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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.

Due to the combative nature of Kali and the fact that weapons are often employed and due to the vulnerability faced when dealing with one or more opponents, or of an attacker wielding a knife or such, Dumog does not primarily concentrate on sport style grappling, however a number of reversals and counter measures are taught.

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 Phillippines.

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.

Some Dumog Moves:

The Biceps Push

(Inside)

(Outside)

The Biceps Pull

(Inside)

(Outside)

The Head

(Right)

(Left)

(Push)

(Pull)

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.

Click here for more info on Dumog by Leo Gaje

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