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Movie: Amigo (2010)

Amigo is a 2010 American drama film written and directed by John Sayles.
The film takes place in the Philippines in 1900 during the Philippine–American War. It is one of only a small handful of films directed by an American to address the war.

Plot
Amigo centers on Rafael Dacanay, cabeza of the barrio of San Isidro in a rice-growing area of Luzon. His brother Simón, head of the local guerilla band, has forced the surrender of the Spanish guardia civil outpost and charged Rafael with the task of imprisoning the guardia Captain and the barrio’s Spanish friar, Padre Hidalgo, in the name of the revolutionary government. But when the American troops chasing General Aguinaldo arrive, the Spanish officer and Padre Hidalgo are freed, and a garrison under the command of Lieutenant Ike Compton is left to ‘protect’ the barrio. The American occupation policy now changes from ‘hearts and minds’ to ‘concentration’ (what was called ‘hamletting’ during the Vietnam war) and Rafael has to answer to both the Americans and the Filipino patriots, with deadly consequences.

Cast

•    Chris Cooper as Col. Hardacre
•    Garret Dillahunt as Lt. Compton
•    DJ Qualls as Zeke
•    Yul Vàzquez as Padre Hidalgo
•    Joel Torre as Rafael
•    Lucas Neff as Shanker
•    James Parks as Sgt. Runnels
•    Dane DeHaan as Gill
•    Stephen Taylor as Pvt. Bates
•    Rio Locsin as Corazon
•    Jemi Paretas as Zuniga
•    Bill Tangradi as Dutch
•    Bembol Roco as Policarpio
•    Ronnie Lazaro as Simon
•    Irma Adlawan as Josefa

Press

Cinematical reports that the film was once titled Baryo, and that the idea for it came from a yet-to-be-published novel Some Time in the Sun, detailing U.S. imperialism in the Philippines. The book will actually be called A Moment in the Sun, though the unrealized screenplay which inspired it was called Some Time in the Sun.

Distribution

Amigo will show on September 14 at the 2010 Toronto International Film Festival. It will also screen at the San Sebastián International Film Festival and the Rio de Janeiro International Film Festival.
In North America, the film will be released on August 20, 2011 by Variance Films.

From Wikipedia

Guro Dino of the Mandirigma Research Organization met Professor Angel Postigo and his father on one of his many business trips to Los Angeles from Mexico. Professor Postigo is a person with a very impressive resume in the warrior arts and journalism, among other things, having written for Artes Marciales, Katana, Kung Fu Magazine, Legitima Defensa and National Sports Directory of Mexico. They found that they both have a passion for history and its relationship to the warrior arts. Some of the discussions they had concerned the connections between the Philippines and Mexico for hundreds of years. Professor Postigo felt that mandirigma.org would be an excellent venue to present his articles of this often overlooked relationship between the Philippines and Mexico in history. Quoting Professor Postigo, “The reason why I am interested in working with “mandirigma.org” is to showcase my work as a writer interested in disseminating and spreading the culture of the Martial Arts of the Philippines, work that I have done in several Mexican magazines.”

Friday, October 12th, 2007
The Two Conquests
By Angel Postigo

Suddenly, the ascent they had begun at the beach, finally ended. Thousands of miles behind, their guides had led them to cross between those two volcanoes, the Popocatepetl and the Iztacihuatl. Standing in the snow, those iron men and their heraldic horses had that spectacle at their feet: beyond this wooded spot of splendid beauty, far beyond, into those mountains, a wide green valley was extended, and in the center the lakes shined like silver, and above the islands and the banks, those citadels with plazas and wide roads, the high roofs of its temples upon splendid hand-painted pyramids, and the woods and great fields full of exotic plants that enlightened those magic days of autumn. For the first time, western men looked at that wonderful landscape, as if painted on the evening air, and their eyes glowed as they contemplated the plain and remembered the gold and sacred feathered presents they had been offered as a plead to retire, to stay away.

Cortes and his soldiers had started the advance to that plain, to Tenochtitlan, and the battles were about to begin. The great lord of the empire, Moctezuma II, intelligent and educated man, though deeply superstitious as most of his people, knew that his kingdom had come to its end. The news had spread as a desperate scream: Quetzalcoatl has returned, the Serpent God that promised to return in the year one, Acatl (1519), the prophecies are fulfilled now, the white-skinned bearded God has returned. Moctezuma knows a battle against a God is impossible, he has to have the help of other gods in order to save his nation.

Being Cortes an extremely skillful politician and warrior, he perceives the rivalries between the different towns, and above all, the exacerbated hate against the Mexicas and their Aztec empire.

Cortes returned to Tenochtitlan, not before suffering a defeat known as the Sad Night, when fallen and surrounded he was spared as many soldiers thanks to the tradition of not killing the enemy, just defeating them to take some prisoners for the ritual sacrifices. According to the number of prisoners, those warriors, Eagle men and Jaguar men, ascended in their military ranges. They were true conquerors who went further their frontiers of Guatemala, but their conquest had seeded rancor against the Aztec empire. Their armies were the best armed and trained. They had a regular troop, Yaoquizquel, and a lower but considerable number of noble warriors, Pipiltin, who belonged to a society known as the Eagle men, Quauhtin, and Jaguar men, Ocelomeh. Their elegant clothing had the skins of those felines and the feathers of those sacred birds. They were the sons of nobles who went to the Calmecac to receive military and cultural education, they learned astronomy, rhetoric, poetry, but above all, religion, and their status was well established, and how they could ascent according to their bravery, but above all, to the number of prisoners caught in battle. The Tlamani were the ones in charged of guarding the prisoners. This noble warriors, elegantly dressed, had as their main weapons the Macuahuitl, a kind of long club with sharp obsidian points, a round shield made of leather named Chimalli, an arc known as Tlauitolli, and a throwing spear, Atlatl.

As he walks through many different spots of this empire, Cortes realizes the situation. In some places he has battles, but in others he comes to agreements easily, accomplishing an alliance in the first year of his arrival, and after establishing the Villa Rica de la Vera Cruz. One of the alliances was with the Zapoteca people, and afterwards, with others oppressed by the Aztec empire, the Texcocanos, the Huejotzincas and the Totonacas.

Cortes starts his first march towards Mexico, Tenochtitlan, on August 16th, 1519, towards the heart of the empire. He has only 400 Spanish soldiers, 15 horses, 3 canons, but the amazing number of 13,000 Totonaca warriors, and others from other alliances.

Meanwhile, on August 10th of the same year, five ships set sail from Sevilla, Spain, in search of new routes, sailing to the Pacific Ocean. From these ships, only one returned to the old continent. Don Fernando de Magallanes, captain of the expedition, dies on April 27th, 1521, with many of his men; the place of his death, a small island called Mactan, in the archipelago that later would be named Filipinas, in honor of Felipe de Second, King of Spain. A noble and chief of this island, Lapu Lapu, with his Mandirigma warriors, armed with their Kampilan, Sibat, Olisis, and their devastating fighting techniques, were able to resist that first battle. Thanks to the huge number of Filipino warriors, that first attempt of conquest was stopped.

In that same year, 1521, in the beginnings of January, Cortes has duplicated his number of warriors in Mexico after his first incursion and defeat. Thanks to his new, more powerful allies, the Tlaxcaltecas, who built those 12 canoes that Cortes needed for the final assault to the Tenochtitlan islet, on April 16th, the Spanish and native armies entered Xochimilco, close to the great Tenochtitlan, being this the final battle. On August 13th, Cuautemoc, the last Aztec emperor, is taken prisoner, thus ending the war and starting the real conquest of Mexico.

Time has passed, and the relationship between the nations of Mexico and Filipinas seems forgotten, but both nations were conquered by the same culture, by the same religion.

With the need of knowledge and investigation of the different Filipino combat systems, their structure and origin, we have found interesting data that came from important libraries of Spain, a country where these two nations were connected, not only by the Nao de la China, that Spanish ship which set sail in Manila, Filipinas, and passed through certain spots of the far East till it reached port in Acapulco, Mexico; those trips lasted from 1565 to 1815, and while they lasted, these two nations interchanged merchandize, traditions and combat strategies.

Many were the conquering expeditions that the Spanish crown sent from the new continent harbors, many set sailed from Mexico, in ships built by the hands of old allies and Aztec slaves. One of this expeditions, the one captained by Ruy Lopez de Villalobos, set sail in 1542, arriving to Luzon, Filipinas, in 1543, and among the troops there were the first mixed-blooded people. Despite the 24 pages document that the Real Audience of Mexico gave to Captain Legazpi, in which codes, rules and behavior norms were specified, and we can read in them that ìit wonít be allowed in any case that natives, blacks, men or women, married or single, go on board of these shipsî, we know it was not like that.

It was Miguel Lopez de Legazpi, setting sail in 1564 from Navidad harbor in the State of Jalisco, Mexico, and with his mixed-blooded troops, who accomplished the colonization of the Filipinas islands, and established spots like the Villa del SantÌsimo, Nombre de Jesus and the Villa de San Miguel, today Cebu City.

In 1566, the San Geronimo galleon arrives, and the rout is established. In 1567, 2100 Spanish conquerors and Mexican soldiers, those previous allies, all under the orders of the King, arrived to Cebu and built San Pedro harbor and fortress, which became the spot of commerce with Mexico and also the protection spot against native rebellions, thus starting the true conquest of the Filipinas, and followed the conquest of the rest of the islands, Panay, Masbate, Mindoro and finally Luzon.

Thus the events took place. Those once allies, confronted each other for the conquest of these islands, face to face, first as enemies, then as conquerors. The Spanish people and the tribes of the Filipinas interchanged, during those many encounters, their culture and combat strategies, hence a theory we will leave for further investigation: that the combat arts of the American natives and mixed-blooded were confronted in a moment in history, and the ones they came to know first were those of the Filipino combat.

Roland Dantes plays an avenging hero, who defeats the forces of oppression with the power of Arnis!

Roland Dantes plays Ben, a farm boy who comes into conflict with the Evil Spanish Governor and his two sons. One of the sons is played by a young Dean Stockwell. To assist in their oppression the Governor hires a Samurai played by Hiroshi Tanaka to teach his son the Japanese Katana sword. To counter this, Ben studies under a blind Franciscan monk to obtain some advanced fighting secrets and develop his warrior senses. Additionally Ben must search for the legendary “Iron Reed”. A mystical stick so strong that grows in the lava of an active Volcano.

One of the first full length movies featuring the Philippine Warrior Arts. A must see for any Filipino Martial Arts practitioner. Made in a similar spirit of the “Kung Fu” movies coming out of Hong Kong at the same time in the 1970′s. The fight scenes were choreographed by Professor Remy Presas himself and is jam packed with Arnis inspired fight scenes. Dean Stockwell learned Arnis for his role and continued his Arnis practice long after the filming was over.

The success of this movie led to a follow up film “Arnis: Sticks of Death” in 1984 also starring Roland Dantes.

Director: Luis Nepomuceno
Country: Philippines
Language: English
Release Date: 1974 (Philippines)

Stars: Roland Dantes, Dean Stockwell, Hiroshi Tanaka, Nancy Kwan, Guy Madison, Alejandro Rey, Gilbert Roland, Elizabeth Oropesa, Fred Galang, Gloria Sevilla, Vic Diaz, Cole Mallard

Los Angeles – Historic Filipinotown Chapter of Lameco SOG

By Mandirigma.org

Lameco SOG members including: Joel Adriatico, Roger Agbulos, Jason Ancheta, Hospecio “Bud” Balani Jr., Ron Balicki, Rem V. Cruz, Marc F. Denny, Mar Elepaño, Bryant Emerson, Choy Flores, Dino Flores, Dave Gould, Steven Grody, Elmer R. Hebia, Sung Han Kim, Eric Dupois Koh, Arnold A. Noche, Lowell Pueblos, Gary Quan, Phillip Rapagna, Pantaleon “Mang Leo” Revilles, Jr. (RIP), Hans Anton Tan, Steve Tarani, Pelix Velenciar and Rodney Wilson. The group occasionally gets together to train or collaborate. Many are busy with heading their own organizations.

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). 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. A few of these members to teach the public, however most prefer to keep their knowledge a private matter.

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 trained under Master Rickets in Ilustrisimo and recognized him as the highest ranking Lameco Eskrima Member. With the tragic passing of Master Ricketts, the highest ranking Lameco Eskrima Member is currently Master Rey Galang

Above is the largest Filipino-American mural in the U.S.A.  located in Historic Filipinotown, Los Angeles. Painted by Eliseo Art Silva. The mural measures 145 feet x 25 feet. The mural was created in commemoration of the Centennial of the Philippine Revolution against Spain

The Philippines, circa 1765 (Bellin)

Who Discovered the Philippines?

PerryScope
Perry Diaz, Global Balita

Philippine history books have been saying that Ferdinand Magellan discovered the Philippines. But was he really the one who discovered the Philippines?

Long before Magellan landed in the Philippine archipelago, visitors and colonizers from other lands had come to our shores.  The earliest evidence of the existence of modern man — homo sapiens sapiens — in the archipelago was discovered in 1962 when a National Museum team led by Dr. Robert Fox uncovered the remains of a 22,000-year old man in the Tabon Caves of Palawan.  The team determined that the Tabon Caves were about 500,000 years old and had been inhabited for about 50,000 years.

In the late 1990s, Jared Diamond, Professor of Geography at UCLA and winner of the Phi Beta Kappa Award in Science, and Peter Bellwood, Professor of Archaeology at the Australian National University, postulated that the Austronesians had their roots in Southern China.  Diamond said that they migrated to Taiwan around 3,500 B.C.  However, Bellwood believed that the Austronesian expansion started as early as 6,000 B.C.  Around 3,000 B.C., the Malayo-Polynesians — a subfamily of the Austronesians — began their migration out of Taiwan.  The first stop was northern Luzon.  Over a span of 2,000 years, the Malayo-Polynesian expansion spread southward to the rest of the Philippine archipelago and crossed the ocean to Celebes, Borneo, Timor, Java, Sumatra, Malay Peninsula, and Vietnam; westward in the Indian Ocean to Madagascar; and eastward in the Pacific Ocean to New Guinea, New Zealand, Samoa, Fiji, Marquesas, Cook, Pitcairn, Easter, and Hawaii.  Today, the Malayo-Polynesian speaking people have populated a vast area that covers a distance of about 11,000 miles from Madagascar to Hawaii, almost half the circumference of the world.

In 2002, Bellwood and Dr. Eusebio Dizon of the Archaeology Division of the National Museum of the Philippines led a team that conducted an archaeological excavation in the Batanes Islands, which lie between Taiwan and Northern Luzon.  The three-year archaeological project, financed by National Geographic, was done to prove — or disprove — the “Out of Taiwan” hypothesis for the Austronesian dispersal.  The archaeological evidence that they gathered proved that the migration from Taiwan to Batanes and Luzon started about 4,000 years ago.  For the next 500 years after the arrival of the Malayo-Polynesians in Batanes and Northern Luzon, native settlements flourished throughout the archipelago.

The Philippine islands’ proximity to the Malay Archipelago, which includes the coveted Moluccas islands — known as the “Spice Islands” — had attracted Arab traders who had virtual monopoly of the Spice Trade until 1511.  By the 9th century, Muslim traders from Malacca, Borneo, and Sumatra started coming to Sulu and Mindanao. In 1210 AD, Islam was introduced in Sulu.  An Arab known as Tuan Mashaika founded the first Muslim community in Sulu.   In 1450 AD, Shari’ful Hashem Syed Abu Bakr, a Jahore-born Arab, arrived in Sulu from Malacca.  He married the daughter of the local chieftain and established the Sultanate of Sulu.

In the early 16th century, Sharif Muhammad Kabungsuan, a Muslim preacher from Malacca arrived in Malabang in what is now Lanao del Sur and introduced Islam to the natives.  In 1515 he married a local princess and founded the Sultanate of Maguindanao with Cotabato as its capital.  By the end of the 18th century, more than 30 sultanates were established and flourished in Mindanao.  The Sultanates of Maguindanao and Sulu were the most powerful in the region.  Neither of them capitulated to Spanish dominion.

Chinese traders — who were also involved in the Spice Trade — started coming to the Philippine archipelago in the 11th century.  They went as far as Butuan and Sulu.  However, most of their trade activities were in Luzon.

In 1405, during the reign of the Ming Dynasty in China, Emperor Yung Lo claimed the island of Luzon and placed it under his empire. The Chinese called the island “Lusong” from the Chinese characters Lui Sung.  The biggest settlement of Chinese was in Lingayen in Pangasinan.  Lingayen also became the seat of the Chinese colonial government in Luzon. When Yung Lo died in 1424, the new Emperor Hongxi, Yung Lo’s son, lost interest in the colony and the colonial government was dissolved.  However, the Chinese settlers in Lingayen — known as “sangleys” — remained and prospered.  Our national hero Dr. Jose P. Rizal descended from the sangleys.

The lucrative Spice Trade attracted the European powers.  In 1511 a Portuguese armada led by Alfonso d’Albuquerque attacked Malacca and deposed the sultanate. Malacca’s strategic location made it the hub of the Spice Trade; and whoever controlled Malacca controlled the Spice Trade.  At that time, Malacca had a population of 50,000 and 84 languages were spoken.

It is interesting to note that in 1515, Tome Pires — the apothecary of Portuguese Prince Alfonso and author of Suma Oriental (Eastern Account) — during his travel to Malacca, wrote: “The [Luzones] are almost one people, and in Malacca, there is no division between them…They were already building many houses and shops. They are a useful people; they are hardworking… In Minjam, near Malacca, there must be five hundred Luzoes, some of them important men.”  It would seem to me that those 500 Luzoes (Luzones) were the first recorded Overseas Filipino Workers (OFWs).

One of the officers under d’Albuquerque was Ferdinand Magellan.  Magellan stayed in Malacca for a few years and spent some time reconnoitering the surrounding areas.  He had an idea.  He returned to Portugal to convince the Portuguese king to subsidize an expedition to find a westward route to the Spice Islands.  The Portuguese king rejected his proposal and he went to Spain to get support from the Spanish king.  He succeeded in convincing the Spanish king.

In 1519, Magellan sailed westward from Seville in search of the Spice Islands.  On March 16, 1521 — on the Feast of St. Lazarus — he landed in the Philippine archipelago.  He named the archipelago “Islas de San Lazaro” and claimed it for the King of Spain.

What Magellan found in the Philippines were a peaceful people with all the trappings of a civilized society.  When he arrived in Cebu, the Cebuanos welcomed him and his party, and lavished them with hospitality.  The Cebuanos were easily converted to Christianity and they pledged allegiance — without bloodshed — to the king of Spain.  However, Lapu-Lapu, the chief of the neighboring Mactan island refused to pledge allegiance to the Spanish king.

On April 27, 1521, irked by Lapu-Lapu’s rejection, Magellan attacked Mactan.  Lapu-Lapu and his warriors met them on the shores of Mactan.  Magellan was killed in battle; thus, ending his dream of reaching the Spice Islands by way of a westward route. History has been kind by crediting him for the “discovery” of the Philippines… or rather it should it be the re-discovery of the Philippines.

###

NOTE: I originally published this article on April 13, 2007. With the reenactment of the Balanghai expedition, there is growing interest in pre-Hispanic Philippine history. Like someone one said, “Know history, know self.”

Contrary to popular belief, Philippine resistance to American rule did not end with the capture of Emilio Aguinaldo in 1901. There were numerous resistance forces fighting for Philippine independence until the year 1910. One of these forces was led by Macario Sakay who established the Tagalog Republic.
Born in 1870 in Tondo, Macario Sakay had a working-class background. He started out as an apprentice in a calesa manufacturing shop. He was also a tailor, a barber, and an actor in comedias and moro-moros. His participation in Tagalog dramas exposed him to the world of love, courage, and discipline.
In 1894, Sakay joined the Dapitan, Manila branch of the Katipunan. Due to his exemplary work, he became head of the branch. His nightly activities as an actor in comedias camouflaged his involvement with the Katipunan. Sakay assisted in the operation of the Katipunan press. During the early days of the Katipunan, Sakay worked with Andres Bonifacio and Emilio Jacinto. He fought side by side with Bonifacio in the hills of Morong (now Rizal) Province.
During the initial stages of the Filipino-American war, Sakay was jailed for his seditious activities. He had been caught forming several Katipunan chapters and preaching its ideals from town to town.

Republika ng Katagalugan
Released in 1902 as the result of an amnesty, Sakay established with a group of other Katipuneros the Republika ng Katagalugan in the mountains of Southern Luzon.

Sakay held the presidency and was also called “Generalisimo.” Francisco Carreon was the vice-president and handled Sakay’s correspondence. Julian Montalan was the overall supervisor for military operations. Cornelio Felizardo took charge of the northern part of Cavite (Pasay-Bacoor) while Lucio de Vega controlled the rest of the province. Aniceto Oruga operated in the lake towns of Batangas. Leon Villafuerte headed Bulacan while Benito Natividad patrolled Tanauan, Batangas.

In April 1904, Sakay issued a manifesto stating that the Filipinos had a fundamental right to fight for Philippine independence. The American occupiers had already made support for independence, even through words, a crime. Sakay also declared that they were true revolutionaries and had their own constitution and an established government. They also had a flag. There were several other revolutionary manifestos written by the Tagalog Republic that would tend to disprove the U.S. government’s claim that they were bandits.

The Tagalog Republic’s constitution was largely based on the early Katipunan creed of Bonifacio. For Sakay, the new Katipunan was simply a continuation of Bonifacio’s revolutionary struggle for independence.

Guerilla tactics
In late 1904, Sakay and his men took military offensive against the enemy. They were successful in seizing ammunition and firearms in their raids in Cavite and Batangas. Disguised in Philippine Constabulary uniforms, they captured the U.S. military garrison in Parañaque and ran away with a large amount of revolvers, carbines, and ammunition. Sakay’s men often employed these uniforms to confuse the enemy.

Using guerrilla warfare, Sakay would look for a chance to use a large number of his men against a small band of the enemy. They usually attacked at night when most of the enemy was looking for relaxation. Sakay severely punished and often liquidated suspected collaborators.

The Tagalog Republic enjoyed the support of the Filipino masses in the areas of Morong, Laguna, Batangas, and Cavite. Lower class people and those living in barrios contributed food, money, and other supplies to the movement. The people also helped Sakay’s men evade military checkpoints. They collected information on the whereabouts of the American troops and passed them on. Muchachos working for the Americans stole ammunition and guns for the use of Sakay’s men.

Unable to suppress the growth of the Tagalog Republic, the Philippine Constabulary and the U.S. Army started to employ “hamletting” or reconcentration in areas where Sakay received strong assistance. The towns of Taal, Tanauan, Santo Tomas, and Nasugbu in the province of Batangas were reconcentrated. This cruel but effective counter-insurgency technique proved disastrous for the Filipino masses. The forced movement and reconcentration of a large number of people caused the outbreak of diseases such as cholera and dysentery. Food was scarce in the camps, resulting in numerous deaths.

Meanwhile, search and destroy missions operated relentlessly in an attempt to suppress Sakay’s forces. Muslims from Jolo were brought in to fight the guerrillas. Bloodhounds from California were imported to pursue them. The writ of habeas corpus was suspended in Cavite and Batangas to strengthen counter-insurgency efforts. With support cut off, the continuous American military offensive caused the Tagalog Republic to weaken.

Fall of Sakay
While all of these were going on, the American leader of the Philippine Constabulary, Col. Harry H. Bandholtz, conceived a plan to deceive Sakay and his men. He would later be quoted as saying that the technique involved “playing upon the emotional and sentimental part of the Filipino character.”

In mid-1905, the American governor-general of the Philippines, Henry Ide, sent an ilustrado named Dominador Gomez to talk to Sakay. Gomez presented a letter from the American governor. The written statement promised that if Sakay surrendered, he and his men wouldn’t be punished or jailed. Moreover, Gomez assured Sakay that a Philippine Assembly comprising of Filipinos will be formed to serve as the “gate of kalayaan.”

Sakay took the bait, went down from the mountains, and surrendered on July 14, 1906.

On July 17, Sakay and his staff were invited to attend a dance hosted by the acting governor of Cavite. Just before midnight, they were surrounded, disarmed, and arrested by American officers who were strategically deployed in the crowd. Sakay and his men were brought to the Bilibid Prison. They were tried and convicted as bandits.

During the trial, Gomez was not around to produce the letter from the American governor-general. He didn’t even show up and the letter had mysteriously disappeared.

Sakay was hanged on September 13, 1907. Before he died, he uttered, “Filipinas, farewell! Long live the Republic and may our independence be born in the future!”

L to R: seated, Julian Montalan, Francisco Carreon, Macario Sakay, Leon Villafuerte; standing, Benito Natividad, Lucio de Vega.

Sakay and many of his followers favored long hair, certainly something strange for his era. This affectation may have been exploited by the Americans in their efforts to portray Sakay and his men as wild bandits preying on the simple folk of the countryside. Even today, many in the Tagalog area (most of whom have never heard of Macario Sakay) refer to a man with long hair as “someone who looks like Sakay.” This is, perhaps, a testimony to the effectiveness of the American propaganda campaign.

This vest with all its religious figures and Latin phrases belonged to Macario Sakay. It was his anting-anting and protected him from bullets and other hazards of war.

Many Filipinos who participated in the fight against Spain and the United States used anting-antings of all types for personal protection.

This is the author’s impression of what Sakay’s Republika ng Katagalugan flag must have looked like. There are no available pictures of the flag; this reconstruction was based on a written description.

Further reading:

1. Abad, Antonio K. General Macario L. Sakay: Was he a bandit or a patriot? Manila: J.B. Feliciano & Sons, 1955.
2. Constantino, Renato. The Philippines: A past revisited. Quezon City: Tala Publishing,1975.
3. Ileto, Reynaldo C. Pasyon and revolution: Popular movements in the Philippines, 1840-1910. Quezon City: Ateneo de Manila University Press, 1979.

(This article was originally presented by the author to PHGLA on 8/12/95.)

To cite:
Flores, Paul. “Macario Sakay: Tulisán or Patriot?” in Hector Santos, ed., Philippine Centennial Series; at http://www.bibingka.com/phg/sakay/. US, 24 August 1996.

Flag Illustration from http://www.watawat.net/

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. )

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

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.

Lameco SOG – Kapisanang Mandirigma

The Los Angeles – Historic Filipinotown Chapter of Lameco SOG – Kapisanang Mandirigma includes Guros Joel Adriatico, Hospecio “Bud” Balani Jr., Mar Elepaño, Choy Flores, Dino Flores, Arnold A. Noche, Gary Quan and Hans Anton Tan . It is also this core group that came up with the term “SOG” with the guidance and approval of the two highest-ranking Lameco Eskrima International members, Master Christopher N. Ricketts (RIP) and Master Reynaldo S. Galang. We are still in touch with the other Lameco SOG members (who are also very busy heading their own organizations) with whom we occasionally get together with to collaborate or socialize. The majority of us who banded together after our teacher’s death continue to do so since 1997.

When Punong Guro passed away, the members unified to keep his teachings and vision alive in ways besides the commercial route. Hence, we began volunteering / teaching a youth program in the Los Angeles Historic Filipinotown area. The program, which started in 1999, teaches Lameco Eskrima, Filipino Martial Arts, Philippine Culture and History as a diversion for ‘at risk youths’ from the temptations of gangs and drugs.

Historic Filipinotown , located in Los Angeles’ Rampart District, is notorious for being among the highest in gang, murder and drug activity in the country since the 1960′s. In as much so, that Hollywood has portrayed it in television shows such as “Adam-12” and most recently in “The Shield” , as well as in feature films like “Training Day”. Even the video game, “Grand Theft Auto: San Andreas”, contains a story-line reminiscent of the Rampart Police Scandal of the 1990′s. It’s notoriety is also mentioned in the acclaimed literary works such as Charles Bukowskis’ “Ham on Rye” and Carlos Bulosan’s “America is in the Heart”.

The initial youth program has expanded into several other nonprofit agencies to include children, adults and seniors.* We even picked up a few awards along the way. Since then we have been involved in many aspects of the Filipino volunteer / cultural community that included being one of only two cultural groups to usher in the First Official “Filipinotown” in America– televised inside the iconic Los Angeles City Hall. Other activities include lecturing at the Filipino American National Historical Society (FANHS) Conferences and a number of prestigious universities as well and doing various newspaper, radio and television interviews in the U.S. and Philippines. To avoid typical martial arts politics, Lameco SOG members teach these Lameco Eskrima-based programs under different organizations. This has allowed us to focus on one of Punong Guro’s visions – to promote the Arts with honor and integrity. Punong Guro was passionate about his culture as a whole.

Since Punong Guro Sulite’s passing the group has continued to train together and have trained a second generation of students in the Lameco SOG method. Given the nature of our neighborhood, a number of these students have used their lessons for self-preservation with actual knife, stick and even gun situations. We have been teaching these students since they were teens. They are now adults and are now assisting us in teaching the next generation.

Kali Klub
Kali Klub, an award-winning project of Kapisanang Mandirigma, initially started
as a positive diversion against drugs and gangs for youths in the Temple-Beverly
corridor, now known as Historic Filipinotown. It is; a collaboration with several non-
profit agencies in the area such as FilAm Arts, SIPA and PWC. Now entering their 9th
year, they have expanded to teaching Children (ages 5-12), Youths (ages 13-17), Adults
(ages 18 & over) and Elders (ages 40 & Over) the Warrior Arts of the Philippines in a
non-commercial, non-political environment where art, culture and heritage are integrated
into their curriculum.
Presentations include the dedication of Historic Filipinotown at the Los Angeles
City Hall and a lecture/demo at the Filipino Historical Society Conference at Loyola
University.

Kali Klub sa FilAm ARTS – www.filamarts.org
The Association for the Advancement of Filipino American Arts & Culture
(“FilAm ARTS”) was founded in 1999 but has consistently delivered the annual
presentation of the Festival of Philippine Arts & Culture (FPAC) since their early
beginnings in 1992 and has now added two other programs: the California-statewide
Pilipino Artists Network (PAN) and the Eskuwela Kultura Neighborhood Cultural
School.
Kali Klub sa FilAm ARTS, established in 2004, is a joint project between
Kapisanang Mandirigma and the Association for the Advancement of Filipino American
Arts & Culture (FilAm ARTS) under their community-based nonprofit 501(c)(3) status.

Kali Klub sa SIPA – www.esipa.org
Founded in 1972, Search to Involve Pilipino Americans (“SIPA”) has long
established itself as a key service provider among the low-income and underserved multi-
ethnic youth and families in the Temple Beverly corridor and the Pilipino American
community of Los Angeles County. Their mission is to enhance the quality of life of the
Pilipino American community by: Supporting youth development and leadership;
Providing family programs, health and human services and affordable housing;
Facilitation of collaborative actions within multi-ethnic communities.
Kali Klub sa SIPA, established in 1999, is a joint project between Kapisanang
Mandirigma and Search to Involve Pilipino Americans (SIPA) under their community-
based nonprofit 501(c)(3) status.

Kali Klub sa PWC – www.pwcsc.org
The Pilipino Workers’ Center (“PWC”) was founded in 1997 on the idea that all
workers have a right to safe working conditions, living wages, a decent standard of living
and quality of life. Their mission is to organize Filipino Workers to collectively address
our needs and issues both in the work place and in the community.
Kali Klub sa PWC, established in 2003, is a joint project between Kapisanang
Mandirigma and Pilipino Workers’ Center (PWC) under their community-based nonprofit
501(c)(3) status.

Mandirigma Research Organization/Mandirigma.org, a project of Kapisanang Mandirigma, is a research organization dedicated to cultural research. Their focus includes preserving and promoting the Warrior Arts of the Philippines commonly known as Kali, Eskrima and Arnis. The Warrior Arts is one of the most important aspects of any society because its very nature is to defend and preserve the culture it originated from. Thus, mandirigma.org is also involved in researching  culture in issues from ancient to current. The primary objective of mandirigma.org is to do its part in keeping alive ancient knowledge and give honor to the sacrifices made by previous generations.
Using both traditional and modern methods in its work, mandirigma.org has organized, collaborated with and participated in classes, conferences, demonstrations, festivals, lectures, seminars and workshops with prominent college and community organizations. Aside from their hands-on approach, mandirigma.org utilizes multimedia technologies such as audio, desktop, video and web to reach people across the globe.
Researching since the 1970′s, mandirigma.org believes in being actively involved in giving back to the community. They have collaborated with and volunteered in various non-profit agencies. They have also arranged fundraisers in order to assist causes for indigenous tribal groups and organizations dedicated to cultural preservation in the Philippines.
Mandirigma.org believes that this expansive pursuit is at its best a collaborative effort. This has allowed mandirigma.org to meet and work with many fine individuals and organizations throughout the Philippines, the United States and the world. mandirigma.org welcomes all with an open and positive mind to participate and join them on this never-ending cultural adventure.

This humble site is dedicated to honoring the sacrifices of Filipino Warriors throughout the many generations that have come before us.
Maraming Salamat!

Sticks of Death (Arnis: The Sticks of Death)

This Filipino Martial Arts action film features Roland Dantes. Dantes plays Johnny Guerrero, a man who masters the ancient art of arnis with the help of his grandfather to get revenge on a group of crooks who attempted to beat him to death. Using two deadly sticks, slingshots, poisonous darts and more, Johnny also seeks to bring down an international drug ring and fights at a renowned arnis tournament alongside an Interpol agent.

Director: Ave C. Caparas
Release Date: 1984
Cast: Roland Dantes, Rosemarie Gil, Veronica Jones, Anita Linda, Mario Montenegro, Rusty Santos

Baybayin

Baybayin is a pre-Spanish Philippine writing system. It is a member of the Brahmic family and is recorded as being in use in the 16th century. It continued to be used during the Spanish colonization of the Philippines up until the late 19th Century.

The term Baybay literally means “to spell” in Tagalog. Baybayin was extensively documented by the Spanish. Some have attributed it the name Alibata, but this name is incorrect. (The term “Alibata” was coined by Paul Rodriguez Verzosa after the arrangement of letters of the Arabic alphabet  alif, ba, ta (alibata), “f” having been eliminated for euphony’s sake.” ) Versoza’s reasoning for creating this word was unfounded because no evidence of the baybayin was ever found in that part of the Philippines and it has absolutely no relationship to the Arabic language. Furthermore, no ancient script native to Southeast Asia followed the Arabic arrangement of letters, and regardless of Versoza’s connection to the word alibata, its absence from all historical records indicates that it is a totally modern creation. The present author does not use this word in reference to any ancient Philippine script.

Modern scripts in the Philippines, descended from Baybayin, are Hanunó’o, Buhid, Tagbanwa, the Kapampangan script and the Bisaya script.
Baybayin is one of a dozen or so individual writing systems used in Southeast Asia, nearly all of which are abugidas where any consonant is pronounced with the inherent vowel a following it— diacritical marks being used to express other vowels (this vowel occurs with greatest frequency in Sanskrit, and also probably in all Philippine languages).

The term Baybay literally means “to spell” in Tagalog. Baybayin was extensively documented by the Spanish. Some have attributed it the name Alibata, but this name is incorrect. (The term “Alibata” was coined by Paul Rodriguez Verzosa after the arrangement of letters of the Arabic alphabet  alif, ba, ta (alibata), “f” having been eliminated for euphony’s sake.” ) Versoza’s reasoning for creating this word was unfounded because no evidence of the baybayin was ever found in that part of the Philippines and it has absolutely no relationship to the Arabic language. Furthermore, no ancient script native to Southeast Asia followed the Arabic arrangement of letters, and regardless of Versoza’s connection to the word alibata, its absence from all historical records indicates that it is a totally modern creation. The present author does not use this word in reference to any ancient Philippine script.

Modern scripts in the Philippines, descended from Baybayin, are Hanunó’o, Buhid, Tagbanwa, the Kapampangan script and the Bisaya script.
Baybayin is one of a dozen or so individual writing systems used in Southeast Asia, nearly all of which are abugidas where any consonant is pronounced with the inherent vowel a following it— diacritical marks being used to express other vowels (this vowel occurs with greatest frequency in Sanskrit, and also probably in all Philippine languages).

Origins

Baybayin was noted by the Spanish priest Pedro Chirino in 1604 and Antonio de Morga in 1609 to be known by most, and was generally used for personal writings, poetry, etc. According to William Henry Scott, there were some datus from the 1590s who could not sign affidavits or oaths, and witnesses who could not sign land deeds in the 1620s. There is no data on when this level of literacy was first achieved, and no history of the writing system itself. There are at least six theories about the origins of Baybayin.

Kawi

Kawi originated in Java, and was used across much of Maritime Southeast Asia.
Laguna Copperplate Inscription.

The Laguna Copperplate Inscription is the earliest known written document found in the Philippines.
Butuan Ivory Seal

It is a legal document, and has inscribed on it a date of Saka era 822, corresponding to April 21, 900 AD Laguna Copperplate Inscription#cite note-bibingka-1. It was written in the Kawi script in a variety of Old Malay containing numerous loanwords from Sanskrit and a few non-Malay vocabulary elements whose origin is ambiguous between Old Javanese and Old Tagalog. One hypothesis therefore reasons that, since Kawi is the earliest attestation of writing on the Philippines, then Baybayin may be descended from Kawi.

A second example of Kawi script can be seen on the Butuan Ivory Seal, though it has not been dated.

An earthenware burial jar, called the “Calatagan Pot,” found in Batangas is inscribed with characters strikingly similar to Baybayin, and is claimed to have been inscribed ca. 1300 AD. However, its authenticity has not yet been proven.

Old Sumatran “Malay” scripts

Another hypothesis states that a script or script used to write one of the Malay languages was adopted and became Baybayin. In particular, the Pallava script from Sumatra is attested to the 7th century.

Sulawesi

The Liboginese and/or Makassarese scripts of Sulawesi could have been introduced or borrowed and adapted into Baybayin.

Old Assamese

Assamese is a variant of Eastern Nagari script, a precursor to Devanagari. This hypothesis states that a version of this script was introduced to the Philippines via Bengal, which evolved into Baybayin.

Cham

Finally, an early Cham script from Champa—in what is now southern Vietnam and southeastern Cambodia—could have been introduced or borrowed and adapted into Baybayin.

Characteristics

The writing system is an abugida system using consonant-vowel combinations. Each character, written in its basic form, is a consonant ending with the vowel “A”. To produce consonants ending with the other vowel sounds, a mark is placed either above the consonant (to produce an “E” or “I” sound) or below the consonant (to produce an “O” or “U” sound). The mark is called a kudlit. The kudlit does not apply to stand-alone vowels. Vowels themselves have their own glyphs. There is only one symbol for D or R as they were allophones in most languages of the Philippines, where D occurred in initial, final, pre-consonantal or post-consonantal positions and R in intervocalic positions. The grammatical rule has survived in modern Filipino, so that when a d is between two vowels, it becomes an r, as in the words dangál (honour) and marangál (honourable), or dunong (knowledge) and marunong (knowledgeable), and even raw for daw (he said, she said, they said, it was said, allegedly, reportedly, supposedly) and rin for din (also, too) after vowels. This variant of the script is not used for Ilokano, Pangasinan, Bikolano, and other Philippine languages to name a few, as these languages have separate symbols for D and R.

Two styles of writing

Pre-Spanish “style”
In the original form of the Baybayin script, a stand-alone consonant (consonants not ending with any vowel sound) cannot be indicated unambiguously; therefore, such consonants were simply not written, and the reader would fill in the missing consonants through context. For example, the letters n and k in a word like bundók (mountain) were omitted, so that it was spelled bu-do.
Virama Kudlit “style”

The original writing method was particularly difficult for the Spanish priests who were translating books into the native language. Because of this, Francisco López introduced his own kudlit in 1620 that cancelled the implicit a vowel sound. The kudlit was in the form of a “+” sign, in reference to Christianity. This cross-shaped kudlit functions exactly the same as the virama in the Devanagari script of India. In fact, Unicode calls this kudlit the Tagalog Sign Virama. See sample above in Characteristics Section.

“Nga” character

A single character represented “nga”. The current version of the Filipino alphabet still retains “ng” as a digraph, viz, a single letter composed of two characters.

Punctuation

Words written in baybayin were written in a continuous flow, and the only form of punctuation was a single vertical line, or more often, a pair of vertical lines (||). These vertical lines fulfill the function of a comma, period, or unpredictably separate sets of words.

Usage

Baybayin historically was used in Tagalog and to a lesser extent Kapampangan speaking areas. Its use spread to Ilokanos when the Spanish promoted its use with the printing of Bibles. Related scripts, such as Hanunóo, Buhid, and Tagbanwa are still used today, along with Kapampangan script. Currently, Baybayin itself is experiencing an artistic revival of sorts, used to convey a Pre-Hispanic feeling as well as a symbol of Filipino identity. Most activist groups used Baybayin as part of their logo using the script for the acronyms (such as the Baybayin K for Anakbayan) alongside the use of a baybayin-inspired latin script. Baybayin tattoos and brush calligraphy are growing in popularity. It is also used in the Latest Philippine Banknotes Issued Last Quarter of 2010. The word used in the bills was “Pilipino” and is used not only as artistic design but a security feature.

From Wikipedia

Kapisanang Mandirigma – A federation of warriors from different disciplines of the Warrior Arts of the Philippines. It is not a style, nor a representation of any singular style, but rather a federation of practitioners with similar goals to provide a vehicle for growth and personal discovery through continued training. Founded in 1998 by 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) from Lameco SOG (Sulite Orihinal Group), this unique federation has an ever-growing but extremely selective membership representing numerous progressive fighting styles. The ideas that interchange between the diverse styles and dedicated members create a dynamic foundation for continuously keeping the Warrior Arts of the Philippines alive with integrity for future generations.

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”.