Modern Arnis History 

Arnis, as a martial art, was spawned in Philippine soil. It was known in ancient Philippines as kali, an ancient Malayan
word that implies a large bladed weapon longer than a knife. This art was practiced primarily for self-defense by the pre-
Spanish Filipinos who were noted for their friendly nature and legendary hospitality.

The art of hand-to-hand combat has always been an integral part of the Filipino in his long, turbulent, and bloody history.
By force of necessity and self-preservation he became an expert in fighting with his hands, either bare or with a stick and
a bladed weapon. Even before the introduction of the bladed weapon, the early Filipinos were already a fighting people
using the bow and arrow or the longbow. The primitive Negritos, coming from Central Asia during prehistoric times, were
experts in these weapons.

Arnis de mano is the best known and the most systematic fighting art in the Philippines. It is a perfected art after a long
historical development from the kali systems designed to train the student to defend himself against armed or unarmed
attacks. Arnis, as it is commonly called, has also been known in other dialects as estacada among the Tagalog provinces
and estoque or fraile in other regions.

As a fighting art, Arnis has three forms of play. They are the espada y daga ("sword and dagger") in which a long wooden
sword and a short wooden dagger is used; the solo baston (single stick) in a single long muton or baston (wooden stick or
rattan cane hardened by drying or heating) is used; and the sinawali, a native term applied because the intricate
movements of the two muton resemble the weave of a sawali (criss-cross fashion), the bamboo splits weave pattern used
in walling and matting.

The lives of Filipino heroes are linked with the awesome power of the martial art of Arnis. They triumphantly waged their
heroic battles for freedom and liberty as a testimony of the power and effectiveness of Arnis. Their successful stand
against their superiorly armed adversaries in mortal combat in the arena of battle is now held in immortal inviolability by
history of the 16th century. Kali (Arnis) became so popular during the early days that it was known as the sport of kings
and of the members of the royal blood. The first and foremost experts of the art were the rajah and maharlika of the
Visayas and Tagalog regions, Amandakwa in Pangasinan, and Baruwang of the Cagayan Valley region.

The art was not confined to the elite alone. Ordinary Filipinos practiced kali not only for self-defense but also for
entertainment. It was the most awaited entertainment feature in fiestas and other gatherings. Kali was a standard fighting
technique in hand-to-hand combat of the Filipinos when they revolted against Spain. Using the itak or bolo the
Katipuneros engaged the Spanish soldiers in savage skirmishes. History states that Bonifacio brandished a bolo, a
standard weapon in kali in his famous "Cry of Balintawak." However, kali declined in popularity as early as 1596 when
the Spanish authorities discouraged the practice of the art (it was eventually banned in 1764). The Spaniards must have
considered the art lethal or dangerous since they decreed that natives found practicing kali would be
considered Tulisanes or outlaws.
In 1637, the friars introduced the moro-moro, a socio-religious play dramatizing the triumph of the Christian Spaniards
over the Muslim Moors of Granada, Spain. The play called for the use of fighting techniques using a sword or similar
bladed weapon. With the introduction of the moro-moro, the Filipinos again had a chance to practice their art, thus interest
in kaliwas revived. In the play, Spanish soldiers fighting for Christianity were supposed to wear arnes, a Spanish word for
the English harness, the colorful trappings worn by medieval soldiers. From the word arnes came the present Arnis. In
1853, the word kali was completely replaced by Arnis.

Arnis today has experienced changes in the weapons used. Although the art still makes use of the itak or bolo now and
then, it has relied considerably on the use of the cane as a self-defense weapon. This is not because the cane is less deadly
than bladed weapons but mainly because in later years, Arnis is engaged in more as a sport. Much of the antiquated
techniques of the old Arnis have been modernized to avoid injury to students. More importantly, discipline and other
moral values are impressed upon the students to strengthen not only the body but the spirit as well.

From: http://www.combatscience.net/history-of-arnis/ :

The Philippines is an island nation rich in both culture and history. The Filipino martial art of Arnis/Kali/Escrima has
contributed to both the history and diversity of the Philippines. There are an abundance of styles and systems of
Arnis/Kali/Escrima that are taught throughout the world to this day, that have survived and developed throughout the
different regions, families and teachers who have preserved what is sometimes called a “complete” martial art.

Arnis/Kali/Escrima was originally developed by the people native to the islands using simple impact and edged weapons
such as kampilans, rattan, swords, daggers, spears and other assorted weaponry for combat and self defense. These
weapons were also sometimes used as farm implements.

The arrival of Ferdinand Magellan’s force in 1521 was met in battle with a group of islanders, led by Raja Lapu Lapu,
who defeated Magellan using only a bladed weapon. Magellan’s armored and musket bearing conquistadors were
overpowered by the fierce fighters and retreated. The Spanish returned in the 1570’s and this time the Philippines came
under Spanish rule unable to contend with the modern weaponry the Spanish used. The practice of Arnis/Kali/Escrima
was prohibited, but continued and was preserved through native ritual dance, performance, and mock battles. Thus the arts
were passed down in families from generation to generation, honing their skill, speed, accuracy and agility.

The terms Arnis, Kali and Escrima are all used to refer to the Filipino martial arts. There has been some confusion as to
what word refers to which part of the martial art. It is believed that Arnis, Kali, and Escrima are all a part of the same art
and depending on the location, dialect and type of training taught. Also, any of the three names may apply to a certain part
of training. One interpretation is that Kali is the mother art of Arnis and Escrima. Arnis focuses on the knife, including
dagger, sword, and any other form of bladed weapon. Escrima is based on the baston or stick. It has also become very
popular in the sport aspect of full contact stick fighting.

To this day Arnis/Kali/Escrima has retained a strong Spanish influence not only in the names and titles used in training,
but in the impact it has had on Filipino culture. Filipino martial arts continue to encompass a large range of weapons
training and hand-to-hand combat, enriching the culture of Filipino society. Thus the reference to it being a “complete”
martial art.
From http://www.gottalightmyfire.com/blog/gunas/a-brief-history-of-arnis :

A Brief History Of Arnis.

Before reading this, I think it would be remiss not to mention that the exact origin of the art of Arnis remains
unknown. What is written here has been pieced together from various texts and engaging conversations about the
style. As with all things in history, a lot can be misrepresented or even left out. Therefore, take this historical
depiction with a grain of salt, and just know that this is a general understanding derived from various traditions
taught around the Philippines. That being said, here is my understanding:

Initially employing sticks and bow and arrows for combat, the native Filipino were first introduced to the long bladed
weapon by the migrating Malays in 200B.C. From this initial encounter, the Filipinos began utilizing the long blade
not only for its effectiveness as a farming tool, but for combat as well. This devised method of knife fighting was
known as kalis (later reduced to kali); a combative art specializing in all manners of bladed weaponry.

Passed down only to certain Filipino classes, similar to that of the Samurai in Japan, kali was a highly effective
weaponized fighting system that helped aid the Filipino people in many defences against foreign invaders.
Historically, it can be said that in 1521, during the landing of Ferdinand Magellan in Cebu, the greatest kali warrior of
the time, Raja (chief) Lapu Lapu, displayed the true effectiveness of kali when he struck down Magellan with two
fatal blows — one to the knee and one to the neck — warding off the impending Spanish invasion.

43 years later, in 1564, the Spanish returned to the Philippines; this time landing in Abuyog, Leyte. Led by Miguel
Lopez de Legaspi, the conquistadors expected another violent encounter. However, they were met by the island chief,
Malitik, and his son, Kamutunan, who excitedly welcomed the conquistadors with great hospitality, inviting Legaspi
and his men to dine with them and witness a display of the might of kali. During this time, kali had transitioned from
a purely martial system to becoming a performance art, complete with choreographed arrangement designed to
impress royalty. However, these displays were often very dangerous, with most accidents resulting in death.

Building upon this relationship with the natives, the Spanish eventually colonized a large majority of the Philippines,
leaving the art of kali to be mostly used for entertainment purposes; commonly referring to it as 'the sport of kings'.
During Philippines' rule by the Spanish, the art of kali became highly influenced by its culture, taking on a more
fencing-like style and expanding into a derivative known as Espada y daga (sword and dagger). 

It should be noted, however, that although most of the Philippines was colonized and occupied by many different
cultures (from the Japanese to the Americans) the people of Mindanao and Sulu in the Philippines have remained true
experts in the original art of kali, able to ward off all attempts at invasion through the use of  the art; alluding to why
these two regions are the only areas of the Philippines still predominantly Muslim — the first religion spread
throughout the Philippines by the migrating Malays who introduced the long bladed weapon to the Filipinos.

As time progressed, the Spanish became overly concerned with the potential for revolt by the Filipino people;
resulting in the ban of all practice and performance of kali with bladed weapons in 1764. This was likely established
as a measure to keep the majority of Filipino people unskilled in the art of combat, as kali had become a highly
popularized pastime across the country. Due to this ban, Filipino people began trading in their bladed weapons for the
rattan (a type of vine with a weight lighter than most wood and a density thicker than bone). Kali exhibitions were
then performed with a stick and colourful armour was implemented to protect performers during shows. These
colourful pieces of armour were known as arnes, the Spanish word for harness, which later became the new name for
the style; marking its transition from kali  (knife fighting) to arnes  (stick fighting). Additionally, due to the
widespread outlaw of bladed weapons for kali practice and performances, the Filipino people began carrying
concealed weapons, mostly daggers, leading to the development of the style Olisi y baraw (stick and dagger).

Eventually, performers ended up doing away with the harness altogether, and by 1853 the word kali was completely
replaced by the new term, Arnis  (or Eskrima), a modification of the term arnes. 

Many years afterward, during various attempts at propagating the new style while both losing and gaining favour
within the Filipino community, it wasn’t until 1969 when Remy Amador Presas established Arnis within the physical
education system of the Philippines as a viable means for military practice and maintaining cultural identity; leading
to what is now known as Modern Arnis— a style more based on competition and performances. Typically, Modern
Arnis is practiced with two rattan, one in each hand, and involves many intricate partner arrangements known
as sinawali (weaving).

Though the style has flourished within the educational system of today's contemporary Philippines, many practitioners
of the original art of Arnis have derived their own expressions of the style — from Balintawak, to Tapi Tapi, to Doce
Pares — though made most-popular, combatively, by the Cañete family in Cebu. However, these are stories for
another time…