The Maestro

Sonny created Visayan Style Corto Kadena (VSCK) Larga Mano Eskrima in the late 1970s. It's characterized by fluid movements, timing, elusiveness and explosive power. The art is based on the blade, although -sticks, pangamot (empty hands), and sikaran (kicks) are also used.

Sonny was a reclusive man who taught small groups of students. Before passing in 2006 he used his living room as the training ground to devote sufficient attention to each student's progress. He occasionally taught seminars with Sifu Jesse Glover, the first student of Bruce Lee. Jesse referred to Sonny as “Bruce Lee with a stick” because of the speed and economy of his movement. Sonny taught seminars globally and cultivated teachers to spread Visayan Style Eskrima in Europe, Washington state, and California.

There are certain phases that track his research, which he synthesized into his own unique contribution to the art. Some of this progression can be seen in different generations of students, as he himself was always evolving.

Maestro Sonny gained global attention during his early practice format focused on doble kada (use of double sticks). His insights on leverage allowed Maestro Sonny, a slight man in stature, to hit with speed and power from any angle. While mastering this skill, Maestro Sonny developed fulcrum strikes unique to VSCK. One of his greatest contributions to Filipino Martial Arts (FMA) is the Centerline Roll, which incorporates Wing Chun's straight punch principle into a simple and unique method of double sticks. This methodology is what he referred to as “live” or random, meaning it does not rely on set patterns or left/right hand matchups to be effective.

Sonny worked during the late 1980s and early 1990s to define his sikaran, an FMA style of kicking and kneeing integrated with weaponry use. While his weapon and hand techniques draw strongly on Visayan styles, Sonny's footwork was heavily influenced by the Moros. VSCK uses low stances and cross steps to control range, angles, and to uncoil with spring loaded explosiveness. In conjunction with the weapon above low stance attacks aim to cripple by hitting lowline targets such as joints. When Maestro Sonny introduced the pendulum flow into his students' training, he strived to further develop attributes that would be the hallmark of the VSCK - movement, timing, range, and improvisation.

During the early 1990's until his final days Maestro Sonny focused his training and teachings heavily on the random flow of the blade, both sword and knife within the pendulum. He believed that sword and knife fighting should simulate unpredictable exchanges over choreographed set drills. The evasiveness of the VCSK bladework refined the larga mano part of his art, Maestro Sonny practiced working with the cane and then developed the bugsay (oar). Used to transition fluidly from long to short range attacks..

Today many of Maestro Sonny’s students continue to practice his art but only a few teach it. Sonny was very informal in his approach to teaching so there were no ranking systems nor official hierarchy in place. In fact, no one actually called him Maestro until he passed away. He encouraged all his students to teach what they knew as he believed that there was more to learn through teaching as it reinforced what they've learned.

*Partly sourced from contributers of the Sonny Umpad Wikipedia