Module I in PE 102 PDF

Module I In Arnis and Disarming Technique By: Rey D. Barreto PhD Crim. PE Instructor  Chapter 1 Historical Account of Arnis Historical Account of Arnis...

Module I In Arnis and Disarming Technique By: Rey D. Barreto PhD Crim. PE Instructor  Chapter 1 Historical Account of Arnis Historical Account of Arnis Arnis, as a martial art, was spawned in the Philippine soil. It was known in ancient Malayan word which implies a large bladed weapon longer than a knife. This art was practiced primarily for self-defense by the pre-Spanish Filipino who were noted for their friendly nature and legendary hospitality. Kali must have been derived from tjakalele which is a native fencing in Indonesia. This linguistic kinship is not without basis considering that what is now Indonesia was once, in ancient times, a part of the Sri Visayan and Madjapajit empires whose spheres of influence reached the Philippines. Scanty records show that it is possible that the ten Bornean datus who landed in the island of Panay in the 13th century were subjects of either of these two ancient empires. History is quite definite, however, that during the reign of the ten datus in Panay, kali was taught to children in a school called bothoan as part of their education. The art of hand-to-hand combat has always been an integral part of the Filipino in his long, turbulent, and bloody history. By force of necessity and self-preservation he became an expert in fighting with his hands, either bare or with a stick and a bladed weapon, the early Filipinos were already a fighting people using the bow and arrow or the longbow. The primitives Negritos, coming from Central Asia during pre-historic times, were expert in these weapons. However, about 200B.C., the Malays migrated to the Philippines and brought with them the long knife. Their coming enriched the Filipino arsenal in the fighting arts. Besides their sticks and bows and arrows, the early Filipinos were now also expert in the use of bladed weapons and daggers. This is especially true of the Muslims in Mindanao and Sulu who have a special inclination for these weapons. Their skill in hand-t-hand combat with a bladed weapon had been proven in their untarnished history of successes in repelling foreign invaders in their land. The numerous attempts of the Spaniards, the Americans and the Japanese to conquer the Muslims and to colonize Mindanao always failed. As testimony of the Muslim’s love for the bladed weapon is their variety of the styles and types of knives which included the kris, bolo, kalis, laring, barong, gunong, kampilan, gayang, pira, punal, itak, banjal, bangkcon, lahot, and the panabas. Even today, one can find the most artistic knives in Mindanao and Sulu in different sizes and styles. The freedom-loving Muslims of Mindanao and sulu are credited with the experimentation, systematization, and martial use of the bladed weapon.  Inter-regional contact and influence brought about by trade and travel linked the Muslim fighting art with the bladed weapon in the south with the kalis, the forerunner of Arnis of the tagalogs in the north. Kalis, a term which was shortened to kali for convenience, is also a fighting art which uses a long-bladed weapon or knife, stick or cane and dagger. Arnis de mano is the best known and the most systematic fighting art in the Philippines. It is a perfected art after a long historical development from the kali systems designed to trained the student to defend himself agaist armed, or unarmed attacks. Arnis, as it is commonly called, has been also known in other dialects as estocada among the Tagalog provinces and estoque or fraile in other regions. As a fighting art, arnis has three forms of play. They are espada y daga (“sword and dagger”) in which a long wooden sword and a short wooden dagger is use; the solo baston (single stick) in which a single long muton or baston (wooden stick or rattan cane hardened by drying or heating) is used; and the sinawali, a native term applied because the intricate movements of the two muton resembles the wave of a sawali (criss cross fashion) the bamboo splits weave pattern used in walling and matting. Arnis is the 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 through an opponent must be perfected. 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. Like in the early times, arnis today has three traditional training methods. They are (1) the muestration or pandalag which teaches the artistic execution of swinging movements and stroking for offense and defense in respective drills. (2) the sanga at patama or sombra tabak wherein striking, thrusting and parrying in a prearranged manner is taught, and (3) the larga muton or labanang totohanan, in which two trainees enage in a free practice trying to outmaneuver each other using all their skills. This is the ultimate phase of arnis training. This was arnis, the pre-Hispanic martial art which was brawny and bloody power of the early Filipinos in the protection and preservation of their dignity and honor. The glorious lives of Filipino heroes are linked with the awesome power of the martial art of Arnis. They triumphantly waged their heroic battles and effectiveness of Arnis. Their successful stand against their superiorly armed adversaries in mortal combat in the arena of battle is now held in immortal inviolability by history.  It would not be far-fetched to surmise that one of the earliest Filipino heroes, Lapu-lapu, was a kali (Arnis) expert. Pigafitta, Magellan’s chronicler and historian, recorded that on April 27, 1521, Lapu- lapu felled the great Spanish warrior with a bladed weapon thus marking a Filipino’s first victorious stand against a foreign invader. Pigafetta also recorded that many of the natives carried a pointed short hardwood stick with had been further hardened by fire treatment and used in fighting. This stick may have been the forerunner of the present muton or baston in Arnis. In 1564, 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 a feast and shown a sample of the early Filipino’s 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 kamiging (Camiguing), the latter visit occurring in march 11, 1564. During both visits, the Spaniards were wined, dined, and shown the Filipino’s skill in Kali (Arnis) 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 kali in arms. Legaspi was so impressed with the Filipinos’ skill in combat, especially in Kali, that he decided to be friend them fully. The bond between the two leaders grew so strong that on June 4, 1565, chief Tupas entered the fold of Christianity. He was named “Felipe” in honor of the king Philip of Spain. Kali (Arnis) became so popular during the early days that it was known as the sport of kings and of the members of the royal blood. The first and foremost expert of the art were the rajah and Maharlika of the Visayas and Tagalog regions, Amandakwa in Pangasinan, and Baruwang of the Cagayan Valley region. The art was not confined to the elite alone. Ordinary Filipinos practiced kali not only for self- defense but also for entertainment. It was the most awaited entertainment feature in fiestas and other gatherings. Sometimes, combatants used their skill in kali to settle their differences. Kali was a standard fighting technique in hand-to-hand combat of the Filipinos when they revolted against Spain. Using the itak or bolo the katipuneros engaged the Spanish soldiers in savage skirmishes. History states that Bonifacio brandished a bolo, a standard weapon in kali in his famous “Cry of Balintawak”. The greatest Filipino hero, Dr. Jose P. Rizal, studied kali or Arnis before he left for Europe. General Gregorio del Pilar and Antonio Luna also studied Arnis even before the start of the revolution. Rev. Fr. Gregorio Aglipay, was known to have practiced the art too. Acceptance of Arnis became so widespread that in 1896 Jose de Azas started a school for the study of Arnis and foil fencing.  Chapter II The Psychological Attributes Awareness At the outset of any physical confrontation, it is imperative that you be acutely aware of your surroundings and your opponent. You must also be aware of and accept the fact that at the onset of a fight your body will go through a physiological change. During the moments prior to the commencement of combat, your mind will be working much the same as it is right now. Immediately after the conflict begins, however, you will be unable to think, or worry, about what or who is behind you or if your opponent is armed. These things must be determined by a “pre combat” mind. It is because of this that the escrimador trains his visual awareness to take notice of minute details and trains his physical skills on the assumption that he will be defending against multiple opponents at all times. Once you engage an opponent, you will be hard pressed to think about anything; you will become intently focused on the destruction of your foe and inherent reactions will have taken over, dictating your responses. Your visual and auditory awareness will slow down to stop frame. Your mind or through process, depending on how it has been developed, will speed up. What has been termed tunnel vision is an area that the escrimador must learn to accept and keep under control. When involved in a physical confrontation for the first time, many people pick a social point and everything outside of that point becomes fuzzy. Although having an unwavering focal point seems like a good idea, it is not. Putting all of your attention on one area (e.g., an attacking arm, chest, head) may increase your chances of successfully defending against or attacking that area, but it will decrease your awareness of your surroundings. Motivation Motivation is the basic component in the study of any discipline; it is what leads you toward the achievement of your individual goals. You must objectively consider what it is that motivates you toward achieving success in the martial arts. Are you motivated because of quantitative or qualitative incentives, such as money or status? On the other hand, you may be motivated because of the fear of failure in a physical confrontation. Your mental outlook of your training, which is rooted in motivation, will determine your individual behavior both in the training school and outside of it. When you are motivated, you become directed and focused and can therefore clarify in your mind what your individual motives ae for obtaining proficiency in escrima. Once you have achieved this clarify you must set specific long and short-term goals for yourself without expecting immediate results in other areas beyond those that are realistically attainable at that time. Imagery Imagery, often referred to as visualization or the mind’s eyes is the most important form of nonphysical training. Unfortunately, these mental representations are frequently distracted by internal dialogue. Only with the development of discipline with the internal dialogue cease, allowing the dominance of visual symbolism. Once opened, your mind’s eye is able to mentally reconstruct visual schemes of your performance of pertinent escrima movements. Use of visual imagery will actually have an effect on your motor memory and your physical skill. After the developing the discipline to remove unwanted visual symbols, you can then focus your attention on the creative process. During creative imagery, you mentally construct ideal posture, movements, and feelings in your mind’s eye and interweave them with those of your actual ability. These ideal postures and movements can come from your memory, photos in books, or videos. This is like placing a piece of paper over a drawing and tracing its lines. Initially your traced creation will appear less than perfect, but in time you will become proficient in its reproduction. However, it is essential that you repeatedly practice your basis in order to physically apply the movements you have worked on during an imagery session. Emotional Control Emotional control is another attribute that an escrimador must deal with, especially during a physical confrontation. Only when you have control over your emotions will you develop in a proper and efficient manner. Your ability to perform is determined by your degree of self-control when place in a stressful situation. Relaxation is a fundamental method of controlling the stress-related feeling that cause anxiety. Anxiety is detrimental to your ability to perform in a given moment. The most important attribute for a martial artist is to be able to perform in the moment. You must have a calm state of mind and be free from tension. If your body is tense, it must first relax before it can initiate a technique, thus lengthening reaction time. Relaxation exercises can assist you in controlling your emotions when in an anxious state. Some relaxation exercises include taking long and deep breaths, meditation, listening to soothing music, and various stretching exercises. As you mature during your pursuit of knowledge and become proficient in escrima, greater self-discipline, self-esteem, and self-confidence will result. The vast physical, emotional, and mental improvements escrima training gives you will enable you to better handle the word’s unpredictability. The Essential Principles The true power of Arnis does not end with its techniques. Although, basically, the techniques are powerful enough, there is still much power left untapped if these techniques are not executed along the essential principles underlying its execution. Consequently, the usefulness of Arnis itself will be in vain if these principles are not observed. It is essential therefore that the learner should know these principles by heart and commit the techniques to memory. These Principles are Classified into Two: The Physical and the Psychological. The Physical Principle – the learner must always bear in mind speed – speed in delivering the strokes, speed with the hand, speed with the feet, and even with the eyes in spotting the weak points of the opponent. This speed develops in the player’s agility which is one of the fine qualities of Arnis player. The learner must train himself to stare for long periods without winking a wink in actual combat might prove fatal. The learner should also learn how to swing the club. In swinging, the grip must be firm and the stroke must be delivered with a jerk. He must also learn to relax his wrist after each stroke. A player should not allow distance to separate him from his opponent as distance makes him vulnerable. The Psychological Principle – the learner must not be unruffled but composed and calm so as to be able to concentrate on his opponent and have a full command of the situation. The learner must have also constantly been aware of the ability of his opponent and have a full command of the situation. But above all, the learner must have the will to fight and win. Without this attitude, a player’s effort would be inefficacious. The presence of and opening will have no meaning at all if the player does not have the will to seize the opportunity and exploit it to his advantage. Indecision in any given situation during combat in Arnis usually ends in defeat for the player. References: Mark V. Wiley, Filipino Martial Arts Remy A. Presas, Modern Arnis, Philippine Martial Art, April 2012. Rodolfo A. Lisondra, Judo Manual. Marlon L. Teves, MMA Grand Mars, 2013 Koichi Tohei, What is Aikido https://judoinfo.com/kano2 https://judoinfo.com/techjudo/ https://www.judo-ch.jp/english/knowledge/outfit/# http://kodokanjudoinstitute.org/en/doctrine/history. http://kodokanjudoinstitute.org/en/doctrine/history http://kodokanjudoinstitute.org/en/doctrine/history http://www.worldjudoday.com/en/The-History-of-Judo- htmlhttps://judoclubrozzano.altervista.org/en/the-judo