Arnis , also known as Kali or Eskrima , is a national sport and Filipino martial art. All three are umbrella terms that can be exchanged for traditional Filipino martial arts ("Philippines Martial Arts", or FMA) that emphasize gun-based battles with sticks, knives, bladed weapons, and improvised weapons and "open arms" or weaponless techniques. It is also known as Estoque (Spanish for Rapier), Estocada (Spanish for push or prick) and Garrote (Spanish for club ). In Luzon probably use the name Arnis de Mano .
The original martial art encountered by Spain in 1610 was not yet called "Eskrima" at that time. During this time, this martial art was known as Paccalicali-t to Ibanags, Didya (later changed to Kabaroan ) to Ilokanos, Sitbatan or Virtues to Pangasinenses, Sinawali ("weave") to Kapampangan, Calis ("weapon use") to Tagalog, Pagaradman to Ilonggos and Kaliradman to Cebuanos. Kuntaw and Silat is a separate martial art that is also practiced in Philippine Islands.
Video Arnis
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Arnis also includes hand-to-hand combat, key locks, grappling techniques and disarming weapons. Although in general, emphasis is given on weapons for this art, some systems place the bare hands as the main focus and some old school systems do not teach weapons at all.
For all intents and purposes, arnis, eskrima, and Kali all refer to the family of martial arts and the same armed combat system with the Philippines. Both Arnis and Eskrima are loans from Spain:
- Arnis comes from arnÃÆ' Â © s , Old Spanish for "armor" ( armor is an English term ancient for armor, derived from the same root as the Spanish term). It is said to have come from a suit of armor used in a stage drama in which the actor fought with a wooden sword. Arnes is also an ancient Spanish term for weapons, as in the following sentence from Ilustracion de la Deztreza Indiana by Francisco Santos de la Paz in 1712:
- Eskrima (also spelled Escrima ) is Filipino from Spanish for fencing, esgrima . Their keyword in French is escrime and is related to the English term 'skirmish'.
- Kali has many theories about its origin:
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- One theory is that the word is derived from tjakalele , a tribal style of fencing stick from Indonesia. This is supported by the similarity between tjakalele and eskrima techniques, as well as the distance Mindanao with Indonesia.
- According to Guro Dan Inosanto, Kali is a portmanteau of Cebuano's words "kamot", meaning hand, and "cockey", meaning movement.
- In Ilocano, times means "digging" and "stabbing".
- There are many similar reference terms for martial arts such as kalirongan , kaliradman , and pagkalikali . This may be the origin of the term times or they may have evolved from it.
- According to Grandmaster Vic Sanchez, the term Pangasinense Kalirongan means "Landscape Mountains" or "Wisdom (the) Secret" or "Wisdom of Kali".
- In his book
- In their book Cebuano Eskrima: Beyond the Myth However, Dr. Ned Nepangue and Celestino Macachor argue that the term Kali which refers to Filipino martial arts does not exist until Buenaventura Mirafuente writes in the first preface book published in Arnis, Mga Karunungan sa Larong Arnis > by Placido Yambao, the term Kali as the original martial art of the mother of the Philippine Islands.
- Most likely, Kali is derived from the Philippine pre-Hispanic term for knives and fences, Calis , documented by Ferdinand Magellan expeditionary author Antonio Pigafetta during their journey through Visayas and in Spanish to Filipino to Filipino dictionaries and vocabulary books dating from 1612 to the late 1800s, as in Vocabulario de Lengua Tagala by Fr. Pedro de San Buenaventura. The terms calis are in various forms present in ancient Spanish documents in Ilocano, Ibanag ( calit ), Kapampangan, Tagalog, Bicolano ( caris ), Waray ( caris ), Hiligaynon and Cebuano ( calix, baladao - "kalara balaraw/dagger" and cales ). In some of these dictionaries, the term calis refers to a sword or kris knife or kris, while in others it refers to a sword and a knife and their usage as well as a form of stick battle. While Mirafuente argues that the original term is "Kali" and that the letter "S" is added later, the late Grandmaster Remy Presas shows that "S" was dropped in modern times and became better known as "Kali" in the FMA circle.
Art practitioners are called arnisador (male, plural arnisadores ) and arnisadora (for women, plural arnisadoras ) for them who call them arnis , Maps Arnis
Origins
Like Arnis is an art that is usually practiced by peasants or regular classes (as opposed to the noble class or knight), most practitioners have no scientific education to create any kind of written record. While the same can be said of many martial arts, this is especially true for Arnis because almost all of its history is anecdotal, verbal or promotional. The origin of Arnis can be traced back to indigenous fighting techniques during conflicts among pre-Hispanic Philippine tribes or kingdoms, although the current form has Spanish influence from an old fence originating in Spain in the 15th century. It has other influences as well, as settlers and traders traveling through the Malay Archipelago carry the influence of martial arts as well as Chinese, Arabic, and Indian martial arts. Some populations still practice local Chinese fighting methods known as kuntaw.
It has also been theorized that Arnis art in the Philippines may have roots in India and come to the Philippines through people traveling through Indonesia and Malaysia to the Philippine islands. Silambam, an old martial arts based stick/Indian staff affects many martial arts in Asia such as Silat. Thus, Arnis can share ancestry with this system - some Arnis movements are similar to short sticks (times or kaji) and other weapon-based fighting styles of Silambam.
When the Spaniards first arrived in the Philippines, they had observed a weapon-based martial art practiced by indigenous people, who may or may not be associated with Arni at this time. The earliest written records of Filipino culture and life, including martial arts, came from the first Spanish explorers. Some of the early expeditions fought indigenous tribes armed with sticks and knives. In 1521, Ferdinand Magellan was killed in Cebu at the Battle of Mactan by troops of Datu Lapu-Lapu, the head of Mactan. Some Arnisadors contend that Lapu-Lapu people killed Magellan in a sword fight, though historical evidence proves otherwise. The only eyewitness from the battle by the author, Antonio Pigafetta, said that Magellan was stabbed in the face and arms with a spear and was overwhelmed by some soldiers who hacked and stabbed him:
The natives continued to chase us, and took the same spear four or six times, throwing it at us again and again. Acknowledging the captain, so many turned to him that they dropped his helmet from his head twice, but he always stood firm like a good knight, along with several others. Thus we fought for over an hour, refusing to retire further. An Indian throws a bamboo spear into the captain's face, but the latter immediately kills him with his spear, which he left behind in India. Then, while trying to hold the sword, he can pull it out but half way, because he has been injured in the arm with a bamboo spear. When the natives saw it, they all threw themselves on it. One of them wounded him on the left leg with a large short sword, which resembled a sword, only becoming larger. It caused the captain to fall on his face, when they immediately rushed to him with iron and bamboo spears and with their glasses, until they killed our mirror, our light, our comfort, and our true guide. When they hurt her, she came back many times to see if we were all in the boat. After that, see him die, we, hurt, retreat, as well as we can, to the ship, which has withdrawn.
Opinions differ on the degree to which Spanish rules in the Philippines affect Arnis. The fact that a large number of techniques and names of art itself (arnes/arnes , eskrima/ esgrima , garrote , estoque , etc.) have Spanish names showing influence. Some argue that Spanish names in martial arts only reflect the fact that Spanish is the lingua franca of the Philippines until the early 20th century, and that the influence of Spanish martial arts is actually limited.
What is certain is that the Spaniards brought along with them the art of their bladed weapon (including the Destreza system developed by Carranza) when they began colonizing the archipelago in the 16th century. What is also known is that the Spaniards recruited and trained mercenaries and soldiers from local people such as Pangasinenses, Kapampangan, Tagalog, Ilonggos, Cebuanos and Waray to pacify the region and stop the uprising. From Kapampangan, Fray Casimiro DÃÆ'¼az with respect to 1718:
Logic states that these indigenous soldiers and mercenaries will be forwarded to very close friends and family members of this newly learned skill to add existing and effective original. They will also share tactics and techniques with each other when stationed in the same military group and fight on the same side in foreign territories such as Formosa, Mindanao, Maluku, and Maria.
One of the more prominent features of Arnis showing Spanish influence might be Espada y Daga (the Spanish for "sword and dagger") method, a term also used in Spanish fencing. Filipino espada y daga is somewhat different from European rapier and dagger techniques; the horses are different because the weapons used in the Arnis are usually shorter than the European swords. According to Grandmaster Federico Lazo (1938-2010), unlike in European history fences, there is no lunging in North Ilocano's Arara-style Kabaroan - it's more of an evasive art. On the other hand, it comes in several Visayan styles documented by FMA researchers Celestino Macachor and Ned Nepangue such as Yasay Sable Estocada from Bago City. After conducting a comparative study, the author of the Kalis Ilustrisimo Romeo Macapagal archive also estimated that 40% of the knife-oriented style of Antonio "Tatang" Ilustrisimo (1904-1997) descended from the European style, brought by Spain.
After Spain colonized the Philippines, a decree was set that prohibited civilians carrying full-sized swords (like Kris and Kampilan). Nevertheless, practitioners found ways to keep and keep art alive, using rattan-made sticks rather than swords, and small knives used like swords. Some art is passed from one generation to the next. Sometimes the art takes the form of choreographic dance such as the Sakting Sticks or during a mock battle at Moro-moro ( Moros y Cristianos ) plays the stage. Also as a result, unique and complex stick-based techniques flourish in the Visayas and Luzon areas. South Mindanao retains almost exclusively a knife-oriented technique, as the Spaniards and Americans never completely conquered the southern part of the island.
Although Arnis combines the original fighting techniques with ancient Spanish fences and other influences, the degree of systematization is achieved over time, resulting in distinguishable Filipino martial arts. Over time, the system for basic teaching is also evolving. However, with the exception of some older and more established systems, it was previously common to pass on art from generation to generation in an informal approach. It has made an attempt to trace the line of a difficult practitioner. For example, in addition to learning from their family members like Uncle Regino Ilustrisimo, Antonio Ilustrisimo seems to have learned to fight while sailing around the Philippines, while his cousin and his pupil Floro Villabrille claimed to have been taught by a blind Moro princess on the mountain; claims were later denied by the older Ilustrisimo. Both have died.
Modern history
The Philippines has what is known as the knife culture . Unlike in the West where martial arts swords The battle and martial arts of the medieval and Renaissance have been almost extinct (after moving to a sports fence with the advent of firearms), sword fighting in the Philippines is a living art. Local people in the Philippines are much more likely to carry knives than guns. They are generally taken as a tool by farmers, used by street vendors to prepare coconuts, pineapples, watermelons, fruits and other meats, and cheap balisong to get in the streets and are also easy to hide. In fact, in some areas of the countryside, carrying agricultural knives like itak or bolo is a sign that someone is earning a living because of the nature of the work on their area. In Palau state, the local term for Filipinos is chad ra oles , which literally means "knife" because of the Filipino reputation for carrying a knife and using it in a fight.
Philippine Revolution
Contrary to the views of some modern historians that the only weapon that won the revolutionary Philippines against the Spaniards, the blades also played a big part.
During the Battle of Manila in 1898, a report from The Cincinnati Enquirer went:
Philippine-American War
Americans first recognized Arnis during the Philippine-American War in events such as the Balangiga massacre in which most American companies were hacked to death or badly wounded by rebel insurgents in Balangiga, East Samar - and in battle in Mindanao, where an American soldier was beheaded his head by a Moro warrior even after he emptied a.38 caliber revolver pistol to his opponent. That and similar events led to the demand and development of the Colt M1911 and the.45 ACP pistols by Colonel John T. Thompson, Louis La Garde and John Browning with more stopping power.
World War II
During World War II, many Filipinos fought against the Japanese with their swords as guerrillas or as military units under the USAFFE like the Bolo Battalion (now known as the Tabak Division).
Some of the known grandmasters who have used their skills in World War II are Antonio Ilustrisimo, Leo Giron, Teodoro "Doring" Saavedra, brother Eulogio and Cacoy CaÃÆ' Â ± ete, Timoteo "Timor" Maranga, Sr., Jesus Bayas and Balbino Tortal Bonganciso.
Spread
Art does not have a traditional belting or grading system as it is taught informally. It is said that to proclaim a student, a "master" is considered ridiculous and cyber warrants as individuals will be challenged left and right for deadly duel potentially by other Arnisadores who want to make a name for themselves. Belt ranking is a recently adopted addition of Japanese art such as Karate and Judo, which has become more popular among Filipinos. They are added to provide structure to the system, and to be able to compete for student attention.
In connection with its spread outside the Philippines, Arnis was taken to Hawaii and California as far back as 1920 by Filipino migrant workers. His teachings were closely guarded in the Philippine community until the late 1960s when masters like Angel Cabales began to teach it to others. Even then, instructors who teach Arnis in the 1960s and 70s are often reprimanded by their parents to openly teach a part of their culture that has been preserved through secrecy. The Arnis deployment is assisted in Australia through Terry Lim (founder of the martial arts academy Loong Fu Pai) who also holds Dan 4 in the Federation of International Martial Arts of the Philippines. He ran the seminar with the help of other masters such as Maurice Novoa Ruiz (Wing Chun instructor).
In recent years, there has been an increased interest in Arnis for its usefulness when defending himself against knives on the road. As a result, many Arnis systems have been modified at various levels to make them more marketable to audiences around the world. Usually this involves an increased emphasis on locking, controlling and disarming, especially focusing on the self-defense aspect. However, most styles follow the philosophy that the best defense is a good offense. Modern training methods tend not to emphasize cautious footwork and low attitudes, emphasizing learning techniques that support more direct (and often deadly) tactics designed to end the encounter immediately.
In the Philippines, the deployment is more significant due to Richardson's efforts "Richard" Gialogo and Aniano "Jon" Lota, Jr. through the Department of Education (DepEd) Task Force at Sports School (TFSS). Arnis was first introduced in 1969 to some public and private school teachers when Remy Presas taught her personal style of Arnis which she called "Arnis Modern". He taught his own style to the students at the National College of Physical Education (NCPE) when he was given the opportunity to teach there. The style of "Arnis Modern" is not synonymous with the concept of modern or contemporary Arnis, where it has become a crowded sport embraced by the Ministry of Education, although there are some similarities. There was no formal program for Arnis from the 1970s to the 1980s. Although some schools teach Arnis, this is unofficial or prescribed.
The earliest historical record is DECS Memorandum no. 294 Series in 1995 involving the Arnis Development Program Phase I. This is a joint effort of the Department of Education, Culture and Sports or DECS and the Orlando Senate Office "Orly" Mercado who gets a budget from the barrel of pork for the implementation of the Arnis national program. The Mercado Senator's office is authorized to appoint an Arnis instructor for the program.
The next stage is the Arnis Development Program Phase II. It is only a continuation of Phase I through DECS Memorandum No. 302 series in 1997. The same group conducted the seminar; known as the Arnis Association International (AAI). Arnis instructors appointed by Senator Mercado are informally called "Mercado boys". They are Mr. Jeremias V. Dela Cruz, Rodel Dagooc and others who are direct disciples of Master Remy Presas of the Arnis Modern style. In this memorandum, there are two seminars held: 6-11 October 1997 in Baguio City and 10-15 November 1997 in General Santos City. The development of the Arnis Module is not encouraging. It was also during this time when Arnis's first instruction video was developed by the Bureau of Physical Education and Sports School (BPESS) entitled "Dynamic Arnis". This video features Brother Gialogo: Richardson and Ryan Gialogo, a direct student of Jeremias V. Dela Cruz.
However, the national program of Arnis Senators Orly Mercado and DECS died naturally. It was only after nine years that Arnis found its way back to the Department of Education (formerly known as the Department of Education, Culture and Sports or DECS). On February 5, 2004, the Task Force at the School of Sport (TFSS) of the Department of Education (DepEd), the new agency after BPESS died, met the National Sports Association (NSA) for Arnis in Senate. The head of TFSS is the National Coordinator of Mr. Feliciano N. Toledo II, regarded as "Mr. Arnis" in the Ministry of Education. He met the top NSA officials at the time; However, nothing happened.
It was not until 2006 when the Task Force at the Sports School had a new program for Arnis. "National Training of Trainers in Arnis and Sports Dance", sponsored by the Task Force at the Sports School, Ministry of Education (DepEd), was held at Master Camp, Baguio City on March 13-17, 2006 and was conducted by the top two. Characters in the Arnis community: Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo, then Secretary-General and Vice-President of the National Sports Association for Arnis. And this is the beginning of the modern, contemporary and prevailing Arnis in the Ministry of Education.
In just two months, Arnis became part of Palarong Pambansa (National Games) as a demonstration sport. Palarong Pambansa 2006 was held in Dragon City, Bicol Region with nine of the seventeen participating Philippine territories. Arnis National Seminar, regional and provincial conducted by tandem Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo from 2006 to 2007 in coordination with TFSS National Coordinator, Mr. Feliciano "Len" Toledo, and with financial and logistical support from the Ministry of Education. In 2007, Arnis has become a regular event in Palarong Pambansa with all seventeen participating regions. Five heavy divisions in the Contact Complete Event and four categories in the Anyo Event (Forms) were played and became part of the official medal achievement of the participants. It was held at Coronadal in Mindanao.
Arnis seminars continued at national, regional and provincial levels. All this done by tandem Mr Aniano Lota, Jr. and Mr. Richardson Gialogo, now an Arnis Consultant and an Official Lecturer from Task Force on School Sport School of Education. In 2008, Arnis was played at Palarong Pambansa and again, with all seventeen territories participating. All nine events are played. It was held in Puerto Princesa City, Palawan.
In addition to the Sports and Accreditation seminars, training and skills training seminars continue at the national, regional and provincial levels. Demand from cities and even districts was also welcomed. Arangan's "evangelism" continued and both Gialogo and Lota were careful not to teach their personal style. Both are taught in the form of "general" and focus on the rules of sport as stipulated by the Ministry of Education.
In 2009, Secondary Girls (High School Girls) were finally included at Palarong Pambansa and once again, all seventeen regions participated. Of the original five members of the team, the number doubled with the entry of the girls. The medal count also doubled from nine to eighteen. Palarong Pambansa 2009 is held at Tacloban, Leyte in Visayas.
In 2009, "Writeshop Revision of Physical Fitness Test and Development of Learning Competencies in Arnis and Archery" was held at Master Camp, Baguio City on 5-8 October 2009. Phase I The National Curriculum for Arnis is completed and the curriculum writer is Mr. Richardson Gialogo and Mr. Aniano Lota, Jr.
Palarong Pambansa 2010 was held in Tarlac, in Luzon. Again, the two middle boys and girls competed in eighteen categories. This is where the Department of Education of the Arnis Association of the Philippines or DEAAP has the first national election.
At Palarong Pambansa 2011, elementary students join.
Duels
One of the most important practices in the classic Arnis is a duel, without any form of protection. The game was preceded by a chicken battle and could be held in open spaces, sometimes in specially built enclosures. Arnisadores believes that this tradition has passed the colonial period, pointing to similar kickboxing match practices on the mainland of Indochina as evidence. Spanish records tell about dueling areas where chicken fights occur. The founders of most of the popular Arnis systems are famous duelist and legend circulating about how many opponents they kill. In rural areas throughout the Philippines today, modern Arnis matches are still held in the dueling arena. In big cities, recreational dueling is sometimes held in parks by the local Arnis training hall. This demonstration is not a prior choreography but is also not a full-contact competition.
In modern times, public duel with knives has been considered illegal in the Philippines due to potential injury or death. Duel with live sticks and minimal protection still happens when the party barrio in some cities like in Paete in Laguna.
Organization
After decades of lobbying and resigning, Arnis/Eskrima/Kali was proclaimed as the official National Martial Arts and Sports of the Philippines in January 2010.
There are two main types of Arnis that are practiced as sports. The most commonly used system internationally is from WEKAF (World Eskrima Kali Arnis Federation), established in 1989. The previous Arnis Philippines (ARPI) system, established in 1986, was most prominently used during the 2005 Southeast Asian Games.
WEKAF
The WEKAF system working on a 10-point system should be similar to boxing in which participants spar with a live stick while wearing long-waisted vests with skirts and arms and helmets similar to Kendo headgear. Pressing under the thighs is prohibited. This format is sometimes criticized for emphasizing grave violations at the expense of defense techniques, sometimes with players blasting each other on the defensive, giving the impression that combatants hit each other in irregular ways. This has been overcome by introducing a "four-second rule", to prevent constant and unrealistic attacks, and judges will not get the same attack if fighters use it more than twice in a row. The judge warns the fighter and wipes the points if they continue after two warnings. However, fights can easily descend into unrealistic attacks from unskilled fighters who impress the judge with many bodily attacks after taking two or three clear and powerful blows to the hands and head.
This, for some, is the antithesis of traditional training methods, where the training of footwork and arm movements/weapons is complex and precise and every part of the opposing body is a fair game. As a result, WEKAF tournaments can be seen as not promoting original art. In addition, participants have been known to suffer broken bones and tendons that are injured due to the fact that the living sticks are used, so older systems are considered more 'hardcore' and less secure. Another complaint about the WEKAF system is that it uses a 10-point system, which is more subjective depending on who judges.
Because the WEKAF system is more risky, it is preferred by many practitioners who want to test themselves. The WEKAF system is the most widely used format internationally.
ARPI
The Arnis Modern system uses a foam-roved rod about an inch in diameter with a thin rattan core about one centimeter in diameter. The wand is meant to rest before serious injury occurs. For protection, the same head cover is used in the WEKAF system, and a large groin guard is required for men. Vests (optional for men, required for women), optional arm shields, shinguards and leg wraps are used. Scoring is more akin to a fencing in which fighters are separated after solid net hits are made (observed by some judges placed in different positions to observe whether hits are clean and unblocked, and determine the strength of strikes by impact loudness). An alternative way to score a goal is to paralyze an opponent or force him to step outside the ring.
Every part of the body, from head to toe, is a fair game as a target - except for the back of the head, which is not covered by a headgear. Punctures to the face are not allowed, because the thin rattan core can penetrate the layer and tuck through the head grill into the player's eyes. Push to the point of body scores, but it is more difficult to give to judges for judgment because they make less noise and difficult to determine impact.
Punches, kicks and throws are not allowed. Prolonged clinching to prevent attacking opponents is not allowed (similar to Western Boxing) to keep the game moving and more attractive to spectators who may not appreciate the subtle and practical aspects of grappling. Disarmament must be done quickly and cleanly to count. Because the foot is a fair target, in the lighter weight division, complex and deep lunge evasion in which the player lies horizontally with the body almost touching the floor to extend the range that is often seen.
The emphasis of the ARPI system is on the security of players, as supporters apply to become recognized Olympic sports such as judo, karate, taekwondo, wrestling, boxing, and fencing.
Although padded rods are used in sports, players regularly maintain large bruises that last for weeks and sometimes minor injuries to the joints and due to the many forces generated by conditioned practitioners. Sometimes the stuffing usually comes from players who hit harder and one of the causes of injury is when a player is struck by an open rattan core. However, this is relatively small compared to the injuries sustained when practitioners argue with living sticks.
One of the major problems with ARPI systems is that because soft sticks with light rattan cores are used, they tend to flex and "lag", thus making the experience significantly different from using a living stick and in that sense, reducing the "realism" of the system. This is acceptable though again, the emphasis is on security.
Like Iw (which means "dancing") in the WEKAF system, the ARPI system has a single choreographic division and a separate team called Anyo (Tagalog for 'form'). Aside from the visual appeal, the practical application should be seen clearly so as not to look like just the majorettes in the marching band that just twist sticks and dance (a concept similar to Floreio's aspect) Capoeira and Tricking which is more for show than practicality). IMAFP Standard Equipment is being used in the International Arena.
More
In other variations that simulate knife fights, competitors use a fake knife with a lipstick eye to mark where the opponent has been hit. This match is considered more akin to a traditional duel than the WEKAF points system.
Weapon
Arnis's students begin their teaching by learning to fight with weapons, and only progress to empty hand training after stick and knife techniques are sufficiently mastered. This is in contrast to most other famous Asian martial arts but is justified by the principle that empty hand movements are naturally acquired through the same exercises as weapon techniques, making muscle memory an important aspect of teaching. It is also based on the obvious fact that trained armed men have the advantage over unstructured armed men, and serves to condition students to fight armed attackers. Most of the Arnis systems apply a set of techniques for sticks, knives, and bare hands, a concept sometimes referred to as a grouping of movements. Because the weapon is seen only as an extension of the body, the same angle and foot movement is used with or without weapons. The reason for this may be historical, since warrior warriors go to the armed battlefield and only do a handseless battle after losing their weapons.
Many systems start training with two weapons, either a pair of sticks or a stick and a wooden knife. These forces emphasize keeping both hands full and never moving them in the same direction, and training practitioners to become ambidextrous. For example, one can hit the head while others hit the arm. Such training develops the ability to use both limbs independently, valuable skills, even when working with one weapon.
The core concept and distinct feature of Filipino martial arts is Living Hand . Even when a practitioner uses only one weapon, extra hands are used to control, trap or disarm an opponent and assist in blocking, locking the joints and manipulation of opponents or other simultaneous movements such as the breaking of the biceps with direct hands .
Baston
The most basic and common weapons in Arnis are baston or yantok . They are usually built from rattan, cheap rods from Southeast Asian grape types. Loud and durable yet lightweight, just clipped under the worst of abuse and does not splint like wood, making it a safer training tool. This aspect makes it useful in defense against knives. Kamagong (ironwood or ebony) and bahi (the heart of the palm) are sometimes used after being charred and hardened. Hardwoods are generally not used for debate, however, because they are dense enough to cause serious injury, but traditional sparing does not include weapons for body contact. The participants are skilled enough to deflect and counter attack, showing respect for accidentally hitting the training partner. In modern times, many practitioners of Arnis also come to wear head and hand protectors when competing with rattan, or using a soft baston. Some modern schools also use sticks made of aluminum or other metals, or modern high-impact plastics.
Weapon impact
- Baston, olisi, yantok: stick ranging from twenty-four to twenty-eight inches long.
- Largo mano yantok: longer stick ranging from twenty-eight to thirty-six inches
- Dulo y dulo: short stick with a length of about four to seven inches, held in the palm of the hand
- Bankaw: six-foot pole. Sticks can be used to practice sword techniques
- wood dagger measuring 12 to 14 inches (300 to 360 mm)
- Panangga: shield Improved Weapons: Wooden boards, steel pipes, umbrellas, flashlights, magazines rolled/newspapers, books, cell phones, tennis rackets, billiard cues, bottles, coffee cups, chair legs, twigs or twigs..
Weapons with eyes
Baraw is the term Cebuano used in eskrima which means a knife or a dagger. The term Baraw is more commonly used in Cebu Island in the Visayan region whereas the islands and other areas are more commonly used the term Daga but the two terms are often interchangeable in Filipino Filipino art community.
The terms Baraw and Daga may be used either as Solo Baraw or Solo Daga associated with a single blade fighting and defensive system, Doble Baraw or Doble Daga is associated with dual knife battle system or even with combination of long and short weapons eg stick and dagger battle system Olisi Baraw or sword system and dagger fight Espada y Daga .
- Daga/Cuchillo (Spanish for knives and knives) or Baraw/Pisaw: knives or knives of various shapes and sizes
- Balisong: fan knife or butterfly knife from Barrio Balisong in Batangas province. The handle is two parts and attached to a folded swivel to attach the bar when closed.
- Karambit: Indo-Malay knife in the shape of a claw that is held by inserting a finger into the hole at the top of the handle.
- Bolo: a knife/sword similar to a machete
- Pinuti: a type of sword from a Cebu knife that looks similar to Sundang but elongated.
- ItÃÆ'¡k or sundÃÆ'¡ng: the carpentry of a farm or house with a knife, the blade has a protruding belly, the edge of the carving ground with the handle down.
- Barong: wide wide leaf-shaped knife used by women.
- Binakoko: long knife named after the pegali fish
- Dinahong palay: has a very narrow knife shape similar to a rice leaf. â € <â € <
- Kalis or Kris: Indo-Malay daggers, often given a wavy knife, is most commonly used in southern provinces
- Skill: a fork-tip sword, popular in the southern Philippines
- Sibat: spear
- Weapons improvisation: Toothpicks, box cutter, screwdrivers, scissors, broken bottles, pens, car keys (using a thrust handle)
Flexible weapons
- Gloves: a sheet wrapped around the waist
- Ekut: a handkerchief
- Tabak-toyok: chained sticks/flail or nunchaku
- Latigo (Spanish for whips): consists of a handle between 8 and 12 inches (200 and 300 mm), and eyelashes consisting of thong braid lengths of 3-20Ã, ft (0.91-6.10 m). The "fall" on the end of the eyelash is one part of the skin along the 10-30 inches (250-760 mm).
- Weapons improvisation: Belts, bandanas, handkerchiefs, shirts, towels/socks with hard soap sticks/stones, ropes, electrical wires, etc.
Technical aspects
Range
Most systems recognize that the technical nature of the battle changes drastically when the distance between opponents changes, and generally breaks down the range into at least three categories. Each range has its own distinctive techniques and footwork. Of course, some systems place more emphasis on a certain range than others, but almost all recognize that being able to work and control any range is important. Balintawak style for example, using the technique of fighting distance, medium and short, but focusing on short distances.
To control the range, and for many other purposes, good footwork is essential. Most eskrima systems describe their footwork in triangular form: usually when moving in all directions, two legs occupy two corners of the triangle and the step is to the third corner so that no legs pass through the other at any time. The shape and size of the triangle should be tailored to a particular situation. The style of footwork and standing position varies greatly from school to school and from practitioner to practitioner. For a very traditional school, aware of the needs of the battlefield, horses are usually very low, often with one knee on the ground, and the footwork is complex, involving many cautious cross steps to allow practitioners to overcome some opponents. The styles of Villabrille and San Miguel are usually taught in this way. Systems that have been adapted for duel or sporting events generally use a simpler foot movement, focusing on one opponent. North American schools tend to adopt a more upright attitude, as this reduces the pressure on the feet, but there are some exceptions.
Strikes
Many Filipino systems focus on defense against and/or reacting to the attack angle rather than a special strike. The theory behind this is that almost all types of hand-to-hand attacks (empty hands or with guns) hit or reach a fighter through the attack angles and the reason is that it is more efficient to learn to defend itself from a different point of view. attack rather than learn to survive against certain styles, certain techniques, or certain weapons. For example, defense techniques against the angle of attack coming from the right are very similar to whether the attacker used empty fist, knife, sword, or spear.
Older styles give each corner a name, but newer systems tend to only count them. Many systems have twelve standard angles, although some have at least 5, and others are 72. Although the angle is exact, the sequence is numbered (numerado), and the way the player runs moves varies from system to system, mostly based on Filipino cosmology. These standard angles describe the practice. To help memorize, players often practice a series of standard attacks from these angles, called abecedario (Spanish for "alphabet"). This is a beginner strike or "ABC" from Arnis.
Some angles of attack and some strikes have a distinctive feature:
- San Miguel is a forehand punch with the right hand, moving from the striker's right shoulder to their left hip. It is named after Saint Michael or Arch Angel Michael, who is often depicted holding a sword at this angle. This is the most natural strike for most untrained people. This is usually referred to as "corner # 1", in a system where striking angles are numbered for training purposes, as it is considered the most likely attack angle.
- Sinawali is a signature double-stick weaving movement associated with Arnis named after the leaves of woven coconut or palm fronds called sawali consisting of the walls of the nipa dwelling house. This is often seen in continuous parry-attack couple pairs.
- Another signature technique is Redonda , which is a continuous circular twisting technique that twists continuously.
- A redonda (Spanish for "spin") is a circular strike in a circle to return to its original point. This is very useful when using a stick rather than a sword, such attacks allow a very fast attack but require constant practice.
- abanico (Spanish for fan ) or witik is a strike executed by flicking a 180-degree wrist in a motion-shaped fan. This kind of strike can get very fast and come from an unexpected angle.
- Pilantic is a strike made by whipping a stick around the wrist overhead in a movement similar to abanico, but in a 360 degree strike taking turns. This is especially useful when the fighters are in grappling range and can not make enough room for normal strikes.
- Hakbang (Filipino for "step") is a generic term for footwork. For example, hakbang paiwas is a spinning motion, while hakbang tatsulok is a triangle stepping.
- PuÃÆ' Â ± o (Spanish for "boxing", "handles", or "handles") are strikes delivered with the handle of a weapon. It usually targets nerve points or other soft points on the opponent but in skilled hands, puÃÆ' Â ± o can be used to destroy bones.
Note that many Arnis techniques have Spanish names, since Spanish is a colonial lingua franca spoken among indigenous people who speak more than 170 different dialects on the islands of 7,100 on the islands.
Arnis techniques are generally based on the assumption that both students and opponents are highly trained and well-prepared. For this reason, Arnis tends to be very careful, always considering the possibility of a failed technique or an unexpected knife. On the other hand, practitioners are considered capable of attacking precisely and quickly. The general principle is the ability of an attacking opponent to be destroyed rather than trying to hurt them to convince them to stop. Thus many strikes are aimed at the hands and arms, hoping to break the hand holding the weapon or cutting off the nerves or the tendons that control it (the concept of snake defanging), but attacking the important eyes and feet. A popular mnemonic states that "bones look for bone, meat-seeking knives".
Mano Mano
Mano Mano is an empty piece of Philippine martial arts, especially Arnis. The term is translated as "hand" or "hand-to-hand" and comes from the Spanish word mano (hand). It is also known as the jingle or harpoon in Luzon and pangamot in the Visayas, as well as De Cadena < Cadena de Mano in some FMA systems. The American Colonies call it "combat judo" or "Filipino boxing."
Mano mano also includes kicking, punching, locking, throwing and dumog (grappling). Filipino martial artists consider empty hands as other weapons and all mano mano movements are directly based on weapons techniques. In Arnis, the weapon is seen as an extension of the body so training with weapons naturally leads to the ability in hand-to-hand combat. For this reason, mano mano is often taught at higher levels of Arnis after weapons training has been mastered because advanced students are expected to apply their experience with weapons to unarmed combat. This is not always the case, as some Arnis systems start with (and sometimes consist only of) empty hand combats.
Beberapa master Mano Mano yang terkenal termasuk:
- Antonio Illustrisimo
- Venancio "Anciong" Bacon
- Rey Galang
- Leo Tortal Gaje
- Edgar Sulite
- Danny Guba
- Francisco Guilledo
- Ceferino Garcia
- Gabriel Elorde
Menendang
Casting , Casting , Pananania , Cleaning , and Sikars (all terms for " kicking "in different regions, dialects and styles) is a component of the fence that focuses on knees, tripping, low-line kicks, and trample. Pananjakman is also a term used in the Philippines-America-developed FMA system and the West, usually referring to systems from Lucky Lucayucay, Floro Villabrille and Dan Inosanto genealogical mix. Except for the typical Sikaran style of the Baras region in the province of Rizal, which also uses high kicks, kicking as separate art is never taught itself in the Philippines, and this practice is only done in the West with Pananjakman . Pananjakman is usually taught along with Instruction.
Paninipa can be considered a study of the leg and bone muscles and how they are connected, with good intentions that cause pain or dashed or break bones. The most striking technique involves the pressure to bend the target area in an unnatural way to injure or destroy it. Such pressure can be delivered in the form of a heel smash, kick foot, stomp, or knee. Targets include groin, thigh, knee, shin, ankle, legs and toes. The upper body is only used for defensive maneuvers, making the panan ideal for when combatants engage in grips. When used effectively, an attack can either bring an opponent to the ground or end an argument by making them too weak to stand up.
Basic techniques include kicking or destroying the ankle to force in or away from the opposite leg (severe supination or pronation, respectively), heel-stepping on the top of the foot where it meets the lower legs so as to break or destroy many bones or interfere opponent balance, and crush the opponent's knee from the side to break the knee (with severe supination and pronation as the desired result).
Exercise
Some training classes, such as sombrada , contrada , sinawali , hubud-lubud and sequidas or huad-lubad of Doce Pares is often used as a "drill generator" type, where people are forced to act and think fast. Initially, students learn a series of specific attacks, counters, and counterattacks. As they progress they can add minor variations, change footwork, or move on to completely different attacks; eventually the exercise becomes almost completely free form. Palakaw, from Balintawak style, is a defensive and offensive movement without choreography and random. Palakaw in Cebuano means walking around or practicing different angles of strike and defense. This can be known as corridor , or striking in no order or pattern whatsoever. Disarms, take-downs, and other techniques usually break the flow of such exercises, but usually start from a sequence of movements to force students to adapt to various situations. A common practice is to start training with each student armed with two weapons. After the drill flows, if a student sees an opportunity to disarm their opponent, they do so, but practice continues until the two students are empty-handed. Some exercises only use one weapon per couple, and the partners take turns disarming each other. Seguidas exercise, taken from the San Miguel system, is a hit set and the movement pattern usually involves a stick and a dagger.
Rhythm, while an important part of eskrima practice, is more emphasized in the United States and Europe, where regular rhythms provide guidance for students to follow. To ensure safety, participants do most of the exercises at constant speed, which they improve as they progress. The rhythm, along with the southern Filipino outfits of vests and swimsuits, is usually thought of as a kind of tradition when practicing eskrima in the Philippines - perhaps incorrectly from traditional rhythm-based dance or attempts to add ethnic flavor. Eskrima is usually practiced in the Philippines without rhythm, off-beat or out of rhythm. The diversity of Filipino martial arts means that there is no official uniform standard in eschrima.
Direct hand
The living hand is the opposite hand of practitioners who do not contain the main weapon. The use of heavy hands directly is an important concept and hallmark of eskrima. Even (or especially) when empty, hands-on can be used as a companion weapon by eskrima practitioners. Unlike most weapon systems such as fences where off-hand is hidden and not used to prevent it from being attacked, eskrima actively uses direct hands to trap, lock, support weapon blocks, inspect, disarm. , attack and control the opponent.
The use of hands-on is one of the most obvious examples of how the Eskrima method started with weapons training leading to effective empty hand techniques. Because Doble Baston (double weapon) or Espada y Daga (sword and fend off daggers) conditioning ambidextrous muscle memory weapons, Eskrima practitioners find it easy to use off-hand actively once they switch from using it with weapons to empty hands.
Doble baston
Doble canons , and less frequently double occupations , are common names for a group of techniques involving two sticks. This art is best known worldwide as Sinawali which means "weave". The term Sinawali is taken from woven so-called viewers commonly used in tribal Nipa Huts. It consists of pieces of lontar leaves and is used for both floors and walls.
This technique requires the user to use both left and right weapons in the same way; many coordination exercises are used to help the practitioner become more ambidextrous. It is a piece of art taught primarily at the intermediate and above levels and is considered one of the most important areas of learning in this field.
Sinawali
Sinawali refers to the "weave" activity, as applied by Eskrima with reference to a set of two-man exercises, two weapons. This term is derived from "Sawali", woven wall of nipa hut.
Sinawali training provides eskrima practitioners with basic skills and movements relevant to the two-weapon blocking mode and response method called Doblete . The training is often introduced to beginners to help them develop certain basic skills - including: positioning of body and distance relative to opponent, body rotation and proper turning radius, recognition of one's center of gravity, hand-eye coordination, target perception and recognition, increased ambidexterity, recognition and performance of rhythmic structures for upper body movement, and muscle development that is important for art, in particular, the area of ​​the wrist and forearm. This helps teach beginners eschrimador position when swinging weapons.
Cross-training
The Chinese and Malay Community in the Philippines have been practicing eskrima together with kuntaw and silat for centuries, so much so that many North Americans mistakenly believe that silat comes from the Philippines.
Some modern styles, especially doce pares and modern arnis contain some elements of Japanese martial arts such as key joints, throws, blocks, strikes, and basics, taken from: jujutsu, judo, aikido and karate since some founders acquired black belt values in some of these systems. Some eskrima styles complement with Chinese wing chun, or Japanese aikido for conditioning the nervous system and body mechanics when hitting, twisting or swinging sticks.
In Western countries, it is common to practice eskrima along with other martial arts, especially Wing Chun, Jeet Kune Do and Silat. As a result, there is some confusion between style, system, and lineage, as some people cross-train without rewarding their founders or artistic principles. For example, the American cross-training training Kenpo and Kajukenbo return to interactions between Chinese, Japanese and Filipino immigrants in Hawaiian territory/pre-state, and to a lesser extent in other parts of the United States. In the United States, cross-training between eskrima and Jeet Kune Do Concepts, led by Dan Inosanto of Inosanto Academy at Marina del Rey, California, goes according to the adage "Absorbs what is useful, rejects what is useless."
Advocates of such training say art is very similar in many aspects and is complementary to each other. It has become a marketplace to offer ice-classes in other traditional Asian martial arts studios in America but some practitioners of other eskrima styles often overlook this lesson as a degrading version of the original training method.
Famous styles and practitioners
Arnis as Martial Arts and National Sports
Republic Act no. 9850 of the Philippine Congress, approved on 11 December 2009 declared Arnis as a national sport and martial arts Philippines to promote patriotism, nationalism and appreciation of the role of national heroes and symbols in the development of the country's history. There are many versions of Arnis Bill but the selected version is compiled by Richardson Gialogo who submitted to the Senate. Because of this law, Arnis is a prerequisite for P.E. classes in most colleges in the Philippines.
Arnis in popular culture
Recordings
More than 4,200 students and athletes perform the Arnis at Cebu City Sports Center during the closing ceremony of Batang Pinoy 2015, to set a record for the world's largest arnis class for Guinness World Records.
See also
- Maharlika
- Timawa
- Juramentado
- Filipino martial arts
- Balisong
- Kinamotay
- Circle
- Alarm
- Philippine Army
- Philippine Armed Forces
- Fight the blade
- Juego del palo
- The Path of the Fighters
- Yawyan
- Human Weapons
- Eskrimadors (documentary)
- Fight Quest
- Mind, Body, and Kick Ass Moving
References
Further reading
- Placido Yambao and Buenaventura Mirafuente (1957). Mga Karunungan sa Larong Arnis . University of the Philippines Press.
External links
- Arnis Philippines organization website
- IKAEF - International Kali Arnis Eskrima Federation
- Philippines Martial Arts Forum
- Informative FMA - Spreading Filipino Martial Arts and Filipino Cultures
- Eskrima entries on the Martial Arts Wiki
- FMA-Eskrima-Times FAQ
- Eskrima-Arnis, Filipino Martial Arts
- Eskrima Books at Goodreads.com
- FMATalk Live! - Podcast Dedicated to Promotion of Filipino Martial Arts
Source of the article : Wikipedia
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