Path3 Arnis Module

Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY

Bambang, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.:IM-PATHF3-1STSEM-2023-2024
College of Teacher Education

Bambang Campus
DEGREE PROGRAM All Programs COURSE NO. PATH F3

SPECIALIZATION All Specializations COURSE TITLE Physical Activities Towards Health and
Fitness
YEAR LEVEL 2nd Year TIME FRAME 12 hrs WK NO. 1-6 IM NO. 1
I. UNIT TITLE/CHAPTER TITLE: ARNIS
II. LESSON TITLE: Arnis Beginning and Development, Essential Principles in Arnis, Equipment used in
Arnis, Basic skills and Techniques in Arnis
III. LESSON OVERVIEW: This lesson that deals with basic principles, skills as well as the beginning and
development of Arnis The lesson will concentrate on the students as they understand the basic
mechanics dealing with balance, forces, motion and techniques. The lesson responds to the diverse
needs of all learners by preparing them to creatively adjust to combative situations that may happen to
each of them. Active involvement in this lesson aims to promote improve students’ knowledge about
Filipino Martial Arts while having it as a source of enjoyment.
IV. DESIRED LEARNING OUTCOMES:

The students should be able to:
1. know and understand important persons and landmarks in the history of Arnis;
2. perform blocks, strikes and counter techniques satisfactorily;
3. carry out correct performance in the application of self-defense techniques and
4. demonstrate courage and determination in the performance of strikes, blocks and counter-strikes
class exhibition.
V. LESSON CONTENT
ARNIS BEGINNING AND DEVELOPMENT
Arnis, as a martial art, was spawned in Philippine soil. It was known in ancient Philippines as kali, an ancient
Malayan word which implies a large bladed weapon longer than a knife.
This art was practiced primarily for self-defense by the pre-Spanish Filipinos who were noted for their friendly
nature and legendary hospitality.
Kali must have been derived from tjakalele which is a native fencing in Indonesia. This linguistic kinship is not
without basis considering that what is now Indonesia was once, in ancient times, a part of the Sri Vishayan and
Madjapajit empires whose spheres of influence reached the Philippines. Scanty records show that it is possible
that the ten Bornean datus who landed in the island of Panay in the 13th century were subjects of either of these
two ancient empires. History is quite definite, however. that during the reign of the ten datus in Panay, kali was
taught to children in a school called bothoan as part of their education.
The art of hand-to-hand combat has always been an integral part of the Filipino in his long, turbulent, and
bloody history. By force of necessity and self-preservation he became an expert in fighting with his hands, either
NVSU-FR-ICD-05-00 (081220) Page 1 of 14
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bare or with a stick and a bladed weapon. Even before the introduction of the bladed weapon, the early Filipinos
were already a fighting people using the bow and arrow or the long bow. The primitive Negritos, coming from
Central Asia during pre-historic times, were experts in these weapons.
However, about 200 B.C., the Malays migrated to the Philippines and brought with them the long knife. Their
coming enriched the Filipino arsenal in the fighting arts. Besides their sticks and bows and arrows, the early
Filipinos were now also experts in the use of bladed weapons and daggers.
This is especially true of the Muslims in Mindanao and Sulu who have a special inclination for these weapons.
Their skill in hand-to-hand combat with a bladed weapon had been proven in their untarnished history of
successes in repelling foreign invaders in their land. The numerous attempts of the Spaniards, the Americans
and the Japanese to conquer the Muslims and to colonize Mindanao always failed.
As testimony of the Muslims love for the

bladed weapon is their variety of the
styles the types of knives which include
the kris, bolo, kali and laring. barong.
gunong, kampilan, gayang. pim punal,
itak, banjal, bangkcon, lahot, and the
panabas.
Even today, one can find the most artistic

knives in Mindanao and Sulu in different
sizes and styles. The freedom-loving
Muslims of Mindanao and Sulu are
credited with the experimentation
systematization, and martial use of the
bladed weapon.
Inter-regional contact and influence

brought about by trade and travel linked
the Muslim fight. ing art with the bladed Source: https://www.pinterest.ph/pin/254523816416965517/
weapon in the South with the kalis, the forerunner of Arnis of the Tagalogs in the north. Kalis, a term which was
shortened to Kali for convenience, is also a fighting art which uses a long-bladed weapon or knife, stick or cane
and dagger.
Arnis de mano is the best known and the most systematic fighting art in the Philippines. It is a perfected art after
a long historical development from the kali systems designed to train the student to defend himself against armed
or unarmed attacks. Arnis, as it is commonly called, has been also known in other dialects as estocada among
theTagalog provinces and estoque or fraile in other regions.
As a fighting art, Arnis has three forms of play. They are the espada y daga ("sword
and dagger") in which a long wooden sword and a short wooden dagger is used; the solo
baston (single stick) in which a single long muton or baston (wooden stick or rattan cane
hardened by drying or heating) is used; and the , a native term applied because the
intricate movements of the two muton resemble the weave of a sawali (criss cross
fashion), the bamboo Splits weave patten used in walling and
Source:https://www.goodreads.com/book/show/4
matting. 3164614-espada-y-daga
Arnis is a close-combat affair, thus skill in parrying and striking

must be developed with utmost dexterity. The expert use of the leg
and the leg-hip fulcrum maneuver to outbalance and throw an
opponent must be perfected. Unlike other martial arts which make
use of complex body maneuvers, Arnis as it was then and as it is
now in its modem form, puts emphasis on the use of the stick and Source:https://guerreroarnis.com/resources/we
apon-sets/espada-y-daga Source:https://www.kungfuarnis.com/modern-
the hand-arm movements. arnis-1
Like in the early times, Armis today has three traditional training methods: They are (1) the muestrasion or
pandalag which teaches the artistic execution of the
swinging movements and stroking for offense and
defense in repetitive drills, (2) the sangga at patama
or sombra tabak wherein striking, thrusting, and
parying in a prearranged manner is taught, and (3) the
Source: https://www.manilatimes.net/2013/10/19/sports/sinawali-arnis-way-of-double-cane-fighting/46107/
larga muton or labanang totohanan, in which two trainees engage in a free practice trying to outmaneuver
each other using all their skills. This is the ultimate phase of Arnis training.
Arnis, therefore, is the Tagalog orthographic translation of the Spanish arnes. However, some regions in the
Philippines still retain the word kali in their vocabulary for this art. Thus, we have pagkali-kali to the Ibanags.,
kalirongan to Pangasinense, kaliradman to the Visayans (escrima or garote to the Cebuanos) and baston to the
people of Panay and Negros Occidental, and sinawali to the Pampangeṅos.
Arnis today has experienced changes in the weapons used. Although the art still makes use of the itak or bolo
now and then, it has relied considerably on the use of the cane as a self-defense weapon. This is not because
the cane is less deadly than bladed weapons but mainly because in the later years, Arnis is engaged in more as
a sport. However, even in sporty competition in Arnis, a long bladed weapon is sometimes used. This might as
well be, because concentration of the use of a cane in the game of Arnis is relevant to the aims and programs
of the New Society which abhor the use of guns and bladed weapons to keep peace and order in the country.
This concentration will even benefit police agencies because the pre- sent world-wide trend in police policies
tends to discourage the use of guns and sidearms. The truncheon, a hard piece of wood much bigger in diameter
but shorter than the cane, has replaced all these.
Much of the antiquated techniques of the old Arnis has been modernized to avoid injury to students. But more
important, discipline and other moral values are impressed upon the students to strengthen not only the body
but the spirit as well
Modern Arnis was founded by the late Remy Presas as a self-defense system. His goal was to create an injury-
free training method as well as an effective self-defense system in order to preserve the older Arnis systems.
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 called his system Kombatan. It is derived principally from the
traditional Presas family style of the Bolo(Machete) and the stick-dueling art of Balintawak Eskrima, with
influences from other Filipino and Japanese martial arts.
Arnis is a Philippines’ national martial art or sport, After President Gloria Macapagal-Arroyo signed the
Republic Act. No. 9850 in 2009. The act mandates the Department of Education to include the sport as a
Physical Education course. Arnis will be included among the priority sports in Palarong Pambansa (National
Games) beginning 2010.
FOUNDERS’ PROFILE
Name: Remgio “Remy” Amador Presas

Born: December 19 , 1936 | Hinigaran , Negros Occidental
Died: August 28 , 2001 (brain cancer) | Victoria , Canada
Occupation: Teacher and Martial artist
Known for: founding Modern Arnis and he is brother of Ernesto
Source:http://aikidoarnisoffarmville.blogspot.com/2009/10/grandmaster-remy-presas.html
ESSENTIAL PRINCIPLES
The true power of Arnis does not end with its techniques. Although, basically, 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. Consequently, the usefulness of Arnis itself will be in vain if these principles are not
observed. It is essential therefore that the learner should know these principles by heart and commit the
techniques to memory.These principles are classified into two: the physical and the psychological.
THE PHYSICAL PRINCIPLE:
The learner must always bear in mind speed - speed in delivering the strokes, speed with the hand, speed with
the feet, and even with the eyes in spotting the weak points of the opponent. This speed develops in the player's
agility which is one of the fine qualities of a good Arnis player. 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 learn to relax his wrist after each stroke. A player should not allow distance
to separate him from his opponent as distance makes him vulnerable.
THE PSYCHOLOGICAL PRINCIPLE:
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 efforts would be
inefficacious. The presence of an opening will have no meaning at all if the player does not have the will to seize
the opportunity and exploit it to his advantage. Indecision in any given situation during combat in Arnis usually
ends in defeat for the player.
Arnis students must also remember the other principles in arnis and these are the following: Character, sincerity,
discipline, self-control, etiquette and student’s loyalty to his tutor.
EQUIPMENTS USED IN ARNIS
The primary weapon is the rattan stick, called a cane, club or baston (baton), which varies in size, but is usually
about 28 inches (71cm) to 30 inches in length and about three-quarter to one inch in a diameter used
2 kinds of stick:
1. Padded sticks 2. Live sticks
Source: http://www.arnismartialarts.com/products/padded-sticks/
Source:https://modernizedmartialarts.wordpress.com/2008/11/02/arnis-padded-sticks-and-rattan-live-sticks/
Other equipment that can be used in Arnis may be a bladed weapon (replica)
with the length of itak or bolo, dagger or knife or a long
pole.
Gears for combative/labanan events is also used.
BASIC SKILLS AND TECHNIQUES IN ARNIS
THE GRIP
Source: https://www.facebook.com/stix.arnis/photos/arnis-pride-means-not-turning-back-from-any-opponent-be-ready-for-battle-with-th/1239463279484474/
The grip is the soul of all fighting techniques in arnis. It is the correct grip that packs power to and control the
cane.
Hold the cane one fist away (2 ½ inches) from the punyo (butt).
Tighten your four fingers around it with your thumb pressed against your forefingers. The hold must be firm when
striking.
• In the book of Remy Presas it is suggested to hold the cane 1 inch away from the punyo
COURTESY/ PUGAY- Courtesy means respect for one’s opponent

How to execute pugay:
a. HANDA – feet are positioned shoulder with apart and sticks are held in
the front of the body.
b. PUGAY – place the weapon across the chest and nod your head.
Source: https://www.loopme.ph/live-post/xCgPLgF7UL9dW5Ek
STANCES
1. Attention Stance
Stand with your feet forming a 45-degree angle.

Heels should be close to each other, knees should be straight, the waist and body
facing forward.
Shoulders are dropped to the side and both hands are at waist level.
The Attention Stance is commonly used in preparation for courtesy or “bowing” at
commencement of sparring.
2. Forward Stance
Starting with the ready stance, move one foot forward until the knee and the toe are in
line to each other.
Both toes are pointing in front, the waist and the body is facing forward.
The body should not be too low or the lead foot too extended otherwise it will be hard to
maneuver.
Distribute the weight or center of gravity to both legs.
Forward stances can be right foot lead, which is the Right Foot Forward Stance or it can
be left foot lead which is Left Foot Forward Stance.
Forward Stance are commonly used with frontal striking or blocking techniques.
3. Oblique Stance
Starting with the ready stance, move one foot forward 45 degrees away
from the body until the knee and the toe are in line to each other.
Move on the same direction as the lead foot (e.g. for right foot lead, move
45 degrees forward to the right).
The body should not be too low or the lead foot too extended otherwise it
will be hard to maneuver.
Oblique stances can be right foot lead, which is the Right Foot Oblique
Stance or it can be left foot lead which is Left Foot Oblique Stance.
Oblique Stances are commonly used for forward blocking and evasion
techniques.
4. Straddle Stance
Starting with the ready stance, move one foot about two feet (2’) to the
left or the right direction until both lower legs are almost perpendicular to
the ground.
The body should not be too low or extended otherwise it will be hard to
maneuver.
Distribute the weight or center of gravity to both legs. Straddle stance are
also called Horseback Riding Stance since it mimics position when riding
on a horse back.
Straddle stances are commonly used for blocking the strikes to the side
of the body.
5. Side Stance
Starting with the ready stance, move one foot about two feet (2’) to the left or
right direction.
Moving foot will be perpendicular to the ground while the other leg is
extended thereby creating a position like that of a side kick.
maneuver.
Distribute the weight or center of gravity to both legs. If the left foot moves to
the side it becomes Left Foot Side Stance, if the right foot moves to the side
it becomes Right Foot Side Stance.
Side Stances are commonly used for strike deflection and evasion
techniques.
6. Back Stance
Starting with the ready stance, move one foot backward 45 degrees away
from the body.
The heels of the foot should form an imaginary “L” shape while the legs are
in a straddle position.
maneuver.
Back stances can be right foot lead, which is the Right Foot Back Stance or it
can be left foot lead which is Left Foot Back Stance.
Back stances are used for blocking and backward evasion techniques
Source: https://guerreroarnis.com/resources/arnis-kali-eskrima-articles/kinds-of-stances-filipino-martial-art-way
BODY SHIFTING AND POSTURE

In Arnis, body shifting is very important. An Arnis player should be shifty in positioning his body at advantage
point so that he can strike with utmost power. Proper body positioning will also enable him to be outside the
effective range of an opponent’s blow or strike. body shifting consists of stepping, sliding turning or
combinations of these movements.
Moreover, posture is indeed important for the effective delivery of strikes. In executing all these posture, the
head should always face the opponent observing all his body movement. In executing the movements, the free
hand should always be on guard, held high at the chest level for defensive purposes. Lower body should
maintain its balance and execute bends if needed.
12 STRIKING TECHNIQUES
https://www.youtube.com/watch?v=M3T3tWXWesQ
ST1 – Left Temple Attack

✓ Fighting Stance (Right forward foot)
✓ Stick held at one o-clock.
ST2 – Right Temple Attack

✓ Fighting Stance (Left forward foot)
✓ Stick held at eleven o-clock.
ST3 – Left Shoulder Attack

✓ Extend weapon hand
✓ Strike any part between the shoulder and elbow.
✓
ST4 – Right Shoulder Attack

✓ Strike any part between the shoulder and elbow.
ST5 – Thrust to the Stomach

✓ Thrust weapon hand towards the target point (stomach)
✓ Follow-through with upward movement
ST6 – Left Chest Attack

✓ Extend weapon hand forward, palm facing outward.
✓ Keep elbow up.
ST7 – Right Chest Attack

✓ Extend weapon hand forward, palm facing in ward.
✓ Keep elbow up.
✓ Scooping action.
ST8 – Right Knee Attack

✓ Extend weapon hand to hit the knee.
✓ Palm downward.
ST9 – Left Knee Attack

✓ Extend weapon hand to hit the knee.
✓ Palm Upward.
ST10 – Left Eye Attack

✓ Extend weapon hand forward, palm facing outward.
✓ Elbow down.
ST11 – Right Eye Attack

✓ Extend weapon hand forward, palm facing inward.
✓ Elbow down.
ST12 – Crown Attack

✓ Hack against the top of the head.
Source: https://martialartskills.com/12-striking-techniques-in-arnis/
BLOCKING TECHNIQUES
https://www.youtube.com/watch?v=rsEbjSDtbok
BT1 – Inward Block

✓ Place free hand on the stick.
✓ From forward stance, shift body obliquely
BT2 – Outward Block

✓ Free hand rotates the stick downward.
✓ Shift body obliquely on the opposite side.
BT3 – Rising/Overhead Block

✓ Push the stick upward, over the head.
BT5 – Downward Inward Block

✓ From fighting stance, shift to back stance.
✓ Lower the body
✓
BT6 – Downward Outward Block

✓ From fighting stance, shift to back stance
✓ Lower the body
✓ Extend weapon hand, palm down
Source: https://martialartskills.com/blocking-techniques-in-arnis/
SINAWALI
The Sinawali is a form of Arnis done by 2 players holding a baston in each hand. This play is characterized by
the criss crossing movement of the baston
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 technique, the
sinawali is a good exercise in the mastery of Arnis play. There are 2 types of Sinawali, the single and the double.
SINGLE SINAWALI
https://www.youtube.com/watch?v=CkgUmXbfxgs
Initial movements:
a. Stand at attention, both hand holding two
canes.
b. Do the courtesy bow.
c. Go to open-leg stance. right hand over left and
canes pointing backward.
Count 1. Execute the right forward stance and strike

at the left temple of the opponent with your right hand. Source: http://central.com.ph/bookstoreplus/products/AAB527/
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 back ward to the left side, cane pointing backward.
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.
Count 4. Swing left hand to the right and down ward, 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. 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.
Note: Do continuous practice and repetition. In the application of single sinawali as shown in these different
figures, each partner-player should execute the same movements and Counter-movements.
VI. LEARNING ACTIVITIES
Let’s do it! STRIKE STRONG ACTIVITY 1
Perform striking and blocking technique in the class
spontaneous performance of the 12 striking and blocking technique (with foot work)
Please observe proper execution and stance.
Start and end your performance with a pugay.
The rubrics below will be utilized for the said activity
Let’s do this! SINAWALI CHALLEGE ACTIVITY 2 3
Perform the Single Sinawali: Spontaneous performance moving forward every set. Each set will
be repeated 2 times. (strike count 1-2-3-4 is 1 set)
Execute pugay before and after the performance
Please see Rubrics below.
Excellent (10) Proficient (8) Adequate(6) Limited(4) Points
Accuracy All strikes landed on the Almost all strikes landed Some strikes landed on Most of the strikes and
correct target areas. on the correct target the correct target areas. blocks did not land on
areas. the correct target area
Body Form Body posture, proper Body posture, proper Body posture, proper Body posture, proper
stance and body shifting stance and body shifting stance and body shifting stance and body shifting
were maintained all were maintained almost were maintained in were not maintained in
throughout the the whole duration some parts of the whole duration of the
demonstration demonstration demonstration demonstration
Flow Shows complete Accurate speed of the Shows a basic Attempts to keep a
understanding of flow flow understanding of flow, rhythm, but gets off /
and can displays falls behind or displays display slow pace during
exemplar speed in the inconsistent speed in the the performance.
flow flow
Performance Displays great energy Displays good energy Displayed energy and Displayed energy and
and effort and and effort and effort and enthusiasm in effort and enthusiasm in
enthusiasm in the enthusiasm in the the performance is not the performance is
performance. All in all performance. All in all enough. All in all lousy. All in all
performance is excellent. performance is good. performance is fair. performance needs
improvement.
TOTAL SCORE
VII. ASSIGNMENT
Practice new skills introduced by the teacher and be ready for your performance tasks
VIII. EVALUATION
Quiz will be administered online through LMS.
IX. REFERENCES
a. Book
1. Remy A. Presas, (2005) Modern Arnis: Philippine Style of Stick Fighting, National Book Store,
Mandaluyong City, Philippines.
b. E-sources
1. Bot Jocano, (1997). Arnis: A Question of Origins. Retrieved August 2020 from
http://www.martialartsresource.com/filipino/arnis.html
2. Guerrero Arnis de Mano, (2016). Kinds of Stances - Filipino Martial Art Way. Retrieved August
2020 from https://guerreroarnis.com/resources/arnis-kali-eskrima-articles/kinds-of-stances-
filipino-martial-art-way

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Republic of the Philippines

NUEVA VIZCAYA STATE UNIVERSITY

College of Teacher Education

DEGREE PROGRAM All Programs COURSE NO. PATH F3

I. UNIT TITLE/CHAPTER TITLE: ARNIS

IV. DESIRED LEARNING OUTCOMES:

ARNIS BEGINNING AND DEVELOPMENT

NVSU-FR-ICD-05-00 (081220) Page 1 of 14

As testimony of the Muslims love for the

Even today, one can find the most artistic

Inter-regional contact and influence

NVSU-FR-ICD-05-00 (081220) Page 2 of 14

Arnis is a close-combat affair, thus skill in parrying and striking

NVSU-FR-ICD-05-00 (081220) Page 3 of 14

Name: Remgio “Remy” Amador Presas

THE PHYSICAL PRINCIPLE:

THE PSYCHOLOGICAL PRINCIPLE:

NVSU-FR-ICD-05-00 (081220) Page 4 of 14

EQUIPMENTS USED IN ARNIS

1. Padded sticks 2. Live sticks

Gears for combative/labanan events is also used.

BASIC SKILLS AND TECHNIQUES IN ARNIS

COURTESY/ PUGAY- Courtesy means respect for one’s opponent

NVSU-FR-ICD-05-00 (081220) Page 5 of 14

Stand with your feet forming a 45-degree angle.

NVSU-FR-ICD-05-00 (081220) Page 6 of 14

BODY SHIFTING AND POSTURE

NVSU-FR-ICD-05-00 (081220) Page 7 of 14

ST1 – Left Temple Attack

ST2 – Right Temple Attack

ST3 – Left Shoulder Attack

ST4 – Right Shoulder Attack

ST5 – Thrust to the Stomach

ST6 – Left Chest Attack

NVSU-FR-ICD-05-00 (081220) Page 8 of 14

ST7 – Right Chest Attack

ST8 – Right Knee Attack

ST9 – Left Knee Attack

ST10 – Left Eye Attack

ST11 – Right Eye Attack

ST12 – Crown Attack

NVSU-FR-ICD-05-00 (081220) Page 9 of 14

BT1 – Inward Block

BT2 – Outward Block

BT3 – Rising/Overhead Block

BT5 – Downward Inward Block

BT6 – Downward Outward Block

NVSU-FR-ICD-05-00 (081220) Page 10 of 14

Count 1. Execute the right forward stance and strike

NVSU-FR-ICD-05-00 (081220) Page 11 of 14

VI. LEARNING ACTIVITIES

Let’s do it! STRIKE STRONG ACTIVITY 1

Perform striking and blocking technique in the class

Please observe proper execution and stance.

Start and end your performance with a pugay.

The rubrics below will be utilized for the said activity

NVSU-FR-ICD-05-00 (081220) Page 12 of 14

Let’s do this! SINAWALI CHALLEGE ACTIVITY 2 3

Execute pugay before and after the performance

Please see Rubrics below.

Excellent (10) Proficient (8) Adequate(6) Limited(4) Points

NVSU-FR-ICD-05-00 (081220) Page 13 of 14

Quiz will be administered online through LMS.