PATH FIT REVIEWER

Basic Positions Where Most Exercises Begin A. Standing Positions

1. Feet together or Feet Parallel 2. Stride position

The feet are about one (1) inch apart, toes The feet are apart about 12 inches wide. The
pointing forward. Arms at the sides. stride may be made wider than 12 inches. The
weight of the body on both feet and the trunks is
at the center. Arms at sides.

3. Lunge Position 4. Half-knee Bend

Bend one knee, the other leg straight. Weight on Feet together, bend knees to about 450 angle; feet
both feet. Hands on hips. flat on floor, body erect. Hands on hips.

5. Full Knees Bend or Squat Position

The knees are fully bent; sit on the heels of the feet. The weight of the body on the balls of the feet.

B. Sitting Positions

1. Long Sitting Position

Sitting with legs extended forward toes pointed, trunk erect

and hands on hips.

2. Hook Sitting Position

Sit on buttocks; bend knees close to the body. Trunk erect.

Hands on shin of the legs.

3. Long Sitting Rest Position

Legs and toes are extended forward; hands at the rear on the
floor. Elbow and body straight.

4. Tuck Sitting Position

Sit on buttocks; bend knees close to the body; round back

so that the forehead and knees are in contact. Hold shin of
legs.
5. Stride Sitting Position

Sit on buttocks; spread legs a part trunk erect. Hands on

thighs.

6. Side Sitting position

Sit on buttocks; bend right or left leg in front; other leg

extended sideward. Hands on knees.

7. Hurdle Sitting Position

Sitting on buttocks; bend right leg at the back about 90 0

angle; the other leg extended diagonally forward.

8. Heels Sit

From kneeling position, sit on the heels of the feet, toes

pointed. Hands on hips.
10. Frog Sitting or Tailor Sitting
9. Cross Sitting

C. Kneeling Position

1. Kneeling Position 2. Stride Kneeling Position

Kneel on both knees; knees close together; body Kneel on both knees with knees apart.
erect; hands on hips.

3. Half-Kneeling Position Right or Left 4. Kneeling Position One Leg

Kneel right or left in half- kneeling position in Extend sideward kneeling on one leg, the other
front. Hands on hips. extended sideward, forward or backward.

D. Lying Position

1. Back or Supine Lying Position

Lying on the back, the body is well extended, arms

overhead, toes pointed.

2. Front or Prone Lying Position

Body is well extended, and in front of the body in
contact with the floor. Toes pointed and arms are raised
forward.

3. Side Lying Position

With the body well extended, the side of the body is

in contact with the floor; one hand on the floor,
overhead and the other hand bent close to chest.
Palms on the floor. Toes pointed.

4. Hook Lying Position

In a back lying position, bend knees, with the feet

close to buttocks, feet flat on the floor. Arms
overhead.

5. Tuck Lying Position

Lying on the back, pull the knee close to the

forehead; hold shin or legs.
E. Arms Support Position

1. Supine or Back Support

From a long lying position, lift the body with straight

arms support. Body, legs and toes well extended and
one straight line.

2. Prone or Front Arm Support

From a front lying position, lift the body to front arms

support. Body legs and toes well extended and in one
straight line.

3. Side Arm Support

The body is supported with the right or left arm; the

body is well extended.
F. Four-Base Positions

1. Dog Stand Position 2. Bridge Stand Positions

From a kneeling position, place the hands on the From a hook sitting lift the trunk; legs and arms
floor, elbows straight, toes pointed; the knees in right angle with the trunk.
and hands are the base of support.

PATH – FIT 2 COMBATIVE SPORTS

ARNIS
INTRODUCTION
It is one of the oldest and systematic martial arts of the Filipinos. Arnis was patterned to a bladed weapon from Malay
known as “Kali” which was used by the Indonesians for fencing called “Tjakalele”. When Spain colonized the
Philippines, kali was already a standard fighting art of the early Flipinos. Native rulers like Lapu-lapu of Mactan was
kali expert. And this was according to Magellans’ chronicler and historian. Arnis is also known as the Filipino martial
art of attack and defense with cane or barehands.
Modern Arnis attracted many practitioners because of its interesting features and for being known as Filipino martial
arts.The first book on Arnis was written by Master Remy Amador Presas, known to be the Father of Modern Arnis. Its
inclusion to the Physical Education classes of the Filipinos truly promotes it as an indigenous game.
CHARACTERISTICS
It is also called eskrima, pang-or,pamalo, muton, baston or estocada. It is a stick fighting of the Filipinos. An
extension
of the arms was used which is a stick and the fighting form was called Arnis de Mano which has three forms of plays
known as;
Espada y daga – a combination of short and long dagger
Solo Baston – single stick is used. This is the major fighting system of Arnis. It is not limited to stick alone. It also
applies to bladed weapons. It can be extended to other ordinary objects such as umbrella, pen, sticks, comb,
magazines and newspapers that are good examples of weapons. The solo baston has traditional, modern techniques
and applications. These techniques are the basic systems that develop skills in catching, grabbing, pulling and
pushing,
disarming, locking, striking and blocking techniques
Sinawali – two sticks being swing in intricate movement of a criss – cross fashion. This term is derived from the word
“Sawali” meaning to weave. Sawali is the material used by early Filipinos in building the nipa hut or Bahay Kubo. The
sawalis are interwoven into each other
EQUIPMENT
• Rattan Stick – the standard length of the cane measures 28” – 32” long and a diameter of ¾ to 1”
• Body armor – it is used for official competition in Arnis
BASICS OF ARNIS
GRIP – There are five different types of hold for the sticks;
Proper Holding of the Arnis stick
Pet Nicolas believed that “how one handles the sticks is how one handles his/her life”. Respect the stick
because even if how simple as it may appear, it represents your knowledge, dignity, honor and principle
as
Arnisador.
The grip or hold is the soul of all fighting techniques in Eskrima. It is the correct hold that packs power to
and controls the cane. The hold must be firm when striking. The cane must be held either from the base
edge, an inch, or at center with tightened fingers around and thumb is pressed against the forefinger.
Others
hold it four to six inches from the tip downward. This is called “susi” a tagalog term for key, or it is
sometimes called a “daga”, or knife
FOOTWORK
It is essential in the system of Arnis, for without footwork, there’s difficulty in hitting and avoiding the
strikes of the opponent. The feet are the foundation of the body, for without them you can’t stand, walk,
run, jump and kick.
There are several ways in which one can train one’s legs; jogging, skipping rope and walking like a duck.
The following are the different foot works;
➢ Reverse triangle stride – serves as a concealing drill to hide the direction of one’s own counter
attack
➢ Left and Right Side stepping – serve also in evading the thrust to the opponent towards the middle
section of the body
➢ Left side triangle – is used for attacking as well as avoiding the attacks of the opponent

7 Arnis Stances
1. Ready Stance. This is the most common used stance when you are
standing at ease.
2. Attention Stance. This stance is different from the ready stance, since you
stand with your feet forming a 45 degrees angle. This attention stance is usually used for
courtesy in preparation for a fight at the beginning before sparring.
3. Forward Stance. It is usually used in striking or blocking
techniques.
4. Oblique Stance. This stance is used in blocking and evasion.
5. Straddle Stance. This stance is one of the most efficient
stances used to block the strikes especially to the side of the body.
6. Side Stance. This stance is usually used in evasion
techniques or strike deflection.
7. Back Stance. Back stances can be done by extending the
right or left foot. They are used in back evasion techniques and
in blocking.

The 12 Basic Striking

Techniques of Arnis
1. Left Temple Strike
From the forward stance, twist your wrist to an angle of 1 o’clock as you pull your
hand towards your shoulders to prepare for a strike. Swing your arm in the 1
o’clock direction in a slashing action while placing the other hand on your chest.
The action should be a diagonal downward swing to the left temple of the enemy.
2. Right Temple Strike
This strike is similar to the left temple strike. The strike movement follows the 11
o’clock angle while the free hand is placed on the chest. This strike is a diagonal
downward backhand swing to the right temple of the enemy.
3. Left Torso Strike
The left torso strike involves the practitioner to extend the lead hand when
striking to deliver maximum force. This strike is a diagonal forehand slashing
swing towards any part of the body between the shoulder and the hips. When
swinging the lead hand, the turning force must initially come from the rear foot,
then followed by the hip rotation to make the blow more effective.
4. Right Torso Strike
Just like the left torso strike, again the practitioner will extend the weapon hand to
strike any part of the body on the right side between the shoulder and the hips.
The arm movement is a backhand slashing swing.
5. Thrust Strike
This strike is a powerful thrust to the solar plexus of the opponent. It can
cause fatal damage to the organs within the abdomen area. This move is most
helpful when you notice that the opponent is over-committing in his forward
foot movement when striking. This is an effective counter against a temple
strike, but remember to never stretch out when doing the thrust strike.
The force of the attack should come more from the momentum of the
opponent coming forward, and it should be more of a counter. Using it as a
casual strike opens up the body to attacks from the opponent.
6. Left Chest Stab
This strike involves extending the arm in a thrusting motion with the palm
facing outward towards the left chest of the opponent.
7. Right Chest Stab
This strike is similar to the left chest stab, but aim the thrust to the right chest
of the opponent. When done right, the opponent’s lungs will be damaged,
which will make it hard for him to breathe and even cause death.
8. Left Leg Strike
This technique involves striking the opponent’s lower leg, usually the knee or
ankle, to immobilize him. It is necessary to lower your lead leg and strike in a
downward diagonal slashing motion to the opponent’s leg with the palm
facing upward. In traditional Arnis, the aim of the technique is to just hit any
part of the leg.
However, in Modern Arnis and Jeet-Kune-Do, the left leg strike should be
aimed 6 inches above the knee where a pressure point exists. When hit
correctly, one blow could immobilize the opponent.
9. Right Leg Strike
This technique is similar to the left leg strike but aims the strike at the right
leg of the opponent. The motion of this technique is a diagonal downward
backhand swing.
10. Left Eye Poke
This technique is similar to the left chest stab but with the strike aimed at the
left eye socket. The goal of this attack is to take away the opponent’s vision
and thus, ending the fight faster.
11. Right Eye Poke
Just like the left eye poke, this technique takes away the opponent’s vision.
However, this technique is aimed at the right eye of the opponent.
12. Crown Strike
This strike is a straight downward overhead swing to the crown of your
opponent’s head. This will throw him off balance and could even knock him
out after a single strike.

PRINCIPLES OF A GOOD ARNISADOR

1. The real Arnisador holds firmly to his stick until the day he dies.

The sticks represent the virtues of a martial artist. The stick is not just a stick but an
extension of oneself. An extension of the hand and of the spirit. It also represents the
knowledge that you earn, displaying itself in the way it is yielded.

2. The Arnisador and sticks are one.

A person’s character is reflected in how he/she behaves during training. Individuals who are
willing to learn, learn fast and others who do not have an interest, their movements are
careful. 

3.  The Art of the hand is the art of the cane.

The hand is the source of the force that manipulates the cane. Empty hand is not the start
of arnis training but a development.  The stick is just an extension of the Arnisador’s body
and has the potential to be as dexterous (expert) as a hand.      

4. If someone throws rice grains to a skilled Arnisador, “not even a single grain can hit him”.

This implies a manner of reaction from an Arnisador. When one throws a handful of rice at
him, they have an option to step to the side and avoid getting hit. They may use a particular
move, abaniko, or twirling technique to deflect the rice thrown. Rice however has an integral
role in the Philippine culture as a part of the staple diet. Rice may represent knowledge for
the part of arnis.

5.  The match and the candle represent an authentic disciple of Arnis.

The candle represents the practitioner. The match represents the teacher/instructor. The
light represents the flow of knowledge.

6. The Art of Arnis is like a wind; you can feel it but necessarily see it.

Arnisador must have a strong sense of reality, where they are aware of their surroundings
and their situations.

7. Minimum effort maximum effect.

8. The triumph of a genuine Arnisador can be likened to a mountain.

A good Arnisador is like a mountain, that he or she will be steadfast in their beliefs. He must
learn to be resilient and fight for their beliefs even if others dispute their style and belief.
9. A good Arnisador respects their opponents, even during a match.

A good arnisador never strikes or uses his skill in anger or for his own personal gain. An
Arnisador should still have a warrior’s honor and respect for others, martial artist or not.
Control is one of the most important facets of martial arts, a little more extra force could
mean the difference between unconsciousness and death. One’s mind control is just as
important as one physical control.

10.  The best Arnis Instructor is the one who can give wisdom to his student regarding the
essence of being real Arnisador.

         

The greatness of the art is defined by how well the practitioner apply the skill in life, not their
martial skill, but the personal         skills and qualities they had learned throughout their
training course of learning the sport. Being a good arnisador is similar to     being a well-
rounded individual, one that can find the balance between being humble and self-satisfied.

Single Sinawali (with 2 sticks Application)

Starting Position: left cane to the left shoulder while right cane to the right shoulder. Both players shall
deliver
1. Strike the left temple with the right hand while the left hand to the left shoulder.
2. Strike the right leg with the right hand. Bring right hand over the right shoulder after the strike while the
left hand is at the left shoulder.
3. Strike the right temple with the left hand while the right hand to the right shoulder.
4. Strike the left leg with the left hand. Bring right hand over the right shoulder after the strike while the right
hand is at the left shoulder.
In Single sinawali, the right hand strikes a high forehand and then a low backhand, and then the left hand
does the same

Right 1 Hand Left Hand

1
2 2

Double Sinawali (Modified - 6 Strikes)

Both hands holding cane. R hand pointing upward and left hand under right armpit.
1. Strike the left temple with the right hand while the left hand is under the right armpit.
2. Strike the left leg with the left hand in a downward motion and bring the right hand to the left shoulder.
3. Withdraw left hand backward over the head and then strike simultaneously the right in upward motion
(right temple).
4. Feet steady, strike the left hand in an upward motion (right temple) with right hand under left armpit.
5. Strike right leg with right hand cross over the left hand over the right shoulder.
 6. Withdraw right hand backward over the head and then strike simultaneously the left hand in upward
motion (left temple)

First the right hand strikes a high forehand, then the left hand strikes a low backhand, then the right hand
hits a high backhand to complete the right hand side of the sinawali. Then the mirror image left hand side is
performed to complete one cycle of Double Sinawali.
Right Hand Side
3R 1R
2L Left Hand Side
1L 3R
2R

Reverse Sinawali
In the Reverse Sinawali, the right hand strikes a low forehand, then the left hand strikes a low backhand,
then the right hand strikes a low backhand to complete the right hand side of the sinawali.
Right Hand Side

3R 1R 2L
Left Hand Side

1L 2R 3L