Kapisanang Mandirigma Member Guro Ariel Flores Mosses to teach at Jeff Speakman’s 5.0 Fighter Event, Las Vegas, Nevada, USA. June 27-30 – 2013

ariel flores mosses, kali, arnis, eskrima, www.mandirigma.org, www.backyardeskrima.com, manaois escrima, speakman

Kapisanang Mandirigma Member Guro Ariel Flores Mosses to teach at Jeff Speakman’s 5.0 Fighter Event Kapisanang Mandirigma Member Guro Ariel Flores Mosses to teach at Jeff Speakman’s 5.0 Fighter Event Las Vegas, Nevada, USA. June 27-30 – 2013         … [Read more...]

Laban Laro – Invitation Only Sparring, June 22nd. Aranda/Ricketts Memorial Gym

Final Laban, GM Ricketts, PG Sulite, Guro Brandon Ricketts, Guro Dino Flores, Guro Bud Balani, Guro Ariel Flores Mosses, Ilustrisimo, Lameco, Bakbakan Philippines, Kali, Kalis, Arnis, Eskrima, Escrima,

Laban Laro - Invitation Only Sparring, June 22nd. Aranda/Ricketts Memorial Gym An Event Honoring the Sparring Tradition Founded by the Five Pillars of Ilustrisimo and the Original Bakbakan Philippines. Participating Organizations: Bakbakan Philippines - USA HQ,  Ilustrisimo USA, Lameco SOG, Kapisanang Mandirigma. Event Supervised by: Guro Brandon Ricketts, Guro Bud Balani, Guro Ariel Flores Mosses,  Guro Dino Flores.   … [Read more...]

Kapisanang Mandirigma presents an Introductory Course in Backyard Lameco Eskrima. JULY 14th till AUGUST 17th, 2013, Los Angeles, California.

http://mandirigma.org/, http://backyardeskrima.com/, dino flores, guro dino flores, kali, kalis, arnis, eskrima, escrima, fma, lameco, ilustrisimo, sulite, ricketts, luzon, visayas, mindanao, kampilan, balisong, kris, rattan

Kapisanang Mandirigma presents an  Introductory Course in Backyard Lameco Eskrima.                                                                                     JULY 14th until AUGUST 17th, 2013, Los Angeles, California. This course will introduce you to the the Foundations and Combat Applications of Lameco Eskrima, the Philippine Warrior Art System founded by Punong Guro Edgar Sulite. Class will focus on core Lameco “Eskrima Drills” and “Kali Drills”. Classes will be conducted primarily by Guro Dino Flores. Classes will be kept small in order to ensure quality instruction.
This is a very rare opportunity. These classes are only held when time permits. This course also serves as a prerequisite to any future classes that are only open to members and individuals that have completed this course. For further course details go to: http://backyardeskrima.com and email us directly from the “Contact” page. Please give us a little background on yourself when requesting information. Maraming Salamat. … [Read more...]

The FMA Informative publishes Master Tony Diego & Kalis Ilustrisimo Special Issue, March 2013

master diego fma digest ilustrisimo kalis ilustrisimo eskrima escrima arnis

The FMA Informative publishes Master Tony Diego & Kalis Ilustrisimo Special Issue, March 2013   http://www.fmainformative.info/Informative_Issues/2013/FMA_Informative-Issue67.pdf http://www.fmainformative.info/Informative_Issues/past_informative-issues.html Informative Issue No #67 Kalis Ilustrisimo The FMA Informative publishes Master Tony Diego & Kalis Ilustrisimo Special Issue, March 2013 Master Antonio “Tony” Diego When Master Tony moved to Manila, he trained in the Balintawak style of Arnis with the Eskrimadors from Cebu while he was working at the docks and at the same time training with Berting Presas (Modern Arnis) in Quiapo, a district of Manila. Soon after, he met Antonio “Tatang” Ilustrisimo in 1974. Tatang’s simple but ferocious style greatly impressed him. He then requested Tatang to teach him. At first Tatang would not teach Master Tony, explaining that it was only for his use alone! He said he remained undefeated because others do not know his style. Master Tony, far from being deterred, relentlessly pestered Tatang with attention and gifts until the old man finally agreed to teach him the ways of the blade. As a teacher of Eskrima, Master Tony has earned the highest reputation as a person and as an instructor. He fully believes that a student who learns the Ilustrisimo system should give credit where credit is due, and not to learn and then claim it or its derivatives as a personal innovation or declare it as coming from an imagined family tradition. Compared with Tatang, Tony teaches almost the same way with the exception that he has structured his instruction procedures into sets of techniques which make learning easier. This comes from having seen it from the student’s point of view. Tony has insisted on maintaining the purity of the system as Tatang taught it. The only change is the way the Ilustrisimo system is now taught in a structured sense, which Tatang did not. Any Questions Contact: Ms. Peachie Baron-Saguin at: peachiebaron@yahoo.com ———————— Kalis Ilustrisimo in its Pure Form Kalis Ilustrisimo in its pure form tries to maintain the life and death combative perspective and ex- presses this point of view in its techniques and their applications. There has been also a need to enter the Filipino martial arts world, which has a greater emphasis on the sports aspect. For this, Ilus- trisimo methods and techniques have perforce been modified in order to keep within the structure of the necessary constricting rules of sports. These rules are meant for the safety of participants and life and death combat movements are illegal. This is true for other ing, etc. Because of the greater emphasis on sports in the present Filipino martial arts community, students are more – keen on learn- ing techniques believing these will enhance their skill and their chances of winning competitions. In contrast, instruction in Ilustri- simo is based on the foundational combat philosophy of Antonio “Tatang” Ilustrisimo when teach- ing the techniques and their appli- cation. This point of view delin- eates objectives which give rise to the movements or techniques necessary to achieve such objec- The original main objective of Tatang’s fighting system is win- ning in battle and coming out of it alive and unhurt. For this, a flexi- ble fighting capability is necessary. Thus the Ilustrisimo system has a varied set of techniques which are effective at various distances and with various weapons all the way to empty hands. In using Kalis Ilustrisimo they use what one would call fraction (Master strikes at the student according to numbers). The Master strikes the student first countering the strikes one through twelve strikes, Abierta: Compared with Tatang, Master Tony teaches almost the same way with the exception that he has structured his instruction procedures into sets of techniques which make learning easier. This comes from having seen it from the student’s point of view. Master Tony has insisted on maintaining the purity of the system as Tatang taught it. … [Read more...]

Kapisanang Mandirigma Spain

Spain Eskrima School kali arnis escrima kalis fma ilustrisimo lameco ricketts sulite

Kapisanang Mandirigma Spain Representative Tim B. Fredianelli is the Kapisanang Mandirigma Spain Representative. He is in the process of obtaining his Level One Trainer Credentials. He can be contacted at: tim.fredianelli@facebook.com +++++++++++++++++++ About Tim B. Fredianelli: Tim B. Fredianelli is Assistant Instructor iin Jeet Kune Do under Sifu Tim Tackett and Sifu Bob Bremmer, Certified Knife Expert under Hock Hocheim, 2ºdan Black Belt in Kick Boxing, was a senior member of the Instituto de Kali Jun Fan in Madrid for 11 years training in Inosanto Kali and Muay Thai, and Wing Chung, Jun Fan and Jeet Kune Do. Has more than 25 years of experience in martial arts. Was the first to train and promote Lameco and Kalis Ilustrisimo in Spain, and has been promoting and training Lameco and Kalis Ilustrisimo since 2003. He now trains a small group of dedicated students in all these arts. http://www.kali-jeetkunedo.com/7instructor.html   … [Read more...]

Imprinting Andres Bonifacio: The Iconization from Portrait to Peso by The Malacañan Palace Library

Andres_Bonifacio_photo

Imprinting Andres Bonifacio: The Iconization from Portrait to Peso by The Malacañan Palace Library   The face of the Philippine revolution is evasive, just like the freedom that eluded the man known as its leader.   The only known photograph of Andres Bonifacio is housed in the Archivo General de Indias in Seville, Spain. Some say that it was taken during his second wedding to Gregoria de Jesus in Katipunan ceremonial rites. It is dated 1896 from Chofre y Cia (precursor to today’s Cacho Hermanos printing firm), a prominent printing press and pioneer of lithographic printing in the country, based in Manila. The faded photograph, instead of being a precise representation of a specific historical figure, instead becomes a kind of Rorschach test, liable to conflicting impressions. Does the picture show the President of the Supreme Council of the Katipunan as a bourgeois everyman with nondescript, almost forgettable features? Or does it portray a dour piercing glare perpetually frozen in time, revealing a determined leader deep in contemplation, whose mind is clouded with thoughts of waging an armed struggle against a colonial power? Perhaps a less subjective and more fruitful avenue for investigation is to compare and contrast this earliest documented image with those that have referred to it, or even paid a curious homage to it, by substantially altering his faded features. This undated image of Bonifacio offers the closest resemblance to the Chofre y Cia version. As attested to by National Scientist Teodoro A. Agoncillo and the National Historical Commission of the Philippines, it is the image that depicts the well-known attribution of Bonifacio being of sangley (or Chinese) descent. While nearly identical in composition with the original, this second image shows him with a refined–even weak–chin, almond-shaped eyes, a less defined brow, and even modified hair. The blurring of his features, perhaps the result of the image being timeworn, offers little room for interjection. In contrast, the next image dating from a February 8, 1897 issue of La Ilustración Española y Americana, a Spanish-American weekly publication, features a heavily altered representation of Bonifacio at odds with the earlier depiction from Chofre y Cia. This modification catered to the Castilian idea of racial superiority, and to the waning Spanish Empire’s shock–perhaps even awe?–over what they must have viewed at the time as indio impudence. Hence the Bonifacio in this engraving is given a more pronounced set of features–a more prominent, almost ruthless jawline, deep-set eyes, a heavy, furrowed brow and a proud yet incongruously vacant stare. Far from the unassuming demeanor previously evidenced, there is an aura of unshakable, even obstinate, determination surrounding the revolutionary leader who remained resolute until his last breath. Notice also that for the first (although it would not be the last) time, he is formally clad in what appears to be a three-piece suit with a white bowtie–hardly the dress one would expect, given his allegedly humble beginnings. Given its printing, this is arguably the first depiction of Bonifacio to be circulated en masse. The same image appeared in Ramon Reyes Lala’s The Philippine Islands, which was published in 1899 by an American publishing house for distribution in the Philippines. The records of both the Filipinas Heritage Library and the Lopez Museum reveal a third, separate image of Bonifacio which appears in the December 7, 1910 issue of El Renacimiento Filipino, a Filipino publication during the early years of the American occupation. El Renacimiento Filipino portrays an idealized Bonifacio, taking even greater liberties with the Chofre y Cia portrait. There is both gentrification and romanticization at work here. His receding hairline draws attention to his wide forehead–pointing to cultural assumptions of the time that a broad brow denotes a powerful intellect–and his full lips are almost pouting. His cheekbones are more prominent and his eyes are given a curious, lidded, dreamy, even feminine emphasis, imbuing him with an air of otherworldly reserve–he appears unruffled and somber, almost languid: more poet than firebrand. It is difficult to imagine him as the Bonifacio admired, even idolized, by his countrymen for stirring battle cries and bold military tactics. He is clothed in a similar fashion to the La Ilustración Española y Americana portrait: with a significant deviation that would leave a telltale mark on succeeded images derived from this one. Gone is the white tie (itself an artistic assumption when the original image merely hinted at the possibility of some sort of neckwear), and in its stead, there is a sober black cravat and even a corsage on the buttonhole of his coat. Here the transformation of photograph to engraving takes … [Read more...]

Origin of the Symbols of the Philippine National Flag by The Malacañan Palace Library

pinoy flag

Origin of the Symbols of the Philippine National Flag by The Malacañan Palace Library Aside from the Masonic influence on the Katipunan, the design of the Philippine flag has roots in the flag family to which it belongs—that of the last group of colonies that sought independence from the Spanish Empire at the close of the 19th century, a group to which the Philippines belongs. The Presidential Communications Development and Strategic Planning Office traces the origins of the Philippine flag’s design elements, which have been in use since General Emilio Aguinaldo first conceived them—the stars and stripes; the red, white, and blue; the masonic triangle; and the sun—and have endured since. Source: http://malacanang.gov.ph/3846-origin-of-the-symbols-of-our-national-flag/     … [Read more...]

The FMA Informative publishes Punong Guro Edgar G. Sulite and Master Christopher Ricketts Memorial Seminar Special Issue, March 2013

The FMA Informative publishes Punong Guro Edgar G. Sulite and Master Christopher Ricketts Memorial Seminar Special Issue, March 2013 kali arnis eskrima kalis

The FMA Informative publishes Punong Guro Edgar G. Sulite and Master Christopher Ricketts Memorial Seminar Special Issue, March 2013 The FMA Informative was very lucky to be able through the cooperation of Guro Dino Flores to be able to bring just a hint of the knowledge that was put forth and the skills that were demonstrated on March 16 and 17, 2013. At the Lameco S.O.G and Kali Ilustrisimo Memorial Seminar the instructors were the dedicated instructors of Punong Guro Edgar G. Sulite and Master Christopher Ricketts. They were: Guro Dino Flores, Guro Bud Balani, Guro David Gould, Guro Bong Hebia, Guro Ariel Flores Mosses, and the son of Master Christopher Ricketts Guro Brandon Ricketts. First you will read about the participant Dr. Bryan Stoops reflections on his experience in the 12 Week Backyard Lameco Eskrima course and the 2 day Lameco S.O.G and Ilustrisimo Eskrima Seminar. Then on another aspect Guro David Gould his thoughts on the 2nd Lameco Eskrima “SOG” Memorial Seminar held in Los Angeles, California. Visit www.fmainformative.info and download a copy. Download a copy - www.fmainformative.info/Informative_Issues/2013/FMA_Informative-Issue68.pdf   … [Read more...]