Chapter I – Concept and History of Arnis
A broken straight line is drawn 1 meter before each
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
All lines of the playing surface are 5.08 cm and must be
of different color from that of the floor and other lines
previously drawn for other purposes
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
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 Chapter III- Blocking and Striking System
arm extended downward at the side, stick horizontally
facing forward. Swing R arm upward over head. As you 12 STRIKING POINTS
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. 1. RIGHT TEMPLE
Simultaneous Two hand up and Down strike – Hold
sticks with normal grip and resting on the shoulders. 2. LEFT TEMPLE
Forcefully bring both sticks downward and upward.
3. RIGHT EYE
COURTESY BOW
Part of the rituals observed among martial arts
enthusiasts is the manifestation of courtesy for one’s 4. LEFT EYE
opponent or sparring partner, usually done through a
gesture of bowing. In Arnis, bowing is done in this 5. CROWN STRIKE
manner: assume a standing position similar to those
assume by military personnel or soldier when they are in 6. RIGHT SHOULDER
formation, standing at attention with the heels together
at an angle of 45degrees. The hand holds the stick(s) at 7. LEFT SHOULDER
both ends. In this position, bow the head forward the
neck return the head to position and simultaneously 8. RIGHT KNEE
extend the R hand and sideways to the right with the
stick pointing upward, and place the L hand, open palm 9. LEFT CHEST
and fingers extended, on the right breast return to
starting position. 10. ABDOMEN

STANCES 11. RIGHT CHEST

1. ATTENTION OR FORMAL STANCE – Stand at
attention like soldier in line formation, but relaxed, with 12. RIGHT KNEE
the heels together and the feet pointing at an angle of
45 degrees. The hands are in front the thighs holding STRIKING AND BLOCKING TECHNIQUES
the stick at both ends.
2. OPEN LEG STANCE – same as above, but with lags STRIKING
about shoulder width apart. 1. Up and down
3. RIGHT AND LEFT FROWARD OR FIGHTING STANCE 2. Banda Y Banda
– Slide or step r foot with the knee bent, L leg straight at 3. Rompida
the back; weight is greater on the front leg because the 4. Abanico Corto
trunk in slightly bent forward. 5. Abanico Largo
4. RIGHT AND LEFT BACK WARD STANCES – R leg is 6. Figure 8
stepped backward, shifting the weight on R foot and 7. Cross Strike
trunk bent slightly backward; L leg slightly bent in front. 8. Rainbow Strike
5. RIGHT AND LEFT CAT STANCE – This executed 9. Double Sero
from the backward stance position by merely raising the 10. Doblete
front foot off the ground so that only the toe is 11. Hirada
supported the foot. 12. Vertical Strike
6. STRADDLE STANCE – This is similar to open leg
stance, except that the feet are spread much wider BLOCKING
knees bent and the weight evenly distributed on both 1. RAISING BLOCK – With the blocking cane parallel
feet. Arms and hands in fighting stance position. to the ground, the block is executed in a raising upward
direction.
2. REVERSE DOWNWARD BLOCK – With the blocking REDONDA – is one of the traditional forms of striking
cane coming from the upper left position, the block is wherein all the blows are directed to the head or crown.
delivered downward in a diagonal direction. This block STEPS
is effective against abdomen thrust and right or left 1. Initial Position – Right Forward Stance, with L stick
knee strike. under the R armpit and R arm (with elbows bent)
3. INSIDE BLOCK – With the blocking cane holding the stick pointing upward or backward.
perpendicular to the ground, the striking cane of the 2. R HAND EXECUTES STRIKING TECHNIQUE No. 1 (Left
opponent is parried to the right. This block is applied temple) and continue moving the R arm across the body
against right temple strike, right shoulder strike and to the side until the stick is over the L shoulder
right chest thrust. 3. R HAND EXECUTES STRIKING TECHNIQUE No. 8 (head
4. DOWNWARD BLOCK – With the blocking cane or Crown) by twisting the L forearm outward left to
coming from the upper right position, the block is bring the L arm to the left side, at this position, both
executed in a diagonal direction. This block is effective arms are on the left side, the R arm over the shoulder,
against abdomen thrust and left knee strike. with both sticks pointing backward;
5. OUTSIDE BLOCK –With the blocking cane 4. SIMULTANEOUSLY BRING THE RIGHT STICK UNDER
perpendicular to the ground, the sticking cane of the THE L ARMPIT, AND THE L HAND EXECUTES STRIKING
opponent is parried to the left. This is effective against TECHNIQUE No. 2 (left temple) and continue moving the
left temple strike, left shoulder and chest thrust. 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
Chapter IV- Sinawali and Redonda the R arm to the right side. At this position, both arms
are on the right side, the L arm over the R shoulder,
SINAWALI – comes from the Filipino term “sawali” with both sticks pointing backward.
which refers to the pattern used in weaving bamboos
which have been spits lengthwise, and the resulting 6. REPEAT MOVING IN DIFFERENT DIRECTION.
frame is used as walls of bamboo house.
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.