NOTES IN ARNIS

AND DISARMING
TECHNIQUE

Benjo O. Paca, MSCJ

BRIEF HISTORY OF ARNIS DE MANO

Arnis de Mano, the native art of stick-fighting, antedates recorded Philippine history in origin and
development. For when the Spaniards came in the 16th century, they found the art flourishing in various parts of the
archipelago. It was then called “KALI”, a system of fighting with bladed weapons among the Maharlikas or nobility.

For various reasons, the conquerors suppressed the practice of the art. If ever it was played at all, it was
clandestinely and only among selects few. Knowledge of the art was handed down from one generation to another
like a family heirloom. It survived, however, in the mock battle sequences of the Moro-Moro or Comdedia, plays
depicting the religious conflict between Christians and Muslims.

Poet Laureate Francisco Baltazar or “balagtas” made frequent mention of Arnis in his immortal
romance, “Florante at Laura”. Other national heroes, notably Dr. Jose Rizal , Gen. Antonio Luna, Gregorio Del Pilar,
Gat. Andres Banifacio and Mons. Gregorio Aglipay were known to have studied and practiced Arnis for self-defense
and to develop their fighting spirit.

Today, Arnis is practiced both for self-defense and physical conditioning. Now part of the physical education
program of many schools and universities, Arnis is well on its way towards becoming the national sport.

ARNIS DEFINED

Is a Filipino martial art that can be performed individually or with a partner using a single stick or a pair of sticks for
striking and blocking; can also be used for self defense.

It was founded by Remy Presas and he used it as a self- defense system.

Also known as kali or eskrima, refers to a category of Filipino martial arts that empahsizes the use of weapons-
whether it be fighting sticks, blades or improvised weapons. In arnis, the weapons are used as an extension of the
body, Thus, some body movement techniques are basic to the sport.

UNIFORM AND EQUIPMENT

1. Basic uniforms- consisting of red “kundiman” pants and white T-shirt

2. Standard Pair of Rattan canes or Kali – each cane measuring of 71.1 cm in length and 1.91 cm in diameter.

3. Head protector and head gear

4. Body protector

5. Groin protector

6. Forearm and shin guard

COMPETITION AREA

The playing area is a square measuring 8.0 meters by 8.0 meters with 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.

LINES OF THE PLAYING AREA

BOUNDARY LINES

Four lines mark the boundary of the playing area. The free zone distance measuring 2.0 meters are drawn outside of
the playing area.

REFEREE LINE

A straight line 1.0 meter long is drawn 2.5 meters from the farthest boundary line parallel to the official’s table

WARNING LINES

A broken straight line is drawn 1 meter before each boundary line to serve as a marker before the outside zone

NEUTRAL CORNER

The corner of the playing area farthest to the official’s table and in between the 2 judges within the free zone shall
be designated as the neutral corner. This shall be the consultation area for the referee and judges.
 Chapter II - Preparatory
GRIPPING

The correct grip is assumed in this manner: Hold the stick with your four fingers with the blade of the palm about
two to three inches from the base or butt of the stick.

Tighten your grip and press the thumb over the forefinger. Each strike must made with firm grip

CALISTHENICS

The distinctive feature of preparatory calisthenics is that these are all aimed at strengthening or limbering the
joints rather than the muscles. Without preparatory exercise, the player is apt to find him-self getting dizzy or stiff in
actual combat practice and may even result in strained muscles. It is therefore essential for the player to observe a
daily calisthenics schedule to stay fit.

BASIC EXERSICES IN ARNIS DE MANO

A. Warm-up

Starting Position – hand on hips

Ankle Twisting – turn ankle in a circular motion. Repeat with the other foot.

Knee Twisting – move knees in a circular. Repeat in the reverse direction.

Hip Twisting – move hips in a circular motion. Repeat in the reverse direction.

Back stretching – bend for backward keeping leg straight

Pelvis Twisting – twist hips in a circular motion, then repeat in the opposite direction.

Trunk Stretching – move body in a large circular motion without bending knees.

Trunk Twisting – Twist body to the side as far as possible. Repeat. In the other direction.

Neck Twisting – slowly twist head from left to right. Move head upwards and downward. Finally swing head in a
circular motion, then in reverse direction.

Arm stretching – rotate arms forward, and then reverse. Rotate arms sideward then reverse.

B. Stick Exercise

Arm Extended Wrist Rotation (middle Grip) – Hold the stick at the middle and pointing vertically upward a, knuckle
facing back. Rotate the wrist forward and back alternately continuous

Crossed- Arm Wrist Rotation – Hold the sticks at the middle and cross the arm in front of chest with the sticks
pointing vertically upward, knuckle facing forward. Rotate the wrist forward and backward alternately and
continuously.

Wing Stretcher – Hold sticks at the middle and extend arms sideward with the pointing horizontally forward. Cross
arm front of chest, with R arm over L arm, butts of sticking facing forward. Uncross arm and extend them sideward
to starting position. Repeat a, but this time place L arm over R arm.
Up and down – Hold the stick at the middle m with the arm extended downward at the side, stick horizontally facing
forward. Swing R arm upward over head. As you swing the R arm downward to starting position, swing also
simultaneously the L arm upward overhead.

Arm Extended Wrist Rotation – This exercise is the same as stick exercise No. 1 except that the sticks are held in the
normal grip position.

Cross-Arm Wrist Rotation - This exercise is the same as stick exercise No. 2 except that the sticks are held in the
normal grip position.

Right and Left Upward Thrusting – This exercise is similar to stick exercise No.4, except that the sticks are held in the
normal position.

Tip of stick leading – Hold sticks in normal grip position, arm extended downward, stick horizontally facing forward.
With the right hand and with the tip of the stick leading, make a side of 8 across the body, moving upward,
downward to left side of the body, moving

Right and Left Overhead Circling – Raise the R hand and with the butt facing upward, circle the stick across
horizontally body and upward overhead and forcefully bring the stick downward to starting position.

Simultaneous Two hand up and Down strike – Hold sticks with normal grip and resting on the shoulders. Forcefully
bring both sticks downward and upward.

COURTESY BOW

Part of the rituals observed among martial arts enthusiasts is the manifestation of courtesy for one’s opponent or
sparring partner, usually done through a gesture of bowing. In Arnis, bowing is done in this manner: assume a
standing position similar to those assume by military personnel or soldier when they are in formation, standing at
attention with the heels together at an angle of 45degrees. The hand holds the stick(s) at both ends. In this position,
bow the head forward the neck return the head to position and simultaneously extend the R hand and sideways to
the right with the stick pointing upward, and place the L hand, open palm and fingers extended, on the right breast
return to starting position.

STANCES

1. ATTENTION OR FORMAL STANCE – Stand at attention like soldier in line formation, but relaxed, with the heels
together and the feet pointing at an angle of 45 degrees. The hands are in front the thighs holding the stick at both
ends.

2. OPEN LEG STANCE – same as above, but with lags about shoulder width apart.

3. RIGHT AND LEFT FROWARD OR FIGHTING STANCE – Slide or step r foot with the knee bent, L leg straight at the
back; weight is greater on the front leg because the trunk in slightly bent forward.

4. RIGHT AND LEFT BACK WARD STANCES – R leg is stepped backward, shifting the weight on R foot and trunk
bent slightly backward; L leg slightly bent in front.

5. RIGHT AND LEFT CAT STANCE – This executed from the backward stance position by merely raising the front
foot off the ground so that only the toe is supported the foot.

6. STRADDLE STANCE – This is similar to open leg stance, except that the feet are spread much wider knees bent
and the weight evenly distributed on both feet. Arms and hands in fighting stance position.
Chapter III- Blocking and Striking System
12 STRIKING POINTS

1. RIGHT TEMPLE

2. LEFT TEMPLE

3. RIGHT EYE

4. LEFT EYE

5. CROWN STRIKE

6. RIGHT SHOULDER

7. LEFT SHOULDER

8. RIGHT KNEE

9. LEFT CHEST

10. ABDOMEN

11. RIGHT CHEST

12. RIGHT KNEE

STRIKING AND BLOCKING TECHNIQUES

1. Up and down

2. Banda Y Banda

3. Rompida

4. Abanico Corto

5. Abanico Largo

6. Figure 8

7. Cross Strike

8. Rainbow Strike

9. Double Sero

10. Doblete

11. Hirada

12. Vertical Strike

BLOCKING

1. RAISING BLOCK – With the blocking cane parallel to the ground, the block is executed in a raising upward
direction.

2. REVERSE DOWNWARD BLOCK – With the blocking cane coming from the upper left position, the block is
delivered downward in a diagonal direction. This block is effective against abdomen thrust and right or left knee
strike.

3. INSIDE BLOCK – With the blocking cane perpendicular to the ground, the striking cane of the opponent is
parried to the right. This block is applied against right temple strike, right shoulder strike and right chest thrust.

4. DOWNWARD BLOCK – With the blocking cane coming from the upper right position, the block is executed in a
diagonal direction. This block is effective against abdomen thrust and left knee strike.

5. OUTSIDE BLOCK –With the blocking cane perpendicular to the ground, the sticking cane of the opponent is
parried to the left. This is effective against left temple strike, left shoulder and chest thrust.

Chapter IV- Sinawali and Redonda

SINGLE SINAWALI

Initial position – Jump or slide to the Right forward stance or fighting stance, sticks on L hand is place under the R
harpit and stick on R hand (elbows bent) is held up with the tip of the stick pointing upward or backward.

STEPS

1. EXECUTE STRIKING TECHNIQUES No. 1 (L temple) with R hand and simultaneously bring the L hand (stick) to
sideward left, to point the stick upward or backward.

2. EXECUTE STRIKING TECHNIQUES No. 4 (R knee) with your R hand

3. L HAND EXECUTE STRIKING TECHNIQUES No. 2 (R temple) ans simultaneously swing R hand sideward upward
right to point the stick upward or backward;

4. EXECUTE WITH YOUR L HAND STRIKING TECHNIQUES No. 3 – (L knees)

5. Repeat whole movement pattern, smoothly and rhythmically.

DOUBLE SINAWALI

STEPS

1. Initial Position as in Single Sinawali

2. R HAND EXECUTES STRCKING TECHNIQUE No. 1 (L temple,)

3. L HAND EXECUTES STRCKING TECHNIQUE No. 3 (L knee) and simultaneously bring R hand (stick) over to the L
shoulder

4. R HAND EXECUTES STRCKING TECHNIQUE No. 2 (R temple) and simultaneously bring L hand to the left side, with
stick pointing upward or backward.

5. L HAND EXECUTES STRCKING TECHNIQUE No. 2 (R temple) and simultaneously bring R hand (stick) over to R
shoulder

6. R HAND EXECUTES STRCKING TECHNIQUE No. 4 (R knee) and simultaneously bring L hand (stick) over to R
shoulder

7. R HAND EXECUTES STRCKING TECHNIQUE No. 1 (L temple) and simultaneously bring R hand (stick) to the right
side with stick pointing upward or backward.

8. Repeat whole movement pattern smoothly and rhythmically.

REDONDA – is one of the traditional forms of striking wherein all the blows are directed to the head or crown.

STEPS
1. Initial Position – Right Forward Stance, with L stick under the R armpit and R arm (with elbows bent) holding the
stick pointing upward or backward.

2. R HAND EXECUTES STRIKING TECHNIQUE No. 1 (Left temple) and continue moving the R arm across the body to
the side until the stick is over the L shoulder

3. R HAND EXECUTES STRIKING TECHNIQUE No. 8 (head or Crown) by twisting the L forearm outward left to bring
the L arm to the left side, at this position, both arms are on the left side, the R arm over the shoulder, with both
sticks pointing backward;

4. SIMULTANEOUSLY BRING THE RIGHT STICK UNDER THE L ARMPIT, AND 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.

5. R HAND EXECUTES STRIKING TECHNIQUE No. 8 (Head or Crown) by twisting the R forearm outward to bring the R
arm to the right side. At this position, both arms are on the right side, the L arm over the R shoulder, with both sticks
pointing backward.

6. REPEAT MOVING IN DIFFERENT DIRECTION.

Elsen, I. (2015). Fitness for the mind and body.

Shotokan, H. (2014). The shotokan karate bible.

Teves, M. (2013). Mixed martial arts for criminology students. WBT.

Teves, M. (2017). Weapon and disarming techniques. WBT.