Tuesday, April 16, 2013

The Kukri Knife: Fighting Blade of Nepal by Shuny Bee




The kukri knife (also spelled khukuri) can be reliably traced back to the 17th century, when the Gorkhas used it for cutting meat and vegetables, digging holes, hacking branches and other odd jobs. Some historians insist it dates back further — perhaps as much as 1,000 years, according to one temple drawing in India — but there’s a lot of disagreement. 


What isn’t disputed is the existence of an early kukri knife that belonged to Drabya Shah, the king of Gorkha, in 1627. Why isn’t it disputed? Because that kukri knife lives in the collection of the Arsenal Museum in Katmandu, Nepal.


In 1742 Prithvi Narayan Shan became king of Gorkha. Although his army was small, he was ambitious, and in 1768 he became the first king of Nepal. His victory is attributed, in part, to the fact that his troops were armed with kukri. From that point on, members of the Nepalese military carried the feared fighting blades. 


In 1948, Padma Shamsher Janga Bahadur Rana, prime minister and supreme commander of Nepal, wrote: “The kukri is the national as well as religious weapon of the Gorkhas. It is incumbent on a Gorkha to carry it while awake and to place it under the pillow when retiring.”



The Construction of the Kukri Knife


The kukri knife strategically balances weight, size and shape to complement the movement of the user. During the 19th century, Nepalese models of the kukri knife were made with a notch cut into the blade just in front of the handle. It’s been suggested that it was used to intercept enemy blades or to keep blood from flowing onto the handle, thus making it less slippery. Other theories refer to Hindu depictions of sex organs and representations of the cow’s hoof.


Because they were intended to be used hard, most historical kukri blades weren’t decorated, except possibly with some simple floral engravings along the spine or symbols from the armory where they originated. Better blades were hollow ground with one, two or three fullers (grooves).


The kukri knife comes in a variety of lengths, with the average being from 14 inches to 16 inches. The kukri knife can be up to 30 inches long, but such models are more ceremonial than combative. Example: At the Hindu festival of Dashain, large kukri knives are used to execute bulls. A one-stroke decapitation means good luck and well-being for the people in attendance.


The blades come in two varieties with respect to tangs. The rattail tang runs to the end of the handle, narrowing as it goes. The end is peened over to secure the handle in place. The other type has a full flat tang that extends to the tip of the weapon and is as wide as the handle, thus making it the stronger of the two designs. It uses steel rivets to attach the handgrip. A pommel plate or butt cap is usually fitted over the end.


Kukri knife handles are made of local wood — walnut, chandan or sisnal — or sometimes water-buffalo horn. Fancier models are made of brass, ivory or even rhino horn. In the distant past, handles were curved, but modern versions are usually straight.


The scabbard is made of two pieces of wood that are covered with leather derived from a goat, water buffalo or elephant. In olden days, the scabbard didn’t have any features that allowed it to be attached to a belt, which meant the kukri knife was usually carried stuck in its owner’s sash. Later, hardware was added so the weapon could be attached to a belt.


Located near the throat of the scabbard are two pockets that hold smaller knives, called karda and chakmak. The karda is a utility knife, and the chakmak is a blunt tool that’s used to sharpen the kukri blade and make sparks from a flint. Early scabbards also had a leather pouch for carrying a small survival kit.



How the Kukri Knife Is Used


The kukri knife can be used to smash, slash or stab. For smashing, the butt of the handle, the flat side of the blade or the spine is used. For slashing, the edge of the blade is used, and for stabbing … well, duh.


Because of the weight of the kukri knife, a moderate smack to the skull can cause dizziness or unconsciousness. The curvature and weight of the blade facilitate slashing to such an extent that even a weak stroke will slice the skin. 


A stronger stroke can cut muscle and bone. A moderate-power stab can puncture the skin and sever blood vessels, while a more committed attack can easily cause death.



The Kukri Knife in Battle


The design of the kukri knife screams close-quarters combat, which is why the Gorkhas became enamored with it. Records from 1824 tell how a fierce hand-to-hand battle took place between a Gorkha unit under Frederick Shore and Capt. Frederick Young and a band of armed robbers who’d seized a fort at Koonja. The Gorkhas destroyed their enemies with their kukri knives.


When Gorkhas were given leave to visit their families, they naturally packed their kukri because of the dangers — both two-legged and four-legged — they inevitably faced on the way home. In one account, a man named Ajamlal Rai was on his way to Darjeeling when he was attacked by a leopard. The animal mangled his left hand, but he managed to kill it. 

When asked how he escaped, he told an official he didn’t have time to unsheathe his kukri knife, but he gave the animal such a hard blow that the scabbard split open. Despite his injury, Ajamlal skinned the leopard and brought back the head, which he gave to the officer. He was financially rewarded for his bravery.

Fast-forward to the 21st century: The kukri knife is still used as a backup weapon for soldiers in war zones. It’s also carried by civilians concerned with protecting themselves on the streets. Even though much more advanced weaponry is available, the people of Nepal are still comfortable and confident carrying their kukri knife.

How to Get Your Own Kukri Knife

It’s no surprise that Cold Steel [2], with its reputation for razor-sharp blades of every possible design, sells several versions of the fabled kukri knife. Among the company’s current offerings are:






About the Author:


Shuny Bee is a freelance writer and martial artist who comes from Nepal. He now lives in Portland, Oregon. For more information, visit beemartialarts.com









Monday, April 15, 2013

NEWS: April 15, 2013 Boston Marathon Bombings

Photo Credit:  Copied from CNN.com



(CNN) -- Investigators are pleading for help in hunting down whoever triggered a pair of bombings that left a gruesome scene at the Boston Marathon.

The blasts, which killed an 8-year-old boy and two others, marked a grotesque end to what should have been a celebration of triumph.

One man's legs were instantly blown off, yet he kept trying to stand up.

Exhausted marathoners had to muscle the energy to flee the bloody scene.


And more than 140 people were hospitalized, some in critical condition.

"No piece of information or detail is too small," the FBI Boston Division said, asking the public for any information or images that might provide clues.

While authorities search for answers, many are at a loss to explain why anyone would target the annual event that celebrates thousands of runners from around the world.

A stunning attack

Both blasts happened in quick succession, near the row of international flags that led up to the finish line. The impact was so powerful, it whipped the limp flags straight out, as if they were caught in a hurricane.
It also knocked 78-year-old runner Bill Iffrig to the ground.

"I was just approaching the last straightaway to the finish line, and I had a good day and was feeling really good, and I got down to within about 15 feet of the finishing apron and just tremendous explosion, sounded like a bomb went off right next to me," Iffrig said.

"The shock waves just hit my whole body and my legs just started jittering around. I knew I was going down," he said.

Iffrig was not seriously injured. But trails of blood, severed arms and legs and other body parts littered the scene nearby.

At least 144 people were hospitalized, with at least 17 in critical condition and 25 in serious condition, officials said. At least eight of the patients are children.

Dr. Albert Pendleton, an orthopedic surgeon who was helping staff the race's medical tent, told CNN on Tuesday it was "basically like the bomb took out he legs of everybody."

"It was horrific," he said.

A terrorism expert briefed on the investigation said doctors had removed ball bearings from patients wounded in the bombings, suggesting the bombs were designed to propel shrapnel.

But Dr. Ron Walls of Brigham and Women's Hospital, which received 31 patients, said the debris found in some patients' wounds did not appear to be from ball bearings.

"Everything we saw was sort of ordinary ambient material that could have been propelled by the blast but was not added to the device," Walls said. "It was not the kind of things that would be added to a device to make it more injurious than it otherwise would be."

At Massachusetts General Hospital, several patients suffered from injuries to lower limbs that will require "serial operations" in the coming days, trauma surgeon Peter Fagenholz said Monday night.
He said the most serious wounds "have been combined, complex lower injuries that involve blood vessels, bone and tissue."

Numerous patients had to have limbs amputated, Fagenholz said.

The hunt for clues

Investigators don't know who was behind the attack, or whether it was spawned domestically or from afar. But federal authorities are classifying it as an act of terrorism.

Federal and local investigators -- including bomb technicians -- searched an apartment in nearby Revere, the city's fire department posted on Facebook early Tuesday. The search took place by consent, according to a federal law enforcement source, meaning no search warrant was needed.

But authorities have not officially linked the search to the marathon bombings.

A federal law enforcement official said both bombs were small, and initial tests showed no C-4 or other high-grade explosive, suggesting that the packages used in the attack were crude.

President Barack Obama, who said Monday the bomber or bombers would "feel the full weight of justice," received overnight briefings on the investigation, a White House official said.

The explosions went off near the finish line about 4 hours and 9 minutes into the race, within a 10-minute window of the average finish time for the marathon.

But the fact that the blasts took place near the end of the race "seems to indicate this was not geared toward maximum damage," said a former federal law enforcement official who now works in the intelligence community.

"It may speak volumes about the (level of) planning that went into this," the source said. "It raises questions ... why didn't the bombs go off when the crowd was packed in like sardines when the winners were crossing the finish line? It could mean the people behind it couldn't get access to the area when they originally intended."

Officials have no suspect in custody, but many people are being questioned, Boston Police Commissioner Ed Davis said.

Investigators warned police to be on the lookout for a "darker-skinned or black male" with a possible foreign accent in connection with the attack, according to a law enforcement advisory obtained by CNN. The man was seen with a black backpack and sweatshirt and was trying to get into a restricted area about five minutes before the first explosion, the lookout notice states.


Davis said authorities found at least one other explosive device that they were dismantling.

But Rep. Bill Keating, D-Massachusetts, said two undetonated devices were found.

One was discovered at a hotel on Boylston Street near the bomb site, and another was found at an undisclosed location, said Keating, a member of the House Homeland Security Committee. He called the bombing a "sophisticated, coordinated, planned attack."

Any unexploded devices could provide a treasure trove of information such as fingerprints and indications of the bomb maker's design, said the former federal law enforcement official.

Late Monday night, authorities said they were still getting reports about suspicious packages, but some may be abandoned belongings left by fleeing spectators.

Davis said that while no new devices had been found, he is "not prepared to say we're at ease at this point in time."

'Just like going back' to Iraq

Nurses Stephen Segatore and Jim Asaiante were stationed near the finish line, expecting to treat the usual ailments from runners -- cramps and dehydration.

Suddenly, they found themselves in a battlefield, with blood and debris everywhere.

"For me, it was just like going back to being in Iraq in 2006-2007," said Asaiante, an Army captain who served an 18-month tour.

"I heard the first IED, and I know there's never one. The bad guys always set up two or three" improvised explosive devices, he said.


The plumes of smoke and images of bloodied victims running down streets also triggered haunting memories of the terrorist attacks of 9/11.

Tami Hughes had just crossed the finish line and was looking for her husband when she heard a deafening explosion.

"I didn't know if it was a small aircraft going into the building," said Hughes, who was in the bustling financial district during the 9/11 attacks.

"I turned around and immediately saw the whitish-brownish smoke billowing up four or five stories and I couldn't believe that, you know, could it be a bomb? And I stared at it and about five or seven seconds later, when the second one went off, I knew immediately that it was something coordinated or organized."

Never the same again

The Boston Marathon is the world's oldest annual marathon, dating back to 1897.

It's a tradition that not only symbolizes the arrival of spring in Boston, and it also marks Patriots Day, which commemorates the day of the opening battle of the Revolutionary War.

Each year, more than 20,000 pound the pavement through the winding streets of Boston as thousands of spectators cheer them on.

After Monday's tragedy, some wondered whether the spectacle would ever happen again.

"The Boston Marathon has endured two world wars and many other things," said Fred Treseler, who has helped train more than 3,000 athletes for the race.

"I am quite sure there will be a Boston Marathon next year. But for certain, the Boston Marathon has been changed forever."

CNN staff in Boston, New York, Atlanta and Washington contributed to this report. 





My prayers and thoughts go out to the loved ones of the victims of the Boston Marathon Bombings.

BIRTHDAY: Happy 91st Birthday Donn Draeger sensei!

If Donn Draeger sensei was still alive, today would mark his 91st birthday!




Draeger on the set of the James Bond film You Only Live Twice (1967), for which he served as martial arts coordinator.Photo Credit:  Wiki

Anyone practicing Martial Arts should have heard of as well as read some of his books. For the serious Martial Artist, his books belong in your library. Besides the long-lasting popularity of his books, he is also best-known for helping to make the study of martial arts and combat sports an acceptable topic of academic research. This field is called "Hopology".




Draeger on the set of the 1967 James Bond film You Only Live Twice. He is shown demonstrating bĹŤ technique. Notice actor Sean Connery in the background.
Photo Credit:  Wiki

Some vidclips:


Donn F. Draeger Katori Shinto Ryu 1970's Pt. (1-2)

Uploader disabled embedding on the first two vidclips. The late Donn F. Draeger is profiled in this documentary from Japan. Katori Shinto-Ryu is prominently featured.


http://www.youtube.com/watch?v=SQ6tAJMDkLY
http://www.youtube.com/watch?v=wwKmcbdKKYc




Uchida Ryu Tantonjutsu


Shinto Muso Ryu Kenjutsu






Further Information:




Happy 91st Birthday Draeger sensei!!

HOLIDAY: Happy New Year 2013 to Southeast Asia!



To my readers in Southeast Asia who celebrate the New Year April 13 - 15, Happy New Year! I used Thai in my picture above.

For my readers who are not familiar with this holiday, check out the:


I'm going to splash some water on myself now!

Sunday, April 14, 2013

Lameco Eskrima - Single Dagger Training Drills






Lameco Eskrima
Single Dagger Training Drills
Pekiti Tirsia Tapping Method
  1. Using one hand tapping method against hammer/ice pick grip.
  2. Using one hand tapping method against hammer/ice pick grip with feeder countering with left hand.
  3. Using one hand tapping method against hammer/ice pick grip with feeder inserting fakes and countering with left hand.
Ilustrisimo Tapping Method
  1. Using the follow, waslik and finger jabs against hammer/ice pick grip.
  2. Using multiple follow, waslik and finger jab combinations against hammer/ice pick grip.
Lameco Siniguro ("Make it Sure") Tapping Method
  1. Catch & elbow wrench to pass, catch & elbow wrench.
  2. Catch & elbow wrench to pass, catch & elbow wrench against follow-up attack with left hand.
Combination of Pekiti Tirsia & Siniguro Tapping Methods
Blend into attack using the Pekiti Tirsia method then control limb with the Siniguro method.
Sensitivity Training
Follow limb with light contact; if feeder retracts arm, close and disarm.







Copied from http://www.martialartskoncepts.com/html/notebook/lameco2.html



In case you missed the earlier posts in this Lameco Eskrima series, please check out:


Lameco Eskrima - Double Stick Training Progression






Lameco Eskrima
Double Stick Training Progression

NOTE : Unless directed differently, assume that you are starting with the right stick in a high right chamber, and the left stick in a low right chamber.

Solo Kadena
(6 Count)
RH Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Doble Kadena
(8 Count)
RH Angle 1 Doblete strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Solo Kadena Abaniko
(12 Count)
RH Angle 1 flowing strike followed by a horzontal abaniko and an Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Doble Kadena Abaniko
(14 Count)
RH Angle 1 Doblete strike followed by a horizontal abaniko and an Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Dos Manos Dos Labahas
(4 Count)
LH Angle 1 flowing strike followed by a RH Angle 1 flowing strike ...
Dos Manos Doblete
(6 Count)
LH Angle 1 flowing strike followed by a RH Angle 1 Doblete strike ...
Dos Manos De Campo 1-2-3
(10 Count)
RH Angle 1 broken strike followed by an Angle 12 flowing strike and an Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Dos Manos De Campo
1-2-3 Doblete
(12 Count)
RH Angle 1 broken strike followed by an Angle 12 flowing strike and an Angle 1 Doblete strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Dos Manos Dos Labahas De Campo
1-2-3

(16 Count)
RH Angle 1 broken strike follwed by an Angle 12 flowing strike and an Angle 1 flowing strike and Abaniko to an Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Dos Manos Dos Labahas De Campo
1-2-3 Doblete Abaniko
(18 Count)
RH Angle 1 broken strike followed by an Angle 12 flowing strike and an Angle 1 Doblete strike and an Abaniko to an Angle 1 flowing strike, LH Angle 1 flowing strike, RH Angle 12 flowing strike ...
Dos Manos Kali Saez
(6 Count from Double

High Chamber)
RH Angle 1 flowing strike to backhand witik followed by am Angle 4 flowing strike ...
Dos Manos Dos
Labahas Totsada
(8 Count from Right

Double Low Load)
RH Angle 10 thrust to LH Angle 10 thrust on low line to RH Angle 10 thrust to LH Angle 10 thrust on high line ...
Dos Manos Dos
Labahas Serada
(6 Count on the left side

and 8 Count on the

right side)
(With sticks crossed left over right) LH Angle 4 flowing strike, RH Angle 12 flowing strike to Angle 4 flowing strike, LH Angle 1 flowing strike, RH Angle 1 flowing strike... Cross sticks, RH Angle 4 flowing strike, LH Angle 12 flowing strike to Angle 4 flowing strike, RH Angle 1 flowing strike to Angle 4 flowing strike, LH Angle 1 flowing strike, RH Angle 1 flowing strike.






Copied from http://www.martialartskoncepts.com/html/notebook/lameco1.html




In case you missed the earlier posts in this Lameco Eskrima series, please check out:


Saturday, April 13, 2013

Lameco Eskrima - Contradas

La contra: "meet the force" to destroy any strike with an opposing strike i.e. forehand vs. forehand, backhand vs. backhand

 

1. La contra y Witik
a. meet the force followed by a forehand or backhand witik

 

2. La contra y Redondo
a. meet the force followed by a forehand or backhand redondo (power slash)

 

3. La contra y Ikis (downward X)
a. backhand diagonal slash and a forehand diagonal slash
b. forehand diagonal slash and a backhand diagonal slash

 

4. La contra y Kilat
a. backhand witik, backhand diagonal slash and a forehand diagonal slash
b. Forehand diagonal slash, backhand witik, and a backhand diagonal slash

 

5. La contra y Crossada
a. vertical backhand redondo, backhand horizontal slash, forehand horizontal slash and another vertical backhand redondo
b. vertical forehand redondo, forehand horizontal slash, backhand horizontal slash and another vertical forehand slash

 

6. La contra y Kawayan
a. backhand horizontal slash, forehand horizontal slash, vertical backhand redondo
b. forehand horizontal slash vertical backhand Redondo, backhand horizontal

 

7. La contra y Ikis y Redondo
a. backhand vertical redondo, backhand diagonal slash forehand diagonal slash
b. forehand diagonal slash, backhand vertical redondo backhand diagonal slash




Deepest gratitude to Guro Ben Fajardo for the share.


In case you missed the earlier posts in this Lameco Eskrima series, please check out:


Lameco Eskrima - La Seguidas


(Follow the force to destroy any strike with a complemetary strike i.e. forehand vs. backhand or backhand vs. forehand)
 

1. La Seguida y witik

  • Follow the force followed by a forehand or backhand witik

2. La Seguida y Redondo

  • Follow the force followed by a forehand or backhand redondo (power slash)

3. La Seguida y Ikis

  • Follow the force by; a backhand diagonal slash and a forehand diagonal slash
  • Follow the force by; a forehand diagonal slash and a backhand diagonal slash (downward X)

4. La Seguida Crossada

  • Follow the force by; a vertical backhand redondo, a backhand horizontal slash, a forehand horizontal slash and another vertical backhand redondo
  • Follow the force by; a vertical forehand redondo, a forehand horizontal slash, a backhand redondo slash and another vertical forehand redondo (full cross)

5. La Seguida y Kilat

  • Follow the force followed by; a backhand witik a backhand diagonal slash, a forehand diagonal slash
  • Follow the force by; a forehand diagonal slash, a backhand witik a backhand diagonal slash (lightning blow)

6. La Seguida y Kawayan

  • Follow the force by; a backhand horizontal slash, a forehand horizontal slash and a vertical backhand redondo
  • Follow the the force by; a forehand horizontal slash, a vertical backhand redondo and a backhand horizontal slash (double x)

7. La Seguida y Ikis y redondo

  • Follow the force by; a backhand vertical redondo, a backhand diagonal slash and a forehand diagonal slash
  • Follow the force by; a forehand diagonal slash, a backhand vertical redondo and a backhand diagonal slash


Deepest gratitude to Guro Ben Fajardo for the share.


In case you missed the earlier posts in this Lameco Eskrima series, please check out:


Friday, April 12, 2013

Lameco Eskrima - Single Stick - Counters to back hand strike to back of lead knee



  1. Turn and place knee to floor back & forth
  2. Turn knee to floor w/ forehand strike to arm to follow force
  3. IIustrisimo Switch back w/ forehand strike to arm to follow force
  4. Silo step back w/ forehand strike to arm to follow force
  5. 45* step out w/ forehand strike to arm to follow force
  6. Knee buckle outward w/ forehand strike to arm to follow force 



 

Variation:
 

  1. Forehand to arm and follow with 1 extra strike they must counter
  2. They counter and strike you must counter it
  3. Begin working on counter-recounter-counter applications



In case you missed the earlier posts in this Lameco Eskrima series, please check out:




Deepest gratitude to Guro Ben Fajardo for the share.


Lameco Eskrima - Escrima Drills Uno - Doce (#1-#12)






Uno- diagonal strike w/upper thrust at same line w/stepping

Dos- diagonal down from closed to thrust

Tres- horizontal to small circle vertical downward

Cuatro- backhand small circle vertical downward

Sinco- (from open position)- forehand lobtik to big circle backhand witik

Saez- Forehand lobtik (big double circle) forehand lobtik- backhand lobtik

Siete- forehand sweep block- small circle strike to hand-backhand diagonal to head-
big circle strike to knee same side

Osto- Horizontal strike cut- (H-M-L)

  • diagonal strike down/up
  • upward diagonal up/down
Nueve- Horizontal strike to elbow-vertical to head

Diez- upward eight

Unce- diagonal upward/vertical downward

Doce- double vertical big circles downward




 


Free lance the drills and combine them together.




In case you missed the earlier posts in this Lameco Eskrima series, please check out:



 

Deepest gratitude to Guro Ben Fajardo for the share.

Thursday, April 11, 2013

Lameco Eskrima - Single Baston


1. Stick Range

  • Dulo Dulo (tip-tip)
  • Pulso Pulso (wrist-wrist)
  • Balika Balika (shoulder-shoulder)

2. Footwork

  • shuffle
  • ducking
  • bob/weave
  • triangle
  • full side step

3. Stick positions

  • open
  • closed

4. Stick levels

  • High
  • Middle
  • Low

5. Stick circles

  • Big (stick goes behind back)
  • Small (stick does not go behind back)

6. Angles

  • Vertical
  • Diagonal
  • Horizontal
  • Cuts
  • Thrusts





Deepest gratitude to Guro Ben Fajardo for the share.

Lameco Eskrima - Salutation


Karanungan 
Paggalang 
Katapatan 
Nakahanda sa pagsasanay

I come seeking Knowledge. 
I offer you my Respect. 
I offer you my Loyalty. 
I am ready to train.





Copied from Dog Brothers Public Forum.

Wednesday, April 10, 2013

IN MEMORY OF: Edgar Sulite (September 25, 1957 - April 10, 1997)







16 years ago today, the FMA world lost a revered eskimador, Punong Guro Edgar Sulite. In his all-too-short time of 40 years, he was able to document many of the Masters of Arnis, Kali, Eskrima that he trained with through his 3 books. He later synthesized their teachings into a system he called Lameco Eskrima. Luckily for us, he documented his Lameco system through videos. He left behind capable students and instructors who will carry on his work in spreading the teachings of the Masters via his Lameco system.


RIP PG Edgar Sulite






Some vidclips of PG Sulite in action.


PG Edgar Sulite Training
(Thanks to Louis Eguaras)



Christopher Ricketts working out with Edgar Sulite


Laban Laro with Rick Tucci




For further info:



In case you missed it, please check out:



Tuesday, April 09, 2013

Giving the Right Credits by PG Edgar Sulite




This article was first published in VORTEX (Volume 4, Number 1) in 1995. A quarterly 
newsletter of Lameco Eskrima International, the publisher was the late Punong Guro 
Edgar G. Sulite who passed away on April 10, 1997. The editor was Arnold A. Noche.



In today’s society, martial arts practitioners are constantly bombarded by the 
knowledge and techniques of various martial arts arriving from all four corners of the 
world. These are the same exact techniques that were once forbidden to be taught outside 
the family circle by the very same people who created it and used it. Those people 
dedicated their lives in the laboratory of the battlefield just to experiment whether their 
techniques would work or not. Many lives had been wasted before the techniques were 
ever refined. The masters from the different martial arts devoted their time, energy and, 
above all, their life in the development of their fierce combat techniques. 
The Filipino martial arts (Eskrima, Kali, Arnis), Kung-Fu, Thai Boxing, Karate, 
Indonesian Silat, Jiu-Jitsu, Western Boxing, Tai-Chi, Judo, Savate and other martial arts 
are just a mere phone call away. In our generation today, we are extremely fortunate to 
have these different types of martial arts available within our grasp.


I remember Grandmaster Jose D. Caballero who was my teacher in the De Campo 
Uno-Dos-Tres Orihinal System. It took me more than one year to court him, bringing him 
food each day on every visit as a means of a gift, just for him to accept me as a student. It 
was primarily because I was an outsider, one who didn’t belong to their family, that I was 
not accepted right away. It was also because of my perseverance, that I never stopped 
coming to his house to ask him to teach me, that I was finally accepted to become one of 
his disciples.


Nowadays, you can study any and all kinds of martial arts as you wish, because 
they are available within your reach, for as long as you have the determination to learn. 
Due to the abundance of these martial arts that we study, we somehow consciously or 
subconsciously mix it together as one. This bring us now to the big problem that evolves 
due to the fact that some martial arts teachers, as well as some students, are not honest 
enough in giving the right credits to where they have gotten the knowledge from or where 
they have attained the techniques from.


One afternoon in Manila, Philippines, during our Sunday sessions with 
Grandmaster Antonio Ilustrisimo in Luneta Park, we noticed two bystanders carefully 
observing our training with extremely watchful eyes. I, being one of the spokesmen of the 
Kali Ilustrisimo System, approached the two men and asked them if they knew Eskrima, 
Kali or Arnis. I also asked them if they would show us some of their moves. The 
demonstration that they performed for us was quite impressive. Grandmaster Ilustrisimo, 
who does not impress easily at all especially if you are from another style of Kali, was 
astounded. After their demonstration we asked immediately who their teacher was. One 
of the young men replied that they did not have a teacher that they just went to the 
mountains and meditated to formulate the techniques, which they had just performed. We did not believe him nor them. Master Tony Diego said to me that it was such a pity to 
their teacher, whoever it was, that these two men would turn out to be so disrespectful. 
Less than a year later, during our meeting with the different grandmasters of Arnis 
Philippines, I met an old master that demonstrated the same techniques that I saw earlier 
from the two men. When I asked the master if he knew of the two, he replied that they 
were his students.


The truth will always come out. Giving the right credits to where we have learned 
the techniques from pays a lot of respect to the people who invented it and devoted their 
life in battle just to prove that it works. It is their pride that their names are being 
remembered and honored by us who are now practicing or who have practiced their once 
called forbidden art.




Copied from http://backyardeskrima.com/?p=665



In case you missed it, please check out:


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



This article was reprinted from Masters of Arnis, Kali and Eskrima published by Bakbakan International. More information about the book can be obtained by sending an email to Mrs. Felisa Sulite at info@lamecoeskrima.com.

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


To be recognized as a Grandmaster or Master of combat arts in the Philippines, you must have made your reputation and show mental maturity and physical age. Grandmasters question the rankings of other grandmasters.


Masters and grandmasters are criticized and questioned regarding their skills and abilities. Who bestowed their title? Do they have enough skills for the titles they carry? How many years have they been practicing the art? How old is he? How many followers and students does this man have?


In other martial arts, the attainment of a certain level automatically designates the title Master or Grandmaster. In the Philippines, there are certain norms to be satisfied before one can be called and accepted as a Master or Grandmaster.


A master of the art must be a master of himself. He must be in control. His daily life epitomizes a man in control of his life, his destiny. A master of the art must know his art, its origins, its history, its philosophy. He must know the techniques, the interplay of techniques, and the reversals of techniques.


A master must know the basics, the intermediate forms and techniques, and the advance levels of the art. Mastery of the art does not only mean so many years in the art, but the amount of experience using the art, one’s personal evolution within the art and personal dedication and contribution to the art.


A master of the art must know how to teach and impart knowledge from the art. He must be able to communicate, elaborate and present the art in such a way that each student learns on a personal basis. Each instruction is adapted to the learning process and ability of the student. A master must be a real maestro, a real teacher.


A master of the art must be of good character. He should epitomize the qualities of a leader, the majesty of a noble, and the courage and strength of a warrior.


A master of the art is called and acknowledged a Master by other masters, never by himself.



Punong Guro Edgar G. Sulite
Lameco Eskrima
(September 25, 1957 – April 10, 1997)







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Legacy of Steel by Steve Tarani




Swollen knuckles, bleeding forearms and battered shins – two warriors face off in a clearing. Sharp strikes of clashing rattan mix with the drawl of heavy breathing and shuffling feet. Intensely focused and alert, both combatants melt into the sweltering humidity. Glistening beads of sweat roll down to fingers wrought with open blisters. Ignoring the searing pain, each man continues fighting. Skillfully, cautiously – each life hinges upon immediate reaction to a deadly salvo of crushing blows.


Such is the way of life of an Arnisador – a path chosen by Punong Guro Edgar G. Sulite. Since and before the days of Magellan, the Filipino martial arts have proven themselves highly effective standing in defiance of determined warring tribes, rabid Conquistadors and greedy foreign hordes.


The LAMECO system, systematically structured and easily assimilatable according to modern training methods, is the stainless steel link in an unbroken chain of training succession.


Great-grandfather to grandfather to father to son, a continual succession of knowledge and commitment breathes life into the ancient art from those very early days of foreign aggression to the current days of domestic violence. The heritage of combat-ready warriors runs deeply through the bloodline of the Sulite family tree.


Born on September 25, 1957 in a rural province on the Visayan Island of Leyte, Tacloban City, Punong Guro Edgar G. Sulite was raised by a family of martial arts devotees in a rugged barrio neighborhood where deadly brawls and Bolo knife skirmishes were commonplace.


In other martial arts, the attainment of a certain level automatically designates the title Master or Grandmaster. In the Philippines, there are certain norms to be satisfied before one can be called and accepted as a Master or Grandmaster.


After expressing great interest in the Filipino fighting arts at a very early age, young Edgar was introduced to the rigorous training by his own father – Grandmaster Helacrio Sulite Sr.


Grandmaster Helacrio first studied with his father Grandmaster Timoteo Sulite in the 1930s. Grandmaster Helacrio went on to further enhance his skills under the tutelage of several other Arnis masters of varied styles (such as the late Grandmaster Melicio Ilustrisimo and Master Almario of Cebu among others.)


Grandmaster Timoteo Sulite’s instructors were active in the mid-19th century and their grandfathers recalled stories of their grandfathers which included the defeat of several infamous Spanish conquistadors using the very same styles of Arnis that have been meticulously passed down to Punong Guro Edgar G. Sulite who, in turn, continues the solemn tradition to this very day.


While simultaneously training under his father and coming to master the family system known as Sulite Rapelon, Punong Guro Edgar G. Sulite continually expanded his skills and combat technology by training intently with several other masters and Grandmasters all across the Philippine Islands.


Punong Guro devoted his entire life to the study of the ancient systems and masters who transformed him from young eager aspirant to the refined physical embodiment of technical perfection that he has become today.


Among the long list of such distinguished curators of the ancient ways is Grandmaster Antonio Ilustrisimo of Bag-on Bantayan – founder of Kali Ilustrisimo, Grandmaster Jose D. Caballero of Ozamis City, Western Mindanao – founder of De Campo 1-2-3 Orihenal and Grandmaster Leo T. Gaje Jr. of Negros Occidental – founder of Pekiti Tirsia (a close quarters combat system that specializes in knife and Espada y Daga.)


Punong Guro sheds further light on the methods of his masters in a series of educational books and video tapes available to the general public. Especially in his third book, MASTERS OF ARNIS, KALI & ESKRIMA, Punong Guro provides a rare glimpse into the arcane and mystical world of the traditional Filipino warrior class. Punong Guro is also the author of ADVANCED BALISONG: FILIPINO BUTTERFLY KNIFE and THE SECRETS OF ARNIS and has produced a total of ten instructional video tapes.


Punong Guro Sulite believes that the ancient tradition of keeping the sacred art only in the family is a double-edged sword. On the one hand the art is kept pure and in accordance with tradition. On the other hand, as modern times erode the interests of today’s youth, (who would much rather play video games rather than listen to grandpa tell old war stories,) the passing of the torch becomes more and more limited to only a select few. Unfortunately, when such masters pass away, so goes with them, forever, the art which they possess.


Thus, with the bold risk of changing the course of tradition, Punong Guro accepted the responsibility of both preserving the ancient teachings in the exact way in which he was taught, as well as disseminating this teaching in a modern platform of instruction.


In this modern age of automated organizational skills, combined with his uncanny ability to analyze with the precision of a high-tech computer, Punong Guro Sulite has heavily exposed the western world to the LAMECO system. Punong Guro currently has a number [of] schools in such varied corners of the globe as the Philippines, Germany, Australia and the United States. As a result of his unique modern approach and personal dedication through the LAMECO system, the proliferation and integrity of the ancient teachings is sustained.


What is the LAMECO system? LAMECO is a perfectly balanced synthesis of the many effective teachings and styles which Punong Guro has come to master in the span of his life.


There are some systems which specialize in long range fighting (known as “Largo Mano” or “Long Hand”) and others specializing in medium range fighting (known as “Medio”) and still others which specialize in close quarters combat (known as “Corto”). Thus, an acronym for the synthesis of the three ranges of combat LARGO, MEDIO and CORTO, the first two characters of each combat range LA, ME and CO were combined to form LAMECO.


In an interview, Punong Guro said, “I wanted to preserve the ancient teachings… but bleeding forearms and knots on the top of the head is not a good way… [there is no] safety. So a good compromise is safety equipment… [and] gradually, we can remove [the protective armour].”


When asked how he had planned to preserve the old teachings without dissipating the potency of the original art, and simultaneously combine the best of each system without offending each of his teachers, Punong Guro Sulite replied, “Grandmaster Ilustrisimo entrusted me with his [lifetime of knowledge] and wanted me to carry his name… the same with Grandmaster Gaje, Grandmaster Caballero, Grandmaster Abella, and all the others. So I have systematised and presented [the arts in a modern context easy to assimilate through a synthesis of multiply effective systems].” Thus the LAMECO system was born.


What further separates LAMECO from all other contemporary systems is its emphasis on the totality of the human being – mind, body and spirit – not only the physical elements. Attention, intention, visualization and complete focus are the integral components of the LAMECO training system. Drills and processes which develop the vital constituents were developed as the result of intense study and detailed analysis of countless ancient systems.


As modern day martial artists, we should consider ourselves most fortunate to have the opportunity to train under a renaissance thinker such as Punong Guro Edgar G. Sulite. He is one of the very few who has brought the ancient traditions out of the darkest jungles and into the light of modern day martial arts training, by sharing with the rest of the world – his legacy of steel.


Punong Guro is a Tagalog title which is comprised of two words. The first, Punong, literally translates to “trunk” or “base of”, for example, a tree. Combined with the second word, Guro, which translates as “one who leads another out of ignorance” (or “teacher” in Western terminology,) this title can be translated as “Primary master instructor” or more readily, “Grandmaster”.



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