ZIKDOKAN AMARA ARKANIS

SINING, AGHAM AT DIWA NG MANDIRIGMA
(ART, SCIENCE AND SPIRIT OF THE WARRIOR)

FILIPINO FIGTHING ART OF THE MANDIRIGMA
BY: EMMANUEL ES QUERUBIN
OFFICIAL BIOGRAPHER OF LOUELLE LLEDO, JR


Filipino Fighting Arts is always in a state of evolution. This evolution created the desire of the sporting community to excel in international competition. As a natural consequence armed and unarmed fighting arts took separate ways of development and deviated from each other.

Martial arts became a medal sport and lost its meaning as a way of life. Winning the gold medal became the primary and only purpose in training in the combative arts. Even the government, contradicting the essence of sportsmanship, got in the act and was offering financial and social rewards to the winners.

The essence of attaining the spirit of being “one with nature” and to train for the purpose of achieving harmony and balance within oneself was lost in the quagmire of the commercial atmosphere that was corrupting the martial arts.

BIRTH OF AMARA ARKANIS

In 1980, Luis Rafael C. Lledo, Jr., better known as Louelle C. Lledo, in his desire to bring back the original Diwa ng Mandirigma (spirit of the warrior) to the Filipino Fighting Arts, established Amara Arkanis, a product of the continuous evolution of the fighting arts he has learned.

When Lledo, founded the Amara Arkanis style of Filipino Fighting Arts, he held the rank of Ika-Anim Na Antas Sagisag Na Itim (6th degree Black Belt), and the title of Punong Guro (head instructor) in the Filipino Fighting Arts and in Japanese Karate.

The first seeds of Amara Arkanis were born in 1959 in Zamboanga City in the island of Mindanao, in Southern Philippines.

Lledo, was first introduced to the rudiments of the fighting arts by his great-grandfather, his father and his uncles.

His great-grandfather, Antonio Marquez Alvarez, a descendant of the Spanish conquistadors, taught him the European style of fencing. His father Luis Lledo, Sr., then an intelligence officer of the Philippine Air force, taught him the military, albeit dirty style of hand to hand combat. At an early age, Lledo also became an expert in combat shooting, both with rifles and handguns. After school, Lledo apprenticed in a boxing gym operated by his uncles Ramon and Antonio Lledo, local boxing promoters and champions of Zamboanga City, where he learned the manly art of boxing.

Lledo, although not of royal heritage, but nonetheless from an influential family – was also schooled in the secret fighting arts of Kuntawan and Silat. He became adept in the arts of Kuntawan and Silat. At the same time, Lledo, took up Karate under Joe David of the Kyukoshinkai style of Karate and was awarded his 1st Degree Black Belt as he celebrated his 18th birthday.

In his desire to learn more about the fighting arts and to pursue a degree in Medical Technology, he went to Manila and trained further in the different arts and styles of fighting. He sought instructions from the masters.

Due to his diligence and skills in the fighting arts, he was promoted to the 4th Degree Black Belt in Karate in 1972. It was then that he became acquainted with the Presas brothers, the elder Remy and the younger Ernesto. The Presas brothers were in the initial stages of establishing the system of Modern Arnis.

In 1974, Lledo, was named head referee during the International Invitational Karate Championships, hosted by the Philippine Karate Association – the ruling body of Karate in the Philippines, of which Remy Presas and Ernesto Presas were also officials. 

    
1970 K.A.P. Black Belt Champion                                                        1970 National Team Champions

Lledo trained in the persuasions of the traditional school of Arnis propagated by Grandmasters Antonio “Tatang” Illustrisimo and Porfirio Lanada, the innovative style of Daniel Rendal, and the Modern Arnis system of the Presas brothers… He also trained and received a master’s certificate from Grandmaster Delfin Bernarte, in the Brokil system of Arnis.

Interestingly, Delfin Bernarte and Santiago Illustrisimo (of the famed Illustrisimo clan in Arnis)were in the same resistance unit (against the Japanese)fighting side by side using only the bladed weapon. Santiago Illustrisimo’s weapon of choice is unknown, but reliable sources confirm that Delfin Bernarte favored the “dahong palay”. The “dahong palay” is a thin very sharp and pointed blade about 20” in length and 1” in width normally used for thrusting the heart or slitting the throat.

He trained in Tai Chi Chuan under Ed Cayetano. Lledo’s instructors in Judo and Ju-jitsu were Fortunato Sevilla and Francisco Alvina, respectively. He learned the concepts of Korean Tang Soo Doo and Japanese Goju-ryu Karate from Grandmasters Hwang Kee and Gogen Yamaguchi respectively. Lledo, learned Sikaran, various Japanese styles of unarmed combat and Soong Leong Kwan (Double Dragon School), Kung Fu, from Emmanuel Querubin, who learned it from Chan Keng Wan, the last living master of Soong Leong Kwan. 

                        
                        with Grand Master Gogen Yamaguchi                            with Grand Master Hwang Kee

Lledo’s associates, peers and training partners, particularly Inocencio "Sioc" Glaraga of the Kalaki School of Kali, Yaming and Arnis, Epifanio "Yuli" Romo of the Philippine Pamantukan Pendakali Stick Boxing Society and Rodel “Smoking Sticks” Dagooc of Modern Arnis Philippines, further enriched his experience with other systems of fighting.

In 1975, Lledo was accredited as an international referee by the World Union of Karate-do Organizations(WUKO), the world ruling body in Karate and was called upon to officiate in the Third World Karate Championships held at Long Beach, California.

While in Long Beach, Lledo,became closely associated with Ed Parker, father of American Kempo. Parker, played host to Lledo and other officials of the Philippine National Karate Team, whom he chauffeured around in the Cadillac given by Elvis Presley.

Parker, became an honorary member of the Philippine National Karate Team and was always present during the training sessions of the Philippine karate team. The Philippine team placed fourth in the team competition in the 3rd World Karate Championships.

The exchange of information and techniques with the various martial arts leaders and practitioners during his foreign travels and in their visits to the Philippines further enriched his understanding and experience in the fighting arts.

In 1980 Lledo established an eclectic system of fighting geared towards an individual’s psychological and physiological makeup. It is not a new combative art. Rather, it is a further evolution of the various martial arts that Lledo trained and learned. Lledo, named his school Zikdokan.

Lledo’s, ultimate goal in establishing the system, is to develop a person’s character through the rigid and strict discipline required in training in the fighting arts. To give the system his personal touch and to reaffirm its ultimate goal, Lledo, named the art Amara Arkanis, but kept the term Zikdokan to honor his original school.

Moreover, the terms Zikdokan and Amara Arkanis were used interchangeably and synonymously.

When Lledo, migrated to the United States he opted to just use Amara Arkanis as the name of his art. The students he left in the Philippines continued to use Zikdokan as the name of their school.

Amara means balance (positive / negative) Arkanis is a unification of the armed art of arnis and the unarmed art of the fist (kamao). Taken together, Amara Arkanis is the art of achieving balance in life through the fighting arts. 

Amara Arkanis is an on-going, growing, never-ending dynamic and active learning process. It is an art that evolved from fighting systems that were developed in the battlefield. Like its predecessors, techniques of Amara Arkanis are deadly and fatal. The only difference is the chosen end result.

The main purpose of the early fighting arts was to kill the enemy instantly. The trophy was being alive and there was no such thing as being second best.

In competition where rules have been established, the aim of Amara Arkanis is to win the gold medal. In self-defense situations the goal is to neutralize the threat, without necessarily permanently maiming or killing the opponent.

The philosophy and psychology of Amara Arkanis is consistent with the philosophy and psychology of ancient combative arts. The techniques and application are still the same. The weapons, however, have changed. From Kalis to Itak then to bahi and rattan cane, padded sticks are now utilized. Protective body armor is also adopted to prevent injuries. Even with these safety precautions, every technique of Amara Arkanis has the potential to be fatal.

Another innovation of Amara Arkanis from its predecessors is the way the art is being taught. The ancient Filipino fighting arts were taught one on one, by the teacher to the student. There were no organized drills and systematic patterns of techniques. From day one, the manner of training were fight situations where the teacher engages and the student tries to evade. Until the teacher decides that the student is ready to fight and test his skill, the training is engagement and evasion. This type of training is long and hard and a lot of times unproductive. More often than not, when a student gets hurt or injured he stops training altogether.

When Lledo, formalized the curriculum of Amara Arkanis, he called on his experience both as a martial artist and a physical education teacher. He knew that in order for the art to flourish and expand, the traditional way of teaching must give way to the modern way of propagation.

Until as late as the 1950’s, students get their “certification” as an arnisador (arnis de mano practitoner) by actual combat with somebody from another school or style. Those who survived live blade fights carry their scars as a badge of honor. Although far and few in between, live blade contests are still held in secrecy.

Another type of contest which is a little less bloody but just as a deadly is with the use of bahi, sometimes also called iron-wood.

Masters of Arnis de Mano found a way to treat and temper a type of hardwood known as bahi, making it tough and strong as steel. It was a popular belief that the master imbues the bahi with his spirit, personality and his anting-anting (amulet). This bahi and anting-anting were passed on to the successor in a highly secret ritual just prior to the master’s demise.

It was said that unless the anting-anting is passed on to the successor, the master’s final moment will be agonizingly long in coming. It was rumored that Bernarte’s bahi and anting-anting were passed on to Lledo, something that Lledo, neither denies nor confirm.

Lledo’s legacy in the martial arts reached far and wide. In 1990, Lledo was awarded the title of Renshi and was named Philippine director of the International Goju-ryu Karate-do. The IGK is an independent Okinawa sanctioned Goju-ryu organization, headed by 7th Dan Tino Ceberano. 

                                            
                                                Cavite State University Training Hall with Master Tino Cebarano

Lledo’s expertise in teaching the fighting arts was recognized when he was appointed chief defensive tactics instructor of the Headquarters, Philippine Integrated National Police Training Command, National Capital Regional Training Center at Fort Bonifacio in Metro Manila. He later was made chief unarmed combat instructor of the National Bureau of Investigation Training Academy (the Philippine version of the FBI). He also headed a team of security agents for then Mayor Bagatsing of the City of Manila, and trained the Civil Intelligence and Security Unit of the City of Manila in the combative arts.

Lledo, holds a rank of Captain in the Philippine Air Force Reserves. He traveled around the Philippines giving instructions and seminars in the Amara Arkanis School of the Filipino Fighting Art. He was also Chief Combat Instructor of the 1st Air Division and the 304th Security Squadron of the Philippine Air Force.

On May 8, 2002 Lledo was appointed by the Philippine Sports Commission as Regional Commissioner for Combative Sports of the State Colleges and Universities Athletic Association (SCUAA Region IV). The International Modern Arnis Federation of the Philippines also named Lledo Director for the SCUAA. 

Shortly thereafter, Lledo migrated to the United States carrying with him the title of Ambassador Plenipotentiary of the Department of Tourism’s Office of Philippine Indigenous Fighting Arts.

In January 2003, Lledo was bestowed, the Grandmaster of the Year Award of the Filipino Fighting Arts, by the Action Martial Arts Magazine published in the east coast.

In December 2005, the International Modern Arnis Federation of the Philippines appointed Lledo, National Coordinator for New Jersey, USA.

On January 28, 2007, an Alliance with various martial artists of the Philippines, headed by Architect Joe Gumba of NASKOPHIL and Guros Mark Santos, Ariel Ramos, Jigs Zamora, Nikki Esmero, Julio Penalez, Felipe Penalez and Rodel Dagooc was formed. 

                
            Alliance Gathering at the University of the Philippines                   with Nephew, Mark Santos of A.R.M.A.S. Philippines

The excitement and revelry created by the alliance was cut short by the sudden and unexpected demise of Architect Joe Gumba, a pioneer in Okinawan Shorin-ryu Karate in the Philippines, who that same day succumbed to a massive coronary failure.

Envisioning an international cooperation, that will lead to possible uniform standards in competition and even possibly ranking system, without giving up autonomy of member organizations, the Amateur Sports Arnis, Philippines (ASAP) commissioned Lledo to establish the Arnis Alliance of the Americas (AAA).

FOUNDATION OF AMARA ARKANIS

Amara Arkanis techniques, both offensive and defensive, revolve in a pentagonal foundation that are interrelated – spirit, skill, speed, strength, and style.

SPIRIT: Spirit is the mental aspect. It is the active type of utmost concentration in every aspect of training. In Amara Arkanis, it is more commonly known as “active meditation.” It has nothing to do with religion or spirituality although it is similar in the sense that the aim is to achieve “oneness of mind and body.” This state of “oneness” is possible only with rigid training and strict discipline and in accepting the fact that Amara Arkanis is a way of life and not just a combative art.

There are two levels of training in Amara Arkanis. The lower level is learning the techniques in the “real-world” setting or physical training. All the defensive and offensive techniques are executed in the normal manner.

The upper level is called “awareness training”. This type of training does not start until the student attains the black sash degree. Every aspect of training in the lower level is repeated, except this time, the student is not only blindfolded but must also keep the eyes closed. Awareness is heightened and sensitivity is brought to an elevated state. The equilibrium is improved considerably because the student depends solely on “feeling” the situation. The blindfolded fighting sequences offer the student the ability to overcome and conquer fear and elevate the consciousness to a higher level making every technique proactive rather than reactive.
SKILL: Before speed and strength, a practitioner must have the ability to hit the proper target with the proper weapon at the proper time. An Amara Arkanis student goes through two phases of training, amihan (slow motion) and habagat (fast motion). The Filipino terms amihan and habagat, mean calm wind and hurricane wind, respectively. The slow motion or “soft” training teaches the practitioner the proper sequence in muscle contraction and relaxation, timing, balance, coordination and most important of all - breath control. In essence, Amara Arkanis is an “internal art”. After the practitioner has learned the techniques in slow motion, adapted to his own personal capability, the tempo and intensity of training is gradually increased until the maximum or “hurricane” speed is achieved. This type of training makes the student focus directly on the situation eliciting a more rapid response. Every aspect of learning is an active process that teaches a student to apply a simple reaction. A simple reaction is faster than a choice reaction.

SPEED: Through the slow motion training, the practitioner learns that speed comes not from moving faster, but from the efficiency of the movement. Every Amara Arkanis technique, both defensive and offensive are executed in natural rhythm with minimal effort, based on the underlying principle that simple state creates speed, and a fluid response generates maximum speed and maximum speed achieves maximum efficiency. There are specific supplementary training exercises in Amara Arkanis that develop “explosive speed”

STRENGTH: Big muscles needed to move heavy objects at a slow rate of time, although necessary, plays a secondary role in Amara Arkanis. Sinewy, flexible muscles that can move lighter weight at a greater speed, is more important. In Amara Arkanis, strength may be better represented as power. Power is generated not by brute force but through efficiency of movement, leverage and directness of application of energy. As natural simple state creates speed, it also creates power. All techniques in Amara Arkanis are designed to offer all around development by utilizing the best leverage and the best angle of force.

STYLE: No two human beings are exactly alike psychologically and physiologically. In order to achieve maximum result, a technique must be executed according to an individual’s physical capability. In Amara Arkanis, the art is adapted to the practitioner and not the other way around. The system is based on the principle that the simpler the technique, the more effective it is. An attribute of style is form. Good form is an important aspect of Amara Arkanis. Best results are achieved through good form. Good form creates proper muscle tension and contraction, which in turn minimizes wasted energy. Good form also facilitates movement because it affords better control of the center of gravity and balance. Good form is a manifestation of a properly directed energy that results in superior performance.

Amara Arkanis is a complete martial art. On the surface it looks like there are two different arts – an unarmed art using the hands and the feet and an armed art using sticks, knives and other alternative weapons.

But a close examination will reveal that it is one and the same complete martial art. All the techniques may be executed with or without any weapon. The fact is, weapons such as sticks or knives are regarded as an extension of the hand.

For educational and learning purposes, the unarmed techniques and the armed techniques are presented separately so a better understanding of the art is achieved. The student, however, must always remember that all and every technique, particularly hand techniques, may be executed with or without weapons.

THE SEAL OF AMARA ARKANIS

The sun with the three divisions denotes the three main island groups of the Philippines, Luzon, Visayas and Mindanao. The rays are moving clockwise denoting forward evolution. The Kris denotes the original fighting art of the bladed weapon, while the crossed sticks denote the modern art of stick fighting. The ancient Filipino character in the middle of the triangle stands for Kamao (fist) or the art of the empty hands. The M stands for Mandirigma (warrior), which every practitioner of Amara Arkanis is. The triangle denotes the three aspects of the art in Amara Arkanis – the use of the bladed weapon, the use of the sticks or alternative weapons and the use of the empty hands. 



CREDO OF AMARA ARKANIS

In humble confidence I come to you with my art – AMARA ARKANIS

Strengthened by the courage and fortitude instilled in me by AMARA ARKANIS

I will uphold justice and the laws of my god and my country

I will champion the triumph of good over evil

I will endeavor to attain a higher level of existence – spiritually and physically

This is the creed of my art – AMARA ARKANIS

This is my Code of Honor So help me God.