Panantukan Dirty Boxing

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Panantukan also known as Suntukan, refers to the empty handed boxing skills of Filipino Kali and consists of a wide variety of punches, open hand techniques elbow strikes and nerve destruction techniques. There are a large number of training drills which, when performed with a training partner develop the reflexes and tactile sensitivity. These methods of training are known as Corto Kadena which mean, close range chaining. These drills help develop the concept of "flowing" from technique to technique in a fast continuous flurry of attacks which target vulnerable areas of the body such as, the eyes, throat, solar plexus, groin, bladder, kidneys and various nerve and pressure point areas.

Many of the empty handed flow drills also teach the concept of trapping which involves manipulating an opponents attacking arms in such a way as they become "tied-up" thus rendering effective defense almost impossible. Trapping is a highly sophisticated skill requiring a high level of training.

It is similar to western boxing, but does not have the typical rules in western boxing, that were introduced in the 1800s and are now known as the "Queensbury Rules"; in other words, Panantukan is like dirty street boxing. The techniques derive from Kali (Filipino blade fighting), and are all unarmed, and primarily consist of striking techniques, punches, head butts, low kick to the legs, groin punches, etc. Panantukan prefers parry-type blocks, as it is not known during the middle of a fight, whether or not the opponent has a bladed weapon or not. Thus, emphasis is put on minimizing contact from the opponent (in other words, one does not "eat" punches or absorb them the way a western boxer would. A typical Panantukan technique would be an elbow to the head, or a low-angle side kick to the side of an opponent's leg, near the knee (designed to bring the opponent down immediately and end the fight by rendering the opponent injured and unable to continue to fight). Panantukan is normally not taught alone; instead it is simply part of the curriculum of an Eskrima or Kali school. Some Eskrima schools neglect this aspect almost completely, while a few schools have been set up solely to teach it (these are very rare). It is safe to say that Panantukan could not be used in a western boxing match, as most of the techniques would be considered illegal in western boxing.

Technically, it is very similar to other forms of kickboxing, using what works (Bruce Lee integrated Panantukan into his interpretation of the martial arts - Jun Fan Gung Fu/Jeet Kune Do). Since it is not a sport - but rather, a street-oriented survival system, the techniques have not been adapted for safety or conformance to a set of rules. Moreover, since it is a part of Eskrima, techniques tend to emphasize extreme caution and allow for the possibility that the opponent has a weapon.

There are basically 3 versions of the history of Panantukan:

1. Panantukan is a historical method that goes way back in the Philippines. It is empty hand work based upon the use of a knife, and therefore emphasizes evasiveness and lots of movement. Around the turn of the century western boxers were exposed to Panantukan and picked up on its biomechanics. This is said to be responsible for the transition from the old bare-knuckle style of boxing to what we now consider "modern" boxing.

2. Panantukan existed in the Philippines in a general sense if not outright, and had a similar powerbase as western boxing because, was based upon knife-fighting and evasiveness. As western boxing became more and more popular throughout the world, Panantukan players recognized the similarities and began to incorporate western boxing into what they were doing.

3. What seems to be the most likely and the most plausible version is this: In more recent times, players that had learned both FMAs and western boxing came up with a general approach that combined both and came to be called Panantukan. I think one of the major contributors was likely Lucky Lucaylucay. He and his father were both competitive boxers in Hawaii. They of course also knew FMAs. Guro Dan Inosanto credits Lucky Lucaylucay with introducing Panantukan to his academy. I think it is likely that he was one of...if not the...key creator of the method. Again, as I stated before, its not a big stretch. Start with a thorough grounding in western boxing, and then start adding on principles and methods from Kali empty hands...limb destructions, zoning, body manipulations, knees, elbows, etc.....and you've got Panantukan.

Guro Ted Lucaylucay

Guro Ted LucayLucay

People claimed that Panantukan did not exist and was just a sham put forth by charlatans. The main reasoning was that you don't find it in the Philippines, and that the term "Panantukan" simply refers to western boxing. Regardless of its status in the Philippines, it is a part of the curriculum of several of the biggest FMA academies in the US, and has several different videos and a book produced that cover it. This makes it legitimate in the states.

It seems that Panantukan was just a natural evolution for FMAs in the west. For westerners with an actual background in boxing, or even with no background other than growing up in our culture and seeing it all their lives, Panantukan comes more naturally and is the ideal way to make their boxing more "martial." From the perspective of FMA instructors, Panantukan is an excellent way to attract and appeal to westerners who might not otherwise be interested in martial arts. I think that too often Panantukan gets lost in a curriculum that includes JKD, Thai Boxing, Silat, etc. Most only know of it from vague references when training. They might go through a series of motions and the instructor comments "this comes from Panantukan," and then they're off and doing a JKD drill. Panantukan deserves to be taught in an organized fashion in its own right, separately and independent from the rest.


Panantukan Curriculum

A. Boxing
1. Boxing strikes 1-8
1. jab- 2.cross- 3.L-H hook-4. R-L hook-5.L-L hook- 6.R overhead 7.L uppercut 8. R uppercut

B. Evasion Concepts
1. bobbing 2. weaving 3. ducking 4. slipping 5. distance

C. Footwork
1. step slide 2. slide step 3. step through 4. side stepping 5. circling 6. stationary to stationary 7. step to stationary 8. stationary to step 9. step to step 10. zoning 11. pivot to Rt.-Lt. 12. Triangle stepping male/female

D. Defensive concepts
1. catch 2. cover 3. chuffing 4. hooking 5. patting 6. elbow-in 7. wedge 8. cutting 9. intercepting 10. destructions 11. sweeps 12. throws

E. Four Door Defensive Concepts
You and your partner throwing punches back and forth, using 1-2/4-5 combinations
1. catch the jab and follow with a cross
2. Parry the cross and follow with a jab
3. Elbow-in block follow with a uppercut
4. Elbow-in block follow with a uppercut

F. Distance Defense
1. Parry hit 2. Position blocking hit 3. evasiveness hit 4. intercepting hit 5. R hand over hit 6. L hand under hit

G. Attacking Angles
1. direct 2. angular 3. immobilization 4. combination 5. drawing 6. indirect

H. Range
1. Kicking 2. punching 3. trapping 4. grappling 5. weapons
Filipino ranges: 1. Largo mano 2. Fraille 3. Tabon 4. Punyo

1. Developing fighting measure; or distance with opponent, follow opponents footwork. And stay within your range you fell comfortable.
2. Mirror Drill; as soon as your partner steps forward , you enter to attack something for kicking distance. This is a higher level of fighting strategy.
3. Sensitivity Drills; from the bridge or asking hand partner slaps inside forearm, apply circle backfist counter, partner slaps outside of forearm counter with a hinge backfist. with pulling hand trap.
4. Cue Drills; The development of Cue drills should give you a different way to react to a reposite or attack, each time. So you’re not just moving through the drill not thinking.
Example; De cadena, or first stage Huego y Retirada (hit and run) second stage
Abecedario (blocking first then hitting) the third stage Alto y Baho (hight and low hitting) with or without blocking.
5. Higot-Hubad-Lubad; Inside stop, outside passing, circling hand, the wave inside to outside, adding all the strikes with parries at different angles- place checks for punches for outside and inside with checking of the rear hand as well!
6. Four count Kali hands or (Tapi-Tapi); Outside and inside arm, adding finger jabs on each count. Adding destructions (guntings) Controlling (dumog) Immobilizations (Kuni or Trancada) Knees and elbows (Siko-Tuhod) Kicking (paa) or anything you want to free lance.

Free Form Panantukan
Lead hand concepts:
1. Lead hand Drill #1; Stance: both in a (right foot lead throughout all drills), Partner delivers straight Vertical punch, you counter with a lead hand back of the hand parry, and follow with a return vertical punch back. your partner does the same flow back. This is the basic flow for both partners. You can practice striking to the back of the hand as it comes out at you.
2. Lead hand Drill #2; Same vertical punch drill adding a left hand check of the forearm or elbow then return punch back
b. adding a punch and bend elbow return to the head or ribs
c. adding a punch, and knee to thigh
d. adding a punch, elbow and knee
3. Lead hand Drill #3; Same vertical punch drill, and change body angles using the triangle footwork.
4. Lead hand Drill #4; Same vertical punch drill and follow with a defensive side kick to the knee
5. Lead hand Drill #5; moving into the inside of the arm, working the same concepts on the inside of the arm
6. Lead hand Drill #6; Same vertical punch drill, but you counter the punch and grab the wrist, deliver left elbow destruction to triceps on the inside deliver an elbow strike to the bicep.
7. Lead hand Drill# 7; Same vertical punch drill, with push inward to elbow and move to double hand waist grab, attempt to lead leg sweep. Partners counters rear belt grab and sprawl backward to position.
8. Lead hand Drill #8; Put all the drills together and work on counter for counters

The Panantukan Jabbing Drills
Drill #1 (basic drill)
You and your partner are facing each other the a left lead fighting stance. You will begin the drill be taking turns throwing jabs it each other. Begin by using a rear hand palm catch of the jab. Using a three count beat (1-2-3)
Drill #2 (footwork)
Begin moving around in a circle with this same (1-3) movement, then reverse the direction and go the other way with it. Begin to using a cross pattern step forward, step backward, step to right side, step to left side, Then begin on your triangle footwork, changing leads from left jab, to right jab. This is a very good way to get warmed-up for training.
Drill #3 (uppercut/hook)
With the same drill we will be adding an uppercut to the arm or deliver a hooking type blow to the bicep, Example: so you jab, your partner jabs, you jab and your partner hooks or uppercuts your arm. Then you begin the drill over your partner jabs, you jab, your partner jabs, and you hook or uppercut the arm.
Drill #4 (cross)
Next add a high right cross, Example: your partner jabs, you jab, your partner jabs, you follow the jab with a right cross.
Drill #5 (split block)
Next apply a split block, and jab to the body a (split block) is a outside parry the jab and jab inside of the attacking hand.
Drill #6 (low cross)
Next add a low cross to the body, then back the the drill
Drill #7 (combination)
Next add a rear hand uppercut, hook, cross
This are just some of the drills within the Filipino art the Panantukan

Kali Gunting Concepts
Destructions (guntings) to the arms:
1. Inside Gunting
2. Outside Gunting
3. Horizontal Gunting
4. Vertical Gunting
5. Fist to elbow gunting

The Inside gunting is delivered with either a backfist of hammerfist to the bicep area, or any strike with the hand to the inside of the arm as it is thrown at you.
The Outside gunting is delivered with the outer forearm bone or elbow, and using the same techniques as the inside gunting.
The Horizontal gunting is delivered at the arm as it is thrown at you, you use a scissors type of movement and strike the hand with the door knuckers, hammerfist, first two knuckles.
The Vertical gunting is delivered with an upward motion to the tricep with the first two knuckles of the fist.
The fist to elbow gunting is delivered by you guiding the punch into the bent elbow of your arm, it can be vertically or horizontally delivered.

The follow ups for the guntings are many but I will list a few;

1. Eye jabs with the left or right hand
2. Backfist
3. Elbows
4. Knees
5. Low line kicking
6. Sweeping
7. Throwing



  Western Boxing vs Filipino Boxing,
two similar but distinct arts?

The largest obstacle facing Filipino martial artists - is the lack of written documentation regarding the technical evolvement of their art. The earliest surviving - instructional manual on the art is Placido Yambao's - Mga Karunungan sa Laring Arnis (1957). However, this is a book focusing on classical espada y daga as opposed to empty hands. A copy of Don Baltazar Gonzales' book De los Delitos (1800) remains to be found, according to the late Manong Eulogio "Yoling" Canete - this book made references to Pangamut (empty hands). According to Manong Abner Pasa the only copy which Yoling had seen - was destroyed during the second world war. As a result, we must rely on oral tradition...which some critics regard as unreliable.

In contrast, about 20 instructional western boxing manuals were published before 1850. Since 1850, over 200 instructional manuals are known. This allows us to trace the early evolution of the art through literature. Some years back, I spent a considerable amount of time - reading most of these manuals - at the British Museum Library. The following are my thoughts on the evolution of Western Boxing.

Early boxing (1740 - 1780) was somewhat crude and highly individual. Footwork was meager, the only individual to have used it to any great extent during this period - was Ned Hunt - a pupil of Broughton (the father of modern boxing). Broughton was extremely proficient at body punching - and the solar plexus, was often referred to as Broughton's "mark". During this period, chops with the hammer-fist and swings were widely used. Defense was essentially guarding with the forearm. The forearms were used to deflect straight punches and to block swings and chops. Counter attacks called "returns" were made after the initial attack was complete. Straight punches using a modified fencing lunge - so as to throw the body's weight into the punch - were known from the earliest period. The stance was the same as that of English singlestick play - which many boxers of this period cross-trained in.

In the 1780's, the great pugilist Daniel Mendoza did much to evolve boxing footwork; retreating and side-stepping gradually began to lose their overtones of cowardice. "Gentleman" John Jackson perfected the straight left lead in 1790 and used it with authority. During the same period Ben Brain fathered the straight right, and Dutch Sam introduced the uppercut in 1800. The hook was hardly used - because it is a short range blow - the hook would more easily expose its user to a close and throw. Throws played a great part in the fights of this era, cross-buttocks (high hip throws), and a variety of trips - such as the back heel were common. Fighters often "accidentally" fell on their opponent - so as to maximize the impact of the throw. "Fibbing" later called "head in chancery" (holding the opponent's head with one hand whilst hitting it with the other) was widely practiced. Defensive hitting (the ability to hit effectively whist retreating) was known during this period, but was called "milling on the retreat". It was developed by Tom Cribb in 1810.

Sometime, during the 1840's the on-guard position changed. Perhaps the decrease in boxers cross-training with weaponry (principally singlestick) influenced this development. The hands were lowered (note: not always to their detriment), the left pointing forward and the right held across the mark. The stance was more upright, sometimes effaced and sometimes with the shoulders square. The lower guard led to the development of "head movement" -slipping, ducking and swaying back. It also contributed to the development of "drawing". Counters (counter-attacks delivered simultaneously with the attack) were also developed during the mid 1800's.

It is interesting to note, that under Broughton's Rules (1743), and the Rules of the London Prize Ring (1838, 1853), few blows were barred, wrestling was allowed, and the fight continued until one man or the other could no longer rise ("toe the scratch") or be dragged to his feet at the end of thirty seconds. The Marquis of Queensberry Rules (1867) introduced the wearing of gloves for fights (although they were known as "mufflers" and were worn for sparring since Broughton's time). The Queensberry Rules also introduced the 3 minute round, and the 10 second knockout. This further changed the shape of boxing. In some cases, it increased the severity of professional fights - for gloves protect a fighter's hands more than his opponent's face.

Swings became popular again, because protection of the gloves helped reduce the risk of damage to the hands - when delivering these punches. James J Corbett was credited with developing the short or "shovel" hook in 1889. In the same year George La Blanche - knocked out the original Jack Dempsey - with the "pivot punch" - a move taught to him by the english lightweight - Jimmy Carroll. The "corkscrew blow" - which involved rotation of the fist from palm up to palm down - was popularized during the 1890's by Kid McCoy (although it was taught to him by the great trainer - Jimmy DeForest). The Queensberry rules banned wrestling - as a result the natural crouch gained in popularity, and was used effectively by such fighters as Frank Slavin and Jim Jeffries.

During the early 1900's, Jack Johnson (perhaps the greatest defensive boxer in the history of the game) - perfected the "catch" - a defensive maneuver whereby you literally catch the opponent's punch - in the palm of your glove. "Infighting" was also developed considerably during the early 1900's. The bob and weave was used more often - to gain the inside position. Concepts such as "shifting" with the opponent's punches and different types of clinching were developed.

Western Boxing came to the Philippines (via US servicemen) in the late nineteenth and early twentieth centuries. As can be seen from the above, it was already a highly evolved art. Manong Dan Inosanto has mentioned that "when the Americans saw the Filipino's box (early 1900's) - they noticed a high on-guard position, unusually quick punching and lots of footwork...unknown to them - this was as a result of previous training with knife".

In my archives, I have a boxing article called "the Father of Philippine Boxing". (1927). the article is about Eddie Tait, one of the first boxing promoters in the Philippines. However, it contains some interesting observations - such as "...there has been a gradual discarding of the deadly knife without which the average Filipino once thought himself hardly dressed."

It should be noted - that not many discarded the knife. Even today, the Philippines has a blade culture.

I believe it is the influence of the knife, which makes Panantukan (aka Pangamut) unique.

I trained extensively with Manong Estaneslao "Tanny" del Campo. Tanny was one of the best boxers to come out of the Philippines. He fought for the world bantamweight title in the 50's, and fought two - very close fights against Gabriel "Flash" Elorde. Tanny told me the Filipino method of boxing differs from western boxing in the following ways.

"It is essentially a bare-fist art. It makes use of punches to the groin, elbows to the body and face, arm wrenching, head butting, and "turning" or "spinning" the opponent so as to disorientate him. The parry is favored - against the block, because your opponent may be attacking with a concealed weapon in the fist. In short it is designed for the street. If you want to box in the ring, you must learn western boxing, if you use Pangamut in the ring - you will surely get disqualified".

My belief is that any western boxer can - benefit from cross-training in the Filipino method. From a self defense perspective - it will give him many more options. From a ring perspective, some of the following training methods will help enhances his boxing.

Try using a training knife in conjunction with the focus pad, as a "coaching tool" - to improve punching, and body evasion.

For example, let's take the jab. Hold a focus pad - in your right hand, and knife in your left hand. If the puncher drops the arm upon retraction, hold the knife at chest level. This will give him feedback. If the punching arm is slow to retract - after hitting the pad, cut it with the knife. If the puncher has a tendency to lean "over" the central-axis when punching with the right cross, put the knife in front of the sternum - this will make him rotate his torso "around" the central-axis. If you want to increase speed of footwork, get the puncher to move into range with the jab and stab the lead leg, so that he moves rapidly out of range - after jabbing.

To conclude, the Filipino's must have embraced western boxing, and then applied their knowledge of the knife to create a similar - yet distinct art. Unfortunately, there are no old surviving books on the subject (although Guro Rick Faye's recent book - is an excellent effort). Old teachers are rarer yet. Most have passed away. I was fortunate to find two in the Philippines (Manong Tanny Campo and Manong Dicoy Veraye); this was after a decade of research - most of which was off the beaten track.

The US - is fortunate to have Manong Dan Inosanto, who's Panantukan is highly evolved and unique.
These teachers - continue to keep this wonderful art alive.

By Krishna Godhania

Panantukan Fighting Tactics
1. Cutting and jamming; used against an opponents attack you will use hands, elbows, forearms, to jam at the root of the punch or kick. Being the shoulders and hips or knees. Useful as set ups for takedowns for entries to leverage throws and sweeps.
2. Wedge traps; used against roundhouse blows, uppercuts or type kicks.
3. Scooping traps; snake move to circle block, and trap the limb. Snake meaning to circle around the limb, be it a punch or kick.
4. Elbow and knee traps; primarily used for roundhouse blows, and many times used with wedge traps.
5. Forearm and body traps; across chest, across midsection to hold or trap the limb like a vise or scissors.
6. Throwing; use angle, leverage, base, grab appendages hands, arms, head etc.
7. Angles; using horizontal, vertical, diagonal, angles will determine direction of throw, steps-using four stepping drill for your base. Step to outside of foot, on foot, inside foot, in front of foot. Use natural sweeping motions.
8. After limb is grabbed; use dropping, trapping, tripping, sweeping, flipping, lifting, scooping, throwing, stretching, striking, or any combination.
9. Size and style; a larger opponent is easier to control a smaller opponent. A smaller exponent needs to evade their larger opponent, using flowing skills to evade, to takedown. Takedowns must have a sense of calmness and awareness. If you can flinch you can block and react to an attack. Perception of your opponent’s moves will give you the timing and training will give you the counters. Filipino Arts requires this.
10. Perception; see opponent's actions extrapolate or evaluate your plan your attack by the angle of attack.
11. Follow ups; Strikes, throws or controlling techniques with footwork, hand placement, contact points. New knowledge perceived of angles, using base and leverage to counter your opponent.
12. Analyze opponent’s force and make a choice:
a. Control his momentum
b. Grab his arm or leg
c. Jam and counter strike

All of these concepts and principles are working for you if you train in them, it's not the techniques but how you apply the principles and concepts that make them work. You should develop a free flowing non-thinking mind. When you see the attack you just move like a shadow and counter.

Drilling is the key to developing any reaction, The more a skill is repeated the more firmly established it becomes. Proficiency is dependent upon repetition. There are many Panantukan drills here to learn and develop, use these principles and concepts and develop yourself.

Panantukan Jab-Cross Series #1
Feeder jabs, you parry with your right hand, feeder crosses you:
1. Parry inside gunting left elbow to sternum, eye wipe, throat jab, shove cross, hook, cross
2. Parry inside gunting right elbow to sternum, hack neck, cross, uppercut, cross
3. Parry inside with left hand shove, cross, hook, cross
4. Parry inside gunting to hack neck with right hand, cross, uppercut, cross
5. Parry outside gunting swing arm to shove, cross, hook, cross
6. Parry outside gunting to swing arm to hack neck with right hand, uppercut, cross, hook
7. Parry outside gunting to left elbow to shove, cross, hook, cross
8. Parry outside gunting to right elbow to hack neck, uppercut, cross, uppercut

Panantukan Jab-Cross Series #2
1. Parry-Scissors gunting, to backfist, they block, you lop sao and backfist to the arm uppercut to chin follow with cross-hook-cross
2. Parry-Scissor gunting, they block you lop sao backfist to the arm move hand under chin to raise and push back to cross.
3. Parry-Scissor gunting, they block, you lop sao, and uppercut, grab inside of arm and hook with the other hand
4. Parry-Scissors gunting they block you lop sao and uppercut to arm tuck behind neck, to double hand hold to knee to face.

a. one hand hold

b. close leg

c. far leg with silo sitting position
5. Parry Scissors gunting, they block, you lop sao, uppercut, to tuck behind head, spin to standing branch up position. a. take them to the ground
6. Parry to Split entry to backwards trip
7. Parry-Split entry to pull arm in to back entry pull down to knee on face
8. Waslik to backfist
9. Vertical gunting, upward, horizontal
10. Vertical gunting to uppercut
11. Scissors gunting to hammerfist
12. Hoblibut to backfist to bicep, waslik to hook bicep, uppercut to tricep, elbow
13. Chop/trap to wrist to elbow to bicep
14. Low punch to body parry to backfist to bicep
15. Vertical elbow Rt.-Lt. hands to fist
16. Vertical elbow with eye jab
17. Horizontal elbow to fist
18. Horizontal elbow to fist with eye jab
19. Knuckle to Knuckle
20. Knee to fist, a. knee to fist with kick
21. Taguyo- Sway back
22. Spit entry- raise punch straight upward to chin, a raking punch
23. Spit entry- shoulder in arm pit
24. Spit entry- uppercut, grab arm and hook deltoid, upward elbow inside
25. Spit entry, cut the chicken, a. hook inside b. hook outside
26. Inside gunting, backfist, uppercut, hook, hammer
27. Split entry with under hook arm pull and hit
28. Split entry with over hook arm, pull and hit