Alaska: Trusting the triangle

COACHES LIKE to refer to “the system” when talking about the way their teams play basketball on the floor.
Simply stated, it’s a way of proceeding or playing for teams. For example, US NCAA champion mentor Rick Pitino preaches the unforgiving full-court press to create turnovers and breakaway baskets.
The team’s conditioning and substitution patterns emanate from that philosophy. Add to this Pitino’s belief in the power of the three-point shot as a major ingredient in concocting victories
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Tim Cone’s 13th Alaska championship, won this week against San Miguel Beer in six games, did not just confirm the impact of the triangle offense as his system but of how well-played roles can create sterling team performances against the strongest opponents.
With its accent on generous floor spacing and on sharing of the ball, the triangle only succeeds if players submit to the roles the system demands.
There can be one high scoring virtuoso like Michael Jordan or Kobe Bryant, but the other parts of the geometric figure must also be ready to pass or score if the opportunity is there.
Alaska players who get Cone’s marching orders know immediately what role to play whether they start or are inserted in the waning seconds of a quarter.
Sonny Thoss, the injured center who emerged only in Game 3 of the Finals, plays the top of the triangle and waits for chances to pass off to the fleet-footed Cyrus Baguio and LA Tenorio.
Tony de La Cruz would hit long open shots once the defense played less attention on him.
Import Diamon Simpson, who had played the triangle before, knew his role was to create his own scoring chances if passes to the cutters were not safe.
Even the subs knew exactly what to do. Reynel Hugnatan, who first grabbed a slice of national basketball attention as a hard-banging backup to John Ferriols in the Negros Slashers in the MBA, knows his chores while the starters get their bench breaks.
Larry Fonacier and Mark Borboran, the lanky Alaska lean-and-mean pair, were assets in defense and offense and could provide difficult match-up problems for opponents.
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Cone’s uncanny ability to find the artists to play the parts of his opus has been honed through the two decades he has been at the helm.
In 1996, the year of Alaska’s grand slam, he had a starting unit of Johnny Abarrientos, Jojo Lastimosa, Jeffrey Cariaso, Bong Hawkins and Poch Juinio. It was an intriguing mix of stars and players hoping for a spot in the PBA.
Take any of his players from the 2010 Fiesta Cup champion team and you will find similar cogs in the 1996 squad.
Cone does not have the same strong material that other teams have but he has found a way for his orchestra to have musicians willing to play what the arrangement asks for.
These are not rigid job descriptions that have to be strictly played out. Instead, they are opportunities that allow a player to shine individually while playing for a team cause.
Alaska’s system is a lesson in accepting our roles for the team. There are great days when you move to the next phase of a tournament, or forget one when human nature takes over and nothing seems to work.
But you play tournaments or series just as in life. You take the good days with the bad and trust that the system will see you through.