Panantukan – Dirty Boxing

  • Syracuse, Guro Chris, Chris Thompson, FMA Academy
    Teaching the bicep destruction - an aspect of dirty boxing

Panantukan – also known as ‘Dirty Boxing” is the empty handed boxing/component of Filipino Martial Arts.  This is a street oriented fighting system.  Many of the techniques and movements are derived from Kali/Escrima/Arnis.

Panantukan is a close-combat fighting system and is also known as “street boxing” or “dirty boxing” since there is no fixed set of rules. It is a fighting system which is aimed at maximum efficiency. In contrast to “normal” competitive boxing and kickboxing, street boxing uses the whole body as a weapon.

Panantukan has a particular style of groundwork which consists of breaking the opponent’s balance (body manipulation), takedowns, bars, and controlling techniques on the ground. The constant changes in the angle and level of the attack are another technical aspect of Panantukan. It is especially attractive due to its comprehensive training concepts, efficiency, speed, dynamics, timing, precision, and its typical flow of action. The training curriculum contains techniques, drills, combinations, kicks, take downs, and locks.


The Areas of Panantukan:

Punches/Strikes:

Syracuse, Guro Chris, Chris Thompson, FMA Academy

Continuing development of individual skills

Basic boxing techniques/combinations that also includes punches, finger jabs/thumb rakes, slaps, elbows, head-butts, shoulder strikes, groin strikes, elbows, back fists, and hammer fist strikes.

Students learn to target high sensitive targets such at eyes, ears, groin, etc, to learn to end a situation quickly and decisively.

 

 

Kicking Techniques:
Kicks are focused on the lowline targets and the body.  Various kicks include front kicks, side kickrising kick, lead round, rear round, Sipa (instep), stomp, back kick/spinning back kick, and knees.

All Sectors/All Methods – Angles and Switching Leads:

Practitioners of Panantukan often use the angles outlined in Kali to evade and parry incoming strikes and to attack the opponent from an outside angle where they are less able to defend against your strikes.  Practitioners are taught to fight from both leads so that they can constantly switch leads to exploit different angles of attack and to maintain flow.

Defenses/Counters:
Panantukan often employs covers and counters to help defend against incoming blows.  This is done to both protect the practitioner and throw off the opponent’s timing through various techniques.

Ground:
Although Panantukan is considered a striking art, it does encompass the fact that situations end of on the ground.  The practitioner learns the basics of the ‘ground game’ of grappling which includes joint locks, chokes, and submissions.

Throws:
Panantukan employs the use of various locks, shoulder throws, arm drags, sweeps, compression techniques, and body manipulations to help of set or throw their opponent.

Limb Destruction:
Panantukan focuses on countering an opponent’s strike with a technique that will nullify further attacks by hitting certain nerve points, bones, and muscle tissue to cause immediate and temporary numbness of the attacking limb.

Body Manipulation:
Panantukan uses arm wrenching, shoving, shoulder ramming, and other off-balancing techniques in conjunction with punches and kicks to push, twist, and turn the opponent’s body with the goal of exposing a more vulnerable area.

Speed, Flow, and Rhythm:
Panantukan emphasizes speed in striking with the intent of overwhelming the adversary with a flurry of attacks.  Practitioners will rarely perform just a single combination set.
Another foundation concept of Panantukan is flow.  Flow is taught through hubud drills which are used to develop sensitivity so that the practitioner can feel where their opponent is through anytime that their is physical contact.  One learns to literally flow around their opponent’s attacks.  (Similar to Jeet Kune Do and Wing Chun’s trapping hands.)
Panantukan also pays close attention to the timing and rhythm.  The rhythm can be broken or changed in order to throw an opponent’s timing off.  The goal is to ‘steal the beats’ or interrupt the rhythm.  Many of the counters are performed on the ‘half-beats’ or in between the major strikes of a combination.  This helps to disorient and overwhelm an opponent.