Eye Square Martial Arts

Cultural Preservation… with Bruises (sometimes).

Category: Martial Arts Education

  • Bonus: Where It All Began – Regional Roots of Filipino Martial Arts

    Bonus: Where It All Began – Regional Roots of Filipino Martial Arts

    Filipino Martial Arts aren’t a single unified system—they’re a constellation of styles, strategies, and traditions, shaped by the geography, culture, and history of the islands they come from. Each region brought something to the table, and understanding those roots helps us appreciate just how diverse and adaptable FMA really is.

    Luzon – Arnis and Blade Discipline

    In the northern islands, especially in central and northern Luzon, the term Arnis de Mano became dominant. While there are stick systems, blade work has always been a big deal here—particularly with bolos, talibongs, and other agricultural tools-turned-weapons. Systems here often emphasize:

    • Flow drills (Anyo or Sayaw)
    • Blade-first mentality
    • Integration with cultural dances and traditions
    • Strong Spanish-era fencing influence

    Notable provinces: Pangasinan, Ilocos, Nueva Ecija, and parts of Central Luzon.

    Visayas – Eskrima and Impact Power

    The Visayas are the heartland of Eskrima (or Esgrima, derived from Spanish fencing). In Cebu, Negros, Iloilo, and nearby islands, you’ll find some of the most systematized and well-known FMA styles. Eskrima in this region is known for:

    • Close-range stick fighting
    • Fast, aggressive striking
    • Conceptual flow (defanging the snake, zoning)
    • Family-based systems passed down generation to generation

    Notable systems: Balintawak, Doce Pares, Cacoy Doce Pares, and others that trace their roots to Cebu.

    Mindanao – Kali and Tribal Warrior Influence

    While the term Kali is debated and varies by usage, it’s often associated with Mindanao and the southern Philippines. These regions have long histories of resistance and warrior traditions among the Moro people and indigenous tribes. Kali here carries:

    • Blade-centric training (kris, kampilan, barong)
    • Influence from Islamic and tribal warrior culture
    • Integrated weapons systems (sword, shield, spear)
    • Tactics suited for actual tribal warfare and skirmish combat

    Notable areas: Sulu, Cotabato, Lanao del Sur, Zamboanga, Maguindanao

    Tagalog and Bicol Regions – Hybrids and Hidden Arts

    In the southern Luzon regions (Tagalog belt and Bicol), FMA systems often flew under the radar. These arts were passed down through families, embedded in ritual and custom. They may not have always had formal names, but they were battle-tested and efficient.

    • Bolos and machete work
    • Stick and knife integration
    • Farm tool adaptability
    • Often blended with local dance or religious festivities for concealment

    Why Regional Origins Matter

    Knowing where an art comes from helps you understand why it looks the way it does. Terrain, local weapons, colonial contact, and even climate shaped how people fought. A system from the highlands of Luzon looks different than one from the flatlands of Cebu—or the jungle regions of Mindanao.

    The magic of FMA is that it all works together. Each system reflects its environment, but the principles—movement, timing, adaptability—are universal.

    So whether you call it Arnis, Eskrima, Kali, or something else entirely, know this: you’re tapping into centuries of innovation, rooted in the land, the people, and the fight to survive.

  • The Filipino Martial Arts Bookshelf: An Annotated Reading List

    The Filipino Martial Arts Bookshelf: An Annotated Reading List

    If you’ve ever been cracked on the knuckles during a sinawali drill and thought, “There’s gotta be a story behind all this,” you’re absolutely right.

    Filipino Martial Arts—Arnis, Eskrima, Kali—are more than just sticks and strikes. They’re deeply rooted in the history, culture, and resistance of the Philippine islands. Whether you’re new to the arts or have been swinging a baston for years, understanding where it all comes from adds depth to every movement.

    Here’s a handpicked, annotated list of books and films to deepen your knowledge of FMA and the cultural forces that shaped it.

    🗡️ Historical and Cultural Foundations

    1. Barangay: Sixteenth-Century Philippine Culture and Society – William Henry Scott
    A must-read for precolonial Filipino life. It covers warfare, social classes, and how early communities functioned. Great for understanding the roots of indigenous martial traditions.

    2. Looking for the Prehispanic Filipino – William Henry Scott
    Debunks colonial myths and gives voice to what pre-Spanish Filipino life may have really looked like. Think of it as the historical groundwork beneath your footwork.

    3. An Anarchy of Families – Edited by Alfred W. McCoy
    Less about martial arts directly, but packed with insight on how power, violence, and family dynasties shaped Filipino society. It gives context to how martial skills were preserved and used.

    🏋️️ Martial Arts-Specific Studies

    4. The Filipino Martial Arts – Dan Inosanto
    The book that opened Western eyes to FMA. A solid intro with history, technique, and personal stories. If you train, you should own this.

    5. Filipino Martial Culture – Mark V. Wiley
    Part cultural anthropology, part martial arts tour. Interviews, system overviews, and an honest look at how the arts have evolved.

    6. The History of Filipino Martial Arts – Felipe P. Jocano Jr.
    An academic and practitioner’s view. This one digs into the historical transitions FMA went through—from tribal warfare to colonial resistance.

    🌍 FMA in the Modern World

    7. Kali’s Odyssey – Christopher Ricketts (interviews)
    A look at how FMA traveled with the Filipino diaspora, especially into the U.S. You’ll get a feel for how the art continues to evolve abroad.

    8. RA 9850 (2009): The Arnis Law
    Not a book, but an official recognition by the Philippine government naming Arnis the national martial art and sport. A big deal for preservation and legitimacy.

    🎥 Documentaries and Oral Histories

    9. Eskrimadors (2010, Dir. Kerwin Go)
    A well-produced doc on Cebu-based masters and their systems. Solid footage and interviews. If you want to see FMA in action, start here.

    10. The Bladed Hand (2012, Dir. Jay Ignacio)
    Explores the global reach of FMA with interviews from masters around the world. Shows how the art thrives far beyond the islands.

    Final Thoughts

    You can swing a stick without knowing the history. But once you do know the history? Every strike hits different.

    Whether you’re building your bookshelf or your footwork, these resources will help you connect the dots between the blade, the hand, and the culture that shaped them both.

  • Part 6: Preservation and Progress – The Future of Filipino Martial Arts

    Part 6: Preservation and Progress – The Future of Filipino Martial Arts

    Today, Filipino Martial Arts stand at a crossroads. They’ve survived colonization, revolution, war, and globalization. They’ve been featured in movies, adapted for law enforcement, and spread to every corner of the world. And now, with a growing generation of modern practitioners, FMA faces two big questions: how do we preserve what matters, and how do we keep evolving?

    The National Sport (Sort Of)

    In 2009, Arnis was officially declared the national martial art and sport of the Philippines (RA 9850). This was a big win for visibility—but it also came with a twist. Sport Arnis is often different from traditional or combative FMA. With padded sticks, headgear, and point systems, it focuses on speed and scoring rather than real-world application.

    That’s not a bad thing—it gets kids involved, builds pride, and creates structured exposure. But the challenge is keeping the deeper knowledge alive: the blade work, the body mechanics, the cultural roots.

    The Preservationists

    Some schools, families, and organizations have made it their mission to preserve the old ways. They focus on blade-first methodology, traditional drills, and lineage-based instruction. For these groups, the art isn’t just about self-defense—it’s about honoring ancestors, respecting culture, and transmitting wisdom that’s too important to lose.

    These practitioners are often cautious about modernization. For them, losing the cultural backbone of the art is a greater threat than losing students. And they’re not wrong—without context, it’s just choreography with sticks.

    The Innovators

    On the flip side, you’ve got the evolution crowd. They’re mixing FMA with Brazilian Jiu-Jitsu, Muay Thai, firearms training, and more. They see the art as a toolkit—built for adaptation. Their goal is practicality, efficiency, and survivability in modern conflict scenarios.

    They’ve helped bring FMA into the tactical world—training law enforcement, military, and private security. They’re forging new drills and rediscovering the old in light of modern challenges. And they’ve got the bruises to prove it works.

    Cultural Renaissance

    Thanks to social media, documentaries, and a growing interest in indigenous knowledge, FMA is having a cultural moment. Young Filipinos at home and abroad are starting to reconnect with the art. They’re digging into history, learning from elders, and sharing their journey online.

    It’s not just about technique—it’s about identity. About reclaiming something that was almost lost. And about saying, “This is ours. This matters.”

    Where It’s Headed

    The future of Filipino Martial Arts isn’t about choosing preservation or progress. It’s about balance.

    It’s about keeping the blades sharp, the stories alive, and the community growing. Whether you train for tradition, for self-defense, or for the love of movement, you’re part of something bigger. Something old. Something alive.

    And if we do it right, the next generation will inherit an art that’s just as effective, just as rooted, and just as proudly Filipino as ever.

    Because the real weapon has always been the will to pass it on.

  • Part 5: From Jungle to Global – The Rise of Modern Filipino Martial Arts

    Part 5: From Jungle to Global – The Rise of Modern Filipino Martial Arts

    After surviving centuries of colonization and a world war, Filipino Martial Arts emerged from the smoke not just intact—but ready to travel. The second half of the 20th century marked the beginning of FMA’s transformation from a secret kept in backyards and barrios to a respected, global martial system. And it all started with one simple truth: people started talking.

    Veterans Started Teaching

    After WWII, many of the men who had fought in the jungles came home and began organizing what they had learned. Some were already informal teachers. But now, systems began to form. Drills were refined. Techniques were cataloged. And for the first time, many of these arts got names—Modern Arnis, Doce Pares, Balintawak, Pekiti-Tirsia, and more.

    Martial arts schools popped up in the Philippines, often still taught behind homes, in church courtyards, or anywhere with enough space to swing a stick. Rank systems were introduced. Uniforms were optional, but pride was not.

    The Diaspora Effect

    As Filipinos migrated abroad—to the U.S., Canada, Australia, Europe—they took their culture with them. And that included their martial arts. What started as stick drills in garages or parks turned into full-blown schools. Filipino martial artists in California played a huge role in spreading the art—especially in places like Stockton and Los Angeles.

    And then, of course, came a little boost from Hollywood.

    Enter Bruce Lee (and Dan Inosanto)

    When Bruce Lee started exploring martial arts beyond Wing Chun, he found himself learning from Dan Inosanto—a Filipino-American martial artist trained in FMA. Suddenly, Filipino techniques were showing up on the big screen. Knife work, stick drills, limb destructions—they all looked cool and hit hard.

    This was huge. Bruce Lee gave FMA a moment on the world stage. Dan Inosanto gave it structure, visibility, and credibility. And the global martial arts community started paying attention.

    From Combat to Curriculum

    By the 1980s and 90s, FMA was becoming a staple in military combatives programs, law enforcement training, and civilian self-defense. The arts adapted again—this time for modern threats. Knife defense. Weapon retention. Multiple attacker scenarios. The same principles that worked against invading forces now applied to street-level survival.

    Seminars became the norm. Global organizations formed. Filipino grandmasters were invited to teach internationally. What was once a village art had become a global phenomenon.

    The Cultural Tradeoff

    Of course, with growth comes change. Some systems leaned into sport formats. Others clung fiercely to tradition. Still others got sliced and diced into weekend workshops with little cultural context. But through it all, one thing remained: the arts still worked.

    They remained brutal, efficient, adaptable—and unapologetically Filipino.

    In the next chapter, we’ll bring things up to the present and explore how Arnis, Eskrima, and Kali are being preserved, promoted, and practiced today—and what it means to be a modern-day practitioner of these warrior arts.

  • Part 4: Brass Knuckles and Bolos – Filipino Martial Arts in the American Era and WWII

    Part 4: Brass Knuckles and Bolos – Filipino Martial Arts in the American Era and WWII

    By the end of the 19th century, Spain had worn out its welcome—and the United States saw an opportunity. After the Spanish-American War in 1898, the Philippines was handed off like a consolation prize. What followed was decades of American occupation, a war for independence, and one of the most brutal chapters in world history: World War II. Through it all, Filipino martial arts kept adapting—and proving their worth in real combat.

    The Philippine-American War and Guerilla Reality

    From 1899 to 1902, the First Philippine Republic fought fiercely against American forces. While the Americans had rifles, Filipinos fought with whatever they had—bolos, spears, and raw determination. It was a guerrilla war, and FMA was central to it. The jungle wasn’t just terrain—it was a training ground.

    Even after official hostilities ended, pockets of resistance continued. These fighters didn’t wear uniforms, and they didn’t fight by the book. They moved fast, used ambush tactics, and hit where it hurt. And they passed down their skills quietly—just like during the Spanish era.

    From Training Grounds to School Grounds

    The Americans brought with them a love of boxing, baseball, and a school system that emphasized “civilized” sports. Martial arts weren’t part of the curriculum, but that didn’t stop them from thriving in the provinces. Systems were preserved within families or taught through private tutelage. In some cases, stick fighting even became part of physical education—but only in its most watered-down, sportified form.

    Still, many of the old masters kept the real material alive. Backyard lessons. Nighttime training. Real-deal blade work.

    The War That Changed Everything

    When World War II hit, the Japanese occupation of the Philippines was brutal. Civilians became soldiers, and martial skill became survival skill. FMA practitioners—some already veterans of resistance against the Spanish or Americans—once again took to the jungles.

    Many Filipino fighters served alongside American forces in irregular units like the USAFFE and various guerrilla groups. And yes—FMA was used. Bolos were standard gear. Improvised weapons, ambush tactics, blade work, hand-to-hand combat—it wasn’t theory. It was life or death.

    The Influence of WWII on FMA

    The war created a generation of hardened fighters. Some would go on to systematize what they’d learned in blood. When the war ended and the Philippines became independent in 1946, many of these warriors began to teach in earnest.

    This was the era that produced legends. Many of the grandmasters who shaped Modern Arnis, Doce Pares, Balintawak, and other systems came of age during or just after WWII. Their systems were forged from experience.

    A Legacy of Resistance and Reinvention

    From machetes against muskets to bolos against bayonets, Filipino martial arts remained what they had always been: practical, adaptable, and dangerous. The American period and World War II didn’t just test the arts—they validated them.

    In the next chapter, we’ll explore how Filipino martial arts went from village secrets to global exports—thanks to migration, Hollywood, and one very influential Bruce Lee.

  • Part 3: Sticks, Steel, and Sermons – Martial Survival in the Spanish Era

    Part 3: Sticks, Steel, and Sermons – Martial Survival in the Spanish Era

    So the Spanish rolled up in 1521 with muskets, missionaries, and an overwhelming desire to replace your bladed traditions with a rosary and a tax receipt. Over the next three centuries, they built churches, rewrote local laws, and did their absolute best to suppress indigenous martial culture. But Filipinos? They adapted. And they did it with style.

    Blades Banned, But Not Forgotten

    One of the first moves by Spanish colonial powers was to disarm the local population. Blades, spears, and shields were seen as threats to the colonial order. Public displays of martial prowess were restricted or outright banned. So how did warriors keep training? They got sneaky.

    Martial techniques were tucked into dances, fiestas, and stage plays. Rituals that looked religious were sometimes rehearsals in disguise. Instead of swinging a kampilan, people started training with sticks—because sticks didn’t scare the priests nearly as much.

    From Blades to Bastons

    Enter the baston: the humble rattan stick. What looks like a walking stick or stage prop became the training tool of choice. Not because it was ideal—but because it was legal. Systems like what would later be called Arnis de Mano began to flourish underground, taught within families or in backyards behind nipa huts.

    The switch to sticks didn’t dilute the danger—it made the art more deceptive. The same motion that could disarm someone with a blade could be practiced with a stick. The concepts of timing, footwork, angling, and deception were preserved.

    Spanish Influence: Not All Bad

    It wasn’t just suppression; there was also fusion. Spanish fencing—especially the use of the espada y daga (sword and dagger)—left a mark. Filipino fighters absorbed concepts like linear movement, thrusting mechanics, and blade alignment, then ran them through the local flavor mill.

    What came out wasn’t a watered-down version—it was a hybrid. And it worked.

    Theater, Dance, and the Art of Disguise

    Public exhibitions like moro-moro plays were often vehicles for preserving martial techniques. Actors—many of them trained fighters—would stage choreographed duels between Christians and Moros. The audience saw entertainment. Practitioners saw drills, timing, and hidden lessons.

    Fiestas were another cover. While the town celebrated, someone’s uncle was showing the kids how to chamber properly during a stick “dance.” And since many priests didn’t speak the local dialects fluently, a lot of the instruction went under the radar.

    Resistance Through Movement

    Despite the colonial clampdown, resistance movements continued. Revolts throughout the islands—like the Dagohoy Rebellion—were often powered by martial knowledge passed down despite the bans. It wasn’t just about sticking it to the colonizers. It was about preserving identity, dignity, and capability.

    The Underground Forge

    The Spanish era didn’t kill Filipino martial arts. It reforged them.

    It pushed the arts into back alleys, behind churches, and into family homes. And that pressure cooked something powerful. By the time the Spanish were on their way out, the arts hadn’t just survived—they’d evolved.

    In the next chapter, we’ll look at what happens when colonial powers switch from Spanish to American, and how the arts adapted once again to survive—this time in the shadow of Westernization and war.

  • Part 2: Blades Before the Colonizers – Precolonial Martial Foundations

    Part 2: Blades Before the Colonizers – Precolonial Martial Foundations

    Before the Spanish showed up with muskets, crosses, and colonial paperwork, the islands that make up the Philippines were already well-acquainted with violence. And not just the random bar fight kind. We’re talking raiding parties, tribal warfare, and a strong warrior culture that existed long before anyone yelled “Viva España!”

    Tribal Warfare Was the Norm

    The Philippines wasn’t a unified nation—it was a scattered network of barangays, each with its own leaders, alliances, and beefs. And when diplomacy broke down (which it often did), warriors handled things the old-fashioned way: with blades, spears, and shields. These weren’t just skirmishes—they were life-or-death showdowns that shaped territory and power.

    The Warrior Classes

    Society had room for fighters. Depending on the region, you had names like bagani (Visayas), timawa, or maharlika (Luzon). These weren’t casual weekend warriors. They were trained, respected, and often tattooed as living resumes of the battles they’d survived. Their job? Protect the village, lead raids, and, occasionally, flex a little for the gods.

    Weapons of the Time

    Filipino ingenuity meant there was no shortage of bladed instruments: the kampilan (a long, tapered sword), the barong (a wide leaf-shaped blade), the bolo, spears, and the ever-versatile rattan stick. Shields like the kalasag were made from hardwood and rattan, designed to take a beating and keep you alive. The weapons were practical, brutal, and tailored for island warfare.

    Training Before There Were Belts

    There weren’t uniforms or dojos, but make no mistake—people trained. Knowledge was passed from parent to child, from warrior to apprentice. Techniques were embedded in rituals, dances, and community storytelling. A ceremonial dance might just have a blade hidden in the rhythm. You learned by doing, by mimicking, and by surviving.

    Spiritual Roots and Cultural Layers

    Fighting wasn’t just about killing. It was tied to spiritual beliefs. Warriors often invoked ancestral spirits before battle. Tattoos weren’t just flex—they were sacred. The body was both armor and canvas, with each design representing achievements, protection, or tribal affiliation.

    The Evidence We Have

    Most of what we know comes from Spanish chroniclers, early explorers, and modern anthropology. Some of it’s biased, some of it inferred, and a lot of it preserved through oral tradition. But the bottom line? The Filipino people were already warriors long before colonizers took notice.

    So when we talk about Arnis, Eskrima, or Kali, we’re not just talking about fighting systems. We’re talking about a deep, precolonial heritage of resistance, skill, and adaptation. We’re talking about a culture that refused to forget how to fight.

    Up next, we’ll look at what happens when you mix swords with sermons and sticks with Spanish steel. Spoiler: the Filipinos didn’t stop training. They just got sneakier about it.

  • The Sword in the Soul of the Islands: Why Filipino Martial History Matters

    The Sword in the Soul of the Islands: Why Filipino Martial History Matters

    When people think about martial arts, they usually imagine kung fu masters leaping off rooftops or UFC fighters trading elbows in a cage. But tucked away in the tropical mess of jungles, islands, and traffic jams we call the Philippines is something just as badass—if not more: Arnis, Eskrima, and Kali.

    These aren’t just some old-school ways to swing a stick around. They’re survival systems. They’re family legacies. They’re the “hold my bolo and watch this” moments passed down from generation to generation. More than that, they’re cultural time capsules—full of grit, improvisation, and a deep refusal to stay conquered.

    See, looking at Philippine history through the lens of its martial arts isn’t just about techniques or training drills. It’s about how people adapted to hundreds of years of colonizers trying to kill their culture—and still found a way to hit back. Sometimes literally.

    When the Spanish said “No weapons allowed,” Filipinos said, “Cool, we’ll just dance with them instead.” When the Americans brought boxing and baseball, the old arts went underground but never disappeared. These arts lived in fiestas, in rituals, in little moments where someone would casually flip a stick around and say, “Yeah, I used to train a bit.”

    This series is going to walk through Philippine history with an eye for the fighters—tribal warriors, resistance leaders, backyard masters, and everyone in between. We’ll talk about why people fought, how they fought, and what they passed down. This isn’t just for the historians. This is for anyone who’s ever taken a shot to the knuckles during a sinawali drill and smiled through the pain.

    So if you train in Filipino martial arts—or you’re just curious where this whole stick-twirling madness came from—strap in. This is the story of the Philippines, told through its fighters. It’s a little bit blood, a little bit blade, and a whole lot of spirit.

    Let’s get started.

  • Self-Defense: What’s the Prosecution’s Objective?

    Self-Defense: What’s the Prosecution’s Objective?

    Self-Defense: What’s the Prosecution’s Objective?

    Not legal advice. I’m not a lawyer or legal expert. Please consult a qualified attorney in your area for actual legal guidance. And if you haven’t yet, read Andrew Branca’s Law of Self Defense—you can even get a free copy.

    In the previous post, we covered the Five Elements of a Self-Defense Claim and how doctrines like Castle Doctrine and Stand Your Ground don’t give you a blank check (in spite of what news anchors will tell you)—they simply remove the duty to retreat, under specific conditions.

    To review, the Five Elements are:

    • Innocence
    • Imminence
    • Avoidance
    • Proportionality
    • Reasonableness

    To successfully claim self-defense, you must show—at a minimum—that each of these five elements was present during the use-of-force event. The standard isn’t beyond a reasonable doubt—it’s preponderance of the evidence (more likely than not). Fail to meet that threshold and the judge may not even allow a self-defense argument to be presented at trial.

    Once the defense is allowed to proceed, the prosecution’s job is simple:

    Disprove just one of the five elements.

    That’s it. And they’ll use every tool available to do so.

    INNOCENCE

    The prosecution may argue that you were not the innocent party—perhaps because:

    • You were armed and trained, and that “means you were looking for trouble”
    • You acted with preparation or intent, rather than in response to a real threat

    Example:
    In the Kyle Rittenhouse case, the prosecution tried to claim that merely carrying an AR-15 was provocative—essentially blaming him for making rioters feel unsafe. Fortunately, the jury didn’t buy it.

    IMMINENCE

    Prosecutors may question whether the threat was truly immediate:

    • “How did you know he was going to attack right then?”
    • “Why didn’t you wait to see if he’d actually act on his words?”

    They’ll argue that you jumped the gun. Whether someone was squared up, blocking your exit, or verbalizing threats, you’ll need to articulate those facts clearly and credibly.

    AVOIDANCE

    Avoidance is one of the most misunderstood elements.

    If you’re in a duty-to-retreat jurisdiction, the law expects you to take any available, safe way out—but only if doing so won’t expose you to grave harm.

    Examples:

    • The prosecution may claim you chose to be in a bad place—e.g., Kyle Rittenhouse “wasn’t from Kenosha.”
    • In a recent NY subway case, a homeless man defended himself against multiple attackers. Prosecutors argued he should’ve simply let himself be robbed.

    This kind of reasoning punishes people for not being victims.

    PROPORTIONALITY

    This is where prosecutors will twist the facts.

    • “He just tried to punch you.” (But he’s twice your size.)
    • “He only had a knife.” (As if a knife isn’t extremely deadly.)
    • “You used pepper spray on a guy yelling at you.” (But he was clearly escalating.)

    They’ll ignore things like:

    • Age or health disparities
    • Multiple attackers
    • Your medical vulnerabilities (e.g., on blood thinners)

    Example:
    In the Rittenhouse case, one attacker had “only a skateboard.” Yeah—reinforced hardwood with metal trucks, being swung at his head. That’s a deadly weapon.

    REASONABLENESS

    This element blends objective standards (what the average person would do) with subjective context (what you knew).

    Defense attorneys may present:

    • Your attacker’s reputation for violence
    • Your physical limitations or health status
    • Your training and experience

    Prosecutors will try to keep this evidence out. That’s why it’s important to document your training:

    • Certificates
    • Class notes
    • Dated materials you’ve sent to yourself

    All of it helps prove what you knew at the time.

    Wrapping Up

    Yeah, I’ve been a little hard on prosecutors here. That’s not accidental.

    Many prosecutors—especially those in high-profile or politically sensitive cases—will do whatever they can to score a win, regardless of the truth. And the system is structured in a way that can feel stacked against someone who acted in good faith.

    You need to understand:
    Police and prosecutors are not your friends.
    That’s where we’re headed next.

  • “Self-Defense” What’s Needed for a Proper Claim?

    “Self-Defense” What’s Needed for a Proper Claim?

    I’m not a lawyer—but I have read Andrew Branca’s book (you can get a free copy by following the link) and several others. I’m not an expert either, but this series is meant to help you start understanding legal concepts and realities so you can seek out deeper knowledge for yourself.

    Ultimately this is not legal advice, you should seek out a qualified attorney in your area and see guidance from them!

    Despite what you might see online, claiming “self-defense” isn’t as simple as saying “I feared for my life!” on the stand. In reality, it’s a minefield of legal nuance—and one misstep can change everything.

    Misconceptions and My Early Mistake

    When I first started looking into self-defense law, I ran into acronyms like IMOP:

    • Intent
    • Means
    • Opportunity
    • Preclusion

    I assumed that if I could check those boxes, I was covered. But that turned out to be an oversimplification. A kind comment (I think from Andrew Branca himself) on an old blog post of mine pointed out how tricky a self-defense claim can be in real life. That moment pushed me to dive deeper.

    The truth is, the legal system doesn’t start from a place of perfect knowledge. The responding officer almost always misunderstands what actually happened. Screaming “It was self-defense!” doesn’t help—especially when what really happened was someone’s ego (their “Monkey”) escalating things into a preventable fight.

    And let’s be honest: a career criminal might be better at looking innocent than you are at being innocent.

    Branca’s Five Elements of Self-Defense

    To navigate this legal minefield, Andrew Branca presents Five Elements of Self-Defense. These are legal standards—not gut feelings—and learning them helps you understand when and how self-defense can be properly claimed:

    1. Innocence
    2. Imminence
    3. Avoidance
    4. Proportionality
    5. Reasonableness

    Each of these words has a specific legal definition that doesn’t always match the casual way we use them in conversation. Let’s walk through each one.

    1. Innocence

    Were you the one who started the fight? Were you where you had a legal right to be?

    If you’re engaging in threatening behavior—like squaring up aggressively, posturing, or hurling insults—you may lose your claim to innocence. There’s a legal concept called “Fighting Words”: if you provoke someone and they respond violently, the law may say you’re the aggressor.

    2. Imminence

    Imminence is about timing.

    Was the threat right there, right then? Did they have the means and opportunity to carry out the threat immediately? Or was it more like “I’ll come back later!”

    Example:
    At a lacrosse game, an opposing player slashed a teammate of my brother. The player’s mom got angry and yelled at the coach, eventually threatening:
    “Do you want me to get a baseball bat and beat the crap out of you?!”

    Police were called. The officer asked if she had a bat. She didn’t. She’d have to go get one, come back, and then follow through. Since there was no imminent threat, no charges were filed.

    3. Avoidance

    Did you have a safe way to leave?

    In many places, there’s a duty to retreat before using force, especially deadly force. The exceptions to this rule are legal doctrines like:

    • Castle Doctrine (no duty to retreat in your own home)
    • Stand Your Ground (no duty to retreat in public, under specific conditions)

    Important note: these doctrines only relieve you of the duty to retreat—they don’t override the other four elements.

    In some states, you may even have access to a Stand Your Ground hearing—a pre-trial hearing where a judge decides if the evidence supports your self-defense claim enough to block criminal charges or civil lawsuits.

    4. Proportionality

    Your response must match the level of threat.

    If someone shoves you, that doesn’t give you the right to shoot them. But if someone comes at you with a knife, deadly force may be justified.

    Context matters:

    • A 5’3”, 105 lb woman being attacked by a 6’5”, 300 lb man may reasonably fear for her life even without a weapon being involved.
    • The same goes for multiple attackers—even if none of them are armed.

    This is called disparity of force, and it’s a key part of understanding proportionality.

    5. Reasonableness

    Would a “reasonable person” act the same way in your shoes?

    That’s the million-dollar question, and it’s what jurors are asked to consider. Of course, jurors don’t know everything you did at the time. That’s why the defense must present:

    • Prior history with the attacker
    • Their reputation
    • Any weapons present
    • Training, physical limitations, or awareness on your part
    • Distance and threat potential (e.g., knife at 10 feet)

    The court weighs both subjective knowledge (what you knew) and objective standards (how a reasonable person would respond). Just saying “I was afraid” doesn’t cut it. You need to be able to explain why your fear was reasonable.

    Wrapping Up

    This was a denser post than usual—and with good reason. Self-defense law is full of complexity and myth. What we’ve covered here is from the defense’s perspective—what you need to justify your actions.

    But self-defense claims don’t exist in a vacuum.

    In the next post, we’ll talk about the prosecution—how they think, what they look for, and how they’ll try to dismantle your self-defense claim.