DIVISION COACHING TRAINING

ARNIS
LARONG PINOY
 OUTLINE OF THE TRAINING
I. ARNIS HISTORY
II.ROLES OF COACH
III.HOW ATHLETES LEARN
IV.PRACTICAL TRAINING
I. ARNIS HISTORY
 RA 9850
AN ACT DECLARING ARNIS AS THE
PHILIPPINE NATIONAL MARTIAL ART
AND NATIONAL SPORT
 HISTORY OF ARNIS
• ARNIS IS THE FILIPINO INDIGENOUS MARTIAL ART OF STICK
FIGHTING. IT ALSO KNOWN THROUGHOUT THE WORLD AS
ESKRIMA, KALI, GARROTE AND VARIOUS OTHER INDIGENOUS
NAMES LIKE;
PANANANDATA – TAGALOG KALIRADMAN - BISAYA
PAKALIKALI – IBANAG DIDYA - ILOKANO
KALINGORAN – PANGASINAN
Magellan

Pigafetta
• IT IS SAID THAT THIS FIGHTING METHOD IS THE ONE USED BY LAPU-
LAPU WHEN HE VANQUISHED MAGELLAN IN THE FAMOUS BATTLE OF
MACTAN.
• ACCORDING TO PIGAFETTA THE NATIVES USED BLADED WEAPONS AND
“STICKS HARDENED BY FIRE”.
• IN 1564, AFTER 43 YEARS SINCE MAGELLAN TOUCHED OUR SOIL, DON
MIGUEL DE LEGASPI WITH HIS 380 STRONG ARMY WERE SURPRISED TO
SEE THE NATIVES PERFORMING THEIR INDIGENOUS FIGHTING STYLES.
• IN ABUYOG, LEYTE, IN THE MIDDLE OF FEBRUARY 1564, THEY WERE
WELCOMED IN A FEAST BY THE LOCAL CHIEFTAIN MALITIK AND PARTS
OF THE FESTIVITIES WERE EXHIBITS OF THE NATIVE MARTIAL ART.
• DURING THE SPANISH ERA, THE PRACTICE OF THIS MARTIAL ART WAS
OUTLAWED BY THE SPANIARDS. “MORO – MORO” PLAYS WERE
ENCOURED.
• EVEN OUR VERY OWN NATIONAL HERO, DR. JOSE P. RIZAL, STUDIED
ARNIS.
• THE LIKES OF MARCELO H. DEL PILAR, JUAN AN ANTONIO LUNA AND THE
OTHER MEMBERS OF LA SOLIDARIDAD STUDIED ARNIS ASIDE FROM
FENCING AT ATENEO DE MUNICIPAL UNDER DON JUAN DE AZES
(OPERATED A CLUB OF SPANISH FENCING AND FILIPINO ESKRIMA CALLED
TANGHALAN NG SANDATA)
• POINT OF CLARIFICATION, ARNIS IS NOT A STICK, IT IS THE INDIGENOUS
FILIPINO SYSTEM OF FIGHTING WITH OR WITHOUT USING WEAPONS. –
SUCCESSES IN THE REVOLUTION

• THE SAME MARTIAL ART WAS EVEN USED IN THE MOST RECENT WWII.
GUERILLA FORCES USED THE BOLOS IN ATTACKING THE JAPANESE IMPERIAL
ARMY IN RAIDS AND AMBUSHES. IT WAS ALSO WELL DOCUMENTED THAT
FILIPINO COMMANDOS OF THE USAFFE BASED ABROAD TRAINED AND USED
ARNIS IN PREPARATION FOR LIBERATION OF MANILA. THE BOLO BATTALION
WAS PART OF THE USAFFE.
 DEFINITELY, IT IS FELT THAT ARNIS, MORE THAN ANY
OTHER SPORT OR MARTIAL ART, DESERVES TO BE THE NATIONAL
MARTIAL ART AND NATIONAL SPORTS OF THE PHILIPPINES
BECAUSE OF THE LEGACY IT HAS GIVEN AND HAS
CONTRIBUTED IN THE BUILDING AND DEVELOPMENT OF THE
NATION. SINCE TIME IMMEMORIAL, IT IS THROUGH ARNIS THAT
THE BRAVERY OF OUR FOREFATHERS STOOD OUT IN THE
DEFENSE OF THE MOTHERLAND.
 II. CODE OF CONDUCT DURING TRAINING
1. UPON SEEING THE TEACHER OR SENIORS, THE JUNIOR STUDENT NOD/BOW TO
THEM. IN RESPONSE, THE SENIORS NOD IN RETURN.
2. CLASSES START AND END WITH THE NOD (PUGAY).
3. STUDENTS SHOULD OBEY AND SHOW COURTESY TO THE TEACHER AND
SENIORS. INSTRUCTIONS FROM THE TEACHER SHOULD FOLLOWED AND
CARRIED OUT.
4. WHEN ENTERING OR LEAVING THE TRAINING AREA, STAND IN THE DOORWAY
OR OPENING FACING THE FRONT AND NOD.
5. IF THE PHILIPPINE FLAG IS PRESENT, NOD TO SHOW RESPECT TO THE COUNTRY.
6. PUNCTUALITY IS IMPORTANT.
7. SPARRING SHOULD BE DONE IN THE PRESENCE OF THE TEACHER OR QUALIFIED
SENIORS TO AVOID ACCIDENTS. STUDENTS ARE NOT ALLOWED TO SPAR WITHOUT
GUIDANCE.
8. STUDENTS SHOULD TREAT THE STICKS AND OTHER IMPLEMENTS AND EQUIPMENT
WITH CARE AND RESPECT. AFTER ALL, THE STICK IS THE PRIMARY SYMBOL OF STICK
FIGHTING STYLE.
9. IT IS EVERYONE’S RESPONSIBILITY TO KEEP THE TRAINING HALL/GYM CLEAN AND
SAFE AT ALL TIMES.
10. VIOLATIONS OF ANY OF THESE RULES AND REGULATIONS WOULD RESULT TO
APPROPRIATE SANCTIONS RANGING FROM PHYSICAL FORMS OF PUNISHMENT.
II. ROLES OF A COACH
•COACH:
• C - COMPREHENSION (KNOWLEDGE OF THE RULES OF THE GAME)
• O - OUTLOOK (STRATEGY, ANALYSIS OF THE GAME, PLANS)
• A - AFFECTION (UNDERSTAND THE PLAYERS, SHOWS LOVE AND
CARE INCLUDING DISCIPLINE OF PLAYERS)
• C - CHARACTER (PERSONALITY, EARNS THE RESPECT OF PLAYERS)
• H - HUMOR (AFTER SACRIFICE DURING TRAINING GIVES
OPPORTUNITY TO PLAYERS TO LAUGH AND ENJOY, ETC.)
 THE WORD “ COACH” HAVE MULTIPLICITY OF DIVERGENT MEANING ASSOCIATED WITH IT. THE
WORD MAY BE DEFINED IN SIMPLE FORM AS A HELPER – TO A SPECIALIZED USE WHICH RESTRICTS IT
TO PURSUIT OF A PARTICULAR TYPE OF SPORTS. THIS INCLUDES :
• 1) TRAINING OF SKILLS TO BE DEVELOPED
• 2) IDENTIFICATION OF TALENTS
• 3) DEVELOPMENT AND REFINEMENT OF PHYSICAL SKILLS
• 4) CONTROL OF GAME
• 5) SUPERVISION
• 6) EVALUATION

• COACHING – IS A TECHNICAL SKILL WHICH INVOLVES COORDINATION OF FACTORS LIKE TIME,

SEQUENCE, ACTION AND MOVEMENT. OTHER FACTORS THAT A COACH MAY ATTEND TO FACILITIES,
CLIMATE, ORGANIZATION, MANAGEMENT AND PURPOSE.
 QUALIFICATIONS OF A COACH
1) KNOWLEDGE OF HOW THE BODY WORKS. KNOW YOUR ANATOMY AND PHYSIOLOGY OF
EXERCISE-MECHANICS OF MOVEMENTS.
2) KNOWLEDGE OF GROWTH AND DEVELOPMENT. THIS IS UNDERSTANDING THE LIMITS OF
TRAINING AT A CERTAIN AGE, SUCH AS: HOW MUCH ENDURANCE TRAINING CAN YOU GIVE,
STRENGTH TRAINING ETC.
3) KNOWLEDGE OF SKILLS AND TEACHING STRATEGIES. THIS WILL INCLUDE MECHANICS OF
MOVEMENT AND SPEAKING OF SKILLS; APPROACHES IN TEACHING.
4) KNOWLEDGE OF THE TRAINING PROGRAM TO IMPROVE PHYSICAL FITNESS AND/OR
MOTOR FITNESS SUCH AS WEIGHT TRAINING, CIRCUIT TRAINING, ETC.
5) KNOWLEDGE ON HOW TO RECRUIT OR SELECT ATHLETES.
6) KNOWLEDGE OF MEASURING AND EVALUATING PERFORMANCE. THE DATA GATHERED WILL
PROVIDE YOU A GUIDE FOR TRAINING, MOTIVATING AND GIVING FEEDBACKS.
QUALITIES OR CHARACTERISTICS OF A COACH

• 1) ABILITY TO INITIATE COHESIVENESS, COOPERATION AND

TEAMWORK.
• 2) SELF DISCIPLINED-TIME, ETC.
• 3) RESPECT FOR OFFICIALS AND OPPONENTS.
• 4) PROPER LANGUAGE, AVOID THE “BULAKLAK NG DILA”, DRESS AND
DEPORTMENT .
• 5) DEDICATED AND ENTHUSIASTIC (ALIVE).
• 6) HAS SENSE OF HUMOR – THIS WILL RELAX THE STRESS OF PRACTICE.
 RELATIONSHIP OF COACHES AND ATHLETES

• MUTUAL UNDERSTANDING AND CONFIDENCE ARE KEYS TO COACHING

SUCCESS.
• FOR YOUNG INEXPERIENCED ATHLETES – LOOK AT YOU AS THEIR GUIDE, A
FRIEND, FATHER/MOTHER AND THESE GROUP OF ATHLETES WANT GUIDANCE
AND THEY WANT TO BE DIRECTED. THE COACH THEREFORE HAS THE GUIDANCE
FUNCTION.
• FOR EXPERIENCED ATHLETES – DIRECTION IS DONE IN A DISCRETE WAY, THUS
FURTHERS INDEPENDENCE OF THE ATHLETES. THE COACH DOES NOT ORDER OR
DEMAND – HE GIVES ADVICE. THE FUNCTION OF THE COACH THEREFORE IS
ADVISORY.
• 2) ASSIST ATHLETES TO DEVELOP THEIR POTENTIALS BY
RECOGNIZING INDIVIDUAL DIFFERENCES.
• 3) AIM FOR EXCELLENCE BASED ON REALISTIC GOALS. MAKE
SPORTS BOTH CHALLENGING AND FUN. SKILLS AND
TECHNIQUES NEED NOT BE LEARNED PAINFULLY.
• 4) BE HONEST AND CONSISTENT. THE ATHLETES APPRECIATE
THE HONEST TO GOODNESS EVALUATION OR ASSESSMENT OF
HOW THEY PERFORM AND WHERE THEY STAND IN THE TEAM.
• 5) COMMUNICATE, BE OPEN, FOR COMMUNICATION IS
ESSENTIAL IF EXCELLENCE IS TO BE ACHIEVED.
 EFFICIENCY OF THE COACH

1 – A POOR COACH……………………. TELLS

2 - AN AVERAGE COACH…………….. EXPLAINS
3 - A GOOD COACH………… DEMONSTRATE
4 - AN EXCELLENT COACH……………. INSPIRES
III. HOW ATHLETES LEARN
 STAGES OF LEARNING

MENTAL PRACTICE AUTOMATIC

STAGE STAGE STAGE
• MENTAL STAGE – WHEN FIRST LEARNING A SKILL, THE
OBJECTIVE OF AN ATHLETE IS TO UNDERSTAND WHAT IS
REQUIRED TO PERFORM THE SKILL CORRECTLY. THIS STAGE
REQUIRES A GREAT DEAL OF MENTAL ACTIVITY AS THE
PRACTITIONER SEARCH FOR A MENTAL PLAN OF THE
CORRECT TECHNIQUE AND STRATEGY.
• PRACTICE STAGE – HAS EMPHASIS ON THE QUALITY OF
THE PRACTICE TO BE ABLE TO REFINE THE SKILLS. DURING THIS
STAGE, THE MENTAL ENERGY REQUIRED IS LESS AND MENTAL
ACTIVITY WILL SHIFT ON LEARNING THE SEQUENCE OF
MOVEMENTS TO REFINING THE TIMING AND COORDINATION OF
THE MOVEMENTS REQUIRED BY THE SKILL. AT THIS STAGE,
PERFORMANCE ERROR DECREASES.
• AUTOMATIC STAGE – AS THE ATHLETE CONTINUES TO PRACTICE
THE SKILL, THE SKILL BECOMES MORE AND MORE AUTOMATED.
MENTAL CAPACITY IN PERFORMING THE SKILL IS MINIMAL AND THE
PERFORMANCE BECOMES MORE RELIABLE. DURING THIS STAGE, THE
PRACTITIONER IS ABLE TO CORRECT HIS/HER OR ERRORS.
 SPECIFIC STEPS IN TEACHING SPORT SKILLS

1. INTRODUCE THE SKILL

2. DEMONSTRATE AND EXPLAIN THE SKILL
3. PRACTICE THE SKILL
4. PROVIDE FEEDBACK
 V. ARNIS TRAINING

1. CANE POSITIONS 5. OLD FORMS

2. STANCES 6. STRIKING TECHNIQUES
3. RANGE 7. STANDARD ANYO 1-3
4. FOOTWORK
CANE POSITIONS
1. SOLO BASTON
A. ABIERTA OR OPEN POSITION
B. SERADA OR CLOSED POSITION
2. DOUBLE BASTON
A. DOUBLE ABIERTA
B. MANO AT SILYA
C. SILYA AT MANO
STANCES
1.FORWARD
2.BACKWARD
3.STRADDLE
RANGES FOOTWORK
1. CORTO 1. CABALLERO
2. MEDYA
2. GUERRERO
3. LARGO
4. TODO LARGO 3. QUICK ADVANCE
OLD FORMS
• ANYO 1-4
THANK YOU 

ARNIS
LARONG PINOY