Fiorendo Visitacion
Vee Arnis Jitsu

There is no such thing as a better martial art,
just better practitioners.
I became a better practitioner
as a result of my studies.
-F. M. VISITACION

Introduction

To martial arts practitioners coming of age during the explosion of the arts in the United States during the 1970s, the name Professor Fiorendo M. Visitacion needs no introduction. Visitacion is at once an icon of the eclectic martial artists and one of the major contributors to the spread of arnis and ju-jutsu throughout the country. Although grounded in Filipino martial arts, Fiorendo Visitacion is best known for his activity among Japanese ju-jutsu practitioners and is often associated with them. Visitacion possesses the rare qualities necessary to develop his mind and skills beyond the scope of any single martial or philosophical tradition. Following his lead, many of Visitacion's senior students, such as the well-known Moses Powell, have branched off and developed systems of their own. Visitacion is not one to fuss over such things as losing students and lives his life in the moment, experiencing new styles, traditions, and ways of life. This attitude has left a general air of confusion surrounding the public's understanding and appreciation of his Vee arnis jitsu system. Thus, it is hoped that this article will shed some light on the man behind the scenes and the art in center stage.

A Foundation in Filipino Martial Arts

Born in llocos Norte, Philippines, in 1910, Fiorendo Visitacion began learning self-defense at an early age under the supervision of his brother, Marcos, and his neighbors. He does not remember exactly which Filipino martial arts he studied although he remembers the training to consist of both weapon and empty hand components. At that time he held little interest in the arts but felt an obligation to practice out of the respect he held for his elders. However, after an altercation which left him responsible for taking down an older boy by twisting his head, Visitacion began to see the virtues of his lessons. It wasn't until a second altercation at the age of ten, which left him frightened beyond belief when an older boy pulled a knife on him, that Visitacion seriously pursued his cultural fighting arts.

In 1926, the sixteen year old Visitacion left the Philippines for the Hawaiian Islands. This was the last time he was to see his family. For the next two years Visitacion continued his study of martial arts, Filipino and otherwise, from any source that was available. In 1928, he moved to Stockton, California where he worked as a laborer in the grape fields.

It was in Stockton, the one-time hub of Filipino martial arts in America, that Visitacion studied eskrima knife fighting concepts and arnis single stick techniques. Visitacion recalled his practice sessions after work as being held in private and available to none other than Filipinos. After spending a decade in Stockton, Professor Vee (as he is known) traveled around California residing with Filipino families in San Francisco, Sacramento, and Pasadena, until enlisting in the United States Army at the onset of World War II.

Mixing Martial Arts

The war played an important role in the development of Visitacion's style, for it was during this time that he became intrigued by an officer's hand-to-hand combat manual which claimed to present a combination of styles from different countries. The idea of synthesizing techniques and concepts from different sources led Visitacion to research—and compete against—as many martial arts as possible to further evolve his own system. While in the Army, Visitacion seriously pursued boxing and wrestling and would often engage the other enlisted men in competition.

In 1950, Visitacion relocated to New York and continued his research through the study of self-defense under Charles Nelson, modern ju-jitsu under Professor Kiyose Nakae, judo under Jerome Mackey, and Indian varmannie under Swami Vraygiananda. He also began to structure his art and teach it to judo and ju-jitsu practitioners. Not knowing how to classify his eclectic fighting art, and realizing that the Filipino martial arts were virtually unknown in the United States, on September 5, 1955 Professor Vee termed his style Vee-jitsu. It was now that the confusion surrounding his art began. Visitacion never intended his style to be classified as a Japanese martial art. Rather, as a point of reference based on the popularity of judo and ju-jutsu at the time, he adopted the Japanese suffix "jitsu" (or jutsu) to its name. And so, Vee-jitsu, as literally translated, means "the art of Vee," and at the time had little to do with Japanese martial arts.

Developing the Systems

Through Visitacion's association with these Japanese martial artists he was introduced to the American Judo and Jujitsu Federation (AJJF) in 1960. Shortly thereafter he traveled back to California to attend an AJJF conference where he befriended Wally Jay, the developer of small circle ju-jitsu, and the late Raymond Tobosa. Professor Vee spent a great deal of time at the conference training and exchanging ideas with these masters. Visitacion was appointed as the northeastern division director of the AJJF and at the suggestion of Tobosa, began training in arnis Lanada under Amante Mariñas.

In 1965, with the further evolution of the Visitacion style, Professor Vee founded Vee-jitsu '65, an updated and much improved version of Vee-jitsu '55. On February 26, 1966 Professor Visitacion presented his art to the American Judo and Jujitsu Federation for recognition as a legitimate martial art. He was then conferred the title of Professor and was awarded the rank of 10th Dan in his art of Vee-jitsu. Visitacion later resigned from the AJJF because he felt that its members neglected to go beyond their existing techniques to improve their arts. Vee, however, continued his cross training with the study of karate under Lou Angel, southern praying mantis kung-fu under Gin Foon Mark, tai chi chuan under C. K. Chu, and wing chun and pa kua in New York's Chinatown.

During his ten years of study under Mariñas, Visitacion was introduced to Leo T. Gaje, Jr. of the pekiti tirsia kali system. This supplementary training added to Vee-jitsu '65 and, with the inclusion of karate katas and advanced kenpo karate theories (which he studied from books), Professor Vee changed the name of his system to Veejitsu-te. On August 26, 1978, as a result of further study of his native Filipino arts, Visitacion was awarded the title of datu (chief instructor) by Tuhan (grandmaster) Gaje through the Arnis America Organization. In 1983 he was also awarded an instructor's rank in arnis Lanada under Mariñas. This led Vee to drop the katas of Veejitsu-te in favor of the principal movements inherent in arnis. Once again Visitacion changed the name of his system, this time to Vee arnis jistu, a Filipino/Japanese/American martial art. Interestingly, on September 6, 1986 Fiorendo Visitacion was inducted into the American Jujitsu Black Belt Hall of Fame.

After various name changes such as Veejitsu-ryu jujitsu, Visitacion-ryu jujitsu, and Visitacion kuntao-arnis, Professor Vee felt that he would maintain the identity of his art at three integral stages in its development. Visitacion has appointed four disciples to oversee the perpetuation of his "System of Systems." Roberto Torres has been appointed as the successor to Veejitsu-te, Frank Edwards, Sr. and Frank Edwards, Jr. have been appointed to oversee Vee arnis, and David James is heir to Vee arnis jitsu.

Philosophical Root

Fiorendo Visitacion stresses that it isn't the name of his art that is important, but its evolutionary process. Vee arnis jitsu, the combined weapon and empty hand art, is the result of Vee's progression from Vee-jitsu until the present. "Vee arnis jitsu goes beyond the techniques of the preceding arts," states Professor Vee. "There is no such thing as a better martial art just better practitioners. I became a better practitioner as a result of my studies and my current system reflects that progress."

Visitacion asserts that all martial arts are the same and draws a parallel with music. "The martial arts is like music: There are only seven notes but how many songs and kinds of music are there in the world? Millions. You could compose any good music. I respect all the different arts because they are all music in a sense. Like different compositions, the body has the same vital points, or notes. Some arts may be only focusing on the upper part of the body, some may specialize on kicking, or some specialize on holding or locking. In our system we combine them all. It is eclectic. So, if it's music, then our system maybe has a little bit of Latino, American, or whatever you can think of." The eclectic nature of Vee arnis jitsu is best seen through Visitacion's unique training methods and apparatuses and his application of techniques in sparring practice.

With regard to such martial customs as bowing Visitacion believes that different cultures are reflected in the martial arts. "In Japan," states Visitacion, "they make it like a religion to bow and respect [the instructor] like a God. Because I study the Eastern and Western philosophies and religions I believe that as a human being we should respect one another whether a beginner in the martial arts or a master. In the Japanese martial arts you bow like you are worshipping your master. Over here its just a little bit of a salute. It is like you are equal to the other person, not to impress or suggesting that they must look at you like the God of the society of martial arts. People put too much importance on the titles." Visitacion is known for his sincerity, and for respecting everybody he meets as equal. "If I meet a master I am able to level up," he continues, "but when I talk to a beginner I level down. I don't try to impress because although the person you are talking to may be a beginner in the martial arts he may also be a professional doctor or college professor. I respect all people regardless of whatever they have or I have."

Visitacion equates the social structure of martial arts as akin to one big family. In any given family you may find individuals of varying religious and ethnic backgrounds living together harmoniously. Visitacion is frequently heard encouraging his students to study more than one martial art. In fact, he is often found tinkering with new ideas based on such colorful arts as Brazilian capoeira. "Like all of them," notes Professor Vee, "I may not be familiar with their techniques or compositions but they are all in the same category of martial fighting arts."

As with his martial arts philosophy, and so his religious. Visitacion states that although there are many different religions in this world, they all teach the same precept of looking toward a God or God-like figure for guidance. "I am what I call non-sectarian," asserts the Professor. "I respect different denominations because I know that each one of them teaches love which is the most important part of life. There is a saying in the Holy Bible: 'Love thy Lord thy God with all thy heart and thy neighbor as thy self.' I think that is the end of the law. You don't worry about I am this, I am that.' Any martial artists that I meet whether they are Buddhist, Confucianist, Taoist, Christian, or many others, as long as they respect me and practice the ethical, moral, spiritual, and physical ideals, these are the main things. I respect their own talent like you respect other songs from other countries. Its just music. They have their melody and we have ours. But of course you have your own choice, like you have your own choice of food. Maybe you just like more chicken than me."

Essential Principles

Professor Visitacion has developed the unusual ability to comprehend and find a weakness in even the most complicated of techniques originating from arts he has never seen before. He has also developed the ability to demonstrate an improved version of that very technique on the spot if asked to do so. Such talent could not have been acquired if it were not for his dedication and scientific analysis of so many martial art forms over the past half-century. Through his research, Visitacion devised four guidelines to assist instructors attempting to dissect and transcend their existing technique. He asked that they be presented here to aid anyone who wants to improve his current self-defense ability by examining other martial arts.

First, understand the basic technique as drawn from the parent art. Second, go beyond the original technique without discarding it or denying its usefulness. Third, find ways to apply the new technique in a variety of offensive and defensive ways. Fourth, relate the original technique to principles from other arts you have studied to suggest ideas for further application and variations.