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Dumog

The Art Of Moving A Body From Point A To Point B

Dumog is a general term used to describe the Filipino art of wrestling and grappling. There are two main forms of Dumog:

Agaw Patid Buno, is the more commonly known form of Dumog. It consists of standup grappling and wrestling, utilizing off-balancing techniques, throws, and neck turning to force an opponent to the ground. Traditionally opponents would engage by holding a belt or encircling each other's waist and attempt to throw and unbalance each other. Victory was declared when the opponent's shoulders squarely touched the ground.

Musang Dumog is a ground fighting art, utilizing locks, chokes and strikes to submit opponents on the ground. Both systems can be combined or learnt independently. The origins of both these styles is rather sketchy, however they are still relatively abundant in the northernmost islands of the Philippines.

The Filipino art of grappling includes a wide range of locks, known as trankadas, chokes, throws, trips, sweeps and pins which blend and flow naturally from the empty handed boxing and kicking methods, applied with or without a weapon.

Dumog is primarily concerned with felling an opponent in such a way as to cause maximum damage to joints, ligaments and tendons followed by a ferocious flurry of ground striking techniques designed to distract and disable an opponent prior to applying a pin, lock or choke. 

Technique, in this case, is an understanding of controlling points, or choke points. A choke point is a military term meaning "controlling area". For example, if five water tributaries feed into one major river, it follows that whoever controls the river, controls the tributaries. That makes the river the controlling point When you choke the river, you choke the tributaries.

These points, which are grabbed, pushed or pulled, are used to put the opponent off balance, causing the body to go out of control into a swirling, whirlwind effect. The student who has developed the skill to know where the choke points are can easily fling a 275-pound opponent around, despite a handicap that could approach 150 pounds. We have borrowed this terminology to illustrate the importance of control. Now, let's look at a few examples with which you can experiment.

The Biceps Push
With both hands, one opponent grabs the other by the biceps, twisting in toward the front of the body. Push the biceps directly into the ear and then walk or run forward. Because of the twisting of the body, the opponent receiving the push must walk diagonally, thus causing him to become extremely off balance. The bicep push is used to either move an opponent or, as in this instance, to pin him against an environmental obstacle (wall/fence). The adversary is now set up for a knee spike to the right thigh. Remember, as with the use of any technique, nothing is foolproof. Soon, the opponent will regain balance, and at that point the biceps pull can be implemented.

The Biceps Pull
The grip of the pull is identical to that of the push. The key to this technique is in the timing and sensitivity. You must sense, or anticipate, the moment when your opponent will plant his foot to regain the balance that was lost during the biceps push. At this point, the opponent's energy will shift and come toward you. You must respond-not by fighting his energy, but by pulling it. In effect, you are using your opponent's energy to your advantage
The biceps pull and biceps push are best used in cooperation with each other. Either one may start or finish a sequence, depending on the energy presented by the opponent.

The Head Twist
Another very simple technique used in Dumog is the head twist. Here, the opponent places both hands over the other opponent, ears (similar to the method used in grabbing the steering wheel of a car). Grabbing the opponent's hair instead of his ears is a technique that can also be used, With a quick jerk, twist the head sideways, step back and then tip the head upside-down, pulling it backwards. As the opponent regains balance, simply twist the head in the opposite direction and repeat the process.

The head twist can be a very effective technique because, with this motion, you are contorting the spinal cord and causing a disturbance to your opponent's equilibrium. In the sport of Dumog, proper technique and process calculation are critical to victory. When these same techniques are used in a realistic street fight, other elements must be incorporated to produce maximum devastation.

In most cases, "plain and simple" sophistication and precision in a down-and-dirty street fight is, to say the least, a joke. Street fighting is deceptive. It takes on many shapes, characteristics and conditions. For example, a street fight may take place in rain or snow; it may happen on a flat or hilly surface, or even on a stairway. Such a fight may easily involve multiple attackers or weapons.

Dumog Conditioning Techniques

Foot Padding (Kahig) 
The right foot/left foot is moved in circular motion slightly touching the ground clockwise and counter clockwise until balance is gained with one foot standing, repetition in several hours. 

Foot Drop (Posdak sang Tiil) 
The foot left/right is drop to the ground, to temper the foot and to condition the motion that during the collision, the feet must be planted deeply not to moved by the opponent. 

Hip Balance (Paninghawak) 
Hip balance is done by squatting position with both hands placed on both hips. The movement is to be in circular motion. 

Sturdy legs (Katin-katin) 
Down motion in slow motion from the squatting position and bringing the body in slow motion a repetition of 12 counts. 

Frog Jump (Liktin) 
Both feet are brought together and with a lifting motion then drop both feet in squatting position. 

It is always the principle in Dumog that in the event of encounter if it is a combat challenge the enemy must be completely paralyzed or incapacitated. There is a complete determination to win when challenged is called for by another Dumoguero. It follows into the cultural practices of the early forefather based on the Philosophy of Kali, "One must believe in life not death, One must believe in success not failure, One must believe in good health not sickness".

Since the Philippines was one of the major archipelagos of the Indonisus Continent that once belong to the Sri-Vijaya Empire and the Majapahit Empire, the presence of the technical elements related to the fighting arts were noticeable. For instance in Indonesia, one of the Silat styles is called Menang Kabaw. It is a half-way low fighting silat and ground fighting silat with the purpose of rushing towards the enemy by using the head and the whole body to smash the opponent pushing into the solid wall or foot of a tree until he collapse and falls to the ground. 

Dumog Techniques

The Dumog techniques are similar to Menang kabaw. As a matter of fact, the word Kabaw is an Ilonggo term, meaning Carabao or in short Kabaw. There are interrelated techniques in each art that speaks the continuity of the art with relationship to the Philippines, Indonesia, Malaysia, Thailand and Madagascar.  

Pangamut (Hands/Interlocking/Counterlocking)

Hubad-hubad Pasugat - Counter Release, Release and Recounter

Uyat sa Li-og (Neckhold) 
Neckhold can be done either by left had or right hand. This motion is executed when there is an opening by the opponent during the positioning either as a bait or actual opening entry. 

Uyat sa Abaga (Shoulder hold) 
Shoulder hold from neck hold, the hand slides to the shoulder area in preparation to insert the hand over the back and down to the armpit. 

Dungan/Kapot sa Li-og (Hold together) 
Both hands are placed over the neck area and both hands are brought to one shoulder for controlling the balance. 

Singa Sag-ang (Snapping the chin) 
Either the right hand or left hand holds the chin in rapid motion applied as a snapping motion in order to out-balance the opponent. 

Tulod sa Dug-han (Pushing the chest) 
Both hands slide down to the chest from the neck or shoulder area, then with sudden motion apply the rugged push to the chest with continuous dragging motion until the opponent is brought to the corner or section so that he cannot move. 

Uyat sa Butkon (Hold the forearm) 
To hold the forearm with right or left hand in preparation for arm leverage throw. 

Uyat sa Bati-is (Grabbing the lower leg) 
This is applied in case the opponent is off-time, the timing must be precise during the time of execution. This is the most difficult part during the Dumog. 

Dumog Terminology

Kamrus – to scratch the face, the skin
Gusnit – to pail off the skin, remove the hair
Puwakon – clawing the throat, removing the esophagus
Pungkoy – Vigorous blow to the back of the head
Hulbot – the pull the head or pull the hair 
Waslik – to pull and throw
Kumus – to smash the face area
Lukit – to thrust the finger into the eye socket and take the eyes out
Kagat – to bite the skin fingers, nose and ears
Guba – to elbow the chest area and break the sternum
Itlogan – to grab and squeeze the balls (groin)
Pungol – to hold the head, break the neck remove from the body

The word Dumog is most commonly used in Mindanao and the Visayas, while the word Buno is used in Luzon, specifically in the Southern Tagalog-speaking provinces as far south as Mindoro. Tribal groups such as the Ifugao, Samal, Igorot, Ibanag, Manobo, Dumagat, and Maranao are said to practice grappling arts known respectively as bultong, silaga, dama, garong, buteng, purgos, and kapulubod; while ethnic groups such as the Tagalog, Ilokano, Cebuano, Bicolano, Pampanga, and Pangasinan, are said to practice grappling arts known as gabbo, layung, lampugan, pantok, balsakan and dumog.

Dumog Tactics of Defense

1. The first principle is not to waste strength wrestling with an opponent. If he already has you at a disadvantage. Instead look for a way to strike that will cause pain and shock first and then find away to get out of his grip. Using your hands, forearms, knees/head and even your feet. In Kali practitioners seek to avoid getting caught in their opponent's locks by hitting (destructions) first to the extremities and continuing, to strike vital parts of the body. Working towards the head for control. The principle here is to defeat the grappler by damaging him so much he can't grapple. The hitting is used to soften and tranquilize him for escape and counter control.

2. The second principle is to get your balance and maintain it. If you can maneuver the attacker off balance, his advantage will be neutralized. In Panantukan/Dumog the principle of body manipulation is one of the basic requirements to develop. Using arm levels, pushing, pulling, and control of the head. Using Kali's triangle footwork to off balance and maneuver the attacker into throws, sweeps, and takedowns.

3. The third principle is to use your entire body weight in any movement or technique that you may attempt. Don't just use your arm strength alone. Put your hips, legs and upper body behind each movement fully. Finally remember that the attacker is always vulnerable somewhere. Even if he is behind you, or on top of you. If he is physically taller to bigger. He is still vulnerable, to the right attack to the right target be calm and assess the situation and you will find a solution being caught in a headlock or a choke can cause some panic. Particularly if you have practiced a couple of techniques that will work to free yourself from the attacker, it is also important to strike effectively before the pressure from the lock or hold causes extreme pain or unconsciousness.

Dumog Techniques As A Sport

Dumog techniques are considered as a natural sport and a natural ground combat fighting art. In most cases, if there are feuds between family against family, the first to be called to be the middle man to pacify the trouble is the Dumoguero because the presence of the Dumoguero scares everybody. Some will always say, “Don’t kid around, the Dumoguero, he will plaster you to the wall or the Dumoguero will plant your head into the ground”.

Dumoguero positioned their heads placed on each left shoulder. Both players put their two hands at the back. The players during contact can immediately used the Dumog technique to outbalance each other.

Action takes place when one of the Dumogueros moved his arms by touching the opponent’s neck, shoulder, arms and body. Then immediately the planned strategy is applied without hesitation. Then the action takes couple of minutes sometimes little longer, depends on the skill of the Dumoguero.

Dumog Hardening Techniques

The tempering process
The hands are tempered by slapping the banana trees and for hardening the hands are smashed by slapping into the bark of a tree. This bark of a tree is freshly cut with the juice still fresh became the useful medicinal liquid that will help to harden the hand. Selection of this tree is only known to the Dumoguero.

The hacking process
The forearm is hardened by tempering against the banana tree and accelerated to the branch of a tree. This branch is from a tree that is considered as one of the families of the medicinal tree. During the hardening, while the forearm is smashed against the branch, the juice of the bark is medicinal that helps to harden the forearm.

The elbow hardening
This is a special training which is done only on the beach. Immediately after the low tide, the Dumoguero goes into the shoreline and find a suitable place for him to practice. The sandy portion after the high tide is ideal for elbow training. The elbow is brought high above the head and with vigorous force, the elbow together with the body is trapped into the sandy portion and is being repeated by using the left and right elbow. During the dropping of the elbow to the sand it creates several bruises that causes pains caused by the salt water that enters into the cuts. This feeling of pain conditions the Dumoguero to take the pain and while doing so the mentality of the Dumoguero is to take the pain at the same time encourage him to hit more the sand believing that the pain will go away. After the vigorous training and the elbow is already bleeding, then a medicinal oil is applied to the cuts.

Hardening of the hand blade
The hand is thrust into the soft sand while the sea water is flowing into the area where the Hand Blade is thrust. The purpose is to penetrate the sand by using the thrust to go deeper and deeper. This is done in the middle of the day where the Sun is drying the sand to be very hot. The thrusting of the hand is continuous until the feeling of numbness is attained. At this point both hands are dipped into the medicinal herbal pot for several hours. After the numbness is removed then the hands are wrapped with thick clothes for keeping the flesh and the nerves safe against water or air that may cause bad effect into the hand blade.

10 control points on the body: (They correspond to joints)
Fingers
Toes
Wrists
Elbows
Shoulders
Hips
Knees
Ankles
Spine
Neck