Lesson 1

Nature and Concept of Arnis

Objectives:
 Identify the prominent people behind the iconic Outline
 History of Arnis
martial art of our country as one of the self-defense
 Self-defense
mechanism.
 Facilities and Equipment
 Narrate the history and development as well as the
remarkable events of Arnis
 Distinguish the i- ARNIS rules that serves as the
bases of the facilities and equipment standards
 Identify the functions of different facilities and
equipment used in Arnis

Take a look on the illustration and tell what you observed.

V
V
HISTORY
The origins of Arnis are difficult to trace, primarily because there are nearly as many styles of
Filipino stick fighting as there are islands in the Philippine archipelago—more than 7,000! The races that
settled in these islands came from India, Southeast Asia, China and Indonesia.
These diverse races and cultures blended their heritages over the centuries, producing a common
method for employing sharp swords, daggers and fire-hardened sticks in combat. These highly
sophisticated fighting styles have grown in popularity in the international martial arts community.
One of the earliest known forms was called tjakalele, (Indonesian fencing). Kali is another term
familiar to stick fighters around the world today.
When the Philippines were invaded by the Spanish, the invaders required guns to subdue their
fierce opponents. The deadly fighting skills of Filipino warriors nearly overwhelmed them, and they
dubbed the native stick style escrima (skirmish). Escrima was subsequently outlawed, but the techniques
did not disappear. They were preserved in secret, sometimes under the very noses of the conquerors, in
the form of dances or mock battles staged in religious plays known as moro- moro.
These plays featured Filipinos, sometimes costumed as Spanish soldiers wearing arnes, the
harnesses worn during medieval times for armor. The blade fighting forms and footwork were identical to
those used in escrima. The word arnes soon became corrupted to arnis, and the name stuck.
Historically, arnis incorporated three related methods: espada y daga (sword and dagger), which
employs a long blade and a 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 (the term derives from
sinawali, the bamboo matting woven in the Philippines).

Where did Arnis really come from?

The term arnis evokes a number of reactions from people every time it is mentioned in a
conversation. Some people start fanning their hands in the air, imitating the distinctive movements of the
two-stick (double baston) training method. This image of arnis is one of the most popular to the layman.
A second reaction, and quite as common as the first, is the question: “Saan ba talaga galing ang arnis?”
(Where did arnis really come from?) Alternatively, “Di ba, sa atin nanggaling an g arnis?” (Isn’t it that
arnis comes from us?) is a question also heard. Let’s examine the roots of one of the martial arts of the
Philippines, arnis.
Arnis, also known as kali, escrima, baston, etc. is a complete martial art system, encompassing
weapons training and empty-hand self-defense. It includes training in single stick techniques (solo
baston), double stick techniques (doble baston), stick and knife or 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
have 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 of his style of arnis. Different arnis styles, from different parts of the
country, may emphasize different areas of training methods noted above. The term arnis is believed to be
a Tagalog corruption of the Spanish term 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 different areas of
the country, it is inevitable that people would ask, where did such a complete martial art system come
from?
One, it is originally came from another martial art system, called tjakalele. This is actually the
name of a branch of the Indonesian martial art system known as pentjak silat. Another is that, it was
brought here from the Southeast Asian mainland, particularly during the Madjapahit and Shri-Visayan
empires. Yet another suggestion is that it was propagated by the so-called ten Bornean datus fleeing
persecution from their homeland. We shall critically examine these assertions one at a time.
The idea that arnis evolved or was derived from another martial art system, namely tjakalele silat,
is due to linguistics. The alternative name for arnis is kali. It is widely held that this is the older term for
arnis, and that kali itself emphasizes bladed weaponry apart from practice with the stick. It is not
surprising that a connection could be seen between the term 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 one of the best pieces of evidence – if such could be found, and proven to be
genuine. A close and thorough comparison of both styles would help, but it must be remembered that they
would have changed over time, reflecting the different changes that have happened in their cultures 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 (7th-14th
centuries) and Madjapahit (13th to 16th centuries) empires. This reflects the notion that the Philippines
then was somehow an integral part of both empires. It must be noted that the archaeological evidence for
the role of the Philippines in 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 the spreading and propagation of kali in the Philippines is
that ten Bornean 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 academies 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 a 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 Bornean 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 is 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 time, Scott’s book Barangay includes a chapter on ancient Bisayan 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 of the time.
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 is Japanese fencing, kendo in its modern
format, kenjutsu as the traditional form. Japanese fencing is a 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 the 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.
To state therefore, that its origins 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 of arnis. It is also quite possible that there were
blendings with different styles of combat, but if so, these are quite difficult to verify historically.
 A key difficulty in researching the origins of arnis is that most sources tend to be oral history or
folkloric in nature. They are not exactly historical documents in the sense of being eyewitness accounts.
Hence, their authenticity in this sense is always suspect. On the other hand, as folklore, they serve as a
window, if you will, into how people think. Folklore gives us an idea of how people actually understand
their world and their place in it.
In conclusion, it is not easy to actually trace the origins of the art of 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 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 inasmuch as it provides us
with further insights into our identity as Filipinos.

Self defense
Learning self defense is one of the best way to keep yourself safe. Instead of learning kung fu,
karate, taekwondo or some other foreign martial art, consider learning our very own art of arnis.
Arnis is a traditional martial art that uses sticks, bladed weapons, knives, and improvised
weapons when fighting. It also includes hand-to-hand combat, grappling, joint locks, and weapon
disarming techniques. Although the art has an emphasis on weapons, some schools focus on hand-to-hand
combat.

Whether it’s for self defense or to learn more about our history, here are 10 reasons why you should learn
arnis.

It’s The National Sport and Martial Art

Many of us still believe that Sipa, which is a game similar to volleyball only that it uses the feet
instead of the hands, is the national sport of the Philippines. However, arnis was recently declared as the
national sport on the 11th of December 2009 through the Republic Act No. 9850 authored by South
Cotabato Rep. Arthur Pingoy Jr. It’s also a consolidation to Senate Bill No. 1424 authored by Majority
leader Juan Miguel Zubiri, who himself has trained in arnis. Under the law, arnis will be a mandatory
course or subject in all schools in the country unlike before when arnis was only offered in a few schools
as an elective physical education subject. It also institutionalizes arnis as a regular event in the annual
Palarong Pambansa.

Your Hands and Sticks As Weapons

Who would have thought you’d look badass enough just by using sticks to defend yourself. Arnis
really is a simple martial art. As arnis was an art usually practiced by the peasant or commoner class,
expensive swords and weapons were not that accessible. Instead, we see the ingenuity and practically of
Filipinos in this art. When learning it, you are only given a pair of rattan sticks to beguine with. This
serves as an extension to your arms to give you more range. It also teaches you that almost anything can
be used as a weapon. As mentioned, some eskrima schools concentrate more on hand-to-hand combat,
teaching you that you can take on an opponent with just your bare hands.

It’s A Practical Way of Defending Ourselves

Unlike a gun, you won’t need to get a permit to carry around arnis sticks or stash them in your
car. If you want to get really fancy, there are retractable self defense sticks that you can buy from weapon
shops or online which you can carry around with you. You also won’t be spending thousands of pesos on
pepper spray or a taser. You just need your hands, and some sticks.

Disarm
You can apply what you learn in arnis when disarming someone. most crimes here in the
Philippines involve some kind of weapon (ether a gun or a knife). It’s a huge disadvantage in your end,
even when you’re good at punching and kicking, if you don’t know how to disarm someone. With arnis,
you are taught that you can “defang the snake” by concentrating on the person’s forearm and hand, as
well as strikes to vulnerable areas like eyes, nose, throat, groin, and solar plexus. You disarm them of
their weapons, and you also leave damage. Once you can easily disarm someone, defending yourself will
be a breeze.

Social Interaction
Practicing arnis, you get to meet a lot of new people and socialize. Since it’s gaining a lot of
popularity, more and more people want to enroll in arnis schools and classes. So don’t worry. You’re not
going to end up in a room filled with kids learning how to use batons. You’ll likely be in a small class,
taught by a master, and you’ll end up bonding with your classmates. Most eskrima schools not only teach
the art itself, but they also pass on the value of respect and family to their students. Everyone gets to bond
while learning martial arts at the same time. Also, you will at some point have a sparring session with
someone. An arnis class is a great way to get social and talk to people, just don’t do it in the middle of a
sparring session.

Think Fast
Arnis is not just about drills and making sure you hit your partner’s baton. The drills are there so
you could get use to the attack and counter-attack movements. During sparing, or in real-life settings
where you will need to defend yourself, the techniques also need wits. It’s not just raw force and twirling
the sticks, there are finesse and technical aspects which require creativity. You have to think fast and be
creative when attacking and blocking, whom really boils down to how imaginative you can be when
combining the movements.

Good Exercise
Want a good workout? Arnis is a great cardio and reflexes exercise. It may not involve you lifting
heavy things but the exercises and drills can get your heart pumping. It’s like an aerobics class, you get to
move your whole body while getting a great upper body workout (yey arm day). You get to develop your
forearm and hand muscles so you’ll get toned arms and shoulders. But make sure you’re wearing
protective gear since hardcore drills like hitting the wheels/bag can cause blisters and callous the hands.

Discipline and Self Control

A major lesson you’ll learn in arnis, and any other martial art, is discipline and self control.
You’ll learn to discipline yourself in actually showing up to class and practicing to learn and perfect the
drills and movements so you can execute them seamlessly. You also get to learn self-control in using
what you’ve learn. Remember, it’s self-defense, not “I know arnis so I’m going to bet you up to show
off”. Martial arts was never meant to be abused, so don’t use it just to hurt people.

Psychological Effects
Exercise is correlated to good psychological well-being. Studies have shown that getting a certain
amount of exercise within a week can boost endorphins, which is the neurotransmitter associated with
feeling good and happy. It’s also connected to lower stress levels, which is great of anyone’s well-being.
Learning martial art can give you a confidence boost. It gives you assurance that you’ll be ok and you’ll
be able to handle a possible life-threatening situation and save your life and even someone else’s.

It’s A Heritage
Keep the heritage alive by studying it. With arnis, different schools have different methods.
Grandmasters often have their own specialties, and their students build up and continue the practice while
adding their own styles. Since everyone moves differently, arnis is ever changing yet follows the same
core principles. Think of it as a story that’s passed down from generation to generation, and by learning it,
you can help continue the practice by teaching it to others.
Arnis Radical Truths

These are the ten radical truths that will change the way you think about and play arnis:

Arnis is an art of empty hand

Arnis is often considered as an art that involves weapons such as sticks, daggers, bolos, among
others. It is generally thought that without these weapons, arnis cannot be practiced.

Precisely speaking, Arnis is an art of empty hand.

Unlike other arts that first teaches empty hands techniques and then weapons at a higher belt,
Arnis uses weapons training that leads to empty hand thereby accomplish two things - weapons training
and empty hands training.
This kind of training is effective to prepare the student in both armed and unarmed real life
combat scenario.

Weapons are extension of your hand

Arnis is an art of offense and defense, weapons are just an extension of the hands and skills of an
Arnis player. Arnis has a set of hand patterns and body movements that the weapons follow through the
hands of a trained Arnis player.

Arnis is convertible art

Although Arnis training use sticks such as rattan, kamagong (iron wood) , and bahi, the patterns
and movements used in Arnis for sticks are also convertible to other weapons even to make shift weapon
such as a pen.

Arnis Blocks are Strikes and Arnis Strikes are Blocks

Arnis consolidates strikes and blocks into one. A block can be a strike by using the technique
referred to as “displacement”. By displacement in Arnis means, striking to the opponents vital points
instead of blocking the stick. In Arnis techniques for strikes can also be used for blocks.

Everything is a setup in Arnis

An Arnis player should know that everything in Arnis is a setup that could lead to another. A
strike could be a setup to a counter and a block can be a setup for a strike, counter strike can also be a
setup for a block or a strike.

Arnis double sticks develop hand coordination

By training with double sticks, Arnis makes the weaker hands complement the stronger hand.
If you are right handed your right hand is your stronger hand while the left hand is the weaker hand.
As an example, double sticks trains the left hand to properly block and parry the opponent the
same way he will do using a single stick.

Arnis Sword and Dagger develops punch, push and thrust

In Arnis the left hand are often used to check, parry, and grab the opponents hands or weapon,
however, the left hand can be fully utilized by training it to punch, push, and thrust.
 This realization can be done in Arnis by training with Espada y Daga or Sword and dagger.

Strike at the nearest point

The crown of the head is often the target of an Arnis player, this is logical since a strike to the
head can cause fatal and immediate effect.
However it is important to note that in Arnis the head is also the most protected area of the body
and everybody learns to protect it.
You could strike at the nearest point of the opponent’s body instead, rather than trying to strike
to the head, it may not be as fatal but it sure will bring damage to the opponent.

Own your Arnis technique

Practice your techniques continuously and repeated until it becomes your reflex action or your
second nature. In real life situation, you do not have the luxury of thinking twice, by burning the
technique into your muscle memory, your reaction will be an instinct during such situation.
In Arnis, It is not the number of techniques you know, it on how many techniques you can
execute effectively, efficiently and accurately under stress and pressure.

Arnis Sparring and competition develops you

Participating in arnis sparring sessions and competitions enables you to test your skills and
efficiency level. A cooperative opponent is a partner who is willing to be hit and allows you to execute
your techniques on him. While the uncooperative opponent, is a partner who is not willing to be hit and
employs every means that his disposal to go against you on a controlled manner.
Training with a dummy or a cooperative opponent is only good for honing your techniques but it
does not give you the benefit of testing your skills against a moving, engaging and uncooperative
opponent.
Remember that the uncooperative opponent is an example of a real-life combat scenario without
the rules.

FACILITIES AND EQUIPMENT: i-ARNIS RULES

RULE 1.0 COMPETITION AREA (Diagram 1 and 2)

Shall refer to the area by which the conduct of the competition shall be set or held including the
free zone around it.

1.1 Dimensions
The playing area is a square measuring 8.0 meters by 8.0 meters with a one (1) meter 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.

1.2 Lines of the Playing Area

All lines of the playing surface are 5.08 cm. (2 inches) and must be of different color
from that of the floor and other lines previously drawn for other purposes.

1.3 Outside Lines

Four lines mark the outside line of the playing area. The free zone distance measuring
one meter in each side are drawn outside of the playing area.

1.4 Match Lines

Two lines of 1.0 meter long and 2.0 meters apart the center marks the horizontal match
line.
 1.4.1 The horizontal match lines are drawn 3 meters from the outside lines.

1.4.2 The horizontal match line left is red and the opposite horizontal match line is blue
to mark the respective line of each player.

1.5 Referee Line

A straight line of 1.0 meter long is drawn 2.0 meters from the center of the two players.

1.6 Warning Lines

A broken straight line is drawn one (1) meter before the outside line to serve as a warning
to the players.

1.7 Playing Surface

1.7.1 The surface must be flat and smooth and must not be elevated from the ground.

1.7.2 The playing surface must be clean and free from foreign objects that may
endanger or cause injury to the players. Other surfaces must have the approval of i-
ARNIS.

1.8 Neutral Corner

The corner of the playing area between the two (2) judges within the free zone shall be
designated as the neutral corner. This shall be the consultation area for the referee and judges.

1M FREE ZONE

1M WARNING AREA

B R
L E
U 2M APART
D
E

REFEREE

8 x 8 M PLAYING AREA

10 x 10 M COMPETITION AREA
 Diagram 1

Diagram 2

1.9 Temperature
The temperature for the competition shall not be higher than 30 degrees Celsius (86
degrees Fahrenheit) and not lower than 16 degrees (60.8 degrees Fahrenheit).

1.10 Lighting
Lighting apparatus is located above free space (rule 1.1) It must not cause any
reflection to the surface and must not affect the vision of the players.

1.11 Position of Players

Before the game starts, players must be positioned in the playing area so that the red-
coded player is at the right side of the referee and the blue-coded player is on his left side.

RULE 2.0 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.

2.1 Weapon
 2.1.1 The padded stick shall be the official weapKon 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.

2.1.2 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 padded stick shall be cm (27 inches for boys and
girls).

2.1.3 Both padded stick shall be color-coded, one red and the other blue.

2.2 Head Protector

2.2.1 Refers to a pair of protective head gear to include an impact-worthy face mask,
the specifications of which shall be in accordance with the i-ARNIS standard.

2.2.2 Both headgears must be color-coded, one red and the other blue, to match the
padded stick of the player.

2.3 Body Protector

2.3.1 Refers to a pair of protective body vest, properly cushioned, the specifications of
which shall be in accordance with the i-ARNIS standard.

2.3.2 Male and female player must wear both body vest and groin guard. Body vest
and groin guards specifications shall be in accordance with the i-ARNIS standard. Both
body vests must be color coded to match the color of the player.

2.3.3 Forearm and shin guards are compulsory. The specifications shall be in
accordance with i-ARNIS standard. Both shin & forearms guards must be color coded to
match the color of the player.

2.4 Scoreboards (Diagram 3)

2.4.1 A pair of scoreboards, either manually or electronically operated, the

specifications of which shall be in accordance with the i-ARNIS standards.

2.4.2 Two score boards 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.

THE SCOREBOARD THE FLAGS

LECTRONIC OPERATED
 Diagram 4

Diagram 3

2.5 Flags

2.5.1 Two sets of red and blue flags, the size of which is 30 cm by 25 cm, are used by
the judges in declaring decisions or asking for consultations.
2.5.2 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.

2.6 Other Equipment

2.6.1 Stopwatch is use to keep the two-minutes per round. This excludes interruptions
such as injury, changing of broken padded stick. A gong and mallet or other similar
audible substitutes such as whistle, bell or buzzer shall be provided for the Timer to
indicate the start and end of the round.

2.6.2 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.

FACILITIES AND EQUIPMENT for ANYO EVENT

RULE 1.0 COMPETITION AREA

Shall refer to the area by which the conduct of the competition shall be set or held including the
free zone around it.(12 meters by 12meters) in size.

1.1 Dimensions
The playing area is a square measuring 10 meters by 10 meters with a one meter
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.

1.2 Lines of the Playing Area

All lines of the playing surface are 5.08 cm. (2 inches) and must be of a different color
from that of the floor and other lines previously drawn for other purposes.

1.3 Outside Lines

Four lines mark the outside line of the playing area. The free zone distance measuring
one meter are drawn outside of the playing area .
 1.4 Entry Lines
The entry line is the farthest line parallel to the position of the judges.

1.5 Playing Surface

1.5.1 The surface must be flat and smooth and must not be elevated from the ground.

1.5.2 The playing surface must be clean and free from foreign objects that may
endanger or cause injury to the players. Other surfaces must have the approval of i-
ARNIS.

1.6 Temperature
The minimum temperature for an outdoor competition shall not be below 25 degrees
Celsius (77 Fahrenheit). For the indoor competition, the temperature shall not be higher than 25
degrees Celsius (77 Fahrenheit) and lower than 16 de-grees Celsius (61 Fahrenheit).

1.7 Lighting
Lighting apparatus is located above the free space, It must not cause any reflection to the
surface and must not affect the vision of the performer/s.

1.8 Entrance of Players

Before the game starts, players must enter thru the entry lines.

RULE 2.0 EQUIPMENT

Shall mean the materials and accessories that are used in the conduct of the competition.

2.1 Weapon
Players are required to use any of the following options.

2.1.1 Wooden Stick

The wooden stick shall measure not less than 60 cm and not more than 90 cm in
length with a diameter of not less than 1.3 cm and not more than 3.8 cm. It must not have
sharp edges or pointed ends.

2.1.2 Wooden Replica of a Bladed Weapon

The wooden replica shall measure not less than 60 cm and not more than 90
cm in full length and should be Ethnic Asian in origin. It must not have sharp edges or
pointed ends.

2.1.3 Metallic Blunt Replica of a Bladed Weapon

The metallic replica shall measure not less than 60 cm and not more than 90
cm in full length and should be ethnic Asian in origin. It must not have sharp edges or
pointed ends.

2.1.4 Wooden Replica of a Dagger or Knife

The wooden replica shall measure not more than 60 cm in full length and should
be ethnic Asian in origin. It must not have sharp edges or pointed ends.

2.2 Score Card

Judges will use score card to indicate the score given to a player or a team. The score
card shall measure 12 x 8 inches (30.48 cm x 20.32 cm )