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A senior disciple of the revered Grandmaster Antonio Ilustrisimo and known as one of the ‘Five Pillars of Kali Ilustrisimo’, Master Topher was also the highest ranked Black-belt and designated successor of the late founder of Lameco Eskrima, Grandmaster Edgar Sulite. With teaching credentials in several martial arts systems, as well as being a professional boxing trainer, he has dedicated his life to the martial arts.
With his brother Ronnie Ricketts being a well-known action star in Philippine movies, Master Topher has also provided his vast experience in the fighting arts to choreograph fight scenes.
Through an introduction from my teacher, Grandmaster Roland Dantes, in 1998, I’ve been fortunate to benefit from Master Topher’s extensive knowledge and experience. Knowing the high regard in which my instructor and many other respected elders of FMA [Filipino martial arts] hold Master Topher, it was an opportunity not to be missed.
When I first observed Master Topher demonstrate Kali Ilustrisimo at his home, I knew I was in the presence of a genuine master of the art. During our training sessions, the true scope of Master Topher’s knowledge became apparent, as did his effective use of body mechanics. Master Topher introduced me to the principles and techniques that form the foundation and core of Kali Ilustrisimo, and with a sharp eye for perfect form and understanding, he meticulously dissected and corrected each technique until he was satisfied.
The time spent training under Master Topher has afforded me the opportunity to see the various aspects of this remarkable martial artist. He is a fighter, teacher and friend to his students. Martial arts are meant to be about honour, respect, integrity, loyalty and dedication. Master Topher embodies all these traits and as such, it is easy to see why Grandmaster Dantes and many other highly respected masters are his friends.
It was with the approval of my teacher, Grandmaster Roland Dantes, that I began studying Kali Iustrisimo under Master Topher and as such, I consider him also to be my teacher. More importantly, he is a respected, loyal and valued friend. It is my pleasure and honour to present this interview.
– David Foggie
Master Topher, 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 organisation 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.
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 to 1978.
Grandmaster Ilustrisimo is celebrated as one of the greatest masters of FMA. How did you come to know of Tatang and 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.
You had experienced other systems of arnis, so what attracted you to Tatang’s system?
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.
What can you tell us about Tatang’s method of instruction?
A true practitioner of Kali Ilustrisimo will have totally instinctive reactions with no set pattern. Tatang never responded the same way to the same angle of attack. His 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 ‘Five Pillars of Kali Ilustrisimo’ — 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. Anybody who doubts this is welcome to view the archives. Let your own eyes be the judge.
Having received your training before the style was systemised and being one of those responsible for structuring the material, what are the good and bad points of each method of instruction?
Before systemisation, Ilustrisimo’s art was still raw and pure ... 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 systemisation is that it is easier to teach and a lot less painful. Keep in mind, though, that systemisation 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.
What are 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.
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.
What about the claim sticks can be replaced by swords and it’s the same?
There is no doubt that they are both deadly weapons. However, there are differences. In non-bladed arts, practitioners tend 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 defence. 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.
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 extracurricular 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.
It’s 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 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 boxing assisted greatly in developing this aspect.
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 [more on this next issue – Ed.] were what led me to appreciate the importance of physical conditioning.
What was the emphasis in your training sessions under Tatang?
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 to decipher what we had seen. Because there was no curriculum, we had to learn techniques by experiencing them.
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.
There have been discussions about which is the correct name of Tatang’s system: Kali Ilustrisimo or Kalis Ilustrisimo. Through the years I’ve 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.
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.
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.
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.
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 eyeball out and so I dropped to the ground in search of my eyeball. When I realised 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.
The lutang footwork of Grandmaster 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.
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, analysing 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.
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 over night.
How do you ensure the students receive and grasp the essence of the art?
Research, review, dissect, spar and dedicated practice, practice, practice.
From your experience, what are the facts and myths of edged weapons and defending against them?
If you have the option to run, run. Ninety-nine per cent 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 is dead or dying, they will still likely be thrusting and slashing with their weapon.
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 you’re honest with yourself and realise that actual combat is a lot simpler, more direct and bloodier than drills.
What is the emphasis in your teaching?
My emphasis is on constant repetition of basic techniques and sparring.
How do you approach teaching stick and knife disarms?
Simplicity. Never wrestle for a disarm. Never look for a disarm. Only do it if an opportunity arises. And always treat the weapon as a blade.
Is it 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.
David Foggie acknowledges the assistance of Dino Flores and Cheryl Samson in conducting and preparing this interview.
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