A short interview by Aperture with Tuhon Kit Acenas of Kali Mundo.
It’s been such an honor to have Guru Robert as a teacher, facilitating my silat journey. His patience, humility and deep understanding have been as engaging as his skill and I figured it’d be a pleasure to get his take on just 5 Questions about his ideas on teaching his student journey.
Robert Hilliard of Kuno Silat talks back to 5 Questions from Njoli Brown at NoPaper.
I’ve been around martial artists my entire life. I had two brothers that studied Okinawan karate. They where basically my first teachers. When they would see me and my friends imitating martial arts moves, they would came and make corrections. Occasionally they would let us spar with them. This would typically end with me and my friends on our backs, or a bit bruised up. The younger of my two brothers, who was actually a black belt, had a friend who was opening a Kung-Fu school in a local community center. My brother thought that would be good training for me, so he enrolled me and another of my siblings at the school. I trained there until I finished high school. After college, I ran into a friend that was studying Wing Chun. I loved the efficiency of that system and trained for over ten years. After that, I was introduced to silat by a neighborhood friend. I was instantly drawn to it’s effectiveness and completeness.
My experiences have been varied. I try hard not to look at them through the lens of good or bad, but as learning opportunities. I’ve had some teachers that were, what some would consider heavy handed, while others were nurturing and accommodated. Early on, some of my teachers pushed so hard that I got injured during training. When this happened, they would frankly state that it was not the training methods that caused the injuring, but my lack of conditioning, etc. Those were unpleasant experiences, but they taught me to listen to my body. It also taught me that good teachers don’t push their students beyond their physical limitations. I should note that those experiences happened while I was studying others systems. The vast majority of my experience with silat have been incredibly positive.
As an instructor, I try to create a warm and welcoming environment where people can come to class, work hard, and enjoying their progress. I teach my students that success in martial arts, or life for that matter, is not a straight line. It’s okay to struggle and fail as long as you are “failing forward.” As far as my student’s aspirations go, I want everyone to be ambassadors of the art and have confidence in their ability to execute what they’ve learned with confidence in class or in the street, if need be.
I manage my personal practice by making sure that I carve out time during the day to train all aspects of the art. I learned that it’s easier for me to train early in the morning (around 5:00 am). Of course, you can’t train everything in the system in one day, so I focus on certain aspects throughout the week. The jurus (forms), I train everyday. I also try to make sure that my general fitness is good. I’ve also learned to listen to my body, so I don’t train when I’m sick or injured. Instead, I give my body time to heal.
To make things relevant in my daily life, I use the two basic principles of silat: adat and hormat. Adat is how you conduct yourself. Hormat is respect for all around you. As a instructor, I believe that I should be a mirror for my students outside of class as well as inside.
Robert Hilliard is a student of Senior Guru Tim Anderson and a long time promoter of this Indo-Dutch system of silat as Head Instructor of Kuno NYC. He additionally has an extensive background in Wing Chun. Robert brings his classes alive by consistently imbuing them with a community feel while committing his students to a highly technical and detail oriented practice.
Semangat Baru is the name of our specific style of Pukulan Pentjak Silat. It translates to “New Spirit” and reflects our new way of viewing and teaching the ancient art of Silat. We operate free from any kind of “secrets” or “martial politics” that can become attached to coveted knowledge. The style itself focuses overwhelming an opponent with strikes, while finding leverage points to take their balance and ultimately subdue them.
Silat is a collective word used to describe martial arts originating from South East Asia, such as Malaysia and in our case Indonesia. Pukulan is a word that means striking. In this case denoting a silat system that places a heavy emphasis on hitting. Pentjak is generally considered to refer to the movements and performance of forms where “Silat” is an expression of those motions for use in combat. So “Pukulan Pentjak Silat” could be seen to mean something like “Striking form based Indonesian Martial Art”.
*Special “thank you” to Jelena Antanasijevic for the photos.
Recalling 10 forgotten joyous moments
I sometimes challenge myself to recall 10 joyous childhood moments
Without the interruption of shadows
Or any of the other feelings which trap my adulthood
in that moment
in those moments
and sully the rest
I imagine my relationship to those 10 moments as the key to my relationship to my manhood, to my vision and power and humanity
Take 2 steps
onto the cloth
and gold, black
Spirit in the soles
through the spine
all unknown and completely familiar
and to real to be called dance
Pads of the feet
soaking in gold, black
Nothing but to hunker
And let the cold push us together
thighs upon thighs
lips upon lips
and slow holds
and minor shifts
and forgetting all the in betweens
of needing to wrap a feeling
and deep bass beats
love and no love
while the wind blows
and a tree falls outside
By Njoli Brown
One of the most powerful things we can give to our youth is the realization that they have an actual capacity to effect change. In my autumn projects in Brooklyn and the Bronx I decided to utilize concepts from civil engineering to develop
a sense of the importance of design in the nature and timbre of a community. But even more importantly, the objective was to mature the capacity to critically evaluate our environment to recognize ways in which it could be changed and/or supported.
The process was collaborative and grounded in the work of establishing leadership skills, common values and collective empathy. Through discussion, writing, movement and art we dove deep into the most difficult work of putting language to our ideas, debating and, at times, compromising.
We concluded the project by creating an interactive public gallery wherein participants could post questions as a pathway to research and activism.
By Njoli Brown
“This present continuous practice is nothing other than just that, just committing oneself to continuous practice for no other reason than to practice continuously.”
– Dogen in “Continuous Practice” –
(Translation by Francis Dojun Cook in the book “How To Raise an Ox”)
Most recently MSMB had the opportunity to promote students through the Pekiti Tirsia Kali ranking curriculum in association with PTK Elite. It has been a pleasure to see their growth as students and to see them undertake and overcome increasing challenges both in training and in life. Through this process, it had me truly reflecting on the value of rank testing and the importance of doing it well, justly and academically.
Now, truth be told, I do hold a lot of more seemingly abstruse elements to be equally as important in the progression of studentship — empathy, mindfulness, dedication, compassion, fortitude, humility, etc. But here, I’d like to talk about the importance of the skills element of the pedagogy.
This year there was a decision among Elite Family instructors to really drill down and go layer by layer through the rank requirements, specific skills, language, historical knowledge, deemed essential both by our teachers and by us, collectively. In making these determinations we were looking to do a better job of making sure that , not only were we developing skilled practitioners or doing our part to protect the legacy of our predecessors but that we were giving our students access to material which, perhaps, none of us have fully deciphered. Material which could then truly be theirs to explore and investigate. In the martial practice everyone brings their own personhood and thus unlocks elements only accessible to them, elements revealed through work and diligence. These are all the spaces between wherein students often teach their instructors.
By utilizing a clear platform for ranking, it also calls on me to continually develop myself and work on my own weaknesses. It requires me to regularly test myself and delve deeper. In part because of my own curiosity but, as well, because It would be my greatest fault to leave a student short-changed because of my own incapacity to reconcile with challenges I face in my own study.
Ranking is a funny thing. It is both objective and subjective simultaneously. The more esoteric aspects of a teacher’s pedagogy, I’ve put aside for the sake of this exploration but they are easily as essential, particularly if your institution is also concerned with developing teachers, leaders, comrades. People age, the body becomes ravaged, illness, injuries, we know them all. But, in this world of martial craft, nothing sabotages the weight of a leader’s presence in the field more then demonstrative ignorance of his/her craft, and nothing empowers a student more than to have strong foundations from which to build investigative inquiry into self and the world.
- How can I judge someone else’s journey?
- As an instructor, what is the honest status of my “student mind?”
- Am I clear about my expectations as an instructor and/or as a student?
- Do I ask discerning questions for the sake of learning or for proving?
- How do I evaluate the connection between my internal and external practice?
By JL Umipig
It’s been 2 years now since I arrived to Central Park on a spring evening and was welcomed by Guro Njoli and two of my brothers of Pekiti Tirsia Kali (PTK) Vin and Chris. And I recall so distinctly why I returned after that first moment- it was the feeling of being held in a process of betterment and strengthening through comraderie. From day one, my brothers of MSMB and PTK held me to a caliber of that encouragement to better and strengthen my being.
I am one of the few Womxn who consistently trains with the brothers of PTK Elite and MSMBNYC. In two years I have watched sisters come through and I emphasize to them why I continue to train which consists of the reasons that most people do, to have consistent physical regiment for my fitness and health, to be able to defend myself when the time comes, and to strengthen my body and confidence. But also I continue and commit to PTK and MSMB because of what I felt in that initial moment that I began learning with this circle: the camaraderie and mutual betterment of self as a practitioner that I feel growing with my brothers. There is a real pride we have for the betterment of one another, the push to excel as a family unit, detached from competition amongst those in our crew. They push me to go hard, to be able to hold my own amongst anyone, no matter their size or their strength level. There is a belief that I feel from the respect my brothers hold for me, that when we train, our genders have nothing to do with our ability to train hard, and be able to step up to the challenges of body, mind and spirit that our practice teaches us to stand up to.
Our guros hold us all to our strengths, and also hold us to strengthening our weaknesses. I see how each of them in their teachings see the value of each individual in the group, and I watch the camaraderie between them that is model to us all. It roots our circle, the way they are able to respect and hold one another in collaboration and in unique styles of giving knowledge to our training. And as the little sister in the crew they rarely mention my gender, only with the recognition of how to apply their teachings to the very real degradation and violence Womxn face on the daily and how to use the learnings for my protection and ability to be prepared should I be confronted with the realities of misogyny and gender violence in this world. They teach me to use my size to my advantage, and help me understand my power to survive.
When we talk about Kali, we orient the learnings around the ability of Pilipino ancestors to fight and survive in battle with their colonizers, who were often larger and more equipped than them. These teachings of Pilipino Ancestral practices and traditions is the other reason I stay. My guros value this and respect the roots of the art, they help us understand the context and it brings me closer to my ancestors in a new way of understanding. I feel them in my movements. I feel their spirit of survival and resistance. And they and my brothers make room for me to share my learnings and cultural practices and values as a healer, activist and artist in connection to our training- another way they welcome what I have to contribute to our circle of my strengths.
“Respect everyone, Fear no one” our MSMB mantra is core to the way we train, is core to the way we learn, is core to the way we build camaraderie. Every time I come to train, I feel valued, respected and cared for as a member to this circle of warriors. I believe that is how my ancestors intended this practice to be upheld. So I bring myself fully to every training and every gathering, ready to step into my power. Sure, every now and then the testosterone is real, the frustrations of having to deal with my femininity being sometimes a hindrance because I can’t hide I am a Womxn physically and there are instances of societal stereotypes that surface (that’s real), and the moments of having to step it up extra notches to have new members that are men see me the way my brothers who I’ve trained with from the beginning is real as well. But what outweighs all of that is that my brothers will always remind me I am valued, that I am seen and I am held and so the humanization is real, the honoring is real and the love that makes me feel Family in this circle of brothers is real.
Jana Lynne (JL) Umipig is the creator of “The Journey of a Brown Girl” www.thejourneyofabrowngirl.com Director, Producer, Actress, Educator and Organizer she currently resides in NYC. JL has worked with different community organizations developing curriculum and programs that integrate theatre and visual arts with activism and leadership development, working with schools, community organizations, detention facilities, and rehabilitation and support group centers. She believes in the power of the arts to activate and move the human spirit for individual toward community empowerment and transformation. She creates with the intention to connect human experience and spirit between all communities.