A.

History of Arnis

One of the earliest known Filipino fighting styles is Arnis, but the origin of it is very
difficult to trace, because many races that settled and migrated in the Philippines like
Spain, India, China and Indonesia, to name some, that influences our cultures, The exact
date of its origin remains not clear, however traces of historical evidence reveal that
Arnis, an art of self defense among Filpinos existed even before the Philippines was
under colony of the Spaniards.

According to the history, Lapu-Lapu, the first known Filipino hero, was to be one of the
foremost masters of Arnis, It was believed that Lapu-Lapu had been training his men
with Arnis even before his momentous meeting with Magellan and it was in the battle of
Mactan where the native martial arts, was put into real test. In the book, Delos Delitos
(1800) by Don Baltazar Gonzales in Spain tells that it may have been Datu Mangal the
father of Lapu-Lapu who brought the stick fighting of Mactan Island to the neighboring
islands of Cebu.

When Miguel Lopez de Legaspi landed in the Philippines in 1564, he noticed that
Filipinos were a class in themselves in the art of stick fighting and sword fighting, and
noted also the exceptional skill and ability as he was entertained with an arnis
demonstration.

Arnis become popular and favorite of the Filipinos then that every time there was a
competition or demonstration held, people enthusiastically and energetically came to
watch.

When the Spanish came and gained substantial control of the country, the Spaniards
discouraged the practice of arnis, fearful of the exceptional skills of the Filipinos in arnis,
they imposed a total ban in the practice of the art.

In the 19th century, arnis begun to surface again into popularity among Filipinos. It was
believed that the Moro-Moro play and dances were invented primarily to give the natives
excuse or cover to resume the practice and training of Arnis. As a result, the Filipinos
were able to practice and continue Arnis Training.

Shortly after the Spanish occupation, Arnis de Mano became widespread in the
Philippines at in 1986, Jose de Azes started the first school dedicated to the study of arnis
and escrima. (Tanghalan ng Pananandata) at Ateneo De Manila. This marked the first
public arena for the practice of the Filipinos called “paaralan’ (equivalent to the Japanese
“Dojo”). These students were thought social ethics and codes of the true Filipino warrior,
 In 1972, the Philippines government includes arnis in “Palaorng Pambansa” or national
sports. The ministry of education, culture and sports also included it as part of the
physical education curriculum for the high scholl and colleges students, with the
founding modern arnis federation of the Philippines (MAFP) by professor Remy Presas
as well as the Philippines Arnis Associaiton (PAA) and the national Arnis association of
the Philippines (NARAPHIL), arnis begun to enjoy international recognition. Today,
knowledge of arnis is mandatory in the Philippine Army, Navy, Air force and the Local
police agencies. (Baet 1997)

B. ARNIS TERMINILOGY

Abanico Corto and Abanico Largo – a striking which consist of moving the stick infront of the
body in a fanning-like movement, hence the term abanico which means fan in Spanish

Anyo - a combination of pre-arranged or choreographed striking, blocking and shifting

movements which is equivalent to the kata of other martial arts.

Arnis- It is supposed to be derived from the Spanish word. Arnes with the English equivalent of
harness; and refers to the colorful appendages and trappings worm by medieval soldiers.

Banda y Banda – a striking technique which consists of pointing the stick forward and moving
it rapidly and horizontally from left to right in front of the body.

Espada y Daga (Sword Dagger) – a form of fighting wherein a long and short sticks are used.

Kali- is an ancient Malay word which refers to a long bladed weapon. It is derived from the
word tjakelele which is an Indonesian traditional form of fencing.

Larga Muton or Labanang Totohanan – this refers to a free form of arnis sparring which is
supposed to show and test the skills of the arnis practitioners.

Redonda or “X” Movement – a striking technique which is similar to double siniwali, except
that the blows are aimed at the head of the opponent.

Rompida - a striking technique which consist of circling the stick overhead prior to each up and
down striking movement in front of the body.

Sangga at Patama – a pre-arranged or choreographed form of play consisting of striking,

thrusting and parrying.

Sinawali – An intricate technique of striking using two sticks wherein the movement
resemble=el the woven pattern of the sawali, or split-bamboo matting.
Up and Down – A striking technique which is similar to the rompida, except that the stick is not
encircled overhead prior to each up and down movement in front of the body.

C. Equipment

The stick used in arnis is commonly made up of rattan, but other hard woods can be used
too, Like Yakal or Kamagong. It’s 24 inches ling for elementary level and 28 inches long
for college level, it is 1 inch in diameter.

D. Benefits in Learning Arnis

 You learn practical self-defense

 Your upper body, arm and legs will become toned
 You will increase your fitness and aerobic capacity
 Parts of your body such as your forearms, elbows and hands will benefit from
conditioning, making them more resistant to pain and injury
 You will become more flexible
 You will be able to use any weapon, even one you have not used before
 It complements and enhances any martial art. It can be learn independently from
other martial arts or grafted seamlessly into any form of exercise you do already.
 Many of the techniques do not require strength or power, since most of the power
is derived from body movement and economy motion.
 Because there is no need for strength, anyone can learn Eskrima. 12 year old
children can learn eskrima as well as retired women(The black eagle Grandmaster
is 76 at the time of writing, and is still in formidable shape.)
 It doesn’t require expensive equipment
 It can be practiced anywhere, Eskrima can be practiced in a park as well as it’s
practiced in a gym
 It is Fun. Because it requires training partner to practice, it is a great way to meet
people
 It promotes a sense of nationalism and pride as a Filipino.

E. Code of Conduct

1. Only use your skills in self-defense, self preservation and the protection of others
where the need necessitates
2. Respect your fellow martial arts practitioners regardless of their chosen style
 3. Do not engender ill feeling or engage in petty rivalry with other practitioners and
clubs
4. Be disciplined in your training and appreciation of martial arts
5. Uphold true martial arts spirit
6. Set a good example to promote martial arts practice
7. Abide by the rules of your club and association

Source: Handouts on modern Arnis instruction by Arnis Phils. (PSC)

BASIC SKILLS

A. The correct grip

A proper grip in arnis is very important to deliver every blow with power, control and
quickness. The wrist must be very flexible and pliable even though the grip is firm.

Proper way of gripping:

a.) Hold the stick with your four fingers with the blade of the palm about two or three inches
from the base or butt )of the stick)
b.) Tighten your grip and press the thumb over the forefinger
c.) Each sticks must be extended with the firm grip. The wrist should be very flexible when
striking.

B. the courtesy bow

Close feet, 45
 Right fist on left chest (without weapon)
 Weapon hand on left chest(single stick)
 Right fist on left chest, left arm extended sideways (double sticks)

C. Stances

Stances are stationary “fighting positions” which one assumes prior to the execution of
any offensive or defensive movement. These various stances give the arnis practitioner an
understanding of proper distribution of weight on the feet and maintaining proper balance to
ensure fluid mobility, agility, and shifting from one position to another.
1.) Attention or Formal Stance - stand at attention like a soldier in line formation, but
relaxed, with heels together and the fet pointing at an angle of 45 degrees. The hands
are in front of the thighs holding the stick at the both ends.
2.) Open left stance - same as above, but with legs about shoulder-width apart.

3.) Right and left forward stance (or fighting stance)

A. Slide or step R foot forward with knee bent, L leg straight at the back; weight is
greater on the front leg 60% front, to 40% rear
B. R arm holding stick pointed diagonally upward left is slightly bent at elbows and
in front of chest, the L hand with fingers extending pointing diagonally upward
right is placed directly behind the stick in front of the chest. This position of the
arms and the hands is considered as a ‘fighting stance”. Opposite movement is
executed for the left-handed individuals
C. For the left forward stance, slide or step L foot forward, and maintain the same
arm position.

Back stance - the feet are in L position, heels align together. Rear foot should bear
75% of weight and front bear the remaining 35%. Both legs bend and 90
direction.

4.) Right and Left beck stance - right leg is stepped backward, shifting the weight in R
foot and trunk bent slightly backward; L leg slightly bent in front. Arms and hands in
the same “Fighting stance” position. Opposite movement for left handed individuals.

Cat stance - a defensive and offensive low stance, putting the weight almost on
one leg to make the other leg ready for attack.

Defensive cat stance (Right/ Left) – from the natural stance move either of the left
or right leg backward, then slide the other leg 90 position at the center or at the rear
foot using the ball of the foot to support the balance. Both legs are bend to make a
low stance

5.) Right and left cat stance – this is executed from the backward stance position by
merely raising the front foot off the ground so that only the toe is supporting the foot.
Much of the body weight is on the rear leg. Arms and hands on the same “Fighting
stance” position.
 Offensive cat stance - from natural stance, step forward either right or left and bring
the other foot at 90 position outside the front foot with the ball of the support.
Bending both legs at 90 direction.

6.) Straddle stance – is similar to the open leg stance, except that the feet are spread
much wider (beyond shoulder-width distance), knees bent and the weight evenly
distributed on both feet. Arms and hands in “Fighting stance” position

7.) Oblique Forward Right and left stances - this is similar to the forward right and
left stances, except that instead of placing the front leg directly in front, it is placed
obliquely or diagonally either right or left forward depending in whether one is right
or left-handed. Arms and hands in “Fighting stance “ position.

D. Body shifting

Body shifting consists of stepping, sliding, turning and twisting or combinations of these
foot movements when executing the body stances described earlier. Always start these
movements in the attention or open leg stance with arms and hands in “fighting stance”

1.) “Stepping in” to forward stance- execute the forward right and left stances by alternately
stepping or sliding the R and L feet moving forward.
2.) “Stepping back” to backward stance – is similar to No. 1 above, except moving back
3.) “Stepping in” to obliquely forward and left – execute the oblique forward right and left
body shifting, by sliding or stepping the feet obliquely or diagonally forward right and
left alternately and advancing forward.
4.) “Stepping back” to obliquely backwards left an right – from open leg stance, do the
oblique backward, followed by the R foot, and moving backward by alternately stepping
or sliding both feet.

E. Foot Work
 These movements of the feet in which a player can make use of while executing the
different attacks to his opponent.

1. Change foot
 Change leading foot

2.) Guerrero

 Bring rear leg forward to make it the leading leg

 Similar to walking

3.) Caballero

 Keep the fighting stance without changing foot

 Step and slide or drag

4.) Retirada

 Guerrero using backward movements

 Caballero using backward movement

F. The three types of strike delivery

1.) Whole strike (BUO)

 Strike is executed in a follow through manner.

2.) Half strike/Snap strike (PITIK)

 Strikes are executed by bringing the weapon to the target area and
bringing it to original position.

3.) Sustain Strike (BABAD)

 Strikes are executed by bringing the weapon to the target area and
keeping it there.

G. the different Kinds of Strike Delivery

1.) Abaniko – similar to the motion of using a fan or pamaypay

2.) Plantsada - similar to the motion when ironing clothes
3.) Ekis – sometimes referred to as ocho, a kind of strike which create an “X” pattern
4.) Sungkiti – from the tagalog term sungkit, these are usually trusting strikes
5.) Banda Y Banda – strikes that bounces and being unusually being done repeatedly
6.) Doblada - big circular strikes
7.) Doblete - small circular strikes
8.) Trompida - Downward and upward motion of strikes by shifting the angel of the blade
side of the weapon.

TECHNIQUES APLICATION

A. EIGHT STRIKING TECHNIQUES

Striking technique No.1 – Left temple or Left shoulder

Twist trunk sideward to bring the stick pointing upward at the back and swing it
to strike at the L temple, or shoulder.

Striking technique No.2-Right temple or Right Shoulder

From strike no.1, twist the trunk sideward left to bring the stick pointing upward
across the body to the left side, and strike the R temple or shoulder

Striking technique No.3- Left knee

From strike no.2, twist the trunk sideward right to bring the stick behind, the stick
pointing upward, and strike the L knee.

Striking technique No.4- Right knee

From strike no.3, twist the trunk sideward left to bring the stick across the body,
moving upward with knuckles facing downward up to face level; then, with the butt of
the stick leading, twist the wrist and forearm counterclockwise until the knuckles are
facing upward, then strike the R knee.

Striking technique No.5-Adbominal

From strike no.4, draw the stick(which is in a horizontal position pointing
forward) backward and thrust at the abdomen.

Striking technique No..6-Left eye or chest

From strike no.5, withdraw the stick (which is in a horizontal position pointing
forward) backward and raise the arm upward(the stick still pointing forward) with the
knuckles turned towards the face, and thrust at the left eye or left chest.

Striking technique No..7 – Right eye or chest

 From the strike no.6, with the point of the stick leading, move the stick downward
while twisting the forearm to turn the fist and the knuckles facing away from, your face;
continue the movement to point the stick upwards and to a horizontal position in front of
the face, and thrust at the right eye or right chest.

Striking technique No.8 – Head or Crown

From the strike no.7, with the stick leading, withdraw the stick backward and
twist the forearm and the wrist until the knuckles face upward; circle the stick overhead
(with the stick pointing downward) and strike at the center.

B. SIX BLOCKING TECHNIQUES

Blocking technique No.1 – left sideward- Upward block

From attention or open left stance, step R foot forward and twist trunk to face obliquely
left with the stick held vertically pointing upwards; left hand with open palm is placed at the
middle of the stick to cushion the impact of the blow delivered by the opponent.

Blocking technique No. 2 – Right Side ward-Upward block

The same movement as blocking technique no.1, but in a reverse direction.

Blocking technique No.3-Left sideward-downward block

This block is performed by striking forceful as if to strike the left knee of the opponent.
This block should be executed with great force (in a “force to force” block) to counteract the
blow delivered by the opponent. Since the L hand cannot aid in the blocking, it should be placed
in front of the chest with fingers extended and palms facing downward.
Blocking technique No.4- right sideward-downward block

This block is the reverse movement of blocking technique No.3 described above.

Blocking technique No.5- vertical block

From attention or open leg stance, step R foot forward and simultaneously pivot on the R
foot and twist trunk to face left, and moving the arms with elbows bent in front of the chest with
the point of the stick pointing upward, place the blade of the L hand at the middle part portion of
the stick.

Blocking technique No.6- rising block

(a) If the opponent is right handed, step L foot forward and executes the rising block by
rising stick which is held horizontally upward over the head, with the L pal supporting
the tip of the stick
(b) If the opponent is left handed, step the R foot forward.

C, SINGLE SINAWALI

Sinawali comes from the Filipino Term “sawali”, which refers to the pattern used in weaving
bamboo houses

Is an offensive tactic used to hit the R and L temples and knees alternately.

The single sinawali is performed in this manner:

Initial position. Jump or slide to Right forward stance or fighting stance stick on L hand is
placed under the R armpit and stick on R hand (elbows bent) is held up with the tip of the stick
pointing upwards or backward.

1.)Execute Striking Technique No.1 (L temple) with R hand and simultaneously bring the L hand
(stick) to sideward left, to point the stick upward to backward

2.) Execute striking technique No. 4(R knee) with your R hand

3.) L hand executes striking technique NO.2 (R temple) and simultaneously swing R hand
sideward upward right to point the stick upward or backward
4. Execute with your L hand striking technique No.3 (L knee)

(Repeat whole movement pattern, smoothly and rhythmically.)

D. DOUBLE SINAWALI

Initial position as in single sinawali

1.) R hand executes striking technique no.1(left temple)

2.) L hand executes striking technique no.3, (L knee) and simultaneously bring R hand
(stick) over to the shoulder.
3.) R hand executes striking technique no. 3, (R temple) and simultaneously bring L hand to
the left side, with stick pointing upward or backward
4.) R hand executes striking technique no.2 (R temple) and simultaneously bring R
hand(Stick) under the L armpit
5.) R hand executes striking technique no.4 (R knee) and simultaneously bring R hand (stick)
over to R hand (stick) to the right side with stick pointing upward or backward.
6.) L hand executes striking technique No.1, (L temple)) and simultaneously bring

(Repeat whole movement pattern, smoothly and rhythmically.)

E.Redonda

Is one of the traditional forms of striking wherein all he blows are directed to the head or crown.
It involves synchronized movements of the shoulders, arms, wrist and turn. It is a very graceful
movement if executed well and can be performed in several directions and movement levels.

Redonda is executed in the following manner:

Initial position. Right forward stance, with L si=tick under the R armpit and R arm )with elbows
bent) holding the stick pointing upward or backward.

1.) R hand executes striking technique No.1 (left temple) and continue moving the R arm
across the body to the left side until the stick is over the l shoulder
2.) L hand executes striking technique No. 8 (Head or crown)by twisting the L forearm
outward left to bring the L arm to the arm to the left. At this position, both arms are on
the left side, the R arm over the L shoulder, with the both sticks pointing backward.
3.) Simultaneously; bring the right stick under the L hand executes striking technique No.2
( left temple) and continue moving the L hand across the body to the left side until the
stick is over the R shoulder
4.) R hand executes striking technique No.8 (head or Crown) by twisting the R forearm
outward right to bring the R arm to the right side, at his position, both arms are on the
right saide, L arm over the R shoulder, with both hand with sticks pointing backward.
F. UNO OR FORM NO.1

Is an individual creation. It is the product of one’s imagination which results in an integrated

movement patter, almost dance-like in form, which utilizes the various skills learned in arnis.
Based on the level of skills of the arnis practitioner and his creative imagination, the Anyo can be
a beautiful execution of rhythmic and graceful movement, or a routine performance done without
spirit and enthusiasm

Thus, Anyo can be an expression of the inner feelings and creative spirit of the individual, just as
dance or other art forms is a manifestation of the individuality and character of the performer.

This particular Anyo is an introductory lesson from which the novice practitioner may gain an
insight to what Anyo is all about. He should then be encouraged to create his own “Anyo Uno”
as an initial step of progressing to other Anyos which are of his own making.

All Anyos should be preceded and terminated with the courtesy bow. This particular Anyo is
performed in this manner. After the initial courtesy bow, step to assume Right forward stance of
“Fighting stance”

1.) Execute two counts of Rompida

2.) Maintaining the same position, execute striking technique No.4 (to R knee)
3.) Step L foot forward and execute striking technique No.3 (to L knee)
4.) Step R foot forward, pivot on L and R foot to face left and execute striking technique
No.2 and execute striking technique No.2 (to L temple)
5.) Pivot on L foot and step R foot backward(to position no.2 above) and execute striking
technique No.4 (to R knee)
6.) Step L foot backward and execute striking technique No.3(L knee)
7.) Step L foot forward, pivot on R and L feet to face right and assume straddle stance, and
execute Block No.2 (Right side block)
8.) While pivoting on L foot, step R foot backward to face left and in straddle stance execute
block No.1 (left side block)
9.) Pivoting on L foot, step R foot backward and assume position for executing striking
technique No.6 (L eye or L chest)
10.) Circle stick overhead and step L foot backward to assume position for striking
technique No.7 (R eye or R chest)
11.) Still assuming position for striking technique no.7, swing your stick in a
circular motion overhead and perform striking technique No.3 (L knee)
12.) Step R foot backward and execute striking technique No.4 (R knee)
13.) Step L foot backward and execute striking technique No.3 (L knee)
14.) Execute two counts of Figure 8
15.) Step L foot forward to formal stance, execute courtesy Bow.
 ARNIS

Mitch Angela P. Roderos Sir Robles

BSN II-C September 2, 2009