The Training of Prison Guards With Ray Novencido

          The Training of Prison Guards

          --------------------------------------------

San Quentin State Prison houses some of the nation's most notorious
convicts. In the early eighties, members of the San Quentin State
Prison Self-Defense Training Team included, CDC Officer Skip West;
Sergeant P.T. Ward; Lieutenant Ray Novencido; Ray's former wife Jan
Novencido; and CDC Officer Rich Brunelle.

Back in 1984, while shopping for rattan sticks at "Brendan Lai's
Martial Arts Supply Shop" in San Francisco, California, SGM *D* had
the distinct honor, and pleasure of meeting former California
Department of Corrections Tactical Weapons Training Officer, Retired
Lieutenant/Captain Ray Novencido. At that point in time, there were
seven members of the San Quentin Baton/Self-Defense Training Team. In
addition to the five members mentioned above; two other members of
this specialized team included, CDC Lieutenant Fred Everly, and
retired CDC Officer, & 'World Serrada Escrima Federation' Honorary
Grandmaster Guru/ Stan Toscano.

During the course of this unique meeting, SGM *D* soon discovered that
Officer Novencido had a strong interest, and a burning desire to want
to learn more about the close-quarter empty hand/weapons tactics of
the Filipino martial art of Kali, and also specifically more about the
art of the "Cabales Serrada System of Escrima". Novencido's keen
interest to dig deeper into his native form of martial arts would be
the the quint essential pivotal juncture point that would ultimately
bring the fine arts of Kali, and the 'Cabales Serrada System of
Escrima' officially into the California Department of Corrections.

Soon after Officer Ray Novencido's official introduction into the
Filipino method of fighting by way of SGM *D*, he was formally
introduced to the legendary stick/knife fighter; SGGM Angel Cabales.
Totally convinced, and impressed with the proven effectiveness of
Serrada Escrima, and the ancient martial art of Kali, Officer
Novencido petitioned the foregoing letter to his Superior Officer
requesting the inclusion of the art of Kali into into an official
self-defense training program on behalf of all CDC personnel.

GGM Angel Cabales & SGM *D* w/NorCal Kali group
 -------------------------------------------------------------------------------------------------------------------------------

 State of California Memorandum

Date: July 29, 1984

To: R.X. PERRY, Lieutenant In-Service Training Department

From: R. NOVENCIDO, Lieutenant San Quentin Self-Defense Instructor
California State Prison, San Quentin, 94964


Subject: REQUEST FOR INCLUSION OF STRESS REDUCTION CLASS: FILIPINO
KALI (Martial Arts/ Stick Fighting) On Saturday, July 28, 1984, I
received a call from Master Guru D (Instructor), who is a Third Degree
Black Belt in karate, and a disciple of Master Angel Cabales (of
martial arts fame) he is also a personal friend of mine. Guru D is
versed in the art of Kali which is a Filipino Martial Art featuring
the use of weaponry, particularly the double sticks. Guru D expressed
his desire to teach correctional staff in the methods of stick
fighting in that it will benefit the students by enhancing their baton
training techniques and, conjunctively teaching them empty hand
techniques.

Based upon the type of setting that our employees are exposed to,
where adverse and, dangerous situations are a reality, and due to the
hostile and aggressive type of inmates housed within, I feel that a
need for on-going training in self-defense exists. I therefore request
that you consider and perhaps seek approval in implementing a Filipino
Kali martial arts class in the use of stick fighting. I have had
exposure to this course and am very impressed. The techniques are easy
to learn, to the point, and extremely effective, particularly if the
officer is facing a life or death situation. Unlike karate, kung fu,
or judo (of which I hold a Nidan rank in karate and San Kyu rank in
judo), I can attest to the fact that Kali is an effecrive art that is
economical, combatively speaking, and excellent in terms of
self-defense.




R. NOVENCIDO, Lieutenant San Quentin Self Defense Instructor
----------------------------------------------------------------------------------------------

Granted his petition, Retired CDC Officer Captain Ray Novencido
assisted WSEF Co-Founder SGM *D*, along with SGGM Angel Cabales in
formally introducing the fine art of 'Cabales Serrada Escrima' into
several California State Prison Institutions, as well as into other
California law enforcement angencies. In 1990, Grand Master *D*
relocated to Berlin, Germany, and while there, he in turn established
an affirmative 'DC/Serrada System of Escrima' "tactical
close-quarter-weapons training program" within Germany's special
anti-terrorist task force known as, (GSG9).
This elite Escrima training program was based upon the original CDC
Kali/Serrada Escrima training program that was founded back in 1984.




       What does {WSEF} stand for?

Weapon System Effectiveness Factor

---------------------------------------------------------

Back in 1990, in Stockton, California, SGM *D* had the distinct
opportunity to interview the founder of the 'Cabales Serrada System of
Escrima' the legendary SGGM Angel Cabales. The primary purpose, and
the essential aim of this interview was to chronicle SGGM Angel
Cabales' own words regarding the fundamentals behind the 'Serrada
System of Escrima' that he had founded, and established in America in
1966.

                      GGM Angel Cabales

 

In a nutshell, SGGM Angel Cabales stated that he primarily specialized
in the area of self-defense. He further stated that he more preferred
to teach the combative levels of his art because Escrima is
specifically designed to protect your life. Protecting one' life is
exactly why SGM *D* co-founded the "World Serrada Escrima Federation".
The {WSEF} serves two purposes, one purpose is to continue to
perpetuate the golden historical legacy of SGGM Angel Cabales, and the
pristine art of Serrada Escrima as it was personally taught to him
directly by SGGM Angel Cabales.

The second, and the primary reasons that the WSEF exist today, is to
continue to exchange, and to share the masterful
close-quarter-combative effectiveness of the art of Serrada Escrima
with all responsible conscientious minded people, and professional law
enforcement agencies on a national, and upon an international scale as
well. There are always hidden meanings behind every outward projection
or name.

The hidden meaning behind the {WSEF}, is "Weapon System Effectiveness
Factor". Today, within the countries of America,Turkey, Germany,
Australia, and in Switzerland as well, the "WSEF Masters of Excellence
DC/Serrada Escrima Training Programs" have been affirmatively
established. Because of SGGM Angel Cabales' strong concern in the area
of self-defense, his much coveted art known as "Serrada Escrima" is
now being taught to thousands of people all over the world. What a
great testimonial to the importance, and also to greatness of SGGM
Angel Cabales' many contributions within the sacred field of martial
arts.

           SGM *D* w/German WSEF Contingent

 

 

 

 

 

"Long live the art of Serrada Escrima"

GRANDMASTER CHRISTOPHER RICKETTS

 

 

Grandmaster Christopher ’Topher’ Ricketts Interview by David

Foggie and Dino Flores

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

 

Interview with SM Bilal Erbatan

 

 

 

SM Guro Bilal Erbatan

 

What drew you into the martial arts & when?

 

-The necessity in that time period, the location and the living conditions drew me into martial arts.  

 

From your 1st combat arts instructor forward please give in order the instructor, the system, what rank achieved, how long you spent in each system, what influenced you the most about the systems, which systems influenced you the most, how did you meet each instructor of the systems & if any of the lessons do you still carry with you in your teaching methods?

 

-I trained in FMA Serrada Escrima as a single system. My master was Mustafa Günaydın. Since 2007 I have been teaching the system. I try to develop different interpretations in disarm-techniques.

 

-Natural reflexes, focusing, balance, reaction and velocity seem to me most impressive in the Serrada Escrima System.

 

-Master Mustafa Günaydın is also my uncle. Therefore, there has been easiness and some difficulties at the same time.

 

-Master Günaydın gave special importance to the technical knowledge and hardness.

 

What do you feel were the most impressive skills for each of your instructors?

 

-Disarm techniques. Cadana de mano.

 

What do you feel are the qualities that make the Filipino Martial Arts special & what qualities of each art you teach makes them special to you?

 

-The abilities I gained and the change in my students, the courage they won. 

 

What are the concepts and combat principals of each art that you teach?

 

-I continue with the Serrada Escrima and the discipline I gained in different martial arts. I always attend trainings.

 

What types of weapons do each art use that you teach?

 

-My program is based on stick (solo) and knife, mostly. Bolo, barong, kris, kampilan, binangon, pinah, karambit, balisong and kukris in different sizes are the tools, that we use. 

Please describe the "drills" of each system you teach & what are the benefits?

 

-As an instructor using a single system, I could say, Serada Escrima has a rich source for training. I also prefer rotation system. First month stick fighting, another month baraw, cadane de mano etc.. 

 

As you progressed as a student & teacher, have you found your knowledge of other systems a benefit to you? Have you been able to build on skills you learned from other systems?

 

Do you feel that after a student has learned Serrada Escrima or any FMA is it natural for them to eventually adapt & evolve into their own requirements, etc.?

 

-Yes.

 

Can the concepts and principles of FMA, in your opinion become valid & applicable for those interested in contemporary self defense training?

 

Please tell us about your organization, it's goals & where you see yourself & your organization over the next 10 yrs.

 

-Turkey became familiar with the Fma in 1990’s. In the last 2 years, we made it possible with the team spirit a well-known art in Turkey. We, the Turks have a warrior spirit.

 

For anyone interested in seminar or lessons how would they contact you?

 

-www.bedds.org

 

Thank you for your time & the valuable information.

SM Guro Bilal Erbatan w/students

 

GM Guru Darren Tibon Endorsement

 



Master Guru Jeff "Stickman" Finder Endorsement

 



Modern Combat Masters w/ guest Sifu Leo Fong 11/14 by Welcome to Docradio Network | Blog Talk Radio

Modern Combat Masters w/ guest Sifu Leo Fong 11/14 by Welcome to Docradio Network | Blog Talk Radio

Great interview & excellent opportunity to hear another martial arts legend and cofounder of the WSEF.

Interview with GM *D* by David Foggie pt 2

                                                          

                                 

                                                 SGM *D* DC/Serrada System of Escrima Interview 

                                                                  By David Foggie                                                         

                                                                       (Part Two)

                                   (Q)Tell us about Martial Arts International? History, goals, etc?

(A) Martial Arts International is now known as the “World Serrada Escrima Federation”. The (WSEF) was founded in 2003, by me, and by Grand Professor Leo T. Fong; in order to further develop, promote, and to preserve the legacy of Supreme Great Grandmaster Angel Cabales. Anyone who wishes a more indebt understanding about the (WSEF) you can hit:

                                                                  http://www.zentrum-der-kampfkuenste.de



(Q) What is the relationship between SGGM Angel Cabales, GM Leo Giron and GM Max Sarmiento?


(A) The Honorable GM Max Sarmiento was the right-hand man and, a very good friend of SGGM Angel Cabales. GM Max Sarmiento was also responsible for convincing, and aiding SGGM Angel Cabales in opening up his first official public FMA School in the U.S.A. in Stockton, California in 1966. GM Leo Giron was a friend, assistant instructor, and in actuality he was a former student & FMA contemporary under SGGM Angel Cabales.


(Q) What about anyo (forms)? Did SGGM Angel Cabales teach any, and if so, could you please elaborate on them?

(A) No! SGGM Angel Cabales did not stress anyo’s or forms, but he wasn't against any of his students developing forms, katas, or anyo's as you call them either. SGGM Cabales strictly & mostly focused upon imparting his combat strategies, such as sparring, and upon reflexive/flowmatic drills primarily.


(Q) Do you balance the teaching of offensive and defensive techniques, or do you lean more towards one or the other?

(A) Within the fine art of Serrada Escrima there is no distinction between offensive or defensive maneuvers. Offensive and defensive maneuvers are interchangeable at any given moment or time.


(Q) What drills/methods do you use to develop and refine reactive movement/response and speed of reaction?

(A) I use many of the the same drills that SGGM Angel Cabales used for increasing one’s speed, reflexes and timing; however, I have also incorporated numerous hand, and foot drills that I borrowed from Western Boxing, along with other training drills borrowed from other martial arts systems that I am very proficient in.


(Q) Do you find a lot of experienced martial artists are training in FMA to learn the effective approach to weapons training?

(A) Definitely! I do find that there are more and more experienced martial artists from other styles who have, and are incorporating the stick, knife and empty hand techniques of FMA into their arts. Once again, FMA’s adaptability to any art form is the essential key as to why this is.


(Q) Are there any other benefits they may derive from FMA?


(A) Yes! When one enters into the world of Filipino martial arts, the opportunity to learn more about the different diverse cultures of the Philippines is accessible to the interested party(s). Each style or method of FMA has a tie to the different geographical areas, and to the various tribes within the Philippine Islands as well.

(Q) Many people have learnt FMA edged weapons components, and repackaged it for modern society citing it is more practical than the real FMA. What are your thoughts?


(A) This is one reason why conducting thorough background checks on different martial artists, and their systems of combat is so necessary. By clarifying the claims made by certain masters of destruction, one can get a better understanding as to what is authentic, and as to what is not authentic.


(Q) How do you approach teaching students to survive against an edged weapon(s) attack while unarmed? What are your views, and teaching methodology?


(A) There is no doubt that having to defend oneself against someone wielding an edged weapon could be extremely dangerous, and very fatal. I’ve always advocated to my students to run from any confrontation or combative encounter whenever the opportunity presents itself. Distance is always the best self-defense strategy around when someone intends to attack you with a weapon of any kind. However, when there is no other way out; I’ve taught my students to fight like a Moro warrior engaged in mortal combat. As there are no superior techniques when it comes down to how to survive in a life or death situation, a person must totally rely only upon their own natural instincts & skills, and do whatever is necessary in order to survive.

“Each survival story is different.” My upcoming book titled: Escrima Simplified/ A Fundamental Guide For Self-Defense; covers much in this area regarding natural instinctive self-defense fighting.


(Q) In teaching Serrada Eskrima, what do you feel is the most effective teaching method of instruction?

(A) There are many different effective ways to teach Serrada Escrima. I’ve never taught any of my students the art of Serrada Escrima in exactly the same way. Again, this is because different students have different needs, and we are all individuals.


(Q) You have taught Serrada Eskrima in Europe as well as the USA. Did you encounter problems in teaching and spreading the system?


(A) When I first took Serrada Escrima to Germany I encountered a lot of skepticism there regarding the effectiveness of the art. I was openly challenged on several occasions, and always the end results of every skirmish that I engaged in ended with the other person(s) getting hurt pretty bad. This is because Serrada Escrima is not designed to pull back strikes when one is actually engaged in combat.


(Q) Are you still planning on visiting Australia? If so, what is your purpose, and will you be conducting seminars?


(A) Yes! My purpose for visiting Australia is to continue the Serrada Escrima legacy by passing on GGM Angel Cabales’ art form to anyone who is earnestly willing to learn it. Currently, I am in the process of arranging a series of seminars in Australia.


(Q) The late legendary GGM Master Roland Dantes has met SGGM Angel Cabales. Did SGGM Cabales ever mention this to you, and if so, what did he say?

(A) Yes he did! SGGM Angel Cabales mentioned to me that he had met GGM Roland Dantes. GGM Angel Cabales referred to GGM Roland Dantes as the “Bruce Lee” of the Philippines, and said that he was one of the most humble martial artists and movie stars that he’d ever had the pleasure of personally meeting.

In my opinion! GGM Roland Dantes represents one of the integral centers and living historical roots of Filipino martial arts. GGM Dantes stands out as a human door to the past and to the present time. GGM Dantes has been very influential and very instrumental in shaping the future direction of the ancient martial traditions of the Philippines. Anyone that has ever personally met GGM Roland Dantes will agree and testify that this man was indeed a great officer, and a true gentleman within the arena of Filipino martial arts.

Also! GGM Roland Dantes is the epitome of a man that possessed an "indomitable spirit" & a man who possessed great courage while under heavy fire; I have nothing but total respect for him. Prior to GGM Roland Dantes’ passing he had recovered from one of the greatest medical battles that he had ever had to face. GGM Dantes underwent a delicate heart operation that nearly cost him his life.

However, even under this life threatening experience, GGM Roland Dantes came through it victoriously. The “World Serrada Escrima Federation” will forevermore recognize GGM Roland Dantes as one of the most influential FMA practitioners & FMA promoters worldwide. May the “Great Grandmaster” forever rest in peace.


I too have had the honor, and the distinct pleasure of meeting GGM Roland Dantes in person, and what GGM Angel Cabales said about him turned out to be entirely true.


(Q)What do you think the future holds for Serrada Eskrima; and for yourself?

(A) Today the art of Serrada Escrima has pretty much become a self-propelling art form all over the world; therefore it will just continue to expand, and grow as a living art. As for me! Well we will just have to wait and see what the future holds for me.


(Q) Thank you very much for your time SGM *D*.



(A) Salamat Po! You are indeed most very welcome.

Great Grandmaster Guru Roland Dantes

Interview with GM *D* by David Foggie pt 1

In the following interview you will learn more about

Supreme Grandmaster *D*s extensive martial arts background, and who were some of the people that influenced his unique & elite method of martial arts titled the “D METHOD OF SELF-DEFENSE”.

Interview Questions for Supreme Grandmaster *D*

{Part 1}

By David Foggie

 

(Q) What drew you to the martial arts, and more specifically FMA?

 

(SGD) Four media productions; ‘Odd Job’ in the James Bond series, ‘I Spy’ starring Robert Culp, and Bill Cosby, ‘Wild Wild West’ starring Robert Conrad, the movie “Tigers Revenge” starring Professor Leo T. Fong & SGGM Angel Cabales,”Our Man Flint” starring James Colburn, and of course the “Green Hornet” starring the legendary Bruce Lee. In regards to FMA! my first influences were GGM Remy Presas, Maha Guru Dan Inosanto, GM Richard Bustillo, GM Rene Latosa, and Guru Ted Lucaylucay.

 

(Q) Who has inspired you in the martial arts, and how have they influenced your training,

and your development?

 

       (A) I just mentioned Guro Dan Inosanto and GM Richard Bustillo, but the primary person who

      influenced me in the world of Filipino Martial Arts is the late SGGM Angel Cabales.

 By far Guro Dan Inosanto, and GM Richard Bustillo are two of the most prolific and inspirational martial artists in the business of combat. I have been highly inspired by both of these gentlemen in the area of exploring and developing my own method of self-defense. Additionally, Inosanto, and Bustillo are the true pioneers that have more publicly exposed the various styles of Filipino martial arts going as far back as the early seventies.

 

Both Guro Inosanto, and GM Bustillo have my utmost respect. However, as far as who is responsible for my fundamental development, and for my technical training in the arena of FMA, s, again! I’d have to give full credit to SGGM Angel Cabales. Angel Cabales put the actual combative touch of Escrima together for me in terms of actual live combat. Also, both Guro Dan Inosanto, and GM Richard Bustillo are two of SGGM Angel Cabales’ early 1970’s Serrada Escrima graduate students.

 

(Q) You also teach an eclectic system called, “The D Method of Self Defense”. What led you to this and what do you feel is the essence of it?

 

(A) The first developments of the “D Method of Self-Defense” began in 1971 out of the necessity to survive in the streets of Northern, California. In the early 1970,s the Hawaiian born art of Kajukenbo reigned supreme on the streets and in the Karate tournaments all across the nation as well. Certain practitioners of this art used this system in order to control, and to bully many innocent and unsuspecting people. I was one of the victims of these thuggish Kajukenbo bullies; and after surviving a severe beating from five of them; I decided to study the art of Kajukenbo in closer detail in order to discover ways that I could counter-attack Kajukenbo’s combative techniques. The primary essence of the “D Method of Self-Defense” is ongoing education in the area of martial arts. The more that one understands about the infrastructure of any particular system of martial arts, the quicker one can get to the essence or to the nucleus of that art.

 

(Q) In formulating your system, what systems and fighting arts did you draw from?

 

(A) In formulating my art form I drew knowledge from Kajukenbo, Wing Chun Gung Fu, Muay Thai Boxing, Thai Chi Chuan, Hung Gar Gung Fu, the fine art of Western Boxing, and since 1980, I have incorporated concepts from the Filipino martial arts as well.

 

(Q) SGM “D”, you learned Serrada Eskrima directly from the founder Supreme Great Grandmaster Angel Cabales. Any fond memories you would like to share?

 

(A) SGGM Angel Cabales was an extremely humble man. Also! Angel was very accepting of all those who earnestly came to him for Serrada Escrima instructions. My fondest memory of Angel Cabales was his down-to-earthiness.

 

(Q) How did you meet SGGM Angel Cabales and what was your impression of him and his system?

 

(A) In 1984 in San Francisco, California, I had scheduled a ‘Kali/Jeet Kune Do’ seminar featuring Guru Dan Inosanto. Guru Inosanto fell ill three days prior to the seminar, and SGGM Angel Cabales volunteered to be his stand in, along with the late Great Grandmaster’s Gilbert Tenio, and John Eliab. It was by way of SGM Rene Latosa that I was able to come into direct contact with all three of these Great Grandmasters. Of course when the seminar participants discovered that Guru Dan Inosanto would not be present at the seminar they were extremely upset, angry and very disappointed; however! once these same participants experienced firsthand SGGM Angel Cabales’ style of Serrada Escrima, they! Like me, were absolutely mind blown, meaning that they were extremely impressed.

 

(Q) In teaching you, and other students, what qualities do you think SGGM Angel Cabales was trying to develop?

 

(A) Keen reflexes and effective natural combative responses regarding any self-defense encounter. SGGM Angel Cabales’ primary goal regarding me was to impart to me some of his most refined lethal stick, knife & empty hand counter techniques, as he already knew that I was a very proficient empty hand/foot fighter.

 

(Q) Having trained under SGGM Angel Cabales, what do you think was the most impressive aspect of his skills?

 

(A) What I just mentioned. SGGM Angel Cabales possessed some of the fastest reflexes, or natural responses that I have ever witnessed in action. One day while I was down in Stockton, California along with one of my 3^rd. generation students Guru Jeff “Stickman” Finder, SGGM Angel Cabales avoided being struck on the top his head by some very big and very heavy chimes. Cabales walked out of the front door of his home ahead of Finder and me, and then all of a sudden the chimes hanging from his porch roof fell unexpectedly, and were quickly zeroing in for the top of his head. With the speed of the blink of an eye SGGM Cabales snatched the chimes so fast with one hand that Finder and I barely saw what had taken place. Finder and I just gave each other that amazed & be-dazzled look knowing that we had just witnessed something very special, and rarely seen.

 

(Q) When SGGM Angel Cabales was alive what his method of instruction and syllabus was? Was there a structured method of instruction and syllabus, or was it unstructured?

 

(A) SGGM Angel Cabales had a very simple, and a very well structured syllabus. When I privately trained under Angel he started me out with the proper delivery of the first three

strikes and counterstrikes of his system of Escrima. Along with each strike there are at least nine or more possible counter techniques per strike, covering stick, blade and empty hand maneuvers. In all, there are twelve (12) strikes or progressive stages following the same formula just mentioned. Additionally, SGGM Cabales taught specific sensitivity drills on an advanced level, and also! on a masters level as well.

 

(Q) What do you feel makes Serrada Eskrima unique from your perspective? What are its strengths etc?

 

(A) What really makes Serrada Escrima unique is that it is adaptable to any other system or method of martial arts. The strength of Serrada Escrima is that it is very easy to learn, and it doesn’t require years and years to master. It is due to Serrada Escrima’s simplicity of application as to why the art has become so popular and has spread so fast all over the world.

 

(Q) In a nutshell what is the essence of Serrada Eskrima?

 

(A) The essence of Serrada Escrima is different for everyone that learns and applies the art. No two people are exactly the same, and because of Serrada Escrima’s adaptability to any individual’ character; this makes Serrada Escrima unconventional, and unique in its approach to combat or self-defense.

 

(Q) What are the fundamentals of Serrada Eskrima?

 

(A) The primary fundamentals of Serrada Escrima are economy of motion, simplicity in application, and “presence of mind”.

 

(Q) What are the concepts and combat principles of Serrada Eskrima?

 

(A) The first concepts of Serrada Escrima are that one must possess keen imagination, and also great projection skills. One must exercise sincere faith in the art in order for the art to be effective or true for that person. We cannot ignore the fact that Serrada Escrima is based upon ancient, profound and proven combative antidotes that have been passed down from several generations to the current generation of practitioners. When it comes down to actual combat Serrada Escrima is a proven art. Both SGGM Angel Cabales, and his teacher Supreme Grandmaster Guru Felicisimo Dizon were undisputed death-match champions in the Philippines, and in the U.S.A. Because of my, Cabales’ and Dizon’s combative exploits; I personally do not question the effectiveness of Serrada Escrima, nor the “D Method of Self-Defense”.

 

(Q) To me it looks as if Serrada Eskrima was originally a sword and dagger system. What is your view?

 

(A) Your analysis about Serrada Escrima being originally a blade art is correct. As Angel once said, “I always prefer to use a blade when it comes down to defending my life.”

 

(Q) What modality of weapons does Serrada Eskrima use? Single stick? Punta y daga? Dagger?

 

(A) Serrada Escrima is essentially a transitional system of combat, meaning that Serrada Escrima techniques will work well with or without any weapon(s).

 

(Q) Was SGGM Angel Cabales skilled in double sticks?

 

(A) SGGM Angel Cabales was very proficient with whatever he was holding in his hand(s) at the time. SGGM Angel Cabales made very little distinctions between certain types of weapons. According to Angel, when it comes down to real combat you cannot be too picky in regards to what type of weapon you prefer to use. As Angel’s system was primarily based upon espada y dagga tactics I did not ever witness him using double stick techniques. But this is not to say that he couldn’t use double stick techniques.

 

(Q) One of the central drills in Serrada Eskrima is “lock and block’. Could you please explain its aim, and what it entails?

 

(A) Once a student has become proficient in the (12) combination patterns of Serrada Escrima, a drill known as “lock and block” is introduced to the candidate. Essentially, the lock and block drill is designed to decrease the time span that it takes to transition from one counter technique to the other. One must quickly, and effectively nullify or counter an oncoming barrage of strikes or attacks without the time to prepare one’s self physically or mentally.

 

(Q) What exactly is “flow sparring”?

 

(A) This is another type of stick or knife drill that is designed to heighten the sensitivity, speed, precision and non thinking reflex action which helps a person to react instantaneously to any type of combative encounter.

 

(Q) Tell us about the other martial arts you learnt and who taught you?

 

(A) As mentioned before I am pretty proficient in other forms of martial arts such as; Kajukenbo, Thai Boxing, Tai Chi Chuan, Western Boxing, etc. My primary formal instructors are as follows: Master Sifu Phil Cornin of the Kajukenbo system of martial arts. Master Sifu Phil Cornin was a formidable tournament fighter, and street fighter. Phil Cornin’s instructors were Prof. Al Reyes Sr., Prof. Tony Ramos Sr. and Bruce Lee.

Sifu Cornin fought and defeated several top notch fighters such as Chuck Norris,

Benny Uquidez, and Louis Delgado.

 

My Tai Chi Chuan instructor was the late Grand Professor John K. Wong; the founding father of ‘Wu Shing Tai Chi Chuan.’ Lastly! My past and current Western Boxing coach is Jesus Lopez Sr. Jesus Lopez Sr. is a former boxing champion from Mexico City. As I’ve been teaching self-defense since 1971; I’ve literally taught well over a thousand people the different aspects of my particular method of martial arts. I have worked extensively with various law enforcement agencies from California to Germany’ various elite {GSG9} Special Forces Divisions.

 

Two of my former students have won major titles in the arena of ‘Filipino Sport Stick Fighting.’ These two former students’ names are WSEF Master Guru Jeff “Stickman” Finder, and WSEF Meister Guru Uwe Gutschow from Berlin, Germany. Master Finder took first place at the stick fighting championships held in the Philippines in 1989, and in 1996, Meister Uwe Gutschow won first place in the heavyweight division at the “World Escrima/Kali/Arnis Federation IV World Championships” held in Carson, California U.S.A... Both GM Richard Bustillo & SGM Cacoy Canete both witnessed my students victories at these particular stick fighting tournaments, as they both were the primary sponsors of these special events held in the U.S.A., and in the Philippines as well.

 

(Q) Did you find your previous training to be a benefit or a hindrance to learning?

Serrada Eskrima?

 

(A) Definitely all of the various styles of martial arts that I’ve studied have been very beneficial to my more intricate understanding concerning Serrada Escrima. A real good example is my background in the area of Tai Chi Chuan. By incorporating the principles of relaxation from Tai Chi Chuan into my Serrada Escrima strikes, and deflection blocks, I am able to more naturally generate internal power, and whip appeal into my Serrada Escrima tactics in a more effortless way.

 

(Q) Did your training under SGGM Angel Cabales take place at the school or privately?

 

(A) The majority of my {7} years of private training took place at SGGM Angel Cabales’ various residences in Stockton, California. As Angel agreed to teach me his art form personally and privately, I did not go to his academy that often.

 

(Q) So many of the well known instructors of FMA were taught by SGGM Angel Cabales such as Dan Inosanto, Richard Bustillo, Mike Inay, Rene Latosa, and Graciela Casillas. Do you feel his contributions to FMA are at times overlooked?

 

(A) Yes I do! Considering the fact that SGGM Angel Cabales opened up the first official Filipino martial arts school in America in 1966, you would think that American martial arts publications would have given him top notch billing on the covers of their magazines by now. Unfortunately, even after all of SGGM Angel Cabales’ efforts and contributions in the arena of promoting Filipino martial arts in America, he still has not been totally acknowledged by his many graduate students, and other FMA peers. However, in other countries such as; Australia, Germany, Switzerland, and Turkey, the Angel Cabales legacy has been fully embraced, and highly recognized due to much of my promotional efforts in these three particular countries.

 

(Q) What can you tell us of his training under Felicisimo Dizon?

 

(A) SGGM Angel Cabales told me that initially he wanted to become a professional boxer, but he soon discovered that he was not cut out for boxing. The fervor that SGGM Cabales possessed within him to be a champion fighter is what ultimately drew him to Supreme Grand Master Guru Dizon. Cabales said at first Dizon just ignored his requests to be taught his style of Escrima; but as Cabales continued to be persistent in his pursuit to learn from Dizon, Dizon finally conceded to teach him. At fifteen years old,

Angel Cabales speedily worked his way up the ranks in Dizon’s school. Soon afterwards Angel Cabales became the official defender of Dizon’s Escrima school defeating all challengers. As time progressed on, ultimately Dizon accepted Cabales as his friend, and as his right-hand man.

 

(Q) What is known of Felicisimo Dizon (his life, style, etc)?

 

(A) SGGM Cabales told me that Dizon was a kind, and a very gentle man, and that he was an arch defender of womanhood. Cabales recalled many incidences where Dizon saved women from the clutches of would-be rapists and other criminal elements. According to Cabales, Dizon possessed what is known in the Philippines as “anting-anting” or super natural powers. Angel Cabales witnessed firsthand Dizon’ telepathic and, his clairvoyant abilities. When it came to actual combat, Cabales said that Dizon could predict just how a fight would pan out before it actually happened.

 

As Cabales, and Dizon were close partners they experienced several fights and challenges together against other stick and knife fighters, and in every encounter Dizon and Cabales were the victors. Cabales stated that Supreme Grand Master Guru Felicisimo Dizon had never been defeated in any combative encounter that he was aware of.

 

(Q) Dizon’s style was known as “De Cuerdas”. Did SGGM Angel Cabales ever elaborate about what it entailed and what innovations did he make?

 

(A) Yes he did! Cabales stated that Dizon’s system of Escrima known as “De Cuerdas” which means (of rope) in Spanish is primarily a blade art. Cabales elaborated to me that the Cabales Serrada System of Escrima is a modification style of De Cuerdas. Also, Cabales said that he modified Dizon’s system of “De Cuerdas” because there are many De Cuerdas techniques that Dizon could perform that he could not perform. Thus! is why SGGM Angel Cabales added new innovations such as empty hand techniques, “Lock and Block Drills” and the science of “Picking” within the art of “De Cuerdas”. SGGM Angel Cabales explained to me that his style of Serrada Escrima is a relative art to

“De Cuerdas”, and that all of the other systems of Filipino stick and knife fighting can be found within both “De Cuerdas”, and within Serrada Escrima.

 

(Q) From what I know, Dizon was a compadre of Antonio Ilustrisimo. Since Ilustrisimo, Dizon and Cabales knew each other; did Angel ever talk about them?

 

(A) To be honest, I never heard SGGM Angel Cabales mention anything about GM Ilustrisimo; however, because Cabales never mentioned anything to me about GM Ilustrisimo, but that doesn’t mean that he did not know of him.

 

(Q) Since SGGM Angel Cabales’ passing, have you retained Serrada as he taught you or have you evolved it further?

 

(A) Both! For all those who want to learn the “Cabales Serrada System of Escrima” exactly as Angel personally taught it to me; I offer them Angel’s original teachings. And then for all those who desire to learn my more updated system of self-defense called the “DC Serrada System of Escrima” I offer my own modification style. Keep in mind that SGGM Angel Cabales also created his own modification style of Escrima as well.

 

(Q) There has been controversy in Serrada Eskrima since the death of Angel. Would you like to comment?

 

(A) Most of the controversy within the fraternity of adherents of Serrada Escrima stems from financial motivation, and greed. Personally speaking anyone who studied Serrada Escrima directly from SGGM Angel Cabales has their own unique experiences with him, and how each Angel Cabales recipient wants to interpret their version of Serrada Escrima is entirely up to them.

 

(Q) Why do you think there have been so many political problems?

 

(A) Again, it mostly boils down to the fact that Serrada Escrima has become more popular within the world of martial arts, and therefore! That means that the art has become a very lucrative, and a more marketable product.

 

(Q) Many people claim to know Serrada Eskrima. What should a prospective student look for?

 

(A) A prospective student should always check a persons lineage, and credentials in regards to where and who that person learned Serrada Escrima from. Also! keep in mind that just because a person studied or learned the art of Serrada Escrima it doesn’t necessarily qualify that person as being a good, and a thorough teacher of Serrada Escrima. Some people are more geared for demonstrating, and fighting than they are for teaching. Just because a person is a good fighter doesn’t necessarily mean that they are good conveyors of passing on profound knowledge.

 

(Q) When you were training under SGGM Angel Cabales did you foresee how popular Serrada Eskrima and other FMA systems would become?

 

(A) Yes I did! Especially the art of Serrada Escrima. In a nutshell, Serrada Escrima is the “Jeet Kune Do” of Filipino martial arts. Jeet Kune Do is the most popular, and is the most famous martial arts system in the entire world. In many ways the combative aspects of Serrada Escrima along with the combative aspects of ‘Jeet Kune Do’ are synonymous. That’s why I suspect Guro Dan Inosanto combined the two art forms together along with other effective systems of fighting. You can see Dan Inosanto use Serrada Escrima stick tactics against Bruce Lee in the film “Game of Death”.

 

Additionally, because of this fact many of Bruce Lee’s original core students studied, and incorporated the Serrada System of Escrima into their own personal styles of JKD; such as, GM Richard Bustillo, Professor Leo T. Fong, and many more others as well.

 

(Q) What about disarming techniques. Why is it that FMA stress learning, and developing disarming skills?

 

(A) As I have worked extensively in the field of law enforcement for many years as a private consultant, I have found that it is essential to have a workable knowledge of disarming techniques. In the field of law enforcement if an officer of the law encounters a person who is wielding a weapon, the first rule of law is to verbally try to disarm that person. The next major step is to physically attempt to disarm, and then to restrain a person (s); and this is the area where disarming techniques becomes so essential to know. The same set of rules applies to the average citizen as well. Also, there can be serious legal repercussions if a law enforcement officer does not do his or her job correctly in regards to over-kill tactics.

 

(Q) What was the view and approach of SGGM Angel Cabales in teaching disarming tactics and their practicality in combat?

 

(A) SGGM Angel Cabales’ viewpoint and approach in teaching disarming techniques, is based upon the fact that it is not always necessary to kill or to strike an opponent down in order to control them. Therefore! if you can successfully disarm a person this should be one’ first rule of self- defense whether they are law enforcement officers, or the average citizen.

 

(Q) I always stress to students that the time must be right and the opportunity available to use disarms.

 

(A) You are very correct; as timing constitutes winning half of the battle.

 

(Q) If someone only wants to learn Serrada Eskrima, do you teach them?

 

(A) Yes I do! This is because as a teacher it is important to deal with each individual as an individual. Everybody has different needs and requirements, and a master teacher should be able to cater to almost anyone’s special needs.

 

(Q) Can the concepts and principles of FMA become valid and applicable for those interested in contemporary self defense training?

 

(A) Without a doubt! This is because Filipino martial arts can be applied, and adapted into any type of format when it comes down to contemporary self-defense training.

 

(Q) Do you feel that after a student has learnt Serrada Eskrima or any system, it is natural for them to eventually adapt and evolve into their own requirements, physique etc?

 

(A) To me, and to many other martial arts practitioners this is the main essential goal of mastering any form of martial arts, to become your own man or woman sort of speak.

 

 

{L-to-R} German Associate Grandmaster Guru Ronald Ruppin & Supreme Grandmaster *D*

{To Be Continued}