Erwin Lorenzo C. Olegario7 – Mendeleev

Arnis

Arnis, also known as Eskrima and Kali is the National Sport and Martial Art of the Philippines. It is an umbrella term that refers to a class of Filipino martial arts that emphasize weapon-based fighting with sticks, blades and improvised weapons. Although training starts with weapons, empty hand techniques, trapping and limb destruction are core parts of these arts as the weapon is considered merely an extension of the body. Eskrima and Arnis are the most common among the many names often used in the Philippines today to refer to these arts.

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The teaching of the basic skills in Arnis is traditionally simplified. With limited time to teach intricate moves, only techniques that were proven effective in battle and could easily be taught en masse were used. This allowed villagers, generally not professional soldiers, a measure of protection against other tribes, kingdoms and sultanates in the archipelago now known as the Philippines and also against foreign invaders. This philosophy of simplicity is still used today and is the underlying base of eskrima. Because of this approach, Arnis and the Filipino martial arts in general are often mistakenly considered to be "simple". However, this term refers only to its systematization, not its effectiveness. In fact, beyond the basic skills lie a very complex structure and refined skillsets that takes years to master.

Eskrima / Arnis / Kali

The names Eskrima, Arnis and Kali refer to weapons based martial art developed from traditional roots in the Philippines. The Philippines are an archipelago of islands, and the names used vary with region. The art is referred to as Arnis in the northern islands, including Luzon, Eskrima in the middle, Visayas islands, and Kali in the south including Mindanao.

Description of the Art

Eskrima, Arnis and Kali [hereafter Eskrima], is different from many other martial arts in that the student is trained with weapons from the very beginning. The primary training weapon is the baston, a rattan stick usually about 30 inches long. The baston is both a weapon and a training tool meant to simulate a short sword or kris, the traditional knife of the archipelago. In the southern dialects, the kris is referred to as a kalis, from which is derived the name “Kali”.

Eskrima practitioners believe that training with baston builds manual dexterity and trains fasters conditioned responses. The various Eskrima drills are certainly very fast, and typically include either programmed or semi-programmed exchanges of attack and defense using the baston.

Although weapons based, Eskrima also included striking with the hands and feet, wrestling, grappling and even some groundfighting. Additionally, many of the armed offensive and defensive techniques may be used empty handed. Thus, Eskrima offers practical defenses against most hand weapons.

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Strengths of Eskrima, Arnis & Kali

The following are assertions of the strengths and benefits of Eskrima taken from various sources on the web and edited for brevity but not content.

Eskrima is practical self-defense. 

Eskrima increases fitness and aerobic capacity

Eskrima training conditions the forearms, elbows and hands increasing pain tolerance.

Eskrima training increases flexibility.

Eskrima training can make one partially ambidextrous.

Eskrima training will assist in the use of unfamiliar weapons.

Eskrima is a compliment to virtually any other martial art.

Many Eskrima techniques do not require strength or power, since most of the power is derived from body movement and economy of motion.

The emphasis on speed and technique, rather than strength allows both the young and old to benefit from Eskrima training.

Eskrima is a complete martial art, including punching, kicking, wrestling, weaponry, and groundfighting.

Eskrima is easy to practice and requires no special facilities.

Eskrima is social in that it requires a training partner.

Cardinal Principle of Arnis

Respect - for one's opponent as a person and as a fighter, and as a sportsman. It should always be remembered that an opponent is a human being with a dignity as you have and worthy or respect.Sportsmanship on the other hand is a measure of a fighter or player. The laurels of victory should never be worn with superiority but with humility. Victory is not a stamp of invulnerability but rather a reason for magnanimity.

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Cardinal Rules of Arnis

Character - a ruffian has no place in Arnis let alone in sports. Refinement in character is important. A student must be taught the moral (and religious) values of everything. It is an obligation of the teacher of Arnis to mold the character of the student in such a way that his behavioral structure would be motivated by righteous desire. It is what a man is that counts not the number of trophies he won. In spite of the abetted fallacies of values of the present world, it is who you are that will matter in the end.

Sincerity - Sincerity for victory's sake is not at all consuming end of an Arnis player. It is the sincerity in him to his fellowmen and to his art that makes him shines in the array of men. The will to win maybe inculcated, but such tutelage should never end after the tick of the ultimate seconds in the game but beyond the canvas and the arena of competition. The martial art of arnis, it should be remembered, is a good medium of developing man’s sense of dedication in all his everyday endeavor and involvement. Sincerity is the mother of trust makes an institution of what has been shattered by doubts. A man who is not sincere will never have a true friend.

Discipline - Arnis is a molder of discipline. It is the responsibility therefore, of the teacher of the art to guide the students to this end. Strict compliance of rules and norms of conduct is an athlete's obligation. Proper behavior in the sport and in life itself will be the gauge of success. Personal discipline is important. The kaleidoscopic invitations and temptations of life should never undermine man in his obligation to his art, to himself and his fellowman. A student should learn to control himself in the pursuance of his goal, not only to his art but also to life in general.

Self-control- Losing one's head means defeat. One should learn to control his temper. If he hopes to achieve success in every endeavor. In Arnis, self -control is important for without it, life and the good health of another may be lost. The possession of an ability to kill or maim a person should be handled with the extreme caution and prudence.Etiquette - Etiquette is allied to the main cardinal rules in arnis. One's norm and standard should never be imposed upon others. One should learn to respect others. Giving credence to the standard and ability of another person should or will best prepare anybody in any endeavor. The pacific ways of human understanding will stay unruffled if exercise of proper etiquette and respect whether it is in sporty competition or in life itself is observed.

Student's loyalty -loyalty should be emphasized to the student, loyalty to the art, to a fellow player, and to his teacher. Ingratitude to one is ingratitude to the other. A student should be loyal to a fellow player because any disloyalty to him is disloyalty to the art itself. More important, a student should be loyal to his

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teacher. Everything one has learned is owed by him to his teacher. Personal whims should never cause one to be ungrateful to where he owes everything he knows.

History

The history of Eskrima is lies in the warrior tactics and training of the people of the Filipino Archipelago. The inhabitants of these islands, along with the people of the Malaysian Archipelago shared certain common martial traditions including reverence for the kris, or traditional knife. It is though that many of these traditions may well have originated in India.

Eskrima as we know it today, developed after contact with the Spaniards, and evolved in the environment of Spanish colonial dominance of the Philippines. Eskrima is considered by some to be “closer to the street” than many martial arts, that is, it is practiced for personal defense (and in some cases attack) by many in the Philippines today. Eskrima is a more recent import to the US than the Japanese or Korean arts, and is less the subject of sporting events and tournaments, although it’s popularity is growing.

The following detailed history is excerpted from Mark V. Wiley’s Filipino Martial Arts, a widely read and scholarly work on the subject of the martial arts of the archipelago. It should be noted that Wiley uses the often uses the southern term Kali, or Kalista for it’s practictioners.

Pre-Colonial History

Centuries old, the Filipino warrior arts have long been the backbone of Filipino society. It was the practice and preservation of these arts that have kept the Philippine archipelago from permanent domination by a foreign power. There are several hundred styles of these warrior arts presently being preserved and taught throughout the Philippines. Although known by many names, often descriptive of the styles and names of their founders and enemies (i.e., Binas Arnis, Italiana style), the Filipino warrior arts can be classified by three distinct territorial styles --Arnis, Eskrima, and Kali -- that are found in the northern, central and southern Philippines, respectively.

It has been postulated that the Filipino art of Eskrima originated in India and that it was brought to the Philippines by people who traveled through Indonesia across a land bridge known as the Riouw archipelago that linked the Malay peninsula to Sumatra, and across another land bridge that connected Malaya to the Philippine islands. Indonesian Tjakalele and Malay Silat Melayu are two forms of combat said to have been introduced to the Philippines via these now-sunken routes. The ninth century Tang dynasty brought goods to the Philippines from East Asia and Malaysia. These countries' combat methods of Kuntao and Silat had a great influence on the development of Kali, which is the "mother art"

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of the Philippines. Legends claim that ten Datus (chieftains) left Borneo and settled in Panay where they established the Bothoan in the twelfth century. The Bothoan was a school where the Datus taught Kali along with academic subjects and agriculture. It was a kind of preparatory school for tribal leaders.

During the fourteenth century, a third migration of Malaysians to the Philippines took place. These immigrants were the ancestors of the Moro (Muslim) Filipinos of Mindanao and Sulu. They spread their cultural-religious beliefs as well as their Kali systems, which utilized bladed weapons of varying lengths. Datu Mangal is credited with bringing the art of Kali to Mactan Island; Sri Bataugong and his son Sri Bantug Lamay were said to have brought the art to the island of Cebu during the Majapahit Empire. Raja Lapu Lapu, the son of Datu Mangal, through constant struggle and war, developed a personalized Kali subsystem known as Pangamut. In the sixteenth century, he and Raja Humabon, the son of Sri Bantug Lamay, began to quarrel. A battle was mounting as Lapu Lapu accused Humabon of wrongfully taking land that belonged to his father. The battle, however, was never to take place, as the Philippines were unexpectedly visited by the Portuguese explorer Ferdinand Magellan.

Colonial History

In the early part of the sixteenth century, the Spanish set sail in search of a westward route across the Pacific to the Indies. Commander Ferdinand Magellan's fleet of ships accidentally stumbled upon an unknown archipelago. On March 16, 1521, Magellan came upon the island of Samar. He decided that it was in his best interest to wait to attack, and thus dock at a nearby island. This island was uninhabited and so Magellan's fleet took a few days of needed rest.

On March 18, the Spaniards took note of a boatload of natives coming toward their ships. Commander Magellan, seeing a strange opportunity, greeted them in friendship. This friendship was to develop, and the native islanders familiarized Magellan with the names of the surrounding islands that made up the archipelago. With assistance of the ship's priest, Magellan baptized Raja Kolambu, the chief of Samar, and also Raja Humabon, the chief of Cebu, converting them to Catholicism and ultimately Spanish allegiance.

On April 27, Magellan led an expedition to nearby Mactan Island in hopes of conquering and then presenting it as a git to Raja Humabon. Unfortunately, as he and 49 Spanish conquistadors disembarked from their ships, they were confronted by 1,050 islanders, led by Raja Lapu Lapu, armed with iron-tipped fire-hardened bamboo lances and pointed fire-dried wooden stakes. Greatly outnumbered, Magellan was killed by the spears and arrows of Lapu Lapu's men.

In 1543, Ruy de Villalobos, sailing from New Spain (Mexico), landed south of Mindanao and proceeded to name the entire archipelago the PHILIPPINES after King Philip II of Spain. It was not until 1565 that Miguel Lopez de legazpi,

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authorized by Philip II, colonized the island of Cebu, and a foothold was secured in the Philippines. When the Spaniards traveled to the island of Luzon in 1570, they found it inhabited by Filipino, Chinese and Indonesian cross-cultures, and upon their arrival they were confronted by Kalistas (Kali warriors) whose fighting method far exceeded theirs. But the Spaniards, using firearms defeated the inhabitants of Luzon. From then on, the art of Kali was prohibited, but it was still practiced and perfected by a dedicated few. The arts were then preserved in native ritual dances called sinulog that had mock battles with swords as finales. Ironically, these dances were often performed for the Spaniards' enjoyment.

Kalistas practiced their arts diligently, and hence developed extreme accuracy, speed, and agility. These attributes were a must. Because the Spaniards' swords were sharp and readily cut through the Filipinos' wooden weapons, many strikes to nerve centers along the body and limbs were mastered, allowing the Kalista to disarm and disable his opponent with a flurry of attacks.

Evolution

During the 330 years of Spanish reign, after many skirmishes with Spanish fencing exponents and after careful observation, the art of Kali was altered. Many training methods were dropped and many new concepts and techniques were added. This, coupled with the influence of Spanish culture and language, prompted the evolution of Eskrima (aka. Arnis de Mano). It was the Spanish rapier and dagger systems that had the greatest influence on the development of Eskrima. The use of numbered angles of attack as well as what have become traditional Eskrima uniforms, were both influenced by the Spanish. It is also interesting to note that although Tagalog is the national language of the Philippines, many of the top Eskrima masters still teach their arts in Spanish, today.

The State of the Art Today

The development of Filipino martial arts as sport is fairly recent. For many years, actually combat experience was considered necessary to allow a Filipino practitioner to claim the title of “Guro” or master. Duals to the death were outlawed only as recently as 1982, and were an occasion for cash wagering. They were all too often, very bloody affairs.

Organized competitions have been held in the Philippines, since 1949. The National Arnis Association of the Philippines (NARAPHIL) and the World Eskrima Kali Arnis Federation (WEKAF) are important sponsors of tournaments.

Finally, Filipino martial arts have been brought to the west by practitioners such as Ciriaco C. Canete, Dan Inosanto, Remy A. Presas, and Leo T. Gaje, Jr. Presas Modern Arnis is growing in popularity in the United States, and has

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adopted many of the accoutrements of western martial arts including ranking systems and public seminars.

Three Traditional Training Methods1. Muestrasion or Pandlag - which teaches the artistic execution of the swinging movements and stroking for offense and defense in repetitive drills2. Sangga or Patama or Sombra Tabak – wherein striking, thrusting and parrying in a prearrange manner is taught3. Larga Muton or Labanang Totohanan - in which two trainees engage in a free practice trying to outmaneuver each other using all their skills

How to play

Players could basically participate in two types of arnis sports, the anyo or form, and the laban, or full combat competitions.

Different scoring systems and rules and regulation apply for each division, depending on who hosts the competition.

In anyo, athletes would perform sequences of movements using 2 batons. Competition will judged based on the execution of the anyo and the creativity of overall choreography of the performance. Gracefulness combined with strength and force is needed to execute these forms properly.

Meanwhile, in the full combat competition, players are required to strike their opponents’ different body parts with one baton.

Unlike other combatitive sports, arnis does not usually require any body contact between each player besides the batons that they are holding. Any attack using bare hands or feet is considered a foul.

Scores depend on the number of strikes each player could deliver. Agility and quick thinking combined is required to have a high score in this type of competition.

However, some competitions allow full contact between players. Competitors could grapple, disarm, and block their opponents.

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Kinds of Stances 

 Ready Stance

Figure 1: 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.  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

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Attention Stance is commonly used in preparation for courtesy or “bowing” at commencement of sparring.  Forward Stance

Figure 2: Right Foot Forward Stance

 Starting with the ready stance, move one foot forward until the knee and the toe are in line to 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 are commonly used with frontal striking or blocking techniques.  

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Oblique Stance

Figure 3: Right Foot 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 to each other.  Move on 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 right foot lead, which is the Right Foot Oblique Stance or it can be left foot lead which is Left Foot Oblique Stance.  Oblique Stances are commonly used for forward blocking and evasion techniques.  

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Straddle Stance

Figure 4: 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 a horse back.  Straddle stances are commonly used for blocking the strikes to the side of the body.  

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Side Stance

Figure 5: Left Side StanceStarting with the ready stance, move one foot about two feet (2’) to the left or right direction.  Moving foot will be perpendicular to the ground while the other leg is extended thereby creating a position like that of a side kick.  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 Right Foot Side Stance.  Side Stances are commonly used for strike deflection and evasion techniques.  

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Back Stance

Figure 6: Right Foot Back 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.

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Areas of the 12 strikes

1. Left temple2. Right temple3. Left shoulder4. Right shoulder5. Stomach/Solar Plexus6. Left Chest7. Right Chest8. Right Knee9. Left Knee10.Left Eye11.Right Eye12.Head/Crown

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Striking

Attacking position: From an open stance, move left foot forward, put hands-on-guard position.

1. LEFT HAND STRIKEAttacker moves right foot forward, prepares for a left temple strike by positioning the hand holding the cane at the back of the ear then swing the cane forward to strike the opponent's left temple. The closed palm should face upward.

2. RIGHT TEMPLE STRIKEFrom the initial position, attacker moves right foot forward, prepares for a right temple attack by positioning the hand holding the cane at the back of the left ear , then swing the cane forward to strike the opponent's right temple. The closed palm should face downward.

3. LEFT SHOULDER STRIKEFrom the initial position, attacker moves right foot forward, prepares for a left temple strike by positioning the hand holding the cane at the back of the right ear, then swing the cane forward to strike the opponent's left shoulder. The closed palm should face upward.

4. RIGHT SHOULDER STRIKEFrom the initial position, attacker moves right foot forward, prepares for right shoulder strike by positioning the hand holding the cane at the back of the left ear, then swing the cane forward to strike the opponent's right shoulder. The closed palm should face downward.

5. THRUST TO STOMACHFrom the initial position , move right foot forward, draw back hand holding the cane , then thrust the opponent's stomach using the tip of the cane

6. LEFT CHEST ATTACKFrom the initial position , move right foot forward, draw back hand holding the cane, position it at the back of the right ear. The cane should point forward then thrust the opponent's left chest. The closed palm should face downward.

7. RIGHT CHEST ATTACKFrom the initial position, bring the hand holding the cane at the side of the body, closed palm facing the chest. The tip of the cane should point the opponent's chest, then thrust the cane to the opponent's chest.

8. RIGHT KNEE ATTACKFrom the initial position, move right foot forward, bring the cane above the shoulder at the back of the ear, then swing the cane downward to strike the opponent's right knee.

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9. LEFT KNEE ATTACKFrom the initial position, move right foot forward, bring the hand holding the cane above the right shoulder, then swing the the cane downward to strike the opponent's left knee.

10. LEFT EYE ATTACKFrom the initial position, position the hand at the back of the right ear. The tip ofthe cane should point to the opponent's eye, closed palm should face outside. Move right foot forward, then thrust the cane to strike the opponent's left eye.

11. RIGHT EYE ATTACKFrom the initial position, position the hand holding the cane at the side of yourbody. The palm should face the chest, the tip of the cane should point towards the opponent., then thrust the cane towards the opponent's right eye.

12. CROWN STRIKEFrom the initial position, bring the hand holding the cane above the shoulder then move right forward. Swing the cane downward to strike the opponent's head.

Strikes

Many Filipino systems focus on defending against and/or reacting to angles of attack rather than particular strikes. The theory behind this is that virtually all types of hand-to-hand attacks (barehanded or with a weapon) will hit or reach a combatant via these angles of attack and it is reasoned that it is more efficient to learn to defend against different angles of attack rather than learning to defend against particular styles, particular techniques or particular weapons. For instance, the technique for defending against an attack angle that comes overhead from the right is very similar whether the attacker uses barefists, a knife, a sword or a spear.

Older styles gave each angle a name, but more recent systems tend to simply number them. Many systems have twelve standard angles, though some have as few as 5, and others as many as 72. Although the exact angles, the order in which they are numbered (numerado), and the manner in which they're executed vary from system to system, most are based upon Filipino cosmology. These standard angles are used to describe exercises; to aid memorization, a standard series of strikes from these angles called an abecedario (Spanish for "alphabet") is often practiced. These are beginner strikes or the "ABC's" of eskrima.

Some angles of attack and some strikes have characteristic names.

San Miguel is a forehand strike with the right hand, moving from the striker's right shoulder toward their left hip. It is named after Saint Michael or the Archangel Michael, who is often depicted holding a sword at this angle. This is the most natural strike for most untrained people. It is commonly

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referred to as "angle #1," in systems where striking angles are numbered for training purposes, because it is presumed to be the most probable angle of attack.

Sinawali is the signature double-stick weaving movement associated with Arnis and Eskrima named after the woven coconut or palm leaves called sawali that comprise the walls of nipa hut dwellings. It is commonly seen in double-stick continuous attack-parry partner demonstrations.

Another signature technique is the Redonda which is a continuous circular downward-striking double-stick twirling technique.

A redondo (Spanish for "round") is a strike that whips in a circle to return to its point of origin. This is especially useful when using sticks rather than swords, such a strike allows extremely fast strikes but needs constant practice.

An abanico or watik (from the Spanish for "fan") is a strike executed by whipping the stick around the wrist in a fanning motion. Not very forceful and not well suited to swords, this strike can be very quick and arrive from an unexpected angle.

Hakbang (Filipino for "step") is a general term for footwork. For example, hakbang paiwas is pivoting footwork, while hakbang tatsulokis triangle stepping.

Puño (Spanish for "fist") is a strike delivered with the butt of the weapon. It usually targets a nerve point or other soft spot on the opponent but in skilled hands, the puño can be used to shatter bones.

It is to be noted that many of the Eskrima techniques have Spanish names because Spanish was the lingua franca spoken during colonial times among the natives who spoke over 170 different languages in the archipelago's 7,100+ islands.

Eskrima techniques are generally based on the assumption that both the student and their opponent are very highly trained and well prepared. For this reason, eskrima tends to favor extreme caution, always considering the possibility of a failed technique or an unexpected knife. On the other hand, the practitioner is assumed to be able to strike very precisely and quickly. The general principle is that an opponent's ability to attack should be destroyed rather than trying to hurt them to convince them to stop. Thus many strikes are aimed at the hands and arms, hoping to break the hand holding the weapon or cut the nerves or tendons controlling it (the concept ofdefanging the snake), but strikes to the eyes and legs are important. A popular mnemonic states that "stick seeks bone, blade seeks flesh".

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Blocking Techniques

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References:

http://en.wikipilipinas.org/index.php?title=Arnis#Strikeshttp://www.natkd.com/arnis_history.htmhttp://www.rappler.com/sports/specials/palarong-pambansa/2012/4293-arnis-a-proudly-pinoy-sporthttp://praktisarnis.webs.com/12strikes.htmhttps://depedmati.wikispaces.com/file/view/Gr.+7+PE+LM+(Q2).pdf

This link shows videos of the basic strikes and blockshttp://www.ironcrane.com/html/arnis1.html

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