ARNIS Handouts 1

PATHFit 4- MARTIAL ARTS (ARNIS)
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AGUSAN DEL SUR STATE COLLEGE OF AGRICULTURE AND TECHNOLOGY
SAN TEODORO, BUNAWAN, AGUSAN DEL SUR
PHYSICAL ACTIVITY
TOWARDS HEALTH AND
FITNESS 4
N
NAME:__________________________________
COURSE & YEAR: __________________________
Course Code: PATHFit 4
INSTRUCTIONAL MATERIAL IN PATHFit 4 AGUSAN DEL SUR STATE COLLEGE OF AGRICULTURE AND TECHNOLOGY
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Descriptive Title: Martial Arts (Arnis)
Credit Units: 2
Hours/week: 2 hours/week
Course Description:
This course deals and focuses with the study of the Filipino martial art including its
practices and mechanics. Arnis is a martial art use as a means of self-defense especially to
the students. The course puts emphasis on the special instructions of its historical
background, physical conditioning, basic and fundamental skills which will be develop
through the course of the class. Arnis, as a Philippine national sport shall be included in the
conduct of physical activities in higher education setting. Thus, it will be included also in this
course the defensive and offensive techniques of Modern Arnis. Hence, throughout the
semester, students will engage more in hands-on training, including the proper handling of
the arnis stick, fundamental footwork patterns necessary to develop balance, and the art of
disarming the opponents. Emphasis will be placed on developing the fitness abilities like
coordination, speed, balance, agility and power to every strikes. class, appreciation on the
martial arts is expected to the students at the end of the semester.
General Objectives:
1. Acquire knowledge on the history, rules, mechanics, terminologies, etc. of the sport.
2. Understand the concepts behind the sport.
3. Demonstrate the fundamental and basic skills of the sport with art and passion.
4. Appreciate the values gained in sports participation and apply these values in
everyday life.
Grading System:
Attendance - 10%
Quiz - 20%
Written Exam - 30%
Practical Exam (Tournament) - 40%
100%
Major requirements:
Term Exam
Performance Tasks
Participation in class tournament
Class rules:
1. Attendance is a must.
2. PE Uniform (if applicable, should be utilized while attending the class) or any
sports attire as prescribed by the instructor is required.
3. Medical certificate is necessary in cases where a student cannot attend to the
class specially in tournament and practical exams.
4. Submit to the instructor the score cards of the individual score cards.
ASSCAT VISION, MISSION, GOALS, AND QUALITY POLICY
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Vision
The globally engaged Institution for sustainable agriculture and innovation.
Mission
To serve the humanity, the Institution shall:
 Provide quality and inclusive instruction;
 Undertake vibrant research and innovation;
 Pursue responsive community services for sustainable development; and
 Venture entrepreneurial opportunities for economic growth.
Goals
A. Develop and offer curricular programs that are relevant and relevant and responsive
to the peculiar needs and urgencies of the region;
B. Generate, develop and transfer appropriate technologies to address the needs of the
agro-industrial sector in the service area;
C. Develop disciplined, responsible and well-trained students to become effective
citizens in the community and ready to face the challenge in the highly competitive
world of works;
D. Have a pool of service and person-oriented professional workforce who are
educationally and technologically prepared well equipped to effect desired and
necessary changes to the service area and among the clientele;
E. Acquire state-of-the-art facilities and equipment to be attuned to the trend of the
changing times;
F. Build, construct, improve and upgrade appropriate physical facilities in harmony with
the ecosystem to attain harmonious co-existence of man and nature;
G. Adopt and institutionalized efficient, effective and judicious utilization of resources to
maximize, strengthen and sustain development and fiscal security and autonomy
and;
H. Expand networking and linkages locally, nationally and globally.
Quality Policy
Agusan del Sur State College of Agriculture and Technology’s vision to be a
premier agro-industrial Higher Education Institution in Caraga Region is fostered by the
following principles:
 sustaining quality education experience and community engagement;
 encouraging optimum resource management;
 developing an environment that is conducive for intellectual and personal growth;
and
 generating relevant knowledge through innovative thinking.
To continually improve our Quality Management System, we commit to comply
with all applicable requirements and provide service excellence in our four-fold functions.
I. ASSCAT CORE VALUES

1. Accountability
2. Responsiveness
3. Innovativeness
4. Selflessness
5. Excellence
II. INSTITUTIONAL GRADUATE ATTRIBUTES:
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ASSCAT Graduates need to have a SOARing qualities:

a. Sensitive to the environment,
b. Originative and critical thinkers,
c. Active and empowered lifelong learners
d. Reflective leaders and ethical professionals
INTRODUCTION
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“A Filipino who can master it will be….immensely

proud that he is a Filipino.”
—Remy A. Presas (1996)
Martial arts are codified systems and traditions 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 the
term “martial art” has become associated with the 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 the hands and feet, Arnis uses more both hands and feet, and a
cane or club. Body maneuverability, lightning 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
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.”
The following history of the Modern Arnis is based from the books and writings of
Remy A. Presas:
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 13 th century who were subjects of
either two of the ancient empires of Indonesia— Sri Vishayan and Madjapajit. During the
reign of the ten Datus in Panay, Kali was taught to children in a school called Bothoan as
part of their education.
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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 use of 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 their land— the Spanish,
Americans and Japanese. As testimony of the Muslims’ love for the 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 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, Pigafetta. As recorded on April 27, 1521, one of the
men of Lapu-lapu killed Magellan with a 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 (clothings 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 eversince as ESGRIMA or fencing—
the Filipinos were not used to certain Spanish sounds and used “K,” instead of “G” and
pronounced its 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 generals like Gregorio del Pilar and Antonio Luna were all known
to be practitioners. Revolutionary Rev. Fr. Gregorio Aglipay was known to have practiced
the art too, and the acceptance of Arnis became so widespread that in 1896 Jose de Azas
started a school for the study of Arnis and foil fencing.
How Kali became Arnis was an aftermath of an episode in Philippines 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
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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— a socio-religious play dramatizing the victory of Christian Spaniards over the Muslim
Moors 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 also 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 a perfected art after a long historical
development from the kali systems designed to train the student defend himself against
armed or unarmed attacks.
Among the Tagalog Provinces, Arnis is known as Estocada or Arnis de Mano, and
Estoque or Fraile in other regions; Ibanag’s is to the Pagkalikali; Kalirongan to
Pangasinense; Kinaadman to the Visayans (Eskrima or Garrote to the Cebuanos) and
Baston to the people of Panay and Negros Occidental; and Sinawali to the Pampangenos.
As a fighting art, Arnis has 3 Forms of Play. They are the (1) Espada y Daga (“sword
and dagger”) in which a long wooden sword and a short wooden dagger is used: (2) 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 (3) Sinawali, the intricate movements of the
two muton resemble the weave of a sawali (“criss-cross fashion”).
On the other hand like in the early times, Arnis today has 3 Traditional Training
Methods: They are the (1) Muestrasion or Pandalag which teaches the artistic execution of
the swinging movements and stroking for offense and defense in repetitive drills, (2)
Sangga at Patama or Sombra Tabak wherein striking, thrusting, and parrying in a
prearranged manner is taught, and (3) Larga Muton or Labanang Totohanan, in which two
trainees engage in a free practice trying to outmaneuver each other using all their skills.
Propagation of Modern Arnis
Based from the a long experience in the practice and teaching of the Art, Remy A.
Presas (Propagator and Father of Modern Arnis) modernized and modified many of the
antiquated techniques of the old Arnis to avoid injury to students. He introduced new
techniques which are easy to learn and gained enthusiasm among practitioners and proved
very effective in the field of self-defense and offense. And, what came out is the so-called
“Modern Arnis” today.
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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 a
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-treasurer
of the Philippine Amateur Athletic federation (PAAF), offered Modern Arnis as a regular
subject in 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 a 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.
Development of Sports Arnis
Today, Arnis is established as the Philippines' National Martial Art and Sport, after
President Gloria Macapagal-Arroyo signed the Republic Act. No. 9850 in 2009. The RA 9850
is expected to help propagate Arnis as a modern martial art/sport that can compete with its
popular foreign-originated brethren like Taekwondo, Karatedo and Judo. The Act also
mandates the Department of Education to include the sport as a Physical Education course
and for the Arnis to be included among the priority sports in Palarong Pambansa or the
National Games beginning 2010 (“History of Modern Arnis,” n.d.).
Lesson 2: VALUES/BENEFITS
The following are grounded from the special edition book of Soteco (2008) entitled
Filipino Martial Arts: A Practical Introduction to 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. In addition to this, the skill-
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 accomplishment in skillful physical activity.
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3. Improves Mental Qualities- alertness, daringness and precision are necessary,

since, many techniques call for quick thinking, and split-second timing.
4. Cultivates Desirable Character Traits- self-confidence, fortitude, and self-

discipline 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.”
Lesson 3: EQUIPMENT AND FACILITIES
1. Cane or Club/Arnis Stick
Is the standard equipment used in Arnis. However, the most common type of
cane is made of rattan, dried, rounded from the point and at 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.
Padded Sticks preferably for Sports Arnis, Kamagong Sticks, and Iron Wood
Sticks for Anyo or Form are the other types of Cane.
Fig. 2
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2. Other Equipment
Arnis can use assorted canes or bladed weapons with the length of an itak or bolo,
truncheon, swagger stick, dagger or knife or a long pole.
Fig. 3a Fig. 3b
3. White T-shirt (short sleeves), Red Loose Pants, and Shoes (rubber-soled and
dominantly white)
Fig. 4a Fig. 4b
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4. Sports Arnis Gears
Head Protector & Face Mask Hand Guards
Arm Guards Body Protector
Groin Protector Shin Guards
Fig. 5
5. Belts
The rank of an Arnis player is signified by a belt just like in other martial arts (see
Appendix A). Ranks in Arnis are earned only after long training. Arnis is an art so intricate
that before a player can earn a rank, he must undergo continuous and scientific training.
But the color scheme is different. The belts used are: white (Likas); brown rimmed
with blue (Likha); and black rimmed with red (Lakan & Dayang). Also, it is knotted at the
right side of the player instead of in front.
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6. Sports Arnis Competition Area
 Full Combat Event
The dimension of the playing area is a square measuring 8 X 8 meters with a

two (2) meters 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. All
lines of the playing surface are 5.08 cm. (2 inches) and must be of different color
from that of the floor and other lines previously drawn for other purposes.
Fig. 7a Fig. 7b
 Anyo Event
The dimension of the playing area is a square measuring 10 x 10 meters with

a 2-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. All lines of the
playing surface are 5.08 cm. (2 inches) and must be of a different color from that of
the floor and other lines previously drawn for other purposes.
Fig. 8
—Arnis Pederasyong International, Inc. [i-ARNIS] (2011)
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Lesson 4: ETHICS AND ETIQUETTE
1. Creed in Arnis
ARNISADOR Creed
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
—Radcliffe (2011)
2. Cardinal Rules and Principles
Arnis as an art has cardinal rules to be observed and followed, and 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
remembered 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 these 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 structure would be motivated by
righteous desire.
 Sincerity- sincerity for victory’s sake is not the 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 teacher 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
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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 the 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 student, loyalty to the art,
to a fellow player, and to his teacher. Ingratitude to one is ingratitude to the
other. A student should be 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 owed by him to his teacher. Personal
whims should never cause one to be ungrateful to where he owes everything he
knows. In the skirmishes of things, the student should be always loyal to him.
Lesson 8: 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.
Fig. 9
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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.
Fig. 10a Fig. 10b Fig. 10c
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 these 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.
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 Attention Stance- Stand with feet at 45 degrees angle, heels closed together,
hands at the side and relaxed.
Fig. 14
 Open-leg Stance- Stand with legs spread apart about shoulder width with toes
pointing slightly outward.
Fig. 15
 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.
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Fig. 16
 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 front 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.
Fig. 17
 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
forced outward as in straddle stance. Seventy percent of the weight of the body
should be supported by the rear leg with 30 percent by the front leg.
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Fig. 18
 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.
Fig. 19
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.
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Lesson 9: THE 12 STRIKING 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
Fig. 20
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AREA TYPES OF STRIKE USED REACTIONS
1. Left Temple Strike No. 1 Fatal. The least it will cause is internal
hemorrhage in the brain or skull fracture.
2. Right Temple Strike No. 2 Same as in No. 1
3. Left Shoulder Strike No. 3 Numbing pain, It may also cripple the
shoulder.
4. Right Strike No. 4 Same as No. 3
Shoulder
5. Stomach Strike No. 5 Crippling pain and could be fatal.
6. Left Chest Strike No. 6 Could be fatal.
7. Right Chest Strike No. 7 Could be fatal.
8. Right Knee Strike No. 8 Dislocation or fracture. May also cripple.
9. Left Knee Strike No. 9 Same as in No. 8.
10. Left Eye Strike No. 10 Serious damage to the eye.
11. Right Eye Strike No. 11 Same as in No. 10
12. Crown Strike No. 12 Fatal
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
Fig. 21a Fig. 21b
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 palm 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.
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 Striking Technique No. 2- Right Temple Attack
Fig. 22a Fig. 22b
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
Fig. 23a Fig. 23b

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.
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 Striking Technique No. 4- Right Shoulder Attack
Fig. 24a Fig. 24b
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
Fig. 25a Fig. 25b
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 the straddle leg stance position, at the same time,
thrust cane forward aimed at the stomach.
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 Striking Technique No. 6- Left Chest Attack
Fig. 26a Fig. 26b
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
Fig. 27a Fig. 27b
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 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
Fig. 28a Fig. 28b
Mechanics:
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
Fig. 29a Fig. 29b
Mechanics:
withdraw right hand to the right at shoulder level, swinging it backward, body facing 49
degrees to 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
Fig. 30a Fig. 30b
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
Fig. 31a Fig. 31b
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
Fig. 32a Fig. 32b
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.
Lesson 10: BLOCKING TECHNIQUES
It is said that the capacity of a defender to endure an attacker’s strike depends much
on his ability to parry or block deadly blows effectively and to counterstrike with equal
efficacy.
To be able 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
Fig. 33
Mechanics:
Initial Position: Open-leg stance, knees bent in fighting 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
Fig. 34
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
Fig. 35
Mechanics:
In a right (or left) forward stance, bring cane from left downward to the right to
block attacker’s blow.
4. Downward-Outward Block
Fig. 36
Mechanics:
_____________________________________________________________________________
In a right (or left) forward stance, bring cane from right downward to the left to
block attacker’s blow.
5. Vertical Block
Fig. 37
Mechanics:
In a right (or left) forward stance, raise right elbow to shoulder level and twist wrist
outward to the left so that cane is vertical with tip pointing downward. Always brace the
cane with open palm of left hand at the middle section.
6. Rising Block
Fig. 38
Mechanics:
_____________________________________________________________________________
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.
1. SINAWALI
It is a form of Arnis done by two players holding a cane in each hand. This play is
characterized by the criss crossing movement 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.
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.
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.
 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.
2. ANYO
In Modern Arnis, Anyo is the application of all styles learned throughout one's
training, and is performed with a specific weapon (i.e. cane, dagger, hands) to show the
flow of that form. Anyo requires certain proficiency of beat, tempo, timing, agility, and most
of all, diwang panlaban (fighting spirit).
Arnis Anyo (form) is a demonstration of artistic, choreographed, pre-arranged sets of

movement, offensive and defensive techniques using stick, wooden replica of a bladed
weapon or metallic unbladed replica of a weapon. It is the result of one’s creativity which
utilizes the different skills learned in Arnis. Anyo can be an expression of one’s feelings and
emotions, like just as dance or other art forms. Students are encouraged to create their own
version of anyo as form of practice and an outlet of their creativity.
In this class, students will be introduced with the standard Anyo 1-3, then they will
be creating their own Anyo routine which will be presented in the class.

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PATHFit 4- MARTIAL ARTS (ARNIS)

AGUSAN DEL SUR STATE COLLEGE OF AGRICULTURE AND TECHNOLOGY

SAN TEODORO, BUNAWAN, AGUSAN DEL SUR

COURSE & YEAR: __________________________

Course Code: PATHFit 4

Descriptive Title: Martial Arts (Arnis)

ASSCAT VISION, MISSION, GOALS, AND QUALITY POLICY

I. ASSCAT CORE VALUES

II. INSTITUTIONAL GRADUATE ATTRIBUTES:

ASSCAT Graduates need to have a SOARing qualities:

“A Filipino who can master it will be….immensely

Lesson 1: HISTORY AND DEVELOPMENT

Propagation of Modern Arnis

Development of Sports Arnis

1. Contributes to the Physical Fitness Development- the execution of the various

2. Develops Special Abilities- emphasis is placed on quickness and coordination, and

3. Improves Mental Qualities- alertness, daringness and precision are necessary,

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

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

Lesson 3: EQUIPMENT AND FACILITIES

1. Cane or Club/Arnis Stick

4. Sports Arnis Gears

Head Protector & Face Mask Hand Guards

Arm Guards Body Protector

Groin Protector Shin Guards

6. Sports Arnis Competition Area

 Full Combat Event

The dimension of the playing area is a square measuring 8 X 8 meters with a

The dimension of the playing area is a square measuring 10 x 10 meters with

—Arnis Pederasyong International, Inc. [i-ARNIS] (2011)

Lesson 4: ETHICS AND ETIQUETTE

Arnis is a tie that binds us

2. Cardinal Rules and Principles

 Character- a student must be taught the moral (and religious) values of

 Discipline- Arnis is a molder of discipline. It is the responsibility of the teacher of

of success. Personal discipline is important, and a student should learn to control

Lesson 8: FUNDAMENTAL SKILLS

Courtesy in Arnis can also be executed with two canes.

Fig. 10a Fig. 10b Fig. 10c

 Oblique Forward Stance- This is executed by stepping either foot obliquely

Lesson 9: THE 12 STRIKING TECHNIQUES

1. The 12 Vital Striking Points of the Body

2. The Striking Techniques

 Striking Technique No. 1- Left Temple Attack

Fig. 21a Fig. 21b

Common Errors and Corrections:

 Striking Technique No. 2- Right Temple Attack

Fig. 22a Fig. 22b

 Striking Technique No. 3- Left Shoulder Attack

Fig. 23a Fig. 23b

 Striking Technique No. 4- Right Shoulder Attack

Fig. 24a Fig. 24b

 Striking Technique No. 5- Thrust to the Stomach

Fig. 25a Fig. 25b

 Striking Technique No. 6- Left Chest Attack

Fig. 26a Fig. 26b

 Striking Technique No. 7- Right Chest Attack

Fig. 27a Fig. 27b

 Striking Technique No. 8- Right Knee Attack

Fig. 28a Fig. 28b

 Striking Technique No. 9- Left Knee Attack

Fig. 29a Fig. 29b

 Striking Technique No. 10- Left Eye Attack