PED0013-Arnis PDF

PED0013-ARNIS Instructor: ASLIM HARID Grading System a. Attendance/Uniform/Behavior- 20% b. Written Exam- 30% c. Performance task- 50% ARNIS Overview Martial arts are codified systems and tradition...

PED0013-ARNIS Instructor: ASLIM HARID Grading System a. Attendance/Uniform/Behavior- 20% b. Written Exam- 30% c. Performance task- 50% ARNIS Overview Martial arts are codified systems and tradition of combat practices, which are practiced for a variety of reasons such as self-defense, competition, physical health and fitness, entertainment, as well as mental, physical, and spiritual development. Although “martial art” has become associated with fighting arts of eastern Asia, it originally referred to the combat systems of Europe as early as the 1550s. The term is derived from Latin, and means ‘arts of Mars,” the Roman god of war (“Martial Arts.”n.d.). On the other hand, combative sport is a competitive contact sport with one-on-one combat. Determining the winner depends on the particular contest’s rules and a contestant wins by scoring more points than the opponent or by disabling the opponent (“Combat sport,”n.d.) Thus, Arnis is both a stick fighting martial art and a combative sport. According to Presas (1996), Arnis has a special charm and beauty more than other martial arts. Whereas Karate or Kung-fu uses hands and feet, Arnis uses more than both hands and feet, and a cane or club. Body maneuverability, lighting speed in movement, and wielding of the club are must in Arnis. This is where the grace of the art lies that surpasses the other martial arts. Lesson 1: History and Development of Arnis Objectives: at the end of the lesson, you are expected to: 1. Explain the nature and historical background of Arnis in the Philippines. 2. Discuss the importance of active participation in Arnis 3. Appreciate the values and benefits of arnis. Activity 1: “The Guessing Game” Direction: This is your first activity! Let’s activate your prior knowledge about Combative Sports. Your task is to guess the origin of each combative sport below. Write your answers in a piece of paper as answers will be provided during the teleconference/ submission of requirement. 1. Wushu ___________________ 2. Taekwondo ___________________  3. Karate ___________________ 4. Arnis ___________________ 5. Capoeira ___________________ 6. Fencing ___________________ 7. Boxing ___________________ 8. Muay Thai ___________________ 9. Judo ___________________ 10. Jujitsu ___________________ Long ago, Arnis was a dying Filipino martial art, because of the wrong concepts in teaching the art to every student. The old practitioners believed that the cane was sacred; thus blocking was aimed at the hand and forearm and not at the cane. Most of the students got hurt and they automatically lost interest in learning Arnis. But with the research conducted by the great Remy A. Presas, he made it possible to have the student learn the art without getting hurt. And thus he named it the “Modern Arnis.” Ancient Period Arnis, as a martial art was spawned in Philippine soil and was known in the ancient Philippines as Kali, an ancient Malayan word which implies “a large bladed weapon longer than a knife.” Kali according to some historians must have been derived from Tjakalele of Indonesia, a neighboring country south of the Philippines. Tjakalele is a native Indonesian fencing whose techniques are closely similar to those of Arnis. According to Scanty records, ten Bornean datus landed in the island of Panay in the 13th century who were subjects of either two of the ancient empire of Indonesia-Sri Vishayan and Majapajit. During the reign of the ten Datus in Panay, Kali was taught to children in a school called Bothoan as of their education. The art of hand to hand combat has always been an integral part of the Filipino’s turbulent and bloody history due to the force of necessity, self-defense and preservation. Even before the introduction of the bladed weapon, the early Filipinos were already a fighting people using the bow and arrow or the longbow. The primitive Negritos, coming from Central Asia during prehistoric times, were experts in these weapons. However, the coming of the Malays in the Philippines about 200 B.C. enriched the Filipino arsenal in the fighting arts and became experts in the bladed weapons and daggers. This is especially true among the Muslims in Mindanao and Sulu who have a special inclination in the hand-to-hand combat with bladed weapons that had proven their untarnished history of successes in repelling foreign invaders in the land – the Spanish, Americans and Japanese. As testimony of the Muslims’ love for bladed weapon is their variety of the styles and types of knives which include the Kalis, Kris, Bolo, Laring, Barong, Gunong, Kampilan, Gayang, Pira, Punal, Itak, Banjal, Bangkcon, Lahot, and Panabas. Even today, one can find the most artistic knives in Mindanao and Sulu in different sizes and styles.  Kalis, a bladed weapon in the Muslim fighting art was said to be the forerunner of Arnis of the Tagalogs in the north linked by the inter-regional contact and influence through trade and travel. Kali, a term shortened from kalis for convenience, is a fighting art that uses a long bladed weapon or knife, stick or cane and dagger. Hispanic Period When the Spain colonized the Philippines, Kali was already a standard fighting art of the early Filipinos. Native rulers like Lapu-lapu of Mactan were Kali expert, according to Magellan’s chronicler and historian, Pegafetta. As recorded on April 27, 1521, one of the men of Lapu-lapu killed Magellan with bladed weapon which Kali practitioners used in pre-Spanish Philippines. Along with bladed weapon is a short pointed hardwood stick hardened by fire treatment which natives carried as part of their habiliment (clothing or special equipment). This stick must have been the forerunner of muton or baston, as the standard fighting weapon in Arnis today. When the country was ultimately conquered and occupied by Spain, their language was forced upon by the people, and Arnis was known ever since as ESGRIMA or fencing-the Filipinos were not used to certain Spanish sounds and used “K,”instead of “G” and pronounced it as ESKRIMA to this day. During the Philippine Revolution, the first known fighting weapon of Filipino revolt leaders like Andres Bonifacio was “itak” which he used probably with kali fighting techniques. Other Filipino revolutionary leaders never actually used kali in fighting the Spanish soldiers, but were said to be experts in this fighting art which they learned in their youth. The greatest Filipino hero, Dr. Jose P. Rizal, for instance, studied kali before he left for Europe. Revolutionary Rev. Fr. Gregorio Aglipay was known to have practiced the art too, and the acceptance of Arnis becomes so widespread that in1896 Jose de Azas started school for the study of Arnis and foil fencing. How Kali become Arnis was an aftermath of an episode in Philippine history when Kali was outlawed by the Spanish authorities as one of the precautionary measures taken to discourage an enslaved people from rising revolution against the Spanish rule in the Philippines. Kali declined in popularity as early as 1596, and eventually banned the practice of the art in 1764. Henceforth, Kali was only practiced in secret. In 1637, however, Spanish friars, who came to the Philippines, introduced the Moro-moro- s socio-religious play dramatizing the victory of Christian Spaniards over the Muslim Moros apparently as a visual aid prosecuting the natives to Christianity. The play called for the use of a sword or any bladed weapon by characters that played the role of Spanish soldiers. These soldiers wear colorful trappings worn by medieval soldiers called “Arnes”, a Spanish word for the English Harness which the early Filipinos cleverly used as the new name of kali whose techniques were again practiced in their appearance in the Moro-moro plays. From the word Arnes came the present Arnis, and in 1853, the word Kali was completely replaced by Arnis.  Modern Period Arnis today is popularly played with the use of cane, being less lethal than the bladed weapon like itak or bolo. The cane is assumed to be the extension of the hand so that Arnis is called in Spanish as Arnis de Mano or Eskrima. It is the best known and the most systematic fighting art in the Philippines. It is perfected art after a long historical development from the kali systems designed to train the student defend himself against armed or unarmed attacks. Cane is the standard equipment used in Arnis, However, the most common type of cane is made of rattan, dried, and rounded from the point and the base of the cane (Rattan Stick). The length of the cane shall be 28 to 30 inches, and about three-quarters to one inch in diameter. Among the Tagalog Provinces, Arnis is known as Estocada or Arnis de Mano, and Estoque or Fraile in other regions; Ibanag’s is to Pagkalikali; Kalirongan to Pangasinense; Kinaadman to the Visayas (Eskrima or Garrote to the Cebuanos) and Baston to the people of Panay and Negros Occidental; and Sinawali to the Pampangenos. Arnis 3 forms of play: Arnis 3 Traditional Training Methods: 1) Espada y Daga (“sword and dagger”) – which is a long 1) Muestracion or Pandalag - wooden sword and a short which teaches the artistic wooden dagger is used. execution of the swinging 2) Solo Baston (“single stick”) – movements and stroking for which is a single long muton offense and defense in or baston (“wooden stick or repetitive drills. rattan cane hardened by 2) Sangga at Patama or drying or heating”) is used. SombraTabak – wherein 3) Sinawali – the intricate striking, thrusting, and parrying movements of the two in a prearranged manner is muton resemble the weave taught. of a sawali (“criss-cross 3) LargaMuton or fashion”). LabanangTotohanan – in which two trainees engage in a free practice trying to outmaneuver each other using all their skills.  Remy a. Presas Before it was introduced in Manila, Modern arnis had its humble beginnings in Bacolod City in Visayas where the author first learned the techniques of the art. Being master of many martial arts, the author was able to improvise the antiquated techniques of arnis not only for the reasons of pacing with the time but also for its utmost affectivity. These improved techniques were then taught for the first time to the students in that city. In 1969, it was in Manila when the National College of Physical Education, through the encouragement and patronage of Col. Arsenio de Borja, director and secretary-tresurer of the Philippine Amateur Athletic Federation (PAAF), offered Modern Arnis as a regular subject in the Physical Education to the major students. The students in the NCPE were mostly teachers from different school in the country who took PE as a degree or as a special course. This enabled arnis to gain wider area of propagation as these teachers in turn taught arnis to their students. Besides these teachers, students who enrolled in the Modern arnis in the school of the author, also help propagate the art. In Mindanao State University-Main Campus, Marawi City, Lanaodel Sur, Prof. Ombra B. Sumndad of the College of Sports, Physical Education and Recreation was the first person to introduce the Modern Arnis. Arnis was declared as the Philippine National Martial Art and Sport on December 11, 2009 through Republic Act 9850 signed by Pres. Gloria Macapagal-Arroyo. As per R.A. 9850, 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 competition to be played by participating teams on the first day in the annual Palarong Pambansa. The Philippine Sports Commission is be the lead agency to implement the provisions of this Act. https://ncca.gov.ph/about-culture-and-arts/culture-profile/philippine-fast-facts/national-sport- arnis/ Values and Benefits of Arnis  1. Contributes to the Physical Fitness Development– the execution of the various skills of Arnis involves vigorous movements of the arms, shoulders, trunk, the abdomen and the lower extremities the legs and feet. And since these movements are performed continuously and rhythmically, they provide excellent training for muscular strength, flexibility and cardio-respiratory endurance which are the three basic health-related components of physical fitness namely agility, balance, reaction time, and coordination are also developed through Arnis. 2. Develops Special Abilities – emphasis is placed on quickness and coordination, and in the perfect execution of the skills. Individuals whose physical attributes and capabilities are limited can find in Arnis the satisfaction provided by competition and the thrill of accomplishments in skillful physical activity. 3. Improves Mental Qualities – alertness, daringness and precision are necessary, since many techniques call for quick thinking, and split-seconds timing. 4. Cultivates Desirable Character Traits – self-confidence, fortitude, and self-confidence are develop in the practice of Arnis. Students of Arnis who practice long and hard in order to make progress will also develop the virtue of perseverance to the highest degree. Self- discipline is necessary to master self-confidence. The acquisition of skills and desirable traits rest on the individual himself, for Arnis is a self-testing activity, and the student will progress at his or her own rate. 5. Creative Ability has Unlimited Potential in Arnis – the putting together of various possible combinations to come up with an anyo form or sparring routines require imaginative and creative talent. Through this experience, the Arnis enthusiast develops understanding of symmetry, continuity, coordination, balance, and timing in the execution of striking and blocking maneuvers. 6. Awareness on the Cultural Identity – Arnis is a genuine component of our cultural heritage. It is possible that the Filipino who will take up Arnis will find an answer to what an eminent Filipino scholar termed, “the search for national identity.” Activity 2: Short Answer Test Direction: Answer the following questions below. Students under Categories 1 and 2 must type in their answers and post it in our official FB group page PED002 ____. Students under Category 3 must write their answers on a whole sheet of paper and must place it in a long brown envelope upon its submission. Please do not forget to write your name, section and contact number when you submit it to your instructor 1. What makes Arnis different from other Combative Sports? Explain its unique features. 2. Is it important for us to learn self defense like Arnis? Justify your answer. 3. What do you think are other benefits that one can get from his participation in sport in terms of: a. mental b. emotional c. social; Lesson 2: Equipment 1. Weapon 1.1. The padded stick shall be the official weapon of the player. the specifications of which shall be in accordance with the i-ARNIS standard. No other similar material will be allowed to be used in any local, national or international competitions. 1.2. Both padded stick shall be color-coded, one red and the other blue. 2. Head Protector 2.1. Refers to a pair of protective head gear to include an impact-worthy face mask, the specifications of which shall be in accordance with the i-ARNIS standard. 2.2. Both headgears must be color-coded, one red and the other blue. 3. Body Protector 3.1.Refers to a pair of protective body vest, properly cushioned , the specifications of which shall be in accordance with the i-ARNIS standard. 3.2.Male and female player must wear both body vest and groin guard. Body vest and groin guards specifications shall be in accordance with the i-ARNIS standard. Both body vests must be color coded to match the color of the player. 3.3.Forearm and shin guards are compulsory. The specifications shall be in accordance with i-ARNIS standard. Both shin & forearms guards must be color coded to match the color of the player. 4. Flags 4.1 Two sets of red and blue flags, the size of which is 30 cm by 25 cm, are used by the judges in declaring decisions or asking for consultations 5. Scoreboards 5.1.A pair of scoreboards, either manually or electronically operated, the specifications of which shall be in accordance with the i-ARNIS standards. 5.2.Two score boards per contest area shall be placed diagonally opposite corners outside the playing area, inside the competition area within the free zone, right where the judges are positioned. Lesson 3: Ethics and Etiquette, Essential Principle and Safety in Arnis Objectives: At the end of the lesson, students are expected to be able to: 1. Explain the basic rules and principle of Arnis. 2. Appreciate the importance of code of ethics in Arnis. 3. Recognize the importance of safety practices of active participation of Arnis. 1. Creed in Arnis Arnis is a tie that binds us Respect for Masters is our first discipline Never criticize the style, master or art of another Integrity is the basis of our character Show humility in victory and grace in defeat Anger is a weakness to be mastered Develop your inner self as well as your outward skills Open your mind to learn from anyone at anytime Remember – Arnis has its origin as a fighting art -Radcliff (2011) 2. Cardinal Rules and Principles Arnis as an art has cardinal rules to be observed and followed has its own principles to be inculcated in the students. The cardinal principle in Arnis is respect for one’s opponent as a person and as a fighter, and as sportsman. It should always be rememberd that an opponent is a human being with dignity as you have and worthy of respect. Sportsmanship on the other hand is the measure of a fighter or player, the laurels of victory should never be worn with superiority but with humility. Besides this cardinal principles, there are other principles in Arnis that the students must remember, these are: Character – 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 would be motivated by righteous desire. Sincerity – sincerity for victory’s sake is not all-consuming end of an Arnis player. 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 and trust makes an institution of what has been shattered by doubts. Discipline –Arnis is a molder of discipline. It is the responsibility of the teachers of the art to guide the students to this end. Strict compliance to rules and conduct is an athlete’s obligation. Proper behavior in the sport and in life itself will be gauge of success. Personal discipline is important, and 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 good health of another may be lost. The possession of an ability to kill or injure a person should be handled with extreme caution and prudence. 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 how to respect others. Giving credence to the standard and ability of another person should or will best prepare anybody in any endeavor. Student’s Loyalty – loyalty should be emphasized to the students, loyalty to the art, to a fellow player, and to his teacher. Ingratitude to one is ingratitude to the other. A student should br 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 owned by him to his teacher. Personal whims should never one to be ungrateful to where he owes everything he knows. In the skirmishes of things, the student should be always loyal to him. 3. Code of Ethics  Arnis is an event that aims to bond and develop friendship and brotherhood. It is never a sport to hurt and defeat the opponent but to improve the skills of the players It aims to develop the mind, the physique and the character of the player. Arnis is played to develop the social aspect that will lead to close bonding of all practitioners. All the practitioners respect each other. They salute (“pugay” or “courtesy bow”) each other when they meet and from a meeting before they depart. The juniors must salute first and maintain the position until the seniors answer their salute. The juniors do not have the right to challenge to fight the seniors unless in the program set by their association to fulfill an objective. All the practitioners continue to move on as there is room for improvement or advancement. Each practitioners must share with other beginners or practitioners the advancement attained. Practitioners must desire to strengthen the Arnis family they belong to by sharing love, knowledge and understanding. Practitioners must remember that Arnis is not a means to fight people but to bond with them for life improvement. -i-ARNIS (2011) Essential Principles in Arnis The true power of Arnis does not end with 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. Thus, it is essential that the learner should know these principles by heart and commit the techniques to memory. 1. Physical Principles The learner must always bear in mind speed-speed in delivering the strokes, speed with the hand, speed with the feet, and even with eyes in spotting the weak points of the opponent. 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 relax hid wrist after each stroke. A player should not allow distance to separate him from his opponent as distance makes him vulnerable. 2. Psychological Principles 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 also constantly be aware of the ability of his opponent, knowing that his inability to assess every movement will be fatal to himself. But above all, the learner must have the will to fight and win. Without this attitude, a player's effort would be inefficacious. Safety Some common procedures in training must be done for the safety practice of Arnis in classroom or even in club settings. 1. Wear proper attire or loose-fitting clothing for comfort and mobility. 2. Remove all jewellery before the start of the activity. 3. Proper warm-up and conditioning exercise should be observed specially during strenuous activities to avoid muscle fatigue and further injuries. 4. Strike with accuracy and control especially during basic sparring, Sinawali, blockings and counter attacks to elude unforeseen injuries. 5. Delivery of the strikes, thrusts and counter attacks should never be aimed directly on the vital striking areas of the body to avoid further accident. 6. Proper gripping of the cane or Arnis stick should always be observed specially during activity manipulation, whirling, and twisting to avoid mishap. 7. It is suggested to execute the basic skills in slow motion especially to the novices to lessen unfortunate accident during practice. Activity: BULAGTASAN! This activity intends to test the memory of the learners. For category 1 and 2 learners, wear a black blind fold and recite the Arnisador creed online aloud. Lesson 4: Fundamental Skills in Arnis Objectives: At the end of the lesson, students are expected to be able to: 1. Identify the fundamental skills in Arnis 2. Perform the different fundamental skills in Arnis. 3. Recognize the importance of the different fundamental skills in Arnis. Fundamental Skills 1. Grip  The grip is the “soul of all fighting techniques" in Arnis. It is the correct grip that packs power to and controls the cane. To do the correct grip, hold the cane an inch from the base and tighten your four fingers around it with your thumb pressed against your forefinger. The hold must be firm when striking. Relax your wrist a bit after a strike. 2. Courtesy Courtesy means “respect for one's opponent and for the cardinal rules and principles of sportsmanship." In the revered tradition of martial art, courtesy in modern Arnis is the trademark that makes players worthy protagonists. At 45 degrees angle, heels closed, body erect, hands at 1/2-2 inches from both bases in holding the cane, and feet together, bow your head slightly towards your opponent. Courtesy in Arnis can also be executed with two canes. 3. Stances Stances in Arnis as in other forms of martial arts are different body positions basic to the play of the art. These are techniques which teach a player how to maintain body balance and the proper manner of distributing his weight on his legs. Mastery of those techniques is essential in the perfection of the art of Arnis. A player can never hope to fight effectively without knowing these important rudiments. Proper body positioning gives one mobility and ability. Shift from one position to another with strong foothold and with much agility. Moreover, this is very essential in defensive and offensive fighting. Attention Stance- Stand with feet at 45 degrees angle, heels closed together, hands at the side and relaxed. Open-leg Stance- Stand with legs spread apart about shoulder width with toes pointing slightly outward.  Forward Stance- Move one leg forward at a distance about twice the width of the shoulder and about 30 degrees to the side and bend frond leg at the knee with cane in the center and in fighting form. Rear leg is extended fully with both feet flat on the ground. Straddle-leg Stance- Spread legs about twice the width of shoulders and bend knees outward, heels firmly planted and toes pointing straight forward. Distribute weight evenly on both legs.  Back Stance- Stand with one foot backward with rear- foot toes pointing forward, so that the two feet form an L-shape. The rear foot should point either left or right depending on what foot is in front. Rear knee should be a little bent and force outward as in straddle stance. Seventy percent of the weight of the body should be supported by the rear leg with 30 percent by front leg. Oblique Forward Stance- This is executed by stepping either foot obliquely forward and obliquely to the left or to the right. The reverse of the oblique forward stance is executed with the withdrawal of either foot. In both movements, the L-shape position of the feet should be maintained. Points to Remember: In Arnis, the player should charge with the foregoing stances. He can lunge, in which case the stride is longer, trunk leaning forward straight from the rear leg according to his convenience in actual play. 5. Body Shifting In Arnis, body shifting is very important. An Arnis player should be shifting in positioning his body at a vantage point so that he can strike with the utmost power. Proper body positioning will also enable him to be outside the effective range of an opponent's blowor strike. Body shifting consists of stepping, sliding, turning or combination of these movements. Points to Remember: In shifting the body, a player must always maintain balance and shift the weight of his body smoothly. Correct posture must be maintained at all times. A player must not lower his hips more than necessary; they should move more or less in a straight line. He must not raise his feet high off the ground. He must not drag them either. In both cases, he will lose both speed and balance. Activity 2. Direction: Create a separate short video 3recording of yourself of each of following Fundamental skills in Arnis:  The Grip Courtesy Stances (Attention, Open leg, Straddle Leg, Forward, Backward, Oblique Forward Stance) The 12 Striking and Blocking Techniques The twelve striking techniques are the "life and soul" of Arnis. They are the hinges around which other techniques in Arnis revolve. In the twelve striking techniques, the learner is taught how and where to deliver a strike in order to achieve the maximum power and efficacy. In learning these techniques, the learner should know the different parts of the body considered vulnerable which excellent target are for the strikes. 1. The 12 Vital Striking Points of the Body Points to remember: it should be always remembered that strikes on these areas should be delivered with full force; otherwise the whole thing would be useless. 2. The Striking techniques Striking Technique No. 1- Left Temple Attack Mechanics:  With elbow bent, swing right hand backward accompanied by a twist of the body. Then execute right forward stance or stay on the straddle leg stance simultaneously swinging right hand forward, closed plan up, to strike directly at the opponent's left temple. Common Errors and Corrections: In executing all of these movements, the left hand should always be on guard, held high at chest level for defensive purposes. Striking Technique No. 2- Right Temple Attack Mechanics: From the final position in No. 1, withdraw right foot slightly backward, at the same time bring right hand holding cane at shoulder level and slightly twist body backward to the left. Slide right foot forward to assume the right forward stance or stay on the straddle leg stance position simultaneously swinging the right hand forward, closed palm facing downward, to strike at the right temple.  Striking Technique No. 3- Left Shoulder Attack Mechanics: From the final position in No. 2, withdraw right foot slightly backward and bring right hand to the right as in No. 1. Slide right foot forward to assume right forward stance or stay on the straddle leg stance position at the same time swing right hand forward to strike at the left shoulder. Striking Techniques No. 4- Right Shoulder Attack Mechanics: From the Final position in No. 3, withdraw right foot slightly backward and bring right hand to the left at shoulder level. Slide right foot forward or stay on the straddle leg stance position, closed palm facing downward to strike at right shoulder.  Striking Technique No. 5- Thrust to the Stomach Mechanics: From the final position in No. 4, slide right foot slightly backward and withdraw right hand backward to the right at hip level (elbow at right angle). Slide right foot forward to assume right forward stance or stay on straddle leg stance position, at the same time, thrust cane forward aimed at the stomach. Striking Technique No. 6- Left Chest Attack Mechanics:  From the final position in No. 5, slide right foot slightly backward, at the same time, withdraw right hand rearward at shoulder level, closed palm facing downward. Then lunge forward with right foot or stay on the straddle leg stance position and thrust cane to the left chest. Striking Technique No. 7- Right Chest Attack Mechanics: From the final position in No. 6, slide right foot backward at the same time withdraw right hand to the left at hip level, cane pointing downward, then upward to left shoulder level, twisting the right hand wrist ( closed palm facing upward), and positioning the cane with its tip directly pointing at the target. Then slide right foot forward or stay on the straddle leg stance position and thrust cane to the right chest. Striking Technique No. 8- Right Knee Attack Mechanics:  From the final position in No. 7, slide right foot slightly backward, at the same time, swing cane to the left, outward, hand at shoulder level and closed palm facing downward. Slide right foot forward or stay on the straddle leg stance position simultaneously swinging cane forward and downward to strike the right knee. Striking Technique No. 9- Left Knee Attack Mechanics: From the final position in No. 8, slide right foot slightly backward, at the same time, withdraw right hand to the right at shoulder level, swinging it backward, body facing 49 degrees at the right. Slide right foot forward or stay on the straddle leg stance position simultaneously swinging cane forward and downward to strike the left knee. Striking technique No. 10- Left Eye Attack Mechanics:  From the final position in No. 9, slide right foot slightly backward simultaneously withdrawing right hand to the right at shoulder level, closed palm facing downward. Slide right foot forward or stay on the straddle leg stance position and thrust cane to the left eye Striking Technique No. 11- Right Eye Attack Mechanics: From the final position in No. 10, slide right foot slightly backward to assume forward stance or stay on the straddle leg stance position, at the same time, bring right hand to the left at shoulder level, closed palm facing upward and simultaneously thrust cane to the right eye. Points to Remember: When practicing this technique and that of No. 10 and 11 do not aim cane directly to the eye to avoid accident.  Striking Technique No. 12- Crown Attack Mechanics: From the final position in No. 11, slide right foot slightly backward and assume a forward stance or stay on the straddle leg stance position, simultaneously withdrawing right hand over head and swing cane backward. Then strike from the top downward to hit the crown of the head. 4. Blocking Techniques It is said that the capacity of a defender to endure an attacker's strike depends mush on his ability to parry or block deadly blows effectively and to counterstrike with equal efficacy. To be able to put an effective defense, the defender must, of necessity, achieve perfect body balance so that his potential martial strength will be concentrated in his two hands. This body balance is best seen in the correct stance which he is to execute before making any attempt to block or parry his opponent's blow. Lacking this preparatory fighting stance, the defender can easily be staggered or thrown off-balance by even a lee deadly blow delivered to him. A military strategist once said that only by knowing your enemy will you be able to defeat him. In the world of martial arts, one knows his enemy only if he knows the sophisticated fighting techniques in his enemy's arsenal. Knowledge of the opponent’s ability as a formidable foe equated by the player's expertise to defend himself gives him self-confident, a psychological feeling which boosts his morale and improves his primitive strength. Thus, the initial phase of the fight has already been won. 1. Inward Block Mechanics: Initial position: Open-leg stance, knees bent in fight posture, left hand with open-palm held up in front of the body. With right elbow at right angle and cane pointing upward, lunge with right forward stance, twisting, body to the right and at the same time, bringing cane forward, braced by left hand to block attacker's blow. 2. Outward Block Mechanics: Initial Position: The same with Inward Block. With elbow at right angle and cane pointing upward, lunge with right( or left) forward stance simultaneously twisting body to the left and, at the same time, bringing cane forward, braced by the left hand to block attacker's blow. 3. Downward-Inward Block Mechanics: Initial position: The same with Inward Block.  In a right (or left) forward stance, bring cane from left downward to the right to block attacker's blow. 4. Downward-Outward Block Mechanics: Initial Position: The same with Inward Block. In a right (or left) forward stance, bring cane from right downward to the left to block attacker's blow. 5. Vertical Block Mechanics: Initial Position: The same with Inward Block. In a right (or left) forward stance, raise right elbow to shoulder level and twist wrist outward to the left so that cane in vertical with tip pointing downward. Always brace the cane with open palm of left hand at the middle section. 6. Rising Block Mechanics: Initial Position: The same with Inward Block. In a right (or left) forward stance with cane in front at hip level, raise cane horizontally forward and over the head supported open palm of the left hand to block attacker's blow. Activity 4: Direction: Create a short video recording of yourself while performing the following: 1. The 12 striking techniques 2. Blocking techniques. Lesson 6: Types of Anyo or Form Objectives: At the end of the lesson, students are expected to be able to: 1. Enumerate and identify the types of Anyo or Form in Arnis 2. Appreciate the beauty of performing the different types of Form in Arnis. 3. Perform accurately the different types of Anyo/Form in Arnis Anyo or Form in Arnis is executed in a backdrop of gratefulness when the execution of various exercises is observed in correct rhythmic order. It is similar to a terpsichorean technique, only it employs cane for added dimension to the movements, since it is a martial dance, as Arnis is a martial art. It is an individual movement executed with cane on one hand in a form of exercise or practice of movements which leads to the perfection of the art of Arnis itself, because it encompasses all the basic movements executed in coordinated fashion. In fact, in anyo or form, one finds the basic techniques of attack and counter attack in the form of exercise. A student should therefore give this aspect of Arnis training an artist’s fidelity to his art by religiously practicing the required exercises.  In sports Arnis, Anyo (Form) event is a demonstration of artistic, choreographed, pre- arranged sets of movements, offensive and defensive techniques using stick, wooden replica of a bladed weapon or metallic un-bladed replica of a weapon. There would be different divisions in the single weapon, double weapon and sword & dagger weapon categories, both in the individual and team events. Pictures 1. SINAWALI It is form of Arnis done by two players holding a cane in each hand. This play is characterized by the criss crossing movements of the canes. It is a good exercise in the mastery of Arnis play. The Sinawali derives its name from the word Sawali which is a native Filipino walling material. It is made of intertwined thinned bamboo splits and is used in nipa huts in rural areas. The practice of the Sinawali develops the player’s agility, coordination, timing, and keenness of eyesight. Like the other twelve striking techniques, the Sinawali is a good exercise in the mastery of Arnis play. Types of Sinawali Single Sinawali Mechanics:  a. Initial Movements: Stand at attention, both hand holding two canes. Do the courtesy bow and go to open-leg stance, right hand over left and canes pointing backward. Mechanics: b. Count 1. Execute the right forward stance and strike at the left temple of the opponent with your right hand. c. Count 2. Swing the right hand to the left and bring it downward to strike at the right knee of the opponent. Simultaneously, swing the left hand upward and backward to the left side, cane pointing backward.  d. Count 3. Strike at the right temple of the opponent with your left hand and withdraw the right hand to the side, elbow slightly bent and cane pointing downward. Mechanics: e. Count 4. Swing left hand to the right and downward, forming a half circle, and strike at the left knee of the opponent. Simultaneously, withdraw the right hand upward and backward to the right, elbow bent and cane pointing backward. Points to Remember: to easily develop speed and skill in this technique, it is suggested that the correct practice must be executed in slow motion according to the corresponding number. Do continuous practice and repetition. In the application of Single Sinawali as shown in the figures, each partner-player should execute the same movements and counter-movements. Double Sinawali Mechanics: a. Initial Movements: The same with Single Sinawali b. Count 1. Execute the right forward stance and strike your right hand at the left temple of the opponent. c. Count 2. Bring right hand over the left collar bone, cane pointing backward, and strike at the left knee of the opponent with the left hand. d. Count 3. Swing the left hand upward and backward, cane pointing to the rear, and strike at the right temple of the opponent with the right hand. e. Count 4. Strike at the right temple of the opponent with the left hand, and bring the right hand under the left armpit, cane pointing backward. f. Count 5. Strike at the right knee of the opponent with the right hand, and bring the left hand over the right collar bone cane pointing backward to the right with the elbow bent g. Count 6. Strike at the left temple of the opponent with the left hand, and swing the right hand upward and backward to the right, elbow bent and cane pointing backward. Points to Remember: In the application of Double Sinawali proper as in Single Sinawali, it is suggested that the correct practice must be observed too develop speed and skill in the players and execute in slow motion according to the corresponding practice number. TERMINOLOGIES Abanico- lit. "Fan," lateral ( side to side) motions performed with a straightened arm as a blocking maneuver. Abanico sa Itaas- upper flywheel Antas- lit. "Level or degree" Arnis- lit. "harnesa," terms used in the Northern Philippines for FMA, synonymous with the middle-Philippines term, "Eskrima," or the southern term, "Kali" Arnisador- stick fighter Arnis de Mano- " Armoe of the hand"; system Baba Taas- lit. "Up" and "down," denoting vertical slashes or strikes delivered slong the center- line of an opponent. Band y Banda- side to side slaches or strikes Bakbakan- a rumble or free-for-all fight Banatan- full-contact fighting Baston- the other term for stick or cane/club used in Arnis. Bolo- a type of machete (usually with a leaf shaped blade) used throughout the Philippines. Corto- close range Daga- knife or dagger Doble- lit. "Double," two strikes delivered in rapid succession. Doble Baston- double stick training Escrima- (alt. eskrima) synonymous with arnis Eskrimador- stick fighter Espada- sword or long stick Espada y Daga- sword (espada) and dagger (daga) used together. Sometimes also connotes the use of baton and knife in tandem. Itak- a long sword or bolo Kris- serpentine blade knife or sword Lakan- a belt rank in Modern Arnis equivalent to "black belt" or instructor (guro). Largo- long distance Likas- lower rank belt (below black belt) in Modern Arnis Opo- respectful form of saying "yes" Palo- lit. "to strike" Redonda- continuous drill employing two batons continuously delivered in an "X" pattern Rompida- an upward and downward slash or strike Saksak- lit. "to thrust" Salamat- a greating derived from the Muslim "salaam" (or peace) and connoting gratitude Sangga- lit. "to block" Sawali- interwoven slats of wood use for walls Sinawali- lit. "to weave," connoting the continuous weaving motion of two batons, knives, or hands to couple simultaneous strikes and blocks. Solo- lit. "single" Yantok- rattan stick - American Modern Arnis Associates (n.d.) - Filipino Martial Arts (FMA) Glossary ( n.d.) REFERENCES American Modern Arnis Associates. (n.d.). Basic Arnis terminology. Retrieved June 15, 2015, from http://www.geocities.ws/amaa_arnis/Terminology.html Arnis Pederasyong International, Inc. [i-ARNIS]. (2011). International rules for Sports Arnis. Retrieved March 10, 2015, from http://www.web.psc.gov.ph/Officiating%20Rules/Arnis.pdf Combat sport. (n.d.). Retrieved June 20, 2015, from Wikipedia: http://en.wikipedia.org/wiki/Combat_sport Filipino martial arts (FMA) glossary. (n.d.). Retrieved August 4, 2014, http://www.modernarnis.com/media/content/FMAGlossary.pdf History of Modern Arnis. (n.d.). Retrieved June 20, 2015, from the wikipedia: http://en.wikipedia.org/wiki/Modern_Arnis Martial arts. (n.d.). Retrieved June 20, 2015, from the Wikipedia: http://en.Wikipedia.org/wiki/Martial_arts Presas, R. A. (1996). Modern Arnis: Philippine style of stivk fighting. Manila: Modern Arnis. Presas, R. A. (2011). The practical art of Eskrima: Unarmed and weapon self- defense " The Philippine's stick fighting" (2nd ed.) Mandaluyong City: Cacho Hermanos. Radcliffe, D. J. (2011). Combat Judo Karate Arnis. Retrieved January 20, 2015, from http://kempoarnis.tripod.com/images/club_manual.pdf Soteco, A. C. (2008). Filipino martial arts: A practical introduction to Arnis. Retrieved June 20, 2015, http://www.fmainformative.info/FMAdigest/pdf_issues/specialeditions/2008/ Special-Edition_Practical-Introduction-to-Arnis.pdf Wiley, M. V. (2001). Arnis: Reflections on the history and development of the Filipino martial arts. USA: Tuttle.