestro, y así decían que un español y tres pampangos, valían por cuatro españoles."[30]
The first who decided to experiment with their fortune (revolt) were the Pampangos, the most warlike and prominent people of these islands, and close to Manila. And it was all the worse because these people had been trained in the military art in our own schools in the presidios (fortified outposts) of Ternate, Zamboanga, Jolo, Caraga and other places where their valor was well known; but this is necessary for our protection, and so they say that a Spaniard plus three Pampangos equal four Spaniards.[31]
Logic dictates that these native soldiers and mercenaries would have passed on to very close friends and family members these newly learned skills to augment already existing and effective native ones. They would have also shared tactics and techniques with each other when placed in the same military group and fighting on the same side in foreign regions such as Formosa, Mindanao, the Moluccas[30] and the Marianas.[32]
One of the more prominent features of Arnis that point to possible Spanish influence is the Espada y Daga (Spanish for sword and dagger) method, a term also used in Spanish fencing. Filipino espada y daga differs somewhat from European rapier and dagger techniques; the stances are different as weapons used in Arnis are typically shorter than European swords.[33] According to Grandmaster Federico Lazo†(1938-2010), unlike in European historical fencing, there is no lunging in the Northern Ilocano Kabaroan style of Arnis — it is more of an evasive art. On the other hand, it is present in some Visayan styles documented by FMA researchers Celestino Macachor & Ned Nepangue like Yasay Sable Estocada from Bago City.[34] Having done comparative studies, Kalis Ilustrisimo archivist Romeo Macapagal also estimates that 40% of the blade-oriented style of Antonio "Tatang" Ilustrisimo† (1904-1997) descend from European styles, brought by the Spanish.[35]
After the Spanish colonized the Philippines, a decree was set that prohibited civilians from carrying full-sized swords (such as the Kris and the Kampilan). Despite this, the practitioners found ways to maintain and keep the arts alive, using sticks made out of rattan rather than swords, as well as small knives wielded like swords. Some of the arts were passed down from one generation to the other. Sometimes the art took the form choreographed dances such as the Sakuting stick dance[36] or during mock battles at Moro-moro (Moros y Cristianos) stage plays. Also as a result, a unique and complex stick-based technique evolved in the Visayas and Luzon regions. The southern Mindanao retains almost exclusively blade-oriented techniques, as the Spaniards and Americans never fully conquered the southern parts of this island.[37]
Although Arnis combines native fighting techniques with old Spanish fencing and other influeces, a degree of systematization was achieved over time, resulting in a distinguishable Philippine martial art. With time, a system for the teaching of the basics also evolved. However, with the exception of a few older and more established systems, it was previously common to pass the art from generation to generation in an informal approach. This has made attempts to trace the lineage of a practitioner difficult. For example, aside from learning from their family members like uncle Regino Ilustrisimo, Antonio Ilustrisimo seemed to have learned to fight while sailing around the Philippines, while his cousin and student Floro Villabrille claimed to have been also taught by a blind Moro princess in the mountains; a claim later refuted by the older Ilustrisimo. Both have since passed away.
Modern history[edit]
Various Filipino knives.
The Philippines has what is known as a blade culture.[38][39] Unlike in the West where Medieval and Renaissance combative and self-defense blade arts have gone almost extinct (having devolved into sport fencing with the advent of firearms),[40] blade fighting in the Philippines is a living art. Local folk in the Philippines are much more likely to carry knives than guns. They are commonly carried as tools by farmers, used by street vendors to prepare coconuts, pineapples, watermelons, other fruits and meats, and balisongs are cheap to procure in the streets as well as being easily concealed. In fact, in some areas in the countryside, carrying a farming knife like the itak or bolo was a sign that one was making a living because of the nature of work in those areas.[41] In the country of Palau, the local term for Filipino is chad ra oles, which literally means "people of the knife" because of Filipinos' reputation for carrying knives and using them in fights.[42]
Philippine Revolution[edit]
Contrary to the view of some modern historians that it was only guns that won the Philippine revolutionaries against the Spaniards, blades also played a large part.
During the 1898 Battle of Manila, a report from The Cincinnati Enquirer went:[43]
…The Philippine native, like all the kindred Malay races, cannot do any fighting as a rule except at close quarters, slashing with his heavy knife. The weapon is called machete, or bolo, or kampilan, or parang, or kris. The plan of action is the same — to rush in unexpectedly and hack about swiftly, without the slightest attempt at self-preservation.
The Mauser rifle, too, in hard work is found to be a mistake. It has a case of five cartridges, which have to be all used before any others can be inserted. That is, to say, if a soldier has occasion to fire three cartridges he must go on and waste the other two, or else leave himself to meet a possible sudden rush with only two rounds in his rifle. Perhaps it may be the fault of the men, or their misfortune in being undrilled, but they are often knifed while in the act of reloading their rifles. Whatever be the explanation there is something wrong in troops with rifles and bayonets being driven steadily back by natives armed with knives. The insurgents have some guns, but most of the wounded Spanish soldiers seen in the streets have knife wounds.
Philippine–American War[edit]
Americans were first exposed to Arnis during the Philippine–American War in events such as the Balangiga massacre where most of an American company was hacked to death or seriously injured by bolo-wielding guerillas in Balangiga, Eastern Samar—and in battles in Mindanao, where an American serviceman was decapitated by a Moro warrior even after he emptied his .38 Long Colt caliber revolver into his opponent. That and similar events led to the request and the development of the Colt M1911 pistol and the .45 ACP cartridge by Col. John T. Thompson, Louis La Garde and John Browning which had more stopping power.[44][45]
World War II[edit]
During World War II, many Filipinos fought the Japanese hand to hand with their blades as guerilla fighters or as military units under the USAFFE like the Bolo Battalion (now known as the Tabak Division).
Some of the grandmasters who are known to have used their skills in World War II are Antonio Ilustrisimo, Leo Guiron,[46][47] Teodoro "Doring" Saavedra,[48] brothers Eulogio and Cacoy Cañete,[49] Timoteo "Timor" Maranga, Sr,[50] Jesus Bayas[51] and Balbino Tortal Bonganciso.[52]
The arts had no traditional belting or grading systems as they were taught informally. It was said that to proclaim a student a "master" was considered ridiculous and a virtual death warrant as the individual would become challenged left and right to potentially lethal duels by other Arnisadores looking to make names for themselves. Belt ranking was a recent addition adopted from Japanese arts such as Karate and Judo, which had become more popular with Filipinos. They were added to give structure to the systems, and to be able to compete in attention for students. Filipino martial arts were at the brink of extinction via obscurity with the general populace by the mid to late 20th century due to urbanization, modernization and colonial mentality (Filipinos' tendency to look down on things of local origin).
With regards to its spread outside the Philippines, Arnis was brought to Hawaii and California as far back as the 1920s by Filipino migrant workers.[53] Its teaching was kept strictly within Filipino communities until the late 1960s when masters such as Angel Cabales began teaching it to others. Even then, instructors teaching Arnis in the 1960s and 70s were often reprimanded by their elders for publicly teaching a part of their culture that had been preserved through secrecy.
In recent years, there has been increased interest in Arnis for its usefulness when defending against knives and other street encounters. As a result, many systems of Arnis have been modified in varying degrees to make them more marketable to a worldwide audience. Usually this involves increased emphasis on locking, controls, and disarms, focusing mainly on aspects of self-defense. However, most styles follow the philosophy that the best defense is a good offense. Modern training methods tend to de-emphasize careful footwork and low stances, stressing the learning of techniques in favor of more direct (and often lethal) tactics designed to instantly end an encounter.
In the Philippines, the spread is more significant due to the efforts of Richardson "Richard" Gialogo and Aniano "Jon" Lota, Jr. through the Department of Education (DepEd) Task Force on School Sports (TFSS). Arnis was first introduced in 1969 to some public and private school teachers when Mr. Remy A. Presas taught his personal style of Arnis which he called "Modern Arnis." It was when he taught his own style to the students of the National College of Physical Education (NCPE) when he was given the chance to teach there. The style "Modern Arnis", Mr. Remy Presas' personal style, is not synonymous to the concept of modern or contemporary Arnis, where it has become a full blown sport embraced by the Department of Education, although there are some similarities because Arnis is Arnis. There was no formal program for Arnis from 1970's to 1980's. Although some schools taught Arnis, these were not official nor prescribed.
The earliest historical record was the DECS Memorandum No. 294 Series of 1995 which entailed the Arnis Development Program Phase I. This was a joint effort of the Department of Education, Culture and Sports or DECS and the Office of then Senator Orlando "Orly" Mercado who awarded a budget from his pork barrel for the implementation of a national Arnis program. The Office of Senator Mercado was given the authority to designate the Arnis instructors for the said program.
The next event was the Arnis Development Program Phase II. It was just a continuation of Phase I through DECS Memorandum No. 302 series of 1997. The same group conducted the seminars; known as the Arnis Association International (AAI), the Arnis instructors designated by Senator Mercado, they were informally called the "Mercado boys." They were Mr. Jeremias V. Dela Cruz, Rodel Dagooc and others who were direct students of Mr. Remy Presas of the Modern Arnis style. In this memorandum, there were two seminars conducted: October 6-11, 1997 in Baguio City and November 10-15, 1997 in General Santos City. The Arnis Module Development however did not push through. It was also during this time when the first Arnis instructional video was developed by the Bureau of Physical Education and School Sports (BPESS) entitled "Dynamic Arnis". This video featured the Gialogo Brothers: Richardson and Ryan Gialogo, direct students of Jeremias V. Dela Cruz.
However, the national Arnis program of Senator Orly Mercado and DECS died a natural death. It was only after nine (9) years that Arnis found its way back into the Department of Education (formerly known as Department of Education, Culture and Sports or DECS). On February 5, 2004, the Task Force on School Sports (TFSS) of the Department of Education (DepEd), the new agency after the defunct BPESS, met with the National Sports Association (NSA) for Arnis in a Senate hearing. The Head of the TFSS was National Coordinator Mr. Feliciano N. Toledo II, considered the "Father of Arnis" in the Department of Education. He met with the top NSA officials at that time; however, nothing happened.
It was only in 2006 when the Task Force on School Sports had a new program for Arnis. The "National Training of Trainors in Arnis and Dance Sports", sponsored by the Task Force on School Sports, Department of Education (DepEd), was held at Teacher's Camp, Baguio City on March 13-17, 2006 and was conducted by two top-caliber figures in the Arnis community: Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo, then Secretary-General and Vice-President respectively of the National Sports Association for Arnis. And this was the start of the modern, contemporary and prevailing Arnis in the Department of Education.
In just two months, Arnis became part of the Palarong Pambansa (National Games) as a demonstration sport. The 2006 Palarong Pambansa was held in Naga City, Bicol Region with nine (9) out of the Seventeen (17) regions of the Philippines participating. National, regional and provincial Arnis Seminars were conducted by the tandem of Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo from 2006 to 2007 in coordination with the TFSS National Coordinator, Mr. Feliciano "Len" Toledo, and with the financial and logistical backing of the Department of Education. In 2007, Arnis was already a regular event in the Palarong Pambansa with all seventeen (17) regions participating. Five (5) weight divisions in the Full-contact Event and four (4) categories in the Anyo (Forms) Event were played and became part of the official medal tally of the participants. This was held in Coronadal in Mindanao.
Arnis Seminars were continued in national, regional and provincial levels. These were all conducted by the tandem of Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo, now both Arnis Consultants and official Lecturers of the Task Force on School Sports of the Department of Education. In 2008, Arnis was played in the Palarong Pambansa and again, with all seventeen (17) regions participating. All nine (9) events were played. This was held in Puerto Princesa City, Palawan.
Aside from Sports Officiating and Accreditation seminars, Coaching and skill training seminars continued in national, regional and provincial levels. Requests from cities and even districts were also welcomed. The "evangelization" of Arnis was continued and both Gialogo and Lota were careful not to teach their personal styles. Both taught in "generic" form and focused on the rules of sports as promulgated by the Department of Education.
In 2009, Secondary Girls (High School Girls) were finally included in Palarong Pambansa and again, all seventeen (17) regions participated. From the original five (5) member teams, the number doubled with the inclusion of the girls. The medal tally also doubled from nine (9) to eighteen (18). The 2009 Palarong Pambansa was held in Tacloban, Leyte in the Visayas.
In 2009, the "Writeshop of the Revision of the Physical Fitness Test and the Development of Learning Competencies in Arnis and Archery" was held in Teacher's Camp, Baguio City in October 5-8, 2009. Phase I of the National Curriculum for Arnis was finished and the curriculum writers were Mr. Richardson Gialogo and Mr. Aniano Lota, Jr.
The 2010 Palarong Pambansa was held in Tarlac, In Luzon. Again, both secondary boys and girls competed in the eighteen (18) categories. It was here that the Department of Education Arnis Association Philippines or DEAAP had its first national elections.
In the 2011 Palarong Pambansa, Elementary students joined. The road to success has begun.
One of the most important practices in classical Arnis was dueling, without any form of protection. The matches were preceded by cock-fighting and could be held in any open space, sometimes in a specially constructed enclosure. Arnisadores believe this tradition pre-dates the colonial period, pointing to similar practices of kickboxing matches in mainland Indochina as evidence. Spanish records tell of such duelling areas where cock-fights took place. The founders of most of the popular Arnis systems were famous duelists and legends circulate about how many opponents they killed. In rural areas throughout the Philippines today, modern Arnis matches are still held in dueling arenas. In bigger cities, recreations of duels are sometimes held at parks by local Arnis training-halls. These demonstrations are not choreographed beforehand but neither are they full-contact competitions.
In modern times, public dueling with blades has been deemed illegal in the Philippines due to potential injury or death. Duelling with live sticks and minimal protection still occurs during barrio fiestas in some towns such as in Paete in Laguna.
Notable Arnisadores from Balintawak lineage: (from left to right)"Chito" Velez, "Meo" de la Rosa, "Nene" Gaabucayan, "Anciong" Bacon, Ray la Victoria, "Bobby" Taboada, Teofilo Velez at Fort San Pedro, Cebu City (c. 1976). The photos were taken by "Johnny" Chiuten
After decades of lobbying and overdue recognition, Arnis/Eskrima/Kali was proclaimed as the official National Martial Art and Sport of the Philippines in January 2010.
There are two main types of Arnis practiced as a sport. The most common system used internationally is that of the WEKAF (World Eskrima Kali Arnis Federation), established 1989. The less recent one is the Arnis Philippines[54] (ARPI) system, established in 1986, and was most prominently used during the 2005 Southeast Asian Games.
The WEKAF system works on a 10-point must system similar to boxing where participants spar with live sticks while wearing a long padded vest with skirt and sleeves and a helmet similar to Kendo headgear. Hitting below the thigh is prohibited. This format has sometimes been criticized because it emphasizes a heavy offense at the expense of defensive techniques sometimes with players raining blows on each other without defending, giving rise to the impression that combatants are merely hitting each other in a disorganized way. This has been tackled by introducing a 'four second rule', to prevent constant and unrealistic attacks, and judges do not to score the same strike if the fighter uses it more than twice in succession. Judges warn fighters and remove points if they continue after two warnings. However, fights can easily come down to an unrealistic attack from an unskilled fighter who impresses judges with many body hits after taking two or three clear, strong hits to the hands and head.
This is, to some, an antithesis to traditional training methods, where training in footwork and arm/weapon movements are intricate and precise and any part of an opponent's body is fair game. As a consequence, WEKAF tournaments may be seen as not promoting the original art. Moreover, participants have been known to suffer broken bones and injured tendons due to the fact that live sticks are used, so the older system is considered more 'hardcore' and less safe. Another complaint about the WEKAF system is that it uses the 10-point must system, which is more subjective depending on who is judging. Favoritism among judges and players is a common complaint with this scoring system due to its subjectivity.
Since the WEKAF system is more risky, it is preferred by many practitioners who want to test themselves. The WEKAF system is the most widely used format internationally.
Safety equipment used in Modern Arnis tournaments with padded vests, sticks, headgear and groin guards
The Arnis Philippines system uses foam-padded sticks about an inch in diameter with thin rattan cores roughly a centimeter in diameter. These sticks are meant to break before serious injury occurs. For protection, the same headgear used in the WEKAF system, and a large groin guard is required for males. Vests (optional for men, required for women), optional armguards, shinguards and leg wraps are used. Scoring is more similar to fencing where fighters are separated after solid clean hits are made (observed by multiple judges stationed at different positions to observe if hits were clean and unblocked, and determine the strength of the strike by the loudness of the impact). Alternative ways to score are to disarm one's opponent or to force him to step outside the ring.
Any part of the body, from head to toe, is fair game as a target—except for the back of the head, which the headgear does not protect. Stabs to the face are not allowed, because the thin rattan core may penetrate the padding and slip through the grills of the headgear into the player's eye. Thrusts to the body score points, but are harder to present to judges for scoring because they make less noise and it is difficult to determine impact.
Punches, kicks and throws are not allowed. Prolonged clinching to prevent the opponent from striking is not allowed (similar to Western Boxing) to keep the game moving and more interesting for audience that may not appreciate the fine and practical aspects of grappling. Disarms must be performed quickly and cleanly to count. Because the legs are fair targets, in lighter weight divisions, complex evasion and deep lunges where players lie horizontal with the torso almost touching the floor to extend reach are often seen.
The emphasis of the ARPI system is on player safety, as proponents are applying to become a recognized Olympic sport like judo, karate, taekwondo, wrestling, boxing, and fencing.
Even though padded sticks are used in the sport, players regularly retain large bruises that last for weeks and sometimes minor injuries to joints and because of the sheer amount of force generated by conditioned practitioners. Sometimes the stuffing commonly comes off from the harder hitting players and one cause of injury is when a player is struck by the exposed rattan core. Still, these are relatively minor as compared to injuries sustained when practitioners spar with live sticks.
One major problem with the ARPI system is that because the padded sticks with light rattan cores are used, they tend to flex and "lag", thus making the experience significantly different from using a live stick and in that sense, lessens the "realism" of this system. This is acceptable though as again, the emphasis is on safety.
Like the sayaw (meaning "dance") in the WEKAF system, the ARPI system has a separate single and team choreographed division called Anyo (Tagalog for 'forms'). From 1986-2004, ARPI did not have Anyo or forms competitions. The rules for Anyo was created by Richardson Gialogo, former ARPI Vice-President, for the 2005 Southeast Asian Games. Aside from the visual appeal, practical combative applications must be clearly seen so as to avoid looking like just majorettes in marching bands who just twirl batons and dance (a concept similar to the Floreio ("flourish") aspect of Capoeira and to Tricking which are more for show than practicality). IMAFP Standard Equipment is being used in the international Arena.
In another variation that simulates knife fights, competitors use false blades edged with lipstick to mark where an opponent has been struck. These matches are considered more similar to traditional duels than the WEKAF point-system.
Arnis students start their instruction by learning to fight with weapons, and only advance to empty-hand training once the stick and knife techniques have been sufficiently mastered. This is in contrast to most other well-known Asian martial arts but it is justified by the principle that bare-handed moves are acquired naturally through the same exercises as the weapon techniques, making muscle memory an important aspect of the teaching. It is also based on the obvious fact that an armed person who is trained has the advantage over a trained unarmed person, and serves to condition students to fight against armed assailants. Most systems of Arnis apply a single set of techniques for the stick, knife, and empty hands, a concept sometimes referred to as motion grouping. Since the weapon is seen as simply an extension of the body, the same angles and footwork are used either with or without a weapon. The reason for this is probably historical, because tribal warriors went into battle armed and only resorted to bare-handed fighting after losing their weapons.
Many systems begin training with two weapons, either a pair of sticks or a stick and a wooden knife. These styles emphasise keeping both hands full and never moving them in the same direction, and trains practitioners to become ambidextrous. For example, one stick may strike the head while the other hits the arm. Such training develops the ability to use both limbs independently, a valuable skill, even when working with a single weapon.
A core concept and distinct feature of Filipino martial arts is the Live Hand. Even when as a practitioner wields only one weapon, the extra hand is used to control, trap or disarm an opponent's weapon and to aid in blocking, joint locking and manipulation of the opponent or other simultaneous motions such as bicep destruction with the live hand.
A pair of rattan bastons
Main article: Baston (weapon)
The most basic and common weapon in Arnis is the baston or yantok. They are typically constructed from rattan, an inexpensive stem from a type of Southeast Asian vine. Hard and durable yet lightweight, it shreds only under the worst abuse and does not splinter like wood, making it a safer training tool. This aspect makes it useful in defense against blades. Kamagong (ironwood or ebony) and bahi (heart of the palm) are sometimes used after being charred and hardened. These hardwoods are generally not used for sparring, however, as they are dense enough to cause serious injury, but traditional sparring does not include weapon to body contact. The participants are skilled enough to parry and counterstrike, showing respect in not intentionally hitting the training partner. In modern times, many Arnis practitioners have also come to wear head and hand protection while sparring with rattan sticks, or otherwise use padded bastons. Some modern schools also use sticks made out of aluminium or other metals, or modern high-impact plastics.
Impact weapons[edit]
Baston, olisi, yantok: stick ranging from twenty-four to twenty-eight inches long.
Largo mano yantok: longer stick ranging from twenty-eight to thirty-six inches
Dulo y dulo: short stick about four to seven inches in length, held in the palm of the hand
Bankaw: six-foot pole. Staves can be used to practice sword techniques
Wooden dagger measuring 12 to 14 inches (300 to 360 mm)
Panangga: shield
Improvised weapons: Wood planks, steel pipes, umbrellas, flashlights, rolled-up magazines/ newspapers, books, cellular phones, tennis rackets, butt of billiards cue, bottles, coffee mugs, chair legs, tree branches or twigs, etc.
Edged weapons[edit]
Traditional bolos from the Visayas islands (ginunting on the left, and three talibongs).
Baraw is a Cebuano term used in eskrima that means knife or dagger. The term Baraw is more commonly used on the Cebu Island in the Visayan region whereas other islands and regions more commonly use the term Daga but both terms are often interchangeable within the Filipino martial arts community.
The terms Baraw and Daga can be used either as Solo Baraw or Solo Daga associated with single knife fighting and defense systems, Doble Baraw or Doble Daga associated with the double knife fighting systems or even with a combination of long and short weapons e.g. stick and dagger fighting systems Olisi Baraw or sword and dagger fighting systems Espada y Daga.
Daga/Cuchillo (Spanish for dagger and knife) or Baraw/ Pisaw: daggers or knives of different shapes and sizes
Balisong: fan knife or butterfly knife from Barrio Balisong in Batangas province. The handle is two-piece and attaches to a swivel that folds to enclose the blade when shut.
Karambit: claw-shaped Indo-Malay blade held by inserting the finger into a hole at the top of the handle.
Bolo: a knife/sword similar to a machete
Pinuti: a type of sword from Cebu blade shaped similar to a Sundang but elongated.
Iták or sundáng: a farm or house hold bladed implement, it's blade has a pronounced belly, chisel ground edge with the handle angled down.
Barong: wide flat leaf shaped blade commonly used by women.
Binakoko: long blade named after a porgy fish
Dinahong palay: has a very narrow blade shape similar to a rice leaf.
Kalis or Kris: Indo-Malay dagger, often given a wavy blade, it is most commonly used in the southern provinces
Kampilan: fork-tipped sword, popular in the southern Philippines
Sibat: spear
Improvised weapons: Icepicks, box cutters, screwdrivers, scissors, broken bottles, pens, car keys (using the push knife grip)
Flexible weapons[edit]
Sarong: a length of fabric wrapped around the waist
Ekut: handkerchief
Tabak-toyok: chained sticks/ flail or nunchaku
Latigo (Spanish for whip): consisting of a handle between 8 and 12 inches (200 and 300 mm), and a lash composed of a braided thong 3–20 ft (0.91–6.10 m) long. The "fall" at the end of the lash is a single piece of leather 10–30 inches (250–760 mm) in length.[55]
Improvised weapons: Belt, bandana, handkerchiefs, shirts, towels/socks with hard soap bars/rocks, ropes, power cables, etc.
Technical aspects[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2013)
A collection of home-made training weapons used in an Arnis class
Most systems recognize that the technical nature of combat changes drastically as the distance between opponents changes, and generally classify the ranges into at least three categories. Each range has its characteristic techniques and footwork. Of course, some systems place more emphasis on certain ranges than others, but almost all recognize that being able to work in and control any range is essential. The Balintawak style for example, uses long-, medium- and short-range fighting techniques, but focuses on the short-range.
To control the range, and for numerous other purposes, good footwork is essential. Most eskrima systems explain their footwork in terms of triangles: normally when moving in any direction two feet occupy two corners of the triangle and the step is to the third corner such that no leg crosses the other at any time. The shape and size of the triangle must be adapted to the particular situation. The style of footwork and the standing position vary greatly from school to school and from practitioner to practitioner. For a very traditional school, conscious of battlefield necessities, stances are usually very low, often with one knee on the ground, and footwork is complex, involving many careful cross-steps to allow practitioners to cope with multiple opponents. The Villabrille and San Miguel styles are usually taught in this way. Systems that have been adapted to duels or sporting matches generally employ simpler footwork, focusing on a single opponent. North American schools tend to use much more upright stances, as this puts less stress on the legs, but there are some exceptions.
Many Filipino systems focus on defending against and/or reacting to angles of attack rather than particular strikes. The theory behind this is that virtually all types of hand-to-hand attacks (barehanded or with a weapon) hit or reach a combatant via these angles of attack and the reasoning is that it is more efficient to learn to defend against different angles of attack rather than learn to defend against particular styles, particular techniques or particular weapons. For instance, the technique for defending against an attack angle that comes overhead from the right is very similar whether the attacker uses barefists, a knife, a sword or a spear.
Older styles gave each angle a name, but more recent systems tend to simply number them. Many systems have twelve standard angles, though some have as few as 5, and others as many as 72. Although the exact angles, the order they are numbered in (numerado), and the way the player executes moves vary from system to system, most are based upon Filipino cosmology. These standard angles describe exercises. To aid memorization, player often practice a standard series of strikes from these angles, called an abecedario (Spanish for "alphabet"). These are beginner strikes or the "ABC's" of Arnis.
Some angles of attack and some strikes have characteristic names:
San Miguel is a forehand strike with the right hand, moving from the striker's right shoulder toward their left hip. It is named after Saint Michael or the Archangel Michael, who is often depicted holding a sword at this angle. This is the most natural strike for most untrained people. It is commonly referred to as "angle #1," in systems where striking angles are numbered for training purposes, because it is presumed the most probable angle of attack.
Sinawali is the signature double-stick weaving movement associated with Arnis named after the woven coconut or palm leaves called sawali that comprise the walls of nipa hut dwellings. It is commonly seen in double-stick continuous attack-parry partner demonstrations.
Another signature technique is the Redonda, which is a continuous circular downward-striking double-stick twirling technique.
A redonda (Spanish for "round") is a strike that whips in a circle to return to its point of origin. This is especially useful when using sticks rather than swords, such a strike allows extremely fast strikes but needs constant practice.
An abanico (Spanish for fan) or witik is a strike that is executed by flicking the wrist 180 degrees in a fan-shaped motion. This kind of strike can be very quick and arrive from unexpected angles.
Pilantik is a strike executed by whipping the stick around the wrist over the head in a motion similar to the abanico, but in alternating 360 degree strikes. It is most useful when fighters are in grappling range and cannot create enough space for normal strikes.
Hakbang (Filipino for "step") is a general term for footwork. For example, hakbang paiwas is pivoting footwork, while hakbang tatsulok is triangle stepping.
Puño (Spanish for "fist", "hilt", or "handle") is a strike delivered with the butt of the weapon. It usually targets a nerve point or other soft spot on the opponent but in skilled hands, the puño can be used to shatter bones.
Note that many Arnis techniques have Spanish names, because Spanish was the lingua franca spoken during colonial times among the natives who spoke over 170 different dialects in the archipelago's 7,100+ islands.
Arnis techniques are generally based on the assumption that both student and opponent are very highly trained and well prepared. For this reason, Arnis tends to favor extreme caution, always considering the possibility of a failed technique or an unexpected knife. On the other hand, the practitioner is assumed able to strike precisely and quickly. The general principle is that an opponent's ability to attack should be destroyed rather than trying to hurt them to convince them to stop. Thus many strikes are aimed at the hands and arms, hoping to break the hand holding the weapon or cut the nerves or tendons controlling it (the concept of defanging the snake), but strikes to the eyes and legs are important. A popular mnemonic states that "stick seeks bone, blade seeks flesh".
Mano Mano[edit]
Mano Mano is the empty-hand component of Filipino martial arts, particularly Arnis. The term translates as "hands" or "hand to hand" and comes from the Spanish word mano (hand). It is also known as suntukan or panununtukan in Luzon and pangamot in the Visayas, as well as De Cadena or Cadena de Mano in some FMA systems. American colonists referred to it as "combat judo".
Mano mano also includes kicking, punching, locking, throwing and dumog (grappling). Filipino martial artists regard the empty hands as another weapon and all the movements of mano mano are directly based on weapon techniques. In Arnis, weapons are seen as an extension of the body so training with weapons naturally leads to proficiency in bare-handed combat. For this reason, mano mano is often taught in the higher levels of Arnis after weapons training has been mastered because advanced students are expected to be able to apply their experience with weapons to unarmed fighting. This not always the case though, as some systems of Arnis start with (and at times only consist of) empty hands fighting.
Some notable masters of Mano Mano include:
Antonio Illustrisimo
Venancio "Anciong" Bacon
Rey Galang
Leo Tortal Gaje
Edgar Sulite
Paninipa, Pagsipa, Pananadiyak, Pagtadiyak, and Sikaran (all terms for "kicking" in various regions, dialects and styles) are components of eskrima that focus on knees, tripping, low-line kicks, and stomps. Pananjakman is also a term used in Filipino-American-developed and Western FMA systems, usually referring to the system from the Lucky Lucaylucay, Floro Villabrille and Dan Inosanto blend lineage. Except for the distinct style of Sikaran from the Baras area of the province of Rizal, which also uses high kicks, kicking as a separate art is never taught by itself in the Philippines, and this practice is only done in the West with Pananjakman. Pananjakman is usually taught together with Panantukan.
Paninipa can be regarded as the study of leg muscles and bones and how they are connected, with the goal of either inflicting pain or outright breaking or dislocating the bones. Most striking techniques involve applying pressure to bend the target areas in unnatural ways so as to injure or break them. Such pressure may be delivered in the form of a heel smash, a toe kick, a stomp, or a knee. Targets include the groin, thighs, knees, shins, ankles, feet and toes. The upper body is used only for defensive maneuvers, making pananadiyak ideal for when combatants are engaged in a clinch. When used effectively, the strikes can bring an opponent to the ground or otherwise end an altercation by making them too weak to stand.
Fundamental techniques include kicking or smashing the ankle to force it either towards or away from the opposite foot (severe supination or pronation, respectively), heel-stomping the top of the foot where it meets the lower leg so as to break or crush the numerous bones or otherwise disrupt the opponent's balance, and smashing the opponents knee from the side to break the knee (with severe supination and pronation as the desired result).
Several classes of exercises, such as sombrada, contrada, sinawali, hubud-lubud and sequidas, initially presented to the public as a set of organized drills by the Inosanto school, are expressly designed to allow partners to move quickly and experiment with variations while remaining safe. For example, in a sumbrada drill, one partner feeds an attack, which the other counters, flowing into a counterattack, which is then countered, flowing into a counterattack, and so on. The hubud-lubud or hubad-lubad from Doce Pares is frequently used as a type of "generator" drill, where one is forced to act and think fast. Initially, students learn a specific series of attacks, counters, and counter-attacks. As they advance they can add minor variations, change the footwork, or switch to completely different attacks; eventually the exercise becomes almost completely free-form. Palakaw, from the Balintawak style, are un-choreographed and random defensive and offensive moves. Palakaw in Cebuano means a walk-through or rehearsing the different strike angles and defenses. It may be known as corridas, or striking without any order or pattern. Disarms, take-downs, and other techniques usually break the flow of such a drill, but they are usually initiated from such a sequence of movements to force the student to adapt to a variety of situations. A common practice is to begin a drill with each student armed with two weapons. Once the drill is flowing, if a student sees an opportunity to disarm their opponent, they do, but the drill continues until both students are empty-handed. Some drills use only a single weapon per pair, and the partners take turns disarming each other. Seguidas drills, taken from the San Miguel system, are sets of hitting and movement patterns usually involving stick and dagger.
Rhythm, while an essential part of eskrima drills, is emphasized more in the United States and Europe, where a regular beat serves a guide for students to follow. To ensure safety, participants perform most drills at a constant pace, which they increase as they progress. The rhythm, together with the southern Filipino attire of a vest and sashed pants, is commonly mistaken for some sort of tradition when practicing eskrima in the Philippines—perhaps incorrectly derived from traditional rhythm-based dances or an attempt to add a sense of ethnicity. Eskrima is usually practiced in the Philippines without a rhythm, off-beat or out of rhythm. The diversity of Filipino martial arts means that there is no officially established standard uniform in eskrima.
The live hand[edit]
The live hand is the opposite hand of the practitioner that does not contain the main weapon. The heavy usage of the live hand is an important concept and distinguishing hallmark of eskrima. Even (or especially) when empty, the live hand can be used as a companion weapon by eskrima practitioners. As opposed to most weapon systems like fencing where the off-hand is hidden and not used to prevent it from being hit, eskrima actively uses the live hand for trapping, locking, supporting weapon blocks, checking, disarming, striking and controlling the opponent.
The usage of the live hand is one of the most evident examples of how Eskrima's method of starting with weapons training leads to effective empty hand techniques. Because of Doble Baston (double weapons) or Espada y Daga (sword and parrying dagger) ambidextrous weapon muscle memory conditioning, Eskrima practitioners find it easy to use the off-hand actively once they transition from using it with a weapon to an empty hand.
Doble baston[edit]
Doble baston, and less frequently doble olisi, are common names for a group of techniques involving two sticks. The art is more commonly known around the world as Sinawali meaning "to weave". The term Sinawali is taken from a matting called sawali that is commonly used in the tribal Nipa Huts. It is made up of woven pieces of palm leaf and used for both flooring and walls.
This technique requires the user to use both left and right weapons in an equal manner; many co-ordination drills are used to help the practitioner become more ambidextrous. It is the section of the art that is taught mainly at the intermediate levels and above and is considered one of the most important areas of learning in the art.
Sinawali refers to the activity of "weaving", as applied Eskrima with reference to a set of two-person, two-weapon exercises.
Sinawali exercises provide eskrima practitioners with basic skills and motions relevant to a mode of two-weapon blocking and response method called Doblete. Sinawali training is often introduced to novices to help them develop certain fundamental skills—including: body positioning and distance relative to an opponent, rotation of the body and the proper turning radius, recognition of one's center of gravity, eye–hand coordination, target perception and recognition, increased ambidexterity, recognition and performance of rhythmic structures for upper body movement, and muscular developments important to the art, especially, the wrist and forearm regions. It helps teach the novice eskrimador proper elbow positioning while swinging a weapon.
The Chinese and Malay communities of the Philippines have practiced eskrima together with kuntaw and silat for centuries, so much so that many North Americans mistakenly believe silat to have originated in the Philippines.
Some of the modern styles, particularly doce pares and modern arnis contain some elements of Japanese martial arts such as joint locks, throws, blocks, strikes, and groundwork, taken from: jujutsu, judo, aikido and karate as some of the founders obtained black belt Dan grades in some of these systems. Some eskrima styles are complementary with Chinese wing chun, or Japanese aikido because of the nervous system conditioning and body mechanics when striking, twirling or swinging sticks.
In Western countries, it is common to practice eskrima in conjunction with other martial arts, particularly Wing Chun, Jeet Kune Do and Silat. As a result, there is some confusion between styles, systems, and lineage, because some people cross-train without giving due credit to the founders or principles of their arts. For example, American Kenpo and Kajukenbo cross-training traces back to the interactions between Chinese, Japanese and Filipino immigrants in territorial/pre-statehood Hawaii, and to a lesser extent in other parts of the United States. In the United States the cross-training between eskrima and Jeet Kune Do Concepts as headed by Dan Inosanto of the Inosanto Academy in Marina del Rey, California, goes according to the maxim "Absorb what is useful, reject what is useless".
Proponents of such training say the arts are very similar in many aspects and complement each other well. It has become marketable to offer eskrima classes in other traditional Asian martial arts studios in America but some practitioners of other eskrima styles often dismiss these lessons as debased versions of original training methods.
Source: Wikipedia


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Welcome to the Inaugural 'All-Exclamation Point' Edition
Snort! And this one too! Unbelievably yet another!
Oh please, can't infants get time off?!
Astute Julie has some great news about Canadian carseats for older kids.
Oh man, all this at 4! Words you long to hear from your child: "What's a porno?" A fantstic idea. Are you crafty at all? Go help. And this just makes the recalls that much sadder.
Do you like DevDad? You'll love him if you're one of the many winners in his photography-themed huge giveaway!
I love it! Wow, what a crap party. Go Alex!
Recall: Nearly one million Fisher Price toys for lead.
Oh good grief! Don't let your toddler read this. Look away if you love Crocs. Please commiserate with L. Go Wendy, Go Wendy, it's your birthday! I just want to know how these don't roll down and become a belt. I've been doing my part for the last couple of days! You're welcome.
Recalls: More Easy Bake Ovens, Playskool sippy cups, Castleberry Food and Dog Food, Menard's lounge chairs, Black & Decker Trimmers,
Wii, it's giveaway time over on my other blog!
Jessica alerted me to the Environmental Working Group's current study on bottle-fed babies and Bisphenol A. If you have time before July 31st to fill out a survey you can contribute to their effort.
She may be bossy, but she is also some sort of genius Professor of Internet Economics.
Whoa, that's some big news. Congratulations :)
As the mother of a 2-year-old who has spent the last 3 days wandering around the house saying "Grrr, gosh darnit!!" over and over again, I am not allowed to have an opinion on this.
Do you like food?
Recalls: More mock-Crocs and some Walmart children's earrings for (say it with me) lead.

subset: commoncrawl


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Lemming or Burner – how will they remember you? Delete Beach is a futuristic tale set in the near future, in which a schoolgirl joins an anti-capitalist resistance group in a society in which carbon-based energy is illegal. Made in collaboration with Studio 4°C, one of Japan's leading animation studios.
The other films shown within Forces of Nature
Kaltes TalFlorian Fischer, Johannes Krell IFFR 2017 12′
The beautiful Kaltes Tal is about our relationship with nature as a source of raw materials and seemingly endless possibilities.
Where Shapes Come FromSemiconductor IFFR 2017 11′
A scientist goes about his daily work in mineral preparatory labs, cutting up large meteorites. Fantastic shapes begin to emerge, showing how science translates nature.
The Flavor GenomeAnicka Yi IFFR 2017 22′
All the senses are awakened in artist Anicka Yi's 3D film where flavour chemists explore the potential for exchange between species to enhance the sensorium and trigger sense memories.
Bridge over Troubled WaterJaakko Pallasvuo, Jari Kallio, Antti Jussila IFFR 2017 28′
This film re-imagines 1960s musical duo Simon & Garfunkel as time-travelling protagonists and follows them as they navigate past, present and future post-human landscapes.
- Filmmaker
- Phil Collins
- Premiere
- International premiere
- Country
- Japan, Germany, Norway
- Year
- 2016
- Medium
- Length
- 7'
- Language
- English
- Producer
- Sinisa Mitrovic, Tanaka Eiko, Trond Gullaksen, Kaspar Synnevåg
- Production Company
- Shady Lane Productions, Studio 4-C, North Sea Productions
- Sales
- Shady Lane Productions
- Writer
- Phil Collins
- Sound Design
- Jochen Jezussek
- Music
- Mica Levi


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Hawaii's first official poet laureate Kealoha comes to the Chan Centre at the University of British Columbia on October 3 as part of its Beyond Words series.
Here are five reasons we think you should go:
1. Power of the spoken word
Using the power of spoken word and movement, Kealoha's multidisciplinary work explores social and universal themes from personal and philosophical stories.
3. Founder of largest poetry slam
Kealoha founded HawaiiSlam's First Thursdays, which is now the largest registered poetry slam in the world with a regular average attendance of 500.
4. A prolific career
Kealoha was featured in HBO's documentary series about youth slam poets Brave New Voices, and has appeared on PBS and National Public Radio. He has organized more than 200 workshops across Hawaii's schools, libraries, and community centres. He has shared the stage with music icons Willie Nelson, Ben Harper, Jack Johnson, and CeeLo Green, and has performed from the White House to the legendary Green Mill in Chicago. He was also a featured vocalist for Henry Kapono's Grammy-nominated album Wild Hawaiian Experience.
5. A long journey to spoken word
Kealoha came to the genre of spoken word through a circuitous route. He went to MIT, studied environmental energy technology, and worked at a federal think tank in Washington DC. He then moved to San Francisco to work as a management consultant, where he came across a slam poetry event. Immediately falling in love with spoken word, he has called it the perfect combination of thinking, writing, and theatre.
5. Local slam poets perform
With Vancouver's own thriving slam poetry scene, the evening will open with performances from five local slam poets: Ivan Leonce, mitcholos touchie, Valeen Jules, Anjalica Solomon, and Santiago Ureña. Bringing their diverse backgrounds and unique perspectives to the art form, each will perform a short five-minute set before Kealoha takes to the stage.


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Category: ASEAN & International Conferences
SCWO attends the ASEAN Women's Business Conference
SCWO was proud to be the Singapore representative at the ASEAN Women's Business Conference held on 20th – 21st June 2019 at the JW Marriott Bangkok Hotel, Thailand. Organised by the ASEAN Women Entrepreneurs Network (AWEN) Thailand, the theme of the conference was "Globalization 4.0 and Beyond: Advancing Women Economic Empowerment Through Action and Impact". […]Read more >>
ACWO Board of Directors Meeting
The 1st Meeting of the 19th ASEAN Confederation of Women's Organisations (ACWO) Board of Directors (2018-2020) was held in Singapore on 22nd March 2019. Held at SCWO Centre, this is the first meeting since SCWO took over ACWO presidency last year. Dr June Goh extended a warm welcome to members of the Confederation Council and […]Read more >>
Singapore takes over ACWO Presidency – 2019 to 2020
at the 18th ASEAN Confederation of Women's Organisations (ACWO) Biennial General Assembly and Conference 2018 28 November 2018 –At the 18th ACWO General Assembly's handover ceremony, in Naypyidaw, Myanmar, the ACWO Presidency was passed to SCWO from The Myanmar Women's Affairs Federation (MWAF). Dr. June Goh, president of SCWO proudly received the Flag and Ceremonial Necklace […]Read more >>


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I get picked on a lot by fellow professionals and family alike asking me questions like:
- Do you ever sleep?
- Do you ever work?
- Are you obsessed with Facebook, Twitter, and LinkedIn
- Can you shut your Social Media Voice up for a week?
Typically, these comments come from people who also ask me to assess the value of Social Media and ask for business tips so I don't take the questions personally. It does bring up a great question though, how do you remain engaged in social media without being obsessed with it?
I have a full time job, I am finishing my Masters, have three active kids, and am on more projects than I can remember. Being a self-proclaimed nerd, I typically read at night as a way to decompress my mind and find new ideas. Personally, I use the PULSE app to aggregate all of the various blogs and news sources I like to follow so I can go to one place and scan for the things that jump out at me. What many people don't know is that I will often schedule my content two or three days out on my various networks, sharing what I've read or sparking a conversation. This takes all of three or four clicks and using a platform like HootSuite to manage all of my platforms (except Google +).
As for my blogging, I typically get inspired over the weekends to get my writing out, again, it's part of my weird relaxation method. Some people like to do yoga or run, but I like to get my thoughts out on my blog. Again, I typically will crank out three or four posts and just have them scheduled to be released throughout the week. This method helps me remain relevant and active without having my eyes glued to the screen throughout the week.
Also, there are times when it's good to take a break from work, a 5 minute siesta of sorts, to remain energized. I'll occasionally scan through my various feeds for items of worth and then get back to work. This helps me with a variety of work related issues:
- Fatigue
- Mental Block
- Shaking off a bad call
- Getting by mojo back
So if you're looking for a great way to remain engaged without being obsessed, check out platforms like Pulse or Hoot-suite that brings everything to you in one place. If you're thinking about blogging or engaging in conversation, this is the best route to take. Look up similar products until you find the product that fits your needs. Don't be overtaken by Social Media but don't be silent on it either. Both decisions result in death by Social Media.


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SOLD Louis Vuitton Damier Bond Street Satchel with Strap
Authentic Louis Vuitton Bond Street Handbag Damier Canvas and Leather
with Shoulder Strap is stylish and classic all in one! It is perfect for
your everyday use. The exterior is crafted in damier ebene coated
canvas with oxblood burgundy leather trim throughout. The handbag
features a sturdy leather top handle and gold-tone hardware accents. It
opens to a burgundy fabric-lined interior with zip and slip pockets
perfect for housing your daily essentials. The bag's detachable strap
allows it to be worn longer on the body for added versatility.
Authenticity code reads: TR5117.
Condition: Excellent. No signs of wear.
Accessories: Luggage tag, detachable strap, and dust bag.
Measurements: Handle Drop 3.5", Height 8.3", Width 11", Depth 4.7", Strap Drop 22"
Designer: Louis Vuitton
Model: Bond Street Handbag Damier Canvas with Leather
Further Details:
8.3 x 11 x 4.7 inches
- Damier Ebene and Taurillon leather
- Textile lining
- Smooth cowhide leather and Taurillon leather trim
- Shiny gold colored metallic pieces
- 1 top handle
- Front flap magnetic closure
- 1 removable strap
- 1 nametag
- 2 side press-studs
- 1 interior double smartphone pocket
- 1 Interior zipped pocket
- 4 bottom studs


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Canon Document Scanner DR-5060F -- Scanner and Filmer
Our agency is looking at this scanner for a possible replacement of
our current Bell + Howell 6338 scanner. We are using older
KF-4100-1702 boards and IBM Content Manager with WAF. We currently use
ImagePlus for our viewer and have release scripts that send the
document into WAF and stored to the AS/400. Our users are feeding the
documents one doc at a time, which means no batches. People here are
impressed with it since it does film and scanning at the same time. We
currently send our documents away to be filmed by an outside company,
costing the agency lots of money. This machine also has document
imprint functions that they may want to take advantage of.
Our vendor is trying to sell us one of these scanners along with the
Paper Path software. From what I can tell, Paper Path is an old peice
of software modified for use on 32 BIT Windows machine. I am more
partial to the Kofax Ascent Capture software that uses the latest
technologies to batch scan, imprent and more importantly, communicate
with the AS/400 and WAF. The only way that I can see we can use Paper
Path is to create a batch upload to the AS/400 from a server. This
would have to be done after hours and add more time to processing
documents. We would also not be able to use the imprint since there is
no communication to the AS/400. I am also concerned about volume on
this scanner. We run the Bell + Howell 6338 9 hours a day, sometimes 6
days a week. I don't know if the Canon can do that without breaking
I am trying to push our agency to use the Kofax product and the Bell
+ Howell 8000 Spectrum series scanner. We see the value in batch
scanning, but managment here doesn't since there are no other places
that handle the documents in this way. Our 6338 machines have been in
production for a long time and are still OK (they are getting up there
in age, however). For the Film writer, I am suggesting the Kodak 9000
series Archiver. We can archive the data after we do the QC process on
our batch, that means less waste for the film. I can replace 6 of our
6338 scanners with 2 8000 series in batch mode, makes more sense since
we can do more then 1 document at a time. Management here wants to buy
8 Canons and continue doing what they are doing now.
What do you guys think? Any experience with DR-5060F? Do you like my
Bell + Howell solusion better? I have not found much info about the
DR-5060F. Kofax does not support this scanner at this time. I wonder
why since this scanner has been out since 2001? The hardware may be OK
but the software is an issue and Kofax is the leader (and almost the
only one out there).
Detroit, MI
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WASHINGTON, DC – Today, the National Organization for Women (NOW), the largest organization of feminist grassroots activists in the United States, announced their endorsement of Mike Levin for the 49th District Congressional seat currently held by Republican Darrell Issa. Levin is one of only two 2018 Congressional candidates to receive NOW's endorsement to date, as well as the only endorsed candidate in California, demonstrating he is the strongest Democrat to defeat Issa next year.
"I am incredibly honored to be endorsed by such a preeminent organization as NOW," said Levin. "Their priorities are my priorities. I pledge to fight for economic equality by eliminating the pay gap, ensuring affordable child care, and ending violence against women. I always will be a champion for women's health and reproductive rights, because what is good for women is good for America."
NOW has hundreds of chapters and hundreds of thousands of members and activists in all 50 states and the District of Columbia. Since its founding in 1966, NOW's purpose is to take action through intersectional grassroots activism to promote feminist ideals, lead societal change, eliminate discrimination, and achieve and protect the equal rights of all women and girls in all aspects of social, political, and economic life.
NOW's actions have established the organization as a major force in the sweeping changes that put more women in political posts; increased educational, employment and business opportunities for women; and enacted tougher laws against violence, harassment and discrimination.
Levin was raised in South Orange County, where he attended public schools. He graduated from Stanford University, where he served as student body president, and Duke University School of Law. He was the Executive Director of the Democratic Party of Orange County and has worked since as an environmental attorney and clean energy advocate. For the last two decades, he has been involved in a variety of local, state and federal progressive political campaigns.
The New York Times recently called Issa "probably the nation's most vulnerable incumbent."


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Ontario Energy Board
Site: Oxford County - Mailing Address
Service: LEAP Emergency Financial Assistance
Add Record | Suggest Update | Print Version (New Window)
|Record #: OXF1104
|Last Modified: 08 Jun 2020
|Last Full Update: 08 Jun 2020
|Contact Information
|Office Phone
|Erie Thames Powerlines Corporation customers: 519-539-6166 * Tillsonburg Hydro Inc. customers: 519-842-4447
|Toll Free Phone
|Union Gas and Hydro One Networks Inc. customers: 1-855-487-5327
|Description and Service Details
|Description (Service)
|LEAP (Low Income Energy Assistance Program):
To assist families who are struggling to pay their electricity or natural gas bill throughout the year with one of the following providers Union Gas, Hydro One Networks Inc., Erie Thames Powerlines Corporation or Tillsonburg Hydro Inc.
This is a one-time financial assistance program of up to a maximum of $500.00 per year for residents who qualify as low income, meet program criteria and are facing the threat of disconnection of service.
|Hours vary by utility company and local community & family services organizations.
|Areas Served
|Oxford County
|Applicant must be an existing customer of the utility company * must reside at the address for which there are arrears * pre-tax household income at or below the Statistics Canada low-income cut-off (LICO) + 15%. Click here to view (LICO) Income Eligibility Chart.
|1-855-487-5327 Union Gas and Hydro One Networks Inc. customer(s)
519-539-6166 Erie Thames Powerlines Corporation customer(s)
519-842-4447 Tillsonburg Hydro Inc. customer(s)
Your application will be completed over the phone you will be informed of what supportive documents are required and where to have them signed. After processing you will be contacted regarding approval and amount payable.
|Agency Information
|Sponsored by Ontario Energy Board * funded by all utility ratepayers through the distribution rates of each utility
|Site Information
|Located In Community
|Oxford County
|Mailing Address
|c/o Ontario Energy Board
PO Box 2319
2300 Yonge St
Toronto, ON M4P 1E4
|Physical Access
|Not Applicable - Web based service
Still can't find a service? Call us.
Call 2-1-1, Toll Free: 1-866-686-0045


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I went for a walk today. I am sore all over, but it was good to go. I need to go more often.
Imagine the snow is just deep enough to swallow your feet whole. The ice on top is just hard enough that you have to push your way through on each step. There is impact when your feet hit the ground. It makes the knees ache.
Snow clomp. Stomp, stomp.
It hurts my knees.
It shakes my bones.
Snow clomp. Stomp, stomp.
My feet are cold.
I'm feeling old.
This was my hiking song today. I had to stop often to catch my breath. My heart was beating uncomfortably fast. I am out of shape. But it was worth it to listen to the wind blowing through the trees. It is a good sound.


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In these 5 interviews from SOCAP partner Conscious Company, impact CEOs reveal their biggest challenges, successes, and opportunities.
What's your story? That's the question Conscious Company has been asking social impact entrepreneurs since we interviewed Whole Foods Market CEO John Mackey in our first issue way back in January 2015. Eight issues and 18 months later, we're thrilled to have published dozens of interviews with CEOs of impact companies large and small, new and established, US-based and global. Each week on in our newsletter and six times a year in our print edition we feature practical tips for investors and entrepreneurs, on-the-ground perspectives from founders, visual business models, and more. Our growing ranks of supporters consistently tell us how much they appreciate our blend of clean design and accessible yet in-depth content.


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2018 Apr. 23 09:00 AM
2018 Apr. 27 17:00 PM
Hannover, Germany
GMIS Roadshow at Hannover Messe
Finding innovative solutions to achieve the SDGs: Role of 4IR technologies
A joint initiative launched by the United Nations Industrial Development Organization (UNIDO) and the Ministry of Economy of the United Arab Emirates, the Global Manufacturing and Industrialization Summit (GMIS) aims to promote a roadmap for future industrial development to echo the evolution in international trade and global best practices. A clear strategy and the establishment of the first global manufacturing agenda is certainly what GMIS is striving for.
The Summit identified five potential key industrial technologies which could most effectively direct the trajectory of the Fourth Industrial Revolution in terms of the economic, environmental and social objectives of development. These pathways include:
- ·The Industrial Internet of Things (IIoT);
- ·Artificial Intelligence (AI);
- ·Advanced robotics;
- ·Wearable technologies;
- ·3D printing.
The intended panel sessions will discuss the greater applicability of these advanced technologies as well as highlight, examine and suggest ways of collaboration between manufacturing firms, governments, academia, and non-governmental organizations to harness the potential of the Fourth Industrial Revolution (4IR).The purpose of the event is to reduce the uncertainty of nascent technological upheaval through promoting a global manufacturing strategy fully aligned with the UN Sustainable Development Goals (SDGs) and propel advanced manufacturing towards sustainable economic, environmental and social development.
See the Tentative Agenda here
See GMIS 2017 Outcomes Book here
For more information here


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Events for Sunday, February 17
Events Search and Views Navigation
4:00 pm
Noche Azul de Esperanza | Valentine's Weekend 2/2
Join us Saturday, February 16 and Sunday, February 17 for a special weekend of Noche Azul concerts! Come celebrate Valentine's Day with your loved ones at the Esperanza! Musicians accompanying Azul […]Find out more »


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03 May Four FEST Crowdfunding Campaigns You'll Want To Fund Right Now
The FEST scene owes a lot to crowdfunding. So many sustainable fashion brands have gone from idea to reality by getting their big start from sites like Kickstarter, Indiegogo, and GoFundMe. Wondering what the next big crowdfunded FEST brand could be? Check out these awesome startups and see whether you'd like to back their mission!
Ife Medow
A stylish fusion of African aesthetic and homegrown American flavor, Ife Medow brings an ethnic feel to luxury bags with ethically produced materials. Founder Toyin Ajayi attributes Ife Medow's look to her Nigerian-Ghanian descent, as well as the places and experiences that have shaped her personality. All Ife Medow bags also include RFID protection built in, and are made with sustainable materials such as cork leather, jute, salmon leather, and rPET felt made from recycled plastic.
Check out Ife Medow's Kickstarter here.
Alana Athletica
Championing women empowerment on all kinds of levels is Alana Athletica. These yoga pants not only use the best clothing technology to make sure your pants fit and feel great all on types of female bodies, but the company provides job opportunities for young victims of abuse in Sri Lanka. Through their product, Alana Athletica aims bring a sense of community to women all over the world, "from the designer who created every curve and cut, to the abuse-surviving seamstress who sewed every stitch."
If you'd like to support Alana Athletica, you can find them on Kickstarter.
Milo + Nicki
For that carefree 70's look without the guilt of fast fashion, check out Milo + Nicki – a company with Indian and Zambian roots determined to empower the world through their ethically produced product. Milo + Nicki takes care to make sure that all their partners support fair trade, ethical and sustainable fashion, and good working conditions for workers and staff. They believe in "designing clothes that last, and are made without compromising people or the planet."
Check out Milo + Nicki on Kickstarter here.
Artisan & Fox
Artisan & Fox is an online marketplace that connects the global market to unknown yet talented artisans from developing countries. Artisan & Fox began in Nepal, as artisans struggled to make ends meet after the effect of the 2015 earthquake. Today, the company has branched out to Kenya, Guatemala, Afghanistan, and Mexico, with 50% of all profit given directly to the artisans, while the other 50% goes to funding a new batch of artisans to make the marketplace sustainable.
While this campaign has been successfully funded, you can still can support Artisan & Fox on their Indiegogo page.
Images courtesy (from top) Ife Medow, Alana Athletica, Milo + Niki, Artisan & Fox


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From our friends at the Center for Latin American and Caribbean Studies (CLACS) at NYU:
CineCLACS Presents: La Guerra del Café – La Conexión Rosenberg
Friday, March 11
Presenter: Oscar Feito (Director), Greg Grandin (NYU)
CineCLACS presents a screening of the documentary La Guerra del Café – La Conexión Rosenberg, and discussion with the film's director Oscar Feito.
Synopsis: The 2009 murder of Guatemalan lawyer Rodrigo Rosenberg triggered a political crisis that threatened the country's democracy for months. Before his death, Rosenberg recorded a video predicting that the president would be responsible. The subsequent investigation uncovers a plot involving diplomatic and institutional powers, business interests, intelligence services, paramilitaries with links to the Cold War, and the local oligarchy that controls Guatemala politically and economically.
Location: KJCC, Auditorium, 53 Washington Square South, New York, NY, 10012
More info. and RSVP: http://clacs.as.nyu.edu/object/clacs.events.special.031116


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Correct Posture of child
While the child is growing and developing, we are happy to see them achieving their milestones; and in this we overlook how the child is doing it, what is the posture of child while he is sitting and playing with his toys
It is very important for us to see and understand the child's posture while he is playing because it can affect their development. We often find children sitting in W Sitting position when they play with their toys which is not the correct posture for them to sit and we should stop them to sit in that position as it is going to affect their overall development
What is W Sitting
W Sitting is when the child is sitting on the ground, his bottom, knees and feet are touching the ground with legs turned backward outside of knees resembling the letter 'W' resulting in weak trunk, poor posture and balance
Why do children sit in this posture
– While playing, children often tends to sit in W Sitting because they get more base of support so they require less muscle strength to achieve more stability.
– It adds to their trunk and hip stability to allow easy manipulation of toys.
– It adds to their security as they play without any worry of falling over.
What is wrong in W Sitting
– When the child is sitting in this posture, he requires less muscle strength thus resulting in trunk muscles weakness while playing in other sitting posture, child develops trunk control.
– It results in poor sitting posture due to muscle weakness.
– When the child is playing in W Sitting position, it doesn't permit him trunk rotation and lateral weight shift, thus affecting his midline crossing that is required while writing and table top activities and also affecting child's other fine motor skills and motor planning.
– Since the child lacks trunk rotation, it affects in development of dominance of child, When the child is playing in this position, if the toy is kept on the left side he would pick toy with left hand and if the toy is kept on the right side he would pick with right hand due to lack of trunk rotation hence affecting the development of his dominance.
– It makes it difficult for the child to shift his weight from one side of body to other thus affecting the child's balance and affecting his gross motor skills
– Excessive use of this posture can lead to early future orthopaedic conditions
Correct posture to sit
– Cross-legged position- make your child sit in cross-legged position with or without support
– Corner Sitting position- you can make your child sit cross-legged in corner where two walls meet to provide him back support with his back straight and make him do activities on small table kept in his front
– Long sit position- make your child sit with legs extended
– Side Sitting position- you can make your chid sit on either of the side as this position would permit the lateral shift of weight on both the sides of body
– Sitting on small bench with foot resting on floor and back resting straight on back of chair
– If the cause of W Sitting is weakness of trunk muscles, exercise for trunk strengthening should be done
– Always remind your child about the posture


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Krohn, R., Müller, S., Haase, K. (2020): Preventive healthcare facility location planning with quality-conscious clients. OR Spectrum, accepted for publication.
Korfmann, F., Müller, S., Ehlert, S., Haase, K. (2020): Students' perceptions, academic departments' image, and major-choice in business administration studies - The example of Hamburg Business School. Higher Education Quarterly, early view.
Haase, K., Kasper, M., Koch, M., Müller, S. (2019): A pilgrim scheduling approach to increase safety during the Hajj. Operations Research 67(2), 376-406.
Müller, S. (2016): Advanced spatial analytics and management: models methods and applications. Problems and Perspectives in Management 14(2), 67-73.
Müller, S., Haase, K. (2016): On the product portfolio planning problem with customer-engineering interaction. Operations Research Letters 44(3), 390-393.
Haase, K., Al Abideen, H., Al Bosta, S., Koch, M., Kasper, M. Müller, S., Helbing, D. (2016): Improving pilgrim safety during the Hajj: an analytical and operational research approach. Interfaces 46(1), 74-90.
Kassens-Noor, E., Wilson, M. Huntoon, L., Müller, S., Maharaj, B. (2015): Toward a mega-event legacy framework. Leisure Studies 34(6), 665-671.
Müller, S., Haase, K. (2015): Local revenue response to service quality: spatial effects in seasonal ticket revenue data. European Journal of Marketing 49(9/10), 1391 - 1416.
Haase, K., Müller, S. (2015): Insights in clients' choice in preventive health care facility location planning. OR Spectrum 37(1), 273-291.
Müller, S., Haase, K. (2014): Customer segmentation in retail facility location planning. Business Research 7(2), 235-261.
Haase, K., Müller, S. (2014): Upper and lower bounds for the sales force deployment problem with explicit contiguity constraints. European Journal of Operational Research 237(2), 677-689.
Haase, K., Müller, S. (2014): A comparison of linear reformulations for multinomial logit choice probabilities in facility location models. European Journal of Operational Research 232(3), 689–691.
Müller, S. Wilhelm, P., Haase, K. (2013): Spatial dependencies and spatial drift in public transport seasonal ticket revenue data. Journal of Retailing and Consumer Services 20(3), 334–348.
Müller, S., Rode, J. (2013): The adoption of photovoltaic systems in Wiesbaden, Germany. Economics of Innovation and New Technology 22(5), 519-535.
Haase, K., Müller, S. (2013): Management of school locations allowing for free school choice. Omega - The International Journal of Management Science 41(5), 847–855.
Müller, S. (2012): Identifying spatial nonstationarity in German regional firm start-up data. Review of Regional Research 32(2), 113-132.
Müller, S., Haase, K., Seidel, F. (2012): Exposing unobserved spatial similarity: Evidence from German school choice data. Geographical Analysis 44(1), 65-86.
Müller, S. (2011): Assessment of school closures in urban areas by simple accessibility measures. Erdkunde 65(4), 401-414.
Müller, S. (2010): Bildungsstandorte und demographischer Wandel. Standort 34(1), 6-10.
Müller, S., Haase, K., Kless, S. (2009): A multiperiod school location planning approach with free school choice. Environment and Planning A 41(12), 2929-2945.
Müller, S., Tscharaktschiew, S., Haase, K. (2008): Travel-to-school mode choice modelling and patterns of school choice in urban areas. Journal of Transport Geography 16(5), 342-357.
Müller, S. (2008): Dynamic School Network Planning in Urban Areas. Urban and Regional Planning Vol. 5. LIT - Münster.


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Your last ebook:
You dont read ebooks at this site.
Total ebooks on site: about 25000
You can read and download its for free!
Feller, Frank (1880 - 1910) - free ebooks for download and read online
There are ebooks for online reading and free download by Feller, Frank on this page. Also you can read a bio of Feller, Frank.
Frank Feller (fl. 1880-1910), a Swiss artist who settled in England and made a career as an illustrator and painter. His most famous painting was entitled The Last Eleven at Maiwand completed in 1882. It depicted a small handful of men from the 66th Regiment with their regimental mascot, 'Bobby' making a last stand as Afghan horseman approach. The original painting has disappeared[1] but is known from the print published by Henry Graves in April 1884....
If you want to know more about Feller, Frank Read more at Wikipedia.org
Ebooks of Feller, Frank (free download and read):


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A new partnership offer for Turkey's Altay Main Battle tank engine has come from British-based European division of U.S. company Caterpillar. The company has reportedly proposed a new generation CV12 type engine for Altay Main Battle tank.
The German MTU engine was used in the prototype production of the Altay tank. The use of the MTU engine was also planned for mass production. However, the plan for MTU engine was put on hold recently due to political spat between Turkish and German governments.
The Undersecretariat for Defense Industries (SSM) has reportedly initiated talks with the European Division of Caterpillar company very recently. The first contact between SSM and Caterpillar was held in Ankara and the second at the Defense and Security Equipment International (DSEI) fair in the U.K. It is stated that Caterpillar proposed a new generation "CV12" type engine for use in the Altay tank. Company authorities also noted that they regard the production of this engine in Turkey positively. The same engine is also used in the Challenger tanks produced for the British army.
Some 250 Altay tanks are foreseen to be produced for the Turkish Armed Forces (TSK) in the first package. A total of 1,000 tanks are to be manufactured in the long run.
Turkey and the U.K. are also collaborating on Turkey's national fighter jet project "TF-X," whose engine will be developed with technological support from the U.K.


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Chris Brown has caused controversy as he posts a video openly mocking Kanye West's fashion show...
Quite the controversial star, Chris Brown has managed to cause an uproar again- this time by posting a pretty bizarre video containing insulting comments aimed towards Kanye West's fashion show.
The 26-year-old performer took to Instagram yesterday to post a video showing still shots from Kanye's New York Fashion week show, Yeezy Season 2.
The shots are mocked up with the puppet style faces of Caitlyn Jenner, Jay-Z and Kanye and accompanied with a voice over that proceeds to imitate them.
Caitlyn, who is mocked up as one of the Yeezy models, begins the video. Cait is heard complaining about wearing some 'Hunger Games looking s**t'- of course, referring to Kanye's Yeezy collection. To be fair, Katniss Everdeen always looks pretty darn good…
The video then pans to a Kanye imitation, in which he is heard saying 'You're gonna kick back and watch this s**t like a movie, one Yeezy fit is like a thousand Gucci'.
The final still is a shot of Kanye's close friend and business partner Jay-Z, who says 'What kind of f***king outfit is this, can you please remind me, man this s**t weird'.
Chris, who captioned the video with several laughing crying emoji's, has since received A LOT of mixed attention on his post. Some find the post amusing, however others have urged the video to be taken down.
Chris' choice to post this video openly mocking Kanye is pretty brave considering his close friendship with the Jenner and Kardashian girls. This isn't the first time he has openly criticised the family, however. We don't know about you, but we sense a bit of a frenemy here…
On revelation of Caitlyn's infamous Vanity Fair cover, Chris shared a picture that offensively called Cait 'science project Bruce Jenner'. He later deleted the post.
Kylie Jenner called him out for his offensive remarks (the teen tweeted back 'Not very nice thing to say about your friends dad'), so we wonder what the Kardashian Klan will make of Chris' latest outburst?!
Oh, Mr Brown- don't you remember the 'If you have nothing nice to say' rule of thumb?!
Alice Perry


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When a chest tube is placed, it can be hard for the fluid to drain. Tissue plasminogen activator and DNase are given through the chest tube to help with draining the fluid. We are doing this research to see if early addition of tPA-DNase will help with better fluid draining.
The acute respiratory distress syndrome (ARDS) affects 150,000 people in the US. Because of these mechanical abnormalities of the lung, ARDS patients may require mechanical ventilation. Patients with ARDS that are on mechanical ventilation have a 50% mortality rate. The overall objectives of this study are to demonstrate whether a protocol for the early use of inhaled N-acetylcysteine improves patient care and hospital stay.


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Face reality: everyone needs to have insurance. The risks are just too great to take on for your most prized possessions - your automobile, your home, and your household. By going with State Farm® for your insurance wants, you will get the protection you need to have at a good rate. Talk to us about our investment products! For all of your insurance services, turn to State Farm®.
Talk to Your State Farm® Agent
Everyone has a unique financial position, which is deserving of the personalized services of a State Farm® agent. Our agents are equipped with an expert knowledge of all aspects of insurance services. In order to complete your unique financial situation, we offer insurance in all these ways:
- Car insurance
- Renters insurance
- Health insurance
- Boat insurance
- And more!
You can't beat the individual attention and around the clock customer service of State Farm®. Talk to us for all of your financial needs today.
insurance agency salt lake city is our specialty at State Farm® insurance. Speak with our agents to learn more about our services. Let's begin working with you today.


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Drinks & Cocktails With A Fruity Taste
To get a real fruity tasting drink you need to add - surprise! - FRUIT. Muddle the fruits to get out the most of it's taste. Common fruity drinks are the tropical beach drinks such as the Pina Colada or the very popular Sex on the Beach.