HISTORY OF ARNIS
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.
Arnis is otherwise known as eskrima, kali, and garrote, and by even more names in different
Filipino regional languages. Although Spanish influence had a pacifying effect on Filipino
martial culture, the original warrior ethos has persisted and remains on the fringes of the art.
Arnis “death-matches” were outlawed as late as 1945 yet, as Mark V. Wiley explains in Filipino
Martial Culture (Links to an external site.), they still take place in private today. 
The Philippine government’s declaration of arnis as the national sport has codified a clear martial
culture. This should begin to develop an accessible story of Filipino cultural heritage that the
outside world can grasp as Japan did during the Edo period (1603-1868) and as post-cultural
revolution, China has done with Wushu.
Like all martial arts, arnis is primarily defensive, encompassing hand-to-hand combat, grappling,
and disarming techniques. However, the fighting style also includes the use of bladed weapons
and sticks, in addition to improvised weapons. A baton-like cane is the primary melee tool
employed and the weapon used in officiated arnis competitions.
Competitive Arnis generally takes one of two forms: the performance-based anyo  model or the
combative  labanan.  Anyo competitions are judged on the basis of the overall choreography of
the performances, including the gracefulness, strength, and force employed. Meanwhile,
the labanan  form tests participants’ agility and reactions, as competitions are judged based on
the number of strikes inflicted. Although most labanan competitions exclude body contact, such
as grappling, blocks, and disarming an opponent using the hands or feet, there are some
exceptions where full contact is permitted. Everybody who is interested in Arnis as a national
martial art. Practitioners will show great respect to their masters and to senior practitioners.
Players will always salute each other before and after any encounter. Since Arnis goes way back
in history, it still holds some of the ancient traditions that focus on respecting the elders and the
most experienced ones. Junior players are not to challenge senior ones unless it is a part of the
game. On the other hand, senior players will always share their experience and knowledge with
the less experienced ones in order to help them develop and become better players.
GAME CHARACTERISTICS
There are two forms of arnis being played: 

1. Full Contact event ( LABANAN)  is a combative sport played by two individuals in a

court measuring 8.0 x 8.0 meters, with a smooth and well-kept surface. Players are
paired/matched by Division of weight categories. The game is played by using a
prescribed padded stick in delivering artistic and legal blows, strikes, thrusts, and
disarming the opponent to gain scores. The winner of the match is decided by the best
of three rounds. Each round lasts for two minutes.
2. Anyo Form is performance-based and judged on the basis of the overall choreography
of the performances, including the gracefulness, strength, and force employed. This is
a dance form that should not be less than 1 minute and not more than 2 minutes. The
court measures 10 x 10 meters using mats. Anyo is performed in a single weapon,
double weapon & Espada Y Daga.
   
        EQUIPMENT
Shall mean the materials and accessories that are used in the conduct of the competition, all of
which shall conform to the standards set and approved by i-ARNIS ONLY.

1. Weapon
The padded stick shall be the official weapon of the player. the specifications of which shall
be in accordance with the i-ARNIS standard. No other similar material will be allowed to be
used in any local, national or international competitions. Each padded stick shall be properly
foam-cushioned and shall have a maximum grip diameter of not more than 3.81 cm. (1 1/2 inch)
and length of 76.20 cm (30 inches for men and women). The length of the padded stick shall be
cm (27 inches for boys and girls). Both padded sticks shall be color-coded, one red and the other
blue.

2. Head Protector
        2.1. Refers to a pair of protective headgear to include an impact-worthy face mask, the
specifications of which shall be in accordance with the i-ARNIS standard.
        2.2. Both headgears must be color-coded, one red and the other blue, to match the padded
stick of the player.

3. Body Protector
       3.1.Refers to a pair of protective body protectors, properly cushioned, the specifications
of which shall be in accordance with the i-ARNIS standard.
       3.2. Male and female player must both wear body protector and groin protector.
Body protectors and groin protectors specifications shall be in accordance with the i-
ARNIS standard. Both body protectors and groin protectors shall be color-coded to match
the color of the player.
       3.3. Forearm and shin guards are compulsory. The specifications shall be in accordance with
the i-ARNIS standard. Both shin & forearms guards must be color-coded to match the color of
the player.
4. SCOREBOARD
       4.1. A pair of scoreboards, either manually or electronically operated, the specifications of
which shall be in accordance with the i-ARNIS standards.
        4.2. Two scoreboards per contest area shall be placed at diagonally opposite corners outside
the playing area, inside the competition area within the free zone, right where the judges
are positioned.

5. Flags
      5.1. Two sets of red and blue flags, the size of which is 30 cm by 25 cm, are used by the
judges in declaring
      5.2. One yellow flag, size 30 cm by 25 cm. for timer’s use to signal the start and the end of
each round and to declare a time-out and resumption of the game.

6. Other Equipment
      6.1. Stopwatch is used to keep the two-minutes per round. This excludes interruptions
such as injury, changing of the broken padded stick. A gong and mallet or other similar
audible substitutes such as a whistle, bell, or buzzer shall be provided for the Timer to
indicate the start and end of the round.
      6.2. A table shall be provided for the Timer and Recorder which shall be situated one
(1) meter in front of the playing area so that time signals are audible enough to both players and
referee.

Grip: Proper hold of the stick. 

Hold the stick one fist away from the punyo (butt) of the stick. Close the grip with the thumb.

 
 
 Basic Stance and Salutation

 Handa/Ready Stance
Stand with your feet apart parallel to the shoulder with both toes pointing forward.  The knees
should be straight, the waist and the body facing forward. Hands are on waist level and the hands
should hold the sticks on both sides. The ready stance is commonly used when standing at ease
during training or tournaments.

 
 Pugay/Attention Stance
Stand with your feet forming a 45 degrees angle. Heels should be close to each other, knees
should be straight, the waist and body facing forward. Shoulders are dropped to the side and both
hands are at waist level. The Attention Stance is commonly used in preparation for courtesy or
“bowing” at the commencement of sparring.

  
  Handa sa Paglaban/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 evenly distributed on both feet  

 
 Forward Stance
Starting with the ready stance, move one foot forward until the knee and the toe are in
line with each other. Both toes are pointing in front, the waist, and the body is facing
forward. The body should not be too low or the lead foot too extended otherwise it
will be hard to maneuver. Distribute the weight or center of gravity to both legs.
Forward stances can be right foot lead, which is the Right Foot Forward Stance or it
can be left foot lead which is Left Foot Forward Stance. Forward Stance is commonly
used with frontal striking or blocking techniques.

 
 Backward Stance

 Starting with the ready stance, move one foot backward 45 degrees away from the body.
The heels of the foot should form an imaginary “L” shape while the legs are in a straddle
position. The body should not be too low or extended otherwise it will be hard to
maneuver. Distribute the weight or center of gravity to both legs. Back stances can be
right foot lead, which is the Right Foot Back Stance or it can be left foot lead which is
Left Foot Back Stance. Back stances are used for blocking and backward evasion
techniques.

 Oblique Stance

Starting with the ready stance, move one foot forward 45 degrees away from the body
until the knee and the toe are in line with each other. Move-in the same direction as the
lead foot (e.g. for right foot lead, move 45 degrees forward to the right). Both toes are
pointing in front, the waist, and the body is facing forward. The body should not be too
low or the lead foot too extended otherwise it will be hard to maneuver.

Distribute the weight or center of gravity to both legs. Oblique stances can be the right
foot lead, which is the Right Foot Oblique Stance or it can be the left foot lead which is
the Left Foot Oblique Stance. Oblique Stances are commonly used for forwarding
blocking and evasion techniques.
  

 Straddle Stance
Starting with the ready stance, move one foot about two feet (2’) to the left or the right
direction until both lower legs are almost perpendicular to the ground.  Both toes are
pointing in front, the waist, and the body is facing forward. The body should not be too
low or extended otherwise it will be hard to maneuver. Distribute the weight or center of
gravity to both legs. Straddle stance are also called Horseback Riding Stance since it
mimics position when riding on horseback. Straddle stances are commonly used for
blocking the strikes to the side of the body.

  
 Side Stance
Starting with the ready stance, move one foot about two feet (2’) to the left or right
direction. The moving foot will be perpendicular to the ground while the other leg is
extended thereby creating a position like that of a sidekick. Both toes are pointing in
front, the waist, and the body is facing forward. The body should not be too low or
extended otherwise it will be hard to maneuver.  Distribute the weight or center of
gravity to both legs. If the left foot moves to the side it becomes Left Foot Side
Stance, if the right foot moves to the side it becomes the Right Foot Side Stance. Side
Stances are commonly used.

 
STRIKING TECHNIQUES
Hitting vital points of the body as targets by means of slashing, stabbing, and thrusting actions;
all techniques are performed with a fighting stance.

ST1: Left side of the head attack

A diagonal downward forehand swings to the left temple. From the position, the warrior will
hold the stick with one hand at 1 o’clock moving his stick in a slashing motion while his free
hand on his chest.

 Assume fighting stance

 Stick held at one o-clock; slashing action
 Freehand on chest  

ST2: Right side of the head attack

A diagonal downward backhand swings striking to the right temple.
Assuming a fighting stance like the left temple strike, the warrior this time held his stick at 11
o'clock with his free hand kept on his chest.

 Assume fighting stance

 Stick held at eleven o’clock; slashing action
 Freehand on chest

 
 ST3: Left side of the body (trunk) attack
The 3rd striking technique allows the practitioner to extend his weapon hand making
it easier for him to strike any part of the opponent between its shoulder and hips. The
stick will be drawn in a diagonal forehand slashing swing making it easier to deliver
damage.

 Extend weapon hand

 Strike any part of the trunk between the shoulder and hip joints; slashing action
against the outer part of the trunk

ST4: Right side of the body (trunk) attack

Same as the 3rd strike but this time the practitioner will extend the weapon hand to strike any
part of the body between the shoulder and the hips in a backhand slashing swing located on the
right side

 Same as ST3
ST5: Thrust to solar plexus (stomach) attack
In this strike, the practitioner will thrust the weapon hand to the stomach and is followed by an
upward motion that will cut through his opponent's body.

 Thrust weapon hand towards the target point (solar plexus)

 Follow-through with upward movement 

 
ST6: Left chest stab
In this strike, the weapon hand is then extended to the front with the palm facing outward and the
elbow kept up where this strike can cause damage to the rib cage.

 Assume the fighting stance.

 Extend weapon hand forward, palm facing outward.
 Keep elbow up

  
ST7: Right chest stab
In this stance, the practitioner will practice the scooping action. The weapon hand is then
extended forward with the palm facing outward. To deliver the strike properly, the elbow should
be kept up puncturing the opponent's right lung.

 Assume fighting stance

 Scooping action
 Extend weapon hand forward, palm facing outward.
 Keep the elbow down.

 
ST8: Left lower leg (knee/shin/ankle) strike
In this technique, the practitioner will deliver a powerful strike to the opponent’s lower leg,
mainly the knee, the angle, or the ankle which throws off the opponent's balance and
immobilizes him. By doing this, the warrior is supposed to lower his body (extending the
weapon arm). Holding his palm upward and hit any part of the opponent’s lower leg.

 Lower the body

 Extend weapon hand to hit any part of the lower leg between knee and ankle joint.
 Palm upward

  
ST9: Right lower leg
Again, like the 8th strike, the main target here is the right lower leg which will immobilize the
opponent. By doing this, the palm should face downward.

 Lower the body

 Extend weapon hand to hit any part of the lower leg between knee and ankle joint
 Palm downward

 
ST10: Left eye poke
The target here is the left eye socket. In order to execute it properly, the practitioner should
assume a fighting stance then extend the weapon's hand forward with the palm facing outward
with its elbow kept down.

 Assume fighting stance

 Extend weapon hand forward, palm facing outward
 Elbow down

 
ST11: Right eye poke
Same as the 10th strike technique. To execute it properly the practitioner will have to hold his
elbow down poking the right eye of the opponent.

 Assume fighting stance

 Extend weapon hand forward, palm facing outward
 Elbow up

 
T12: Crown attack
The last strike will be a straight downward overhead swing directed towards the crown of the
head which could throw off the opponent’s mobility and balance.

 Hack against the top of the head.

  
BLOCKING TECHNIQUES
As the name suggests, masters and practitioners use these blocking techniques to block various
strikes. In fact, these techniques follow the order of the strikes.
In other words, every block is used to stop certain strikes to provide protection from all
directions. These blocking techniques help you….well basically to avoid pain.
 
BT1: Inward
Performed by bringing the cane forward supported by the left hand at the middle of the cane

 Place freehand on the stick.

 From forward stance, shift body obliquely. Partly inward.

 
BT2: Outward Freehand rotates the stick downward.
Performed as an outside block, however, on the right side of the body

 Shift body obliquely on the opposite side

 Parry outward.

 
BT3: Rising
Performed by raising the cane over the head to block the opponent's blow

 Hold the stick parallel to the ground, waist level.

 Push the stick

BT4: Downward inward

Performed by positioning the hand holding the cane above the right shoulder then swinging the
cane downward to block the opponent's attack

 From fighting stance, shift to back stance.

 Lower the body
 weapon hand, palm up.
BT5: Downward outward
Performed by positioning the cane behind the left ear then swinging it downward to block the
opponent's blow

 From fighting stance, shift to back stance

 Lower the body
 Extend weapon hand, palm down