Date: Thu, 6 Jun 2002 02:15:34 -0700 (PDT) From: eskrima-request@martialartsresource.net Subject: Eskrima digest, Vol 9 #196 - 1 msg X-Mailer: Mailman v2.0.8 MIME-version: 1.0 Content-type: text/plain To: eskrima@martialartsresource.net Sender: eskrima-admin@martialartsresource.net Errors-To: eskrima-admin@martialartsresource.net X-BeenThere: eskrima@martialartsresource.net X-Mailman-Version: 2.0.8 Precedence: bulk Reply-To: eskrima@martialartsresource.net X-Reply-To: eskrima@martialartsresource.net List-Help: List-Post: X-Subscribed-Address: rterry@idiom.com List-Subscribe: List-Id: Inayan Eskrima / FMA discussion forum, the premier FMA forum on the Internet. List-Unsubscribe: Status: OR Send Eskrima mailing list submissions to eskrima@martialartsresource.net To subscribe or unsubscribe via the World Wide Web, visit http://martialartsresource.net/mailman/listinfo/eskrima or, via email, send a message with subject or body 'help' to eskrima-request@martialartsresource.net You can reach the person managing the list at eskrima-admin@martialartsresource.net When replying, please edit your Subject line so it is more specific than "Re: Contents of Eskrima digest..." <<-------- The Inayan/Eskrima/Kali/Arnis/FMA mailing list -------->> Serving the Internet since June 1994. Copyright 1994-2002: Ray Terry and Martial Arts Resource The Internet's premier discussion forum devoted to Filipino Martial Arts. Provided in memory of Mangisursuro Michael G. Inay (1944-2000). http://InayanEskrima.com See the Filipino Martial Arts (FMA) FAQ and the online search engine for back issues of the Eskrima/FMA list at http://MartialArtsResource.com Mabuhay ang eskrima! Today's Topics: 1. Kali Ilustrisimo (Ray Terry) --__--__-- Message: 1 From: Ray Terry To: eskrima@martialartsresource.net Date: Wed, 05 Jun 2002 7:30:46 PDT Subject: [Eskrima] Kali Ilustrisimo Reply-To: eskrima@martialartsresource.net An Encounter with Kali Ilustrisimo [Reprinted from Hop-Lite (No. 12, Winter 2002)] Antony Cundy My background in martial arts has until now been limited to the practice of Japanese classical and modern systems. So, when sent to Manila for a month long work-related training program I jumped at the chance of getting to see, if not participate in, some of the local martial arts. This article is a reflection on my month's training under Maestro Antonio Diego, headmaster of Kali Ilustrisimo and his protegee, Tom Dy Chan. It should be pointed out immediately that I am by no means an expert on the system but merely wish to impart my emic appreciation of what I experienced. Having met fellow hoplologist and recognized authority on Filipino martial history, Mark Wiley, during his stay in Japan, I asked for his advice before my visit. Through his kind introduction, on arrival I met with Alexander Co, master of Ngo Cho Kung Fu as well as various other systems and the person to ask about anything to do with martial arts in the Philippines. After meeting Alex I was taken to the training hail of Maestro Antonio Diego, designated successor to the former teaching master Maestro Antonio Tatang Ilustrisimo, and subsequent to an introduction I was allowed to train for the duration of my stay. Originally, I had planned to visit a number of schools in the Philippines, however, after having seen and experienced training under Maestro Diego, I realized I wanted to look no further. Kali Ilustrisimo is a native martial system of the Philippines that comprises techniques utilizing single stick (baston), stick and dagger (espada y daga), double sticks (double baston), double sword (double bob), long sword held in both hands (dos manos) and some highly effective and practical unarmed self defense techniques against an armed and emptyhanded aggressor. Beginners first learn the basic striking patterns with the baston (a cane or stick of approx. 62cm length and 2cm in diameter made of rattan or hardwood), whilst maintaining the basic fighting stance. Similar to a boxing stance, the hands are raised to shoulder height and the elbows tucked in. The right foot is placed forward, and the left heel raised. The strikes and footwork utilize the eight directions of movement, signified by the walong apak (diagrams painted on the floor of the training hail). Emphasis is placed on creating smooth, flowing, continuous strikes that are always completed by a quickly retracted strike. The beginner is taught not to flick the end of the baston forward, creating a stinging strike, but is taught to drag the length of the baston through the target as in a cut, a first hint at the origins of the techniques as being sword-derived. Footwork comprises a basic shuffling step, which, as in the strikes, must be able to be performed in any of the directions in the wabong apak. Secondly, a larger expansive backward sweeping step, in which the exponent must retract their right foot, turn their hips to the left, and momentarily place all weight on the left foot as the right foot is swept to the rear and then is instantaneously thrown forward again. Once the basic movements and striking methods have been acquired, the exponent is then taught the first set of techniques called the Depondo (literally: close range). This consists of a set of 10 paired single stick techniques that are counters to various attacks. These counter strokes and simultaneous hand controls act as the basis for later real-blade training and basic disarms. The 10 basic movements are linked together with the teacher acting as aggressor, similar to Japanese classical arts, timing their strikes to gradually build up responsiveness in the trainee. This will often lead, in a short time, to high-speed attacks requiring the trainee to respond spontaneously. The same techniques are then used as building blocks, from which to introduce more complex striking patterns and disarms. These disarms were highly effective and were applicable whether taking away a stick or blade. The techniques, in my view, clearly illustrated that the skills of the baston are derived from that of the bob, a point that is emphasized in training. Having knowledge of swordplay it was very enlightening to see the blade control and parrying techniques of Kali Ilustrisimo. Maestro Diego took pains to illustrate how the movements made with the baston when translated into blade movements became even more effective and efficient. There were also many similarities between my Japanese sword experience and that taught to me in Manila. These include fundamental priorities such as not blocking blade to blade as well as redirecting attacks with the uke nagashi technique often seen in Japanese swordplay. Critical distance was also stressed highly, and great attention was paid to keeping a weakness-free stance. Sparring is also practiced using various forms of protective clothing, and this no doubt has affected the manner of some aspects of the training, although I did not advance far enough to engage in any actual sparring. What impressed me most about the training in Manila was the concentration on creating an unrelenting flow, or many times a fierce flurry, of techniques. In Japanese arts, both weapon and empty handed, the tendency is to focus on defeating the opponent with one perfect strike. This creates, in many cases, disjointed robotic sequences of pseudo combat. There are admittedly some schools in Japan that do teach such continuous flows, the school which perhaps most exhibits this being the Jigen Ryu. However, the idea of the one-strike-one-kill has permeated strongly into Japanese culture. Not so in Manila, where practicality and pragmatism have demanded that the defensive and/or aggressive execution of technique show no quarter until the opponent is defeated. (It is interesting to hypothesize whether this difference may have roots in the quality of the blades being used in the respective cultures.) The obvious history behind the system, suggested immediately by the duality of the baston as both stick and blade, and the Spanish influences that I felt in the techniques were very interesting and it is fascinating to speculate on how much of the techniques of the system have been directly influenced by Spanish soldiers and fencers, during the subjugation of the Philippine islands under the Spanish. The walong apak itself is highly visible in European fencing manuals under various guises. At present, training is held under the auspices of Maestro Diego at a tiny gym owned by Tom Dy Chan in the Chinatown area of Manila. It is a foreboding area to visit at night, as there are many dark alleys and numerous homeless people stretched out on the sidewalk. However, the brief flirt with danger is worth the risk after ascending the dank, unlit stairway that leads to Tom Dy's training hail. Students in Maestro Diego's gym are few and are often practitioners of other arts. He sees this as no problem, stating that he only wants to have a few conscientious students to carry on the tradition. He has no real interest in teaching abroad, although he receives many offers. He spends his free time breeding fighting cocks. What this experience has shown me, if it was not clear enough beforehand, is that by experiencing and training in another system, especially when that system has a curriculum and history of merit, the hoplologist is able to reassess their own core art. This in turn leads to discoveries and avenues of progress that can sometimes elude even the most dedicated of practitioners. Especially for those involved in classical traditions, a taste of contemporary realism is an enlightening experience. I would like to thank Maestro Diego and all those who guided me in Manila for their example and their friendship. --__--__-- _______________________________________________ Eskrima mailing list Eskrima@martialartsresource.net http://martialartsresource.net/mailman/listinfo/eskrima http://eskrima-fma.net Old digest issues are available via ftp://ftp.martialartsresource.com. Copyright 1994-2002: Ray Terry and the Martial Arts Resource Standard disclaimers apply. Remember 9-11! End of Eskrima Digest