7:00-10:00 H ea l t h E d u c a t I o n

10:00-12:00 N u t r I t I o n (Lec)
1:00-3:00 C H N (Lec)
4:00-5:30 F I l I p I n o

7:00-9:00 N u r s I n g I n f o r m a t I c s
(Lec)
10:00-12:00 p E
2:00-5:00 N u t r I t I o n (Lab)

8:00-12:00 M C N (Lec)
1:00-4:00 N u r s I n g I n f o r m a t I c s
(Lab)
4:00-5:30 F I l I p I n o

7:00 4:00 C H N (RLE)

7:00 4:00 m c n (RLE)
7:00-10:00 H ea l t h E d u c a t I o n
10:00-12:00 N u t r I t I o n (Lec)
1:00-3:00 C H N (Lec)
4:00-5:30 F I l I p I n o

7:00-9:00 N u r s I n g I n f o r m a t I c s
(Lec)
10:00-12:00 p E
2:00-5:00 N u t r I t I o n (Lab)

8:00-12:00 M C N (Lec)
1:00-4:00 N u r s I n g I n f o r m a t I c s
(Lab)
4:00-5:30 F I l I p I n o

7:00 4:00 C H N (RLE)

7:00 4:00 m c n (RLE)

History
Arnis is referred to as a complete martial art characterized by the use of
“swinging and twirling movements, accompanied by striking, thrusting and
parrying techniques for defense and offense.”

Arnis/Kali/Escrima was originally developed by the indigenous populations

of the Philippines, who used simple impact and edged weapons such as
kampilans, rattan, swords, daggers, spears and other assorted weaponry. These
weapons were also sometimes used as farm implements.
Kali is the mother art of Arnis and Escrima. Arnis focuses on the knife,
including dagger, sword, and any other form of bladed weapon. Escrima is based
on the baston or stick.
It was known in ancient Philippines as kali, an ancient Malayan word that
implies a large bladed weapon longer than a knife. This art was practiced
primarily for self-defense by the pre-Spanish Filipinos who were noted for their
friendly nature and legendary hospitality. The art of hand-to-hand combat has
always been an integral part of the Filipino in this long, turbulent, and bloody
history. By force of necessity and self-preservation they became an expert in
fighting with their hands, either bare or with a stick and a bladed weapon.

Arnis de mano is the best known and the most systematic fighting art in
the Philippines. It is a perfected art after a long historical development from the
kali systems designed to train the student to defend himself against armed or
unarmed attacks. Arnis, as it is commonly called, has also been known in other
dialects as estacada among the Tagalog provinces and estoque or fraile in other
regions.

As a fighting art, Arnis has three forms of play. They are the espada y
daga (sword and dagger) in which a long wooden sword and a short wooden
dagger is used; the solo baston (single stick) in a single long muton or baston
(wooden stick or rattan cane hardened by drying or heating) is used; and the
sinawali, a native term applied because the intricate movements of the two
muton resemble the weave of a sawali (criss-cross fashion), the bamboo splits
weave pattern used in walling and matting.
 The lives of Filipino heroes are linked with the awesome power of the
martial art of Arnis. They triumphantly waged their heroic battles for freedom
and liberty as a testimony of the power and effectiveness of Arnis. Their
successful stand against their superiorly armed adversaries in mortal combat in
the arena of battle is now held in immortal inviolability by history of the 16th
century. Kali (Arnis) became so popular during the early days that it was known
as the sport of kings and of the members of the royal blood. The first and
foremost experts of the art were the rajah and maharlika of the Visayas and
Tagalog regions, Amandakwa in Pangasinan, and Baruwang of the Cagayan
Valley region.

The art was not confined to the elite alone. Ordinary Filipinos practiced
kali not only for self-defense but also for entertainment. It was the most awaited
entertainment feature in fiestas and other gatherings. Kali was a standard
fighting technique in hand-to-hand combat of the Filipinos when they revolted
against Spain. Using the itak or bolo the Katipuneros engaged the Spanish
soldiers in savage skirmishes. History states that Bonifacio brandished a bolo, a
standard weapon in kali in his famous "Cry of Balintawak." However, kali
declined in popularity as early as 1596 when the Spanish authorities discouraged
the practice of the art (it was eventually banned in 1764). The Spaniards must
have considered the art lethal or dangerous since they decreed that natives
found practicing kali would be considered Tulisanes or outlaws.

In 1637, the friars introduced the moro-moro, a socio-religious play

dramatizing the triumph of the Christian Spaniards over the Muslim Moors of
Granada, Spain. The play called for the use of fighting techniques using a sword
or similar bladed weapon. With the introduction of the moro-moro, the Filipinos
again had a chance to practice their art, thus interest in kali was revived. In the
play, Spanish soldiers fighting for Christianity were supposed to wear arnes, a
Spanish word for the English harness, the colorful trappings worn by medieval
soldiers. From the word arnes came the present Arnis. In 1853, the word kali
was completely replaced by Arnis.

Arnis today has experienced changes in the weapons used. Although the
art still makes use of the itak or bolo now and then, it has relied considerably on
the use of the cane as a self-defense weapon. This is not because the cane is
less deadly than bladed weapons but mainly because in later years, Arnis is
engaged in more as a sport. Much of the antiquated techniques of the old Arnis
have been modernized to avoid injury to students. More importantly, discipline
and other moral values are impressed upon the students to strengthen not only
the body but the spirit as well.

FACILITIES AND EQUIPMENT OF ARNIS

The game is played by using prescribed padded stick in delivering artistic and
legal blows, strikes, thrusts, and disarming the opponent to gain score.
COMPETITION AREA: Shall refer to the area by which the conduct of the
competition shall be set or held including the free zone around it.

DIMENSIONS: The playing area is a square measuring 8.0 meters by 8.0 meters
with a two (2) meters minimum free zone around it, and a clear space without
any obstruction up to a height not less than 5 meters from the playing surface.

LINE OF THE PLAYING AREA: All line of the playing surface are 5.08 cm. (2
inches) and must be of the floor and other lines previously drawn for other
purposes.

BOUNDARY LINE: Four lines mark the boundary of the playing area. The free
zone distance measuring 2.0 meters are drawn outside of the playing area.

MATCH LINES: Two lines of 1.0 meter long and 2.0 meters apart mark the
horizontal match line. The horizontal match line are drawn 3 meters from the
boundary lines that run perpendicularly to the official’s table, and 3.5 meters
from the boundary line that run parallel to the official’s table.

WEAPON: The padded stick shall be the official weapon of the player. The
specification 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
competition. Each padded stick shall be properly foam-cushioned and shall have
a maximum grip diameter of not more than 3.81cm. (1 ½ inch) and length of
76.20cm (30 inches for men and women).The length of padded stick shall be 27
inches for boys and girls. Both padded stick shall be color-coded, one red and
the other blue.

HEAD PROTECTOR: 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. Both headgears must be color-coded, one red the other blue, to
match the padded stick of the player.

BODY PROTECTOR: Refers to a pair of protective body protector, properly

cushioned, the specifications of which shall be in accordance with the i-ARNIS
standard. Male and female player must both wear body protector and groin
protector. Body protector and groin protectors specifications shall be in
accordance with the i-ARNIS standard. Both body protectors and groin
protectors shall be color coded to match the color of the player. Forearm and
shin guards are compulsory. The specifications shall be in accordance with i-
ANIS standard. Both shin & forearm guards must be color of the player.

SCOREBOARDS: A pair of scoreboard, either manually or electronically operated,

the specifications of which shall be in accordance with the i-ARNIS standard. Two
score boards per contest area shall be placed at diagonally opposite at diagonally
opposite corners outside the playing area, inside the competition area within the
free zone, right where the judges are positioned.
FLAGS: 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. One yellow
flag, size 30 cm by 25 cm. For timer’s use to signal the start and the end of each
round and to declare a time-out and resumption of the game.

OTHER EQUIPMENT: Stopwatch is use to keep the two-minutes per round. This
include interruptions such as injury, changing of broken stick. A gong and mallet
or other similar audible substitutes such as whistle, bell or buzzer shall be
provided for the timer to indicate the start and end of the round. A table shall be
provided for the TIMER and RECORDER which shall be situated one (1) meter in
front of the playing area so that time signals are audible enough to both players
and referee.

Grandmaster: Armando Soteco

Long before the Arnis Law, Soteco was among a small group of
professional educators who were working for the integration of arnis into the
Philippine educational system. Among arnisadors, he is known for his
streamlined, fast and efficient way of teaching arnis.

Soteco is a veteran practitioner and a recognized master of arnis. He

trained from 1971 to 1975 with the late Grandmaster Remy Presas, the father of
Modern Arnis. On April 20, 1989, he was recognized as a master of arnis
by Grandmaster Ernesto Presas, founder and president of International Pilipino
Martial Art Federation (IPMAF) at the University of Santo Tomas, Manila, during
the organization’s first World Arnis Congress.

Soteco is also the recipient of several awards in arnis that include the
Lapu-Lapu Award, the highest award in Modern Arnis (2006) and the Kampilan
Award (2008).

Soteco has written two books to date. The first is, “A Practical Introduction to
Arnis in 12-Easy Lessons,” published in 1995. A revised edition was released in
1997 titled “Practical Introduction to Arnis in 12-Easy Lessons.” His second book,
which is for the exclusive use of the Centro Escolar University, Manila, Makati
and Malolos, Bulacan branches and released in 1998 is “Physical Education 3,
Individual/Dual Sport: Arnis.”

Soteco is also those who have taught arnis in Philippine schools for the
longest time. Now retired, he was an arnis professor in San Beda College from
1967 to 2002 and in Centro Escolar University from 1971 to 2001.

During his participation in the Consultative Seminar Workshop of the then

Bureau of Physical Education and School Sports in 1989, Soteco was
instrumental in the inclusion of arnis in the high school Physical Education
curriculum and likewise supported the addition of arnis in the college program.
From 1980 to 1989, he had served as chief of staff of the Department of
Education, Culture and Sports (DECS) – Bureau of Physical Education and School
Sports (BPESS), for National Arnis Seminars.
 Today, besides teaching arnis and other masteral subjects at the National
College of Physical Education (NCPE), Soteco is the director of the School of
Arnis Professionals. The School of Arnis Professionals is an institution he
organized and established in 2003 at the NCPE, Pamantasan ng Lungsod ng
Maynila (University of the City of Manila).

The goal of the school is to prepare professional arnis instructors and

Physical Education teachers, by equipping them with scientific knowledge of
teaching, coaching and managing sport arnis competitions. Among the subjects
taught to students are sports science, physiology of exercise and physical
fitness, traumatology, sports psychology, nutrition and drugs as well as sports
and recreation management.

SOTECO’S RING OF PAIN

Soteco is also the founder of the Singsing Soteco System (SSS). The term SSS,
he explained, pertained to both the weapon he developed and the system for
using it. “Singsing” is the Filipino word for ring. Unlike the tabak maliit palm
stick, which is the Filipino version of the Japanese yawara, Soteco’s weapon has
a swivelling ring attached to the shaft. The ring secures the weapon so it won’t
fall off from the user’s hand. The ring’s swivelling capacity allows the user to
manoeuvre the steel shaft in various positions with ease.

Since the metal shaft is literally adhering to the palm via the swivelling ring, he
can use it to block a weapon attack. Soteco can perform sinawali drill with a pair
of his SSS against a partner armed with double sticks. There is a myriad of ways
of counter attacking and doing damage with the SSS.

The most evident is by jabbing or hammering with either ends of the steel shaft
(one end is rounded while the other is flat). Another devastating way to deal
punishment with this weapon is through palm strikes either straight out or in a
slapping manner. Palm striking with the SSS is possible because it sticks on the
palm via the swivelling ring attached to its shaft.

Within the Filipino Martial Arts (FMA) context, Soteco developed the SSS in
response to two requirements, a need for a weapon that possesses a greater
stopping power than a rattan stick and secondly, the need for a weapon that is
portable and legal to carry anywhere.

Because it is made of steel alloy, the SSS can definitely inflict greater damage
than the rattan stick as an impact weapon. And because it has no blade and
point, Soteco attested that it is perfectly legal to carry anywhere in the
Philippines. He said that managed to bring the weapon several times through
security and police checkpoints.

Soteco sees parallels on the development of his SSS and the .45 caliber pistol,
“The .45 caliber pistol was issued to American forces fighting the Moros in
Mindanao because it has more stopping power than the older .38 caliber
revolver. I would say that the rattan stick is the equivalent of the .38 caliber and
my SSS is the equivalent of the .45 caliber,” he said.
Soteco emphasized that the orientation of SSS is purely self defense. Its
techniques are simple and can be easily learned by beginners even those with
zero martial arts background. He said that individuals who have previous
training in the FMA can easily adapt the
SSS into their system. The drills are

relaxed and fluid

employing a
parry-check-hit
rhythm.

https://www.combatscience.net/history-of-arnis/

https://www.hbgkungfu.com/arnis-history

https://www.academia.edu/36698596/FACILITIES_AND_EQUIPMENT_OF_ARNIS?auto=download

http://fmapulse.com/featured-instructor/professor-armando-soteco-arnis-master-author-and-educator/