Rapido Realismo Kali
Henry Espera, Punong Guro at Nagtatag ( Grandmaster and Founder) of Rapido Realismo Kali International was born in Barrio Tagdon, Barcelona, Sorsogon, Bicol Region, Philippines on December 1, 1953. He is the fourth of thirteen children to the couple Ramon Espera and Encarnacion Evasco. Being the Grandmaster of his own fighting system he is an Innovator, Leader, and a Humble teacher who is known to be a loving and caring person not only to his students, friends, and family but as to others as well. He prefers to keep a low profile but who has an immense passion for teaching and sharing his knowledge and wisdom to anyone who is willing to learn his system of martial arts.
Mang Henry as he is fondly called, believes in the Filipino traditions of ranking and bestowing of titles. In Filipino culture, the only way one can proclaim that he or she is a master of FMA is by letting other masters proclaim you as a master as manifested your skills, knowledge, and wisdom. Traditional masters of old does not adhere to a formal Ranking system but rather rely on their skills and knowledge progression through training and actual matches. Mang Henry is belongs to the generation of traditional masters and was recognized as Instructor/master not only by his three mentors but also by other FMA masters and is considered as an expert both in weaponry and empty hand.
Grandmaster Henry Espera owes his brand of Filipino martial arts from his great mentors : Grandmaster Antonio Ilustrisimo of Kali Ilustrisimo, Master Andrew " Andy " Abrian of Orabes Heneral Eskrima, and Master Juan of Automatic Arnis. He developed his martial art from the best of these systems and always holds the greatest respect to the said Masters and their respective systems.
Integrating Kali empty hand movements, Boxing (Suntukan), Trapping (Tapik-Patibungan), Kicking (Sipaan), Grappling and Wrestling (Buno) with his own style of tactical footwork, he developed Rapido Realismo Kali International. RRK practitioners are known for their aggressive footwork - feet are tactically placed into position during combat, blocking the opponent's sectors, placing the RRK practitioner in a superior position and angle, allowing them to dominate battle.
Rapido Realismo Kali: A Filipino Martial Art
Rapido Realismo Kali (RRK or RRKali) is a Filipino self defense system officially founded on April 1997 by Punong Guro Henry Espera. It is a traditional martial art-based system adapted for modern times, an art designed to work under the most stressful conditions, utilizing the person’s natural reaction to danger as a starting point for self defense techniques. Its roots came from three distinct systems – Kali Illustrisimo, Orabes Heneral Eskrima and Automatic Arnis. Rapido Realismo Kali along with Arnis Defense Silat and Pamuok are the Mother arts of Abon Taktikal Self protection Training Method.
RRKali is a comprehensive weapons-based fighting system with its own style of unarmed combat called Sabakan, a close quarters combat system using quick takedowns, brutal strikes, "attacking" footwork (aggressive and tactical placement of the feet during combat) and joint manipulations to finish off opponents.
The system strongly believes in one-on-one training as done by the masters of old to impart knowledge and skills to their students (usually father and son). Each student being trained in the system gets the same basic initial lessons but is encouraged to interpret the techniques according to their own perspectives. Every student is free to explore, add his own techniques as he sees fit, “battle test” the techniques in the group’s weekly get-togethers in Manila, Philippines and share them with other students.
Guro Isagani Abon, chief instructor of the system, promotes a unique way of teaching the art. The students are viewed not as students, but as future teachers who will eventually carry the name of Rapido Realismo Kali. This method of teaching ensures that every little detail and all the small nuances of the techniques are passed on.
ISAHANG ITAK / BASTON
Refers to the use of a single weapon which may be a stick, machete, bolo, kalis, kampilan, ginunting, or any long weapon held primarily in one hand. Considered by many as the traditional primary training category of Kali to develop the techniques which will serve as the "foundation" of both armed and unarmed combat. Although blade-oriented, the system usually employs rattan sticks for safety purposes, but the techniques are suited for either edged or impact weapons.
DALAWAHANG ITAK / BASTON
Deals with training with two weapons of equal lengths, bladed or blunt. Training with doble baston develops ambidextrous coordination, promoting the use of the non-dominant hand in combat.
ISANG ITAK AT ISANG PUNYAL
A subsystem of doble baston, but using two weapons of unequal lengths (sword and dagger - more popularly referred to as Espada y Daga) wherein the study and control of distance is more critical. Characterized by quick shifts in range, moving in and out, from long range to close and vice-versa.
ISAHANG / DALAWANG PUNYAL / KUTSILYO
Deals with close range fighting techniques using a knife or a similar weapon. This the most brutal category of Filipino weaponry. Utilizing the same techniques, the elbows and the ridge of the hands and forearms are used in the absence of a knife. This is the category that is translated for unarmed combat.
SABAKAN - THE BLADED HAND OF RRK
Sabakan combines western boxing techniques and principles with the empty hand striking techniques of the Filipino Martial Arts. Kali fighters spend a great deal of time on the use of weapons. Take the weapons away, and you leave the Kali practitioner with faster techniques, since he is now striking with a lighter weapon - his hands
SUNTUKAN ( DIRTY BOXING )
Sabakan emphasizes close quarter combat above anything else. RRK fighters are versed in techniques to close the gap as soon as the opportunity presents itself to do so. We emphasize close fighting because this is the range most street attacks occur. Sabakan's repertoire of techniques consists of close and open hand strikes using man's natural weapons : Fists ( Kamao ), Knuckles ( Buko ), Fingers ( Daliri ), Palms ( Palad ), Knife hand ( Talim ng Kamay ), Pinching ( Kurot ), Hammerfist ( Pambayong kamao ) , Elbows ( Siko ), Forearm ( Braso ), Shoulder ( Balikat ), Head ( Ulo ), Hips/Buttocks ( Balakang/Puwet ) among others. Rapido Realismo Kali's unarmed combat system consists of techniques from western boxing, kickboxing, Silat and Kuntao.
SIPAAN ( KICKFIGHTING )
Interestingly, Mang Henry's ( as what we call him; a tagalog term for mister or an older man ) kicking origin comes from a sport and not from martial arts. That is the truth, Mang Henry is an avid practitioner of this sport and that is none other than --- Football or also know as Soccer.
At the beginning stage of his teaching, he taught this powerful method but later on agreed to modify it a little bit to make it more simple and effective. He integrated other fighting systems concepts and principles. He exhaustively researched and experiment then he found out the most effective and simple technique. He absorbed and combined it to his existing punching system. Most of those technique came from Filipino Martial Arts and Kickboxing. He believe in non chambering, non telegraphic fast and full body torque execution of the kicks ( like in Muay Thai ). The power comes from a combination of footwork, pivoting of the ball of the supporting legs, correct body alignment and use of the waist and hips. Sabakan practitioner kicks the target straight from wherever the foot is, rather than chambering the leg before firing the kick. In other word, you are kicking with the whole body, in a quick non telegraphic fashion.
Sabakan practitioners aim his kicks to the low line areas of his opponent such as: hips, groins, thigh, knee, shin, calves, ankle, and instep. Like a tree once you take or cut the roots the whole tree will fall and wont grow again. We're just using the principles : " minimum effort but with maximum damages" . Street fight would not last longer than ordinary sport arts sparring. Once you get in, finish your work or else he will finish you.
PATIBUNGAN KAMAY ( HAND IMMOBILIZATION OR TRAPPING )
Although trapping has the role to the completeness of Sabakan, we understand its disadvantages. Among them are the following; it's not easy to use against a street attacker who moves and is aggressive, especially those who prefer evasive tactics; it takes time to learn, retain and apply in a real combat scenario; it also takes time to ingrain it to your neuromuscular response system; when you are in a scenario wherein you are busy trying to control another person, while he's trying to tear your head off. Forget about the endless exchange of check and control, if you are not equally skilled and not willing to do what it takes to learn the art of trapping then forget it. Of course it wont work for you, anyway striking is the best way to eliminate you opponent.
However, we intended to add trapping because of its nature and effective in actual combat involving a weapon. Sabakan is the translation of the weaponry fighting system of the Rapido Realismo Kali combative system. Sabakan's trapping came from its co-subsystem the kali. Mostly from the knife fighting movements. It works like this: when you strike your opponent and he blocks or parries, your line of attack is obstructed. You have three options; remove it, go around it, or destroy it and continue your main goal to destroy him using our close combat
A wide arsenal is available to an RRK fighter such as: headbutting, shoulder charging, elbowing, kneeing and nerve destruction. Many chinese systems use a kind of trapping like wing chun, choy li fut and the like. They use both simple and compound trapping maneuver but in Sabakan a filipino system, we use only simple and decisive traps, in conjunction with destroying, trapping, and locking tactics. We don't use complex trapping or trap first before destroying strategy since it most likely won't work on real scenario. Sabakan practitioners always remember that to use only simple traps ( beats, checks, or rakes ) to control and remove his hand guard on the way to your prime objective; opponent's elimination. Once you get in, prepare to abandon trappings and overwhelm him with a powerful, and destructive barrage of attacks.
BUNO / DUMOG:
HAGIS AT DALA-IBABA ( BALANCE DISRUPTION; TAKEDOWN )
"Without the body balance there is no strength ", an outstanding principle. Martial arts, no matter what form they take, all depend on one single a factor - Balance. We need to acquire the skill necessary to overcome any antagonist. Knowing how to stand well and also to defend against balance attacks is important as well as how to disrupt your opponents balance. Mixed Martial Artist nowadays, use this principle for maximum domination. take the leg and throws your opponent down to lose his 80% fighting ability and rain blows or the well known ground them and pound them strategy that most great grappler's advice. Sabakan's main objective is to strike and unbalance his assailants. It uses and adopts any technique designed to forcefully or manipulate him out of an effective fighting position. It includes techniques like sweeps, trips, pushes, pulls, throws, and takedowns taken from different grappling methods but mostly from wrestling and Master Espera's own creation by chance. You can unbalance your opponents by pushing backward, pulling forward, sideward but they can easily regain the balance by stepping on the same direction. Sabakan forces them using the push-pull methods in a diagonal way, so it's not easy to him to regain his balance ( slight loss of balnce occurs immediately ) by twisting or what we called triangular balance disruption, tested in actual attack and in intensive training as well as the Principles of Trainagular Balance, we know it will work. It is part of our BUNO.
BUNO / DUMOG:
HAWAK, TRANKADA, AT PAGBALI ( HOLD, LOCKS, AND BREAKS )
Holds, Locks, and Breaks or grappling ( Buno ) components are included because of their necessity and applicability in any encounter, either in civilian or in military and law enforcement situations. Master Espera gives his students permission to study, research, experiment and created his own grappling arsenal that will work for him. It differs slightly from trapping in its level of commitment. In trappings we're using it to reach our primary objective and seldom an end in itself while grappling may be its final objective. This occurs when your opponents passed out from chokes, stop fighting because of joint breaks or secure locks and control.
SABAKAN has no standard of grappling arsenal, any technique that work in any street encounter either legitimate technique from other grappling arts or created by opportunity as long as it's serves its purpose, to control his opponent. Students must embrace the concept of manipulation and controlling a moving and resisting body in order for him to show his maturity in the arts through securing, damaging technique he studied by means of direct physical contacts and demonstrate it to his seniors.
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