SOUTH EAST ASIAN INSTITUTE OF TECHNOLOGY, INC.

National Highway, Crossing Rubber, Tupi, South Cotabato

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LEARNING MODULE
FOR
PE113: INDIVIDUAL-DUAL SPORTS

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 COURSE OUTLINE

COURSE CODE : PE113

TITLE : INDIVIDUAL-DUAL SPORTS
TARGET POPULATION : ALL PE113 STUDENTS
INSTRUCTOR : MS. NORSISA D. SADAVAO, LPT
MS. CHERISH MAE ARIOLA, LPT
MR. MAYNARDO B. AGUILLON, LPT
MR. KELY MOORE SABUERO
MS. SHARYL NHEY O. DELOS SANTOS
MRS. IRIS ARROYO

Overview:

Physical education helps students develop physical skills and confidence it develops
fitness and fosters the desire for lifelong participation in physical activity. Physical education
classes teach the health benefits of regular exercise and healthy food choices along with the
risks of inactivity and poor diet. Students of all ages might be asked to dedicate themselves to
making a few small improvements in diet and exercise for a period of six weeks. They would
be expected to journal about how they feel during the process and reflect on how these
changes affect performance and mood. Physical education also helps students develop social
skills. For example, team sports help them learn to respect others, contribute to a team goal,
and socialize as a productive member of a team.

Objectives:

General Objective

To apply and demonstrate the basic skills, rules and regulation in individual-dual sports

The following are the topics to be discussed

Week 13 ARNIS HISTORY, EQUIPMENTS & FACILITIES

Week 14 12 BASIC STRIKES/12 BASIC DEFENSE
Week 15 SINGLE SINAWALI
Week 16 DOUBLE SINAWALI
Week 17 PRACTICUM
Week 18 EXAM

Instruction to the Learners

Each chapter in this module contains a major lesson, the units are characterized by
continuity, and are arranged in such a manner that the present unit is related to the next unit.
For this reason, you are advised to read this module. After each unit, there are exercises to be
given. Submission of task given will be every Monday during your scheduled class hour.

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 WEEK 13

HISTORY

The races that settled in the 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 “tjakele” (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).
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 was so common in 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 known as “moro-moro”.
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 the used in escrima. The word “arnes” came to be pronounced “arnis”, and the
name stuck.
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. it is a complete martial art system,
encompassing weapons training and empty-hand-self-defense. It includes training in single
sticks techniques (solo baston), double stick techniques (double baston), stick and knife or
dagger techniques (espada y daga) and knife techniques (daga). Some styles may include

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staff and spear (sibat) training in their curriculum. Others will include the practice of medium to
long bladed weapons (bolo) in their repertoire. Many styles had 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 on 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 believe
to be a Tagalog corruptions of the Spanish terms 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, such as baston, and
kaliradman (Ilonggo, Bisaya), pagkalikali (Ibanag) and kalirongan (Pangasinan). These are
only a few examples of the terms already recorded in different sources.
With such a comprehensive system of martial arts being taught and promoted in the
different areas of the country, it is inevitable that people would ask, where did such a complete
martial art system come from?
One suggestion is that it originally came from another martial art system, called tjakalele.
This is actually a 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 emphires. Yet another suggestion is that it was
propagated by the so called ten Bomean datus fleeing persecution from their homeland. We
shall critically examine this assertions one at a time.

This idea that arnis evolve or was derived from another martial art systems, namely
tjakalele silat, is due to linguistics. The alternative name from arnis is Kali. It is widely held that
this is the older term for arnis, and that Kali itself emphasises bladed weaponry apart from
practice with the stick. It is not surprising that a connection could be seen between the terms
Kali and tjakalele. However, linguistic similarity alone is not enough ground to assert that kali
was indeed derived from tjakalele. There has to be documented proof that one came from the
other. What form should this proof take? Authenticated documents certainly are among the
best pieces of evidence-if such could be found and prove to be genuine. A close and through
comparison of both styles good health, but it must been remember that they would have
changed overtime, reflecting the different changes that have happened in their culture 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 (7 th – 14th
centuries and Madjapahit) 13th – 16th centuries) empires. This reflects the notion that the
Philippines then was somehow an integral part of 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.

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 A third idea regarding spreading and propagation of kali in the Philippines is that ten
Bomean datus (sometimes nine) fled here and settled in various parts of the Philippines. They
brought with them their fighting systems and taught these along with other arts in the academic
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 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. If the original story of the ten Bomean datus is folklore and not authentic history, what
are we then to make of the story regarding the propagation of kali in the bothoan? Folkloric
history is useful in enabling people to identify with the art of kali, but it should not be taken as
actual history.

If after having critically questioned the sources of the origins of kali, or arnis as it is known
today, and through these critical analyses, have come to the positions stated above, what can
we then say about the origin of kali, or arnis? 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 Visayan 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 origin 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 in arnis. It is also
quite possible that they were blendings with different styles of combat, but if so, these are quiet
difficult to verify historically.

A key difficulty in researching the origins of arnis is that most sources tend to be oral
history or folklore in nature. They are not exactly historical documents in the sense of being
eyewitness accounts. Hence, their authenticity in this sense is always suspect. Folklore gives
as an idea of how people actually understand their world and their place in it.

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 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 in Japanese fencing, kendo
in its modern format, kenjutsu as the traditional form. Japanese fencing is product of the
technology and the values and habits of the Japanese. Similarly, it should be remembered that
kali or arnis as it is called today, is very much a product of 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 the 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 it 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 in as much as it provides as with further insights into our
identity as Filipinos.

Arnis was developed by the indigenous populations of the Philippines, who used an
assorted range of weaponry for combat and self-defense. Encompassing both simple impact
and edged weapons, arnis traditionally involved rattan, swords, daggers and spears.

In 1521, equipped with nothing more than bladed weapons and their fearsome arnis
abilities, Filipino islanders defeated Ferdinand Magellan’s armored, musket-bearing Spanish
conquistador forces when they tried to invade. When the Spanish eventually returned and
successfully conquered parts of the Philippines, the traditions of arnis were preserved, despite
its prohibition, in the forms of ritual dance, performance and mock battles. While earlier Filipino
martial arts were influenced by Spanish colonization, the modern forms have been affected by
the country’s contact with both the United States and Japan after gaining independence in
1898. Just over a century later, in 2009, the government of the Philippines declared arnis to be
the martial art and national sport of the Philippines.

Modern Arnis History

Historically, 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.

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 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
Maranggas’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 travelled his country, he took what he considered to be
the most effective principles of each island style and combined them his own knowledge of
other martial arts.

Modern Arnis, as Presas term his system incorporates empty-hand moves based upon the
same motions used in solo baston and sinawali. Unlike kali, his systems also use in kicks and
take downs for a more well-rounded approach. Presas also insists on modernising a particular
training aspect traditional in arnis: that of hitting your opponents hand or arm instead of his
stick-painful precise that was tolerated the stick was just a good practice method and would
obviously discourage fewer students of arnis, preventing many painful injuries.

Presas does not merely combine techniques, he encourages the individual student to
adapt arnis principle 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 achieve
the most natural fighting style based on an individual’s needs and attitudes.

‘ Arnis makes many martial artists discover new teams about their own style,’ Presas 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 used arnis to
supplement their understanding, Presas left the Philippines in 1975 on a good will 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 the 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.

What is Arnis?
Arnis is a Filipino martial art that can be played individually
and dual with sticks that can be used as a self defense. Arnis is
a stick called baton that is 28 inches long. Arnis is also called
Kali or Eskrima. Traditionally they use bladed weapon longer

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than a knife or what we call itak. [REPUBLIC ACT NO. 9850] an act
declaring arnis as the National Martial Art of the Philippines.
The Act mandates the Department of Education to include the sport as a Physical
Education course. Arnis will be included among the priority sports in Palarong Pambansa
(National Games) beginning 2010.

Who discovered Arnis?

Remy Amador Presas, December 19, 1936 – August 28, 2001. He was the founder of
Arnis, a popular Filipino martial art. Born in the Philippines, he move to the United States in
1974, where he taught his art via seminars and camps. His goal was to create an injury – free
training method as well as an effective self – defence tool.

FACILITIES AND EQUIPMENT OF ARNIS

The game is played by using prescribed padded stick in delivering artistic and legal
blows, strikes, thrusts, and disarming the opponent to gain score.

COMPETITION AREA
Shall refers to the area by which the conduct
of the competition shall beset or held including
the free zone around it.

DIMENSIONS
The playing area is a square measuring 8.0 meters by 8.0 meters with a two (2) meters
minimum free zone around it, and a clear space without any obstruction up to a height
not less than 5 meters from the playing surface.

LINE OF THE PLAYING AREA

All line of the playing surface are 5.08 cm.
(2 inches) and must be of the floor and other lines previously drawn for other purposes.

BOUNDARY LINE
Four lines mark the boundary of the playing area. The free zone distance measuring 2.0
meters are drawn outside of the playing area.

MATCH LINES
Two lines of 1.0 meter long and 2.0 meters apart mark the horizontal match line. The
horizontal match line are drawn 3 meters from the boundary lines that run
perpendicularly to the official’s table, and 3.5 meters from the boundary line that run
parallel to the official’s table.

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WEAPON
The padded stick shall be the official weapon of the player.
The specification of which shall be in accordance with the
i-ARNIS standard.
No other similar material will be allowed to be used in any
local, national or international competition.
Each padded stick shall be properly foam-cushioned
and shall have a maximum grip diameter of not more
than 3.81cm.
(1 ½ inch) and length of 76.20cm (30 inches for men and women).The length of padded
stick shall be 27 inches for boys and girls.
Both padded stick shall be color-coded, one red and the other blue.

HEAD PROTECTOR
Refers to a pair of protective head gear to
include an impact worthy facemask, the specifications
of which shall be in accordance with the i-ARNIS
standard. Both headgears must be color-coded,
one red the other blue, to match the padded stick of the
player.

BODY PROTECTOR
Refers to a pair of protective body protector, properly cushioned,
the specifications of which shall be in accordance with the i-ARNIS
standard. Male andfemale player must both wear body protector
and groin protector. Body protector and groin protectors
specifications shall be in accordance with the i-ARNIS
standard. Both body protectors and groin protectors shall be
color coded to match the color of the player. Forearm and shin
guards are compulsory. The specificationsshall be in accordance
with i-ANIS standard. Both shin &forearm guards must be color of
the player.

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SCOREBOARDS
A pair of scoreboard, either manually or electronically
operated, the specifications of which shall be in
accordance with the i-ARNIS standard. Two score
boards per contest area shall be placed at
diagonally opposite at diagonally opposite corners
outside the playing area, inside the competition area
within the free zone, right where the judges are positioned.

FLAGS
Two sets of red and blue flags, the size of which
is 30 cm by 25 cm, are used by the judges
in declaring decisions or asking for consultations.
One yellow flag, size 30 cm by 25 cm.
For timer’s use to signal the start and the end of
each round and to declare a time-out and resumption of the game.

OTHER EQUIPMENT
Stopwatch is use to keep the two-minutes per round. This include interruptions such as
injury, changing of broken stick. A gong and mallet or other similar audible substitutes
such as whistle, bell or buzzer shall be provided for the timer to indicate the start and
end of the round. A table shall be provided for the TIMER and RECORDER which shall
be situated one (1) meter in front of the playing area so that time signals are audible
enough to both players and referee.

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 ACTIVITY NO. 13
Name: Date submitted:
Course: Score:

Instructions: Analyse the following pictures through power point presentation.

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 WEEK 14

12 BASIC STRIKES OF ARNIS

The 12 VITAL STRIKING POINTS OF THE BODY

1. Strike to left temple

- 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. Strike to the right temple
- Going down with the same effect of the number one strike.
3. Strike to the left elbow
- Raised upwards, the strikes are for the right and left ribs. It is paralyzing and can
cause death or permanently injury.
4. Strike to the right elbow
- Horizontal strike to the right and left elbow.
5. Thrust to the navel
- Going upward hitting the torso. It is fatal.
6. Thrust to the right chest
7. Thrust to the left chest
8. Strike to the left knee
- This striking point usually happens when you are in unlocked position with your
stick. Unlocked 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
9. Strike to the right knee
10. Thrust to the right eye
11. Thrust to the left eye
12. Strike to the crown or center of the head
- It is fatal and can cause death or permanently injury.

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PE113 INDIVIDUAL-DUAL SPORTS
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12 BASIC DEFENSE
Instructions: Check the link below for your reference.
https://www.youtube.com/watch?v=xCGC718CMOo&t
(12 basic strike and 12 basic defense)

ACTIVITY NO. 14

Name: Date submitted:

Course: Score:

Instructions: Perform the basic strikes and basic defense of arnis through video
presentation. (100 points)

Criteria:

Attire 25
Accuracy 25
Proper Execution 35
Video Quality 15
Total 100 points

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 WEEK 15

SINGLESINAWALI

Single sinawali is about single-motion striking: one arm strikes high, medium, and low in
sequence. A sinawali is a "weaving" of strikes together to teach different patterns of motion.
Strikes made by the right and left hand alternate, and the angles of attack are varied as the
drill proceeds. In its basic form, the pattern of motion is agreed upon by the students before
starting, but as the students become more advanced, and as one student (usually the more
experienced) takes on the "driver" role, the pattern can be changed as during the practice
session.
The patterns are fairly standard and consist of three strikes repeated: high, high, high; low,
low, low; high, low, high; low, high, low; X-pattern; with the hands alternating, usually starting
with the right hand by mutual agreement.

Instructions: Check the link below for your reference

CSU Physical Education
https://www.youtube.com/watch?v=zrbpxpzB70Q
(Single Sinawali)

ACTIVITY NO. 15

Name: Date submitted:

Course: Score:

Instructions: Execute the SINGLE SINAWALI of arnis through video presentation.

(75points)

Criteria:

Attire 15
Accuracy 20
Proper Execution 25
Video Quality 15
Total 75 points

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 WEEK 16
DOUBLESINAWALI

Double sinawali is about double-motion striking: both arms working in a loop and in a
parallel but opposite motion, i.e., as one strikes, the other is cocked, ready to strike. ... Double
sinawali is similar to a parallel circuit in that it is about parallel motion, like a loop of light bulbs
being lit simultaneously.

Instructions: Check the link below for your reference.

CSU Physical Education
https://www.youtube.com/watch?v=LpKjNA1OUk
(Double Sinawali)

ACTIVITY NO. 16

Name: Date submitted:

Course: Score:

Instructions: Execute the DOUBLE SINAWALI of arnis through video presentation.

(75points)

Criteria:

Attire 15
Accuracy 20
Proper Execution 25
Video Quality 15
Total 75 points

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 WEEK 17

P R A CT I C U M

Name: Date submitted:

Course: Score:

Instructions: Perform all the basic skills of arnis through video presentation with music.
12 BASIC STRIKES 75 points
BASIC DEFENSE 75 points
SINGLE SINAWALI 75 points
DOUBLE SINAWALI 75 points

Criteria:

Attire 15
Accuracy 20
Proper Execution 25
Video Quality 15
Total 75 points

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