Chapter:#1 Who am I? What right do I have to teach this?

Guro Dan Inosanto: The Filipino Martial Arts

Know Now Publishing USA 1980

Once you have learned the basics from any instructor, you must seek elsewhere. This elsewhere
is within yourself. Truth is in being yourself, totally and alively!
There are many reasons one might question who has the right to teach martial art. I question myself
all the time. Its part of a complex I have. Its a complex that is shared by many in my position: the
FRAUD COMPLEX. We seem to deny that we have the knowledge of the subject we want to teach
and even if we accept that we do know something we see all that we dont know as justification of
the feeling that we have no right to teach what we know. Yes, very convoluted logic. Especially
when there are REAL frauds that exist within the world of combative and martial arts.
As a MENSAN I have what is called very creative intelligence. I am not necessarily better then any
one else but the way in which I process information is considered different than most. Or, its at
least different than 98-99.9% of the population. I dont learn faster, I dont process information
better, I dont out perform others in school all the time but I do make connections, creative
connections. As with most MENSANS I have the ability that I usually assume that all others have,
the one of self-teaching. That is, I read, therefore I learn. Add video to this and its like being there
in person. Add real time interaction with an instructor and it all comes alive. What does this have to
do with this book? A LOT! I dont have a list five miles long with all my supposed black belt ranks
to prove how good I am. I dont have lots of fancy paper on my wall. Yes, I know a bunch of them,
the ones with all the paper and titles and impossible to verify training with far away masters, one
of them has gone as far to call himself an Expert-Grandmaster
I do have real time learning experience and lots of years of real time teaching. I have been doing
martial arts since 1965-66. How good am I? I dont know, but I do know that my students are
usually better than I am. I do know that my students usually are good instructors and they always
ask about what and how I teach. For them I wanted to put the way onto paper.
I wanted to give people a book I myself might have wanted to read and learn from. (Ill probably reread what I have written in this book and discover new things as well as Wow I really wrote
this?) I hate reading a book that is supposed to teach me something and the photos have no
connection to the text or the text itself is a waste of the authors experience. Its like taking a famous
martial arts instructor and having that instructor write a book that basically tells one how to stand or
make a fist or hold a weapon. Who needs that? Hell the instructors students could have told us that
information. To quote the famous old WENDYS commercial Wheres the beef?
Some books have great photos but if one isnt a martial artist nothing makes sense. Others talk
about the essence of the style but have no step by steps. Other martial arts books are the supposed
history of martial arts of course seen through the eyes of the style written about by the author. Most
martial arts books do a little of all that. An example of one that doesnt and I have worn out the
pages, is written by a friend of mine, Dan Anderson. Pound for pound it might be one of the best
martial arts books out there, great info at really cheap price! Dan wrote a book that he himself
would have wanted as he came up through the ranks. Another friend of mine, Mike Janich wrote a
guide to using knives; knife fighting. Is it the ultimate book on knives? Probably not, (if you
personally ask Mike) Mike could come up with new things to write about. But it is one of the best
texts out there for anyone who wants to understand the reality of using a knife in a self-defense
combative situation. Gads what a novel concept: a usable book! Bob Orlandos books on Martial
Arts in America and SILAT are right up there as well. Dan Inosantos old book on Filipino Martial
Arts is another classic. His book is usable and enjoyable to learn from. Are there others? Yes, there

are I just wanted to give a couple of examples. Are there really rotten books? Hell yes and Ill be
politically correct and not get into insulting or naming them.
I have spent over thirty years learning various martial arts. I have studied with many instructors,
attended seminars, read books, viewed videos and applied common sense. Do I have black belt
ranks? Yes I do. For example several years ago I became a LAKAN TATLO: a Third Degree Black
Belt, 4th level Advanced Instructor under Professor Remy Presas in Modern Arnis. Recently I was
awarded my 5th Degree Black Belt in Arnis by Datu Shishir Inocalla and the Arnis Maharlikha
Association of the Philippines. Am I the best, a magnificent grandmaster ready to share the secrets
with the world? No way Maybe somehow after all these years Im an undefeated champion of
some federation, quickly dispatching all comers? Yeah, right! Hell, Im just beginning to truly
understand martial arts. As for Combative reality? Its a whole different animal. Professor Presas
always says hes a slow learner but once he knew something it all became clear. Well. Im a slow
learner too. But once I know something its mine and my gift is that I can then express it and teach
what I know. Im not the toughest fighter, the ultimate warrior, nor am I the wisest most
knowledgeable person on martial arts or combat. I am a very good instructor.
A very dear friend of mine, Martin Starr has known me forever. We have always considered each
other brothers and as we grew up people outside our actual families BELIEVED we were real
brothers. My daughter only knows Martin as her REAL Uncle. Anyway, Martin always said I was a
true Renaissance man, an inventor, painter, sculptor, martial artist, designera true Leonardo Da
Vinci. I always thought he was really off the mark, but like a German Shepherd I might not be the
best at any of what I do but Im pretty good. (German Shepherds rate out good to very good at most
things...being best at one thing is not a typical German Shepherd!)Yes, like a true renaissance
person I continue to learn, grow, teach and understand the world around me. Like a true
Renaissance man I love to teach what I know, for knowledge should be shared to enable it to
grow.
I also see connecting threads and translations. It is these threads and translations that I hope I can
convey to those of you that read this book. I believe in PRINCIPLES unchanging foundations
built according to physical laws to build on. I believe in building with concepts for no two people or
situations are ever the same. I do not believe in my style is better than your style type of
situation nor will I waste valuable ink in trying to prove anything as stupid as that attitude!
I believe that Filipino martial arts have a wonderful way of opening ones eyes. Professor Presas
likes to call Arnis and Filipino martial art the art within your art. The Chinese believe that
martial arts are part of ones soul, a part of ones being. The two interact with each other very easily. I
hope that my interpretation of the concepts and principles of Filipino-Chinese arts opens someones
eyes and makes them smile. I hope that in some way I make the arts and combat clearer for those
that read this book.
Some of you might be lost at the formatting of the book. I thought that I better establish several
guidelines, such as:
What is Modern Arnis?
What do the terms and names mean?
Give some historical background without getting into a complete discourse.
Give an over view of what makes up Modern Arnis.
Show weapons and the usage especially the edged tool: the knife
Define Principles, and concepts; then further break concepts onto concepts of motion or of usage.

In some cases I refer to A as attacker and D as defender. That makes keeping score fairly easy. In
others where I want you included closely I will exchange either the attacker or defender with you
the reader, so you are part of whats going on. WHY? Well, because I hate reading books that are
one way or the other. I like being moved around from different points of view. It keeps me and you
on our toes and if forces one to see that all things change by ones point of view or perspective
INCLUDING reading about it! It also means you cant skim this material and not read the book. It
demands you pay attention.
There are no techniques in here. No secrets to defeat all comers. Yes, there will be spots you will
yell at me through the book, hey, Bram, you could have done this instead!or gee Bram, how
could you not see this! If you do respond this way then I did OK. You are using the book and you
see the options! Those of you that cry out Hey thats not MY Modern ArnisOK it might not be
so I suggest you read on till you find YOUR Modern Arnis within
Directions of motion change as I talk you through all this so lets set WHERE we are all coming
from. All directions of action are from a first person view. Thats correct, out of your own eyes.
Forward vertical circular motion is from your center line outward. Your hand moves outward and
down and into a circular motion that keeps coming UP your center.
Backward vertical circular motion is from your center line inward. Your hand moves down your
center, outward and upward coming back into your center.
Counterclockwise circular motion is a right to left circle parallel/ vertical to your body. It is as if for
example, your right hand / arm is going a close-to open position, making a circle in front of your
body.
Clockwise circular motion is a left to right circle parallel/ vertical to your body. It is as if for
example, that your right hand / arm is making an open -close position, making a circle in front of
your body.
Obviously if one does it in a vertical plane one can do it in a horizontal plane as well.
I talk the reader through several situations and variations and I ask that you visualize what Im
saying. WHY? Because visualization is important to any physical endeavor especially fighting arts,
one must be able to see in ones head what one wants to do. When I talk of directions, angles, or
the motions of movement, you must visualize being in that persons first person point of view,
seeing out of their eyes.
Visualization is one of the secrets of mastering any martial art. Practice it while using this book and
your own art will be better!
I cannot possibly put all that is Modern Arnis into one book. An encyclopedia would be needed to
capture all there is to Modern Arnis. What I did try to do was encapsulate and give one a conceptual
taste of Modern Arnis. If you like it then I suggest you find a Modern Arnis instructor or school
near you and go to it. YesI will give you some pointers of where to look. Professor Presas has
taught thousands of people over the years, so look carefully and you will find someone who can
share REAL modern Arnis with you!
To be aware is to be alive!

Chapter:#2 How to use this book

Ok Ive got your attention. If you skipped the first chapter who am I? no problem! Ill repeat
some of that chapter right here. This small chapter will tell you HOW TO USE THIS BOOK.
First of all I try to open each chapter with a quote from one of Professor Presas three early books
on Modern Arnis. Some of the chapter openings have quotes from Guro Dan Inosantos out of print
book on Filipino Martial art. Both men have told us to seek out the truth.
Second of all, no chapter can stand on its own, as the way to do Modern Arnis or Renegade
Modern Arnis.
You will need to read of all of the chapters, at least once, sometimes several times to get the point of
what is being written. I give basic situations where I expect you the reader to use your imagination.
Youve got no imagination? Try harder! Well, the fact is that imagery is very important to success.
All professional athletes, champions, old time warriors used imagery to focussometimes it was
called meditation but the goal was to actually visualize what one was trying to learn or understand.
See and feel what is written as if it was really happening. OK? That will make it easier to
understand.
I talk the reader through several situations and variations and I ask that you visualize what Im
saying. WHY? Because visualization is important to any physical endeavor especially fighting
arts, one must be able to see in ones head what one wants to do. When I talk of directions,
angles, or the motions of movement, you must visualize being in that persons first person point of
view, seeing out of their eyes.
Visualization is one of the secrets of mastering any martial art. Practice it while using this book and
your own art will be better!
Point of view is very important. When I talk of situations, as I describe what is going on its from a
first person point of view. In other words Im looking OUT of your eyes AT THE OPPONENT.
There is no third person point of view, so you need imagination to see the attack, as it would be
coming directly at you.
This leads to the question of where is RIGHT or LEFT? Obviously RIGHT is your right and LEFT
is your left. Not stage directions, not facing directions but right and left as you would see out of
your own eyes facing forward. The same goes for forward or backward. Forward and backward are
in relation to your personal direction.
In some cases I refer to A as attacker and D as defender. That makes keeping score fairly easy. In
others where I want you included closely I will exchange either the attacker or defender with you
the reader, so you are part of whats going on. WHY? Well, because I hate reading books that are
one way or the other. I like being moved around from different points of view. It keeps me and you
on our toes and if forces one to see that all things change by ones point of view or perspective
INCLUDING reading about it! It also means you cant skim this material and not read the book. It
demands you pay attention.
There are no techniques in here. No secrets to defeat all comers. Yes, there will be spots you will
yell at me through the book, hey, Bram, you could have done this instead!or gee Bram, how
could you not see this! If you do respond this way then I did OK. You are using the book and you
see the options! Those of you that cry out Hey thats not MY Modern Arnisor thats not how
I do it! OK it might not be, so I suggest you read on till you find YOUR Modern Arnis within

Directions of motion change as I talk you through all this so lets set WHERE we are all coming
from. All directions of action are from a first person view. Thats correct, out of your own eyes.
Therefore the following are true:
Forward vertical circular motion is from your center line outward. Your hand moves outward and
down and into a circular motion that keeps coming UP your center.
Backward vertical circular motion is from your center line inward. Your hand moves down your
center, outward and upward coming back into your center.
Counterclockwise circular motion is a right to left circle parallel/ vertical to your body. It is as if
for example, your right hand / arm is going a close-to open position, making a circle in front of your
body.
Clockwise circular motion is a left to right circle parallel/ vertical to your body. It is as if for
example, that your right hand / arm is making an open -close position, making a circle in front of
your body.
Obviously if one does it in a vertical plane one can do it in a horizontal plane as well.
When in doubt, look at the accompanying photos!
To be aware is to be alive!

Chapter #2 Part B: Teaching Arnis by Concept & Principle

Professor Presas: Modern Arnis: Philippine Martial Art Stickfighting........Manila Philippines
1974
Basic Concepts in Arnis and the essential principles: The true power of Arnis does not end with
its techniques. although, basically, the techniques are powerful enough, there is still much power
left untapped if these techniques are not executed along the essential principles underlying its
execution.
Modern Arnis and CSSD/SC Combat Arnis are conceptual arts; techniques are used to illustrate
concepts rather than be a reality unto themselves. Drills /Anyos / Sayaws / Forms are not literal
translations of applicable fighting techniques but rather they suggest concepts and patterns that the
students and instructors can grow from. The translations of the forms/ drills shows the higher
expression of Modern Arnis as one is able to see the universal concept of the movement applied to
many applications / situations not necessarily the immediately apparent usage. One learns to find
the underlying, unchanging principle of motion that is expressed by the conceptual motion and
usage of those concepts.
CTAT is used to teach CSSD/SC and Modern Arnis. CONCEPT, TECHNIQUE,
APPLICATION, TRANSLATION: A concept containing a basic principle or truth is expressed. A
technique within that concept is used to illustrate the use of the concept. There are many techniques
to illustrate a single concept. Then there is the direct application of that concept with any given
technique. Translation is where one gets a hold of the concept and can apply it in any given
situation without regard to what is the attacking weapon or where the attack originates from.
Modern Arnis has overall discarded the old Filipino terminology in naming techniques of
movements due to the vast number of languages and dialects in the Philippines causing one
movement or concept to have several names. Modern Arnis uses English or American terminology
to express themselves in the vein of Chinese arts particularly Wing Chun where the name actually
describes the motion being used. A simple concept within itself to call something as it really is.

We teach Americans in America so we speak English / American. In Germany wed speak German.
An example is the "slant block" which due to the angle of the stick slants down away from the
body; or the "umbrella block" which makes a circular conical shape / umbrella around the head...the
name of the motion describes the actual motion used making identification and learning easier.
Modern Arnis- CSSD/SC is reality based so we BLOCK the incoming attack and use our checking
hand (left hand) to reinforce the block. As an example: Stick first to stop or intercept the attacking
motion, then hand to reinforce the block as well as stop rebound from a forceful attack. Blocking an
attack comes in three basic concepts: Force to force, Meet the force, and Go with the force. Force
to force, we stop the attack directly. Meet the force, we engage the attacking motion as in force to
force and yield to the force and direction of the attack. Go with the force, we blend with the
attacking motion and force never trying to stop the motion or intent of the attack.
Due to the reality of combat we stress defense and immediate counter striking. Attacking is easy.
Anyone can master attacking with empty hand, stick or blade. Defense and counter striking must be
taught for this is the art. To survive one MUST be able to stop an incoming attack and then quickly
counter-attack. Use of the checking hand becomes natural and part of ones response to an attack.
Block, check and counter is the name of the game.
This is reflected in the basic drills and progression of these drills. Fundamentals are always stressed
and done all the time. 12 strikes (with body shifting), 10 blocks (walking the blocks), block-checkcounter, counter for counter (Tapi -Tapi), Sinawali (brush, trap, strike,) Parrying (Hubud), three
count drills and "Flow drill" are the building blocks of CSSD/SC and Modern Arnis.
The use of the blade is one of the ultimate expressions of Modern Arnis. There is finality to the use
of the blade. One must be able to achieve "FLOW" in combat and to respond to the opponents
movements and intent. Understanding the universal concepts is paramount; for cutting cannot be
taken back. Use of the checking hand must be understood for flesh cannot meet steel. Steel cuts
flesh, flesh can only block / check flesh, Steel can check steel or flesh. Cutting must be done with
conviction and intent.
Fighting / study with the knife allows understanding of the use of the point / thrusting. Thrusting is
a sub-art all by itself, which reaches a pinnacle in Filipino martial arts especially Modern Arnis.
Thrusting is the junction between striking and cutting; it is the connective concepts for combat.
Sungkitti (thrusting) drills teach concept of space / distancing within attack and counter attack. All
slashes -strikes become thrusts: all thrusts become strikes - slashes.
The use of a knife also insures the understanding of stroking / cutting and making use of the blades
main area: the edge itself.
With stick or empty hand staccato hitting, rhythmic blows with space between them is not only
possible but also preferred. A blade has no space between strokes. Very little space / time interval is
needed to make cut become thrust and back again. Stroking the cut / slash is needed to insure
maximum utilization of the edge.
A blade teaches the overall concept of "Flowing".
Modern Arnis makes one understand that even though the concept is valid the technique that
illustrates the concept must change with the choice of weapon or the tool used. A #3 horizontal blow
done to the deltoid area with a stick would be better done with a knife. A knife would cut and impair
usage of the deltoid whereas the stick would only bruise the area. A #3 horizontal strike with stick
readjusted to strike to the elbow or floating ribs would cause incapacitation due to structural

damage. The same #3 horizontal blow with empty hand would need to be directed to the side of the
neck / plexus or the floating ribs / kidney area.
The axiom of Arnis is that knife teaches stick, stick teaches empty hand and empty hand teaches
structural knowledge and mortality. Modern Arnis teach the reality of combat and the
understanding of concepts as they apply to self defense; for Modern Arnis as designed by Professor
Remy Presas is the
Art within your art.
OK. Youre ready to use the book.
Read on and enjoy!

Chapter: #3 Modern Arnis: a living conceptual art

Professor Presas: Modern Arnis-Philippine Stickfighting

Manila, Philippines 1974

I have modified many antiquated techniques and introduced new ones, which are easy to learn.
The improvement has proved effective in the field of self-defense. Historically Arnis is
categorized into three basic techniques: Sword and Dagger, Single Stick, and Sinawali. Into
these three ancient techniques of Arnis was added a fourth technique which I have devised,
modernized from the more relevant and applicable techniques, in the process to complete the set
up of what I have arbitrarily termed Modern Arnis.
But the more significant innovation I have made on Arnis is the principle I have formulated to
the effect that the cane or bladed weapon is merely the extension of the hand, and that, even
WITHOUT these weapons, the hand remains an effective defense or combat weapon in Arnis
play. What came out is what I call Modern Arnis today!
Modern Arnis is an eclectic style. Professor Presas traveled around the Philippines for many years
studying various types of Filipino martial arts. He assimilated these arts into his existing body of
Martial Arts knowledge. There is no such thing as pure Modern Arnis. There is no such thing as
traditional Modern Arnis. Modern Arnis is in some ways a generic term for Professor Remy
Presas personal interpretation of Filipino martial art.
Professor Presas was trained in the family style of Arnis, PRESAS Style by his grandfather. Other
Filipino martial arts masters taught him as he grew up. Eventually Professor Presas studied under
Grandmaster Venancio Anciong Bacon while in Cebu. From Bacon he learned and mastered
Bacons version of Balintawak Arnis. Balintawak and Presas Arnis are the foundation of Modern
Arnis. Are they the only blocks that lead to Modern Arnis? NO. Professor Presas continued his
search for knowledge and as he learned more styles, was exposed to more masters of Filipino
martial arts his own style changed again. Experience alters knowledge. Experience allows for use of
knowledge. Personal experience tempered the martial arts knowledge that Professor Presas was
accumulating.
As for inputting only Filipino martial art, Prof. Presas was an avid practitioner of Shotokan Karate
and Judo. He studied Kendo. He studied Kuntao Silat and Filipino Dumog. In his quest to learn he
became obsessed with learning the guiding principals of Filipino martial arts. As he traveled and
studied within the Philippines he taught everyone who would listen. Professor Presas studied and
mastered the Filipino style of BALINTAWAK, a counter for counter style known for aggressive
counter attacks. Grandmaster Bacon taught him the in close fighting of BALINTAWAK and even
today one can see the foundation of Modern Arnis is in the art of BALINTAWAK. Presas always
says that teaching is how one really learns. He set up programs in the Universities and schools.
Professor Presas taught police and military and the realities of combat and enforcement came into
the art. As he taught he mastered the concepts that make up the core of Filipino martial art. He
called it The art within the art. All this blended together and started to be distilled down into what
would eventually be called Modern Arnis The process continued. In 1957 Professor Presas
established Modern Arnis and he was officially declared the father and founder of Modern
Arnis by the Filipino Government.
When Professor Presas arrived in America, he traveled all over the country teaching Modern Arnis
to any and all who would listen. He became good friends with Professor Wally Jay, the founder of
Small Circle JuJitsu and Master George Dillman the foremost proponent of Ryukyu Kenpo:
Kyushu Jitsu, Pressure Point. The three masters have traveled and taught together for many years,
and the principles of both these other masters arts have merged with the art of Professor Presas.
Modern Arnis is a living breathing art that continues to grow. Professor Presas himself states I

have just started to learn, there are those that think they know everything already, but I learn each
day. More Now I begin to understand the art. Modern Arnis is the art within the art.
With that guiding principle to follow several of Professor Presas students have marched on. The
Professor showed them the way and opened the doors to knowledge. Several have stepped through
the doorway. But by treading down those paths of the unknown they have become the so-called
Black Sheep or Renegades of Modern Arnis. Many in Modern Arnis, like in the art of JKD have
become content to accept as is the knowledge that they have received. The Flock of Black Sheep
knows better than that, they know that learning is a constant learning, review and paring down to
essentials.
In JKD there is a rift between several groups of thought concerning what was and is to be taught as
JKD. All the groups outside the Inosanto clan state with conviction, Oh I was taught this technique
by Bruce at this time. In Oakland Bruce taught this! Oh no In Chinatown Bruce taught this!
OH no, Bruce meant to do this ONLY! People have taken one point in Bruce Lees teaching or in
the evolution of JKD, or as taught by its leading exponent Guro Dan Inosanto, as the focal point of
the experience. Whatever they grasp and understand becomes the gospel truth, the Holy Grail of
martial art. Most of them cannot accept that JKD is not anything but a growing experience. They
are in a comfort zone of knowledge and way of doing. They have come to epitomize exactly what
Bruce Lee abhorred traditional stagnation. Conceptual usage escapes them. They cannot see that
Guro Dan Inosanto, is not leading them down a set path, but illuminating a way to see down one of
the many paths available. Some believe they have discovered the truth that they believe eludes even
Guro Dan Inosanto one of the founders of JKD. Guro Dan Inosanto believes in a strong foundation
of principals of motion and economics of fighting as founded by Bruce Lee; Jun Fan-JKD. He
helped establish the conceptual usage of the principles of what is accepted today as JKD. And as
with Bruce Lee before him Dan Inosanto is still learning, trying to understand the guiding principles
of combative reality. These guidelines are just that, a framework for exploration of ones self. A
chance to see the truth of martial art. Inosanto believes as Lee did, that JKD is an exploration and
expression of combative principles, which must reflect life itself: an ever-changing situation. All
one has to do is listen as he speaks,
Continue to learn, to seek knowledge no matter where its from. Everyone has a small piece of
the truth! His truth may not be your truth: but all truth is based on the principles of reality.
The same type of situation exists in Modern Arnis. People exclaim, The Professor meant this when
he did that technique. Hey, Professor Presas just taught this last weekend! I learned the REAL
way from the Professor in California. Hey, he taught this way at the old camps. Oh well I grew
up with him and he showed me this way in the old days in the Philippines. Ive been to over 40
seminars and camps over the last few years, I know the truth of being a Modern Arnis Master...I
am one! Professor Presas himself is constantly changing, growing. Most learn from him at any
given point in his progression of knowledge and that point becomes the gospel, the ONLY way to
express Modern Arnis. This is clearly seen in the attitude of several of the groups of Modern Arnis
factions all of whom claim to hold the truth of Professor Presas. They are the order of the Holy
Grail of Arnis. Any who do it differently are wrong or disrespectful of Professor Presas and Modern
Arnis. Nothing could be further from the truth. By exploring, by using principles of motion and
conceptual action, by exploring new ways and truths these Black sheep actually do homage to the
art of Professor Presas. They do as he did. They seek the art within the art. Only unlike the
Professor when he started out, they are blessed with a framework within which to work.
The framework is the Professors art within the art, Modern Arnis. No having to go back to
square one or figure out where a circle begins. The basic foundation is established; all that is needed
is to feel the flow, to grow, to teach. For each individual this experience will and can be different.
Modern Arnis has basic building blocks of knowledge that allow for personal growth. Professor

Presas calls this personal growth, the understanding of conceptual usage as translations. These
translations allow the practitioner of Modern Arnis to express the art as a living one not one bound
by paper rules. The foundations are guides not rules. They suggest paths of action rather than
dictate. Modern Arnis is a growing art that needs to be fed and allowed to change. It needs to be
understood so that it can be shared with future generations. Modern Arnis, like JKD has its internal
problems, those that want it to stay the same. Luckily there are practitioners in each art that follow
the guidelines of the Presas and Inosanto: and using those guidelines they color OUTSIDE the
lines!
Professor Presas: Modern Arnis- The Filipino Art of Stickfighting
Publications
USA 1983

Ohara

Arnis makes many martial artists discover new things about their own style, says Presas.
They recognize the beauty of Arnis because it blends naturally with the best movements from
many arts. Most of my students continue to study their own styles-they just use Arnis to
supplement their understanding.
Arnis is a growing art, expanding in this country rapidly. Arnis tends to transcend stylistic
distinctions, and discovery seems to be a primary benefit from the study of Modern Arnis,
especially under the methods of Remy Presas.
Modern Arnis contains many parts. There are empty hand forms, stick forms, Filipino JuJitsu,
Dumog or grappling, kicking, Sinawali Boxing, stick and dagger, knife, double stick, single stick,
anti-stick grabbing, as well as combinations of all the parts mentioned. Professor Presas likes to say
its all covered in three forms of play: Espada y Daga, Sinawali, and Single baston.
Professor Presas: The Practical art of Eskrima: 2nd edition 1980 Manila, Philippines
Eskrima or Arnis today is popularly played with the use of the cane, it being less lethal than the
bladed weapon like ITAK or Broadsword. The cane is assumed to be the extension of the
hand so that Arnis is called in Spanish Arnis de Manoor Eskrima. Among the Tagalog
Provinces, Arnis is known as Estocada, Arnis de Mano; Ibangas is to the Pagkalikali;
Kalirongan to the Pangasinense; Kinaadman to the Visayans; Eskrima or Garote to the
Cebuanos; Baston to the people of Panay and Negros occidental; and Sinawali to the
Pampangenos.
As a fighting art Arnis has three forms of play. They are Espada y Daga (sword and dagger) or
the long wooden sword and the short wooden dagger; the Solo Baston (single stick) in which a
single long muton or baston (wooden stick or rattan cane) hardened by drying or heating is used;
and the Sinawali, so called because the intricate movements of the two mutons used invariably
resemble the Sawali, a native material for house walling made of bamboo splits, woven in a crissacross fashion.
In teaching Arnis, three traditional training methods were used by early Filipinos. These were
(1) Muestrasion or Pandalag, an artistic execution of the swinging movements or strokes for
offensive or defensive purpose in repetitive drills; (2) Sangga at Patama or Sombrada Tabak,
technique in striking, thrusting and parrying in a prearranged manner; and (3) Larga Muton or
Labanang Totohahan where two trainees engage in free practice, trying to out maneuver each
other with all their skills.
I hope that I can express the essence of Modern Arnis in the short space I have allotted. It would
truly take an encyclopedia to write and show all the aspects of Modern Arnis in minute detail. If at
any time what I state is different than Professor Presas, then the fault is mine, for I can only see and
understand from my limited point of view. He is the final answer in Modern Arnis and what he sees
as Modern Arnis at that particular time! Yes, Modern Arnis reflects Professors PERSONAL view at

10

any given time. AS Guro Dan Inosanto seems different over time, in emphasis or teaching, so does
Professor Remy Presas, for all things change.
CSSD/SC-Modern Arnis or how I personally see Modern Arnis, tries to adhere to the principle of
not coloring between the lines. New variations on color are used and each practitioner is an artist
unto himself. Under the tutelage of Presas and Inosanto and others, the truth is sought out with an
open mind. This guiding principle of not following the truth but seeking the truth is what this book
is all about. No apologies to those who do not see my way and heart felt thanks to those that
continue to explore. This book is a guide not the bible, nor is it an instructional manual. It might be
right but it might only be situationally correct. Use it carefully and find your own path. Learning is
a complex thing! Combat is a conceptual living thing that needs to be understood not learned.

11

Chapter: #4 Learning is a complex thing

Professor Remy Presas: Modern Arnis- Philippine Stickfighting
1974

Manila, Philippines

So that the art may be easily understood, I have decided to use terminology popular to all. I have
labored to present the art with utmost simplicity and clarity without necessarily sacrificing the
soul of the art. Its modernized presentation will help the student understand the intricate styles
and techniques presented
This is where the grace of the art lies. Its challenge is fascinating and once mastered, it is as
thrilling as it is graceful.
Learning is a complex thing involving many variables, variables with oneself, the situation and the
subject matter itself. Any one of these variables can change in an instant, which will and can effect
the overall act of learning. Professor Presas always stated that the way to learn was to teach. It is
one of the governing principles of Modern Arnis; learn by teaching others. By attempting to teach,
one negates the effect of situation and the subject matter and one can concentrate on ones self.
Really It does work that way. When one teaches something the very act of teaching brings forth
questions, questions from those being taught and more importantly questions for the teacher, Who
am I to be teaching? How am I teaching? Is that what really happens? What comes next? Is that the
progression? Am I making sense? Each question brings forth another in a cascade. Being involved
in the physical act of teaching allows only a small amount of attention to be paid to these questions
as the teacher goes about answering the questions by sheer force of will. By doing, by illustrating
by demonstrating the questions are put to rest as others rise to replace them. With each question
answered a stronger base is created on which to build the structure used to hold more raw
information that in time by being taught will become knowledge. Usable knowledge: Knowledge
that can then be translated and taught to students.
In learning a complex thing such as combative arts the simpler the equation the better. Lots of
instructors try the mass approach, they teach thousands of possible responses to a given situation.
These responses have no basis in reality, have no combative foundation but they are necessary
functions of that teacher. Teaching something complex must be complex and therefore confusing.
Why make it simple. Right? Wrong! Within the complex art of combat there is a given variable,
highly mutable yet constant. The variable is the act of combat itself. Combat is different every time
for every situation for everyone involved. This is a constant variable. This is a true unchanging
principle of real combat. This principle has NEVER changed even though the concepts using this
principle change all the time.
Mankind has fought thousands of wars, millions of personal conflicts and never have two instances
been the same. Therefore that variable IS the constant and it is the first principle of combat:
Combat itself is mutable and cannot be contained or structured.
With this first principle of combat established, the way one teaches or learns takes on new meaning.
Since the principle is one of constant change then one cannot learn set responses to a combative
situation. The response most likely will not match the situation, which in combat could lead to
serious problems such as death. This gives rise to the second principle of combat: One cannot
learn a pre-recorded response to a spontaneous situation.
Human combat involves actual human bodies. Direct confrontation between people on a physical
level. Human bodies are built that form follows function. A human body is a wonder of construction
able to do many tasks as long as it conforms to our actual structure and form. Humans are bound by
this structural restriction. For example we cannot look directly behind us, our arms cross over our

12

bodies in front, not behind, our legs hinge and bend one way. The list of what we cannot do is long
but what is amazing is what we are capable of. This gives us the third principle of combat: Human
combative actions and reactions must be within the bounds of actual - natural physical
response.
Combat is very stressful, as is any confrontation. The human mind and body prepare for this by
shutting down unessential parts and honing in on self- preservation skills. These skills are at the
instinct level. They are referred to as gross motor skills while the higher functions the body shuts
down are called fine motor skills. This gives the fourth principle of combat: Combat must be
simple
With these principles to guide one, learning combative arts takes on new meaning. To learn about
combat yet to violate these principles gives rise to unnatural conflict. The conflict is that naturally
we want to respond in one mode but are taught to or forced to respond in another, a pre-conceived
mode. Humans have an inborn natural response that can be honed for combative response or can be
shaped into an artificial copy of those that teach them. Learning must echo the natural response and
ignore the ego of creating another in ones image. This is where by teaching, the teacher gains
understanding of these principles, which then can be taught to the students. Awareness must come to
first to those that are teaching. It is part of the learning curve. Again to state the obvious: learning
must be simple. It must be based on simple principles. Easy to learn, easy to use, easy to teach.
Any technique, however worthy and desirable, becomes a disease when the mind is obsessed
with itLearn the principle, abide by the principle, and dissolve the principle. In short, enter a
mold without being changed in it, and obey the principle without being bound by it. Bruce
Lee, 1967
Because combat is mutable pre-recorded or set techniques cannot work in real time. Responses
must be established that allow a combatant to change with the variables of the combative flow.
Since set techniques are useless and one needs some kind of defensive responses, the only way to
accommodate both of these variables is to learn conceptual patterns of motion. Conceptual motions
allow for instantaneous changes within the flow of combat for there is no set response, no right or
wrong, but action interaction. For example using principle #3, that humans can only respond with
actual-natural physical responses, we have the concept of Open- Close. Open-Close is the
conceptual guide for the use of human arms within principle #3. Humans can only have their arms
OPEN (spread out wide from the body- in front) or CLOSED (crossed over the body in front).
Open-Close is form following function. Human beings are bounded by the parameters of
anatomical function. This means no form or usage without functional reality. Using Open-Close as
a template, secondary concepts of motion becomes available. Right arm open, the left arm closed,
and then alternating to the other side, left arm open, right arm closed. Done in sequential patterns
we have weaving. Weaving itself has concepts of motion: meeting, passing, shearing, and
alternating. This weaving itself works conceptually under the rules of the universal planes of
motion: horizontal, diagonal, vertical or any combination of the three.
With this conceptual motion we have numerous responses possible with the arms without any
specific technique. The responses are based on natural movement therefore anyone can learn to do
them for the actions- interactions do not violate any of the principles of combat. The response
happens. This means as a response to an attack, the response can change as needed on the
moment, a spontaneous reaction to a spontaneous action. This response a person can learn. It is
intrinsically simple but within it is the complex variable of change, of mutability. Since combat
itself as stated in principle #1 is mutable, ever changing, then a conceptual response that is mutable
and changing is the only logical response.

13

To see this concept in action we need to set up a situation needing a variable response. In defining
this concept a set attack must be given to illustrate the concept. In this case a limb, the right limb
of an attacker coming in towards the defender. With arms open there are several responses that
could happen.
1)
2)
3)
4)
5)
6)
7)
8)

closing the right arm horizontally could be block left or strike left
closing the right arm in a horizontal circular motion could be pass left
closing the right arm in a downward diagonal could be scissor down
closing the right arm in a upward diagonal could be scissor up
closing the right arm in a straight line could be jamming
closing the right arm in a downward vertical could be pinning
closing the right arm in an upward vertical could be lifting- umbrella
closing the right arm diagonal high to low rolling could be wing arm deflection

If the attacker uses his left arm to attack the defender, the same responses with the right arm could
be used. This is the use of conceptual motion to deal with an attack. There is no set response yet the
basic motion of CLOSE works in many conceptual ways. The response works equally as well with
the conceptual motion of OPEN. The two motions can be used sequentially to produce a compound
effect. Passing to locking is an effect of sequential OPEN-CLOSE usage. When OPEN-CLOSE is
used alternately the effect is more dramatic for the motion becomes meeting, passing or more
intensely: shearing.
The OPEN-CLOSE conceptual motion used was with one arm. The use of one arm sequentially or
alternately is simple weaving. The use of two arms becomes the conceptual motion of complex
weaving. Complex weaving entails the conceptual usage of two arms at the same time: mirroring the
same motion, alternating the motion or sequentially using the motion.
.
Because the motions of OPEN-CLOSE are form following function, even the most complex
motions are at principle very simple. This means at the grossest level, in a total combative situation
when the the crap hits the fan and fine motor skills go right down the tubes, combative responses
remain at their highest level. That is simple learning rather than complex learning. It goes with the
principle of combat that COMBAT ITSELF MUST BE SIMPLE. That is why Modern Arnis is
taught by conceptual means, not technique driven. Simplicity must always be paramount within the
learning structure. Concepts though complex in nature are still very simple to use with many
different variables. Using these concepts allows difficult situations in combat to become clearer
because the focus is on the way of doing not in the exact technique of doing.
Note: Many types of martial art utilize the principle of open close. No one style owns the
exclusive rights. Wing Chun in any of its many forms, Filipino, Malaysian, and Indonesian
martial arts are examples of fighting systems that rely heavily on the principle of OPENCLOSE. Bruce Lees JKD as taught by many of those in JKD Concepts teach this way. JKD as
a whole makes use of these principles even if they dont express it as such. The so called
traditional martial arts such as Tae Kwon Do, Karate, Gung Fu, Judo even JuJitsu use these
principles even if they never talk about the conceptual ways or usage. Look carefully and one can
find the underlying principles that guide the martial way.
The conceptual usage of this principle is discussed in the section on CONCEPTUAL STRIKING
PATTERNS.

14

Chapter #5

Combat must be simple. There can be no other way!

Professor Remy Presas: Modern Arnis- Philippine Stickfighting

Manila, Philippines 1974

Long ago, Arnis was a dying Filipino martial art, because of the wrong concepts in teaching the
art to every studentFor in my own little ways, based on long experience in the practice and
teaching of the art, I have modified many antiquated techniques and introduced new ones which
are easy to learn.
Combat must be simple. During a confrontation memory gives way to instinct which quickly deevolves into the animal response of survival. Detail work and fine motor skills quickly vanish
leaving only gross motor skills to remain. Colonel Rex Applegate the father of close quarter combat
stressed these facts during his lifetime. After many years of personal experience in actual combat
and the subsequent training of soldiers for that combat, Applegate came upon certain truths that are
considered true principles of combat. He advocated simplicity, directness, attitude, targeting, and
use of weapons on a sliding scale from possession of weapons to empty hand. (A situation he
advised was to be avoided at all costs!)
Martial artists take a dim view of Colonel Applegate for they are conditioned to believe that their
techniques or tricks will always work on an opponent. Empty hand will win over any adversary
including one with a weapon. Karate the art of empty hand comes from the warriors. It was
developed to fight other warriors. Proper martial art technique can and will predominate over an
armed opponent. This myth prevails, continues, and is self perpetuating. Some instructors teach
martial arts techniques that they say will be the cure all for combative situations. Some current day
Grandmasters actually advocate restraint holds that they claim will allow an average citizen or
student of the arts, to stop an enraged attacker. Most of what these Grandmasters teach is based
on the principle and idealistic concept that the opponent will remain passive throughout the restraint
technique. One even stated during teaching grab my wrist, no, not that way, this way as if ANY
attacker would grab him, as he needed them to. Worse, these expert Grandmasters actually call
what they teach self-defense or street combative techniques. Locking up an opponent with a joint
lock, BEFORE the opponent has been disabled is almost fantasy. Some current self-defense
instructors with real time experience such as Kelly Worden, and James Keating, Bob Orlando,
Graciela Casillas, advocate what Datu Kelly Worden has aptly named the DTL method. Destroy,
trap and lock. Destroy the limb, traps the limb or opponent, THEN joint lock them. DTL is a
serious street effective way to locking up an opponent.
Most martial arts instructors take a personal perspective on combat or self-defense and everything is
judged by way of that instructors ability to perform the techniques that are taught. This might have
validity IF the instructor himself was involved in the attack but most of the time it is the recipient of
the instructors knowledge that becomes involved with the altercation. The person involved in the
attack cannot possibly respond as the instructor did, yet will try to imitate the instructors teachings
even when faced with total loss of fine motor skills and memory of how to causing further
deterioration of the persons response in the face of attack. Most of the time the martial arts student
loses and the art itself gets maligned as being ineffective. Actually it was how and what was
taught that was ineffective not the art itself.
Current martial arts instructors still cling to the old belief of learn this in the order I teach it.
WHY? I learned it that way, so will you. There is a need to control the knowledge as well as an
adherence to linear learning. Instead of looking at combat, especially street combat as a living
opportunity, some instructors of today try to teach learned responses to spontaneous situations.
The attacker will do this, then you respond with this! Well that doesnt work, for while a student
is doing the script from page three, the attacker hasnt seen page three. More than likely the attacker

15

has no idea that a script exists and while the student tries to mold the situation to fit page three as
described by the instructor the attacker is adlibbing his way through. Spontaneity wins over a
prerecorded response almost all of the time. Yes, there are a few exceptions to the rule and its these
exceptions that are used to establish the pre-recorded response rule for the masses. Certain martial
artists can actually pull off what seems to be prerecorded responses to actual attacks. What is really
happening is that these highly trained people are actually responding a beat to a full beat ahead in
thought and action over the attacker. To the casual observer the martial artist is reacting with the
known answer to a supposedly random attack but in reality the martial artist is acting to a stimulus
not reacting. This is what Bruce Lee wanted people to do; to instinctively feel the attack starting and
intercept the attack BEFORE it became an attack.
When you get down to it, real combat is not fixed and is very much alive. The fancy mess
solidifies and conditions what was once fluid and when you look at it realistically, it is nothing
but a blind devotion to systematic uselessness of practicing routines or stunts that lead to
nowhere!"
Bruce Lee
As the JKD clan and other self defense groups have discovered this is easier to say than to do. It
takes constant practice, reality of training, perseverance and a good amount of luck. Due to this fact,
practitioners of any style of JKD stress that combat, especially street combat must be simple. Steve
Grody a self-defense expert and an instructor of JKD from the Inosanto clan has stated, self
defense must be essential, self-evident and contain good basic percussive skills.
Dan Inosanto, the foremost practitioner and instructor of JKD in the world, is constantly learning
new skills and researching other martial arts. At any seminar or in his classroom he explains the
insights he has made while studying these new arts. Inosanto is the epitome of Colonel Applegates
feeling that combat must be simple. He is the best example of an instructor who learns more to
know less. Inosanto doesnt add to his skills by how many techniques he knows, he is constantly
honing truths in martial arts into basic principles and conceptual usage of those principles. As Bruce
Lee stated and Dan Inosanto does by example, ones martial skill in combative reality is based on
paring down to the base essentials not padding on endless techniques. Dan Inosanto has found the
connecting thread in the different martial arts which leads to reality in combat. Simplicity.
Martial Arts instructors and combative arts instructors could take a page from Dan Inosantos
teachings.
It is a conceptual understanding of the principles of combat. Dan Inosanto calls it JKD Concepts. Is
it teachable? Yes, one only has to look at the number of instructors that have come from the
Inosanto clan. Are there other instructors from other arts that teach conceptually and strive for
combative reality? Yes there are. Professor Remy Presas, Professor Wally Jay, Judo Gene LaBell,
James Keating, Michael Janich, Graciela Casillas, Kelly Worden, Paul Vunak, Hock Hochhiem and
Burton Richardson all teach conceptually, just to name a few. There are others as well who teach
self defense this way. Some of these are warriors are getting older while some are the new class of
conceptual instructors, so there are instructors that one can go learn from! Professor Presas, the
founder of MODERN ARNIS says after all these years of teaching and training that he is just
beginning to understand the art and always asks his students Do you see? It is all the same. Do
not make it too hard! As teachers of conceptual ways get older a new generation MUST be taught
to see and to teach conceptually, to stress simplicity in combat. Future generations that understand
reality of combat must be taught.
For example one of these instructors, James Keating with his COMBAT TECHNOLOGIES or
COMTECH leads the way in teaching conceptual combative reality. Why single out Keating?
There are many who teach conceptual martial art, martial art that is based on Combative realities,

16

and they are great instructors, Keating is an example of someone who teaches ONLY Combative
art: sticks, knives, firearms, and empty hand in a conceptual way. Keating by the way does Filipino
martial arts, JKD, Silat, Wing Chun, traditional Goju-ryu as well as having exposure and personal
training with Professor Presas and others in the Modern Arnis clan. Yes, there are others who also
teach combative reality without the martial art mentality. One must seek out these types of
instructors for combative reality. If one cannot be found locally then it is the time to travel to an
intensive seminar taught by one of these reality based instructors. COMTECH sponsors many
combative reality seminars that anyone can attend. Why go? Because the active principles of
combat dont change as time goes on. Society and technology may change with time but the
concepts that they and Colonel Applegate stressed will always be true. Combative reality doesnt
change. Combat is spontaneous. To engage in combative reality the combative way must be simple.
A simplicity that can be understood, learned, taught and passed on.
Datu Kelly Worden continually expresses an example of Modern Arnis combative simplicity. One
needs only to watch him and see that he is the epitome of Modern Arnis expression in street
combat. What Professor Presas wants us to know and use Datu Kelly does! As Keating expresses
combative simplicity from outside Modern Arnis, Datu Kelly uses and teaches Modern Arnis in a
way that even under great duress, one could and can react instantaneously to protect ones self!
Both of these instructors set a great example of teaching Combative simplicity!
What I have tried to illustrate in this book is the principles that drive the simplicity of Combative
Arts as taught in Modern Arnis. I continually mention others who are not Modern Arnis or those
other than myself and the Professor who teach Modern Arnis because others also hold the truth and
they express the same principles of motion that Modern Arnis wants us to learn. Modern Arnis is a
conceptual Art that allows one to understand and move within the framework of a combative
situation no matter what is actually happening. The beauty of the art is that it can be taught to others
and applied by them immediately without sacrificing their whole lives to understand what they have
been taught! Professor Presas has given us an art of combat that reflects exactly what Colonel
Applegate would have wanted us to see: Combat must be fundamentally simple!
If at any time it seems too complex, go back and re-read whats written there, for simplicity
contains complex thought!

Chapter:#6 How does one teach self-defense?

17

In the old days in the Philippines, self-defense was serious business. One learned to fight using a
stick or a blade. The offending bad guy usually ended up crippled or dead. In todays world those
options arent readily available and the repercussions of those actions could be as serious as the
attack itself!
Professor Remy
Philippine1974

Presas:

Modern

Arnis-

Philippine

Stickfighting

Manila,

Self- defense is the soul of Arnis; it is Arnis reason for being as the legend goes. One learns
Modern Arnis not for aggression, not to take advantage of an untrained opponent in combative
art, but to defend himself, only when attacked. For Arnis is a gift of the ancient to people who
are oppressed, that the forces of aggression would not triumph over those of the peace-loving
who hate war for what it brings and love only peace, but who will not hesitate to fight to defend
themselves when they find their backs against the wall.
So how does one teach self-defense? In todays world sometimes I dont really know. Pick up the
phone book and look through the yellow pages marked MARTIAL ARTS. Learn to defend
yourself! Defeat any attacker Read the trade publications. Even the main stream martial arts
magazines of today carry the ads. Everywhere the great martial arts myth exists. Learn explosive
self-defense! Learn unstoppable Martial Arts! Teach any person martial arts skills and no matter
their body type, size, age or strength they will be able to overcome an attacker. Superior technique
always overcomes brute force. OK folks, its time for a reality check.
Yes, I know that one can go to a martial arts class and see the instructor disarm, disable and defeat
several attackers of bigger size and strength. And yes, I personally know famous martial artists,
male and female that if put to the test would be an attacker's or even a group of attackers worst
nightmare. NONE of this is reality based. The average person cannot duplicate these feats, and
worse if they did try; would end up in serious trouble. Most of the great martial artists that I know
have trained for many years. INTENSELY. They run, lift weights, and practice all the time. Most
have at one time or another suffered great personal harm and injury within the context of training.
The physical or mental injury is acceptable to achieve the training goal: competence in martial arts.
Actually it sounds as if I was describing a normal athlete. Thats correct a normal high school
athlete, male or female goes through incredible training to stay competitive today. College athletes
train harder than professionals of the past and an elite few make it to the professional level where
training is their life.
There are millions of ex athletes out there. Many people continue to train by lifting weights, doing
aerobics, or playing pick up games of varying intensity. Gang members, outlaws, criminals all have
labels which society has applied to them which somehow the average person uses to identify and
confuse the issues. Society uses the labels to degrade the people labeled and to raise themselves
over those labeled criminals outlaws, gangs are all inferior in some way to the rest of society.
Labels dont change the fact that these segments of labeled society contain the athletes of the past
or current status. Before the righteous indignation comes out, before you start screaming at this
writers opinion, go check out the jails. Watch the inmates. The average inmate would literally tear
an average person limb from limb. They lift weights, run, box, wrestle, and live in an environment
soldiers of old SPARTA would have approved of. Hidden cameras have shown those inmates
actually train in their own version of street oriented martial arts. The socially unacceptable segment
of our society, which we try to prepare to defend against are actually closer to the ideal of what, we
expect to be. Thats right. We take the average citizen with no physical ability and a couple of hours
a week to give up between life issues and we expect to teach them to overcome real opponents. Its
not going to happen.

18

Not only does the attacker usually have the training advantage but the other cards are in the
attacker's favor as well. Mentally the attacker is geared to do harm to another human being without
thought or care as to the repercussions of such an action. Neither civil nor criminal liability affects
the attacker's state of mind. As in a true warrior mushin exists, no mind or directs mind of
purpose, directed action driven by thought. When the attack happens, spontaneity is in the
advantage of the attacker. Surprise is only on the victims part, one moment safety, the next fighting
for ones life. Scientific research has shown that under great duress, fine motor skills disappear and
only gross motor skills are available. That means the average person training twice a week to learn
complex self defense skills is left with only basic skills when an actual attack happens. So much for
great self defense! So much for defeat any attacker.
Does this mean that everyone who isnt a trained fighter should stop training? Should all people
doing Martial Art with the emphasis on ART stop training? Should we give up and just accept the
fact that the bad guys are better trained so they have the advantage? Actually in some ways we
should! I can hear the screams now! The righteous indignation of who is this jerk? Accept the
facts as stated? NO WAY!
We need to accept that most of the bad guys have intent and ability to perpetrate ANYTHING
they choose at the time they choose.
The way of self-defense as taught today is flawed. Several self defense systems actually tell people
that the average person in a few hours of course work can learn combat joint locking and safely
immobilize an attacker. We have eliminated forms, high kicks, throws and all the useless parts of
our foundation art to make a real self defense system which anyone can learn! They infer in their
training scenarios and seminars that street attacks occur in certain ways rather than spontaneously.
Grab my wrist, NO, not that way! Like this! Others tell the average person that they can kick,
poke or punch their way to safety. A select few might. The women, children and elderly wont be
able to and nothing will enable them to. Oh just eye poke them!... Kick them in the knee!
Disengage from the attack and counter attack! all good statements but what if one lacks the size,
strength, or ability to achieve the goal. Thats correct. Size does matter. So does strength!
With that premise in mind self defense takes on new meaning. One needs to stop martial arts
prejudices, martial arts bias and move on to reality. No one style can solve the problems of selfdefense but old style war attributes can go along way in helping out. No warrior of ANY era would
have gone to war without weapons. Weapons are the great equalizers. Those in Modern Arnis and
other Filipino martial arts know this fact. Before the readers get uppity again, the reality is that no
unarmed person is taking out of action an armed opponent. And no average citizen is going to defeat
a trained bad guy with only empty hand. Americans have this John Wayne mentality and we tend to
believe the fables of one punch and the bad guy falls down. The bad guy will drop his weapon to
fight unarmed cause thats the way and the HERO will always drop his weapon to even the odds.
NO WAY!
A weapon? Yes a weapon and tool that is mankinds oldest and dearest friend. The knife has been
with man for over 1 million years. Its better than a stick. It is an edge that cuts flesh. The principle
of an edge that cuts flesh has never changed. The concept of what an edge is has changed as stone
and glass gave way to bronze then steel. But the principle is unchanged for all time. Warriors and
war arts have for thousands of years tried to solve the riddle of steel. Steel cuts flesh. Flesh drives
steel to cut flesh. Steel ALWAYS cuts flesh. Armor was designed and redesigned. Shields and
helmets were used. Techniques of avoidance were invented. Steel still cut flesh as well as just about
anything in its path. New defenses for knives are invented all the time. They just don t work.

19

Thats why weapons are used. Thats why a knife is the ultimate self-defense tool. Its hard to
defense, it works on a heavily worked principle of physics an edge that cuts flesh and it takes
little or no strength to make it work. Very scary if youre the one on the receiving end! Its just as
scary to a bad guy as it is to a good guy add to this the fact that knives have reached a new level
of sophistication. Technology has kept pace with need and knives of today have evolved from fixed
blades to folders.
As for the legality of carrying a folding knife there are many myths, street stories and I know a
cop and he says The laws and ordinances about weapons vary and the shade of gray is, useful
tools which can double as self defense tools or weapons. One needs to check ones local laws and
ordinances. Dont ask the police. They dont know. Go to the library, research with the Attorney
generals office, request copies of the actual laws and any amendments. Remember there are laws to
contradict other laws. Thats why we have attorneys and Judges. BLADE Magazine has a great
column written by a Judge who happens to be a knife maker Judge Lowell Brey, and back issues
of his columns carry the laws and discussions on the way the laws are interpreted. Basic rule of
thumb is this: Federal law allows for the carrying of folding knives with a blade length of 4
inches or less. Some states have other blade length requirements. California allows for blade length
of 5.5 inches as of this writing. There are exceptions to all the laws within each state. Lots of cities
and towns as well as airlines prefer blade lengths of 3 inches or less. The FAA requires 4 inches
or less for airline carry and several airport security companies such as GLOBE have added the
phrase of or menacing to the rulesThis is to allow for officers discretion and a way to
circumvent the written actual law. (Try to stay within the confines of the law for the law
enforcement and security officers have a hard enough job as it is without ordinary citizens making it
any harder.)
The sad part of all this is that todays laws make simple percussive tools such as ASP, or
Monadnock collapsing batons illegal. Thats right. If the LEO community uses a tool then it is
usually forbidden to the public or declared a weapon. Modern versions of sticks are mostly illegal
but pocket-knives are legal.
With that said, there now exists a modern self-defense tool that can be carried, is assessable and is
legal. How hard is it to teach the average person self defense using this tool? Its Not very hard at
all! The advantage of an edged weapon / tool is that it has an edge that cuts. It takes no strength to
cut. Anyone of any size or age can cut someone else. Size and strength dont matter here! A good
basic rule of cutting is that any cut is good, that some cuts are better than others are and a few cuts
are show stoppers. This brings up the axioms of knife work: Rule#1: Steel cuts flesh, Rule#2:
one cant change rule #1, Rule #3: unless one has a blue suit with a big red S on it Rules #1 &
#2 always apply! If one can hold a knife it will work. Anyone can make a knife cut. ANYONE!!
Even a disabled person who has use of their hands can cut with a knife! Most people including
children have used some kind of knife in daily life such as in a kitchen, cooking, at work, even
playing knights in armor. We, as a people are accustomed to knives. Most of us have learned to keep
the edge away from what we dont want cut. This obviously leads to we point the edge towards that
which we do want cut. Ahh, simplicity!
NOTE: Someone once commented that I needed to discuss blade size, configuration and the reality
of clothing. He said all these things affected the use of an edged tool and were vital considerations.
Actually theyre not. Thats detail stuff that muddies the water. Clothing against todays steel? Ive
seen Sal Glesser of SPYDERCO cut a 1 inch rope with a 1 inch blade in one clean cut. Ive seen
Andy Stanford cut over 6 inches deep into a carcass of meat that was wrapped in duct tape and blue
jeans using a 2 7/8ths inch blade.
Lenny McGill on his Meat man cutting, cuts through a leather jacket, a sweater, a shirt, through the
meat/ flesh and into the bone underneathall using a 3 inch blade. I personally have cut through

20

several layers of blue jeans, tape and cut through the flesh and bone underneath using a 3 inch
bladeso Rule #1 holds true: STEEL CUTS FLESH
Punches to body parts need focus, strength and ability to cover distance. It is the same with kicks, If
you can just reach your attacker his mass might be too great and your touching will only enrage or
encourage them, Not so with a knife. When you reach out and touch someone with a knife its
serious. A touch can become a stab. A touch can slide and become a fillet. A touch can
become a slashing cut. Cutting, stabbing, and filleting muscles bio mechanically impairs body
function. People retract from cuts and hurt. An obstruction or a barrier appears. The opponents arm
to yours. Slap the arm! block it away! Drive it into them. Clear the obstruction and then counter
strike! Only they are too strong and push back into you. Not when one blocks or enters with a
knife. Put that edge into their arm, the obstruction and the attacker will pull away not push into it.
Pushing into the edge of a knife cuts, push hard it cuts deeper. You push on the arm, they move the
arm and the connecting body out of the way!
The average person can use an edged tool for self defense easily. I can hear it already. The attacker
will just disarm them. Use the weapon / tool against them. Ron Balicki one of the premier martial
arts and knife instructors / disarming experts in the country starts out his video series with the
warning that folding tactical knives can turn a disarming experience into a nightmare. Graciela
Casillas, one of the worlds most famous martial artists, author and knife instructor, tells students
and readers that disarms appear and disappear in seconds making them almost impossible to pull
off. James Keating the PREMIER Knife Guro shows disarming as an aside. He has several
disarming flows called unarmed and dangerous but he shows combative disarming: cut off the
attackers fingers and the attacker is disarmed. He teaches that at last resort, when ones life is about
to be taken, THEN one puts ones empty hands into the mouth of the blender to try and affect a
disarm. This means in reality that on the street, an attacker intent on harming the average person
will be unable to deal with an armed defense let alone disarm them or turn the weapon back against
the defender.
Wave your hands in front of your face. Try vertical figure eights, upward figure eights or downward
figure eights in the air with your hands. Try side to side motions, back and forth. Do eye stabs or
jabbing motions. Try Karate chop motionsnow imagine a knife in your hands while you do
these motions. Picture the knifes edge meeting flesh each time. Cant picture it? Go into the
kitchen, take a sharp knife and cut an apple, cut a carrot, cut some meatsee how LITTLE force it
takes. Now go back and try the motions again! (of course LEAVE the knife and food in the
kitchen! ) Its pretty easy to do. Anyone can cut something. Access the knife? Try being aware of
how many times in a day in the middle of doing something you pause momentarily to wipe your
face, scratch an itch, pat you hair, straighten out your clothes and immediately go right back to
whatever you were doing. Reaching for the knife is as simple as scratching that itch. Accessing is as
simple as continuing the original motion.
This holds true for senior citizens and disabled peoples as well. I know that people (including some
so - called self defense systems) say that a disabled person can be taught to kick or punch or even
worse can be taught to try to joint lock an attacker. Try seeing how much leverage one has without
leg power sitting in a wheelchair. (dont be fooled! Sit in a chair, cross your ankles and hold your
legs in the air.. Now try the great joint locking technique! Try that punch. ) If the Physically
challenged person can use their hands then self- defense with an edged tool is VERY effective. No
strength needed. Just reach out and touch someone! The same applies for senior citizens.
Agility and strength dont matter when steel is involved. In an assault when the bad guy attacks the
senior citizen all they need do is reach out and touch someone and the bad guy is in a world of
hurt!

21

This wasnt said to try to convince anyone of the need to carry a knife. This wasnt to make anyone
a knife expert. The point wasnt to say this method of knife training is better than the other method.
It wasnt to say that knife is better than stick. It was to inject reality into the realm of self-defense
discussion. It was a rational response to several absurd self-defense points of view. The point was to
hopefully open some eyes to make one think what if or really, I never thought that way
before! Hopefully to make one understand that the way of the warrior still exists and not to believe
in the martial arts myth. Learning the art of the blade will enrich your self-defense skills and give
you a new base to teach self-defense from! Live long and prosper!
What does this have to do with Modern Arnis? Modern Arnis is a Filipino fighting art that has not
been tempered by time. Just as with other Filipino arts, Indonesian, Malaysian fighting arts,
Modern Arnis teaches the concepts that allow for real time self defense. I wanted you, the reader to
feel the reality of self-defense so that as I relate the concepts of Modern Arnis youll see the
connection. Modern Arnis teaches the reality of weapons, the translation to empty hand and the
mindset to allow for the way of the warrior in real time street combat!
Professor Presas: Modern Arnis-The Filipino Art of Stickfighting

Ohara Press USA 1983

Presas does not merely combine techniques-he encourages the individual student to adapt Arnis
principles to his own feel for each technique. The methods should suit the person and not the
other way around. This is known simply as using the flow. The flow is Presas universal
term for defining the comfortable place where the movements of Arnis and the individual human
body meet for maximum effectiveness; body and weapon blend to achieve the most natural
fighting style based on an individuals needs and attitudes.
The Beauty of Arnis is in the translation from stick defense to empty hand defense with no
modifications in reaction.

Chapter: #7 Drills are only for understanding: they have no life of their own!

22

Professor Presas: Modern Arnis- the Filipino Art of Stickfighting

Ohara Press USA 1983

Another purpose of many Modern Arnis drills is to get the student comfortable with reacting
instantaneously with either hand, to the inside or the outside, without any difference in response
or ability. What is important is quickly parrying the potential punch, checking the attackers arm
out of the way and delivering the counterstrike!
Drills such, as the Cadena de Mano-De Cadena (of chains) is an exercise in trading off hands
with a partner to practice the flow and to increase speed and agility.
The Filipino Martial Arts such as Modern Arnis use drills to impart a sense of combative reality and
the ability for two parties to learn at the same time yet at different comprehension levels. These
drills must be done slowly and with an attitude of understanding. Acting is important, for as the drill
progresses, one must try to act the part, to FEEL the situation: not careless, not headstrong, not
anger, but to feel the energy, INTENT and let the whole body and psyche become one with the drill.
LIFE, Emotional content must be added only after the drill is basically understood.
Freesparring is OK but the drill keeps safety parameters intact as the action grows. Freesparring can
degenerate into chaos, which has its advantages at certain times. During weapons sparring safety is
an issue. During weapons sparring understanding state of mind is a fundamental must. Weapons
sparring must be understood that the first one to degenerate into chaos ends up dead. The drills are
not rules, coloring book lines to stay within. The drill gives a parameter to work within that is one
of continual growth and expansion. The drill with a partner is a safe environment for both parties to
learn the drill, understand the drill and then feel the drill. Drills themselves must be open ended
not close ended: there must be a continual growth potential so that endless variables can be added
in and the flow increases with knowledge. The variables must come in singularity while the growth
is exponentially.
By doing a drill, both parties can grow while in free sparring one party can overpower or control the
learning environment to the detriment of one or both parties. Drills allow for continual two-way
action. Drills should be pieces of a whole learning process so that drill A becomes drill B and
then drill X fits in as well. A true learning process is when the practitioner sees how an unrelated
drill or piece of conceptual motion can be added into an existing drill WITHOUT an instructors
guidance. This is a true learning environment. Drills can become safe exploration of uncharted
lands.
These uncharted lands contain treasures of information to be discovered but no secrets. There is
no SECRET knowledge just lack of understanding. One who claims to have secret knowledge
that must be bought or bargained for usually is hiding a profound misunderstanding of the
knowledge or is trying to maintain an ego / control situation. Knowledge is usable information,
and the more one uses drills to break out of a set mold, to understand flow of motion, to feel
concepts come alive, secret knowledge becomes stale stuff. Knowledge that is secret is
knowledge one hasnt discovered yet for ones self. The knowledge exists and many know it or
practice it. Once understood one usually sees the secret knowledge was only a tiny variable in the
context of a drill. The treasure is in the discovery of the usage of that new found knowledge.
Unfortunately some people and instructors have given the act of drilling a life unto itself. That the
drill is an exact unit that must be followed: a gospel of information that resists the flow of change.
That doing the physical act of the drill is more important than the information contained within the
drill. This kind of rigidity causes actual stagnation of thought, for the drill becomes mindless
repetition without need for life or thought: feeling is left behind for the sake of doing. Drills should

23

ENCOURAGE freedom of thought by being a basic framework in which one can explore certain
conceptual motions and let them grow. Drills should encourage usage of new ideas and thoughts.
There is no right or wrong in a drill, just newly acquired variables that keep adding onto the original
form. If the drill overpowers the users it is simple to go back to the original framework and build
upon it again. Drills allow for progressive motion either forward or backwards without
repercussion. Simple or complex, a drill is mutable, changing constantly to keep up with the users
need.
Mankind has used edged weapons / blunt weapons for over a million years. It is extremely doubtful
that there exists any secret knowledge of weapon use. Knowledge may have been forgotten or not
used frequently due to weapons current position in the society of the time, but its not secret
knowledge. Look and one will find. Train, drill, and one will discover!
Lets take a look at a simple counter for counter drill as taught in Modern Arnis:
Three count Drill:
A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.
A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number#5 thrust
D blocks the attack with a inward block-go with the force.
D counters with a number # 2 downward diagonal strike.
A blocks with a Slant block-meet the force
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.
A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number #7 thrust
D blocks with an outside block-force to force with checking hand.
D counters with a number#6 thrust
A blocks with an inward sweeping block-go with the force
A counters with a number#5 thrust
D blocks the attack with a inward block-go with the force.
D counters with a number # 2 downward diagonal strike.
A blocks with a Slant block-meet the force
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.

24

A attacks with a number #1 strike- a downward diagonal.

D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number #7 thrust
D blocks with an outside block-force to force with checking hand.
D counters with a number#6 thrust
A blocks with an inward sweeping block-go with the force
A counters with a number#5 thrust
D blocks the attack with a inward block-go with the force.
D counters with a butt strike-number #12 strike
A checks and blocks the attack with the empty hand
D counters with a number # 2 downward diagonal strike.
A blocks with a Slant block-meet the force
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.
A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number #7 thrust
D blocks with an outside block-force to force with checking hand.
D counters with a number#6 thrust
A blocks with an inward sweeping block-go with the force
A counters with a number#5 thrust
D blocks the attack with a inward block-go with the force.
D counters with a butt strike-number #12 strike
A checks and blocks the attack with the empty hand
D counters with a number # 2 downward diagonal strike.
A blocks with a Slant block-meet the force
A counters with a number # 8 strike
D blocks with a low outside block- force to force
D counters with a number # 7 thrust
A blocks with an outside vertical block-force to force
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.
Obviously the drill is open-ended and can continue to grow. As the variables grow in number the
drill starts to approximate actual combative flow. Again this is approximate for deadly intent is not
seen, felt or needed. Modern Arnis wants each person to understand and feel want combative flow
is like to them, up close and personal WITHOUT endangering the practitioner.
Tapi-Tapi: Single Stick Sparring Drill
Modern Arnis uses the term Tapi-Tapi as a catch all drill. what I mean by this is that in the early
days of training we learned four basic drills...simple drills that allowed us to attack each other. We
called it Single stick Sparring Right to Right. Why? Because we each held our stick in our right
hands. The Drill allowed us to learn passing, parrying, clearing and striking, both from long range,
or close range with the butt of out stick. We learned these basic drills as Units.

25

Unit #1 consists of :
Both A and D strike the same strikes at each other at the same time:
1)
hit a # 1 downward diagonal from the open side
2)
hit a # 8 upward diagonal from the closed side
3)
hit a # 2 downward diagonal from the closed side
4)
hit a # 9 upward diagonal from the open side
As both partners do this hitting, without crossing the center line, one develops a basic feel for
impact and follow through and retraction of ones weapon.
Unit #2 consists of:
Both A and D alternating checking and striking:
A upon hitting a #2 to the opponents, Ds #2, As left hand checks the opponents , Ds stick,
clearing a line for A to insert a butt strike into the opponent. The opponent, D, checks the incoming
butt strike and tries to hit the attacker, A with an outside butt-strike. A passes the incoming buttstrike inward while retracting As own stick under As left arm ( butt still aimed at D) As soon as
Ds stick is clear from the center, A strikes a butt-strike at D. D checks the strike with Ds left hand,
while chambering Ds own stick under Ds left arm, and with the butt aimed at A. A and D buttstrike each other and use Redonda checking, a circular forward checking to constantly clear the
center and attack the opponent.
When one wants to break the cycle, upon checking the incoming strike, A or D, ...lets call it A, can
pull the butt strike of D, down and outward, at the same time clearing As own weapon from the
center line. D reaches over and from underneath clears As hand from checking position, and A and
D are in a position to start unit #1 all over again.
Unit # 3:
Consists of using the Umbrella Block and Clear.
At any time that A and D cross sticks in a # 2 to # 2 strike or a #1 to #1 strike one of the two can
clear the center line using an Umbrella Block and then Unit #1 starts over again.
Unit #4 :
Consists of a sweeping stroke, using the butt of ones stick to enter or attack the opponent.
1)
Upon A hitting #2 to Ds #2, A moves or sweeps the butt of As stick forward ,
counterclockwise into Ds face. D checks it downward and while retracting Ds own stick,
butt toward A, and counters with a butt strike into A. A and D are now into Unit #2.
2)
Upon A hitting #1 into Ds #1, A moves or sweeps the butt of As stick, (palm up)
forward and clockwise into Ds face. D inserts Ds left hand, passing down the incoming
strike, while retracting Ds own stick. D counters with a butt strike at A. A and D are both
now into Unit #2.
After that was established and one could play striking at close range or long range another facet was
added. Passing with the stick, slant passing or umbrella passing.
Unit #5 consists of actually using the stick to pass the incoming attack.
While engaged in Unit #2, A checks the incoming butt strike with As stick on Ds weapons arm. A
uses an Umbrella motion to pass the attack out of center. D counters with an outside butt-strike. A
rotates As
stick to palm up, intercepts Ds incoming attack, and using a slant block motion, passes the attack
out of center.
1)
After A passes D with a slant block motion-pass, A can check Ds weapon and enter with
a butt-strike. D counters by passing from outside downward...where Unit #2 starts for A and
D.

26

2)

After A passes D with an Umbrella Block motion-pass, A reaches underneath As stick,

checks Ds weapon and strikes a butt-strike at D. D checks the incoming strike, and while
passing the butt-strike down to center, counters with an outside butt-strike. A passes the
attack from the outside to center and A and D are into Unit #2.

Im sure you can see that one can start mixing and matching these motions into an endless play.
Striking and countering become second nature. Ok this leads to todays version of Tapi-Tapi.
Professor Presas is left handed so he used to change up from right to right single stick sparring to
LEFT to Right single stick sparring. Yes, hed mess us up because hed change within the flow to
using his left hand. We all started to learn this left to left. Because of the difference of left to right
opportunities came up for trapping and locking ones opponent and the opponents stick. Todays
Tapi-Tapi game includes many versions of left to right sparring, sweeping , trapping striking etc..
Its base is still Right To Right Single Stick sparring. It is a perfect example of an open ended drill
that then becomes left or right upon contact regardless of the opponents moves or attacks. Dont
get me wrong. You have no idea how foolish one feels when someone good at Tapi-Tapi starts stick
sparring with you and then everything you do is countered and then you find yourself trapped with
your own stick..
Bruce Chiu, Roland Rivera, David Ng, Andrew Filardo....gads can they tie one up using Tapi-Tapi.
As for the drills? Well the ultimate expression of the drills is when one can mix and match the drills
concepts within the FLOW without actually thinking Which drill am I doing?...

Chapter:#8 Abecidario: the Alphabet of the angles of attack

27

Professor Remy Presas: Modern Arnis-Philippine Stickfighting

Philippines 1974

Manila,

The Twelve striking techniques are the life and soul of Modern Arnis. They are the hinges
around which other techniques in Modern Arnis revolve!
Angles? Angles like those where lines intersect? Like in a geometry class? ANGLES? Exactly,
angles just like in geometry! Filipino martial arts such as Modern Arnis use angles to understand
motions of attack and defense. An angle #1 is a downward diagonal. An angle #5 is a straight-line
center thrust. An angle #7 is an inverted thrust. These different angles of attack describe universal
planes of motion which change in orientation and rotation in relationship to each other. The angles
and planes of attack which fill a three dimensional space in front of and around a each persons
body are used as universal planes of motion. These universal planes of motion become a sphere
of attack and defense occurring in real time space. The intersection points of these angles are the
defensive planes of motion. These planes of motion are bounded by the person using them:
principles of motion that work within the parameters of natural response of human bodies.
Conceptual usage of these angles and planes of motions MUST be understood to allow for one to be
in combative reality. At first glance, the Filipino martial arts sound like a geometry class. In reality
the Filipino martial arts have a unique way of getting practitioners to understand the foundations of
the art. All motions are tied to a basic alphabet of movement the Abecidario, the numbering system.
A numbering system based in a conceptual format. Abecidario a conceptual numbering system
which shows the way to combative reality.
Note: Abecidario as a term itself has several translations and usage by many instructors. Some
consider it the teachings of strikings with the counters included. Some consider it the feeding of
unorganized strikes with or without counters. Some call the basics by the name Numerado: the
feeding of strikes with foot-work. I personally consider the additions of the counters part of
Sumbrada or box drills. My reference to Abecidario as the basic alphabet is not meant as an insult
to others that teach the meaning or translation as something different.
Every style of Filipino martial arts has their own numbering system. The numbers reflect the
teachers conceptual ideas of important motion. Numbering systems though different usually
embody the same planes of motion and the same angles even if the label on each angle is different
from one style to the next. The difference in actual labels is the stamp of uniqueness between each
style of Filipino martial arts in general. Some of the numbering systems believe that less is more;
feed very basic motions and the practitioner will grow to understand these simple planes as the
whole sphere of motion. Others give the practitioner every conceivable angle and plane of motion to
start with, each angle unique unto itself and allow the practitioner to fluidly use multiple angles that
really express the basic planes of motion. More becomes less. Neither is better than the other just
different approaches to the same study.
How did the Filipinos of all the martial arts come up with such a unique way of teaching? What
made the Filipinos decide that angular attacks were the best way to deal with teaching and learning
while all other martial arts styles didnt? The truth lies in the history of the Philippines itself. The
Filipino people occupy a space in the world that allowed contact with many cultures. Traders,
pirates, official navy vessels, invaders, and immigration brought them into contact with many
cultures and styles of fighting. Many cultures gave to the Filipino way of life. Only one group of
peoples coming to the Philippines would truly influence and meld with the native martial arts of the
area.
In Europe around 1100 AD to 1600 AD some of the best sword fighters in the world were the
Spanish. Of all the classical styles of sword work the Spanish used principals of motion and

28

conceptual usage of those motions. They taught these motions. Not that others didnt know these
motions or concepts but the Spanish organized schools of swordplay. They were the embodiment
and spirit of the true warriors. In the name of God and the Pope they set out to convert the world
and bring home the riches to Spain. Spain itself responded to this by making the warriors of god the
CONQUISTADORS. Spanish swords such as those forged in Toledo, were some of the best swords
in the world. Damascus was not just the domain of the Japanese. These swords were carried by the
Spanish soldiers and the Conquistadors all around the globe, and used in actual combat. Spanish
steel tasted steel from other lands for centuries. Spanish methods of swordplay met sometimes
losing, most of the time beating other styles of swordplay. Many countries like England were saved
from the Spanish only by divine intervention, natural disasters which at the last minute devastated
the invading Spanish armadas as no human force had ever been able to do. Where the
Conquistadors went the Spanish culture arrived. The Spanish came in force to the Philippines while
trying to find their way around the world. The Spanish explorer Magellan came to the islands of the
Philippines in the 1500s and established a base of operations. Magellan himself died after a bloody
encounter with the native Filipino warriors led by the Chieftain Lapu-lapu. Wherever the Spanish
went they claimed the land as their own in name of the King, Pope and God. They brought with
them their ideas and concepts of living and their culture. A cultural point of view tempered by the
fact that the Spanish culture was being spread its supreme warriors. Warriors that viewed combat
reality as the way of survival and spreading the word of GOD and of Spain itself.
What the Spanish brought to the Filipino martial arts was a western approach to fighting. A style of
fighting totally unlike that of the easterners. This style influenced even the Japanese through the
person of Miyamoto Mushashi who had encountered and learned the art of double blade from the
Spanish. ( yes, this is a radical thought but it has been discussed many times in recent histories) The
sword was the soul of the warrior to the Spanish and many famous schools had been teaching the art
of the blade for hundreds of years. Spanish fencing schools were famous throughout the world for
teaching conceptual footwork and body movement. The edged weapons taught by the Spanish were
the short sword, long swords, cut and thrust swords, rapiers, short sword and long sword, dagger
and rapier, buckler and sword as well as saber and two handed swords. Over the years the secrets of
movement and use of the sword as taught by the Spanish was sought out by anyone intersected in
surviving edged weapons encounters. The Spanish literally wrote the book on the art of the sword.
As with their sailing rutters or navigation books, Spanish fencing manuals were treasures that
were bought, stolen and traded. They were then translated into French, Italian, German and English
The basic motions used in Spanish fencing are the angles of attack. Universal planes of motion.
Intersecting angles and planes. This is why no other eastern martial art offers angles of attack. They
were not exposed to western fencing. The Spanish and others came and went to many eastern
cultures but the Spanish found the Philippines to be a center of transportation and a stopping point
for their imperial navies. For over 400 years the Spanish ruled the Filipino people. During that time
the Filipinos rebelled against the attackers constantly with each encounter bringing with it new
insights. Contrary to popular myth, a lot of Filipinos absorbed and adjusted to the ways of the
Spanish. Many Filipinos went to Spain to be educated and some went to the famous fencing schools
that existed at those times. Fencing masters came to the Philippines to teach and open schools. The
cultures blended. War and oppression make strange bedfellows and the ways of war merged.
Western fencing using rapiers and cut n thrust swords was a serious affair, some people died others
were maimed. Thousands gave their lives in personal duels and tens of thousands died in inter
European warfare. Use of the blade was important with the competition between the use of the cut
or the thrust rising to paramount importance. Encounters with the blade were swift and deadly.
Countering attacks made with over three feet of steel involved intersecting angles of the attack and
immediate counter attack along the opened line. To establish this as a learned response the
Abecidario was invented. Students at places like the famous Toledo fencing schools practiced

29

cutting along charts on the walls with the 8 universal planes of motion on them. They practiced
footwork on charts drawn on the floor depicting proper foot motion, stepping in quarters and
triangular stepping. Disengagements, parries and counters were learned. Death could come in an
instant from attacks so responses were made instinctive. The Abecidario taught that the type of
weapon wasnt as important as the incoming angle of the attack. Learn to deal with the angles and
the answer was apparent; intercepted attack with counter.
The Abecidario has become the main stay of Filipino martial art. The Filipinos saw it was good and
took this method of teaching and cleaned it up. Teaching in the Philippines was done tribal style,
from one to the next, everyone different, sharing conceptual motions without regard to linear
learning as in the old formal schools of Europe and even the Far East. The Abecidario was and is an
easy format to learn. Complex motions are hidden inside but the basic foundation is simple to see
understand and to use immediately.
In Modern Arnis for example there are 12 angles of attack. These angles establish the planes of
motion that Prof. Remy Presas had determined were the core movements to be understood by his
students. The angles taught in Arnis teach downward and upward diagonals, back and forth
horizontal, upward and downward vertical and intercepting straight line thrusting, along with
upward diagonal thrusting. Within these 12 angles are the natural body movements necessary to
make them work. Modern Arnis is a bladed weapon art. By being based on the Filipino BOLO,
Modern Arnis truly reflects the Spanish angles of cutting. Other styles of Filipino Martial Arts
reflect the same intents and lessons of learning. There are in existence hundreds of numbering
systems. None are better than others are, just different, for the difference was in the founders
interpretation of the motions, the order of the strikings, for the angles themselves are the same.
Lameco, Balintawak, Doce Pares, Canete, Ilustrisimo, Sayoc, Serrada, the list goes on and on;
Abecidario of many masters of the art of striking preserved in the Filipino Martial Arts.
.Note: Many Modern Arnis instructors do not know that Modern Arnis was truly a bladed art. This
is due to its founder Professor Presas and how he teaches the art currently. Over the years due to
Professor Presas abhorrence of the violence of cutting, his personal philosophy and fear of the
image of teaching a deadly art, Modern Arnis has been taught as a stick art to many in America
and abroad. This teaching in no way negates its usefulness as a combative art but only changes its
conceptual usage.
By recognizing the angle of attack rather than what is attacking all secondary thoughts is put aside.
A learned, correct and immediate response comes into play. This comes from the tribal aspect of
teaching, as one is sharing the knowledge with another, one is also learning. As one learns the
attack, someone else is recognizing the attack and the counter; the fencing aspect of learning the
angles. The attacker sees the counter from the attacking side giving rise the ability to see and deliver
a counter to the counter. The Defender sees the attack and responds and then recognizes the counter
-counter. This endless cycle continues with each person learning from the other. There is no central
figure teaching by handing out or with holding knowledge.
The angles of Modern Arnis, just like the other Filipino arts are just conceptual angles. At first the
twelve angles are taught as specific attacks to certain parts of the body. As time goes on and
experience builds they become methods of attack delivered to any part of the body or as counters.
This innovation of using the attacks as conceptual allows the Abecidario to become a Rosette Stone,
a key to understanding the basic offensive and defensive planes of attack in Filipino martial art.
Since these attacks can be delivered anywhere it forces the practitioner to think, to imagine what
if? and move on. As one practices the Abecidario it becomes natural to move with the strikes
almost in a dance type motion adding to the effective use of the strikes. This natural state of motion

30

is when the Abecidario calls into play what Professor Presas and other Filipino masters and
instructors calls translation drills.
Even though the strikes are conceptual, the base strikes are aimed at specific targets. By aiming for
specific target zones one is familiarized with the various planes of motion and begins to understand
the conceptual usage. These target zones also reveal the history behind that specific Abecidario. The
zones targeted show if the art comes from the later generation of stick fighters or the earlier
generations that based the Abecidario on the striking patterns of the Spanish blades. The stick
fighters patterns allowed for percussive striking to hard bony surfaces where the stick could do
damage. Stick mashes bone. The art of the blade called for slicing motions usually cutting from soft
tissue area into connective tissue area. Steel cuts flesh. Blade to bone though workable, could chip a
blade, the blade could become embedded in the bone or glance off with little or no damage. The
Abecidario tells the secret of origin of the strikes.
Professor Presas: Modern Arnis- The Filipino art of Stickfighting Ohara Press USA 1983
The 12 angles of attack in modern Arnis are both a way of memorizing the major, vital areas of
the body that can be attacked, and also a sequence of strikes practiced as a drill in a specific
order to familiarize the student with the 12 basic strikes. The 12 basic areas are: the left and
right temples, the left and right shoulders, the stomach or groin, the left and right sides of the
chest, the knees, the eyes, and the crown of the head. Stick strikes or bladed strikes to any of
these areas are all injurious, many fatal. The Arnis student learns the strikes in a prescribed
sequence and practices striking to these areas over and over in order to understand the angles of
attack in approaching these zones, and how an opponents approach often telegraphs his own
intended target area.
Professor Presas:
Philippines 1974

Modern

Arnis-Philippine

Stickfighting

Manila,

What should be emphasized, however is the fact that the cane is only for practice purposes only
for its basically less lethal in nature. For in actual combat, the standard weapon is still the Bolo
or ANY bladed weapon, which is more suitable and convenient for this kind of combat
technique!
Professor Remy Presas, Guro Dan Inosanto and other Filipino masters have always taught that knife
teaches stick and that stick teaches empty hand. The translation of the Abecidario is in the usage of
empty hand, the angles of attack and defense. There is no set pattern, no direct usage, only guiding
angles, concepts. . One learns the basic alphabet and uses it to construct sentences. Just like a
builder pours a foundation on which to build a house. Any style house or building may arise from
the foundation. No two houses will necessarily be the same even if the foundation and knowledge
of how to build that foundation is the same. The same builder or two different builders will use the
knowledge according to what they need to build at that time. That is the beauty of the
ABECIDARIO. The knowledge hidden within seeming simplicity. That simplicity allows for
freedom of expression and realization of that knowledge. It allows a practitioner to readily use the
knowledge, for it is an understanding of concepts not techniques. It is a key to an understanding of
the physical world. The Abecidario is the intersecting of angles and planes in the real world. The
simplicity of the Abecidario truly reflects combat for Combat must be simple. That is combative
reality. Simplicity wins under stress.
Conceptual usage of the Abecidario comes from striking or cutting the angles. As the understanding
of the universal planes of motion comes into focus, conceptual usage is understood. Form follows
function, therefore as one understands the conceptual usage, a single plane of motion becomes

31

several intersecting or continuing planes of motion. At this point of understanding the

conceptual usage of the planes of motion, one can apply the conceptual motions in combat reality.
This understanding of combat reality rises from the foundation of the simple Abecidario. The
warriors and soldiers of the past such as the Conquistadors, learned combat reality by doing the
Abecidario. The principals of combat, the actual base realities lie within the practice of the
Abecidario. All one has to do is build on the foundation.
The actual strikings of MODERN ARNIS will be shown later on in the chapter on striking and
cutting. MODERN ARNIS expects those that learn its ABECIDARIO to understand the translation
between stick, sword, knife and empty hand. The numbering is only to help those during training
and is not an art unto itself. One should learn to understand the numbering and the principle of the
ABECIDARIO.
Professor Presas: Modern Arnis-Philippine Stickfighting
Philippines 1974

Manila,

Arnis today has experienced changes in the weapons used. Although the art still makes use of the
Itak or Bolo now and then, it has relied on the cane as a self defense weapon. This is not because
the cane is less deadly than bladed weapons but mainly because in the later years, Arnis is
engaged in more as a sport. However even in sporty competitions in Arnis a long bladed weapon
is sometimes used.
The basics of Modern Arnis, the 12 strikings and the corresponding stepping are truly the
foundation of the art. One can never practice them enough. I personally practice them like Tai Chi
to feel the flow of energy within the movements!
Note: Professor Presas always told me Bram, be sure of which system you are using! Forgetting
can get you into trouble while you train. I promptly put it where it belonged, in the back of my
mind where it wouldnt bother me. Once at a seminar of LAMECO Eskrima while working
ABECIDARIO with Grandmaster Edgar Sulite he asked me to strike several strikes at him. I got
into the flow and he called out striking patterns. As he called out the numbers faster and faster,
returning the counter strikes and the set up for the next strike, my Modern Arnis training took hold
of the motions. Upon calling out a strike #8 to me, I launched an all out Modern Arnis #8 strike to
his legs. Unfortunately he wanted HIS #8, a thrust to the right side of his chest. No, I didnt thwack
his legs. Luckily, he caught it in time and we both laughed about it. When one is training with
someone of another style of Arnis, one should always find out what numbering system one is using
at a particular time and if the ABECIDARIO is structured, free form and if counters are included.

32

Chapter:#9 The truth in using sticks: steel hidden inside

Professor Remy Presas: The Practical art of Eskrima 2nd Edition Manila, Philippines 1980
Eskrima or Modern Arnis today is popularly played with the use of the cane, it being less lethal
then the bladed Itak or Broadsword.
The sound of banging sticks. The smell of burning wood. Impressions not forgotten as one enters
the area where Modern Arnis is being taught. Everyone has come to know Prof. Remy Presas as the
man with the sticks The man with the Flow. Whats Modern Arnis? Its the art of using sticks:
Redonda X, Sinawali, Tapi-Tapi, and Abaniko. The art of Filipino stick fighting: with its new
universal translations to empty hand. Modern Arnis and stick fighting, the two terms have become
interchangeable. To most people they mean the same thing, except they dont.
When Prof. Presas developed Modern Arnis one of the things he did was change one of the old
Filipino customs of protecting the weapon. People used to hit stick onto flesh even in practice for
the belief was that the stick was sacred, therefore one didnt hit stick to stick; one hit stick to hand.
It was a practice that stopped lots of people from learning Arnis. The old practice for learning Arnis
was synonymous with pain. This belief was a common way to protect the hidden secrets of the
Filipino martial arts of Kali, Eskrima and Arnis. Modern Arnis and the Filipino arts in general, used
this system for many years. Only true warriors underwent the pain willingly, which was a means
unto itself to keep the art of the blade secret.
Hitting stick to stick wasnt sacred. A stick is only a stick, driven by the hearts and souls of the
warriors wielding them. Hitting flesh wasnt the way. Hitting flesh just proved how tough the
practitioner was. Hidden inside the art of hitting was a sensitivity drill, a conceptual motion that had
to be learned. Hitting contained a conceptual usage that needed to be felt and passed on. The
concept contained in the old style of the Filipino martial art was of steel to flesh. Hitting steel to
steel ruins ones blade. Hitting steel to steel exists in the movies to add excitement and noise. In
combat one strikes steel to flesh. Direct response to direct action. Eliminate the offending weapon.
Destroy the opponents weapons hand. The art of Defanging the snake. The culmination of
Filipino fighting arts is the use of the blade and to preserve this culture it was hidden within the
context of stick fighting. The Filipinos simple stick fighting was the living library of the old way of
steel. The etiquette of steel is strong and is a common denominator in many cultures. In many arts
the blade is sacred, the blade embodies the soul of the warrior. The use of the stick was magic, the
art of misdirection, so the art of the blade wouldnt be stolen or misused. The art of the blade was
revealed only to those that survived the art of the stick.
When the Spanish came to the Philippines they brought with them some of the deadliest forms of
blade fighting ever seen by mankind. These skills were honed over hundreds of years fighting all
over the world: Espada y Daga, Double Daga, Espada Largo, as well as the art of stepping and
motion: In-quartata.
In-quartata became the stepping of the triangle, male and female, instead of the stepping in quarters.
These fighting systems blended with the native arts and continued through to today. The Spanish
also brought with them blade etiquette, the respect for the blade and a profound feeling of honor
about the use of the edge and the point.
The merging of these two cultures, along with the myriad of cultures already in the Philippines
containing martial arts, ensured that the use of the blade would be hidden from the common eye.
Teaching and learning this deadly art became the grounds of stick fighting. The art of steel was
hidden in dance, tradition and the art of the stick. An area where the uninformed and the unknowing
changed the striking techniques to reflect the percussive aspect of the stick rather than the cutting

33

aspect of the edge. An area where as in playing the telephone game the story never seeming to
change actually changes with each retelling. The result was that the art of the stick truly developed
unto its own. An art bathed in the aspects of Spanish blade but with the soul of the new Filipino
warriors. As the art grew the knowledge of its origins became hidden even from those that practiced
the art. Some misinformed instructors to this day point out techniques that grab or deflect thrusts
with empty hand as examples of stick art, rather than as corruption of the art of the blade. No one
realizes that the art of grabbing the blade lives on. Misdirection is rampant and as in the telephone
game each retelling loses more and more contacts with the true telling. For around 400 years the
Spanish occupied the Philippines. Rapiers along with cut and thrust swords, were the predominant
weapons for most of those 400 years, and the Spanish used the art of deflecting live blades with
their gloved hands. They used quick patting or deflections on the flat of the attacking cut and thrust
blades to give a moment to counter attack. Rapiers in specific have no discernable edge except for
the tip end of the rapier, which was like a dagger and grabbing the blade was an extremely effective
technique. Killing was done with the point. Grabbing a rapier gave moments pause to allow for the
finishing blow. Grabbing a stick leads to painful joint locks and takedowns. Sticks have different
conceptual usage than a blade. Today no one attempts to find the difference between the two arts.
All people talk about is how the arts are the same. They use the same conceptual usage for the two
weapons when they are not interchangeable. Ignorance wrapped in self-secure knowledge. The end
result of misdirection and the telephone game.
If one listens carefully, to Professor Presas when he teaches, the truth slips out. He cannot touch
you, he is cut, you see this is cut. He touches you and you cut this. One example of this is
Professor Presas favorite motions of Abaniko double action. This conceptual motion works well
with a stick, but is deadly with an edged weapon. Watch the Professor carefully. As a strike comes
at him, he strikes with his stick in a fluid motion while exclaiming you cut this. He uses a
stroking motion: a conceptual usage based on an edged weapon not a blunt one. The first motion of
the combination against a number one angle attack slices the opponents flexors. The second
motion, the first Abaniko motion, thrusts the eyes and rotates cutting the outside carotid. The second
Abaniko motion cuts blue worm the lower intestinal line and the third motion then cuts the
abdominal aorta followed by a cut to the throat. Translation in Modern Arnis is everything.
Over the years the Professor has taught many students the basic concepts of Modern Arnis. Almost
all of these people have exclusively used sticks and the Professor himself tells of the real horror of
killing that he learned from his grandfather. That killing, that horror, that reality of Arnis is not what
he wants Modern Arnis to be. Modern Arnis is no longer taught as in the old days, where the victor
went home and the loser went into the ground. The responsibility for being a good person is
tempered by the art as reflected in todays society. No one is taught the art of the blade to ensure
that it cannot be misused. The Professor and others like him will not take the responsibility on their
souls of maybe teaching the WRONG person the art of the blade. They want a good image for
Arnis, and a long future. They have turned their backs on the old heritage for fear of the
connotations of using the blade. It is a choice they have the right to make.
Some of the Professors students have taken it upon them selves to duplicate the moves as they
know them into knife movements and attempt to teach knife as part of their Modern Arnis
curriculum. The problem is that Knife teaches stick not the other way around. Sticks call for
percussive motion. Hard beats out of time. Edged weapons like knives need stroking NOT striking.
Using an edged weapon like a knife demands sensitivity and the understanding of FLOW. The
knife asks that the user understand planes of motion and of breaking those planes to keep edge
orientation. The knife demands that the user understand conceptual usage and the interplay of
planes of motion. Knife asks that the user understand life and death. One cannot truly learn knife
from stick. The stick can be casual, the knife demands attention. Loss of attention spells injury or
death.

34

Many of Professor Presas students today are content to use the sticks. They play at TAPI-TAPI
drills as if it the drill itself represents the reality of combat. Several of Professor Presas personal
students have gone the other route. Who are they? There is actually a whole flock of Black Sheep.
They use Modern Arnis to illustrate the truth in combat. Some have seen the truth in steel. They
have learned the art of the blade to understand conceptual motion. The art of the blade tells them
conceptual usage of the planes of motion, of how to mix and match them. They see the conceptual
motions as ways of utilizing the edged weapon to its fullest. Steel cutting flesh: Arnis as it was
meant to be; souls wrapped in steel. These are the Black Sheep of Modern Arnis. Three of those
Black Sheep Modern Arnisadors are Datu Kelly Worden, Hock Hochhiem and myself, Bram
Frank. Independently of each other we each sought out the art of the blade .The act of cutting stirred
both of our souls. We all saw and immediately realized what was hidden inside the conceptual
patterns of Modern Arnis. Most of the time we were both encouraged indirectly by the Professor
himself. Datu, Hock and myself, own copies of and had seen old copies of the Professor Presas
original book from the Philippines, which showed the primary weapon of Modern Arnis as a
Bolo. A Bolo is a small Filipino sword, with approximately 22 inches 26 inches in overall
length. A Bolo is just about the same size as the standard stick used in Modern Arnis today. Add to
this the fact that Datu, Hock, and myself truly listened to the Professor talking as he taught. Its hard
not to be captivated by the Professor as he teaches. Datu, Hock, and I both have found what the
Professor said captivating because we saw it was the way of the blade. It was so obvious to us yet it
remained hidden from the others. As a matter of fact many others in Modern Arnis thought that
Datu, Hock, and I were totally crazy! The knowledge drove us on to see and learn more! No one
really believed the art of cutting was what the Professor was teaching and most of the other Modern
Arnis guys thought that it was different from the art of the stick. The art of the stick can be intricate
with trapping, counters and locking while the art of the blade is finality. The blade teaches mortality
and an understanding of the worth of human life.
Dr Jerome Barber, Guro Tom Bolden, Guro Doug Pierre, Guro Andrew Filardo, Guro Mark
Kline, Guro Richard Roy, are examples of others that are part of the Flock of Black
Sheep....reality in combat as in reality in steel is important in their Modern Arnis...These are a
few of the flock that understand combat and the ethics and worth of human life.
Over the years Professor Presas has become the man with the flow, the man with the sticks. He
abhors violence and as other Filipino masters, he fears what the blade can do in the hands of a
trained person. He has become content to not teach the blade. But the truth of it remains, that
Modern Arnis is truly the art of the blade.
What should be emphasized, however, is the fact that the cane (of Modern Arnis) is only for
practice purposes, for its basically less lethal in nature. For in actual combat, the standard
weapon (of Modern Arnis) is the bolo or any bladed weapon which is more suitable and
convenient for this kind of combat technique.
Professor Remy Presas. Hinnigaran, 1973-74.
One need only look at the original strikings of Modern Arnis to see the truth of Professor Presas
statements. Strike #1 and #2 were to the temple / eye region of the head, a spot that for many
thousands of years has been known to able to be cut open by the force of a swinging blade. If one
missed the cut and only got the surface, a severe bleeding into the opponents eyes would occur.
Lower the cut and the blade slips past the line of the jaw and severs the neck of ones opponent.
Strikes #3 and #4 were directed to the deltoids, the outside shoulder muscles, for if these are cut
ones opponent cannot use his arms. Striking here with a stick or blunt object would not result in
combative stoppage! Thrust #5 was to the abdominal aorta region. Thrust #6 and #7 were tip rips

35

and heart thrusts designed to immediately stop an opponents combative ability. Strikes #8 and #9
were directed to the outside cutting of the legs and the connective tissue just over the knees. The
result of such an attack would be limited or no mobility from ones opponent. A stick or blunt object
needs to strike upward into the knee to do damage or biomechanical stoppage. Downward
percussive blows bounce off while downward cutting terminates all motion. Thrusts #10 and #11
are directed toward the eyes and head. If one connects, sight is impaired and severe head injury can
accompany the thrust, miss and a jabbing hit with steel hits the opponents head. Strike #12 is to the
crown of the head along the seam of the skull, an area that can be split open by a bladed attack.
There is no upward strike into a groin, for a blade may get stuck in the pelvis area and disarmed and
the attacker might actually be killed or maimed by the defenders last struggles.
Many instructors have modified the Professors angles of attack over the years, and with some
justification. They didnt work very well as stick actions. Each group taught the next and the
telephone game continued: Modern Arnis de-evolved for those people. The use of angles #6-#7 as
well as #10 -#11 are shining examples of that corruption. Today angles #6-#7 are used to illustrate
horizontal thrusting while angles #10-#11 are used to illustrate downward thrusting angles. In the
old way the angles #6-#7 come from down low thrusting upwards toward the rib cage at an oblique
angle. This would allow the blade to slip underneath and between the ribs of an opponent by
passing the ribs natural protective station. Ribs are angled, pivoted and overlapped as the go
down the body: straight angle shots go directly into the bones. It sounds great to say one can thrust
into the chest and causes damage but in reality the ribs are too tough. Ask a cardiac surgeon. To get
inside the rib cage a doctor uses a power saw, not a knife, not a scalpel: the rib cage is sawed apart
and then held open with spreading jaws. Pounding on the rib cage with a stick leaves bruises.
Stabbing the rib cage results in sliding up the blade, cutting off ones own fingers or chipping the
blade on the ribs. Thrusting with the tip on an upward angle results in blade insertion, and if caught
on the ribs it quickly becomes slicing of the rib musculature. Thrusting upwards allows for heart
thrusts, lung punctures and cutting of the aorta. All deadly blows with danger to the user. Angles
#10-#11 also come from inside, down below, thrusting upwards. These thrusts come from the
opponents blind spot, shooting upwards into the eye cavities. If moved lower the thrusts come to
land on the carotids or the neck in general. Definitely stopping motions!
In todays version most Modern Arnis practitioners NEVER question that they thrust #6
horizontally into the rib cage. Its how they were taught, its how they do it. Many Modern
Arnisadors feel they hold the truth of Professor Presas art and the secret they hold is all there is.
Granted it hurts to be hit in the ribs with the end of a stick but in real combat the blow wouldnt stop
an enraged opponent. That is the measure of Arnis, combat reality. If one tells a practitioner that the
blow is ineffective, the practitioner will defend himself by saying, if I had a knife or sword and
thrust that way it would kill my opponent. Words of wisdom from someone that has never cut
anything nor attempted to stick a blade through a rib cage. Without a doubt, thrusting horizontally
with a blade would embed the blade into the ribs or worse send ones hands sliding up the guard
onto ones own blade. Yet the answer is in front of ones eyes. Watch Professor Presas as he teaches
the motion and LISTEN to him exclaim, You strike this, it is cut. THEN upon impact you poke
this. Right here! It is done! The motion is an upward diagonal thrust from the center.
When I teach my students the #6 thrust of Modern Arnis, I teach it as a blade motion. Each student
is made to feel the ribs, the overlay of the whole rib cage and the possible access points. The ribs
are open in horizontal and diagonal horizontal planes, especially under the sides. Hidden within the
rib cage are the lungs, the heart, and the abdominal aorta, any of which are fatal targets. The #6
thrust is taught and used conceptually as cutting with the tip. The conceptual usage shows rotation
planes of motion around which the knife can follow. Using the conceptual motion as a counter to a
strike, the #6 thrust, if done correctly, leaves little chance for the opponent to attack again. The
initial cut of the #6 motion uses the secondary edge of the knife. The change in wrist rotation brings

36

the secondary edge out of play and engages the primary edge, which cuts into the opponent as the
blade is disengaged. A great way to terminate ones opponent. To deal with todays legalities, I teach
bio-mechanical cutting. Utilizing the actual cutting motions has changed the target zones of the
strikes and cuts. Death dealing strokes are replaced by de-animation cutting. Connective tissue is
cut immediately so that the body refuses to function in an attacking mode. Where the old Filipino
ways would thrust to a kidney, my Modern Arnis students and I thrust into the buttocks. Not as
deadly but its a real stopper, for mobility ceases immediately usually ending a threat without the
repercussion of doing deadly damage to ones opponent. I have found a way to follow the
Professors belief that Arnis should not become a force for deadly usage while still teaching the soul
of Arnis, the blade.
To understand Modern Arnis, understanding its conceptual motions is paramount. In Modern Arnis
the main point to grasp is translating the conceptual motions of Arnis into conceptual usage.
Counter cutting becomes second nature. Combat reality comes alive, as the concepts of Modern
Arnis become clear to the students. As the Professor says, you do this he is cut!
To see Datu Kelly one might believe that Modern Arnis is just about ANY weapon one can pick up
and use. (which of course it is in reality of usage!) Datu uses Sabat (long pole), sticks, swords, and
of course knives. The key is in watching Datu use the blade. His WOR-Tac#1 Tactical-folding knife
was designed to do Filipino destructions AND slice and dice the way of Modern Arnis. Not only
did he design a knife to capitalize on the truth of Modern Arnis, he invented and made The SILENT
FIGHTER, a modern padded version of the wooden dummy made for hitting with sticks, hands and
especially for practicing cutting. Datu is definitely the leader of the flock for the Black Sheep! Hes
got a series on Modern Arnis from what he calls Natural Spirit and a full series on Modern Arnis
conceptual usage of collapsing Batons, and tactical knives from PALADIN PRESS! (His Renegade
JKD video seems a lot like Modern Arnis Street fighting to me!)
W.Hock Hochhiem, known to all of us as Hock, is one of the few to have trained with both Presas
brothers. Grandmaster Ernesto Presas and Professor Remy Presas. Hock took the Arnis he learned
and made it into Combat Arnis, specializing in the use of the blade, Grandmaster Ernesto was so
impressed that he gave Hock a title of Master of Arnis Blade... Hock has gone on to further the use
of the blade by making the American Congress of Knife-Fighting, a group that utilizes the reality of
the blade from Modern Arnis, and teaches the legal and real implications of blade usage. Hock has
revolutionized Blade-craft by structuring it as a Guild learning system...and he has books and tapes
to go with it. His masterpiece is the Encyclopedia of Knife Fighting.
Many times observers have asked me (Frank), Are you sure you do Modern Arnis? I always
respond in the affirmative. Of course I do. In Modern Arnis translation is everything. One needs
to understand where Modern Arnis came from and where its going. Modern Arnis embodies the
conceptual core of Filipino fighting arts. The understanding of the conceptual usage of those arts is
the goal of those that study the art. It is the art within the art. The soul of Filipino fighting is the
blade. The soul of Modern Arnis is the blade as well. With that thought in mind I designed a
Modern Arnis tactical folding knife made by SPYDERCO: The GUNTING. The GUNTING is the
only tactical folder designed to do translations from empty hand to all the way to cutting and it
opens within the flow of usage. The ONLY kinetic opening knife in the world, and it is designed to
use the concepts of Modern Arnis. Yes Im sure that I do Modern Arnis!
The next opportunity one has to train with Professor Presas one should listen to the words and hear
the meaning. Watch what the Professor himself does and listen carefully to the comments, the
asides. The truth is there! Do not forget the stick, just become aware of the way of the blade. This
book is dedicated to finding the paths of Modern Arnis that many others have not yet discovered.

37

Note: Are there any others beside Datu Kelly and myself who use steel in their Modern Arnis?
Yesand I meant no disrespect to them in not mentioning them in the text! Datu is close to my
heartand I feel steel with him! Hock is a true brother in Steel. Some of the other Modern
Arnisadors are: Guro Billy Bryant, Dr. Jerome Barber, Guro Donald Zanghi, Guro Tom Bolden,
and Datu Shishir Inocalla, who all use steel in teaching their Modern Arnis. They all understand
the use of the blade! I have mentioned others in the text that dont use steel but are still part of
the flock for they understand the reality of steel and the reality of combat. The Flock of Black
Sheep is many and varied! Just because I dont mention someone here they might still be part of
the Flock. The Flock follows the Shepherd, the Professor ,but are not the Shepherd themselves,
they are individuals who move together because of the thread of Arnis...Modern Arnis.
May the Flock grow bigger and stronger in honor of the shepherd that leads them: Professor
Presas.

Chapter:#10 Ranges of Combat: hes how far away? OK. Reach out and touch someone

38

Professor Remy Presas: Modern Arnis- The Filipino art of Stickfighting

1983

Ohara press USA

There are only a few specific stances or ready positions in Modern Arnis, but learning them is
essential before they become part of your automatic response in a self defense situation. Effective
balance and the ability to move swiftly backward and forward to facilitate blocking and striking
are the backbone of Arnis or any martial art...The body flows into each appropriate stance as the
situation demands.
Modern Arnis as with most Filipino martial arts depend upon ranges or distance from the opponent
known as the Ranges of Combat. The Ranges of Combat usually refer to the critical distance
between two conflicting parties and how these distances change or interrelate. There are many ways
these distances are referred to by various martial arts styles, martial arts instructors and military
instructors. Colors are used, actual distances are cited, and elaborate equations are invoked to
express these ranges. There are of course simpler descriptions/ explanations of these ranges, which
fit in with the principle of Combat must be simple. Keeping the notation simple means it can be
understood and used, for Ranges of Combat must then be experienced, and felt. They dont become
part of ones usable combative repertoire unless one practices these ranges in actual physicality.
Therefore the only way for one to understand Ranges of Combat is to engage a training partner in
some form of drill exercise. The training partner need not be alive, a training dummy will suffice to
start, but eventually a live partner will be needed for ranges of combat are not static!
Ranges of Combat arent static?
Range of combat changes every moment within the flow of combat. Why? Because every move
made by either person involved with the conflict changes the range between them. One must
constantly check and re-evaluate the critical distance between one and ones opponent. Some of the
best training at maintaining critical distance or range of combat can be found through the regular
training progressions and drills of Bruce Lees JKD. JKD as taught by Guro Dan Inosanto has
incorporated many mirroring drills that allow for one to learn an instinctive way to maintain
distance with ones opponent while staying within the flow of combat. There are others that teach
ways of maintaining the ranges of combat but the JKD way is fairly simple and works. Guro Dan
Inosanto as well as Professor Presas knows that to attack and successfully counter attack one must
understand and utilize the range of combat; the space between the opponents. I use JKD to illustrate
because just like Modern Arnis, JKD asks that the practitioner be bold and enter the opponents
range to attack and counter attack. Neither are arts for the timid!
NOTE: If one doesnt believe that ranges change QUICKLY then I suggest sparring. Or try to play
tag with a friend. It is harder than it seems. When I first started sparring (many years ago) I was
amazed at how many times my kicks that seemed to be launched from within kicking distance yet
fell short. Punching was the same. Physical distance is deceiving. One needs to practice covering
the distance and feeling contact to understand distance. Add to this the target is moving and the
variables multiply. Thats why from a third person view boxers seems so sloppy. How many times
have you heard the following. Oh man, I could do better! Come on hitem already! or watching
a football game hey How could you miss that tackle?! The combative ranges changed quicker
than the professional athlete could compensate for. But from the athletes point of view it was
possible to attempt the punch or the tackle, but it wasnt.

Actual ranges Of Combat: physical ranges

39

Out of Range:
This is the outmost range. The opponent is actually far enough away that the longest weapon one
has will still fall short of reaching the opponent. The distance increases with the use of an additional
weapon such as a stick or a knife. It is a deceiving range for it usually FEELS like one should be
able to reach out and touch someone but its a false perception.
Long Range: kicking range
The farthest actual fighting range, the range where one can just reach to attack or counter attack an
opponent and they cannot reach back to you. This is the range where with empty hand skills one
depends on kicking. One can not reach an opponent with ones hands but one is able to kick ones
opponent.
Middle Range: long punching checking range
This is the most comfortable range to fight in. One usually feels comfortable. One can usually
punch ones opponent with either hand at extension or full power punching and the opponents hand
or weapon can be checked or monitored with the non-punching hand. Locking is limited to arm bar
type locks.
Short Range: trapping elbow range
One can trap, tie up, joint lock and control an opponent at this range. One can reach an opponents
head with an elbow strike. Forearms become the weapons of choice along with a short-straight
blast punch, uppercut or elbow. This is the deadliest weapon range for the hands move much faster
than the eye and only weapon sensitivity can prevail. Spontaneity and formless reaction are a
necessity to survive.
Close Range: head butts grappling range
This is the range that one is nose to nose with an opponent. Opponents bodies actually touch and
rub on each other. Punching is not possible. Body striking, the actual use of the body comes into
play. Head butting is the major form of percussive hitting at this range. Choking, biting, and of
course grappling are the main tools of this last combative range.
Personal Combative Range- where you feel comfortable
These ranges are different than personal combative ranges. Personal combative range is how far
away can ones opponent be and one can execute a fighting technique that actually does damage.
Watch out for the if I extend my hips I can kick you trap. Kicking someone with intent and just
tagging them with the fullest extension of ones hip, leg, foot and toes DOES NOT COUNT. It does
in point sparring but not in combat. If an enraged opponent is surface tagged by a kick and one
thought it would stop the opponent two immediate reactions happen: 1) the opponent is now totally
enraged and counterattacks, 2) one finds ones self confidence and combative flow disrupted as the
great stop all kicking technique fails. Yes, there are exceptions such as Savate practitioners,
(French cane and foot fighting, in which the kicking is done many times with the toe) wearing very
hard, pointed, extended toed shoes that were designed to penetrate further than ones regular reach.
Exceptions and specific out of context situations to add credibility to ones method or to rationalize
why ones training would work are the path to destruction. In combat the ONLY credibility is who
goes home. An old Chinese adage of range is, if one cannot extend ones arm and touch the
opponent with out stretched fingers the opponent is too far way to kick. Not reach with a kick but
KICK, as in to do damage, as in to stop an opponent.
Same adage, different range, if one cannot put ones palm flat on the opponent, one is too far away
to punch. Not establish distance with a jab, not tag the opponent, but hit the opponent with a power
punch and stop the opponent or damage the opponent. For example if one can put ones palm flat on
the opponent, a finger jab will enter the eye orbit area, not just touch the eye.

40

Weapons by their physical properties actually change the distance of the ranges along with
presentation, perception and ability to use range. If one chooses to use a weapon one must not
assume that because one is proficient in fighting in ranges with empty hand that the skill transfers
immediately to ranges with weapons. One must train as one wishes to fight. Otherwise the result
could be fatal. This is where a fighting dummy such as the SILENT FIGHTER by Natural Spirit
comes in handy. Because the fighter has arms and a leg one can effectively practice personal
combative ranges till it is encoded in ones basic pattern of movement. A Wing Chun dummy,
Fighting Man dummy, a hanging grappling dummy or even a heavy bag are ways of training the
personal ranges of combat.
WARNING:
Ranges of Combat are to get one to understand the feel of combat. Ranges of Combat are part of a
learning progression and fighting drills. Ranges of combat are descriptions of momentary points
within the flow of combat and they appear and disappear in no specific order. Ranges of Combat
can change in an instant. Ranges of Combat are not entities unto themselves. They exist ONLY
within the actual context of the flow of combat. One must understand Ranges of Combat within
ones self. Without this understanding and an ability to constantly adjust these ranges will lead to
fatal mistakes. One must cultivate the ability to use and cross these Ranges of Combat at will and
while ones opponent is attempting to do the same thing. Combative ranges are only reference
points within the flow of combat itself and are unique to each individual fighter. Professor Presas
says we should not be afraid but move in, engage the opponent. This is combative reality!
Combative engagement at whatever range is necessary.
the longer the weapon, the greater the range: the shorter the weapon, the closer the range
Paul Vunak
NOTE: I have had people tell me that fighting with a knife in reverse grip ONLY works on the
short range / close range and they like the middle and long range. ( yes, true, the effective range of
the blade itself is in close range) That they can and will keep the opponent at the range they like
best. At this point I usually will then hand out training blades to all involved and then wait with my
knife in forward grip. I will tell them anytime you are ready. Before they can illustrate this
profound statement, I am reversing my grip and I am generally in their face, up close and personal
and for the next panicked seconds all the fighting is done at short / close range. Then comes the
well I could have cut you on the way in to which I generally respond absolutely, you could,
might have or did, and at most I went to the hospital for surgery and repair and you got a toe tag. I
designed my GUNTING Tactical folding knife, made by SPYDERCO, to exploit this close range
style of combat as well as the ability to change ranges (and grip) upon an instant notice. Any knife
will actually do the job. This illustrates that ANYONE can cover distance when intention is in the
closers repertoire. One does not dictate ranges, one must learn to move within them.
I have seen the reverse situation in that people have told Master at Arms James Keating that they
would close the distance before he could react. Upon closing the statement and without warning,
these people have launched themselves at Keating only to feel the jab of steel rock them off their
feet with a stop hit motion. Usually it is a thrusting from an In-quartata motion that is aimed at a
spot between the eyes but for illustrative purposes usually is struck into the breastbone. All forward
motion comes to a jarring halt. Intercepting the motion before it got going, as in combative fencing,
Bowie Fighting or JKD works, for it illustrates the idea of range as mutable. Within seconds of
rocking them, Keating was inside, moving from long range to medium range while slicing them.
Luckily for the egos involved only training knives were used! Keating designed his Crossadaneotoric knife, to utilize the principle of the point and stop hit from long range. His Crossadaneotoric knife made by custom maker, Bob Dozier, is a fighting Bowie on the scale of a Bagwell-

41

Helles Belles Bowie: a true fighting knife with a blade of about 13 inches overall. Yes, Jim certainly
can use it in all ranges!
Combative range is the canvass upon which physical combat is painted. Each artist perceives it
differently and it constantly changes as new mediums are introduced!
FOOT WORK: the key to ranges of combat-How one moves ones feet.
The way one moves ones feet in getting to an opponent for an attack and away from an opponents
attack are varied. Many systems have been devised but the ones based on the art of steel or fencing
work the best. They have been designed to save one from imminent death or injury and place on in
a spot to counter attack ones opponent from an optimal position.
Stepping: a natural way to not be there
Stepping in martial arts means how one reacts physically by moving ones body from within and
without the flow of Combat. Filipino arts have several ways of stepping within the flow of combat
and these are based on traditional Filipino movement, Chinese footwork and on the footwork of the
Spanish fighters to whom Modern Filipino fighting arts were exposed to for hundreds of years! One
can move one foot, both feet or as with open close of the arms, a weaving pattern can be used, one
foot following the other, mirror image, or alternate stepping. It all depends on the actual combative
situation.
Filipino footwork varies with each instructor and Modern Arnis is no different. Modern Arnis uses
several conceptual motions to illustrate combative usage of footwork. Some only use one piece of
the footwork or due to limited understanding only teach one way of stepping. Some only teach
stepping as a defensive position, others teach it as an attacking position. In reality, all the stepping
becomes one. Like with learning Drills, there is no beginning or end. The different Conceptual
motions of stepping begin to run into each other as Conceptual usage takes over.
Female Triangle
The forward female triangle is used to move away from an opponents attacking force while
maintaining counter attacking range. The base of the triangle is at the opponents front or leading
edge while the tip of the triangle is located at the defenders center. As the attacking force comes in,
the defender steps up the triangle, at a 45 degree angle off the incoming attack, to either the right or
left side, neatly shearing away from the attack yet moving into counter attacking range. If the attack
is very deep then a rearward female triangle would be used to temporarily zone off the attack along
the base and then step back off the 45 degree to maintain counter attacking range.
Male Triangle
The forward male triangle is used to zone away from the incoming attack and then to intercept the
incoming attack or attacker. The tip of the triangle is at the opponents front or leading edge and the
base is located at the defenders center. As the attacking force comes in the defender zones right or
left along the base of the triangle then enters into the opponents space with an intercepting 45
degree angle. If the attack is very deep then a rearward male triangle would be used to then step
back, right or left off the 45 degree or side of the triangle, then zone off the attack along the base to
maintain counter attacking range.
Zoning: backward, sideways, and forward
Zoning is a way to step off an attack while keeping one foot within the attacking range. This allows
for immediate counter attack. In zoning the motion is one of parallel or perpendicular motion to the
incoming attack. The conceptual picture that one steps on is a cross whose base is at one end art the
opponents front or leading edge and the other end is at the defenders center. At either end and at
the halfway mark between the attacker and the defender, are the perpendicular, crossing lines. In

42

zoning one usually only moves one foot at a time so as not to move away from the counter attacking
range.
Facing: Front, half, and side
Facing is how ones body actually turns in relationship to the opponents body and attacking force.
One can be Front facing; that is ones front faces directly into the opponent, one can be half facing;
where one is at a 45 degree angle to the opponent or one can be side facing; where ones side
directly faces the opponents front or attacking force. Usually facing or body shifting is done as one
steps to properly align ones self with the opponent while stepping away or into the attack to be in
position to counter attack.
Modern Arnis uses basic stances. These stances are based on natural foot positioning and body
shifting. There are no artificial stances in Modern Arnis. The changing of stances is based on usage
of the conceptual motions of footwork not arbitrarily set up by a standard that all practitioners
must follow. Stances are not static positions to be assumed and held or maintained; they change
constantly within the flow of actual usage and combat. They are learned to allow the practitioner to
move in balance at all times in any direction as needed.
Fighting stance:
A fighting stance is as one would assume a boxing stance. Feet are about shoulder width apart, one
foot in front of the other: heel to toe, feet in a 45 degree placement from the opponent. The balance
is even with the weight on the balls of the feet with the heels slightly raised. The whole body is 45
degrees to the opponent and the front knee actually protects the groin area. Balance is exceptional.
In a fighting lunge stance, the distance between the feet in a front to rear position is increased but
unlike a traditional martial arts stance, one can move ones feet forward or back, one can step to
either side WITHOUT losing or changing ones balance. This comes from combative fencing.
Horse stance
The feet are shoulder width apart and the weight is centered between the feet. Contrary to
traditional horse stances this one is neither deep nor immovable even though ones knees are bent as
if riding a horse. One is on the balls of ones feet able to move in any direction without loss of
balance.
Neutral stance
A neutral stance is one where both feet are on the same alignment about shoulder width apart, in a
relaxed state. Neither side is forward or closer to the opponent. One can move immediately to any
other stance or shift into a right or left neutral stance.
Right Neutral stance
From a neutral stance one rotates on the balls of ones feet so that ones right side is marginally
forward, or closer to the opponent. Both hands are still able to reach the opponent. Both feet are still
on the same base line. The feet are 45 degrees facing to the left.
Left Neutral stance
From a neutral stance one rotates on the balls of ones feet so that ones left side is marginally
forward, or closer to the opponent. Both hands are still able to reach the opponent. Both feet are still
on the same base line. The feet are 45 degrees facing to the right.
Back stance
From a neutral stance, one steps one of ones feet back along a rear male triangle; the foot is facing
45 degrees outward, about shoulder width apart. The weight is rear biased to allow for zoning

43

actions. The feet make an almost perpendicular position to each other if a line is drawn from heel to
heel. One is still on the balls of ones feet able to move immediately to attack or counter attack.
When all of these motions, stepping and stances are used within the FLOW of Combat without
thinking, ones use of weapons, be they percussive, edged or empty hand improves drastically! The
goal of Modern Arnis is to get one to be able to incorporate all of these elements into ones
combative usage. Footwork serves as a base for offensive and defensive motions. Evasion
sometimes is the quickest response to a fighting situation. Evasion that is only possible if one
understands footwork.

44

Chapter:#11 Sectoring: counterattacking within the appropriate space.

Guro Dan Inosanto: the Filipino Martial Arts
1980

Know Now Publications USA

A point to remember, however, is that in combat or even in more advanced training where one
strike quickly follows another, your weapon will not always be in a favorable position to apply
your favorite moves. Often, youll find that your weapon is pointed in the wrong direction and
there just isnt time!
Sectoring is the ability to use the opponents position to counter attack. Where are ones own two
limbs and where are the opponents attacking limbs? What sector of space do the arms and hands
actually occupy at the time of attack and counter attack? Some sectors actually overlap. Compound
sectors are where ones counter leads into another sectorsectors are not only for empty hand but
for all weapons attack counter attack as well. Modern Arnis touches on all of this in a secondary
way usuallyby experience. Professor Presas uses upon contact as his cue and his hands are
ALWAYS in the right spot. I have found it is easier to try to teach some of this up front, by using a
format. Sinawali as a conceptual motion actually uses sectoring within its framework. This also
works in reverse for knowing sectoring allows one to pick up and use Sinawali as a conceptual
motion no matter where ones hands are.
Steve Grody, well-known and respected Jun-Fa- JKD-Filipino martial arts Instructor, (in my humble
opinion he is the BEST JKD instructor I know!) has described sectoring as the space between JKD
trapping and Filipino empty hand. Steve has a way of teaching sectoring that I have adapted to fit
Modern Arnis. I want to give Steve the credit for structuring the sectors and for giving me away to
teach it to my Modern Arnis students! Steve Grody has a video series on Sectoring & Filipino
empty hand available from Unique Productions.
SECTORING PRINCIPLE: one can ONLY be: Inside an attack, Outside an attack or Down the
middle of an attack. The Conceptual variations become where are ones hands in relation to the
attack and to each other.
These examples of sectoring and sectors are for reference point, muscle memory and
information. They are not written in stone and sometimes the sectors flow into each other. For
better understanding of the Sectors, these 10 basic sectors are set using a right side forward
position and the opponent is using the right hand to attack.
10-Basic Sectors:
1.
Split Sector:
Ones hands are about even height and are spaced apart, even with the shoulders. The only opening
is between ones hands. When the opponent uses, for example, a straight right jab towards ones
head, with ones hands apart, you will zone to outside of the opponents motion, your left hand
deflecting the hit/jab while your right hand enters and hits up middle. This is the same position for
an inside Gunting move to destruct an opponents limbs. Arms hands neutral.
2.
Inside Parry & hit:
Your hands are such that the right hand is higher and rearward, the left lower and forward. The
opponent jabs with the right, you parry the jab with your right (to left) while zoning to the inside
and hit with your left, underneath your parry hand. This is the position for an inside horizontal
Gunting move destructing the opponents arm.

45

3.
Outside Parry & hit:
Your left hand is higher and right lower and in line. The opponent jabs with the right hand. Side step
to the left and parry the incoming right jab with your left hand. Hit from under your left arm and
OVER opponents arm. This motion is the same as an outside horizontal Gunting move to destruct
the opponents arm.
4.
Outside Slap hand & hit:
The opponent starts to jab with the right hand. The motion is just starting. You go straight in, at the
opponent and Pak-Sao/slap block in with your left. You push down & in, forcing the opponents
right arm into his body and you hit over with your right hand. This motion is the same as catching
the incoming jab with ones hand and using an Elbow Gunting to the incoming hand.
5.
Angle & Cut:
This one requires timing and the sudden realization that the opponent has actually struck at you.
Ones hands are such that the left hand is forward and closest to the incoming jab. The right hand is
in no position to effect the incoming motion. With timing and angling, you use body shifting so that
your left forearm intercepts the right jab. Your left is cutting in, cramming with forearm into the
hitting arm. Your left hand continues forward striking the opponent.
6.
Inside slap & hit:
Your right hand and left hand are on the same plane with the right hand forward. The opponent
starts to jab with the right. As the opponent starts to jab you intercept the jab by slapping downward
with your right hand catching the inside of the opponents forearm. Your left hand shoots over the
inside slap block and hits the opponent.
7.
Inside Guide & Hit:
Your rear hand, in this case the left is highest and guarding your face. The opponent jabs and with
body rotation, counterclockwise, (to your left) you guide the jab past you with the rear hand palm
up (Tan-Sao) or palm down (Bil-Sao). As you guide it bye with Bil-Sao or Tan-Saoyour right
hand strikes the opponent.
8.
Outside Guide & Hit:
Your right hand is back and closest to your face and in a closed position. As the opponent jabs, you
use body rotation to bring your right hand either Palm up (Tan-Sao) or Palm down (Bil-Sao) to
guide the strike away from you. (On the outside of the opponents arm) At the same time your left
hand strikes at the opponent, with your forearm cutting into the outside of the jab.
9.
Pass & hit:
The opponents jab is in contact with your left arm. Using a hand circle (yes making ones hand
make a clockwise circle around the opponents jab) circle the jab away with your left hand. Then at
the same time counter with a right hand strikeBest used as secondary sector AFTER counter in
high range. Is great to deflect low strikes. Circling or passing can be done to set up a secondary
strike especially into the opponents limbs.
10. Rising Elbow:
In wing Chun it is referred to as the Bong Sao...As the opponent jabs with his right hand, your left
arm encounters the attacking forearm, and upon contact rolls to an elbow up position. This rotation
to an elbow up position deflects the incoming jab. There are two possibilities from here. One is
referred to as the wave or elbow rolling. Your left elbow rolls up and over the opponents arm with
your left hand following in a forward circle towards the opponent. Strike with either the left or the
right. The second option is that your right hand shoots underneath the left, cutting into the
opponents arm as it continues on to strike the opponent. This is sometimes referred to as wedging.

46

Combinations of sectoring
If the Sectors are understood as a set way of referencing point of contact and orientation, then one
can begin to understand usage of the sector. Once you understand SINAWALLI or the concept of
weaving, one hand following the other, then combining sectors is just a way to understand the
actual usage of Sinawali.
Translation is the key to sectoring and its usage as in most of Modern Arnis. For example if one
uses a Split-sector on an incoming right jab, and ones right hand strikes and retracts, then you are
in position so that the opponents immediate second strike, a left cross is intercepted by an inside
deflection and hit. Or with good body rotation it could have been Split-sector to Guide and Hit
sector.
The opponent strikes with a right, you do an Inside deflection and hit. Your right hand deflects as
the left hand shoots underneath to strike the opponent. Upon your motion the opponent throws his
left hand, which is met immediately with an inside Slap and hit. Your left hand immediately from
its hit position crosses over and slap hits the incoming left while your right shoots over it and down
the middle to strike the opponent.
Your opponent strikes with the right hand, which you intercept with Outside deflection and strike.
As the opponent strikes with his left you use your right hand to initiate Guide and hit.
Your opponent strikes with a right jab, which you defend with a Split sector. Upon contact of your
hitting the opponent, you enter with your left hand that goes from deflection to an Outside slap and
hit sector. You slap (Pak-Sao) the opponents right arm into his body while your right hand strikes
the opponent. As the opponent attempts to check with his left you rotate clockwise and use a right
hand Inside Guide and Hit sector. Your right hand palm up (Tan-Sao) guides the left hand away as
your right hand strikes into the opponent.
There are no limits to the combinations that flow out of sectoring. You dont decide the sectors.
Where you are and where the opponent is decides that. How you react, how sensitive you are to the
changes within the Flow of combat that determines how quickly and efficiently you respond! I am
not going to nor can I possibly spell out all possible combinations but as you practice these
conceptual usages, they will become part of your Sinawali Concepts. Sectoring can be used empty
hand, stick or with blade.

47

Chapter:#12 Gripping the Weapon: as if its obvious

Professor Remy Presas: Modern Arnis- Philippine Stickfighting
1974

Manila, Philippines

The grip is the soul of all fighting techniques in Modern Arnis. It is the correct grip that packs
power to control the cane or weapon!
One of the biggest discussions in the World of Weapons and Filipino Martial arts in general is one
of how does one grip ones weapon. There are lots of ideas and concepts of what one NEEDS to do
but most are only based on which particular instructors or fighters personal feelings are expressed
at that time! Here we are going to see that gripping the weapon is NOT a personal choice with only
one way reigning supreme but a factor that has many mitigating factors! So in the spirit of saying
the truth and getting directly to the point read on!
Gripping a weapon sounds pretty obvious. One reaches out with ones right or left hand and grabs
hold of the weapon...RIGHT? Wrong! There are many ways to grab a weapon and the reasons
given would fill volumes of books. Each instructor, practitioner, or style has a specific reason for
holding a weapon as they see as correct. Many of these styles, instructors and practitioners feel their
way is not the ONLY way but also the best way. A grip for all seasons! Unfortunately for the
student of these styles, instructors and other practitioners, there is no rational reason for what they
do or what they loudly claim is wrong. I think the best response to how should one grip ones
weapon came from an old Filipino who stated You should hold onto your weapon as if your life
depends on it!
Or as a friend and fellow knife instructor has stated its very simple to teach how to hold the knife.
There are only two ways to hold a knife, forward or hammer grip and reverse or ice-pick grip
Paul
Vunak
I know of one edged weapon instructor who has a very peculiar grip on his knife and he executes
an upward backward hacking circle with his knife. Now all his students emulate him completely.
Their trust in what he does is implicit. When they attended one of my seminars and as I talked of
gripping the weapon, several of them interjected their views. When I asked why? they told me some
standard gibberish about thats how its done. Sometime later that month when I went and politely
confronted their instructor he told me thats how his father had used a knife long ago in a war.
Upon further questioning it turned out his father was in a specific spot in the world, had a specific
style of knife used in that part of the world and the ensuing grip and usage came from him
successfully using it several times. This made it (the grip and usage) not only acceptable but also
mandatory to be used in all situations and with all other style knives.
Gripping a weapon means to hold it in ones hand or grasp. Weapons can be held by either hand or
with both hands. The weapon itself imposes certain parameters or restrictions on HOW THAT
PARTICULAR WEAPON WILL BE HELD. All grips have a strength and a weakness to them. Thats
the rule of nature, plus and minus add up to a whole. I have heard instructors say in person and in
print insulting things about various grips and WHY they wont use them or teach them. The
infamous cancer grip of the Filipino practitioners. The broken-finger grip of the Koreans and
the Japanese practitioners. The list goes on. Sounds to me like a way to express bigotry rather than
to discuss grips or how and why one grabs a weapon a certain way. That type of insults will not take
place here in THIS DISCUSSION.

48

I have another example of subtle differences that express personality and how one grips a weapon.
Jim Keating and I teach basically the same dexterity drill. When we both get to the twirling part of
the drill our personalities come out. Jim usually explains WHY the blade ends up EDGE INWARD.
On the same move I usually explain why one ends up with the EDGE OUTWARD. We do the same
twirl but where we intend to go with it influences how we re-grab the knife as its twirling. Neither
is better than the other is and Im sure that Jim and I could discuss the pluses and minuses of the
two twirls till the cows come home. My gripping is in accordance to my concept of blade
orientation as is his. Bear that in mind as we go on about gripping the weapon.
The human hand is a marvel of anatomical engineering: Four fingers and an opposing digit. No, not
five fingerswhat makes our hand unique is that the four fingers have an opposing digit that locks
them into place either individually or as a combination of any of the four fingers. It is not just the
digit end of the thumb that humans use to lock the fingers. The opposing digit (the thumb) has a
large meaty base that also is hinged to roll inward locking the fingers into place. Locked into a fist
with all the fingers rolled tight and with the thumb locking them into place it is very hard to pull
something out of the hand. (Pulling or pushing against the fingers or the thumb is not easy, yet it is
fairly easy to slide out along the axis of the fingers and thumb because the rolled fist makes an
internal tube with pressure ONLY on the outside surface.) Let the hand grasp something that ONLY
allows the fingers to go around the object, with the thumb opposing the action and just touching the
fingers and a weakness comes about. All kids have played this with their friends and parents: to free
one self from a gripping hand pull towards the point where the thumb and the fingers meet. It is the
weakest point. Again as in the concept of OPEN-CLOSE, the fingers and thumb are perfect
examples of Form follows function.
Digression is necessary here. Everyones hands are different in size, strength, sensitivity, dexterity,
and flexibility. How something feels and fits into ones hands is extremely personal. To illustrate
that point one need only look at the profusion of handles that exist for Knives, fixed blade and
folders, as well as handguns. Sticks, be they folding batons with their myriad of custom foam
handles or regular fighting sticks, wood, rattan, or plastic, come in a variety of diameters and
lengths. No two hands are the same as each other and no two handles are alike, for those that buy a
standard handled weapon, which almost fits their hand, there are handle adapters to customize the
handle to fit ones hand. Taking into account that hands are different and how things fit and feel is
different for each human being, there are certain ways to grip weapons handles that are fairly
universal. It also means that a grip that is seemingly correct and right may not feel correct or right to
everyone.
Gripping a stick:
Gripping a stick is fairly simple. One places the stick inside the center of the palm and wraps ones
fingers around the stick using the thumb to hold the stick locked into the fingers. It is just like
making a fist with the stick in the middle. There are several ways to make a fist but by having a
stick in the middle of ones hand it eliminates several of these options, most of which differ in the
placement of the thumb. In this case the thumb is slightly over the second joint of the first finger.
This is called the Hammer Grip. Why? Because it is how most people would grip a hammer.
Variation:
Some people grip the stick as in the hammer grip but the thumb rides up the stick almost as in a
fencing or saber grip. Commonly called the Hitchhiker Grip. Why? Because it looks like
someones hand that is hitching for a ride. Unless the base of the thumb is shifted over to lock the
fingers in place of the thumb digit, this is a less powerful grip than the regular Hammer Grip.
Variation:
The thumb and first finger of the gripping hand are not gripping the stick. Some mistakenly use this
as a full grip on the stick and attempt to strike with the stick while using this grip. There is no

49

structural integrity to the hand for percussive blows while holding a stick this way. The stick can
easily be dislodged from the hand. As a transitional grip used to grab the opponents body, hand, or
weapon immediately after contact from a blow using a standard Hammer Grip, it is very
acceptable. The Cancer Grip: is how some people refer to this grip. As with the edged weapon this
grip allows for Braille feeling of where ones body is in relation to ones sticks; the thumb and
forefinger feel their way through the twirling motions. Upon actual striking ones grip changes.
The only question and variable in gripping a stick from this point on is WHERE does one grab the
stick, not HOW. This part of WHERE one grabs a stick is based on a particular styles, instructors
or practitioners personal preference. In addition there are certain physical parameters to be
considered.
One needs to adjust WHERE by certain factors:

How long is the stick?

How heavy is the stick?
What range is the combat to be in?
Forward Hammer Grip: stick comes out top of gripping hand
Reverse Hammer Grip: stick comes out bottom of gripping hand

Generally one has the following choices of WHERE to grab a stick.

Forward Hammer Grip
1.
Flush grip with no butt showing from gripping hand
2.
Grip with butt showing from gripping hand

One fingers worth

Two fingers worth

Three fingers worth

One hands worth

Two hands worth

3.
Grip stick in the center of the stick
Reverse Hammer Grip
1.
Flush grip with no stick showing from the top of gripping hand
2.
Grip with stick showing from top of gripping hand

One fingers worth

Two fingers worth

Three fingers worth

One hands worth

Two hands worth

3.
Grip stick in center of the stick
Gripping a stick while Twirling
This is an area on contention between many styles of martial arts that use sticks. Some styles insist
that one open the lower fingers, pinky, ring and middle to allow the stick to twirl easily in ones
hand and one can build up a great amount of speed. This is very good in practice but seemingly
poor in combat. A hit on the twirling stick can send it flying. Not that it will happen but it could
happen. This type of twirling is better in controlled fighting such as challenges rather than the
spontaneity of actual unrestricted combat. The other method is to grip the stick in a tight Hammer
Grip and let the wrist roll to twirl the stick. This is a safer but much harder motion for one needs to

50

have flexible wrists. In combative situations the last thing one would want to do is lose ones grip
on the stick. Note: I once was twirling a stick so fast I could envision it as a mini tornado with my
hand as the center. Professor Presas hit my stick unexpectedly and the stick flew out of my hand. He
looked at me and said, Now you are dead! I picked up the stick and started to twirl it between
my fingers again, holding on with more determination and he casually knocked the stick out of my
hand again. What I tell you? You are dead! I now no longer twirl with my fingers but I hold the
stick with my hand and rotate my wrist.
Gripping a Knife
Gripping a knife is very different than gripping a stick. A stick has no sides to it, no edge to it and
only asks for a percussive response. Knives have many variables and how one grips a knife dictates
how one might use the primary and secondary parts of a knife. One needs to be able to make use of
several parts of the knife:

The primary edge of the blade

The secondary edge or clip of the blade

The tip of the blade

The flat of the blade

The butt of the handle

The cutting motions one wishes to execute need different types of gripping the knife. Arm
extension, i.e. how far one attempts to reach with the knife in ones hand, effects the type of grip
used to hold a knife or edged weapon. An example would be holding the knife in a forward
hammer grip allows for maximum extension and reach. As ones arm and hand extend, the wrist
cocks forward and downward adding reach to the motion. In Reverse Ice Pick grip, the same
extension asks one to extend the base of the wrist outwards to achieve reach. This is an artificial,
forced motion that impairs the wrist function and the arm itself needs to be partially cocked or
loaded to achieve reach and power in the reverse grip. Later in this discussion combative range will
come into play to help determine which grip is best for each situation. The type of carry or holster
one uses can effect how one grips the knife! This factor can be compensated for at the time of
engagement, therefore lets look at the basic universal gripping of the knife:
Forward Hammer Grip:
One holds the knife upright, blade coming out the top of the gripping hand, as one would grab a
hammer. Generally ones hand is not jammed up tight to the knife guard. There is enough space
between the top of the hand and the guard of the knife that the change to Saber Grip is only a
change of thumb placement not re-gripping the knife itself. The actual amount of space is about one
thumbs thickness. Placement of the thumb is again different in various styles. The standard is the
thumb can lock the first finger second joint as if in a closed fist actually grasping a hammer. This
position allows for rotation of the wrist and proper position for slicing motions.
NOTE: If ones hand is pressed against the guard and an opponents blade rides down the flat of
ones knife, hits the guard and is deflected, the first thing the opponents blade catches on is ones
hand and fingers. If there is space between the top of the hand and the guard, when an opponents
blade hits the guard, it is deflected and the first thing the opponents blade hits is open air, not
fingers, not hand, for the deflection trajectory is AWAY from the hand.
Fingering Grip variation: This grip was used with Sword & Dagger during the combative phases
of their usage. The first finger rides over and around the guard allowing for better balance and ease
of thrusting. Because the finger was exposed swords and daggers developed what were known as
finger rings. These rings were placed over the guard along the blade to protect the users fingers
from an opponents blade. The use of fingering also worked for most swords and daggers had
ricassos (the portion of the blade just above the hilt or guard) with no significant edge. Today the
use of fingering is best left to knives such as sub-hilts, such as made by Loveless and functional

51

fixed blades such as Randall knives which have a finger space and no edge over the guard which
allow the use of a Fingering Grip. Folders are not made to use this Fingering Grip. The Fingering
Grip if used in blade to blade work, or combative usage, and one has no finger guard, such as steel
plate, steel rings, gauntlet, glove or something to prevent the cutting of ones finger, one could
become finger-less.
Variation: The thumb can ride on the side of the handle slightly over the hand.
NOTE: If the hand were just below the guard, then the thumb along side the knife would be OVER
the guard on the side of the blade. It can be done but if ones opponents blade makes contact with
ones own blade and continues down the blade, one COULD lose ones thumb
Saber Grip:
One holds the knife upright, blade coming out the top of the gripping hand, as one would grab a
hammer. The difference between the Hammer Grip and the Saber Grip is the placement of the
thumb and the actual use of the knife while in the different grips. Ones hand is not jammed up tight
to the knife guard. There is enough space between the top of the hand and the guard of the knife that
the thumb can rest on the spine of the handle pushing gently into the guard. The actual amount of
space is about one thumbs thickness. On a knife without a guard the thumb would rest on the spine
of the knife. Saber Grip due to the placement of the thumb is best for tip ripping, thrusting, and
cutting thrusts (toe to heel). By placing the thumb in an upright position over the hand, (up the spine
of the knife into the guard area) the muscles in the joint of the wrist and thumb tighten, wedging the
knife into the hand but decreasing the amount of wrist rotation and slashing ability.
Fencing Grip:
The Fencing Grip has the advantage of allowing draw cuts with any type of weapon including a
straight razor without fear of losing ones own fingers. The grip is on the sides of the weapon
holding the edge parallel to the ground. It has little combat meaning and usage with fixed blades
today, but with the advent of tactical folders that open one handed by thumb rotation, fencing grip is
very important. When a tactical folder is opened by way of a thumb ramp, thumb stud, thumb disc,
or a thumbhole, the initial position upon opening is the classic straight razor Fencing Grip. The
thumb is on the flat of the blade and the knife is in a horizontal position. This is a slicing grip. This
grip has no power for striking or hacking or thrusting but it is very effective for circular slicing.
Upon slicing a re-grip is done to change into a Hammer Grip. The Fencing Grip rotates into
Reverse Grip very easily within the actual motion of the cut.
Reverse Grip:
The common name of the Reverse Grip is the ice-pick grip because an old fashioned ice pick is held
in that manner. It is the same as a Hammer Grip except the blade comes out the bottom of the hand
rather than the top. This grip is not the ultimate grip nor the sign of a true knife fighterbut when
one is up close and personal, reverse grip is the strongest for punching and slashing the knife into an
object and trapping the opponents limbs. Picking with the tip works great while using the Reverse
Grip. Power in the Reverse Grip comes from the bending of the elbow and the hinging action of the
arm from the elbow coupled with the swinging motion of the whole arm. A straight arm with the
elbow locked out and the wrist thrust forward to achieve extended reach, defeats the power of the
Reverse Grip. Reverse grip may have more power for stabbing into an object but it has less reach
and slashing ability. A closing motion slash is very powerful using a reverse grip but the reverse
grip is in a compromised wrist position. An upward slash is powerful even if at the end of a
shortening arc while a downward has the same problems as an opening motion slash: lack of
articulation of the wrist and a compromised position of the wrist.

52

Knife grips change according to range. There is no best overall knife grip. Each grip has its own
place. From long range to medium range Hammer Grip, Saber Grip work best. From medium
range to close range Fencing Grip and Reverse Grip work best. Thats why dexterity drills are
taught so that the act of changing grips within the flow of combat is a natural occurrence. As for
blade orientation on each grip, that varies by instructor, BUT I must say that I teach that the edge
MUST ALWAYS be pointed towards the opponent. This is my personal feeling for I believe that the
opponent should first have to run THROUGH the edge of my knife to come into contact with me.
Cancer Grip: and related special grips
Contrary to the insulting names given to specialized grips, these grips do have their legitimate spot
within knife usage. The so-called Cancer Grip, that of the thumb and first finger having no
contact with the knife is not a grip that exists unto itself according to some instructors. They seem
to have missed the point of usage. Within the actual flow of combat, this grip allows one to maintain
hold on ones weapon WHILE trapping or grabbing with the weapon hand, the opponents hand or
weapon. When thrusting in an inverted position or slicing this grip actually works for the bottom
three fingers are held in place with the base of the thumb stronger than using all the fingers Thats
why this grip is used by Aikido, Ju-Jitsu, Hapkido, JKD, Filipino and other martial arts that use it
for grabbing and fighting. The Filipinos use it in thrusting with a knife as well.
The grip of inverted thrusting with one, two or three fingers running along side the flat of the blade
have no place as an actual hard thrust. While using this grip to do a hard thrust, ones fingers
would be severed, cut, or damaged and ones hand would slide up the blade upon contact with an
opponents body. But when used as a concealment grip whose thrust eventually went to the
opponents eyes, or as a short poke to an opponents soft areas, the grip not only works but also has
great validity. Then again the type of knife dictates if this grip is actually useful in combat. Using a
Filipino Punal, a Middle Eastern Shabaria or an Indonesian Kris necessitates using this grip for the
butt of the handle rests squarely in the palm of ones hand. Thrusting with these knives is VERY
similar to using a palm strike. The force of the blow / thrust is absorbed and cushioned by the pad of
ones own hand. There is no handle to slip up on as if one used a traditional knife.
Another point to remember or consider that as one goes through the standard Filipino patterns of
motion with ones knife the edge passes closely to ones body and hands. By using the so-called
Cancer Grip one is able to use the Braille method to feel where the edge of ones knife is. The
thumb and first finger constantly rub against ones body parts allowing one to always know where
the edge is! In combat under stress this grip allows the practitioner to fly through the motions
without fear of cutting ones self with ones own knife.
The Broken-Finger Grip used by many of the KI oriented arts, (the KI finger directs the energy)
actually holds a firm grip with the thumb base and the middle, ring and pinky fingers and is a
transitional grip or sometimes is actually the same grip as the Cancer Grip. Both of these grips
lead to locking or trapping. By themselves, out of context, these grips not only seemed foolish, but
seemingly dangerous to the user. Common sense and proper teaching eliminates the dangerous part
of these grips.
In review there is only one way to grip any weapon: As if ones life depends on the grip. The
posture of the grip may vary from position, combative range and intended usage. The final authority
is the one gripping the weapon: use common sense.
Combative Range and Personal Combative Range effect how one goes about gripping the knife.
Many people like to argue the detail of combative ranges change all the time but as true as the
argument is, it is not credible when used to substantiate why only one grip should be used. Each
range has a grip that is best for that range. Not that other grips cannot be used, but there are certain

53

grips that fit best in each combative range. Target zones within each range also mitigate which grip
can or should be used.
At Out-of-Range or at Long Range the grip that affords the most distance and long reach striking
ability is the Forward Hammer Grip. One can use this grip to attack the opponent while keeping
ones own body parts out of the line of fire. Fencing Grip works for one is slicing at a small target
without impact as a concern. Saber Grip could be used, for it is possible to thrust at this range but
improbable to use it effectively. The best use of Saber Grip at out- of- range is for tip ripping or
back cutting with the very tip of the knife. Reverse Hammer Grip doesn't have the reach to be
effective.
Middle Range allows for several grips to be used. The Forward Hammer Grip works fine for
striking, cutting, slicing and all types of thrusts. Reverse Hammer Grip works for one can slash,
hook, trap and thrust with great force. Saber Grip works for one can thrust to the arm or body or
use it for back-cutting motions. Fencing Grip works as well for one can slash to the arm or body
without thought of impact.
Short Range things start to get crowded. Forward Hammer Grip extends ones weapon well past
any target zone. Saber Grip has the same limitations as the Forward Hammer Grip. Too much
reach for too little space. Fencing Grip is an acceptable grip if one keeps ones elbows close for
again this is a low impact grip. The most usable grip here is the Reverse Hammer Grip. The
Reverse Hammer Grip can do picking, thrusting, slashing, hammering, trapping and deflections.
Close Range has only one available and usable grip, The Reverse Hammer Grip. The opponents
body and mass are too close for any other grip. Reverse Hammer Grip allows for punching power
to penetrate the opponent, to hook, and to slash with ones body torque using short choppy motions!
The ability to change grips while changing ranges must become natural. To develop that ability one
needs to do the Six-count dexterity drill which focuses on grip changing within combative
ranges. This is not a knife fighting, offensive or defensive technique. This is a DEXTERITY drill to
allow one to learn how to change grips surely and safely while in combative flow.
D, our defensive partner gets to hold out for cutting, Ds right arm. D simulates a position and
moment in space within the flow of combat. As the drill gets advanced D can move the arm around.
A, our attacker will be the one learning the dexterity drill.

D extends Ds right arm as if striking a #1 strike from Ds open side.

A in a Forward Hammer Grip stays just out of range of Ds weapons full extension and
cuts Ds inside forearm with a #1 cutting strike. A passes Ds right arm with As left in a
close-trapping motion.
A strikes through Ds arm and after passing to the outside of Ds arm, a spins the knife
between As thumb and first finger, counterclockwise. As weapons hand is making a larger
counterclockwise circle at the same time. A maintains passing trapping adhesion with As
left hand on Ds right arm.
A re-grabs the knife in Reverse Grip, edge outward, and as A finishes the
counterclockwise large circle, A is in position to again cut Ds right inside forearm in a #1
cutting slice, this time using Reverse Grip. (close motion)
A completes the close motion, then reverses the motion into a clockwise (open motion)
hooking Ds right arm from the outside with As knife. A steps up with As left leg, closing
the range.

54

A traps Ds right arm with As left hand and Reverse Grip stabs D in the chest with a #
12 downward thrust.

A pulls back and using As right thumb to rotate the knife clockwise within As hand, A
then upward spins the knife into a forward Fencing Grip.

A then slices Ds right biceps with a horizontal cutting strike #3 using the Fencing Grip.

For A to get around Ds right arm barrier, A inserts the lower two fingers (ring and
pinky) of As weapons hand onto the inside of the knife handle. Pushing outward with the
two fingers, the knife twirls inward to a reverse position, where A re-grabs the knife in
Reverse Hammer Grip. A then continues the flow of motion, striking an inward, downward
forward circle, toward Ds lower regions, such as Ds groin and or upper thigh.

A traps Ds right hand with As left hand and stepping back with As right leg turns and
#11 cutting strike in Reverse Hammer Grip on Ds right arm.

A pulls back and using As right thumb to rotate the knife clockwise within As hand, A
then upward spins the knife into a Saber Grip. A then thrusts an inverted thrust # 6 from the
open side at Ds left chest.
This completes the Six- count dexterity drill.
Using common sense usually works out best in choosing the way one grabs a weapon. If one
chooses to delicately hold a weapon in two fingers, allowing for artistic twirling, and one then
subsequently loses grip and possession of ones weapon in combatwell like I saidcommon
sense goes a long way!
NOTE: I once held a stick between my first two fingers and my thumb and I was rapidly twirling
the stick. Professor Presas suddenly hit my stick with his stick and my stick flew out of my hand.
You are DEAD was all he told me. I picked up my stick and started to twirl it again. This time
upon impact with my stick, which again went flying, Professor Presas smacked me lightly in the
head with his stick and said, What did I tell you? I picked up my stick and I learned how to
make my wrists supple and to hold the stick in my hand, WITH MY FULL HAND, as if my life
depended on it!

55

Chapter:#13 Disarms are incidental: they just happen within the flow!
Professor Remy Presas: Modern Arnis- Philippine Stickfighting
1974

Manila, Philippines

When the defender has NO THER MEANS to repel an attacker, his ONLY choice left is to use
his bare hands in disarming his opponent. This is rather risky! Only people with adequate skills
must attempt this feat. Remember your adversary can EASILY exploit his advantage with the
proper use of his weapons.
Disarms have a romantic connotation to them. Everyone who wants to learn disarms has this image
of an attacker coming at them, swinging away with deadly intent as they, the defenders, step in and
redirect the poor attacker into a disarming technique. The deadly weapon snatched away at the last
possible moment and sometimes even used by the defender to counter attack the attacker.
This is not reality based thinking. Disarms, as we know them appear in split seconds, momentary
positions within actual movements that might allow the attacking weapon to be removed from the
attackers hand. These moments in time appear and disappear with regularity. Each full motion or
partial motion of an attacker has the potential to be used to disarm a weapon. The possibility of
doing a disarm abounds, the probability of actually doing a disarm is almost nil. In a classroom
situation one can insert disarms with intent and with total disregard for the consequences. This reenforces the attitude that disarming is a skill that exists by itself. The act of disarming is seen and
taught as a means unto itself instead of what disarming is really supposed to be.
To be more specific, lets give a very vivid example of disarming: try imagining a Cusinart or a
kitchen blender with the cutting blades turned off. Its a simple matter to reach in and remove the
blades. Now turn it on. Would you reach into this whirling mass of sharp steel and remove the
blades? No way, for the ONLY thing to be removed would be ones fingers. The blades would
keep merrily turning and cutting completely oblivious to the attempt to disarm them. In theory
it was simple. In a set environment, lets say for example of getting the machine ready, ANYONE
could learn to remove the blades or disarm the machine. In reality its impossible EXCEPT in a
very specific timelike when the machine is completely turned off. With the blades in action,
moving slowly or really fast, it becomes impossible to remove the blades.
In many schools of martial arts and schools of supposed Combative arts, disarms are routinely
taught to the students. These disarms are based on the instructors pre conceived ideas of what an
attacker will do with weapon while attacking and how that attacker will respond throughout the
disarming technique. No one mentions the unmentionable: that not only does the attacker respond
to the attempted disarm but the attacker might actively counter the disarming. To avoid dealing with
this situation, most instructors teach the disarms as separate from combative reality. These disarms
are taught as a set of responses to a particular type of attack. Worse yet these disarms are taught as
UNIVERSAL disarms applicable to blunt OR edged weapons alike. This universal approach has the
potential to harm, maim or at extreme get the defender killed. Blunt and edged weapons utilize
different conceptual motion usage even if the attacking planes of motion are identical. Instructors
dont understand that and deem them the same and teach the response patterns as the same as well.

56

Since Combat is an ever-changing variable, the ability to interject some control over the act of
combat is indeed enticing. Disarms give one the ability to seemingly control part of the act of
combat. If disarms are taught in a conceptual manner they can be used to a defenders advantage. If
disarms are taught as a set response to an attack, then they will fail as often as any pre recorded
empty hand response. Conceptual motion is the only way to respond to spontaneous attack. To learn
conceptual motion allowing for immediate natural response to a spontaneous attack takes learning
with in a framework based on a variable reality.
For one to learn disarms, the learning has to be done within the framework of what if and where
is The what if is how is the attack being delivered, from what position or grip, and with what
type of weapon. The where is considers on what plane of motion the attack coming from. This
framework is not anything but a basic framework. It allows for understanding the act of disarming
but is not disarming itself. It is at this early point that most people teaching disarming go wrong.
They give the basic framework life unto itself, a separate meaning as if disarms could stand on their
own. All the basic framework does is give one a clear reference point, an alphabet to readily see
how disarm is spelled. Learning how to spell disarm, does not mean one understands how to use
it in a sentence, the meaning of the word disarm nor the connotations of the word spelled. The
grammar of disarm is what needs to be taught and the grammar is what most instructors themselves
dont understand!
Some noted Filipino instructors, such as Angle Cabales and Johnny La Costa have stated (while
they were alive) that if one can understand how to defend against angles #1 and #2, one can defend
against ALL POSSIBLE angles of attack. Professor Remy Presas, the founder of MODERN
ARNIS, likes to tell his students you see? It is all the same. When you understand there is no
difference! In general this can be applied to disarming as well, as long as the weapon being
disarmed is a blunt weapon and not an edged one. But what most people miss is the underlying
concept that instructors like these wanted one to understand. One hears this universal statement and
tries to do exactly the same technique or pre-recorded response to any angle of attack. These
instructors wanted one to understand the planes of motion, to see the conceptual usage within the
motion, so that one could solve the problem of multiple angles of attack. The Filipino way of
conceptual motion is still the best foundation on which to build disarming skills. Within this
conceptual foundation lies the heart of the disarming motions.
The disarms, whether set up with weapon to weapon or empty hand to weapon teach certain
fundamental concepts and reference points. The disarms are taught to specific angles of attack not
because these attacks need these responses but to understand the concepts used. Using certain
responses to specific attacks allow for an easy to see illustration of the concept. There are many
ways to set up or name angles of attack. In CSSD/SC two sets of 12 angles of attack are used: one
for blunt weapons, one for edged weapons. These numbered angles allow one to start spelling
disarm in a safe context! The first thing the disarm teaches is the correct way to approach an attack.
If one starts out from the wrong approach one NEVER gets to the disarm, for one is immediately
filleted. With that caveat in mind lets look at a #1 attack and what can be learned about spelling
DISARM. An attack, in this case is a number #1 downward diagonal strike delivered from the
open side, (top right to lower left) with the weapon in the right hand.
The basic defensive conceptual motion is the primary one of OPEN-CLOSE. Anatomical function
dictates that to close ones arm across ones body the palm needs to be up. (Actually the same
concept of function works with a strike across the body, for one ending position of closed is palm
up.) Bringing the outside forearm (in this case and point a palm up position) into contact with the
inside of the attacking arm again follows function in that the flexors, the arteries and the main
nerves of the defensive arm face AWAY from the force of the attack. This same rotation keeps the
elbow close to and protecting the body in a natural position.

57

With this position and contact there is now a reference point: outside forearm (palm up) to
attacking arm.
Many martial arts styles have a name for this position/ reference point but the Wing Chun Kung Fu
people have the best name: TAN SAUPALM UP. Simplicity. Call something by what it is or
does. From this reference point the arm moves to the open position. The open position is
open downward away from the body: FUT SAUSWINGING HAND. This swinging motion
force the reference point to stay the same while the point of contact (the forearm) rotates around the
attackers arm through the full plane of motion. The open arm is still outside forearm (reference
point) palm down to attackers outside forearm. The Filipinos call the full range of these two
conceptual motions used together, PALLASOOT. It is also part of the conceptual motion usage in
Single Sinawali (single arm weaving)
Due to the use of open-close several things happen at the point of contact:
The point of contact is on the nerve that controls the attackers hand
Two different re-directional forces have occurred:
A rotational force has intercepted the attacking force shifting its plane of motion
A defensive horizontal plane has become a vertical forward plane AWAY from the body
The attackers mobility and balance have been shifted
At the end of the motion with the right arm opening the left forearm closes (an alternating
sequential motion) palm up to the NEW point of contact; the outside of the attackers arm. The right
arm withdraws to the body. The left arm does a mirror image of the defensive conceptual motion
done with the right arm: going from openclose-open (across, down, away). There is no spelling
of disarm but the sound of speaking disarm is now understood.
Within the complete motion lie many spellings of DISARM. To spell disarm the attackers
wrist, or hand or thumb will be grabbed and controlled by the non- passing arm (the one not
engaged in point of contact or changing planes of motion) It is this point that learning disarms
for specific angles comes into play. As stated before each angle is not to teach a specific disarm but
to allow one to illustrate each conceptual usage: to understand the spelling. Each angle teaches from
a reference point, the best parts of ones anatomy, to use to enact or spell a particular disarm. That
way, when in combat, when one feels a reference point, a disarm is automatically spelled using the
appropriate parts and motions.
When utilizing a weapon against a weapon, BIOMECHANICAL disruption can easily cause
disarms. Weapon to weapon, using biomechanical destructions or disruptions are the safest way
to disarm an opponent / attacker. One stays out of range of the attacking weapon and attacks the
weapon supporting hand or limb. This form of disarming is not romantic, is not pretty, but it is
extremely effective. For example cutting off an attackers fingers that hold a weapon will disarm the
attacker. Cutting the attackers flexor muscles will cause a disarm. Cutting off the attackers thumb
on the weapon hand will disarm the weapon. Hitting the attackers weapon bearing hand with a
blunt weapon breaking the hand will cause a disarm. Breaking the fingers of the weapon bearing
hand with a strike from a blunt weapon will cause a disarm. Striking the nerve plexus in the
attackers forearm with a blunt weapon can cause a disarm. Striking the head with blunt or edged
weapons can cause a disarm. None of these disarms asks one to spell disarm in a conventional
way. NOTE: In the extreme, De-animation, termination or killing the opponent / attacker will
cause a disarm as well.
The first and most common conventional image of a disarm is one of controlling an attackers
weapon or weapon hand and stripping the weapon out of it (usually with the weapon bouncing
across the floor with a loud bang). The second conventional image is for the ADVANCED weapon
disarmers who not only strip the weapon out of the attackers hand but gain control of the weapon

58

and feed it back into the attacker as a counter attack! The difference between the conventional
image of a disarm and a conceptual one is that the conventional grabs the disarm out of any starting
point without consideration of the flow of combat. The conceptual image of a disarm is one that
starts from within the context of the flow of combat. Both end up with the weapon stripped and or
fed back into the opponent. The non-conventional image uses the concept of destroy the attackers
weapon hand or base to enact a disarm. Only the conventional disarm has no basis in reality for its
image.
There are several groups of concepts of actual disarms:
Empty hand to Blunt weapon
Empty hand to edged weapon
Blunt weapon to blunt weapon
Blunt weapon to edged weapon
Edged weapon to blunt weapon
Edged weapon to edged weapon
Each of these groups uses the same basic framework as a point to acquire its reference points. The
difference is in the actual tool used to enact / spell the disarm. Each tool has unique principles to
itself and its own conceptual usage. Because the attacking weapon also has these unique principles
and conceptual usage, care must be given to understand where the interception of these planes of
motion or usage occurs and to use them to spell out disarm. A response to each group is discussed in
step by step conceptual motion format.
Empty hand to Blunt Weapon Response:
1)
2)

3)

4)
5)
6)

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Sticks break bones. The
arm is moving slower than the weapon and is vulnerable.
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking stick outside the range of the body.
Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of stick range while
keeping adhesion of the arms.
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the thumb of the attacking weapon hand.
Without losing adhesion roll the right hand in a clockwise forward vertical circle
(inward / upward toward the body, between the attackers hand and ones own body) and
continue the circle out and downward stripping the weapon out of the attackers hand with
either the hand or the forearm.

Empty hand to Edged Weapon Response:

59

1)
2)

3)

4)
5)
6)

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Steel cuts flesh. The arm is
moving slower than the weapon and is vulnerable.
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking knife outside the range of the body.
Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of knife / blade range
while keeping adhesion of the arms.
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the meat of the thumb of the attacking weapon hand.
Without losing adhesion with the attackers arm, roll the right hand in a clockwise forward
vertical circle (inward / upward toward the body, between the attackers hand and ones own
body). Continue the circle out and downward stripping the weapon out of the attackers
hand with the outside of ones own forearm. (rotate the forearm onto the side of the edged
weapon NOT into the edge itself)

Blunt weapon to Blunt weapon Response:

1)

2)

3)

4)
5)
6)

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Sticks break bones: The
arm is moving slower than the weapon and is vulnerable. Basic variations or possibilities:
Stick to arm is acceptable, stick to stick is acceptable: stick to stick MAY cause rebounding
and loss of adhesion.
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking stick outside the range of the body.
Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of stick range while
keeping adhesion of the arms.
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the thumb of the attacking weapon hand.
Without losing adhesion roll the right hand in a clockwise forward vertical circle
(inward / upward toward the body, between the attackers hand and ones own body). Put the
tip of ones own stick under the ones own left arm in the armpit and continue the circle out

60

and downward with the butt of the weapon, stripping the weapon out of the attackers hand.
Use either the butt of the weapon or the ones forearm.

Blunt weapon to Edged weapon Response:

1)

2)

3)

4)
5)
6)

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Steel cuts flesh: The arm is
moving slower than the weapon and is vulnerable. Basic variations or possibilities: Stick to
arm is acceptable, stick to knife is less acceptable, because the knife is a small target.
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking knife outside the range of the body.
Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of knife / blade range
while keeping adhesion of the arms.
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the thumb of the attacking weapon hand.
Without losing adhesion roll the right hand and the stick in an outside clockwise forward
vertical circle (outward / upward toward the attacker, outside of ones right side). Put the
portion of the stick just over the hand onto the side of the edged weapon. Continue the circle
out and down, towards the attacker, stripping the weapon out of the attackers hand.
Variation: Use either the butt of the weapon or the outside of ones forearm.

Edged weapon to Blunt weapon response:

1)

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Sticks break bones: The
arm is moving slower than the weapon and is vulnerable. Basic variations or possibilities:
Knife to arm is acceptable, knife to stick is unacceptablethe stick can overpower the steel
by leverage or percussion. The edge can become embedded in the stick.
2)
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
3)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking stick outside the range of the body.

61

4)

Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of stick range while
keeping adhesion of the arms.
5)
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the thumb of the attacking weapon hand.
6)
Without losing adhesion roll the right hand and the knife in an outside clockwise forward
vertical circle (outward / upward toward the attacker, outside of ones right side). Put the
portion of the knife just over the guard onto the attackers fingers. Continue the circle out
and down, and toward the attacker, cutting and stripping the weapon out of the attackers
hand. Variation: Use either the butt of the weapon or the outside of ones forearm. OR
without losing adhesion, carefully with self preservation in mind, WITHOUT cutting ones
self, roll the right hand with the knife edge DOWN in a clockwise forward vertical circle
(inward / upward toward the body, between the attackers hand and ones own body). At the
top of the circle rotate the edge outward (functionality of form). Put the portion of the knife
just over the guard onto the attackers fingers. Continue the circle out and down, and toward
the attacker, cutting and stripping the weapon out of the attackers hand. Variation: Use
either the butt of the weapon or ones forearm.
Edged weapon to Edged weapon Response:
1.

2.

3.

4.
5.
6.

Step up 45 degrees with the right foot while body shifting inward toward the attack. One
must step up to engage the arm of the attacker NOT the weapon. Steel cuts flesh: The arm is
moving slower than the weapon and is vulnerable. Basic variations or possibilities: Knife to
arm is acceptable, knife to knife is unacceptable: loss of fingers is possible...steel slides on
steel
Catch the inside forearm of the attacking weapon arm with the outside forearm of the
right arm: one does a closing motion (palm up) intercepting the attacking arm with the
outside forearm of the closing right arm. This rotation force redirects the attack and injects
a disruptive signal into the nerve controlling the hand with the weapon. (The nerve must be
hit from behind and moving towards the hand to be effective.)
open the arm in a circular downward motion, maintaining a forward pressure as well as
keeping the outside forearm of the defending right arm to the inside of the attacking arm.
The defending forearm will rotate over and around to the outside of the attacking arm. The
open- close- open from a high plane of motion to a low plane of motion will pass the
attacking knife outside the range of the body.
Step back to center then backwards and outwards 45 degrees as one finishes the openclose-open motion. This stepping in phase helps move the body out of knife / blade range
while keeping adhesion of the arms.
Insert the left hand with a close motion, palm up onto the attackers forearm,
momentarily trapping the forearm BETWEEN the two arms. Rotate the left hand clockwise
to grab the thumb of the attacking weapon hand.
Without losing adhesion roll the right hand and the knife in an outside clockwise forward
vertical circle (outward / upward toward the attacker, outside of ones right side). Put the
portion of the knife just over the guard onto the attackers fingers. Continue the circle out
and down, and toward the attacker, cutting and stripping the weapon out of the attackers
hand. Variation: Use either the butt of the weapon or the outside of ones forearm. OR
without losing adhesion roll the right hand (carefully with edge awareness)in a clockwise
forward vertical circle with the knife edge DOWN(inward / upward toward the body,
between the attackers hand and ones own body). At the top of the circle rotate edge outward
(form following function). Put the portion of the knife just over the guard onto the attackers
fingers. Continue the circle out and down, and toward the attacker, cutting and stripping the

62

weapon out of the attackers hand. Variation: Use either the butt of the weapon or ones
forearm.
Are there structured disarms?
Yes, there are structured disarms and they exist as the basic alphabet to see how we spell disarm.
Drills designed to feel disarms are a framework to understand the grammatical usage of disarms.
Neither are actual disarms for as stated disarms are moments in time that translate into interception
of motion and reorganizing of the flow of combat into a momentarily controlled situation.
Can the basic spelling of disarm be taught? Can the spelling and grammar of what one perceives as
disarm be learned? Yes, the disarm can be learned and to understand the relationship between
weapon and hand, a Filipino based learning framework is used. The classic system of framework is
based on empty hand to stick or knife and stick to stick. Conceptual usage comes from this basic
framework. Again, remember this framework gives spelling of disarm, gives reference points of
contact and conceptual motion that MUST BE read into the basic framework itself, by the
practitioner and the instructor.
In a physical state there are three basic hand positions that are considered disarm reference points.
The hand position is always the hand of the opponent / attacker which holds the weapon. The
reference points are from the final spot of motion IMMEDIATELY before the actual disarm.
Position KEY #1: palm outward, knuckles up, thumb up, back of hand inward
Position KEY #2: palm outward, knuckles forward, thumb down, back of hand inward
Position KEY #3: palm inward toward body, knuckles out to side, thumb up, back of hand forward
These are called KEY spots. If these hand positions were to be animated; that is shot on single
frames of film and then played back, they describe the full possible rotation of ones wrist: form
follows anatomical function. Key #1 is the extreme top outside rotation of the wrist and arm. Key
#2 is the extreme bottom inside rotation of the wrist and arm. Key #3 is the midrange non-rotated
position of the wrist and arm. The three keys are situational points in a conceptual motion of
rotation, and become part of the spelling of disarm. Therefore the three points are the KEYS to the
full range of motion. Anyone position is a reference point that unlocks the other positions in that
range of motion. These KEYS if used together give the conceptual motion of single arm weaving:
Single Sinawali. These KEYS give the ability to unlock many of the possible motions based on the
principle of OPEN-CLOSE.
The most common disarming known, the easiest to recognize is basic stick to stick disarming. The
old learning adages is that Knife teaches stick, stick teaches empty hand and empty hand teaches
function. The translation doesnt quite work in that orderly a progression BUT learning stick to stick
is an easy way to understand conceptual motion and reference points. There are many different
versions of stick disarms that are taught by many Arnis instructors. None are really better than the
others are and usually the concepts are the same and if taken to the core the principles are identical
as well. These particular basic stick disarms that I am discussing are based on the foundation and
teachings of MODERN ARNIS: theFilipino Martial art of REMY PRESAS. Lets take a look at
basic stick to stick disarming. Remember in Modern Arnis there are also counters to the disarms
that are taught as well.
Basic Stick to stick disarming: Basic counter blocking on the strikes is done for example #1
against #1 and is referred to: strike #1 and blocking strike #1. Blocking sets up the disarming
The disarms will be done as A against D. (A -for attacker, D- for defender)

63

Disarm against a #1 angle. Downward diagonal from the open side.

A strikes with a #1 strike downward diagonal to Ds neck / left shoulder from As open
side.

D steps up right 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #1 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike.

D slides the checking hand from junction of sticks to the left, onto As upper stick

D, grabbing the stick, makes a forward vertical circle: a rowing motion, drawing the
upper stick into Ds body. This rowing forces As hand to rotate to position Key #1

D pushes forward and outward with Ds stick, stripping As stick from As hand.

Disarm against a #1 angle. Variation #1

A strikes with a #1 strike downward diagonal to Ds neck / left shoulder from As open
side.

D steps up right 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #1 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike.

D slides the checking hand from junction of sticks, to the right, onto the base of As
thumb

D does a forward vertical SMALL circle rotating As hand (by the thumb) into position
Key #1

D strips the stick out of As hand with Ds right outside forearm.

Disarm against a #1 angle. Variation #2

A strikes with a #1 strike downward diagonal to Ds neck / left shoulder from As open
side.

D steps up right 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #1 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike

D pushes Ds stick from the checking point in a forward vertical circle, then rotating the
tip of Ds stick counterclockwise under As wrist and onto the inside of As right wrist.

Ds motion rotates As hand into position Key #1

D continues counterclockwise motion stripping the stick from As hand.

Disarm against a #2 angle. Downward diagonal from the closed side.

A strikes with a #2 strike downward diagonal to Ds neck / right shoulder from As close
side.

D steps up left 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #2 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike.

D slides the checking hand from junction of sticks to the left, onto As upper wrist, lower
forearm

D turns left hand PALM UP, D rotates As arm open down-close up, while retaining
adhesion and Ds hand rotates around As arm. (Simultaneous single arm weaving in the
plane of motion around the arm itself and single arm weaving of the arm within a plane of
motion relative to the body.)

64

D rotates Ds left hand PALM up into a close position on Ds chest, locking As hand
against Ds chest in position Key #2.
Ds left hand rotates palm down, maintaining its vertical plane, D quickly pushes the left
palm down toward the ground. Before reaching full extension Ds hand disarms As stick.

Disarm against a #2 angle. Variation #1

A strikes with a #2 strike Downward diagonal to Ds neck / right shoulder from As close
side.

D steps up left 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #2 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike.

D slides the checking hand from junction of sticks to the left, onto As upper wrist, lower
forearm

D turns left hand PALM UP, D rotates As arm open down-close up, while retaining
adhesion and Ds hand rotates around As arm. (Simultaneous single arm weaving in the
plane of motion around the arm itself and single arm weaving of the arm within a plane of
motion relative to the body.)

D rotates Ds left hand PALM up into a close position on Ds chest, locking As hand
against Ds chest in position Key #2.

D steps up right and rotates Ds body, pivoting on Ds left foot, inward toward As
trapped arm. D raises right elbow while pivoting inward.

D drives right elbow down through As right arm, over the elbow on the triceps tendon
zone, causing extreme pain and As stick to stripped from As hand.
Disarm against a #2 angle. Variation #2

A strikes with a #2 strike Downward diagonal to Ds neck / right shoulder from As close
side.

D steps up left 45 degrees along the outside of a female triangle. D body shifts inward
and strikes a #2 blocking strike. D uses the left hand to re-enforce the block and catch the
rebound of the strike.

D slides the checking hand and the stick to the left, onto As upper wrist, lower forearm

D turns the tip of Ds stick clockwise under As weapon hand., D rotates As arm open
down-close up, while retaining adhesion and Ds hand rotates around As arm.
(Simultaneous single arm weaving in the plane of motion around the arm with the stick
while the arm moves in a rotational plane from the body)

D continues the circling as Ds wrist and As wrist maintain adhesion. D brings As hand
to position Key #2 in front of Ds body.

D grabs As stick using Ds left hand, near As hand and continuing the circular motion
with Ds right hand: Ds stick strips the weapon from As hand.
The basic disarms, done on angle #1 use the same conceptual motions to move through the planes
of motion. The conceptual usage is slightly different in each case. In the first Basic disarm #1, the
left hand grabs the stick and rotates the weapon hand into position Key #1, so that the defenders
stick can disarm it. In the next variation of Basic Disarm #1, the hand rotates the hand to the same
position Key #1 and the defenders forearm does the disarm. Then in the last variation of Basic
disarm #1, the inserted stick rotates the arm and hand to the position Key #1 and the defenders
weapon bearing arm does the disarm.

Left hand does rotation by stick to position Key #1

Left hand does rotation by hand/ thumb to position Key #1

65

Stick in right hand does rotation by wrist and stick to position Key #1

The same can be said of Basic disarm for angle #2. Conceptual motion is the same but the
conceptual usage is slightly different on each variation.

Left hand-palm up does rotation and rotates again to position Key #2

Left hand palm up does rotation and body rotates inwards for elbow to be in position
Key #2

Stick in right hand does rotation by wrist and stick to position Key #2
Reference points are being learned so that within the flow of combat, when the reference points are
engaged, in that moment in time, a disarm is possible. Motion is constant and variable, so the
reference points come and go. Learning recognition of the reference points and the conceptual
usage of motion to engage the Keys needs to become as close to a natural response as possible.
When this happens, the probability of discovering a disarm within the context of the flow of combat
rises.
The Angle #2 a downward diagonal from the closed side has the ability to be put into position Key
#3 very easily. This is based on form follows function. When entering the plane of motion of an
attack from the closed side, anatomically one receives the attackers hand in a position Key#3.
Disarms from this Key #3 spot are usually referred to as quick strips due to the almost immediate
ability to respond to the attack with a disarm.
Disarm against #2 angle using KEY #3 position:

A strikes with a #2 downward diagonal strike to Ds neck / right shoulder from As

closed side
D steps up 45 degrees left along the outside of a female triangle. D body shifts inward
toward A.
D blocks As #2 strike with a #2 blocking strike. D re-enforces the block with Ds left
hand to control any rebound of the stick.
D slides Ds left hand onto As weapon hands thumb, gabbing the meat of the thumb. D
rotates upward / inward and has As hand in position Key#3.
D immediately strips the stick from As hand with a forward vertical DOWNWARD
circular motion.
Variation: D immediately shifts Ds weapon hand up, placing the butt of the stick on As
stick. Using a forward vertical downward circular motion, D strips the stick from As hand.

Disarm against #2 angle using KEY #3 position: variation #1

A strikes with a #2 downward diagonal strike to Ds neck / right shoulder from the As
close side
D steps up 45 degrees left along the outside of a female triangle. D body shifts inward
toward A.
D blocks As #2 strike with a #2 blocking strike. D re-enforces the block with Ds left
hand to control any rebound of the stick.
D slides Ds left hand under As weapon hands wrist. D rotates upward / inward and has
As hand in position Key#3.
D immediately strips the stick from As hand with a clockwise downward circular
motion.

66

Variation: D immediately shifts Ds weapon hand up placing the butt of Ds stick on As

stick. Using a clockwise downward circular motion, D strips the stick from As hand.

Disarm against a #3 angle: Horizontal strike from open side to close side

A strikes a #3 horizontal strike to Ds left side / left elbow from As open side.
D steps up right 45 degrees along the outside of a female triangle. D body shifts inward
toward As attack. D blocks As strike #3 with a blocking strike #1. D re-enforces the block
with Ds left hand to check and catch the rebound.
D slides the checking hand to the right and inserts Ds left hand between Ds stick and the
outside forearm of As weapon hand.
D does a close to open counterclockwise circle with the Ds left arm, rotating around
As wrist while rotating As arm through a vertical circular plane of motion to position Key
#1. Conceptual motion of single arm weaving: ( Palm down and outward to palm up and
inward)
D drops the tip of Ds stick behind and to the left side of D. D uses Ds right forearm to
disarm As stick. The disarming motion is that of drawing a sword.

Disarm against a #4 angle: Horizontal strike from close side to open side

A strikes a #4 horizontal strike to Ds right side / right elbow from As close side
D steps up left 45 degrees along the outside of a female triangle. D body shifts inward
toward A. D blocks As #4 strike with a #2 blocking strike. D re-enforces the block with
Ds left hand to check and control the rebound of the stick.
D rotates Ds check hand to the right ( Ds fingers point to the right), while maintaining
adhesion to both sticks. Then using As stick as fulcrum, D guides the tip of Ds stick (with
Ds fingers) in a forward horizontal close circle, bringing the tip of Ds stick onto the
outside of the thumb of As weapon hand.
D grabs both sticks with Ds left hand (base of Ds hand toward As hand) and slides the
left hand towards As weapon hand. D squeezes the two sticks together. Note: The disarm
MIGHT happen at this point even if unintentional for the circular motion locks Ds stick on
the median nerve in the thumb. Intense PAIN occurs
D moves Ds left hand and the tip of Ds stick, toward the left side of D, in an open
close clockwise forward vertical circular motion. The motion traps As weapons hand in a
combination thumb-lock, wrist center-lock. Position Key #2
D does conceptual usage of close-open (single arm weaving) a forward downward
vertical circular motion toward Ds right side and strips As stick from As weapon hand.

Disarm against a #5 angle: thrust to midline / center thrust: Tip of stick is in down position

A thrusts a #5 angle, straightforward, into Ds center / abdomen groin- solar plexus.

D zones right, stepping right along base of male triangle and body shifts inward toward
A. D blocks As #5 thrust with an inward downward vertical blocking motion (Ds hand is
inverted, tip of stick toward the ground, weapon hand about chest / abdomen height). D reenforces the block with Ds left hand checking under Ds weapon hand.
D rotates the butt of Ds stick in a vertical downward forward circular motion over the
back of As weapons handwhile Ds left hand grabs As stick. As hand rotates into
position Key #1.

67

D drives the butt of Ds stick into the back of As weapon hand. D pushes forward on
both sticks with Ds left hand.
D steps back with the right 45 degrees, body shifting away from A while pulling Ds
stick hand back to Ds right side stripping the stick from As weapon hand. Close Open
conceptual usage.

Disarm against a #5 angle: thrust to midline / center thrust: Tip of stick is in up position

A thrusts #5 angle, straightforward, from close to As open side into the center of Ds
body.
D zones right, stepping right along base of male triangle and body shifts inward
toward A. D blocks As #5 thrust with a blocking strike #1. Ds left arm does an open
downward motion trapping As stick between Ds stick and Ds left forearm.
Ds left hand disengages from the trap and reaches over Ds weapon hand to grab As
weapon wrist. Ds grabbing of As wrist rotates As wrist to position Key #3
D shifts from stick to stick contact to putting Ds right forearm onto the top of As stick.
Both of Ds hands execute a counterclockwise upward vertical circle (sequential single
arm weaving on a single plane of motion. Ds left hand pulls up on As weapon wrist while
Ds right forearm pushes on As stick) stripping the stick from As weapon hand.

Disarm against a #6 angle: inverted (palm down) / upward- horizontal thrust from open side

A thrusts a #6 angle from As open side, into Ds left chest area

D steps up right 45 degrees along outside of female triangle and body shifts inward
toward A. D blocks the #6 thrust with a blocking strike #1. Ds left hand re-enforces the
block and checks the rebound.
D rotates Ds left hand to the right (fingers point to the right) while maintaining adhesion
to both sticks.
D grabs both sticks with left hand while rotating Ds right hand (weapon hand) in an
upward counterclockwise vertical circle. Ds weapon hand leads BUTT first under As
weapon hand. The upward motion of Ds weapon hand puts As weapon hand into position
Key #2.
Both of Ds hands execute a clockwise, upward vertical circular motion from the closeopen position (sequential single arm weaving on the same plane of motion). Ds right hand
finishes the close-open in full open position by Ds right side, with Ds left hand following
the same path. The motion strips the stick from As hand.

Disarm against a #7 angle: inverted (palm up) / upward horizontal thrust from the close side

A thrusts a #7 angle from As close side, into Ds right chest area.

D steps up right 45 degrees along the outside of female triangle and body shifts inward
toward A. D blocks As thrust with a blocking strike #2. D re-enforces the block with Ds
left hand, checking the rebound.
D executes a close-open conceptual motion: inserting (close) Ds left arm between As
stick and Ds right forearm, then (open) with As stick being grabbed in Ds left hand. At the
end of the open-close motion, As weapon hand is in position Key #1.

68

At this moment Ds stick rests vertically on As weapon arm (right forearm) and As stick
is horizontally across Ds stick. As weapon hand is now in position Key #1. D executes a
shearing motion: right hand in a clockwise forward vertical circle turning palm up, while
the left hand holding As stick does a downward clockwise forward vertical circle. The
intersection of these planes of motion is the fulcrum point of As stick and Ds stick. As
stick is stripped out of As weapon hand.

Disarm against angle #8: upward diagonal from the close side.

A strikes a #8 upward diagonal from As close side towards Ds right leg / knee.
D steps up left 45 degrees along the outside of a female triangle and body shifts inward
toward A.
D blocks As #8 strike with a blocking strike #8. D re-enforces the block with Ds left
hand, checking the rebound.
D does a forward clockwise downward circular motion, pushing the butt of Ds stick over
As weapons hand. Ds left hand grabs both sticks.
D executes a close-open large clockwise circular motion (the motion goes low close high open) catching As weapon hand from the outside with the butt of Ds stick. The action
puts As weapons hand in the position Key #2. The close-open motion ends by Ds right
side.
D steps back with the right, rotating Ds body to the right, stripping the stick from As
weapons hand.

Disarm against angle #9: upward diagonal from the open side.

A strikes a #9 upward diagonal from As open side towards Ds left leg / knee.
D steps up 45 degrees along the outside of the female triangle and body shifts towards A.
D blocks As #9 strike with a blocking strike #9. D re-enforces the block with Ds left
hand, checking the rebound from underneath Ds weapons hand.
D circles Ds left hand in a clockwise horizontal circle catching the back of As weapons
hand by the wrist.
D rotates the wrist slightly into position Key #3, while pulling As weapons hand to a
close position
D Pushes Ds stick through As stick into a close position, stripping the stick from As
weapons hand.
The motion is closing with both arms simultaneously.

Disarm against angle #9: upward diagonal from the open side.
Variation # 1

A strikes a #9 upward diagonal from As open side towards Ds left leg / knee.

D steps up 45 degrees along the outside of the female triangle and body shifts towards A.

D blocks As #9 strike with a blocking strike #9. D re-enforces the block with Ds left
hand, checking the rebound from over Ds weapons hand in a close position.

D circles Ds left hand in a clockwise horizontal circle catching the back of As weapons
hand by the wrist.

D rotates the wrist slightly into position Key #3, while pulling As weapons hand to a
close position

D lets the pressure from both sticks move the tip of Ds stick to rest along the outside of
Ds right arm and Ds hand rotates slightly palm up. This is a very strong position. The butt

69

of the stick is toward A, the tip of Ds stick is past Ds right elbow and the stick is reenforced by Ds forearm.
D Pushes Ds stick through As stick using Ds forearm and with hip rotation, into a close
position, stripping the stick from As weapons hand.
The motion is closing with both arms simultaneously.

Disarm against strike #10: upward inverted thrust from the open side. Palm down.

A strikes a #10 upward inverted thrust toward Ds left eye / face area from As open side.
D blocks As #10 thrust with blocking strike #1. D re-enforces the block with Ds left
hand.
D executes an close high-open low motion (single arm Sinawali) with Ds left hand,
trapping As weapons hand between Ds left forearm and Ds stick. The motion of Ds left
hand / arm is along a vertical forward counterclockwise circle.
D continues the motion of Ds left hand catching As weapons hand behind the wrist in
position Key#2.
D has As stick trapped against Ds left shoulder. D continues the circular motion of Ds
left hand stripping the stick from As weapons hand. Ds arm / hand is in a close palm up
position.
The conceptual motion is alternating open- close with both arms.

Disarm against strike # 11: upward inverted thrust from the closed side. Palm up.

A strikes a #11 upward inverted thrust toward Ds right eye / face area from As close
side.
D steps left 45 degrees up the outside of the female triangle and body shifts toward A.
D blocks As #11 thrust with a #2 blocking strike and re-enforces the block with Ds left
hand, checking the rebound.
D moves Ds left hand in a forward vertical upward circular motion, grabbing As
weapons hand from underneath: Ds thumb on the meat of As right thumb, Ds left fingers
on the back of As right hand. Ds grabbing hand is palm up. As weapons hand is palm up
in position KEY#1.
D pulls As weapons hand to an open position while pushing Ds stick against As stick
into an open position. The conceptual usage of the OPEN motion strips the stick from As
weapons hand.

Disarm against strike #12: Downward vertical strike from the close or open side.
D is in a close position. Attack is either open or close.

A strikes a #12 downward vertical strike toward the top of Ds head.

D steps up right 45 degrees up the outside of the female triangle and body shifts toward
A.
D from a close-low position brings both arms upward to a close-high position,
intercepting As downward vertical strike.
Ds left-hand checks As weapons hand while Ds left forearm re-enforces the block
(this is a matter of form following function D rotates Ds left hand from underneath Ds
weapons hand in a forward downward vertical circle, rotating around Ds and As weapons
hands.
D grabs BOTH sticks with Ds left hand while rotating the butt of Ds stick over the back
of As weapons hand in a forward downward vertical circular motion. This helps continue

70

As downward motion creating the space to clear As stick. D s motion and grabbing of both
sticks rotates As weapons hand into position Key #1.
D hooks As weapons hand with the butt of Ds stick. D drives the butt of Ds stick into
the back of As weapon hand. D pushes forward on both sticks with Ds left hand.
D steps back with the right 45 degrees body shifting away from A while pulling Ds stick
hand back to Ds right side stripping the stick from As weapon hand. Close-Open
conceptual usage.

Disarm against strike #12: Downward vertical strike from the close or open side.
D is in an open position. Attack is either open or close.

A strikes a #12 downward vertical strike toward the top of Ds head.

D steps up left 45 degrees up the outside of the female triangle and body shifts toward A.
D from an open-low position brings both arms upward to a close-high position, Ds
weapons hand rotating to palm up. The Butt of Ds stick moves toward A while the tip of
Ds stick points downward toward Ds right side. Ds stick is in a slanting position. Ds
slanting stick intercepts As downward vertical strike.
Ds left-hand, closes to check the back of As weapons hand from the outside. Ds left
forearm re-enforces the block (this is a matter of form following function. : the usage of the
motion positions D into the proper space orientation)
D slides Ds left hand onto As weapon hands thumb, gabbing the meat of the thumb. D
rotates upward / inward and has As hand in position Key#3.
D immediately strips the stick from As hand using Ds forearm with a forward vertical
DOWNWARD circular motion.
Variation: D immediately shifts Ds weapon hand up, placing the butt of the stick on As
stick. Using a forward vertical downward circular motion, D strips the stick from As hand.
Variation: D immediately shifts Ds weapon hand up, striking the butt of Ds stick on the
back As weapons hand. Using the strike and a forward vertical downward circular motion
of Ds forearm, D strips the stick from As hand.

In learning these disarms Modern Arnis wants the practitioner to understand that they, the disarms,
happen within the flow of combat, upon actual impact of the opponents stick. Again upon that
impact if you are he one being disarmed, Modern Arnis gives basic counters to the disarms. An
example would be that as ones number # 1 strike is blocked and the opponent starts a number #1
disarm of grabbing and rotating the stick, you execute a Pak or slap block the opponents stick hand
into the opponents checking hand. (Which has grabbed the end of your stick) You bring your stick
hand palm up and rotate the butt into the opponents stick hand, ripping the opponents stick out of
their hand, freeing your stick. There are counters to every disarm. They exist to understand flow and
sensitivity.
Disarming an edged weapon is very different in conceptual usage. One cannot block the incoming
attack to set up disarming. There is no percussive motion to deal with. The motion is a radius
cutting a plane without barriers. Picture a Jedi Knight with a Light saber. The Light-saber cuts arcs
into the air, arcs, which cut through anything in its path. There is no blocking the light-saber. Just
as there is no blocking the knife! Steel cuts flesh all the time!
Setting up knife disarms truly needs the principle of OPEN CLOSE. One must use sensitivity
and body mechanics just to survive and find the moment in space that allows one to attempt a knife
disarm.
WARNING: These DISARMS are for information and understanding ONLY. Attempting to
disarm a knife-wielding opponent using ones empty hands can result in injury, maiming or

71

DEATH. Therefore knife disarming is ONLY to save ones life when there is NO OTHER
OPTION!
Knife disarms carry a high degree of romantic imagery, the good guy attacked by the bad guy with a
knife, steps in and with the grace, dignity and perfect technique, strips the offending weapon from
the attackers hand, diffusing the situation with both parties unharmed. Learning Knife disarms is to
allow one to feel where disarms might occur in the flow of combat. Its a momentary reference
point within the flow that says NOW! DO IT or LOSE IT! WHY? Because in a split second what
seemed like a disarm is now the blade cutting into ones flesh. When that happens, one is now
emotionally and physically a step behind the attacker and the attackers advantage continues to
build in geometric proportions. The cutting WILL NOT STOP because one wishes it too. One can
literally be cut to ribbons while the seconds tick by. Paul Vunak a JKD-Filipino martial arts
weapons- street Combat instructor has many times tried to tell people that to disarm a blade
wielding opponent is akin to holding out ones arms and saying, OKcut me Paul has taught
many official agencies about edged weapons and his mantra never changes. Dont stick your empty
hand in front of flashing steelyou will get cut, maybe very seriously or die!
WARNING: These DISARMS are for information and understanding ONLY. Attempting to
disarm a knife-wielding opponent using ones empty hands can result in injury, maiming or
DEATH. Therefore knife disarming is ONLY to save ones life when there is NO OTHER
OPTION!
Practicing knife disarms can build sensitivity, speed, feel of the flow of combat and in practice it
can be enjoyable. In some ways doing knife disarming is empowering, one feels as if one could
control a deadly opponent. As one gets better at the disarming, more confident in ones ability to
defeat an opponent with an edged weapon one must still maintain the realistic attitude of cynicism.
Practice is not reality and one MUST NEVER get over confident when engaged with edged
weapons, for one miss could end the whole situation.
NOTE: I realize I will upset a lot of so called knife instructors, combat instructors, and martial
arts instructors but this reality has been borne out in actual combat. Street combat can be worse
than wartime combat for emotions run amok. Steel cuts flesh and no amount of training is
going to change that! No matter what ANY instructor wants one to believe, all the great
techniques in the world go down the tubes very quickly as the blood starts to flow. One is not
going to take a CUT to get to the knife! One person drips, the other gushes! One guy gets
surgery the other guy a toe tag!
I dont want someone, anyone, to watch my tapes, read my books, my articles and then decides
that they are ready and WILLING to face an opponent armed with a knife. GOT IT? GOOD! I
know I may be beating a dead horse but this is a very serious matter and I see it taught with no
sense or feeling of the intensity of the subject! Several of my peer group and those that I learned
from stress the same feelings. Listen to those that know. One attendee at a RIDDLE OF STEEL
asked Jim Keating what he would do if confronted with a knife-wielding opponent. Being a very
smart instructor, Jim replied RUN AWAY! The attendee asked again saying he wanted a REAL
answer to which Jim replied that is a real answer.
Jim Keating, Chris Sayoc, Mike Sayoc, Rufino Raffy Pambuan, Paul Vunak, Ron Balicki,
Graciela Casillas, Diana Inosanto-Balicki, Kelly Worden, Liz Kennedy, Mike Janich, Hock
Hochhiem, Cliff Stewart, and Burton Richardson are examples of real time knife/ edged
weapons instructors who might pull off actual combative disarming. Yes there are others that
might pull off disarms and there are those that taught this group of instructors, like the late
Edgar Sulite, Guro Dan Inosanto, and Professor Remy Presas. These people are out there and
stress edged weapons usage. They teach reality of combat. All echo the same beliefs. Check with

72

them! If you wont listen to me, listen to them! The average person cannot disarm someone in
the heat of combat while the opponent attacks with deadly intent.
Knife Disarms: the disarms are based on the principle of open - close and follow the principle of
Form follows function.
Because knives can be held in forward or reverse grip there seems to be the belief held by the
common person and many instructors that the way one approaches disarming an opponent with a
knife varies as to the way the opponent holds the knife. This sounds good in theory but since
combat is spontaneous one needs to react without thinking. A spontaneous attack doesnt allow for
Oh, hes holding the knife in a reverse grip. As stated in disarming Blunt weapons there are only
three position keys to strip the weapon from the hand. These are principle positions, and they dont
change because the weapon held has changed. Form follows function, therefore there are still only
the three ways to position the hand to strip the weapon out.
In a physical state there are three basic hand positions that are considered disarm reference points.
The hand position is always the hand of the opponent / attacker which holds the weapon. The
reference points are from the final spot of motion IMMEDIATELY before the actual disarm.
Position KEY #1: palm outward, knuckles up, thumb up, back of hand inward
Position KEY #2: palm outward, knuckles forward, thumb down, back of hand inward
Position KEY #3: palm inward toward body, knuckles out to side, thumb up, back of hand forward
Knife is assumed to be in forward grip, in the right hand of the attacker. Disarms will be taken as
within a FLOW. As one disarm ends another will begin. The disarms are not done in numerical
order. Knife disarming is done within motion so by learning a flow of disarms, a sensitivity is
developed to reference points of physical contact within the flow. One must recognize motion and
feel not specific angles of attack. The knife can change direction too quickly. The disarms CAN
be applied directly to a specific angle but that is not reality in the area of combative knife.
NOTE: I have seen many disarms and disarming FLOWS, some good some bad. Most contain the
same elements and conceptual usage. In Modern Arnis we have some knife disarming concepts but
it became up to each instructor as to how to teach the flow. Each generation further from the
Professor has less emphasis on Knife disarming or cutting. This Flow is based on the Disarming
Flow as used by Ron Balicki. Rons Flow contains disarms from several instructors, some of whom
we have in common. I have modified it and added in elements that I felt were important. But the
credit for the core Flow belongs to Ron. Some of the disarms in the drill are other teachers
variations on standard Filipino drills. The actual disarms are universal Filipino disarms which many
of us know and teach. Up to this point I have ONLY seen this base Flow from Ron, my self and a
couple of others but I believe, rightly, that Ron should get the credit for the base pattern of the
disarming Flow-drill! Ron and his wife Diana Inosanto run edged and blunt weapons seminars and
have educational tapes on knife usage and disarming. Modern Arnis itself has no known pattern of
dealing with an edged response such as disarming a slashing attack. Modern Arnis as I was taught,
used several responses to thrusts, and overhead hacking with a knife, but we were to learn about
dealing with knives by transferring the stick work to blade. This doesnt work, and as I worked and
trained with several others and watching the Professor himself, the way of approaching a blade
became clearer. I use Rons Flow that comes from the late Punyo Guro Edgar Sulite, Guro Dan, and
others, for I feel it is a proper Filipino flow and works within the parameters of Modern Arnis.
Disarm Flow starts against a #1 attack: downward diagonal slice from the open side.
Disarm Flow #1

73

A attacks with a #1 strike towards the left side of Ds neck.

D steps up the right side of the female triangle while body shifting towards A. At the
same time that D begins stepping, D using a close motion, brings Ds right arm / hand palm
up to intercept As right forearm.
D steps back right along outside of male triangle while using an close high-open low
motion
(Counter-clockwise motion) with Ds right hand / arm. D maintains contact / adhesion
with As attacking arm. Ds right arm rotates around As weapons arm from inside top to
underneath outside. Ds motion allows As strike to move past D to Ds right side.
D reaches across Ds body in a close motion with Ds left hand. Ds left-hand grabs As
weapons hand by the outside top of the thumb. (Ds fingers grab the meat of the As right
thumb)
Ds left-hand pulls As weapons hand in a counterclockwise open motion. (from right to
left). At the same time D maintains adhesion with As weapons arm with Ds right forearm
which rotates around As right arm. D stops the motion at midpoint with As hand in
position Key #3 upright.
D maintains the grip on As thumb with Ds left hand. D strips the weapon, (which points
vertically 12- oclock ) from As right hand by pushing forward toward A, on the side of the
blade, with the outside of Ds right forearm.

Disarm Flow #2: begins at end of Disarm flow #1

A resists Ds attempt to strip the knife from As weapons hand.

Ds right hand re-grabs As weapons hand, by the meat of the thumb, therefore
controlling As right hand. With a small clockwise close motion, D brings As weapons
hand to Ds left side into position Key #2. (The knife is in a downward vertical 6 oclock
position.) Ds left hand moves to a close position to Ds chest at the same time: a vertical
backward counter clockwise motion; rolling.
D steps back left along outside of male triangle at the same time as D initiates the re-grab
and circular motion.
Ds outside left forearm moves underneath As weapons hand and goes against the side or
flat of the blade.
D strips the weapon with an open motion by moving Ds left forearm forward and
outward while pulling Ds right hand to an open position. Simultaneous open motion with
both arms.

Disarm Flow #3: begins at end of Disarm flow#2

A resists Ds attempt to strip the knife from As weapons hand.

D maintains the hold on As weapons hand with Ds right hand and Ds left forearm
makes a forward vertical circular motion between Ds body and As weapons hand. Ds left
forearm comes to rest on the top of As weapons forearm just below As elbow.
D executes a snapping inward rolling motion with Ds left forearm on As weapons
forearm. At the same time, D steps back right along the outside of male triangle while
pulling A forward off balance and ending up with Ds left forearm still on top of As forearm
and Ds left hand palm up close position.
D extends Ds left hand palm up, striking A in the right side of As neck with Ds
extended fingers under the ear by the base of the jaw or in the carotid area. The strike gives
As weapons arm completely into Ds control.

74

D makes a backward vertical circle with Ds extended left hand, grabbing As weapons
arm by the radial muscle. (top of As forearm just below the elbow)
D steps forward right, up the outside of a female triangle, and body shifts toward A.
Using a simultaneous left- open/ right- close motion; D pulls As weapons arm with Ds
left hand in a horizontal counter clockwise open motion while Ds right hand closes in a
horizontal counterclockwise circular motion. This places As weapon hand in a gooseneck
lock position Key #3 and brings As knifepoint into As neck area.
Using a snapping downward motion of Ds right hand strips the knife from As weapons
hand.

Disarm flow #4: begins at end of Disarm flow # 3

A resists Ds attempt to strip the knife from As weapons hand. A cuts a

counterclockwise vertical circle out towards D.
Ds left- hand releases As weapon arm as D steps back left along the outside of a male
triangle.
Ds right hand maintains its hold on As weapons hand and mirrors its motion with a
clockwise vertical forward circle.
As striking motion along with Ds mirroring the motion while stepping back, puts As
weapon arm locked out straight. As weapons hand is in position Key #2.
D brings Ds left hand, palm up to As weapon. D grabs the weapon palm up from
underneath as close to As hand as possible.
D steps up left along the outside of a female triangle body shifting toward A while
maintaining Ds hold on As knife.
Ds motion strips the weapon from As hand and puts A into an arm bar position.

Disarm flow #5: begins at end of Disarm flow #4

A resists Ds attempt to strip the knife from As weapons hand in the position key #2.
From a #6 thrusting position, A attempts to cut D with an inverted open side C cut to the
body.
D releases Ds left hand and swings As weapon hand in a counterclockwise circle.
D re-grabs As weapons hand by the meat of the thumb, from the backside of As hand
with Ds left hand when As hand is at a position key #3 in front of D: As weapon is in a
horizontal position.
D releases Ds right hand and pivots Ds right hand clockwise while keeping adhesion to
the back of As weapons hand.
D steps with the right foot into A, and strips the knife from As weapons hand using a
forward counterclockwise horizontal circle (from open to close) bringing the knife past As
body and under As right arm.

Disarm flow #6: begins at end of Disarm flow #5

A resists Ds attempt to strip the knife from As weapons hand in position key #3.
D steps back left and pivots to Ds left while rotating As weapons hand in a small
decreasing counterclockwise vertical circle. (open position to close position)
Ds motion rotates As hand into a classic backwards wrist lock, position key #1.
D maintains the wrist lock with Ds left hand and strips the knife out of As weapons
hand with Ds right hand

75

Disarm flow #7: begins at end of Disarm flow #6

A resists Ds attempt to strip the knife from As weapons hand in position key #1
Maintaining the hold on As weapons hand with Ds left hand, D strips the knife out of
As hand by inserting Ds right hand under the butt of the knife using the palm of Ds right
hand.
D pushes forward and strips the knife into Ds right hand in a reverse grip position.

Disarm flow #8: begins at end of Disarm flow #7

A resists Ds attempt to strip the knife from As weapons hand or Ds right hand slips
past As knife while attempting butt end strip.
D releases Ds left hands hold on As weapons hand. D passes As weapons hand with
the back of Ds right forearm in an close-high low open motion that maintains As weapon
hand in position key #1
D passes As arm in front of D. D re-grabs As weapons hand with Ds left hand at the
junction of As wrist and hand.
D slides Ds right forearm down to the flat of the blade. D slides Ds left hand down at
the same time to As weapons hand.
D strips the knife out of As weapons hand with a forward/outward push from the back
of Ds right forearm.

Disarm flow #9: begins at the end of Disarm flow #8

A resists Ds attempt to strip the knife from As weapons hand in position key #1with
Ds forearm.
D reaches over the top of As hand grabbing the butt of As knife with Ds right hand.
D strips the knife out of As weapons hand by pulling the butt in ward toward D.

Disarm flow #10: begins at end of Disarm flow #9

A resists Ds attempt to strip the knife from As weapons hand in position key #1by
pulling on the butt of As knife.
D steps up forward left, putting Ds left foot alongside of As right foot.
D pivots clockwise, while stepping back left, ending up standing alongside of A, Ds left
shoulder to As right shoulder, while maintaining the hold on As weapons hand.
As arm twists upward and outward, bending at the elbow and ending up in position key
#1
D lifts Ds right forearm, placing it along the flat of As knife blade
D steps up right along the side of male triangle while pivoting inward toward A in a
counterclockwise direction.
Ds pivoting motion causes Ds right forearm to disarm / strip the knife out of As
weapons hand.

Disarm flow #11: begins at end of Disarm flow #10

A resists Ds attempt to strip the knife from As weapons hand in position key #1by
pivoting inward. A cuts at D with an inverted cut from thrust #7 in a C cutting motion into
Ds belly.

76

D re-grabs As weapons hand with Ds right hand. D pivots inward toward A while
stepping back left along the female triangle. As cutting motion misses / passes D.
D follows through with As motion and A ends up in position key #2. As right arm is
extended out to As right side.
D re-grabs As weapons hand with Ds left hand from underneath. (D is palm up
grabbing As thumb which points down)
D releases Ds right hand, re-grabs As weapons hand from the top, pivots inward toward
A while lifting and placing Ds elbow over As elbow.
D pushes down with Ds elbow, forcing A down with an arm bar.
D pulls As knife with Ds right hand, palm down stripping the knife (in a reverse grip)
from As weapons hand.

Disarm flow #12: begins at end of Disarm flow #11

A resists Ds attempt to strip the knife and arm bar.

D steps back right, pivoting clockwise, maintaining hold on As weapons hand in
position key#2 with Ds left hand.
D re-grabs As weapons hand with Ds right hand and puts A into a classic reverse wrist
lock.
D strips the knife from A, with a forward, palm up motion of Ds left hand.

Disarm flow #13: begins at end of Disarm flow #12

A resists Ds attempt to strip the knife from As hand, and resist wrist lock by bending As arm at
elbow.
D while maintaining hold on As weapons hand, D steps in toward A, forcing As elbow to bend
upwards. This creates a reverse gooseneck wrist lock.
D uses As weapons hand and wrist as a pivot point and swings As hand in a horizontal clockwise
circle towards A.
D uses the force of the clockwise motion to bring As weapon against As back.
D continues the motion pulling As weapons hand from As back through to As front. The force of
the motion and the impact on As body, strips the knife from As hand.
Disarm flow #14: begins at end of Disarm flow #13.
A resists Ds attempt to strip the knife against As body or D misses the body.
D maintains the hold on As wrist and using As weapons hand and wrist as a pivot point, D makes
a horizontal counterclockwise circle with As weapons hand bringing As weapon inward toward
As body.
D continues the motion and pulls the knife against As front and follows through to As back
stripping the knife from As hand.
Disarm flow #15: begins at end of Disarm flow #14
A resists Ds attempt to strip the knife against As body or D misses the strip.
D uses As weapons hand and wrist as a pivot point and swings As hand in a horizontal clockwise
circle towards A.
D releases Ds right hand and re-grabs As weapons hand by the meat of the thumb. D continues
the clockwise motion. D releases Ds left hand hold but maintains adhesion to As weapons hand
with Ds left palm, and as the clockwise motion continues from close open position, Ds left hand
re-grabs As weapons hand by its hand edge (by the pinky and ring finger)

77

D pulls As weapons hand out straight locking the arm palm up.
D slides Ds right palm onto the flat of the blade and with a forward motion strips the knife from
As hand.
Disarm flow # 16: begins at end of Disarm flow #15
A resists Ds attempt at stripping the knife.
D maintains the hold on As weapons hand with Ds left hand and with Ds right hand, D grabs the
butt of As knife.
D pulls the knife towards D, away from As weapons hand, stripping the knife out of As hand.
Disarm flow #17: begins at end of Disarm flow #16
A resists Ds attempt to strip the knife from As hand.
D re-grabs As weapons hand by the meat of the thumb.
D rotates As weapons hand away from D in a forward downward circle, bringing the knife to As
right leg / hip area.
D pins As weapons hand and knife against As leg / hip joint.
D releases Ds left hand and re-grabs As weapons hand by the meat of the thumb.
D strips As weapons hand from As knife by pulling As hand toward D.
Disarm flow # 18: begins at end of Disarm flow #17
A resists Ds attempt to strip As hand from As knife.
D inserts Ds left hand, palm up over As weapons hand.
D releases the pinning action with Ds right hand while Ds left hand and arm make a vertical
clockwise circle, entrapping As weapons hand in position key#2.
D has As hand trapped in a joint lock by Ds left shoulder.
D reaches over As right arm and grabs As knife. D pulls the knife downward toward A, stripping
the knife from As hand in a reverse grip.
Disarm flow #19: begins at end of Disarm flow #18
A resists Ds attempt to strip the knife from A
D releases Ds right hand and reaches Ds right hand to the inside of As right elbow.
D pulls upward sharply on the inside of As elbow, lifting and bending As right arm.
As weapons hand slides onto Ds left biceps while D reaches upward with Ds left hand.
Ds left hand reaches up and grabs over the back of As right arm, on top of As triceps tendon.
D shifts inward toward A, stripping the knife out of As hand by acute gooseneck locking of the
wrist.
Disarm flow #20: begins at end of Disarm flow #19
A resists Ds attempt to strip the knife from A by rotating As weapons hand forward, away from
the pain of the lock.
D re-grabs As weapons hand by the meat of the thumb and continues As rotation toward the font
to escape the hold.
Ds left hand, grabs As pinky and ring finger of As weapons hand as they move by in the motion.
D raises Ds left elbow to shoulder height, parallel to the ground.
D continues the motion, bringing As right arm outward, palm up, locked over Ds left elbow in a
joint lock.

78

Ds left hand pulls back on As pinky and ring finger, doing a two finger palm lock with arm bar
insert.
D reaches over with Ds right hand and strips the knife from As hand.
Are there more steps? Probably! This Disarming Flow was ONLY to show moments in a
Combative flow where disarming MIGHT be possible. The conceptual motions and conceptual
usage works most of the time with reverse grip as well. There are separate reverse grip motions that
can be learned. There are disarms that can be learned that apply to thrusting, stabbing, threatening
and just about every conceivable position. The important tying to see is that disarming is a Do it or
lose it proposition One cannot just reach up and disarm someone attacking with intent.
Disarming is very romantic. The seemingly easy ability to disarm an attacker is very empowering.
One needs to be able to separate reality from fantasy and not get seduced by the feeling of
invincibility, the feeling that empty-handed one will stop a weapon-wielding opponent! Therefore
lets repeat the warning.
WARNING: These DISARMS are for information and understanding ONLY. Practicing this
Disarming Flow will teach sensitivity and a set of reference points that exist within the flow of
combat. Attempting to disarm a knife-wielding opponent using ones empty hands can result
in injury, maiming or DEATH. Therefore knife disarming is ONLY to save ones life when
there is NO OTHER OPTION!

79

Chapter:#14 Conceptual Striking patterns: Filipino patterns of attack

Professor Presas: Modern Arnis- The Filipino Art of Stickfighting
1983

Ohara Press, USA

The variations of Sinawali are numerousand are the basis of the Arnis system. Sinawali are
weaving motions made with two sticks in Arnis that are practiced in precise, prescribed motions.
There are three basic types of Sinawali in Modern Arnis: the Single Sinawali, the Double
Sinawali and the Reverse Sinawali. The Sinawali are also taught without sticks, empty hand
fashion, to illustrate how the Sinawali motions can be easily translated for empty hand defense.
Sinawali employs the same motions, up and down, left to right, at the same time
Over the years, Filipino striking patterns have been given names. Names that have become
synonymous to the motions used in each of the patterns. Over the years these patterns have been
taught to many students and instructors of the Filipino arts and they are used, as is. How and what
composes these patterns is no longer important. Just like the technology of today: if it works use it,
how it works is unimportant, the fact is that when its needed, and used, it works. Its the same
general attitude towards a telephone, a TV or a stereo. The patterns are actually conceptual USAGE
of conceptual motions; conceptual motions based on motion that moves through various planes. The
space-involving individuals motions are the geometric planes that describe the physical reality of
the (3D) three-dimensional space surrounding an individual or individuals. These planes are known
as the Universal planes of motion for attack and defense. The way one navigates the paths and
angles, which move through and connect these planes, is the basis for conceptual motions. Using
these conceptual motions is what the lay person commonly calls patterns. Applying these
conceptual motions or patterns in a fighting application or within the flow of combat is actually
Conceptual usage. Conceptual usage changes as the tool utilized to express these concepts change.
These patterns are based on the principle of OPEN-CLOSE; parameters bounded by the physical
reality of human beings that states, form follows function.
MODERN ARNIS: teaches these conceptual patterns of motion to understand the foundation of
Filipino martial art. Some are actually sub systems or concepts that follow main principles or they
are conceptual usage of other main categories of conceptual motions.

80

Modern Arnis-common Filipino names for patterns of motion:

Single Sinawali

Double Sinawali

Reverse Sinawali

Redonda

Redonda X

Rompida

Banda y Banda

Abaniko Corto

Abaniko Largo

Florette

Sungkiti

Hubud y Lubud

Ocho y Ocho

Double zero

Up and Down

Crossada

Cirkulo

Espada y Daga
NOTE:
1.
2.
3.
4.
5.
6.

Open is with the arms spread open away from the body; close is with the arms closed
across the body.
The angles of attack are constant. The attacking hand is variable: therefore a #1
strike with the right hand comes from the open side WHILE a #1 strike with the left
hand comes from the close side. Left- right / right left, IS NOT MIRROR IMAGE.
Open means the open side of the body. Close means the close side of the body.
These patterns of motion are just that Conceptual patterns They need to be
applied to have meaning other than a conceptual motion. Application becomes
Conceptual usage.
There will be overlap in what one conceptual motion does as compared to another.
The actually name of the motion is not as important as what the conceptual motion
teaches. If you know it as something else, dont get hung up on the name! A rose is a
rose by any other name.

SINAWALI: weaving of the arms or planes of motion

Single Sinawali: Covers the basic and principle motion of open-close. Close high- open low,
open high -close low. Single arm weaving. When both arms are used to do advanced single Sinawali
it still is sequential single arm weaving. (One arm weaves, other arm follows at end of motion) An
outward, forward cone of defense is formed. The strikings are the basic diagonals covering all Four
Corners, from open and close positions. Example: #1 striking downward diagonal from the open, #8
striking upward diagonal from the close, #2 striking downward diagonal from the close, #9 striking
upward diagonal from the open. (Both low strikes retract rather than follow through.)
Single Sinawali can be done as simple, as shown above, it can be done as Single Sinawali with a
fold, where the arm folds underneath after the low strike, or as Single Sinawali Three count. In

81

Single Sinawali Three count the hands strike high low-high and then change to the opposite
side.
Double Sinawali:
High count: Covers the motion of open-close on a high horizontal plane. The conceptual motion
used is double arm weaving in an alternating pattern. Close -open open/close. Or Forehand to
close, backhand to open- backhand to open / close. The strikings are horizontal circles or straight
line intersecting motions. Example: starting with right hand open, left hand close (under right)
Right hand strikes a high #3 horizontal strike from open, the left strikes a high #3 from close, the
right strikes a high #4 from close and retracts to close on left side under left arm. Left hand strikes
a #4 from open, right hand strikes a #4 from close, left hand strikes a high #3 from close and
retracts to close on right side under right arm.
High Low count: Covers the basic motion of open-close Close high- open low, open high -close
low. Single arm weaving is done alternately with both arms. Sequential single arm weaving. (One
arm weaves, other arm weaves at end of motion, both individually doing single arm weaving on
intersecting planes.) an outward , forward cone of defense is formed. Forehand backhand
backhand is still used as format. Example: starting with the right hand open, the left hand close
(under right). The right hand strikes #1 from open, the left hand strikes #9 from close, the right hand
strikes #2 and retracts to close (under left), The left hand strikes #2 from open, the right hand strikes
#8 from close, the left hand strikes #1 from close and retracts to close (under right)
Low count: Covers the motion of open-close on a low horizontal plane. The conceptual motion
used is double arm weaving in an alternating pattern. The initial close motion is low/Close
low/open low/close. Or Forehand to close, backhand to open- backhand to open / close. There are
a couple of variations to do Low Count.
Example #1: starting with the right hand in an open position, the lefts hand in a close position (over
the right). The right hand, from underneath the left, strikes a number #9 from open - close. The left
strikes a number #9 from close- open. The right strikes a number # 8 and retracts to close (over the
left), The left strikes from underneath the right, a number # 8 from open, the right strikes a number
#8 from close, the left strikes a number # 9 from close and retracts to close (over the right)
Example #2: starting in left hand in close under the right hand. The right hand strikes a number
#1downward low diagonal strike from open close. The left hand strikes the same number #1 strike
from close- open. The Right hand then strikes a number # 2 low downward diagonal strike to open
then close under the left. The left hand strikes a number # 2 low strike from open close. The right
hand which was under the left, strikes a number # 2 low strike from close open. The left hand
strikes a number #1 low strike open to close under the right.
Reverse Sinawali: covers the motion of open- close on an upward diagonal, with body rotation.
The format is still forehand open- backhand close with rotation (step through umbrella)- backhand
close. The strikings cover vertical to upward diagonal circles or straight-line interceptions.
Example: Starting with the right hand open (under the left) the left hand close (over the right). The
right hand strikes a #9 underneath the left, from the open, the left hand strikes a high #9 from the
close and retracts in an umbrella motion, the body rotates/ steps into the umbrella motion. The right
hand strikes a #8 and retracts to close (over the left). The left hand strikes a #8 underneath the right,
from the close, the right hand strikes a high #8 and retracts in an umbrella motion, the body rotates/
steps into the umbrella motion. The left hand strikes a #9 and retracts to close over the right.

82

SINAWALI: motions of weaving that have a point attack to them. If, one has a pyramid of defense
coming out of ones personal space, the base on ones body and the point going out towards the
opponent, then Sinawali hand / arm motions will follow any one of the four triangular sides to the
point. Even if Sinawali is done within a circular plane of motion, the impact of the hand is at a
tangent to that plane of motion or comes through that circular plane of motion like the radius of
that particular circle.
REDONDA
Redonda: Is a repeating circular motion that maintains the singular plane. The edge orientation of
the weapon is always towards the opponent. Redonda can be done on ANY angle and any size
circular plane.
Redonda X: Is double arm weaving on a vertical, horizontal, or diagonal plane of motion. Redonda
X does not have to contain only one type of motion any combination of the three is possible. All
circular motions are done forehand with the edge orientation toward the opponent.

Variation #1: Starting with right hand open, left hand close (under the right). The right
hand strikes #1 from the open. The left hand strikes #1 from the close. The right hand strikes
#1 from the close and retracts to the close under the left. The left hand strikes #2 from the
open. The right strikes #2 from the close. The left hand strikes #2 from the close and retracts
to the close under the right.
Variation #2: Starting with right hand open, left hand close (under the right). The right
hand strikes #1 from the open. The left hand strikes #1 from the close. The right hand
umbrellas, then strikes #1 from the open and retracts to the close under the left. The left
hand strikes #2 from the open. The right strikes #2 from the close. The left hand umbrellas,
then strikes #2 from the open and retracts to the close under the right.
Variation #3: Starting with right hand open, left hand close (under the right). The right
hand strikes #1 from the open. The left hand strikes #3 from the close. The right hand strikes
#12 from the close and retracts to the close under the left. The left hand strikes #2 from the
open. The right strikes #4 from the close. The left hand strikes #12 from the close and
retracts to the close under the right.
Variation #4: Starting with right hand open, left hand close (under the right). The right
hand strikes #1 from the open. The left hand strikes #3 from the close. The right hand
umbrellas, then strikes #1 from the open and retracts to the close under the left. The left
hand strikes #2 from the open. The right strikes #4 from the close. The left hand umbrellas,
then strikes #2 from the open and retracts to the close under the right.
Redonda can be done in REVERSE. The arms cross with the same set up as reverse
Sinawali. The lead attacking arm starts from underneath. The strikes come at an upward
diagonal angle. The right hand is under the left on the right side. The right strikes a #9
upward diagonal from the open side all the way through and comes to a stop on the close
side. The left in a closed position strikes a high #9 and upon contact, follows through to the
open side. The right hand strikes a #8 strike and stays on the closed side. One is now in
mirror image of ones starting point. The right arm is in closed position OVER the left arm,
which is now in open position. The strikes make cutting not percussive motions at first to
understand the conceptual pattern! One learns about edge orientation through Reverse
Redonda!.

REDONDA X: Is done within a circular motion usage. Unlike Sinawali it is not a point impact
usage. Redonda X impacts with a circular strike, just as a point rotating around the circumference of
a circle. I have seen some people become sloppy while executing REDONDA X movement and

83

their strikes are actually slaps or back-handed strikes that in a real combative situation would have
little or no practical value. Redonda is a full striking motion.
NOTE: REDONDA, REDONDA X, SINAWALI, and DOUBLE SINAWALI are not restricted
to application against one specific target zone. Any of these conceptual patterns when in conceptual
USAGE, may cover many target zones such as covering from limb to limb to body to limb again.
The common mistake is to use Sinawali on a target zone, all on one plane of motion or with several
planes of motion converging on that one zone to the exclusion of any other variation, making the
pattern a technique rather than a concept.
EXAMPLE: Sinawali done to the outside of any attackers limb, is generically called brush, trap
and strike. If the attack is with alternating limbs, instead of expanding the conceptual usage of
Sinawali, the defender usually tries to REPEAT the whole conceptual motion on the next attacking
limb. This type of thinking / responding to an attack violates principle #4 of Combative Reality:
Combat MUST be simple. The conceptual usage of Sinawali is inclusive not exclusive. As a
concept of motion it is designed to handle variables, unknown and spontaneous. That is the
advantage to learning conceptual patterns of motion with conceptual usage because they are based
on principle #1 of Combative Reality: Combat itself is mutable and cannot be contained or
structured. These conceptual patterns when used allow for dealing with principle #2 of Combative
Reality: One cannot learn a pre-recorded response to a spontaneous situation. In Modern Arnis
this conceptual usage is learned through Anyo or Forms practice; conceptual forms. Check out the
chapter on Forms: Empty Hand.
An interesting physical reality based on principle #3 of Combative Reality: Human combative
actions and reactions must be within the bounds of actual natural physical response.
Situation: attacker strikes with right hand. Defender has both hands up in open ready position. If
the defender strikes a closing motion with the defenders right hand, towards the inside of an
opponents attacking right arm, and steps with body rotation or just body rotates, the defenders left
hand naturally comes across the body to the close position. The defenders left hand is in proper
position to open against the attackers right arm. The process of opening the defenders left hand /
arm puts the defenders right hand / arm into a natural position to open. With natural body rotation
or counter rotation to drive the defenders right hand / arm, the defender counter attacks with an
open motion, returning to the original ready OR with retraction to the close position brings a
continuation of the alternating arms: SINAWALI or REDONDA X
Florette: is related to Redonda in that the conceptual usage motion is one of constant repeating
circles. Florettes difference is that it travels ACROSS or WITHIN several planes of motion with its
repeating circles, while traveling on its own plane of motion and Redondas repeating circles stay
within the SAME plane of motion. Florettes circles just like Redondas have no size restriction but
usually Florette is ever decreasing circles / circular motion following a single plane of motion
across other planes. Florette uses the wrist to twirl the weapon but the power comes from the arm
motion. Cirkulos are a type of Florette that use ONLY wrist power and generally stay within one
plane of action. Cirkulos are usually seen as the set up to ready positions or to move the arm from
preparatory position to ready position, rather than just move the arm.
Double Zero actions are in a class of Florette. Double Zero has a circle within a circle to build
speed and power. Double Zero can be offensive or defensive. Double Zero striking allows one to
have a build up in speed by twirling the stick, then launching the attack off of the momentum
gained. It can also be used as an immediate counter to a blocked strike.
Variation #1
A: Strikes #1 at D

84

D: Blocks the attack with an inside blocking strike #1.

A: upon contact of Ds block, A quickly retracts the stick and re-strikes along the same path only
using a Florette conceptual usage i.e. The plane of the stick shifts slightly to offset the blocking
position of Ds stick. D may or may not check As attacking arm with Ds left hand.
Variation #2
A: Strikes a #1 at D
D: Strikes a #1 blocking strike at As #1 attack. D then immediately retracts the stick along the
same circular path and counterstrikes in a circular motion at A.
D may or may not check As attacking arm with Ds left hand
Variation #3
A: Swings the stick in a small forward circular motion, building up speed and on the second or third
rotation strikes outward in a #1 attack at D.
Hubud y Lubud: to tie and untie
Hubud is another way to conceptually use alternating double arms in an open-close concept. It
really is a version of Sinawali with some variables introduced. It is not a striking pattern itself but a
way to utilize the pattern. It serves as a drill / learning tool to understand the conceptual usage of the
Sinawali concepts. It is a simple, alternating side, sequential pattern of open-close. Left hand /
arm opens, right hand / arm opens, left hand / arm closes, right hand / arm closes. Because it is a
drill, there is another individual involved doing the same conceptual motions, learning the same
conceptual usage at the same time. Hubud is a drill that allows simultaneous learning between two
individuals.
EXAMPLE: Attacker, A attacks with a right hand #1 strike from the open side. Defender, D
engages As #1 attack, striking inside As attacking forearm with Ds left hand while body shifting /
rotating toward As attack. Ds left hand came from a close to open motion. Ds motion and rotation
bring Ds right hand to close position, therefore D opens the right hand / arm, catching As attacking
arm from underneath and moving it to across Ds body to an open position by Ds point of view. (a
closed position by As point of view for As right arm is now closed across As body.) D closes Ds
left hand ONTO As right attacking arm, trapping it momentarily. D counterattacks A with a #1
strike from the open side. A is now the DEFENDER, and engages Ds right arm #1 attack from the
open side with the only available option, As left hand / arm. As left hand / arm does a close to
open position. A body shifts/ rotates toward Ds attack. This body shift / rotation causes As trapped
right arm, which is in a close position, to be freed. This allows A to, with an open motion, catch
from underneath Ds attacking right arm and pull it across As body to an open position from As
point of view. (a closed position from Ds point of view for Ds right hand / arm is across Ds body.)
As left hand / arm closes onto Ds right hand / arm momentarily trapping it close. A strikes a #1
attack from the open side with the right hand / arm. The drill has just started to repeat. Other
variables can be added in to understand insertions of variables but the basic drill is the framework
for understanding.
UP and DOWN:
Up and Down literally does just that. One strikes upward and downward without rotating the wrist
or breaking the plane of motion. Up and Down actually as a concept is used by some as a way to
strike side to side. The rational is that the strike is very quick and the sharp tap from a blunt
weapon like a stick will distract or temporarily injure an opponent. With a percussive tool like a
stick the very tip of the weapon must be the contact point. This works best in a classroom situation
where INTENT or combative reality is of no concern. Tip ripping or tapping works best with an
edged weapon. The motion of Up and Down is ONLY effective in combat with a double edge

85

weapon. The weapons edge can cut in either direction, and an edged weapon generally needs no
strength to make use of its principle of cutting. Even with an edged weapon this can pose dangers to
the user. The DOWN motion is with the strength of the hand following principle # 3 of Combative
Reality. The UP motion, done without turning ones wrist, actually violates this principle for
anatomically it puts the user into a potential disarm just by its use and direction. A stick IS disarmed
immediately in the UP motion without damage to ones opponent. An edged weapon, such as a
knife or machete, may damage an opponent but become lodged in that opponent. Then ones own
force could strip ones weapon from ones hand. Losing ones weapon in combat could be a
potentially dangerous situation.
Up and Down works very well with a Rapier where the tip is moving very fast and the toe portion
of the blade is the part that actually carries a cutting edge. A Cut and Thrust sword works as well as
a Rapier. One is far enough away from ones opponent that ones blade being trapped in a fighting
situation, either by contact with the opponent or by ones opponent is non existent! Why? Well the
tip of the blade is moving so fast that the Up and Down literally cuts right through an opponent.
OCHO Y OCHO: Figure eight
Figure Eight is a misleading name unto itself. Any eight that one sees is really an infinity sign or an
eight on its side. There are vertical figure eights, but the most common planes on motion are
connecting diagonals either upward or downward, which place the eight on its side. The name of the
motion itself asks for non-linear thinking and for one to visualize conceptually. Under the general
heading of Figure Eight come several types of striking that are related to figure eight; Banda y
Banda, Double zero, and Rompida. The concept of figure eight is to connect two basic striking
motions that are close ended into a NEW striking motion which is open ended or repeating. .
Figure Eight:

Downward Figure Eight: the most common figure eight pattern is connecting downward
diagonal strikes of #1 and #2 in a continual pattern. This is generally done with a single
weapon or arm. Double arm or weapon figure eight is a version of REDONDA. Downward
figure eight works best with a percussive striking for it brings the tool onto the bony
protrusions and protective structure: sticks seek bone.
Upward Figure Eight: is the connecting of upward diagonal strikes #8 and #9 in a
continual pattern. Double arm or weapon figure eight is a version of REVERSE REDONDA.
Upward figure eight works best with a cutting motion, for upwards cutting into the body sets
the edge into joints, into soft tissue allowing for: steel seeks flesh.

Application of double arm FIGURE EIGHT can become the drill called: FLOW DRILL
Flow drill is a conceptual usage of the principle of Open-close.
Figure Eight can be come the connecting thread between several planes of motion. Figure Eight
can then be the connector between conceptual motions as well for it adds a circular ending to a
linear striking motion to allow for the mirror image of that motion to appear. Figure Eights dont
have to be symmetrical or same size. All they have to do is have a connecting link. Figure Eights
can be a link such as a conceptual motion within the flow of combat as well as an integral part of a
technique or usage. Striking with immediate secondary striking, blocking and countering, are all
areas that are good situations for application of Figure Eight striking!
Professor Presas used to ask me all the time Bram can you see? its all the same? No matter how
I tried I could not understand how it possibly was all the same. When I first started learning it
certainly looked the same, but I knew I was watching and learning different concepts. As time and
years went by, and it all became clearer, I saw it, Modern Arnis, was made up of totally different

86

concepts. I then realized that Professor Presas was just joking with me, checking to see if I had
gotten to the point of understanding how different these conceptual motions really were. Then
somewhere along the path of teaching I began to use the conceptual motions in place of each other.
That each no longer had a specific place or usage. That is when I got it. Professor Presas came to
me as I was helping him teach a seminar, Oh Bram, You got the flow! Of course after that
moment for the rest of the seminar I had ANYTHING but FLOW. What had happened was that I no
longer saw the Concepts as Black or White movements. I had finally got that there were principals
of motion and that these Filipino names were just names to guide me to understand conceptual
motions. That once they are understood, conceptual USAGE calls for them to become part of an
actual combative flow: one blending into another. Modern Arnis teaches one to use that Flow, to
use the art within the art!

Chapter:#15 Checking Hand: Its how we stay alive

Professor Presas: Modern Arnis- Philippine Stickfighting

Manila, Philippines 1974

In learning the Martial art of Modern Arnis, one has to give particular attention to the parrying
techniques. Parrying (with the Checking hand) involves techniques used to deflect an opponents
attack.
Professor Presas: Modern Arnis- The Art of Filipino Stickfighting

Ohara Press USA 1983

Keep in mind that your free hand should always be poised to guard, ready to brace a stick
block or grab an opponents stick or hand.
In Filipino martial arts the use of the secondary hand is paramount to staying alive. Its sometimes
called the checking hand, the alive hand, the hand of life, the helper, but here we will keep it simple
as in all Modern Arnis vernacular and simply refer to the NON-weapon hand as the CHECKING
HAND.
There is a large debate as to the importance of a secondary check or the use of the left hand as an
adjunct to attacking and blocking motions. This debate comes from non-weapon and non-trapping
arts. In Filipino martial arts, which contain both trapping and weapons, if one did not use the second
hand within all combative flows, the opponent is left free to counter ones attack or complete the
opponents initial attack.
This is brutally simple example but it works: the opponent strikes a right punch at you. You defend
by checking-blocking or deflecting it with your own right hand. Then as one lets go to hit the
opponent with your counter strike, the opponents hand is released. Now its a race to see who hits
who firstest and bestest!
If the same attack occurred and one checked-trapped-deflected or blocked the opponents attack
with ones own right hand, then you trapped-checked or controlled the opponents right with your
left, you would be free to counter attack with your own right. WHY? Because the opponent is

87

controlled or restrained momentarily from attacking, counter attacking, or being in the combative
flow.
Do you need it to be a more graphic example? The opponent attacks with a swinging cutting motion
with an edged weapon, a knife, in the opponents right hand. You block the attack on the inside of
the opponents arm and counter-attack the opponent. Great! Oops. The opponents right arm with
the weapon did not stop from your block. As you removed your right hand from block mode to
attack mode, the opponents initial force continued toward you, with the weapon cutting a large
slice into your neck and face. While you are reeling from the devastation of the attack, the opponent
continues to cut pieces from you!
If at the point of blocking the incoming attack ones left hand had come into play, trapping or
checking the opponents attacking limb, it could not continue its initial motion. Meanwhile your
counter attack goes directly to the opponent who is actually feeling the conflict between your left
checking hand and the opponents attacking hand. The opponent has a momentary blank spot in the
flow of combat, a half-beat that you now occupy to use, as you need.
In Modern Arnis the ability to use the left hand is taught as part of the Weaving or Sinawali Skills.
The drills such as the Tapi-Tapi and the Conceptual usage of Conceptual motions all teach how
and where to put in the checking hand. The only detail that one needs to learn separately from the
conceptual usage is where one usually checks the opponent. Obviously common sense dictates a lot
of this!

One will not, unless ones life depends on it, check an opponents live blade by putting
ones hand, flesh, to an opponents steel. Steel cuts flesh. Do not reach into a blender. Flesh
checks flesh.

One will check an opponents hand on the base or the meat of the thumb. Ones fingers or
base of ones own thumb is used to control the opponents thumb. Checking the whole hand
or the wrist allows the opponent to turn or rotate the hand, By checking the thumb, one
controls the lever, the opposing digit to the turning and rotation. One also destroys the
structural integrity of a human fist action by controlling the thumb.

The checking hand is actually on a half-beat from the initial contact with the opponent. It
is not, 1 then 2, it is 1-2almost simultaneous.

If you are at long range, one does not attempt to reach in and use ones checking hand.
This is common sense. If one is really Mr. Fantastic of the Fantastic Four or Plasticman,
then one can ignore combative ranges. If one is not one of these super heroes, then the
checking hand is used in all ranges EXCEPT long range. Obviously, at long range the
opponent is no where near you to be checked!

A check is not necessarily a grabbing motion. A checking motion can be a quick pat or
slap, a deflection, an adhesion or at the extreme, some form of grabbing. The concept is that
of a momentary stopping or realization of where the opponents hand is, while in actual
usage the amount of force used and the amount of time in contact with the opponent varies
with the situation.

The checking hand is truly one of the least known best tools available. The checking hand gives one
the space to survive an attack and within the flow of combat utilize a Braille or touchy-feely
method to keep tabs on the opponents force and intent.

88

Remember: Checking the motion IS not meant as a Black or white response. Checking can be
momentary, a sustained period of time, a tap, a trap, a grab, a deflection....application changes
the usage and how we perceive Checking. Without a check, an opponents strike will and can
continue to do damage!

Chapter:#16 Strikings; Conceptual usage of planes of motion: Strikings and Cuts

Guro Dan Inosanto: The Filipino Martial Arts

Know Now Publishing USA 1980

There are an uncountable number of styles in Filipino stick fighting, but they all have one
common denominator that gives them adaptability. Their principles of combat are based on a
pattern of angles that attacks (and defense) must fall into, regardless of the style, regardless of
the weapon A knowledge of these basic striking angles and how they often follow each other
naturally, gives the Escrimador an almost psychic appearance in battle a point to remember is
that the numbers given to the angles are for training purposes.
In Modern Arnis the Filipino concepts of planes of motion are used to understand attack,
counter-attack and defense. To gain an understanding of these planes of motion in a simple to use
format, Modern Arnis like other Filipino based systems, uses the Abecidario or numbering system.
A numbering system gives a tangible concept to hold onto while the underlying principles are being
explored. At its simplest level the numbering system does just that: assigns numbers to specific
motions or angles of attack. At an advanced level the Abecidario gives the basic strikings as well
as their counter strikings.
NOTE: Some call this Numerado, where the strikes are done in order and one learns to counter
with the flow around it. Some call it the Abakada: the alphabet, while others call it by various
names. Here it will be called Abecidario, and teach the strikings and later the counters to each
strike.
These angles of attack will move through various planes as they move from a start point to an end
point. The angles of attack and counter-attack are called strikings if a blunt weapon is used or
cuts if an edged weapon is used. Due to the great number of Filipino systems and the fact that
they are referred to generically as ARNIS or KALI or ESKRIMA, the term Arnis will be used to
refer to the any and all of these systems.

89

The basic strikings or cuts of any Arnis/ Kali/ Eskrima system give certain truths to the student of
that system.
1)
basic targeting
2)
importance of target zones: priorities
3)
blunt or edged weapons principles: i.e. foundation from which system Abecidario is based
4)
numbering of the strikes based on one of the following methods: random numbering,
numerical numbering, anatomical numbering, pattern numbering
5)
conceptual attacks
6)
Body positioning and movement
The instructor, founder or inheritor of any Arnis system has reasons for teaching a specific
numbering system. Sometimes that reasoning is not readily available or understood by those
practicing or seeing the system. Most systems have twelve major strikings or planes of motion.
Some systems actually have MORE than twelve and expect the student to learn the variations of the
strikings as they progress. I have learned the striking patterns of several Arnis systems. Each system
of Arnis reflects the concepts of the practitioner themselves, such as the late Ted Lucaylucay with
ESCRIMA-FILIPINO FENCING, the late Edgar Suilte with LAMECO ESCRIMA, Dan Inosanto
with JKD-FILIPINO ESCRIMA, Cacoy Canete with his version of DOCE PARES, Dionisio A.
Canete with traditional DOCE PARES, Jimmy Tacosa with TACOSA SERRADA ESKRIMA, Mike
and Chris Sacoy with SAYOC KALI and Bobby Taboada with BALINTAWAK ESCRIMA. I have
enjoyed seeing the truth of striking through all their eyes. In Modern Arnis, there are twelve
strikings. In my Modern Arnis the numberings are different with an edged weapon than a blunt one
such as the stick. I have personally found that the original thrusting patterns of BALINTAWAK (a
single stick fighting art) on which Modern Arnis has a foundation and is conceptually based, make
more sense in a continual striking pattern if viewed superficially. Professor Remy Presas mastered
the BALINTAWAK system under Master Venancio Anciong Bacon long before he developed and
founded Modern Arnis. Currently there is another version of Modern Arnis, Modern Arnis: Presas
Style taught by Grandmaster Ernesto Presas, Professor Presas younger brother. The strikings of
both Modern Arnis styles are the same even if other parts of the art are different. All three, both
Modern Arnis styles and Balintawak are similar but have a unique personal flavor to each art as
taught by these instructors.
While practicing and teaching the Filipino martial art, Modern Arnis of Professor Remy Presas, I
have found that the revamped numbering of the thrusts forces a realization of counter attacks.
Neither numbering system is superior to another. This text is about Modern Arnis of Professor
Remy Presas as a separate art, and I will use the Modern Arnis twelve strike numbering system as
my reference point.
An innovation of Professor Presas was that in Modern Arnis all odd numbered strikes, i.e. #1, #3,
#9 go to the left side of the opponents body, all even strikes #2, #4 & #8 go to the right side. #12
strike can be either due to its nature of being a downward vertical strike. The thrusts, #5, #6, #7, #10
and #11 go into the center and structurally follow the principle of the strikings.
The twelve strikes in this case teach, at a fundamental level, actual targeting zones. I state zones
because the strikes could be as specific as a certain body part or as diverse as ALL strikes delivered
to a certain part i.e. a limb. By using zones, anything within that zone is a legitimate target and it
forces one to see general planes of attack or motion rather than this attack for this specific target.
Zones are taught and used because specific targeting is an assumption of conceptual usage not
conceptual motion. The zones change as the usage or tool used changes. A cutting tool needs
different targeting than a percussive tool. For more specific details on actual usage go to the chapter

90

on Bio-mechanical stoppage where actual usage of cutting and percussive tools are discussed by
target!
If a strike is from the open side it refers to the arms being open, away from the body, while closed
side refers to the arms being crossed over the body. Generally the stick or blunt weapon is in the
right hand BUT since it can be in EITHER hand I will only refer to the open or closed side. Unless
specified I am referring to the weapon being in the right hand.
Note: When the weapon is held in the left hand, the strikings or cuts ARE NOT mirror image. Some
teach it mirror image but then the angles and universal planes of motion dont match. For example a
#1 strike with the weapon in the right hand is from the open side and is from upper right to lower
left. To be the same angle and follow the same plane of motion with the weapon in the lefts hand,
the strike or cut would have to come from the closed side as if it was a mirror image of a right
handed strike #2.
Abecidario: the strikings
Strike #1 is a downward diagonal to the side of the head (temple region) to the base of the neck
(collar bone area) from open side
Strike #2 is a mirror image of #1: downward diagonal but from the closed side
Strike#3 is a horizontal to the shoulder (end of deltoid region) to the hipwith the arm it includes
the elbow and if the arm is raised it attacks the torso from the open side
Strike#4 is a mirror image of #3: horizontal but from the closed side
Thrust #5 is a straight thrust within the vertical plane on the centerline of the bodytargeting the
stomach, abdominal aorta, and solar plexus, from an open low position. Hand position may vary but
usually with palm towards the center, or slightly palm up.
Thrust#6 is a slightly upward diagonal thrust off the open horizontal plane. Directionally outside to
inside. It is an inverted thrust, palm down, towards the rib cage / chest region or the solar plexus /
heart region.
Thrust #7 is a mirror image of #6: slightly upward outside to inside, the thrust is inverted, palm up,
and NOT palm down.
Strike #8 is an upward diagonal to the thigh zone (hip included) to the knee region from the closed
side
Strike#9 is a mirror image of #8: upward diagonal but from the open side.
Thrust #10 is a slightly upward diagonal thrust towards the face (eye region) and the exposed neck.
It occurs in the blind zone. It is inverted palm down as in thrust #6 Directionally outside to inside.
Thrust #11 is a mirror image of thrust #10: slightly upward, outside to inside, done invert with the
palm up as in thrust #7
Strike #12 is a central downward vertical towards the crown of the head. It works best if coming
off the closed side because of our body dynamics. Open side tends to use the arm only and the
shoulder tends to bind up upon striking.
The next stage in the Abecidario is to learn to block the attack. Then comes the block attack and
counter strike the attacker. There are many variations to the counters. To set up the TAPI-TAPI drill
introduction all counterstriking goes to the opponents head. This cultivates a counter counter
response that then can travel to any level or target. Tapi-Tapi drill itself will be covered later. The
counterattacking shown is the first basic level of response to an attack. It is the most natural
response to an attack following a block and check.
Note: To understand the concepts of blocking in detail check out Blocking the attack. There the
conceptual drill of Walking the Blocks is discussed in detail. It actually seems it would fit in
progression AFTER one learns how to strike but basic blocking with counterstriking comes after
striking in combative usage. Concepts and conceptual usage come first then details follow!

91

Abecidario: The strikes and Counterstriking

There are many different blocks that can be used and obviously different counterstriking.
Combative range, (including footwork), the type of weapon, and the Flow of combat are mitigating
factors in actual Block, check and counterattack. This is not an expose on all the variables but a
basic idea of Attack- Block, check and counterstrike. Ones translation and creativity come in later!
Thats what Abecidario training is all about! Endless variations that become part of ones natural
combative flow and response!
A is attacker or striker. D is defender or counterstriker.
Strike #1: A strikes #1 attack at D. D blocks the attack with a blocking strike #1. D checks As
weapons hand and counterstrikes a #2 strike at A, over As attacking arm.
Strike #2: A strikes a #2 attack at D. D blocks the attack with a blocking strike #2. D checks As
weapons hand and counterstrikes a #1 strike at A, over As attacking arm.
Strike #3: A strikes a #3 attack at D. D blocks the attack with a blocking strike #1. D checks As
weapons hand and counterstrikes a #4 strike at A under As attacking arm.
Strike #4: A strikes #4 attack at D. D blocks the attack with blocking strike #2. D checks As
weapons hand and counterstrikes a #3 strike under As attacking arm.
Thrust #5: A thrusts #5 attack at D. D blocks As attack with an inward tip-down vertical block. D
checks As weapons hand and counterstrikes a #12 strike over As attacking arm.
Thrust #6: A thrusts a #6 attack at D. D blocks the attack with a #1 blocking strike. D checks As
weapons hand and counterstrikes a #2 strike at A over As attacking arm.
Thrust #7: A thrusts a #7 attack at D. D blocks the attack with a #2 blocking strike. D checks As
weapons hand and counterstrikes a #3 strike over As attacking arm.
Strike #8: A strikes a #8 attack at D. D blocks the attack with a #8 blocking strike. D checks As
weapons hand. D rotates Ds weapon in a low slant motion, and in an open side- forward circular
motion, counterstrikes with a #12 strike.
Strike #9: A strikes a #9 attack at D. D blocks the attack with a #9 blocking strike. D checks As
weapons hand. D rotates Ds weapon using a low umbrella motion, and in a close side- forward
circular motion, counterstrikes A with a #12 strike.
Thrust #10: A thrusts a #10 attack at D. D. blocks the attack with a blocking strike #1. D checks
As weapons hand and counterstrikes with a #4 strike under As attacking arm.
Thrust #11: A thrusts #11 attack at D. D blocks the attack with a #2 blocking strike. D checks As
weapons hand and counterstrikes with a #3 strike under As attacking arm.
Strike #12: A strikes a #12 attack at D. D blocks with an Umbrella blocking motion. D checks As
weapons hand and counterstrikes with a #1 strike.
At this point A becomes D and D becomes A, and the drill continues. Both practitioners get to
understand the attacking mode and the Block-check and counter to the attacking mode. Once the
basic is understood other blocking motions and counterstriking can occur. Countering the counter
strike can be added as well which leads to the Tapi-Tapi drills of Modern Arnis.
Targets change with weapon usage:
The targeting zones change with the changing of the weapon. The same twelve strikes could be used
but the conceptual teachings hidden inside would be lost. An edged tool specifically asks that the
edge be used. It is the edge that gives the power. It is the double inclined plane of the edge that parts
flesh. A pulling, stroking motion or a pushing stroking motion is needed whereas the blunt weapon
needs a percussive feel, a hit, an impact to make best use of its physical reality. Either could be
misused and still achieve results BUT we are looking for optimal usage of each tool.

92

Percussive striking also involves rebound, or the physical reality that two objects cannot occupy the
same space at the same time. When a blunt object meets another object, several factors come into
play. Either the object being hit must move away from the impact path or the hitting object must
move. In the case of a blunt object such as a stick hitting a body, the stick has less mass so it must
move away from the impact. This rebound covers out and back along the same plane of motion
as the original strike. This means the rebound happens faster than the original strike. One must be
prepared to deal with this rebound and many Arnis systems teach rebound awareness. An edged
tool has no rebound for it parts the object struck, forcing it out of its path of motion. A wound
channel is opened by the use of the edge unlike the path of a blunt object.
Most people readily understand the act of pulling a stroke through an object, as in heel of the knife
blade to the tip. The reverse situation, the pushing-slicing stroke from toe to heel seems strange only
to those that have never cut food in the kitchen. All slicing motions in a kitchen are done for
example with a French Chefs knife slicing by pushing rocking the knife-edge through the food,
toe to heel. A pushing slicing motion can become viable and practical after a thrusting entry. This
leads to a brief note on THRUSTING: Thrusting is NOT stabbing. Thrusting reflects the origin of a
sword art, which included cutting with the tip while stabbing is oriented from a pushing of the tip
as in a rapier or a dagger type art. A thrust can be used as a stab BUT it generally will refer in
Modern Arnis or Filipino martial art to cutting with the tip. A ripping stab can be generated
from the thrust motion as well using the tip of the blade as the cutting point within a stabbing
motion. Several styles refer to the thrusting cut as an arcing cut.

The Twelve cuttings: steel seeks flesh

The twelve cuttings shown here reflect the teaching of James Keating: Master at Arms of
COMTECH. There is a slight variation in my approach than Keatings on cut #11 and the
approach on the thrusts BUT the basic cutting is from Keatings COMTECH- Filipino Martial
Arts. As my good friend James Keating has openly said take what I offer, use it, modify it, make it
your own. Professor Presas believes in the same concept of learning and teaching. As it is said, so
it is done! I use these cuttings instead of Modern Arnis Strikings for I find that it makes the
conceptual usage of the smaller blade easier to understand. In reality it is no different from
Professor Presas 12 Strikings as shown above. Jims variation works better in setting up small to
large size knife cutting concepts and I teach it as part of the Professors Modern Arnis. The
Professors strikes when used for cutting with a large blade, such as a Bolo, sword or even a Bowie,
work extremely well.
Cut #1 is a downward diagonal that targets the temple region of the face but its primary target is the
neck region from the head to where it joins the body. This is from the open side.
Cut #2is a mirror image of #1: a downward diagonal from the closed side
Cut #3 is a horizontal cut aimed at the arm (deltoid region) to the elbow (the elbow itself is NOT a
target due to the bony structure but the biceps and triceps are.) If the arm is raised away from the
body the region under the arm / armpit or the region from the bottom of the ribs to the hip are the
target zones. (Hitting ribs with a horizontal cut will cause discomfort BUT will not do immediate
de-animation) This is from the open side
Cut#4 is a mirror image of #3: a horizontal but from the closed side.
Thrust#5 is a center thrust within the vertical plane to the abdominal region, groin region, solar
plexus, or even into the throat. All these targets are along the center vertical plane. The thrust is
accompanied by an immediate pushing forward of the leading edge.
Thrust#6 is a slightly upward diagonal inverted thrust from the open side. Directionally outside to
inside. The palm is down and the tip leads the edge. The thrust is designed at mid level to slide up

93

inside between the ribs. At a high level, to come up into the eyes from the blind zone, or to slide up
inside under the arm into the body cavity. Again at high level slide up inside the neck / base of skull
region and at a low level it would allow for insertion into the femoral artery.
Thrust #7 is a mirror image of thrust #6: slightly upward thrust outside to in, but from the closed
side palm up.
NOTE: Thrusting is very body specific in usage. The human arm only can supply power from a
specific position: i.e. form follows function. An outside thrust such as #6, must come in an outside to
inside motion with a decreasing radius from arms length to opposite shoulder. If the thrust
originates from the right side closely held to the body, rather than away from the body, the wrist is
bent into a weakened position that works only in non-kinetic application. An inside thrust such as
#7 is not an arcing blow but a straight line motion that in conceptual motion travels at a 45 degree
from the left shoulder towards the center and out to the right shoulder. If it is thrown in an arcing
motion or directly forward from ones left side to an opponents right side the wrist is in an
unsupported position which could lead to loss of the weapon or breaking of the wrist upon kinetic
application.
Cut#8 is a forward downwards vertical cut, allowing for circular motion or repeating. It is from the
closed side. Target zones are horizontal limbs, body surface such as chest to abdominal, front of the
head specifically the face.
Cut#9 is an upward diagonal cut from the open side. Target zones are the side of the leg from just
above the knee to the top of the thigh. Used at middle level it would allow for cutting in the same
direction as the rib openings or to open the thoracic cavity, or the abdomen. At a high level it would
follow the natural contours of the neck.
Cut#10 is a mirror image of #9: upward diagonal but from the closed side.
Cut#11 is an inverted, palm out, thumb down, edge up, upward vertical cut. Closed position to
open. If double edged, the weapon could possibly be used to pull straight up without inverting the
fist, BUT this position could lead to the knife being dislodged from the hand.
Cut#12 is a vertical downwards motion from the closed side targeting the shoulder / trapeziums
region. It could target the top of the head but there is a lot of bone to contend with so a downward
slashing / cutting of the face is better.
The actual physical motions seem the same for blunt and edged weapons but they are conceptually
different. The principal of the motion is intact. Both weapons utilize the same physical planes of
motion and both are dictated by the restrictions of the principle of biomechanical motion of openclose. The conceptual usage of the principal changes with the tool used. (Blunt weapons being
percussive and edged weapons being stroked.) How that concept is used in a specific point and
time becomes technique. It is easy to confuse one with the other or if not understood correctly, to
become one of those who firmly and anally retentively holds onto his or her strikings as the only
way and of course to only certain specified targets. Well my instructor said
In the case of Modern Arnis the strikings and or cuts just taught us zones of preference to attack.
The next level is that the strikings or cuts actually teach conceptual motion when done together. #1
and #2 when done in succession teaches downward figure eight pattern. #3 and #4 teach side to side
horizontal motion with wrist turning or a figure eight done long on its side. Thrusting #6 and #7
gives us disjointed figure eight connected by forward and inverted C motionsor rotation in
space around a central point.
Cut #8 teaches repeating forward downward vertical circles as done OUTSIDE the personal space
i.e. outside the shoulders not inside. Striking #8 and #9 teach upward figure eight. Cut#9 and cut#10
teach the same figure eight. Cut#11 and #12 teach vertical figure eight. As one progresses, the
angles can be mixed to have diagonal planes of motion or intercepting planes of motion. Strike#1
and #8 give diagonal figure eight and so on.

94

Any of these planes of motion can also be adjusted by height in a linear fashion. All planes of
motion can be done high, middle or low depending on the needed circumstances. Target zones can
become target specific or area specific i.e. a limb such as the arm can be substituted for the whole
body with all planes of motion acted out upon it. One might want eyes, body, femoral artery, and
abdominal aorta. This would be a plane of motion to specific targets rather than one target area
utilizing all the planes of motion.
Cutting to specific targets:
The Sayoc family has taught cutting and the art of the blade for many generations. In contrast to
Modern Arnis, which is target- zone oriented, the Sayocs have a different approach. The Sayocs, in
their Art of the Blade, use this concept of angles of attack to specific targets. Each set of targets is
part of a template of attack. These targets are still part of their fighting heritage and have not been
tempered by the legality of where one cuts ones opponent. There are sets of templates within three
levels of cutting. Alpha, Bravo and Charlie level, and they are called by their military names. There
are many templates in the SAYOC systems with left and right hands each having different
templates. Each cut has a corresponding counter: For example one of the simple right hand
templates of cutting within the Flow without the counters is as follows:
Angle #2 downward diagonal close side- to outside carotid- Vargas nerve
Angle #1 downward diagonal open side- to inside carotid- Vargas nerve
Angle #3 horizontal cut from open side- abdominal blue-worm cutting (the cut is just below the
abdominal wall letting the intestines pour out.)
Angle #4 forward horizontal circle coming from close side- punching into the chest, then cutting
downward and inward deeply, severing the abdominal aorta
Angle #5 forward thrust into groin- peritoneum area, splitting open the opponent.
Angle #6 inverted punch / thrust into close side deltoid process then inverted thrust, close side, into
brachial plexus and neck
Angle#7 counterclockwise C cut, deep insertion into femoral artery from close side
Angle #8 inverted thrust into heart region from open side
Angle#9 C cut into open side horizontal cut to decapitation strike.
Tuhon Chris Sayoc and Tuhon Mike Sayoc teach the art of their blade to only a limited group of
people. The program is not intended for the general public! To them biomechanical cutting means
all function has ceased! A true but sobering concept to use in todays society.
Motion and utilizing planes of motion, as well as angles of attack counter attack are like
learning to speak. Letters are learned, then words are put together and finally sentences and
thoughts are to be written out. Using this knowledge or speech asks for a physical sense or
understanding that must be felt: one must speak to understand. The same is with the numbering
system. First the numbers are learned then the concepts start to make themselves known. When
these planes of motion, the numbering system are understood and felt in a real physical sense, the
next level of awareness or learning starts; body movement or shifting. As in any physical endeavor
certain body mechanics are needed to make these strikings or cuts work. Natural body motion as in
dance is the best way to describe the basic motion imparted by using the numbering system. As the
angles and planes of motion are understood then the corresponding body motion to enhance the
strikings or cuts is used. These same body motions utilizing the angles can be used in defense to
lessen the power of an attack while increasing the power of any counter-attack.
By stepping forward while executing a #1 strike, the power of the blow is increased but the actual
angle of attack decreases for one has stepped directly into the path of the opponent. Stepping right
or left DOES make a difference. If one steps forward at a 45-degree outward angle while stepping
forward the power is increased but the distance has been maintained to allow for a full power strike.

95

If this stepping was with the left foot, the power of the strike was increased but plane of motion of
the body will directly confront the opponent in a force to force situation. Stepping forward at a 45degree outward angle with the right foot while striking a #1 blow will give maximum power and
move one to a position in space that bio mechanically works best. Stepping 45 degrees forward and
outward moves the body into a zone of less pressure or less power from an attackers base. This
space of maximum power is again a situational position for if the opponent shifts or moves into
another relative space, the body or attack may have to move with the left foot to maintain optimum
position for striking. As this is experienced and felt, then applied in kind to the rest of the strikings
or cuts, the act of practicing the numbering system gives the understanding of utilizing multiple
planes of motion, one of which is moving the body.
To compliment the act of moving the body with certain planes of motion is the act of body shifting.
After the body has moved in space from one point to the next, the body shifts its location within that
space /point WITHOUT moving out of the space it occupies. For example, stepping forward into a
45 degree outward motion propels the body forward towards the opponent but the from of the
bodys surface is actually AWAY from the opponent. By slightly bending the knees which alters the
horizontal plane and pivoting on the balls of the feet inwards towards the opponent, brings the front
of the body directly facing the opponent. The attack is now directly facing the opponent but the
bodies are still on an oblique angle to each other protecting the attacker from counter attack. This
will be covered in detail later on in a discussion of body shifting and planes of motion as they relate
to stepping offensively and defensively. In Modern Arnis and other Filipino based arts the
important thing learned about body motion is to let it come naturally. By doing the basic strikings or
cuts ones body will naturally fall into a flow of motion. This motion will become educated later
on but still follow natural inclinations of movement. One must be able to fit into the FLOW if
one is to succeed at utilizing the strikings and cuts in real combat.

96

Chapter:#17 Types of striking and cutting: reality in combat

Guro Dan Inosanto: the Filipino Martial Arts

KnowNow Publishing USA 1980

Basically there are four striking motions that may occur in any attack: the long arc stemmed
blow, the shortened arc or stemless blow that is pulled inward halfway through the swing, the rap
which is a blow that returns along the same path it went out and the thrust or jab.
Presentation
How one strikes or cuts is vitally important in combat. If one cannot properly deliver ones strikes
or counter strikes, the results could be disastrous. It is therefore important to learn HOW to deliver
ones strikes and cuts with maximum efficiency: ones life could hang in the balance. There are
many instructors who teach blunt and / or edged weapon usage. Most of them do not understand the
body dynamics to execute proper striking or cuts. If one doesnt understand the conceptual
dynamics of proper striking, one cannot possibly teach those dynamics to others. Some base their
method of striking on a previous instructor; some base it on tradition. In Modern Arnis as in most
Filipino martial art, the way to strike is based on physical reality and the laws of physics: two very
good overall parameters to work within.
Presentation is important in weapons usage. Not what one looks like but what does one present to
the opponent. In a combative situation the weapon should be presented to the opponent BEFORE
anything else happens. WHY? The weapon is usually held in ones hands. The human hands are our
fastest part of our bodies in action and reaction. Thats where the old adage the hands are quicker
than the eyes comes from, the fact that the hands are VERY fast. The adage compares the hands to
the eye because the eye has incredible recognition speed of motion and movement. Think of the
number of times people get startled by a sudden subtle movement, one which was seen out of the
corner of ones eyes. And the human hand actually moves quicker than the eyes can perceive its
motion. Add to this the eyes can be fooled. Because humans have BI-ocular vision, that is two eyes
set apart actually seeing from different points of view we get the wondrous effect of 3-D sight. The

97

down side is the placement of the eyes allows for blind spots, actual distortion of physical reality,
and perspective misalignment. Which brings one right back to presentation. How a weapon is
presented can effect the outcome of the combative situation. Presentation is not how one looks
holding the weapon, nor just putting the weapon motion first, but how does the presentation effect
what the opponent actually perceives coming at him. The knockout punch is never seen but felt. You
dont see the bullet that kills you. The sword has returned before the opponent knows it was drawn.
Warriors, common people, martial artists have all heard these or variations of these statements.
They are used to illustrate or be morals of stories. They come from combative reality: with proper
presentation an attack is OVER before it is even perceived to have begun.
A short digression to targeting zones is necessary. In the Abecidario of many systems the #1 angle, a
downward diagonal has come to mean a downward diagonal aimed at the neck or the shoulder. With
the coming of Stick- fighting, the shoulder / collarbone became the appropriate target of the #1
strike. In the old days when a bladed weapon was used, the targeting zone of this first strike was the
EYE zone. If ones opponent shifted out of the way, the very next zone in range was the neck, and if
the evasion went further, last zone was the shoulder. Presentation was to attack the eyes, from an
angle that is considered the blind-zone of human vision. If the strike actually hits the target zone,
then the whole zone became blind. Human eyes function as one unit. Poke into one eye and BOTH
eyes close. Poke into one eye, and BOTH momentarily lose vision. The eyes rest near the temporal
region of the skull, a very sensitive, thin part of the skull that is on the sides of the head to better
protect it. This region of temple and eye is exactly where the #1 strike comes to, generally moving
in a downward diagonal curving motion from back to front. A blow that was unseen, un-perceived,
hits the opponent in the temple region of the head, stunning the opponent. The impact of the strike
also hits the eyes, blinding the opponent in the midst of real combat. There is no question as to
what the result in combat will be at this point: a disaster for one, a victory for the other.
This angle is repeated in many forms of motion. In the modern era, Bowie fighters, the last of the
great Bladesmen of our time, used a motion called the back-cut to accomplish the same end.
Evasion of the blow was so slow due to presentation, lack of perception, that IF the cut missed,
immediate disfigurement was the result. Death usually followed. Swordsmen have used these
motions for hundreds of years. Over time the translation has been misplaced, but those that seek the
way of the weapon are rediscovering it. The art of presentation has returned.
To start a strike one needs to lead with ones hand or weapon. After the weapon is on the way to its
target, then the body moves to follow. The presentation is one of nothing then sudden motion and
then realization that the body is moving as well towards the target. The hands can fool the eyes, but
the body cant. The body has too much mass to overcome, inertia to initiate movement. Therefore
the hands launch toward the target, almost pulling the body along with them. Yes, I know that
stepping on the triangle, body shifting and setting to strike has a great deal of power. That
stepping / shifting/ setting is within the flow of combat within the conceptual idea of mobility. To
attack, the hand must lead, and the body must follow. Stepping the triangle, if done in combative
reality actually follows this pattern, hand, foot-body, shiftand the strike is there AS the body
shifts its position and weight. Some instructors call this explosive action. What it is, is proper
combative presentation.
The Lunge in fencing or sword fighting is a perfect example of two types of presentation. The first
is that the sword is aimed tip towards the opponents eyes. The presentation of the weapon this way
makes the weapon almost invisible for it is not within the perspective focus. It also is coming
upward at a slight angle from under the nose area, a blind zone often taken advantage of by
practitioners of Wing Chun GungFu.
(trap the forward arm with a palm block, occupy the space, and deliver a straight blast to the face).
The second presentation is that before there can be recognition of the attack, the hand with the

98

weapon has already arrived at the target. The hand shoots out and pulls the body along into the
lunge position. The weapon makes contact as the foot touches down in its forward position. What
makes this so unstoppable is that one perceives the hand sometimes, the body always, but one never
takes into consideration that the weapon was at the target LONG before the hand or the body. One is
stuck as one begins to perceive that an attack was initiated. In terms of combat reality, its disastrous
for the attacked and good for the attacker.
In martial arts systems most teach a lunge punch. The standard comment of today is that learning
about a lunge punch is pointless because no one in the real world punches like that. Very true
statement. Only trained people know this move and very few of them apply the conceptual usage of
the lunge punch. Since most people step (robotically), then punch, (with a punch aimed at the
midsection), the attack was seen long before it got on its way. Bruce Lees leading finger jab is an
example of the lunge concept. His finger strike was unstoppable and is the perfect example of lunge
presentation one can use. Lees fingers were in ones eyes BEFORE one knew the attack was
coming. Lee understood and used the conceptual motions of fencing. His ready position was a
sword-fighting stance with hands held as if in an edged weapon blind zone: slightly angled towards
the opponents eyes. His hands strike lead up through a blind zone directly to the opponents eyes,
followed by his body. This fencing presentation of not telegraphing ones intent has become a
mainstay in Bruce Lees art of JKD. Bruce Lee was into combat reality. Presentation really works.

The act of striking

The #1 angle strike: downward diagonal
NOTE: combative range will effect how one strikes an opponent.
The shortest distance between two points is the straight line. Therefore one should move ones
hands directly towards ones opponent. Even with a weapon in ones hand a straight line is still a
straight line.
Within the plane of that straight line is a human arm whose actual motion is dictated by the rule of
form follows function. To extend a human arm, it needs to rotate within its space from palm up
(upper cut) to palm down, and outward (overhand right).
The position keys in the rotation of a punch:
Striking Key #1 uppercut (palm up)
Striking Key #2 straight punch (palm inward)
Striking Key #3 overhand right (palm down & outward)
These keys describe the total rotational positions possible for the human arm. The distance from an
opponent determines the natural rotation of the arm. This can be over ridden by direct control of the
individual person but in general form follows function is the natural state. The weapon is an
extension of the hand, so the weapon will follow the motion of the arm and the hand. Contained
within a conceptual motion, that of a forward strike following a straight line there are actually
several planes of motion being used. Holding the weapon in the Striking Key #1 position, at a
natural state, the weapon itself will be at a diagonal position at ready. Simply punching the weapon
hand out, as is, will strike the opponent with a downward diagonal blow. The actual total body
position is a boxing or natural fighting stance, feet shoulder width apart, elbows in, and hands up.
The strike could be punched outward: with or without rotation

with no arm rotation the butt of the weapon could be the impact zone

with no arm rotation the lower edge of the weapon can be the impact zone

with arm rotation the butt of the weapon could be the impact zone

99

with arm rotation the lower edge of the weapon could be the impact zone
with arm rotation the middle to tip of the weapon can be the impact zone
With rotation, the angle of the strike while still downward diagonal changes at full
rotation from the open side to the closed side. This rotation brings with it a forward
downward whipping action to the plane of the weapon itself.

All of this is without swinging the arm or body movement. It is one small part of the available
movement to actual striking. If rotation of the body is added, then power from the hips goes into the
strike. Not only is there added power, but the arc of the strike, the plane of motion itself is changed
into a shortened arc. The motion of the hips rotating in a horizontal plane, (inward toward the
target) moves the forward motion of the arm into a shortening diagonal response. This is with no
arm rotation but it could be done with arm rotation as well. With or without rotation of the arm, the
point of impact on the weapon moves outward towards the tip of the stick. The greatest force in a
rotational motion is the outside edge where the object must move faster to keep up with the speed of
the center mass. Remember the hips are rotating horizontally in a small plane of action. Attached at
the far end is the weapon itself. With only rotation of the hips the weapon has increased its impact
force. If the feet pivot on the balls of the feet, at the same time the hips rotate (a very natural
motion) an even greater force is transmitted to the weapon for there is now a whipping effect. When
the hips reach a final point in space, the weapon hand tries to catch up to that point. This generates a
great deal of energy that is applied to the strike. Now, if one bends ones knees slightly while
rotating ones hips, dropping ones mass as it rotates, the weapon cuts a downward rotational
shortened whipping arc into the target. The weapon is now in a position to catch up with several
rotational forces that cover a small rotation area while it must cover a large rotational area. Within
that rotation its arc is shortened even more, causing even greater speed. The impact of the weapon
is now many times stronger than if struck by arm strength or hip rotation alone.
The strike could be swung outward in an arcing motion: with or without arm rotation
The image of striking with a weapon is one of an arcing blow. That is that the weapon itself traces
an arc through the air into and through the opponent. This arcing strike comes from a natural
position. Somehow one just reaches out and the strike finds a way to cut a circular plane of motion
through the air. The strike is a downward diagonal strike no less. This is a fantasy, a conjured image
by those who would ignore form follows function. To enact a downward diagonal SWINGING
strike several things MUST take place:

From a natural stance, Striking Key #1, the weapon hand would have to use a small
downward diagonal circular motion to get the weapon into a larger downward diagonal
plane of motion. A forward cocking motion.
The elbow and the hand must be raised away from the body, in a cocked position,
allowing the strike to descend into a downward diagonal strike. The cocked and ready
position can range from in front of the body to the side of the body. Holding ones elbow up,
the forearm and hand up, (perpendicular to the ground) palm inward, the elbow shoulder
height (upper arm parallel to the ground), one can trace an arc from in front of the body to
the side of the body. Any point in this zone of arm rotation can become a downward
diagonal swinging strike.

This downward strike could be done with arm strength alone. Without arm rotation causing a
cutting action at the tip of the weapons strike, holding a weapon out at arms reach by arm strength
alone and swinging it to cause damage would take a VERY strong person. Or one could take a very
light weapon and swing it with greater speed to try to cause damage. The weapon itself mitigates
this striking action. If the weapon is a percussive weapon such as a stick, there needs to be great
speed and little weight. If the weapon is an edged weapon, any contact with the moving edge will

100

cause damage. Either way, striking with just the arm needs strength to insure good striking. By
adding the same hip rotation as in the punching method of striking, one can increase the power of
the swinging strike. Arm strength will mean a great deal less if the hips are used to generate power.
A swinging strike is definitely designed for an edged weapon where the circular striking motion
would bring into play the whole edge of the weapon. An edge designed to cut flesh.
This circular swinging motion or stroking, works fine with an edged weapon and only causes
superficial damage with a percussive weapon especially if the strike is on the middle portion of the
percussive weapon. Note: if one strikes with the very tip of a percussive weapon in a stroking
motion a great amount of energy will be transferred to the object struck and the movement of the tip
may cause a cutting action.
Types of strikes

Punching motion, hand punches out and doesnt return all the way
Jabbing motion, the hand punches out and retracts immediately
Swinging motion, with follow through, the hand completes a swinging arc
Swinging motion, without follow through, the hand swings in an arc and upon contact
retracts
Swinging motion, with shortened arc, the hand swings in an arc and just before contact
pulls the arc short
Fanning, the turning or snapping of the wrist causes the striking action
Long Fanning, the turning of arm at the elbow causes the striking action
Thrusting, hitting or cutting with the tip of the weapon can be used with punching,
jabbing, swinging or fanning.

NOTE: these strikes are effected by combative range: how far away is the opponent?
A full swinging blow for example will not work in close range. It is better suited for long or
medium range.
Punching strikes are good medium to close range but lack crispness in long range. Jabbing motions
are best in long to medium range. This is not arbitrarily decided. Functionality of ones arms within
a certain range determines what type of strike will be used. There is no set distance for everyone has
different length arms. The idea of range is a conceptual one and its usage varies with each
individual as needed by combative realities. Using the proper tool at the correct time works in
combative reality. The most natural response, the one of combative simplicity usually is the correct
one.
Striking is the sum total of the actual strike, stepping, and body rotation. All work with each other to
generate power in a simple way. A natural way to generate power in combat that is not based on fine
motor skills. Stepping, balance, body rotation are things all humans have done since they learned
how to walk. These skills are used daily. Add to these normal skills some knowledge of striking,
again based on natural gross movement and one has the base of combative principles for striking.
Combative skills that when stress levels rise and fine motor skills abandon one, the combative skills
remain, gross motor skills available to save ones life.
Counterstriking: body torque or hip rotation is important. Block, evade, & counter
Counterstriking involves a facet of combat that striking doesnt even consider. The biggest variable
in striking is trying to hit the target. In counterstriking, the most important variable is that first, one
must survive the preemptive strike, then counter the attack, therefore evasion is paramount. Evasion
is the defenders variable. Evasion is not only body motions but also the stopping of the incoming

101

attack: blocking. Blocking in a combative sense is striking the strike. The strike might be to the
weapon of the attacker or to the weapons hand. There is a big difference between the two and most
teach that one defensive strike is better than another is. This is not the case. They involve different
variables; variables that are mitigated by the type of weapon itself.
Striking to the weapons hand is commonly called Defanging the snake. As a strike is executed,
the defender strikes the attackers weapons hand ending the confrontation. Depending on the
circumstances this is in concept a great idea. If executed properly this is also a good way to disarm
an attacker. In a spontaneous attack, a true combative situation, one might not be able to just reach
out and defang the snake on the first motion. Again another mitigating factor is the weapon itself.
If the attacker has a large edged weapon and the defender has a blunt weapon, trying to defang the
snake has the potential for trouble. The attacker could strike a violent #1 strike at the defender. As
the blunt weapon strikes the attackers weapons hand the momentum might carry the edged weapon
INTO the defender. The momentum and the velocity might be unimpaired. The final result? The
defender hurts the attackers weapons hand and after passing through the defenders counter hit, the
attackers weapon splits open the defender, sending blood and guts everywhere. GREAT! The
checking hand, the ultimate safety valve everyone is silently yelling about was cut off trying to stop
an unimpeded blade. The Art asks one to do deflection blocks with an immediate checking hand.
Combative reality asks that one STOP / block the incoming attack cold, THEN counter attack. In
combat one CANNOT look up and say, oh thats not supposed to happen! My check hand is
supposed to have stopped you!
If the defender AS WELL AS the attacker has an edged weapon the variables change drastically.
The attacker launches a violent #1 strike at the defender. The defender immediately counters with a
blocking strike #1 to the attackers weapons hand. Minimally the attacker loses all of the flexors in
the weapons arm and control of the weapon: without working flexors, the weapon CANNOT stay in
the attackers hand. If the weapon is not lost immediately, then upon contact with the checking hand
the weapon will be dislodged. Due to blood loss the attacker is going into acute shock. Maximum
stoppage would be as the defender executes the blocking strike; the attackers weapons hand is cut
off completely. If the check hand cannot stop it, the arm without a hand can continue with its
momentum into the defender safely.
Blocking the strike is the best combative solution. Force to force. Stop the action immediately. If
the force becomes too great the block turns from a force to force block into a meet the force. With a
meet the force, when the pressure is too great, one yields to the force allowing it to pass but
redirecting it as it goes. Both force to force and meet the force need evasion and counterstriking to
end the engagement. Evasion in combat is moving to the point of least force: least force within the
attackers striking motion. There are many forms of evasion and in Filipino martial arts the
foundation of evasion starts with the female triangle. The female triangles point is into the defender
and flares out from the defender. The base of the female triangle is where the attack originates. It is
a leading arrow of the attack INTO the defender. Basic stepping is stepping along one of the sides
of the triangle to the point of least pressure: the best being away from the attack, the other is
jamming the attack as it initiates. Evasion makes blocking the attack much easier. It is much harder
to hit what isnt there. Counterattacking is enhanced by evasion and blocking the attack.
The attacker has a blunt weapon, a stick and strikes a #1 strike at the defender who also has a blunt
weapon, a stick. The defender moves the weapons hand first, and uses a blocking strike #1 to stop
the attacking strike #1. As the defenders hand moves to block, the defender steps away from the
force yet closes the gap, by stepping up right, 45 degrees, up the outside of a female triangle. Using
a force to force block the defender stops the attack while body shifting inward toward the attacker
and uses the left hand to check the sticks. Moving the checking hand from the sticks to the
attackers weapons hand the defender prepares to counterstrike.

102

Variation #1
The defender, whiles holding attackers weapons hand; starts to rotate his hips counterclockwise on
the balls of the feet. The defender counterstrikes under the attackers arm with an opening motion,
#4 horizontal strike from the close side. The defender finishes the rotation of his hips. The impact of
the strike and the full rotation of the hips coincide. The counterclockwise torque supplied by the
motion of the rotating hips ads power to the counterstrike.
Variation #2
The defender, whiles holding attackers weapons hand; starts to rotate his hips counterclockwise on
the balls of the feet. The defender starts to counterstrike under the attackers arm with an opening
motion, #4 horizontal strike from the close side. As the counterstrike is delivered the defender now
rotates on the balls of his feet clockwise in the direction of the strike. The rotation -counter rotation
of the defenders hips ad power and speed to the defenders counterstrike.
Both of these variations could have the defender counterstrike with just arm power. It is taught that
way in a lot of schools. To have combat reality one needs to have hip rotation so that the
counterstrike stops the opponent. Bumping, bruising, or tagging the opponent in a combative
situation is unacceptable. The counter must have the potential to stop the opponent and end the
encounter. In attacking or counterattacking the way one strikes is of vital importance. Striking and
counterstriking in a combative situation must be done with proper presentation, frame of mind and
power. Ones life could depend on it.
Cutting: using the edge
Cutting is very different than striking. Cutting needs to make use of an edge, a wedge (double
incline plane) shape that parts the object that the edge intersects. There are several ways to make
use of the edge AFTER or WITHIN the striking motion itself. The conceptual motions are the same
but the conceptual usage changes. Percussive striking is the culmination of the striking motion
whereas cutting involves another variable for the striking motion itself may not make maximum use
of the principle of the edge.
Cutting motions:
Sawing: back and forth slicing within a spot using the primary edge
Sawing is done upon contact with the opponents body. Adhesion is necessary for contact is NEVER
lost between the knife-edge and the opponent through out the sawing motion. Each sawing motion
forward and back has a penetrating angle to it, forcing the edge to bite deeper with each stroke. This
is no different in concept than using an actual saw where one tends to let the blade move back and
forth while pushing forward through the object being sawed. Here the blade rocks its way through
the sawing motion.
Slicing: toe to heel or heel to toe using the primary edge
Slicing with a knife is, as it seems, drawing the edge along an object to be cut. It is the most
common and natural of the entire range of cutting motions and is used with all edged weapons from
swords to knives. Within the stroking motion of using a knife, the heel of the knife, the part of the
blade closest to the guard, makes contact with the opponent. The force of the striking motion pulls
the knife-edge from that point of contact, all along the edge the knife, up to the toe or the tip of the
knife. A foreshortened arc is generally used to enact this type of cut.
The reverse of this is Kitchen cutting or cutting from toe to heel. Kitchen cutting works as well to
bring the primary edge into play within the flow of combat. The slicing motion of Kitchen cutting is
generally seen with a chefs knife as one of a rocking-slicing from the toe of the knife down to the
heel in a forward motion. It is an arcing cut that can be used from point of contact within the motion
of thrusting.

103

Hacking: chopping with the edge

Hacking is a short, percussive chopping motion. It is jab like in the sense that the blade makes
impact on the opponent and withdraws immediately. It is not chopping like using an axe where the
chop is used to imbed the blade into an object and then wiggle it free for the next blow. However
like the effect of a chopping axe, pieces may be dislodged from the opponent.
Thrusting: cutting with the tip
Thrusting with an edged weapon is commonly mistaken to be the same as stabbing. Thrusting is the
art of engaging the tip or toe of the knife in a ripping motion, Usually the motion is an arcing strike
or a direct straight entry that upon contact rotates into a tip ripping slice. Deep penetration with the
blade is not the object.
Picking: tip ripping
Picking is a very specialized type of cutting where one combines the act of ripping with the tip and
the hacking motion. Usually this is done close range in the reverse grip position. The point and
secondary edge make contact and the primary edge barely makes contact before the blade is with
drawn in preparation for the next strike. Picking is most effective in the reverse grip position.

Stabbing: blade insertions

Stabbing is the most commonly perceived way of using an edged weapon. While this can be deadly,
organs feel no pain and humans are capable of sustaining multiple stab wounds and maintaining a
combative ability. One needs to pierce an organ and cease its function to be effective. In stabbing
the entry, depth and size of the weapon matter. No two stabs are the same in effectiveness. Stabbing
can cause immediate shock when done or the stabbed victim might not even know that stabbing has
occurred. Note: the number one stabbing implement in the world is a common screwdriver. Any
sharp pointed object can become a stabbing implement. Any inmate in todays correction
institution can verify this fact!
Back cuts: hacking or slicing with the secondary edge
The type of cutting needs a sharpened back edge. It can be done with a false edge but the damage is
not as great and it becomes a percussive blow rather than a cutting strike. The secondary edge or
clip can cause considerable damage and its usage peaked with the American Bowie Knife Fighters.
Bowie fightings secret technique was the Back-cut. The actual usage comes from swordplay such
as the saber. The motion is a turning or rotating of the wrist to bring into play the back edge at the
tip of the knife, the clip. This is a very fast slicing motion. It can become repeating slices very
easily. These repeating slices of a back cut are generally coming from a circular motion.
Any of these motions can be used separately or strung together. In CONCEPTUAL STRIKING
PATERNS and BASIC STRIKINGS OF ARNIS one can see how to apply these strikes and cutting
motions.

104

Chapter:#18 Double Weapons: two is obviously better than one!

Professor Presas: Modern Arnis-The Filipino Art of Stickfighting
1983

Ohara Press USA

Sinawali ( and Redonda) are the weaving motions made with two sticks in Arnis that are
practiced in precise, prescribed motions to familiarize the student with the method of
stickfighting, both in free sparring or with blades. There are three basic types of Sinawali in
Arnis: all employ two sticks, or hands or bladesprogramming one for learning to defend
against anothers stick or blade.
Double weapons usage seems to be what most people envision as Filipino martial art. Twin blades
or sticks whirling away like a blender. Weaving intricate patterns of steel and wood that can defeat
any opponent. Well, OK almost any opponent. Ok maybe some opponents. OK, so Double weapons
upon closer looking seems not so practical a way to defeat an opponent in todays combative
situation. In Modern Arnis double weapon usage is there to teach concepts of motion and usage
rather than specific fighting techniques by themselves. Some instructors teach each set of pairings
as something different from each other but in reality they are branches of the same conceptual
motion with differing conceptual usage. Double weapons can be taught several ways but they are
still classes of Double weapons.
Double Stick
Double Sword
Double Knife
Long Stick and knife
Long stick and short stick
Sword and knife
Sword and long stick
Stick and Shield
Sword and shield

105

Whip and knife

Whip and stick
Any combination of weapons can be used. Shield and spear, spear and stick, spear and swordThe
way of using them comes from the conceptual usage of Open / Close of the human arms and the
weaving of ones arms in patterns, either symmetrical or asymmetrical. Modern Arnis has several
versions that are used to teach these concepts. What most people fail to understand is that there is
no such animal as single weapon. Ones empty hand is also ALWAYS a weapon and it teaches the
double weapon skill cultivated by long-short such as Espada y Daga. MODERN ARNIS tries to
instill this understanding to its practitioners. In Modern Arnis these are the tools used to teach
Double Weapons:
Double Stick
Sword and knife
Stick and knife
Double knife
The basic patterns used to learn the double weapons of Modern Arnis are under the conceptual
headings of Redonda X, Sinawali and Espada y Daga. As shown in the chapter on conceptual
striking and Filipino patterns, each of these is similar in conceptual motion but different especially
in conceptual usage. Redonda X is used to understand intercepting circular motion. Sinawali is
used to understand horizontal straight line intercepting planes. Espada y Daga is used to
understand combining the two motions and the ability to change ranges within the usage of the two
combined conceptual patterns.
Of all the combinations possible, only Espada y Daga or Sword and dagger reflect a different point
of view from the standard Filipino martial arts. Sword and Knife / dagger techniques and the
conceptual usage of them actually come from European combative fencing. The other double
weapons can find origin in whatever martial arts have blossomed in the Filipino tradition of martial
arts or in the martial arts of their neighbors. Sword and knife came to them, the Filipinos, from the
occupying forces of the Spanish. Current versions of Espada y Daga have been influenced by the
Filipino flavor but they are still the old fashioned cut and thrust or rapier concepts of the Spanish
fighters that have survived into todays world. Using a very long shaft of steel with a much smaller
parrying / thrusting knife is not as simple as strike with the sword, then thrust with the knife.
Ones parrying hand learns open-close in a miniature sphere of rotation, (thats where the point of
the opponents sword enters ones personal sphere of defense.) Meanwhile, the sword is making
tangerial thrusts off the conceptual motion of contact, big and small, due to the ever-changing radius
of the attacking weapons length. Espada y Daga also asks that Ranges of Combat be used in several
ranges at once, for there is disparity in the ability to use ones chosen tools in a set range, so one
must actually utilize range changing to make the usage of the tools effective. What seems so easy to
do in theory with a stick of 26 inches and a dagger of 13 inches has no validity in the actual combat
consisting of a 41 inch steel bladed sword while parrying with a 13 inch Main Gauche. In practice
one can block the attack or attack with ones long weapon and still be in range to use the short
weapon to strike the killing blow! In real, the weapons make one utilize ranges of combat in an
ongoing flow, no set place or range, because the ability to use each weapon to the fullest has two
different truths: One short, close range, the other far away, long range. In other words, if I just block
the opponents long weapon with my long weapon, or if I attack with my long weapon at long range,
I will be no where near my opponent and my short weapon will not deliver a killing blow to
anything but the air and my chances to win.
The patterns of using a shield, a stick, a sword as demonstrated by some of the Masters of Filipino
arts in America today all reflect the same basic weaving patterns as one would classify as

106

Conceptual motion. This motion makes no distinction between any of the tools and some of these
masters talk of the usage changing within the same Conceptual motion. The blessing is that since no
one actually uses these forms of fighting anymore, we dont have people dying because of improper
instruction. Thats right dying. The use of shield as taught today has no relationship to the manner
in which those that carried them to actually defend ones life. How can that be? As PALADIN
PRESS author John Clements has noted there are still disagreements as to HOW shields were
constructed, let alone how they were actually used. What seems so simple is not as simple in reality.
Dont think so? Try mounting this huge thing on your arm and try to use it against someone
attacking you with full power blows. You might see that the top of your own shield hits your
weapons arm while moving, that certain motions dont really clear ones shield wall.hmmm it
was REAL easy when all one did was bang shield to shield playing out a set box drill like Standard
count- Double Sinawali. Actual application within the flow of combat modifies conceptual usage
and sometimes it has little to do with the base concept of motion. Rotational ranges of combat with
understanding of open-close: double arm follows begins to matter a great deal.
NOTE: banging endless box drills with two sticks, or two machetes does not mean one understands
using double weapons. Oh? You can bang really fast and do various versions of the same drill? So
what? Can you make range adjustments at each attack and counter while maintaining combat
effectiveness? Can you utilize the strengths of each weapon you wield in each hand instantaneously
as needed within the flow? Can you actually fight, not just Do the drill? Double weapons reality
does not exist in its purest form today for it is not part of our societys fighting reality. We can only
guess at its combative reality and try to understand it. Want to see real fighting? Check out a
classical theater group doing combative sword and dagger drills for the stage. Some of them
actually use combative fencing to make the plays realistic.
This brings us back to Modern Arnis double weapons. Modern Arnis double weapons are used to
understand the reality of ranges of combat and that several ranges exist at the same time. Within
these ranges of combat certain conceptual motions are used and specific usages occur. None of
these are set in stone due to the fact that real combat changes every second and so must ones
awareness of the situation. Double weapons force usage of both arms in practitioners that might
otherwise choose to utilize only one arm. Using double weapons asks that one understand rotation
space for weapons truly move in a 3-D area not a 2-D area. Modern Arnis asks that the practitioner
actually learn to apply all the aspects of Open-Close with both arms / weapons and to be able to
translate each arm independently of each other!
Actual descriptions of these motions are in the section of Conceptual Patterns and Conceptual
usage.
Yes you need to mix and match these chapters. They cant exist on their own. Filipino Arts are
made up of many sets of concepts that all inter-relate!
In the general doing Double Weapons is to understand; the relationship of where ones weapons are
at any time, the edge orientation, direction and angle of impact, targeting from within the flow of
combat and the ability to have and use several ranges of combat at once. If one can do all these
things then Combative flow is as it needs to be: SIMPLE.
Lets look at a simple Espada y Daga drill. Its a mirror image drill, that means both partners do the
same motions at the same time...that allows both partners to experience the conceptual motions.
A steps up right and using As right hand, strikes a number #1 strike, allowing the strike to go from
Open position to Closed.
A steps up left, ( following the same stepping position as the step up right...actually a Male pyramid
stepping) A does slashing-tip rip ( inverted thrust, palm down) from Open to Close with As left
hand.

107

A steps back left to original position, while striking a number #2 strike with As right hand, from
Close to Open position.
A slashes a number #1 slash from Close to Open with As left hand.
A is back in the original position.
SIMPLE! Stepping, hitting, cutting and ranges all in a few steps!

Chapter:#19

Biomechanical Cutting: de-animation of the opponent

Professor Remy Presas: Modern Arnis- Philippine Stickfighting

Manila, Philippines 1974

In learning these techniques, the learner is taught HOW and WHERE to deliver a strike in order
to achieve the maximum power and efficacy!the learner should know the different parts of the
body that are considered vulnerable and which are excellent target for strikessome of these
parts are so vulnerable that a strike or a blow to them may incapacitate, if not kill, a person.
Bio -mechanical cutting is the newest way to apply percussive and cutting motions. I teach these
concepts in my seminars and in my newest video tape series from VIDEO QUEST and PALADIN
PRESS. No, I didnt invent the hits and the cuts but I have applied them in a new conceptual way
and incorporated them into a progressive training program. In Modern Arnis this is an important
concept as well as other Filipino arts! It is commonly called De-Fanging the Snake in traditional
Filipino martial arts!
Biomechanical cutting means to stop all mechanical function of the body. It does not mean to end
or cease the functioning of the body or terminate its life. Street combat needs biomechanical cutting
to achieve its ends while military combat needs to stop not only biomechanical function but in most
cases termination of the unit in general. The goal of Biomechanical cutting in street combat is to
stop a bodys mechanical function. If one stops the mechanical function of ones opponent several
things become clear in combative reality: The threat of attack is removed. If ones opponent cannot
make a physical action happen then the opponents desire or intent doesnt matter

The opponents mobility is gone. Ones escape can be implemented. The opponent cannot
follow.

The opponents condition is a deterrent to others wanting to take similar action

Drugs, alcohol, lack of pain, great strength or other mitigating factors, which might help
an opponent in aggressive street combat, are negated and become moot.

Legal ramifications are kept to a minimum: Death is hard to reconcile

108

Using steel, the actual act of cutting, one seeks flesh not bone.
The human body is basically a complex mechanical unit. There is a frame work, an interior
structure that maintains form, and function with tissue that connects the pieces and connective
tissues the extend or contract the pieces. There are fuel lines, lubricants, a mechanical pulley system
and a complex electrical system with on board computer hook up. By interfering with any of these
systems, the mechanical unit shuts down. Cutting any of these connections, joints or electrical
pathways damages the unit till it can be surgically repaired. Cutting is the imperative word here for
percussive striking may or may not do damage. One can suppose or speculate on percussive damage
by theory or by inferred results but cutting is different. Every one cuts and bleeds. Steel cuts flesh.
Severing living flesh and the working human mechanical system brings obvious results.
Humans are very easy to injure, maim, and destroy parts of rather than terminate. The human body
and spirit are very resilient and that resiliency keeps people who should have died from their
wounds alive and fighting. Emergency rooms are full of should have died patients. War heroes are
given posthumous citations for somehow surviving an attack and then saving others and killing the
enemy before expiring themselves. This makes combat very complex! One could deliver a death
blow and as one waits for ones opponent to die, the opponent somehow manages to counterstrike
and deliver his own death blow back at one. Tie score. Both die. This is an unacceptable combative
solution.
In combat therefore, instead of looking to terminate the opponent with no biomechanical cessation
of function, one should destroy the opponents operating system then terminate the opponent as
the progression builds. In street combat that option does not exist. If one terminates an opponent
one can end up in jail or in court or both. Therefore biomechanical cutting is of utmost importance
in street combat.
Without terminating ones opponent, one stops all possibility of threat or aggression by stopping the
opponent from functioning. Just like the Black Knight in Monty Pythons Quest for the Holy Grail.
The Black Knight has both arms and legs cut off by King Arthur and the hopping torso keeps
yelling, Come on! Its only a flesh wound. Come closer so I can bite you! King Arthur rides off
into the sunset.
Note: humans have certain autonomic responses to injuries that cannot be over ridden. Sometimes
these reactions coupled with biomechanical impairment gives one total control of ones situation
and ones opponent. For example, we have an overwhelming need to look at our injuries and THEN
decide how serious it is. When we get struck on the head ones natural response is to reach for the
injury and close ones eyes to visualize the injury. A poke to one eye causes both eyes to close
protectively and to tear up.
Getting severely injured causes a person to contract or go fetal to protect our self in a human ball.
Simple bangs and cuts can cause one to grab ones hand or injured part, contract the limb, and look
at it while voicing some sound of pain releasing sounds...screams, moans and the like. What we do
not do is get expansive, injury causes us to contract, compact and get protective. Burning a hand,
cutting it, banging it causes us to retract the limb QUICLY from wherever we sense the danger is
located. We do the same with any part of our body. Our bodies even have an off switch so that in
event of a major injury we shut down to survive...its called shock!
IMPORTANT: Many people will gladly tell you that lethal force is allowed to be met with lethal
force and Dont worry, In a court of law JUSTICE will prevail! Only on paper, in certain
circumstances, with certain people involved, is lethal force the accepted response to lethal force.
Worse yet, those that would judge one for using lethal force, a jury of ones peers, is NEVER of
ones peers and they are truly the common people with nothing in common with the one they judge.
If ones opponent or opponents family doesnt file criminal charges, the state may file criminal
charges for ones ethical self-defense actions that arent socially or legally acceptable. If one beats
the criminal charges the same groups may file civil charges. I have heard the moans from some of

109

you! Id rather be tried by twelve than carried by six! This is a misguided, misspoken,
mistaken statement of gross ignorance! It goes to the Black or White of a situation not to the
reality of the situation. One cannot take the attitude of Ill just kill the bastard and let a jury sort it
out. All I need do is go all out to defend myself consequences be damned! This is WHY we have
bio-mechanical cutting. INTENT is everything!
I know youre starting to get the idea. Biomechanical stoppage is about the only way to
compromise between action and legal reaction. Well look at some of the actual targeting zones
and what happens when one cuts or hits these zones.
We looked at the conceptual Why and Why not as to using biomechanical stoppage. Again, for
those that missed the core point of the introduction: Bio-mechanical stoppage means just that,
stopping the bio- mechanical functioning, and the ability to actually move or use ones parts. This is
a utilization of the concept of form follows function Now well actually look at the cuts and the
hits and WHY target zones are so important! This part will be looking at upper body. Of course the
upper body is the first thing one will encounter and it is the easiest target!
Biomechanical target zones: pulling the plug!
NOTE: Humans have a reflex of looking at our injuries. Humans go into some form of fetal
position upon shock or injury: contraction rather than expansion. Intent does not count with
biomechanical cutting. The opponent may have intent or the most will power in the world but
function is function: if the parts dont work all the prayer, wishing or swearing will not make
them work again until surgically repaired. This IS NOT AN ANATOMY LESSON. There are
many more muscles involved than those mentioned. There are many nerves and circulatory
vessels involved. This is to show WHY biomechanical cutting works at the SIMPLEST LEVEL to
understand. Use of a cutting implement or a percussive implement, sometimes induces immediate
shock to the body. In a small zone that means that the body actually feels no pain at the point
of targeting, but that does not stop the reality of function being stopped!
Cutting: the ultimate bio-mechanical stoppage! Remember humans are only hydraulic units with
a very simple bionic pulley system. Interfere with either system or both and the function fails!
The fingers, hand and forearm:
The Filipinos call it defanging the snake, or breaking the snakes teeth, Sword-fighters of old called
it disarming (literally!) and there are many cultures that used the concept of attack the attacking
weapon.
This is the first strike that one can apply to ones opponent for the opponent willingly brings the
weapon toward ones defensive zone.

Cutting the fingers of ones opponent usually stops an attack. Fingers house lots of
nerves, ligaments and tendons and if damaged, fingers cannot be used till they are surgically
repaired. Fingers are no bigger than chicken legs and can easily be broken or cut off.

Cutting the hand back or front can stop function. Cutting the back extensors can cause
severe damage and bleeding and stops the fingers from opening. Cutting the front or palm of
the hand will cut flexors causing severe damage and forces the hand to open. There is a lot
of meat that can be cut including the opposing digit, the thumb.
Note: cutting the thumb can end the use of the hand immediately until the thumb is surgically
repaired. Fingers dont work well without an opposing digit to hold them in place.
The Forearm has many target areas unto itself and is an easy zone to reach.

Cutting the muscles on the outside of the forearm cuts the extensors, which uncurl or
extend the fingers. The nerve functions that control grasping are located on the outside as

110

well. Catching a cut up by the elbow and pulling down toward the thumb can send a fillet
over the opponents hand. The fillet may go down to the bone.
Cutting the inside forearm contains the ateries and main nerves that control the wrist and
the fist. Severing the nerves and /or the muscles will cause the flexors, which keep the hand
closed not to work, or will destroy the needed nerve impulses to accomplish the same
function. Fillets can be cut from the inside of the forearm as well as the outside forearm.

The middle arm: biceps and triceps are only big in the gym.

The function of the biceps other than to look great is to pull the lower arm to the upper
arm. Cutting either of the heads of the muscle, the belly of the muscle or picking pieces out
of the biceps impairs the function. When the biceps dont work, the arm will not contract or
the lower forearm cannot be raised to an upright position. With the biceps cut or impaired it
is easy to get an opponent to give the classic straight arm as used in arm bars or elbow
breaks.

The Triceps extend or straighten the arm. Cutting, picking pieces out of or impairing the
triceps gives one an opponent with the lower arm contracted against the upper arm. This is
the classic position for enacting the classic gooseneck locking.
The upper arm: shoulder; trapezium, deltoids and the chest
As one works ones way up the arm it is easy to access the shoulders. Cutting the anterior Deltoid
(the one that faces front) and the lateral deltoid (the one that makes shoulders look so good) stops
the function of rotation of the arm as well as horizontal adduction of the arm. Cutting the back
deltoid stops extension of the arm. The junction of the arm and torso has the connection of the chest
or pectoral muscles. The insertion point is the upper arm. Cutting these muscles at the junction stops
adduction, horizontal adduction and rotation of that arm. Cutting the Trapeziums (the muscles that
give one that powerful look from neck to shoulder) stops upward rotation of the arm as well as
lifting of the arm.
NOTE: Working ones way up the arm one could cut the deltoid or the external pectorals or even
higher, one could cut the trapezium muscle to impair function. There is no need to cut the torso of
the opponent. One might need to justify ones cutting actions in a Court of Law before a Judge
and Jury. Everyone has cut a finger or a toe, most have gotten cut hands, and some have even
gotten cut armspeople can relate to that. No one can relate to being stabbed, organs pierced,
bellies cut open, throats slit, or testicles cut off. For biomechanical cutting one cuts limbs only
and the cutting is to IMPAIR function not to inflict lethal injuries or de-animation of ones
opponent.
Weve stopped the bad guys upper torso from working. Thats great! And weve seen that in an
ethical and moral sense we did as little damage as possible to the bad guy yet saved ourselves. This
time we will go over mobility. How does stopping an opponents mobility give to us the stoppage/
or cessation of attacking motion we want.
OK are we getting the POINT? Well weve bio-mechanically stopped the bad guy with upper
torso cutting. What happens to the legs and lower torso? If the bad guy can still move, if the bad
guy still has mobility, he or she can still harm us. In this part Ill show you targeting zones that
leave the opponent with a base. No mobility, no attack! Perfect!
The legs and hips present another type but equally as good a target as the upper torso. Cut or impair
the legs and /or the hips and mobility and balance are functionally stopped. This includes the
Gluteus Maximus or as commonly known as the butt.
Professor Presas once asked me to kick at him. He told me kick VERY FAST. I hesitated but
complied. He immediately struck my leg with a stick and laughed. I fell to the floor in great pain.

111

Oh Bram he said you kick a man with a weapon and you are now a gimp! As I struggled to
get up he told me to kick him again with the other leg. I was in pain, but I complied. The strike
on my other leg dropped me upon impact.
You do not learn fast! Do you know what you are now!? Before I could answer he shook his
head and said, You are deadNEVER kick at a man with a weapon. He will cut off your
legs and then you cannot move or run away!
I HAVE NEVER FORGOTTEN THAT LESSON!
While I was teaching an Edged weapon seminar in Europe, a master of Tae Kwon Do once told
me he could kick a knife out of my hand BEFORE I cut him. I had him kick my hand, which I
let go limp and my hand flew away and rebounded with the knife into his leg. He tried again only
this time I moved my hand at the last minute and the kick missed and I drove the knife into his
leg and up into his femoral region. On his third attempt as his hip shifted slightly, I intercepted
his motion. I drove the knife into the belly of his quadriceps and up into his flexor dropping him
immediately in pain onto the floor. I told him and the other participants at my seminar that he
was VERY lucky that I was only using a training knife otherwise he would be in serious trouble.
No one tried kicking a knife out of anyones hands the rest of the seminar.
Before I start this section I need to state the obvious. Mobility is paramount in self-defense and in
most physical situations. The quarterback of the Miami Dolphins, Dan Marino stepped back and
popped his Achilles tendon. End of Marinos mobility, BOOM onto the turf. Pick any Football,
Soccer, Basketball or Baseball player that pops a leg muscle and see how well they move; they
dont move at all and get carried off the field. These are tough, conditioned, PROFESSIONAL
athletes and they drop like sacks of potatoes. Kick boxers routinely target the legs. Benny the Jet
stopped many opponents with leg kicks and in the early days of the PKA-WKA many American
fighters who ventured to fight overseas found out the hard way. Dead legs mean no mobility: End of
fight.
Ever get a shot in ones butt from lets say a nurse Ratchet and one cannot move ones leg except
in great pain with limited mobility? I have. On board ship, I was given a shot in my butt with a
normal needle that felt like six inches long and I couldnt walk for several days Actually there
were several of us on the ship in that condition. All from a tiny needle stuck INTO the Gluteus
Maximus.
Legs: no legs no mobility
Cutting the legs of an opponent works. Most people do not expect to be cut or hurt in their legs.
Cutting legs stops ones mobility and ability to balance. The perfect attacker / opponent is one lying
on the ground still screaming Ill get you, come closer so I can grab you and Ill get you Ah, the
infamous scene from Monty Python and the Holy Grail. King Arthur tries to go across a bridge and
is challenged by the ultimate bad guy, the Black Knight. The Black Knight will not let King Arthur
go by him to cross the bridge. They battle intensely. Arthur cuts off the Black Knights arms and
legs and this torso keeps screaming at King Arthur to come closer so that he can bite him. King
Arthur shrugs his shoulders and rides away across the bridge. It works like that in real life as well
except the torso will not be screaming for one to come closer so that it can bite one.
Upper Leg
Cutting, piercing, cutting pieces out of the opponents quadriceps (front) or hamstrings (back)
immediately stop the action. Transitional cuts from arm to leg usually end up cutting the Sartorius.
Cut the Sartorius and there is no pick up of the leg, no flexion, no abduction, and no lateral rotation.
Ever pull an old style shade and let it go? It rolls up very quickly. Thats what the Sartorius will do
around the knee. Aim for the Sartorius and miss and one hits the flexors and abductors of the hips.
Cut these muscles and the legs pivot outward just like de-boning a chicken. An opponent with no

112

legs is in no better position to advance on one and attack or counter attack, than someone in a wheel
chair. Ok, thats wrong! A person in a wheelchair can have mobility and an opponent with nonfunctioning legs has NONE!
The Butt: great Glutes!
OKit sounds very funny except when its your butt that got hurt. One of the largest muscle groups
in the body is the Glutes. When the Glutes are incapacitated the body cannot move. Ask a football
player who has torn a Glute. A hurt butt keeps him on the bench and off the field for many weeks.
One needs the Glutes to be able to stand, move, walk, run and pivot. Poking the opponents butt with
the tip of ones knife can cause immediate stoppage of the opponents movement. Tip ripping with
the knife and popping a snow cone divot out of an opponents butt will end the confrontation. The
opponent can still grab but the opponent cannot chase, run or stand. If that doesnt finish the
confrontation, then it can be a great opener to any other biomechanical cutting motion.
In a court of law, when it is pointed out by the attacker, that while in the act of attacking one, to
mug, rape or rob, the attacker was hurt in his butt by the defender, (yes, see youre smiling
already!) the jury will be smiling because the situation seems funny. Again this is perception not
reality but people in general have a hard time taking butt injuries seriously. Especially if it happens
to the bad guy!
The Knee: a fragile hinged joint
The knee can take moderate amount of percussive abuse. Straight on the knee can absorb some
impact, from the side the knee cannot take any substantial blunt trauma. Cutting the knee causes
severe damage and bio-mechanically if the knee doesnt work, the body stays in one place. The
Quadriceps Femoris Group actually inserts below the knee and act to extend the knee joint. If any of
them are cut the knee cannot bend nor can the hip flex. The Rectus Femoris is a quad muscle that
actually crosses both hip and knee. It is readily accessible to a direct cutting motion. The thick cords
felt behind the knee are actually the end of the hamstrings and they control extension of the hip,
flexion of the knee and rotation of the knee. Cutting through these muscles takes little effort and is
as simple as removing a chicken leg from the thigh. Cut the connecting tissue and nothing is there.
This is what old time hamstringing was; the cutting of the hamstrings at the bend of the knee.
The calf: Gastrocnemius looks great, cuts easily
The Gastrocnemius or Gastro is Greek for belly. This muscle can act on the knee or the ankle
separately but not simultaneously. A cutting of this muscle will totally immobilize an opponent till
the muscle is surgically repaired. Ask Dan Marino. He stepped back to pass and the tendon ripped.
No Achilles tendon, no movement. BOOM. All fall down!
The Foot: protected by the shoes
OK. So the opponent has shoes on, sneakers on (high tops no less), or boots. Stab right through the
top of the shoe pinning the foot to the ground. Stab directly into the toes, injuring them or cutting
them off.
Ignore the foot and use the top edge of the sneaker or boot as a cutting guide and cut across the leg.
What happens then? Go back and read the above section on calves. No feet, no movement, no
mobility.
NOTE: I broke my big toe when I kicked someone in a combative situation. It was a picture
perfect round kick to the opponents head. He dropped like a sack of potatoes. I dropped to my
knees almost as fast. The pain was intense and I couldnt move. I had broken off part of the joint of
the big toe upon impact.

113

I once saw Professor Presas quick strip a stick from a student. It flew straight up in the air and
came straight down, butt first directly onto Professor Presas big toe. He dropped to his knees in
pain. Toe pain can bio-mechanically stop someone! Even someone as experienced as the
Professor because he NEVER expected it.
Lets get right to bio mechanical hitting! We saw how to bio-mechanically cut someone to stop
them from attacking us. It almost works the same with hitting but we actually have less target zones
and less effectiveness to those strikes. The body is designed to absorb impact. As you have seen the
body is not designed to deal with cutting! With that in mind lets move into the act of percussive
hitting and using those hits to stop our opponent! Yes, HITTING! Edged tools as well as blunt
objects can be used for hitting or percussive hits. We need to see percussion because sometimes one
might only have a stick or similar implement and the targeting is different from cutting!
Bio-mechanical Hitting: the Beat goes on!
Bio-mechanical hitting is the act of percussive blows to stop the functioning of ones opponent.
Due to the nature of percussive action there are several mitigating circumstances that enter into its
usage.

How strong is the striker: mass, weight, strength itself

How strong is the defender: mass, weight, strength. And especially how tough are the
defenders musculature.
How fast was the strike. Speed makes up for mass.
How high a pain threshold does the defender have.
How prominent is the defenders bone structure
Can one access the skeletal structure of the opponent.
How strong is the actual skeletal structure of the opponent.

Percussion, the act of striking with a blunt object, must seek bone.
Striking with a stick or blunt object to bio-mechanically stop an opponent needs specific, fixed
targets. In a classroom situation with no combative reality, striking fleshy areas and musculature can
cause pain and cessation of action. In a combative situation where adrenaline is flowing and ones
sense of pain is dulled due to loss of fine motor skill interpretation, strikes must actually damage the
supporting structure, the skeleton to be effective. This does not mean that striking a muscle or
muscle groups with percussive blows will not work, BUT to bio-mechanically cease function one
needs to break bones.
Head: The skull has several areas that one can strike to stop function, but the most common, the
forehead is the least effective. Yes, it can cause pain but its also very strong. Striking the crown of
the head within the seam works better. A blow to the base of the skull by the occipital lobe / atlas
area works. Striking the temple region or the eye orbit area will break the skull and possibly knock
out the function of the opponent.
The jaw points are useful and shattering the teeth might get a momentary pause for another strike.
The same goes for breaking the nose, its a temporary stun while re-chambering for a temple strike.
The side of the head is better than the front or the top! The problem with a head strike is that all
function may cease. Death is a possibility. The outside possibility, with a medium probability is that
the blow is a glancing one, the skull does what its designed to do, deflect the blow and the
opponent rips ones limbs off in retaliation!

114

Shoulders: The shoulders are good targets if one remembers to not target the muscle such as the
deltoid and instead targets the Clavicle / collar bone. Breaking a collarbone is great biomechanically. If there is no functioning collarbone, then there isnt any arm motion, especially in
trying to raise ones arms.
Note: I once ripped the end of my collarbone out of the breastbone while wrestling. I couldnt
understand WHY my arms wouldnt work correctly. I couldnt feel the pain, I was too excited about
the match, but I could not make my arms work properly to hold my opponent. My opponent was
able to twist out of my arms and I could not complete a pinning hold. I lost the match. Afterwards
when I went to take my wrestling jersey off, I couldnt move my arms and it hurt like hell. Biomechanical function has little correlation to amount of pain!
Elbows: Elbows are not joints, as everyone in the general population seems to think. People talk of
breaking someones elbow as if there is a special unit known as an elbow joint. A human elbow is
the meeting of three bones held in place by muscles. The upper arm-bone, the Humerus meets the
two lower bones the Radius and the Ulna. The junction of these bones, with all its woven and
interconnected muscles is what is known as the Elbow. What we all know as The Elbow and
which protrudes when the arm is bent, is actually the end of these bones. This protrusion is the twin
base of the Humerus and the top process of the Ulna. This protruding lip is a great target for hitting
with a blunt weapon such as a stick or other percussive tool. The breaking of this bone allows for
the joint to slip bio-mechanically stopping the arm from bending. Due to the nerves that run through
the channel of these connecting bones, the percussive striking of the joint can impair the function of
the elbow. The same damage to the nerves can impair or cease all function in the hands as well.
Hitting the muscles that surround the joint may impair function but in all probability will only cause
pain without cessation of function.
Ribs and Chest: The ribs and chest area seem to be a great target. This target however might be
covered with muscles, breasts or protective clothing. Take a good look at any body builder, male or
female and tell me how one is supposed to do bio-mechanical damage to anyone with all that
natural armor made up of dense muscle tissue. The best rib target is the floating ribs because it is
very difficult to build any protective musculature over these skeletal parts. Not only that, the
floating ribs are just that, Floating non-connected ribs that terminates in end pieces rather than
joins into the whole rib cage. This makes them much easier to break and when broken stop
functionality including breathing! Thrusting into the ribs works almost as well as striking for one
can concentrate the strike into a small area such as the ribs, the sternum, or even the soft solar
plexus.
Legs and Hips: Striking the hips with a percussive blow sounds and looks better than its actual
effect. The hips are too powerful, and too protected to land a blow within the actual flow of combat
to stop an opponent. Hitting the connective tissue or the biggest muscle group a human has, our
butts, with a percussive strike doesnt do much as well. Can it? Yes, it is POSSIBLE but the
probability of actually stopping someone is virtually nil. Hitting someones legs looks good but the
legs are capable of taking numerous strikes before stoppage is achieved. Yes I know that one can
demonstrate a stopping blow in a set or classroom situation but in combat with adrenaline flowing,
its not going to happen. And we are looking for biomechanical impairment that actually causes
STOPPAGE of function. So what do we aim for? The knees. The bony protrusion of the knees or a
blow into the side of the knees where the tendons and ligaments are easily accessible! Stop the
bending of the knees or the ability to use the leg as a fulcrum and mobility stops. The ligaments and
tendons of the knees are not made for impact. Ask any football player
Breaking the knee cap, the Patella or the joining site of the upper leg, the Femur with the lower legs
two bones, the Fibula and the Tibia will stop an opponent.

115

The inside of the lower leg, where the anterior surface of the Tibia is an exposed edge, (your shinbone!) is a great place to strike. The bone itself and the accompanying nerve are very accessible for
striking! a hit here usually stops an opponent in their tracks. Sometimes a blow there, to the shinbone, doubles an opponent up into a ball. All of these are good reactions for they bio-mechanically
stop the incoming attack of ones opponent.
Percussive striking to an opponents feet or toes is very dependant on what kind of foot wear or lack
of foot wear an opponent has on. Because of this mitigating factor, and the distance of the foot from
ones defensive tools, I would leave this target, the foot, to a personal decision at any given attack.
I hope this has given you some actual thought as to how to stop an opponent! We must try to stop an
opponent effectively and immediately to survive an attack. We study martial arts and self defense to
do so. Now we have actual targeting zones to aid in these studies! Filipino martial arts especially
Modern Arnis depend on the effective use of targeting zones!
Remember a knife or edged tool can be use as a percussive tool at certain times while a
percussive tool can NEVER be use as a cutting tool.
Note: A great book on the use of Bio-mechanical cutting is KNIFEFIGHTING: a Practical
Course by Mike Janich, published by PALADIN PRESS. Mike covers the subject expertly!

116

117

Chapter:#20 Blocking & counter attack: anyone can attack, defense must be learned
Professor Remy Presas: Modern Arnis-Philippine Stickfighting

Manila, Philippines 1974

It is said that the capacity of a defender to endure an attackers strike depends much on his
ability to parry or block deadly blows effectively and to counterstrike with equal efficacy.
Many Filipino martial arts instructors have talked of using weapons. Instructors such as Guro Dan
Inosanto and Professor Remy Presas talk of the severity of using weapons. They have translated the
Filipino ways of weapons into conceptual motions that can be used as empty hand motions. These
translations have existed in the Philippines for many years but the refinement of those many ways
into defined principles and concepts waited for instructors such as these men. When asked why he
didnt teach knife work Dan Inosanto has stated that it was so dangerous, that teaching the art of the
blade would upset the elders of the Filipino arts. He also didnt want to show irresponsibly the
dangerous attacks with blade for anyone could learn them and misuse them. Remy Presas used to
politely say there was no need to teach knife for it was unlikely that one would be carrying a blade
in todays world. He told of his grandfathers use of the blade in combat and said that it wasnt right
to destroy peoples lives over personal conflicts, that this wasnt war. Both of these instructors can
use a blade. Both can teach the use of the blade. Both these men found a politically correct way to
NOT TEACH the art of the blade. WHY?
Grandmaster Bobby Taboada teaches empty hand and single stick as a fighting art. He tells his
Balintawak students the key is in defense and counter attack that ANYONE can strike with a stick or
a weapon. Guro Dan Inosanto while teaching Bruce Lees Art of JKD shows direct reaction that
borders on action, immediate interception of an attack with counters. Remy Presas in Modern Arnis
tells of the blockings, interceptions and the immediate counter attack. Upon contact, you move!
For this he teaches his Tapi -Tapi drills: for attacks happen and one must survive and counter the
attack. The Sayocs led by Chris Sayoc teach weapons usage and responses. For the Sayocs survival
is paramount, so they teach immediate counter attacks and the ability to momentarily get away from
an incoming attack. Chris and Mike Sayoc have said many times that if one cannot survive the
incoming attack, how can one counter the attack.
All these men know the great secret. Anyone can attack. Show someone the lines of attack and the
attack is more ferocious. These men also understand that war arts as taught in tribal fashion take
hours to impart not years. We are not talking about making a martial artist. We are not talking about
teaching someone the complex art of stopping and countering. We are talking about the fact that
most humans can strike out and attack someone and if shown how, can attack in a deadly fashion.
Add a weapon such as a knife into the equation and the statement takes on new meaning. Steel cuts
flesh all the time. It takes no skill for steel to cut flesh. It is a guiding principal that has lasted for
over a million years. Show someone basic motions of attack and the steel does the rest! Size is
unimportant. Strength is unimportant. Steel cuts flesh. Sticks and stones will break ones bones. And
a sticks percussive power is such that it shatters the opponents body.
The key to being alive is to be aware of the incoming attack and to survive and then counter attack!
This awareness is called Blocking the attack. In JKD its called intercepting the attack, in Filipino
Martial Arts it is called meeting the force, but the concept is the same. A direct action of motion
used to stop, deflect or re-direct the attacking motion of ones opponent. To be effective in real time
combat, these blocking action must be natural, spontaneous and within the context of Combat
must be simple. Since most real time attacks come in blows of two or three blows in succession,
blocking motions must be able to cover these attacks / blows without leaving ones self open for
another attack. Blocking is NOT what one expects as from traditional martial arts or from the term

118

to blockA blocking action is a momentary stoppage in the directional force that allows for
counter attack.
Modern Arnis also does as all other Filipino arts, and it teaches one to move out of the way of an
attack. One can move or zone into in several places that can reduce the force of the incoming
strike making it easier to deal with. For example if the opponent strikes with a #2, a downward
diagonal strike from the closed side, there are two zones that are very safe to step into. The
Easiest would be to step up with ones left foot and zone AWAY at a 45-degree angle from the
power of the incoming attack. This would make blocking the attack simple for the strike would be
at the end of its extension and power. The next would be to step BACK with ones left foot at a 45degree angle so that the strike would go by. This position is at of the blows strike and a step
away so again it would be less force to deal with in blocking the attack. The Third possibility is to
step back with ones right d foot at a 45 degree angle catching the blow as it builds up power in its
attacking swing BUT because one has stepped away the angle allows one to block the attack. Heres
the last position and the hardest. In the old way of Modern Arnis, Professor Presas would do this.
He is a much braver man than I. Professor Presas would step up with his right foot directly into the
incoming force, jamming it BEFORE it built up power, and upon contact with the blow
(Block to strike) he would body shift into an oblique stance or a twisted front stance to absorb the
power of the strike and throw the opponent off balance. Then he would counter strike. He likes to
be up-front and personal with his opponent! It takes great fortitude and timing. Over the years in
Modern Arnis we have mostly opted to go to the path of least resistance instead of into the mouth
of the tiger!
Professor Presas: Modern Arnis- The Art of Filipino Stickfighting Ohara Press USA 1983
The Following are some of the basic defenses used against the 12 major strikes they are meant
to be executed in one smooth and swift motion, with no distinct pauses between the block, check
and counterstrike motions
Keep in mind that when blocking one stick with your own, your free hand should always be
poised to guard, ready to brace a stick block or grab an opponents stick. You must stay loose and
move quickly, always pivoting to face the strike and keep your balance!
In Modern Arnis the blocks themselves are varied but not unlimited. There are only so many basic
ways to
block an attack,, even if there are infinite combinations. They can all be used within conceptual
motions of these blocks: The conceptual blocking motions are known as: Force to Force, Meet the
Force, Go with the Force, and Sweep the Force.
Force to Force: The blocking motion is directed into the opponents attacking line. One uses direct
force to stop the attack. Power against power, force to force. One strikes a strike into the oncoming
blow and reinforces the block with ones empty hand or forearm. The checking hand or reinforcing
hand does not ride on the stick, nor does it make contact at the same moment of impact. The
checking hand comes into the action a beat afterwards so that the stick absorbs the force of the
blow and the hand absorbs the rebound impact only. An attacker strikes a #1 downward diagonal
strike at a defender. The defender strikes a #1 blocking strike into the force of the incoming strike
stopping that strikes forward motion. Upon impact the defenders left hand or checking hand
reinforces the blocking strike. This places the defenders checking hand into the center of the action
so that beat later, the reinforcing hand can become the checking hand and without covering a
large distance, control or check the attackers weapons hand. A Pak Sao or forward slap block into
the oncoming attack, stopping it dead, an intercepting hit is an example of empty hand force to
force.

119

Meet the Force: The attack is met by a intended force to force blow but due to the incoming force,
violence of the attack itself, the defensive blow gives way to let the attacking force go by; redirected
by the defensive action. Umbrella, Roof and Slant blocks which are actually beat off the flow of
motion, can become redirection of attacks that have hit ones blocks with excessive attacking force!
An attacker strikes a #1 downward diagonal strike at a defender. The defender strikes a #1 blocking
strike into the oncoming offensive strike. The attacking strike s force is so strong that the defender
can feel it penetrate his defensive blocking strike. Upon that impact and realization, the defender
lets the attacking energy roll the blocking strike #1 into a Slant block motion, allowing the strike to
hit and redirect to another quadrant. The attack goes from the original target zone on the closed side
and is carried across to the open side where the defender is able to counterattack safely. A Bong Sao
motion or elbow up is an example of an empty hand Meet-the-force blocking, where ones arm with
the rolling action meets the incoming force and then redirects it to another sector.
Go with the Force: The attacking force is allowed to pass by unstopped. The defensive action
actually blends with the attack, absorbs the energy and re-directs the attacking force. This is referred
to as PALIS-PALIS in Modern Arnis. Thrusting motions into the oncoming force usually become
passing motions or Palis-Palis. The attacker strikes a #1 downward diagonal strike at the defender.
The defender uses a thrusting motion #7, from closed to open, that enters the motion of the
attacking force, goes with it, re-directing it to another sector allowing the defender to expend little
energy and counterattack from a safe spot! Tan Sao or palm up blocking is a perfect example of
empty hand redirection of Go with the force blocking. The incoming attack is met by ones palm up
directional force that guides the incoming force away from its intended target.
Sweep the Force: Most people refer to this as Deflection blocking and they seem to think that it is
the highest form of blocking: the advanced method. In reality if done as most current day instructors
see this blocking method, one is left very open to attack or counter attack. Supposedly one strikes a
blocking strike into the attacking force and continuing through the incoming force or attack. This
impact momentarily deflects and stops the incoming attack. After this motion, ones checking hand
comes into play to immobilize the attackers weapon. Looks and sounds great. Except the incoming
strike does not stop! The attacking strike in class has no intent, when the attack has intent the
deflection block does not stop the incoming attack, but adds a speed bump in its path which
continues into the target! Ohthe checking hand? The checking hand puts itself right into the path
of the oncoming attack and is rightly crushed by the blow!
Done in a sweeping motion, the blocking strike actually is a Force to Force that continues on its
way while the checking hand adheres to the attackers weapon. The attacker strikes a #1 downward
diagonal strike at the defender. The defender strikes a #1 blocking strike into the force of the
incoming strike. Upon impact of the strike, the defender lets the blocking strike continue its flow
from closed to open along the blocking strikes path of motion. As the blocking strike passes the
impact point, the defenders checking hand parries and checks the attackers weapons hand while
the defenders blocking strike continues to a ready position for a counter attack. The momentary
impact of attack and block redirects the attacking energy and the impacting blocking strike is
replaced by the defenders checking hand. A parry or light Pak is an example of a go with the force
blocking.
Note: the empty hand translation of these blockings becomes what is known as using the sectors
or sectoring! The ability to utilize ones weapon and empty hands as they exist in that moment in
space and time of the attack is the ability to use the sectors.
In Modern Arnis and its foundation art Balintawak, blocking is usually taught as a strike into an
incoming strike. I have seen Professor Presas block many an incoming strikes motion by
striking into the strike. I show this to my students but I lack the Professors power to do this. I
have also seen Grandmaster Bobby Taboada do the same thing, Strike the attackers strike so

120

hard that the incoming strike just stops. Both men upon impact grab or counter strike and only
one hand is used. They are both very intense powerful men who seem to have no fear! I sill teach
reinforced blocking as they have taught me!
Blocks: momentary protective barriers.
The Blocks them selves are very simple. In Modern Arnis there are 10 basic blocking motions and
several are actually the striking motions used as blocking strikes.
1.
2.
3.
4.
5.
6.
7.
8.
9.

Inside Vertical block- tip upBlocking strike #1

Outside Vertical block- tip up...Blocking strike #2
Inside vertical block-tip downBlocking strike #9
Outside vertical block-tip downBlocking strike #8
Downward vertical cut blockBlocking strike #12
Roof or Rising blockrising horizontal block
Slant block open position, 45 degree-tip down, palm up
Umbrella or circling blockclose position, 45 degree-tip down, palm out
Low Umbrella or circling block: (rotating vertical inside block tip down) close
position, 45 degree-tip down, palm out
10. Low Slant block open position, 45 degree-tip down, palm up
When one reinforces the blocking motion, one must follow a certain pattern. The reinforcing
hand comes beat after contact of the two weapons, or as the Professor says upon impact. If
one puts the reinforcing hand on the stick or weapon before the impact, the reinforcing hand will
absorb all the impact, a very painful and unpleasant experience. Without the reinforcing hand
the rebound from ones own stick can be very painful. When the reinforcing hand meets the
incoming attack beat off or upon impact it only absorbs the rebound energy not the
attacking energy. The blocking motion or strike is not passive but contains its own energy.
Note: In the old way of Modern Arnis the terminology of the blocking always confused me. The
blocks were called by names that reflected as to how the block was used on the opponent or on the
attacking weapon rather than from the blockers point of view. For example, if I block an attacking
strike, such as a #1 strike, towards my inside or left side across my body with a #1 blocking strike,
in a closing motion, this was called an outside block. WHY? Because it, the blocking strike,
blocked the opponents attacking motion towards the opponents outside area, then that was an
outside block. To eliminate the confusion I have called the blocks in the direction of the actually
blocking motion in relation to the blockers point of view. Therefore, if the stick or weapon is in my
right hand, all closing motions or motions across my body toward my left side, are now referred to
as inside blocking. All opening motions or blocking past my bodys right side are outside blocking
motions. This will make sense to all those with previous martial arts training and to those with no
prior martial arts experience no confusion will arise. The height of these blocks is not important for
one can use the blocks HIGH, MEDIUM or LOW. All one does is lower ones center of gravity or
raise ones center of gravity. That means bend ones knees or stand up straight! To see and feel these
basic blocking motions one uses Walking the Blocks, a short conceptual drill. Basic evasive
stepping is part of the drill. To feel the motion the drill is best done with a stick, for the swinging
motion allows one to feel the momentum and impact.
Note: I was teaching a seminar with Sifu Eddie Pagan, the founder of JKD-Todo Extremo JuJitsuEskrima. I was talking about blocking an attack and one of the students said I wasnt showing them
the real blocking. He told me that one didnt need to reinforce a block and that rebound was not a
real time problem. I asked him to my block my strike and when he attempted it, the rebound of his
own stick caught him in the head. I pointed out that two factors had to be covered. One, move ones
body off the attacking line, away from any possible rebound and two catch the rebound of the stick

121

with ones hand or arm. The student then said that if he did a deflection block for REAL he could
block my attack. I attacked again, and my stick continued through his deflection only slightly
slowed down, smacking his hand and continuing into his head. I then asked Sifu Pagan to strike at
me as hard as he could with real intent. Sifu Pagan is a very strong UFC type fighter and instructor
whom I know could deliver a very awesome strike! Sifu Pagan expressed concern and then struck at
me as if to take my head off. I blocked the strike with my reinforced blocking and I thought the block
had failed. Sifu Pagans stick had shattered on my stick; the pieces had hit my head. But, I had
stopped his attack and my counter attack was neatly on the side of his head. If I had not done a
reinforced block the attack would have blown right through my block carrying my own stick and
Sifu Pagans stick into my head. Needless to say that type of blow would have ended a real fight or
in this case the seminar. As it was I was able to counter the attack AND continue teaching without
further interruption. I was still injured, for the pieces of the stick had cut my left side of my head
and face open. The blood added impact to the point about blocking; a broken rattan stick blood
running down my face and a successful block with counterattack. It doesnt get any better than this!
Sifu Pagan and his Eskrima-Kali students now do Modern Arnis reinforced blocking as their
blocking technique. Blocking is serious stuff especially when the incoming attack is done with intent
and violence!
Walking the blocks:
Walking the blocks teaches several concepts at the same time. An important concept is to move
ones feet. Another is to move ones body off the line of attack and the use of body shifting. These
must be used with the blocking motions themselves. To learn these concepts and blocks, Modern
Arnis uses Walk the Blocks, which actually teaches one to stay in a small area, body shifting and
moving ones feet while maintaining counterstriking distance!
Step #1: Blocking a #2 Attack: Step up forward left, female triangle 45 degrees, from a closed
position execute a #2 blocking strike while rotating towards ones right (where the incoming attack
would be coming from)
Step #2: Blocking a #1 Attack: Step left foot back to right, then step back left, male triangle 45
degrees, from an open position execute a blocking strike #1 while rotating towards ones left (where
the incoming attack would be coming from)
Step #3: Blocking a #12 Attack from an closed position: Step up forward right, female triangle 45
degrees, execute an Umbrella block while rotating towards ones left (where the opponent is!)
Step #4: Blocking a #12 Attack from an open position: Step up forward left, female triangle 45
degrees, execute a Slant block while rotating towards ones right (where the opponent is)
Step #5: Blocking a #8 Attack from a closed position: Step back right, male triangle 45 degrees,
execute a blocking strike #8 while rotating towards the right (where the incoming attack would be
coming from)
Step #6: Blocking a #4 Attack from an open side. Step right to left, then forward right along left
side of male triangle, 45 degrees, execute a low slant block, cramming and blocking t#4 strike
BEFORE it gains power while rotating towards ones right (where the attack is coming from)
Step #7: Blocking a #9 Attack from an open position: Step back left along side a male triangle 45
degrees. Execute a #9 blocking strike while rotating towards the left (where the incoming strike is
coming from)

122

Step #8: Block a #5 Thrust from ready: Zone right, then bring left to right, while executing an
inward vertical tip down block. Rotate towards the left center where the thrust is coming from.
Step #9: Block a #12 Butt Strike from the close position: Step up left, 45 degrees female triangle,
cramming and blocking the butt strike before it gains power with a Roof or Rising Block. Rotate
towards the right.
Step #10: Block a #4 attack from close position: Step back right, male triangle 45 degrees and slide
follow with left foot. Execute a vertical cut block along right side, rotating towards right (where
attack is coming from)
Blocking an attack: where did it come from?
Basic blocking of an attack seems obvious to anyone who does any form of fighting. If one does
weapons work, the blocking of an attack is only more obvious. Ask anyone who plays with Filipino
martial arts and one can hear the most amazing discourse on the reasons and types of blocking
distinctly unique to those arts.
The problem is that none of these blockings are unique to the Filipino arts nor are they unique to
Asian or eastern arts in general. I have seen and heard long lectures from other Filipino stylists
especially other Modern Arnisadors who claim to know the secret of the blocking. They generally
use the umbrella block, the roof block and the slant block as examples of this uniqueness. OK... for
those of you going hey, he doesnt know, those arent the names of the blocks, well I guess you
skipped ahead to this part or were skimming the book. I will use American or English terminology
and there are many names for those blocks. The name game works to cloud the issue as to the origin
of the blocking and the subsequent evolution of the blocking usage.
Picture standing ready with 41 inches of steel coming out of your right hand. There is a 16-inch
piece of steel coming out of your left hand. The opponents steel comes into your personal space
seeking your flesh. Blocking the attack is paramount. Being able to counter attack is equally as
important. With ones wrist and arm as the base carrying the weight of the sword and due to the
length of the steel itself, lifting up the tip to block the incoming attack would be too little to late. By
lifting up your right hand, rotating it in space to an elbow up position. (hmm sounds like Bong Sao
in Wing Chun) ones hand automatically crosses the center line deflecting the on coming attack.
There is a huge hole in space staring back at you formed by the opponents weapon, your weapon
and your own body. By sticking in ones left hand there are two basic events that could happen: the
attacking weapon is bound over to the left side, checked, trapped momentarily in space and time, or
ones left hand drives a 16 inch knife blade into ones opponent. Both lead to further counter
attacking. This basic combative fencing move has been transformed into the now classic Filipino
blocking move called Umbrella blocking.
The same conceptual blocking motion is use to protect ones self and ones horse while using a
sword while mounted. The motion protects the horses head and flank while protecting the user as
well. Why such a motion with large rotation? Well it helps to not kill ones own horse while
stopping an incoming attack, especially when ones life is on the line.
I could try to tell you all about the actual forms of fighting that these blocks come from and the
attacks and counters but I dont have the expertise nor do I have the space. I suggest that you
forego your martial arts instructor and his or her views and get a research book such as
REANISSANCE SWORDSMANSHIP by John Clements, published by PALADIN PRESS.
Clements has several books on all types of Swordsmanship and he really believes in stepping on our
toes and movie versions of sword-play. He speaks plain simple facts about steel and myths and

123

legends be damned. Great books if you really want to see how and why swords and other edged
weapons ruled the world of self-defense!
The way of the sword as taught by many cultures especially the Spanish effected and influenced
how the Filipino martial arts look at blocking the incoming attack. The systems blended and melded
to make a
new entity in the Filipino arts. Check out the chapters on Abecidario and Stick Truth to see the
effect of the Spanish sword on the Filipino arts.
This also brings into the light the differences between a Roof-block from an Umbrella-block. Many
teach the two blocking motions as the same BUT they are VERY different. Subtly different in
motion but VERY different in usage! A Roof-Block comes up just like a rising block with the stick
parallel to the ground. The block intercepts the incoming attack and continues in a forward motion
towards the opponent. A Roof-Block can slide off the opponents weapon or point of intersection
and continue into the opponent as a strike. The checking hand follows the blocking motion. If it
does not follow the motion and one is using a blade, then one cuts off ones own arm or hand. Not a
very good idea. In an Umbrella-Blocking motion the interception is angled and the blocking motion
lifts and redirects the opponents incoming force. The Block itself is circular and follows the flow of
stepping off the angle off attack. It actually circles ones head, covering the area like an Umbrella.
The checking hand proceeds the blocking motions entry into the opponents defensive space. The
tool, be it the blade or the stick moves AWAY from ones own hand so there is no chance to cut it. If
ones hand follows the Umbrella motion, well so much for ones hand. BAM! its cut!
OK enough divergence. Lets get back to blocking per se. How one blocks is directly connected to
the issue of Sectors and Sectoring. Where are ones hands when the attack comes into our personal
zone of defense truly decides what type of blocking motion will be made. There is no such thing, as
arbitrarily deciding that one will block an attack with a certain type of block or intercepting motion.
One needs to use what is in place at that particular time.
If ones hands are in an Open-position and the attack comes from above, such as an angle #12, one
cannot possibly do most of the blocks that are taught as the trained response! WHY? Because there
are three possible responses that dictates each motion:
Responses:
1)
instinctive response or natural response
2)
trained response: how one is conditioned to respond
3)
correct response: the proper response to a certain stimuli
OK, lets go back to the attack, a #12 attack with ones arms in Open-position. The natural response
might be to reach out with the left hand and attempt to pass the attack downward or to intercept the
attack with a rising block motion with the stick in ones right hand ready to counter attack. The
problem with this is the attack generally is coming in too fast to be passed and intercepting a stick
attack with ones arm is foolish if not painful. The trained response might be to try to Umbrella or
Roof block the attack. This is an elegant and skilled response to the attack which many Filipino
martial artists practice all the time. The problem with this trained response is that by the time one
brought ones stick around to the Close-position to get under the incoming attack; the attack will
have hit already. The correct or proper response would be to raise the butt of ones stick from its
already Open-position, bringing the butt up past the incoming attack as one slides off left, using a
Slant Block motion. WHY? Because ones hands were already there. This is why one learns
sectoring and body shifting.
Modern Arnis uses Walk the Blocks and drills like Three-count: Six count to teach where is the
most obvious sector to begin one's blocking motion. These counter for counter drills and the
simplicity of walking the blocks set up correct responses to attacking motions. To understand

124

sectoring youll need to go to the chapter describing sectoring. Sectors are a Filipino conceptual
idea that is akin to Wing Chuns gate concepts. If sectors are understood ones responses are
automatic AND usually correct: in Combat anything can happen so its best to be as prepared as
possible! Thats why Modern Arnis IS a combative art
To see Modern Arnis blocking translated into any situation I recommend Datu Kelly Wordens
DTL- Destroy-Trap- and Lock tapes from PALADIN PRESS. Datu takes simple blocking and
intercepting motions and applies them in real time. Datu shows that Modern Arnis is truly a
combative art!
Or one can get my Conceptual Arnis tapes from Video Quest...I show the blocking as talked of
here!

125

Chapter:#21 Forms: Stepping into a structured Reality

Professor Remy Presas: Modern Arnis- Philippine Stickfighting

Manila, Philippines 1974

An Anyo or form is executed in a backdrop of gracefulness when the execution of the various
exercises is observed in correct rhythmic order In fact, in Anyo or form, one finds the basic
techniques of attack and counterattack in the form of exercisespractice of the movement leads
to perfection of the art of Modern Arnis itself because it encompasses all the basic movements
executed in coordinated fashion.
In MODERN ARNIS there are several empty hand and stick forms that one is expected to learn.
Compared to other forms of Martial Art, excepting Wing Chun, Modern Arnis forms seem quite
simple and at times to be too short to have any possible usage. This is a case of less is more.
There are 9 empty hand forms. (I have not known anyone, except for Professor Presas, who actually
knows form #9. Guro Doug Pierre is considered by some of us in Modern Arnis to be the man with
the best forms. Guro Doug has always helped me out and he definitely knows the first 8 empty hand
forms! He will probably be the first to learn form #9!) And depending on which Modern Arnis one
studies (there are several versions of Modern Arnis just like JKD and Vee Arnis Jitsu) there are
at least 4 sometimes 5 or more Stick forms. In Modern Arnis this practice of forms teaches empty
hand fighting and learning covers: KUNTAO, DUMOG, PANAJAKMAN, PANATUKAN,
PRESSURE POINTS, and TRAPPING / SECTORING. In the weapon or stick part of the forms one
learns, blocking and striking, body shifting, single stick sparring: right to right and left to right and
TAPI-TAPI drills.
Modern Arnis forms seems to have one very particular problem. Its the same problem that most
martial arts schools have that teach forms to their students. Depending on whom learned them from
whom and at what time in Professor Presas career, the forms are different or at least look different
from each other. (At one point I knew several versions of Form #1-Anyo Isa and made all my
students know these versions as well as the classic version of the form.) This does not make them
wrong. The conceptual motions are the same even if the technique is not. All one needs to do, is to
look at any Korean, Japanese, Okinawan or Chinese martial art and within each related arts the
forms though similar are very different. Different teachers see different things, which they feel are
important to teach and so this comes out in the forms. The best example of this change is seen in
some of the Japanese versions of traditional Okinawan forms, which are based on traditional
Chinese forms. The forms contain the same knowledge, which is either arrived at through very
similar moves or totally different means because of a teachers preference to another technique or
understanding of the concepts involved! In the case of these forms it took generations of
practitioners for the forms to change, in Modern Arnis it took only to teach them. WHY? Modern
Arnis is/ was learned by people traveling to see the Professor, once a year, at regional intensive
training camps. At the camps they practice and learn the art and THEN take it back to their
students. As there was/ is no constant check on the teaching but the teachers themselves, the
evolution or de-evolution came in short time periods rather than generations of practitioners.
I state this so up front and loudly so that I dont insult other Modern Arnis instructors who will be
reading this and screaming at me...
Thats not how the form goesI KNOW, I learned it from the instructor at the summer camp
back in the old days!
I personally DO NOT teach Modern Arnis like it is Shotokan, Tae Kwon Do or any style of
Karate. I teach Modern Arnis forms as if they are Filipino martial art (which it is!) and my
movements reflect that. One cannot have an art that is based on Flow/ combative reality and yet
steps at one beat after another like a marionette. (or British soldiers marching in time through the
colonial woods!) I have had many practitioners look at my students and myself and ask if we really

126

do Modern Arnis for our Anyos (forms) flow like Chinese arts. Well, here in print is the answer
again. Yes, I do Modern Arnis, my students do Modern Arnis and Modern Arnis is Filipino and we
move like Filipino martial arts should: with combative reality and with understanding that the
movements themselves are unimportant. They only represent a way to understanding the translation
into many other ways. Yes, we FLOW, we use conceptual motion like the Chinese, Indonesian or
Malaysian arts which are all cousins to Filipino martial arts! Richard Roy, a good friend and
Modern Arnis instructor from Greenfield, Massachusetts, is also a Tai Chi instructor. His forms flow
with a great deal of internal energy present! You should see him do a Crossada block into a turning
standing center-lock. It seems as if he floats into the move.
NOTE: at some of the old intensive training camps, several of us would get together after Forms
practice
(We each did WHATEVER version was being taught at the camp at the time) and we would share
with each other OUR versions of the form. The version we each knew to be the true form and were
teaching to our own students. Yes, the version EACH of us knew as true for there are endless
translations and that influences how we practice the form itself! It used to be one of the highlights
of the camps! We all remained true to the principles of motion and we all expressed the same
conceptswe differed in our usage.
I am not going to get into all the forms and HOW to do them. That could make a book unto itself. I
will look at empty hand form #1- Anyo Isa as an example of how the forms in Modern Arnis
teach concepts and translation to the students / practitioners! There are a whopping 12 sequences of
actual moves in the first Anyo form of Modern Arnis. Dont blink or you will miss them!
Modern Arnis striking with empty hands:

Jab

Cross

Hook: body and head- (a ridge hand strike is an open hand hook)

Uppercut

Backfist

Palm strike: flat, slicing, palm heel chopping- palm up, palm down, palm away

Finger Strike: jab, poke, tap or rip

Straight Blast

Forearm

Elbow
Anyplace there is a conceptual motion of striking one can insert the appropriate striking motion, or
conceptual usage! Such as in BRUSH- TRAP, and STRIKE, a basic conceptual usage of Sinawali.
Lets go over Sinawali weaving again right here to be safe!

Right hand moves across the body from open position to close. (from right shoulder to
left) BRUSH

Left hand comes from close position UNDERNEATH the rights original position to an
open position.
(from right underarm to left out-straight position or left side of body) TRAP

Right hand goes from close position to an open position. (from left shoulder to right outstraight position on right side of body) STRIKE
In form #1, Anyo Isa, one starts out by looking to ones right, then stepping 45 degrees right, AWAY
from an incoming attack from an opponents left punch. One executes a Sinawali weaving motion,
starting with ones right hand; brush, trap and then strike, all done off the opponents incoming left
hand! Yes, thats an improbable situation, and VERY static but thats OKbear with me. Obviously
the strike could be a punch, a palm heel, a finger jab, a forearm hit, a back fistwhatever seems to

127

fit. The striking motion could be more than that. By going OVER or UNDER the opponents arm
and using the bodys incoming cutting motion itself, (Across the centerline of the opponent) the
strike becomes a body throw.
The next move would be to turn and repeat this motion on the left side. The very act of turning to
the left side could be a follow-up or transitional move to the initial brush-trap and strike. If one
stayed connected to the opponent, the act of turning would become an arm bar throw, with ones
forearm breaking across the opponents triceps tendon and forcing them into the ground!
Actually the striking motion of the last Sinawali motion could be a biceps hack, that becomes an a
transitional forearm drag with the turning of ones bodyit goes on and on
OKwhat if it was a left jab, right cross, left hook? In other words a real time attack? Well the
same response works, for the first motion of the Sinawali catches the jab, the second motion
intercepts the right cross, and then the third motion cuts off the hook again with the body motion
making its follow up a throw. By attachment and turning the same arm bar is possibleIF (the
almighty what if) the opponents left hook continued due to a very forceful strike, then the cutting
motion with the turning would make the arm bar a single-lock, sometimes called a hammer-lock
hold on the opponent. The turning motion upon completion would throw the opponent.
The same motion translates differently if the jab, cross, hook, combination ends with the hook being
intercepted with an elbow strike/ cover move. Then the transitional move becomes a neck crank
arm lever throw.
Translations are everything in Modern Arnis!
Lets look at another scenario. The opponent strikes with the right cross while still at the original
position at your right side. Yesthe same static punchits easier to illustrate with! The Sinawali
motion catches or deflects the blow, the second motion intercepts as it traps it and the third motion
strikes. The striking motion can easily become upon turning ones body to the left, an arm-drag
takedown from Filipino Dumog. Can it keep growing in possibilities as in the left side punch? Can
it adapt to other variables? Yes...thats the whole point. The first Sinawali motion can deflect the
right cross, the could rake the eyes on the way to trapping the right cross, and the third motion could
be a hacking to the right cross biceps as the motion carries ones elbow into the opponents left
facial side. The turning motion or transitional move then becomes a forearm throw off the
opponents head dragging the opponent into the ground with intent.
All that we have discussed is the very first sequence in the form. Thats a lot of what ifs? Actually
the opponent could be leading with a kick, a kick - punch combination and the pattern of response;
the conceptual motion will remain the same. The conceptual usage will change for the tools used
are changed. One deflects the kick, catches the kicking leg and then does a lower leg knee drag
takedown. This takedown is a throw that breaks the opponents knee-cap upon impact with the
ground! When the body turning is put into the motion, the opponent is thrown face down and the
conceptual motion of Sinawali puts the legs into a figure 4 crab lock and one crawls up the
opponents back breaking the legs
The Anyo-form then proceeds to repeat on the left side, for if the right side can do it, so can the left.
The third part of the form takes into account an overhead attack. At least at the first look it does!
One is attacked by an overhead right by ones opponent. By stepping in with a Crossada motion and
intercepting the attack, using the right hand as the main interceptor, one turns into the attack
bringing the opponent into standing centerlock. If one continues to turn towards ones opponent, an
elbow strike into the opponent is possible (and highly probable!) culminating in a cross bodyspinning reaping throw. One does all this while maintaining the centerlock on the opponents wrist,
BREAKING the wrist during the throwOUCH!
If ones left hand is the key interceptor from the Crossada, and then the turning becomes a shoulder
to shoulder lock with reverse sweeping throwagain while maintaining the lock. The opponent can
be attacking with the left hand and one defends with the same interceptions, right or left, OR the

128

opponent does a jab-cross combination and the same Crossada interception takes place evolving
into another response.
I think a pattern is emerging that anyone can see. In Modern Arnis the whole Anyo or form has
no individual meaning. Each sequence of events within the form itself has meaning and many
translations. Its these translations along with the transitional moves or connecting moves that
give the conceptual usage or combative usage that the practitioner seeks to learn and
understand!
The fourth sequence repeats a Sinawali pattern that can be a trapping, throwing or attacking section.
How do you really want to get to the opponent? There are lots of ways!
The fifth section seems to be an old fashioned turning low block-punch combination taken from
traditional karate except it isnt. The sequence ends from Sinawali pattern entrance and becomes a
spinning neck or head throw, with a spine or neck breaking motion, which then on the seemingly
traditional punch-punch motion is really an arm-bar trap and a turn over into a locking position.
The next series of sequences seem to repeat the same motions but they translate differently. They
are applied to several kicking situations; the first a kicking situation where the leg is trapped from a
front kick into a knee drag take-down with full body turn over into a figure four leg lock and leg
break. OR a leg trap from a roundhouse kick which becomes an ankle break, knee smash, then a
single leg lock walk over.
These motions go from right side to left to allow each side to experience the motions.
The translation could be a leg trapping with throw included and the punch-punch motion is a figure
four trap itself. Yesit could be applied to the high line of punching but its fun to see it as a kick
response.
When sequence nine repeats, it is against the high line, same conceptual motion as the leg attacks,
but one intercepts a right punch with the high low motion, then inserts a throat grab with the rising
block motion then turning it into a throw
OK. We use a high low motion against a left punch and then as the arm is straightened out, the first
punch is actually an arm break and the second punching motion becomes an elbow grab into reverse
goose-neck lock and throw!
The motion repeats its sequencing at the right side and again offers the same or varying
translations.
All this and more from the 12 basic sequences of moves, that, at first glance seems to be just basic
karate blocks and punches. Are there other translations and direct applications? Yes there are. Thats
the fun part of doing these simple forms of Modern Arnis!
Lets take a small sequence out of Form #4 Anyo Apat. The motion as seen, is that you are
throwing a ridge-hand strike at the opponent, then you pull it through to a Close-position, then
rotate it back to ones side as if retracting a punch and ending a classical form. Big deal! Well the
deal is that if an opponent grabs ones strike or arm the rotation to ridge-hand and then to close
position locks the opponents thumb against ones wrist / forearm. By going through the motion,
ones opponent cannot let go and your motion turns their grab into a standing centerlock on their
grabbing hand. Yes it works whether the opponent grabs you with either their left or the right hand.
Of course if no one is there to teach or show you the translation it truly looks as simple and dull as I
described in the opening: a person standing there putting out a ridge-hand and returning the hand to
a fist by ones side. Modern Arnis forms are filled with little gems like that! Translation is
everything in Modern Arnis!
Kicking: Put your foot where?

129

Modern Arnis of course includes kicking. There are no spinning kicks directly taught in Modern
Arnis. With the eclectic nature of Modern Arnis, if the instructor already does spinning kicks they
might get taught in that family circle of Modern Arnis.
Modern Arnis does include the following kicks: They can be done with the front leg or the rear leg.
Front kick: thrust and snap
Round kick: Thai style
Side kick: thrusting side kick, stomping kick
Oblique kick or swinging kick
Scraping kick
Back kick
Knee kicks: rising, sinking, driving and round
Since toes can be easily damaged, and without ones toes one cannot have mobility or the ability to
fight, especially when weapons are involved, the kicking in Modern Arnis, unlike some other
martial arts, is not done with the toes. Kicks are done with the shin, the instep, the ball of the foot
and the heel. The kicks are hinged off of the action of the hips and the leg muscles and are not
hinged off of the knee joint. It takes too little force to destroy ones knee and without a knee one has
again lost mobility and the ability to deal with weapons. The theme remains the same. Attack the
opponent with ones legs WITHOUT jeopardizing ones own mobility and function. In the forms
there are sequences that have kicking concepts. The targeting of the kicks reflects ones translation
of the sequence. Usually the kicks done are not thrown higher than the waist although thrust kicks
and round kicks into the opponents torso are done.
Weapons forms:
One of the basic stick forms is shown in the chapter on blocking an attack. Its called Walking the
blocks. It is another example of the simplicity of Modern Arnis and the complexity of its
translations. There are 5 other simple stick forms that teach body rotation, blocking, striking
patterns and conceptual motion. Stick form #2 has 7 moves TOTAL. Then those seven moves
become 12 as it translates into a 90 degree translation covering all 360 degrees of movement.
Stick form #4 is a cutting form, it is based on the use of a BOLO (a Filipino small sword or long
knife) and the movements are reflective of using an edged weapon.
The basic stick forms that become Tapi-Tapi drills are actually part of single stick sparring. I
classify them as two people forms because they contain certain sequences that must be followed but
branch into random applications of these sequences.
Single stick sparring starts out with a set of four basic responses. First response is a Sinawali motion
#1that does not use follow through on its n motion but a percussive hit or Wetik. The motion
contains a number #1 strike followed by a number # 8, then a number #2 strike followed by a
number #9 strike and it repeats. When ones stick makes stick to stick contact motion #2 comes into
play. When the sticks make number #2 strike to number #2 strike contact, one person traps the
opponents stick with a Pak Sao or a forward slapping palm motion, and moves in with a butt strike
to the opponents face. The opponent traps the incoming butt down and in a circular motion both
practitioners alternate butt striking and trapping the strike. Motion #3 is the clearing of the sticks, as
one practitioner clears with an umbrella motion and as the stick is trapped and the counterstrike is
prepared, the other participant clears the trapping hand with a downward wiping motion and
immediately motion #1 is started by both parties again. The number #4 motion is off of a meeting of
number #1 strikes, as one participant slides the stick around the contact point, traps the opponents
stick with a forward slapping motion and initiating a sweeping butt strike to the opponents face.
The butt strike is passed /or trapped down and the practitioners are into motion #2 again trading
butt striking at close range. At this point one of the trapping motions is too hard and forceful
making the opponents arm go wide in a large forward circle bringing the butt into an over head

130

strike. The other participant passes the butt strike from the outside of the opponents stick hand and
pulls the stick down a number #5 motion called passing, back into a motion #2 position. This
continues until the clearing and the entry into motion #1, long range hitting. One could, at the point
of passing the stick down, butt strike the hand itself. Then one could use a pulling strike on the
opponents stick hand, clearing and bringing the opponents hand into the end of the clearing
motion #3, where the other participant wipes the trapping hand off as motion #1 starts all over
again.
The motion number #6 is using the stick against the opponents arm to pass, disengage, then
reengage and attack using the umbrella block motions. Motion #7 is using a slant block motion to
disengage and reengage the opponents arm. Both of these motions actually engage/ contact the
opponents arm not the stick in practice!
Professor Presas has expanded the drill to include left to right single stick sparring. This includes
trapping, passing, empty hand striking, locking and close range combat. This Tapi-Tapi form is
based on the original Tapi-Tapi counter for counter forms of Balintawak, the style of Eskrima-Arnis
that the Professor first learned before he founded Modern Arnis. These Tapi-Tapi forms are the hot
things to learn at the MODERN ARNIS intensive training camps these days! For a different
point of view on Tapi-Tapi Single Stick sparring, see the explanation in the chapter on Drills.
Translations? Of course there are. Motion #2 is actually picking with a knife in reverse grip and
countering the picking. Motion #5 is a Palis-Palis motion or passing with the force to allow for
hand insertions again particularly useful in redirecting a stabbing such as an overhead #12 or openposition #1 slicing. Motion #5 can be inserted into Motion #2 to redirect the opponents picking
hand onto ones own blade. Motion #3 is Crossada or crossing motion that entails the fundamental
principle of Open-Close!
NOTE: for a discussion or to review Open-Close I suggest you go to the chapter Learning is a
Complex Thing and check out the parts on Open-Close!
Stick Form #1: Anyo Isa
Well lets look at an actual stick Form. You start out facing forward. Stepping out with ones right
foot, execute a Number #2 strike. ( Downward Diagonal- Left to right)Your left hand passes the
opponent outward while you strike the #2. Steeping forward with the left, strike a Number #1 strike.
( Downward Diagonal-Right to left) At the same time passing the opponent inward with your left
hand. Stepping forward with your right foot, pivot into a side stance (better known as a horse
stance) and with your right side facing the opponent, strike a number #4 strike. ( horizontal-left to
right) At the same time you open your arms...Stepping back right as you retract your stick, strike an
outward block. Stepping back left strike an inward blocking strike. Step forward left and do a reenforced vertical outward block. Step forward right and strike an inward re-enforced blocking
strike. Step back right and strike a number #8. ( upward diagonal left to right) Step back left and
strike a number # 9. ( upward diagonal- right to left) Execute a double zero striking motion, or
Redonda motion( see I told you different things fit in the same place!) and take a half step right to
aid in the number #12 strike. ( downward vertical) Step back right as you do a downward vertical
blocking strike. Step up right to left and the form is done.
All the strikes could have been done as blocks. Many could have been done with passing motion or
just as a single stick motion. The important part was understanding the concept of motion, the use
of momentum, the use of body shifting,

131

Modern Arnis is a conceptual art. The forms are proof of that. Feel the motion and the intent.
Look for the translation and the ability to use different tools in each motion. Then the forms
come alive!

Chapter:#22 Dumog: Grabbing the Filipino wayor is that Grappling?

Professor Remy Presas: Modern Arnis-Philippine Stickfighting

Manila Philippines 1974

Outbalancing, Grabbing and Grappling techniques are actually complimentary to self defense
and designed to stall further strikes of the opponent by putting him in a circumstance
preparatory to disarming him or rendering him helpless to a counter attack. These techniques, so
to speak, necessitate the use of feet and hands, which should coordinate each other in the
execution of movementsthat render the opponent harmless or ineffective!
There are many expressions of Filipino grappling; Dumog, JuJitsu, Chin-na, or whatever name one
wants to call this part of the art. Modern Arnis also includes in its Dumog what is called Sinawali
Boxing. Sinawali Boxing is a way to express the conceptual motions of Arnis in a different light: the
conceptual usage of empty hand.
Basic Single Sinawali is the concept of using Open-Close. The arms / hands Close high, as in
bringing the hand to ones opposite shoulder, then down and away from the same side knee on the
open side, then to pick straight up in an open position. This motion of Basic Single Sinawali has six
major conceptual empty hand translations.
Right to Right translation:

The opponent strikes with a right punch and you intercept with a right closing motion.
The intercepting closing motion continues downward and outward to an open position at
long range. Upon the pick up of your right arm, the motion has become an outside wristlock on the opponents right hand/ wrist.

The opponent strikes with a right punch and you intercept with a right closing motion.
The intercepting closing motion continues downward and outward to an open position. The
opponent continues to advance within the force of the attacking motion coming into medium
range. Upon the pick up of the right arm, you also bring your left arm upward bringing your
forearm into the opponents right triceps. The motion has become an arm bar/ elbow break
of the opponents right arm. A variation or a what if, comes from the opponent bending the
elbow, then the motion continues into a reverse hammer lock or reverse single lock with
neck crank.

The opponent strikes with a right punch and you intercept with a right closing motion.
The intercepting closing motion continues downward and outward to an open position. The
opponent continues to forcefully advance within the force of the attacking motion coming
into close range. Upon the pick up of the right arm, which encircles the opponents neck,
trapping the opponents right arm between your head and his own head; you bring the left
arm upward bringing your left hand to the opponents right shoulder. The motion has
become a close range, Sinawali- choking motion with take down.

Right to Left translation:

The opponent strikes with a left punch and you intercept with a right closing motion. The
intercepting closing motion continues downward and outward to an open position at long

132

range. Upon the pick up of your right arm, the motion has become a reverse wrist-lock on
the opponents left hand/ wrist.

The opponent strikes with a left punch and you intercept with a right closing motion. The
intercepting closing motion continues downward and outward to an open position. The
opponent continues to advance within the force of the attacking motion coming into medium
range. Upon the pick up of the right arm, which encircles the opponents elbow forcing it to
bend as the right hand circles behind it. This circling and bending brings the opponents arm
into a locked position. You bring the left arm upward bringing the hand into the opponents
left deltoid plexus, trapping the arm. The motion has become a single-lock or hammer-lock
of the opponents left arm.

The opponent strikes with a left punch and you intercept with a right closing motion. The
intercepting closing motion continues downward and outward to an open position. The
opponent continues to advance forcibly within the attacking motion coming into close range.
Upon the pick up of the right arm, which encircles the opponents shoulder forcing it and the
arm to lock upward, the right hand circles behind the shoulder. This circling and bending
brings the opponents body into a bent over, locked position. You bring your left arm upward
bringing the hand into the opponents left side of the head and forcing it to be trapped by
your body. The motion has become a mobility throw position or mobility lock of the
opponents body.

NOTE: The translation can be within the flow as well, and go from high to low.

The opponent strikes with the right, you intercept with a Sinawali close motion with the
left hand. The hand deflects and momentarily sticks causing upper body gyroscopic rotation
of the opponent. This motion exposes the opponents lower body to twisting. Your right
hand comes up to trap or maintain the opponents rotation by trapping the opponents right
arm at the elbow, pinning it onto and into the opponent. With the downward outward motion
of your left hand the opponents leg is encircled at the shin/ ankle area. The pick up of the
left hand becomes an ankle leg lock with takedown. At this point one uses a closing motion
of BOTH hands and the ankle is crushed and twisted to ones chest, throwing the opponents
face into the ground. Any number of follow up moves can be used from this point.

Basic single arm Sinawali or clapping hands drill also has the ability to become locking motions.
Clapping hands is done High low, high, and low with the same hand. The right hand makes a
closing motion to ones left shoulder, then it swings open-low outward from the knee. It returns
high close, from the left shoulder towards the right to open, then close-low outward from the knee.
The cycle then repeats with the left hand. As Professor Presas says, Upon contact, you grab this!
If one is doing right to right/ left to left motion or interception of motion, there are several locks that
come about. We will look at the basic right to right cycle.

The opponent strikes with the right hand and you intercept with your right in a Sinawali
close motion. Upon contact, you grab the opponents hand and in an abbreviated opening
motion, you rotate the opponents hand outward and toward his/her inside, into a standing
center locking position.

The opponent strikes with the right hand and you intercept with your right in a Sinawali
close motion. The force carries through and you make contact on the low side of the open
position instead of the closing high side. There are two variations here: upon contact if the
thumb is there, you grab the opponents thumb, rotating on the thumb itself while picking
ones arm back up to the starting position. (of close-high, open-low, pick up to side) Bracing
the your left hand behind the opponents locked right thumb gives one a center thumb lock.

133

The other variation would be that upon contact of your low motion, one catches the ring and
pinky fingers of the opponents hand, which you grab and rotate while picking up your hand
to finish the motion. This picking up of the hand gives one a two finger B-type center lock.
Your left hand braces the top of the opponents right forearm below the elbow locking the
forearm muscles and finishing the two finger center wrist lock.

The opponent strikes a back-hand strike at you and you use the second half of the
Sinawali motion as the defense. Opening high, closing low gives you two possibilities:
either one has a standing centerlock on the opponent or one has a classic arm-bar takedown
position.

The opponent strikes a low blow or a low thrusting motion and you use the second half of
the basic Sinawali motion. Closing low, opening high, gives the possibility of either of two
variations. The first is that upon pick up of the hand one has open palm lock. The other is a
palm lock with reverse elbow lock (palm up, left hand under opponents right elbow,
breaking upward.)

I will not go into every type of locking, breaking, throwing or trapping. They exist in Modern Arnis
as they do in other grappling type arts. What I do want is one to see that the applications of the same
conceptual motions translate into locking and throwing as well as striking or cutting. It is this
interchangeability that gives Modern Arnis the FLOW within combat. It is this conceptual usage
that allows Modern Arnis practitioners to be able to take simple concepts and apply them real time
in spontaneous situations.
Modern Arnis has its share of Lock-flow drills to help the practitioner understand the way locks
move from one point to another, to understand changing of grips within the flow of locking and to
develop the sensitivity to know WHEN to change ones lock into another.
Here is an example of the series of elbow breaking flows:
The opponent grabs right wrist to right wrist. This is a closed position for your arm is now across
your body. By turning ones right wrist palm up and to an open position while rotating inwards
toward the opponent the force is dissipated and the grab is dissolved. The opponents hand is now
also palm up. You grab the back of the opponents right hand with your left making a palm lock.
From the palm lock you reach your fingers into the hand grabbing the pinky and the ring finger
making two-finger lock. You rotate toward the opponent and raise your elbow under his right arm
making two-finger elbow break. Then one picks up the opponents arm by the two finger lock and
you put your left shoulder under the opponents elbow giving you two- finger, outside- shoulder
elbow break. Re-grabbing the opponents hand with both hands, one lifts the opponents arm over
your head placing the elbow over the right shoulder, giving inside shoulder elbow break. Lifting the
opponents arm off the shoulder and pulling it into your right side while rotating away from the
opponent gives one body-elbow break. You then turn toward the opponents outside while placing
the opponents palm against your abdomen. Your left arm rises under the opponents elbow making
the move into body-brace elbow break. By sliding the opponents palm off your abdomen and
towards your right shoulder to an open position your left arm straightens out making rising arm
elbow break. Pulling your left arm back and grabbing the opponents inside elbow and rotating it
inward and downward, as you rotate your whole body clockwise UNDER the arm, gives side by
side elbow break. Then reaching toward the opponent with his trapped arm and placing the
opponents arm over his own head while rotating the hand outward gives neck-choke elbow break.
With a sharp tug, you pull the arm outward, spinning and unwinding the opponent like a top and
you are then back to the first position of palm lock elbow break. From here the flow starts over
again.

134

Here is an example of changing center locks flow:

The opponent grabs your right wrist with his right. You lock the hand in place with your left and
turn inward toward the opponent and step under the opponents right arm. Your left hand keeps
holding onto the opponents right wrist and it becomes standing centerlock. Reaching over with
your right hand, one turns the opponent into the nock of his own arm making the hold center lock
choke. Then one rotates the opponent all the way through to a palm lock elbow break position.
Rotating ones right hand thumb down ward, you grab the opponents first finger and rotating it
clockwise and upward brings the opponent into single finger lock. By continuing the rotation the
opponent is brought back into center lock but this time single finger center lock. You re-grab the
hand and wrist with both hands to have standing center wrist lock. One then reaches through,
between the opponents locked hand and body with ones left hand and grabs the right thumb of the
opponent. You release the wrist hold with your right hand and rotate the opponents hand forward,
with your left, by rolling on the thumb and into a thumb palm lock. Your right hand captures and
traps the opponents right elbow, guiding it into the space between your left arm and your body. Regrabbing the back of the opponents right hand with your right hand rotate it clockwise and
downward into a goose neck wrist lock. Slide your left hand down to the opponents elbow and push
upward while pulling the goose neck lock out straight. Slide your left hand down to the right hand
and rotate through and under the opponents arm and into the first position of standing center lock.
These flows are endless and at any point one can jump to another flow when a connecting bridge is
found. There are hundreds of different flows and I wont go into each and every one of them. I just
wanted to give an example of Modern Arnis locking flows! Transition and translation are again
everything. If you look closely the motions are still follow the principle of Open-Close.
Modern Arnis also includes in its arsenal of empty hand usage; throwing, ground grappling, and
leverage throws. Leverage throws are ones such as doing an arm lever, locking onto the opponents
hand or wrist and using a rolling motion on the trapped forearm to induce a throw. Throwing
techniques are body throws, locking joints to throwing or one of the Professors favorites: mobility
throw. Mobility throw actually is an application or usage of Weaving or Sinawali.
In Mobility throw the opponent strikes with a right punch or grab or strike. The defender uses a
closing horizontal motion or shearing to attack the limb and deflect it. The defenders right hand
passes through the opponents right arm horizontally, retracts back to the left side of your body, then
in a vertical forward circular motion attacks up to the opponents head. Your left-hand stays adhered
to the opponents right hand, trapping it downward and into a sideways, clockwise, vertical circular
motion. By rotating both the opponents head and arm simultaneously in a clockwise motion, the
opponent is twisted off balance and thrown onto the ground. The opponent if now lying face
upwards, head to your left, with the opponents right arm up in the air, trapped by your hand. There
are many variations that can come from here, but my favorite is; step left around the opponents
head. Maintain hold on the opponents hand with both hands. Spin backward, with your right foot,
placing it about shoulder width apart behind your left foot. This spinning motion will pull the
opponent onto his /her face with a forceful impact. Continue your spin and the opponents arm will
come to rest between your legs. The opponents elbow will be upward, trapped by your left knee
and your right leg will trap the opponents forearm. With a small turning in of the left knee, the
opponent is put into a painful arm-bar-elbow break lock. At this point you can let go of the
opponents arm with your hands, freeing your hands to do whatever one chooses!
variation #2: The opponent strikes with a right punch or grab or strike. The defender uses a closing
horizontal motion or shearing to attack the limb and deflect it. The defenders right hand passes
through the opponents right arm horizontally, retracts back to the left side of your body, then in a
vertical forward circular motion attacks up to the opponents head. Your left-hand (the defenders)

135

stays adhered to the opponents right hand, trapping it downward and into a sideways, clockwise,
vertical circular motion. The opponent stops the incoming strike to the head with the opponents left
hand: now there are four sub variations on this actual part.
#2A: opponent grabs your incoming strike and holds on. You reach over to the opponents left wrist
with your left hand and grab it, locking it onto your right wrist. Lifting and rotating inward with
your right elbow gives inverted centerlock. Continuing the motion either spins the opponent as in
original Mobility throw or it drops then flat onto the ground. When the opponent hits the ground,
you grab his left elbow with your left hand to steady it and you roll your right elbow in a forward
vertical circular motion. This traps the opponents left hand in bent elbow palm lock.
#2B: opponent grabs your incoming strike and attempts to pull it back. Using an opening motion,
you rotate your right hand forward with the opponents pulling motion, circling the opponents left
arm, forcing, the hand into standing centerlock as the elbow bends and the palm and wrist rotate
inwards. The opponents own thumb locks the hand so it cannot be removed. The defender reaches
up with the right hand and grabs the opponents triceps completing the locking motion and then
reaching up with your left hand you spin the opponents head into your body and past your body
into mobility throw. The motion drops the opponent flat onto the ground. When the opponent hits
the ground, you grab his left elbow with your left hand to steady it and you roll your right elbow in
a forward vertical circular motion. This traps the opponents left hand in bent elbow palm lock.
#2C:opponent blocks-Paks, the incoming strike while shifting to the left. You Pak or slap the
opponents blocking hand off yours, striking the inside of the opponents left forearm. UPON the
impact of your slap Pak, you repeat the strike to the opponents head. Your left hand is adhered to
the opponents left hand/arm, and in an open-low motion, the defender passes the opponents arm to
an open position. By straightening the opponents arm with a jerking motion, it brings the
opponents elbow to your right forearm. Using your forearm against the opponents elbow an Arm
bar, arm lever takedown is used, dropping the opponent flat onto the ground, face down.
#2D: the opponent pushes/ deflects the incoming strike to the head forcing your arm back towards
you. Releasing your left hand, the defender reaches under the right hand, between the space of the
opponents left hand and your right hand. This is a wedging motion or Lop. Grabbing the
opponents left with your left and using the opponents pushing motion, the defender pulls the
opponents left arm out straight in an opening motion. With a small forward circular rotation, your
right hand clears the opponents left arm, bringing your forearm into and against the opponents left
elbow. Using your forearm against the opponents elbow an Arm bar, arm lever takedown is used,
dropping the opponent flat onto the ground, face down.
There are many versions and variations of ground locking, ground grappling in Modern Arnis. I am
not going to go into all of them here. But lets look at mobility throw and the opponent is on the
ground:
In Mobility throw the opponent strikes with a right punch or grab or strike. The defender uses a
closing horizontal motion or shearing to attack the limb and deflect it. The defenders right hand
passes through the opponents right arm horizontally, retracts back to the left side of your body, then
in a vertical forward circular motion attacks up to the opponents head. Your left-hand stays adhered
to the opponents right hand, trapping it downward and into a sideways, clockwise, vertical circular
motion. By rotating both the opponents head and arm simultaneously in a clockwise motion, the
opponent is twisted off balance and thrown onto the ground. The opponent if now lying face
upwards, head to your left, with the opponents right arm up in the air, trapped by your hand. Step
with your left foot around the opponents head. Maintain hold on the opponents hand with both
hands. Spin backward, clockwise, with your right foot, placing it about shoulder width apart behind

136

your left foot. This spinning motion will pull the opponent onto his /her face with a forceful impact.
Continue your spin and the opponents arm will come to rest between your legs. The opponents
elbow will be upward, trapped by your left knee and your right leg will trap the opponents forearm.
With a small turning in of the left knee, the opponent is put into a painful arm-bar-elbow break lock.
At this point you can let go of the opponents arm with your hands, freeing your hands to do
whatever one chooses!
Variation #1: The opponent if now lying face upwards, head to your left, with the opponents right
arm up in the air, trapped by your hand. The opponents body is literally flat on the ground. Your
feet are between the opponents head and right arm. Take your right hand and in a thumb down,
palm up position, reach between your body and the opponents right hand, and grab the opponents
hand by the palm pad-pinky side. Rotating the opponents right hand in an open-downward motion
along the outside of your right leg, bend your knees and squat down. While squatting down, the
defenders knees turn outward. The defenders left knee presses into the opponents face turning it
away from you. Your right knee traps the shoulder, and the position of both knees keeps the
opponent from turning. The defender then continues to push the opponents right palm onto the
ground. This position locks the wrist and elbow with a ground-palm lock elbow break.
Variation #2: The opponent if now lying face upwards, head to your left, with the opponents right
arm up in the air, trapped by your hand. The opponents body is literally flat on the ground.
Stepping over the opponent with your left foot, between the opponents head and right arm. Step
onto the opponents exposed left front deltoid tendon with your left heel. The defenders stepping
onto the tendon will rotate the opponents body upward and onto its left side. You now step right
trapping the opponents right arm between your legs, The defender now rotates clockwise into the
opponent trapping the opponents right elbow against your right knee. The rotation causes your left
leg/ knee to push outward against the opponents trapped forearm making it a knee-elbow break.
The opponent is trapped. If the opponent tries to curl away under you, you step the right foot out
and backwards from between the body and the arm. Spin backward, clockwise, with your right foot,
placing it about shoulder width apart behind your left foot. This spinning motion will pull the
opponent onto his /her face with a forceful impact. Continue your spin and the opponents arm will
come to rest between your legs. The opponents elbow will be upward, trapped by your left knee
and your right leg will trap the opponents forearm. With a small turning in of the left knee, the
opponent is put into a painful arm-bar-elbow break lock. At this point you can let go of the
opponents arm with your hands, freeing your hands to do whatever one chooses!
Variation #3: The opponent if now lying face upwards, head to your left, with the opponents right
arm up in the air, trapped by your left hand. Grab the opponents elbow with your right hand, your
thumb is up. Step with your left foot around the opponents head. Maintain hold on the opponents
hand with both hands. Spin backward, clockwise, with your right foot, placing it about shoulder
width apart behind your left foot. This spinning motion will pull the opponent onto his /her face
with a forceful impact. Continue your spin and rotate the opponents arm by hinging off the trapped
right elbow. The opponents arm will come to rest in a single lock-hammer lock position. If the
opponent attempts to straighten out the arm, slide down the arm with both hands trapping it against
your left shoulder, place both of your hands behind the opponents elbow and begin elbow
compression-break lock.
Are there other variations? Yes. It takes application of conceptual usage of the conceptual motions.
You, the defender-practitioner, need to explore and find these endless variations for they are part of
the Flow of Modern Arnis. In the chapter about Modern Arnis History and Professor Presas, I
mentioned that he has spent the last 20 years or more traveling with Professor Wally Jay, founder of
Small Circle JuJitsu and Grandmaster George Dillman the founder of Dillman Kyushu JitsuPressure Point fighting. What I consider Modern Arnis Dumog has been highly influenced by the

137

combination, the synergistic effect of these mens combined teachings. That is why older Modern
Arnis people who learned the art BEFORE the Threesome or Big Three as we call it got together
have no idea of the synergy that exists. Later groups have an extremely pressure point attitudeorientation to their interpretation of Modern Arnis. I am a member of the middle and later groups.
Some of the later groups and current groups have gotten less of Professor Wally Jays input. Again
as with Wing Chun and JKD the art continues to evolve. Go back and read that chapter again.
Modern Arnis also has within its system the fact that one can grapple with a stick. Yes. Stickgrappling. In its simplest form this grappling is referred to as Take-downs with cane. These takedowns can come from direct application or from cane insertions that occur within the actual flow of
combat. Lets look at a regular Takedown with cane.
Attacker strikes a number #2 strike at you. Defender blocks with an outside blocking number #2
strike and check. Upon contact, you, the defender, counterattack with a thrust number #10 at the
attackers face, while using a waslik passing, low open motion, with your checking hand forcing the
attackers stick arm from close to open position. Your number #10 thrusting motion carries the tip of
your stick through the attackers face over the attackers right side. Your left hands passing motion
has opened the attackers arms placing the attackers right arm between your left arm and your right
arm. Grabbing your own stick, as close to ones stick hand as possible, one brings it down onto the
top of the attackers right arm. Rolling the stick toward ones self and downward, one executes a
takedown with cane, elbow-breaking arm bar. The attackers arm is trapped against your upper left
arm and against the force of the stick.
OKLets make it a cane insertion takedown.
Attacker strikes a number #2 strike at you. Defender blocks with an outside blocking number #2
strike and check. Upon contact, you, the defender, counterattack with a thrust number #10 at the
attackers face, while using a waslik passing, low open motion, with your checking hand forcing the
attackers stick arm from close to open position. Your number #10 thrusting motion carries the tip of
your stick through the attackers face and follows UNDER the attackers right arm. The tip of the
cane is inserted UNDER the attackers right arm. Your left hands passing motion has opened the
attackers arms placing the attackers right arm between your left arm and your right arm. Bringing
your stick hand to the attackers stick hand in a clockwise motion traps the attackers hand between
your cane and their cane. Reaching over or under but across in a close position, grabbing your own
stick, as close to ones stick hand as possible, one brings it down onto the top of the attackers right
wrist. Rolling the stick toward ones self and downward, one executes a cane insertion takedown,
wrist-breaking arm bar. The attackers arm is trapped against your crossed wrists and against the
force of the stick.
Take-downs with cane can be from the inside of the opponents arm, the outside of the opponents
arm, figure four over the arm and across the throat, levered under the arm and onto the throatjust
about any conceivable way. The takedown might be a choking move as well with the cane bracing
against the opponents neck. These takedowns sometimes come as the end of what is called in
Modern Arnis as anti-cane grabbing. Conceptual motions used to disengage an opponents grabbing
of the stick and then to force the opponent to the ground!
Or how about rotation?
Thats right rotation. A attacks with a right punch, lunge or grab. D steps up left body shifting and
deflects the attacking arm inward. At that moment, upon impact D counterattacks with a right
hand attack. A steps left rotating into the outside of the attacking arm, and using As left hand,
catching Ds attacking arm by the elbow. Ds attacking force and As counter twist rotate D around
counterclockwise. As right hand is down due to Ds checking, and it continues downward to Ds

138

extended right leg. A picks up the leg, catches it against his body, then drives Ds knee downward
into the ground.....OUCH!
This was just another example of how Modern Arnis uses grappling or Dumog. Sometimes in the
past Ive heard Professor Presas call it Filipino JuJitsu. Thats when we do finger locks, centerlocks, side by side throws...arm bars, grip releases, single-locks, triceps tendon rubs, thumb
locks...hmmm sounds and looks like Small circle JuJitsu...all the stuff that made Professor Wally
Jay famous. Thats what I mean about Modern Arnis evolving. What I and my peers consider
Dumog might be mistaken as JuJitsu. Considering all the exposure Professor Presas has to Professor
Wally Jay its a given that our grappling art resembles his. Or at least how we express it.

139

Chapter:#23

Renegade Modern Arnis: Who needs tradition?

Professor Presas: Modern Arnis-Philippine Stick fighting

1974

Manila, Philippines

Long ago, Arnis was a dying Filipino martial artbased on long experience in practice and
teaching of the art, I have modified many antiquated techniques and introduced new ones
What came out is what I call Modern Arnis today. In my 27 years of research and practice of
the art, I have concluded that it can compare in effectiveness with contemporary martial arts now
sweeping the world in popularityIts modernized presentation will help students understand the
intricate styles and techniques.
Ok Who does need tradition? Obviously those that seem to feel that by following a set path one
can get to whatever place one needs to get too Sounds too general? OkThere are those that
study Modern Arnis as the absolute gospel of ARNIS; Whatever they have seen, studied or
understood is EXACTLY how Modern Arnis really is. There can be no other interpretations of the
way. This strict interpretation makes it a little hard for those of us who see Modern Arnis as a living
entity.
When Professor Presas was just Remy Presas, a young man searching for knowledgethe way of
the truth wasnt even in the picture yet, he studied with ANYONE who would teach him. Over the
years he came to see certain truths in each interpretation of Arnis, Kali or Eskrima. What most
people who look at Modern Arnis or Presas Arnis gather at first glance is that Modern Arnis
contains the names of many systems and styles and says it contains the way of these systems. Then
one example is given to illustrate that system or way and Modern Arnis moves on. To the average
person thats akin to saying I know footballlook this is the ball, you throw it, and standing there
as if one truly understands football. Well actually if that was a conceptual statement it might
actually be true, but westerners dont think conceptually. Modern Arnis does.
Remy Presas was a renegade in his homeland. He learned from many. He took what he saw as the
basic truth and made it into a Filipino generic art. An art that would truly represent the Philippines
and do honor to the whole class of fighting arts such as Kuntao, Kali, Eskrima and Arnissort of
the Tae Kwon Do of the Filipino martial art world. In doing this he set a way of learning that is still
going on today. Hes still learning and Modern Arnis is still changing and evolving!
What I am going to do and teach is probably NOT what the average Modern Arnis instructor does.
Of course thats what I think makes this a great fighting art is the fact that it translates into many
aspects of fighting and like JKD no one uses it the same as another practitioner of the art. Modern
Arnis is different for each of us. My truth is not your truth.My Modern Arnis is not
yours.Datu Kelly is a great example of Renegade Modern Arnisif it feels right he applies it!
Datu Kelly uses real time SLAM N JAM to illustrate Renegade Modern Arnis as well as the little
known SIBAT: long pole. Guro Doug Pierre is a giant of a man but his Renegade Modern Arnis
is based on Domog, his version of Filipino Dumog-grappling with Tai Chi, of course Guro Doug
is one of the few repeat Heavy Weight Full Contact Stick-fighting champions. Richard Roy does
internal Chinese arts so his Renegade Modern Arnis looks softerat least till one gets hit! Dr.
Jerome Barber mixes Tracy Kemp with his Arnis and over the years has tasted other Filipino arts
and extended his core of Modern Arnisexcept he defies tradition and teaches empty hand first!
Dr barber is also the only one of us to officially teach Arnis as a curriculum course at a College!
Guro Tom Bolden mixes Modern Arnis with Kenpo and its lightning fast striking to do what we

140

affectionately call DTL..Destroy Trap and lock; Filipino limb destructions done in rapid patterns.
We all do Modern Arnis but no two of us look the same EXCEPT in conceptual motion. We all
utilize it differently!
Of course for those of you tired of the mater-of-fact part of this book and saying, OK how do I
fight with this stuff well you got to that part!
Obviously one needs all the rest of what I said to make this part work. One needs to understand
HOW Modern Arnis thinks to apply the concepts as USAGE. If youre not sure GO BACK TO
THOSE CHAPTERS! First of all if you understand how Modern Arnis thinks you can already see
that I can ONLY give examples for I cannot script out actual combative scenarios because its not
possible(go reread Combat must be simple and How does one teach Self Defense!)
OK Lets get to it! Well work with the Open-Close principle! This principle drives the Conceptual
motion of Sinawali and Redonda X and Hubud. (Therefore you need to understand the Chapter on
Conceptual Motions.)
Stick-fighting: Percussion leaves them rocking or sticks and stones break bones!
Renegade Modern Arnis Stick-fighting is about hitting the opponent. Nothing fancy, just hit the
opponent. WHY? Because if you hit the opponent then more than likely the opponent is NOT
hitting you! This hitting action can be a flashlight, a cane, a stick, a hammer or a collapsing baton. I
think you get the idea. Something longer than your hand and percussive!
Im going to give you some examples or situations that illustrate the use of percussive hitting. With
each example Ill throw in a few variations, the what if? parts that everyone likes to ask about!
The attacker comes at you swinging a typical, wild-right swinging motion. Obviously the intent is
to take your head off! By stepping back out of range you engage your collapsing baton, stick or
flashlight and bring it with a number one strikeright into the attackers weapons hand. You check
his hand with your left. (within the half-beat of hitting the hand!) Using the rebound of the strike for
energy you immediately bring the strike across your body into the attackers head. Yes, a classic #1
and #2 strike in succession! Immediately change rotation, and using your hips to drive the strike,
turn away from the attacker, toward the attackers right hand and strike a sinking #12 into and
through the top of the exposed right forearm. Disengage the attack by using a thrusting #7 motion
and with rotation towards the attacker continue the strike back into the attackers head. Drop the
strike past the attackers head and push the tool past his head. Grabbing the end of the stick, baton
or flashlight, complete the choke on the attacker! Not badgood ending!
The attacker comes at you swinging a typical, wild-right swinging motion. Obviously the intent is
to take your head off! By stepping back out of range you engage your collapsing baton, stick or
flashlight and bring it with a number one strikeright into the attackers weapons hand. You check
his hand with your left. Using the rebound of the strike for energy you immediately bring the strike
across your body into the attackers head. Yes, a classic #1 and #2 strike in succession!
Unfortunately the attackers left hand checks the incoming attack to his headin a classic survival
motion, grabbing onto your arm. Immediately change rotation, breaking the attackers grip and
using your hips to drive the strike, turn away from the attacker, toward the attackers right hand and
strike a sinking #12 into and through the top of the exposed right forearm. Disengage the attack by
using a thrusting #7 motion and with rotation towards the attacker continue the strike back into the
attackers head. Drop the strike past the attackers head and push the tool past his head. Grabbing
the end of the stick, baton or flashlight, pull the attacker into you, and then complete the choke on
the attacker! Not badeven with the attacker trying to stop the second strike, its a good ending!

141

The attacker comes at you swinging a typical, wild-right swinging motion. Obviously the intent is
to take your head off! By stepping back out of range you engage your collapsing baton, stick or
flashlight and bring it with a number one strikeright into the attackers weapons hand. You check
his hand with your left. Using the rebound of the strike for energy you immediately bring the strike
across your body into the attackers head. Yes, a classic #1 and #2 strike in succession!
Unfortunately the attackers left hand checks the incoming attack to his headin a classic survival
motion, grabbing onto your arm. Reach UNDER your right arm with your left and Lop-Sao or
grabbing the opponents arm that is checking you, pull it across your body. Immediately change
rotation, breaking the attackers grip and using your hips to drive the strike, turn away from the
attacker, toward the attackers left elbow and strike a sinking #12 into and through the top of the
exposed left elbow top of the arm. ( this should juice him up a little!) Disengage the attack by using
a thrusting #7 motion and with rotation towards the attacker continue the strike back into the
attackers head. The #7 strike should twist the opponents head in a circle , smash the cheekbones or
the teeth...Drop the strike past the attackers head and push the tool around behind the opponents
head. Grabbing the end of the stick, baton or flashlight, pull the attacker into you, and then
complete the choke on the attacker! Not badeven with the attacker trying to stop the second
strike, its a very good ending!
The attacker comes at you swinging a typical, wild-right swinging motion. Obviously the intent is
to take your head off! By stepping back out of range you engage your collapsing baton, stick or
flashlight and bring it with a number one strikeright into the attackers weapons hand. You check
his hand with your left. Using the rebound of the strike for energy you immediately bring the strike
across your body into the attackers head. Yes, a classic #1 and #2 strike in succession!
Unfortunately because he shifted with the strike your strike misses the head and the attacker is also
into a #1-#2 striking mode! Continue the strike into the attackers left arm or hand. Immediately
change rotation, after breaking the attackers arm or hand and using your hips to drive the strike,
turn away from the attacker, toward the attackers left side of his head and strike a sinking #12 into
and through the left side of the exposed head! Disengage with a #7 thrusting attack, which upon
impact actually strikes the opponent in the right side of the head while rotating the attackers head
from right to left! Drop the strike past the attackers head and push the tool past his head. Grabbing
the end of the stick, baton or flashlight, pull the attacker into you, and then complete the choke on
the attacker! Not badeven with the attacker trying to stop the second strike, and counter attacking
you, its a good ending!
Ok. I know this isnt PC self defense but youre not reading the chapter on Renegade Modern
Arnis to see block the stick, gently hit the opponent and then try to trap them
Renegade Modern Arnis empty hand: destroy, trap and lock...what else?
Ok its almost the same usage with empty handsso lets look at the same situation as presented
originally with a percussive tool involved. The attacker comes at you with a wild swinging right
handed strike. With your right hand you deflect / intercept the incoming attack and your left hand
seeking the opening (at the same time) strikes UNDER your right into the attackers eyes!
(sectoring with an inside deflection and strike!) You retract the left hand to cover the attackers right
arm while you immediately, on the same beat, strike your forearm into the opponents neck / head
area! Immediately change rotation, and using your hips to drive the strike, turn away from the
attacker, toward the attackers right hand and strike a sinking forearm strike ( a #12) into and
through the top of the exposed right forearm. With a Dumog rolling pull the opponents balance off
stride! Disengage with a hand rotation into a palm up position (a Tan-Sao or #7 thrusting position
which locks the arm in a figure 4 arm lock!) Using this motion to strike again into the opponents

142

eyes (Ok fiine! hit him in the head as well!) Drop your hand onto the opponents throat and with
a jerking motion pull the opponent into you by the throat!
Gads, thats so cool.
So lets look at the same situation with a variable! The attacker comes at you with a wild swinging
right handed strike. With your right hand you deflect / intercept the incoming attack and your left
hand seeking the opening (at the same time) strikes UNDER your right into the attackers eyes!
(sectoring with an inside deflection and strike!) You retract the left hand to cover the attackers right
arm while you immediately, on the same beat, strike your forearm into the opponents neck / head
area! The attacker instinctively blocks the attack with his left hand. Immediately change rotation,
and with your left hand slap block ( Pak-Sao) the opponents left hand off your right arm. On the
same beat of the slap block, using your hips to drive the strike, turn into the attacker, toward the
attackers left hand and strike a forearm strike ( a #2) into the opponents neck!. Swing both arms,
rotating them as you turn back towards the opponents right arm. Trapping the arm between your
arms, pass the opponents right arm past your body with your left. Disengage with a hand rotation
into a palm up position (a Tan-Sao or #7 thrusting position which locks the arm in a figure 4 arm
lock!) Using this motion to strike again into the opponents eyes (Ok fiine! hit him in the head as
well!) Drop your hand onto the opponents throat and with a jerking motion pull the opponent into
you by the throat!
OK, even with the opponent blocking the strike one can still follow the flow of Conceptual motion.
So lets look at the same situation with another variable! The attacker comes at you with a wild
swinging right handed strike. With your right hand you deflect / intercept the incoming attack and
your left hand seeking the opening (at the same time) strikes UNDER your right into the attackers
eyes! (sectoring with an inside deflection and strike!) You retract the left hand to cover the
attackers right arm while you immediately, on the same beat, strike your forearm into the
opponents neck / head area! The attacker instinctively blocks the attack with his left hand.
Immediately change rotation, and with your left hand reach under the blocking hand with a (LapSao)-grabbing motion, pull the opponents left hand off your right arm. This motion pulls the
attacker around left to right! On the same beat of the grabbing block, using your hips to drive the
strike, turn into the attacker, toward the attackers left hand and strike a forearm strike (a #2) into
the opponents neck! Swing both arms, rotating them as you turn back towards the opponents right
arm. Trapping the arm between your arms, pass the opponents right arm past your body with your
left and destroy the opponents left elbow with your right forearm! That should jerk him into a
touch of pain! Disengage with a hand rotation into a palm up position (a Tan-Sao or #7 thrusting
position which locks the arm in a figure 4 arm lock!) Using this motion to strike again into the
opponents eyes and then grab the opponents biceps and pull them off the arm! (Ok fiine! hit him
in the head as well!) Drop your hand onto the opponents throat and with a jerking motion pull the
opponent into you by the throat! This also locks the opponents wrist into a gooseneck lock.
Squeeze the throat and you can watch his eyes pop out like one of those squeeze toys!
See? We are on the opposite side of the opponent using the same conceptual motion
Renegade Modern Arnis knife usage: steel seeks flesh and then cuts flesh!
Using a blade would entail the same Conceptual motions. Ok its almost the same usage as with
empty handsso lets look at the same situation as presented originally with a percussive tool
involved or with empty hand. The attacker comes at you with a wild swinging right handed strike.
With your right hand you deflect / intercept the incoming attack by cutting into the arm with your
knifes edge. Yes, a closing motion that cuts a #1 cut into your opponents incoming attack. Your left
hand seeking the opening (at the same time) strikes UNDER your right into the attackers eyes!
(sectoring with an inside deflection and strike!) You retract the left hand to cover the attackers right

143

arm while you immediately, on the same beat, strike your knife into the opponents shoulder area
(deltoid or base of the trapezium) area! Of course cut it! Now you can control the rotation and
pickup of the arm! Immediately change rotation, and using your hips to drive the strike, turn away
from the attacker, toward the attackers right hand and strike a sinking forearm strike or butt of the
knife (a #12) into and through the top of the exposed right forearm. With a Dumog rolling pull the
opponents balance off stride! Disengage with a hand rotation into a palm up position (a Tan-Sao or
#7 thrusting position which locks the arm in a figure 4 arm lock!) Using this motion to strike the tip
of the knife into the direction of the opponents eyes. Drive the butt of the knife into the opponents
head Counterclockwise circle the back of the blade onto the opponents throat and with a jerking
motion, pull the opponent into you by the throat! Rotate the butt into the base of the opponents jaw
and lock him or her up tight.
The opponent is truly in a bargaining position right now! You set up the rules, he or she listens!
Gads, thats so cool.
How does all this work? Whats the secret to Renegade Modern Arnis? The great secret is as I state
up front, that one needs to be able to use translation of existing concepts to meet the given situation.
The actual concept that one needs to work with is SINAWALLI. If you can understand Sinawali, the
idea of weaving ones two hands in various open-close positions, one can deal with the everchanging situation of combat.
Professor Presas told me that by using Sinawali and Redonda X movements he found the FLOW. I
found that by trying to see the translations of these conceptual motions, that I too have found my
own FLOW. The ability to FLOW cannot be taught, so you need to practice, with a partner and by
yourself. Once you feel it, then youve got it and the ability to make your own Renegade Modern
Arnis.
Thats right! Take all those great techniques that you know, insert them into the conceptual motions
as part of usage and go to it. The more you use it the more it becomes you.
Renegade Modern Arnis is more than what Ive written. It encompasses the IDEA of teaching and
learning MODERN ARNIS as a WHOLE not as separate techniques or ways. Renegade Modern
Arnis is about a method of learning, teaching and doing. All of us see Renegade in a different light
and way! Here are some very basic examples?
Datu Kelly for example is known for the SIBAT pole. The SIBAT pole is a very long stick that
needs two hands. Is this really Renegade? Sure it is for it is a tool that is not used by the general
Modern Arnis groups, it is NEVER taught by Professor Presas, but Datu Kelly uses it to show
HOW the concepts of Modern Arnis are translatable! Is it a Filipino weapon and tool? Yes, it is and
Datu uses it to teach single stick and double stick concept. By the way Datu Kelly can slam n jam
using Renegade JKD-Arnis or slice his way out of just about any situation!
W.Hock Hochhiem mixes JuJitsu, Arnis, military training, police training, and JKD to give his
Modern Arnis flavor. He calls it Combat Arnis. Then of course Hock takes what happened to him on
the street over 20 years of being an LEO and he decides that steel is the way. He does kill shot
competitions with blades..( of course training blades!) He does knife-fighting to the hilt...and of
course heavy doses of Dumog...sure he still does stick.
Tai Chi and Pa Kua are very internal Chinese martial arts. They have no external connection to
Modern Arnis until Richard Roy integrates them into the FLOW. Richard FEELS the flow and
he teaches Modern Arnis from that stand-point. Renegade? Yes. Richards students seem to float

144

from point to point and yet they have intense energy and redirection. They certainly dont look like
karate guys! Yet Richard is very serious student of American Karate.
Guro Doug Pierre? Doug is one of the real time warriors. He actually applies Modern Arnis in full
contact matches. GOOD? He was the senior single stick World Champion. Doug can hit. But what I
know Doug for is his forms. Guro Doug does Tai Chi, Chinese Hawaiian Kenpo, Judo, Ju Jitsu,
TaeKwon Do and other arts that when combined into Modern Arnis gives him a sticking, an
adhesion that is felt in his forms or his fighting.
Renegade? Yes, because Guro Doug has found the concepts that bind the arts and teaches them as
Modern Arnis following the idea that translation is everything.
Guro Tom Bolden is certainly renegade! He took his Modern Arnis, added his Chinese Kenpo and
Pancipanci Eskrima to produce a distinctive Renegade style all of its own...which he calls American
Modern Arnis, and Guro Tom applies this in real time... BAM...He believes in mobility, evasion,
and the economy of motion tied to rapid fire striking and limb destructions....
Guro Andrew Filardo is a renegade in every sense. He takes his training in small doses, like 12 hour
days and feels the essence of Arnis is fighting. Well, it is, only Tattoo as Guro Andy is known,
likes to stick fight WITHOUT any pads and he and his students go at it in the spirit of the Dog
Brothers...hot n heavy. He has successfully combined Full Contact Kickboxing and Modern Arnis
into one way of combat. Tattoo has found that the essential elements and concepts of Modern
Arnis combine quite easily with the Essential elements of Kickboxing.
Dr Jerome Barber is a very quiet guy. I mean the guys a college professor. At least until hes got a
weapon in his hands. Dr Barber decided to teach the system backwards...Thats an inside joke. He
teaches rock n sockem empty hands first then moves his students to weapons usage. Then Dr
Barber goes right into the use of steel. Mix that with Kenpo rapid fire striking and youve got
lightning fast Modern Arnis that has all the trademark slaps hits and overkill of Kenpo that made its
founder Ed Parker famous!
There are others as well...I mean them no disrespect nor insult if I did not mention them.
The list is long and varied and as time goes on these Renegades, the Black Sheep will continue to
come forward to show the world where they have taken their personal journey in Arnis. A journey
we all started with Professor Remy Presas...

145

Chapter: #24

Modern Arnis: a closed family?

Modern Arnis: a closed family? Professor Presas has taught many people over the years. Probably,
he has actually taught tens of thousands. It would be impossible to write them all down. There are
those in Modern Arnis who are my friends and who have helped me understand the art. This is to
thank them and let them know I do appreciate what they shared! There are those that have no idea
who I am nor do they want people like me in Modern Arnis. To those people, thank you as well, for
you drive me on to understand and promote Modern Arnis.
Datu Kelly Worden: Datu is very special. To me, Datu Kelly Worden is the epitome of what
Professor wants us practitioners of Modern Arnis to be like! I personally consider Datu Kelly to be
my senior in the art and the one I always look up to. When I felt lost or wandering in the world of
Modern Arnis, Datu was there to tell me, F**K the bad guys Bram, just be you! I have seen other
Modern Arnis guys cringe at Datus name. Of course none will challenge him on the floor! I beam
at his name. I have profited from his knowledge and his ability to teach and demonstrate the
concepts of Modern Arnis. Actually I think he can translate just about any martial art! Datu has
always said and done as he feels is right and encouraged me to do the same. My students always
commented that I seem to be like Datu Kelly, that we teach the same, that maybe Datu and I are
related. Well we're not, but I cannot think of a higher compliment than that I teach or instruct like
Datu himself. Datu has gone through the rigors of life like myself. Of all the Modern Arnis guys,
only a few like Datu, are my brothers in Steel. To my brother and member of the Black Sheep Flock
known as Renegade Modern Arnis, Datu Kelly: thank you!
Sifu Richard Roy: Richard and I sat many times at his house or mine discussing life, children, Travis
his son, and Rachael my daughter, and martial arts. Richard and I lived in the middle of no where.
Ok I lived in the middle of no-where, off a dirt road on top of a mountain in Vermont. Richard
lived closer to civilization! Richard is my first brother in Modern Arnis. We traveled together to
some of the Professors first camps. I consider Richard my FRIEND. We have trained, discussed
and lived as friends.
Guro Doug Pierre: Guro Doug is an imposing sight and one of the friendliest people I know. Doug
has always shared his expertise and friendship with me. My daughter Rachael, much to Guro
Dougs students dismay, still screams out DOUGIE! when she sees Guro Doug! She obviously has
known Guro Doug since she was little. Guro Doug travels his own path of Modern Arnis- Dumog.
He is a member of the Black Sheep Flock. Guro Doug is one of the few to always ask Professor..
So when do I get to see form #9??
I always look forward to seeing Doug. His smile is contagious! Doug is an example of being a
gentleman, using dignity and honor to demonstrate Modern Arnis. Plus hes one mean hard hitting
person when the sticks start to fly!
Hock Hochhiem: Hock is one of the few Arnis practitioners that earned certification from
Grandmaster Ernesto Presas ( Remys brother) as well as the Professor. Hock has been my friend
and supporter since we met many years ago. Hock is definitely a member of the Black Sheep. He
runs the Congress of American Knife Fighters. Yes, Modern Arnis taken directly to steel. Hock and

146

I stay in touch over the Internet as he is constantly traveling the world teaching. He and I both call
Modern Arnis that we teach: Combat Arnis...Hock is down to earth, reality based and speaks very
directly! Hmm Very good Modern Arnis!
And Hock is always there to encourage me...with almost the same admonition as Datu...F**k the
others,...just do it!
Dan Anderson: Dan is the highest ranked Modern Arnis instructor in the USA. Dan tried to get me
to see Modern Arnis in the old tournament days in the seventies. He was the very first one to say
this stuff is neat. He and Fred King would bang away with these little sticks. Dan was into the
Super Dan sport karate sparring thing back then and I lived in Minnesota and trained at Mid
America Karate. Mid America Karate, ala the Worleys, Franks & Carnahan put on the Diamond
Nationals. Dan would come there to compete. Years after exposure to being with Dan, I finally got
the Modern Arnis bug. I drove the guys there at Sport Karate central crazy with my stick this, knife
that, Arnis type of stuff. Of course I corrupted others, showing them Modern Arnis but mainly Tim
Olson, who has been with me for over 20 years now. Dan has many years later come to stay and
train with me in Miami Beach.
Guro Bruce Chiu: Bruce and I are the Florida contingent of Modern Arnis. Yes, there are others in
Florida, but Bruce and I are friends from the old days, the first days of the Professor being in
Florida. We both have studied, trained, been hit, abused, thrown and stomped while training with
the Professor. Bruce is one of the best Ive seen at the Tapi-Tapi drills of the Professor. Weve
trained and discussed the differences of what we think weve learned in restaurants, parking lots,
and in classes...yes to people staring at us. Sometimes Bruce and I disagree but we agree to do so.
Bruce is one of the ONLY ones on the road like me teaching Modern Arnis in seminars.. Bruce runs
the Florida Winter Camp for Professor Presas each year.
Bruce openly says Im crazy for my love of steel...( of course he says it with a smile!)
Guro Tom Bolden: Tom tried to kill me when we first met. Ok, he tried to put me in my place. Im
joking. Tom was always ready to help me out at the training camps and to spend extra time working
with me. I wasnt ready for Guro Toms intensity at first but he takes Modern Arnis very seriously.
He has gone off to do American Modern Arnis. He was and is always up front and willing to teach
those that care to learn.
Datu Shishir Inocalla: Shishir has only actually taught me at a couple of the Professors training
camps but he unselfishly shared his expertise and understanding with me. Hes very small in stature
and he knows that the principle of motion must be understood to make something work whereas
strength may not always work. His knife work, especially using the Balisong used to mesmerize me.
He is a great friend of my dear friend George Denson. I got to know Shisir through his early tapes
and books. Shir, as he lets me call him these days has been very supportive of my tapes, books, and
knife designs and my interpretation of Modern Arnis.
Dr Jerome Barber: Jerome is truly a good man. He put himself out night after night reading and
rereading my book to insure that it was correct. He is one of the original Black Sheep and Im glad
hes part of the flock! He is direct and to the point and considers loyalty to be honorablea trait
that seems to be missing from too many peoples lives! He teaches fierce Kenpo style empty hands
to grace the work of his version of Arnis.
Ron Van Browing: Ron is a multi faceted martial artist who spent personal time with me. We only
spent time at several training camps and seminars but Ron has never once been too busy to share or
give me insights into translations of Modern Arnis. Plus Ron loves whip and knife. That makes him
one of the good guys! Gadswhat a grappler! Ron is fantastic!

147

Mark Kline is a unique individual. He is serious but able to joke about life. Hes one of the few that
I know that has rank,
real rank, (serious black belt ranks!) from Professor Wally Jay, Professor Remy Presas and his main
instructor, Grandmaster George Dillman. Mark can grab you, ( he spends a lot of time with Leon
Jay) knock you out with a touch
( hes a very senior student of Kyushu Jitsu Pressure point grappling ) and he translates all this into
his version of Modern Arnis. Good guy to know if the chips are down!
Guro Andrew Filardo: Andy known also as Tattoo thinks that understanding the realities of
combative Arnis means stick fighting without pads! Now thats hard core in the spirit of the Dog
Brothers. Tattoo is also very good with his hands as he combines Kickboxing and Arnis into one
fluid element. Tattoo writes regularly for the FILIPINO MARTIAL ARTS Magazine where weve
editorially crossed paths each month...
To some of my Modern Arnis seminar friends: Bob Sullen, Bobby Quinn, Jim Laddis, Dr Willie
Matias, Terry Wareham, Roland Rivera, David Ng, Terry Rich, Ray Dionaldo, Dave Converse,
Rocky, Dan Strickland.thank you
There are many others who have shared with me at seminars and training camps. I mean them no
disrespect for not naming them all!
To my personal students who by letting me teach them I learned a great deal:
Tim Olson, David Shor, Jody Mehlman, Peter Roman, Thomas Lehmann, Andrea Martin, Alene
Kimm, Paddy Baker, John Ralston, Tony Torre, George Denson, Ben Brooks, Dr David McGee,
Dr George Schwenck, Andy Wires, David Driscoll, Jerry & Jules Pinada, Michael MyQal
Rowe, Will Powell, Felipe Jose, Bill McArdle, Mike Weissberg, Mike Alfano, Frank Olesen
To all my Arnis classes: THANK YOU!

Remy Presas Instructor Certification Modern Arnis Camps:

Ron Van Browning
Al Garza
Richard Roy
Terry Wareham
Bruce Chiu
Bobby Quinn
Dan Anderson
Irwin Carmichael

Texas
Texas
Massachusetts
Michigan
Florida
Georgia
Oregon
North Carolina

Arnis Camps of the Flock

Hock Hochhiem -Combat Arnis
All over the USA and worldwide - home Georgia
Tom Bolden -American Modern Arnis
New York-home New York
Dr Jerome Barber- American Arnis
New York-home New York
Kelly Worden- Natural Spirit Modern Arnis-Water and Steel
All over the USA- home
Washington

148

James Keating- COMTECH Riddle of Steel-ABC

Washington-Hells Canyon
Bram Frank- CSSD/SC
All over USA and worldwide- Commandments of Steel:
Israel-home Florida
I would like to thank Professor Presas for sharing with me his knowledge and encouraging me
to just do it. I originally had approached Professor Presas about him doing a book on Arnis, an
Arnis Encyclopedia, but he insisted Bram, you do it ...Just Do it Well that included
designing protective armor for Arnis, which lead to making training knives and swords out of
wood then making them out of resin: DRAGONS TOOTH. Then writing articles, and designing
tactical folding knives: first for REKAT: Escalator, then for SPYDERCO Knives: GUNTING,
DRONE, CRMIPT, doing instructional videos on Arnis and now, finally this book. I am proud to
be a first generation personal student of his.
To Guro Dan: I was never a personal student, only a multi time seminar student but an avid
reader of everything he wrote. ( that includes Video tapes!) Thank you for your knowledge and
your encouragement.
To Professor Wally Jay and Grandmaster George Dillman: thank you for being with the
Professor and supplementing Modern Arnis and my understanding of Modern Arnis as taught by
Professor Presas.
Datu, Mike, Jim, Jerry, Dr. Jerome, Dougie and Hockthanks guys for sticking by me and
telling me to keep going.
George, and Peter: thanks for being sounding boards and listening to my tirades about the book.
To Rachael, my daughter and Myrna, my mother I hope I make you proud of meRAF is this
better than Dr I?
To Mary, my dearestmy very own Toon. Thank you for encouraging me, loving me and making
it so I could write this book! You put up with a lot!
To my students and extended family....thanks for the use of your spirits and bodies.. I have
learned alot!

149

With this book, Bram Frank eulogizes one of our heroes in life, the utterly unique, charming and
deadly Remy Presas. He is one of a kind, a veteran homeland street and contest, stick and knife
fighter. Eventually his fame and revulsion of oppressive Filipino politics would lead to that
governments targeting Remy for kidnap and death! This forced Remy to flee his country for his
life. While on a training trip to the Philippines, I was taken to the grounds behind the Presidential
Palace and our guide (a Secret Service level officer) told me while pointing to the ground, This is
where they were going to slit the throat of Remy Presas! In the oppressive Manila heat, I got a
chill as I finally understood in an emotional gut-level, the words that Remy had told me. Remy
began touring the United States and was one of the first few that opened the seminar circuit in our
country. He is pioneer and really a living legend.
Bram has written a great, step-by-step, in-depth work on the way of Filipino Modern Arnis, with his
own rapier understanding, flair, expression and intelligence. We are all proud of his important
endeavor to document these concepts and techniques for all time.
W. Hock Hochheim
Scientific Fighting Congress
And author of Paladins
Military Knife Combat

150

Black Sheep/ Renegades and Modern Arnis:

A Viable Alternative to Blind Conformity
The book that you are about to read is absolutely awesome! I am thrilled that I had the
opportunity to read the entire manuscript. Bram Frank, has written a master-work on what the
Modern Arnis System really is, has been, should be and what it can become when one moves
beyond the self imposed limitations of cloning ones self in the image of Professor Remy Presas.
Please allow me to cut right to the chase there is only one Remy Amador Presas! This is the
man who founded the Modern Arnis System, brought it to the United States and began
promulgating this fantastic art through seminars and summer training camps, without a central
HQ location. This is the man with The Flow, the magician-wizard of sticks, the irrepressible
ambassador of Filipino Sports Culture, sans the official portfolio. This is a man of great charm,
charisma and talent. He seems to embody all of the traits that most martial arts students would
love see in a system Grand Master. There are a number of martial artists who could be his equal,
but very few if any, who could be his superior! (Remember, I said that, not Professor Presas!)
He is a man who I hold in great esteem as a martial artist.
I have met him. I know him well. I have trained under his instructive leadership in seminars
and summer camps; I have learned multiple aspects of his art directly from him in private
sessions; I have dined with him, hosted events for him, and acted as organizational secretary,
when asked. I have also argued with him on several occasions. I also dropped out of the
International Modern Arnis Federation, when it became apparent to me that Professor Presas
and I were going in different directions. I know, for a fact, that none of his closest, cloned
followers are as intuitive, explosive, creative or skilled as Professor, in the art of Modern Arnis.
They are following the leader, staying in his shadow and waiting for him to reveal that next great
secret!
Therefore, I am totally confident that what you are about to read is going to cause some distress
in the Filipino Martial Arts world in general and the Modern Arnis world in particular, because
Guro Bram Frank, is about to let the cat out of the bag. Guro Frank, has written an excellent
book on what a number of people have done to make Modern Arnis, their own personal art.
They have discovered for themselves, the art within their own art.
These men, whom Guro Frank refers to as the Black Sheep/ Renegades are talented, skillful
martial artists who were not content to merely follow a leader, they wanted, they needed, to
explore all of the other options that came their way. They wanted to stand in the sun, feel its
heat and see its light for themselves. These men went forward, taking what they had learned
from Professor Presas, and built their own versions of Modern Arnis. They used their prior
training and then built upon the foundation laid down by the Grand Master. In their individual
interpretations, Modern Arnis has taken on many new faces and appearances. Modern Arnis
has been developed into a multi-faceted, highly diversified martial art which encompasses the
stick(s), empty hands, low-line kicks, grappling, trapping/locking, and the primary topic of this
book, the blade.
The Black Sheep/ Renegades are not an organized group. They are people who share some
common characteristics, including independence of thought. Guro Frank, is one of them! He is

151

about to tell you, the reader, about some of the innovations that have come out of the Modern
Arnis System as first developed by Professor Presas and taken to new vistas by these other
martial artists. He is showing you, one path that has been taken within the art, the science and
the philosophy that we call Modern Arnis.
As I stated earlier, I am well aware that some Modern Arnis people will be angry, upset,
distressed and by what Guro Frank, has written --- so be it!
The common characteristic of the Black Sheep/ Renegades is that they are strong willed and
thoughtful people who embody that quintessential American quality of rugged individualism.
Even they will not agree with everything that Guro Frank, has written, but they all will very
likely agree that the only way to approach this work is with an open, curious mind! In order to
be a Black Sheep/ Renegade, you must not view cloning as an option
I want to sincerely thank Guro Bram Frank, for writing this awesome book! I also want to
thank him for the opportunity that he afforded me, to read the unpublished manuscript as well as
asking me to write an introduction. I want to encourage each of you, the readers, to take your
time, read this book carefully and form your own opinions about what has been written. If you
can do that, you will be a better martial artist and a stronger, more knowledgeable person!!
Jerome Barber, Ed. D.
Director & Principal Instructor,
Independent Escrima/ Arnis Associates
Founder:
Paradigm Escrima-Kenpo Method of Self-defense
Hamburg, New York
June 21, 2000.

152

Modern Arnis: Making the Art your own.

I remember meeting Bram Frank as though it were yesterday; It was in Florida at a Professor
Remy Presas seminar, the father of MODERN ARNIS. He was as serious and passionate about
Philippine stick/knife fighting as myself, and with a much deeper understanding of the principals
and concepts underlying our MODERN ARNIS SYSTEM than most of the students Ive met over
the years. This left a lasting impression on me and over time we have kept in touch with each
other. I remember receiving a call from Bram stating that he was writing a book about knife
fighting/dueling that may offend some people. I told him to write the book because it deals with
reality. Most classical training has no realistic usage in todays society. With knife training the fear
is addressed in many ways one would never realize. How can anyone ever attempt to deal with
something they know nothing about (i.e. knife attacks.)
The natural progression of any art form is manifested in those special individuals who dare
to question or even challenge what the masses accept as the only way. People who are visionaries
of insight and have the courage to go forward and blaze new trails will always come under scrutiny
and ridicule. If this is the diet of the day so be it. In MODERN ARNIS Bram Frank is just one of a
handful of individuals who has courageously forged ahead in new and bolder directions. Professor
Remy Presas, whom I love very dearly, and who is more to me than just the Professor/teacher and
friend, has always said, Dougie, you must make the art yours, meaning to adapt the art to your
specific need and/ or style, and become THE ART WITHIN YOUR ART.
Every two years or so an international full contact stickfighting tournament is sponsored by
W.E.K.A.F. (World Escrima/Kali/Arnis Federation) in countries around the world. In 1992 after
many local and regional competitions I made the U.S. team. I was blessed by winning my first
world championship in the Philippines. I had the honor of training with the late great Grand Master
Antonio Tatang Ilustrisimo of KALI ILLUSTRISIMO. Twice I accompanied him to separate
funerals which were the result of knife duels. On a subsequent trip some years later, competing for
another title, I was privileged to train with Grand Mater Vincente Iting Carin of the DOCE
PARES SYSTEM, himself a seasoned knife veteran and a living legend, who survived a very
serious knife fight with six men while helping a friend. This encounter resulted in the death of two
men, disfigurement and vital organs destroyed. As a kid growing up in Harlem and the south
Bronx, Ive personally witnessed and had serious street fights. Ive seen people wounded by and
die from knife attacks. Knives are a very serious matter.
I spent every waking hour training with these men and their senior students for more than a
month each time, and the knife was always at the center of their conversation, even though the
sticks were used as training tools most of the time. I remember Tatang on several occasions drifting
off to past war experiences ending with the death of his enemy. Following the story we would all
get up and train.
I have studied several martial arts, some simultaneously. I have totally embraced MODERN
ARNIS and our founder Professor Remy Amador Presas for his love of his students, sincerity,
genius and of his special blend of what I think are cutting edge weapon and empty hand drills. In
our modern society there are really only three available weapons, not counting ones mind (this is
for all the nitpickers). They are: 1) a GUN, which is illegal in most states and difficult to conceal,
2) a STICK, which one can make of any object at ones disposal and 3) a KNIFE, which at a certain
length is not illegal to carry. Our culture is based around this tool. We eat, cook and work with
knives all of our live, so why not explore its defensive/offensive aspects?

153

Prof. Tom Sotis AMOK, Tuhon Chris Sayoc SAYOC KALI both of whom Ive studied
with and recommend, James Keating COMTECH, Datu Kelly Worden NATURAL SPIRIT,
Hock Hochhiem CONGRESS OF AMERICAN KNIFE FIGHTERS and now Guro Bram Frank,
CSSD/SC has joined these ranks as modern day street survival realists. They have understood the
art handed down to them by our Grand Master and others on another level. I have read Brams
book with joy and a smile; his presentation and technical insights into the stick/knife
fighting/dueling can stand amongst any. I have viewed his tapes with pride that our system has
been made greater from all the hard work of my brother in MODERN ARNIS. I recommend that
every serious martial artist add this book, which is destined to be a classic, an important addition to
your martial library. This aspect of the art has always been shrouded in mystery and secrecy. To
Guro Bram, KEEP DOING WHAT YOURE DOING AND EVERYTHING WILL TAKE CARE
OF ITSELF. All men of vision have suffered scorn, so if people are talking about you thats a
good thing. You will occupy space in their minds, it will get them to think and thats a good thing
too. Continue to be steadfast in your path, successful in all that you do and most of all be happy,
my brother and dear friend in OUR MODERN ARNIS WORLD WIDE FAMILY.

Respectfully,
MODERN ARNIS DOMOG
Guru Doug Pierre World Champion Stickfighter
NOTE: Bram, the DOMOG spelling represents the first two letters in my name to signify
my interpretations with backgrounds in karate, judo, jujitsu, tai chi chuan and boxing.

154

Cuilibet in arte sua perito est credendum. Credence should be given to a

person skilled in his art.
Legal maxims sometimes express surprising insights. The foregoing maxim is
one that is particularly applicable to Bram Frank and his new book. The
responsibilities and functions of a lawyer include acting as an evaluator in
examining facts and reporting about them to others and acting as an advocate
to zealously assert the position of a client. Practicing as an attorney for
many years, I am skeptical both by nature and training, careful to reserve
my opinions and conclusions until all the evidence is in. Well folks, I have
carefully evaluated the evidence (both the book and the man) and I can
assure you that Conceptual Modern Arnis by Bram Frank is an authoritative
compendium of the principles and concepts that comprise the basis of modern
Filipino martial arts from the perspective of one who truly understands and
loves them. Conceptual Modern Arnis would be a great addition to anyones
martial arts library.
When Bram first approached me about writing a forward for his book on
Conceptual Modern Arnis, I jumped at the opportunity. Not only had Bram and
I discussed the book and much of its contents on numerous occasions, I have
actually experienced and had the good fortune to put many of the principles
and concepts of Modern Arnis as taught by Bram Frank into play during
numerous training sessions with Bram himself. I first had the honor and
pleasure of meeting both Bram and Professor Remy Presas about seven years
ago when I attended a four-day Modern Arnis training camp given by the
Professor in Florida. Bram quickly stood out as the next best thing to the
Professors bottomless well of knowledge whenever I needed help or had
questions. In the years since my first Modern Arnis training camp, my
respect for both Professor Presas and Bram has increased exponentially. I
attended several more of the Professors training camps and seminars and a
few years ago, began training with Bram on a regular basis.
My own martial arts background spans more than thirty years in various
disciplines, but I never had much been training when it came to a knife or
stick. This was an area of my martial arts training where I was lacking.
Although I studied Jiu-Jitsu and Karate in the seventies, Tae Kwon Do in the
eighties, and Hapkido and Aikido in the nineties, my training with a knife
and stick was, sadly, minimal and perhaps even dangerous in some respects.
Some of my prior instructors even gave me what I now realize was a false
sense of self confidence in the viability of knife disarms and my general
ability to defend myself against a knife. Bram pulls no punches in
describing in concise and colorful terms, the deadly reality of self defense
against the knife. He is brutally frank (no pun intended) in expressing the
dangers inherent in facing an edged weapon. His explanation of the
bio-mechanics of matter separation and cutting the human body is
unparalleled. Bram has a keen grasp and understanding of universal
principles and concepts common to many martial arts that enable him to put
his thoughts into words in ways that are easily understandable. Conceptual
Modern Arnis provides an available wealth of knowledge that is conveyed by
Bram with clarity, understanding, wit, and should be easily grasped by both

155

experienced as well as neophyte martial artists.

It has taken me many years, exposure to numerous martial arts and
instructors, and a great deal of aches, pains, and sweat to truly appreciate
the nature of real, practical self-defense. It is, therefore, with some
degree of experience that I make the following statement. Some martial
artists are good instructors on the training room floor, some are good
practitioners in a real or practical self defense sense, and some are good
writers. Few, however, excel in all three categories. Bram Frank is one of
those few.
Respectfully submitted by Peter T. Roman, J.D., 1 January 2001
Bram Franks
Conceptual
Modern Arnis
Principles and Concepts of the Filipino Martial Art of Professor Remy Presas
Covering Filipino: Stick, Knife and Empty hand fighting
Forewords by:
Guro Doug Pierre
Dr. Jerome Barber
W. Hock Hochhiem
Peter T. Roman Esq.

156

157

158

159

160

161

162