philippine knife fighting
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fighting art of Tulisan. Developed under the watchful and critical eyes of the
late Grand Master Antonio Ilustrisimo of Kali Ilustrisimo and the art's Chief
Instructor and Heir, Master Antonio Diego, Tulisan has proven itself a totally
realistic, dynamic and practical knife fighting system.
The word Tulisan means "pointed" or "sharp-tipped" as well as "an outlaw".
Tulisan's emphasis on thrust techniques and the general public's consensus that
knife wielders belong to the less desirable social classes and to the outlaws
makes any of these translations appropriate.
The development of multi-level fighting concept and strategy is the emphasis of
Tulisan. Realizing and accepting the fact that the most vulnerable moment is
during any transition and in the early stage of an attack, a Tulisan
practitioner is constantly aware of the traps and pitfalls that lurk at each
level of an armed encounter. Honed in maneuvers and drills that prepare against
a multitude of variations, Tulisan wallows rather than sinks in the unexpected.
Masters Tony Diego and Christopher Ricketts in a classic SABAYAN
The art of Tulisan emphasizes the basics of knife-handling and blade edge
awareness. The popular concepts of triangle footwork , both male and female,
are thoroughly ingrained into its foundation drills. The practitioner is
cautioned again and again, that the first and foremost action should be evasion
with parry and counters only of secondary value. Each of the form and drills
build upon each other, reinforcing and cultivating awareness and sensitivity to
the nuances of the edge weapon.
Beginning with the basic form of Alas, the novice is introduced to the concept
of Tagis-Talim (encounter with the blade). The beginner learns to accept and
explore the versatility and limitation of the bladed weapon. Keeping the
opponent in constant guard and anticipation by the positioning of the wielded
weapon, the Tulisan fighter learns to control and dictate the flow of combat.
The on-guard thrust position that is unique to Tulisan is designed to
intimidate the opponent and controls the center line of combat. It is also a
strategic position from which an attack or parry can be easily and efficiently
launched.
In espousing the concepts of Tagis-Talim, the knife fighter learns to become
both efficient and effective in the use of the blade. The aspirant learns of
the advantage, the limitations and the misconceptions between thrust and slash
attacks. The enlightened pupil learns of the lethal aftermath that can result
from a thrust even with an improperly honed or badly abused weapon. In the same
vein, the practitioner discovers the diminished effect of a slash or cut
against heavy clothing even when using a well-maintained weapon.
Trained through Sinawali to use both hands for weapons usage and control, the
Tulisan fighter's Bantay-Kamay (guardian or alive hand) assists in parrying and
controlling the enemy's attacks as well as in delivering coup de grace thrusts
from the unexpected weapon transfer and switch (Lipat-Palit) technique of
Tulisan. Training sessions in Bakbakan Kali always begin with Sinawali or
double stick drills. This guarantees that the practitioner is constantly
trained and prepared to use any weapon ambidextrously. In the art of Tulisan as
well as in Solo Baston, the Bantay-Kamay becomes a vital defensive tool .
In the drills derived from the form Lengua de Fuego, the Tulisan practitioner
is immediately absorbed in the nuances of simultaneous parry and counter.
Beginning with the initial retreating step from the Maharlika (lit., noble or
nobility. An stylized beginning or ending position that is more of a
ritualistic nature rather than of any strategic plan or advantage. ) the
practitioner retreats into a defensive position to gain distance and to move
out of range from a sudden attack, the student learns to parry and deliver a
simultaneous counter against an independent or follow-up thrust using the
technique of Lagusan (tunnel thrust). In this particular technique, the Tulisan
fighter learns to dodge and parry the thrust attack and to control and occupy
the center line to win the encounter and survive. First and foremost, however ,
is to make sure that one is outside or off the line of direct attack. Footwork,
along with the requisite hand and body coordination, is practiced as a total
strategy rather than separate entities. This prepares the knife fighter to move
and defend against any sudden and unexpected attacks or combinations thereof.
From the initial counter attack using the Lagusan technique, the classic thrust
and cut technique of (Saksak-Hatak ) flows smoothly as the Tulisan fighter
steps forward at an angle and keeps blade and point towards and against the
opponent. The advantageous and strategic positioning of the knife's edge is
never lost even when reversing the blade's direction from a backward to forward
motion.
Palis-Tusok , a lateral parry and thrust technique first encountered in Alas
and subsequently emphasized in Lengua de Fuego and other advanced forms has
proven itself many times over in competitions and even in actual
confrontations. In executing the Palis, the practitioner has the option of
executing a simple parry or a well-positioned and timed hand-cut. Executed with
a simple parallel evasive movement, Tulisan practitioners recognize the
critical importance of timing and footwork. Combined with the knowledge gleaned
from experience and a thorough study and analysis of combat, the Tulisan expert
anticipates the targets of opportunity that are exposed after each attack
The Palis-Tusok technique is always executed with the body executing a sideways
dodge and parry while delivering a cutting parry against the opponent's
extended weapon arm. Without hesitation , the parrying weapon continuous its
circular path and ends in a thrust aimed at the opponent's neck. A back parry,
known as Sima, is used to deflect the opponent's thrust marginally
away from the body. This nullified attack is then followed back to its source
with classic Tulay (bridge) technique, minimizing if not totally eliminating,
the possibility of a defense or counter.
The Sima, also known as Pasungkit or Palis-Likod, is a backhanded parry that is
used effectively with and against both long and short weapons. A simple and
effective parry and maneuver, the technique of Sima gives the defender the
opportunity to deliver a parry and a cut or thrust with the same weapon , along
the exact same line as the invalidated attack, giving the opponent little or no
option for defense
A simple linear Hatak-Talim (a parry or counter that executes a single linear
cut) completes the sequence of actions thus far. This is followed by a sequence
of Saksak-Hatak (thrust and cut) techniques. The last Saksak-Hatak of the set
is executed in the Makata (Poet) fashion. The technique of Makata hides behind
its beautiful execution the deadly and lethal precision of its strategy.
Incorporating the principles of Praksion (from "fraction", a concept that
espouses being a fraction of a beat ahead of the opponent), this technique
slides in-between the opponent's attack and delivers its deadly counter-attack
within the narrow leeway created by the attack.
The technique of Tiklop (lit., to fold) is used to parry a singular, straight
thrust. A versatile technique, Tiklop enables the Tulisan knife fighter to
assess and reprise with a variety of options against the opponent's negated
attack. In this particular case, the Tiklop becomes a Dukot-Likod (underhook
arm trap) that exposes the opponent's torso to a well-positioned thrust.
Although not a favorite of Tatang Ilustrisimo, Hawak-Baligtad or reverse knife
fighting grip is an option to be learned in order to understand its limitations
as well as its covert uses and advantage in combat. In Lengua de Fuego, the
Hawak-Baligtad is used to define the perimeters of defense as well as targets
of offense. In a herringbone fashion, the areas of defense as well as the
opponent's exposed flank are singled out and defined with unwavering precision.
Using the reverse grip to execute a reverse vertical outward parry, the
Hawak-Baligtad's blade is used in a very speedy and lethal fashion to deliver a
deadly cut at the opponent's exposed neck. The Bantay-Kamay is used to
intercept and stop any protective or defensive move of the opponent.
Rey Galang of Tulisan Knife Fighting System
In the final movements of Lengua de Fuego, the knife grip is changed from
reverse grip back to saber grip. This switch , executed hidden from the
opponent, restores the weapon's lost reach while it was held in the reverse
grip. This last thrust is executed in an extended Makata (Poet) pose. A pull
and cut motion brings the weapon back to its Maharlika starting position.
The breakdown of Lengua de Fuego, or for that matter, any of the forms in the
Bakbakan Kali Ilustrisimo curriculum, into manageable and practical drills has
long been a signature training method of Bakbakan. The timeless training
concepts of Dr. Guillermo Lengson has been and always will be the foundation of
the training structure of this elite organization. The blending of the tested,
effective and efficient training methods of Dr. Lengson with the awesome
repertoire of weapons techniques, concepts and strategies of Grand Master
Antonio Ilustrisimo has given Bakbakan its international reputation for weapons
expertise.
The technique of Saksak-Hatak (thrust and cut) and its variations best
exemplify the concept and principle of Tagis-Talim. Tulisan trains the
practitioner in using the knife optimally and effectively. A parry against a
thrust is immediately penalized with a simple twist or repositioning of the
blade to deliver a reciprocal slash.
Hawak-Baligtad (reverse grip), also known as Pakal or Susi, is also introduced
in Lengua de Fuego. Despite its limited range and diminished versatility, the
reverse grip is a deceptive form of weapon handling and can be used to great
advantage during combat with Lipat-Palit (transfer and change) strategy.
Applied covertly, the opponent's parry against an anticipated thrust can result
in a debilitating cut as the intercepting hand encounters the weapon's
turned-out blade instead of the expected wrist and forearm.
The optimum range for Hawak-Baligtad is in close quarters combat where proximal
body contact and veiled shifting thoroughly utilizes the weapon's lethal
potential. Cuts and slashes can be delivered without any pronounced movement or
chambering. The weakness of frontal thrusts in the reverse grip is a minor loss
and sacrifice compared to the multitude of subtle and covert slashes that can
be delivered from a broad range of angles. Tulisan practitioners refrain from
delivering overhead and back thrusts in reverse grip as the risks outweigh the
advantage of using such techniques.
The development and evolution of the knife fighting art of Tulisan owes much to
the constant refinement and testing of its techniques. This is achieved through
regular sparring and constant emphasis on the reality of the knife. Once the
practitioner becomes skilled in the use of the weapon, the techniques of
Kisap-Mata (blink of an eye) are introduced. In this phase, the Tulisan
practitioner, now fully aware of the potential as well as the limitation of the
knife, is required to fight and defend without a weapon against a skilled and
armed training partner. It is at this point that true knife fighting and the
dawning of a blade master begins.
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TULISAN - The Knife Fighting Art of Kali Ilustrisimo
by Reynaldo S. Galang
© 1998 Reynaldo S. Galang, Bakbakan International