Lameco Sulite Orihinal Group

Lameco Sulite Orihinal Group

Lameco Sulite Orihinal Group

Sulite Orihinal Group is comprised of dedicated
Lameco Eskrima International practitioners who were
handpicked by Punong Guro himself to be a part of his
regular “backyard” training sessions. Many loyal Lameco
practitioners have trained in the “backyard”, yet there was
and always will be a distinction between “Invitation Only”
and “Open Invitation” students. The open invitation students
were the selected few individuals who attended the rigorous,
3 days a week, 4-hour sessions and were frequently shown
numerous techniques not shared with the general public. An important factor among the
core members was that they held no administrative ties to other Filipino Martial Arts
styles and systems. One of the primary reasons Punong Guro created the elite group was
to create a first generation of practitioners that owed allegiance, first and foremost, to
Lameco Eskrima.

Because the sessions were conducted at his personal residence, Punong Guro was
extremely selective about whom he allowed to participate. Punong Guro often mentioned
that although many individuals were eager to train, very few actually allowed themselves
to be trained.

It is not a system, for it already exists, but a fraternity of dedicated practitioners
with a common bond. One factor that is prevalent among the original core members is
that they initially joined Lameco Eskrima International for reasons of pride, culture and
heritage.

The primary aim of the group is to keep the art of Lameco Eskrima alive through
continued training in a combat realistic, non-commercial and non-political environment.
Passion for the art was, and always will be, the prime motivator. As a sign of respect so
that Punong Guro’s name shall always be remembered for many generations to come, the
core members named themselves “Sulite Orihinal Group.”

Sulite Orihinal Group considers their inherited knowledge more precious beyond
any material compensation, just as much as the blood, sweat and tears that were spilled
by our forefathers in order to obtain it, so we strive to be worthy of the generations of
warriors before us. The desire of the brotherhood is to continue traveling upon the same
path, which Punong Guro Edgar G. Sulite had started them on. They wish to keep his
legacy, and the heritage, alive and pure and pursue it with a mind, body and sprit that is
nothing short of being honorable.

Sulite Orihinal Group will continue to uphold this tradition in order to maintain
the spirit of brotherhood and unity amongst its members.

Lameco Sulite Orihinal Group circa 1992 -1997
Lameco Sulite Orihinal Group circa 1992 -1997
Lowell Pueblos, Eric Koh, Ron Balicki
Mar Elepano, Hospecio “Bud” Balani, jr., Rem V. Cruz, Dino Flores, Arnold Noche,
Hans Anton Tan, Pelix Balencia, Dave Gould, Steve Grody 
Elmer “Bong” Hebia,
Roger Agbulos, Jason Ancheta
, Marc F. Denny, Steve Tarani, Phil Rapagna
, Choy Flores,
Gary Quan Joel ‘”Jay” Adriatico,
Bryant Emerson, Sung Han Kim, Rodney Wilson,
Pantaleon ” Mang Leo” Revilles, jr. ( R.I.P. )

 Backyard Lameco Eskrima - Kapisanang Mandirigma circa 1997 - Present
(The Los Angeles – Historic Filipinotown Chapter of Lameco SOG )

A good number of the Lameco SOG members have continued to train together regularly since their teacher’s death in 1997. Besides continued training in the Lameco Backyard Method, the group also continued study in the Lameco primary root fighting systems of Ilustrisimo and De Campo Uno-Dos-Tres Orihinal.

This group is sometimes reffered to as The Los Angeles – Historic Filipinotown Chapter of Lameco SOG. This includes Guros Joel Adriatico, Hospecio “Bud” Balani Jr., Mar Elepaño, Choy Flores, Dino Flores, Arnold Noche, Gary Quan, Hans Anton Tan and Pantaleon “Mang Leo” Revilles, Jr. (RIP). With occasional appearances by Guro's Elmer “Bong” Hebia and 

Lowell Pueblos. A few of these members to teach the public, however most prefer to keep their knowledge a personal matter.

It is also this group that came up with the term “SOG” or Sulite Orehenal Group with the guidance and approval of the two highest-ranking Lameco Eskrima International members, Master Christopher N. Ricketts and Master Reynaldo S. Galang.

When Christopher N. Ricketts moved to California backyard members Hospecio “Bud” Balani Jr., Mar Elepaño,  Bryant Emerson, Ron Baliki, Choy Flores, Dino Flores and Arnold Noche continued their training under Master Rickets in Ilustrisimo and recognized him as the highest ranking Lameco Eskrima Member.

 Since 1997 Guro Arnold Noche also continued his training with Master Rey Galang in New Jersey. At the same time Guro Hans Tan returned to the Philippines and was certified to teach under Master Tony Diego. With the tragic passing of Master Ricketts, the highest ranking Lameco Eskrima Member is currently Master Rey Galang.

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LAMECO: Legacy of Steel By Steve Tarani

LAMECO: Legacy of Steel By Steve Tarani

This article was reprinted with the author’s permission from the Souvenir Edition of Arnisador Magazine published by Goodwill Publications Limited. More information about the magazine can be obtained by calling Peter Morgan in London at +44 (0) 171-895 0800.
Saturday, June 1st, 1996
LAMECO: Legacy of Steel
By Steve Tarani
Swollen knuckles, bleeding forearms and battered shins – two warriors face off in a clearing. Sharp strikes of clashing rattan mix with the drawl of heavy breathing and shuffling feet. Intensely focused and alert, both combatants melt into the sweltering humidity. Glistening beads of sweat roll down to fingers wrought with open blisters. Ignoring the searing pain, each man continues fighting. Skillfully, cautiously – each life hinges upon immediate reaction to a deadly salvo of crushing blows.
Such is the way of life of an Arnisador – a path chosen by Punong Guro Edgar G. Sulite. Since and before the days of Magellan, the Filipino martial arts have proven themselves highly effective standing in defiance of determined warring tribes, rabid Conquistadors and greedy foreign hordes.
The LAMECO system, systematically structured and easily assimilatable according to modern training methods, is the stainless steel link in an unbroken chain of training succession.
Great-grandfather to grandfather to father to son, a continual succession of knowledge and commitment breathes life into the ancient art from those very early days of foreign aggression to the current days of domestic violence. The heritage of combat-ready warriors runs deeply through the bloodline of the Sulite family tree.
Born on September 25, 1957 in a rural province on the Visayan Island of Leyte, Tacloban City, Punong Guro Edgar G. Sulite was raised by a family of martial arts devotees in a rugged barrio neighborhood where deadly brawls and Bolo knife skirmishes were commonplace.
In other martial arts, the attainment of a certain level automatically designates the title Master or Grandmaster. In the Philippines, there are certain norms to be satisfied before one can be called and accepted as a Master or Grandmaster.
After expressing great interest in the Filipino fighting arts at a very early age, young Edgar was introduced to the rigorous training by his own father – Grandmaster Helacrio Sulite Sr.
Grandmaster Helacrio first studied with his father Grandmaster Timoteo Sulite in the 1930s. Grandmaster Helacrio went on to further enhance his skills under the tutelage of several other Arnis masters of varied styles (such as the late Grandmaster Melicio Ilustrisimo and Master Almario of Cebu among others.)
Grandmaster Timoteo Sulite’s instructors were active in the mid-19th century and their grandfathers recalled stories of their grandfathers which included the defeat of several infamous Spanish conquistadors using the very same styles of Arnis that have been meticulously passed down to Punong Guro Edgar G. Sulite who, in turn, continues the solemn tradition to this very day.
While simultaneously training under his father and coming to master the family system known as Sulite Rapelon, Punong Guro Edgar G. Sulite continually expanded his skills and combat technology by training intently with several other masters and Grandmasters all across the Philippine Islands.
Punong Guro devoted his entire life to the study of the ancient systems and masters who transformed him from young eager aspirant to the refined physical embodiment of technical perfection that he has become today.
Among the long list of such distinguished curators of the ancient ways is Grandmaster Antonio Ilustrisimo of Bag-on Bantayan – founder of Kali Ilustrisimo, Grandmaster Jose D. Caballero of Ozamis City, Western Mindanao – founder of De Campo 1-2-3 Orihenal and Grandmaster Leo T. Gaje Jr. of Negros Occidental – founder of Pekiti Tirsia (a close quarters combat system that specializes in knife and Espada y Daga.)
Punong Guro sheds further light on the methods of his masters in a series of educational books and video tapes available to the general public. Especially in his third book, MASTERS OF ARNIS, KALI & ESKRIMA, Punong Guro provides a rare glimpse into the arcane and mystical world of the traditional Filipino warrior class. Punong Guro is also the author of ADVANCED BALISONG: FILIPINO BUTTERFLY KNIFE and THE SECRETS OF ARNIS and has produced a total of ten instructional video tapes.
Punong Guro Sulite believes that the ancient tradition of keeping the sacred art only in the family is a double-edged sword. On the one hand the art is kept pure and in accordance with tradition. On the other hand, as modern times erode the interests of today’s youth, (who would much rather play video games rather than listen to grandpa tell old war stories,) the passing of the torch becomes more and more limited to only a select few. Unfortunately, when such masters pass away, so goes with them, forever, the art which they possess.
Thus, with the bold risk of changing the course of tradition, Punong Guro accepted the responsibility of both preserving the ancient teachings in the exact way in which he was taught, as well as disseminating this teaching in a modern platform of instruction.
In this modern age of automated organizational skills, combined with his uncanny ability to analyze with the precision of a high-tech computer, Punong Guro Sulite has heavily exposed the western world to the LAMECO system. Punong Guro currently has a number [of] schools in such varied corners of the globe as the Philippines, Germany, Australia and the United States. As a result of his unique modern approach and personal dedication through the LAMECO system, the proliferation and integrity of the ancient teachings is sustained.
What is the LAMECO system? LAMECO is a perfectly balanced synthesis of the many effective teachings and styles which Punong Guro has come to master in the span of his life.
There are some systems which specialize in long range fighting (known as “Largo Mano” or “Long Hand”) and others specializing in medium range fighting (known as “Medio”) and still others which specialize in close quarters combat (known as “Corto”). Thus, an acronym for the synthesis of the three ranges of combat LARGO, MEDIO and CORTO, the first two characters of each combat range LA, ME and CO were combined to form LAMECO.
In an interview, Punong Guro said, “I wanted to preserve the ancient teachings… but bleeding forearms and knots on the top of the head is not a good way… [there is no] safety. So a good compromise is safety equipment… [and] gradually, we can remove [the protective armour].”
When asked how he had planned to preserve the old teachings without dissipating the potency of the original art, and simultaneously combine the best of each system without offending each of his teachers, Punong Guro Sulite replied, “Grandmaster Ilustrisimo entrusted me with his [lifetime of knowledge] and wanted me to carry his name… the same with Grandmaster Gaje, Grandmaster Caballero, Grandmaster Abella, and all the others. So I have systematised and presented [the arts in a modern context easy to assimilate through a synthesis of multiply effective systems].” Thus the LAMECO system was born.
What further separates LAMECO from all other contemporary systems is its emphasis on the totality of the human being – mind, body and spirit – not only the physical elements. Attention, intention, visualization and complete focus are the integral components of the LAMECO training system. Drills and processes which develop the vital constituents were developed as the result of intense study and detailed analysis of countless ancient systems.
As modern day martial artists, we should consider ourselves most fortunate to have the opportunity to train under a renaissance thinker such as Punong Guro Edgar G. Sulite. He is one of the very few who has brought the ancient traditions out of the darkest jungles and into the light of modern day martial arts training, by sharing with the rest of the world – his legacy of steel.
Punong Guro is a Tagalog title which is comprised of two words. The first, Punong, literally translates to “trunk” or “base of”, for example, a tree. Combined with the second word, Guro, which translates as “one who leads another out of ignorance” (or “teacher” in Western terminology,) this title can be translated as “Primary master instructor” or more readily, “Grandmaster”.

Grandmaster Antonio “Tatang” Ilustrisimo (1904 – 1997)

Grandmaster Antonio “Tatang” Ilustrisimo (1904 – 1997)

Grandmaster Antonio Ilustrisimo,
Courtesy of Bakbakan International  and  GM Tony Diego

Grandmaster Antonio Ilustrisimo (1902 – 1997) originally came from Santa Fe in Bantayan Island.   He came from a family that has a very long history of martials and mystical tradition.   His cousin, Floro Villabrialle, was the most famous Arnis master of Hawaii.  His youngest uncle, Regino Ellustrisimo, was an Arnis master in Stockton, USA.  Both men were mentioned in Dan Inosanto’s book on Filipino martial arts.  However, the most famous of his 4 direct paternal uncles, and the most powerful fighter of the 5 brothers (some say he has more than 7 uncles) was Melecio Ilustrisimo, one of the most famous Kali masters of the Philippines of the early 20th Century, being influential in northern Cebu – Bantayan and Bohol islands.  All his forbears were expert warriors and were known to posses strange mystical powers.

Grandmaster Ilustrisimo’s students, fondly call him “Tatang” which  means “grandfather”.  Tatang learnt Arnis under the tutelage of his father (Isidro Illustrisimo) and uncles (especially the famous Melecio Ilustrisimo) in the old way.  There were 3 famous Eskrima families in Cebu at that time:-  the Ilustrisimos,  the Saavedras,  and the Romos.

Footwork was one of the first things he had to master.  As a tiny boy, he was put on a small table and his teachers would use sticks to beat his legs.  He had to learn how to avoid the blows.  He was also put on 3 half coconut shells in a triangular pattern and given the same harsh treatment.  This footwork is known as Tatlong Bao in the Ilustrisimo family.

As a result he has mastered evasion and dodging at an early age.  This is a training that Melecio Ilustrisimo himself thoroughly mastered as he was said to have nailed one foot to the ground and challenge all and sundry to defeat him.  No one could,  and that footwork is called “Walong Apak” (Nail Footwork) in Kalis Ilustrisimo.  These skills of evasive footwork have all been mastered by Grandmaster Antonio Illustrisimo.

He learnt the solo and double baston, espada daga, daga, bolo (sword), dos manos (a long stick/sword – roughly equivalent to the Samurai’s sword) and various “weapons of convenience”.   In particular, as a speciality, Grandmaster Ilustrisimo is noted for is his expertise in bladed weapons – something which many modern Grandmasters of Arnis can not lay proper claim to since their real practical experience concentrated on the rattan sticks. (Claims by most systems that they can use swords are disputable and only partially true).  This expertise as a swordman is not merely from personal experience and practice, but is the legacy of his family art of Ilustrisimo Kali which is a bladed art that stretches so far back in the family line that nobody could remember when it started.

As a boy, the young Ilustrisimo had a very tough, stubborn, determined and indominatable spirit. When he heard of a far country called ‘America’, he decided to go there – at the age of 9 years old!   When his parents would not  listen to his panderings, he ‘took’ some family money and a machete, and again, ‘took’ a small rowing boat and paddled out to the sea to what he thought would be America, not realising how far America really is.  He fortunately chance across a ship.  The sailors aboard were  surprised to see a young boy rowing out in the sea.  Out of curiousity, perhaps concern as well, there approached him and asked him where he was going.  “I am going to America in this boat!” was the confident answer.  The sailors rocked in laughter.  They somehow persuaded him to come with them.   Of course, he did not get to America.  But he did sail to a few ports, still not quite realising that America is still very, very far away……….

At a port, he chance on a family friend who recognised him, but not wishing to betray the high ideals of this young boy, he took him to the south as that friend was a Muslim.  There the young boy grew up – strong, determined, proud and skillful in combat as ever.  He was adopted into a the royal court as an adopted son of the Sultan of Sulu.  (This was Hadji Butu who ascended to become HH Hadji Mohammad Jamalul Kiram II, the Sultan of Sulu)

While in the South, he was priviledged to train in the the best of teachers that the royal court could have.  He also trained with Pedro Cortes, another very famous master in the Mindanao region, who was used by the government to control the ‘Rebelious South’.   Pedro Cortes was a close friend a sparring partner of his father Isidro Ilustrisimo.

Then one day, he was drinking at a beer house, he got into dispute with another man.  The man drew his sword to kill Tatang, but the defty young boy beat him to the draw and, with one stroke of his own barong (Tatang’s favourite type of sword), he cut  off the enemy’s head.  The victim was left a headless man running wildly before collapsing.  Since this was in self defence, this would have normally been ‘okay’ under the rules of that Islamic society, but the matter was complicated by his being under the influence of the drink (much frown upon), and plus the fact that the victim was from another royal clan that was a rival to the Sultan’s clan.   To avoid inter clan warfare,  the Sultan was forced to ‘exiled’ the young offender.   The Sultan gave him a gift of money and sent under escort to a British ship to head home.   He was only 17 years old then.

He returned to his parent’s place.  They had not seen him since he left as a young boy (this indicates his spirit of determination and independence – and his courage to live away from home without his parent’s guidance) and thought he was dead.  They were over-joyed to receive a telegram saying he was returning.   But they couldn’t recognise him.  A proud young man in Muslim dress walked towards them from the ship and it was only when he greeted them that they realised it was him.
He soon left to become a sailor, but when he had the oppotunity, he would continue to train in the fighting tradition of his family line.

Tatang used to hang around “rough places”.  He is well known amongst the wharfies and bars.  That was where he fought many times and honed his fighting skills.  I have met many Arnis masters who are very good in what  they do, but some of them privately admitted to me that even they are extremely careful when going to such areas that Tatang frequents because fighting and killing in bar/street fights is very different, and much more dangerous, than fighting an Arnis duel.

His life as a sailor gave him the oppotunity to travel from place to place.  This provided oppotunities to contest fighters from other far-off regions – America, India,  Europe, Australia……………..  He fought on many occassions, and was never defeated.

For example, he responded to a grandmaster match in Singapore to compete against a great Indonesian Penchak Silat grandmaster.  The Indonesian climbed into the ring, warmed up, all ready to fight, but when he faced Tatang, he simply refused to fight and surrendered.   Grandmaster Ilustrisimo said that is the highest art – to defeat an opponent without fighting him.  Tatang was said to have used his ‘orascion’ or spiritual power to overcome the opponent.  Grandmaster Illustrisimo thus won the prize money of $5,000. (Note:- Indonesian masters are experts in the use of spiritual power to overpower their opponents, but in this instance, Tatang’s power must have overwhelmed his expert opponent).
Grandmaster Ilustrisimo used to participate in Arnis matches in the fiestas in the local barrios occasionally when not at sea.  However, due to his fondness for the blade, and his reputation as a fighter-killer, not many masters would dare to fight him.  He only knows how to fight naturally – without restrictions – something that is not very comfortable for other masters.  The only rule is the terms of defeat – when to stop the fight.  He laments that he had to accept fights during his travels to practise a little of his art.  eg.  He fought a master in Calcutta.  He also had some fights in the Middle East.

Grandmaster Ilustrisimo, however, had lots of practice during World War II where, as a guerilla, his boss often sent him on missions to kill both Japanese soldiers and local conspirators.  He is said to have killed groups of people at a time.  So reliable were his services that his code name in the guerilla movement was ‘The Executioner’.

In Manila, Grandmaster Ilustrisimo lived in Tondo, near the wharf area which was a very rough neighbourhood.  Intimidation, robberies, muggings, fights and killings were common.  Together with his friends (some of whom are well known to Western students of Arnis – Floro Villabraille, Jose Mena and Felicissimo Dizon), he fought these muggers, bullies and intimidators whenever they caused trouble.  This ‘Gang of Four’ joked that since they were cleaning the docks of these troublemakers for the Police, they are in fact the ‘De Facto Dock Police’.  (Note:- None of them, or their students, were actually employed as Police or security guards there, as some Westerners were lead to believe).
Grandmaster Ilustrisimo hung around his friends whenever he was not at sea.   Occassionally, he would spar with them.  Accounts independently related by various old sources who hung around them confirmed that Grandmaster Illustrisimo had sparred with Felicissimo Dizon quite a few times and was more than a match for him.  It is also said that mutual Arnis friends wanted to arrange a formal match (ie. prize fighting) between Grandmaster Ilustrisimo and Felicissimo Dizon.  Grandmaster Ilustrisimo, being a seasoned prize fighter, readily accepted.  But the great Dizon turned down the offer citing that Grandmaster Illustrisimo is a larger man, a taller man with a longer reach, and thus they are in different categories and should not be matched.  (Dizon was a formidable fighter with few defeats, most notably of which was from the great Illaus Romo.  Also, a scheduled match between Dizon, Delphin Lopez and Cacoy Canette did not eventuate also because Dizon failed to turn up – according to Cacoy Canette).

While sojorned in Manila in the late 1930s, a young lad around 15 or 16 years old called Angel Cabales, became a staunch student of Felicissimo Dizon.   A few years later, he left for USA (1939) and became internationally famous as the founder of Cabales Serada Eskrima which is very widespread in USA.  (Angel was said to have learnt from Tatang too, but both Tatang and his students told me he is not Tatang’s student.  He only learnt from Tatang because he knew how good Tatang was.  He was regarded as Dizon’s student – Tatang does not pinch the students of his friends.  In fact, Tatang only accepted students from the public in the mid 1970s when he was already in his mid seventies.  It is admitted that Tatang did show and teach his personal friends,  but they were never regarded as ‘students’.   They were his friends.   Such close friends included Felicissimo Dizon and the famous Floro Villabrialle,  who was his cousin.  I believe Timoteo Maranga was one such friend during the war time.  Besides that,  Tatang did not teach anybody who came to enquire)
Grandmaster Ilustrisimo used to frequent bars in the rough areas of Manila.  He often got into fights in such hotspots.  He had been arrested at least 17 times for killing, but he was always lucky to prove his innocence as self defence and was released every time.  The last time he killed was when he was over 90 years old.  He nearly went to jail for that.

Grandmaster Ilustrisimo retired from sea-faring in his advanced years, but not from active practice.  Even in his old age, he  received challenges from young fighters eager to build a name for themselves by unfairly bumping off an old man, but  he survived and gave them a hiding instead.
In his advanced years, Grandmaster Ilustrisimo was partially blind, but he can still spar with his students using real bolos (swords) and exert control not to harm them.  How does he “see” the student’s incoming bolos when he cannot properly see ordinary objects is still a mystery to most, but Dan Inosanto mentioned in his book that (Ilustrisimo’s cousin) Floro Villabrille’s favourite master was a blind princess.  (Some sources indicate that this ‘princess’ was actually not blind, but partially blind, just like Tatang.  And not a princess of Samar, nor Princess Josephina, but daughter of a chief.  She was known to possess some mystical powers.  Also, this story later as changed by later generations to ‘main’ or ‘best’ teacher -  instead of ‘favourite’ teacher – in the sentimental sense, not favourite as ‘best’ teacher).   Tatang insisted that while in Manila,  he actually tutored Floro Villabrialle, who, earlier, was a student of his uncle Melecio Ilustrisimo.  Tatang and was ‘unimpressed’  that the Americans were given the impression that Villabrialle’s main or best teacher was Princess Josephina.

——————————————————————————————

Antonio “Tatang” Ilustrisimo (1904 – 1997) was the Grand Master of Kali Ilustrisimo, a Filipino martial art bearing his family name.

Early life
Born in Bagong, Bantayan, Cebu in 1904. As a boy he studied eskrima from his father. At the age of nine he decided to travel to the United States, and stowed away on a boat he thought was headed for America. In actuality, he arrived in Mindanao, in the southern Philippine islands.

The Martial Arts
Antonio Alulud Ilustrisimo was one of the most well respected eskrimadors of the Philippines; He is famed for winning countless duels and street encounters, as well as serving as a guerrilla against the invading Japanese forces during World War II. GM Ilustrisimo was never defeated in combat, and earnt great respect as a result of his brave exploits against the Japanese.
In 1976 Antonio ‘Tatang’ Ilustrisimo accepted his first students Antonio Diego and Epifanio ‘Yuli’ Romo. After Tatang’s passing in 1997, Tony Diego was elected head of Kali Ilustrisimo. Other notable students include – Rey Galang, Christopher Ricketts and Edgar Sulite.

Publications
Antonio Ilustrisimo has been featured in many periodicals and Martial Arts publications. His First apperance was in The book titled  Masters of Arnis, Kali, and Eskrima by Edgar Sulite. His life and art were also featured in the book titled Filipino Martial Culture by Mark Wiley. The art of Kalis Ilustrisimo had a section in the book Filipino Fighting Arts: Theory and Practice by Mark Wiley. The book titled The Secrets of Kalis Ilustrisimo was released in the United States. It was authored by two of his most prominent students, Antonio Diego and Christopher Ricketts.

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Guro Dino Flores Ilustrisimo, Lameco Seminars May 14th and 15th Brisbane Australia Southside Arnis Escrima Club

 

 

Guro Dino Flores Ilustrisimo, Lameco Seminars May 14th and 15th Brisbane Australia Southside Arnis Escrima Club

Guro Dino Flores Ilustrisimo, Lameco Seminars May 14th and 15th Brisbane Australia Southside Arnis Escrima Club is honored to be hosting Guro Dino Flores Seminars in Brisbane, Australia. The seminar will be on the highly respected Filipino Martial Systems of Kalis Ilustrisimo and Lameco. Details as follows: 1st available session Friday the 14th of May at 6pm in the Martial Arts Hall of the Sports Centre at University of Queensland St.Lucia Brisbane. The building closes up at 9pm so plan to arrive at around 5:30pm so we get a full 3 hour session in. Saturday 15th May in the same building but a different room (Multi Purpose Room) starting at 10:30am going for 3 hours. The prebooked price will be $65 per person per day. At the door price it will be $70 per person per day. Please contact me via email on alan.mcfarlane.beae@hotmail.com or Mobile (In Australia) 0466 442 913 if you wish to attend or if you have any enquiries.

Again please contact me via email on alan.mcfarlane.beae@hotmail.com or Mobile (In Australia) 0466 442 913 if you wish to attend or if you have any enquiries. Last edited by Alan McFarlane; 04-22-2010 at 12:07 AM.

Grandmaster Christopher ’Topher’ Ricketts Interview by David Foggie and Dino Flores

Grandmaster Christopher ’Topher’ Ricketts Interview by David Foggie and Dino Flores

Grandmaster Christopher ’Topher’ Ricketts Interview
Interview commenced 12 th February 2006 and conducted over a span of three months.
Los Angeles, California U.S.A.
Research & questions by David Foggie
Interviewed by Dino Flores. Answers by Master Ricketts given in Tagalog, Translation by Dino Flores.

Grandmaster Christopher N. Ricketts or ‘Master Topher ‘is Chief Instructor of Bakbakan International whose motto is “Matira Matibay” (The Best of the Best). Concerned with training and passing on his knowledge to students rather than collecting accolades and titles, Master Topher’s skills and credentials are impeccable and second to none; he is one of the best of the best.
A senior disciple of the revered Grandmaster Antonio Ilustrisimo and one of the 5 Pillars of Kali Ilustrisimo, he is the highest ranking living instructor in Lameco Eskrima, having trained personally with Grandmaster Edgar Sulite. With teaching credentials in several martial arts systems including Ngo Cho Kuen (5 Ancestor Fist), Sagasa Filipino Kickboxing as well as being a professional boxing trainer, he has dedicated his life to the martial arts and other fighting systems.
With his brother Ronnie Ricketts being a well known and respected action star in Philippine movies, Master Topher has provided his vast experience in the fighting arts to choreograph fight scenes.
Through an introduction from my teacher Grandmaster Roland Dantes in 1998, I have been fortunate to benefit from Master Topher’s extensive knowledge and experience.
Knowing the high regard my instructor, Roland Dantes and many other respected elders of FMA hold Master Topher and having witnessed his immense skills, it was an opportunity not to be missed.
When I first observed Master Topher demonstrate Kali Ilustrisimo at his home, I knew that I was in the presence of a genuine master of Kali Ilustrisimo. During our training sessions, the true scope of Master Topher’s knowledge became apparent as did his effective use of body mechanics. Under Master Topher’s instruction, I was introduced to the principles and techniques which form the foundation and in fact, the nucleus or core of Kali Ilustrisimo. With a sharp eye for perfect form and understanding, Master Topher meticulously dissected each technique and corrected even the minutest nuances until he was satisfied.
My time spent training under Master Topher has afforded me the opportunity to see the various aspects of this remarkable martial artist. A remarkable man, he is a fighter, teacher and friend to his students. Martial arts are meant to be about honor, respect, integrity, loyalty and dedication. Master Topher embodies these traits and as such, it is easy to see why Grandmaster Roland Dantes and many other highly respected masters are his friends and respect him.
It was with the approval of my teacher, Grandmaster Roland Dantes, I began studying Kali lIustrisimo under Master Topher and as such, I consider him also to be my teacher. More importantly, I consider him to be a respected, loyal and much valued friend. It is my pleasure and honor to present, Grandmaster Christopher ‘Topher’ Ricketts.
(Q) Firstly what is the history and aim of Bakbakan?
Bakbakan means something along the lines of a free for all brawl. Bakbakan was founded in 1967 by a group of instructors from various styles of martial arts in the Philippines. Prior to the organization becoming a bastion of martial arts in the Philippines, the main objective of the original members was to elevate their fighting skills through constant full contact sparring.
Originally there were only six of us: Ding Binay, Rolly Maximo, Christian Gloria, Eddie Ben Alicante, Rey Vizer and myself. We would meet at my house in San Miguel Village in Makati, where my bedroom was our original gym.
(Q) Prior to studying under Grandmaster Antonio Tatang’ Ilustrisimo did you have much exposure to FMA?
Prior to Kali Ilustrisimo my training included the Rapillon style of Mang Sciano Cleope in 1967. He was a well-known eskrimador from Quezon province of the Philippines and I was a training partner of his son, Edgar Cleope. For a little while I trained with Jimmy Gales in his arnis style which he called Sphinx. He used the centro baston (central grip) and susi (inverted grip) styles of wielding a stick. I also trained with Doc Lengson in the Arnis Federation of the Philippines style from 1973-1978.
(Q) Grandmaster Ilustrsimo is celebrated as one of the greatest masters of FMA. How did you come to know of Tatang and how did you come to be accepted as his student?
I was introduced to Tatang by my good friend Alex Co, a driving force in the Philippine martial arts world. It was the same time that I met Edgar Sulite, Yuli Romo and Tony Diego. When we met for some reason the old man took a liking to me and thus I was accepted as one of his students.
(Q) You were exposed to and had seen other systems of arnis. Why did you decide to follow Tatang? What attracted you? What made his system so different?
Various strategies attracted me to Tatang’s method, such as being direct, simple and to the point. It has very few flowery movements and there is a natural flow with continuous movement, like a real fight.
Once you truly understand the fundamentals, you respond instinctively without thought and respond appropriately to a situation. Tatang has proven this on countless occasions just as it has assisted me on occasion. It appears simple on the surface, yet in reality there is a deeper true meaning.
(Q) Being one of the senior disciples of Tatang, what can you tell us about his method of instruction? Were his teaching methods structured or unstructured? What was the teaching progression?
A true practitioner of Kali Ilustrisimo will have totally instinctive reaction with no set pattern. Tatang never responded the same way to the same angle of attack. He movements were so natural and a wonder to behold.
Tatang did not teach you in the traditional sense. If you simulated an attack angle, he would instinctively (and painfully) respond. It was up to you to understand and absorb the techniques used. There was no progression, forms or structure. The main structures and progressions being taught to the public these days are individual interpretations of the original 5 pillars of Kali Ilustrisimo. The 5 pillars of Ilustrisimo being Tony Diego, Yuli Romo, Rey Galang, Edgar Sulite and myself.
After Tatang’s death, all kinds of people came out of the woodwork making all manner of claims on how the old man moved. Fortunately I am in possession of hundreds of hours of video footage taken of Tatang in action over a period of 15 years. It can confirm and dispute many of the claims out there based on this evidence. Anybody who doubts this is welcome to view the archives. Let your own eyes be the judge.
(Q) Having received your training before the system was systematized and being one of the people responsible for structuring the material, what are the good and bad points of each method of instruction?
Before systemization, Ilustrisimo’s art was still raw and pure. Almost virgin like, as prior to our pursuit it was only revealed in a real situation. It was free of showmanship, direct and purely functional for combat; however it was difficult to learn and always painful, as you usually had to get hit for the technique to be revealed. Only those with time, dedication and a high threshold for pain and tolerance were able to eventually understand Ilustrisimo’s methods.
The good points about systemization is that it is easier to teach and a lot less painful! Keep in mind though that systemization by someone other than the founder is their own interpretation. This can be seen in the different way each of the five pillars of Ilustrisimo teaches the art. There are many similarities but there are also differences, reflecting the experience of each individual. Tatang was one of a kind; that will likely never be replicated.
(Q) Could you please share with us the primary fighting strategies of Kali Ilustrisimo?
Some of the primary fighting strategies of Kali Ilustrisimo include: de cadena, sak sak, bagsak, and V-strike. These are mainly finishing moves, as in a real blade confrontation it is over quickly.
(Q) The techniques of Kali Ilustrisimo are noticeably sword based, whereas many styles are either stick based or evolved to being stick arts. What is your view?
Kali Ilustrisimo is definitely a sword-based art; even the stick is treated as a sword. Kali means sword in one of the dialects of the Philippines, thus Kali Ilustrisimo means the sword of Ilustrisimo. The rattan stick is a training device that represents the sword.
(Q) What about the claim sticks can be replaced by swords and it is the same?
There is no doubt that they are both deadly weapons. However, there are differences. In non-bladed arts, practitioners tend to grab to grab the stick in a way that if it were a blade, they would surely be cut. In non-bladed tournaments the participants hit each other just as much as they get hit. There is no respect for the weapon or defense. In a bladed match, they would both be dead. Maybe it is good for a sport, but not for the bladed arts, as long as the distinction is made.
(Q) Tatang knew Felicisimo Dizon and his student, Angel Cabales who went on to become the founder of Serrada Escrima. Did he talk of them and if so, what can you tell us?
Punong Guro Edgar G. Sulite asked this question of Tatang before he died. A student of ours, Steve Tarani, was present while I filmed the interview. With respects to the departed, I will leave it at that.
(Q) Did Floro Villabrille study with Tatang? Is it true that he was Tatang’s nephew?
Floro Villabrille married a niece of Ilustrisimo. He was a student. I will leave it at that.
(Q) Do you think Tatang was trying to develop and instill specific qualities in his students?
Tatang was a pure fighter. He had little interest in teaching. It was not until he was in his 80s and retired that he started teaching in Luneta Park. He only taught to get a little spending money for extra curricular fun.
As for developing and instilling specific qualities in his students, Tatang couldn’t care less. His main concern was it saved his life on his many adventures as a merchant marine and guerilla fighter in World War II.
(Q) It is said you were instrumental in introducing sparring into Kali Ilustrisimo and provided much advice from your experience to help develop your fellow students’ skills. Is that correct?
Prior to me joining the Ilustrisimo’s core group, sparring was done only occasionally. I insisted it be done regularly, which we usually did at my house. My experiences in full contact martial arts sparring and ring boxing assisted greatly in developing this aspect.
(Q) During your time training under Tatang, what was the emphasis during your training with him?
The emphasis was on spontaneity and pain. One of us would simulate an attack, he would instinctively and painfully react, and then during our free time we would try and decipher what we had seen. Because there was no curriculum, we had to learn techniques by experiencing them.
(Q) Tatang’s timing was remarkable to watch.
Even in his old age, Tatang’s timing was remarkable. In all my eskrima experience, none have come close.
( Q) There have been discussions about which is the correct name of Tatang’s system: Kali Ilustrisimo or Kalis Ilustrisimo. Through the years I have heard it referred to as Olistrisimo (an acronym of the words olisi meaning stick and the Ilustrisimo name).Would you like to comment on this?
During the whole time I was training, I never heard Tatang use any of these terms. The five pillars referred it as Kali Ilustrisimo only so we could have something to call it. Tatang had no name for the art in my observation. It was only after his death that all these other versions began to surface.
(Q) Do you think Tatang would be happy with the way Kali Ilustrisimo has spread? How do you see the future of the system?
I think Tatang would be saddened that politics has infected our group. When it was still the core group, practice was fun for many years. None of us were doing it for self-promotion or ego inflation. It was like a family. It was not until people who were not in the original group made their way in. This is where the problems began. Unfortunately, there will always be people that exist who will say or do anything to become “famous”.
(Q) What can you tell us about Tatang? History, stories, etc?
This could be a rather lengthy answer worthy of volumes. Perhaps I will write a second book on Kali Ilustrisimo to answer these questions.
(Q) Melacio and Regino Ilustrisimo were the uncles of Tatang. What do you know of their styles and were they the same as Tatang?
I did not meet the uncles of Antonio Ilustrisimo personally. However, during his research for his landmark book, ‘Masters of Arnis, Kali and Eskrima’, Edgar Sulite met them both on Bantayan Island. According to Edgar, their styles, although founded upon the same root system, were now different. In other words, Tatang’s style had evolved through a lifetime of actual combat experience throughout the Philippines and the world.
(Q) Tatang was greatly respected for his combat skills. During your time with him, did you ever witness him being challenged or having to use his skills?
Tatang was respected by all. I never witnessed anyone dare challenge him.
(Q) You were very close to Tatang. What are some of your fond memories of him and your time together?
There are so many. Very few had the privilege to spar Tatang regularly as I did, but there is one occasion I will not soon forget.
In general, Tatang was a respectful gentleman. However, on this particular day I kept telling Tatang that he was not able to hit me. I was doing this in order to see how the old man would press his attack and possibly reveal some new strategies and techniques; a
sacrifice so to speak. Immediately Tatang stood up and began striking me in the head. He quickly feinted left, and then suddenly struck me in the right eye with an inside De Cadena attack. Tatang struck me so hard I actually believed he had knocked my eye ball out and so I dropped to the ground in search of my eyeball! When I realized my eye was still intact, I stood up and Tatang asked if I was okay. When I said I was fine, without hesitation he continued his barrage of attacks upon me. Tatang was always willing to fight to the end, even in training sessions. Now that he has gone, even the painful memories have become fond memories.
(Q) The lutang (floating) footwork of Grandmaster Antonio Ilustrisimo is very unique. What can you tell us about it?
Lutang means to float and it is a unique footwork of Tatang’s. It involves temporarily being on one foot while the other leg “floats”. Although it looks unusually elegant, it can generate tremendous power and reach. It also allows you to move in and out and then back in from various ranges of combat in an instant. Classic Tatang; simple yet sophisticated, beautiful but deadly.
(Q) In a nutshell, what are the differences in how you learnt from Tatang and how you teach today?
Throughout the years up until his death, I was constantly learning, dissecting, experimenting, analyzing and observing his movements. After Tatang’s death, I continued to do the same with what I had retained. Now I have come a full circle back to his original techniques: minimal, uncomplicated, and effective. When I went back and reviewed the hundreds of hours of film archives on Tatang, it confirmed that I am on the right path. And still in wonder of my teacher’s abilities.
(Q) Would you say the teaching progression you developed has fine-tuned the manner in which the art is taught to the students?
My teaching progressions teach a student to instinctively react with the techniques of Ilustrisimo. However, it is not something you learn overnight.
(Q) How do you ensure the students receive and grasp the essence of the art?
Research, review, dissect, spar and dedicated practice, practice, practice.
(Q) You are renowned for placing emphasis on physical conditioning. What led you to this?
My experience as a professional boxing trainer when I had a stable of fighters and the intense workouts of Doc Lengson’s KAFEPHIL style were what led me to appreciate the importance of physical conditioning.
(Q) Dr. Guillermo Lengson was a remarkable man. How did you come to study under him?
During the KAFEPHIL days, I was introduced to Doc by an instructor under him, Chito Santos. Doc took a liking to me and adopted me in a way. I not only look to him as a teacher, but also a father figure.
(Q) From your experience, what are the facts and myths of edged weapons and defending against them?
If you have the option to run, run. 99% of the time you’ll get cut, especially with the style of blades today. If you have no other option but to engage, be direct and finish quickly. Plus, always remember that even if your opponent dead or dying, they will still likely be thrusting and slashing their weapon.
(Q) What is your approach to defending against edged weapon attacks? Can there be too many drills taught?
Drills are always good to condition your movements and mind. As long as your honest with yourself and realize that actual combat is a lot simpler, direct, and bloodier than drills.
(Q) What is the emphasis in your teaching?
My emphasis is on constant repetition of basic techniques and sparring.
(Q) You adhere to a very practical approach in your training as well as your teaching. How do you view and approach teaching stick and knife disarms?
Simplicity. Never wrestle for a disarm. Never look for a disarm. Only do it if an opportunity arises. Always treat the weapon as a blade.
(Q) It is better to possess an understanding of the general principles of disarming?
Yes, knowledge is power. Better to have something, than nothing. Just be realistic about what would actually work.
(Q) You were a close friend of PG Edgar Sulite. How did you meet him and do you have any fond memories you would like to share?
Edgar G. Sulite was one of my closest friends. I met him through another close friend of mine, Alex Co, a pioneer publisher in the Philippines of martial arts books and magazines. Alex asked me to check whether Edgar was the real McCoy because Edgar wanted to discuss the publication of a book. After meeting Edgar, I reported that he was indeed the real thing and the rest is history. Alex ended up publishing all three of Edgar’s books: Secrets of Arnis, Advanced Balisong and Masters of Arnis, Kali and Eskrima.
The Masters of Anis, Kali and Eskrima was a landmark book because it was the first time a researcher traveled throughout the entire Philippines to research the art and publish it in a book. It revealed many relatively unknown systems to the world and opened many doors for future researchers and practitioners. I am happy to have been a participant in bringing these projects to light.
(Q) What was it like training with PG Sulite? Was Lameco Eskrima founded at the time?
Lameco Eskrima was already founded at the time. However it was still evolving and Kali Ilustrisimo was the finishing touch. Training with Edgar was fun and enlightening for the both of us and we became training partners. There were lots of live and instinctive drills. Constant research, experimentation and sparring, sparring, sparring. We had lots of painful bumps and bruises because back then we had no safety gear. It was very educational for the both of us.
Punong Guro Edgar G. Sulite was a true scholar, gentleman and warrior.
(Q) With the unfortunate passing of PG Sulite, you became the highest ranked black belt in Lameco Eskrima. Are you presently teaching the system?
No. I will leave the future to his son, Edgar Sulite Jr. He is my official appointed heir to the Lameco Eskrima International system. Edgar Sulite Jr trained under me for many years in the Philippines while his father was in the USA preparing for the eventual arrival of the family. I trust Edgar Sulite Jr. to make many wise decisions. He is like family to me.
(Q) You are close friends with my teacher, Master Roland Dantes and I know the respect he has for yourself and Bakbakan. How did you meet and I believe you have some memories of your competition days.
I met Master Roland Dantes in my KAFEPHIL days when I was young. His brother Johnny Pintoy, was a champion in the tournament circuit. The first time I met Master Roland Dantes, he was a judge on the first ever televised karate versus boxing match in which I was representing karate. There was some controversy concerning illegal biting and elbows. Regardless of the outcome, Master Roland Dantes gained my respect and made an impression on me as someone who was humble and fair, regardless of his fame and status. We have been close friends ever since.
(Q) During your decades of martial arts training, you have studied and become proficient in several systems including boxing. Why?
I am a true lover of the warrior arts from forms to practical applications. I do it because I truly enjoy it. Boxing has some of the best full contact, conditioning and training methods that exist.
(Q) Did you encounter difficulty learning and then applying the different techniques and concepts?
No not at all. I enjoy every aspect of learning.
(Q) In your years of teaching, do you feel that students want the fast service approach, i.e., quickly moving through the material?
I have never experienced it personally. Usually when students want to learn from me they know I mean business and they in turn must be committed and dedicated. Otherwise, I will just refer them to someone else.
(Q) Are you concerned that with the proliferation of unqualified teachers attempting to cash in on the popularity of FMA, the true intention of the art will be lost?
Naturally I am concerned with the preservation of all the arts in their purest form. Personally, my main concern is with Kali Ilustrisimo. After the death of Tatang, many people suddenly appeared claiming to represent Kali Ilustrisimo. These people are mainly good at talking and making theories. However, this is not enough. You must also practice Tatang’s real techniques and be able to apply them.
Many people are good at talking, but when it comes to sparring they either decline or perform very badly. Unfortunately, there are people exploiting the Ilustrisimo name but are actually teaching their own personal vision. When teaching you must make the distinction between your version and the original. If people are not honest and this keeps up, the art will continue to be watered down and may eventually be lost.
Also since the passing of Tatang, there have been many people publicly proclaiming to be “certified” by Tatang. There are all manners of scenarios: some spent a week, a month or just took a photo with Tatang to become “certified”. There are very few credible martial arts that will even consider certifying anyone with even two years of dedicated training, let alone two weeks. There is even a story of people helping Tatang with his medical bills in his twilight years and thus being awarded certification for their help.
There will always be unscrupulous people that will say anything to become “known” in the martial arts, even at the expense of the art. Because of these facts, my main focus is now is concentration on Tatang’s original core techniques, the roots of his system which I always differentiate from drills developed by the five pillars. Who is to say what is original and what is not? On top of the fact I was one of his most physically dedicated students, the hundreds of hours of Tatang’s film archives that I have of him in action speak for themselves. The majority of what is being pushed as Kali Ilustrisimo was never done by Tatang. Let your eyes be the judge. Once again, personal interpretations.
Being one of the five pillars of Kali Ilustrisimo and spending countless hours with Tatang, I take great offense at the actions of pretenders. I have dedicated a good portion of my life to this art. It is a part of me. Regardless of these facts, I will always attempt to settle misunderstandings as a gentleman, first and foremost. However, if this course of action fails, I will not hesitate to settle it as an Eskrimador. It is after all, the “Warrior Arts” and not the “Verbal Debating Arts”. I have full confidence in what Tatang has passed on to me; most do not.
(Q) Would you agree the primary objective is to prepare the student to be able to defend themselves should the need arise?
In the Philippines, it is always for self-defense.
(Q) Your son Bruce is only 15, yet the accolades he is receiving from people such as GM Vicente R. Sanchez, GM Roland Dantes and GM Yuli Romo are testament to his skills. When did he start training and which combat arts is he proficient in?
Bruce began his formal training at 4 years old. He was always surrounded by the arts, as there was a gym at our house in the Philippines. Although he has trained in various arts, his specialty is Kali Ilustrisimo, which he learned under myself and Tony Diego, Sagasa Kickboxing, Thai Boxing, Western Boxing under Dodong Santa Iglesia and Ngo Cho under Alex Co.
(Q) Dr Lengson combined linear and circular movements. What can you tell us of his arnis system?
Doc Lengson started Arnis with Sinawali and Cinko Teros systems as he is from Pangasinan province in the Philippines. When he first met Remy Presas, Remy was still Balintawak and Doc was impressed with the movements and added some concepts to his system. Doc and Remy met before Modern Arnis. Most of the circular motions, he learned from Johnny Chiuten who was a kung fu and Balintawak master.
(Q) I have been told in the Philippines Dr Lengson shared his vast knowledge of sinawali and double sticks with Professor Remy Presas. Do you know if they exchanged knowledge?
Doc Lengson and Remy Presas met before the formation of Modern Arnis. They were training partners. Remy learned sinawali and Cingko Teros from Doc Lengson, which he put in Modern Arnis. Remy also learned karate from Doc Lengson, as he was considered the best in the Philippines at that time. In return, Remy taught him some of his Balintawak techniques. It was also Doc Lengson who came up with the name Modern Arnis.
(Q) Sagasa is one of Dr Lengson’s legacies. Could you explain how he came to develop Sagasa?
Doc Lengson developed Sagasa through constant full-contact tournaments with other martial arts associations. At the time, he was considered the best in karate in the Philippines. Because of this, all the other organizations would gang up on his group and go as far as the judges cheating in their decisions during tournaments. Consequently, Doc Lengson had to come up with techniques that would make it clear that they were the undisputed winner of a competition. These techniques were developed primarily through Master Johnny Chiuten and his kung fu style, in which Doc Lengson developed the training method for teaching. Initially these techniques had been secret, as Doc Lengson used it for his position in KAFEPHIL’s election through sparring. In other words, whoever won all the sparring matches among the candidates became the head of KAFEPHIL.
(Q) John Pintoy told me Dr Lengson was very knowledgeable in the area of body mechanics and emphasized the use of the hips. Did he stress this in your training and how important do you think it is for the student to comprehend the significance of body mechanics?
The emphasis was always on the hips and always exaggerated, so to the untrained eye it would look unusual. All real power comes from the hips and not just for attacking, but also evading and defending.
(Q) The intensive drills, which are called series, develop and refine coordination, power and reflexes. Were these developed by Dr Lengson?
Doc Lengson developed the Sagasa series in collaboration with Johnny Chiuten.
(Q) How did Dr Lengson influence the drills and curriculum of Bakbakan?
Sagasa Kickboxing is one of the core systems of Bakbakan. Among other things, it led Bakbakan to emphasize practical and functional techniques with full contact sparring. It also underlined the importance of the hip and body placement in sparring.
(Q) Though you yourself have competed in various forms of competitions, do you believe FMA competition can develop bad habits?
Yes. Most tournaments forget about defense and just press the attack. They get hit as many times as they hit with little respect for the weapon. They rarely do the art justice. A tournament with protective gear can be good as long as the rules, judges and participants respect the true capabilities of a live weapon at all times. Another way to rectify this is to remove the helmet and other protective gear and use a full live stick. But how many people are willing to do that?
(Q) You are known and respected as someone who has used his skills in dangerous street situations. How did these experiences alter your approach to martial arts?
I am now more practical than realistic. When I was young, I practiced controlled sparring and pulled my punches. I used to think that was it until I found out the hard way in a street fight.
(Q) What changes did you make as a result of these street fights?
Constant repetition of basics, regular full-contact sparring and honesty with yourself.
(Q) As someone respected for their fighting ability, how do you prepare students to take their skills from the class and apply them effectively in the street?
Constant repetition of basics, regular full-contact sparring and honesty with yourself.
(Q) I know and agree with your emphasis concentrating on drilling the basics. What is the emphasis and aim of your teachings?
For a student to be able to eventually naturally execute a technique correctly without thought. Become an instinctive fighter.
(Q) You have trained elite military units. Do you believe arnis serves as a practical combat method in these modern times?
Yes. Technology may change and sometimes even fail, but the physical human body is the same.
(Q) Both Bruce and you have been involved in the film industry through your brother Ronnie Ricketts. What can you tell us about this?
My brother Ronnie is an actor, director and has a production company. Whenever he has the opportunity he promotes the Filipino warrior arts in his movies.
(Q) The future of Bakbakan will definitely be in good hands.
All I can do is my best.
(Q) Bakbakan is respected worldwide for its integrity in the promotion of the combative arts of the Philippines. You should be very proud.
Yes. I am very proud and humbled at how well we are received around the world.
(Q) You recently relocated to the USA. Are you presently teaching and how has Kali Ilustrisimo been received?
I am currently teaching in the United States and have recently done seminars in California and Nevada. I am assisted by my son, Bruce and Dino Flores of Lameco Eskrima SOG. Dino has been training under me since 1997, after the passing of his teacher and my friend Edgar Sulite. Presently I am offering small group and private lessons, as well as seminars.
Kali Ilustrisimo is being very well received as most of the participants have heard of it. Once they experience it in person, it usually is an eye-opener for practitioners of many styles. It is especially an eye-opener for those who have “supposedly” been learning Kali Ilustrisimo.
(Q) When I was training under you in the Philippines, you stressed you only teach Kali Ilustrisimo. Does this still hold true?
Yes.
(Q) Do you teach Lameco Eskrima and/or Bakbakan Kali (Ilustrisimo)?
No I don’t.
(Q) What is the difference between Kali Ilustrisimo as you teach it and Bakbakan Kali (Ilustrisimo)?
The difference is Kali Ilustrisimo is Topher Ricketts and Bakbakan Kali is Rey Galang’s.
(Q) You will be visiting Australia to conduct seminars. What can attendees expect?
I’ll be there soon. Expect Kali Ilustrisimo in its most combative, practical and purest form.
(Q) Master Topher, thank you very much.
Walang anuman. You are welcome and thank you for your support and interest in the warrior arts of the Philippines.

http://mandirigma.org/?p=42

What Makes A Grandmaster? By Punong Guro Edgar G. Sulite

This article was reprinted from Masters of Arnis, Kali and Eskrima published by Bakbakan International. More information about the book can be obtained by sending an email to Mrs. Felisa Sulite at info@lamecoeskrima.com.
Thursday, September 29th, 1994




What Makes A Grandmaster?
By Punong Guro Edgar G. Sulite


To be recognized as a Grandmaster or Master of combat arts in the Philippines, you must have made your reputation and show mental maturity and physical age. Grandmasters question the rankings of other grandmasters.

Masters and grandmasters are criticized and questioned regarding their skills and abilities. Who bestowed their title? Do they have enough skills for the titles they carry? How many years have they been practicing the art? How old is he? How many followers and students does this man have?
In other martial arts, the attainment of a certain level automatically designates the title Master or Grandmaster. In the Philippines, there are certain norms to be satisfied before one can be called and accepted as a Master or Grandmaster.

A master of the art must be a master of himself. He must be in control. His daily life epitomizes a man in control of his life, his destiny. A master of the art must know his art, its origins, its history, its philosophy. He must know the techniques, the interplay of techniques, and the reversals of techniques.
A master must know the basics, the intermediate forms and techniques, and the advance levels of the art. Mastery of the art does not only mean so many years in the art, but the amount of experience using the art, one’s personal evolution within the art and personal dedication and contribution to the art.
A master of the art must know how to teach and impart knowledge from the art. He must be able to communicate, elaborate and present the art in such a way that each student learns on a personal basis. Each instruction is adapted to the learning process and ability of the student. A master must be a real maestro, a real teacher.

A master of the art must be of good character. He should epitomize the qualities of a leader, the majesty of a noble, and the courage and strength of a warrior.

A master of the art is called and acknowledged a Master by other masters, never by himself.

Punong Guro Edgar G. Sulite
Lameco Eskrima
(September 25, 1957 – April 10, 1997)

http://mandirigma.org/?p=347

Guro Dino Flores Seminar: Madrid, Spain. A finales de Junio 2011 Workshop con armas blancas con Guro Dino Flores – conocido como uno de los peleadores más técnicos y avanzados del grupo SOG de LAMECO y KALIS ILUSTRISIMO

 

 

Guro Dino Flores Seminar: Madrid, Spain. A finales de Junio 2011 Workshop con armas blancas con Guro Dino Flores – conocido como uno de los peleadores más técnicos y avanzados del grupo SOG de LAMECO y KALIS ILUSTRISIMO

A finales de Junio 2011 Workshop con armas blancas con Guro Dino Flores – conocido como uno de los peleadores más técnicos y avanzados del grupo SOG de LAMECO y KALIS ILUSTRISIMO (Sulite Original Backyard Group)

http://www.kali-jeetkunedo.com/6noticias.html

Interested contact with Sifu Tim Fredianelli 615308348
Space must be reserved in advance for these courses, places are limited to ensure quality.
Special rates and privileges for members only at our school