Tags: #🧩 #📜 #🔪 References: [[Weapons-Background]] [[Distanz]] Quellen: [[Kali]] --- Zusammenfassung des Interviews der FIGHT Times mit Maestro Romy Macapagal über Antonio «Tatang» Ilustrisimo und seine Kunst, erschienen in der Manila Times am 19. Juli 2014. ## Romy Macapagal und Tatang - Macapagal ist einer der ersten Schüler von Antonio «Tatang» Ilustrisimo. Der Autor lernte ihn 1998 bei einem Treffen von Kampfkunst-Autoren und -Forschern kennen (organisiert von Daniel Go, Herausgeber des Rapid Journal) und beschreibt ihn als Meister von Schwert und Feder, der die Prinzipien der Kampfkunst klar und eloquent erklären kann. - Er wuchs nach dem Zweiten Weltkrieg in einem Flüchtlings-Barrio in Tondo auf; sein Grossvater lehrte ihn Arnis, als er noch auf einem Hocker stehen musste. - Bei einem Spaziergang im Luneta-Park sah er Tatang, dessen Bewegungen denen des Grossvaters glichen, und bat, unterrichtet zu werden – der Beginn einer langen, herzlichen Freundschaft. Tatang war bescheiden, «einer von den Jungs», und teilte alles – sein Essen ebenso wie sein Wissen über das Leben und den Kampf. - Macapagal will Tatangs System als Teil des lebendigen nationalen Erbes bewahren – für ihn «historische Anthropologie». ## Was das System auszeichnet - Es gilt als wissenschaftlich, technisch, effizient, «elegant brutal» und raffiniert – ein intelligenter Zugang zum Kampf. - Es ist stark von spanischer und europäischer Schwertkunst beeinflusst: Die Strategie folgt der spanischen Fechtkunst mit Geometrie und Physik für Effizienz. Es gibt deutliche Ableitungen aus dem Florete y Sable Español – wie beim Garrote Venezolano –, besonders in der Fussarbeit, die es in anderen FMA nicht gibt, und Ähnlichkeiten mit dem wiederbelebten italienischen Cut-and-Thrust-Fechten. - Andere FMA haben zwar spanische Begriffe (songkite, crusada, redonda) bewahrt, aber nur für Einzeltechniken, nicht für die Gesamtstrategie. Je näher an den Städten, desto hispanisierter Begriffe und Bewegungen; je weiter weg, desto indigener, mit viel Athletik, Agilität und Tempo. - In der Nahdistanz, besonders mit dem Messer, zeigen sich vereinfachte Silat-Bewegungen mit Grappling und Gelenkluxationen. Abgesehen von der Vereinfachung unterscheidet sich Ilustrisimo in der leeren Hand kaum von anderen FMA. - Der europäische Einfluss stammt vermutlich von den spanischen Garnisonen auf Bantayan Island, Tatangs Geburtsort, einem Bollwerk gegen Moro-Piraten. Spanische Offiziere führten dort christianisierte Einheimische; auch Mönche bildeten sie militärisch aus – daher eine Technikgruppe namens «media fraile» (Halbmönch). - Andere FMA setzen auf direkte Blocks gegen Schläge mit Tempo und List. Ilustrisimo setzt auf Ablenken und Ausweichen, um Schneide-auf-Schneide-Kontakt zu vermeiden, und auf möglichst wenige Vorbewegungen für mehrere Schläge. Die Techniken sind einfach und direkt. ## Grundprinzipien der Klinge Ziel ist, den Gegner kampfunfähig zu machen und den Kampf ohne eigene Verletzung auf dem sichersten und kürzesten Weg zu beenden. Es gibt drei mögliche Ausgänge – du wirst getroffen, du triffst, beide werden getroffen –, also nur ein Drittel Siegchance. Mit effizienter Strategie und Taktik soll man auf zwei Drittel kommen. 1. **Lücke (Gap):** Die Strategie steckt im Prinzip der Lücke. 2. Eine Lücke kann man beim Gegner nutzen oder schaffen. Sie ist eine Öffnung, durch die ein Angriff eindringt – mental oder körperlich (Aufmerksamkeit, Reaktionszeit, räumliche Stellung). Man schliesst sie, indem man die eigene Deckung zentriert: kürzester Weg für jede Parade und zugleich für den Schlag in die Lücke des Gegners. 3. **Mensur (Measure):** die Distanz zwischen den Kämpfern. Sie kontrolliert die Lücke und bestimmt die Zeit einer Bewegung – je kürzer die Distanz, desto weniger Zeit braucht eine Technik. Man kann dem Gegner die Mensur verweigern, sie zerstören und sich selbst aneignen. 4. **Zeit:** die Dauer einer Technik; **Timing** ist, wann man sie ausführt – bestimmt durch die Mensur in die Lücke. 5. **Takte (Beats):** die einzelnen Bewegungsmomente einer Technik. 6. Zeit/Technik = Anzahl der Takte; weniger Takte schlagen mehr Takte, die mehr Zeit und Weg brauchen. 7. **Tempo:** körperliches Tempo und Reaktionstempo (eine Gefahr oder Gelegenheit erkennen und antworten). 8. **Kraft/Flexibilität** können je nach Mechanik eine Lücke bei einem selbst oder beim Gegner schaffen: Zu viel Kraft führt zum Überreichen und kostet einen Takt zum Erholen; zu viel Flexibilität kostet die Kontrolle über Schwert und Arm, ebenfalls einen Takt. Die Schwertkontrolle – Kraft, Tempo, Tiefe des Schlags, Erholung nach einer Verdrängung – ist entscheidend, um eine Lücke zu öffnen oder zu schliessen. 9. **Schwert auf Schwert** nur, wenn nötig, um eine Lücke zu schaffen oder zu schliessen. Sonst «ohne Stahl» fechten – das gegnerische Schwert nicht berühren und sich nicht berühren lassen, damit der Gegner kein Feedback bekommt (das Schwert ist eine Antenne) und das eigene Schwert nicht kontrollieren oder verdrängen kann. 10. **Mechanik, Physik, Geometrie** maximieren die Effizienz – Schwertarbeit ist angewandte Technik (Kräfte, Winkel, Abprallen): - Das gegnerische Schwert abgleiten lassen, sodass seine Spitze/Schneide 2- bis 3-mal weiter vom eigenen Körper entfernt ist als die eigene von ihm – ein Takt gewonnen - Frontale Blocks vermeiden, die den Kampf zurücksetzen und beiden gleiche Chancen geben (Ausnahme: abprallende Blocks, die einen Takt gewinnen) - Das gegnerische Schwert binden und kontrollieren, um 1–2 Takte zu gewinnen - Eine Entwaffnung oder einen Kontrollverlust erzwingen, um einen Takt zu gewinnen - Fliessende Bewegung ohne erkennbare einzelne Takte – vom Kontakt über Ablenken, Binden, Kontrolle bis zur Dominanz und in den Schlag ## Der Schlüssel zu Klinge, Stock und leerer Hand - Man schützt sich mit seinen Waffen – die leeren Hände eingeschlossen – mit möglichst wenigen Bewegungen und geht in den Gegenschlag, um den Kampf zu beenden. - Die Mensur ist das Wichtigste: in eine Distanz kommen, aus der man treffen oder ausweichen kann – oder in der man noch parieren und schlagen kann. - Die höchste Kunst ist, in die Lücken zwischen den Bewegungen des Gegners zu schlagen, ohne selbst Lücken zu öffnen. Der zweite Aspekt ist die Zeit: Am effizientesten ist, wer am wenigsten Zeit für Schlag oder Parade mit Gegenschlag braucht – mit den wenigsten Bewegungen und dem kürzesten Weg zum Ziel, sei es der Körper oder die Waffe des Gegners. ## Übertragung aufs Leben Von Tatang lernte Macapagal, klar, objektiv und praktisch mit dem Leben umzugehen. Die technischen, effizienten Abläufe des Systems sieht er als Beispiel für gutes Management – Effizienz, Objektivität und Pragmatismus –, und er nutzt die Effizienzprinzipien von Tatangs Schwertkunst als Grundlage für Management und Lebenshaltung. ## Elastico y Retirada > The ‘Elastico y Retirada’ are the foundational, signature footwork of Antonio “Tatang” Ilustrisimo. A third signature footwork is named 'Doble Carera'. > While technically footwork, the elastico and the retirada are effectively full techniques which express a governing concept of the Ilustrisimo System -- the ‘Un Pulgada’. Literally an inch, it means moving away from the pressure of the opponent’s strike, far enough to avoid it by an inch while being able to strike a disabling blow at the same time. > * * * > The precision and the efficiency of Tatang Ilustrisimo’s System attracts a specific type of personality and temperament. The kind that can withstand the tension of precise action in the face of certain injury if a mistake is made. > Tatang Ilustrisimo’s System is an archived system, recorded in 1989 while the progenitor was still alive and vigorous. Since Tatang’s death, there can be no possible permutations of meanings, actions or movements in the record. It is akin to a dead language, like Latin, which no longer evolves. Thus, it is not in competition with any other system bearing the Ilustrisimo name. > Tatang Ilustrisimo’s System is simply a record of what evolved as a fighting system in the course of our struggles as a people. ## Ein System auf Basis des spanischen Fechtens > Yesterday our group was exposed to a Pilipino fighting system based upon Spanish fencing. According to the leader of this group there are about twenty five active members and roughly fifty knowledgeable but not actively practicing people. What I found interesting was there is little or no blocking. When two people are playing the primary focus is getting a cut in upon your opponent. This is done by causing your opponent to miss you while you simultaneously get in a strike. You can accomplish this by your spending countless hours perfecting your ability to properly position your body in such a way that it allows you to hit your opponent, all the while being out of their reach. This is done by what I call ‘evil geometry’. They have an almost arcane knowledge of useable applied geometry. I sat yesterday and watched hour upon hour of effective distance control. By just a slight but subtle rearranging/angling of their feet, a raising of a heel or a slight body readjustment they were capable of allowing weapons to magically whiz by them as they connected upon their opponent. As a decades long practitioner of the bladed arts I was rendered speechless and was severely humbled but smiling all the while by their displays of mastery. Interesting in the extreme. They also engaged in physical games of chess. Two men would pair off with lightly padded sticks and actively practice their unique and effective system of effective body mechanics. Their goal was to hit their opponent and not be hit in return. Remembering that their art was a bladed art kept things in perspective. They did not focus upon blocking, in fact, there was just a few odd times that I saw anything nearly approaching a block. Hitting their opponent was their primary and principle objective and they capably accomplished this with technical mastery and rare aplomb. Whom so ever is reading this I cannot emphasis enough about how fascinating it was to see how the effective use of geometry can significantly up your weapon game. Reaching out and touching your opponent while appearing to be at an equal distance and being out of reach of your opponent was absolutely fascinating to watch. You had better believe that I am taking notes. The bladed arts aren’t just about slicing and poking. Bladed arts are also mind games. Geometry is at the very heart of the bladed arts. I didn’t expect to get a Ph.D level course in Geometry out in a rain Forrest but there is little to no doubt that I did. Quelle: https://www.facebook.com/TheImmersionLabs/posts/458499318060119 ## Bei GM Romeo Macapagal (Immersion Labs) > I am back from participating in the Immersion Labs expedition to the Philippines. I want to take this time to thank my fellow participants. I will soon do a full write up just on them. We got close after several 20 hour filming days. But today I’ll write about the Philippine expedition. Going back to my roots has always festered at the back of my mind. I am American born, teach Pilipino Martial Arts but until the expedition have never been there. I carry Pilipino DNA around with me and in me but I have always wondered if I was the lesser for never having experienced my homeland. I was. I needed to have gone to the PI a long time ago. OK, that’s been said. It was a blessing to have sat at the knee of GM Romeo Macapagal. He is a walking treasure trove of all things FMA related and Pilipino folklore, trivia and culture. Thank You Mang Romy for just being you. I have begun to suspect that the term Pilipino Martial Arts is way too broad. It’s a handy term but far from from being accurate. Descriptive but still lacking. This is for many and varied reasons. There is a degree of Silat in many indigenous arts. There is a high degree of Spanish fencing within the arts. There may be some American saber influence as well and quite possibly several other influences. All told, in many instances the blending of several arts is formidable indeed but the indigenous arts simply are heavily foreign influenced. Recognizing the govt. designated term ‘Arnis’ as the current description of the Pilipino arts was argueably needed but it does just does not accurately describe all of the multiple arts from multiple locations. Heart! I want to address heart. If you take a people who face a harsh life each and every day, fighting is something you do every day. If you use a blade in your daily activities, you can put the two together and produce fierce warriors. Fighting for survival with a blade is then natural. It would be unnatural to expect otherwise. You didn’t have to teach men how to swing a blade, they swung blades daily on the hour and therefor all you had to do to teach them was to work on their timing, proper application, nuance, theory and techniques. In America it’s different. Most of us here in the US don’t use our blades on a daily basis. There is a huge difference between sticks and blades. Many believe that after daily their daily training with a stick that they can work a blade just as well. No. In many instances you should engage two blades at a 30 degree angle, as an example. You have to understand bite and much other blade based knowledge which just stick work alone simply can’t automatically produce. Sticks can do things in ways that blades cannot. If there is one thing that I learned in the camps of the serious martial practitioners of the Philippines it’s that each and every one of their hits was meaningful and for the purpose of ending a fight because blades forces you to do so. Stick flicking, purposeless spinning and showboating was nonexistent. Even when they aimed their stick to take a piss it was for a purpose. Stick work is not blade work. Blade work is now an integral part of my curriculum. Here in the US, in far too many instances we have removed ourselves from reality and common sense and this also includes myself. My head is now out of my ass. On we go to a better me and better students Quelle: https://www.facebook.com/TheImmersionLabs/posts/463213647588686 ## Tatang und Serrada (Immersion Labs) > Immersion Labs Expedition update: Fact. There is an eerie similarity between Tatang’s system of Escrima and Serrada Escrima. Tatang had at least three teachers according to Mang Romy, a long time private student of the late Tatang Ilustrisimo. Tatang also worked alongside Felicisimo Dizon, the teacher of Serrada’s Angel Cabales. There is also the issue of Manong Angel having actually lived with Tatang for a six month period before his leaving for America in 1939. Serrada is convincingly similar to Tatang’s system. Tatang’s system (in my humble estimation) is Spanish fencing combined with indigenous influences. Arnis here in Luzon is fairly dead and so I can’t go out and credibly compare both systems to what may have been a common means of fighting here at one time. But we are going to the Visayas tomorrow. Perplexing. We filmed the entirety of Tatang’s system and saw very similar techniques to Serrada Escrima again and again. Tatang’s system is a purely blade focused art. In America Serrada’s practitioners spend an inordinate amount of time swinging sticks. Tatang’s students do not. They swing blades. They also hit convincingly while padded using dulled machetes. ‘If’ Serrada players were to focus more upon the use of blades I feel that Serrada would soon approach our being very close systems. My conundrum is that my meek knowledge about Mang Dizon (what’s being said about him here in the PI) was that he was a Larga Mano player and was better known for his sorcery. He was really good but my prior investigation of his last surviving students further confirms that what he did (near his death anyway) doesn’t look like the Serrada which is currently being practiced, this begs questions. I am very perplexed by all of this. I have always wondered why Manong Angel seldom used explicit terms (for example) for his techniques but have discovered that many years ago it wasn’t that uncommon. Even Tatang’s techniques may have gone a period of time without named techniques. My trip has solved several of my questions but it has also created as many questions that have yet to be answered. Alas, I will walk away from the Philippines recognizing that hard padded contact and actually using (dulled) blades with realistic hitting is a necessary part of training in Escrima. My biggest question is the eerie similarity between Serrada and Tatang’s art. It’s kept me up here at night. Suffice to say that I am extremely glad that I have been allowed to have been granted exposure to Tatang’s system granted by the kind consideration of Mang Romy. The graciousness of the Pilipino people is heartwarming. Manila is a whole adventure in itself. I am very glad to be here and I will go back to America with cherished memories. Soon to the Visayas. Mabuhay. > According to Tatang, there were names to the Spanish-influenced techniques as they were taught to him by his uncles and Pedro Cortez. Of course, what he learned under Mohamad Cato Sali was Tausug Silat. These combined with what finally was Tatang's system. Quelle: https://www.facebook.com/ron.saturno/posts/2346296078796911 ## There is no substitute for steel > Lately I just can't get enough of this training. I trained bladed arts for 38 years using everything but a blade, in order to safely approximate the actions of a sword fight. There is no substitute for steel, only steel will allow you to understand the subtlety of engagements with a blade. There are many things you can learn about sword fighting from stick fighting, or even from aluminum trainers, but without well made steel with the proper geometry of a sword there will be significant gaps in understanding. > Kalis Ilustrisimo, as taught to me by GM Macapagal and Fabrizio Mansur Filograna has captivated my heart and my mind and I love developing myself in this system. I will not try to evolve these teachings, I will do my best to preserve them as my teachers before me have done. After all, who am I to evolve a system of sword fighting handed down from a famous fighter and dualist. I do not live by the sword, I have not killed or survived by the sword. Tatang Ilustrisimo did. I will study and preserve Tatang Ilustrisimo's system. And I will share it with those who are committed to preserving this treasure with me.