IDO MOVEMENT FOR CULTURE

Problem. This paper explores a highly influential, but not widely practiced, system of Filipino Martial Arts, De Campo 123 Original, that has survived from the Juego Todo era of stick-fighting duels in the Philippines, but has been in danger of dying out, representing the loss of an intangible Filipino cultural heritage. The art can be recognised by its kinetic-aesthetic peculiarities, which are often misunderstood as simply affectations.
Method. A hermeneutic-phenomenological approach we call ‘kinaesthetic anthropology’ is adopted, that involves ‘thick participation’ [Samudra 2008], in which the cultural knowledge recorded in the practitioner-researcher’s body becomes the object of study. Specific attention is paid to exploring three kinetic-aesthetic peculiarities of the De Campo system. Insights are developed through immersive practice with a view to mastery, and considered in relation to the historical context and philosophies of the system’s founder.
Results. Exploration of the unique kinetic-aesthetic peculiarities of De Campo reveals that they are more than idiosyncratic affectations, and are instead techniques that consistently shave off time between strikes, allowing the practitioner to deliver more strikes in a shorter amount of time, consistent with the founder’s documented ‘fast draw’ philosophy, and the historical circumstances of the Juego Todo duels, in which the art was developed. Conclusion. We argue that ‘kinaesthetic anthropology’ involving a focus on kinetic-aesthetic embodiment facilitated by immersive practice with a view to mastery, not only allows for deeper insights than those which can be gained by dabbling or sitting on the sidelines, but also engages respectfully with the martial art systems and practices being investigated; and has the potential to document and contribute to the renewal and preservation of endangered martial arts systems, that often represent intangible cultural assets.