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HISTORICAL BACKGROUND

Arnis, as a martial art, was spawned in Philippine soil. It was known in ancient Philippines.
asKali, an ancient Malayan word which implies a large bladed weapon longer than a knife.

This art was practiced primarily for self-defense by the pre-Spanish Filipinos who were
noted for their friendly nature and legendary hospitality.

Kalimust must have been derived from tjakalele which is a native fencing in Indonesia.
Linguistic kinship is not without basis considering that what is now Indonesia was once, in ancient times.
times, a part of the Sri Vishayan and Majapahit empires whose sphere of influence reached the
Philippines. Scanty records show that it is possible that the ten Bornean datus who landed in the
island of Panay in the 13thcentury were subjects of either of these two ancient empires. History is
Quite definite, however, that during the reign of the ten datus of Panay, kaliwas was taught to children.
in a school called Botho, as part of their education.
The art of hand-to-hand combat has always been an integral part of the Filipino in his
long, turbulent and bloody history. By force of necessity and self-preservation he became an
expert in fighting with his hands, either bare or with a stick and a bladed weapon. Even before the
introduction of the bladed weapon, the early Filipinos were a fighting people using the bow and
arrow or the longbow. The primitive Negritos, coming from Central Asia during prehistoric times,
were expert in these weapons.
However, around 200 B.C., the Malaya migrated to the Philippines and brought with them
the long knife. Their coming enriched the Filipino arsenal in the fighting arts. Besides their sticks
and bows and arrows, the early Filipinos were now also experts in the use of bladed weapons and
daggers.
This is especially true with the Muslims in Mindanao and Sulu who have a special
inclination of these weapons. Their skill in hand-to-hand combat with a bladed weapon had been
proven in their untarnished history of successes in repelling foreign invaders in their land.
numerous attempts of the Spaniards, the Americans and the Japanese to conquer the Muslim and
Colonizing Mindanao has always failed.
As testimony of the Muslims' love for the bladed weapon is their variety of the styles and
types of knives which include the kris, bolo, kalis, laring, barong, gunong, kampila, gayang, pira
punal, itak, banjal, bangkcon, lahot and the panabas. Even today, one can find the most artistic,
knives in Mindanao and Sulu in different sizes and styles. The freedom-loving Muslims of
Mindanao and Sulu are credited with the experimentation, systematization, and martial use of the
bladed weapon.
Inter-regional contact and influence brought about by trade and travel linked the Muslim
fighting art with the bladed weapon in the South with the kalis, the forerunner of Arnis
Tagalogs, in the north. Kalis, a term which was shortened to Kali for convenience, is also a
fighting art which uses a long-bladed weapon or knife, stick or cane and dagger.
Arnis de manois the best known and the most systematic fighting art in the Philippines.
is perfected art after a long historical development from the Kalisystems designed to train the
students to defend himself against armed or unarmed attacks. Arnis, as it is commonly called, has
been also known in the other dialects as estocada among the Tagalog provinces and estoque or
friar in other regions
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As a fighting art, Arnis has three forms of play. They are the espada y daga (sword and dagger).
dagger) in which a long wooden sword and a short wooden dagger is used; the solo baston (single
stick) in which a single long wooden stick or rattan cane hardened by drying or
heating) is used; and the sinawali, a native term applied because the intricate movements of the
twomuton resemble the weave of asawali (crisscross fashion), the bamboo split weave pattern
used in walling or matting.
Arnis is a close-combat affair, thus skill in parrying and striking must be developed with
utmost dexterity. The expert use of the leg and the leg-hip fulcrum maneuver to outbalance and
Throwing an opponent must be perfect. Unlike other martial arts that use complex body
maneuvers. Arnis, as it was then and as it is now in its modern form, puts emphasis on the use of
the stick and the hand-arm movements.
Like in the early times, Arnis today has three traditional training methods: They are (1) the
muestrasion or pandlag which teaches the artistic execution of the swinging movements and
stroking for offense and defense in repetitive drills, (2) thesanggaorpatamaorsombra tabak
wherein striking, thrusting and parrying in a prearranged manner is taught, and (3) thelarga muton
a true competition, in which two trainees engage in a free practice trying to outmaneuver
each other using all their skills. This is the ultimate phase of Arnistraining.
This was Arnis, the pre-Hispanic martial art which was the brawny and bloody power of
the early Filipinos in the protection and preservation of their dignity and honor.
The glorious lives of the Filipino heroes linked with the awesome power of the martial art
of Arnis. They triumphantly waged their heroic battles for freedom and liberty as a testimony of
the power and effectiveness of Arnis. Their successful stand against their superiorly armed
Adversaries in mortal combat in the arena of battle are now held in immortal inviolability by history.
It would not be far-fetched to surmise that one of the earliest Filipino heroes, Lapu-lapu,
was a kali (Arnis) expert. Pigafetta, Magellan’s chronicler and historian, recorded that on April
27, 1521, Lapu-lapu felled the great Spanish warrior with a bladed weapon thus making a
Filipino’s first victorious stand against a foreign invader. Pigafetta also recorded that many of the
Natives carried a pointed short hard wood stick which had been further hardened by the fire.
treatment and used in fighting. This stick may have been the forerunner of the present mutonor
stick in arnis.
In 1564, another conquistador, Miguel Lopez de Legaspi, landed in Abuyog, Leyte where
they were hospitably met by the chief of the island Malitik, and his son Kamutunan. Legaspi and
his men were treated to a feast and shown a sample of early Filipinos’ skill in combat with kalias
the best part of the show.
Legaspi was given the same hospitality and display of Filipino dexterity in arms when they
visited Limasawa (Limasagua) and Camiging (Camiguing), the latter visit occurring on March 11,
1564. During both visits, the Spaniards were wined, dined, and shown the Filipinos’ skill in kali.
(arnis).
When Legaspi and his men landed in Cebu on April 27, 1564, they were met by the native.
chief Tupas and his warriors. Again, they were treated hospitably and shown the Filipinos’ skill in
arms.
Legaspi was so impressed with the Filipinos' skill in combat, especially in kali, he decided
to befriend them fully. The bond between the two leaders grew so strong that on June 4, 1564,
chief Tupas entered the folds of Christianity. He was named 'Felipe' in honor of King Philip of
Spain.
Kali (arnis) became so popular during the early days that it was known as the sport of
kings and of the members of the royal blood. The first and foremost experts of the arts were the
rajahandmaharlika of the Visayas and Tagalog regions, Amandakwa in Pangasinan, and
Baruwang of the Cagayan valley region. The art was not confined to the elite alone. Ordinary
Filipinos practice kali not only for self-defense but also for entertainment. It was the most
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awaited entertainment feature in fiestas and other gatherings. Sometimes, combatants used their
skill in kali to settle their differences.
Kali was a standard fighting technique in hand-to-hand combat of the Filipinos when they
revolted against Spain. Using their tactics, the Katipuneros engaged the Spanish soldiers in
savage skirmishes. History states that Bonifacio brandished a bolo, a standard weapon in kali in
his famous “Cry of Balintawak”. The greatest Filipino hero Dr. Jose P. Rizal, studied kali or
Arnis before he left for Europe. Generals Gregorio del Pilar and Antonio Luna also studied Arnis.
even before the start of the Revolutions. Rev. Fr. Gregorio Aglipay was known to have practiced
the art too. Acceptance of Arnis became so widespread that in 1896 Jose de Azas started a school
for the study of Arnis and foil fencing.

Decline of kali and the emergence of the word Arnis

Kali declined in popularity as early as 1596 when the Spanish authorities discouraged,
eventually banned the practice of the art in 1764. They said that Filipinos were so engrossed in
the art that they left their land untilled. The Spaniards also started that the practice of the art also
led to death in injury to combatants especially when tempers got out of hand. Sources intimated
that the Spaniards may have other reasons for discouraging the practice of kali.
The Spaniards must have considered the art lethal or dangerous since they decreed that
Natives found practicing kali (Arnis) would be considered Tulisanes or outlaws.
In 1637, the friars introduced the moro-moro, a socioreligious play dramatizing the
triumph of the Christian Spaniards over the Muslim moors of Granada, Spain.
The play called for the use of fighting techniques using a sword or similar bladed weapon.
With the introduction of the moro-moro, the Filipinos again had a chance to practice their art, thus
Interest in Kali (Arnis) was revived.
In said play, Spanish soldiers fighting for Christianity were supposed to wear arnis, a
arnés
word arnis, came the present Arnis. It may be recalled that the word Arnis was used in its true
connotation by Francisco Balagtas in his Tagalog epic, Florante at Laura, when he wrote: “. . .
the game of wrestling and arnis that showed their respective agility and skills.
Arnis, therefore, is the Tagalog orthographic translation of the Spanish arnis. However,
some regions in the Philippines still retain the word kali in their vocabulary for this art. Thus, we
have the skill of stick fighting to the Visayans (escrima or garrote to the Cebuanos) and baton to the
people of Panay and Negros Occidental, and sinawali to the Pampangeños.
Arnistoday experienced changes in the weapons used. Although the art still makes use of
The tiger occasionally relies heavily on the use of the cane as a self-defense.
weapon. This is not because the cane is less deadly than those bladed weapons but mainly because in
In the later years, Arnisis engaged in more as a sport. However, even in sporty competition in
Arnis, a long bladed weapon is sometimes used. This as might well be, because concentration of
the use of a cane in the game of Arnis is relevant to the aims and programs of the New Society
which abhor the use of guns and bladed weapons to keep peace and order in the country. This
Concentration will even benefit police agencies because the current global trend policies tend
to discourage the use of guns and side arms. The truncheon, a hard piece of wood much bigger in
diameter but shorter than the cane, has replaced all these.
Much of the antiquated techniques of the old Arnis have been modernized to avoid injury.
to students. But more important, discipline and other moral values are impressed upon the
students to strengthen not only the body but the spirit as well.
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How modern Arnis was propagated.

Before it was introduced in Manila, modern Arnis has its humble beginning in Bacolod.
City in the Visayas where the author first learned the techniques of the art. Being a master of many
martial arts, the author was able to compare the intrinsic qualities of Arnis with other martial arts.
And this comparison led him to improvise the antiquated techniques of Arnis only for reasons of
pacing with the times but also for utmost effectiveness. These improved techniques were then
taught for the first time to the students in that City.
It was in Manila, however, where these modern techniques underwent thorough
improvements and gained wider acceptance when the National College of Physical Education,
through the encouragement and patronage of Co. Arsenio de Borja, director and secretary-
treasurer of the Philippine Amateur Athletic Federation (PAAF), offered modern arnis as a regular
subject in Physical education to the students who major in the course. This was in 1969.
The students in the NCPE were mostly teachers from different schools in the country who
took PE as a degree or a special course. This enabled arnis to gain wider area of propagation as
these teachers in turn taught Arnis to their students.
Besides these teachers, students who enrolled in Modern Arnis in the school of the author,
also help propagate the art. After completing the course, these students establish their own
schools in their respective provinces.
The author was unsparing in his instructions to his students. The techniques he taught
were complete and the training was rigid. He made it a point to teach them the advance course.
That’s why by the time these students taught Arnis, they were qualified teachers of the art having
with them a full knowledge of the advanced arnis.
The outcome is revealing. Modern Arnis is now an institution in the world of martial arts.
It has caught fire in the hearts of Filipino martial arts lovers. And the timing is perfect for we are
now in the midst of national awakening to our true Filipino identity. The government is now
exerting much effort to acquaint the Filipino people with their culture thus cementing nationalism in
their hearts.

Arnis is one of our national cultural gems. The efforts of the author has become an
instrument of this awakening to its worth. The chain of propagation that sprang from his unselfish
and dedicated tutelage of the art has produced a nationwide fever that is now a pride of every
Arnis is a true Filipino martial art.
Someday, modern Arnis will become the martial art of the world.
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BASIC CONCEPTS IN ARNIS

ESSENTIAL PRINCIPLES:

The true power of arnis does not end with its techniques. Although, basically the techniques are
powerful enough, there is still much power untapped if these techniques are not executed along the
essential principles underlying its execution. Consequently the usefulness of Arnis itself will be
in vain if these principles are not observed. It is essential therefore that the learner should know
These principles by heart and commit the techniques to memory.
These principles are classified into two: the physical and the psychological.

THE PHYSICAL PRINCIPLE: The learner must always bear in mind speed- speed in
delivering the strokes, speed with the hand, speed with the feet, and even with the eyes in spotting
the weak points of the opponent. This speed develops in the player’s agility which is one of the
fine qualities of a good arnis player. The learner must train himself to stare for long periods
without winking- a wink in actual combat might prove fatal.
The learner should also learn to swing the club. In swinging, the grip must be firm and the
The stroke must be delivered with a jerk. He must also learn to relax his wrist after each stroke.
A player should not allow distance to separate him from his opponent as distance makes
him vulnerable.

THE PSYCHOLOGICAL PRINCIPLE: The learner must not be unruffled but

composed and calm so as to be able to concentrate on his opponent and have a full command of the
situation.
The learner must also constantly be aware of the ability of his opponent, knowing that his
Inability to assess every movement will be fatal to himself.
But above all, the learner must have the will to fight and win. Without this attitude, a
player’s effort would be inefficacious. The presence of the opening will have no meaning at all if
The player does not have the will to seize the opportunity and exploit it to his advantage.
Indecision in any given situation during combat in Arnis usually ends in defeat for the player.

THE GRIP
The grip is the soul of all fighting techniques in Arnis. It is the correct grip that packs power and
controls the cane.
To do the correct grip, hold the cane an inch from the base and tighten your four fingers around it.
with your thumb pressed against your forefinger. The hold must be firm when striking. Relax your wrist a
bit after a strike.

COURTESY
Courtesy means respect for one’s opponent and for the cardinal rules and principles of
sportsmanship. In the revered tradition of martial arts, courtesy in Modern Arnis is the trademark
which makes players worthy protagonists.
At a 45-degree angle, heels together, body upright, hands 2 ½ inches apart holding a cane, and
feet together, tilt your head slightly towards your opponent. Courtesy in Arnis can also be
executed with two canes.
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CARDINAL RULES OR PRINCIPLES OF ARNIS

By nature man is never violent. Unless otherwise affected by some physical or

psychological affliction, or forced by outside reasons or provocations, no man will harm a fellow
human being (or animal for that matter) let alone feast on their physical sufferings. Man is an
"institution" of love and kindness.
However, history, history is full of stories of man's brutalities to his fellow man.
Wars were waged and lives were lost in battlefield after battlefield. This is a sad commentary on
man's true nature, or an irony of his being.
But it must be remembered that this violent quality of man is forced upon him by the
vicissitudes of time and circumstance. Outside forces edged him out of his human resistance
which inevitably led him to react in order to preserve himself. Thus the truism of the 'survival of
thefittest, the vagaries of cruel life led man to violence.
This need forced man to devise arts and implements for fighting. From the first caveman
To the present spaceman, tools for fighting were made and improved until sophisticated machines.
and implements of warfare become dreadful realities.
Thus, the caveman had his stone clubs, the Europeans their epees and foils, the Chinese
their Kung-Fu and the Japanese, their kendo and Karate, and many others with their forms of
martial arts. The Filipinos are not spared of this need. The Filipinos were forced to devise their
Arnis, the martial art of the cane which had its beginnings even before the coming of the
Spaniards.
Present trend, however, converted these martial arts into forms of sport. Although they are
taught as defensive and offensive weapons, their concentration is now as a form of sports indulged
in friendly competitions like all other wholesome sports. These arts have cardinal rules and
principles to be observed and followed. Arnis has its own principles that have to be inculcated in
the students.
The cardinal principle in Arnis is respect for one’s opponent as a person and as a fighter.
and as a sportsman. It should always be remembered that an opponent is a human being with a
dignity as you have and worthy of respect. (Also do not underrate his fighting ability. Over-
Confidence would be costly, if not fatal, therefore never underestimate the ability of an opponent.
Sportsmanship, on the other hand, is a measure of a fighter or player. The laurels of victory should
never be worn with superiority but with humility. Victory is not a stamp of invulnerability but
rather a reason for magnanimity.
Besides these cardinal principles, there are other principles in Arnis that the students must
remember these are: Character, sincerity, discipline, self control etiquette and student’s loyalty to
his tutor.

a. Character - a ruffian has no place in Arnis, let alone in sports. Refinement in character i
important. A student must be taught the moral (and religious) values of everything. It is an
obligation of the teacher of Arnis to mold the character of the student in such a way that his
behavioral structure would be motivated by righteous desire. It is what a man is that counts not
the number of trophies he won. In spite of the abetted fallacies of values of the present world, it is
who you are that will matter in the end.
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b. Sincerity – Sincerity for victory’s sake is not at all the consuming end of an Arnis player. It is the
sincerity in him to his fellowmen and to his art that makes him shine in the array of men.
The will to win may be instilled, but such education should never end after the tick of the ultimate.
seconds in the game but beyond the canvas and the arena of competition. The martial art of arnis,
It should be remembered, is a good medium of developing man's sense of dedication in all his
Everyday endeavor and involvement. Sincerity is the mother of trust makes an institution of what.
has been shattered by doubts. A man who is not sincere will never have a true friend.

[Link] - Arnis is a molder of discipline. It is the responsibility therefore, of the teacher of the
art to guide the students to this end. Strict compliance with rules and norms of conduct is an
athlete’s obligation. Proper behavior in the sport and in life itself will be the gauge of success.
Personal discipline is important. The kaleidoscopic invitations and temptations of life should
never undermine man in his obligation to his art, to himself and his fellowman. A student should
learn to control himself in the pursuit of his goal, not only in his art but also in life in general.

[Link]-control– Losing one’s head means defeat. One should learn to control their temper. If they
hope to achieve success in every endeavor. In Arnis, self-control is important for without it
life and the good health of another may be lost. The possession of an ability to kill or maim a
A person should be handled with extreme caution and prudence.
Man’s clear perception of things is anchored on his ability to control the outbursts of his inner self.
Provocation is dishonorable but a hasty reaction to it is just as dishonorable if not despicable.

[Link]- Etiquette is allied to the main cardinal rules in arnis. One’s norm and standard should
Never be imposed upon others. One should learn to respect others. Giving credence to the
The standard and ability of another person should or will best prepare anybody in any endeavor.
The pacific ways of human understanding will stay unruffled if exercise of proper etiquette and
Respect, whether it will be in sporting competition or in life itself, is observed.
You may be wrong after all and the other fellow is right. You might wind up holding an
empty bag, so to speak.

Student’s loyalty–loyalty should be emphasized to the student, loyalty to the art, to a fellow
player, and to his teacher. Ingratitude to one is ingratitude to the other. A student should be
loyal to a fellow player because any disloyalty to him is disloyalty to the art itself. More
important a student should be loyal to his teacher. Everything one has learned is owed by him to
his teacher. Personal whims should never cause one to be ungrateful to where he owes everything.
he knows. Even for the ultimate aim of the art is already achieved by a student that he can now
manage on his own, he should never forget the teacher who labored for him. In the skirmishes of
things, the students should always be loyal to him.
Life has shown us many treacheries committed in the name of greed and personal gain.
gratification. This has no place in the art of Arnis or in sports for that matter. A true sportsman
is always loyal to his art and to the prime movers of the art. He sees with
everything and everybody from whom he had owed everything he knows. In this world of muck
and only those who look back with gratitude shall succeed. Loyalty to the fundamental basis
of his achievements weighs for a greater measure in the merits of man. Ingratitude is treachery
and a traitor has no place in the forum of honorable men
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THE 12 VITAL STRIKING POINTS OF THE BODY

TYPE OF
AREA STRIKE REACTIONS
USED
Left temple Strike No. 1 Fatal. The least it will cause internally.
hemorrhage in the brain or skull fracture.
2. Right temple Strike No. 2 Same as in No. 1
3. Left shoulder Strike No. 3 Numbing pain. It may also cripple the
shoulder.
4. Right shoulder Strike No. 4 Same as in No. 3
5. Stomach Strike No. 5 Crippling pain and could be fatal
6. Left Chest Strike No. 6 Could be fatal.
Right Chest Strike No. 7 Same as No. 6
8. Left Knee Strike No. 8 Dislocation or fracture. May also cripple.
Right Knee Strike No. 9 Same as in No. 8.
Left eye Strike No. 10 Serious damage to the eye.
Right eye Strike No. 11 Same as in No. 10
12. Crown Strike No. 12 Fatal

The above numbered areas are targets of the 12 striking techniques:

It must be remembered though that the striking areas in Arnis play are not limited to the
above. These are only areas to be hit in the 12 basic striking techniques. In actual Arnis play,
especially in defense, one has to use his hands, feet, and the base of the cane. You will note this is
the final stroke (counterblows) of all defensive and offensive techniques presented in this book.
Therefore, when one executes counterblows, he should deliver them to areas most effective.
In the given illustration, these areas are identified by letters. These can also be targets in
cane strikes. But these areas are easily convenient targets in defensive plays when the attacker is
already out balanced. With the corresponding degree of punishment a person gets out after being
hit, these areas are as follows:

AREA REACTION
A. Nose Excruciating pain with the breaking of the nose.
B. Back of the neck Fatal.
C. Side of the neck Fatal.
[Link]'s apple Fatal.
E. Solar Plexus Excruciating pain and could be fatal.
F. Side below the last rib Excruciating pain and breaking of the rib. One
should note that the last rib is very vulnerable
because it is hanging.
G. Lower Abdomen Paralyzing and could possibly cause permanent
injury. Could be also fatal.
H. Groin and Testicles Fatal.
I. Shin Sharp pain and numbing.
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DIFFERENT SINAWALI;

Single Sinawali Double Sinawali 8) Peripheral Sinawali 11) Adv. double Sinawali

Advance single 6) Double All up Sinawali

9) Peripheral All up 12) Adv. double All up
Sinawali Sinawali Sinawali
Double All down
3) X Sinawali Sinawali 10) Peripheral All down 13) Adv. double All down
Sinawali Sinawali
4) Reverse X Sinawali

DIFFERENT COMBINATIONS OF SINAWALI

Combination 1 Combination 2 Combination 3 Combination 4

(1, 2, 3, 4) (ALL Double) (ALL Peripheral) (All Advance double)

1 Single sinawali 6 Double All up 9 Peripheral All up 12 Adv. Double All up

1 Single sinawali
2 Advance single 5 Double normal 8 Peripheral normal 11 Adv. Double normal
2 Advance single
3 X sinawali 7 Double All down 10 Peripheral All down 13 Adv. Double All
4 Reverse X down
4 Reverse X 7 Double All down 10 Peripheral All down
3 X sinawali 13 Adv. Double All
2 Advance single 5 Double normal 8 Peripheral normal down
2 Advance single
1 Single sinawali 6 Double All up 9 Peripheral All up 11 Adv. Double normal
1 Single sinawali
12 Adv. Double All up

14 Round

RVL 9/18/12