SOUTH EAST ASIAN INSTITUTE OF TECHNOLOGY, INC.

National Highway, Crossing Rubber, Tupi, South Cotabato

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LEARNING MODULE
FOR
PE113: INDIVIDUAL-DUAL SPORTS

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 COURSE OUTLINE

COURSE CODE : PE113

TITLE : INDIVIDUAL-DUAL SPORTS
TARGET POPULATION : ALL PE113
INSTRUCTOR : MR. JASON MICHAEL M. NAVAL
MR. WILLIE I. PARRENAS JR.
MR. RENE RAMOS JR, LPT
MS. NORSISA D. SADAVAO, LPT
MS. CHERISH MAE ARIOLA, LPT
MRS. IRIS ARROYO

Overview:

Physical education helps students develop physical skills and confidence it develops fitness
and fosters the desire for lifelong participation in physical activity. Physical education classes
teach the health benefits of regular exercise and healthy food choices along with the risks of
inactivity and poor diet. Students of all ages might be asked to dedicate themselves to making
a few small improvements in diet and exercise for a period of six weeks. They would be
expected to journal about how they feel during the process and reflect on how these changes
affect performance and mood. Physical education also helps students develop social skills. For
example, team sports help them learn to respect others, contribute to a team goal, and
socialize as a productive member of a team.

Objectives:

General Objective

To apply and demonstrate the basic skills, rules and regulation in individual-dual sports

The following are the topics to be discussed

Week 13 ARNIS HISTORY

Week 14 FUNDAMENTAL SKILLS IN ARNIS
Week 15 STANCE AND POSTURE
Week 16 TWELVE BASIC STRIKING POINTS/DEFENSE
Week 17 QUALITIES OF A GOOD ARNIS PLAYER
Week 18 EXAM

Instruction to the Learners

Each chapter in this module contains a major lesson, the units are characterized by
continuity, and are arranged in such a manner that the present unit is related to the next unit.
For this reason, you are advised to read this module. After each unit, there are exercises to be
given. Submission of task given will be every Monday during your scheduled class hour.

GETTING STARTED:

Do you think that Physical education is important in your life? Do you need to be physically fit?
Is there any importance in engaging through sports?

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 WEEK 13

HISTORY

The races that settled in the Philippines came from India, Southwest Asia, China and
Indonesia. The diversity of these cultures blended over the centuries, and produced common
methods for employing sharp swords, daggers and fire-hardened sticks in combat. One of the
earliest known forms was called “tjakele” (Indonesian fencing) or later referred to as “kali”.
When the Spanish invaded the Philippines, they required firearms to subdue the native
population. The fighting skills of native warriors nearly defeated them. The Spanish soldiers
dubbed the native stick and bladed fighting style “escrima” also called “eskrima” (skirmish).
Similar to the haitori ban on the private ownership of arms that the Satsuma put on the
Okinawans, Spanish subjugation of the Philippines prompted the practice of Escrima to be
outlawed as well. As was so common in the history of fighting arts across the world, the
fighting arts of Kali were similarly preserved in secret. The natives accomplished the
preservation of their art by disguising its practice in the form of dances or mock battles staged
in religious plays known as “moro-moro”.
The plays featured Filipinos, sometimes costumed as Spanish soldiers, wearing “arnes” the
harness worn during medieval times for armor. The blade-fighting forms and footwork were
identical to the used in escrima. The word “arnes” came to be pronounced “arnis”, and the
name stuck.
Arnis incorporates three related methods: “espada y daga” (sword and dagger), “solo
baston” (single stick); and “sinawali” (to weave), which uses two sticks of equal length, twirled
in “weaving” fashion for blocking and striking, (term is derived from sawali, the bamboo matting
woven in the Philippines.
Arnis also known as Kali, escrima, baston, etc. it is a complete martial art system,
encompassing weapons training and empty-hand-self-defense. It includes training in single
sticks techniques (solo baston), double stick teachniques (double baston), stick and knife or

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dagger techniques (espada y daga) and knife techniques (daga). Some styles may include
staff and spear (sibat) training in their curriculum. Others will include the practice of medium to
long bladed weapons (bolo) in their repertoire. Many styles had some form of empty hand
combat, encompassing striking, kicking, locking, throwing and even choking methods. These
are usually taught when the practitioner has demonstrated a reasonable degree of proficiency
with the weapons on his style of arnis. Different arnis styles from different parts of the country,
may emphasize different areas of the training methods noted above. The term arnis is believe
to be a Tagalog corruptions of the Spanish terms arnes, or harness, a reference to the
decorations worn by the early Filipinos. Kali is another term used to refer to the same kind of
martial arts. Different provinces may have different names for arnis, such as baston, and
kaliradman (Ilonggo, Bisaya), pagkalikali (Ibanag) and kalirongan (Pangasinan). These are
only a few examples of the terms already recorded in different sources.
With such a comprehensive system of martial arts being taught and promoted in the
different areas of the country, it is inevitable that people would ask, where did such a complete
martial art system come from?
One suggestion is that it originally came from another martial art system, called tjakalele.
This is actually a name of a branch of the Indonesian martial art system known as pentjak silat.
Another suggestion is that it was brought here from the Southeast Asian mainland, particularly
during the Madjapahit and Shri-Visayan emphires. Yet another suggestion is that it was
propagated by the so called ten Bomean datus fleeing persecution from their homeland. We
shall critically examine this assertions one at a time.
This idea that arnis evolve or was derived from another martial art systems, namely
tjakalele silat, is due to linguistics. The alternative name from arnis is Kali. It is widely held that
this is the older term for arnis, and that Kali itself emphasises bladed weaponry apart from
practice with the stick. It is not surprising that a connection could be seen between the terms
Kali and tjakalele. However, linguistic similarity alone is not enough ground to assert that kali
was indeed derived from tjakalele. There has to be documented proof that one came from the
other. What form should this proof take? Authenticated documents certainly are among the
best pieces of evidence-if such could be found and prove to be genuine. A close and through
comparison of both styles good health, but it must been remember that they would have
changed overtime, reflecting the different changes that have happened in their culture of origin.
On the other hand, one of the local terms for a bladed weapon is kalis. It is also believed that
kali is a derived term from kalis. This assertion will require study before it can be validated.
Another oft-quoted idea is that kali was brought here during the Shri-Vishayan (7 th – 14th
centuries and Madjapahit) 13th – 16th centuries) empires. This reflects the notion that the
Philippines then was somehow an integral part of both empires is very meager. About the best
that could be said is that there was commercial contact, but whether such contact also
included the spreading of martial arts is circumstantial at best.
A third idea regarding spreading and propagation of kali in the Philippines is that ten

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Bomean datus (sometimes nine) fled here and settled in various parts of the Philippines. They
brought with them their fighting systems and taught these along with other arts in the academic
called the bothoan.
A key problem here is that much of what we know about the ten datus is derived from the
Maragtas of Pedro Monteclaro, published in Iloilo in 1907. Doubt has been cast on its
usefulness as a historical document, especially since it records folk or oral history. Scholars
such as the late William Henry Scott and F. Landa Jocano, are clear on this point – the
Maragtas is document recording folk or oral history, and not an actual eyewitness account of
the events stated therein. As such, its historical value diminishes rapidly with each retelling of
the story. If the original story of the ten Bomean datus is folklore and not authentic history, what
are we then to make of the story regarding the propagation of kali in the bothoan? Folkloric
history is useful in enabling people to identify with the art of kali, but it should not be taken as
actual history.
If after having critically questioned the sources of the origins of kali, or arnis as it is known
today, and through these critical analyses, have come to the positions stated above, what can
we then say about the origin of kali, or arnis? Regardless of the name of the art or its sources,
the fact that the early Filipinos practiced some form of combat was not lost on the Spaniards
who first arrived here. Pigafetta’s description of the death of Magellan is graphic in its
description of the weapons wielded by the natives. It is interesting to note that Magellan died
as he was rushed by the defenders armed with spears and bladed weapons. In more recent
times, Scott’s book Barangay includes a chapter on ancient Visayan weapons and warfare.
This was derived from the accounts and dictionaries of the early Spanish friars, some of whom
were witnesses to the use and practice of weapons and warfare methods at the time.
To state therefore, that its origin lie outside the Philippines is misleading, for it disregards
the unrecorded but no less real experiences our forefathers went in simply trying their best to
survive. These experiences are recorded in the techniques of their styles in arnis. It is also
quite possible that they were blendings with different styles of combat, but if so, these are quiet
difficult to verify historically.
A key difficulty in researching the origins of arnis is that most sources tend to be oral
history or folklore in nature. They are not exactly historical documents in the sense of being
eyewitness accounts. Hence, their authenticity in this sense is always suspect. Folklore gives
as an idea of how people actually understand their world and their place in it.
Martial arts, in whatever form, and in whatever place, are the unique product of the people
who developed them, as members of their culture. A case in point in Japanese fencing, kendo
in its modern format, kenjutsu as the traditional form. Japanese fencing is product of the
technology and the values and habits of the Japanese. Similarly, it should be remembered that
kali or arnis as it is called today, is very much a product of Filipino cultural experience. The
relative informality of most practice sessions, for instance, is a reflection on the importance we
place in building harmonious relationships with others.

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 In conclusion, it is not easy to actually trace the origins of the art of the kali or arnis.
Perhaps we may never actually trace it to a single key event in the lives of our forefathers. On
the other hand, it is equally important to remember that the art itself it is a continuing evolving
product, subject to change and refinement over the years. What is also important is that we
remain open-minded, willing to improve our understanding of the origins of this martial art.
Such open-mindedness is useful in as much as it provides as with further insights into our
identity as Filipinos.

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.

Modern Arnis History

Historically, Arnis incorporated three related methods: “espada y daga” (sword and
dagger), which employs a long blade and short dagger; “solo baston” (single stick); and
“sinawali” (to weave), which uses two sticks of equal length twirled in “weaving” fashion for
blocking and striking (term is derived from sawali the bamboo matting woven in the
Philippines). The popularity of arnis was clearly observed through dialects in different regions:
panandata (tagalog); kalirongan (Pangasinense); dadja or kabaraon (Ilocanos): pagkali-kali
(Ibanag); sinawali (Pampangeño), and kaliradman or pagaradaman (Visayan). Eskrima, kali,
estoque, tilakada, are other names of arnis.
At age six, Grandmaster Remy Amador Presas (Filipino arnis master and founder of
modern arnis) was already learning the fundamentals of kali, the forerunner of modern arnis,
arnis de mano. In Cebu, Presas studied arnis under Rodolfo Moncal, Timoteo arranga and
Maranggas’s instructor, Grandmaster Venancio Bacon, all experts in Arnis and the
“Balintawak” style of stick fencing. In addition to Arnis, Presas became proficient in Judo,
jujutsu, and karate. When Presas first travelled his country, he took what he considered to be
the most effective principles of each island style and combined them his own knowledge of
other martial arts.
Modern Arnis, as Presas term his system incorporates empty-hand moves based upon the

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same motions used in solo baston and sinawali. Unlike kali, his systems also use in kicks and
take downs for a more well-rounded approach. Presas also insists on modernising a particular
training aspect traditional in arnis: that of hitting your opponents hand or arm instead of his
stick-painful precise that was tolerated the stick was just a good practice method and would
obviously discourage fewer students of arnis, preventing many painful injuries.
Presas does not merely combine techniques, he encourages the individual student to
adapt arnis principle to his own feel for each technique. The method should suit the person
and not the other way around. This is known simply as using the “flow”. The flow is Presas’
universal term for defining the comfortable place where the movements of arnis and the
individual human body meet for maximum effectiveness; body and weapon blend to achieve
the most natural fighting style based on an individual’s needs and attitudes.

‘ Arnis makes many martial artists discover new teams about their own style,’ Presas says.
“They recognize the beauty of arnis because it blends naturally the best movements from
many arts. Most of my students continue to study their own styles – they just used arnis to
supplement their understanding, Presas left the Philippines in 1975 on a good will tour
sponsored by the Philippine government to spread arnis to other countries. He arrived in the
United States, conducting seminars to groups diverse as law enforcement agencies and senior
citizens.
Arnis is a growing art, expanding in the country rapidly. Arnis tends to transcend stylistics
distinctions and discovery seems to be a primary benefit from the study of modern arnis,
specially under the methods of Grandmaster Remy Presas.

What is Arnis?
Arnis is a Filipino martial art that can be played individually
and dual with sticks that can be used as a self defense. Arnis is
a stick called baton that is 28 inches long. Arnis is also called
Kali or Eskrima. Traditionally they use bladed weapon longer
than a knife or what we call itak. [REPUBLIC ACT NO. 9850] an act
declaring arnis as the National Martial Art of the Philippines.

The Act mandates the Department of Education to include

the sport as a Physical Education course. Arnis will be included
among the priority sports in Palarong Pambansa (National Games)
beginning 2010.

Who discovered Arnis?

Remy Amador Presas, December 19, 1936 – August 28, 2001. He was the founder of
Arnis, a popular Filipino martial art. Born in the Philippines, he move to the United States in

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1974, where he taught his art via seminars and camps. His goal was to create an injury – free
training method as well as an effective self – defence tool.

WEEK 14

FUNDAMENTAL SKILLS IN ARNIS

The stick in the principal weapon in learning arnis. It is made of rattan stick approximately
28-30 inches long and a diameter of around 1 inch.

Terms in this set (7)

Arnis
Grip
Handa
Pugay
Handa sa paglaban/Fighting Stance
Forward Stance
Backward Stance

Basic Stance and Salutation

a. Handa
-Feet are positioned shoulder width apart.
-Stick is held in front of the body.
b. Pugay
- Place the weapon hand across the chest.
- Bow by bending at the waist.
c. Fighting Stance
-One foot in front (foot the same as the weapon hand), the other foot on the rear.
-Keep feet apart, distance of one foot.
-Both knees slightly bent.
-Toes facing forward
-Weight is evenly distributed on both feet.
d. Forward Stance
-Distance of 5 steps between the feet.
-Back leg kept straight, rear foot is held at a 45 degree angle.
-Keep the front knee bent.
e. Backward Stance
-Distance of 4 steps between the feet.
-Both knees slightly bent.
-Rear foot held at a 90 degree angle.

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 -70% of the body weight on the rear foot while 30% is placed on the front foot.

GRIP
The different ways of holding a Stick
 2 inches from the line

 No extension downward

 6 inches from the base or butt

 Middle grip

 4-6 inches from tip or “susi” or “daga” or knife

Mechanics in Correct Way of Gripping the Weapon

 Hold your cane stick with your two hands it at the ends.
 Bring the cane upward in front of you.

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  Release your right hand and transfer it to the left side of your hand holding the cane.
 Palm facing towards you, roll your fingers and press them on first and middle fingers,
holding it firmly but not too tight.
Length of the Weapon

The length of the stick, or cane depends on the height and build of the practitioner. He
should measure the length of the arnis weapon depending upon the length of his arm.

Step 1
 Extend your right arm straight downward and straighten your forefinger.
 Measure your stick from the tip of your finger up to the shoulder level.

Step 2 (Some arnis practitioners measure their cane from the tip to the thumb to the
throat.)
 Extend your right arm to the right side of the body at shoulder level then measure
your cane.

Step 3
 Some measure from 24 to 26 inches.
 Others’ from 28 to 30 inches, and others have measurement of 90 centimeters or 1
meter.

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 WEEK 15

STANCE AND POSTURE

Arnis is a martial art of self-defense. Prowess and stability are essential to succeed against
the opponents. Before fighting, one should learn the proper stance and posture to enable one
to master other skills.

o STRADDLE STANCE
 Perform by sliding the left foot sideward.
 The toe should point forward.

o FORWARD STANCE
 Perform by sliding the foot forward.
 The toes should point forward.
 The front leg should be bent while the leg at the back should be straight.
 It can be performed either by using the left foot in the left forward stance or by
the right forward stance.

o BACK LEANING STANCE

 Put one leg forward and let the toe of your forward foot touch the ground at the
same time pivot at the back.
 It can be performed using either the left or the right.
o FORWARD LEANING STANCE-SIDE DIRECTION
 Perform as in forward stance but the direction of the body is at the back.
 However, the eyes are focused at the opponent.

o CROSS STANCE
 Perform by positioning the other leg forward.

SALUTATION OR “SALUDO”

Both fighters, as a courtesy and a sign of a true gentleman, give salutation. There are
mechanics followed in executing the saludo.

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  Hold the stick down the open leg facing each other.
 Close the leg by moving the left leg close to the right in 45 degree angle.
 Lift the stick to the chest wherein the butt is resting on the chest. The top of the stick is
pointing up.
 Take a bow together with the opponents or sparring mate, then go back to the original
position.

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 WEEK 16
TWELVE STRIKING POINTS

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 The 12 VITAL STRIKING POINTS OF THE BODY

1. Strike to left temple

- The purpose is to disturb and destroy the opponent’s concentration by smashing
the left side of his head. This area is fatal and can cause death or permanent
injury to the brain.
2. Strike to the right temple
- Going down with the same effect of the number one strike.
3. Strike to the left elbow
- Raised upwards, the strikes are for the right and left ribs. It is paralyzing and can
cause death or permanently injury.
4. Strike to the right elbow
- Horizontal strike to the right and left elbow.
5. Thrust to the navel
- Going upward hitting the torso. It is fatal.
6. Thrust to the right chest
7. Thrust to the left chest
8. Strike to the left knee
- This striking point usually happens when you are in unlocked position with your
stick. Unlocked position usually happens when you carry stick in natural way at
your right side with the tip pointing towards the ground, you can hit your
opponent from the left knee going up. Hitting the knee can
9. Strike to the right knee
10. Thrust to the right eye
11. Thrust to the left eye
12. Strike to the crown or center of the head
- It is fatal and can cause death or permanently injury.

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 WEEK 17

QUALITIES OF A GOOD ARNIS PLAYER

TECHNIQUES

A good Player must have the fundamental skills and knowledge of arnis basics like strikes,
counter attacks, sparring, disarming, and other hand movements. It also pertains to the
footwork, blocking and kicking.

ALERTNESS AND AWARENESS

A good Player must possess keenness of the mind and reflexes. He must also be sensitive
to his environment or situation. Hence, he must be physically and mentally alert to perceive
and sense the coming danger. This is to prevent attack or assault, armed or unarmed that
would put him in a very disadvantageous situation. This would prevent anyone from danger or
serious injuries.

COORDINATION AND CONCENTRATION

The body and the mind should work together. The correct body movement is perceived in
the mind. A player must be trained not to shift his focus from any extraneous variables that
might affect the performance, particularly the concentration.

SPEED

A player must exhibit a quick reaction and total body movement. Lightning speed as they
call it is one of the experts.

POWER

Power is necessary to knock down or outclass the opponent.

TIMING

A player should learn the exact hitting of the target or meeting the target at the exact time
without being delayed. Anticipation of the movement is necessary.

PROPER DELIVERY OF STRIKES

A player should learn the effective blow, kick, and contact of the sticks towards the

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opponents. It is also the determining factor of the judges to give the scores depending on the
delivery on the vital points that you strike.

ENDURANCE AND STAMINA

It is the ability of the player to withstand pressure for a long period of time without undue
fatigue or with reserve energy for the next activity.

DETERMINATION

In every game the will to win and dedication to fight at your best no matter what the odds
are is the key to success. It is the 100% trust in yourself and the people around you,
particularly your coach, mentor and people that inspire you to work hard. Fear and doubt are
always beaten by your hunger to win and this will lead to confidence within self.

CONFIDENCE

A player should know how to properly carry himself inside and outside the arena. But avoid
overconfidence for it might lead to distraction or downfall.

YELLING

Is an expression of power and courage. It is also the releasing of tension, anger and fear. It
is also adds power, strength, and courage to fight your enemies, and to demoralize the
opponent.

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