PED002: Combative Sports (Arnis)

Overview

Martial arts are codified systems and tradition of combat practices, which are practiced
for a variety of reasons such as self-defense, competition, physical health and fitness,
entertainment, as well as mental, physical, and spiritual development. Although “martial art”
has become associated with fighting arts of eastern Asia, it originally referred to the combat
systems of Europe as early as the 1550s. The term is derived from Latin, and means ‘arts of
Mars,” the Roman god of war (“Martial Arts.”n.d.).

On the other hand, combative sport is a competitive contact sport with one-on-one
combat. Determining the winner depends on the particular contest’s rules and a contestant wins
by scoring more points than the opponent or by disabling the opponent (“Combat sport,”n.d.)

Thus, Arnis is both a stick fighting martial art and a combative sport. According to Presas
(1996), Arnis has a special charm and beauty more than other martial arts. Whereas Karate or
Kung-fu uses hands and feet, Arnis uses more than both hands and feet, and a cane or club. Body
maneuverability, lighting speed in movement, and wielding of the club are must in Arnis. This is
where the grace of the art lies that surpasses the other martial arts.

Lesson 1: History and Development of Arnis

Objectives: at the end of the lesson, you are expected to:

1. Explain the nature and historical background of Arnis in the Philippines.

2. Discuss the importance of active participation in Arnis
3. Appreciate the values and benefits of arnis.

Activity 1: “The Guessing Game”

Direction: This is your first activity! Let’s activate your prior knowledge about
Combative Sports. Your task is to guess the origin of each combative sport below. Write your
answers in a piece of paper as answers will be provided during the teleconference/ submission of
requirement.
1. Wushu ___________________
2. Taekwondo ___________________
3. Karate ___________________
4. Arnis ___________________
5. Capoeira ___________________
6. Fencing ___________________
7. Boxing ___________________
8. Muay Thai ___________________
9. Judo ___________________
10. Jujitsu ___________________
Long ago, Arnis was a dying Filipino martial art, because of the wrong concepts in
teaching the art to every student. The old practitioners believed that the cane was sacred; thus
blocking was aimed at the hand and forearm and not at the cane. Most of the students got hurt
and they automatically lost interest in learning Arnis. But with the research conducted by the
great Remy A. Presas, he made it possible to have the student learn the art without getting hurt.
And thus he named it the “Modern Arnis.”

Ancient Period

Arnis, as a martial art was spawned in Philippine soil and was known in the ancient
Philippines as Kali, an ancient Malayan word which implies “a large bladed weapon longer than
a knife.”

Kali according to some historians must have been derived from Tjakalele of Indonesia, a
neighboring country south of the Philippines. Tjakalele is a native Indonesian fencing whose
techniques are closely similar to those of Arnis. According to Scanty records, ten Bornean datus
landed in the island of Panay in the 13th century who were subjects of either two of the ancient
empire of Indonesia-Sri Vishayan and Majapajit. During the reign of the ten Datus in Panay, Kali
was taught to children in a school called Bothoan as of their education.

The art of hand to hand combat has always been an integral part of the Filipino’s
turbulent and bloody history due to the force of necessity, self-defense and preservation. Even
before the introduction of the bladed weapon, the early Filipinos were already a fighting people
using the bow and arrow or the longbow. The primitive Negritos, coming from Central Asia
during prehistoric times, were experts in these weapons.

However, the coming of the Malays in the Philippines about 200 B.C. enriched the
Filipino arsenal in the fighting arts and became experts in the bladed weapons and daggers. This
is especially true among the Muslims in Mindanao and Sulu who have a special inclination in the
hand-to-hand combat with bladed weapons that had proven their untarnished history of successes
in repelling foreign invaders in the land – the Spanish, Americans and Japanese. As testimony of
the Muslims’ love for bladed weapon is their variety of the styles and types of knives which
include the Kalis, Kris, Bolo, Laring, Barong, Gunong, Kampilan, Gayang, Pira, Punal, Itak,
Banjal, Bangkcon, Lahot, and Panabas. Even today, one can find the most artistic knives in
Mindanao and Sulu in different sizes and styles.

Kalis, a bladed weapon in the Muslim fighting art was said to be the forerunner of Arnis
of the Tagalogs in the north linked by the inter-regional contact and influence through trade and
travel. Kali, a term shortened from kalis for convenience, is a fighting art that uses a long bladed
weapon or knife, stick or cane and dagger.

Hispanic Period

When the Spain colonized the Philippines, Kali was already a standard fighting art of the
early Filipinos. Native rulers like Lapu-lapu of Mactan were Kali expert, according to
Magellan’s chronicler and historian, Pegafetta. As recorded on April 27, 1521, one of the men of
Lapu-lapu killed Magellan with bladed weapon which Kali practitioners used in pre-Spanish
Philippines. Along with bladed weapon is a short pointed hardwood stick hardened by fire
treatment which natives carried as part of their habiliment (clothing or special equipment). This
stick must have been the forerunner of muton or baston, as the standard fighting weapon in Arnis
today.

When the country was ultimately conquered and occupied by Spain, their language was
forced upon by the people, and Arnis was known ever since as ESGRIMA or fencing-the
Filipinos were not used to certain Spanish sounds and used “K,”instead of “G” and pronounced it
as ESKRIMA to this day.

During the Philippine Revolution, the first known fighting weapon of Filipino revolt
leaders like Andres Bonifacio was “itak” which he used probably with kali fighting techniques.
Other Filipino revolutionary leaders never actually used kali in fighting the Spanish soldiers, but
were said to be experts in this fighting art which they learned in their youth. The greatest Filipino
hero, Dr. Jose P. Rizal, for instance, studied kali before he left for Europe. Revolutionary Rev.
Fr. Gregorio Aglipay was known to have practiced the art too, and the acceptance of Arnis
becomes so widespread that in1896 Jose de Azas started school for the study of Arnis and foil
fencing.

How Kali become Arnis was an aftermath of an episode in Philippine history when Kali
was outlawed by the Spanish authorities as one of the precautionary measures taken to
discourage an enslaved people from rising revolution against the Spanish rule in the Philippines.
Kali declined in popularity as early as 1596, and eventually banned the practice of the art in
1764. Henceforth, Kali was only practiced in secret.

In 1637, however, Spanish friars, who came to the Philippines, introduced the Moro-
moro- s socio-religious play dramatizing the victory of Christian Spaniards over the Muslim
Moros apparently as a visual aid prosecuting the natives to Christianity. The play called for the
use of a sword or any bladed weapon by characters that played the role of Spanish soldiers.
These soldiers wear colorful trappings worn by medieval soldiers called “Arnes”, a Spanish word
for the English Harness which the early Filipinos cleverly used as the new name of kali whose
techniques were again practiced in their appearance in the Moro-moro plays. From the word
Arnes came the present Arnis, and in 1853, the word Kali was completely replaced by Arnis.

Modern Period

Arnis today is popularly played with the

use of cane, being less lethal than the bladed
weapon like itak or bolo. The cane is assumed to
be the extension of the hand so that Arnis is called in Spanish as Arnis de Mano or Eskrima. It is
the best known and the most systematic fighting art in the Philippines. It is perfected art after a
long historical development from the kali systems designed to train the student defend himself
against armed or unarmed attacks.

Cane is the standard equipment used in Arnis, However, the most common type of cane
is made of rattan, dried, and rounded from the point and the base of the cane (Rattan Stick). The
length of the cane shall be 28 to 30 inches, and about three-quarters to one inch in diameter.

Among the Tagalog Provinces, Arnis is known as Estocada or Arnis de Mano, and
Estoque or Fraile in other regions; Ibanag’s is to Pagkalikali; Kalirongan to Pangasinense;
Kinaadman to the Visayas (Eskrima or Garrote to the Cebuanos) and Baston to the people of
Panay and Negros Occidental; and Sinawali to the Pampangenos.

Arnis 3 Traditional Training

Arnis 3 forms of play: Methods:
1) Espada y Daga (“sword and
1) Muestracion or Pandalag -
dagger”) – which is a long
which teaches the artistic
wooden sword and a short
execution of the swinging
wooden dagger is used.
movements and stroking for
2) Solo Baston (“single stick”) –
offense and defense in
which is a single long muton
repetitive drills.
or baston (“wooden stick or
2) Sangga at Patama or
rattan cane hardened by
SombraTabak – wherein
drying or heating”) is used.
striking, thrusting, and parrying
3) Sinawali – the intricate
in a prearranged manner is
movements of the two
taught.
muton resemble the weave
3) LargaMuton or
of a sawali (“criss-cross
LabanangTotohanan – in which
fashion”).
two trainees engage in a free
practice trying to outmaneuver
each other using all their skills.
 Remy a. Presas

Before it was introduced in Manila, Modern arnis had its humble beginnings in Bacolod
City in Visayas where the author first learned the techniques of the art. Being master of many
martial arts, the author was able to improvise the antiquated techniques of arnis not only for the
reasons of pacing with the time but also for its utmost affectivity. These improved techniques
were then taught for the first time to the students in that city.

In 1969, it was in Manila when the National College of Physical Education, through the
encouragement and patronage of Col. Arsenio de Borja, director and secretary-tresurer of the
Philippine Amateur Athletic Federation (PAAF), offered Modern Arnis as a regular subject in
the Physical Education to the major students.

The students in the NCPE were mostly teachers from different school in the country who
took PE as a degree or as 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 the Modern arnis in the school of the author, also help propagate the art.

In Mindanao State University-Main Campus, Marawi City, Lanaodel Sur, Prof. Ombra B.
Sumndad of the College of Sports, Physical Education and Recreation was the first person to
introduce the Modern Arnis.

Arnis was declared as the Philippine National Martial Art and

Sport on December 11, 2009 through Republic Act 9850 signed by
Pres. Gloria Macapagal-Arroyo. As per R.A. 9850, the official
adoption of arnis as the national martial art and sport shall be
promulgated by inscribing the symbol of arnis in the official seal of
the Philippine Sports Commission and by making it as the first
competition to be played by participating teams on the first day in
the annual Palarong Pambansa. The Philippine Sports Commission
is be the lead agency to implement the provisions of this Act.

https://ncca.gov.ph/about-culture-and-arts/culture-profile/philippine-fast-facts/national-sport-
arnis/
Values and Benefits of Arnis

1. Contributes to the Physical Fitness Development– the execution of the various skills of
Arnis involves vigorous movements of the arms, shoulders, trunk, the abdomen and the
lower extremities the legs and feet. And since these movements are performed
continuously and rhythmically, they provide excellent training for muscular strength,
flexibility and cardio-respiratory endurance which are the three basic health-related
components of physical fitness namely agility, balance, reaction time, and coordination
are also developed through Arnis.

2. Develops Special Abilities – emphasis is placed on quickness and coordination, and in the
perfect execution of the skills. Individuals whose physical attributes and capabilities are
limited can find in Arnis the satisfaction provided by competition and the thrill of
accomplishments in skillful physical activity.

3. Improves Mental Qualities – alertness, daringness and precision are necessary, since
many techniques call for quick thinking, and split-seconds timing.

4. Cultivates Desirable Character Traits – self-confidence, fortitude, and self-confidence

are developed in the practice of Arnis. Students of Arnis who practice long and hard in
order to make progress will also develop the virtue of perseverance to the highest degree.
Self-discipline is necessary to master self-confidence. The acquisition of skills and
desirable traits rest on the individual himself, for Arnis is a self-testing activity, and the
student will progress at his or her own rate.

5. Creative Ability has Unlimited Potential in Arnis – the putting together of various
possible combinations to come up with an anyo form or sparring routines require
imaginative and creative talent. Through this experience, the Arnis enthusiast develops
understanding of symmetry, continuity, coordination, balance, and timing in the
execution of striking and blocking maneuvers.

6. Awareness on the Cultural Identity – Arnis is a genuine component of our cultural

heritage. It is possible that the Filipino who will take up Arnis will find an answer to what
an eminent Filipino scholar termed, “the search for national identity.”

Activity 2: Short Answer Test

Direction: Answer the following questions below. Students under Categories 1 and 2 must type
in their answers and post it in our official FB group page PED002 ____. Students under
Category 3 must write their answers on a whole sheet of paper and must place it in a long brown
envelope upon its submission. Please do not forget to write your name, section and contact
number when you submit it to your instructor
1. What makes Arnis different from other Combative Sports? Explain its unique features.

2. Is it important for us to learn self defense like Arnis? Justify your answer.

3. What do you think are other benefits that one can get from his participation in sport in terms
of:

a. mental
b. emotional
c. social;

Lesson 2: Arnis as a Sport

Objectives: At the end of the lesson, you are expected to be able to:

1. Identify the different types of competition in Arnis

2. Identify the equipments and gears used in Arnis.

3. Determine the difference of full combat and Anyo event.

4. Enumerate and explain the parts of Arnis sports gear.

Types of Competition

1. Full Contact Event

2. Arnis Anyo Event

PART I. FULL CONTACT EVENT - The game is played by using prescribed padded stick in
delivering artistic and legal blows, strikes, thrusts, and disarming the opponent to gain scores.
The winner of the match is decided by best of three rounds. Each round lasts for two minutes.

A. Competition Area (Diagram 1 And 2)

Dimensions The playing area is a square measuring 8.0 meters by 8.0 meters with a one (1)
meter free zone around it, and a clear space without any obstruction up to a height of not less
than 5 meters from the playing surface.
B. Equipment
1. Weapon
1.1. The padded stick shall be the official weapon of the
player. the specifications 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 competitions.
1.2. Both padded stick shall be color-coded, one red and
the other blue.

2. Head Protector
2.1. Refers to a pair of protective head gear to include an impact-worthy face
mask, the specifications of which shall be in accordance with the i-ARNIS
standard.
2.2. Both headgears must be color-coded, one red and the other blue.

3. Body Protector
3.1. Refers to a pair of protective body
vest, properly cushioned , the
specifications of which shall be in
accordance with the i-ARNIS standard.
3.2. Male and female player must wear
both body vest and groin guard. Body
vest and groin guards specifications
shall be in accordance with the i-
ARNIS standard. Both body vests must
be color coded to match the color of
the player.
3.3. Forearm and shin guards are
compulsory. The specifications shall
be in accordance with i-ARNIS
standard. Both shin & forearms guards
must be color coded to match the
color of the player.
4. Flags
4.1 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

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

6. Other Equipment
6.1. Stopwatch is used to keep the two-minutes per round. This excludes
interruptions such as injury, changing of broken padded 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.
6.2. 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.
 C. Conduct Of The Tournament,Scoring And Penalties
1. The conduct of the competition
1.1. The conduct of the competition shall be on two out of three round system.
Each round shall be held for maximum of two (2) minutes.
1.2. Upon the initial command of ―Handa‖ for each round, the referee shall
allow both players to display artistic Arnis move ments, unique to their styles.
1.3. The player must continuously perform artistic Arnis strokes depicting
their styles whenever apart during the game.
2. Salutation
At close stance, salutation is done by placing the right hand with the weapon pointing
upward over the left chest, while the left arm is at the side and is followed by a Nod.
Upon entering the playing area, players must do the salute to the officials together
with the referee. Finally, salute must be given to the opponent. This shall be done
before and after every game.
3. Matching & Pairing
Blind matching & pairing of single elimination or knock out system shall be adopted
in most cases where the number of participants will allow it. Otherwise, a round robin
system shall be used. This shall be done at least one day before the tournament.
Representatives from the respective teams concerned shall be invited to witness the
matching & pairing.

4. Scoring
4.1. A score shall mean a strike or thrust with a padded stick using one hand
only, delivered to a specific body point and is counted upon confirmation by the
two (2) or at least one (1) of the judges, simultaneously recorded on the
scoreboard
4.2. A legitimate strike is given a point if it is delivered to a specific body
point in correct form, that is –with power, right timing, with art, distance and
intent.
4.2.1 Simultaneous Strike - When the two players deliver strike simultaneously,
it will not be given a point.

4.2.2. Spontaneous strike is allowed, but the judges can only give maximum three
(3) points per encounter per player.

4.2.3 A thrust to body points C and E (abdominal area and leg area) is a point,
provided that the requirements for a legitimate thrust, which are with power, right timing,
with art, distance (at least one arm length) and intent are met.

4.2.4 A disarming execution is awarded a point. (refer to rule 16.2)

4.2.5 Follow-up strike after a legitimate disarming is given a point.

 4.2.6 A score is recorded on the scoreboard by the judges.

5. Declaring a winner of a specific round

A player can win a round through the following manner / condition:

5.1 By gaining five points ahead.

5.2 By disarming the opponent twice.

5.3 If his opponent committed a maximum of three fouls.

5.4 Winning by knock out.

5.5 If none of these conditions are met, and the time allocated for a round had lapsed, the
winner will be based on these particular orders:

5.5.1 Who is ahead in points in general, wins. In case the two judges gave different set
player who has the higher points, wins.

5.5.2 In case of a tie in points, a player can win through the following manner /
conditions.

5.5.3 One who has less disarming penalty, wins.

5.5.4 One who has lesser fouls, wins.

5.5.5 Disarming has a heavier weight than fouls.

6. DRAW SCORE

In the event that the scores, disarming and fouls are the same at the end of the round, the basis
for declaring the winner shall be decided through the following:

a. superiority or aggressiveness

b. major fatal technique

c. artistic delivery

7. FOULS (PAGLABAG)

7.1 A player who commits fouls shall be given F1, F2, F3 as the case may be and shall
be indicated in the scoreboard.

7.2 A player who commits three (3) fouls is automatically declared the loser by the
referee for that particular round.
The following violations are considered as FOULS:

A. Thrust to body point A (head area) and thrust in close quarter (approximately 30 inches or
less).

B. Strike or thrust to the groin and Striking or thrusting using two hands.

C. Blocking with the use of the arm.

D. Clinching, spitting, negative remarks as well as other actions inimical to the rules and
regulations a n d code of sportsmanship.

E. Pushing and Pulling— Any act of pushing and pull ing using hand, head, body, legs, arm,
stick a n d other similar movement. However pushing and pull ing using of hand that is done
within 3 seconds is allowed provided followed by an application to score or disarm.

F. A hold to an opponent. However, a hold or a grab on the padded stick or arm just below the
shoulder down to the hand of the opponent that is done within 3 seconds is allowed, provided
it is immediately followed by an application to score or disarm.

G. A player who steps on the line or goes out of the playing area. However if cause by pushing
using hand by the opponent is not a foul.

H. Hitting a player at the back area (from the back of the head up to the buttocks) is considered
a foul, unless the opponent intentionally turns his back.

I. Delaying the game for more than ten (10) seconds.

J. Non-combativeness for ten (10) seconds.

K. Multiple strikes or thrust (three or more) to one body point without changing the position of
the arm.

L. Upon the command of hinto or hiwalay, any player who attacks shall be given a foul. If the
attack falls at the same time with the command, it is not considered a foul.

M. Non-performance of artistic styles upon the command ―handa‖ and for more than three (3)
seconds during the game.

N. Diving or intentionally falling on playing surface to gain a point.

O. Food and drinks during, time out and interval of round.

P. Locking bone breaking, kicking, chopping, elbowing, throwing, punching, sweeping, butting
and kneeing.
8. DISARMING (LAGLAG)

A player who loses grip of the padded stick and a part of it touches the ground during the
game is considered as disarming. However, if the padded stick was taken away in a split second
by the opponent, it is counted as disarming, even it did not touch the ground.

8.1 A disarming violation shall be given D1 for the first disarming and one point is given
to the player who disarmed. D2 for the second disarming, and shall be indicated in the
scoreboard by the judges.

8.2 A player who is disarmed twice in a round automatically loses the round.

PART II. ANYO EVENT

1. Game Characteristics

Arnis Anyo (form) event is a demonstration of artistic, choreographed, pre-arranged sets

of movements, offensive and defensive techniques using stick, wooden replica of a bladed
weapon or metallic unbladed replica of a weapon. The competition shall be one round of
Anyo performance, where in the performers are awarded points by the judges based on criteria.
The performance shall have a minimum time limit of one (1) minute and a maximum time limit
of two (2) minutes. There would be different divisions in the single weapon, double weapon
and sword & dagger weapon categories, both in the individual a n d team events. The players
will be ranked based on the scores awarded by the judges.

2. Competition Area

Shall refer to the area by which the conduct of the competition shall be set or held including the
free zone around it.(12 meters by 12meters) in size.

2.1 The The playing area is a square measuring 10 meters by 10 meters with a one meter
minimum free zone around it, and a clear space without any obstruction up to a height of not
less than 5 meters from the playing surface.

3. Equipment

Shall mean the materials and accessories that are used in the conduct of the competition.

3.1 Weapon

 The wooden stick shall measure not less than 60 cm and not more than 90 cm in
length with a diameter of not less than 1.3 cm and not more than 3.8 cm. It must
not have sharp edges or pointed ends.
  The wooden replica shall measure not less than 60 cm and not more than 90 cm
in full length and should be Ethnic Asian in origin. It must not have sharp edges
or pointed ends.
 The metallic replica shall measure not less than 60 cm and not more than 90
cm in full length and should be ethnic Asian in origin. It must not have sharp
edges or pointed ends.
 The wooden replica shall measure not more than 60 cm in full length and
should be ethnic Asian in origin. It must not have sharp edges or pointed ends.

3.2 Score card Judges will use score card to indicate the score given to a player or a
team. The score card shall measure 12 x 8 inches (30.48 cm x 20.32 cm ).

4. Conduct Of The Tournament

The conduct of the competition shall be one Anyo performance. The performance shall
have a minimum time limit of one (1) minute and a maximum time limit of two (2) minutes.

4.1 Scoring –

 A score shall be awarded by the judges to the performer/s and shall be reflected
on the score card raised above their heads.
 A score shall have a numerical value from 1-10 with an increment of 0.25.
 The seven Judges shall formulate their judgment and scoring base on the specified
criteria

4.2 Criteria

 Coordination of Movements (Individual Event) Harmonizing and dexterity of

the movements of arms, legs, head, body and weapons of the performers. Well
balanced actions, steps, stance and movements (sense of balance). Precise
timing, indistinguishable, identical harmonic and rhythmic movements of the
arms, head, legs, body, and weapons of the performer during the performance.
 Synchronization (Team Event) Harmonizing and dexterity of the movements of
arms, legs, head, body and weapons of the performers. Well balanced actions,
steps, stance and movements (sense of balance). Precise timing,
indistinguishable, identical harmonic and rhythmic movements of the arms,
head, legs, body, and weapons of the team during the performance.
 Artistic Execution Graceful, elegant, refined, stylish and animated execution of
the martial arts movements of the performer/s.
 Bearing and Stage Presence
a. Manner, composure, costume, poise and posture of the performer/s
during the performance.
 b. Costume Shall mean all those that form part of the athlete's attire
worn in the competition area during the tournament. It should be
ethnic Asian in origin.
c. Musical Accompaniment (optional) The player or team may or may
not choose to have a musical accompaniment with their
performance. Should they opt to have musical accompaniment, it
should be ethnic Asian in nature, live or recorded on CD or USB.
d. Degree of Difficulty - The magnitude of complicatedness, complexity,
intricacy of the movements of the arms, body and legs in executing
martial arts techniques of the whole performance.
e. Creativity - Originality, inventiveness and imaginativeness of the
forms and movements without sacrificing the effectiveness of the
martial art movements.

5. Declaring A Winner - The player/team garnering the highest score-First Place,

second highest score– Second Place, and third highest score-Third Place.

PART III . Tournament Officials - Duties and Responsibilities, Hand Signals and Calls

Tournament Officials

The following descriptions of the duties and responsibilities of the tournament officials in
Sports Arnis are adopted from the International Rules for Sports Arnis by the i-ARNIS (2015):

1. Tournament Officials- the official body who shall implement the rules and regulations and
shall have the sole authority in the administration of the tournament proper. The tournament
officials are certified by the i-ARNIS.

2. Tournament Director- the over-all administrator and chairperson who shall directly ensure
the proper implementation of all procedures.

3. Screening Committee- this committee is composed of three (3) members who shall enforce
the requirements as stipulated in Rule 4, Chapter two in rule book. This committee shall include
the tournament officials and a physician as members.

4. Referees and judges- these are officials who enforce the conduct of all tournament in
accordance with the rules and regulations of the game. All Referees and judges should have
taken and passed the accreditation ang licensure seminar of i-ARNIS and must be in good
standing. Refreshers Course is required for all Referees and Judges who have not afficiated in
any tournament for at least six (6) months. They are the officiating officials of the tournament
whose decisions are FINAL.
5. Timer- shall keep time during the actual match. A gong, whistle or bell shall be provided for
his/her use in announcing the start and the end of the game and other calls.

6. Recorder- shall be tasked with recording the results of the actual games. A record sheet shall
be provided foe his/her use in recording results.

7. Tabulators- shall be composed of the Chairman of the Judges, Recorder and Timer. They
shall be tasked in recording scores, violations, and the time of the actual performance/s. Theu
shall give the final results to the official's table.

8. Flag Officials- these are the officials who will declare the violation/s of the performer/s by
raising the corresponding flag/s.

9. Matcher- shall arrange the matches prior to the tournament and update the matches between
players during the tournament.

Lesson 3: Ethics and Etiquette, Essential Principle and Safety in Arnis

Objectives: At the end of the lesson, students are expected to be able to:

1. Explain the basic rules and principle of Arnis.

2. Appreciate the importance of code of ethics in Arnis.

3. Recognize the importance of safety practices of active participation of Arnis.

1. Creed in Arnis

Arnis is a tie that binds us

Respect for Masters is our first discipline
Never criticize the style, master or art of another
Integrity is the basis of our character
Show humility in victory and grace in defeat
Anger is a weakness to be mastered
Develop your inner self as well as your outward skills
Open your mind to learn from anyone at anytime
Remember – Arnis has its origin as a fighting art
-Radcliff (2011)
2. Cardinal Rules and Principles

Arnis as an art has cardinal rules to be observed and followed has its own
principles 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 sportsman. It should always be
rememberd that an opponent is a human being with dignity as you have and worthy of
respect. Sportsmanship on the other hand is the measure of a fighter or player, the laurels
of victory should never be worn with superiority but with humility.

Besides this cardinal principles, there are other principles in Arnis that the
students must remember, these are:

 Character – 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 would be motivated by righteous
desire.
 Sincerity – sincerity for victory’s sake is not all-consuming end of an Arnis
player. 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 and trust makes an institution of
what has been shattered by doubts.
 Discipline –Arnis is a molder of discipline. It is the responsibility of the
teachers of the art to guide the students to this end. Strict compliance to rules
and conduct is an athlete’s obligation. Proper behavior in the sport and in life
itself will be gauge of success. Personal discipline is important, and a student
should learn to control himself in the pursuance of his goal, not only to his art
but also to life in general.
 Self-Control – losing one’s head means defeat. One should learn to control
his temper if he hopes to achieve success in every endeavor. In Arnis, self-
control is important for without it, life and good health of another may be lost.
The possession of an ability to kill or injure a person should be handled with
extreme caution and prudence.
 Etiquette – etiquette is allied to the main cardinal rules in Arnis. One’s norm
and standard should never be imposed upon others. One should learn how to
respect others. Giving credence to the standard and ability of another person
should or will best prepare anybody in any endeavor.
 Student’s Loyalty – loyalty should be emphasized to the students, loyalty to
the art, to a fellow player, and to his teacher. Ingratitude to one is ingratitude
to the other. A student should br 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 owned by him to
 his teacher. Personal whims should never one to be ungrateful to where he
owes everything he knows. In the skirmishes of things, the student should be
always loyal to him.

3. Code of Ethics

 Arnis is an event that aims to bond and develop friendship and brotherhood.
 It is never a sport to hurt and defeat the opponent but to improve the skills of
the players
 It aims to develop the mind, the physique and the character of the player.
 Arnis is played to develop the social aspect that will lead to close bonding of
all practitioners.
 All the practitioners respect each other. They salute (“pugay” or “courtesy
bow”) each other when they meet and from a meeting before they depart. The
juniors must salute first and maintain the position until the seniors answer
their salute.
 The juniors do not have the right to challenge to fight the seniors unless in the
program set by their association to fulfill an objective.
 All the practitioners continue to move on as there is room for improvement or
advancement.
 Each practitioners must share with other beginners or practitioners the
advancement attained.
 Practitioners must desire to strengthen the Arnis family they belong to by
sharing love, knowledge and understanding.
 Practitioners must remember that Arnis is not a means to fight people but to
bond with them for life improvement.

-i-ARNIS (2011)

Essential Principles in Arnis

The true power of Arnis does not end with the techniques are powerful enough, there is
still much power left untapped if these techniques are not executed along the essential principles
underlying its execution. Thus, it is essential that the learner should know these principles by
heart and commit the techniques to memory.
1. Physical Principles
 The learner must always bear in mind speed-speed in delivering the strokes, speed with
the hand, speed with the feet, and even with eyes in spotting the weak points of the opponent.
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 how to swing the club. In swinging, the grip
must be firm and the stroke must be delivered with a jerk. He must also relax hid wrist after each
stroke. A player should not allow distance to separate him from his opponent as distance makes
him vulnerable.
2. Psychological Principles
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.

Safety
Some common procedures in training must be done for the safety practice of Arnis in
classroom or even in club settings.
1. Wear proper attire or loose-fitting clothing for comfort and mobility.
2. Remove all jewellery before the start of the activity.
3. Proper warm-up and conditioning exercise should be observed specially during
strenuous activities to avoid muscle fatigue and further injuries.
4. Strike with accuracy and control especially during basic sparring, Sinawali, blockings
and counter attacks to elude unforeseen injuries.
5. Delivery of the strikes, thrusts and counter attacks should never be aimed directly on
the vital striking areas of the body to avoid further accident.
6. Proper gripping of the cane or Arnis stick should always be observed specially during
activity manipulation, whirling, and twisting to avoid mishap.
7. It is suggested to execute the basic skills in slow motion especially to the novices to
lessen unfortunate accident during practice.

Activity : BULAGTASAN!

This activity intends to test the memory of the learners. For category 1 and 2 learners, wear a
black blind fold and recite the Arnisador creed online aloud.
Lesson 4: Fundamental Skills in Arnis

Objectives: At the end of the lesson, students are expected to be able to:
1. Identify the fundamental skills in Arnis

2. Perform the different fundamental skills in Arnis.

3. Recognize the importance of the different fundamental skills in Arnis.

Fundamental Skills

1. Grip
The grip is the “soul of all fighting techniques" in Arnis. It is the correct grip that packs
power to 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.

2. Courtesy
Courtesy means “respect for one's opponent and for the cardinal rules and principles of
sportsmanship." In the revered tradition of martial art, courtesy in modern Arnis is the trademark
that makes players worthy protagonists.
At 45 degrees angle, heels closed, body erect, hands at 1/2-2 inches from both bases in
holding the cane, and feet together, bow your head slightly towards your opponent.
Courtesy in Arnis can also be executed with two canes.
3. Stances
Stances in Arnis as in other forms of martial arts are different body positions basic to the
play of the art. These are techniques which teach a player how to maintain body balance and the
proper manner of distributing his weight on his legs. Mastery of those techniques is essential in
the perfection of the art of Arnis.
A player can never hope to fight effectively without knowing these important rudiments.
Proper body positioning gives one mobility and ability. Shift from one position to another with
strong foothold and with much agility. Moreover, this is very essential in defensive and offensive
fighting.

• Attention Stance- Stand with feet at 45 degrees

angle, heels closed together, hands at the side and
relaxed.

• Open-leg Stance- Stand with legs spread apart about

shoulder width with toes pointing slightly outward.
• Forward Stance- Move one leg forward at a distance
about twice the width of the shoulder and about 30
degrees to the side and bend frond leg at the knee with
cane in the center and in fighting form. Rear leg is
extended fully with both feet flat on the ground.

• Straddle-leg Stance- Spread legs about twice the

width of shoulders and bend knees outward, heels
firmly planted and toes pointing straight forward.
Distribute weight evenly on both legs.

• Back Stance- Stand with one foot backward with

rear-foot toes pointing forward, so that the two feet
form an L-shape. The rear foot should point either left
or right depending on what foot is in front. Rear knee
should be a little bent and force outward as in straddle
stance. Seventy percent of the weight of the body
should be supported by the rear leg with 30 percent by
front leg.
  Oblique Forward Stance- This is executed by stepping either foot obliquely forward
and obliquely to the left or to the right. The reverse of the oblique forward stance is
executed with the withdrawal of either foot. In both movements, the L-shape position of
the feet should be maintained.

Points to Remember: In Arnis, the player should charge with the foregoing stances. He can
lunge, in which case the stride is longer, trunk leaning forward straight from the rear leg
according to his convenience in actual play.

5. Body Shifting
In Arnis, body shifting is very important. An Arnis player should be shifting in
positioning his body at a vantage point so that he can strike with the utmost power. Proper body
positioning will also enable him to be outside the effective range of an opponent's blowor strike.
Body shifting consists of stepping, sliding, turning or combination of these movements.

Points to Remember: In shifting the body, a player must always maintain balance and
shift the weight of his body smoothly. Correct posture must be maintained at all times. A player
must not lower his hips more than necessary; they should move more or less in a straight line. He
must not raise his feet high off the ground. He must not drag them either. In both cases, he will
lose both speed and balance.

• Oblique Forward Stance- This is

executed by stepping either foot
obliquely forward and obliquely to
the left or to the right. The reverse of
the oblique forward stance is
Activity 2.
executed with the withdrawal of
either foot. In both movements, the
L-shape position of the feet should be
maintained.
Direction: Create a separate short video recording of yourself of each of following
Fundamental skills in Arnis:

 The Grip
 Courtesy
 Posture(Front-facing, Half-front Facing and Side Facing)
 Stances (Attention, Open leg, Straddle Leg, Forward, Backward, Oblique
Forward Stance)

The 12 Striking and Blocking Techniques

 The twelve striking techniques are the "life and soul" of Arnis. They are the hinges
around which other techniques in Arnis revolve.
In the twelve striking techniques, the learner is taught how and where to deliver a strike
in order to achieve the maximum power and efficacy. In learning these techniques, the learner
should know the different parts of the body considered vulnerable which excellent target are for
the strikes.

1. The 12 Vital Striking Points of the Body

Points to remember: it should be always remembered that strikes on these areas should be
delivered with full force; otherwise the whole thing would be useless.

2. The Striking techniques

• Striking Technique No. 1- Left Temple Attack

Mechanics: 

With elbow bent, swing right hand backward accompanied by a twist of the body. Then
execute right forward stance or stay on the straddle leg stance simultaneously swinging right
hand forward, closed plan up, to strike directly at the opponent's left temple.
Common Errors and Corrections:
In executing all of these movements, the left hand should always be on guard, held high
at chest level for defensive purposes.
• Striking Technique No. 2- Right Temple Attack

Mechanics:

From the final position in No. 1, withdraw right foot slightly backward, at the same time
bring right hand holding cane at shoulder level and slightly twist body backward to the left. Slide
right foot forward to assume the right forward stance or stay on the straddle leg stance position
simultaneously swinging the right hand forward, closed palm facing downward, to strike at the
right temple.
• Striking Technique No. 3- Left Shoulder Attack

Mechanics:

From the final position in No. 2, withdraw right foot slightly backward and bring right
hand to the right as in No. 1. Slide right foot forward to assume right forward stance or stay on
the straddle leg stance position at the same time swing right hand forward to strike at the left
shoulder.

• Striking Techniques No. 4- Right Shoulder Attack

Mechanics:

From the Final position in No. 3, withdraw right foot slightly backward and bring right
hand to the left at shoulder level. Slide right foot forward or stay on the straddle leg stance
position, closed palm facing downward to strike at right shoulder.
• Striking Technique No. 5- Thrust to the Stomach

Mechanics:

From the final position in No. 4, slide right foot slightly backward and withdraw right
hand backward to the right at hip level (elbow at right angle). Slide right foot forward to assume
right forward stance or stay on straddle leg stance position, at the same time, thrust cane forward
aimed at the stomach.

• Striking Technique No. 6- Left Chest Attack

Mechanics:

From the final position in No. 5, slide right foot slightly backward, at the same time,
withdraw right hand rearward at shoulder level, closed palm facing downward. Then lunge
forward with right foot or stay on the straddle leg stance position and thrust cane to the left chest.
• Striking Technique No. 7- Right Chest Attack

Mechanics:

From the final position in No. 6, slide right foot backward at the same time withdraw
right hand to the left at hip level, cane pointing downward, then upward to left shoulder level,
twisting the right hand wrist ( closed palm facing upward), and positioning the cane with its tip
directly pointing at the target. Then slide right foot forward or stay on the straddle leg stance
position and thrust cane to the right chest.

• Striking Technique No. 8- Right Knee Attack

Mechanics:

From the final position in No. 7, slide right foot slightly backward, at the same time,
swing cane to the left, outward, hand at shoulder level and closed palm facing downward. Slide
right foot forward or stay on the straddle leg stance position simultaneously swinging cane
forward and downward to strike the right knee.
• Striking Technique No. 9- Left Knee Attack

Mechanics:

From the final position in No. 8, slide right foot slightly backward, at the same time,
withdraw right hand to the right at shoulder level, swinging it backward, body facing 49 degrees
at the right. Slide right foot forward or stay on the straddle leg stance position simultaneously
swinging cane forward and downward to strike the left knee.

• Striking technique No. 10- Left Eye Attack

Mechanics:

From the final position in No. 9, slide right foot slightly backward simultaneously
withdrawing right hand to the right at shoulder level, closed palm facing downward. Slide right
foot forward or stay on the straddle leg stance position and thrust cane to the left eye
• Striking Technique No. 11- Right Eye Attack

Mechanics:

From the final position in No. 10, slide right foot slightly backward to assume forward
stance or stay on the straddle leg stance position, at the same time, bring right hand to the left at
shoulder level, closed palm facing upward and simultaneously thrust cane to the right eye.
Points to Remember: 
When practicing this technique and that of No. 10 and 11 do not aim cane directly to the
eye to avoid accident.

• Striking Technique No. 12- Crown Attack

Mechanics:

From the final position in No. 11, slide right foot slightly backward and assume a forward
stance or stay on the straddle leg stance position, simultaneously withdrawing right hand over
head and swing cane backward. Then strike from the top downward to hit the crown of the head.
4. Blocking Techniques

It is said that the capacity of a defender to endure an attacker's strike depends mush on his
ability to parry or block deadly blows effectively and to counterstrike with equal efficacy.
To be able to put an effective defense, the defender must, of necessity, achieve perfect
body balance so that his potential martial strength will be concentrated in his two hands. This
body balance is best seen in the correct stance which he is to execute before making any attempt
to block or parry his opponent's blow. Lacking this preparatory fighting stance, the defender can
easily be staggered or thrown off-balance by even a lee deadly blow delivered to him.
A military strategist once said that only by knowing your enemy will you be able to
defeat him. In the world of martial arts, one knows his enemy only if he knows the sophisticated
fighting techniques in his enemy's arsenal. Knowledge of the opponent’s ability as a formidable
foe equated by the player's expertise to defend himself gives him self-confident, a psychological
feeling which boosts his morale and improves his primitive strength. Thus, the initial phase of
the fight has already been won.

1. Inward Block
Mechanics:
Initial position: Open-leg stance, knees bent in fight posture, left hand with open-palm held up
in front of the body.
With right elbow at right angle and cane pointing upward, lunge with right forward
stance, twisting, body to the right and at the same time, bringing cane forward, braced by left
hand to block attacker's blow.

2. Outward Block
Mechanics:
Initial Position: The same with Inward Block.
 With elbow at right angle and cane pointing upward, lunge with right( or left) forward
stance simultaneously twisting body to the left and, at the same time, bringing cane forward,
braced by the left hand to block attacker's blow. 
3. Downward-Inward Block
Mechanics:
Initial position: The same with Inward Block.
In a right (or left) forward stance, bring cane from left downward to the right to block
attacker's blow.

4. Downward-Outward Block
Mechanics:
Initial Position: The same with Inward Block.
 In a right (or left) forward stance, bring cane from right downward to the left to block
attacker's blow.

5. Vertical Block
Mechanics:
Initial Position: The same with Inward Block.
In a right (or left) forward stance, raise right elbow to shoulder level and twist wrist
outward to the left so that cane in vertical with tip pointing downward. Always brace the cane
with open palm of left hand at the middle section.
6. Rising Block
Mechanics:
Initial Position: The same with Inward Block.
In a right (or left) forward stance with cane in front at hip level, raise cane horizontally
forward and over the head supported open palm of the left hand to block attacker's blow.

Activity 4:

Direction: Create a short video recording of yourself while performing the following:
1. The 12 striking techniques
2. Blocking techniques.

Lesson 6: Types of Anyo or Form

Objectives: At the end of the lesson, students are expected to be able to:

1. Enumerate and identify the types of Anyo or Form in Arnis

2. Appreciate the beauty of performing the different types of Form in Arnis.

3. Perform accurately the different types of Anyo/Form in Arnis

Anyo or Form in Arnis is executed in a backdrop of gratefulness when the execution of

various exercises is observed in correct rhythmic order. It is similar to a terpsichorean technique,
only it employs cane for added dimension to the movements, since it is a martial dance, as Arnis
is a martial art.

It is an individual movement executed with cane on one hand in a form of exercise or

practice of movements which leads to the perfection of the art of Arnis itself, because it
encompasses all the basic movements executed in coordinated fashion. In fact, in anyo or form,
one finds the basic techniques of attack and counter attack in the form of exercise. A student
should therefore give this aspect of Arnis training an artist’s fidelity to his art by religiously
practicing the required exercises.

In sports Arnis, Anyo (Form) event is a demonstration of artistic, choreographed, pre-

arranged sets of movements, offensive and defensive techniques using stick, wooden replica of a
bladed weapon or metallic un-bladed replica of a weapon. There would be different divisions in
the single weapon, double weapon and sword & dagger weapon categories, both in the individual
and team events.

Pictures

1. SINAWALI

It is form of Arnis done by two players holding a cane in each hand. This play is
characterized by the criss crossing movements of the canes. It is a good exercise in the mastery
of Arnis play.

The Sinawali derives its name from the word Sawali which is a native Filipino walling
material. It is made of intertwined thinned bamboo splits and is used in nipa huts in rural areas.
The practice of the Sinawali develops the player’s agility, coordination, timing, and keenness of
eyesight. Like the other twelve striking techniques, the Sinawali is a good exercise in the mastery
of Arnis play.
Types of Sinawali

 Single Sinawali

Mechanics:

a. Initial Movements: Stand at attention, both hand holding two canes. Do the courtesy bow
and go to open-leg stance, right hand over left and canes pointing backward.

Mechanics:
b. Count 1. Execute the right forward stance and strike at the left temple of the opponent
with your right hand.

c. Count 2. Swing the right hand to the left and bring it downward to strike at the right knee
of the opponent. Simultaneously, swing the left hand upward and backward to the left
side, cane pointing backward.
 d. Count 3. Strike at the right temple of the opponent with your left hand and withdraw the
right hand to the side, elbow slightly bent and cane pointing downward.

Mechanics:
e. Count 4. Swing left hand to the right and downward, forming a half circle, and strike at
the left knee of the opponent. Simultaneously, withdraw the right hand upward and
backward to the right, elbow bent and cane pointing backward.

Points to Remember: to easily develop speed and skill in this technique, it is suggested that the
correct practice must be executed in slow motion according to the corresponding number. Do
continuous practice and repetition. In the application of Single Sinawali as shown in the figures,
each partner-player should execute the same movements and counter-movements.

 Double Sinawali

Mechanics:

a. Initial Movements: The same with Single Sinawali

b. Count 1. Execute the right forward stance and strike your right hand at the left temple
of the opponent.

c. Count 2. Bring right hand over the left collar bone, cane pointing backward, and
strike at the left knee of the opponent with the left hand.
d. Count 3. Swing the left hand upward and backward, cane pointing to the rear, and
strike at the right temple of the opponent with the right hand.

e. Count 4. Strike at the right temple of the opponent with the left hand, and bring the
right hand under the left armpit, cane pointing backward.
f. Count 5. Strike at the right knee of the opponent with the right hand, and bring the
left hand over the right collar bone cane pointing backward to the right with the
elbow bent

g. Count 6. Strike at the left temple of the opponent with the left hand, and swing the
right hand upward and backward to the right, elbow bent and cane pointing backward.
Points to Remember: In the application of Double Sinawali proper as in Single Sinawali, it is
suggested that the correct practice must be observed too develop speed and skill in the players
and execute in slow motion according to the corresponding practice number.

4. Other Forms of Arnis Fighting

• The Figure 8 (Kali Otso) - is a style in which the cane moves in a figure 8 pattern. This is
characterized by the upward movement of the vane diagonally across the body, then downward
to the left side and upward again, still diagonally across the body, and downward on the right
side. This is repeated motion accompanied by the twisting of the body to the left or to the right
depending on what direction the strike comes from. The figure 8 strikes are either short or long.
The short figure of 8 targets from hip the level up to the head. While the long is from the knee
level up to head, and the player should bend his body in doing it.

Please refer to the website below for demonstration

https://www.youtube.com/watch?v=vJTEeV123KQ

• Rompida- is a style of striking in which the cane moves up and down vertically across the
body. This is a repeated motion which is characterized by the twisting of the wrist downward to
the right. In doing the downward motion, the wrist is in normal position, palm closed and facing
the left side.

Please Refer to the website below for demonstration

https://www.youtube.com/watch?v=X1UwMuFDIlA&t=42s

• Abaniko- is a style of striking in which the cane moves in a fan-like fashion. This is
characterized by the twisting of the wrist from left to right and vice versa. There are two types of
abaniko strikes, the Abaniko Corto (short) and Abaniko Largo (long). The Abaniko corto is a
side to side movement while the Abaniko Largo is a forward and backward movement body
facing halfway to the side.

Please refer to the website below for demonstration

https://www.youtube.com/watch?v=G8VR9bg9GAI

• Banda y Banda- is a style of striking in which the cane moves horizontally in front of the body
with the tip of the cane pointing forward. The movement to the left is characterized by the
upward and twisting of the wrist, facing upward, while the movement to the right is
characterized by downward twisting of the wrist, facing downward.

Please refer to the website below for demonstration

https://www.youtube.com/watch?v=ZU38EjKMgOE
• Redonda- a style of striking in which the cane moves in an "X" pattern.

Please refer to the website below for demonstration

https://www.youtube.com/watch?v=xDCVjNibSNs

TERMINOLOGIES
Abanico- lit. "Fan," lateral ( side to side) motions performed with a straightened arm as a
blocking maneuver.
Abanico sa Itaas- upper flywheel
Antas- lit. "Level or degree"
Arnis- lit. "harnesa," terms used in the Northern Philippines for FMA, synonymous with the
middle-Philippines term, "Eskrima," or the southern term, "Kali"
Arnisador- stick fighter
Arnis de Mano- " Armoe of the hand"; system
Baba Taas- lit. "Up" and "down," denoting vertical slashes or strikes delivered slong the center-
line of an opponent.
Band y Banda- side to side slaches or strikes
Bakbakan- a rumble or free-for-all fight
Banatan- full-contact fighting
Baston- the other term for stick or cane/club used in Arnis.
Bolo- a type of machete (usually with a leaf shaped blade) used throughout the Philippines.
Corto- close range
Daga- knife or dagger
Doble- lit. "Double," two strikes delivered in rapid succession.
Doble Baston- double stick training
Escrima- (alt. eskrima) synonymous with arnis 
Eskrimador- stick fighter
Espada- sword or long stick
Espada y Daga- sword (espada) and dagger (daga) used together. Sometimes also connotes the
use of baton and knife in tandem.
Itak- a long sword or bolo
Kris- serpentine blade knife or sword
Lakan- a belt rank in Modern Arnis equivalent to "black belt" or instructor (guro).
Largo- long distance
Likas- lower rank belt (below black belt) in Modern Arnis
Opo- respectful form of saying "yes"
Palo- lit. "to strike"
Redonda- continuous drill employing two batons continuously delivered in an "X" pattern
Rompida- an upward and downward slash or strike
Saksak- lit. "to thrust"
Salamat- a greating derived from the Muslim "salaam" (or peace) and connoting gratitude
Sangga- lit. "to block"
Sawali- interwoven slats of wood use for walls
Sinawali- lit. "to weave," connoting the continuous weaving motion of two batons, knives, or
hands to couple simultaneous strikes and blocks.
Solo- lit. "single"
Yantok- rattan stick
- American Modern Arnis Associates (n.d.)
- Filipino Martial Arts (FMA) Glossary ( n.d.)

REFERENCES

American Modern Arnis Associates. (n.d.). Basic Arnis terminology. Retrieved June 15, 2015,
from http://www.geocities.ws/amaa_arnis/Terminology.html

Arnis Pederasyong International, Inc. [i-ARNIS]. (2011). International rules for Sports Arnis.
Retrieved March 10, 2015,
from http://www.web.psc.gov.ph/Officiating%20Rules/Arnis.pdf

Combat sport. (n.d.). Retrieved June 20, 2015, from

Wikipedia: http://en.wikipedia.org/wiki/Combat_sport

Filipino martial arts (FMA) glossary. (n.d.). Retrieved August 4, 2014,

 http://www.modernarnis.com/media/content/FMAGlossary.pdf

History of Modern Arnis. (n.d.). Retrieved June 20, 2015, from the
wikipedia: http://en.wikipedia.org/wiki/Modern_Arnis

Martial arts. (n.d.). Retrieved June 20, 2015, from the

Wikipedia: http://en.Wikipedia.org/wiki/Martial_arts

Presas, R. A. (1996). Modern Arnis: Philippine style of stivk fighting. Manila: Modern Arnis.
Presas, R. A. (2011). The practical art of Eskrima: Unarmed and weapon self- defense " The
Philippine's stick fighting" (2nd ed.) Mandaluyong City: Cacho Hermanos.

Radcliffe, D. J. (2011). Combat Judo Karate Arnis. Retrieved January 20, 2015,
from http://kempoarnis.tripod.com/images/club_manual.pdf

Soteco, A. C. (2008). Filipino martial arts: A practical introduction to Arnis.

Retrieved June 20, 2015, 
http://www.fmainformative.info/FMAdigest/pdf_issues/specialeditions/2008/
Special-Edition_Practical-Introduction-to-Arnis.pdf

Wiley, M. V. (2001). Arnis: Reflections on the history and development of the Filipino martial
arts. USA: Tuttle.