THE HISTORY AND ADAPTATIONS OF exercise.

However, when we are teaching the military,

FILIPINO MARTIAL ARTS
Filipino martial arts were solely developed primarily
as protection for oneself that grew to share to the
family and at the same time be of service to the
community. It was used during the pre-Hispanic times,
using farm implements be it agricultural or aquatic in
nature.
Today, FMA or the Filipino Martial Arts is more than
just a self-protection system but more of a gift to
bridge communities of protection around the globe.
The indigenous style of fighting, collectively known as
Filipino Martial Arts or FMA, was originally used to
defend tribes from attacks by other clans or to settle
local disputes. It focused on the use of bladed weapons
and was taught to every member of a family, both men,
and women. This is before the Philippines was
colonized by Spain and under whom the practice was
banned. But Filipinos continued to secretly train by
using sticks instead of blades and hiding the forms and
moves in other artistic expressions.
Jay Bataclan (FMA Teacher) – You would see that
FMA movements could be seen in certain cultural
dances in the country taught to very young children.
You would see that there is music, there are costumes.
The Maglalatik wherein coconut shells are positioned
in the bodies that would symbolize strike points and
slash points for attacks. You would see paired
Fandangos using the lights wherein evasive tactics and
disarms could be seen. The very popular Tinikling that
we have evading and putting in the footwork strategies
on the beat of bamboo could be seen and this is very
much Filipino and very akin to the culture.
now that’s a different story, now this becomes lethal.
As Filipinos migrated, the skills of FMA have gone
with them and been shared around the world.
In times of peace, Filipino martial Arts or FMA is a
tool to create friendships and build bridges. The
training is very relevant for the reason that it teaches
one to respect oneself in relation to your environment
and to respect your fellow human being.
HISTORY OF ARNIS
The History of Arnis dates back before the
colonization of the Spaniards, during those periods it
was called KALI and the technique of the art is
focused on bladed weapons for fighting.
Kali was widely practiced throughout the
archipelago; both noblemen and commoners were
enthusiasts and practitioners of the said art.
Also, during those days, Kali is being taught in a
school-like training ground which was called Bothoan
along with military tactics, Alibata (Native Alphabet),
and herbal medicines.
Modern Arnis is the system of Filipino fighting arts
founded by REMY PRESAS as a self-defense system.
He published several books and videos on Modern
Arnis and is recognized as the "Father of Modern
Arnis"
The term Modern Arnis was used by Remy Presas'
younger brother Ernesto Presas to describe his style of
Filipino martial arts, since 1999 Ernesto Presas has
called his system Kombatan.

Today, FMA has become a staple fighting system The term Modern Arnis was used by Remy Presas'
among the military and law enforcement units not only younger brother Ernesto Presas to describe his style of
in the Philippines but also in countries like Russia, Filipino martial arts, since 1999 Ernesto Presas has
Moldova, and Kyrgyzstan, to name a few. You’ll also called his system Kombatan
find it being used as a form of self-defense, as
12 BASIC STRIKES IN ARNIS
exercise, and even inaction scenes in Hollywood
movies.
FMA has gained the reputation of being a deadly style
because of the use of deadly weapons. But the art is
only as lethal as a practitioner wants it to be.
Bob Rodriguez (FMA teacher) – Filipino Martial Arts
are considered as the most deadliest fighting art in the
world. However, I’d rather use the term “the most
flexible fighting art in the world”. Because it can be
deadly as you want it to be or it can be as light as you
want it to be. Say for example, if we’re teaching
women who just wanted to stay fit and learn how to
defend themselves that can be used as a means of 1. Left Temple Strike
2. Right Temple Strike Strike #3
3. Left Arm Strike From the last position of strike number two, execute
the forehand strike hitting your opponent’s left
4. Right Arm Strike
shoulder. In one continuous movement, draw back
5. Stomach Thrust your right arm placing it back to the left side of your
head stick at the left back side of your head.
6. Left Chest Thrust
Strike #4
7. Right Chest Thrust
From the last position of strike number three, execute
8. Right Knee Thrust the backhand strike hitting your opponent’s right
9. Left Knee Strike shoulder. In one continuous movement, draw back
your right arm placing it back to the right side of your
10. Left Eye Thrust body with stick place horizontally to the floor and
pointing to your opponent.
11. Right Eye Thrust
Strike #5
12. Strike to Crown
From the last position of strike number four, execute a
Side Stance
forehand trust hitting your opponent’s stomach, draw
Forward Stances back your right arm and place it to the right side of
your head stick this horizontally to the floor and
pointing to your opponent.
Forehand strike – a strike performed from your Strike #6
dominant side to your targets’ vital point
From the last position of strike number five, execute a
Backhand strike- a striker form from your non- forehand trust hitting your opponent’s left chest. In one
dominant side to your targets’ vital point continuous movement, draw back your right arm
12 STRIKING ZONE SYSTEM placing your fist in front of your left shoulder and stick
is pointing to your opponent.
Vital body parts that can be attacked:
Strike #7
 Left and right Temple
Execute the back contrast hitting your opponent’s right
 Left and right Shoulder
chest. In one continuous movement, move back your
 Stomach
right arm and place it up to the last position of strike
 Left and right side of the chest number six.
 Knees
 Eyes Strike #8
 Crown of the head From the last position of strike number seven, execute
a downward backhand strike to hit the right knee of
your opponent. In one continuous movement, throw
Strike #1 back your right arm placing it back to the right side of
your head which sticks place at the right back side of
From an open leg stance, step your right foot forward
your head.
while raising your right arm placing it on the right side
of your head with a stick at the right backside of the Strike #9
head. Execute the forehand strike hitting your
opponent’s left temple. In one continuous movement, From the last position of strike number eight, execute a
draw your right arm back placing at the left side of downward backhand strike to hit the left knee of your
your head with stiff place in your left back side. opponent. In one continuous movement, throw back
your right arm placing it back to the right side of your
Strike #2 head with stick pointing to your opponent.
From the last position of strike number one, execute Strike #10
the backhand strike hitting your opponent’s stripe
temple. In one continuous movement, drawback your From the last position of strike number nine, execute a
right arm placing it to the right side of your head forehand thrust hitting your opponent’s left eye, draw
which sticks place at the right backside of your head.
back your right arm and place your fist in front of your
left shoulder stick pointing to your opponent.
RIGHT FOOT FORWARD STANCE
Strike #11
WITH FOOTWORK
From the last position of strike number ten, execute a
backhand thrust hitting your opponent’s right eye, and
in one continuous movement, drawback your right arm 12 BASIC STRIKES STRIKES WITH PARTNER
and place at the right side of your head with the stick
pointing at the back. STATIONARY POSITION WITH PARTNER

Strike #12 -12 Basic Strikes against 12 Basic Blocks

From the last position of strike number eleven, execute RIGHT FOOT FORWARD STANCE WITH
forehand strike hitting the crown of the head. In one PARTNER
continuous movement, draw your right arm back like WITH FOOTWORK
in an attention stance.
Prepare to perform courtesy

12 BASIC STRIKES
Sinawali
STATIONARY POSITION
 The term "Sinawali" refers to the activity of
1. Left Temple
'weaving’ and is applied to the art of
2. Right Temple
Philippine martial art Eskrima with reference
3. Left Shoulder
4. Right Shoulder to a set of two-person, two-weapon exercises.
5. Stomach Thrust  Provides Eskrima practitioners with basic skills
6. Left Chest Thrust and motions relevant to a mode of two-
7. Right Chest Thrust weapon blocking and response method called
8. Right Knee Doblete. Sinawali training is often introduced
9. Left Knee to novices in order to develop certain
10. Left Eye Thrust fundamental skills including body positioning
11. Right Eye Thrust and distance relative to an opponent, rotation
12. Head/Crown of the body and the proper turning radius,
recognition of one's center of gravity, eye-
hand coordination, target perception, and
RIGHT FOOT FORWARD STANCE recognition, increased ambidexterity,
WITH FOOTWORK recognition and performance of rhythmic
structures for upper body movement, and
12 BASIC BLOCKS muscular developments important to the art,
STATIONARY POSITION especially, the wrist and forearm regions

1. Left Temple Block Single Sinawali

2. Right Temple Block o Swing the cane to strike the opponent's
3. Left Shoulder Block
temple
4. Right Shoulder Block
o Withdraw the cane
5. Stomach Thrust Block
6. Left Chest Thrust Block o Swing it down to strike the opponent's knee
7. Right Chest Thrust Block o Withdraw the cane and place it above your
8. Right Knee Block shoulder
9. Left Knee Block
Advance Single Sinawali
10. Left Eye Thrust Block
11. Right Eye Thrust Block o Strike opponent's right temple with right cane
12. Rising Block / Umbrella Block
 o Withdraw right hand passing the left shoulder
to strike opponent's knee
o Withdraw right hand and position it above the
left shoulder to strike opponent's temple
Double Sinawali
o Begin with the right hand up and the left hand
tucked under the right shoulder
o Strike the opponent's temple with the right
hand
o As you retract the right hand to the left
shoulder strike the opponent's knee with the
left hand
o As you strike a backhand to the opponent's
temple with the right hand, retract the left
hand to the left shoulder
XSinawali
o Using the right cane, strike the opponent's
temple
o Withdraw it and place it below the left armpit
then strike the opponent's temple with the
left cane
o Withdraw it then place it above the right
shoulder then strike the opponent's knee with
the right cane
o Place the right cane above your right shoulder
then hit the opponent's knee with the left
cane then place it above the left shoulder
Advance Double Sinawali
o Position the left cane under the right armpit
and the right cane above the right shoulder
o Strike the opponent's temple with the right
cane and position it above the left shoulder
afterward.
o Strike the left cane downwards then position
it below the left armpit.
o Swing the right cane forward. Withdraw it and
place it above the left shoulder then swing the
left cane to strike the knee
o Withdraw the left cane and place it above the
left shoulder then swing the right cane to
strike the temple.
o This can also be done starting with the right
cane under the left armpit and using the left
cane to strike.
Reverse Sinawali
o Start with both canes above the right shoulder
o Swing the right cane to strike the knee.
Withdraw it and place it under the left armpit.
o Swing the left cane to strike the knee.
Withdraw the left
o Hand and position it above the left shoulder.
At the same time, swing the right cane to
strike the knee.
o Withdraw the right cane and position it above
the left shoulder. At the same time, swing the
left cane to strike the knee.
o Withdraw the left cane and place it under the
right armpit. at the same time, swing the right
cane to strike the knee
o Withdraw the right hand and position it above
the right shoulder. At the same time, swing
the left cane to strike the knee;
Redonda
o Start with the right cane over the right
shoulder and the other one under the right
armpit
o Swing the right cane diagonally forward and
position it above the left shoulder
o Swing the left cane diagonally forward then
position it above the left shoulder
o Swing the right cane downward then position
it below the left armpit
o Swing the left cane diagonally forward and
position it over the head afterward.
o Swing the right cane diagonally forward then
position it above the right shoulder. Position
the other hand under the right armpit.
Solo Baston
 Solo Baston is one of the three major fighting
systems of arnis. Under this system evolves a
various system of fighting using a long stick
weapon. Though the system is called solo
baston it is not limited to using only a stuck.
History points out that bladed weapons and
other daily implements like umbrellas and
walking sticks are good weapons.
Six Blockings
1. Outside blocking-performed by bringing the
cane forward supported by the left hand at
the middle of the cane
2. Inside block- performed as an outside block,
however, on the right side of the body
3. Downward inside block- performed by
positioning the hand holding the cane above
 the right shoulder then swinging the cane
downward to block the opponents’ attack
4. Downward outside block- performed by
positioning the cane behind the left ear and
then swinging it downward to block the
opponent's blow
5. Rising block-performed by raising the cane
over the head to block the opponent's blow
6. Vertical block- performed by raising the elbow
of the hand hiding the cane to shoulder level
while the other had been supporting it at the
middle.

Twelve Strikes

1. Right temple strike- forehand strikes to the

right temple
2. Left hand strike-backhand strike to the left
temple
3. Right shoulder strike-forehand strike to the
right shoulder
4. Left shoulder strike-backhand strike to the left
shoulder
5. Thrust to the stomach-straight-on stab/thrust
to the stomach
6. Right chest attack-overhand stab/thrust to the
right chest
7. Left chest attack-underhand stab/thrust to the
left chest
8. Left knee attack- backhand strike to the left
knee
9. Right knee attack- forehand strike to the right
knee
10. Right eye attack- overhand stab/thrust to the
right eye
11. Left eye attack- underhand stab/thrust to the
left eye
12. Crown Strike- straight down strike to the top
of the head