Arnis and fundamental Skills

1. 
ARNIS
The Boys
Canlas Thomy James
Cerbito Jasper
David JR
Sayawan Remark
Sison Jayrikson

2. 
 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 -

3. 
Arnis is a Philippines’ national martial art or sport , After
President Gloria Macapagal-Arroyo signed the Reoublict
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 2010.

4. 
Name : Remgio Amador Presas
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 brother of Ernesto Presas

5. 
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.
TRAINING

6. 
 Isa (pronouncedas i-sah or e-sah; which literallymeans "one")
 Dalawa (pronounceddah-la-wah;as literallymeans "two")
 Tatlo (pronounced as tat-loh; literallymeans "three")
 Apat (pronouncedas Ah-pat; literallymeans "four")
 Lima (pronouncedas li-mah;literallymeans"five")
 Anim (pronouncedas ah-neem; literallymeans "six")
 Pito (pronounced as pi-toh; literallymeans "seven")
 Walo (pronounced as "wah-loh"; literallymeans "eight")
 Siyam (pronouncedas si-yam; literallymeans "nine")
 Sampu (pronouncedas sam-po; literallymeans "ten")
 Labing-isa (in some organizations)(pronouncedas lah-bing-i-
sah; literallymeans "eleven")
Belt Ranks

7. 
 EQUIPMENT AND VENUE
 Arnis / Kali / Eskrima are all part of the same art depending
on the location, dialect and type of training.The one
interpretationcommon to all of them is that Kali is the mother
art of Arnis and Eskrima. Moreover, Arnis focuses on the knife,
includingthe dagger, sword, and any other form of bladed
weapon whereasEskrima is based on the ‘baston’ or stick.
Therefore,the equipment used in Arnis is:

 1) Impact Weapon:
 Baston: This is the most basic and common weapon in Arnis.
Traditional common materialsused for wooden bastons are
usually rattan,kamagong,and bahi wood.
 2) Edged Weapons: Knife, dagger,

8. 


 3) Head Gear: It is a necessity in Arnis combat. It is covered with high-grade leatherette
and vinyl that is printedwith ethnic art. Its materialsprovide vital protection from head
strikes and a multi-thicknessmetal frame is developed for impact protection.

 4) Body Armor: It is designed specially to provide complete upper body protection
while allowing mobility and protection.The armor is usually made of hard plastic and
vinyl for lightness and the lower panels are extendeddownwards to provide extra
coverage.

 5) Leg Guard: These guards can be used to protect both thigh and the shin area and are
not only designed for protection but also for comfort and practicality.

 6) Groin: It is a special padding for the lower abdomen. It has a groin cup to provide
complete protection to the groin area.

 7) Hand Gloves: It is a thick rubber protection which serves as a protection from strikes
as the stick is held in hand. Its open palm design ensures a stable grip and finger
flexibilityfor impact absorption.

 8) Arnis Clothing: The basic Arnis Uniform is made from twill fabric, which maintains
durability and comfort.It is specially designed after the classic Arnis uniform with
Velcro straps to close the flaps easily.

9. 
 COURT DIMENSION/VENUE

 The playing area is a square measuring 26.24 feet (8
meters) on one side with 6.56 feet (2 meters) of minimum
free zone drawn outside it. All the lines of the playing
surface are 1.97 inch (5.08 cm) in width and four lines
mark the boundary of the playing area. The two lines of
3.28 feet (1 meter) long and 6.56 feet (2 meters) aside mark
the horizontal match line. When the horizontal match line
runs perpendicular to the official’s table it is drawn 9.84
feet (3 meters) from the boundary lines whereas 11.48 feet
(3.5 meters) from the boundary line if drawn parallel to
the official’s table
Field

10. 
 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.

11. 
Kinds of Stances

12. 
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.

13. 
 Stand with your feet forming a 45 degrees angle.
 Heels should be close to each other, knees should be
straight, the waist and body facing forward.
 Shoulders are dropped to the side and both hands
are at waist level.
 The Attention Stance is commonly used in
preparation for courtesy or “bowing” at
commencement of sparring.
Attention Stance

14. 
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.

15. 
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.

16. 
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.

17. 
Side Stance
• Starting 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.

18. 
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.

19. 
 The term "Sinawali" refers to the activityof ‘weaving’,and is
applied to the art of Philippine martial art Eskrima with
reference to a set of two-person, two-weaponexercises.
 Sinawali exercise provides Eskrima practitionerswith basic
skills and motions relevant to a mode of two-weaponblocking
and response method called Doblete.Sinawalitraining is often
introducedto novices in order to develop certain fundamental
skills including: body positioningand distance relative to an
opponent, rotationof the body and the proper turning radius,
recognitionof one’s center of gravity, eye-hand coordination,
target perception and recognition,increased ambidexterity,
recognitionand performance of rhythmicstructures for upper
body movement, and muscular developmentsimportant to the
art, especially, the wrist and forearm regions.
Sinawali

20. 
Single Sinawali
•Swing the
cane to strike
the
opponent’s
temple
•Withdraw the
cane
•Swing it down to
strike the
opponent’s knee
•Withdraw the
cane and place it
above your
shoulder

21. 
 Strike opponent’s right temple with right cane
 Withdraw right hand passing the left shoulder to
strike opponent’s knee
 Withdraw right hand and position it above the left
shoulder to strike opponent’s temple
Advance Single Sinawali

22. 
Double Sinawali
• Begin with the right hand
up and the left hand
tucked under the right
shoulder
• Strike the opponent’s
temple with the right hand
• As you retract the right
hand to the left shoulder
strike the opponent’sknee
with the left hand
• As you strike a backhand
to the opponent’stemple
with the right hand,
retract the left hand to the
left shoulder

23. 
X Sinawali
• Using the right cane, strike
the opponent’stemple
• Withdrawit and place it
below the left armpit then
strike the opponent’stemple
with the left cane
• Withdrawit then place it
above the right shoulder then
strike the opponent’sknee
with the right cane
• Place the right cane above
your right shoulder then hit
the opponent’sknee with the
left cane then place it above
the left shoulder

24. 
 -position the left cane under the right armpit and the right cane
above the right shoulder
 -strike the opponent'stemple with the right cane and position it
above the left shoulder afterwards.
 -strike the left cane downardsthen position it below the left
armpit.
 -swing the right cane forward. Withdrawit and place it above
the left shoulder then swing the left cane to strike knee
 -withdrawthe left cane and place it above the left shoulder then
swing the right cane to strike temple.
 -this can also be done startingwith the right cane under the left
armpit and using the left cane to strike.
Advance Double sinawali

25. 
 -start with both canes above the right shoulder
 -swing the right cane to strike the knee. Withdraw it and
place it under the left armpit.
 -swing the left cane to strike the knee. Withdraw the left
hand and position it above the left shoulder. At the same
time, swing the right cane to strike the knee.
 -withdraw the right cane and position it above the left
shoulder. At the same time, swing the left cane to strike the
knee.
 -withdraw the left cane and place it under the right armpit.
At the same time, swing the right cane to strike the knee
 -withdraw the right hand and position it above right
shoulder. At the same time, swing the left cane ti strike the
knee.
Reverse sinawali

26. 
 -start with the right cane over the right shoulder and the
other one under the right armpit
 -swing the right cane diagonally forward and position it
above the left shoulder
 -swing the left cane diagonally forward then position it
above the left shoulder
 -swing the right cane downward then position it below the
left armpit
 -swing the left cane diagonally forward and position it over
the head afterwards
 -swing the right cane diagonally forward then position it
above the right shoulder. Position the other hand under the
right armpit.
Redonda

27. 
Redonda

28. 
 Solo Baston is one of the three major fighting system
s of arnis. Under this system evolves various system
of fighting using a long stick weapon. Though the
system is called solo baston it is not limited to using
only a stuck. History points out that bladed weapon
and other daily implements like umbrellas and
walking sticks are good weapons.
Solo Baston

29. 
 *Outside blocking- performed by bringing the cane
forward support ed vy the left hand at the middle of
the cane
 *Inside block- peformed as an outside block,
however, on the right side of the body
 *Downward inside block- performed by positioning
the hand holding tge cane above the right shoulder
then swinging the cane downward to block the
opponents attack
Six Blockings

30. 
 Downward outside block- performed by positioning
the cane behind the left ear then swinging it
downward to block the opponent's blow
 *Rising block- performed by raising the cane over
the head to block the opponent's blow
 * Vertical block- performed by raising the elbow of
the hand hikding the cane to shoulder levek while
the other habd is supporting it at the middle.

31. 
 *right temple strike- forehand strikes to the right
temple

 *left hand strike- backhand strike to the left temple

 *right shoulder strike- forehand strike to the right
shoulder

Twelve Strikes

32. 
 * left shoulder strike-backhand strike to the left
shoulder
 *thrust to the stomach- straight-on stab/thrust to the
stomach
 *right chest attack- overhand stab/thrust to the right
chest

33. 
 *left chest attack-underhand stab/thrust to the left
chest
 *left knee attack- backhand strike to the left knee
 *right knee attack- forehand strike to the right knee

34. 
 right eye attack-overhand stab/thrust to the right
eye
 *left eye attack- underhand stab/ thrust to the left
eye
 *Crown Strike- straight down strike to the top of the
head

35. 
 OFFICIATING
 1. Tournament Director –The administrator and chairperson who ensure proper
implementationof all procedure.
 2. Screening Committee – Include the Tournament officials and a Physician as members.
 3. Referee and Judges – Officials who enforce the conduct of all tournament in accordance
with the rules and regulations of the game.
 4. Timer – Keep time during the actual match. A gong , whistle or bell shall be provided for
his/her use in announcing the start and the end of the game and other calls.
 5. Recorder – Recording the results of the actual games. A record sheet shall be provided for
his/her use in recording results.
 6. Tabulators – Composed of the Chairman of the Judges, Recorder and Timer. They shall be
tasked in recording the scores, violations,and the time of the actual performance/s.They shall
give the final results to the official’s table.
 7. Flag Officials – Officials who will declare the violation/s of the performer/s by raisingthe
corresponding flag/s.
 8. Matcher – Arrange the matches prior to the tournament and update the matches between
players during the tournament.
Offcials

36. 
THE END