Thursday, June 10, 2010
Wednesday, June 9, 2010
Arnis Now RP’s National Martial Art & Sport By: James U. Sy Jr.
Published in Rapid Journal Vol. 14 No. 2 4th
RA 9850
President Gloria Macapagal-Arroyo officially signed into law Senate Bill 1424, authored by Majority Leader Juan Miguel Zubiri, as Republic Act No. 9850 “An Act declaring Arnis as the National Martial Art and Sport of the Philippines“ on December 11, 2009.
RA 9850 makes Arnis as a requirement for the Physical Education (PE) course of the Department of Education, Culture, and Sports (DECS). The Philippine Sports Commission (PSC) is the lead agency tasked to implement RA 9850. The PSC will be inscribing the symbol of Arnis, that of the fighting sticks, in its official seal.
Those who signed the bill into law include Senators Manuelito “Lito” Lapid, Juan Miguel F. Zubiri, Mar Roxas, Richard Gordon, Ramon “Bong” Revilla, Jr., Aquilino Pimentel, Jr. and Representatives Arthur Pingoy, Jr. (2nd District, South Cotabato), Pryde Henry Teves (3rd District, Oriental Negros), Cesar Jalosjos (3rd District, Zamboanga del Norte), Nanette Castelo Daza (4th District, Quezon City), and Narciso Santiago III (Party-List, ARC).
It has been taught in schools that Sepak Takraw is the national sport of the Philippines and Dr. Jose P. Rizal is the national hero, alongside the national flower (Sampaguita), national tree (Nara), national bird (Philippine Eagle), etc. However, contrary to popular belief, no law or proclamation had named a national sport or national hero. Sepak Takraw is a Thai-Malay sport which many believe is Filipino.
Previously, there was HB030.64 “Act declaring Sikaran as the National Martial Art of the Philippines” filed by Cong. Isidro S. Rodriguez Jr. of the 2nd District of Rizal with co-authors Cong. Michael John R. Duavit, Cong. Ronaldo V. Puno and Cong. Victor R. Sumulong. It was filed on September 30, 2004 and was read on October 26, 2004.
THE LONG PATH TO RECOGNITION
The passing of RA 9850 is long overdue. The governments of neighboring Asian countries had given their respective martial traditions pioneering recognition and support years way ahead of the Philippines. Judo and Karate-do were successfully implemented in the Japanese school system even before WWII. China has a well oiled Wushu program and sends well trained athletes to spread their Wushu overseas. Korea unified the various kwans “schools (Hangul)” after WWII into what is now the Olympic sport of Taekwondo. The Thai Royalty had always patronized the development of Muay Thai among the Siamese populace.
The seminal efforts to integrate Arnis into the school system can be traced back to the 1970s with proclamations such as DECS Order No. 26, Series of 1975, which mandated concerned parties to engage in liaison with the National Arnis Association of the Philippines (NARAPHIL), then the newly formed National Governing Body (NGB) for the Filipino Martial Arts (FMA), for their Sports Development Program on Arnis. Other orders followed, among them DECS Order No. 58, Series of 1990 and DECS Memo No. 294, Series of 1995.
Senator Orlando “Orly” Mercado filed Senate Bill 280 on July 6, 1992 which required the inclusion of the study of Arnis as a Physical Education (PE) course in the secondary and tertiary level.
Cong. Juan Miguel F. Zubiri of the 3rd District of Bukidnon, with co-authors Cong. Raul V. Del Mar and Cong. Narciso D. Monfort, filed HB026-49 “Act declaring Arnis as the Philippine National Sport” on August 22, 2001. It was read on August 28, 2001 and was later substituted by HB05284. HB05284 was authored by Cong. Zubiri and co-authored by Cong. Lorna C. Silverio, Cong. Cecilia T. Taganas Layus, and Cong. Orlando A. Fua Jr. on October 4, 2004 and was read on October 9, 2004. The bill was approved on the second and third readings on November 18, 2002 and December 17, 2002 respectively. The house vote was 155 for yeas and none for nays and abstain. It was transmitted to the Senate on December 18, 2002.
Senate Bill 1424 is an “Act declaring Arnis as the National Martial Sport of the Philippines” was approved by the House on November 15, 2005, transmitted to on November 23, 2005 and received by the Senate on November 23, 2005.
DEFINITION
Arnis is the Filipino corruption of the Spanish Arnes “Trappings, armor,” which alludes to the arnisador’s reputed ability to defend himself as if he is protected by an armor. Before the term arnis was used, as in the case of Florante at Laura in the 1800s, Eskrima was used to refer to the Filipino way of fighting with weapons. Eskrima is the Filipino corruption of the Spanish Escrima “Fencing,” in reference to the blades used as weapons in the art.
HISTORICAL OVERVIEW
A lot has been written that Arnis, or Kali as some would have it, was used by the Mactan Chief Lapu-Lapu in killing the conquestadores Ferdinand Magellan in the Battle of Mactan in 1521. The only existing historical record of this battle was that of Pigafetta. Pigafetta was very meticulous in his recording of the Cebuano’s culture but he have not mentioned that Lapu-Lapu did practice a martial art called Kali, this inspite of the fact that the Italian chronicler did list the weapons used by the natives and praised their skill in combat.
The early history of the Filipino Martial Arts (FMA) was not systematically recorded by the early Filipinos. Information than can be established are those that can be derived from historical records, archaeological finds, linguistic studies, and research on related scientific fields. Much of what is passed on today as FMA history are oral traditions and most that find their way in cyberspace are unverified claims, distortions, and assumptions.
Nevertheless, it is beyond doubt that Filipinos were efficient with various forms of blades, sticks, daggers, and other weapons. It is a documented fact that many arnisadors/eskrimadors who fought as regular soldiers or guerillas in World War II used their skills in facing the Japanese in hand-to-hand combat.
The weapons used will generally dictate how an arnisador will manipulate his weapon. The Filipino Martial Arts (FMA) as a whole is a fusion of the martial traditions of the various races that have inhabited or occupied the archipelago or traded with the natives. One visible influence is from the Spaniards, who themselves were among the best fencers in Europe during the renaissance Period.
SPREAD OF ARNIS
Arnis was well and alive in the more remote places of the Philippines during a good part of the 20th Century but did not get enough attention in the more urbanized areas up until it became a hit overseas, particularly in the US. The newer generation went for Taekwondo, Karate, Judo, Aikido, and other Asian Martial Arts.
This was partly due to the fact that the early 20th Century practitioners of Arnis were fighters more than sportsmen, fighting with blades, sticks, knives, and what have you. Traditional training was contact oriented and less often than not training ends with blood. Since their skills were for survival, arnisadors were reluctant to teach their arts. If they ever did, they made sure they kept the more dangerous techniques for themselves. Commoditizing Arnis for mass consumption then was unheard of.
The gradual rise of Arnis to prominence started when the National Arnis Association of the Philippines (NARAPHIL) was formed in 1975 to unify various schools. The famed Doce Pares of Cebu played a major role during this evolutionary stage of sport Arnis.
With the passing of time, Arnis was imported by Filipinos overseas, especially in the US, and it grew in popularity. Today, foreigners visit the Philippines to study directly from the grandmasters.
The efforts of both NARAPHIL and Arnis Philippines (ArPi) had evolved the sportive aspect of Arnis, making it more viable for public acceptance.
Arnis was included in the 1991 and 2005 Southeast Asian (SEA) Games and is played in all 5 clusters of the Philippine Olympic Festival (POF) and 17 regions in the Palarong Pambansa.
NAT’L SPORT ASS’N
The National Arnis Association of the Philippines (NARAPHIL), formed in 1975, was the first National Sport Association (NSA)/National Governing Body (NGB) for the Filipino Martial Arts (FMA). Then Armed Forces of the Philippines (AFP) Chief of Staff Maj. Gen. Fabian C. Ver was its first president.
Since NARAPHIL was closely related to the Marcos regime, it lost its status as the NSA for FMA right after President Ferdinand E. Marcos was overthrown by the People’s Power and replaced by Corazon “Cory” C. Aquino (D: 2009), the widow of the late Sen. Benigno “Ninoy” Aquino Sr. (D: 1983). Arnis Philippines (ArPi), founded as the Philippine Arnis Federation on July 11, 1986, became the next government recognized NSA for Arnis up to today. Raymond S. Velayo is its first president and to this day continues in such a capacity.
Arnis Philippines (ArPi) was incorporated by Velayo, Grandmaster Rolando Pintoy (a.k.a. Roland Dantes), Grandmaster Ernesto C. Presas, Rene Tongson, Diwa Sahagun, Jeremias V. de la Cruz, and Mario D, Malicsi with the Securities and Exchange Commission (SEC) on August 20, 1986.
Arnis Philippines (ArPi) is the 33rd official member of Philippine Olympic Committee (POC) and recognized by the Philippine Sports Commission (PSC).
The objectives of Arnis Philippines (ArPi) are 1) to be a major force in preserving our culture and the dying art of Arnis, 2) to consolidate and unite the different factions and groups of Arnis aficionados, and 3) to develop the sport aspect of Arnis for and in the hope of its inclusion in major sports events like the South East Asian Games (SEA Games), Asian Games, and ultimately the Olympics.
RA 9850
President Gloria Macapagal-Arroyo officially signed into law Senate Bill 1424, authored by Majority Leader Juan Miguel Zubiri, as Republic Act No. 9850 “An Act declaring Arnis as the National Martial Art and Sport of the Philippines“ on December 11, 2009.
RA 9850 makes Arnis as a requirement for the Physical Education (PE) course of the Department of Education, Culture, and Sports (DECS). The Philippine Sports Commission (PSC) is the lead agency tasked to implement RA 9850. The PSC will be inscribing the symbol of Arnis, that of the fighting sticks, in its official seal.
Those who signed the bill into law include Senators Manuelito “Lito” Lapid, Juan Miguel F. Zubiri, Mar Roxas, Richard Gordon, Ramon “Bong” Revilla, Jr., Aquilino Pimentel, Jr. and Representatives Arthur Pingoy, Jr. (2nd District, South Cotabato), Pryde Henry Teves (3rd District, Oriental Negros), Cesar Jalosjos (3rd District, Zamboanga del Norte), Nanette Castelo Daza (4th District, Quezon City), and Narciso Santiago III (Party-List, ARC).
It has been taught in schools that Sepak Takraw is the national sport of the Philippines and Dr. Jose P. Rizal is the national hero, alongside the national flower (Sampaguita), national tree (Nara), national bird (Philippine Eagle), etc. However, contrary to popular belief, no law or proclamation had named a national sport or national hero. Sepak Takraw is a Thai-Malay sport which many believe is Filipino.
Previously, there was HB030.64 “Act declaring Sikaran as the National Martial Art of the Philippines” filed by Cong. Isidro S. Rodriguez Jr. of the 2nd District of Rizal with co-authors Cong. Michael John R. Duavit, Cong. Ronaldo V. Puno and Cong. Victor R. Sumulong. It was filed on September 30, 2004 and was read on October 26, 2004.
THE LONG PATH TO RECOGNITION
The passing of RA 9850 is long overdue. The governments of neighboring Asian countries had given their respective martial traditions pioneering recognition and support years way ahead of the Philippines. Judo and Karate-do were successfully implemented in the Japanese school system even before WWII. China has a well oiled Wushu program and sends well trained athletes to spread their Wushu overseas. Korea unified the various kwans “schools (Hangul)” after WWII into what is now the Olympic sport of Taekwondo. The Thai Royalty had always patronized the development of Muay Thai among the Siamese populace.
The seminal efforts to integrate Arnis into the school system can be traced back to the 1970s with proclamations such as DECS Order No. 26, Series of 1975, which mandated concerned parties to engage in liaison with the National Arnis Association of the Philippines (NARAPHIL), then the newly formed National Governing Body (NGB) for the Filipino Martial Arts (FMA), for their Sports Development Program on Arnis. Other orders followed, among them DECS Order No. 58, Series of 1990 and DECS Memo No. 294, Series of 1995.
Senator Orlando “Orly” Mercado filed Senate Bill 280 on July 6, 1992 which required the inclusion of the study of Arnis as a Physical Education (PE) course in the secondary and tertiary level.
Cong. Juan Miguel F. Zubiri of the 3rd District of Bukidnon, with co-authors Cong. Raul V. Del Mar and Cong. Narciso D. Monfort, filed HB026-49 “Act declaring Arnis as the Philippine National Sport” on August 22, 2001. It was read on August 28, 2001 and was later substituted by HB05284. HB05284 was authored by Cong. Zubiri and co-authored by Cong. Lorna C. Silverio, Cong. Cecilia T. Taganas Layus, and Cong. Orlando A. Fua Jr. on October 4, 2004 and was read on October 9, 2004. The bill was approved on the second and third readings on November 18, 2002 and December 17, 2002 respectively. The house vote was 155 for yeas and none for nays and abstain. It was transmitted to the Senate on December 18, 2002.
Senate Bill 1424 is an “Act declaring Arnis as the National Martial Sport of the Philippines” was approved by the House on November 15, 2005, transmitted to on November 23, 2005 and received by the Senate on November 23, 2005.
DEFINITION
Arnis is the Filipino corruption of the Spanish Arnes “Trappings, armor,” which alludes to the arnisador’s reputed ability to defend himself as if he is protected by an armor. Before the term arnis was used, as in the case of Florante at Laura in the 1800s, Eskrima was used to refer to the Filipino way of fighting with weapons. Eskrima is the Filipino corruption of the Spanish Escrima “Fencing,” in reference to the blades used as weapons in the art.
HISTORICAL OVERVIEW
A lot has been written that Arnis, or Kali as some would have it, was used by the Mactan Chief Lapu-Lapu in killing the conquestadores Ferdinand Magellan in the Battle of Mactan in 1521. The only existing historical record of this battle was that of Pigafetta. Pigafetta was very meticulous in his recording of the Cebuano’s culture but he have not mentioned that Lapu-Lapu did practice a martial art called Kali, this inspite of the fact that the Italian chronicler did list the weapons used by the natives and praised their skill in combat.
The early history of the Filipino Martial Arts (FMA) was not systematically recorded by the early Filipinos. Information than can be established are those that can be derived from historical records, archaeological finds, linguistic studies, and research on related scientific fields. Much of what is passed on today as FMA history are oral traditions and most that find their way in cyberspace are unverified claims, distortions, and assumptions.
Nevertheless, it is beyond doubt that Filipinos were efficient with various forms of blades, sticks, daggers, and other weapons. It is a documented fact that many arnisadors/eskrimadors who fought as regular soldiers or guerillas in World War II used their skills in facing the Japanese in hand-to-hand combat.
The weapons used will generally dictate how an arnisador will manipulate his weapon. The Filipino Martial Arts (FMA) as a whole is a fusion of the martial traditions of the various races that have inhabited or occupied the archipelago or traded with the natives. One visible influence is from the Spaniards, who themselves were among the best fencers in Europe during the renaissance Period.
SPREAD OF ARNIS
Arnis was well and alive in the more remote places of the Philippines during a good part of the 20th Century but did not get enough attention in the more urbanized areas up until it became a hit overseas, particularly in the US. The newer generation went for Taekwondo, Karate, Judo, Aikido, and other Asian Martial Arts.
This was partly due to the fact that the early 20th Century practitioners of Arnis were fighters more than sportsmen, fighting with blades, sticks, knives, and what have you. Traditional training was contact oriented and less often than not training ends with blood. Since their skills were for survival, arnisadors were reluctant to teach their arts. If they ever did, they made sure they kept the more dangerous techniques for themselves. Commoditizing Arnis for mass consumption then was unheard of.
The gradual rise of Arnis to prominence started when the National Arnis Association of the Philippines (NARAPHIL) was formed in 1975 to unify various schools. The famed Doce Pares of Cebu played a major role during this evolutionary stage of sport Arnis.
With the passing of time, Arnis was imported by Filipinos overseas, especially in the US, and it grew in popularity. Today, foreigners visit the Philippines to study directly from the grandmasters.
The efforts of both NARAPHIL and Arnis Philippines (ArPi) had evolved the sportive aspect of Arnis, making it more viable for public acceptance.
Arnis was included in the 1991 and 2005 Southeast Asian (SEA) Games and is played in all 5 clusters of the Philippine Olympic Festival (POF) and 17 regions in the Palarong Pambansa.
NAT’L SPORT ASS’N
The National Arnis Association of the Philippines (NARAPHIL), formed in 1975, was the first National Sport Association (NSA)/National Governing Body (NGB) for the Filipino Martial Arts (FMA). Then Armed Forces of the Philippines (AFP) Chief of Staff Maj. Gen. Fabian C. Ver was its first president.
Since NARAPHIL was closely related to the Marcos regime, it lost its status as the NSA for FMA right after President Ferdinand E. Marcos was overthrown by the People’s Power and replaced by Corazon “Cory” C. Aquino (D: 2009), the widow of the late Sen. Benigno “Ninoy” Aquino Sr. (D: 1983). Arnis Philippines (ArPi), founded as the Philippine Arnis Federation on July 11, 1986, became the next government recognized NSA for Arnis up to today. Raymond S. Velayo is its first president and to this day continues in such a capacity.
Arnis Philippines (ArPi) was incorporated by Velayo, Grandmaster Rolando Pintoy (a.k.a. Roland Dantes), Grandmaster Ernesto C. Presas, Rene Tongson, Diwa Sahagun, Jeremias V. de la Cruz, and Mario D, Malicsi with the Securities and Exchange Commission (SEC) on August 20, 1986.
Arnis Philippines (ArPi) is the 33rd official member of Philippine Olympic Committee (POC) and recognized by the Philippine Sports Commission (PSC).
The objectives of Arnis Philippines (ArPi) are 1) to be a major force in preserving our culture and the dying art of Arnis, 2) to consolidate and unite the different factions and groups of Arnis aficionados, and 3) to develop the sport aspect of Arnis for and in the hope of its inclusion in major sports events like the South East Asian Games (SEA Games), Asian Games, and ultimately the Olympics.
Arnis: A Question of Origins by Felipe "Bot" Jocano
Published in Rapid Journal Vol. 2 No. 4 4th Qtr 1997
Master Felipe "Bot" P. Jocano Jr. (center), Associate Professor at the Anthropology Department, with his students at the Sankil Karasak (Lightning Scientific Arnis International/Lema Scientifc Kali Arnis System) Gym, University of the Philippines (UP)-Diliman, Quezon City (James U. Sy Jr. photo).
The term arnis evokes a number of reactions from people every time it is mentioned in a conversation. Some people start fanning their hands in the air, imitating the distinctive movements of the two-stick (doble baston) training method. This image of arnis is one of the most popular to the layman. A second reaction, and quite as common as the first, is the question: "Saan ba talaga galing ang arnis?" (Where did arnis really come from?) Alternatively, "Di ba, sa atin nanggaling ang arnis?î (Isn't it that arnis comes from us?) is a question also heard. This article is an attempt to critically examine the roots of one of the martial arts of the Philippines, arnis. It must be noted that in no way does this article claim to be the final say on the origins of arnis. It is actually a preliminary look, a start if you will, into re-examining carefully the origins of an art form.
Arnis, also known as kali, escrima, baston, etc. is a complete martial art system, encompassing weapons training and empty-hand self-defense. It includes training in single stick techniques (solo baston), double stick techniques (doble baston), stick and knife or dagger techniques (espada y daga) and knife techniques (daga). Some styles may include staff and spear (sibat) training in their curriculum. Others will include the practice of medium to long bladed weapons (bolo) in their repertoire. Many styles have some form of empty hand combat, encompassing striking, kicking, locking, throwing and even choking methods. These are usually taught when the practitioner has demonstrated a reasonable degree of proficiency with the weapons of his style of arnis. Different arnis styles, from different parts of the country, may emphasize different areas of the training methods noted above. The term arnis is believed to be a Tagalog corruption of the Spanish term arnes, or harness, a reference to the decorations worn by the early Filipinos. Kali is another term used to refer to the same kind of martial arts. Different provinces may have different names for arnis, such as baston and kaliradman (Ilonggo, Bisaya), pagkalikali (Ibanag) and kalirongan (Pangasinan). These are only a few examples of the terms already recorded in different sources.
With such a comprehensive system of martial arts being taught and promoted in different areas of the country, it is inevitable that people would ask, where did such a complete martial art system come from?
One suggestion is that it originally came from another martial art system, called tjakalele. This is actually the name of a branch of the Indonesian martial art system known as pentjak silat. Another suggestion is that it was brought here from the Southeast Asian mainland, particularly during the Madjapahit and Shri-Visayan empires. Yet another suggestion is that it was propagated by the so-called ten Bornean datus fleeing persecution from their homeland. We shall critically examine these assertions one at a time.
The idea that arnis evolved or was derived from another martial art system, namely tjakalele silat, is due to linguistics. The alternative name for arnis is kali. It is widely held that this is the older term for arnis, and that kali itself emphasizes bladed weaponry apart from practice with the stick. It is not surprising that a connection could be seen between the term kali and tjakalele. However, linguistic similarity alone is not enough ground to assert that kali was indeed derived from tjakalele. There has to be documented proof that one came from the other. What form should this proof take? Authenticated documents certainly are one of the best pieces of evidence - if such could be found, and proven to be genuine. A close and thorough comparison of both styles would help, but it must be remembered that they would have changed over time, reflecting the different changes that have happened in their cultures of origin. On the other hand, one of the local terms for a bladed weapon is kalis. It is also believed that kali is a derived term from kalis. This assertion will require study before it can be validated.
Another oft-quoted idea is that kali was brought here during the Shri-Vishayan (7th -14th centuries and Madjapahit (13th -16th centuries) empires. This reflects the notion that the Philippines then was somehow an integral part of both empires. It must be noted that the archaeological evidence for the role of the Philippines in both empires is very meager. About the best that could be said is that there was commercial contact, but whether such contact also included the spreading of martial arts is circumstantial at best.
A third idea regarding the spreading and propagation of kali in the Philippines is that ten Bornean datus (sometimes nine) fled here and settled in various parts of the Philippines. They brought with them their fighting systems and taught these along with other arts in the academies called the bothoan.
A key problem here is that much of what we know about the ten datus is derived from the Maragtas of Pedro Monteclaro, published in l1oilo in 1907. Doubt has been cast on its usefulness as a historical document, especially since it records folk or oral history. Scholars such as the late William Henry Scott and F. Landa Jocano, are clear on this point - the Maragtas is a document recording folk or oral history, and not an actual eyewitness account of the events stated therein. As such, its historical value diminishes rapidly with each retelling of the story .If the original story of the ten Bornean datus is folklore and not authentic history, what are we then to make of the story regarding the propagation of kali in the bothoan? Folkloric history is useful in enabling people to identify with the art of kali, but it should not be taken as actual history.
If after having critically questioned the sources of the origins of kali, or arnis as it is known today, and through these critical analyses, have come to the positions stated above, what can we then say about the origin of kali, or arnis? Regardless of the name of the art or its sources, the fact that the early Filipinos practiced some form of combat was not lost on the Spaniards who first arrived here. Pigafetta's description of the death of Magellan is graphic in its description of the weapons wielded by the natives. It is interesting to note that Magellan died as he was rushed by the defenders armed with spears and bladed weapons. In more recent times, Scott's book Barangay includes a chapter on ancient Bisayan weapons and warfare. This was derived from the accounts and dictionaries of the early Spanish friars, some of whom were witnesses to the use and practice of weapons and warfare methods at the time.
To state therefore, that its origins lie outside the Philippines is misleading, for it disregards the unrecorded but no less real experiences our forefathers went in simply trying their best to survive. These experiences are recorded in the techniques of their styles of arnis. It is also quite possible that there were blendings with different styles of combat, but if so, these are quite difficult to verify historically.
A key difficulty in researching the origins of arnis is that most sources tend to be oral history or folkloric in nature. They are not exactly historical documents in the sense of being eyewitness accounts. Hence, their authenticity in this sense is always suspect. On the other hand, as folklore, they serve as a window, if you will, into how people think. Folklore gives us an idea of how people actually understand their world and their place in it.
Martial arts, in whatever form, and in whatever place, are the unique product of the people who developed them, as members of their culture. A case in point is Japanese fencing, kendo in its modern format, kenjutsu as the traditional form. Japanese fencing is a product of the technology and the values and habits of the Japanese. Similarly, it should be remembered that kali or arnis as it is also called today, is very much a product of the Filipino cultural experience. The relative informality of most practice sessions, for instance, is a reflection on the importance we place in building harmonious relationships with others.
In conclusion, it is not easy to actually trace the origins of the art of kali or arnis. Perhaps we may never actually trace it to a single key event in the lives of our forefat1lers. On the other hand, it is equally important to remember that the art itself is a continuing evolving product, subject to change and refinement over the years. What is also important is that we remain open-minded, willing to improve our understanding of the origins of this martial art. Such open-mindedness is useful inasmuch as it provides us with further insights into our identity as Filipinos.
Bibliography:
Canete, Ciriaco. Doce Pares. Cebu City. Doce Pares Publishing House, 1989.
Inosanto, Dan; Johnson, Gilbert; and Foon, George. The Filipino Martial Arts. Los Angeles. Know How Publishing, 1980
Presas, Ernesto. Arnis. Manila. 1988
Presas, Remy. Modem Arnis. Manila. Modem Arnis Publishing Co., 1974, 1993.
Yambao, Placido. Mga Karununngan sa Larong Arnis. Quezon City: UP Press, 1957.
For references on Philippine prehistory:
Jocano, F .Landa. Questions & Challenges in Philippine Prehistory. Professorial Chair lecture: UP Press, 1975.
Jocano, F Landa. Philippine Prehistory. Quezon City: PCAS, 1975
Scott, William Henry. Prehispanic Source Materials for the Study of Philippine History. Quezon City. New Day Publishers, 1974.
Scott, William Henry. Barangay. Quezon City: Ateneo de Manila Press, 1994.
Master Felipe "Bot" P. Jocano Jr. (center), Associate Professor at the Anthropology Department, with his students at the Sankil Karasak (Lightning Scientific Arnis International/Lema Scientifc Kali Arnis System) Gym, University of the Philippines (UP)-Diliman, Quezon City (James U. Sy Jr. photo).
The term arnis evokes a number of reactions from people every time it is mentioned in a conversation. Some people start fanning their hands in the air, imitating the distinctive movements of the two-stick (doble baston) training method. This image of arnis is one of the most popular to the layman. A second reaction, and quite as common as the first, is the question: "Saan ba talaga galing ang arnis?" (Where did arnis really come from?) Alternatively, "Di ba, sa atin nanggaling ang arnis?î (Isn't it that arnis comes from us?) is a question also heard. This article is an attempt to critically examine the roots of one of the martial arts of the Philippines, arnis. It must be noted that in no way does this article claim to be the final say on the origins of arnis. It is actually a preliminary look, a start if you will, into re-examining carefully the origins of an art form.
Arnis, also known as kali, escrima, baston, etc. is a complete martial art system, encompassing weapons training and empty-hand self-defense. It includes training in single stick techniques (solo baston), double stick techniques (doble baston), stick and knife or dagger techniques (espada y daga) and knife techniques (daga). Some styles may include staff and spear (sibat) training in their curriculum. Others will include the practice of medium to long bladed weapons (bolo) in their repertoire. Many styles have some form of empty hand combat, encompassing striking, kicking, locking, throwing and even choking methods. These are usually taught when the practitioner has demonstrated a reasonable degree of proficiency with the weapons of his style of arnis. Different arnis styles, from different parts of the country, may emphasize different areas of the training methods noted above. The term arnis is believed to be a Tagalog corruption of the Spanish term arnes, or harness, a reference to the decorations worn by the early Filipinos. Kali is another term used to refer to the same kind of martial arts. Different provinces may have different names for arnis, such as baston and kaliradman (Ilonggo, Bisaya), pagkalikali (Ibanag) and kalirongan (Pangasinan). These are only a few examples of the terms already recorded in different sources.
With such a comprehensive system of martial arts being taught and promoted in different areas of the country, it is inevitable that people would ask, where did such a complete martial art system come from?
One suggestion is that it originally came from another martial art system, called tjakalele. This is actually the name of a branch of the Indonesian martial art system known as pentjak silat. Another suggestion is that it was brought here from the Southeast Asian mainland, particularly during the Madjapahit and Shri-Visayan empires. Yet another suggestion is that it was propagated by the so-called ten Bornean datus fleeing persecution from their homeland. We shall critically examine these assertions one at a time.
The idea that arnis evolved or was derived from another martial art system, namely tjakalele silat, is due to linguistics. The alternative name for arnis is kali. It is widely held that this is the older term for arnis, and that kali itself emphasizes bladed weaponry apart from practice with the stick. It is not surprising that a connection could be seen between the term kali and tjakalele. However, linguistic similarity alone is not enough ground to assert that kali was indeed derived from tjakalele. There has to be documented proof that one came from the other. What form should this proof take? Authenticated documents certainly are one of the best pieces of evidence - if such could be found, and proven to be genuine. A close and thorough comparison of both styles would help, but it must be remembered that they would have changed over time, reflecting the different changes that have happened in their cultures of origin. On the other hand, one of the local terms for a bladed weapon is kalis. It is also believed that kali is a derived term from kalis. This assertion will require study before it can be validated.
Another oft-quoted idea is that kali was brought here during the Shri-Vishayan (7th -14th centuries and Madjapahit (13th -16th centuries) empires. This reflects the notion that the Philippines then was somehow an integral part of both empires. It must be noted that the archaeological evidence for the role of the Philippines in both empires is very meager. About the best that could be said is that there was commercial contact, but whether such contact also included the spreading of martial arts is circumstantial at best.
A third idea regarding the spreading and propagation of kali in the Philippines is that ten Bornean datus (sometimes nine) fled here and settled in various parts of the Philippines. They brought with them their fighting systems and taught these along with other arts in the academies called the bothoan.
A key problem here is that much of what we know about the ten datus is derived from the Maragtas of Pedro Monteclaro, published in l1oilo in 1907. Doubt has been cast on its usefulness as a historical document, especially since it records folk or oral history. Scholars such as the late William Henry Scott and F. Landa Jocano, are clear on this point - the Maragtas is a document recording folk or oral history, and not an actual eyewitness account of the events stated therein. As such, its historical value diminishes rapidly with each retelling of the story .If the original story of the ten Bornean datus is folklore and not authentic history, what are we then to make of the story regarding the propagation of kali in the bothoan? Folkloric history is useful in enabling people to identify with the art of kali, but it should not be taken as actual history.
If after having critically questioned the sources of the origins of kali, or arnis as it is known today, and through these critical analyses, have come to the positions stated above, what can we then say about the origin of kali, or arnis? Regardless of the name of the art or its sources, the fact that the early Filipinos practiced some form of combat was not lost on the Spaniards who first arrived here. Pigafetta's description of the death of Magellan is graphic in its description of the weapons wielded by the natives. It is interesting to note that Magellan died as he was rushed by the defenders armed with spears and bladed weapons. In more recent times, Scott's book Barangay includes a chapter on ancient Bisayan weapons and warfare. This was derived from the accounts and dictionaries of the early Spanish friars, some of whom were witnesses to the use and practice of weapons and warfare methods at the time.
To state therefore, that its origins lie outside the Philippines is misleading, for it disregards the unrecorded but no less real experiences our forefathers went in simply trying their best to survive. These experiences are recorded in the techniques of their styles of arnis. It is also quite possible that there were blendings with different styles of combat, but if so, these are quite difficult to verify historically.
A key difficulty in researching the origins of arnis is that most sources tend to be oral history or folkloric in nature. They are not exactly historical documents in the sense of being eyewitness accounts. Hence, their authenticity in this sense is always suspect. On the other hand, as folklore, they serve as a window, if you will, into how people think. Folklore gives us an idea of how people actually understand their world and their place in it.
Martial arts, in whatever form, and in whatever place, are the unique product of the people who developed them, as members of their culture. A case in point is Japanese fencing, kendo in its modern format, kenjutsu as the traditional form. Japanese fencing is a product of the technology and the values and habits of the Japanese. Similarly, it should be remembered that kali or arnis as it is also called today, is very much a product of the Filipino cultural experience. The relative informality of most practice sessions, for instance, is a reflection on the importance we place in building harmonious relationships with others.
In conclusion, it is not easy to actually trace the origins of the art of kali or arnis. Perhaps we may never actually trace it to a single key event in the lives of our forefat1lers. On the other hand, it is equally important to remember that the art itself is a continuing evolving product, subject to change and refinement over the years. What is also important is that we remain open-minded, willing to improve our understanding of the origins of this martial art. Such open-mindedness is useful inasmuch as it provides us with further insights into our identity as Filipinos.
Bibliography:
Canete, Ciriaco. Doce Pares. Cebu City. Doce Pares Publishing House, 1989.
Inosanto, Dan; Johnson, Gilbert; and Foon, George. The Filipino Martial Arts. Los Angeles. Know How Publishing, 1980
Presas, Ernesto. Arnis. Manila. 1988
Presas, Remy. Modem Arnis. Manila. Modem Arnis Publishing Co., 1974, 1993.
Yambao, Placido. Mga Karununngan sa Larong Arnis. Quezon City: UP Press, 1957.
For references on Philippine prehistory:
Jocano, F .Landa. Questions & Challenges in Philippine Prehistory. Professorial Chair lecture: UP Press, 1975.
Jocano, F Landa. Philippine Prehistory. Quezon City: PCAS, 1975
Scott, William Henry. Prehispanic Source Materials for the Study of Philippine History. Quezon City. New Day Publishers, 1974.
Scott, William Henry. Barangay. Quezon City: Ateneo de Manila Press, 1994.
The Origins of Eskrima By: Dr. Ned R. Nepangue
We can only make a guess as to the origin of Eskrima/Arnis/Estocada since there are no conclusive written records available in the archives to assist us in our research (that is, if we are really serious about this).
Earlier writings did mention in passing something regarding pre-Hispanic martial arts in the islands.
But we should remember this, that the earliest Europeans who visited the islands did not know the native languages, were not familiar about the native culture at the time, were ethnocentrists, and were in the Orient primarily to look for spices and not to do research on martial arts.
Nobody can really say what kind of martial art these early travelers saw (if that was truly a martial art) when they first came that summer.
We cannot even say that it was Kali they saw, since they were not familiar about martial arts (like Don F. Draeger, Robert W. Smith, or Mark V. Wiley).
Let us also take note that during those times, there was no unified form of government and people were not hooked in the Internet.
People in the archipelago then (and this is still true until today) speak many languages, thus what was true in the island of Panay then, was not necessarily true in the nearby islands of Cebu or Samar.
Forcing ourselves to believe that Eskrima/Arnis/Estocada is something pre-Hispanic even without enough proof to support the theory is not advisable.
We only have the following objective facts to help us prove or disprove the current theory of the origin of the eskrima or arnis.
Fact 1
No written records available, which describes what this allegedly pre-Hispanic martial art of Kali really was and there is no evidence to prove that Eskrima/Arnis/Estocada martial arts are related to the art of Kali.
Earlier writings mentioned how good those early natives were in hand-to-hand combat.
These early European adventurers were maybe accurate in their appraisals since they were soldiers/fighters themselves and knew what was good form and what was not.
But still the same, these available literatures do not give us details as to what Kali really was.
So Kali can be everything, it can be stone throwing, wild boar hunting, yo-yo playing, etc.
Fact 2
Research found out that the natives in the islands before the Europeans came used shields and spears, weapons that are no longer visible in the majority of the contemporary Eskrima/Arnis/Estocada schools.
If it is true that Kali is the martial art practice by the ancient warriors in the islands then it must have included the use of the tameng or shield and the bangkaw or spear.
Since the art of Eskrima/Arnis is derived from Kali as some suggested, then it must have these weapons included in the curriculum.
Tameng is still useful even in the modern times; in fact, riot police are still using this contraption to control angry crowds.
Spears, on the other hand, are still found in many other martial arts.
Fact 3
The claims that historical personalities like Lapu-Lapu, Tupas, and others were really into Kali or Eskrima remained unproven.
Some so-called authorities of Filipino martial arts (FMA) always associate names like that of Lapu-Lapu to Eskrima, as if they were around already in 1500s.
The funny fact is they could not even provide name(s) of who's who in the latter years (in the 1600s, 1700, 1800s) to strengthen their claims.
How one could claim he is the great-great grandson of the great Mr. So-And-So if he does not even know who his biological father is?
Fact 4
All Eskrima/Arnis styles share more common traits than differences.
The Filipino stick fighting in many ways is really different compared to other stick fighting systems in the region.
The Eskrima styles as practiced by many Ilocanos in the far north of the archipelago are basically familiar to the styles found in the south, in the Visayas.
There maybe differences in some expressions but generally speaking they are the same.
Fact 5
Practically all Eskrima systems/styles are practiced only in the Christianized groups (or those who are under the direct influence of the Spanish conquistadors for 333 years), and that no known Eskrima system/style is found among those peoples in the hinterlands of Luzon, among the Lumad and the Muslims in Mindanao.
The Spanish colonized the islands for 333 years, but they were not able to convert the entire population to the Christian faith.
There were many ethnic groups left who were not directly controlled and influenced by them.
Many of these groups are slowly assimilated still retain many of their pre-Hispanic practices.
But if the theory is true that Eskrima and the like is something originally pre-Hispanic, then at least one of these many tribal groups could show us sampling of a functional Eskrima-like stick fighting art, but there is none.
Fact 6
A link between Kali and Silat styles is yet to be proven, both are really different in form and substance.
Many creative Eskrimadors want to have this "Moro motif" integrated to their styles.
In actuality, Eskrima/Arnis has nothing to do with the Muslim groups in the south who have their own very beautiful and lethal martial art of Silat.
Many people foolishly attempted to establish link between the two, but until now they could not provide us enough evidence.
In books and articles on Eskrima, they always include stories about juramentado just to add dramatic effect, but in reality all of these, has nothing to do with Eskrima/Arnis.
Some insist that some of these Muslim tribes do practice some form of Kali art. But if we inquire what tribe is that, they could not readily give answer.
Some say it is in Sulu, but if we ask further which part of Sulu? Again there is no clear answer.
Since the 70s, when this claim first appeared, and until now nobody can really give the correct answer.
Why?
Well, the truth of the matter is, there is no Kali in the Moroland.
Just a pure fantasy.
Is it possible to invent stories and fool the martial arts community?
You bet!
If you are familiar with the story of the Neolithic they reportedly found in Mindanao called Tasaday, you will easily understand how/why.
In Eskrima/Arnis, emphasis is on weaponry first then unarmed fighting later, but in Silat they have the weapons training only later.
Fact 7
About 65% of technical terms used in all Eskrima/Arnis/Estocada styles developed and propagated by many linguistically diverse ethnic groups are of Spanish origin.
The Spanish language was never totally adapted by the Filipinos unlike those in other former colonies of the North and South America.
This was because the colonial authorities in the Philippines did not encourage the natives to learn the language.
For three centuries, only the elite and the educated could speak and write the Spanish language.
A strange fact is, a great percentage of technical terms used in Eskrima/Arnis/Estocada (and even the supposedly pre-Hispanic Kali styles) are in Spanish, the language most Filipinos then (and now) did not speak.
This is also the language used by the authorities who outlawed the practice and propagation of this native martial art.
If the practitioners at that time were forced to practice in hiding, then why did they not use their own respective languages and dialects instead of using Spanish?
Fact 8
The connection between Kali and Indonesian martial art of Tjakalele is not yet proven.
Tjakalele is practically just a war dance originated in the Mollucas.
It uses spears and shields, the weapons, which are not found in 99% of Kali schools.
Words like Kali and Tjakalele may sound familiar and related but this not proves anything that both are actually related.
Fact 9
The suggestion that Kali is the root word of some words found in different Filipino languages and dialects is not based on linguistics, in fact a study on this claim is yet to be made.
Important pre-Hispanic household words like diwata, Bathala, datu, ulipon are still understood by many and this same is also true with words associated with the warriors, like bangkaw, baraw, tameng.
So what is supposed to be the ancient name for the Filipino martial art? Kali?
If it is Kali then, why don't we find this word in dictionaries of the different Filipino languages and dialects?
In fact, this particular word was just "re-introduced" years ago.
Kali is never a traditional name for the native martial art.
If one goes to a secluded place in Cebu, for example, and ask those Eskrima old-timers there if they know what is Kali, the will probably say they don't know. And these people are supposed to know better.
Fact 10
The earliest technical description about Eskrima/Arnis was available only lately.
The very first known book available in public was Placido Yambao's book in 1957.
Fact 11
Many modalities in Eskrima/Arnis/Estocada techniques like espada y daga are also found in European fencing arts.
Fact 12
The once Spanish colony of Venezuela in far away South America also have their own form of stick fighting.
The Garrote Larense stick fighting art of Venezuela reminds one of Eskrima.
There must be a connection between these two martial arts somewhere and further research is needed.
Fact 13
It is baseless to say that Eskrima and Arnis are just phases of the natural evolution of Kali; that is, Kali being the original form, Eskrima and Arnis the modern and diluted equivalents.
Kali that we can see today doesn't differ from Eskrima/Arnis.
Some say that Kali is on blades while Eskrima/Arnis more on sticks implying that Kali is more combative, realistic and original form while Eskrima/Arnis as sanitized intended for sports.
But in places where the word Kali is not the traditional term used, the Eskrima/Arnis also included the practice of the bladed weapons.
In fact, many of those who categorize their styles as Kali were actually derived from Eskrima/Arnis styles.
Fact 14
There is no lack of good blacksmiths and is not the reason why many Eskrima/Arnis fighters use sticks now instead of real blades.
Many good Eskrimadors are not found in areas known for their machete-making skills.
Many panday or sword smiths do not know Eskrima and it is never mentioned in the Philippine history that Philippines were running out of bolos.
Fact 15
That the theory proposed is actually not corroborated in the works of the experts of the Philippine history, anthropology and sociology.
Intertribal war was a reality especially before the islands became a colony of Spain.
When there is war, there are warriors, weapons, and military arts.
If Kali was a military art, then history books in high school and college must mention it.
I do not remember reading a word Kali in our history books when I was still in high school and college, instead in our world history I read words like samurai, katana, etc.
Books of anthropology must also provide details about it.
It is not mentioned, not because historians are not interested, it is simply because there is no sufficient information about it.
So, basing on the aforementioned facts, we can only offer logical comments as to the possible origin of the contemporary Filipino martial arts (a bigger portion of which is the Eskrima/Arnis/Estocada/Kali).
It is basically a product of Filipino creativity and no doubt whatsoever, it is very Filipino.
The bulk of its repertoire was developed during Spanish colonial times, and plausibly it got its inspiration from European fencing concepts and practices.
It was greatly developed and refined (and the evolution still continues) only here in the islands of the Philippines.
Earlier writings did mention in passing something regarding pre-Hispanic martial arts in the islands.
But we should remember this, that the earliest Europeans who visited the islands did not know the native languages, were not familiar about the native culture at the time, were ethnocentrists, and were in the Orient primarily to look for spices and not to do research on martial arts.
Nobody can really say what kind of martial art these early travelers saw (if that was truly a martial art) when they first came that summer.
We cannot even say that it was Kali they saw, since they were not familiar about martial arts (like Don F. Draeger, Robert W. Smith, or Mark V. Wiley).
Let us also take note that during those times, there was no unified form of government and people were not hooked in the Internet.
People in the archipelago then (and this is still true until today) speak many languages, thus what was true in the island of Panay then, was not necessarily true in the nearby islands of Cebu or Samar.
Forcing ourselves to believe that Eskrima/Arnis/Estocada is something pre-Hispanic even without enough proof to support the theory is not advisable.
We only have the following objective facts to help us prove or disprove the current theory of the origin of the eskrima or arnis.
Fact 1
No written records available, which describes what this allegedly pre-Hispanic martial art of Kali really was and there is no evidence to prove that Eskrima/Arnis/Estocada martial arts are related to the art of Kali.
Earlier writings mentioned how good those early natives were in hand-to-hand combat.
These early European adventurers were maybe accurate in their appraisals since they were soldiers/fighters themselves and knew what was good form and what was not.
But still the same, these available literatures do not give us details as to what Kali really was.
So Kali can be everything, it can be stone throwing, wild boar hunting, yo-yo playing, etc.
Fact 2
Research found out that the natives in the islands before the Europeans came used shields and spears, weapons that are no longer visible in the majority of the contemporary Eskrima/Arnis/Estocada schools.
If it is true that Kali is the martial art practice by the ancient warriors in the islands then it must have included the use of the tameng or shield and the bangkaw or spear.
Since the art of Eskrima/Arnis is derived from Kali as some suggested, then it must have these weapons included in the curriculum.
Tameng is still useful even in the modern times; in fact, riot police are still using this contraption to control angry crowds.
Spears, on the other hand, are still found in many other martial arts.
Fact 3
The claims that historical personalities like Lapu-Lapu, Tupas, and others were really into Kali or Eskrima remained unproven.
Some so-called authorities of Filipino martial arts (FMA) always associate names like that of Lapu-Lapu to Eskrima, as if they were around already in 1500s.
The funny fact is they could not even provide name(s) of who's who in the latter years (in the 1600s, 1700, 1800s) to strengthen their claims.
How one could claim he is the great-great grandson of the great Mr. So-And-So if he does not even know who his biological father is?
Fact 4
All Eskrima/Arnis styles share more common traits than differences.
The Filipino stick fighting in many ways is really different compared to other stick fighting systems in the region.
The Eskrima styles as practiced by many Ilocanos in the far north of the archipelago are basically familiar to the styles found in the south, in the Visayas.
There maybe differences in some expressions but generally speaking they are the same.
Fact 5
Practically all Eskrima systems/styles are practiced only in the Christianized groups (or those who are under the direct influence of the Spanish conquistadors for 333 years), and that no known Eskrima system/style is found among those peoples in the hinterlands of Luzon, among the Lumad and the Muslims in Mindanao.
The Spanish colonized the islands for 333 years, but they were not able to convert the entire population to the Christian faith.
There were many ethnic groups left who were not directly controlled and influenced by them.
Many of these groups are slowly assimilated still retain many of their pre-Hispanic practices.
But if the theory is true that Eskrima and the like is something originally pre-Hispanic, then at least one of these many tribal groups could show us sampling of a functional Eskrima-like stick fighting art, but there is none.
Fact 6
A link between Kali and Silat styles is yet to be proven, both are really different in form and substance.
Many creative Eskrimadors want to have this "Moro motif" integrated to their styles.
In actuality, Eskrima/Arnis has nothing to do with the Muslim groups in the south who have their own very beautiful and lethal martial art of Silat.
Many people foolishly attempted to establish link between the two, but until now they could not provide us enough evidence.
In books and articles on Eskrima, they always include stories about juramentado just to add dramatic effect, but in reality all of these, has nothing to do with Eskrima/Arnis.
Some insist that some of these Muslim tribes do practice some form of Kali art. But if we inquire what tribe is that, they could not readily give answer.
Some say it is in Sulu, but if we ask further which part of Sulu? Again there is no clear answer.
Since the 70s, when this claim first appeared, and until now nobody can really give the correct answer.
Why?
Well, the truth of the matter is, there is no Kali in the Moroland.
Just a pure fantasy.
Is it possible to invent stories and fool the martial arts community?
You bet!
If you are familiar with the story of the Neolithic they reportedly found in Mindanao called Tasaday, you will easily understand how/why.
In Eskrima/Arnis, emphasis is on weaponry first then unarmed fighting later, but in Silat they have the weapons training only later.
Fact 7
About 65% of technical terms used in all Eskrima/Arnis/Estocada styles developed and propagated by many linguistically diverse ethnic groups are of Spanish origin.
The Spanish language was never totally adapted by the Filipinos unlike those in other former colonies of the North and South America.
This was because the colonial authorities in the Philippines did not encourage the natives to learn the language.
For three centuries, only the elite and the educated could speak and write the Spanish language.
A strange fact is, a great percentage of technical terms used in Eskrima/Arnis/Estocada (and even the supposedly pre-Hispanic Kali styles) are in Spanish, the language most Filipinos then (and now) did not speak.
This is also the language used by the authorities who outlawed the practice and propagation of this native martial art.
If the practitioners at that time were forced to practice in hiding, then why did they not use their own respective languages and dialects instead of using Spanish?
Fact 8
The connection between Kali and Indonesian martial art of Tjakalele is not yet proven.
Tjakalele is practically just a war dance originated in the Mollucas.
It uses spears and shields, the weapons, which are not found in 99% of Kali schools.
Words like Kali and Tjakalele may sound familiar and related but this not proves anything that both are actually related.
Fact 9
The suggestion that Kali is the root word of some words found in different Filipino languages and dialects is not based on linguistics, in fact a study on this claim is yet to be made.
Important pre-Hispanic household words like diwata, Bathala, datu, ulipon are still understood by many and this same is also true with words associated with the warriors, like bangkaw, baraw, tameng.
So what is supposed to be the ancient name for the Filipino martial art? Kali?
If it is Kali then, why don't we find this word in dictionaries of the different Filipino languages and dialects?
In fact, this particular word was just "re-introduced" years ago.
Kali is never a traditional name for the native martial art.
If one goes to a secluded place in Cebu, for example, and ask those Eskrima old-timers there if they know what is Kali, the will probably say they don't know. And these people are supposed to know better.
Fact 10
The earliest technical description about Eskrima/Arnis was available only lately.
The very first known book available in public was Placido Yambao's book in 1957.
Fact 11
Many modalities in Eskrima/Arnis/Estocada techniques like espada y daga are also found in European fencing arts.
Fact 12
The once Spanish colony of Venezuela in far away South America also have their own form of stick fighting.
The Garrote Larense stick fighting art of Venezuela reminds one of Eskrima.
There must be a connection between these two martial arts somewhere and further research is needed.
Fact 13
It is baseless to say that Eskrima and Arnis are just phases of the natural evolution of Kali; that is, Kali being the original form, Eskrima and Arnis the modern and diluted equivalents.
Kali that we can see today doesn't differ from Eskrima/Arnis.
Some say that Kali is on blades while Eskrima/Arnis more on sticks implying that Kali is more combative, realistic and original form while Eskrima/Arnis as sanitized intended for sports.
But in places where the word Kali is not the traditional term used, the Eskrima/Arnis also included the practice of the bladed weapons.
In fact, many of those who categorize their styles as Kali were actually derived from Eskrima/Arnis styles.
Fact 14
There is no lack of good blacksmiths and is not the reason why many Eskrima/Arnis fighters use sticks now instead of real blades.
Many good Eskrimadors are not found in areas known for their machete-making skills.
Many panday or sword smiths do not know Eskrima and it is never mentioned in the Philippine history that Philippines were running out of bolos.
Fact 15
That the theory proposed is actually not corroborated in the works of the experts of the Philippine history, anthropology and sociology.
Intertribal war was a reality especially before the islands became a colony of Spain.
When there is war, there are warriors, weapons, and military arts.
If Kali was a military art, then history books in high school and college must mention it.
I do not remember reading a word Kali in our history books when I was still in high school and college, instead in our world history I read words like samurai, katana, etc.
Books of anthropology must also provide details about it.
It is not mentioned, not because historians are not interested, it is simply because there is no sufficient information about it.
So, basing on the aforementioned facts, we can only offer logical comments as to the possible origin of the contemporary Filipino martial arts (a bigger portion of which is the Eskrima/Arnis/Estocada/Kali).
It is basically a product of Filipino creativity and no doubt whatsoever, it is very Filipino.
The bulk of its repertoire was developed during Spanish colonial times, and plausibly it got its inspiration from European fencing concepts and practices.
It was greatly developed and refined (and the evolution still continues) only here in the islands of the Philippines.
Is “KALI” Appropriate to Describe an Indigenous Blade Based Filipino Martial Arts? By Talibung Antike
Written by Talibung Antike on August 6, 2008
True blooded genuine Eskrimadores in the island Panay from the coastal plains to the hinterlands of Aklan, Capiz, Iloilo and Antique who are mostly if not all are World War II underground guerrilla fighters pitted their craft using “Talibungs”, “Sanduko” and “Ginuntings” against the Japanese soldiers’ “Katana” swords and Bayonets in hand to hand combat when they ran out of bullets. One will never hear a word “Kali” from any of them that alludes to fighting whether unarmed or armed confrontation where sticks, spears, or bladed weapons are used. It should be noted that the word “Kali” in the major languages of Panay and Negros (Hiligaynon and Kiniray-a) means “to dig” which refers to a farming or harvesting activity when one has to dig something from the ground like: “to dig camote=kali camote”, “dig peanuts=kali mani”, “dig gabi=kali gabi”. The word in itself has no reference to fighting at all whatsoever. All these veteran fighters and war survivors refers to their craft as “Eskrima, or the act of “Eskrimahay” which refers to skirmish, a confrontational exchange of blows/attacks, offense/ defense- it may be used outside the context of physical combat, as in “eskrimahay ka tinaga” which means a fierce verbal exchange, and may also refer to the use of weapons like: “baston, talibung, binangon, ginunting, sanduko, lantip, sanggot, espading, daga, lugod, bahi, bugsay, tungkod, yaming, tuwang-tuwangan, garab, kaw-it, hal-o, etc”. The experts and practitioners of these indigenous martial arts systems are either called “Eskrimador” or “Bastonero” not “Kalista”, “Kalidor” nor “Kalinero”.
The claim that the word “Kali” came from the Muslim chieftains that established a colony in Kalibo, Aklan — (sometimes cited as the origin of the name “Kali”) is very wrong and has no historical basis at all.
The official history of Kalibo on record states that, Kalibo is a town in Aklan, founded by settlers from Malaysia who came with Datu Bangkaya (The Muslims had never been successful in conquering Panay Island despite relentless attempts even during Spanish times). Upon the arrival of the Spaniards, Madianos (Madyanos) is the primitive Pre-Hispanic name of Kalibo. It was found to be the first place in Aklan with houses grouped together, the inhabitants thereof, already having some form of political organization.
How Kalibo got its present name was because of a mass Christening of One Thousand (1,000) natives in “Madianos” in May, 1566, by a Spanish priest, who came with Adelantado Don Miguel Lopez de Legaspi. One thousand (1,000) is written in the Aklan dialect as “ISA KA LIBO”, “SANG LIBO”, and in order to commemorate and perpetuate this historical fact, the name “Calibo”, a contraction derivative of these three words in the Aklan dialect, was given to the town instead of “MADIANOS”. From year 1566, “CALIBO” was the official name used up to about 1929. Upon the recommendation of the Committee on Geographical Names, the official name “KALIBO” was finally adopted.
If Kali as a blade based fighting system is to be alluded to the word “Kalis”, it is even farther from the true meaning of the Hiligaynon word “Kalis”. “Kalis” in Hiligaynon and Kiniray-a is a verb which means “to scrape off” and if used as a noun it refers to the straight edged wooden or bamboo slat used to swipe the excess grains being measured. The word “Kalis” is a measuring device or activity to ensure accuracy of measurement where the excess are scraped off or leveled out or “kalison” using a “kalis” before counting it as one full unit volume. Traditionally the grains or farm produce like: rice, corn, monggo, sugar, salt, beans, etc are quantified based on traditional volumetric measuring containers like: “ganta or gantangan” (25 gantas = 1 sack), wooden box “panega” (3 panegas=1 sack), “tabig”, and “tabungos”.
(Note: The use of kilograms in measuring plant or farm products is a relatively recent development when the Philippines adopted the metric system during the 1980s)
Hence, based on the aforementioned elucidations the use of the word “Kali” parallel with Arnis and Eskrima in Filipino Martial Arts if it has to be used at all is absurd and very etiologically inappropriate. Example: you “Kali” your opponent! That would mean “you DIG your opponent!” or say: Lets practice “Kali” that would mean “Lets practice DIGGING”
If you KALI your opponent, you DIG your opponent! So he must have been buried, must have been dead a long time ago or a victim of a land slide! That would be the most absurd FMA indeed!
The languages used in Negros Island are “Hiligaynon” (most of Negros Occidental close to Panay Island) and “Bisaya or Cebuano” (Negros Oriental close to Cebu Island). These languages are influences brought by migrants from both islands as workers in the Haciendas of Negros mostly owned by the Hacienderos who are landed elite migrants from Jaro, Iloilo City. If there is no KALI in Cebu Island nor in Panay Island, then claiming KALI as indigenous blade based fighting arts of Panay Island brought to Negros Island is one of the greatest frauds that ever plagued the Filipino Martial Arts History and Martial Arts World as a whole.
It is high time to “KALI” deeper= to “DIG” deeper and ferret out the “TRUTH” about “KALI” as clearly it has no rightful place in the Filipino Martial Arts World historically and etiologically.
This is a big challenge to the well meaning Filipino Martial Arts enthusiasts, avid practitioners, scholars, researchers & historians to start retracing back and DIG deeper into the true Filipino Martial Arts History…. there are still lots to DIG out (KALI) into the open here in PANAY island… the center of the PHILIPPINES.
Welcome to Panay Island PHILIPPINES!
True blooded genuine Eskrimadores in the island Panay from the coastal plains to the hinterlands of Aklan, Capiz, Iloilo and Antique who are mostly if not all are World War II underground guerrilla fighters pitted their craft using “Talibungs”, “Sanduko” and “Ginuntings” against the Japanese soldiers’ “Katana” swords and Bayonets in hand to hand combat when they ran out of bullets. One will never hear a word “Kali” from any of them that alludes to fighting whether unarmed or armed confrontation where sticks, spears, or bladed weapons are used. It should be noted that the word “Kali” in the major languages of Panay and Negros (Hiligaynon and Kiniray-a) means “to dig” which refers to a farming or harvesting activity when one has to dig something from the ground like: “to dig camote=kali camote”, “dig peanuts=kali mani”, “dig gabi=kali gabi”. The word in itself has no reference to fighting at all whatsoever. All these veteran fighters and war survivors refers to their craft as “Eskrima, or the act of “Eskrimahay” which refers to skirmish, a confrontational exchange of blows/attacks, offense/ defense- it may be used outside the context of physical combat, as in “eskrimahay ka tinaga” which means a fierce verbal exchange, and may also refer to the use of weapons like: “baston, talibung, binangon, ginunting, sanduko, lantip, sanggot, espading, daga, lugod, bahi, bugsay, tungkod, yaming, tuwang-tuwangan, garab, kaw-it, hal-o, etc”. The experts and practitioners of these indigenous martial arts systems are either called “Eskrimador” or “Bastonero” not “Kalista”, “Kalidor” nor “Kalinero”.
The claim that the word “Kali” came from the Muslim chieftains that established a colony in Kalibo, Aklan — (sometimes cited as the origin of the name “Kali”) is very wrong and has no historical basis at all.
The official history of Kalibo on record states that, Kalibo is a town in Aklan, founded by settlers from Malaysia who came with Datu Bangkaya (The Muslims had never been successful in conquering Panay Island despite relentless attempts even during Spanish times). Upon the arrival of the Spaniards, Madianos (Madyanos) is the primitive Pre-Hispanic name of Kalibo. It was found to be the first place in Aklan with houses grouped together, the inhabitants thereof, already having some form of political organization.
How Kalibo got its present name was because of a mass Christening of One Thousand (1,000) natives in “Madianos” in May, 1566, by a Spanish priest, who came with Adelantado Don Miguel Lopez de Legaspi. One thousand (1,000) is written in the Aklan dialect as “ISA KA LIBO”, “SANG LIBO”, and in order to commemorate and perpetuate this historical fact, the name “Calibo”, a contraction derivative of these three words in the Aklan dialect, was given to the town instead of “MADIANOS”. From year 1566, “CALIBO” was the official name used up to about 1929. Upon the recommendation of the Committee on Geographical Names, the official name “KALIBO” was finally adopted.
If Kali as a blade based fighting system is to be alluded to the word “Kalis”, it is even farther from the true meaning of the Hiligaynon word “Kalis”. “Kalis” in Hiligaynon and Kiniray-a is a verb which means “to scrape off” and if used as a noun it refers to the straight edged wooden or bamboo slat used to swipe the excess grains being measured. The word “Kalis” is a measuring device or activity to ensure accuracy of measurement where the excess are scraped off or leveled out or “kalison” using a “kalis” before counting it as one full unit volume. Traditionally the grains or farm produce like: rice, corn, monggo, sugar, salt, beans, etc are quantified based on traditional volumetric measuring containers like: “ganta or gantangan” (25 gantas = 1 sack), wooden box “panega” (3 panegas=1 sack), “tabig”, and “tabungos”.
(Note: The use of kilograms in measuring plant or farm products is a relatively recent development when the Philippines adopted the metric system during the 1980s)
Hence, based on the aforementioned elucidations the use of the word “Kali” parallel with Arnis and Eskrima in Filipino Martial Arts if it has to be used at all is absurd and very etiologically inappropriate. Example: you “Kali” your opponent! That would mean “you DIG your opponent!” or say: Lets practice “Kali” that would mean “Lets practice DIGGING”
If you KALI your opponent, you DIG your opponent! So he must have been buried, must have been dead a long time ago or a victim of a land slide! That would be the most absurd FMA indeed!
The languages used in Negros Island are “Hiligaynon” (most of Negros Occidental close to Panay Island) and “Bisaya or Cebuano” (Negros Oriental close to Cebu Island). These languages are influences brought by migrants from both islands as workers in the Haciendas of Negros mostly owned by the Hacienderos who are landed elite migrants from Jaro, Iloilo City. If there is no KALI in Cebu Island nor in Panay Island, then claiming KALI as indigenous blade based fighting arts of Panay Island brought to Negros Island is one of the greatest frauds that ever plagued the Filipino Martial Arts History and Martial Arts World as a whole.
It is high time to “KALI” deeper= to “DIG” deeper and ferret out the “TRUTH” about “KALI” as clearly it has no rightful place in the Filipino Martial Arts World historically and etiologically.
This is a big challenge to the well meaning Filipino Martial Arts enthusiasts, avid practitioners, scholars, researchers & historians to start retracing back and DIG deeper into the true Filipino Martial Arts History…. there are still lots to DIG out (KALI) into the open here in PANAY island… the center of the PHILIPPINES.
Welcome to Panay Island PHILIPPINES!
20th-Century Arnis: The Reemergence of a Warrior's Art by Mark V. Wiley
Filipino martial arts have existed, been suppressed, and reemerged as a subculture within Philippine society for centuries. For over three hundred years, practice of the arts was outlawed by the Spanish colonizers. However, the popularity of the arts of arnis and eskrima began to resurface on the island of Cebu during the 1920s, whereon a number of martial art practitioners began to openly teach their arts.
In 1920 the late Venancio "Anciong" Bacon, the founder of Balintawak arnis, opened the Labangon Fencing Club-the first commercial arnis club in Cebu. Following Bacon's, lead Johnny Chiuten, Pedring Romo, and the famous Cañete brothers also began openly teaching their respective styles of stickfighting. The 1920s also found the Philippine Olympic Stadium promoting full-contact arnis tournaments. Placido Yambao reigned as champion in a number of matches held in the late 1920s and early 1930s. Yambao was then to go on and write the first book on arnis thirty years later. It was also during this decade that the United States was given its first glimpse of these fascinating arts. From 1920 to 1929, Ramiro A. Estalilla, Sr. taught Rigonan-Estalilla kabaroan at the Minneapolis Athletic Club in Minneapolis, Minnesota.
It wasn't until the 1930s, however, that the various masters in Cebu and the neighboring islands came together in the interest of perpetuating the Filipino martial arts. As a result the famed Doce Pares Association was organized in 1932. The Doce Pares Association is the oldest and longest standing martial arts organization in the Philippines and was a driving force behind the reemergence of Filipino martial arts into Filipino society.
In 1939, Doce Pares was joined by the six Cañete brothers. With differences in political view, Bacon left and founded the Balintawak Self-Defense Club.
Eulogio "Yoling" Cañete became the new Doce Pares president.
In 1937, Benjamin Luna Lema founded the Lightning Arnis Club in Mambusao, Capiz.
Ten years later, in 1947, he was requested by the United States Air Force to relocate to Agana, Guam, to instruct their enlisted men in hand-to-hand combat and arnis. The 1940s also saw the development of the infamous Filipino butterfly knife known as the balisong. In a town in Batangas now known as Barrio Balisong, Perfecto de Leon is credited with developing and manufacturing the first balisong knife. Since that time the balisong has become perhaps the most infamous Filipino weapon.
After being founded in the 1920s, sikaran, the Filipino art of foot fighting received recognition and acceptance in the 1950s from such countries as Japan and Korea. The fifties also found arnis becoming popular in Negros Occidental. From 1956-58 the Bacolod Arnis Club existed under the direction of its founder, Narciso "Sisoy" Gyabros, who taught twelve methods of arnis and in turn had twelve disciples.
Amador "Mading" Chavez was one disciple who was fortunate to have learned all of the twelve styles. After the Bacolod Arnis Club dissolved, Chavez founded the Chavez Arnis Group in 1959. 1957 saw the publication of Placido Yambao's book, Mga Karunungan sa Larung Arnis (Knowledge in the Art of Arnis).
This book caused quite a stir among Filipino martial arts practitioners, as they still regarded the art as an artifact oftheir unconquerable history. However, Yambao's work did much to promote the art of arnis. In 1959, Gerardo Alcuzar founded the Durex Self-Defense Club in the Cebu Institute of Technology, where in addition to eskrima, he offered instruction in combat judo and karate.
During the decade of the 1960s Filipino martial arts again felt a resurgence of interest with schools and styles opening themselves up to the public. In Manila this revival was initiated by an organization called Samahan sa Arnis ng Pilipinas (Association of Arnis in the Philippines). In his speech during the launching of the revival of arnis in Manila, Former Secretary of Philippine Education, Alejandro Roces praised members of the Association, stating:
"A neglected aspect of our cultural history as a people, arnis is as old as the Philippines. It is germane to the Filipino, his culture and temperament. During the prehistoric times, it was indulged in as a form of recreation. Filipinos learned it together with reading, writing, religion, incantation, and Sanskrit. It was not, at that time, merely fencing, as we now regard that term. It had its variations in the form of dance and combative arts known as sayaw or sinulog, which was both artistic and entertaining."
In 1960, Romeo Mamar founded the art of tapado which utilizes a forty-three inch staff held at one end with both hands. The art has only two movements in its repertoire, and they are simultaneously blocks and strikes. Mamar founded this art in Taloc, Bago City after having become disheartened by the limitations of the four methods of arnis, lagas, sinamak, layaw, and uhido, he previously learned. In 1963 the Samahan sa Arnis ng Pilipinas sponsored the First National Arnis Festival. This festival was important as it was the first time that the Filipino martial arts were televised for all to see. Various demonstrations of arnis were given by experts from Far Eastern University and the Tondo School of Arnis, which was founded by Jose Mena.
After studying thirteen styles of arnis, Mena developed a personal style called doblete rapillon or, simply, Mena arnis.
The year 1966 was another eventful for arnis in Cebu City. Florencio Roque founded the Tornado Garote Self-Defense Club to promote Tatay Ensong's bahad style, which Roque studied in the 1930s. Magdaleno Nolasco founded the Black Cat Judo Club.
By 1973 Magdaleno had incorporated escrido-the martial art of Ciriaco "Cacoy" Cañete - and changed the name of his club to the Black Cat Self-Defense Club.
Also in 1966, Angel Cabales,with the assistance of students Max Sarmiento and DentoyRevillar, opened the first "commercial" eskrima academy in the United States in Stockton, California.
Leo Giron followed soon with his Bahala Na Filipino Martial Arts school in Tracy, California.
In 1968, Bakbakan International was founded by a number of martial artists in Manila, as a brotherhood of martial artists in the Philippines. Since it founding Bakbakan has promoted Filipino martial arts around the world through the opening of clubs, sponsoring of seminars, the editing and publishing of books and newsletters, and the production of instructional video tapes. Then in 1969, under the encouragement of then director and secretary-treasurer of the Philippine Amateur Athletic Federation, Colonel Arsenio de Borja, arnis was offered as part of the curriculum for a Bachelors of Arts degree in the physical education program at Manila s National College of Physical Education.
The 1970s marked another important decade for the growth and spread of martial arts in the Philippines.
In 1972, Felimon Caburnay,an original Doce ParesAssociation member, founded the Lapunti Self-Defense Club. With his proficiency in Western fencing, eskrima, combat judo, and wrestling, Caburnay founded a system known as lapunti arnis de abaniko. 1972 also hosted the founding of yaw-yan, an acronym of sayaw kamatayan (dance of death). Yaw-yan is a Filipino kicking style developed by Napolean "Nap" Fernandez.
Unlike the similarities to Korean and Japanese kicking styles held by sikaran, the techniques of yaw-yan are more closely allied to those of muay Thai. During this year in the United States, pekiti tirsia arnis grandmaster Leo T. Gaje founded the Arnis America Organization in New York.
In 1975, the National Arnis Federation of the Philippines (NARAPHIL) was organized by General Fabian Ver. At that time General Ver was the Chief of Staff of the Armed Forces of the Philippines and became NARAPHIL s first president. The Philippine Arnis Confederation was also founded in this year by Crispulo "Ising" Atillo. The goal of the Confederation was to expand on the techniques of their grandmaster, Teodoro "Doring" Saavedra, also an original member of the Doce Pares Association. The Punta Princesa Eskrima Club was also founded in 1975 by Artemio Paez, Felipe Atillo, and Carlos Navarro. The United States had its first full-contact arnis tournament also at this time. The event was held in New York and was organized by Amante "Mat" Mariñas and supported by Florendo "Vee" Visitacion.
Visitacion, interestingly, has founded quite a number of martial arts over the past forty years, Filipino and otherwise. Most notably, though, are his Vee arnis and Vee-arnis-jitsu systems.
As human nature usually has it even the best of intentions go awry. During the course of the revival of Filipino martial arts many of the schools became rivals and their members would fight against one another to see who was superior. However, in the hope of once again promoting solidarity amongst fellow practitioners and schools in Cebu, the Cebu Escrima Association was formed in 1976. The newly formed Association lost no time in perpetuating the arts and that same year, in association with NARAPHIL, it sponsored the First National Arnis Convention and First Asian Martial Arts Festival. Then, in 1977, in Talisay, Cebu, Grandmaster Florencio Lasola founded the Oolibama Arnis Club.
Perhaps the most successful association in the central and southern Philippines in the 1970s was the Tres Personas Arnis de Mano Association. Tres Personas was founded by Timoteo E. Marangawith four specific goals in mind: to promote brotherhood and understanding among the advocates of Filipino martial arts; to encourage and propagate Filipino martial arts among the youth; to defend the weak, the young and the old; and to defend the oppressed people, country, and God. Maranga's martial arts background is varied and includes studies in combat arnis, judo, karate, and Western wrestling. Tres Personas arnis is a mixture of the de marina, de cadena, literada, Batangueña serada, florete, and sumbrada styles.
In the United States in 1977, Dan Inosantopublished The Filipino Martial Arts. Although not the first book on the arts published in English, it was the most widely distributed and well-rounded. Inosanto's early pioneering efforts to expose different Filipino masters and systems is reflected in this work. Then, in 1978, Kyokushin-kai karate instructor Ben Singleton sponsored the Pro-Am Classic tournament in Vista, California. This tournament featured the first full contact open weapons sparring division in the United States. Narrie Babao, a student of Carlito A. Lañada and Dan Inosanto, took first place. On March 24, 1979, the National Arnis Association of the Philippines sponsored the First Open Arnis Tournament in Cebu City, where Tom Bisio reigned as champion. Then, on August 19, NARAPHIL sponsored the First National Invitational Arnis Tournament in Manila. Among the masters who par-ticipated in the "masters sparring division" were Cacoy Cañete from Cebu, Timoteo Maranga and Alfredo Mangcal from Mindanao, Jose Mena, Benjamin Luna Lema and Florencio Pecate from Manila, and Hortencio Navales from Negros Occidental. In Both tournaments Cacoy Cañete reigned as champion. Interestingly, the most infamous master, Antonio Ilustrisimo,
refused to compete under the tournament's rules. In response, Ilustrisimo made the statement: "If anyone wants to take my reputation, they will have to fight me with a sword." There were no challengers.
The 1980s saw a number of tournaments sponsored to further establish arnis as a sport. On March 16, 1985, the Third National Arnis Tournament was held in Cebu City, and the Fourth National in Bacolod City on July 26, 1986. Then, on January 2, 1987 Dionisio "Diony" Cañete, the nephew of Cacoy Cañete, was elected as the new president of NARAPHIL. From May 26-29, 1989, the Philippine Kali Grand Championship was held in Manila. Both events were jointly sponsored by the Kali Association of the Philippines and the Armed Forces of the Philippines. In response to the world wide spread of Filipino martial arts the World Kali Eskrima Arnis Federation (WEKAF) was founded in 1987 in Los Angeles, California, with Dionisio Cañete as its first president. The First United States National Eskrima Kali Arnis Championships was then held in San Jose, California in October of 1988. The First Eastern USA Eskrima Kali Arnis Championships was then held in New Jersey in May of the following year. Then, on August 11-13, 1989, WEKAF sponsored the First World Kali Eskrima Arnis Championships in Cebu, Philippines.
One of the best-known grandmasters of arnis in the Western world is Remy Presas.
Presas first gained popularity in the United States in 1983, with th epublishing of his third book, Modern Arnis: Filipino Art of Stick Fighting. As a result of this book, Presas became known as the "Father of Modern Arnis," and has since been featured on the cover of numerous martial arts magazines, produced six instructional video tapes, and has a larger base of students around the world than any other single Filipino master.
In 1991, Arnis Philippines became the "official" government-sponsored organization to spread the art of arnis. Arnis Philippines then became the thirty-third member of the Philippine Olympic Committee. Through this organization's efforts Arnis was featured as a demonstration sport in the 1991 Southeast Asian Games (SEA Games). Arnis Philippines then formed the International Arnis Federation which brought thirty countries together to work towards the acceptence of asnis as a demonstration sport in the Olympic games. With arnis now the national sport of the Philippines, the Senate Committee on Youth and Sports Development, the Philippine Sports Commission, and the Philippine Olympic Committee jointly sponsored and endorsed the Grand Exhibition of Martial Arts in Manila. The event, held on July 31, 1993, featured demonstrations by practitioners of arnis Lanada, sikaran, kali Ilustrisimo, sagasa, ngo cho kun, pencak silat, hwarangdo, hsing-i, and kyokushin-kai.
The 1990s also saw many other masters coming out of the woodwork to teach or further promote their arts.
Included in this group would be the late founder of lameco eskrima, Edgar Sulite, Balintawak arnis cuentada master Bobby Taboada, arnis and hilot master Sam Tendencia, and Rigonan-Estalilla kabaroan grandmaster Ramiro Estalilla.
The 20th-century has seen a revival of martial arts in the Philippines paralleled by no other country. In the past sixty years the arts went from almost complete isolation and obscurity to world wide exposure and commercialization. With this exposure, and paralleling the ethnic, tribal, and religious separateness in the Philippines, have sprung a plethora of new organizations and associations, new schools and styles, new masters and grandmasters. What the Filipino martial arts needs if they are to remain through the next century is a stronger sense of cohesion. One organization must be crafted to accommodate the various martial ideologies. A single ranking structure must be adopted to assure a high standard for and legitimization of rank among and between systems and styles. This must happen without losing sight of the roots of the arts which commercialization tends to do.
In closing, the words of Leonard B. Meyer are fitting:
"New styles and techniques, schools and movements, programs and philosophies, have succeeded one another with bewildering rapidity. And the old has not, as a rule, been displaced by the new. Earlier movements have persisted side by side with later ones, producing a profusion of alternative styles and schoolsóeach with its attendant aesthetic outlook and theory."
About the Author
Mark Wiley is an accomplished martial artist and leading authority on a variety of Philippine and Chinese martial arts, French savate, tae kwon do and karate. He is the author of three books on Phillippine martial arts, including Filipino Martial Culture, from which this article was in part excerpted. He has served as Martial Arts Editor for Charles E. Tuttle Publishing Co., Book Publishing Editor for Unique Publications, Editor of Martial Arts Legends magazine and Associate Editor for the Journal of Asian Martial Arts. He is author of eight books on martial arts and qi gong and over 100 articles published in a variety of martial arts magazines. He also serves as Associate Editor for FightingArts.com.
In 1920 the late Venancio "Anciong" Bacon, the founder of Balintawak arnis, opened the Labangon Fencing Club-the first commercial arnis club in Cebu. Following Bacon's, lead Johnny Chiuten, Pedring Romo, and the famous Cañete brothers also began openly teaching their respective styles of stickfighting. The 1920s also found the Philippine Olympic Stadium promoting full-contact arnis tournaments. Placido Yambao reigned as champion in a number of matches held in the late 1920s and early 1930s. Yambao was then to go on and write the first book on arnis thirty years later. It was also during this decade that the United States was given its first glimpse of these fascinating arts. From 1920 to 1929, Ramiro A. Estalilla, Sr. taught Rigonan-Estalilla kabaroan at the Minneapolis Athletic Club in Minneapolis, Minnesota.
It wasn't until the 1930s, however, that the various masters in Cebu and the neighboring islands came together in the interest of perpetuating the Filipino martial arts. As a result the famed Doce Pares Association was organized in 1932. The Doce Pares Association is the oldest and longest standing martial arts organization in the Philippines and was a driving force behind the reemergence of Filipino martial arts into Filipino society.
In 1939, Doce Pares was joined by the six Cañete brothers. With differences in political view, Bacon left and founded the Balintawak Self-Defense Club.
Eulogio "Yoling" Cañete became the new Doce Pares president.
In 1937, Benjamin Luna Lema founded the Lightning Arnis Club in Mambusao, Capiz.
Ten years later, in 1947, he was requested by the United States Air Force to relocate to Agana, Guam, to instruct their enlisted men in hand-to-hand combat and arnis. The 1940s also saw the development of the infamous Filipino butterfly knife known as the balisong. In a town in Batangas now known as Barrio Balisong, Perfecto de Leon is credited with developing and manufacturing the first balisong knife. Since that time the balisong has become perhaps the most infamous Filipino weapon.
After being founded in the 1920s, sikaran, the Filipino art of foot fighting received recognition and acceptance in the 1950s from such countries as Japan and Korea. The fifties also found arnis becoming popular in Negros Occidental. From 1956-58 the Bacolod Arnis Club existed under the direction of its founder, Narciso "Sisoy" Gyabros, who taught twelve methods of arnis and in turn had twelve disciples.
Amador "Mading" Chavez was one disciple who was fortunate to have learned all of the twelve styles. After the Bacolod Arnis Club dissolved, Chavez founded the Chavez Arnis Group in 1959. 1957 saw the publication of Placido Yambao's book, Mga Karunungan sa Larung Arnis (Knowledge in the Art of Arnis).
This book caused quite a stir among Filipino martial arts practitioners, as they still regarded the art as an artifact oftheir unconquerable history. However, Yambao's work did much to promote the art of arnis. In 1959, Gerardo Alcuzar founded the Durex Self-Defense Club in the Cebu Institute of Technology, where in addition to eskrima, he offered instruction in combat judo and karate.
During the decade of the 1960s Filipino martial arts again felt a resurgence of interest with schools and styles opening themselves up to the public. In Manila this revival was initiated by an organization called Samahan sa Arnis ng Pilipinas (Association of Arnis in the Philippines). In his speech during the launching of the revival of arnis in Manila, Former Secretary of Philippine Education, Alejandro Roces praised members of the Association, stating:
"A neglected aspect of our cultural history as a people, arnis is as old as the Philippines. It is germane to the Filipino, his culture and temperament. During the prehistoric times, it was indulged in as a form of recreation. Filipinos learned it together with reading, writing, religion, incantation, and Sanskrit. It was not, at that time, merely fencing, as we now regard that term. It had its variations in the form of dance and combative arts known as sayaw or sinulog, which was both artistic and entertaining."
In 1960, Romeo Mamar founded the art of tapado which utilizes a forty-three inch staff held at one end with both hands. The art has only two movements in its repertoire, and they are simultaneously blocks and strikes. Mamar founded this art in Taloc, Bago City after having become disheartened by the limitations of the four methods of arnis, lagas, sinamak, layaw, and uhido, he previously learned. In 1963 the Samahan sa Arnis ng Pilipinas sponsored the First National Arnis Festival. This festival was important as it was the first time that the Filipino martial arts were televised for all to see. Various demonstrations of arnis were given by experts from Far Eastern University and the Tondo School of Arnis, which was founded by Jose Mena.
After studying thirteen styles of arnis, Mena developed a personal style called doblete rapillon or, simply, Mena arnis.
The year 1966 was another eventful for arnis in Cebu City. Florencio Roque founded the Tornado Garote Self-Defense Club to promote Tatay Ensong's bahad style, which Roque studied in the 1930s. Magdaleno Nolasco founded the Black Cat Judo Club.
By 1973 Magdaleno had incorporated escrido-the martial art of Ciriaco "Cacoy" Cañete - and changed the name of his club to the Black Cat Self-Defense Club.
Also in 1966, Angel Cabales,with the assistance of students Max Sarmiento and DentoyRevillar, opened the first "commercial" eskrima academy in the United States in Stockton, California.
Leo Giron followed soon with his Bahala Na Filipino Martial Arts school in Tracy, California.
In 1968, Bakbakan International was founded by a number of martial artists in Manila, as a brotherhood of martial artists in the Philippines. Since it founding Bakbakan has promoted Filipino martial arts around the world through the opening of clubs, sponsoring of seminars, the editing and publishing of books and newsletters, and the production of instructional video tapes. Then in 1969, under the encouragement of then director and secretary-treasurer of the Philippine Amateur Athletic Federation, Colonel Arsenio de Borja, arnis was offered as part of the curriculum for a Bachelors of Arts degree in the physical education program at Manila s National College of Physical Education.
The 1970s marked another important decade for the growth and spread of martial arts in the Philippines.
In 1972, Felimon Caburnay,an original Doce ParesAssociation member, founded the Lapunti Self-Defense Club. With his proficiency in Western fencing, eskrima, combat judo, and wrestling, Caburnay founded a system known as lapunti arnis de abaniko. 1972 also hosted the founding of yaw-yan, an acronym of sayaw kamatayan (dance of death). Yaw-yan is a Filipino kicking style developed by Napolean "Nap" Fernandez.
Unlike the similarities to Korean and Japanese kicking styles held by sikaran, the techniques of yaw-yan are more closely allied to those of muay Thai. During this year in the United States, pekiti tirsia arnis grandmaster Leo T. Gaje founded the Arnis America Organization in New York.
In 1975, the National Arnis Federation of the Philippines (NARAPHIL) was organized by General Fabian Ver. At that time General Ver was the Chief of Staff of the Armed Forces of the Philippines and became NARAPHIL s first president. The Philippine Arnis Confederation was also founded in this year by Crispulo "Ising" Atillo. The goal of the Confederation was to expand on the techniques of their grandmaster, Teodoro "Doring" Saavedra, also an original member of the Doce Pares Association. The Punta Princesa Eskrima Club was also founded in 1975 by Artemio Paez, Felipe Atillo, and Carlos Navarro. The United States had its first full-contact arnis tournament also at this time. The event was held in New York and was organized by Amante "Mat" Mariñas and supported by Florendo "Vee" Visitacion.
Visitacion, interestingly, has founded quite a number of martial arts over the past forty years, Filipino and otherwise. Most notably, though, are his Vee arnis and Vee-arnis-jitsu systems.
As human nature usually has it even the best of intentions go awry. During the course of the revival of Filipino martial arts many of the schools became rivals and their members would fight against one another to see who was superior. However, in the hope of once again promoting solidarity amongst fellow practitioners and schools in Cebu, the Cebu Escrima Association was formed in 1976. The newly formed Association lost no time in perpetuating the arts and that same year, in association with NARAPHIL, it sponsored the First National Arnis Convention and First Asian Martial Arts Festival. Then, in 1977, in Talisay, Cebu, Grandmaster Florencio Lasola founded the Oolibama Arnis Club.
Perhaps the most successful association in the central and southern Philippines in the 1970s was the Tres Personas Arnis de Mano Association. Tres Personas was founded by Timoteo E. Marangawith four specific goals in mind: to promote brotherhood and understanding among the advocates of Filipino martial arts; to encourage and propagate Filipino martial arts among the youth; to defend the weak, the young and the old; and to defend the oppressed people, country, and God. Maranga's martial arts background is varied and includes studies in combat arnis, judo, karate, and Western wrestling. Tres Personas arnis is a mixture of the de marina, de cadena, literada, Batangueña serada, florete, and sumbrada styles.
In the United States in 1977, Dan Inosantopublished The Filipino Martial Arts. Although not the first book on the arts published in English, it was the most widely distributed and well-rounded. Inosanto's early pioneering efforts to expose different Filipino masters and systems is reflected in this work. Then, in 1978, Kyokushin-kai karate instructor Ben Singleton sponsored the Pro-Am Classic tournament in Vista, California. This tournament featured the first full contact open weapons sparring division in the United States. Narrie Babao, a student of Carlito A. Lañada and Dan Inosanto, took first place. On March 24, 1979, the National Arnis Association of the Philippines sponsored the First Open Arnis Tournament in Cebu City, where Tom Bisio reigned as champion. Then, on August 19, NARAPHIL sponsored the First National Invitational Arnis Tournament in Manila. Among the masters who par-ticipated in the "masters sparring division" were Cacoy Cañete from Cebu, Timoteo Maranga and Alfredo Mangcal from Mindanao, Jose Mena, Benjamin Luna Lema and Florencio Pecate from Manila, and Hortencio Navales from Negros Occidental. In Both tournaments Cacoy Cañete reigned as champion. Interestingly, the most infamous master, Antonio Ilustrisimo,
refused to compete under the tournament's rules. In response, Ilustrisimo made the statement: "If anyone wants to take my reputation, they will have to fight me with a sword." There were no challengers.
The 1980s saw a number of tournaments sponsored to further establish arnis as a sport. On March 16, 1985, the Third National Arnis Tournament was held in Cebu City, and the Fourth National in Bacolod City on July 26, 1986. Then, on January 2, 1987 Dionisio "Diony" Cañete, the nephew of Cacoy Cañete, was elected as the new president of NARAPHIL. From May 26-29, 1989, the Philippine Kali Grand Championship was held in Manila. Both events were jointly sponsored by the Kali Association of the Philippines and the Armed Forces of the Philippines. In response to the world wide spread of Filipino martial arts the World Kali Eskrima Arnis Federation (WEKAF) was founded in 1987 in Los Angeles, California, with Dionisio Cañete as its first president. The First United States National Eskrima Kali Arnis Championships was then held in San Jose, California in October of 1988. The First Eastern USA Eskrima Kali Arnis Championships was then held in New Jersey in May of the following year. Then, on August 11-13, 1989, WEKAF sponsored the First World Kali Eskrima Arnis Championships in Cebu, Philippines.
One of the best-known grandmasters of arnis in the Western world is Remy Presas.
Presas first gained popularity in the United States in 1983, with th epublishing of his third book, Modern Arnis: Filipino Art of Stick Fighting. As a result of this book, Presas became known as the "Father of Modern Arnis," and has since been featured on the cover of numerous martial arts magazines, produced six instructional video tapes, and has a larger base of students around the world than any other single Filipino master.
In 1991, Arnis Philippines became the "official" government-sponsored organization to spread the art of arnis. Arnis Philippines then became the thirty-third member of the Philippine Olympic Committee. Through this organization's efforts Arnis was featured as a demonstration sport in the 1991 Southeast Asian Games (SEA Games). Arnis Philippines then formed the International Arnis Federation which brought thirty countries together to work towards the acceptence of asnis as a demonstration sport in the Olympic games. With arnis now the national sport of the Philippines, the Senate Committee on Youth and Sports Development, the Philippine Sports Commission, and the Philippine Olympic Committee jointly sponsored and endorsed the Grand Exhibition of Martial Arts in Manila. The event, held on July 31, 1993, featured demonstrations by practitioners of arnis Lanada, sikaran, kali Ilustrisimo, sagasa, ngo cho kun, pencak silat, hwarangdo, hsing-i, and kyokushin-kai.
The 1990s also saw many other masters coming out of the woodwork to teach or further promote their arts.
Included in this group would be the late founder of lameco eskrima, Edgar Sulite, Balintawak arnis cuentada master Bobby Taboada, arnis and hilot master Sam Tendencia, and Rigonan-Estalilla kabaroan grandmaster Ramiro Estalilla.
The 20th-century has seen a revival of martial arts in the Philippines paralleled by no other country. In the past sixty years the arts went from almost complete isolation and obscurity to world wide exposure and commercialization. With this exposure, and paralleling the ethnic, tribal, and religious separateness in the Philippines, have sprung a plethora of new organizations and associations, new schools and styles, new masters and grandmasters. What the Filipino martial arts needs if they are to remain through the next century is a stronger sense of cohesion. One organization must be crafted to accommodate the various martial ideologies. A single ranking structure must be adopted to assure a high standard for and legitimization of rank among and between systems and styles. This must happen without losing sight of the roots of the arts which commercialization tends to do.
In closing, the words of Leonard B. Meyer are fitting:
"New styles and techniques, schools and movements, programs and philosophies, have succeeded one another with bewildering rapidity. And the old has not, as a rule, been displaced by the new. Earlier movements have persisted side by side with later ones, producing a profusion of alternative styles and schoolsóeach with its attendant aesthetic outlook and theory."
About the Author
Mark Wiley is an accomplished martial artist and leading authority on a variety of Philippine and Chinese martial arts, French savate, tae kwon do and karate. He is the author of three books on Phillippine martial arts, including Filipino Martial Culture, from which this article was in part excerpted. He has served as Martial Arts Editor for Charles E. Tuttle Publishing Co., Book Publishing Editor for Unique Publications, Editor of Martial Arts Legends magazine and Associate Editor for the Journal of Asian Martial Arts. He is author of eight books on martial arts and qi gong and over 100 articles published in a variety of martial arts magazines. He also serves as Associate Editor for FightingArts.com.
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