as a martial art, was spawned in the Philippine soil. It was known in ancient Philippines as Kali , an ancient Malayan word which implies a large bladed weapon longer than a knife.
This art was practiced primarily to self-defence by the pre-Spanish Filipinos who were noted for their friendly nature and legendary hospitality.
must have been derived from tjakalele which is a native fencing in Indonesia. The linguistic kinship is not without basis considering that what is now Indonesia was once, in ancient times a part of the Sri Vishayan and Madjapahit empires whose sphere of influence reached the Philippines.
kali was taught to children in a school called bothoan called bothoan as part of their education.
However, about 200 B.C., the Malaya migrated to the Philippines and brought with them the long knife. Their coming enriched the Filipino arsenal in the fighting arts. Besides their stick, bows and arrows, the early Filipinos were now also experts in the use of bladed weapons and daggers.
As testimony of the Muslims’ love for the bladed weapon is their variety of styles and types of knives which includes the kris kris,, bolo bolo,, kalis kalis,, barong barong,, gunong,, kampila gunong kampila,, gayang gayang,, pira pira,, punal punal,, itak , banjal,, bangkcon banjal bangkcon,, lahot and the panabas panabas..
Inter-regional Inter-regional contact and influence brought about the trade and travel linked the Muslim fighting art with the bladed weapon in the South with the Kalis Kalis,, the forerunner if Arnis of the Tagalogs, in the north. Kalis Kalis,, a term which was shortened for Kali for convenience, is also a fighting art which uses a long-bladed weapon or knife, stick or cane and dagger.
Arnis de mano
is the best known and the most systematic fighting art in the Philippines. It si perfected art after a long historical development from the Kali systems designed to train the students to defend himself against armed or unarmed attacks. Arnis, as it is commonly called, has been also known in the other dialects as estocada among the Tagalog provinces and estoque or fraile in other regions.
Three Forms of Play Espada y daga - (sword and dagger) in which a long
wooden sword and a short wooden dagger is used Solo baston (single stick) in which a single long
or baston (wooden stick or rattan cane hardened by drying or heating) is used muton
sinawali, a native term applied because the intricate
movements of the two muton resemble the weave of a sinawali (crisscross fashion), the bamboo split weave pattern used in walling or matting.
Arnis is a close-combat affair, thus skill in parrying and striking must be developed with utmost dexterity. The expert use of the leg and the leg-hip fulcrum maneuver to outbalance and throw an opponent must be perfect. Unlike other martial arts which: make use of complex body maneuvers. Arnis as it was then and as it is now in its modern form, puts emphasis on the use of the stick and the hand-arm movements.
Three Traditional Training Methods
Muestrasion or Pandlag - which teaches the artistic execution of the swinging movements and stroking for offense and defense in repetitive drills
Sangga or Patama or Sombra Tabak - wherein striking, thrusting and parrying in a prearrange manner is taught
Larga Muton or Labanang Totohanan - in which two trainees engage in a free practice trying to outmaneuver each other using all their skills
It would not be far-fetched to surmise that one of the earliest Filipino heroes, Lapu-lapu Lapu-lapu,, was a kali (Arnis) expert. Pigafetta,, Magellan's chronicler and historian, recorded that on Pigafetta April 27, 1521, 1521, Lapu-lapu felled the great Spanish warrior with a bladed weapon thus making a Filipino's first victorious stand against a foreign invader. Pigaletta also recorded that many of the natives carried a pointed short hard wood stick which had been further hardened by the fire treatment and used in fighting. This stick may have been the forerunner of the present muton or baston in arnis.
In l564 l564,, another conquistador, Miguel Lopez de Legaspi, Legaspi , landed in Abuyog Abuyog,, Leyte where they were hospitably met by the chief of the island Malitik , and his son Kamutunan Kamutunan.. Legaspi and his men were treated to feast and shown a sample of early Filipinos' skill in combat with kali as the best part of the show. Legaspi was given the same hospitality and display of Filipino dexterity in arms when they visited Limasawa Limasawa,, (Limasagua) and Camiging (Camiguing), the latter visit occurring in March 11, 1564. 1564. During both visits, the Spaniards 'were wined, dined, and shown the Filipinos' skill in kali (arnis).
When Legaspi and his men landed in Cebu in April 27, 1564, 1564, they were met by the native chief Tupas and his warriors. Again. they were treated hospitably and shown the Filipinos' skill in arms.
Legaspi was so impressed with the Filipinos' skill in combat, especially in kali, he decided to befriend them fully. The bond between the two leaders grew so strong that on June 4, 1564, 1564, chief Tupas entered the folds of Christianity. He was named "Felipe " Felipe"" in honor of King Philip of Spain.
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.
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 o f the ultimate seconds in the game but beyond the canvas and the arena of competition. The martial art of arnis, it should be remembered, is a good medium of developing man’s 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
STANCES
1
2
S traddle traddle s tance- performed by sliding the left foot forward. The toe should be point forward. (F1 and 2) F o rw rw a rd S t a nc nc e - performed by sliding the foot forward. The toe should be point forward. The front leg should be bent while the leg at the back should be straight (f 3). It can be performed either using the left foot in the left forward stance (f 3a) or the right forward stance (f 3b).
3
3a
3b
4b
4a
5
6
B a c k le l e a n in in g s t a nc n c e - put one leg foot forward and let the toe of your forward touch the ground at the same time pivot at the back. It can be performed using either the left or the right (f 4a & 4b). Forw Forw ar ard d Leaning Leanin g S tance - side Direction- performed by sliding the foot to the side with bended knee, toes should point sideward. The other leg must be straight. Similar to forward stance but the direction is different (f 5). Forw Forw ar ard d Leaning Leanin g S tance - Faci F acing ng the Back- performed like in forward stance but the direction of the body is at the back. However in the eyes are focused to the opponent (f 6).
7
C ro r o s s S t a n c e - performed by positioning the other leg over the
Sinawali
Commonly reffered to as double baston. Sinawali is a major fighting system of arnis. From the ferthest point of the north to the southern part of the Philippines sinawali is regarded as one of the most effective system of Filipino Fighting. A regular training of the art develop speed and strength. History reveals that the system is widely used during thr Spanish era by the Filipino Revolutionaries against the foreign masters. The tem "sinawali" is taken from the Filipino word sanawali, a native mat usually used as well as fence or roofings. the term sinawali means "to weave". The technique is called as such because of the entricate movemant of the art.
Single Sinawali From the initial position (f 1) make a bow (f 2) then raise the c ane (f 3). Swing the cane forward to strike the opponent's temple (f 4). Withdraw the cane (f 5)
F 1
F
F4
F2
F5
then swing it downward to strike the opponent's knee (f 6). From figure 6, withdraw the cane and position it above the right shoulder then strike the opponent using the other cane (f 7) withdraw the cane (f 8) then swing it downward to strike the opponent's knee (f 9). Single sinawali can be performed continuously.
F6
F8
F7
F9
A DV A N C E S IN G LE SINAWALI
S tart tarting ing position: Consult Consult instructions a.1 of S ingle S inawali (f1 & f2)
Strike you opponent's right temple
Move to forward stance by sliding the right foot forward. Position both hands at s houlder level. The tip of the cane points upward. (f3)
Withdraw right hand passing the left shoulder (f 7) to strike the opponent's knee (f 5).
Withdraw right hand and position it above the left shoulder (f 6).
Then strike the opponent's temple (f 7).
Withdraw left hand and position it above the right shoulder (f 10)
Withdraw the right hand and position it above the right shoulder,at the same time strike the opponent's left temple using the left cane (f 8).
Then swing it downward to strike the opponent's knee (f 11).
Withdraw the left hand and position it above the right shoulder (f 9)
Then strike the opponent's right temple with the left cane (f 12).
X S IN A WA LI
From starting starting position (f 1)
Swing the cane forward to strike the opponent's Withdraw the cane and position it temple (f 2). below the left armpit then strike the opponent's temple using the left cane (f 3).
Withdraw the cane and position it above the right shoulder then swing the other cane downward to strike the opponent's knee (f 4)
Withdraw the right cane and position it behind the right ear then swing the left cane d ownward to strike the opponent's knee (f 5). "X"
E V E R S E S IN A WA LI
1
2
3 3
4
5
6
a. 1. Starting position: Make a bow fig. 1 & 2, then position both hand above the right shoulder. The tip of the of the cane should point backward. (f 3) b. From fig. 3, swing your right hand downward to srike the opponent's knee, closed palm should face upward. (fig. 4) c. From fig. 4, withdraw right hand and position it below the left armpit. The tip o f the cane points backward. At the same time swing the left cane downward to strike the opponent's knee. (fig. 5) d. From fig. 5, withdraw the left hand and position it above the left shoulder. The tip of the cane points backward and closed palm faces upward. At the same time swing the right cane downward to strike the opponent's knee. (fig. 6)
7 e. From fig. 6, withdraw the right hand and position it above the left shoulder at the same time swing the left cane downward to strike the opponent's knee. (fig. 7) f. From fig. 7, withdraw the left cane and position it below the right armpit at the same time swing the right cane downward to strike the opponent's knee. (fig. 8) g. From fig. 8, withdraw right hand and position it above the right shoulder. The tip of the cane points backward. At the same time swing the left hand downward to strike the opponent's knee. (fig. 9)
8
9
D OU B LE S IN A WA LI
Move to right forward stance by sliding your right foot forward, at the same tim e position the right hand holding the cane above the right shoulder while the left hand below the armpit. Both canes are pointing backward. (fig. 1)
From fig.1, swing your right hand holding the cane to strike the opponent's left shoulder. (fig. 2)
From fig. 2, withdraw your right hand and position it above your left shoulder, From fig. 3, withdraw your left your left hand and position it above your left shoulder. palm facing outside and cane pointing backward. At the sam e time strike your The tip of the cane points backward, at the same time strike the opponent's opponent's knee using the left hand holding the cane. (fig. 3) right temple by swinging the right hand holding the cane. (fig. 4)
From fig. 4, withdraw the right hand holding the cane and position it under the armpit. The tip of the cane points backward. At the same time swing the left hand holding the cane and strike the opponent's right temple. Closed palm facing forward. ( fig. 5)
From fig. 5, withdraw the left hand holding the cane and position it above the right shoulder. The tip of the c ane is pointing backward. At the same tim e swing your right cane downward to strike the opponent's knee. Closed palm facing downward. (fig. 6)
From fig. 6, withdraw the right hand holding the cane and posit ion it above the right shoulder. The tip of the ca ne points backward. At the same time swing left hand holding the cane to strike the opponent's right temple. ( fig. 7)
D O U B L E A L L -U P SINAWALI
D O U B L E a ll l ld o w n S in a w a li
PERIPHERAL SINAWALI
P E R IP H E R A L A LLU P S IN A WA LI
P E R I P H E R A L A L L -D -D O W N SINAWALI
A DV A N C E D O U B LE SINAWALI
From right forward stance, position the left cane under the right armpit while the right cane over the right shoulder (f 1).
Withdraw the left cane and position it below the left armpit the swing
Swing the right cane forward to strike the opponent's temple (f 2).
Withdraw the right cane and position it above the left shoulder then
Withdraw the right cane and position it above the left shoulder then swing the left cane downward (f 3).
Withdraw left cane and position it above the left shoulder then
Withdraw right cane and position it under the left armpit then strike the opponent's temple using the left cane (f 7).
Withdraw the left cane and position it above the right shoulder then swing the left cane downward (f 8)
Withdraw the left cane and position it above the right shoulder then swing the right cane downward (f 10).
Withdraw right cane and position it under the left armpit then strike the opponent's
Withdraw the right cane and position it above the right shoulder then strike the opponent's
Striking • • • • • • • • • • • • •
Attacking position: From an open stance, move left foot forward, put hands-on-guard position. a. LEFT HAND STRIKE Attacker moves right foot forward, prepares for a left temple strike by positioning the hand holding the cane at the the back of the ear then swing the the cane forward to strike the the opponent's opponent's left left temple. The closed palm should face upward. b. RIGHT TEMPLE TEMP LE STRIKE S TRIKE 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. c. LEFT LEF T SHOULDER SHOULDER STRIKE S TRIKE 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. d. RIGHT SHOULDER S TRIKE 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. e. 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 f. LEFT CHEST C HEST ATTACK From the initial position , move right foot forward, draw back hand holding the 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.
• • • • • • • • • • • •
g. RIGHT CHEST CHES T 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. h. RIGHT KNEE ATTACK ATTAC K 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. i. LEFT LEF T 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. j. j. LEFT EY E 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. k. RIGHT RIGHT EYE E YE 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. l. CROWN CR OWN STRIKE STR IKE 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.
6 strikes
8 strike
12 strikes
Blockings
I ns n s id e B lo c k Situation: If the attacker delivers a right shoulder strike
Defender blocks attacker’s blows with inside block
With striking..
Defender blocks attacker’s blows with inside block then grab opponent’s opponent’s cane using the the left hand. Defender Defender pulls the attacker’s cane towards the right side of the body, position the hand holding the cane above the right shoulder then deliver a left temple strike.
With butting
Defender blocks attacker’s blows with inside block. then grab opponent’s cane using the left hand. Defender pulls the attacker’s cane towards the right side of the body, position the hand holding the cane above the right shoulder then deliver a left temple strike. Then bring back the hand of the cane above the right shoulder then strike opponent’s face using the butt end of the cane.
Outside Block Situation: if the attacker delivers left shoulder attack.
Defender block attacker’s blow with outside block
With striking..
Defender block attacker’s blow with outside block then grab the opponent’s cane using the left hand Then pull attacker’s cane at the same time strike the ribs …
With butting
Defender block attacker’s blow with outside block then grab the opponent’s cane using the left hand Then pull attacker’s cane at the same time strike the ribs. Draw back hand holding the cane, then use the butt of the cane to strike opponent’s temple
DOWNWARD-OUTWARD BLOCK Situation: Attacker delivers an inside knee attack
Defender blocks attacker’s blow downwardoutward block
With striking
Defender blocks attacker’s blow downwardoutward blockt, then grabs opponent’s cane using us ing the the left hand. Pull P ull the the att attacker’s cane cane outside then position the hand holding the cane above the right shoulder. Then deliver a left temple strike.
With Butting
Defender blocks attacker’s blow downward-outward block, then grabs opponent’s opponent’s cane using using the the left hand. hand. P Pull ull the the attacker’s cane outside then position the hand holding the cane above the right shoulder. Then deliver a left temple strike. Draw back the cane then use the butt end of the cane to strike the opponent’s face.
DOWNWARD-INWARD BLOCK Situation: If the attacker delivers a downward-outside strike.
Defender blocks attacker’s blow with downward-inside block
With striking..
Defender blocks attacker’s blow with downward-inside block. Grab attacker’s cane using the left hand at the same time, draws out the hand holding the cane and posit position it above the the right shoulder. houlder. P ull attacker’s attacker’s cane cane to the right side of the body to break attacker’s balance, at the same time, swing the cane towards the opponent’s right temple.
With butting..
Defender blocks attacker’s blow with downward-inside block. Grab attacker’s cane using the left hand at the same time, draws out the hand holding the cane and posit position it above the the right shoulder. houlder. P ull attacker’s attacker’s cane cane to the right side of the body to break attacker’s balance, at the same time, swing the cane towards the opponent’s right temple. Withdraw the hand holding the cane then swing it down to strike opponent’s face using the butt end of the cane.
UPW UP WARD/ ARD/ RISIN ISING G BLOCK BLOCK Situation: Attacker delivers a crown strike.
Defender blocks attacker’s blow with upward/rising block
With striking
Defender blocks attacker’s blow with upward/rising block, then pull down breaking the balance of the opponent at the same time bring the hand holding the cane above the right shoulder. Then swing the cane downward to strike the attacker’s left temple.
With butting
Defender blocks attacker’s blow with upward/rising block, then pull down breaking the balance of the opponent at the same time bring the hand holding the cane above the right shoulder. Then swing the cane downward to strike the attacker’s left temple. Draw back cane then strike attacker’s face using the butt end of the cane.
VE RTIC TICAL BLOCK BLOCK Situation: Attacker delivers a thrust using the vertical block
With strike
Grasp attacker’s cane using the left hand then pull it to break the balance of the opponent at the same time withdraw the hand holding the cane and position it above the left shoulder, then swing the cane forward the opponent’s right temple
With butting
Grasp attacker’s cane using the left hand then pull it to break the balance of the opponent at the same time withdraw the hand holding the cane and position it above the left shoulder, then swing the cane forward the opponent’s right temple. Withdraw the hand holding the cane, then swing it back to strike opponent’s face using the butt end of the cane.
