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LESSON 1
A BRIEF HISTORY OF ARNIS
• KALI is being taught in a school-like
training grounds, which was called Bothoan
• On the dawn of April 27, 1521 -Ferdinand
Magellan was defeated by a native warrior
chief named Lapu-lapu
• Forty years after that event, on April of 1564
another warrior navigator from Spain named
Miguel De Legaspi landed in Abuyog Leyte
Philippines
• Years have passed by Spain was able to
colonize the Archipelago thru the use of
religion and what was then regarded as
modern weapons such as Muskets and
cannons. The Spaniards claimed the
Archipelago and named it “Philippines” in
honor of the King Philip of Spain.
• DARK AGE OF KALI - 1764 the Spanish
overlords banned the practice of Kali to the
natives
• The natives, hidden from the watchful eyes
of their colonizers, practiced Kali secretly.
Due to some cultural influence of the
Spaniards, the terms Escrima, Estoque,
Fraile, and Kaliradman were used to regard
the native fighting system
• It was also during these periods when the
natives were able to develop the stick
fighting techniques of the art, which was
proven to be as versatile as the bladed
weapons technique.
• Even the Moro-Moro stage play to entertain
the colonizers was utilized as an excuse to
practice the fighting system.
• 1853 - fighting system was renamed “Arnis”
NAME: Remgio Amador Presas
• Arnes - means colorful trapping on
defensive armors used on the Moro-Moro
plays
• Some of the heroes of the Philippine
revolution were also practitioners of Arnis.
• The Filipinos fought side by side with the
Americans. Natives with skills in the fighting
art signed up to be freedom fighters known
as “Guerillas”
MODERN ARNIS
• Is the system of Filipino martial arts founded
by the late Remy Presas as a self-
defense system? His goal was to create an
injury-free training method as well as an
effective self-defense system in order to
preserve the older Arnis systems. The term
Modern Arnis was used by Remy Presas’
younger brother Ernesto Presas to
describe his style of Filipino martial arts;
since 1999 Ernesto Presas called his
system Kombatan. It is derived principally
from the traditional Presas family style of
the Bolo (Machete) and the stick-dueling art
of Balintawak Eskrima, with influences from
other Filipino and Japanese martial arts.
• Arnis is a Philippines’ national martial art or
sport, After President Gloria Macapagal-
Arroyo signed the Republic Act. No. 9850 in
2009.
• 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 in
2010.
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BORN: December 19 , 1936 Hinigaran , Negros
Occidental
DIED: August 28, 2001 (brain cancer) Victoria,
Canada
OCCUPATION: Teacher and Martial artist
KNOWN FOR: founding Modern Arnis and he is a
brother of Ernesto Presas
TRAINING
• One of the characteristics of Filipino martial
arts is the use of weapons from the very
beginning of training and Modern Arnis is no
exception. The primary weapon is the rattan
stick, called a cane or baston (baton), which
varies in size but is usually about 28 inches
(71 cm) in length. Both single and double
stick techniques are taught, with an
emphasis on the former; unarmed defenses
against the stick and against bladed
weapons (which the stick is sometimes
taken to represent) are a part of the
curriculum.
BELT RANKS
ISA (pronounced as i-sah or e-sah; which literally
means "one")
DALAWA (pronounced dah-la-wah; as literally
means "two")
TATLO (pronounced as tat-loh; literally means
"three")
APAT (pronounced as Ah-pat; literally means
"four")
LIMA (pronounced as li-mah;literally means "five")
ANIM (pronounced as ah-neem; literally means
"six")
PITO (pronounced as pi-toh; literally means
"seven")
WALO (pronounced as "wah-loh"; literally means
"eight")
SIYAM (pronounced as si-yam; literally means
"nine")
SAMPU (pronounced as sam-po; literally means
"ten")
LABING-ISA (in some organizations)
(pronounced as lah-bing-i- sah; literally means
"eleven")
• Many groups use a "zero-degree" black belt
rank as a probationary stage that comes
before Isa. The actual name of the ranks is
gender-specific. For men, the rank is
referred to asLakan (Tagalog for male)
while for women it is referred to as Dayang
(Tagalog for "female").Thus, a first-degree
black belt in Modern Arnis would be
referred to as either aLakan Isa or a Dayang
Isa, depending on his or her gender. The
"zero-degree" rank, if used, is referred to as
simply Lakan or Dayang. The black belt is
traditionally bordered with red; however,
some groups use a plain black belt
• In addition to rank, titles such as Datu,
Commissioner, Master of Tapi-Tapi, Senior
• Master, Punong Guro, etc., have
occasionally been granted to certain high-
ranking individuals. The title Guro is
typically given to all Lakans and Dayangs.
INTRODUCTION TO ARNIS
• The word Arnis was used by Filipinos during
the 18th-century Spanish colonial period.
• It refers to the system of skirmish using
sword, stick, and empty hands.
• It means similar to the common folks’ word
of ‘espadahan’ or swordplay.
• It was derived from the Spanish word
“arnes,” which means harness, armor, or
weapons.
• In other regions Arnis is known as eskrima,
baston, garrote and estocada.
REPUBLIC ACT 9850
• Decelerating Arnis as National Martial Art
and Sport of the Philippines.
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• Arnis is an indigenized martial art and sport
characterized by the use of one (1) or two
(2) sticks or any similar implements or with
bare hands and feet also used for striking,
blocking, locking, and grappling with the use
of the same principle as that with the cane.
• started to wear uniforms for training, and
most of them tried to standardize uniforms
for students.
• The wearing of a belt showing students’
rank is typical for these practitioners

3 FORMS OF PRACTICES IN ARNIS

• Solo Baston - in which only one stick is

used
• Doble Baston’ or “Sinawali - which two
long sticks are utilized
• Espada y Daga’ (sword and dagger) -
wherein one long and one short stick are
used by the performers
Additional
• Mano-mano at buno’ (hand-to-hand and
grappling) are also an integral part of arnis
training.

TRADITIONAL PRACTICES OF ARNIS

• is a form of practices that focuses more on

the effective response to actual self-defense
combat.
• Technical skills were based on the
experiences of old masters or how the way
they were taught by the older generations. • DECS Order No. 25, s. 1975 which allowed
exhibition and demonstration of arnis in the
• Typical training started from mimicking the Palarong Pambansa (National Games), the
movement of the master, and independent DECS Order No. 58 (1990) known as the
maneuvering, some have their partnered Guidelines and Standards for College
drill, and some practice controlled free spar Service Physical Education which in effect,
using a live stick. included arnis in the “dual sport’ category,
then the DECS Memo No. 294, s. 1995 that
• Traditional arnis practices mostly in the issued instructors’ training to PE teachers
backyards of the masters, no prescribed for teaching arnis in physical education.
uniform, and selection or acceptance of • Philippine Eskrima, Kali, and Arnis
students was based on affinity Federation (PEKAP) which united most of
the arnis practitioners in the country.
MODERN PRACTICES OF ARNIS
VALUES OF TRAINING ARNIS
• Started from the practitioners of arnis which
studied other martial arts such as shotokan
karate, judo, Chinese wushu, and juijitsu.
• Practices typically follow procedures (bow,
warm-up, including stances, basic attacks,
defenses, freestyle, etc.)
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ARNIS STICK
• The stick usually used in practicing arnis is
made of rattan. It is advisable to use rattan
stick other than hardwood, which is flexible
and lighter compare to other hardwood.
• Length of the sticks :
• 24 inches long and not more than
one inch in diameter for school
children
• 28 to 30 inches long for adult
students.
TRAINING UNIFORM
• A typical PE uniform is readily available
training uniform for arnis; or a comfortable
shirt or training pants can be used.
WOODEN OR RUBBERIZED DUMMY KNIFE
• this dummy equipment is good for practicing
self-defense drills on disarming and knife-
taking techniques.
PREPARATORY EXERCISES AND
PRELIMINARY SKILLS
OBJECTIVES:
At the end of the module, students should be able
to:
I. Demonstrate correct salute or “pugay” as a
means of giving respect.
II. Undergo warm-up and stretching activities
suited for the arnis training.
III. Demonstrate good control of the stick with
both hands thru twirling exercises.
THE CORRECT GRIP
✓ The stick should be held from the butt end.
The extra length from the butt end allows
balance in gripping. It can also be used in
disarming techniques and attacking.
✓ Hold the stick with your four fingers with the
blade of the palm about two to three inches
from the base or butt of the stick.
✓ Tighten your grip and press the thumb over
the forefinger.
✓ Each strike must be made with a firm grip.
✓ While the grip is firm, the wrist must be
flexible and very pliable. Keeping the wrist
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in this state will ensure that the blows are WARMING UP AND STRETCHING
delivered with force and quickness.
The benefits of warming up and stretching are:
THE SALUTE
1. The prevention of injury
• Salute or Bow of Courtesy is a way of giving 2. Increased muscle flexibility
respect to partner, to opponent, to instructor 3. Increased heart rate and blood flow
and to our own selves. 4. Setting the mind for training
• Giving a salute or Pugay is done in this
manner: WARMING UP
• Warming up the muscles and increasing
blood flow is crucial. The following are some
routines that should be done at a very
gentle pace; the tempo can be slowly
increased as the player warm-up.
o Jumping
o Jumping Jack
STRETCHING ROUTINE
• A good habit to adopt is to start at the top of
the body and gradually work downward.
1. Stand at attention like soldier in line formation,
When stretching, it is important to breathe
but relaxed, with feet apart and feet pointing at an
angle of 45 degrees. The hands are in front of the and to relax.
thighs, holding the stick at both ends. • Stretching movements should be done
slowly and under control. The following
2. (A) From Open Leg Stance, move left foot to routine should be performed 15 to 20 times
assume Attention Stance. Bring the gripping hand each.
into the left chest and slightly bow the head. o Neck
o Arm Circles
(B) If holding two sticks, extend the left arm in
o Torso Rotation
line with the shoulder and bring the left arm to the
left chest. o Forward and Back Bending
o Toe Touches
3. Then return in Open Leg Stance or assume an o Knee Bends
on-guard position. o Foot Rotation
Video reference: o Forward Lounge
o Side Lounge
https://www.youtube.com/watch?v=Pj358pumAlI
NECK
SALUTE WITH PARTNER

a) With the arms and shoulders relaxed, dip

the chin to touch the upper chest. Return to
the natural position, and then lift the chin
toward the ceiling.
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b) Next, look from side to side, rotating your
head through the full natural range.
c) While facing forward, tilt the head from side
to side. The feeling is that placing your ear
down onto your shoulder.
d) Finish with gentle circles in both directions.
ARM CIRCLES
a.) Stand with the feet slightly wider than
shoulder width apart. Bend forward to touch
the ground between your feet, then swing
upward and back.
TOE TOUCHES

a.) Arms on the side, feet apart, slightly wider.

Bring your right hand downward and touch
your left toe, then back to the standing
position and repeat it to the opposite side.
KNEE BENDS
a) Hold the sticks, swing the entire arms in a
gentle, vertical circle, first forward and then
backward.
TORSO ROTATION

a.) Go into a squat with the knees together, and

then rise up into a knees-locked position
with the heels down
a.) Holding the sticks with both hands, keep the
arms loose and allowing to swing freely, FOOT CIRCUMDUCTION
rotate the upper body from side to side. The
legs should be mostly stationary and the
rotation will twist the trunk and the lower
back.
FORWARD AND BACK BENDING

a.) Raised your right leg and rotate your right

foot clockwise then counter-clockwise.
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b.) Repeat on the left foot. a) Hold the sticks at the middle and pointing
vertically upward, knuckles facing back.
FORWARD LOUNGE
b) Rotate the wrists forward and backward
alternately and continuously
c) Do two sets of 16 counts
WRIST CIRCLING FORWARD AND BACKWARD

a.) With the hips square to the front, step

forward with right foot and bend the front
leg. Keep the back leg straight for a slow
count. Repeat on the other side.
SIDE LOUNGE a) Hold the sticks with normal grip, both resting
on shoulders
b) Circling the wrists forward and backward
alternately and continuously;
c) c. Do two sets of 16 counts
WRIST CIRCLING, UP & DOWN
a.) Place the feet twice shoulder width apart.
Bend your right knee and lean deeply to that
side, while keeping the left leg straight, the
sole of that foot on the floor. Hold this
position for a slow count. Without
straightening up, move your torso to the left
side, straightening your right leg and
bending your left leg as you do so. You can
use the stick to support your balance.
STICK MANEUVERING EXERCISES
a) Starting Position: Hold sticks with normal
WRIST TWISTING grip, both resting on shoulder.
b) Bring both sticks downward, circling the
wrists outward on the way down;
c) Bring both sticks upward, circling the wrists
outward once on the way up
d) Do two sets of 16 counts.

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ALTERNATE WRIST CIRCLING, UP & DOWN

a) Starting Position: Hold sticks with normal

grip, right stick resting on shoulder while the
other stick held down.
b) Bring the right stick downward;
simultaneously bring upward the left stick,
circling both wrists outward while moving
the sticks.
c) Repeat in alternate manner.
d) Do two sets of 16 counts.

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LESSON 2 a.) This is similar to the open leg stance,

except that the beyond shoulder width
STANCES AND ON-GUARD POSITION distance, knees bent and weight evenly
distributed on both feet.
b) Stick diagonally across the body and left
hand in chest level between the stick and
ATTENTION chest.

FORWARD STANCE

a) Stand at attention like a soldier in line,

b) and feet pointing at an angle of 45 degrees.
c) The hands are in front of the things holding
the stick on both ends.
OPEN LEG STANCE
a.) Slide or step one foot forward with knee
bent, the back, weight is greater on the front
leg. Maintain the center of balance in the
center between the two legs.

BACK LEANING STANCE

a) Same as above but with two legs about

shoulder. a.) Step or slide one foot backward. Shifting the
trunk slightly bent backward. Keep the
STRADDLE STANCE balance in the center between the two legs.

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LESSON 2.1
BASIC STRIKING TECHNIQUES

CONTENT

• Striking the target is very important, but

getting to the target is just as important.
Therefore, when one goes into the target to
strike, they must have conviction and a
sense of balance to effectively execute the
hit.

• All basic strikes should deliver into a

specific target with vigor. All should be
executed and practiced as one sequential
movement. However, once they are
mastered, they can be executed in any
sequence.

FOREHAND STRIKE TARGET AREA: R temple, R face, R neck, R

shoulder, R trunk
- From On-guard position step in and strike
the left upper side of the opponent. LOW FOREHAND STRIKE

- From the On-guard position step into deep

lounge and hit the lower limb of the
opponent.

TARGET AREA: L temple, L face, L neck, L

shoulder, L trunk
TARGET AREA: L thigh, L knee, L shin, L foot
BACKHAND STRIKE
LOW BACKHAND STRIKE
- From On-guard position step in and strike
the upper right side of the opponent. - From On-guard position step into deep
longue and strike the right lower limb of an
opponent.
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TARGET AREA: R thigh, R knee, R shin, R foot

TARGET AREA: L eye, L chest
MID-TRUST
BACKHAND THRUST
- From On-guard position execute a direct
attack to opponent’s trunk with the tip of the
stick, usually done in lunge or reverse
forward step.

TARGET AREA: R eye, R chest

TARGET AREA: Stomach, Chest, Throat, Groin

FOREHAND THRUST

- From On-guard position withdraw and

raised the arm upward with the knuckles
turned towards your face, the stick into
horizontal position pointing forward, and
thrust at the left eye or the chest of the
opposite
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LESSON 2.3 EXECUTION

BASIC BLOCKING TECHNIQUES

CONTENT:

➢ Blocking is a movement of defense

executed with the weapon to deflect the
weapon of the apparent offense action at
the target so that a hit is avoided.
➢ As in striking techniques, the blocking
technique should be practiced in a
sequential or segmental manner. Once
these basic skills are mastered, they should
perform in response to the striking blows
being delivered by their sparring partner.

BASIC BLOCKING TECHNIQUES OUTWARD BLOCK

- The same movement with Inward Block, but
INWARD BLOCK
the block is executed in the opposite side.
- From On-guard stance, step R foot
forwards and twist trunk to face obliquely
left with the stick vertically pointing upward,
left hand with open palm is placed at the
middle of the stick to cushion the impact of
the blow delivered by the opponent.

APPLICATION AGAINT BACKHAND STRIKE

PREPATORY

LOW INWARD BLOCK

- A method of blocking use to absorb the
attack of opponent delivered to hit the lower
limb.

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SWEEPING BLOCK
- From On-guard position step R foot and
simultaneously pivot on the R foot and twist
APPLICATION AGAINT LOW FOREHAND STRIKE trunk to face left, and moving the arms with
elbow bent in front of the chest with the
point of the stick pointing downward and the
end of the stick pointing upward. This block
can use against a mid-trust or strike on your
left side.

LOW OUTWARD BLOCK

- From On-guard position withdraw right or
side step to evade an attack to R leg.
- The block can also be used against mid-
trust.
APPLICATION AGAINT MID-THRUST

OVERHEAD BLOCK
- This is to deflect frontal/overhead strike.
From On-guard, slide back and bring the
APPLICATION AGAINT LOW BACKHAND STRIKE stick overhead, left hand supporting the
block.

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APPLICATION AGAINT FRONTAL STRIKE

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LESSON 3
SINGLE SINAWALI
CONTENT:
• Sinawali is derived from the Tagalog word
“sawali” which refers to the pattern used in
weaving bamboos which have been split
lengthwise and the resulting frame is used
as walls of a nipa/bamboo house.

(3)

(1)
(4)

(2)

(5)

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(6)
(9)

(7)
(10)

STEPS:
1. From open leg stance, do proper execution
of ‘pugay’ (1,2,3)
2. Initial position – assume Open Leg Stance,
bring both arms with sticks over the
shoulder.
3. Strike inward with your right hand into
opponent’s left temple;
4. Bring R hand to the left side; prepare to
execute R low backhand strike.
5. Strike downward outward with your right
hand aiming at your opponent’s right knee;
6. Then bring your right arm in your shoulder,
(8)
and strike your left-hand inward aiming at
the opponent’s right temple.

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7. Bring L arm to right side, prepare to execute

low L backhand strike.
8. With the same left hand, strike outward
downward to your opponent’s left knee.
9. Return to initial position, then repeat whole
movement pattern, smoothly and
rhythmically.

SINGLE SINAWALI WITH PARTNER

(3)

(1)
(4)

(5)

(2)

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(9)

(6)

(7)

(8)

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LESSON 4
REDONDA

CONTENT

• The Redonda is one of the traditional forms

of striking wherein the blows are directed to
the opponent’s upper body. It involves
synchronized movements of the shoulders,
arms, wrists and trunk. It is a very graceful
movement if executed well and can be
performed in several directions and
movement levels.

(1b)

(1a)

(2b)

B (1b)

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STEPS:

Redonda is a Spanish word that means ‘round’,

some call it as “rapilon”. Redonda is executed in
the following manner:
Initial Position: Right forward stance or open-leg
stance, with one stick in R hand (with elbow bent,
stick above the R shoulder) pointing backward and
the L arm with another stick under the R armpit
pointing backward.
1. R hand executes Inward Strike and
continues moving the R arm across the
body to the L side until the stick is over the L
shoulder.
2. L hand executes Outward strike by twisting
the L forearm outward left to bring the L arm
to the left side. At this position, both arms
are on the left side, the R arm over the L
shoulder, with both sticks pointing
backwards.
3. Simultaneously bring the right stick under
the L armpit, and the L hands executes
Inward Strike and continue moving the L
hand across the body to the left side until
the stick is over the R shoulder.
4. R hand executes frontal strike by twisting
the R forearm outward right to bring the R
arm to the right side. At this position, both
arms are now on the right side, the L arm
over the R shoulder, with both sticks
pointing backward.
Repeat the sequence.
- In performing the Redonda, the execution
should be done continuously in a “windmill”
and crisscrossing fashion, with the trunk
and body twisting left to right in a
synchronized action with the arms as these
go from side-to-side.

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