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Old 26th February 2010, 07:16 PM   #28
Join Date: Aug 2009
Posts: 338

And here, I thought I was providing some helpful info when really I perpetuated some FMA-half truth I've been seeking to rid myself of!

Very informative post, Dimasalang! I find that a lot of FMA, because of the lack of a cohesive martial history, is steeped in this sort of half-truth and barely researched history that I really detest. A lot of it I was fed and believed until recent years and decided to joing message boards such as this to clarify which was myth and which was truth. It's very difficult to unlearn what I've come to accept as complete truth, but forum members like you and kai make the experience so enriching that I'm glad I decided to dig deeper.

I found this part of your quoted post in particular most interesting:

Let us not confuse Moro-moro as a style coming from the Moros of is actually copied from the Moro-moro plays of the Spanish colonial period depicting the Chritian victory over the Mohammedan Moors of Southern Spain

This was also of interest to me, as it helped me understand why FMA really stands out stylistically when compared to other styles from neigboring regions and why a lot of widespread FMA has been attributed to have origins from just a few specific regions of the Philippines:

No doubt the Waray-warays are very brave warriors, however during the height of the Sulu campaigns between 1635-1644 Don Sebastian Hurtado de Corcuera recruited only the best of the Ilonggo, Cebuano, Boholano and Macabebe warriors...and that probably explains the dominance of these ethnic groups in the FMA.
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