2011 January

The Calatangan Pot inscription

January 28, 2011 By MO1

A new translation of the Calatangan Pot inscription The Calatangan Pot is a prehispanic (14th-16th century) artifact containing an inscription around the neck. It is said to be one of the earliest expressions of prehispanic writing in the Philippines, and there have been several attempts at translating the inscription. Rolando Borrinaga is the latest person to offer an translation of the script, based on old Bisayan and old Tagalog alphabets. An earlier attempt to decipher the Calatangan Pot incription was made by University of the Philippines’ Ramon Guillerm *** The mystery of the ancient inscription The Inquirer, 23 May 2009 AFTER 50 years of enigma, the text inscribed around the shoulder of the Calatagan Pot, the country’s oldest cultural artifact with pre-Hispanic writing, may have been deciphered as written in the old Bisayan language. Diggers discovered the pot in an archeological site in Calatagan, Batangas, in 1958. They sold it for P6 to a certain Alfredo Evangelista. Later, the Anthropological Foundation of the Philippines purchased the find and donated it in 1961 to the National Museum, where it is displayed to this day. The pot, measuring 12 centimeters high and 20.2 cm at its widest and weighing 872 grams, is considered one of the Philippines’ most valuable cultural and anthropological artifacts. It has been dated back to the 14th and 16th centuries. *** The Calatagan Pot by Hector Santos © 1996 by Hector Santos All rights reserved. http://www.bibingka.com/dahon/mystery/pot.htm In the early 1960's, an artifact was offered by treasure hunters to National Museum staff as they were working on a nearby excavation. It was the Calatagan pot, the first pre-Hispanic artifact with writing to be found. As such, it is the best known and written about among all artifacts with writing. Even at that, it is still undeciphered. Calatagan Pot The late Dr. Robert Fox brought the pot to the offices of the Manila Times to ask help from its editor, Chino Roces, in deciphering the writing around the mouth of the pot. The newspaper, as a result, commissioned the sculptor Guillermo Tolentino, an expert on Philippine syllabaries, to decipher the writing. Tolentino had a hard time with certain letters so he, as a spiritist, reportedly summoned his special powers to come up with a translation. The authenticity of the pot has been questioned since it first showed up. For one thing, no other pot has been found decorated with writing. Carbon dating was reportedly done on the pot but the results pointed to such an extremely early date that it had to be rejected. Dr. Fox wanted to do some thermoluminescence testing but didn't live to see it done. Nevertheless, the pot may still be authentic. It would have been very easy for a forger to write something decipherable on the pot, especially text which made sense. Anyone attempting to create a phony artifact would probably have done so. As it was, the strangeness of the characters and the direction of writing (or to be more precise, the direction in which the artisan wrote the letters) gives us something to think about. Juan Francisco, a respected Philippine paleographer, did some analysis of the letters in his 1973 book, Philippine Palaeography. He could not decipher the writing, however. His analysis mainly consisted of classifying the letters as curvilinear, lineo-angular, or a combination of the two. I cannot see the usefulness of such a classification because there is no benefit from its use, whether in trying to find the script's heritage or in classifying it among the known scripts of the world. His book contains good sketches of all the letters though, which makes the section on the Calatagan pot in his book not entirely useless. The writing on the pot goes around its mouth. The letters look similar to those of classic Philippine scripts (Tagalog, Tagbanwa, Buhid, and Hanunóo) but some appear to be oriented in strange ways. Some show a similarity to older scripts used in Indonesia, suggesting an earlier development of classic Philippine scripts. The symbols are divided by stop marks into six groups (which may be phrases), each consisting of five or seven symbols. Calatagan Writing What is strange and maybe significant about the writing is the apparent direction in which the artisan wrote it. A look at the pot will show that the artisan engraved the letters into the soft clay in a direction going to the left looking at the pot as it stands right side up. He apparently misjudged the length of the writing and ran out of space so that its last few letters go under the starting point. This gives us a clue as to the literacy of the artisan. We know that ALL Southeast Asian scripts share a common ancestor and were meant to be read and written from left to right. (Forget what others have said about having observed Tagbanwans writing on bamboo slats in a direction away from their body. You have seen … [Read more...]

Filed Under: Baybayin, Blades & Artifacts, Pre Colonial Philippines, Regional History Tagged With: Baybayin

Datu Lapu-Lapu/Kolipulako (1491-1542)

January 28, 2011 By MO1

Datu Lapu-Lapu/Kolipulako (1491-1542) Lapu-Lapu is considered one of the greatest figures of ancient Philippine history. Although the first thing that usually comes to mind when the name of Lapu-Lapu is mentioned is the fact that his battle with Magellan led to Magellan's death, Lapu-Lapu was not honored because of that. Rather, he is honored because he was among the first to reject submission to a foreign power even though Raja Humabon, ruler of the neighboring island of Cebu, and other chiefs recognized the king of Spain as their ruler and agreed to pay tribute. Chief Lapu-Lapu's (1491-1542) other name is Kolipulako. The hero of Mactan and conqueror of Magellan, is described as stern, proud, intelligent, unyielding. He waged continuous war against the powerful ruler of Cebu, then a very much greater kingdom than his little island of Maktang. Of him, President Gullas of the University of the Visayas writes: Lapu-Lapu is a good example of determination and willingness to work well. He learned how to ride on a horseback and on carabao proficiently at the age of six years; knew how to read and write at seven; boxed well at nine; became a champion swimmer, boxer and wrestler at eighteen; beat the Bornean marauders and pirates twice at twenty'. In the lives of men who have almost become legendary one finds it diffucult to separate fact from fiction. This must be true in the case of the material quoted above. History has it that Mactan Island although small was a thriving community when the great Magellan was in Cebu. The brave Spanish navigator and soldier, upon learning that some inhabitants on this tiny island across Cebu refused to recognize the King of Spain, burned one of the villages. Lapu-Lapu was one of he native leaders who refused to acknowledge the sovereignty of Spain over the Islands. When Magellan, with three boatloads of Spaniards and twenty boatloads of Cebuanos, went to Mactan to help a friendly chief, Lapu-Lapu and his men armed with native fighting elements, wooden shields, bows and arrows, lances, met them. The invading Spaniards and Cebuanos were driven back to their boats, but their brace leader, Magellan, met death in the hands of Lapu-Lapu. On what is believed to be the exact spot where Magellan fell and died, now stands an imposing monument in honor of the gallant explorer. In the well-kept plaza of Opon, one of the two towns on Mactan Island, stands today an inspiring monument in honor of Lapu-Lapu, considered the first Filipino to have repelled European aggression. The battle between Mactan Island Chieftain Lapu-Lapu and the Foreign aggressor Ferdinand Magellan occurred in April 27, 1521. It depicts the hero holding a bolo in one hand and a pestle on the other. Said weapons were believed to have been used during his combat with Magellan. This monument stands as a reminder of Filipino bravery. The historic battle for Mactan (Kadaugan sa Mactan) is re-enacted each year on the beach at Magellan Bay by amateur actors, providing a sponsor can be found. The Tourist Office should be able to provide you with up-to-date information. Lapu Lapu Comic by Francisco V. Coching … [Read more...]

Filed Under: General, Historic Figures, Masters and Guros, Pre Colonial Philippines, Regional History

Bakbakan Philippines and Master Christopher Ricketts

January 28, 2011 By MO1

Bakbakan Philippines and Master Christopher Ricketts Bakbakan International is a martial arts association headquartered in Manila, Philippines and founded by Christopher Ricketts in 1964. It has chapters in Australia, Canada, and the United States. It also promoted the Masters of Arnis tour in Australia that featured Christopher Ricketts, Antonio Diego, Edgar Sulite, and Rey Galang. The school teaches the following methods: • Kali Ilustrisimo, which was developed by Antonio "Tatang" Ilustrisimo. • The Tulisan Knife-Fighting System, which works as an offshoot of Kali Ilustrisimo and is based on technique rather than drill. • The Sinawali Fighting System, which emphasizes ambidexterity and weapon mastery. • Lameco Eskrima, developed by Edgar Sulite. • The Sagasa Kickboxing System, which develops coordination, power, and reflexes. • The Hagibis Combat System of close-quarter combat, which primarily emphasizes grappling, throwing, and tripping as means of disabling individual opponents where multiple opponents exist. • Ngo Cho Kun Kung Fu, which emphasizes power, stamina, and concentration. Its notable members are Tony Diego, Edgar Sulite, Alexander Co, Christopher Ricketts, Rey Galang, Dodong Sta. Iglesia, Miguel Zubiri, Doran Sordo, Ding Binay, Ronnie Ricketts, Rolly Maximo, Ramon Tulfo, Rey Dizer, Edgar Aristorenas, and Leonard A. Anderson. The organization or its senior members have been featured in or written the following published works: • September 1997 issue of Exotic Martial Arts of Southeast Asia • Filipino Martial Culture by Mark V. Wiley • Five Ancestor Fist Kung Fu by Alexander Co • Premiere Issue of Martial Arts Illustrated Magazine • Masters of the Blade by Reynaldo S. Galang • Warrior Arts of the Philippines by Reynaldo S. Galang • Classic ARNIS - The Legacy of Placido Yambao by Reynaldo S. Galang • Complete Sinawali Filipino Double Weapon Fighting by Reynaldo S. Galang • The Secrets of Kalis Ilustrisimo: The Filipino Fighting Art Explained by Antonio Diego & Christopher Ricketts • Masters of Arnis Kali & Eskrima by Edgar G. Sulite • The Secerts of Arnis by Edgar G. Sulite • Advanced Balisong by Edgar G. Sulite • Inside Kung-Fu Magazine with Edgar G. Sulite • Cinturon Negro Magazine with Edgar G. Sulite Quote from a Master Ricketts interview: Q: Firstly what is the history and aim of Bakbakan? A: "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." … [Read more...]

Filed Under: Ilustrisimo, Lameco Eskrima, Masters and Guros

Lameco Sulite Orihinal Group

January 28, 2011 By MO1

Mandirigma.org Guro Dino Flores Lameco Ilustrisimo

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. ) … [Read more...]

SANDATA — THE EDGED WEAPONS OF THE PHILIPPINES

January 28, 2011 By MO1

SANDATA — THE EDGED WEAPONS OF THE PHILIPPINES Ian A. Greaves, Jose Albovias Jr. and Federico Malibago Collectively known as “sandata,” the edged weapons of the Philippines displayed in this exhibit are more than mere artifacts. They present a tangible living connection with a culture and history that would otherwise have been forgotten. Edged weapons have played a pivotal role in the cultural development and survival of the Philippine people. For many Philippine ethnic groups, bladed weapons exist as more than just a tool of war; they are a key part of a man’s identity and daily attire. While limited in its scope to general information, history, and a description of the types of weapons in this exhibit, this article in conjunction with the exhibited items provide a glimpse into the diverse world of Philippine weaponry. We start this discussion with the physical aspects of the Philippines within the greater context of the world. We then turn to the current population breakdown of the nation, illustrating the wide variety of ethnicities and cultures present throughout Philippine history. A brief discussion of Philippine history follows, focusing on general trends and events. Finally, we discuss the edged weapons displayed in this exhibit, with brief descriptions of the ethnic groups who developed these weapons. Origins According to archeological records, the Philippines was connected to mainland Asia during the last Ice Age. As glaciation lowered sea levels, newly exposed land in the China Sea created the Sunda Shelf, a land mass that covered an area of some 1,800,000 square kilometers. This land mass enabled the present day Philippines to act as a land bridge connecting mainland Asia to Borneo, Indonesia, New Guinea, and Australia. During this period the bulk of the flora and fauna of the Philippines were introduced. Approximately 250,000 years ago the glaciers melted, and the land bridges were submerged, creating the Philippine Archipelago. Geography and Climate The Philippine Archipelago consists of roughly 7,107 islands, many of volcanic origin. It is located between three major bodies of water: to the northwest the South China Sea, to the east the Pacific Ocean, and to the south the Celebes Sea. The archipelago lies between Southern China and North Borneo, in the latitudes of 4°23’N to 21°25’N and the longitudes of 116°E to 129°E. The total area of the Philippines has a total land area of about 300,000 square kilometers of which only 19% is arable. It has an extensive coastline of roughly 36,000 kilometers. Much of the terrain is mountainous, with narrow but extensive coastal lowlands. The highest point in the Philippines is Mt Apo, located on the southern island of Mindanao, rising 2,954 meters. The Philippines is divided into three geographic areas: Luzon in the north, the Visayas in the center, and Mindanao in the south. It is further divided into 17 regions and 79 provinces. The climate of the Philippines is tropical and subject to an abundance of rain. It has three primary seasons: a rainy season during the months of June to October, a cool dry season during the months of November to February, and a hot dry season during the months of March to May. The archipelago is located astride the typhoon belt, and is normally affected by about 15 major storms each year, and hit directly by five or six typhoons. Local flooding and mud slides are major problems in the wet season. Population According to a July 2005 estimate, the Philippines currently has a population of 87,857,473 people, making it the fourteenth most populous nation. About 96% of the population is under the age of 65, with a median age of 22.7 years. The ethnic breakdown of the Filipino population, according to the latest census data, is: Tagalog 28%, Cebuano 13%, Ilocano 9%, Bisaya/Binisaya 7.6%, Hiligaynon Ilonggo 7.5%, Bicolano 6%, Waray 3.4%, and 25% are listed as “Other.” Despite the seeming dominance of Christian groups, within the category of “Other” there exist about 100 non-Christian tribal groups. According to the 2000 census, the religious makeup of the Philippines breaks down as follows: Roman Catholic 81%, Evangelical 2.8%, Iglesia ni Kristo 2.3%, Aglipayan 2%, other Christian 4.5%, Muslim 5%, Other 1.8%, Unspecified 0.6%, and None 0.1%. For various reasons it is possible that the numbers of non-Christians in the Philippines were underestimated. Language is another source of diversity among the Philippine population. The Philippines has two official languages: Filipino (which is based on Tagalog) and English. Besides the official languages there are over 500 local dialects. The eight most common are Tagalog , Cebuano, Ilocano, Hiligaynon (Ilonggo), Bicolano, Waray, Pampango, and Pangasinan. Pre-Colonial Cultural Influences Cultural diffusion among the Filipino population has been due largely to effects of regional migration through trade and settlement. While there are … [Read more...]

Filed Under: Blades & Artifacts

Anting Anting by Reynaldo S. Galang

January 28, 2011 By MO1

Anting Anting Shrouded in secrecy and mystery, the anting-anting is a subject close to the Filipino’s heart. It holds promise of invincibility, of victory and of heroic deeds. Legends have been born and men have died because of the lure of the mysterious and powerful anting-anting. The anting-anting made a resurgence into popularity in the early 70’s when the film Nardong Putik chronicling the life of the outlaw Leonardo Manecio made its debut. The hero of the film, a local Robin Hood, credited his ability to survive and escape numerous ambushes and gunfights to his anting-anting. There is much dispute as to what his anting-anting really was. Some claim it was a smooth pebble of rare and mysterious material that Nardong Putik kept under his tongue. While others say it is a 66-day old fetus that he kept in a small crystal container. Whatever his anting-anting was, Nardong Putik’s ability to elude the law and his enemies made him a legend and a hero to many people. Jikiri, the noted Muslim pirate, eluded the Philippine Constabulary and U. S. soldiers for over three years. Yet Jikiri boldly operated in broad daylight. The legendary source of his galing (gift) — an anting-anting, of course. These stories and more contribute to the growing number of legends and belief in the efficacy of the anting-anting. Combined with the equally mysterious Orascion (a special verse or prayer), warriors can be psyched to become confident and daring to undertake suicidal missions. There are many prescribed ways of acquiring an anting-anting. The easiest is to have an existing, sacred anting-anting bestowed to you as an inheritance or reward. This happens very rarely, for the agimat (amulet) is usually buried with its owner and master for continued protection against spirits from the nether world. Stealing an anting-anting makes it lose its power and is therefore a useless alternative. An anting-anting loses its power when it leaves its master’s possession without his knowledge or blessing. Various types of anting-anting can be bought at holy places but these are patay (dead/blanks) with no power whatsoever. These blanks have to undergo sacred and secret rituals to become empowered and effective. There are many different methods to make an anting-anting sagrado (sacred). The most popular day for the anting-anting to have birtud (power) is on Good Friday. This, according to legend, is when God abandons His creation and the spirits roam freely and can be lured, captured, harnessed and enslaved by the brave and mighty. Another popular occasion is at midnight during a full moon with the ritual taking place at a cross road or a cemetery with a sacrificial black cat as a bait or offering. Another kind of anting-anting, known as Mutya, comes from plants, such as a banana or a palm tree. This requires a lot of patience and diligence for one has to wait until the heart of the banana discharges its essence, a crystal clear solid drop that must not be allowed to touch the ground and must be swallowed immediately. With this captive prize, legends say that a successful and prosperous life is guaranteed. Some types of anting-anting or orascion are meant as love charms. Most are for protection — against the forces of darkness, against one’s enemies, and even against sickness. Others are for special gifts, such as the mysterious and esoteric art of Hilot (massage and healing), Hula (fortune telling) and Kulam (spells and witchcraft). However, every anting-anting and every orascion carries with it an immutable commitment. One must be prepared to perform the required rituals, the mandated daily devotion, the annual pilgrimage, to keep the birtud of the anting-anting. Man will always be fascinated with this mysterious harbinger of success, victory and protection. Many, though not all, of the Philippine Grand Masters and Masters of martial arts believe in the power and protection of the anting-anting and orascion. And everyone of these believers, without exception, recognize the value and worth of diligence, dedication and discipline in martial arts training. Like the anting-anting, the easiest way to learn a martial art is to find a good teacher, a worthy master. Someone who, like the anting-anting’s master, will pass on to you, the secret and power of his own knowledge and skills. Again, like the anting-anting, this knowledge and skill must be nurtured with diligent practice, with moral righteousness, discipline, devotion and dedication. Written by Reynaldo S. Galang Copyright © 1994, 1997 Bakbakan International … [Read more...]

Filed Under: Anting Anting, Blades & Artifacts, Filipino Martial Arts, FMA, General, Kali Arnis Eskrima Escrima, Masters and Guros, Pre Colonial Philippines, Regional History

Manila Galleon Trade, 1565 to 1815

January 28, 2011 By MO1

Manila galleon The Manila galleons or Manila-Acapulco galleons (Spanish: Galeones de Manila-Acapulco) were Spanish trading ships that sailed once or twice per year across the Pacific Ocean between Manila in the Philippines, and Acapulco, New Spain (present-day Mexico). The name changed reflecting the city that the ship was sailing from. Service was inaugurated in 1565 with the discovery of the ocean passage by Andrés de Urdaneta, and continued until 1815 when the Mexican War of Independence put a permanent stop to the galleon trade route. Though service was not inaugurated until almost 50 years after the death of Christopher Columbus, the Manila galleons constitute the fulfillment of Columbus' dream of sailing west to go east to bring the riches of the Indies to Spain, and the rest of Europe. Contents Discovery of the route The Manila-Acapulco galleon trade began when Andrés de Urdaneta, sailing in convoy under Miguel López de Legazpi, discovered a return route from Cebu City to Mexico in 1565. Attempting the return the fleet split up, some heading south. Urdaneta reasoned that the trade winds of the Pacific might move in a gyre as the Atlantic winds did. If in the Atlantic ships made a wide swing (the "volta") to the west to pick up winds that would bring them back from Madeira, then, he reasoned, by sailing far to the north before heading east he would pick up trade winds to bring him back to the west coast of North America. Though he sailed to 38 degrees North before turning east, his hunch paid off, and he hit the coast near Cape Mendocino, California, then followed the coast south to San Blas and later to Acapulco. Most of his crew died on the long initial voyage, for which they had not sufficiently provisioned. By the 18th century it was understood that a less northerly track was sufficient, but galleon navigators steered well clear of the forbidding and rugged fogbound California coast; According to historian William Lytle Schurz, "They generally made their landfall well down the coast, somewhere between Point Conception and Cape San Lucas...After all, these were preeminently merchant ships, and the business of exploration lay outside their field, though chance discoveries were welcomed". The first motivation for exploration of Alta California was to scout out possible way-stations for the seaworn Manila galleons on the last leg of their journey. Early proposals came to little, but in the later 18th century The Manila-Acapulco trade route started in 1568 and Spanish treasure fleets and its eastwards rivals, the Portuguese India Armadas routes of 1498-1640. Trade served as the fundamental source of income for Spanish colonists in the Philippine Islands. A total of 110 Manila galleons set sail in the 250 years of the Manila-Acapulco galleon trade (1565 to 1815). Until 1593, three or more ships would set sail annually from each port. The Manila trade was becoming so lucrative that Seville merchants petitioned king Philip II of Spain to protect the monopoly of the Casa de Contratación based in Seville. This led to the passing of a decree in 1593 that set a limit of two ships sailing each year from either port, with one kept in reserve in Acapulco and one in Manila. An "armada" or armed escort of galleons, was also approved. With such limitations it was essential to build the largest possible galleons, which were the largest class of ships known to have been built anywhere up to that time. In the 16th century, they averaged from 1,700 to 2,000 tons, were built of Philippine hardwoods and could carry a thousand passengers. The Concepción, wrecked in 1638, was 43 to 49 m (140–160 feet) long and displacing some 2,000 tons. The Santísima Trinidad was 51.5 m long. Most of the ships were built in the Philippines and only eight in Mexico. The Manila-Acapulco galleon trade ended in 1815, a few years before Mexico gained independence from Spain in 1821. After this, the Spanish Crown took direct control of the Philippines, and was governed directly from Madrid. This became manageable in the mid-19th century upon the invention of steam power ships and the opening of the Suez Canal, which reduced the travel time from Spain to the Philippines to 40 days. The galleons carried spices, porcelain, ivory, lacquerware, processed silk cloth gathered from both the Spice Islands, and Asia-Pacific, to be sold in the Americas, namely New Spain and Peru as well as in European markets. East Asia trading was primarily on a silver standard; the goods were mostly bought by Mexican silver. The cargoes were transported by land across Mexico to the port of Veracruz on the Gulf of Mexico, where they were loaded onto the Spanish treasure fleet bound for Spain. This route was the alternative to the trip west across the Indian Ocean, and around the Cape of Good Hope, which was reserved to Portugal according to the Treaty of Tordesillas. It also avoided stopping over at ports controlled by … [Read more...]

Filed Under: Regional History, Spanish Occupation

Punong Guro Edgar G. Sulite and Lameco Eskrima

January 28, 2011 By MO1

Punong Guro Edgar G. Sulite and Lameco Eskrima Lameco Eskrima is a highly combative form of martial arts originating from the Philippines. The ancient warrior arts of the Philippines are generally known as Arnis, Kali or Eskrima. The founder of Lameco Eskrima, the late Punong Guro Edgar G. Sulite, learned these techniques from several prominent grandmasters in the Philippines. The quest for knowledge led him on an adventure that took him throughout the Philippine islands. The result of his journey resulted in Lameco Eskrima. The word “LAMECO”  reflects the three ranges of combat. “LA” for largo or long range of combat, “ME” for medio or medium range of combat and “CO” for corto or close range of combat. The Lameco insignia represents the following: The Triangle represents the integration of the mind, body and spirit and the unity of these three elements. The Kris sword, the Balisong and the Bastons represent the Warriors of the Philippines. The Kris sword represents the island of Mindanao (Southern Philippines) where it is still used by the Muslims. The Balisong knife (butterfly knife) represents the island of Luzon (Northern Philippines) where it originated. The Baston (rattan stick) represents the islands of the Visayas (Central Philippines). The Arrows represent the flow of nature and the concept of going with the force, blending, not contradicting the laws of nature. Lameco Eskrima teaches the following Filipino weapons: Solo baston (Single stick), Doble baston (Double Stick), Espada y daga (Sword and Dagger), Solo daga (Single dagger), Doble daga (Double Dagger), Centro baston (Center stick Grip), Susi (Stick with Key Grip), Itak (Sword), Doble Itak (Double Sword), Panyo (Hankerchief), Mano y Mano and Dumog (Empty Hands). Punong Guro Sulite was also an innovator and inventor. He invented the sparring arm guard and hand guard with the assistance of master Yuli Romo. With the input of the Five Pillars of Ilustrisimo they introduced the world to hand sparring to develop accuracy, range and timing. This method has now become standard practice in numerous Eskrima Systems. Punong Guro and his fellow Pillars of Ilustrisimo initially only sparred with live rattan sticks only. Unfortunately this led to many injuries that took them out of the training that they lived for. They sought a safer alternative to spar without losing respect for the weapon by wearing too much protection. This led to the development of real rattan sticks with light padding or the padded stick used in conjunction with minimal protective gear. Thus the Backyard Curriculum consisted of Light Sparring or Hand Sparring, mid level intensity with padded sticks and minimal gear and finally Live Stick with minimal gear. It was Master Christopher Rickets that implementing sparring into the regular LAMECO curricul um. Punong Guro is the author of three books, including “Secrets of Arnis”, “Advanced Balisong” and “Masters of Arnis, Kali and Eskrima”. Punong Guro has been featured in numerous magazines such as “Inside Kung-Fu” and “Cinturon Negro” in Europe. Punong Guro is the featured instructor in several videos including “Lameco Eskrima at the Vortex”, “Laban Laro 1 & 2” and a whole series by Unique Publications. His book, “Masters of Arnis, Kali and Eskrima” was a landmark publication as it was the first  time a researcher traveled and trained throughout the Philippine islands and compiled the findings in a book. This book opened up numerous Masters and Systems to the rest of the world outside of their province of origin and influenced the majority of books that came after it. Many of the photographs that Punong Guro Sulite took for his book also appear in the the books of Master Rey Galang and Mark Wiley. Guro Dino Flores can be contacted for Classes or Seminars at mandirigma.org@gmail.com. … [Read more...]

Filed Under: Lameco Eskrima, Masters and Guros Tagged With: Lameco, Menu

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

January 28, 2011 By MO1

What Makes A Grandmaster? By Punong Guro Edgar G. Sulite To be recognized as a Grandmaster or Master of combat arts in the Philippines, you must have made your reputation and show mental maturity and physical age. Grandmasters question the rankings of other grandmasters. Masters and grandmasters are criticized and questioned regarding their skills and abilities. Who bestowed their title? Do they have enough skills for the titles they carry? How many years have they been practicing the art? How old is he? How many followers and students does this man have? In other martial arts, the attainment of a certain level automatically designates the title Master or Grandmaster. In the Philippines, there are certain norms to be satisfied before one can be called and accepted as a Master or Grandmaster. A master of the art must be a master of himself. He must be in control. His daily life epitomizes a man in control of his life, his destiny. A master of the art must know his art, its origins, its history, its philosophy. He must know the techniques, the interplay of techniques, and the reversals of techniques. A master must know the basics, the intermediate forms and techniques, and the advance levels of the art. Mastery of the art does not only mean so many years in the art, but the amount of experience using the art, one's personal evolution within the art and personal dedication and contribution to the art. A master of the art must know how to teach and impart knowledge from the art. He must be able to communicate, elaborate and present the art in such a way that each student learns on a personal basis. Each instruction is adapted to the learning process and ability of the student. A master must be a real maestro, a real teacher. A master of the art must be of good character. He should epitomize the qualities of a leader, the majesty of a noble, and the courage and strength of a warrior. A master of the art is called and acknowledged a Master by other masters, never by himself. … [Read more...]

Filed Under: Lameco Eskrima Tagged With: Lameco, Lameco Eskrima, Largo Medio Corto, Punong Guro

The Batangas Balisong Knife

January 28, 2011 By MO1

Balisong A butterfly knife, called a balisong in the Philippines, and sometimes known as a Batangas knife, is a folding pocket knife with two handles counter-rotating around the tang such that, when closed, the blade is concealed within grooves in the handles. In the hands of a trained user, the knife blade can be brought to bear quickly using one hand. Manipulations, called flipping, are performed for art or amusement. Contents Balisong While the meaning of the term "balisong" is not entirely clear, a popular belief is that it is derived from the Tagalog Language words baling sungay (literally, "broken horn"as the original balisongs were made from carved animal horns. These knives are also referred to as "fan knives" or "click clacks." The use of the balisong is so popular in the Philippines that an urban legend exists about every Batangueño carrying it everywhere he goes. They are a pocket utility knife used by people of Filipino society. They have also been used to fight duels over matters of honor, although such practices have been discontinued decades ago. History The butterfly knife appears first documented in a 1710 French book, "Le Perret", where an intricate and precise depiction of a butterfly knife is outlaid, explaining that the device was developed in the late 1600's as a utility knife. It then most likely came into popular use in the Phillipines through transference intercontinentally to Spain, which coincides with the Spanish governance of the Phillipines during that period. There is, however, myth and legend attending to the butterfly knife being an 'ancient Filipino invention dating back to 800 AD', stating it to be the most ancient of weapons of the Filipino fighting system of Eskrima but this is believed by academics and historians to be purely conjecture or urban legend. Construction There are two main types of butterfly knife construction: sandwich construction and channel construction. Sandwich constructed butterfly knives are assembled in layers that are generally pinned or screwed together. They allow the pivot pins to be adjusted tighter without binding. When the knife is closed, the blade rests between the layers. For a channel constructed butterfly knife, the main part of each handle is formed from one piece of material. In this handle, a groove is created (either by folding, milling, or being integrally cast) in which the blade rests when the knife is closed. This style is regarded as being stronger than sandwich construction. Parts Bite Handle The handle that closes on the sharp edge of the blade. Kicker (or Kick) Area on the blade that prevents the sharp edge from contacting the inside of the handle and suffering damage. Latch The standard locking system, which holds the balisong closed. Magnets are occasionally used instead. Latch, Batangas A latch that is attached to the bite handle. Latch, Manila A latch that is attached to the safe handle. Latch, Spring A latch that utilizes a spring to propel the latch open when the handles are squeezed. Safe Handle The handle that closes on the non-sharpened edge of the blade. Latch gate A block inside the channel of the handles stopping the latch from impacting the blade Tang The base of the blade where the handles are attached with pivot pins. Choil Small curve found on some balisongs just above the kicker, that allows you to sharpen the blade more easily. Swedge Unsharpened spine of the blade that is angled to appear as if it were sharpened. (many spear point balis actually have an edged side and a swedge side instead of two sharpened sides) Antique dueling balisong Balisongs are still handmade in the traditional manner in the Philippines. Such knives are referred to as "Filipino handmade" (FHM), and their quality varies greatly. The typical FHM is a sandwich style balisong made from layers of brass or aluminum sheet assembled with pins. Frequently, the handles are inlayed with scales fashioned from rosewood, bone, horn, stag, or synthetic materials. Balisongs made for the tourist trade are typically of passable quality, but are mass-produced by semi-skilled workers and lack the durability and aesthetics of a knife fashioned by an apprentice to a master craftsman. Balisongs are also called "vente nueve" (twenty-nine) for the standard twenty-nine-inch balisong. Legal status Because of its potential usage as a weapon, and possibly due to its intimidating nature and rapid deployment, it has been outlawed in several Western countries. The importation ban and widespread criminalization of the butterfly knife occurred shortly after the popular film, The Outsiders (film) (which prominently featured butterfly knives in the same manner that Rebel Without A Cause featured switchblades -- coincidentally resulting in their rapid criminalization) was released. * In Canada, the possession of a butterfly knife is illegal. * In Scotland, England & Wales, The … [Read more...]

Filed Under: Blades & Artifacts

The Sansibar Sword of Leyte

January 28, 2011 By MO1

The Sansibar Sword, sometimes mistakenly known as the Zanzibar Sword. The Zanzibar sword, which is an African sword, mainly from around the Saudi Arabian/African border line area. If there is a historical connection between the Filipino version of the Sansibar and the Zanzibar, it is presently unknown! The Sansibar was officially born in Leyte in 1881 before Spain sold the Philippines to America through a treaty. Mainly the sansibar was and still is used by the river men who cut bamboos and use it as floaters for their "bangka" or boats for local traveling. These same boatmen also travel the seas to cross to the other islands in the Philippines. That is the reason why the Sansibar design reached other islands within the Philippines. You will see various popular designs of the Sansibar sword...approximately 5 different designs in the various islands where the Sansibar had found a home. The name Sansibar was first called "pang sibak", which "pang" means "for" and "sibak" means "chop" in Filipino term. So pang sibak means "for chopping," later the term evolved into "pang sibar" which means the same in Tagalog. Other explanations are "san sibak," meaning "one" (san or isan or isang) and "chop" (sibak) so to put them two words together "san-sibak" means "one chop!" Then much later on the name sansibar was adopted even though every Filipino dialect differs in almost every island. The hearing and the pronunciation of the word "Sansibar" changed until the occupation of America began...and then the word Sansibar was used as the standard name for this particular sword design.  This history is one strong theory supported by strong beliefs of the Filipino people. Any other history of this sword is not well known because a more popular swords like the "Katipunan" and "Pinute" were used by the katipuneros. Those swords are widely used in everyday tasks as tools of survival, and the Sansibar whose image, shape and style was temporality put aside. But then again, the Sansibar was also used by many of the katipuneros for all out combat purposes due to its perfectly engineered balance. According to Punong Guro Edgar Sulite the Sansibar and Barong swords were the favorites of his teacher, the legendary Master Antonio Ilustrisimo. … [Read more...]

Filed Under: Blades & Artifacts

Majapahit Empire: 1293 – 1500

January 27, 2011 By MO1

Majapahit Empire The Majapahit Empire was an Indianized kingdom based in eastern Java from 1293 to around 1500. Its greatest ruler was Hayam Wuruk, whose reign from 1350 to 1389 marked the empire's peak when it dominated other kingdoms in the southern Malay Peninsula, Borneo, Sumatra, Bali, and the Philippines. The Majapahit empire was the last of the major Hindu empires of the Malay archipelago and is considered one of the greatest states in Indonesian history. Its influence extended to states on Sumatra, the Malay Peninsula, Kalimantan and eastern Indonesia. Historiography The detailed history of Majapahit is not very clear. he main sources that are used by historians are: the Pararaton ('Book of Kings') written in Kawi language and Nagarakertagama in Old Javanese. Pararaton is mostly about Ken Arok (the founder of Singhasari) but includes a number of shorter narrative fragments about the formation of Majapahit. Nagarakertagama, on the other hand, is an old Javanese epic poem written during the Majapahit golden age under the reign of Hayam Wuruk after which events are not so clear. In addition, there are some inscriptions in Old Javanese and Chinese records. The accuracy of all of the Javanese sources is in dispute. There is no doubt that they incorporate some non-historical, mythological elements, and some scholars such as C. C. Berg consider the entire corpus to be not a record of the past, but a supernatural means by which the future can be determined.However, most scholars do not accept this view, as the basic outline corresponds with Chinese records that could not share this intention. The list of rulers and the nature of the state, in particular, seem rather certain. After defeating Srivijaya in Java in 1290, Singhasari became the most powerful kingdom in the area. Kublai Khan, the ruler of the Chinese Yuan Dynasty, challenged Singhasari by sending emissaries demanding tribute. Kertanegara, the last ruler of Singhasari, refused to pay the tribute. In 1293, Kublai Khan sent a massive expedition of 1,000 ships to Java. By that time, a rebel from Kediri, Jayakatwang, had usurped and killed Kertanagara. Raden Wijaya, Kertanegara's son-in-law, allied himself with Yuan's army to fight against Jayakatwang. Once Jayakatwang was destroyed, Raden Wijaya forced his allies to withdraw from Java by launching a surprise attack. Yuan's army had to withdraw in confusion as they were in hostile territory. It was also their last chance to catch the monsoon winds home; otherwise, they would have had to wait for another six months on a hostile island. In AD 1293, Raden Wijaya founded a stronghold. The capital was named Majapahit, from maja (a fruit name) and pahit (or bitter). His formal name was Kerjarajasa Jayawarddhana. The new kingdom faced challenges. Some of Kertarajasa's most trusted men, including Ranggalawe, Sora, and Nambi rebelled against him, though unsuccessfully. It was suspected that the mahapati (equal with prime minister) Halayudha set the conspiracy to overthrow all of the king's opponents, to gain the highest position in the government. However, after following the death of the last rebel Kuti, Halayudha was captured and jailed for his tricks, and then sentenced to death. Wijaya himself died in AD 1309. Wijaya's son and successor, Jayanegara was notorious for immorality. One of his sinful acts was taking his own step-sisters as wives. He was entitled Kala Gemet, or "weak villain". In AD 1328, Jayanegara was murdered by his doctor. His stepmother, Rajapatni, was supposed to replace him, but Rajapatni retired from court to become a bhiksuni (a female Buddhist monk) in a monastery. Rajapatni appointed her daughter, Tribhuwana Wijayatunggadewi, as the queen of Majapahit under Rajapatni's auspices. During Tribhuwana’s rule, the Majapahit kingdom grew much larger and became famous in the area. Tribhuwana ruled Majapahit until the death of her mother in AD 1350. She was succeeded by her son, Hayam Wuruk. Golden age Hayam Wuruk, also known as Rajasanagara, ruled Majapahit in AD 1350–1389. During his period, Majapahit attained its peak with the help of his prime minister, Gajah Mada. Under Gajah Mada's command (AD 1313–1364), Majapahit conquered more territories. In 1377, a few years after Gajah Mada's death, Majapahit sent a punitive naval attack against Palembang, contributing to the end of the Srivijayan kingdom. Gajah Mada's other renowned general was Adityawarman, known for his conquest in Minangkabau. The nature of the Majapahit empire and its extent is subject to debate.[citation needed] It may have had limited or entirely notional influence over some of the tributary states in included Sumatra, the Malay Peninsula, Kalimantan and eastern Indonesia over which of authority was claimed in the Nagarakertagama. Geographical and economic constraints suggest that rather than a regular centralised authority, the outer states were most likely to have been connected mainly by … [Read more...]

Filed Under: General, Pre Colonial Philippines, Regional History

Srivijaya: A primer

January 27, 2011 By MO1

Srivijaya: A Primer - Part 1 by The Southeast Asian Archaeology newsblog Victorious is the king of Srivijaya, whose Sri has its seat warmed by the rays emanating from neighbouring kings, and which was diligently created by Brahma, as if this God has in view only the duration of the famous Dharma. - The Wiang Sa Inscription (Thai Peninsula) dated 775 AD. With a reach spanning from Sumatra and Java to as far north as the Thai peninsula and a reign of some 600 years, it’s remarkable that what is now known as the Srivijaya empire was only unearthed relatively recently. The first hint of a Sumatran-based polity was first alluded to by the eminent French scholar George Coedes 1918, based on inscriptions found in Sumatra and the Malay Peninsula. In this primer, we’ll talk about the Srivijayan empire, the extent of its influence and its eventual fall. The kingdom of Srivijaya, a name which translates to “shining victory”, was a Malay polity centred in Palembang in south Sumatra. At its height, its area of influence included neighbouring Jambi, to the north the kingdoms of the Malay Peninsula: Chitu, Pan-pan, Langkasuka and Kataha, as well as eastwards in Java, where links with the Sailendra dynasty and Srivijaya are implied. The same Sailendra dynasty was responsible for the construction of the massive Buddhist stupa of Borobudur between 780 and 825 AD. Indeed, Srivijaya was considered to be one of the major centres of learning for the Buddhist world. In the 7th century, Yijing, a Buddhist monk who travelled between China and India to copy sacred texts mentioned the high quality of Sanskrit education in Palembang, and recommended that anyone who wanted to go to the university at Nalanda (north India) should stay in Palembang for a year or two to learn “how to behave properly”. Srivijaya’s prominent role in the Buddhist world can be found in several inscriptions around Asia: an inscription in Nalanda dated 850-860 AD described how a temple was built in Nalanda at the request of a king of Srivijaya. In the 11th century, a temple in Guangzhou in China received a donation from Srivijaya to help with the upkeep. The Wiang Sa inscription quoted above recounts how a Srivijayan king ordered the construction of three stupas in Chaiya, also in the Thai peninsula. The Srivijayan empire controlled the important Strait of Melaka (Malacca) which facilitated trade between China and India. With its naval power, the empire managed to suppress piracy along the Malacca strait, making Srivjayan entrepots the port of choice for traders. Despite its apparent hegemony, the empire did not destroy the other non-Srivijayan competitors but used them as secondary sources of maritime trade. Srivijaya’s wide influence in the region was a mixture of diplomacy and conquest, but ultimately operated like a federation of port-city kingdoms. Besides the southern centre of power in Palembang, Arab, Chinese and Indian sources also imply that Srivijaya had a northern power centre, most probably Kataha, what is now known as Kedah on the western side of the Malay peninsula. Kedah is now known for remains of Indian architecture at the Bujang Valley. This was due to the invasion by the Chola kingdom from South India – an invasion which ultimately led to the fall of Srivijaya. How did this happen? Srivijaya: A Primer - Part 2 by The Southeast Asian Archaeology newsblog In the first part of Srivijaya: A Primer, we learnt about the empire’s role in controlling trade between China and India and as a Buddhist centre of learning. In this segment we learn about the fall of this once-great maritime kingdom. In the 11th century, the south Indian Tamil kingdom of Chola launched an attack on Srivijaya, systematically plundering the Srivijayan ports along the Straits of Malacca, and even captured the Srivijayan king in Palembang. The reasons for this change in relations between Srivijaya and the Cholas are unknown, although it is theorised that plunder made up an essential part of the Chola political economy. While it seemed that the Cholas only intended to plunder Srivijaya, they left a lasting presence on Kataha, the remains of which are still visible at the Bujang Valley archaeological museum. The successful sack and plunder of Srivijaya had left it in a severely weakened state that marked the beginning of the end of Srivijaya. Having lost its wealth and prestige from the Chola attack, the port cities of the region started to initiate direct trade with China, shrugging off the exclusive influence Srivijaya once held over them. Towards the end of Srivijaya’s influence, the power centre of Srivijaya began to oscillate between Palembang and neighbouring Jambi, further fragmenting the once-great empire. Other factors included Javanese invasion westwards toward Sumatra in 1275, invading the Malayu kingdoms. Later towards the end of the 13th century, the Thai polities from the north came down the peninsula and … [Read more...]

Filed Under: Pre Colonial Philippines, Regional History

Rolando Pintoy Dantes (June 15, 1944-March 16, 2009)

January 27, 2011 By MO1

Rolando Pintoy Dantes (June 15, 1944-March 16, 2009) A Filipino martial artist who trained with Remy Presas for over 30 years. He has also trained with other martial arts masters, such as Cacoy Canete and Edgar Sulite. He was deeply loved and respected by the martial arts world! Born in Cotabato, the 5’10” movie actor’s real name was Rolando Tangco Pintoy. His father, Brigadier General Climaco Pintoy, was the Military Zone Commander of the 4th Military Area, which includes Mindanao and the southern islands of Sulu and Palawan. Dantes’ father was his first instructor in art of Arnis de Mano. After his father’s death, Dantes studied Shotokan and Tang Soo do, and earned black belt ranks in both arts, and later he studied Arnis de Mano from Professor Remy Presas and other FMA (Filipino Martial Arts) grandmasters and masters. A dedicated bodybuilder, Dantes won the “Mr. Philippines” title five times: 1969, 1973, 1974, 1976 and 1980. He also placed several times in the “Mr. Universe” contest and took fifth place in the 1970 “Mr. World” contest. In 1980, he placed fifth in the World Games for Bodybuilding, and in 1982 received a Certificate of Merit from the International Federation of Bodybuilders. In the same year, Dantes received the President Marcos Gold Medal Award for Bodybuilding. This extraordinary man was one of the best-known Philippine actors who had leading roles in American films, like the internationally released movie “The Pacific Connection” which featured Nancy Kwan, Guy Madison, Alejandro Rey and Dean Stockwell, and “Delta Force 2: The Colombian Connection” with Chuck Norris. He also starred in dozens of Philippine movies such as “Arnis: The Sticks of Death”, ”Trojan Warrior”, “Tumbador”, “Under the Gun”, “Live by the Fist”, “Tiger Shark”, “Angelfist”, “Uhaw na Dagat”, “Durugin si Totoy Bato”, “Banta ng Kahapon” and several other movies made in Australia, where he later established his residence. Before becoming a movie star, Dantes was a police officer for several years in Manila. It was while majoring in Physical Education in college when he met Professor Presas, the founder of Modern Arnis. His passion for Arnis was rekindled, and Dantes became one of Presas’ top students and closest friend. Presas even choreographed his Arnis moves in most of his movies. After Dantes immigrated to America, he continued his Filipino martial arts training with the late FMA Grandmasters: Antonio Ilustresimo, Leo Gaje, Ben Lima, Johnny Chiuten , Edgar Sulite and others; and with the 88-year old living legend, Grandmaster Cacoy Canete, founder of the Doce Partes Eskrido/Eskrima system of martial arts. With his extensive martial arts and bodybuilding expertise and experience, Dantes was listed in the Philippine Martial Arts Grandmasters Hall of Fame in Florida, Martial Arts Hall of Fane in El Paso, Texas, and the Philippine Bodybuilding Hall of Fame. He held the position of Chairman of the International Affairs of Arnis Philippines and the International Arnis Federation, the officially-recognized governing body for Arnis by the Philippine government. … [Read more...]

Filed Under: Bakbakan Philippines, Masters and Guros

Guro Dino Flores – Mandirigma Research Organization Director

January 19, 2011 By MO1

Guro Dino Guro Dino Flores – Mandirigma Research Organization Director Guro Dino Flores was born in Honolulu, Hawaii . He has lived in various places including Fiji, Papua New Guinea, Australia as well as Manila and Laguna – Philippines. A glimpse into Guro Dino’s family tree finds a lineage as diverse as the Philippines itself. Ancestors ranging from Katipuneros in Bicol serving under General Simeón Ola y Arboleda the last general to surrender to American forces during the Philippine-American War, “Tulisan” in Luzon who never surrendered, Datus in Tanawan Batangas, Traditional Healers using methods such as Orasyon and Anting-Anting in Laguna, Filipino-Spanish Hacienda owners settling at the foot of Mayon Volcano in the early 1900′s after migrating from the Visayas, World War Two American Colonial Army officers fighting under General Douglas Macarthur in Bataan and Corregidor and surviving the infamous “death march” as well as Globetrotting Modern U.P. Scholars in the 1970′s reluctantly leaving the country to escape Martial Law and the possibility of being “Salvaged”. Guro Dino was first introduced  to the concept of “Arnis” and Philippine Warrior history by his father Dr. A. S. Flores in the mid 1970′s. This was done through the oral tradition, Pilipino Komiks and hard to find publications during Martial Law. His  first exposure to physical training was in the early 1980′s in Laguna Province, Philippines. Older relatives and neighbors to family ancestral lands of many generations, introduced him in backyard sessions to basic street applications and strategy of the balisong blade during stays in the Philippines. Many of these early instructors had experienced real blade situations with the scars to prove it. The first lessons were avoidance, environmental awareness and proper behavior to avoid conflict. The sad irony is that a member of this early group and a close friend has since passed away after a knife ambush by two attackers due to improper behavior. Guro Dino trained for many years with Grandmaster Conrad A. Manaois in Ninoy Cinco Teros Arnis and Master Henry Bio in Sikaran Arnis in the 1980′s along with his cousins Ariel Flores Mosses and Choy Flores. In the early 1990′s he was accepted as an initial member of Punong Guro Edgar Sulites’ newly forming Backyard Group AKA the Sulite Oriehenal Group. During the constant sparring in the Backyard he evolved from being an aggressive fighter to one who now more calm and precise. His fighting style in the early days of the the Backyard Group earned him the nickname “Aso’ng Gulo” from his fellow peers and was considered Punong Guro Sulites’ favorite backyard fighter due to the clear usage of curriculum during fighting. At the recommendation of Punong Guro Sulite, Guro Dino first visited Master Christopher Ricketts in the Philippines in 1995 and was introduced to his perspective on the Warrior Arts. Since the passing of Punong Guro Sulite, he has continuously train in Kali Ilustrisimo Under Master Christopher Ricketts, who gave Guro Dino permission to teach his method before his passing. Guro Dino was the Lameco representative for Master Ricketts and a member of Bakbakan Philippines sponsored by Master Ricketts. Guro Dino continues his training in Master Ricketts method of training with his two sons, the young Masters Bruce and Guro Brandon Ricketts. Additionally at Master Ricketts suggestion before his passing, Guro Dino also continues his studies in Ilustrisimo under Grandmaster Antonio Diego. Guro Dino additionally had good fortune to experience training in Kali Ilustrisimo with Dodong Sta. Iglesia, Guro Arnold Narzo, Guro Peachie Baron, Master Rey Galang, Master Yuli Romo and Master Tony Diego. He also trained in Kali Ilustrisimo with one of his training partners and fellow Lameco Backyard member Guro Hans Tan, who was certified to teach Kali Ilustrsimo under Master Tony Diego. Additionally Guro Dino trained privately for several years in California and the Philippines with Professor Ireneo L. Olavides in Eskrima De Campo JDC-IO. Guro Dino also cites the importance of his training partners in Lameco SOG and Kapisanang Mandirigma in his growth. After the passing of Punong Guro Edgar Sulite in 1997, certain members of the Lameco Backyard group reformed also became know as Kapisanang Mandirigma. Together the group regularly continued training, sparring, experimenting and seeking the deeper roots of their chosen arts. This group includes Guros Joel Adriatico, Hospecio “Bud” Balani Jr., Mar Elepaño, Choy Flores, Arnold Noche, Gary Quan, Hans Anton Tan and Pantaleon “Mang Leo” Revilles, Jr. (RIP). With frequent visits by Guro Lowell Pueblos, Bong Hebia and honorary member Ariel Flores Mosses. Guro Dino has taught numerous seminars and classes over the years. He has appeared on Television, Instructional Videos, Independent Film and Radio Shows promoting the arts. He … [Read more...]

Filed Under: General, Kapisanang Mandirigma, Lameco Eskrima, Mandirigma.org, Masters and Guros Tagged With: Menu

Guro Dino Flores reflects upon his experience training under his teacher Punong Guro Edgar Sulite

January 19, 2011 By MO1

Guro Dino Flores reflects upon his experience training under his teacher Punong Guro Edgar Sulite. Excerpts taken from Master Reynaldo S. Galangs book "Warrior arts of the Philippines", published on April 1, 2005 After much scrutiny by Punong Guro Edgar G. Sulite, Guro Lowell Pueblos and senior members of the Los Angeles Chapter of Lameco Eskrima International, I was finally accepted into the forming backyard group. On the first day of class, my first intimidating task was to fight a senior member - full blast. In my case it was Guro Mar Elepaño. Although it was a scary at first, it was definitely a refreshing rush to release unhindered. I gave a good pounding, but got an even better one back. Regardless of the outcome, I was hooked. What a welcome that was and what a lesson indeed. Lesson # 1: Abundant knowledge of theory and history does not necessarily equate to knowledge of actual application. Punong Guro had a habit of giving you relatively short lessons that would completely change your perception. Just when I would think I knew what was going on, he would initiate upon me an unexpected lesson that would thrust me to another level of understanding. He would never ram knowledge down your throat, or impose his opinions. He preferred to put you through an experience that would support a theory and allow you to come up with a more personalized understanding.>Punong Guro had a love for reading books and learning new things. We were both always reading something we found mutually interesting. It was usually on topics such as martial arts, spiritual, health or Filipino history and culture. So we started doing a book reading exchange. “Little Brown Brother” for “A Spaniard in Aguinaldo's army: The military journal of Telesforo Carrasco y Pérez”, “Filipinos at War” for “Iron Shirt Qi-Gong”, “Jail House Knife Techniques” for “The Fall of Sriwijaya in Malay History” and so on. Punong Guro was an intelligent person and I appreciated the fact that he considered the cerebral and spiritual side of training just as important as the physical part. My favorite memories are of his personal stories, which, to my mind, are real adventures. His love affair with the Warrior Arts of the Philippines. How he traveled throughout the Philippine islands to research the arts. He was the first person to go throughout Luzon, Visays and Mindanao and publish his research in a book, the Masters of Arnis, Kali and Eskrima. This research has influenced much of the literature on the arts that has been released since his own books came out. Many systems became known because of this landmark book and it served as an early guide for people seeking the art in the Philippines. Punong Guro was also an innovator. He introduced the concept of "hand sparring" for accuracy. Assisted by Master Yuli Romo they invented the hand and forearm guard for hand sparring. Sadly I have been seeing copies of thier invention surfacing. Recently a person from another style bragged to me that in their style they do hand sparring for accuracy. He had no clue of it's origins. Through his lessons and the example of how he lived his life, Punong Guro has had a tremendous influence on my own journey. Looking back, I see him now as one who put great energy into the path of balancing the mind, the body and the spirit. He appreciated the highest capabilities of the physical self – while accepting it's limitation. While he expanded his mind with worldly and universal knowledge, he consciously worked on decreasing his ego with humility. By being a person of well-balanced body and mind, it allowed his true self – his spirit and not his ego – to shine a bit more than average person. It was Punong Guro and all my teachers examples that inspired me to use the ancestral knowlege for positive purposes. To give back to the community and make an effort to improve myself along the way. Guro Dino Flores can be contacted for Classes or Seminars at mandirigma.org@gmail.com. … [Read more...]

Filed Under: Lameco Eskrima, Masters and Guros Tagged With: Knife Defense, Knife Fighting, Spaga y Daga, Stick Fighting, Sword, Sword Combat, Sword Defense

Grandmaster Antonio “Tatang” Ilustrisimo (1904 – 1997)

January 11, 2011 By MO1

Grandmaster Antonio Ilustrisimo, Courtesy of Bakbakan International and GM Tony Diego Grandmaster Antonio Ilustrisimo (1902 - 1997) originally came from Santa Fe in Bantayan Island. He came from a family that has a very long history of martials and mystical tradition. His cousin, Floro Villabrialle, was the most famous Arnis master of Hawaii. His youngest uncle, Regino Ellustrisimo, was an Arnis master in Stockton, USA. Both men were mentioned in Dan Inosanto's book on Filipino martial arts. However, the most famous of his 4 direct paternal uncles, and the most powerful fighter of the 5 brothers (some say he has more than 7 uncles) was Melecio Ilustrisimo, one of the most famous Kali masters of the Philippines of the early 20th Century, being influential in northern Cebu - Bantayan and Bohol islands. All his forbears were expert warriors and were known to posses strange mystical powers. Grandmaster Ilustrisimo's students, fondly call him "Tatang" which means "grandfather". Tatang learnt Arnis under the tutelage of his father (Isidro Illustrisimo) and uncles (especially the famous Melecio Ilustrisimo) in the old way. There were 3 famous Eskrima families in Cebu at that time:- the Ilustrisimos, the Saavedras, and the Romos. Footwork was one of the first things he had to master. As a tiny boy, he was put on a small table and his teachers would use sticks to beat his legs. He had to learn how to avoid the blows. He was also put on 3 half coconut shells in a triangular pattern and given the same harsh treatment. This footwork is known as Tatlong Bao in the Ilustrisimo family. As a result he has mastered evasion and dodging at an early age. This is a training that Melecio Ilustrisimo himself thoroughly mastered as he was said to have nailed one foot to the ground and challenge all and sundry to defeat him. No one could, and that footwork is called "Walong Apak" (Nail Footwork) in Kalis Ilustrisimo. These skills of evasive footwork have all been mastered by Grandmaster Antonio Illustrisimo. He learnt the solo and double baston, espada daga, daga, bolo (sword), dos manos (a long stick/sword - roughly equivalent to the Samurai's sword) and various "weapons of convenience". In particular, as a speciality, Grandmaster Ilustrisimo is noted for is his expertise in bladed weapons - something which many modern Grandmasters of Arnis can not lay proper claim to since their real practical experience concentrated on the rattan sticks. (Claims by most systems that they can use swords are disputable and only partially true). This expertise as a swordman is not merely from personal experience and practice, but is the legacy of his family art of Ilustrisimo Kali which is a bladed art that stretches so far back in the family line that nobody could remember when it started. As a boy, the young Ilustrisimo had a very tough, stubborn, determined and indominatable spirit. When he heard of a far country called 'America', he decided to go there - at the age of 9 years old! When his parents would not listen to his panderings, he 'took' some family money and a machete, and again, 'took' a small rowing boat and paddled out to the sea to what he thought would be America, not realising how far America really is. He fortunately chance across a ship. The sailors aboard were surprised to see a young boy rowing out in the sea. Out of curiousity, perhaps concern as well, there approached him and asked him where he was going. "I am going to America in this boat!" was the confident answer. The sailors rocked in laughter. They somehow persuaded him to come with them. Of course, he did not get to America. But he did sail to a few ports, still not quite realising that America is still very, very far away.......... At a port, he chance on a family friend who recognised him, but not wishing to betray the high ideals of this young boy, he took him to the south as that friend was a Muslim. There the young boy grew up - strong, determined, proud and skillful in combat as ever. He was adopted into a the royal court as an adopted son of the Sultan of Sulu. (This was Hadji Butu who ascended to become HH Hadji Mohammad Jamalul Kiram II, the Sultan of Sulu) While in the South, he was priviledged to train in the the best of teachers that the royal court could have. He also trained with Pedro Cortes, another very famous master in the Mindanao region, who was used by the government to control the 'Rebelious South'. Pedro Cortes was a close friend a sparring partner of his father Isidro Ilustrisimo. Then one day, he was drinking at a beer house, he got into dispute with another man. The man drew his sword to kill Tatang, but the defty young boy beat him to the draw and, with one … [Read more...]

Filed Under: Bakbakan Philippines, Filipino Martial Arts, FMA, Ilustrisimo, Kali Arnis Eskrima Escrima, Masters and Guros, Warrior Arts of the Philippines Tagged With: Arnis, Bakbakan, Balisong, Bolo, Caballero, Escrima, Eskrima, Filipino Martial Arts, FMA, Ilustrismo, Kali, Kampilan, Kris, Lameco, Luzon, Mindanao, Rattan, Visayas, Warrior Arts of the Philippines

A French Documentary about Arnis in the 1950′s.

January 11, 2011 By MO1

A rare look at the Warrior Arts of the Philippines in the Nineteen Fifties. Filmed in black and white in French with English subtitles. View it on the Mandirigma Research Organization Youtube Channel. http://www.youtube.com/watch?v=HZg2i6Yq9rc … [Read more...]

Filed Under: General, Regional History, Videos Tagged With: Abella, Antonio Ilustrisimo, Arnis, Bakbakan, Balisong, Blade, Bolo, Bonifacio, Caballero, Cebu, Christopher Ricketts, Corto, Edgar Sulite, Escrima, Eskrima, Filipino Martial Arts, FMA, Gabriella Silang, Guro, Guro Bud Balani, Ilustrismo, Kali, Kampilan, Katipunan, Knife, Knife Fighting, Kris, Laban Laro, Lameco, Lapu Lapu, Largo, Luzon, Manila, Manois System, Martial Arts, Medio, Menu, Mindanao, Philippines, Punong Guro, Rattan, Rey Galang, Ricketts, Self Defense, Sikaran, Sulite, Sword, Sword Fighting, Tapado, Tatang Ilustrisimo, Tony Diego, Visayas, Warrior Arts of the Philippines

Lameco Eskrima

January 11, 2011 By MO1

Lameco Eskrima is the system of Filipino martial arts founded by the late Punong Guro Edgar Sulite based on his training and experience with various Philippine Martial Arts masters, with heavy influence from Jose Caballero and Antonio Ilustrisimo. The word Lameco is actually a combination of words which are the three basic ranges of combat involved in the study and practice of Lameco Eskrima - Largo, Medio and Corto (Long, Middle, close). Contents One of the characteristics of Filipino martial arts is the use of weapons from the very beginning of training. Lameco uses Double and single Stick, Double and single Dagger, Stick and Dagger, Sword, Staff, Handkerchief, and Empty Hands. Lameco Eskrima is a synthesis of five major and six minor systems of Eskrima. Lameco training includes drills called Laban Laro (Play Fighting). Laban Laro allows the escrimador to come as close to real combat as possible without injury. It is also designed to get an uncountable number of repetitions in a short period of time. Through his constant efforts for developing new training innovations, Edgar invented unique armor for the hands and forearms that allowed practitioners to safely train more realistically. History At a young age Edgar Sulite's father exposed him to the Filipino Martial Arts, himself being a boxer and Arnisador. Growing up in the Barrios of the Philippines, Edgar witnessed many skirmishes settled blade against blade. Edgar trained with martial arts masters who included Leo Gaje of Pekiti-Tirsia, Jose Cabellero of De Campo Uno-Dos-Tres Orehenal, Jesus Abella of Modern Largos, Antonio Illustrisimo of Kali Illustrisimo and many others. In 1981, he moved to Manila to train under Grandmaster Antonio Ilustrisimo. After relocating to the United States on June 30, 1989. More on Punong Guro Edgart Sulite the founder of Lameco Eskrima at: http://backyardeskrima.com/?cat=11 … [Read more...]

Filed Under: Bakbakan Philippines, Filipino Martial Arts, FMA, Kali Arnis Eskrima Escrima, Lameco Eskrima, Masters and Guros Tagged With: Abella, Antonio Ilustrisimo, Arnis, Bakbakan, Balisong, Blade, Bolo, Bonifacio, Caballero, Cebu, Christopher Ricketts, Corto, De Campo uno dos tres orihinal, Edgar Sulite, Escrima, Eskrima, Filipino Martial Arts, FMA, Gabriella Silang, Guro, Guro Bud Balani, Ilustrismo, Kali, Kampilan, Katipunan, Knife, Knife Fighting, Kris, Laban Laro, Lameco, Lapu Lapu, Largo, Luzon, Manila, Manois System, Martial Arts, Medio, Menu, Mindanao, Philippines, Punong Guro, Rattan, Rey Galang, Ricketts, Self Defense, Sikaran, Sulite, Sword, Sword Fighting, Tapado, Tatang Ilustrisimo, Tony Diego, Visayas, Warrior Arts of the Philippines

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

January 11, 2011 By MO1

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 … [Read more...]

Filed Under: Bakbakan Philippines, Filipino Martial Arts, FMA, Ilustrisimo, IN MEMORY OF, Interviews, Kali Arnis Eskrima Escrima, Masters and Guros Tagged With: Abella, Antonio Ilustrisimo, Arnis, Bakbakan, Balisong, Blade, Bolo, Bonifacio, Caballero, Cebu, Christopher Ricketts, Corto, De Campo uno dos tres orihinal, Edgar Sulite, Escrima, Eskrima, Filipino Martial Arts, FMA, Gabriella Silang, Guro, Guro Bud Balani, Ilustrismo, Kali, Kali Klub, Kampilan, Kapisanang Mandirigma, Katipunan, Knife, Knife Fighting, Kris, Laban Laro, Lameco, Lameco SOG, Lapu Lapu, Largo, Luzon, Mandirigma Research Organization, Mandirigma.org, Manila, Manois System, Martial Arts, Medio, Menu, Mindanao, Philippines, Pilipinas, Pinoy, Punong Guro, Rattan, Rey Galang, Ricketts, Self Defense, Sikaran, Sulite, Sword, Sword Fighting, Tapado, Tatang Ilustrisimo, Tony Diego, Visayas, Warrior Arts of the Philippines

Lameco SOG – Kapisanang Mandirigma

January 11, 2011 By MO1

Lameco Eskrima - SOG, Kapisanang Mandirigma

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. … [Read more...]

Filed Under: Lameco Eskrima Tagged With: Abella, Aguinaldo, Amok, Antonio Ilustrisimo, Arnis, Bakbakan, Balisong, Blade, Bolo, Bonifacio, Caballero, Cebu, Christopher Ricketts, Corto, De Campo uno dos tres orihinal, Edgar Sulite, Escrima, Eskrima, Filipino Martial Arts, FMA, Gabriella Silang, General Luna, Guro, Guro Arnold Noche, Guro Bud Balani, Ilustrismo, Jose Rizal, Juramentado, Kali, Kali Klub, Kampilan, Kapisanang Mandirigma, Katipunan, Knife, Knife Fighting, Kris, Laban, Laban Laro, Lameco, Lameco SOG, Lapu Lapu, Largo, Luzon, Mandirigma, Mandirigma Research Organization, Mandirigma.org, Manila, Manois System, Martial Arts, Master Joe Tan, Master Nene Gaabucayan, Medio, Menu, Mindanao, Philippine Revolution, Philippines, Pilipinas, Pinoy, Punong Guro, Rattan, Rey Galang, Ricketts, Self Defense, Sikaran, Sulite, Sword, Sword Fighting, Tapado, Tatang Ilustrisimo, Tony Diego, Visayas, Warrior Arts of the Philippines

Kali Klub Sa Historic Filipinotown Los Angeles

January 10, 2011 By MO1

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. … [Read more...]

Filed Under: Filipino Martial Arts, FMA, General, Kali Arnis Eskrima Escrima, Kali Klub sa Historic Filipinotown, Kapisanang Mandirigma, Warrior Arts of the Philippines Tagged With: Abella, Amok, Antonio Ilustrisimo, Arnis, Bakbakan, Balisong, Blade, Bolo, Bonifacio, Caballero, Cebu, Christopher Ricketts, Corto, De Campo uno dos tres orihinal, Edgar Sulite, Escrima, Eskrima, Filipino Martial Arts, FMA, Gabriella Silang, General Luna, Guro, Guro Arnold Noche, Guro Bud Balani, Ilustrismo, Jose Rizal, Juramentado, Kali, Kali Klub, Kampilan, Kapisanang Mandirigma, Katipunan, Knife, Knife Fighting, Kris, Laban, Laban Laro, Lameco, Lameco SOG, Lapu Lapu, Largo, Luzon, Mandirigma, Mandirigma Research Organization, Mandirigma.org, Manila, Manois System, Martial Arts, Master Joe Tan, Master Nene Gaabucayan, Medio, Menu, Mindanao, Philippine Revolution, Philippines, Pilipinas, Pinoy, Punong Guro, Rattan, Rey Galang, Ricketts, Self Defense, Sikaran, Sulite, Sword, Sword Fighting, Tapado, Tatang Ilustrisimo, Tony Diego, Visayas, Warrior Arts of the Philippines

Mandirigma Research Organization/Mandirigma.org

January 10, 2011 By MO1

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! … [Read more...]