LESSON 1: ARNIS

Brief History of Arnis Facilities and Equipment

❖ Arnis is a form of martial art played usually with the use of cane.
❖ Arnis can be performed individually as an art, with or without the cane, or as a
means of self-defense.
❖ The game is played by two individuals who are paired or matched in a court
measuring eight (8) square meters.
❖ A player wins the round if he gains 5 points ahead or disarm the opponent twice
or if his opponent commits three (3) fouls. The winner of the match is decided by
the best of three (3) rounds. Each round lasts for (2) minutes.
❖ Arnis de Mano is misleading Spanish term which means “harness of the hand”.
The term was originally derived from the Spanish words “arnes”, which referred
to the decorative trappings or “harnesses” worn on the hands of the Moro-moro
actors, “de mano” refers to the hands.
❖ The word “arnes” was soon corrupted into present “arnis”

History of Arnis
❖ February 1564- Spanish Conquistador Don Miguel Lopez de Legazpi and his
troops landed on Abuyog, Leyte were he was honored with a feast by Maltik,
the popular ruler of Leyte, and were also treated to exhibitions of different
types of native dances, fights and kali sticks fighting.
❖ Katipuneros used Itak or Gulok (bolos) in their bloody battle against Spanish
soldiers.
❖ General Andres Bonifacio waved Gulok in his famous “Cry of Balintawak”
(Sigaw ng Balintawak)

❖ Spanish Colonial: the Spanish language was forced upon the people, and Kali
was thereafter known as Esgrima, Filipinos changed the name to Eskima.
❖ Kali was outlawed by Spanish rule as one of the precautionary measures
taken to discourage an enslaved people fro revolt against the Spanish
oppressors.
❖ Kali was practiced in secret or disguised as ceremonial dances, until 1896 when
Dr. Jose de Azas set up a school for the study of Arnis and Fencing.
❖ In 1972- Philippines government includes Arnis in “Palarong Pambansa” or
National Sports. The Ministry of Education, Culture and Sports also included it as
part of the Physical Education Curriculum for the high school and college
students.
❖ January 12, 1987- Arnis Philippines became a member of the Philippine Olympic
Committee.
❖ Today, Arnis is included in the Physical Education programs of many schools
and universities in the Philippines. Practiced for self-defense and physical
exercise and is well on its way to becoming the national sport of the Philippines.
Arnis five (5) forms of play
1. ESPADA Y DAGA (sword and dagger) or the long wooden sword and short
wooden dagger.
2. SOLO BASTON (single stick) in which a single long wooden stick or rattan cane is
used.
3. SINAWALI intricate movements of two bastons used in criss-cross manner, or
simply called double bastons (two sticks)
4. PINGA or long bamboo stick
5. MANO-MANO, BUNO OR DUMOG

Three (3) Traditional Training Methods

1. MUESTRATION or PANDALAG, which teaches the art of ALDABIS (striking) for defense and
offense
through consistent practice.

2. LARGA MUTON or LABANANG TOTOHANAN, where two (2) practitioners

engage in free practice of contest for testing fighting skills.
3. SANGA AT PATAMA or SOMBRA TABAK which teaches striking, thrusting, and
blocking parrying in a pre-arranged manner.

Within Traditional Forms

❖ CINCO TIROS- five (5) strike,
❖ DOCE TIROS- twelve (12) strike,
❖ TRESE TIROS- thirteen (13) strike
❖ Striking methods are used with basic forms of stances (PAGTAYO) in order to
practice the long-range (MALAYUAN), and close-quarter (MALAPITAN) training
methods of Arnis.
❖ The fighting art form known by the names Kali, Eskima and Arnis, is referring to
the same fighting art of the Philippines using cane or bladed weapon.

Philosopy of Arnis
The Seven (7) Cardinal Rules
1. Respect – Galang
2. Discipline – Disiplina
3. Loyalty – Katapatan
4. Bravery – Katapatan
5. Ethics – Panuntunan
6. Sporstmanship
7. Control

Arnis Terminology
❖ Abanico Corto and Abanico Largo – a strike which consists of moving the stick in
front of the body in fanning-like movement, hence the term abanico which means
“fan” in Spanish.
❖ Anyo or Form – a combination of pre-arranged or choreographed striking,
blocking, coordinating the arm and leg movements, timing, and sayaw body
shifting movements, which is equivalent to the form or dance of other martial arts.
❖ Arnis – derived from Spanish word “Arnes”, with the English equivalent of
harness, and refers to the colourful appendages and trappings worn by medieval
soldiers.
❖ Banda y Banda – a slashing or horizontal movement or technique which consists
of pointing the stick forward, and moving it rapidly and horizontally, from left to
right in front of the body.
❖ Espada y Daga (Sword and Dagger) – a form of fighting wherein long and short
sticks are used.
❖ Kali – an ancient Malayan word, which refers to a long bladed weapon. It is
derived from the word tjakalele which is an Indonesian traditional form of fencing.
❖ Sinawali – an intricate technique of striking using two sticks wherein the
movement resembles the woven pattern of the sawali or split – bamboo matings.
❖ Larga Muton or Labanag Totohanan – to a free form of arnis aparring which is
supposed to show and test the skills of the practitioners.
❖ Sangga at Patama – a pre-arranged or choreographed form of play consisting of
striking and thrusting and parrying.
❖ Redonda or “X” Movement – a slashing or circular X movement which is similar
to the double sinawali except that the blows are shifted to the head of the
opponent.

❖ Rompida – a striking technique which consists of circling the stick overhead prior
to each up and down striking movement in front of the body.
❖ Up and Down – vertical movement which is similar to the rompida except that the
stick is not encircled overhead prior to each up and down movement in front of
the body.

Equipment
❖ Stick used in Arnis is commonly made up of rattan or yantok but other hard
woods can be used to, like Bahi or kamagong.
❖ Elementary level – 24 inches long and for
❖ College level – 28-30 inches long and it is 1 inch in diameter.
❖ Standard Uniform for Arnis:
- Red pants
- White T-shirt

Benefits in Learning Arnis

❖ Practical self-defense is learned
❖ Upper body, arms and legs will become toned.
❖ Fitness and aerobic capacity are increased.
❖ Parts of the body, such as forearms, elbow and hands will be conditioned and will
be more resistant to pain and injury.
❖ Flexibility is increased.
❖ Ability to use any weapon, even the one that is not used before, is developed.
❖ It complements and enhances any martial art. It can be learned independently
from other martial arts, or grafted seamlessly into any form of exercise done
already.

❖ Many of the techniques do not require strength or power. Instead, most power is
derived from body movement and economy motion.
❖ Anyone can learn Eskrima since strength is not needed. Twelve year old children
can learn Eskrima, as well as retired women. It does not require expensive
equipment.
❖ It can be practiced anywhere. Eskrima can be practiced in a park as well as in a
gym.
❖ It is fun. It requires training partner to practice. It is a great way to meet people.
❖ It promotes a sense of nationalism and pride as a Filipino.

Code of Conduct
Correct etiquette should basically create a positive image for oneself his training hall,
and martial arts as a whole. It is all about practicing with the right intent and fostering
good relations. Most clubs have their own rules and code of conduct which students
should adhere to Instructions should regularly promote these rules as part of the
discipline that comes along in learning the martial art.

Few Common Rules to Take Heed Of

1. Use only one skill in self-defense, self-preservation, and the protection of others
where the need necessitates.
2. Respect fellow martial arts practitioners regardless of their chosen style.
3. Do not engender ill feeling, or engage in petty rivalry with other practitioners and
training hall.
4. Be disciplined in the training and appreciation of martial arts.
5. Uphold true martial art spirit.
6. Set a good example to promote martial arts practice.
7. Abide by the rules of one’s club and association.

LESSON 2: BASIC SKILLS IN ARNIS

A proper grip in Arnis is very important to deliver every blow with power, control and quickness.
The wrist must be very flexible and pliable even though the grip is firm.
A. CORRECT GRIP
A proper grip in Arnis is very important to deliver every blow with power, control and quickness.
The wrist must be very flexible and pliable even though the grip is firm.

PROPER WAY OF GRIPPING

A. Hold the stick with the four (4) fingers with the blade of the palm about two (2) to three (3)
inches from the base or butt (of the stick).
B. Tighten the grip and press the thumb over the forefinger.
C. Each stick must be executed with the firm grip. The wrist should be very flexible when
striking.
Among martial arts enthusiasts, bowing is a sign of courtesy to Arnis, bowing is also a
manifestation of respect or courtesy to one's opponent or sparring partner. To take a bow, one
should do the following: A. From natural stance position, assume formal stance position (count
1)
B. Bring right hand to the left chest with the stick, left hand remain at left side with open palm
(count 2) C. From that position, bow the head (count 3)
D. Return to natural stance position holding the stick at both ends.
B. THE COURTESY BOW
Among martial arts enthusiasts, bowing is a sign of courtesy, in:
1. Attention or Formal Stance
\
2. Natural Stance Position on Open Legs Stance
3. Bow
4. Right Hand Sideways
C. STANCES
Stances are stationary "fighting position" which
1. Attention or Formal Stance - stand at attention like a soldier in line formation, but relaxed,
with the heels together, and the feet pointing at 45R° degrees.
2. Open Leg Stance - similar with formal stance but with legs about shoulder-width apart or one
foot or one ruler distace.
3. Right and Left Forward Stance (or Fighting Stance)
A. Slide or step R foot backward with straight position and the L leg in front with the knee bent.
B. R arm holding stick pointed diagonally upward left is slightly bent at elbows and in front of the
chest, the L hand with fingers extended pointed diagonally upward right is placed directly
behind the stick in front of the chest. This position of the arms and the hands is considered as a
"Fighting Stance" or "Handa sa Paglaban". Opposite movement is executed for the left-handed
individuals.
C. From fighting form stance, slide or step R foot forward and maintain the same arm position.
5. Back stance - the feet are in L position, heels align together. Rest foot should bear 60% of
weight and front bear the remaining 40%. Both legs bend and 90 degrees direction.
A. Right and Left Back Stance - right leg is stepped backward shifting the weight on R foot and
trunk bent slightly backward. L leg slightly bent in front. Arms and hands in the same "Fighting
Stance" Position. Opposite movement for left handed individuals.
Note: Stance shown in A, the trunk is bent forward, while in B, the trunk is bent backward.
Thus, by shifting the weight forward and backward with the corresponding trunk movements one
can assume the two (2) stances alternately. Use this as an introductory drill for the next skill
which is Body Shifting.
5. Straddle Stance - this is similar to the open leg stance, except that the feet are spread much
wider (beyond shoulder - width distance), knees bent and the weight evenly distributed on both
feet. Arms and hand in fighting scene position.

6. Oblique Forward Right and Left Stances - this is similar to the forward right and left stances,
except that instead of placing the front leg directly in front, it is placed obliquely or diagonally
either right or left forward, depending on whether one is right or left-handed. Arms and Hands in
"Fighting Stance" position

LESSON 3

SIX STRIKING TECHNIQUES IN ARNIS

What is Arnis?
- Arnis is a filipino martial arts that can be performed individually or with a partner using
a single stick or pair of sticks for striking and blocking.
- It is founded by Remy Presas and he used it as a self defense system.
- also known as kali or eskrima

Warm-up and Stretching with Sticks

● Middle Grip
■ Twist on the Side ■ Twist cross armed
■ Twist above the Head ■ Twist in front
■ Twist below

● 2nd Grip from the butt

■ Swing sideward ■ In front
■ Outward ■ Umbrella or above the head

● Forward Stick Wrist Movement

■ Sideward Stick Wrist Movement ■ Twirling exercises
■ Downward Stick Movement ■ Fancy twirling exercise 1 2 3 and
4
THE SIX STRIKING TECHNIQUES TO THE VITAL POINTS OF THE BODY
1. Left temple (Left side of the neck; left shoulder)
2. Right temple (right side of the neck and right shoulder)
3. Left knee
4. Right knee
5. Upper or lower abdomen
6. Head or crown (right and left clavicles)

Striking Technique #1
⮚ Twist trunk sideward right to bring the stick point upward at the back and swing it to
the strike at the temple or shoulder. Pause.

Striking Technique #2
⮚ From strike #1, twist the trunk sideward L to bring the Stick pointing upward across
the body to the L side and strike the R temple or shoulder. Pause.

Striking Technique #3
⮚ From strike #2, twist trunk sideward R to bring the Stick behind the stick pointing
upward and strike the L knee. Pause.

Striking Technique #4
⮚ From strike #3, twist the trunk sideward to L bring the stick across the body, moving
upward with knuckles facing downward up to face level, then with the butt of the
 stick leading, twist the wrist and forearm counter clockwise until the knuckles are
facing upward, then strike the R knee. Pause.
Striking Technique #5
⮚ From strike #4, draw the stick (which is horizontal position pointing forward)
backward and thrust at the abdomen. Pause.

Striking Technique #6
⮚ From strike #5, with the butt of the stock leading, withdraw the stick backward and
twist the forearm and the wrist until the knuckles face upward, circle the stick
overhead with the stick pointing downward), and strike at the head or crown. Pause.
LESSON 4

SIX BLOCKING TECHNIQUE

Blocking Techniques

- should be practiced in sequential manner like striking techniques.

- once mastered, should be performed in response to the striking blows

Two methods applied in the practice drills:

1. Step the R and L foot forward alternately in executing the block

2. Step the R and L foot alternately while moving forward or backward

BLOCKING TECHNIQUE NO. 1

LEFT SIDEWARD-UPWARD BLOCK
• ATTENTION OR OPEN LEG STANCE.

• RIGHT FOOT FORWARD

• TWIST TRUNK TO FACE OBLIQUELY (SLANT) LEFT W/ THE STICK HELD VERTICALLY
POINTING UPWARD.

• LEFT HAND W/ OPEN PALM IS PLACED IN THE MIDDLE OF THE STICK.

 BLOCKING TECHNIQUE NO. 2
RIGHT SIDEWARD-UPWARD BLOCK

SAME AS BLOCKING NO. 1 BUT IN DIFFERENT DIRECTION

• ATTENTION OR OPEN LEG STANCE.

• LEFT FOOT FORWARD

• TWIST TRUNK TO FACE OBLIQUELY (SLANT) LEFT W/ THE STICK HELD VERTICALLY
POINTING UPWARD.

• LEFT HAND W/ OPEN PALM IS PLACED IN THE MIDDLE OF THE STICK.

BLOCKING TECHNIQUE NO. 3 – LEFT SIDEWARD- DOWNWARD BLOCK

This block is performed by striking forcefully as if to strike the L. knee of the opponent. This
block should be executed with great force to counteract the blow delivered by the opponent.
Since the L hand cannot aid in the blocking. It should be placed in the front of the chest with
fingers extended and palms facing downward.

BLOCKING TECHNIQUE NO. 4 – RIGHT SIDEWARD- DOWNWARD BLOCK

This is reverse movement of Blocking Technique No.3

BLOCKING TECHNIQUE NO. 5 – VERTICAL BLOCK

 ● From attention or open leg stance
● Step R foot forward and simultaneously pivot on the R foot and twist trunk to face L.
● Moving the arms with elbows bent in front of the chest with the point of the stick
pointing upward
● Place the blade of the L hand at the middle part portion of the stick.

BLOCKING TECHNIQUE NO. 6 – RISING BLOCK

● If the opponent is R handed

● Step L foot forward and execute the Rising Block by rising the stick which is held
horizontally upward over the head, with the L palm supporting the tip of the stick.
● If the opponent is L handed
● Step R foot forward.

LESSON 5

Other Types of Striking Technique

Sinawali
● Sawali – Weaving bamboo houses
● Treated as an individual skill, it is best practiced with a sparring partner
The Single Sinawali
The Single Sinawali is an offensive tactic used to hit the R and L temples and knee
alternately
Initial Position or Open Leg Stance – slide to R foot forward stance, or Fighting Stance stick
on L hand is placed under the R armpit, and stick on R hand (elbows bent) is held up with the tip
of the stick pointing upward or backward.
1. Execute Striking Technique No. 1 (L temple) with R hand and simultaneously bring the L
hand (stick) to sideward left, to point the stick upward or backward, (ct. 1);
2. Execute Striking Technique No. 4 (R knee) with your R hand (ct. 2);
3. L hand executes Striking Technique NO. 2 (R temple, ct. 3) and simultaneously swing R
hand sideward upward right to point the stick upward or backward;
4. Execute with L hand Striking Technique No. 3 (L knee, ct. 4)
Repeat whole movement pattern smoothly and rhythmically.
Teaching and training tip: As much as possible, the Single Sinawali should be performed with
a partner. As skill is acquired, the pair should be encouraged to move in different directions
while executing the movements (From Stationary to Forward and Backward, Clockwise and
Counter clockwise or in Random Directions)
The Double Sinawali
It is a multiple striking technique directed at the L and R temples and knees
Initial Position as in Single Sinawali
1. R hand executes Striking Techniques No. 1 (L template, ct. 1);
2. L hand executes Striking Techniques No. 3 (L knee) and simultaneously bring R hand
(stick) over to the L shoulder, (ct. 2);
3. R hand executes Striking Technique No. 2 (R template) and simultaneously bring L hand
to the left side, with stick pointing upward or backward, (ct. 3);
4. L hand executes Striking Technique No. 2(R template) and simultaneously bring R hand
(stick) under the L armpit, (ct. 4);
5. R hand executes Striking Technique No. 4 (R knee) and simultaneously bring L hand
(stick) over to R shoulder, (ct. 5);
6. L hand executes Striking Technique No. 1 (L template), and simultaneously bring R
hand (stick) to the right side with stick pointing upward or backward, (ct. 6)
Repeat whole movement pattern smoothly and rhythmically.

Teaching and training tip: Like the Single Sinawali, the Double Sinawali should be taught and
practiced with the novices paired up. As skill is acquired, the pair should be encouraged to
move
in different directions while executing the movements (From Fighting Form Position to Forward
and Backward, Clockwise and Counter clockwise or in Random Directions)
Redonda X Movement
• one of the traditional forms of striking wherein all the bows are directed to the head, or
crown, or shoulder.
• it is a very graceful movement if executed well and can be performed in several
directions and movement levels.
Redonda
Initial position: Right Forward Stance with L stick under the R armpit and R arm (with elbow
bent) holding the stick pointing upward or backward
1. R hand executes Striking Technique No. 1 (L shoulder) and continue moving the R arm
across the body to the left side until the stick is over the L shoulder, (ct.1)
2. L hand executes Slashing Technique No. 1 (L Temple or Shoulder) by twisting the L
forearm outward left to bring the L arm to the left (ct. 2) at this position both arms are on
the left side, the R arm over the L shoulder, with the both sticks pointing backward.
3. Simultaneously bring the right stick under the L hand executes Slashing Technique No.
12 (L temple) and continue moving the L hand across the Body to the left side, until the
stick is over the R shoulder, (ct. 3);
4. R hand executes Slashing Technique No. 2 (R Template or Shoulder) by twisting the R
forearm outward right to bring the R arm to the right side, the L arm over the R shoulder,
with both sticks pointing backward;
5. Repeat A, B, C and D moving in different directions.

Anyo
• the product of one’s imagination which results in an integrated movement pattern, almost
dance-like in form, which utilizes the various skills learned in Arnis.
• can be a beautiful execution of rhythmic and graceful movement, or a routine
performance done without spirit and enthusiasm.
Anyo Isa or Form No. 1
1. Execute two counts of Rompida
2. Maintaining the same position, execute Striking Technique No. 4 (to R knee);
3. Step L foot forward and execute Striking Technique No. 3 (to L knee)

Note: In performing the Redonda or X movement, the execution should be done continuously
in a “wind mill” and criss-crossing fashion, with the trunk and body twisting left to right in a
synchronized action with the arms as these go form side-to-side.

4. Step R foot forward pivot on L and R foot to face left and execute Striking Technique
No. 2 (to L temple)
5. Pivot on L foot and step R foot backward (to position No. 2 above) and executing
Striking Technique No. 4 (to R knee);
6. Step L foot backward and execute Striking Technique No. 3 (L knee);
7. Step L foot forward, pivot on R and L feet to face right and assume Straddle Stance, and
execute Block No. 2 (Right Side block)
8. While pivoting on L foor, step R foot forward to face left and in Straddle Stance execute
Block No. 1 (left side Block);
9. Pivoting on L foot, step R foot backward and assume position for executing Striking
Technique No. 6 (L eye or L chest);
10. Circle stick overhead and step L foot backward and assume position for Striking
Technique No. 7 (R eye or R chest);
11. Still assuming position for Striking Technique No. 7, swing your stick in a circular
motion overhead and perform Stiking Technique No. 3 (L knee);
12. Step R foot backward and execute Stiking Technique No. 4 (R knee);
13. Step L foot backward and execute Striking Technique No. 3 (L knee);
14. Execute two counts of Figure 8,
15. Step L foot forward to Formal Stance Execute Courtesy Bow
LESSON 6: Disarming Techniques No.1 to 6
Disarming Technique is an act of snatching/ grabbing the stick of one’s opponent and making
him / her vulnerable and helpless.
Technique No. 1
STEPS:
1. BLOCK FROM THE RIGHT
2. PUSH DOWN OPPONENTS CANE
3. SLIDE TO DISARM
4. STRIKE THE CANE OF RIGHT ARM
5. THRUST CANE OF LEFT ARM
Technique No. 2
STEPS:
1. BLOCK FROM THE LEFT
2. TURN LEFT ARM WITH CANE ON THE OPPONENTS ARM
3. TWIST OPPONENTS ARM TO DISARM
4. STRIKE THE CANE OF RIGHT ARM
Technique No. 3
STEPS:
1. BLOCK FROM THE RIGHT
2. PUSH DOWN OPPONENTS CANE
3. TWIST OPPONENTS ARM USING LEFT HAND TO DISARM
4. STRIKE THE CANE OF RIGHT ARM
Technique No. 4
STEPS:
1. BLOCK FROM THE LEFT
2. GRAB OPPONENTS CANE
3. STRIKE DOWN OPPONENTS ARM USING CANE TO DISARM

4. DO THE DOUBLE SINAWALI

Technique No. 5
STEPS:
1. BLOCK ABOVE FRONT
2. TURN RIGHT ARM WITH CANE ON OPPONENTS ARM
3. TWIST OPPONENT ARM TO DISARM
4. STRIKE THE CANE OF RIGHT ARM
Technique No. 6
STEPS:
1. BLOCK FROM THE RIGHT
2. TWIST OPPONENTS HAND USING LEFT HAND LEFT ARM USING CANE
3. STRIKE CANE BACK END OF THE RIGHT ARM
4. TWIST OPPONENTS OF RIGHT ARM TO DISARM