. . . . . . . "24168"^^ . . . . . . . . . . . . . . . . . . . . . . . "Filipino Martial Arts (kurz FMA) ist ein international etablierter Sammelbegriff f\u00FCr alle philippinischen Kampfk\u00FCnste. In popul\u00E4ren Medien st\u00F6\u00DFt man am ehesten auf die Begriffe Arnis, Eskrima oder Kali, wenn von den Kampfschulen der Philippinen die Rede ist. Diese Benennungen stehen f\u00FCr eine haupts\u00E4chlich bewaffnete Kampfkunst aus S\u00FCdostasien, welche sich mit unterschiedlichen Waffenarten, aber auch dem unbewaffneten Kampf besch\u00E4ftigt (siehe 4 Disziplinen weiter unten)."@de . . . . . "Artes marciais filipinas"@pt . . . . . . . . . . "Artes marciais filipinas (em ingl\u00EAs: filipino martial arts ou FMA) engloba uma grande quantidade de desenvolvidas pelos diversos povos e sociedades que habitaram, e que ainda habitam as Ilhas Filipinas, e que chegaram de maneira tradicional at\u00E9 os dias atuais. O termo se popularizou atrav\u00E9s do livro The Filipino Martial Arts: As Taught by Dan Inosanto de Dan Inosanto, que al\u00E9m de especialista em artes marciais, tamb\u00E9m \u00E9 a maior autoridade viva em jeet kune do, o sistema de artes marciais desenvolvido por Bruce Lee. Em seu pa\u00EDs natal, as FMA s\u00E3o mais comumente chamadas de arnis, kali, escrima, entre diversas outras varia\u00E7\u00F5es, dependendo da escola que a adota. A quantidade de nome pode parecer confusa em um primeiro momento, por\u00E9m pode ser feito um paralelo simples com o kung fu, que \u00E9 um termo recente e que tamb\u00E9m engloba diversas artes marciais de origem chinesa distintas."@pt . . . . . . . . . . . . . . . . . . . . . . . . . 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"Filipino martial arts (FMA) (Filipino: Sining panlaban ng Pilipinas) refer to ancient and newer modified fighting methods devised in the Philippines. It incorporates elements from both Western and Eastern Martial Arts, the most popular forms of which are known as Arnis, Eskrima, and Kali. The intrinsic need for self-preservation was the genesis of these systems. Throughout the ages, invaders and evolving local conflict imposed new dynamics for combat in the islands now making up the Philippines. The Filipino people developed battle skills as a direct result of an appreciation of their ever-changing circumstances. They learned often out of necessity how to prioritize, allocate and use common resources in combative situations. Filipinos have been heavily influenced by a phenomenon of cultura"@en . . . "Filipino Martial Arts"@de . . . . . . . . . . . . . . . . . . . . "1117516445"^^ . . . . . . . . . . . . . . . . . . . . . . "Filipino martial arts (FMA) (Filipino: Sining panlaban ng Pilipinas) refer to ancient and newer modified fighting methods devised in the Philippines. It incorporates elements from both Western and Eastern Martial Arts, the most popular forms of which are known as Arnis, Eskrima, and Kali. The intrinsic need for self-preservation was the genesis of these systems. Throughout the ages, invaders and evolving local conflict imposed new dynamics for combat in the islands now making up the Philippines. The Filipino people developed battle skills as a direct result of an appreciation of their ever-changing circumstances. They learned often out of necessity how to prioritize, allocate and use common resources in combative situations. Filipinos have been heavily influenced by a phenomenon of cultural and linguistic mixture. Some of the specific mechanisms responsible for cultural and martial change extended from phenomena such as war, political and social systems, technology, trade and practicality. Filipino martial arts have seen an increase in prominence due to several Hollywood movies and the teachings of modern masters such as Venancio \"Anciong\" Bacon, Dan Inosanto, Roland Dantes, Edgar Sulite, Cacoy Canete, Danny Guba, Mike Inay, Remy Presas, Wilson Pangan Sr. (Grand Master), Ernesto Presas Sr., Doug Marcaida, Ernesto Presas Jr., Carlito A. Lanada, Sr., and Carlos Deleon. There have been numerous scholarly calls on the inclusion of the many martial arts of the Philippines into the UNESCO Intangible Cultural Heritage Lists. As of 2019, a total of nine elements scattered in eight countries, such as Thailand, Georgia, and Korea, have successfully inscribed their martial arts in the UNESCO list."@en . . . . . 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"\u0627\u0644\u0641\u0646\u0648\u0646 \u0627\u0644\u0642\u062A\u0627\u0644\u064A\u0629 \u0627\u0644\u0641\u0644\u0628\u064A\u0646\u064A\u0629"@ar . . . . . . . "157498"^^ . . . . . . . . . . . . . . . . . . . . . "Artes marciais filipinas (em ingl\u00EAs: filipino martial arts ou FMA) engloba uma grande quantidade de desenvolvidas pelos diversos povos e sociedades que habitaram, e que ainda habitam as Ilhas Filipinas, e que chegaram de maneira tradicional at\u00E9 os dias atuais. A quantidade de nome pode parecer confusa em um primeiro momento, por\u00E9m pode ser feito um paralelo simples com o kung fu, que \u00E9 um termo recente e que tamb\u00E9m engloba diversas artes marciais de origem chinesa distintas."@pt . . . . . . "Filipino martial arts"@en . . . . . . . . . . . . . . . . "Filipino Martial Arts (kurz FMA) ist ein international etablierter Sammelbegriff f\u00FCr alle philippinischen Kampfk\u00FCnste. In popul\u00E4ren Medien st\u00F6\u00DFt man am ehesten auf die Begriffe Arnis, Eskrima oder Kali, wenn von den Kampfschulen der Philippinen die Rede ist. Diese Benennungen stehen f\u00FCr eine haupts\u00E4chlich bewaffnete Kampfkunst aus S\u00FCdostasien, welche sich mit unterschiedlichen Waffenarten, aber auch dem unbewaffneten Kampf besch\u00E4ftigt (siehe 4 Disziplinen weiter unten). Der Einfachheit halber wird in diesem Artikel der Begriff Arnis stellvertretend f\u00FCr Arnis, Escrima und Kali verwendet. Dennoch ist zu beachten, dass es auf den Philippinen sowohl Kampfschulen der traditionellen K\u00FCnste gibt, die wie Yaw-Yan keine haupts\u00E4chlich bewaffnete Kampfkunst darstellen, als auch Schulen, die wie das Kuntao so stark in der philippinischen Kultur verwurzelt sind, dass sie als nat\u00FCrliche Bestandteile des kulturellen Erbes angesehen werden."@de . . . . . . . . .