Republic of the Philippines
CAVITE STATE UNIVERSITY
Don Severino de las Alas Campus
Indang, Cavite
COLLEGE OF SPORTS, PHYSICAL EDUCATION AND RECREATION
Republic Act No. 9850
An Act Declaring Arnis as National Martial Art and Sport of the
Philippines
Section 1: It is the policy of the State to inculcate patriotism, nationalism and appreciation of the
role of national heroes and symbols in the historical development of the country. Furthermore, the
State must give priority to education, science and technology, arts and culture, and sports to foster
patriotism and nationalism, accelerate social progress, and promote total human liberation and
development.
Section 2: Definition of Arnis. - Arnis, also known as Eskrima, Kali, Garrote and other names in
various regional languages, such as Pananandata in Tagalog; Pagkalikali, Ibanag; Kabaraon and
Kalirongan, Pangasinan; Kaliradman, Bisaya; and Didya, Ilokano, is an indigenous Filipino martial
art and sport characterized by the use of swinging and twirling movements, accompanied by
striking, thrusting and parrying techniques for defense and offense. This is usually done with 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
canes.
Section 3: Arnis is hereby declared as the Philippine National Martial Art and Sport. The official
adoption of arnis as the national martial art and sport shall be promulgated by inscribing the
symbol of arnis in the official seal of the Philippine Sports Commission and by making it as the
first sport competition to be played by participating teams on the first day in the annual Palarong
Pambansa. The Philippine Sports Commission shall be the lead agency to implement the
provisions of this Act.
Section 4: The Department of Education, the National Commission for Culture and the Arts, and
the Philippine Sports Commission shall promulgate the necessary rules and regulations to carry
out the provisions of this Act.
Section 5: Any provision of law, decree, executive order, rule or regulation in conflict or
inconsistent with the provisions and/or purposes of this Act is hereby repealed, amended or
modified accordingly.
Section 6: This Act shall take effect fifteen (15) days after its complete publication in the Official
Gazette or in at least two (2) newspapers of general circulation.
HISTORY AND DEVELOPMENT
OF ARNIS
History of Arnis
Origin of Arnis
The art of arnis evolved and was developed in the Philippines. There are many contesting beliefs
on how arnis originated. Some believed that arnis is the evolved form of ancient swordsmanship of early
Filipinos. They traced the origin of arnis to the word “kalis,” an ancient term which refers to the sword, or
the use of sword in the battlefield; they also believe that the writing of Ferdinand Magellan’s chronicler,
Antonio Pigafetta, who described that natives in some villages used a fire hardened wood into battle and
dances, was the early demonstration of the existence of the sticking fighting among the natives.
In early 19th century, a form of stick fighting began to surface. It was believed that Comedia (a
form of stage play) or popularly known as ‘Moro-Moro,’ helps in the development of arnis. In this play,
actors performing swordplay depicting skirmishes between the Christians and Moors.
As a testimony of the muslims’ love for the bladed weapon is their variety of the style and types
of knives which include the following:
kris
bolo
kalis
laring
barong
gunong
kampilan
pira
punal
itak
bangkon
lahot
gayang
banjal
panabas
It is also a standard fighting technique in hand to hand combat of the Filipinos when revolted in
Spain. Using the itak and bolo the katiponeros engaged the Spanish soldiers in savage skirmishes.
The popularity of Arnis was clearly observed through dialects in different regions.
➢ Tagalog
panandata
➢ Pangasinense
kalirongan
➢ Ilocanos
dadja or kabaraon
➢ Ibanags
pagkali-kali
➢ Pampangueños sinawali
➢ Visayans
kaliradman or pagaradman
Its other famous names: eskrima, kali, estoque, tilakada
There are also recent studies which claimed that the traditional arnis was developed and passed
on by Filipinos who became volunteers in the Spanish crusades against Filipino moors in the south during
the early 19th century Spanish era. They said that the bulk of arnis repertoire was developed during the
Spanish colonial times, and plausibly got its inspiration from European saber techniques and singlestick
fencing concepts and practices.
Further study with regards to the historical development of arnis, can also be unboxed by further
researches on the possible historical and technical relationship between the Filipino arnis, European single
stick fencing and the Venezuelan stick fighting art of Garrote Larense.
Most of the studies conducted by Filipino and foreign arnis enthusiasts helps us to conclude that
arnis origin is difficult to trace, but they all agreed that arnis was developed from the Filipino creativity
and necessity. And its evolution and development still continues.
Modernization to Sportization
Asian martial arts, such as judo, karate, kendo, tae kwon do, wushu became prominent mainly
due to its transformation from its original fighting form into combative sports. The public acceptance of
these martial arts was also made possible because of their respective government support; making these
martial arts compulsory in their respective education system (Draeger, 1974). In Philippine context, there
are several attempts made to introduce arnis into educational system.
Some initiatives done to introduce this martial art into education program such as the DECS Order
No. 25, s. 1975 which allowed exhibition and demonstration of arnis in the Palarong Pambansa (National
Games), the DECS Order No. 58 (1990) known as the Guidelines and Standards for College Service Physical
Education which in effect, included arnis in the “dual sport’ category, then the DECS Memo No. 294, s.
1995 that issued instructors’ training to PE teachers for teaching arnis in physical education.
The new K-12 program included arnis as one of the combative sports to be taught in junior and
senior high school physical education subject (DepEd Curriculum Guide on Physical Education for Grade 1
to Grade 10), and in the tertiary educational level for the course of Bachelor of Physical Education major
in School Physical Education, arnis is one of the options for combative sport to be taken (CHED MO No. 23
series of 2011).
Being integrated as part of education, arnis evolved into a competitive sport. In 1975, an
organization named NARAPHIL (National Arnis Association of the Philippines) was formed under the
initiation of then President Ferdinand E. Marcos. Its objective was to unite the various clubs and
arnisadores throughout the country. Also a decree was issued to include the teaching of arnis in the
military and educational system. Then, it was succeeded by the Arnis Philippines as the national sport
association recognized by the Philippine Olympic Committee, to act as governing body in promoting the
art and sport of arnis.
The proclamation of Republic Act 9850, during the administration of then Pres. Gloria MacapagalArroyo, arnis was declared as the National Martial Art and Sport of the Philippines. This includes the
integration of arnis competition as starting event in the annual Palarong Pambansa, an annual national
competition among secondary schools.
Types of competitive arnis: doce pares/WEKAP style of live stick and the International Arnis Federation padded stick competition.
Competitive arnis have many variations that depend on the concept and beliefs of of the
organizers. There is a need to have one standard competitive rule that can be acceptable in schools and
sport context. There must be a tournament rule that can demonstrate the application of sport science
without washing away the realistic combative dynamics of arnis; and making it appreciable to the
audience. Making this art as part of popular national and inter-collegiate athletic league is a challenge for
the new generation of arnisadores.
The National Arnis Congress initiated by the Sen. Miguel Zubiri, author of the RA 9850 and former
national arnis champion, led to the organization of the Philippine Eskrima, Kali, and Arnis Federation
(PEKAP) which united most of the arnis practitioners in the country. This association is now facing the
challenges of making the law in practice and preparing to make arnis as formal part of the coming
Southeast Asian Games or SEAG.
Definition of Arnis
Arnis is a Filipino indigenous 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 (RA 9850).
Values of Training Arnis
Like other forms of martial arts, arnis have lots of values for students such as:
1. The execution of various skills in arnis involves vigorous movements of different muscle groups,
thus provide training for muscle strength, muscle endurance, flexibility and cardio-respiratory
endurance.
2. Agility, reaction time, balance and coordination are also developed through Arnis training.
3. As a sport, arnis develops quickness and coordination in execution of offensive & defensive skills.
4. Thrills of accomplishment provided by competition.
5. Desirable traits such as self-confidence, fortitude and self-discipline are developed in the practice
of arnis.
6. Creativity by putting all learned basic combination into a self demonstration of skills.
7. National Identity as Filipino. Arnis can develop the sense of being a proud Filipino.
Gears & Equipment
EQUIPMENTS USED IN ARNIS
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White t-shirt with phil. Flag on the left chest
Red trouser pants
Belt’s
Cane or arnis stick with the standard size of 28 inches of length and 1 inch in diameter
Competition area: 8 x 8 m equal side for Combat / 10 x 10 for Anyo competition
Head gear
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Body armor
Armed guard
Shin guard
Groin guard (Male and Female)
Hand protector
Three Traditional Training Methods:
1. Muestration or pandalag - teaches the artistic execution of swinging movements and
stroking for offense and defense in repetitive drills.
2. Sanga at patama or sombra tabak - wherein striking, thrusting, parrying in a prearranged
manners is thought.
3. Larga muton or labanang totohanan – the two trainees engage in a free practice trying
to outmaneuver each other using all their skills.
Three Forms of Play.
1. Espada y daga (sword and dagger) – they used long wooden sword and a short dagger.
2. Solo baston (single stick) – they used long mutton or baston.
3. Sinawali - a native term applied because the intricate movements of two muton resemble
the wave of the sinawali (criss-cross fashion).
Ex. Single Sinawali, Double Sinawali, Cruzada, Reverse Sinawali, Tersia Cruzada, Singko
Teros
2 ESSENTIAL PRINCIPLES
1. The physical Principle: the learner must bear in mind - speed in delivering the strokes,
speed with the hand, speed with the feet, and even with the eyes in spotting the weak
point of the opponent. This speed develops in the player’s agility which is the one fine
qualities of a good arnis player.
2. The psychological Principle: The learner must not be unruffled but composed calm so as
to be able to concentrate on his opponent and have full command of the situation.
Essential Elements to become a Good Fighter
1. Techniques- refers to the fundamental skills and the knowledge of the basic in arnis like strikes,
counter attacks, sparring and disarming.
2. Alertness and Awareness – keenness of the mind and reflexes and sensitivity to one’s
environment or situation.
3. Coordination and Concentration – the body and the mind should harmoniously work together.
4. Speed – showing of quick reaction and total body movement.
5. Power – a way of releasing the reserve energy or a secret weapon in winning.
6. Timing – exact hitting or meeting the target at the exact time without being delayed; anticipation
of movement.
7. Proper delivery of strikes – it is the effective blows, kicks and contact of the stick towards the
opponents.
8. Endurance and stamina – ability of the individual to withstand from a long period of time without
undue fatigue or with reserve energy for the next activity.
9. Determination – dedication to fight at your best.
10. Confidence – it is the proper way of carrying yourself inside and outside the arena.
11. Yelling – this is an expression of power and courage. It is also the releasing or tense, anger and
fear and it also adds power, strength and courage to fight your enemies.
SALUTATION
Pagpupugay (salutation or bow) is a recent development in Arnis de Mano. In the earlier days of
Arnis de Mano, when the art became a “sport contest”, all the combatants did was face each other and
with an agreed signal start the match. After the fight, the only salutation if there is any, is a polite salamat
po (thank you).
Types of Salutation (Pagpupugay)
1. Standing salutation
2. Kneeling salutation
➢ Both types of salutation are applicable with weapons or without weapons. The kneeling salutation
is only accorded to the master or the teacher in a formal classroom setting.
➢ The three step process of standing salutation carries three meanings:
➢ Strength, humility, and respect.
BREATHING - is simply defined as inhalation and exhalation of air in the body.
Types of Breathing
1. Peaceful (Meditative) Breathing – calms the spirit. This type of breathing is done during the
period of meditation.
2. Dynamic Breathing - strengthens the body. This breathing is normally used during drills and
application of techniques or whenever you exert effort.
WARM UP AND COOL DOWN
To avoid injury and get the maximum benefit of any physical activity, a good warm up and cool
down period is necessary. All parts of the body must be sufficiently warmed up before heavy training. The
body must cool down slowly after a heavy work out to give the muscles enough time to return to its
natural state.
STANCE AND CENTER OF GRAVITY
Stances are the foundation of any techniques; defensive or offensive.
Major Classification of Stance
1. Knees-straight stance – is better utilized as preparatory stance.
2. Knees-bent stance – a fighting stance or stance of execution.
Components Governing Stance
1. The stance must offer stability so proper traction will be achieved for fast and powerful
techniques.
2. It must be comfortable so one can assume the posture without undue fatigue.
3. It must be flexible to allow excellent mobility.
➢ The essence that holds these components together is the center of gravity. The center of gravity
is the point where perfect equilibrium is situated.
FOOTWORK – is the process of moving, changing, shifting, progressing, ascending, descending, evolving,
withdrawing, advancing, by stepping, sliding or jumping, or a combination of these three actions, to attack
or to get out of the range of attack.
THE 12 VITAL STRIKING POINTS OF THE BODY
AREA
TYPE OF STRIKE USED
REACTIONS
Left temple
Strike 1
Fatal; it will cause internal
hemorrhage
Right temple
Strike 2
Fatal; it will cause internal
hemorrhage
Left shoulder
Strike 3
Numbing pain. It may also
cripple the shoulder
Right shoulder
Strike 4
Numbing pain. It may also
cripple the shoulder
Stomach
Strike 5
Crippling pain and could be fatal
Left chest
Strike 6
It could be fatal
Right chest
Strike 7
It could be fatal
Right knee
Strike 8
Dislocation or fracture
Left knee
Strike 9
Dislocation or fracture
Left eye
Strike 10
Serious damage to the eye
Right eye
Strike 11
Serious damage to the eye
Crown/ Head
Strike 12
Fatal
References
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http://www.feu.edu.ph
http://www.scholarbank.nus.edu.sg
http://www.garrotelarapalosangriento.com
http://www.naraphil.blogspot.com
http://www.makooyliterature.wordpres.com
Prepared by: Allan C. Guanlao
PE Instructor