Erwin Lorenzo C.

Olegario
7 Mendeleev

Arnis

Arnis, also known as Eskrima and Kali is the National Sport and Martial Art of
the Philippines. It is an umbrella term that refers to a class of Filipino martial
arts that emphasize weapon-based fighting with sticks, blades and improvised
weapons. Although training starts with weapons, empty hand techniques,
trapping and limb destruction are core parts of these arts as the weapon is
considered merely an extension of the body. Eskrima and Arnis are the most
common among the many names often used in the Philippines today to refer to
these arts.

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The teaching of the basic skills in Arnis is traditionally simplified. With limited time
to teach intricate moves, only techniques that were proven effective in battle and
could easily be taught en masse were used. This allowed villagers, generally not
professional soldiers, a measure of protection against other tribes, kingdoms and
sultanates in the archipelago now known as the Philippines and also against
foreign invaders. This philosophy of simplicity is still used today and is the
underlying base of eskrima. Because of this approach, Arnis and the Filipino
martial arts in general are often mistakenly considered to be "simple". However,
this term refers only to its systematization, not its effectiveness. In fact, beyond

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the basic skills lie a very complex structure and refined skillsets that takes years
to master.
Eskrima / Arnis / Kali
The names Eskrima, Arnis and Kali refer to weapons based martial art developed
from traditional roots in the Philippines. The Philippines are an archipelago of
islands, and the names used vary with region. The art is referred to as Arnis in
the northern islands, including Luzon, Eskrima in the middle, Visayas islands,
and Kali in the south including Mindanao.
Description of the Art
Eskrima, Arnis and Kali [hereafter Eskrima], is different from many other martial
arts in that the student is trained with weapons from the very beginning. The
primary training weapon is the baston, a rattan stick usually about 30 inches
long. The baston is both a weapon and a training tool meant to simulate a short
sword or kris, the traditional knife of the archipelago. In the southern dialects, the
kris is referred to as a kalis, from which is derived the name Kali.
Eskrima practitioners believe that training with baston builds manual dexterity
and trains fasters conditioned responses. The various Eskrima drills are certainly
very fast, and typically include either programmed or semi-programmed
exchanges of attack and defense using the baston.
Although weapons based, Eskrima also included striking with the hands and feet,
wrestling, grappling and even some groundfighting. Additionally, many of the
armed offensive and defensive techniques may be used empty handed. Thus,
Eskrima offers practical defenses against most hand weapons.

Strengths of Eskrima, Arnis & Kali

The following are assertions of the strengths and benefits of Eskrima taken from
various sources on the web and edited for brevity but not content.
Eskrima is practical self-defense.
Eskrima increases fitness and aerobic capacity
Eskrima training conditions the forearms, elbows and hands increasing pain
tolerance.

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Eskrima training increases flexibility.

Eskrima training can make one partially ambidextrous.
Eskrima training will assist in the use of unfamiliar weapons.
Eskrima is a compliment to virtually any other martial art.
Many Eskrima techniques do not require strength or power, since most of the
power is derived from body movement and economy of motion.
The emphasis on speed and technique, rather than strength allows both the
young and old to benefit from Eskrima training.
Eskrima is a complete martial art, including punching, kicking, wrestling,
weaponry, and groundfighting.
Eskrima is easy to practice and requires no special facilities.
Eskrima is social in that it requires a training partner.
Cardinal Principle of Arnis
Respect - for one's opponent as a person and as a fighter, and as a sportsman. It
should always be remembered that an opponent is a human being with a dignity
as you have and worthy or respect.
Sportsmanship on the other hand is a measure of a fighter or player. The laurels
of victory should never be worn with superiority but with humility. Victory is not a
stamp of invulnerability but rather a reason for magnanimity.

Cardinal Rules of Arnis

Character - a ruffian has no place in Arnis let alone in sports. Refinement in
character is important. 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. It is what a man is that counts not the number of trophies he
won. In spite of the abetted fallacies of values of the present world, it is who you
are that will matter in the end.
Sincerity - Sincerity for victory's sake is not at all consuming end of an Arnis
player. It is the sincerity in him to his fellowmen and to his art that makes him
shines in the array of men. The will to win maybe inculcated, but such tutelage
should never end after the tick of the ultimate seconds in the game but beyond
the canvas and the arena of competition. The martial art of arnis, it should be

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remembered, is a good medium of developing mans sense of dedication in all

his everyday endeavor and involvement. Sincerity is the mother of trust makes
an institution of what has been shattered by doubts. A man who is not sincere
will never have a true friend.
Discipline - Arnis is a molder of discipline. It is the responsibility therefore, of the
teacher of the art to guide the students to this end. Strict compliance of rules and
norms of conduct is an athlete's obligation. Proper behavior in the sport and in
life itself will be the gauge of success. Personal discipline is important. The
kaleidoscopic invitations and temptations of life should never undermine man in
his obligation to his art, to himself and his fellowman. 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 maim a person should be handled with the
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 to respect
others. Giving credence to the standard and ability of another person should or
will best prepare anybody in any endeavor. The pacific ways of human
understanding will stay unruffled if exercise of proper etiquette and respect
whether it is in sporty competition or in life itself is observed.
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.
History
The history of Eskrima is lies in the warrior tactics and training of the people of
the Filipino Archipelago. The inhabitants of these islands, along with the people
of the Malaysian Archipelago shared certain common martial traditions including
reverence for the kris, or traditional knife. It is though that many of these
traditions may well have originated in India.
Eskrima as we know it today, developed after contact with the Spaniards, and
evolved in the environment of Spanish colonial dominance of the Philippines.
Eskrima is considered by some to be closer to the street than many martial arts,
that is, it is practiced for personal defense (and in some cases attack) by many in

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the Philippines today. Eskrima is a more recent import to the US than the
Japanese or Korean arts, and is less the subject of sporting events and
tournaments, although its popularity is growing.
The following detailed history is excerpted from Mark V. Wileys Filipino Martial
Arts, a widely read and scholarly work on the subject of the martial arts of the
archipelago. It should be noted that Wiley uses the often uses the southern term
Kali, or Kalista for its practictioners.
Pre-Colonial History
Centuries old, the Filipino warrior arts have long been the backbone of Filipino
society. It was the practice and preservation of these arts that have kept the
Philippine archipelago from permanent domination by a foreign power. There are
several hundred styles of these warrior arts presently being preserved and taught
throughout the Philippines. Although known by many names, often descriptive of
the styles and names of their founders and enemies (i.e., Binas Arnis, Italiana
style), the Filipino warrior arts can be classified by three distinct territorial styles
--Arnis, Eskrima, and Kali -- that are found in the northern, central and southern
Philippines, respectively.
It has been postulated that the Filipino art of Eskrima originated in India and that
it was brought to the Philippines by people who traveled through Indonesia
across a land bridge known as the Riouw archipelago that linked the Malay
peninsula to Sumatra, and across another land bridge that connected Malaya to
the Philippine islands. Indonesian Tjakalele and Malay Silat Melayu are two
forms of combat said to have been introduced to the Philippines via these nowsunken routes. The ninth century Tang dynasty brought goods to the Philippines
from East Asia and Malaysia. These countries' combat methods of Kuntao and
Silat had a great influence on the development of Kali, which is the "mother art"
of the Philippines. Legends claim that ten Datus (chieftains) left Borneo and
settled in Panay where they established the Bothoan in the twelfth century. The
Bothoan was a school where the Datus taught Kali along with academic subjects
and agriculture. It was a kind of preparatory school for tribal leaders.
During the fourteenth century, a third migration of Malaysians to the Philippines
took place. These immigrants were the ancestors of the Moro (Muslim) Filipinos
of Mindanao and Sulu. They spread their cultural-religious beliefs as well as their
Kali systems, which utilized bladed weapons of varying lengths. Datu Mangal is
credited with bringing the art of Kali to Mactan Island; Sri Bataugong and his son
Sri Bantug Lamay were said to have brought the art to the island of Cebu during
the Majapahit Empire. Raja Lapu Lapu, the son of Datu Mangal, through constant
struggle and war, developed a personalized Kali subsystem known as Pangamut.
In the sixteenth century, he and Raja Humabon, the son of Sri Bantug Lamay,
began to quarrel. A battle was mounting as Lapu Lapu accused Humabon of
wrongfully taking land that belonged to his father. The battle, however, was never

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to take place, as the Philippines were unexpectedly visited by the Portuguese

explorer Ferdinand Magellan.
Colonial History
In the early part of the sixteenth century, the Spanish set sail in search of a
westward route across the Pacific to the Indies. Commander Ferdinand
Magellan's fleet of ships accidentally stumbled upon an unknown archipelago. On
March 16, 1521, Magellan came upon the island of Samar. He decided that it
was in his best interest to wait to attack, and thus dock at a nearby island. This
island was uninhabited and so Magellan's fleet took a few days of needed rest.
On March 18, the Spaniards took note of a boatload of natives coming toward
their ships. Commander Magellan, seeing a strange opportunity, greeted them in
friendship. This friendship was to develop, and the native islanders familiarized
Magellan with the names of the surrounding islands that made up the
archipelago. With assistance of the ship's priest, Magellan baptized Raja
Kolambu, the chief of Samar, and also Raja Humabon, the chief of Cebu,
converting them to Catholicism and ultimately Spanish allegiance.
On April 27, Magellan led an expedition to nearby Mactan Island in hopes of
conquering and then presenting it as a git to Raja Humabon. Unfortunately, as he
and 49 Spanish conquistadors disembarked from their ships, they were
confronted by 1,050 islanders, led by Raja Lapu Lapu, armed with iron-tipped
fire-hardened bamboo lances and pointed fire-dried wooden stakes. Greatly
outnumbered, Magellan was killed by the spears and arrows of Lapu Lapu's men.
In 1543, Ruy de Villalobos, sailing from New Spain (Mexico), landed south of
Mindanao and proceeded to name the entire archipelago the PHILIPPINES after
King Philip II of Spain. It was not until 1565 that Miguel Lopez de legazpi,
authorized by Philip II, colonized the island of Cebu, and a foothold was secured
in the Philippines. When the Spaniards traveled to the island of Luzon in 1570,
they found it inhabited by Filipino, Chinese and Indonesian cross-cultures, and
upon their arrival they were confronted by Kalistas (Kali warriors) whose fighting
method far exceeded theirs. But the Spaniards, using firearms defeated the
inhabitants of Luzon. From then on, the art of Kali was prohibited, but it was still
practiced and perfected by a dedicated few. The arts were then preserved in
native ritual dances called sinulog that had mock battles with swords as finales.
Ironically, these dances were often performed for the Spaniards' enjoyment.
Kalistas practiced their arts diligently, and hence developed extreme accuracy,
speed, and agility. These attributes were a must. Because the Spaniards' swords
were sharp and readily cut through the Filipinos' wooden weapons, many strikes
to nerve centers along the body and limbs were mastered, allowing the Kalista to
disarm and disable his opponent with a flurry of attacks.

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Evolution
During the 330 years of Spanish reign, after many skirmishes with Spanish
fencing exponents and after careful observation, the art of Kali was altered. Many
training methods were dropped and many new concepts and techniques were
added. This, coupled with the influence of Spanish culture and language,
prompted the evolution of Eskrima (aka. Arnis de Mano). It was the Spanish
rapier and dagger systems that had the greatest influence on the development of
Eskrima. The use of numbered angles of attack as well as what have become
traditional Eskrima uniforms, were both influenced by the Spanish. It is also
interesting to note that although Tagalog is the national language of the
Philippines, many of the top Eskrima masters still teach their arts in Spanish,
today.
The State of the Art Today
The development of Filipino martial arts as sport is fairly recent. For many years,
actually combat experience was considered necessary to allow a Filipino
practitioner to claim the title of Guro or master. Duals to the death were
outlawed only as recently as 1982, and were an occasion for cash wagering.
They were all too often, very bloody affairs.
Organized competitions have been held in the Philippines, since 1949. The
National Arnis Association of the Philippines (NARAPHIL) and the World Eskrima
Kali Arnis Federation (WEKAF) are important sponsors of tournaments.
Finally, Filipino martial arts have been brought to the west by practitioners such
as Ciriaco C. Canete, Dan Inosanto, Remy A. Presas, and Leo T. Gaje, Jr.
Presas Modern Arnis is growing in popularity in the United States, and has
adopted many of the accoutrements of western martial arts including ranking
systems and public seminars.
Three Traditional Training Methods
1. Muestrasion or Pandlag - which teaches the artistic execution of the swinging
movements and stroking for offense and defense in repetitive drills
2. Sangga or Patama or Sombra Tabak wherein striking, thrusting and parrying
in a prearrange manner is taught
3. Larga Muton or Labanang Totohanan - in which two trainees engage in a free
practice trying to outmaneuver each other using all their skills

How to play
Players could basically participate in two types of arnis sports, the anyo or form,
and the laban, or full combat competitions.

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Different scoring systems and rules and regulation apply for each division,
depending on who hosts the competition.
In anyo, athletes would perform sequences of movements using 2 batons.
Competition will judged based on the execution of the anyo and the creativity of
overall choreography of the performance. Gracefulness combined with strength
and force is needed to execute these forms properly.
Meanwhile, in the full combat competition, players are required to strike their
opponents different body parts with one baton.
Unlike other combatitive sports, arnis does not usually require any body contact
between each player besides the batons that they are holding. Any attack using
bare hands or feet is considered a foul.
Scores depend on the number of strikes each player could deliver. Agility and
quick thinking combined is required to have a high score in this type of
competition.
However, some competitions allow full contact between players. Competitors
could grapple, disarm, and block their opponents.

Kinds of Stances
Ready Stance

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Figure 1: Ready Stance

Stand with your feet apart parallel to the shoulder with both toes pointing
forward. The knees should be straight, the waist and the body facing forward.
Hands are on waist level and the hands should hold the sticks on both sides.
The ready stance is commonly used when standing at ease during training or
tournaments.
Attention Stance
Stand with your feet forming a 45 degrees 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.
Forward Stance

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Figure 2: Right Foot 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.

Oblique Stance

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Figure 3: Right Foot 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). 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. 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.

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Straddle Stance

Figure 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. Both
toes are pointing in front, the waist and the body is facing forward. 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.

Side Stance

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Figure 5: Left 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. Both toes are
pointing in front, the waist and the body is facing forward. 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. 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.

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Back Stance

Figure 6: Right Foot 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. 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. 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.

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Areas of the 12 strikes

1. Left temple
2. Right temple
3. Left shoulder
4. Right shoulder
5. Stomach/Solar Plexus
6. Left Chest
7. Right Chest

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8. Right Knee
9. Left Knee
10. Left Eye
11. Right Eye
12. Head/Crown

Striking
Attacking position: From an open stance, move left foot forward, put hands-onguard position.
1. LEFT HAND STRIKE
Attacker moves right foot forward, prepares for a left temple strike by positioning
the hand holding the cane at the back of the ear then swing the cane forward to
strike the opponent's left temple. The closed palm should face upward.
2. RIGHT TEMPLE STRIKE
From the initial position, attacker moves right foot forward, prepares for a right
temple attack by positioning the hand holding the cane at the back of the left ear ,
then swing the cane forward to strike the opponent's right temple. The closed
palm should face downward.
3. LEFT SHOULDER STRIKE
From the initial position, attacker moves right foot forward, prepares for a left
temple strike by positioning the hand holding the cane at the back of the right ear,
then swing the cane forward to strike the opponent's left shoulder. The closed
palm should face upward.
4. RIGHT SHOULDER STRIKE
From the initial position, attacker moves right foot forward, prepares for right
shoulder strike by positioning the hand holding the cane at the back of the left
ear, then swing the cane forward to strike the opponent's right shoulder. The
closed palm should face downward.
5. THRUST TO STOMACH
From the initial position , move right foot forward, draw back hand holding the
cane , then thrust the opponent's stomach using the tip of the cane
6. LEFT CHEST ATTACK
From the initial position , move right foot forward, draw back hand holding the

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cane, position it at the back of the right ear. The cane should point forward then
thrust the opponent's left chest. The closed palm should face downward.
7. RIGHT CHEST ATTACK
From the initial position, bring the hand holding the cane at the side of the body,
closed palm facing the chest. The tip of the cane should point the opponent's
chest, then thrust the cane to the opponent's chest.
8. RIGHT KNEE ATTACK
From the initial position, move right foot forward, bring the cane above the
shoulder at the back of the ear, then swing the cane downward to strike the
opponent's right knee.
9. LEFT KNEE ATTACK
From the initial position, move right foot forward, bring the hand holding the cane
above the right shoulder, then swing the the cane downward to strike the
opponent's left knee.
10. LEFT EYE ATTACK
From the initial position, position the hand at the back of the right ear. The tip of
the cane should point to the opponent's eye, closed palm should face outside.
Move right foot forward, then thrust the cane to strike the opponent's left eye.
11. RIGHT EYE ATTACK
From the initial position, position the hand holding the cane at the side of your
body. The palm should face the chest, the tip of the cane should point towards
the opponent., then thrust the cane towards the opponent's right eye.
12. CROWN STRIKE
From the initial position, bring the hand holding the cane above the shoulder then
move right forward. Swing the cane downward to strike the opponent's head.

Strikes
Many Filipino systems focus on defending against and/or reacting to angles of
attack rather than particular strikes. The theory behind this is that virtually all
types of hand-to-hand attacks (barehanded or with a weapon) will hit or reach a
combatant via these angles of attack and it is reasoned that it is more efficient to
learn to defend against different angles of attack rather than learning to defend
against particular styles, particular techniques or particular weapons. For
instance, the technique for defending against an attack angle that comes
overhead from the right is very similar whether the attacker uses barefists, a
knife, a sword or a spear.
Older styles gave each angle a name, but more recent systems tend to simply
number them. Many systems have twelve standard angles, though some have as
few as 5, and others as many as 72. Although the exact angles, the order in

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which they are numbered (numerado), and the manner in which they're executed
vary from system to system, most are based upon Filipino cosmology. These
standard angles are used to describe exercises; to aid memorization, a standard
series of strikes from these angles called an abecedario (Spanish for "alphabet")
is often practiced. These are beginner strikes or the "ABC's" of eskrima.
Some angles of attack and some strikes have characteristic names.

San Miguel is a forehand strike with the right hand, moving from the
striker's right shoulder toward their left hip. It is named after Saint Michael or
the Archangel Michael, who is often depicted holding a sword at this angle.
This is the most natural strike for most untrained people. It is commonly
referred to as "angle #1," in systems where striking angles are numbered for
training purposes, because it is presumed to be the most probable angle of
attack.

Sinawali is the signature double-stick weaving movement associated with

Arnis and Eskrima named after the woven coconut or palm leaves
called sawali that comprise the walls of nipa hut dwellings. It is commonly
seen in double-stick continuous attack-parry partner demonstrations.

Another signature technique is the Redonda which is a continuous

circular downward-striking double-stick twirling technique.

A redondo (Spanish for "round") is a strike that whips in a circle to return

to its point of origin. This is especially useful when using sticks rather than
swords, such a strike allows extremely fast strikes but needs constant
practice.

An abanico or watik (from the Spanish for "fan") is a strike executed by

whipping the stick around the wrist in a fanning motion. Not very forceful and
not well suited to swords, this strike can be very quick and arrive from an
unexpected angle.

Hakbang (Filipino for "step") is a general term for footwork. For

example, hakbang paiwas is pivoting footwork, while hakbang tatsulokis
triangle stepping.

Puo (Spanish for "fist") is a strike delivered with the butt of the weapon. It
usually targets a nerve point or other soft spot on the opponent but in skilled
hands, the puo can be used to shatter bones.

It is to be noted that many of the Eskrima techniques have Spanish names

because Spanish was the lingua franca spoken during colonial times among the
natives who spoke over 170 different languages in the archipelago's 7,100+
islands.

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Eskrima techniques are generally based on the assumption that both the student
and their opponent are very highly trained and well prepared. For this reason,
eskrima tends to favor extreme caution, always considering the possibility of a
failed technique or an unexpected knife. On the other hand, the practitioner is
assumed to be able to strike very precisely and quickly. The general principle is
that an opponent's ability to attack should be destroyed rather than trying to hurt
them to convince them to stop. Thus many strikes are aimed at the hands and
arms, hoping to break the hand holding the weapon or cut the nerves or tendons
controlling it (the concept ofdefanging the snake), but strikes to the eyes and legs
are important. A popular mnemonic states that "stick seeks bone, blade seeks
flesh".

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Blocking Techniques

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References:
http://en.wikipilipinas.org/index.php?title=Arnis#Strikes
http://www.natkd.com/arnis_history.htm
http://www.rappler.com/sports/specials/palarong-pambansa/2012/4293-arnis-aproudly-pinoy-sport
http://praktisarnis.webs.com/12strikes.htm
https://depedmati.wikispaces.com/file/view/Gr.+7+PE+LM+(Q2).pdf
This link shows videos of the basic strikes and blocks
http://www.ironcrane.com/html/arnis1.html

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