UNIT 5

ARNIS
 HISTORY
The races that settled in Philippines came from India, Southwest Asia, China and
Indonesia. The diversity of these cultures blended over the centuries, and produced
common methods for employing sharp swords, daggers and fire-hardened sticks in
combat. One of the earliest known forms was called "tjakelele" (Indonesian fencing) or
later referred to as "Kali“. When the Spanish invaded the Philippines, they required
firearms to subdue the native population. The fighting skills of native warriors nearly
defeated them. The Spanish soldiers dubbed the native stick and bladed fighting style
"escrima" also called "eskrima" (skirmish).
 HISTORY
Similar to the haitori ban on the private ownership of arms that the Satsuma put on
the Okinawans, Spanish subjugation of the Philippines prompted the practice of Escrima
to be outlawed as well. As so common is the history of fighting arts across the world, the
fighting arts of Kali were similarly preserved in secret. The natives accomplished the
preservation of their art by disguising its practice in the form of dances or mock battles
staged in religious plays know as "moro-moro". The plays featured Filipinos, sometimes
costumed as Spanish soldiers, wearing "arnes," The plays featured Filipinos, sometimes
costumed as Spanish soldiers, wearing "arnes," the harness worn during medieval times
for armor. The blade-fighting forms and footwork were identical to those used in
escrima. The word "arnes" came to be pronounced "arnis," and the name stuck.
 HISTORY
Arnis incorporates three related methods: "espada y daga" (sword and dagger),
"solo baston" (single stick); and "sinawali" (to weave), which uses two sticks of equal
length twirled in "weaving" fashion for blocking and striking. (term is derived from
sawali, the bamboo matting woven in the Philippines).

Arnis, also known as kali, escrima, baston, etc. is a complete martial art system
encompassing weapons training and empty-hand self-defense. It includes training in
single stick techniques (solo baston), double stick techniques (doble baston). stick and
knife or dagger techniques (espada y daga) and knife techniques (daga), Some styles
may include staff and spear (sibar) training in their curriculum.
 HISTORY
Others will include the practice of medium to long bladed weapons (bolo) in their
repertoire. Many styles have some form of empty hand combat, encompassing striking,
kicking. locking, throwing and even choking methods. These are usually taught when the
practitioner has demonstrated a reasonable degree of proficiency with the weapons of his
style of arnis. Different arnis styles, from different parts of the country, may emphasize
different areas of the training methods noted above. The term arnis is believed to be a
Tagalog corruption of the Spanish term arnes, or harness, a reference to the decorations
worn by the early Filipinos. Kali is another term used to refer to the same kind of martial
arts.
Different provinces may have different names for Arnis:

• baston and kaliradman (Ilonggo, Bisaya)

• pagkalikali (Ibanag) and
• kalirongan (Pangasinan)
 One suggestion is that it originally came from another martial art system, called
tjakalele. This is actually the name of a branch of the Indonesian martial art system
known as pentjak silat. Another suggestion is that it was brought here from the
Southeast Asian mainland, particularly during the Madjapahit and Shri-Visayan empires.
Yet another suggestion is that it was propagated by the so-called ten Bornean datus
fleeing persecution from their homeland. We shall critically examine these assertions one
at a time.
 The idea that arnis evolved or was derived from another martial art system, namely
tjakalele silat, is due to linguistics. The alternative name for arnis is kali. It is widely
held that this is the older term for arnis, and that kali itself emphasizes bladed weaponry
apart from practice with the stick. It is not surprising that a connection could be seen
between the term kali and tjakalele. However, linguistic similarity alone is not enough
ground to assert that kali was indeed derived from tjakalele. Authenticated documents
certainly are one of the best pieces of evidence - if such could be found, and proven to be
genuine. A close and thorough comparison of both styles would help, but it must be
remembered that they would have changed over time, reflecting the different changes
that have happened in their cultures of origin. On the other hand, one of the local terms
for a bladed weapon is kalis. It is also believed that kali is a derived term from kalis.
This assertion will require study before it can be validated.
 Another oft-quoted idea is that kali was brought here during the Shri-Vishayan
(7th-14th centuries and Madjapahit (13th 16th centuries) empires. This reflects the
notion that the Philippines then was somehow an integral part of both empires. It must
be noted that the archacological evidence for the role of the Philippines in both empires
is very meager. About the best that could be said is that there was commercial contact,
but whether such contact also included the spreading of martial arts is circumstantial at
best.

A third idea regarding the spreading and propagation of kali in the Philippines is
that ten Bornean datus (sometimes nine) fled here and settled in various parts of the
Philippines. They brough with them their fighting systems and taught these along with
other arts in the academies called the bothoan.
 A key problem here is that much of what we know about the ten datus is derived
from the Maragtas of Pedro Monteclaro, published in Iloilo in 1907. Doubt has been cast
on its usefulness as a historical document, especially since it records folk or oral history.
Scholars such as the late William Henry Scott and F. Landa Jocano, are clear on this
point - the Maragtas is a document recording folk or oral history, and not an actual
eyewitness account of the events stated therein. As such, its historical value diminishes
rapidly with each retelling of the story. Folkloric history is useful in enabling people to
identify with the art of kali, but is should not be taken as actual history.
 Regardless of the name of the art or its sources, the fact that the early Filipinos practiced
some form of combat was not lost on the Spaniards who first arrived here. Pigafetta's description
of the death of Magellan is graphic in its description of the weapons wielded by the natives. It is
interesting to note that Magellan died as he was rushed by the defenders armed with spears and
bladed weapons. In more recent times, Scott's book Barangay includes a chapter on ancient
Bisayan weapons and warfare. This was derived from the accounts and dictionaries of the early
Spanish friars, some of whom were witnesses to the use and practice of weapons and warfare
methods at the time.
 To state therefore, that its origins lie outside the Philippines is misleading, for it
disregards the unrecorded but no less real experiences our forefathers went in simply
trying their best to survive. These experiences are recorded in the techniques of their
styles of arnis. It is also quite possible that there were blendings with different styles of
combat, but if so, these are quite difficult to verify historically.

A key difficulty in researching the origins of arnis is that most sources tend to be
oral history or folkloric in nature. They are not exactly historical documents in the sense
of being eyewitnesss accounts. Hence, their authenticity in this sense is always suspect.
Folklore gives us an idea of how people actually understand their world and their place
in it.
 Martial arts, in whatever form, and in whatever place, are the unique product of the people who developed them,
as members of their culture. A case in point is Japanese fencing, kendo in its modern format, kenjutsu as the traditional
form, Japanese fencing is a product of the technology and the values and habits of the Japanese. Similarly, it should be
remembered that kali or arnis as it is also called today, is very much a product of the Filipino cultural experience. The
relative informality of most practice sessions, for instance, is a reflection on the importance we place in building
harmonious relationships with others.

In conclusion, it is not easy to actually trace the origins of the art of kali or arnis. Perhaps we may never actually
trace it to a single key event in the lives of our forefathers. On the other hand, it is equally important to remember that
the art itself is a continuing evolving product, subject to change and refinement over the years. What is also important is
that we remain open-minded, willing to improve our understanding of the origins of this martial art. Such open-
mindedness is useful inasmuch as it provides us with further insights into our identity as Filipinos.
 Modern Arnis History
Arnis incorporated three related methods:
 "espada y daga”(sword and dagger), which employs a long blade and short dagger;
 “solo baston“ (single stick); and
 “sinawali” (to weave), which uses two sticks of equal length twirled in "weaving” fashion for blocking and
striking (term is derived from sawali the bamboo matting woven in the Philippines).

The popularity of arnis was clearly observed through dialects in different regions :
 panandata (Tagalog);
 kalirongan (Pangasinense);
 dadja or kabaraon (Ilocanos):
 pagkali-kali (Ibanag);
 sinawali (Pampangeño), and
 kaliradman or pagaradaman (Visayan)
 Eskrima,kali,estoque, tilakada, are other names of arnis.
 At age six, Grandmaster Remy Amador Presas (Filipino arnis master and founder of
modern arnis) was already learning the fundamentals of kali, the forerunner of modern
arnis, arnis de mano. In Cebu, Presas studied arnis under Rodolfo Moncal, Timoteo arranga
and Marranga's instructor, Grandmaster Venancio Bacon, all experts
Timoteo arranga and Marranga's instructor, Grandmaster Venancio Bacon, all experts in
Arnis and the "Balintawak" style of stick fencing, In addition to Arnis, Presas became
proficient in Judo, Jujutsu, and karate. When Presas first traveled his country, he took what
he considered to be the most effective principles of each island style and combined them
with his own knowledges of other martial arts.
 Modern Arnis, as Presas terms his system, incorporates empty-hand moves based upon
the same motions used in solo baston and sinawali. Unlike kali, his systems also uses low kicks
and takedowns for a more well-rounded approach. Presas also insists on modernizing a
particular training aspect traditioned aparmis: that of hitting your opponent's hand or arm
instead of his stick-a painful pracice that was tolerated the stick was just as good a practice
method and obviously discourage far fewer students of arnis, preventing many painful injuries.

Presas does not merely combine techniques, he encourages the individual student to adapt
arnis principles to his own feel for each technique. The method should suit the person and not the
other way around. This is known simply as using the “flow”. The flow is Presas' universal term for
defining the comfortable place where the movements of arnis and the individual human body meet
for maximum effectiveness; body and weapon blend to achive the most natural fighting style based
on an individual's needs and attitudes.
 "Arnis makes many martial artists discover new things about their own style”. Press
says. "They recognize the beauty of arnis because it blends naturally the best movements
from many arts. Most of my students continue to study their own styles- they just use arnis
to supplement their understanding." Presas left the Philippines in 1975 on a goodwill tour
sponsored by the Philippine government to spread arnis to other countries. He arrived in
the United States, conducting seminars to groups diverse as law enforcement agencies and
senior citizens.

Arnis is a growing art, expanding in this country rapidly. Arnis tends to transcend
stylistics distinctions and discovery seems to be a primary benefit from the study of
modern arnis, especially under the methods of Grandmaster Remy Presas.
 FUNDAMENTAL SKILLS IN ARNIS
The stick in the principal weapon in learning arnis. It is made of rattan stick
approximately 28-30 inches long and a diameter of around 1 inch.
GRIP

The Different Ways of Holding a Stick

□ 2 inches from the line

The Different Ways of Holding a Stick

□ no extension downward
The Different Ways of Holding a Stick

□6 inches from the base or butt

The Different Ways of Holding a Stick

□middle grip
The Different Ways of Holding a Stick

□4-6 inches from the tip or "susi" or "daga” or knife

Mechanics in the Correct Way of Gripping the Weapon
 Hold your can stick with your two hands holding it at the ends.

 Bring the cane upward in front of you.

 Release your right hand and transfer it to the left side of your hand holding the cane.

 Palm facing towards you, roll your fingers and press thum on first and middle

fingers, holding it firmly but not too tight.

 When the wrist becomes flexible it add speed and power then follow and try to strike your
stick.
Length of the Weapon
The Length of the stick, or cane depends on the height and built of the practitioner.
He should measure the length of the arnis weapon depending upon the length of his arm.

Step 1

❖ Extend your right arm straight downward and straighten your forefinger.
❖ Measure your stick from the tip of your finger up to the shoulder level.
Step 2 (Some arnis practitioners measure their cane from the tip of the thumb to

 Extend your right arm to the right side of the body at shoulder level then measure
your cane.

Step 3
 Some measure from 24 to 26 inches.
 Other from 28 to 30 inches and other have a measurement of 90 centimers
or 1 meter.
STANCE AND POSTURE

Arnis is a martial arts of self-defense. Prowess and stability is essential to succeed

against the opponents. Before fighting, one should learn the proper stand and posture to
enable one to master other skills.

o STRADDLE STANCE

✓ Perform by sliding the left foot sideward.

✓ The toe should point forward.
o FORWARD STANCE

✓ Perform by sliding the foot forward.

✓ The toes should point forward.

✓ The front leg should be bent while the leg at the back should be straight.

✓ It can be performed either using the left foot in the left forward stance or the right foot
in the right forward stance.
o BACK LEANING STANCE

✓ Put one leg forward and let the toe of your forward foot touch the ground at the same
time pivot at the back.

✓ It can be performed using either the left or the right.

o FORWARD LEANING STANCE-SIDE DIRECTION

✓ Perform by sliding the foot to the side bended knee, toes should point sideward.

✓ The other leg mist be straight similar to forward stance but the direction is different.
o FORWARD LEANING STANCE-FACING THE BACK

✓ Perform like in forward stance but the direction of the body is at the back.

✓ However, the eyes are focused at the opponent

o CROSS STANCE

✓ Perform by positioning the other leg forward.

SALUTATION OR "SALUDO"
Both fighters as a courtesy and a sign of a true gentleman give salutation. There are mechanics
followed in executing the saludo.
 Hold the stick down the open leg facing each other.

 Close the leg by moving the left leg close to the right in 45 degrees angle.

 Lift the stick to the chest wherein the butt is resting on the chest. The top of the stick
is pointing up facing each other.

 Take a bow together with the opponents or sparring mate, then go back to the
original position.
Twelve Striking Points
 Twelve Striking Points
1. LEFT EAR.
The purpose is to disturb and destroy the opponent's concentration by smashing the
left side of his head. This area is fatal and can cause death or permanent injury to the
brain.

2. RIGHT KNEE.
This striking point usually happens when you are in uncock position with your stick.
Uncock position usually happens when you carry stick in natural way at you right side
with the tip pointing towards the ground, you can hit you opponent from the left knee
going up. Hitting the knee can paralyze your opponent.
3. LEFT KNEE.
This striking point usually happens when your are in uncock position with your stick. Uncock position
usually happens when you carry stick in natural way at your right side with the tip pointing towards the
ground, you can hit your opponent from the left knee going up. Hitting the knee can paralyze your opponent.

4. RIGHT EAR.
Going down with same effect of the number one strike.

5. THRUST.
Going upward hitting the torso. It is fatal.

6. RIGHT ELBOW.
Horizontal strike to the right and left elbow.

7. LEFT ELBOW.
Raised upwards, the strikes are for the right and left ribs. It is paralyzing and can cause death or
permanent injury.
8. THRUST.
(Solar Flexus) It is also fatal.

9. RIGHT COLLAR BONE Or RIGHT CLAVICLE.

10. HEART.

11.LEFT COLLAR BONE Or LEFT CLAVICLE.

It is fatal. The principle is like this: In every thrust, there must be a slash.”

12.CROWN Or HEAD.
It is fatal and can cause death or permanent injury.
 QUALITIES OF A GOOD ARNIS PLAYER
TECHNIQUES
A good player must have the fundamental skills and knowledge of arnis basics like strikes, counter
attacks, sparring, disarming, and other hand movements. It also pertains to the footwork, blocking and
kicking.

ALERTNESS AND AWARENESS

A player must possess keenness of the mind and reflexes. He must also be sensitive
to his environment or situation. Hence, he must be physically and mentally alert to perceive and sense the
coming danger. This is to prevent an attack or assault, armed or unarmed that would put him in a very
disadvantageous situation. This would prevent anyone from danger or serious injuries.
COORDINATION AND CONCENTRATION
The body and the mind should work together. The correct body movement is perceived in the
mind. A player must be trained not to shift his focus from any extraneous variables that might
affect the performance, particularly the concentration.

SPEED
A player must exhibit a quick reaction and total body movement. Lightning speed as they
call it is one quality of the experts.

POWER
Power is necessary to knock down or outclass the opponent.
TIMING
A player should learn the exact hitting of the target or meeting the target at the exact
time without being delayed. Anticipation of the movement is necessary.

PROPER DELIVERY OF STRIKES

A player should learn the effective blow, kick, and contact of the stick towards the
opponents. It is also the determining factor for the judges to give the scores depending on the
delivery on the vital points you strike.

ENDURANCE AND STAMINA

It is the ability of a player to withstand pressure for a long period of time without undue
fatigue or with reserved energy for the next activity.
DETERMINATION
In every game the will to win and dedication to fight at your best no matter what the
odds are is the key to success. It is the 100% believing to yourself and to the people
around you particularly your coach, mentor and people that inspire you to work hard.
Fear and doubt is always beaten by your hunger to win and this will lead to confidence
within self.

CONFIDENCE
A player should know how to properly carry himself inside and outside the arena. But
avoid overconfidence for it might lead to distraction or downfall.

YELLING
The is an expression of power and courage. It is also the releasing of tension, anger and
fear and in such a way it also add power, strength, and courage to fight your enemies, and also
to demoralize the opponent.