The Basics of Arnis

3. 
 as a martial art, was spawned in
as a martial art, was spawned in
the Philippine soil. It was known in
the Philippine soil. It was known in
ancient Philippines as
ancient Philippines as Kali
Kali
,
, an ancient
an ancient
Malayan word which implies a large
Malayan word which implies a large
bladed weapon longer than a knife.
bladed weapon longer than a knife.

 This art was practiced
This art was practiced
primarily to self-defence by the
primarily to self-defence by the
pre-Spanish Filipinos who were
pre-Spanish Filipinos who were
noted for their friendly nature
noted for their friendly nature
and legendary
and legendary hospitality.
hospitality.

4. 
 must have been derived from
must have been derived from
tjakalele
tjakalele which is a native fencing in
which is a native fencing in
Indonesia. The linguistic kinship is not
Indonesia. The linguistic kinship is not
without basis considering that what is
without basis considering that what is
now Indonesia was once, in ancient
now Indonesia was once, in ancient
times a part of the Sri Vishayan and
times a part of the Sri Vishayan and
Madjapahit
Madjapahit empires whose sphere of
empires whose sphere of
influence reached the Philippines.
influence reached the Philippines.

 kali
kali was taught to children in a
was taught to children in a
school called
school called bothoan
bothoan as part of their
as part of their
education.
education.

5. 
 However, about 200 B.C., the
However, about 200 B.C., the
Malaya migrated to the Philippines and
Malaya migrated to the Philippines and
brought with them the
brought with them the long knife
long knife. Their
. Their
coming enriched the Filipino arsenal in
coming enriched the Filipino arsenal in
the fighting arts. Besides their stick,
the fighting arts. Besides their stick,
bows and arrows, the
bows and arrows, the early Filipinos
early Filipinos
were now also experts in the use of
were now also experts in the use of
bladed weapons and daggers.
bladed weapons and daggers.

6.  As testimony of the Muslims’ love for the
bladed weapon is their variety of styles and types of
knives which includes the kris, bolo, kalis, barong,
gunong, kampila, gayang, pira, punal, itak
,
banjal, bangkcon, lahot and the panabas.
 Inter-regional contact and influence
brought about the trade and travel linked the
Muslim fighting art with the bladed weapon in
the South with the Kalis, the forerunner if Arnis
of the Tagalogs, in the north. Kalis, a term
which was shortened for Kali for convenience,
is also a fighting art which uses a long-bladed
weapon or knife, stick or cane and dagger.

7.  is the best known and the most systematic
fighting art in the Philippines. It si perfected art
after a long historical development from the
Kali systems designed to train the students to
defend himself against armed or unarmed
attacks. Arnis, as it is commonly called, has
been also known in the other dialects as
estocada among the Tagalog provinces and
estoque or fraile in other regions.
Arnis de mano

8. Three Forms of Play
 Espada y daga - (sword and dagger) in which a long
wooden sword and a short wooden dagger is used
 Solo baston (single stick) in which a single long
muton or baston (wooden stick or rattan cane hardened
by drying or heating) is used
 sinawali, a native term applied because the intricate
movements of the two muton resemble the weave of a sinawali
(crisscross fashion), the bamboo split weave pattern used in
walling or matting.

9. Arnis is a close-combat affair, thus skill in
parrying and striking must be developed with
utmost dexterity. The expert use of the leg and
the leg-hip fulcrum maneuver to outbalance
and throw an opponent must be perfect. Unlike
other martial arts which: make use of complex
body maneuvers. Arnis as it was then and as it
is now in its modern form, puts emphasis on
the use of the stick and the hand-arm
movements.

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

12.  It would not be far-fetched to surmise that one of the
earliest Filipino heroes, Lapu-lapu, was a kali (Arnis) expert.
Pigafetta, Magellan's chronicler and historian, recorded that on
April 27, 1521, Lapu-lapu felled the great Spanish warrior with
a bladed weapon thus making a Filipino's first victorious stand
against a foreign invader. Pigaletta also recorded that many of
the natives carried a pointed short hard wood stick which had
been further hardened by the fire treatment and used in fighting.
This stick may have been the forerunner of the present muton
or baston in arnis.

13.  In l564, another conquistador, Miguel Lopez de Legaspi,
landed in Abuyog, Leyte where they were hospitably met by
the chief of the island Malitik
, and his son Kamutunan.
Legaspi and his men were treated to feast and shown a sample
of early Filipinos' skill in combat with kali as the best part of
the show.
Legaspi was given the same hospitality and display of Filipino
dexterity in arms when they visited Limasawa, (Limasagua)
and Camiging (Camiguing), the latter visit occurring in March
11, 1564. During both visits, the Spaniards 'were wined, dined,
and shown the Filipinos' skill in kali (arnis).

14.  When Legaspi and his men landed in Cebu in April
27, 1564, they were met by the native chief Tupas and his
warriors. Again. they were treated hospitably and shown
the Filipinos' skill in arms.
 Legaspi was so impressed with the Filipinos' skill in
combat, especially in kali, he decided to befriend them
fully. The bond between the two leaders grew so strong
that on June 4, 1564, chief Tupas entered the folds of
Christianity. He was named "Felipe" in honor of King
Philip of Spain.

15. 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.

16. 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.

17. 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.

18. 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.

19. 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 teacher.
Everything one has learned is owed by him to his teacher.
Personal whims should never cause one to be ungrateful to

20. S T A N C E S

21. S traddle s tance- performed by sliding the left foot forward. The toe should be point forward. (F1 and 2)
Forwa rd S tance- performed by sliding the foot forward. The toe should be point forward. The front leg should be
bent while the leg at the back should be straight (f 3). It can be performed either using the left foot in the left
forward stance (f 3a) or the right forward stance (f 3b).
1
3b
3a
3
2

22. B ac k leaning s tance- put one leg
foot forward and let the toe of your
forward touch the ground at the
same time pivot at the back. It can
be performed using either the left or
the right (f 4a & 4b).
Forw ard Leaning S tance- side
Direction- performed by sliding the
foot to the side with bended knee,
toes should point sideward. The
other leg must be straight. Similar
to forward stance but the direction
is different (f 5).
Forw ard Leaning S tance- Facing
the Back- performed like in forward
stance but the direction of the body
is at the back. However in the eyes
are focused to the opponent (f 6).
Cross S tance- performed by
positioning the other leg over the
4a
7
6
5
4b

23. Sinawali
Commonly reffered to as double baston. Sinawali is a major
fighting system of arnis. From the ferthest point of the north
to the southern part of the Philippines sinawali is regarded as
one of the most effective system of Filipino Fighting. A
regular training of the art develop speed and strength. History
reveals that the system is widely used during thr Spanish era
by the Filipino Revolutionaries against the foreign masters.
The tem "sinawali" is taken from the Filipino word
sanawali, a native mat usually used as well as fence or
roofings. the term sinawali means "to weave". The technique
is called as such because of the entricate movemant of the art.

24. Single
Sinawali
From the initial position (f 1) make a bow
(f 2) then raise the cane (f 3). Swing the cane
forward to strike the opponent's temple (f 4).
Withdraw the cane (f 5)
F 1 F 2
F F 4 F 5

25. then swing it downward to strike the
opponent's knee (f 6). From figure 6, withdraw
the cane and position it above the right
shoulder then strike the opponent using the
other cane (f 7) withdraw the cane (f 8) then
swing it downward to strike the opponent's
knee (f 9). Single sinawali can be performed
continuously.
F 6 F 7
F 8 F 9

26. A DV A N C E S IN G LE
SINAWALI
Starting position: Consult instructions a.1 of Single Sinawali (f1
& f2)
Move to forward stance by sliding the right foot forward.
Position both hands at shoulder level.
The tip of the cane points upward. (f3)
Strike you opponent's right
temple
Withdraw right hand passing the left shoulder
(f 7) to strike the opponent's knee (f 5).
Withdraw right hand and position it
above the left shoulder (f 6).

27. Then strike the opponent's temple (f 7).
Withdraw the right hand and position it above the
right shoulder,at the same time strike the
opponent's left temple using the left cane (f 8).
Withdraw the left hand and position it
above the right shoulder (f 9)
Then swing it downward to strike the opponent's
knee (f 11).
Withdraw left hand and position it above the
right shoulder (f 10)
Then strike the opponent's right temple with
the left cane (f 12).

28. X S IN A WA LI
From starting position (f 1)
Swing the cane forward to strike the opponent's
temple (f 2).
Withdraw the cane and position it
below the left armpit then strike the opponent's
temple using the left cane (f 3).
Withdraw the cane and position it above the
right shoulder then swing the other cane downward to strike
the opponent's knee (f 4)
Withdraw the right cane and position it
behind the right ear then swing the left cane d
ownward to strike the opponent's knee (f 5). "X"

29. E V E R S E S IN A WA LI
a. 1. Starting position: Make a bow fig. 1 & 2,
then position both hand above the right
shoulder. The tip of the cane should point
backward. (f 3)
b. From fig. 3, swing your right hand downward
to srike the opponent's knee, closed palm
should face upward. (fig. 4)
c. From fig. 4, withdraw right hand and position
it below the left armpit. The tip of the cane
points backward. At the same time swing the
left cane downward to strike the opponent's
knee. (fig. 5)
d. From fig. 5, withdraw the left hand and
position it above the left shoulder. The tip of
the cane points backward and closed palm
faces upward. At the same time swing the right
cane downward to strike the opponent's knee.
(fig. 6)
1 2
3 4
5 6
3

30. e. From fig. 6, withdraw the right hand and
position it above the left shoulder at the
same time swing the left cane downward to
strike the opponent's knee. (fig. 7)
f. From fig. 7, withdraw the left cane and
position it below the right armpit at the same
time swing the right cane downward to strike
the opponent's knee. (fig. 8)
g. From fig. 8, withdraw right hand and
position it above the right shoulder. The tip
of the cane points backward. At the same
time swing the left hand downward to strike
the opponent's knee. (fig. 9)
7
8
9

31. D OU B LE S IN A WA LI
Move to right forward stance by sliding your right foot
forward, at the same time position the right hand holding
the cane above the right shoulder while the left hand below
the armpit. Both canes are pointing backward. (fig. 1)
From fig.1, swing your right hand holding the cane to strike the opponent's left
shoulder. (fig. 2)
From fig. 2, withdraw your right hand and position it above your left shoulder,
palm facing outside and cane pointing backward. At the same time strike your
opponent's knee using the left hand holding the cane. (fig. 3)
From fig. 3, withdraw your left hand and position it above your left shoulder.
The tip of the cane points backward, at the same time strike the opponent's
right temple by swinging the right hand holding the cane. (fig. 4)

32. From fig. 4, withdraw the right hand holding the cane and position it under the
armpit. The tip of the cane points backward. At the same time swing the left
hand holding the cane and strike the opponent's right temple. Closed palm
facing forward. ( fig. 5)
From fig. 5, withdraw the left hand holding the cane and position it above the
right shoulder. The tip of the cane is pointing backward. At the same time
swing your right cane downward to strike the opponent's knee. Closed palm
facing downward. (fig. 6)
From fig. 6, withdraw the right hand holding the cane and position it above the
right shoulder. The tip of the cane points backward. At the same time swing
left hand holding the cane to strike the opponent's right temple. (fig. 7)

33. DOU B LE A LL-U P
SINAWALI

34. DO U B LE all-
dow n S inaw ali

35. P E R I P H E R A L
SINAWALI

36. PER IPHE R AL ALL-
U P S IN A WA LI

37. PE R IPHE R AL ALL-DOWN
SINAWALI

38. A DV A N C E D O U B LE
SINAWALI
From right forward stance, position the left cane
under the right armpit while the right cane over the right
shoulder (f 1).
Swing the right cane forward to
strike the opponent's temple (f 2).
Withdraw the right cane and position it above
the left shoulder then swing
the left cane downward (f 3).
Withdraw the left cane and position it
below the left armpit the swing
Withdraw the right cane and position
it above the left shoulder then
Withdraw left cane and position it
above the left shoulder then

39. Withdraw right cane and position it under the left armpit then
strike the opponent's temple using the left cane (f 7).
Withdraw the left cane and position it above the
right shoulder then swing the left cane downward (f 8)
Withdraw right cane and position it under the
left armpit then strike the opponent's
Withdraw the left cane and position it above the
right shoulder then swing the
right cane downward (f 10).
Withdraw the right cane and position it above
the right shoulder then strike the opponent's

40. Striking
• Attacking position: From an open stance, move left foot forward, put hands-on-guard position.
• a. LEFT HAND STRIKE
• Attacker 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.
• b. RIGHT TEMPLE STRIKE
• From 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.
• c. LEFT SHOULDER STRIKE
• From 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.
• d. RIGHT SHOULDER STRIKE
• From 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.
• e. THRUST TO STOMACH
• From 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
• f. LEFT CHEST ATTACK
• From 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.

41. • g. RIGHT CHEST ATTACK
• From 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.
• h. RIGHT KNEE ATTACK
• From 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.
• i. LEFT KNEE ATTACK
• From 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.
• j. LEFT EYE ATTACK
• From the initial position, position the hand at the back of the right ear. The tip of
the 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.
• k. RIGHT EYE ATTACK
• From the initial position, position the hand holding the cane at the side of your
body. 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.
• l. CROWN STRIKE
• From 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.

42. 6 strikes

43. 8 strike

44. 12 strikes

46. Blockings

61. Ins ide B loc k
Situation: If the attacker delivers a
right shoulder strike

62. Defender blocks attacker’s blows with
inside block

63. With striking..
Defender blocks attacker’s blows with inside block then
grab opponent’s cane using the left hand. Defender
pulls the attacker’s cane towards the right side of the
body, position the hand holding the cane above the
right shoulder then deliver a left temple strike.

64. With butting
Defender blocks attacker’s blows with inside block. then grab
opponent’s cane using the left hand. Defender pulls the
attacker’s cane towards the right side of the body, position the
hand holding the cane above the right shoulder then deliver a
left temple strike. Then bring back the hand of the cane above
the right shoulder then strike opponent’s face using the butt
end of the cane.

65. Outside Block
Situation: if the attacker delivers left
shoulder attack.

66. Defender block attacker’s blow with
outside block

67. With striking..
Defender block attacker’s blow with outside
block then grab the opponent’s cane using
the left hand Then pull attacker’s cane at
the same time strike the ribs …

68. With butting
Defender block attacker’s blow with outside block
then grab the opponent’s cane using the left
hand Then pull attacker’s cane at the same time
strike the ribs. Draw back hand holding the cane,
then use the butt of the cane to strike
opponent’s temple

69. DOWNWARD-OUTWARD
BLOCK
Situation: Attacker delivers an inside knee
attack

70. Defender blocks attacker’s blow downward-
outward block

71. With striking
Defender blocks attacker’s blow downward-
outward blockt, then grabs opponent’s cane
using the left hand. Pull the attacker’s cane
outside then position the hand holding the cane
above the right shoulder. Then deliver a left
temple strike.

72. With Butting
Defender blocks attacker’s blow downward-outward block,
then grabs opponent’s cane using the left hand. Pull the
attacker’s cane outside then position the hand holding
the cane above the right shoulder. Then deliver a left
temple strike. Draw back the cane then use the butt end
of the cane to strike the opponent’s face.

73. DOWNWARD-INWARD BLOCK
Situation: If the attacker delivers a
downward-outside strike.

74. Defender blocks attacker’s blow with
downward-inside block

75. With striking..
Defender blocks attacker’s blow with downward-inside
block. Grab attacker’s cane using the left hand at the
same time, draws out the hand holding the cane and
position it above the rightshoulder. Pull attacker’s cane
to the right side of the body to break attacker’s balance,
at the same time, swing the cane towards the opponent’s
right temple.

76. With butting..
Defender blocks attacker’s blow with downward-inside
block. Grab attacker’s cane using the left hand at the
same time, draws out the hand holding the cane and
position it above the rightshoulder. Pull attacker’s cane
to the right side of the body to break attacker’s balance,
at the same time, swing the cane towards the opponent’s
right temple. Withdraw the hand holding the cane then
swing it down to strike opponent’s face using the butt
end of the cane.

77. UPWARD/ RISING BLOCK
Situation: Attacker delivers a crown strike.

78. Defender blocks attacker’s blow with
upward/rising block

79. With striking
Defender blocks attacker’s blow with upward/rising
block, then pull down breaking the balance of
the opponent at the same time bring the hand
holding the cane above the right shoulder. Then
swing the cane downward to strike the attacker’s
left temple.

80. With butting
Defender blocks attacker’s blow with upward/rising
block, then pull down breaking the balance of
the opponent at the same time bring the hand
holding the cane above the right shoulder. Then
swing the cane downward to strike the attacker’s
left temple. Draw back cane then strike
attacker’s face using the butt end of the cane.

81. VERTICAL BLOCK
Situation: Attacker delivers a thrust using the
vertical block

83. With strike
Grasp attacker’s cane using the left hand
then pull it to break the balance of the
opponent at the same time withdraw the
hand holding the cane and position it
above the left shoulder, then swing the
cane forward the opponent’s right temple

84. With butting
Grasp attacker’s cane using the left hand then pull
it to break the balance of the opponent at the
same time withdraw the hand holding the cane
and position it above the left shoulder, then
swing the cane forward the opponent’s right
temple. Withdraw the hand holding the cane,
then swing it back to strike opponent’s face
using the butt end of the cane.