DEFTAC 2: ARNIS

AND DISARMING
TECHNIQUES
(MidTerm)
Prepared by:
Sensei Gael P. Ventero, RCrim
Arnis was known as
Kali by the native
people up until
1873 when it was
renamed while
under Spanish rule.
 Arnis is also known as Kali or Eskrima and is a martial art
known for its use of weaponry, hand to hand combat and
self-defense mechanisms. Believed to have been developed
by indigenous people from various methods brought to the
islands over time, this can be seen in the way the martial art
name has developed. Arnis was known as Kali by the native
people up until 1873 when it was renamed while under Spanish
rule. Kali is the origin and can be translated to long knife or
sword. Eskrima is derived from a Spanish word that means
fencing and Arnis is also derived from a Spanish word that
means armor. Even though the words mean different things it is
all referring to the same martial art just different periods of
time.
 The Philippines consists of over 7,000 islands, of which
400 are regularly inhabited. Due to this unique
geographical layout, the developing Filipino martial art
which was first recorded in the eighth century as "Kali"
never again possessed a single name, vocabulary, or
uniform body of techniques. Kali was the term used by
those living in the Southern Philippines, but the art
developed into multiple styles of Escrima (originally
Eskrima, which means "skirmish"), the name used by
practitioners in the Central Philippines. In the Northern
Philippines, invading Spaniards dubbed the art Arnis, short
for Arnis de Mano ("harness of the hand").
 Within each of these categories and others which are
less well-known today, there existed numerous stylistic
variations and terms. There was no need for a
standardization of terminology or tactics among arts
intended only for practical use, and as there were some
70 dialects of Tagalog spoken throughout over 400
islands, such a standardization would have been
impossible to achieve anyway. Nevertheless, nearly all of
the arts relied on a combination of 12 basic techniques of
offense and defense, 12 plausible angles of attack, and
on the use of similar weapons (see Techniques, below).
 Spanish invaders attacked the Philippines in the sixteenth
century, and after decades of bloody conflict, the Philippines
ultimately came under Spanish rule (Magellan himself was
reportedly slain by a Arnis practitioner). So difficult was it for the
Spanish to contain the Filipinos, given their ferocious and effective
combat tactics, and so fierce were native uprisings once dominion
was established, that in 1764 the Spanish banned the practice of
martial arts. The native use of swords was banned as well. This did
not halt the progress of the arts, however, which were preserved
for over a hundred years in ritual dances and plays depicting
combat, often put on for the amusement of the Spanish. The
Spanish were unaware that what they were seeing was in fact not
only martial arts practice, but a means of instruction as well.
 It was at this time that, in order to effectively deceive the
Spanish, practitioners of Arnis/Escrima/Kali adopted the use
of sticks rather than knives. The theory of Filipino martial arts
training with respect to weaponry is that the skills one
develops while using weapons are equally applicable in
situations where only a different weapon is available, or where
no weapon is available at all; weapons were preferred for
battle for the simple reason that, in a life-or-death situation,
they were believed to be more effective than empty hands.
Training with a different weapon was therefore acceptable.
Subsequent to the Spanish reign over the Philippines, which
lasted for over three hundred years, practitioners continued to
train with sticks, and most still do today.
 Within the Filipino martial arts there are 12 commonly used
angles of attack from which offensive and defensive moves
are developed. These angles are numbered rather than given
names. A geometric understanding of direction is essential to
practitioners of Filipino martial arts.
Disarming an opponent, sometimes called "defanging the
snake," is often a priority. This was traditionally done by
maiming the limb in possession of the weapon. Destroying an
opponent's limbs was in fact a commonplace goal in the
traditional Filipino martial arts, as their practitioners were
concerned primarily with survival; an attacker whose limbs are
useless is no longer a threat.
 This sounds morbid in the context of most of today's
martial arts, but was a reality of combat then. Today's
Filipino martial arts are considerably gentler, but their
practitioners do possess the same potential for causing
grave injury to their opponents.
The original Filipino martial arts did not require
uniforms, and possessed no system of ranking. In recent
years, however, many schools have developed their own
versions of these things. Uniforms tend to be casual.
Shoes are often worn to protect the feet from thrown or
fallen weapons.
Etiquette is the formal manners and rules followed in social or
professional settings.
Self-control is the ability to manage your actions, feelings and
emotions.
Traits in Arnis
a) Character - refers to the moral and ethical qualities that define an
individual's behavior, actions, and personality. 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 behavioural 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.
b) Sincerity - is the quality of being genuine, honest, and truthful in
one's actions, words, and intentions. It implies a lack of pretense or
deceitfulness. Sincerity for victory's sake is not the all--consuming
end of an Arnis player. It is the sincerity in him to his fellow man and
to his art that makes him shine in the array of men. The will to win
may be inculcated, but such tutelage should never end after the tick
of the ultimate second in the game but beyond the canvass 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
endeavour and involvement. Sincerity is the mother of trust and trust
makes an institution of what has been shattered by doubts. A man
who is not sincere will never have a true friend.
c) Discipline - refers to the ability to control one's behavior,
actions, and impulses in accordance with a set of rules,
guidelines, or principles. It involves self-control, perseverance,
and commitment to achieving goals or adhering to a particular
code of conduct. Arnis is a molder of discipline. Proper
behaviour 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 fellow man.
A student should learn to control himself in the pursuit of
his goal, not only to his art but also to life in general.
d) Self-control - also known as self-discipline, refers to the ability to
regulate one's thoughts, emotions, and behaviors in order to achieve
desired outcomes or adhere to personal standards. It involves
resisting impulses, delaying gratification, and exerting control over
immediate desires or urges. Losing one's head means defeat. One
should learn to control his temper if he hopes to achieve success in
every endeavour. 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 extreme
caution and prudence.
Man's clear perception of things is anchored on his ability to
control the outbursts of his inner self. Provocation is dishonourable
but hasty reaction to it is just as dishonourable if not despicable.
e) Etiquette - refers to the customary code of polite behavior and
social conventions that govern interactions between individuals
in various social settings. It encompasses a set of rules, norms,
and expectations regarding manners, courtesy, and respect for
others. Etiquette is allied to the main cardinal rules in Arnis. One's
norm and standard should never be imposed upon others. One
should learn how to respect others. Giving credence to the
standard and ability of another person should or will best
prepare anybody in any endeavour.
The pacific waters of human understanding will stay unruffled
if exercise of proper etiquette and respect whether it be in sporty
competition or in life itself is observed.
f) Student's loyalty - in the context of martial arts typically refers to
the commitment and dedication that students demonstrate to their
martial arts school, instructors, and fellow practitioners. 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 importantly, a student should be loyal to his teacher.
Everything one has learned is owned by him and his teacher.
Personal whims should never cause one to be ungrateful to where
he owes everything he knows.
Even if the ultimate aim of the art is already achieved by a
student that he can now manage on his own, he should never forget
the teacher who laboured for him. In the skirmishes of things, the
student should always be loyal to him.
 Life has shown us many treacheries committed in the
name of greed and personal gratification. This has no place in
the art of Arnis or in sports for that matter. A true sportsman is
always loyal to his art and to the prime movers of the art. He
sees with gratitude in everything and everybody from whom
he had owed everything he knows. In this world of muck and
mire only those who look back with gratitude shall succeed.
Loyalty to the fundamental basis of his achievements weighs
for a greater measure in the merits of man. Ingratitude is
treachery and a traitor has no place in the forum of
honourable men.
 The 12 Striking Techniques
1-Left side of the head attack. A diagonal downward
forehand swing to the left temple. From the position,
the warrior will hold the stick with one hand at 1
o’clock moving his stick in slashing motion while his
free hand on his chest.
2-Right side of the head attack. A diagonal downward
backhand swing striking to the right temple.
Assuming a fighting stance like the left temple strike,
the warrior this time held his stick at 11 o'clock with
his free hand kept on his chest.
3-
3- Left side of the body or torso, to the left arm or elbow. The 3rd
striking technique allows the practitioner to extend his weapon
hand making it easier for him to strike any part of the opponent
between its shoulder and hips. The stick will be drawn in a
diagonal forehand slashing swing making it easier to deliver a
damage.
4- Right side of the body or torso, to the left arm or elbow. Same
as the 3rd strike but this time the practitioner will extend the
weapon hand to strike any part of the body between the shoulder
and the hips in a backhand slashing swing located on the right
side
5- Thrust to the stomach. In this strike, the practitioner will thrust
the weapon hand to the stomach and is followed by an upward
motion that will cut through his opponent's body.
6- Left chest stab. In this strike, the weapon hand is then
extended to the front with the palm facing outward and the
elbow kept up where this strike can cause damage to the rib
cage.
7- Right chest stab. In this stance, the practitioner will practice
the scooping action. The weapon hand is then extended forward
with the palm facing outward. To deliver the strike properly, the
elbow should be kept up puncturing the opponent's right lung.
8- Left lower leg. In this technique, the practitioner will deliver a
powerful strike to the opponents lower leg, mainly the knee, the
angle or the ankle which throws off the opponents balance and
immobilize him. By doing this, the warrior is supposed to lower his
body(extending the weapon arm). Holding his palm upward and
hitting any part of the opponent's lower leg.
9- Right lower leg. Again, like the 8th strike, the main target here is
the right lower leg which immobilizes the opponent. By doing this,
the palm should face downward.
10- Left eye poke. The target here is the left eye socket. In order to
execute it properly, the practitioner should assume a fighting stance
then extend the weapon hand forward with the palm facing outward
with its elbow kept down.
11- Right eye poke. Same as the 10th strike technique. To
execute it properly the practitioner will have to hold his elbow
down, poking the right eye of the opponent.
12- Strike to the crown/top of head. The last strike will be a
straight downward overhead swing directed towards the crown
of the head which could throw off the opponents mobility and
balance.
Basic stances? Stances can be divided into two basic categories; long and
short. Long stances should be two shoulder-widths long. They utilize an
"outward tension." That is, the legs are slightly tensed outwards, away from
the body. Short distances are usually one shoulder-width in length.
● 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 at 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 degree 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.
● 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 Stances are
commonly used with frontal striking or blocking
techniques.
● 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.
● 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 is 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.
● 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.
● 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.
Block or blocking is considered to be a defensive aspect in any
martial art, many martial artist considers blocking to be more
difficult than striking.
Arnis has three basic blocks which may be applied to all or some
of the various angles of attack. It utilizes only the first of these three
styles - single handed - as it is, for the most part, an empty handed
martial art. The purpose of the block is to either stop the weapon, or
to divert the weapon from its intended path.

Evasion is your primary block. Not all strikes need to be blocked,

simple evasion through body movement could do the trick. Evasion
means staying out of the range or direction of the strike. Combining
evasion with blocks ensures safety against a strike.
Block is a strike. For better delivery of blocks, do it as a strike.
This way you are engaging the opponent’s strike, this gives
power to your block. Like a strike, a block should have an
initial stance, block direction, final stance and block delivery
Checks are preparation for counter. Use checks or parry to
control and jam the attacking hands of the opponent.
Checking also helps to delay the opponent's block to your
counter.
Footwork determines distance. Practice blocking together
with your footwork by moving forward or backward. By moving
forward you go into close range with the opponent while
moving backward creates a distance between you and the
opponent.
Block and check simultaneously. Initially, practice block and
check as two steps, blocking first then checking the
opponent’s hand. Continue this process until blocking and
checking becomes simultaneous.
Single Handed Block. The single handed block is the most flexible
block, using only a single hand at the punyo end of the stick, but is the
weakest of the three. In the photos below, the student responds to the
opponent attacking with a #1 strike (for an explanation of the angles of
attack, refer to the diagram below)with a similar strike (a #1). In most,
but not all, cases, this reaction will be sufficient. As an example of an
insufficient response, imagine the opponent using the #5 strike to the
belly. Reacting with a #5 strike would not accomplish anything. In that
case, using the stick in a downward punching motion would be more
effective or the traditional vertical block with the tip of the stick
towards the ground crossing in front of the body would also work.
Note: that the unused hand is kept behind the weapon at all
times as the weapon may not be just a stick. When the
weapon is not a stick, but a sword, remember to turn the blade
to its flat side to avoid stress fractures in the weapon or
damage to the cutting edge.
Braced Block. The next type of block is the braced block
where the other hand (the hand not holding the weapon) is
placed behind the opposite end of the weapon. The braced
block can absorb more force than the single handed block,
but the second hand supporting the stick reduces the range
of motion of the weapon. For example, you would not try to
apply this block for the #8 and #9 strikes as they are below
the waist and reaching with both hands would be problematic.
Two Handed Block. The final type of block is the two handed
block where both hands hold the weapon, one at each end.
This style of blocking can absorb the most force, but with both
hands on the weapon, flexibility is reduced. In the photos
below, the student is blocking a #10 strike directed at her
forehead.