Republic of the Philippines

ISABELA STATE UNIVERSITY

Roxas, Isabela

COLLEGE OF CRIMINAL JUSTICE EDUCATION

UNIT I.
MODULE I. ARNIS

Introduction
Arnis is the national martial art sport of Philippines. It is also known as Eskrima and Kali. This sport actually
emphasizes weapon based fighting which is done using knives, bladed weapons, sticks and various improvised
weapons. It also includes hand to hand combat, grappling and weapon disarming methods.
Arnis is a deadly form of Original Filipino self-defense, which basically uses the garote; usually rattan sticks as
the main weapon and as extension of the hands to maximize reach and power. The bare hand (which is usually
the left) is used as necessary support to the right hand in the absence of another stick or dagger. In other cases
or styles, two sticks or swords are used. Otherwise empty hands may also be used as effectively as when there
are weapons.
However, the stick is said to travel ten times faster than the empty hand.
At will the Arnis fighter may paralyze or kill an opponent. Other forms of the Arnis System include "Espade Y
Daga" (sword & dagger) "Daga Y Daga" (dagger & dagger) "Mano Mano" (bare-hand-fighting. "Doble Baston"
(double sticks), "Sikaran" (Kickfighting)", etc
Unlike other martial arts ARNIS has no age limit. It can be practiced by a ten-year old or a ten-decade old person
with the same efficiency. Constantly practiced, ARNIS knows "no Downhill".
Contrary to misperceptions Arnis is a very intelligent form of exercise and self-defense. It is never violent, and it
is actually bloodless.

Objectives
a. To know the history and origins of Arnis.
b. To familiarize the terms relative to Arnis.
c. To know the concepts in the study of Arnis.
d. To know Republic Act 9850.
e. To learn how to apply the basics in Arnis, Eskrima and Kali.

Learning contents
a. History of arnis
b. Definition of terms
c. Basic concept
d. RA 9850
e. Application of basic Arnis

Discussion proper
A. HISTORY OF ARNIS
Arnis: The Philippines' National Sport and Martial Art
Arnis enjoys the status of the de jure national sport of the Philippines. It is a martial art characterized by the use
of “swinging and twirling movements, accompanied by striking, thrusting and parrying techniques for defense and
offense.” Having been handed down from generation to generation for centuries, the discipline hones the skill,
speed, accuracy and agility of its practitioners.

History
Arnis was developed by the indigenous populations of the Philippines, who used an assorted range of weaponry
for combat and self-defense. Encompassing both simple impact and edged weapons, arnis traditionally involved
rattan, swords, daggers and spears.

In 1521, equipped with nothing more than bladed weapons and their fearsome arnis abilities, Filipino islanders
defeated Ferdinand Magellan’s armored, musket-bearing Spanish conquistador forces when they tried to invade.
When the Spanish eventually returned and successfully conquered parts of the Philippines, the traditions of arnis
were preserved, despite its prohibition, in the forms of ritual dance, performance and mock battles. While earlier
Filipino martial arts were influenced by Spanish colonization, the modern forms have been affected by the
country’s contact with both the United States and Japan after gaining independence in 1898. Just over a century
later, in 2009, the government of the Philippines declared arnis to be the martial art and national sport of the
Philippines.

Culture and traditions

Arnis is otherwise known as eskrima, kali and garrote, and by even more names in different Filipino regional
languages. Although Spanish influence had a pacifying effect on Filipino martial culture, the original warrior ethos
has persisted and remains on the fringes of the art. Arnis “death-matches” were outlawed as late as 1945 yet, as
Mark V. Wiley explains in Filipino Martial Culture, they still take place in private today.

The Philippine government’s declaration of arnis as the national sport has codified a clear martial culture. This
should begin to develop an accessible story of Filipino cultural heritage that the outside world can grasp, like
Japan did during the Edo period (1603-1868) and as post-cultural revolution China has done with Wushu.

How it works
Like all martial arts, arnis is primarily defensive, encompassing hand-to-hand combat, grappling and disarming
techniques. However, the fighting style also includes the use of bladed weapons and sticks, in addition to
improvised weapons. A baton-like cane is the primary melee tool employed and the weapon used in officiated
arnis competitions.

Competitive Arnis generally takes one of two forms: the performance-based anyo model or the
combative leban. Anyo competitions are judged on the basis of the overall choreography of the performances,
including the gracefulness, strength and force employed. Meanwhile, the leban form tests participants’ agility and
reactions, as competitions are judged based on the number of strikes inflicted. Although most leban competitions
exclude body contact, such as grappling, blocks and disarming an opponent using the hands or feet, there are
some exceptions where full contact is permitted.

Arnis in popular culture: Hollywood

Close-quartered, fast-paced fights look great on screen and no martial style involves quite the combative speed
of arnis—no wonder it’s so popular with Hollywood directors. The Bourne Identity (2002) features a kali/jeet kune
do hybrid fight style when Jason Bourne encounters Jarda, the only other living agent of the terminated
‘Treadstone’ program. Vin Diesel and Jason Statham also engage in eskrima-inspired combat, using metal pipes
and wrenches instead of sticks, in the final fight scene of Furious 7 (2015).

In Kick-Ass (2010), the eponymous character fights crime with arnis canes, while his vigilante partner, Hit-Girl,
uses Filipino balisong knives. Meanwhile, Liam Neeson uses a combination of arnis, wing chun and silat to
rescue his daughter from her French captors in Taken (2008). James Bond too subdues a knife-wielding
assassin using Filipino martial arts in Quantum of Solace, the 2008 installment of the James Bond franchise.

B. DEFINITION OF TERMS
The following are definition of terms relative to Arnis:
a. Arnis, also known as kali or eskrima, refers to a category of Filipino martial arts that emphasizes 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.
b. 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).
c. Sinawali (weaving) is a Filipino martial arts (FMA) term referring to a structured double stick pattern.
These drills can be done solo or with a partner, and are common to many styles.
d. What is Kali fighting style? Filipino Kali is the art of stick fighting using hard bamboo sticks to strike and
defend. Filipino Kali teaches weapons fighting before bare hand-to-hand combat. Kali is an ancient term
used to signify the martial arts in the region of the Philippines. Kali is also used in India where Kali is the
name of an Indian God.

C. BASIC CONCEPT IN ARNIS

Arnis, also known as kali or eskrima, refers to a category of Filipino martial arts that emphasizes 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.
Arnis (also called Kali or Eskrima) is a generic term for the deadly martial arts of the Philippines. It contains both
barehand and weaponary arts - everything that has got to do with fighting. The barehand combat include boxing,
wrestling, grappling, pressure points and locks.
Similarly, how does Arnis work? Like all martial arts, arnis is primarily defensive, encompassing hand-to-hand
combat, grappling and disarming techniques. Although most leban competitions exclude body contact, such as
grappling, blocks and disarming an opponent using the hands or feet, there are some exceptions where full
contact is permitted.
There are two main types of Arnis practiced as a sport. The most common system used internationally is that of
the WEKAF (World Eskrima Kali Arnis Federation), established 1989. The earlier Arnis Philippines (ARPI)
system, established in 1986, was most prominently used during the 2005 Southeast Asian Games.
Remy Amador Presas (December 19, 1936 – August 28, 2001) was the founder of Modern Arnis, a popular
Filipino martial art. Born in the Philippines, he moved to the United States in 1974, where he taught his art via
seminars and camps.
arnis and other martial arts are known as forms of self-defense. They are not used to bully or intimidate innocent
and weak people. With regular training, an arnisador refines his skills and techniques.
No punching, kicking, or takedowns permitted. No contact to the back. The format of arnis stick fighting is
continuous. Referee stops and restarts the fight if one or both competitors fall on the ground, one or both
weapons fall on the ground, or one competitor grabs the handle and takes away the opponent's weapon.
Arnis, also known as Eskrima and Kali, is the national sport and martial art of the Philippines. It is also known as
Estoque (Spanish for rapier), Estocada (Spanish for thrust or stab) and Garrote (Spanish for club).
There are principles in Arnis that must be remembered. These are: Character, sincerity, discipline, self-control,
etiquette and student's loyalty to his tutor. a) Character - a ruffian has no place in Arnis let alone in sports.
Refinement in character is important.

Important details:
 Remy Presas- Father of Modern Arnis
 Born in Dec. 19 1936
 Died in Aug. 28 2001
 He move to U.S in 1974
 Taught his art via seminars and camps

When did Arnis became a national sport ?

 Dec. 11, 2009
 RA 9850
 President Gloria Macapagal Arroyo

Why is Arnis Important?

 To preserve life
 Martial arts as self defense
 Not used to bully or intimidate innocent and weak people
 Cultural identity

What are the Benefits of Arnis

 Total body workout
 Martial arts are high- aerobic workout that uses every muscle group in the body
 Stamina, muscle tone, flexibility, balance and strength will improve
What is the meaning of anyo ?
 The way of nothingness
 Anyo (form)
 The application of all styles learned throughout one’s training
 Specific weapon ( cane, dagger, hands)
 To show the flow of form

What are the 12 basic strike in Arnis

1. Left temple strike
2. Right temple strike
3. Left shoulder strike
4. Right shoulder strike
 5. Stomach Thrust
6. Left chest thrust
7. Right chest thrust
8. Right knee strike
9. Left knee strike
10. Left eye thrust
11. Right eye thrust
12. Strike to the crown

D. RA 9850
REPUBLIC ACT No. 9850

AN ACT DECLARING ARNIS AS THE NATIONAL MARTIAL ART AND SPORT OF THE PHILIPPINES

Be it enacted by the Senate and House of Representatives of the Philippines in Congress assembled:

Section 1. It is the policy of the State to inculcate patriotism, nationalism and appreciation of the role of national
heroes and symbols in the historical development of the country. Furthermore, the State must give priority to
education, science and technology, arts and culture, and sports to foster patriotism and nationalism, accelerate
social progress, and promote total human liberation and development.

Section 2. Definition of Arnis. - Arnis, also known as Eskrima, Kali, Garrote and other names in various regional
languages, such as Pananandata in Tagalog; Pagkalikali, Ibanag; Kabaraon and Kalirongan, Pangasinan;
Kaliradman, Bisaya; and Didja, Ilokano, is an indigenous Filipino martial art and sport characterized by the use of
swinging and twirling movements, accompanied by striking, thrusting and parrying techniques for defense and
offense. This is usually done with the use of one (1) or two (2) sticks or any similar implements or with bare
hands and feet also used for striking, blocking, locking and grappling, with the use of the same principle as that
with the canes.

Section 3. Arnis is hereby declared as the Philippine National Martial Art and Sport. The official adoption of arnis
as the national martial art and sport shall be promulgated by inscribing the symbol of arnis in the official seal of
the Philippine Sports Commission and by making it as the first sport competition to be played by participating
teams on the first day in the annual Palarong Pambansa. The Philippine Sports Commission shall be the lead
agency to implement the provisions of this Act.

Section 4. The Department of Education, the National Commission for Culture and the Arts, and the Philippine
Sports Commission shall promulgate the necessary rules and regulations to carry out the provisions of this Act.

Section 5. Any provision of law, decree, executive order, rule or regulation in conflict or inconsistent with the
provisions and/or purposes of this Act is hereby repealed, amended or modified accordingly.

Section 6. This Act shall take effect fifteen (15) days after its complete publication in the Official Gazette or in at
least two (2) newspapers of general circulation.

E. APPLICATION OF BASIC ARNIS

Arnis Fighting Techniques – A Detailed Guide
One of the challenges every aspiring stick fighting practitioner face when learning Arnis Fighting Techniques is
getting a complete understanding of the art – its essentials and principles, and effectiveness.
Many think of it as some ancient art that is no longer relevant in an age of guns, germs, and steel.
Besides, who uses a stick to defend himself these days?
The stick is only a mere extension of the arm in Filipino stick fighting and the techniques are just as effective with
the bare hands as they are with the stick.

APO-Balintawak Self-Defense System.

A good understanding of these basic principles will help you get started on your journey towards becoming a
master stick fighter. It will answer that one question that echoes in every aspiring Filipino Stick Fighter – What is
Filipino Stick Fighting and how can it help me transform into a martial arts master?
Arnis Fighting Origins, Important Terms, and Universal Principles
Eskrima has its roots in the Philippines.
Also called Arnis, or Kali, Eskrima is a Filipino weaponry system. There are many styles of Eskrima, but these
styles follow universal essential principles in striking, defending, disarming body movement, etc. Eskrima is very
practical and effective against self-defence situations – especially if the attacker has a weapon.
Filipino martial arts is different from other martial arts in that it trains in the weapon first before proceeding to the
bare hands. Becoming proficient in weapons training, the student finds it easy to learn the bare hand's
techniques since the basic skills are already built-in to him.

What is an Eskrimador?
When you first made your research on Filipino Stick fighting, you may have heard of the term “eskrimador.” An
Eskrimador is an individual who practices Eskrima. Both these terms originated from the Spanish influence in the
Philippines. In Spanish, “Eskrima” means “fencing,” and “Eskrimador” means a “fencer.”
If you read the Philippine history books, you'd see how the Filipino warrior and eskrimador Lapu-Lapu defeated
Ferdinand Magellan in mortal combat.
In other words, eskrimadors are badass. And once you've begun your training on Filipino stick fighting and
learned enough to defend yourself on the streets, you too will be an eskrimador; a fighter, warrior of the art.

Arnis Fighting Weapon

An “olise” or a stick is the primary weapon in Filipino Stick Fighting or Eskrima. It's made of a tough, fibrous vine
called a “rattan”. Its length must be similar to the armpit's distance to the fingertips. It is supported by about 2-3
inches of the exposed butt-end.
Since it's very light, it can be moved rapidly at different angles of attack, defense, and motion. Since it's made of
rattan, it's almost unbreakable.
The secondary weapons include the machete or blade and the knife. In practice, we handle the stick as though
we're holding a blade; always holding and striking with the bladed side.
As we've mentioned earlier, the stick is only the extension of the arm in Eskrima and the techniques applies to
the empty hands as well. Thus, your limbs become a human weapon you can use to attack or defend against a
potential assailant.
And you may not be holding a stick. You may be holding an axe, a roll of a magazine, and any object extending
from your arms. It's all the same. They can be your weapons too.
Filipino Arnis Fighting weaponry is awesome, isn't it?

Eskrima weaponry
Role of the Weapon in Training in Arnis Fighting
Many Chinese and Japanese martial artists try to teach a trainee to fight with no weapons, then, progress to just
fighting with weapons in the next stages of training. Consequently, very few individuals in such arts are capable
of using their weapons training during sparring.
The Filipino Martial Arts are subject to highlight the exercise of weapons first then secondly, the exercise of the
empty-hand. Thus, Eskrimadors are more skilled during weapons sparring than other martial artists.
The Filipino arnis fighting incorporates sticks, swords, daggers, empty hands, and even secondary weapons in its
self-defence system. The fast and elusive sticks of Filipino Martial arts is feared by all. The constant motion,
fluctuating angles, reversals, elliptical motions, and convergence of weapon and bare hands make the arnisador
a formidable opponent.
Training begins at the basic level and gradually proceeds to the more advanced levels as the practitioner
improves his skill. While practitioners only use practice weapons during training, each pushes himself to train as
though they are dealing with real weapons.
Thus, Kali martial arts training is fast – compelling each practitioner to sharpen his skills and reflexes so that he
will be ready for actual combat. Bare hands training is also emphasized since the weapons are only the
extension of the hands.
You can learn all these formidable stick fighting techniques by training seriously in an arnis fighting school.

The Role of Drills in Training in Arnis Fighting

Filipino Martial Arts training is straightforward and direct. There are no flowery or fancy but useless moves.
Attacks are done in a simple and efficient manner. The attacks are classified into different angles. The type of
weapon – whether stick, bladed or bare hands makes little difference because the principles of attack and
defence are the same.
This type of training increases the practitioner's speed and reflexes, making him more capable of defending
himself in times of adversity. Defending and countering the different angles of attack is a universal part of the
training.

Through two-man drills is how a student is trained, under the management of a more practiced Eskrimador. The
most important and fundamental drill, known as “1 to 12,” entails alternate defense and the block against
the basic stick blows. At the start of the training, the strikes are performed in a particular pre-arranged order.
Two various roles are played, that of junior and senior Eskrimadors. The senior Eskrimador will try to train the
junior with the correct ways to move through utilizing light redirecting motions and coaching. Simultaneously, the
senior is going be improving his style.
Firstly, the strikes are delivered in an identified order, 1 to 12, but afterwards, this order is going to be
randomized and varied.
If both trainees are rather more advanced, a few additional styles will be further added. Firstly, the junior won't be
able to protect himself against these techniques. However, his skill will improve sooner or later. In the end, the
strikes won't necessarily be executed with the stick; all four limbs may be utilized.
Left-hand strikes can be done to trigger a finger nudge towards the eyes, a chop or a punch to the gullet or a
hook to the torso. In practice, this will correspond to a light touch or slap. Due to the remarkable speed wherein
the exercise is performed, the student swiftly discovers not to blink the timing, speed, distancing, and eyes.

What Training is Like?

When I first started out as a trainee of Balintawak Stick Fighting, I was impressed but intimidated by the training
at the same time. The strikes were very fast and coming in different directions. The junior students were using all
of their limbs to strike at each other not just the stick.
For apparent reasons, the triceps are hit rather than the temple during training. This is regarded as an equivalent
to striking the head. The groin is hit instead of the lower abdomen, and instead of hitting the knees, we hit the
lower leg or thigh.

The Basic Arnis Fighting Training

The 12 Pairs of Balintawak Eskrima
In Balintawak Eskrima, there are 12 attack angles and 12 corresponding defenses. Every angle of striking stands
for the target spots of a body. This kind of approach is widespread to Filipino arts.
 Angles number 1 and 2 are lateral strikes from head's top to neck's base
 Angles 3 and 4 are lateral strikes from shoulders to hips. The primary targets are the elbows, the hands,
and the shoulders
 Angle 5 is a midline push from below upward
 Angles 6 and 7 are lateral strikes to the armpits or chest
 Angles 8 and 9 are lateral strikes from hips to feet. The target spots are the shins, ankles, knees, or feet
 Angles 10 and 11 are lateral strikes to the neck or eyes
 Angle 12 is a midline strike from above downwards

These strikes can be executed with a stick's end, the feet or left hand.

The fundamental training for the 12 angles is performed with a stick against a stick. This offers the foundation for
all succeeding Balintawak Eskrima methods, whether executed with a stick, a knife, or perhaps unarmed.
Filipino Eskrima practitioners practicing eskrima

Vision
Look at your enemy's eyes always. If you're a skilled fighter, you look at the eyes of your opponent. If not, look at
the upper body. Some fighters rather keep their look focused on the opponent's lead elbow, especially if that limb
holds a weapon.
The elbow and possibly the shoulder are slow in motion and present a clue to the hand's movement. Don't blink.
It could cost you your life in an actual fight and simply being hit in the arnis fighting training. Look with two eyes.
In Balintawak Stick Fighting, we train under dim light. One can barely see the stick and weapon. This training is
designed to develop one's vision.

Arnis Fighting Timing and Rhythm

You should know when to perform your technique. This is imperative, but hard to teach. An opportunity
occasionally presents itself very briefly. Utilize the well-placed pauses and proper rhythm. The rhythm should be
in sync with the moves of your opponent; however, this is delicate and hard to learn.
Don't hurry through your styles; you'll lose power and balance. Sometimes, a quick movement is less efficient
than a slower one might be. Some styles depend on a slight pause for their appropriate move. However, being
slower isn't efficient at all.
In Balintawak Stick Fighting, we never sacrifice speed for power. Power is the result of speed. And we never
sacrifice timing for speed. Timing and precision are the most important factors to consider.

Mental States
Pay strong attention to your enemy and your environment, but move with no forethought or thinking.

Principles of Speed
At numerous demonstrations, professional martial artists of different groups and styles have been provided with a
stick and a helmet and spar with each other. To this point, nobody, including some black belts, has been able to
perform to their maximum potential.
This isn't mentioned to demean these black belts' abilities, but to show that a strike in Filipino stick fighting like
the Balintawak style is extremely fast. A great amount of practice is what it takes to protect oneself against a stick
used in this way – before one could even notice the stick being moved and hitting.
It takes some practice and technique to block a fast blow.
Make blows more deceptive and faster by omitting all wind-ups and unnecessary movements. To maximize the
blow speed during the fighting, snap the wrist. Much of the power is generated in this way as well. The use of the
elbow and shoulder joints are best at a distance.
Proper torque makes the most power for finishing blows from the shoulder and hip joints.

Economy of Movements
Economical movements are a necessity. Seek the shortest trajectory all the time. This can be compared with the
more extended circular trajectories for strikes and blocks found in some other arts. In stepping, don't perform
270-degree turns just like ones found in a few other martial arts.
Cross-stepping, as observed in other techniques, isn't practiced.
Check out this video of my master Andrew P. Obon doing a corridas drill to see the principle of economy of
movement:

Relaxation
Stay relaxed and loose, to make each motion explosive. For speed, utilize muscular explosion. The relaxation
principle is a section of a swift motion. A relaxed arm will speed up faster.
Arnis Fighting Principles of blocking, throwing and striking with power
Numerous body dynamics principles are utilized to build superior power. The most imperative perhaps is the
twisting for power principle. All arm movements, whether executed with the rear front leg, are performed with a
powerful body twist.
This, in fact, provides strikes in the lead hand almost as much control as strikes in the rear hand. Another
significant component in obtaining power is using gravity by dropping your weight. This can be increased when
stepping through or allowing the blow to drop into the body before planting the stepping foot.
Further power can be created in strikes by slanting into a blow. Finally, many strikes create extra power by
snapping or twisting the wrist.

Distance and Range

It may not be obvious to the inexperienced martial artist, but controlling the space between you and your enemy
might be the most significant factor towards achieving victory in a fight. Additionally, at various ranges, several
dynamics come into play, and different techniques are essential.
During the engagement, you might encounter different distinct ranges, especially in an explosive exchange. The
following classification scheme resembles several others in regular use, and should effective in actual execution.
Distance is arranged from long-distance to medium, to close range, with five categories.
 1st – outside range – initial distance. At this point, no contact is made with a weapon or foot and you
have to close the distance first. You keep your head farther than the ideal range and utilize long-range
defence styles. This is temporarily assumed as a safe position. If you move any closer than this, you
must control the offensive.
 2nd – long-distance range. This range will enable you to successfully strike your enemy with a long
weapon or a leg, without stepping. You must never remain within this range and do not engage in the
attack first.
 3rd – punching range. This range will enable you to hit your enemy with close kicks, hand, or a knife.
 4th – in the – fighting range – a little closer. At this point, you can utilize hook punches, elbows, disarms,
uppercuts, arms leverage kind takedowns, off- sweeps, balancing, restraining, trapping and turning
 techniques.
 5th – grappling range – the closest. You may utilize judo and wrestling kind groundwork and take-
downs. This is the ideal range of the Jiu-jitsu exponent or the wrestler.
Even though the ground is generally more suited to grappling styles, it is best to use in- fighting styles on the
ground and not get trapped in wrestling holds. We have techniques against grapplers too.
There is a common misconception that Filipino Stick Fighting lacks grappling and is therefore vulnerable to
grappling techniques. As we've seen in the 5th range, the eskrimador does not allow himself to be grappled and
uses in-fighting techniques to his advantage.
You might think you've read enough to make up your mind about kali stick fighting.
Keep reading a little bit more… But the fun isn't over. There's more to discover.

Positioning Yourself
Use proper footwork so that the weapons are set up in the proper distances for defence or attack. Use the body
motion to position the weapons at the right angles for a successful attack. Apply body motion to evade the
attacker's weapons.
Thus, excellent footwork is necessary. If your footwork is very slow, the evasion or attack would also be slow,
and power won't be generated at the optimum level.
When positioning yourself in proportion to the opponent, you should control your distance. If you control the
distance, you can control the fight. Remember that different styles and techniques are appropriate for various
ranges.

Summary
This module discusses the origins of Arnis. Due to the widespread practice of Arnis, the Philippine Government
made it as the NATIONAL MARTIAL ART AND SPORT OF THE PHILIPPINES through Republic Act 9850.

References
https://theculturetrip.com/asia/philippines/articles/arnis-the-philippines-national-sport-and-martial-art/
https://findanyanswer.com/what-is-basic-concept-of-arnis
https://askinglot.com/open-detail/31947
https://stickfightingsport.com/arnis-fighting/
https://www.topendsports.com/sport/list/arnis.htm#:~:text=Arnis%20is%20the%20national%20martial,grappling
%20and%20weapon%20disarming%20methods.
http://sport.freepage.de/cgi-bin/feets/freepage_ext/339483x434877d/rewrite/lapunti/lap2.html

Roxas, Isabela

COLLEGE OF CRIMINAL JUSTICE EDUCATION

UNIT I.
MODULE II. MODERN ARNIS

Introduction
Arnis has no accuracy - To actually be effective in combat, you need to strike the body's vital points. They don't
teach this in Arnis because science wasn't too advanced at the time it was made. You'd be surprised how much
an attacker can get stabbed and slashed without going down.

Objectives
1. To learn information about Modern Arnis.
2. To know the persons behind the development or Modern Arnis.
3. To learn the training being undertaken in Modern Arnis.
4. To familiarize the belt ranks in Modern Arnis.
5. To know the organizations that contributed to the spread of Modern Arnis in the world.

Learning contents
 a. Modern arnis
b. History
c. Training
d. Belt ranks
e. Organization

Discussion proper
A. MODERN ARNIS
Modern Arnis is the system of Filipino fighting arts founded by Remy Presas as a self-defense system. His goal
was to create an injury-free training method as well as an effective self-defense system in order to preserve the
older Arnis systems. The term Modern Arnis was used by Remy Presas' younger brother Ernesto Presas to
describe his style of Filipino martial arts; since 1999 Ernesto Presas has called his system Kombatan. It is
derived principally from the traditional Presas family style of the Bolo (machete) and the stick-dueling art
of Balintawak Eskrima, with influences from other Filipino and Japanese martial arts.
Arnis is the Philippines' national martial art and sport,[2] after President Gloria Macapagal-Arroyo signed the
Republic Act. No. 9850 in 2009. RA 9850 is a consolidation of House Bill No. 6516 authored by South Cotabato
Rep. Arthur Pingoy Jr., and Senate Bill No. 1424 authored by Majority leader Juan Miguel Zubiri with the help of
Richard Gialogo. RA 9850 is expected to help propagate arnis as a modern martial art/sport that can compete
with popular non-Filipino arts, i.e. taekwondo, karate and judo. The Act mandates the Department of Education to
include the sport as a Physical Education course.

B. HISTORY
Remy Presas studied his family's system from an early age. He went on to study the Japanese systems of
Shotokan Karate and Judo, achieving high rank in each; but he simultaneously studied a variety of other Filipino
systems, most notably Venancio Bacon's Balintawak. Beginning with a small gymnasium in Bacolod in the
1950s, he attempted to spread the art to the local youth as both a cultural legacy and a form of physical
development or sport. He taught the art at the University of Negros Occidental-Recoletos. His desire to
reinvigorate interest in his country's traditional martial art grew over time, and he began making modifications
and improvements to what he had learned. In 1969 he moved to Manila at the request of a government official,
and formed the Modern Arnis Federation of the Philippines. He was assisted by individuals such as those who
now are on the Modern Arnis Senior Masters Council: Rodel Dagooc, Jerry dela Cruz, Roland Dantes, Vicente
Sanchez, Rene Tongson, and Cristino Vasquez. He continued to develop and spread his art, including via books,
until political considerations forced him to relocate to North America.
There he met Wally Jay, George Dillman, and other artists who influenced his development of the art of Modern
Arnis. In particular, many locks from Small Circle Jujitsu were added to Modern Arnis. The art continued to grow
and change, in technique and in emphasis, though it always retained a focus on the single stick and on general
self-defense. Those who trained with Remy Presas in the United States in the 1970s and early 1980s
experienced the art differently from those who began training in the late 1990s. Throughout the 1980s and 1990s
he traveled extensively for seminars – the principal form of instruction in the system was through weekend
training camps held around the world but especially in the U.S. – and produced books and videos. During the
1990s Wally Jay, Remy Presas (Modern Arnis), and Jack Hogan (Kyusho Jitsu) traveled together throughout the
United States and worldwide promulgating small-circle jujitsu. At that time many elements of Small Circle JuJitsu
were well integrated into Modern Arnis.

During this time he experimented with different forms of titles and leadership in the art. The International Modern
Arnis Federation Philippines would come to be the lead Modern Arnis organization in the Philippines, and the
Deutscher Arnis Verband of Germany would be the lead organization in Europe. In the United States,
the International Modern Arnis Federation (IMAF) was the principal organization as far as certification was
concerned, but the founder created a variety of titles that indicated some level of organizational or leadership
authority in the art (as opposed to titles such as guro ("teacher") or Punong Guro ("Head teacher") that
recognized teaching and/or technical ability). Most prominent among these titles were Datu, meaning a chieftain
or leader, awarded in this order to Shishir Inocalla, Kelly Worden and Ric "Bong" Jornales (of Arnis Sikaran) (all
in the 1980s), Dieter Knuettel (1996), Tim Hartman and David Hoffman (both in 2000); and Master of Tapi-Tapi,
awarded to Jeff Delaney, Chuck Gauss, Jim Ladis, Gaby Roloff, Randi Schea, Ken Smith, and Brian Zawilinski.
The Masters of Tapi-Tapi titles were created to provide leadership and steerage for the IMAF following Remy
Presas' passing; the title of Master of Tapi Tapi denotes those who have attained the highest level of proficiency
in Modern Arnis and these titles are separate from and above rank. The Datus were expected to take leadership
roles that might see them move in different, and perhaps less conventional, directions. Through 2001, however,
the art remained largely united under the founder.
In the wake of the 2001 death of Remy Presas, there was a splintering of the remaining leadership of Modern
Arnis. The IMAF, the organization of record for North American Modern Arnis practitioners, split into two
subgroups, one headed by Randi Schea and one headed by Jeff Delaney; the remaining five Masters of Tapi-
Tapi associated with the group led by Randi Schea. Remy Presas' son Remy P. Presas and his siblings formed a
group following his father's death, and Tim Hartman and Dieter Knuettel increased the independence of their
organizations (the WMAA and DAV, respectively). Other groups, such as that headed by Kelly Worden, had
become independent well before the founder's death (and with his support). Dan Anderson formed another
branch of the art which he calls "MA80 System Arnis/Eskrima" which adds influences from Balintawak Eskrima
and Integrated Eskrima. In 2012 Randi Schea and Jim Ladis retired from the IMAF. In 2018, Brian Zawilinski, the
senior-most Master of Tapi Tapi, resigned from the IMAF and operates independently worldwide.
In many ways, the situation is analogous to what occurred in the Jeet Kune Do and American
Kenpo communities following the deaths of their popular and charismatic founders. In particular, the question of
how high-ranking arnisadors should test for higher rank has been settled by different organizations in different
ways. In some cases this has caused controversy. The art is healthy and continues to attract students.
Current practitioners of Modern Arnis or arts strongly influenced by Modern Arnis who are prominent include:
Bambit Dulay, Rene Tongson, Tim Hartman, Chuck Gauss, Ken Smith, Brian Zawilinski, Dan Anderson, Bram
Frank, Kelly Worden, Rodel Dagooc and Dieter Knuettel. Modern Arnis continues to be taught worldwide.

C. TRAINING
One of the characteristics of Filipino martial arts is the use of weapons from the very beginning of training and
Modern Arnis is no exception. The primary weapon is the rattan stick, called a cane or baston (baton), which
varies in size, but is usually about 28 inches (71 cm) in length. Both single and double stick techniques are
taught, with an emphasis on the former; unarmed defenses against the stick and against bladed weapons (which
the stick is sometimes taken to represent) are a part of the curriculum.
It is said that, originally, the cane was considered sacred by practitioners (Arnisadores), and therefore an arnis
practitioner was expected to hit his cane at the hand or forearm of his sparring partner and not at the latter's
cane. This had the advantage of being the preferred method in actual combat, referred to as "defanging the
snake", that is, making the opponent dropped his weapon so that he is less of a threat. However, it discouraged
many would-be practitioners who found this training too painful and injury-inducing. The result was that the
Filipino martial arts became in danger of dying out; in most areas of the Philippines, Japanese martial arts such
as Karate and Judo were much more popular than the indigenous systems. Remy Presas' modernization of the
training method was intended to help preserve the Filipino martial arts. He taught the method of hitting cane-on-
cane during practice, which attracted more newcomers to the art and allowed the art to be taught in the
Philippines' school system. "Defanging the snake" remains a principle of Modern Arnis, however, and in practical
application, one would typically strike the hand or arm. The technique can be used empty-handed, where it is
known as "limb destruction".
Training covers empty-hand self-defense (striking, locking, throwing, etc.) as well as the trademark single and
double stick techniques of the Filipino martial arts. Other aspects of the art include espada y daga (sword and
dagger fighting), sinawali (double stick weaving patterns), and tapi-tapi (locking drills with the stick). In addition to
partner drills, Modern Arnis includes the use of anyo (kata), solo forms both with and without the stick. Emphasis
is placed on fitting the art in with a student's previous training ("the art within your art"), smoothly reacting to
changing situations in the fight ("the flow"), and countering the opponent's attempt to counter strikes directed at
him ("tapi-tapi"). Practitioners are called arnisadors or Modern Arnis players.
In addition to its Filipino influences, elements of Judo, Shotokan Karate, and Wally Jay's Small Circle
Jujutsu appear in the system.

D. BELT RANKS
Modern Arnis uses a ranking system similar to the Dan ranks used in Karate and other Japanese systems. There
are some minor variations between organizations as to the exact number of belts. There are 10 or 11 black
belt ranks in Modern Arnis, depending on the organization. They are numbered in Tagalog:
1. Isa (pronounced as i-sah; which literally means "one")
2. Dalawa (pronounced dah-la-wah; literally "two")
3. Tatlo (pronounced as tat-loh; literally "three")
4. Apat (pronounced as Ah-pat; literally "four")
5. Lima (pronounced as li-mah;literally "five")
6. Anim (pronounced as ah-neem; literally "six")
7. Pito (pronounced as pi-toh; literally "seven")
8. Walo (pronounced as "wah-loh"; literally "eight")
9. Siyam (pronounced as si-yam or shahm; literally "nine")
 10. Sampu (pronounced as sam-pu; literally "ten")

Many groups use a "zero-degree" black belt rank as a probationary stage that comes before Isa. The actual
name of the ranks is gender-specific. For men the rank is referred to as Lakan (Tagalog for nobleman) while for
women it is referred to as Dayang (Tagalog for lady). Thus, a first degree black belt in Modern Arnis would be
referred to as either a Lakan Isa or a Dayang Isa, depending on his or her gender. The "zero-degree" rank, if
used, is referred to as simply Lakan or Dayang. The black belt is traditionally bordered with red; however, some
groups use a plain black belt.
In addition to rank, titles such as Datu, Commissioner, Master of Tapi-Tapi, Senior Master, Punong Guro, etc.,
have occasionally been granted to certain high-ranking individuals. The title Guro is typically given to
all Lakans and Dayangs.

E. ORGANIZATIONS
Modern Arnis is perpetuated worldwide and some of the countries where the art is most popular are the
Philippines, the United States, Canada, and Germany, but there are practitioners in many other nations as well.
There are numerous organizations that continue to spread the art of Modern Arnis, to include (in no particular
order) IMAFP (Philippines), DAV (Germany), WMAA (New York state), IMAF (Illinois), CSSD/SC (Florida), MA-80
(Oregon), NSI (Washington State) and TAWA (Connecticut).

Summary
This module talks about modern arnis, its history, the training on how to execute the proper performance of arnis,
the belt ranks in arnis and the organization that helped in the escalation of arnis in the world.

References
https://en.wikipedia.org/wiki/Modern_Arnis#Training
https://www.quora.com/How-effective-is-Arnis

Republic of the Philippines

ISABELA STATE UNIVERSITY
Roxas, Isabela

COLLEGE OF CRIMINAL JUSTICE EDUCATION

UNIT I.
MODULE III. DISARMING TECHNIQUES

Introduction
The knowledge of disarming someone is vitally important in order to protect yourself, and this can be done
physically and psychologically.
In the physical world, one can start with having the proper body language. You have to make a potential attacker
think twice if he really wants to face you. This alone protects you and him from any harm. But you do have to
know something about self-defense. You have to practice certain moves including disarming someone. You have
to develop muscle memory in order for it to be effective and not get you in trouble.
In the psychological realm, disarming is usually supported by knowledge and a firm stand on what is right and
wrong. This defeats anyone moving towards an argument and quickly stops a verbal attack from anybody with
any trace of reason. Although it is doubtful that this will work with an “Impossible Person.”

Objectives
a. To know the importance of learning disarming techniques;
b. To apply the different disarming techniques in actual situation;
c. To familiarize other disarming techniques that are helpful during combat.

Learning contents
a. Disarming techniques
Discussion proper
A. DISARMING TECHNIQUES
Filipino Kali Terminology
1. Agaw: to seize, disarm or take away
2. Agaw-Sandata: disarming & retrieval of the weapon
3. Bigay-Bali: lock release technique
4. Dakip: capture
5. Diin: to put pressure on
6. Dukop: to catch
7. Dukot: to reach out
8. Hulagpos: to escape from capture or restraint
9. Kalas: disengage, release or disarm
10. Kalas-Sandata: disarming technique
11. Pangilog: disarming
12. Saplet: quick disarm
13. Suplete: quick disarm

Agaw - Filipino Kali Disarms

It is nearly impossible to disarm a sword-wielding opponent if that person knows how to use a sword.

The difficulty of defending barehanded is doubled when a well-trained attacker is armed with two bladed
weapons. If, however, the opponent is not thoroughly trained and experienced in the use of his weapon, it may
be possible to take it away from him. Filipino Kali martial artists spend hours each day perfecting their skills in the
time-tested art of Agaw (disarming).

In today's increasingly violent society, the art of disarming is something every martial artist must include in his
daily training routine. Without disarming skills, the chances of surviving a fight with an armed attacker are virtually
nonexistent.

If it's virtually impossible to take a bladed weapon away from a trained opponent, why spend all this time learning
disarm techniques and theories? The answer lies in reality.

Most real-life situations provide alternatives not available in training. Option number one against an armed
assailant is to evade the initial attack (something which is quite possible), forget about taking the weapon away,
and run like heck. Option number two is to survive for those few seconds necessary to grab something like a
stick or a bottle, then continue the battle on more equal terms.

Reasoning that few street fighters are likely to be as well trained as the guys back at the martial arts studio, it
may very well be possible to survive a fight with an armed opponent and perhaps even take his weapon away. In
the final analysis, it's apparent that surviving the "impossible" may not be impossible after all.

1. DEFANGING THE SNAKE

"Defanging the snake" is a technique used in Filipino Kali to effectively contain and stop an incoming weapon
attack. The concept is simple, directly destroy the hands by hitting it and thereby containing the attack. This
technique comes in other names such as "displacement", by that, we mean instead of hitting the weapon or stick
to block, you "displace" the block to hit the hands instead. Another term that is commonly used is "praksyon" or
fraction, the term is derived from the speed that is used to deliver the defanging strike, that is, a fraction of a
section. These means that in order to hit the hands when an attack is deployed, you should hit faster than the
attacker.

Tutorial video:
https://www.youtube.com/watch?v=H_k3Idvpy5M

2. SNAKE
The first Filipino Kali disarm method is known as the "snake". It works only against non-bladed weapons such as
a stick or pole. The snake is performed by weaving the arm around the opponent's arm and pinning it to the
body. This forces the weapon free, and it usually ends up in the hands of the defender.

Tutorial video:
https://www.youtube.com/watch?v=YHsT749jzvs

3. VINE
Next on the list of Filipino Kali disarms is the "vine", which is similar to the snake in that it too requires the
defender to apply leverage to the opponent's arm and weapon. The difference is that the vine twists in the
opposite direction of the snake and often sends the weapon flying away.

Tutorial video:
https://www.youtube.com/watch?v=wTYCE1kCg4Y

4. STRIP
The "strip" is the third major disarm technique of Filipino Kali. It relies on leverage and actually strips the weapon
out of the aggressor's hand. The strip is quick and effective.

Tutorial video:
https://www.youtube.com/watch?v=UmRcQE6yoCw

5. OTHER DISARMING TECHNIQUES

Tutorial videos:
https://www.youtube.com/watch?v=rQNNMHQ-0ig
https://www.youtube.com/watch?v=Ol6PQc6D-jg
https://www.youtube.com/watch?v=CQRyXhWD4eM

Summary
This module discusses the different disarming techniques that could the learners defend themselves in case of
emergency. Some of the disarming techniques are the snake, vine strip, among others. Videos of some other
disarming techniques are also provided.

References
https://blackbeltwiki.com/eskrima-disarming-techniques (complete learning about arnis)
http://cc-kfc.com/CCKFC/snake-disarm/
www.youtube.com
https://brainly.ph/question/2146715#:~:text=The%20knowledge%20of%20disarming%20someone,really
%20wants%20to%20face%20you.