WEEK 9-11 STUDY GUIDE Arnis

COLLEGE OF CRIMINAL JUSTICE:

DISARMING TECHNIQUES

• Read course and unit objectives
• Read study guide prior to class attendance
• Read required learning resources;
• Proactively participate in classroom discussions
• Participate in weekly discussion board (Canvas)
• Answer and submit course unit tasks

At the end of this unit, the students are expected to:

1. Demonstrate the proper karate stances and the techniques of punching, kicking and blocking
2. Describe the fundamental concept of baston/ arnis stick
3. Demonstrate and apply the basic techniques of using the Arnis sticks
4. Discuss the relevance of martial arts in law enforcement works

Arnis Training

One of the characteristics of Filipino martial arts is the use of weapons from the very beginning of training and Modern Arnis is no exception. The primary weapon is the rattan stick, called a cane or baston (baton), which varies in size, but is usually about 28 inches (71 cm) in length. Both single and double stick techniques are taught, with an emphasis on the former; unarmed defenses against the stick and against bladed weapons (which the stick is sometimes taken to represent) are a part of the curriculum.

ARNIS

• It is the system of Filipino martial arts founded by the late Remy Presas as a self-defense system. His goal was to create an injury-free training method as well as an effective self-defense system to preserve the older Arnis systems. The term Modern Arnis was used by Remy Presas’ younger brother Ernesto Presas to describe his style of Filipino martial arts, since 1999 Ernesto Presas called his system Kombatan. It is derived principally from the traditional Presas family style of the Bolo (Machete) and the stick-dueling art of Balintawak Eskrima, with influences from other Filipino and Japanese martial arts
• Arnis is a Philippines’ national martial art or sport, After President Gloria Macapagal-Arroyo signed the Reoublict Act. No. 9850 in 2009. The act mandates the Department of Education to include the sport as a Physical Education course. Arnis will be included among the priority sports in Palarong Pambansa (National Games) beginning 2010.

One of the characteristics of Filipino martial arts is the use of weapons from the very beginning of training and Modern Arnis is no exception. The primary weapon is the rattan stick, called a cane or baston (baton), which varies in size, but is usually about 28 inches (71 cm) in length. Both single and double stick techniques are taught, with an emphasis on the former; unarmed defenses against the stick and against bladed weapons (which the stick is sometimes taken to represent) are a part of the curriculum.

Belt Ranks

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

In addition to rank, titles such as Datu, Commissioner, Master of Tapi-Tapi, Senior Master, Punong Guro, etc., have occasionally been granted to certain high-ranking individuals. The title Guro is typically given to all Lakans and Dayangs.

Kinds of Stances

1. Ready Stance

• Stand with your feet apart parallel to the shoulder with both toes pointing forward.
• The knees should be straight, the waist and the body facing forward.
• Hands are on waist level and the hands should hold the sticks on both sides.
• The ready stance is commonly used when standing at ease during training or tournaments.

2. Attention Stance

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

3. Forward Stance

• Starting with the ready stance, move one foot forward until the knee and the toe are in line to each other.
• Both toes are pointing in front, the waist and the body is facing forward.
• The body should not be too low or the lead foot too extended otherwise it will be hard to maneuver.
• Distribute the weight or center of gravity to both legs.
• Forward stances can be right foot lead, which is the Right Foot Forward Stance or it can be left foot lead which is Left Foot Forward Stance.
• Forward Stance are commonly used with frontal striking or blocking techniques.

4. 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.

5. Straddle Stance

• Starting with the ready stance, move one foot about two feet (2’) to the left or the right direction until both lower legs are almost perpendicular to the ground.
• Both toes are pointing in front, the waist and the body is facing forward.
• The body should not be too low or extended otherwise it will be hard to maneuver.
• Distribute the weight or center of gravity to both legs. Straddle stance are also called Horseback Riding Stance since it mimics position when riding on a horse back.
• Straddle stances are commonly used for blocking the strikes to the side of the body.

6. 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.

7. 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.

Sinawali

The term "Sinawali" refers to the activity of ‘weaving’, and is applied to the art of Philippine martial art Eskrima with reference to a set of two-person, two-weapon exercises.  Sinawali exercise provides Eskrima practitioners with basic skills and motions relevant to a mode of two-weapon blocking and response method called Doblete. Sinawalitraining is often introduced to novices in order to develop certain fundamental skills including: body positioning and distance relative to an opponent, rotation of the body and the proper turning radius, recognition of one’s center of gravity, eye-hand coordination, target perception and recognition, increased ambidexterity, recognition and performance of rhythmic structures for upper body movement, and muscular developments important to the art, especially, the wrist and forearm regions.