The LSAI-LESKAS System Explained

     The Lightning Scientific Arnis/ Lema Scientific Kali Arnis System is a system of Filipino Martial Arts (FMA) which brings together the concepts, techniques and strategies of 4 distinct “styles” of FMA from the Island of Panay, Philippines.  In this article, we hope to explain not just the concepts and characteristics of each individual style in itself, but how these come together in a harmonious system where each style fits with the others to form a formidable FMA system.

The LSAI/LESKAS System consists of the styles of Tercia, Serrada, Cadenilla and Espada y Daga:

1. TERCIA- the term “Tercia” is used to refer to 2 things.  First and foremost, it is used to refer to “one-thirds fighting range.”  This fighting range is a median between the close and medium ranges.  In this range, one is able to both utilize the length of a long weapon (espada) as well as that of a short one (daga).  Apart from the range, Tercia is likewise used to refer to a specific flicking movement which can be used both offensively and defensively in the short range (among other applications).  Students are first introduced to this movement when learning the set of short forms called “the Foundational Methods” which are none other than a series of strikes from which higher concepts and techniques are extracted.
2. SERRADA- Serrada represents the main combat strategy of the system. While Tercia alludes to the LSAI/LESKAS exponent’s “home fighting range”, Serrada refers to the basic principles used when engaging in this range. Serrada basically means “to close-off.” Mang Ben used to liken this concept to that of covering something with a blanket. The concept of Serrada is basically the nullifying of your opponent’s ability to respond either offensively of defensively through any of the following (or a combination of such): non-stop checking, jamming, and positioning. The mindset is that of limiting your opponent’s potential while you are maximizing your own. This is done by either closing in on the “outside” (blindside), moving from the inside to the outside, and staying on the outside. The aim of each LSAI/LESKAS fighter is to go to the outside.  From that position, one does not need to deal with both arms as the position alone already limits the opponent’s weapon to one side.  Thus, his potential is already cut in half.  From there, his potential is even further nullified through non-stop checking and striking to the point where the opponent cannot so much as raise his arms to defend himself.  A series of short shuffling steps keeps the LSAI/LESKAS exponent in the blind side, further cementing his position of dominance in the altercation.  Other forms of Serrada include tying up of both arms, a method known as “Serra-todo.”  Whether it’s tying up of both arms, or nullifying one through positioning, the basic aim is to “blanket” the opponent and render him helpless to do anything.
3. CADENILLA- Refers to “chained strikes” or the concept of striking, checking and defending in a fluid flurry WITHOUT PAUSE.  Here, one sees an LSAI/LESKAS exponent continuously delivering a series of barrages and converting this to defenses without missing a beat.  This is done in conjunction with the positioning and strategy of Serrada, in the range and with the techniques of Tercia.  Here, the opponent is never given time to react nor regain his composure.  He is constantly being pushed to the wall, constantly being pressured and off-balanced.  He tries to sneak in a strike, which is immediately met by a defense and continuous barrage of strikes.
4. ESPADA Y DAGA- Espada y Daga is the backbone upon which all the other concepts operate. It is based on the concurrent use of both a long and short weapon.   Espada y Daga dictates the need for TERCIA, SERRADA and CADENILLA since this format by itself requires one to move into and maintain effectiveness in the Tercia range.  The basic movements of interwoven strikes and defenses stem from the inter-locking movements of the Espada y Daga format.

     These are not the only characteristics which make LSAI/LESKAS distinct.  These concepts, techniques and strategies are ALWAYS applied with maximum power.  This power is generated through the use of body torque and twisting, as well as proper chambering and follow-through of strikes.  Flicking movements are actually frowned upon by LSAI/LESKAS exponents as these are viewed to “have less than ideal power.”  In the LSAI/LESKAS system, power is tantamount.  Thus, exponents tend to move in more erratic, non-rhythmic movements, concentrating on delivering quality power strikes, rather than just moving fast or fluidly.
     It is important to note that ALL these concepts come together in the movements of the LSAI/LESKAS exponent.  More often than not, a player will find himself applying more than one (if not all) of these concepts at the same time.  That in itself is the beauty and genius of the art.
     In a typical scenario, an LSAI/LESKAS exponent would block a strike and then close it off/ check it with his alive hand while delivering a counter (Tercia/Serrada).  All this is done, while he uses his footwork to move to the outside (if he finds himself in the inside) to limit the opponents ability to counter with the other arm. This is done while continuously delivering a barrage of devastating strikes with checking movements in between (Serrada/Cadenilla). If he is by any chance already on the outside, he solidifies his position by further moving to the blind side. Moving from the outside to the inside is not considered an option since this effectively weakens the already strategic position he has gained.
     Maintaining the Tercia range, the Tercia motion is used both in offensive and defensive situations in the rare case the opponent finds a gap between the strikes and checks (Tercia/Serrada/Cadenilla).  He continues to finish off the fight in that position, using the movements of classic Espada y Daga Tercia in his application of the Serrada & Cadenilla strategies in the Tercia range.  In effect, the opponent cannot counter nor use his secondary weapon (since the LSAI/LESKAS exponent is on the outside) much less see his opponent who is constantly moving to the blind side.  He cannot raise his arm in attack or defense as these are immediately met by either a strike or downward checking motion meant to pin his arm against his body.  All the while he is being bombarded by very powerful blows.  Trying to turn to at least face his opponent, he is pushed right back into his inferior position as the checks can easily be converted to pushes, taps, punches or pulls.
     Being a practitioner of this art myself, I cannot help but stand in awe at the sheer genius of the man who brought all these concepts together into one system. Indeed, the whole becomes greater than the sum of its parts. Brought together, the individual characteristics of each part, complements the others and magnifies the effectiveness of already effective systems and concepts.

Hats off to the late Mang Ben Lema and Maestro Elmer Ybanez. We sorely miss you both… may your legacies live forever!