Demott Robert James Modern Arnis The Master Text

Modern
ATRINTS
The Master Text
A Martial Art
Developed
Stick Fighting oaks
And Philippines
Empty Hand
NS
by: Professor Robert James DeMott

9th. Degree - Lakan Siyam - Black Belt - GAT
Modern
ARNIS
The Master Text
Stick Fighting And Empty Hand

A Martial Art - Developed
In The Philippines
By: Professor Robert James DeMott

oth Degree - Lakan Siyam - Black Belt - GAT
8th Degree - Hachi Dan - Chang Moo Kwon Tae Kwon Do
8th Degree - Hachi Dan - Bunbu-Ichi
Zendo Budo/Bugei Remmeti
Modern Arnis
The Master Text
ISBN: 978-0-9852526-4-9
First Printing March 2015
All RIGHTS Reserved: This book may not be reproduced in

whole or in part by any means without permission from the
author.
Copyright © 2013
Professor Robert James DeMott
LEGAL STATEMENT
Disclaimer
Information in this book is provided "AS IS" without warranty of any kind, either
express or implied, including, but not limited to, the implied warranties of merchantability,
fitness for a particular purpose, or non-infringement.
IN NO EVENT WILL THE AUTHOR OR PUBLISHER BE LIABLE TO ANY PARTY FOR
ANY DIRECT, INDIRECT, SPECIAL OR OTHER CONSEQUENTIAL DAMAGES ARISING
OUT OF ANY USE OF THIS BOOK.
Changes to This Book

Information may be changed or updated without notice. The author or the publisher has
no obligation to update information presented. The author may also make improvements
and/or changes to this book at any time without notice. Every effort has been made to present
accurately the information.
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The logos and all other trademarks, service marks, trade names appearing in this book,
registered or not, are the property of author or his respective owners. Nothing in this book
grants you any right or license to use any of the Marks without the express written permission
of the author or the third party owners of the Marks. Unauthorized use may violate trademark
and other laws.
Not a Substitute for Professional Health Care Advice

The medical implications contained in this book is general in nature.
This information is not meant to replace health advice you get from a health care
professional.
Before practicing
The physical techniques described may be too strenuous for some participants. As with
all physical exercise programs consult a physician before training. The user assumes all
responsibility for their safety.
Warning
The Military or Martial Art - Modern Arnis presented in this book is a war art that uses
weapons as well as empty hand techniques and could cause permanent damage to being fatal to
a practitioner. The user assumes all responsibility for their safety as well as the safety of the
people they practice with, when using this information.
Disclaimer we
The authors and publishers of this book is not responsible in any manner whatsoever for
any injury that may result from the practice of techniques and/or following the instructions
given within.
Foreword
Mankind’s history is filled with fighting and out of that need for self-preservation those
skills and abilities were refined into art forms so that they proved to be most effective. Those
skills and abilities went on to be known as Military or Martial Arts turning a person into a most
formidable weapon.
As areas were conquered and came under the control of a king or government, the arts
were transformed into games so that the techniques were not lost.
Today much of what we call Martial Arts in the United States is a sport. When the author
studied Judo, Tae Kwon Do and Modern Arnis they were Martial Arts and not sports.
What is presented in this book is a Martial Art and Modern Arnis is a weapon. Although
this book has reference to both Judo and Tae Kwon Do, its main focus is to teach and aid in the
teaching of the weapons and empty hand system of Modern Arnis for self-defense.
Modern Arnis starts out using a weapon and it progresses to the empty hand, unlike
most Martial Arts taught today it follows the progression of the historic training for conflict
over violent aggression, so that dominance is established ending oppression of those that
would do great bodily harm. You will find the study of Modern Arnis a valuable asset as an
exclusive training aid or a complement to existing training regardless of martial arts
background.
This Book is dedicated to the memory of:
Remy Amador Presas

The Father of Modern Arnis
(December 19, 1936 - August 28, 2001)
As a close friend and mentor he helped shape my actions and
thinking, making me a better person.
To my Wife:
Velma Kaye DeMott
(The center of my Universe - Married August 9, 1969)
For her continued support for over 40 years through the
thousands of hours of training in Martial Arts and the countless hours
of the development of this book.
And to my Students:
(1967 till present)
Who have served in the US Military and Law Enforcement as well
as those that have dedicated themselves to development and teaching
Modern Arnis.
Contents
True Self-Defense
About the Author
The Reason for this book ?
Story
Dispelling Myths
Story
What’s in the name?
Cardinal Rules and principles of Modern Arnis

Belt Ranking System for Modern Arnis
The Meaning of each belt — Lower System
Meaning of each belt — Upper System
It’s all about the time Bb

&B
R-R
Story
Quotes by those that have come before
The Principles of Modern Arnis
Modern Arnis Equipment
Techniques - Warming - Understanding Terms - Experience
Medical Implications from the Strikes
Understanding the Terms
Stances — 10
EF
6B
B&B
b6&
Movements - 12
iS
(o>)
Blocking
Striking
Disarming
Cain Inside and Outside Locking
Forms
Attacks and Counters
Long Blade - Bolo
Conclusion
Seals
1977-1995 Pictures EB
ESE
eB
ER
BE
Contact Information E
eacet2 a
ry
Remy Amador Presas
December 19, 1936 — August 28, 2001
True Self-Defense
It is a privilege to share the knowledge that has be so generously poured out to me over
the years. I would like to acknowledge those that have shaped my thinking:
Jerry Armstrong — Judo

A school mate who went on to train the US Olympic Judo Team.
General Choi Hong Hi — Tae Kwon Do

The General brought his Martial art to the world. Tae Kwon Do has made the transition
from Martial Art to sport and is now part of the Olympic Games. In its original form it is a
powerful tool turning the user into a formidable force to stop aggression.
Professor Remy A. Presas — Modern Arnis

The focus of this book. As a close friend and mentor he helped shape my actions and
thinking, making me a better person.
Honorable #1 Master Bruce Juchnik — Karate and Kenpo

He introduced me to the teachings of James M. Mitoses who taught the importance of
developing the peace and love of God within.
Professor James Price 9th Degree Black Belt — Goju Karate

Jim and I are presently great friends teaching Seniors Citizens on how to avoid being a
victim of crime.
Ralph Black PH.D. 10th Degree Black Belt

Third generation
San Dai Soke of the Bunbu-Ichi Zendo Budo/Bugei Remmei
9th Degree Tae Kwon Do
Director of the United States Police Defensive Tactics Association
Dr. Black is a Nobel man, there is no question as to the importance that he contributes
to society. I am truly blessed to have Dr. Black as a friend.
10
About the Author
I have spent my life learning and in personal development in the Martial Arts for close
to half of a century in both my own development and teaching others. Martial Arts were little
penn back in my youth; I was first introduced to Judo, then Tae Kwon Do and finally Modern
nis.
As a boy I never wanted or cared to fight which made me an easy target for bullies. I
cannot count the times that I came home beaten up cover with dirt, clothes muddied and
damaged from being jumped on and pushed into the mud. I never fought back if I did I would
have been beaten worse; there were always two or three boys that ganged up on me and I was
no match for the pack. My Mother would cry when she saw me come in the door, she would say
you need to fight back and I would say there were too many of them. After I cleaned up and
changed my clothes Mother and I would pray that God would keep me safe from all harm and
provide a solution to end the abuse I was receiving.
At Age 14 God provided the solution, I made a new friend at school Jerry Armstrong, he
introduced me to Judo; It was amazing, with the proper technique you could use the aggressors
own body movement against them and they could be thrown to the grown with their own
momentum. I practice as if my life depended on it and in a very short time I became proficient
in throwing. On my next encounter with two of the bullies things changed, the more aggressive
of the two came at me to give me a pounding, he expected no resistance as it had always gone in
the past. As he punched I caught has arm and using his force and momentum hurled him to the
ground knocking the wind out of him, the second boy suffered the same fate. It took little time
for the word to get out about my ability, the beatings stopped and I enjoyed peace for the first
time and a new found popularity.
A few years later I became ill with a strain of meningitis that left me physically weak, it also
affected my ability to control my emotions, in the newspaper there was an offering for Tae
Kwon Do that stated it was good for your physical as well as your mental health, so I signed up.
By working out on a daily basis, I controlled my nerviness as well as my other emotions and
over time I regained my strength.
In the 1974 General Choi brought his world demonstration team to Flint Michigan, for a
huge demonstration that was held in the old IMA Sports Center. I was chosen to be a board
holder for some of the board breaking demonstrations which required me to wear my uniform.
After the demonstration was over my instructor invited me to meet the General at the hotel
where he and his demonstration team was staying, I needed to hurry as they would be leaving
the hotel after changing their clothes to go out to dinner. My wife and I went straight from the
demonstration to the hotel lobby; I was still in my white uniform when I walked into the lobby,
the General and the other Korean Masters were all dressed in suites, when they saw me they
started smiling. After some conversation in Korean the General came over and shook my hand
and said please change your clothes and join us for dinner, so we rushed home and changed
and we headed over to the restaurant.
When we arrived at the restaurant everyone was already seated at the table. There were
two empty chairs at the end so we sat down. Hee II Cho was talking in Korean to two other
Korean Masters setting across from him, so my wife and I sat there smiling not understand a
word. Finally he turned to me and said “Good evening, do you speak Korean’ and I said Not a
word” he smiled and said “Then you are at the wrong end of the table”, he said something in
Korean and two people go up that were setting next to the General and we changed seats. We
spend the whole meal listening to the General talk with the others until it was time for dessert
one of the Master’s wives wanted vanilla ice cream, she kept telling the waitress she wanted
11
|
“I
“ba-na-la”, the waitress did not understand what she wanted and then I spoke up and said
think she wants Vanilla Ice cream” she got all excited and said “Yes ba-na-la”. The General was
amused with the fact that I figured it out; later my instructor informed us that the General had
invited my wife and I to come to his house in Canada along with him on his next trip to see the
General.
For some reason the General liked me and after training with him I got a different
insight into his approach to martial arts, Tae Kwon Do became a way of life and after seven
years of constant training I received my 1st degree black belt in Tae Kwon Do.
Toward the end of the 1970’s I had my own school still under the direction my Korean
Tae Kwon Do instructor. A friend that taught Karate in Grand Blanc Michigan asks if I would
host a Modern Arnis demonstration by Professor Remy A. Presas at my school. I had no idea at
the time what Modern Arnis was, but my friend was excited about it. I hosted the
demonstration, what I experienced filled me with excitement and my life took on an additional
direction. Remy and I became great friends and his Modern Arnis became part of my Soul.
General Choi the Founder of International Tae Kwon Do and Professor Remy A. Presas
have passed away, what they have started lives on in myself and others, I am humbled to have
known these men, they were a great influence in my life. Throughout this document you will
find comments by or about my teacher Remy A. Presas, it is my sincere hope that they may give
the reader a small glimpse into the thinking of the man as I knew him.
Retired and living in the Florida I have gained two new friends Professor James Price
oth Degree Black Belt in Goju Karate and Dr. Ralph Black 10th Degree Black Belt Bunbu-Ichi
Zendo / Bugei Remmei, because of my involvement with these two fine gentlemen I became
motivated to write this book something I have thought about for the last 10 years.
I was born in 1949 the year of the Ox and one of my favorite sayings “The ox is slow, but
the mountain is patient”. It has taken me a lot of years and a lot of thought to bring me to the
point of putting this information together; it is my sincere hope that this Modern Arnis book
enriches every person that comes into contact with it.
Sincerely,
Professor Robert James DeMott - Black Belt

Siyam Lakan 9th (Dan) Degree - Modern Arnis - GAT
Hachi Dan 8th (Dan) Degree Chang Moo Kwan - Tae Kwon Do
Hachi Dan 8th (Dan) Degree Bunbu Ichi Zendo Budo/Bugei
The Reason for this book ?
Modern Arnis is a war art that uses weapons as well as empty hands. The forms that
were created by Professor Presas and myself were never intended to win contests at a
tournament, they were intended to be practiced by the student to improve movement ina
combat situation to improve the chance of survival during a conflict.
When I was much younger and the tournament circuit started many of my students
wanted to compete in the sport side of the art. Reluctantly I gave in to their need of
competition. We developed both empty hand and weapon forms for the sport. My students
took top honors in sparing, empty hand and weapon forms. Back then it was about perfecting
the movement, then slowly over time it evolved into gymnastics and flashy moves. Standards in
uniform and belts gave way to flashy costumes and what was once an art of self-defense
became a sport. The problem for me was not the sport, but the fact students in the various
schools started believing the sport that they were learning is the Art. Remember, what you
believe can harm you.
Today you can find 12 year olds wearing black belts that boast 3rd. Degree, and the sad
part is they believe it. If you pay the money, join the school you are guaranteed your test and
rank. If you suffer from low self esteem buying rank will not help you, what will help you
develop into a better person and a martial artist is study and hard work.
The reason for this book is to document the movements in Modern Arnis so that they
are not lost, just having this book will not help you, only study and practicing of the secrets
contained within do that and some day may just save you life or the lives of your love ones.
One of my favorite Bible verses: 2 Timothy 2:15

“Study to show thyself approved.” It is good advice, take it.
13
Story
A long time ago a student that was studying at one of the martial art Temples came to
his teacher and said you know teacher I have been studying for five years and I would like to go
to another school and study what they teach. The teacher without saying a word took his hand
and hit the student on top of the head. The student took this to mean that he was not ready to
leave and so he went back and practiced and studied for another five years. Again the student
came to the teacher and said teacher I have studied for 10 years and I would like to go to
another school and study what they teach. The teacher without saying a word took his hand
and struck the student on the top of the head. This time the student said to the teacher, why do
you strike me on top of the head and why are you stopping me from leaving, I have worked
hard for 10 years. The teacher said to the student you could have left five years ago there is
nothing holding you here, I struck you on the head because I can.
From this story we learn two things:
One - student’s misunderstand what or why a teacher does something and draw the
wrong conclusion from an action or teaching.
Two - some teachers enjoy striking students because they can. A real teacher does more
than use their physical abilities or position to dominate their students, a real teacher help in
the development of the student, sharing their talents, abilities and techniques.
14
Dispelling Myths
Myths by definition are embellishments that have enough truth in them to be believable
and the people that want to believe them, do.
In the martial arts community you will find terms that are loosely used and are totally or
partially misunderstood.
The problem that arises is when a person dispels these beliefs. It is difficult for the
people that believe them to accept the truth, the problem we are faced with is that there are
three truths, your truth, my truth and the real truth, sometimes they are in agreement, usually
they are not.
If someone teaches you something and you respect that person, then you believe what
they tell you, after all they believed it and the person that taught them believed it and so for
some time this belief has been perpetuated.
Then someone comes along and you are confronted with either their truth or the real
truth either way you object, like a man once told me, my daddy, and my daddy’s, daddy, all
believe this and so do I.
This is the problem with beliefs versus facts, if you want to believe something is good
like a food that you really like to eat and your doctor tells you that this food is really bad for
your health then you go into a state of denial trusting what you believe over the facts that your
Doctor presented. Even though the evidence shows that the food is damaging your body and
even though there is medical evidence to prove that it is not good for you to eat, you continue to
eat it just because you believe it is good.
If you are that kind of person then what I am about to state is not going to be accepted
simply because you already know what you know and you already believe what you believe.
Before continuing realize: at one time it was believed the earth was flat, at one time it
was believed man would never fly and it was believed the sun revolved around the earth.
If you are going to be a serious martial artist then you need to debunk your life and fully
understand how these terms developed what they really mean and how we should use them.
Go - go is a game that originated in China it became popular over the centuries and
spread to Korea as well as Japan. Although the name was modified in Korea and Japan the
game is played the same way. This game teaches strategy like chess and checkers; all have a
simple set of rules, go is uniquely different from chess and checkers played in the western
world and the lessons it teaches about strategy.
Dan - the term Dan comes from the Japanese it was developed as a ranking system in a
go school, later it was first applied to the martial art we know as judo. You will find the word
Dan today in other martial arts as well, it adorns the certificates for example in Tae Kwon Do,
Modern Arnis, and others.
The argument can be made that originally there was no ranks in martial arts and that
would be an accurate argument. Today they exist and have for a very long time. The term Dan
is generally applied as a grade or rating for a black belt holder which is the upper part of most
every martial art system.
Renshi - Instructor
Kyoshi - refers to an advanced teacher
15
be a teacher
Hanshi - is a Japanese word that refers to a senior expert this person would
that
of teachers, although it is Japanese, it is found in use in many martial art schools today,
are not traditionally Japanese martial arts.
Sensei - is a Japanese word, the term Sensei literally means "one who was born before”
or "one who has come before" today it is commonly use in martial art classes and applied to the
person that is doing the instruction. Although it is presented to students to mean teacher it
actually has a slightly different meaning in terms as how it should be used, it is a form of
respect for a person that started their training before a student that is being taught by them.
Shihan - is the title of Master in Japanese. It is important for the student to realize that
the term master is a Western creation, the term started in the 1950’s after World War II the
correct term should actually be teacher.
Master and Grand Master - The title master and grandmaster are Western terms they
were started by soldier’s that came back after World War II in 1950’s to describe the people
that did martial art feats that they had witnessed. The more common term in the Orient is
teacher: to be a teacher was to be respected they were the people that shared their knowledge
in an unselfish manner as it should be today.
You will find many additional words and phrases that are used in martial art schools and
you will hear the term Master and Grand Master thrown around as if they had existed forever,
the terms have not.
Whether you are studying a Japanese-style, a Korean style, a Chinese style or a Filipino
style you find some of these words being used here in the United States.
Having spent most of my life studying both Tae Kwon Do and Modern Arnis the
Japanese terms were never used for any training purposes. The only Japanese term that was
ever used was Dan and that was applied to the rank certificate.
One only needs to understand that Korea and the Philippines as well as China were
invaded by the Japanese and their people suffered greatly because of the occupation. Because
of that conflict Japanese weapons and Japanese terms were not allowed to be used. However
this is United States and for better or worse we are a melting pot where many ideas and words
get blended.
This has come about because of the large number of unauthorized Marital Art schools
that have been created by students that wanted to capitalize on their new learned skills and
make a living from their teaching. Being self-promoting and wanting to appear different they
have combined terms across language boundaries which has led to this confusion.
You will notice that in listing the ranks for Modern Arnis I have included the term
Master and Grand Master as a reference, a more accurate representation is instructor, teacher
advanced teacher, senior teacher and professor. Remy always referred to himself as professor.
A professor is an advanced teacher that not only teaches, he publishes as well. To be elevated to
professor which is a great honor, it is an acknowledgement of your unselfish friendship and
service to others. The rank cannot be earned by age or test: it has to be bestowed by others that
have come before.
16
Now the myth that I am dispelling
Many present ranking for black belt as follow:
ist through 3rd Degree Black Belts are:
Teachers
4th through 7th Degree Black Belts are:
Masters
8th Degrees Black Belts are:
Professors
oth Degrees Black Belts are:
Grand Master
10th Degrees Black Belts are:
Founders — Grand Masters
A more accurate depiction terminology is as follow:

ist through 3rd Degree Black Belts are:
Instructors that are assistance's to the teacher
(Masters) Teachers
(Grand Masters) Senior Teachers and Professors
10th Degree Black Belt is a honorary degree for a person that has or is the: Founder,
head of an organization, head of a family that created a martial art or who has dedicated their
life to the art and the preservation as well as teaching of that art.
It is my sincere hope that after reading this you do your own research, instead of looking
for statements that support what you already believe; study to understand truly, the rich
history of Martial Arts so that you can discover the path to enlightenment.
17
Story
A long time ago a student that was studying at one of the martial art Temple's was out in
the garden tending the flowers. At the center of the garden was a huge rock. Another student
that came into the garden began a conversation with the first in which he stated that the rock
was not in the garden, it only existed because he perceived it in his head, without his
perception the rock would not exist. As you may guess an argument in sued with one arguing
that it was in his head and the other stating that it was in the garden.
The teacher entered the garden and the student that had been arguing that the rock was
in his head asked the teacher to clear up the matter for the first who believed it was in the
garden.
The teacher simply said “If the rock was in your head, your head would be so heavy that
you could not pick it up”.
What we can learn from this story is that some times we get so caught up in our thinking
that was lose sight of the world around us. We lose sight of what is really important. Do not let
you're thinking create rocks in your head so that you cannot see anything else and your head
becomes so heavy you cannot pick it up.
18
What’s in the name?
Before we continue let’s take a look at the name Modern Arnis and why it is modern.
When Remy was young the Arnis players would have a competition for a goat or pig as the
prize. They would sign a paper that stated that if they were injured or killed during the
competition, the person that beat them would be held blameless. Many times people received
permanent injuries or even death.
Remy told me that when he was young being trained by his Grand Father; he was struck
on the hand causing him to drop the cane. His Grand Father kept hitting him saying pick up
your cane and stop me. The training was brutal and Remy started running away to avoid being
hit again. To continue the training his Grand Father dug a pit and placed him in it so he could
not run away. Remy learned to ignore the pain and pick up his cane to fight back. In Arnis you
did not hit the cane; the cane was revered as special or a holy item, it was used to defend your
life, you protect the cane because it protected you and you used it to strike the opponent. With
Modern Arnis the practice of striking the opponent during practice moved the strike to the
cane or blade for faster development of the student’s ability, with this Modern adoption the
injuries stopped and its sport culture took off, today Modern Arnis is found around the world
tracing its origin back to my teacher and friend.
The Filipino word Arnis means “to harness or control” as a student begins the practice
their first interest is in the control of others, as they progress their focus changes and they learn
to control themselves, much like when Remy had to ignore the pain and regain the cane the
student must let go of any emotional baggage that they carry with them so that they can control
themselves and the outcome of a confrontation whether it is physical or verbal.
When you are Modern Arnis you can influence the outcome, you become a strategist and
develop a winning strategy, if you choose to become only a Arnis player expect to win or lose.
Remy told me many stories how he was bullied by others in his youth so he would go to his
Grand Father for advice on how to defeat this individual who he viewed as more powerful than
himself, from his Grand Father’s experience and teaching Remy was able to take that
knowledge to develop a winning strategy and defeat the more powerful opponent.
19
Cardinal Rules and principles of Modern Arnis
There are three truths in life, my truth, your truth and the truth some times that are in
agreement, usually they are not. Remy’s truth for example was that he wanted to believe is that
by nature man is never violent unless of course there is some physical or mental problem
outside of reason that drives a violent behavior. Despite all the recorded history showing the
contrary, if man by nature was nonviolent then developing a set of ideals for personal growth
and self-defense would not be necessary and this training would have never developed.
Studies have shown that if you take a sampling of society of 100 people you will end up
with 5 people that handle situations with total non-violence, 5 people that handle situations to
lesser degree with non-violence, 80 people that are the norm of society which represents
Remy’s truth and on the other end 5 people that use violence to a lesser degree to protect or
attack society and 5 people that use violence to a greater degree to protect or attack society.
Depending on where you fall into these groups and or your exposure to them you will find your
truth.
The need for rules of conduct and personal development exist, the kind of martial artist
you develop into will be determined by how ingrained these rule become in your being.
In General Choi’s Tae Kwon Do we have: Courtesy, Integrity, Perseverance, Self-Control
and Indomitable Spirit.
In Professor Remy Presas’s Modern Arnis we have: Character, Sincerity, Discipline, Self-
Control, Etiquette and Student’s Loyalty. Although both martial arts developed in separate
parts of the world you can see that their founders drew a similar importance as to personal
need for development.
Modern Arnis —-——Tae Kwon Do

Character ——-————— Integrity
Sincerity —--—————— Integrity
Discipline —-——-———- Perseverance
Self- Control] —-——-- Self-Control
Etiquette —-———--—~—~ Courtesy
Student Loyalty —--- Indomitable Spirit
20
Character
In character we find that a student must be taught the moral or religious values of
everything, in the fact that Remy and I both became a Christian at a young age our character is
grounded in the Christian value found in the bible, it is an excellent book that teaches the
importance of having a relationship through prayer with God and our need to love our fellow
man. As you grow it is who you are on the inside that will mater and not how many trophies or
battles you have won.
Sincerity
When you can be trusted you have sincerity and are a true friend, in your life when you
are a true friend to others you will become a light that will illuminate the darkest night lifting
others to be better people both in Modern Arnis and in their lives as well.
Note: One of the greatest compliment’s that I have received was from a friend who was
truly a noble man, he said to me “Knowing you has caused me to become a better person” that
moment reinforced the importance of sincerity for me.
Discipline
Complying to the rules of the club as well as society creates real leadership the next
teacher in Modern Arnis must be a pillar of discipline that builds the same discipline in his
students, for we become the thread that holds and protects the fabric of society, a weak thread
breaks and the fabric tears as with society the disciplined person affects the outcome and keeps
values from breaking down.
Self-Control
It is extremely import that you learn to control your temper and not loose your head, the
Modern Arnis strikes can prove deadly, success only comes from within, and control of one’s
self is the path to being an honorable person.
Note: My truth is that when we have self-control we never choose to hurt anyone, we
simply choose not to be hurt or killed, and if it becomes necessary we do what is needed to keep
that from happening in the protection of ourselves and others; to stop the aggression.
21
Etiquette
by
In every society and culture you discover that each has a set of rules that they live
or are a
their etiquette, the student needs to learn what etiquette is in place where they travel to
guest. It has been said that when in Roman do as the Roman's do, if you cannot abide by the
etiquette of Rome then simply do not go to Rome. If possible learn the etiquette of the place
you wish to travel to beforehand so that you are received well with the same respect that you
show, by knowing the rules and following them.
Note: When my wife and I were preparing to go to Paris France, we were told that the
French do not like Americans and we would be treated ruddy once they discovered we were
from the United States. The comment was based on an experience they had on a visit to Paris. I
was also told to avoid letting the French know that we are Americans if possible.
Instead I went out and purchased a jacket the said “American” down the sleeve, in each
shop we entered we would smile and say in English as I do not speak French “Hello” we could
not have been treated any better. It turned out unlike the United States where we greet the
shopper entering the store in France the etiquette is for the shopper to greet the shop owner as
they enter his store, failing to do so tell the shop owner that you are rude and he will treat you
with the same rudeness.
Student Loyalty
Learning to be thankful for what is received is the first step to building Loyalty: we need
to do what is expected of us, not out of greed with a sincerity of purpose.
A true student develops into a real Modern Arnis artist and becomes a driving force
behind its development. Students lacking in character that come in and try to pick up a few
moves and then move on without developing a foundation is like the chaff before the wind, they
end up scattered in their thinking and actions becoming self-serving and lose their way.
Society will always seek out honorable men. Loyalty is the force that binds us together, in good
times and bad we rise in support of the group, family and friends, no matter how difficult the
situation we stand united and never count the cost.
Example: A military friend of mine who had seen much action, would never set in a restaurant
with his back to the restaurant his back always had to be to the wall so he could see what was
coming, one evening as we were being seated with our wives at the table his chair was going to
place his back to the restaurant, his wife spoke stating that this will not work my husband
has
to have his back to the wall, he then spoke up and said “It ok Bob has my back” after
we were
22
seated he told his wife that Bob is like me, if necessary he would lay down his life in my
defense
before he would allow harm to come to me as I would for him, he has my back. As.in the
Military Loyalty is a vital component in Martial Arts.
Belt Ranking System for Modern Arnis
The belt is tied at the waist with the knot worn to the right side by all with one exception,
a Teacher (Master) may wear the knot to the front center or side personal preference.
Notes:
When I ask Remy why the knot was worn to the side he said it was to get it out of the
way, he then struck the knot on the belt I was wearing and I got some insight how it could
affect the person wearing the belt, I moved the knot on my belt to the right side and never wore
it again at the center in his presents. My personal belief is that the knot being worn to the side
developed as a style derived from the Spanish or Chinese influence and there is some historical
evidence to support this, no matter, today as it has become a tradition for Modern Arnis dress,
to wear the knot to the right side.
Notes:
Professor Remy A. Presas is the father of Modern Arnis, he brought Modern Arnis
around the world, created the Modern Arnis Federation of the Philippines, wrote many books
and produced video tapes and instructed young and old alike. He dedicated his life to the
Martial Art that he loved and until his death worked every day sharing it with others.
When Remy first laid out a belt ranking system it was based on his earlier experiences.
There were three belts for lower students; white, brown and black. At first degree the belt was
rimmed in red and at each additional degree the red became a little wider covering the black
part of the belt. By Ninth and Tenth degree the belt became red. After Remy came to the United
States and we became friends, I explained the difficulty with his belt ranking system he and I
standardized the belt ranking system to what it is today. In his memory I reinstated the red belt
at 9th degree to honor him.
“Never tire of learning. Your life is important you should write down a plan for it, you
would not plan a trip to another state or country without a map, your life is much more import
than a trip so develop a plan for your life and write it down.”
Zo
Modern Arnis
Lakan Sampu 10th
Lakan Walo 8th Lakan Sityam 9th
Upper System
Lower System
7 Degrees
7 Steps
1. Yellow 7th - lakan pito

2. Green 6th - lakan anim
3. Blue 5th - lakan lima
4. Brown | 4th - lakan Apat
5. Brown 1 stripe 3 rd - Lakan Tatlo
6. Brown 2 stripe 2nd - Lakan Dalawa
7. Black 1 st - Lakan Isa
The Meaning of each belt — Lower System
0. White Belts
Students start out as white belts; beginning students all receive a white belt to signify
that they have to empty selfish desires and let go of the past acknowledging that they are now
ready to learn.
1. Yellow belt - To begin

Much like a seed is planted like an idea, when it is cultivated properly it will develop and
bring forth life from within. To begin we look inside ourselves to find true self-defense.
2. Green belt - To Grow

To grow we are like a green plant coming to life. From within the seed comes a sprout
pushing its way out and upward toward the light that is just above soil. Much in the same way
an idea takes shape from within us and pushes its way through the clutter that fills our mind.
Clear your mind so that your thoughts are pure and let the light from within you begin to shine
so that others may see it.
3. Blue belt - To Water

To water like all living things we learn to flow. Water is most powerful force on the
planet. It isalways moving and flowing: giving life or tearing down. The lesson that we can
learn from water is that it never stops. The underlying principle of Modern Arnis is; go with the
flow.
4. Brown belt - To Earth

To earth like all living things we ground ourselves. It is important that we build a solid
foundation and understanding, I have heard it said many times that practice makes perfect,
only perfect practice makes perfect what practice brings is a permanent behavior or technique
so it is important that we understand exactly what we need to do and practice the correct move
or technique.
25
5. Brown belt one stripe - To Earth
To earth like all living things we ground ourselves. A teacher works with the foundation
of the student; all people have a foundation containing things that are both good and bad. It is
important that the teacher identifies what the student needs to let go of, when the student is
ready this information can be presented to the student, only the student can let go. Once the
student let's go of the bad things in their foundation they must immediately fill in that opening
in their foundation with something that is good or the bad things will fill themselves back in
and the number of bad things will grow. The foundation is our character as well as our abilities
one cannot grow properly without the other.
6. Brown belt two stripes - To Earth

To earth like all living things we ground ourselves. A teacher works with the foundation
of the student; at this level the true student begins to realize the existence of the teacher, his
mind is becoming quiet and he sees the teacher in a new way. With respect for the teachings as
well as the teacher he gains respect for himself.
7. Black belt - To Die

We have chosen to close the door to what is our past letting go of what we were. By
letting go we have started a new journey and are born again. To die like all living things we die
to our self so that we can become all things. It is important to understand what it is to let go of
our insecurities, the self-criticism and the noise that clouds our mind and thinking. We must be
born again much like the seed that is planted dies and changes form to become the plant we
now die to our self, changing into a new being. If I fight I cannot die for I have already died I
simply do what is required giving my all, totally like a candle that burns brightly until it is
consumed by the light that it produces.
26
Meaning of each belt — Upper System
1. Lakan Isa 1st Dan Black Belt (The serious student)

The first degree is a serious student he has become a true pilgrim on a journey in search
for the inner power.
It has been said that a journey begins with a single step, your true journey begins today
and like mine before you, you will discover some of the same things that I discovered and some
things that are different. Our pilgrimage is never the same or to be repeated in the same
manner for each one of us are unique seeing the world differently and that is what makes us
individuals. It is my sincere hope that your journey, and pilgrimage makes as big a difference in
your life as the one that I have taken and am still on. Remember a journey is not a destination;
destinations are just stops along the way. Be careful not to lose your way or get caught up in
any one destination or its temptations.
2. Lakan Dalawa 2nd Dan Black Belt (Instructor)

The second degree is the instructor that begins to grow truly out of the lower students by
helping them discover what he has learned.
Besides practice and training under the direction of a teacher, helping the teacher as an
instructor helps you develop and understand what you think you understand. Most everyone
has heard the story of the elephant and the three blind men each touching a different part of
the elephant and each believing that they understood what an elephant was. There is a
difference in: what you believe it is, what you think it is and what it actually is. Had the three
blind men continued to study the elephant they all would have understood that the elephant
was much more instead they chose to argue over what they believed the elephant was. Jesus
put it this way; let those that have eyes see.
3. Lakan Tatlo 3rd Dan Black Belt (Advanced Instructor)

The third degree is in the perfecting of one’s self through the perfecting of others.
The third degree is the instructor that truly knows what it takes to make martial arts a
way of life, by helping others he has truly helped himself discover what he has learned and is
still learning. When you started this journey the room was full of people starting out with you,
they were excited about the journey and learning; and yet where are they? They simply lost
have,
their way, they might find it again but most think later in life: I wish I could have, should
2i
: “life is a
would have, they were more concerned with the destination and not the journey
journey and not a destination”.
4. Lakan Apat 4th Dan Black belt (Master Instructor) - Teacher
The fourth degree is when the black belt has truly learned to share all that he has
learned openly with his students.
The forth degree has become a teacher. Unless you can explain what you think you know
you cannot know it. I've heard it said many times that; those that can “do” and those that
cannot “teach”, nothing could be farther from the truth. Some people choose the excitement of
competition on the mat, while others choose to follow a quieter path perfecting themselves
each day going on to be teachers. Without teachers nothing can be passed on we should always
respect and honor our teachers.
5. Lakan Lima 5th Dan Black Belt
(One looking for a higher reality - Teacher)
The fifth degree is trying to discover what it is he knows. It is only through a continued
reexamination of ourselves that we begin to understand what we think we know.
The fifth degree has become an advanced teacher. Unless you continue to examine what
it is that you think you know you cannot truly be sure of what you know. Is it true or opinion, is
it fact or simply something that we choose to believe. Never tire of learning.
6. Lakan Anim 6th Dan Black Belt

(One who has found the first step or key to his understanding - Teacher)
The sixth degree black belt has achieved an understanding of what it is to know and how
to cultivate that knowledge.
The Sixth degree as an advanced teacher continue to grow through sharing, the Teacher
is recognized for the contribution and dedication to the Art.
7. Lakan Pito 7th Dan Black Belt

(Full or Complete - Grand Master — Senior Teacher)
The number 7 stands for complete, in Modern Arnis an instructor that achieves a 7th
degree black belt has dedicated his life to the development of others as well as the refinement
of themselves in mind, body and spirit.
The Seventh degree completes the second circle and begins the journey again,
when you combine the seven steps of the lower system and the seven
steps of the
upper system you form an infinity loop that is never ending.
28
The Eternal Triangle
8. Lakan Walo 8th Dan Black Belt
(Professor — Grand Master — Senior Teacher)
To be elevated to 8th degree black belt, a black belt must write a book preserving the
knowledge that has been learned for future generations.
9. Lakan Siyam 9th Dan Black Belt

(Professor — Grand Master — Senior Teacher)
To be elevated to 9th degree black belt, a black belt must write two books preserving the
knowledge that has been learned for future generations.
10. Lakan Sampu 10th Dan Black Belt

(Honorary)
(Professor — Grand Master — Teacher of Teachers)
The 10th degree is reserved as title for the founder of a Martial art, the head of a family
of a Martial art or the head of a Federation for the preservation and teaching of a Martial art.
29
It’s all about the time
When I started my study in Martial Arts I had no idea to the amount of time it really
took to become a Black Belt. Using the methods listed in this book a serious student can
achieve Black belt in about two years of training, through dedication they can achieve much
more.
In America everything is for sale you can go on the Internet, buy a black belt and put it
on or go to some of the sport clubs that abound and you will be guaranteed that you will be
tested and receive your belts.
Another popular method to gain high rank quickly is to take a vacation in another state
for example, pay to have a high rank certificate printed up and then travel back to the state you
are from and pretend to be something you are not.
There are people that are talented who suffer from low self-esteem and always will;
because they faked their rank.
If you want to be more, then it is about the time; let go of your selfish desires and empty
you mind, only then you will be able to achieve being a black belt.
A black belt is not what you wear it is what you are; the belt is only an outward sign of an
inward strength and ability.
30
Recap of time requirements and Ages:
Minimum time to become a 1st degree black belt — 2 years of training

Minimum age to become a 1st degree black belt — age 16
Minimum years between 1st and 2nd degree — 2 years of training
Minimum age to become a 2nd degree black belt — age 20
Minimum years between a 2nd and grd degree black belt - 3 years of training
Minimum age to become a 3rd degree black belt — age 23
Minimum years between a 3rd and 4th degree black belt — 4 years of training
Minimum age to become a 4th degree black belt — age 30
Minimum years between a 4th and 5th degree black belt — 5 years of training
-Minimum age to become a 5th degree black belt — age 35
You cannot become a 8, 9, or 10 degree black belt without publishing the knowledge you have
gained in print.
Comment:
To a young person that looks like a lot of time and commitment, at age 64; I can only tell you
that my journey was well worth the time spent. Having spent seven years training before
becoming a black belt much longer than it takes to become one today the perfecting of one’s
self has spilled over into everything that I have done in my life.
Do something with your time, do not waist a single minute of your life.
3
Story
When I was 20 a friend said to me that he should go to school to be a doctor, the

problem for him was it would take eight years of college and then another four years of clinical
training and in 12 years he would be 32; and that is a long time.
I looked at him and said “In 12 year you will be 32 the difference is you will not be a
doctor”, my friend was brilliant and abounded in talent, he simply failed to work with and use
the God given abilities that he had been blessed with. At age 32 he was not a Doctor, he lost his
way; do not lose yours.
Your life is important use your abilities to become the best person you can be.
The three sins that cause us to fail.
There are only three sins that destroy our relationship with God and our fellow man;
that keep us from developing into a noble well balanced person filled with character, skills and
ability. |
The sin of youth is passion we fail to control our own bodies and develop the wrong
relationships that fall apart.
The sin of middle age is greed, instead of working hard to earn what we need in our lives
we try to take short cuts, which destroys our inner person and we lose self, that “nice person”
we started out to be.
The sin of old age is power, we seek to have control over others instead of being a true
leader lifted by others to our position.
Will you develop inner strengths or give into the three sins and lose self?
32
Quotes by those that have come before
“If you get in a fight and you lose, you didn't get into a fight you got beat up. If you can
get in a fight and win then there is nothing to prove, so don't get into a fight.”
Honorable number one Master - Bruce Juchnik
“In life sometimes we must do what is considered bad to do what is good. It is bad to
hurt or kill someone, but sometimes we must in order to save our life or the life of someone we
love.”
(Grand Master) Professor Remy Amador Presas
“Please believe in God, respect the law, especially do not use any violence or break the
law for any reason and cooperate with all law officers. Live in peace and be happy. Thank you!”
(Grand Master) Teacher James M. Mitose
Koshoshorei Kempo, Karate
“Once I had a dream ... A vision — And to this I have dedicated my life to search out a
universal brotherhood where embittered political division does not exist. Only with the love of
Jesus Christ can we overcome division.”
(Grand Master) Teacher Eugene a. Humesky
Universal Tae Kwon Do Brotherhood (U.T.B.)
“Smile from the heart. In my life I am thankful that someone took time for me and cared
enough to give me life. I learned to love others and come to know my real self. My goal in life is
to do the same for others for now I am happy. I can smile at other people and them at me with
no fear but with love . . . so smile.”
Mister Gilbert C. McCann - Black belt Modern Arnis
“Speed is not part of the true way of strategy. Speed implies that things seem fast or slow
according to whether or not they are in rhythm. Whatever the way, the master of strategy does
not appear fast.”
Miyamoto Musashi
33
“May the soul of this art, be the art of your soul.”
(Grand Master) Professor Remy A. Presas
“What is real, to know yourself, what is life to know your art

(Master) Teacher Charlie Brooks
“You who have been given much, much is expected. At times it might not seem fair; life
is not fair it is just the way it is.”
(Engineer - brilliant mathematician
Teacher - General Motors)
Gilles Ross
“The kingdom of God is within you.”

Jesus Christ
“When I am your friend I will always have your back and if necessary lay down my life to
save yours, Robert DeMott is like me and can be totally trusted he always has my back.”
Dr. Ralph D. Black Jr. — 10th. Degree black belt
Bunbu Ichi Zendo Budeo / Bugei Remmei
3rd. (San Sei) Generation San Dai Sole
Founded in Shanghai China 1921
“If you are alone in the house and someone breaks in quickly take your loaded gun and
point it in the direction of the intruder and fire it one or two times and then say stop or I will
shoot”
Velma DeMott the wife of Professor Robert DeMott

(An exceptional woman, a force to be reckoned with)
“In your life there must be balance both hard and the soft, for me my butterfly garden is
my soft and my Goju is my hard, balance.”
Professor James Price 9th Degree Goju
34
The Principles of Modern Arnis
Today with the Internet and the ease of expressing opinion either right, wrong or
somewhere in between there seems to be some confusion as to what is and what is not Arnis.
Remy used three names interchangeably Kali, Eskrima, and Arnis De Mano he presented them
as one in the same. Remy’s favorite saying “It’s all the same”.
The conclusion that a student will come to understand is that in Modern Arnis the
weapon is merely the extension of the hand, with or without the weapon the movement is the
same in one’s defense.
There are three areas that students need to focus on and develop:
1. Techniques
2. Physical movement — Physical condition
3. Mental or Psychological development
It is import that the student develops in all three areas. Compare the three areas to a
three legged stool, shorten one leg and you can still set on the stool but it is not balanced, take
one leg away and you can set on the stool but it is wobbly and can become dangerous to the
user, take two legs away and it is even less stable and take all three legs away and you fail to
have a stool.
It is important to develop in all three areas so that you have balance and do
not become a danger to yourself or others.
35
Modern Arnis Equipment
Belts
In the beginning there were no belts only Arnis practitioners. The original belt system
adopted by Remy only used three belts, White, Brown and Black the belt ranking system was
patterned after Judo which Remy studied in his younger years.
Note: There is also a Red Belt for 9th and 10th degree; Remy’s original concept was the black
belt edges that became trimmed in red would widen at each degree until the black belt became
totally covered in red. The stripe for rank was not used.
After meeting me in the late 1970’s the belt system was updated to coincide with Tae
Kwon Do the art I was studying and teaching at the time, breaking down the training into
smaller groups of techniques made it easier for the students to understand and learn for their
promotions, although the ranking systems are similar there are differences: Lower System
(White, Yellow, Green, Blue, Red, Black belt without degree) Upper System (Black belt
Rimmed in Red ist through Black belt 7th Degree) Honorary Degrees (Black belt Rimmed in
Red 8th and 9th) and Founder (Black belt Rimmed in Red 10th) as you will notice unlike Tae
Kwon Do, the Modern Arnis black belt has its edge trimmed in Red, there is also a Black belt
without degree that is held for six months before testing for the 1st degree black belt. Along
with receiving each degree of black Belt Remy required the student to lie down and receive a
swat with the cane one strike for each degree. As stated in the personal note I do not follow this
practice.
The belt is tied at the waist, and the knot is worn to the right side by all with one
exception, a Master (Teacher) may wear the knot to the front center or side personal
preference.
36
Personal Note:
To my knowledge I am the only student that came up through the ranking system not to
receive the swats at each black belt rank that is until my last promotion, for some reason Remy
seamed troubled and insisted that he strike me.
I told him that if you really need this I will do it this one time. I laid on the floor he
struck me nine times, the first seven were hard, the problem was with the eighth and ninth they
were brutal, in pain I got up from the floor and with anger I told my friend I do not need your
certificate to be who I am. He smiled, signed a blank certificate and laid it on my desk and said
“When you are ready fill it you are promoted, I picked you”. He then left without saying
another word, it turned out to be the last time I saw or spoke with him before his death.
As with many others I was to be his successor to continue what he started. It took me a
long time to overcome my anger; we all have flaws in our personality that needs to be improved
on, I am grateful that Remy pointed out mine.
Clothing
Pants: Red Loose solid color
Shirt: White with Modern Arnis Logo
Jacket: Traditional Martial Art Top White with Modern Arnis or school Logo
You will find several other uniforms in various places around the world. When the
Professor traveled he adapted to his surrounding and ended up with different uniforms. He
tried several times to come with a standard uniform, but never pushed very hard for one. What
was most important to Remy was his art and spreading it to others.
37
Weapons
Most people exposed to Modern Arnis are familiar with the Arnis Cane it is 28 to 30
inches long made of rattan. For the most part all the canes I used were 28 inches in length. We
also use a variety of other weapons as well, short swords(bolo-Filipino knife similar to the
machete), butterfly knives, short canes(Used for Knife Practice), bo-staff and walking canes
with or without a hook at the top.
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38
Techniques - Warming - Understanding Terms - Experience
Techniques
We begin the study of techniques by looking at what we are defending and attacking, the
human body.
In Modern Arnis the body is divided into three areas; Left side, Right side and Center.
The Left side, Right side and Center cover the front and the back of the body. Although
there are some minor adjustments when attacking the back versus the front we will treat them
the same.
The body is divided into only 12 vital targets. Each target for the most part has a range
that is comprised of 3 points.
Striking any of the points will damage your opponent.
Warning
Striking these areas with great force will range from serious damage to being fatal. It is
important that the student takes this training very seriously due to the nature of what it is
capable of.

Besides understanding how the body is divided there is terminology that is explained
along with pictures so that the student can clearly understand what is required to execute
techniques properly.
Experience
At a seminar that Remy and I was teaching, one of the people was a Third Dan Black
Belt in Moo Duk Kwan Tang Soo Do, despite all of his experience he did not take the cane
seriously and during a blocking drill he failed to brace the cane properly as he perceived the
strike of the person he was practicing with as no threat.
The force of the strike drove his cane backward and the tip of his own cane struck
directly under his nose and he was rendered unconscious, it also caused his lip and gum to
bleed slightly. Within a minute he regained consciousness and at first was filled with both fear
and confusion finding him-self bleeding and on the floor.
After he regained his composure he admitted that his attitude had not been right and
that he had underestimated what Modern Arnis was capable of.
Your attitude is essential to your safety and the safety of your fellow students, it will
affect every aspect of your training so please take this seriously, in all the years of training this
is the only injury I have witnessed because I have made it a point to over emphasize this danger
39
to all that I have taught.
In Modern Arnis the body is divided into 3 areas;
Left side, Right side and Center
Center
Right Side “@jieell a ere Side
42
Targets
On the left side — Strikes 1,3,9
1-Left temple, right ear, left side of neck
3-Left Shoulder, left elbow, left wrist
9-Left knee, left thigh, left calf
On the Right side — Strikes 2, 4, 8

2-Right temple, right ear, right side of neck
4-Right Shoulder, right elbow, right wrist

8-Right knee, right thigh, right calf
Center Strikes 5, 6, 7, 10, 11, 12

5 - Stomach, lower abdomen, groin and testicles
6 - Left chest, left side below last rib, left side of solar plexus
7- Right chest, right side below last rib, right side of solar plexus
10 - Left eye, left forehead above eye, left side of face
11- Right eye, right forehead above eye, right side of face
12 - Crown of head, nose, mouth or chin, Adam’s apple
Note:
There are 12 striking points for the front and back.
When striking the back 5, 6, 7, 10 and 11 are different;
5 is the back of the neck,
6-7 are the kidney area

10-11 are the top of the shoulders.
43
Target Chart- Left
Left Side
No. 1 Left Temple
No. 3 Left Elbow
No. 9 Left Knee
44
Target Chart- Right
Right Side
No. 2 Right Temple
No. 4 Right Elbow
45
Target Chart- Center
Center No. 12
Crown of Head
No. 11
Right Eye
No.7
Right Chest “No. 6
Left Chest
No. 5
Stomach
46
Body Charts
Body Chart Front
12.
Primary Targets Primary Targets

Right Side Strike Left Side Strike
2A 4A 8A 1A 3A 9A
Strikes 1-12
1A. Left Temple Primary Targets Center
2.A Right Temple Strike 12
Thrust 11A, 10A,
3A. Left Elbow
9A. 7A, 6A, 5A
4A. Right Elbow
5A. Stomach
6A. Left Chest
7A. Right Chest
SA. Right Knee
Front Facing
9A. Left Knee :
10A. Left Eye Attack Points
11A. Right Eye yand Range points
12A. Crown of Head
48
Body Chart Back
12.
Primary Targets Primary Targets

Left Side Strike Right Side Strike
2A 4A 8A 1A 3A 9A
Strikes 1-12 Primary Targets

Center Strike 12, 11, 10
1A. Right Temple Thrust 7, 6,5
2A. Left Temple
3A. Right Elbow 8sA
4A. Left Elbow
5A. back of Neck
6A. Right Kidney 8c. -9C
7A. Left Kidney Back Facing
8A. Left Knee Attack Points
9A. Right Knee
and Range points
10. Right Shoulder
11. Left Shoulder
12. Back of Head
Front
Strike No. 1
A-Left temple internal hemorrhage of the brain
or skull fracture. It may be fatal.
b—Left ear extreme Pain, Internal hemorrhage of the brain or
skull fracture. It may be fatal.
c — Left side of neck extreme pain, could be fatal
Strike No. 2
A — Right temple - same as No. 1
b — Right ear - same as No. 1
c — Right side of neck - same as No. 1
Strike No. 3
A-Leftelbow - brake or cripple with numbing pain
b — Left shoulder - brake or cripple with numbing pain
c — Left wrist - brake or cripple with numbing pain
Strike No. 4 A — Right elbow - same as No. 3

b — Right shoulder - same as No. 3
c— Right wrist -sameas No. 3
Strike No. 5
A — Stomach - numbing pain, internal hemorrhage
5 b — Solar Plexus - extreme pain, could be fatal
5 c — Lower abdomen - extreme paralyzing pain to permanent
damage, could be fatal
5 d — Groin and Testicles - extreme paralyzing pain to
permanent damage, could be fatal
50
Strike No. 6
A — Left chest - could be fatal
6 b — Left side - extreme pain to breaking of this floating rib below last rib
Strike No. 7
A — Right chest - same as No. 6
7 b — Right side below last rib - same as No. 6
Strike No. 8
A-—Right knee - fracture, dislocation to cripple
8 b — Right thigh - pain, numbing to fracture, temporary loss of motor skills
8 c — Right shin - pain, numbing to fracture, temporary loss of motor skills
Strike No. 9
A — Left knee - same as No. 8
9b-Leftthigh -sameas No. 8
9 c — Left shin - same as No. 8
Strike No. 10
A — Left eye from serious damage to blindness of the eye
10 b — Adam’s apple - could be fatal
10 c — Nose - extreme pain to a broken nose
Strike No. 11
A — Right eye - same as No. 10
11 b — Adam’s apple - same as No. 10
11 c — Nose - same as No. 10
Strike No. 12 — Crown of head - from fracture to fatal
51
Back
Strike No. 1
A-Righttemple internal hemorrhage of the brain or skull fracture. It may be fatal.
1b-—Rightear extreme Pain, Internal hemorrhage of the brain or skull fracture. It may be
fatal.
1c — Right side of neck extreme pain, could be fatal
Strike No. 2
A — Left temple - same as No. 1
2 b — Left ear- same as No. 1
2 c— Left side of neck - same as No. 1
Strike No. 3
A — Right elbow - brake or cripple with numbing pain
3 b — Right shoulder - brake or cripple with numbing pain
3 c — Right wrist - brake or cripple with numbing pain
Strike No. 4
A — Left elbow - same as No. 3
4b - Left shoulder - same as No. 3
4 c — Left wrist - same as No. 3
Strike No.5 — Back of Neck - numbing pain, internal Hemorrhage, could be fatal
Strike No. 6 — Right kidney - extreme pain, internal damages could be fatal
Strike No. 7 — Left kidney - same as No. 6
Strike No. 8
A — Left knee - fracture, dislocation to cripple
8 b — Left thigh - pain, numbing to fracture, temporary loss of motor skills
8 c — Left shin - pain, numbing to fracture, temporary loss of motor skills
52
Strike No. 9
A-— Right knee -sameas No. 8
9 b — Right thigh - same as No. 8
9 c — Right shin - same as No. 8
Strike No. 10 — Right Shoulder - extreme pain, temporary loss of motor skills to fracture
Strike No. 11 — Left Shoulder - extreme pain, temporary loss of motor skills to fracture
Strike No. 12 — Crown of head - from fracture to fatal
53
CW CCW
Clockwise — Counter Clockwise

1. Clockwise — Counter Clockwise circular movement; is determined as if you were
standing on the face of a clock, for the most part this is the main reference.
2. For hand and arm circular movement Clockwise and Counter Clockwise is determined
as you were facing a clock.
Front Facing CW - CCW
a Behe
Wy
Right Side CW - CCW Left Side cw - CCW
Body Turning CW - CCW
54
Inward - Outward
Inward - Outward
1. Inward - Is determined by the (left) checking hand moving toward your center and not
the cane.
2. Outward - Is determined by the (left) checking hand moving outside the body away
from the center and not the cane.
Note: Remy was left handed and he determined the movement based on the left hand
and not the right despite that fact that the cane is in the right hand. Throughout this book his
definition will be applied.
Inward Outward
55
Gripping the cane, striking, checking and courtesy
.
Before we cover these items we need to establish some fundamentals in our thinking
1. Hands are independent
2. Feet are dependent
To walk, run or jump we use one leg and foot to propel the other, although one side of
the body is dominant and will development more power, both can develop power.
Hands and arms are independent; I can use my right hand for example without the
support of the left. Eliminating or minimizing this independent usage of the hands and arms is
a key element to development of Modern Arnis, striking for example with the right while
checking with the left both hands working together leads to a winning outcome overcoming the
opponent who fails to do the same.
Gripping
When you grip the cane one inch of the can should extend below the hand. The cane is
gripped with all four fingers with the thumb wrapped over the top of the first finger locking the
cane with the first finger and thumb. Removal of the cane from the hand should leave the hand
in a proper fist for punching.
Remember the weapon is an extension of the hand. When a strike is delivered the cane
is squeezed with the last three fingers forming a tighter grip and a snapping action at the
moment of impact creating more force, much like the cracking of a whip causing a faster
acceleration of the movement for impact the power or force is transferred to the strike’s impact,
during this split second of impact the rigid grip causes the cane to become one with the body so
that the mass of the body is transferred through the cane into the impact a loose grip with a
relaxed wrist can cause the force back into your hand causing you pain, loss of the cane or
weapon accrues from a loose grip.
Practicing the grip of the cane is the most over looked item in Modern Arnis and yet it is
the one item that determines how powerful your defense and strike will become. Focus on
developing a proper grip, it is the foundation on which you will build other techniques, a weak
development of the grip will give way to an opportunity for your opponent, a weakness in your
defense at this level could spell disaster should the opponent spot the weakness and choose to
exploit it. The serious student must develop hand strength.
56
Note: Remy was always exercising his grip to build hand strength, whether riding in a
car or setting in the house talking, he would always have a piece of paper wadded up squeezing
it working his fingers to improve his hand strength, switching back and forth from left to right
hand working one at a time. To toughen the skin of the hand we used brown sand in a bucket.
We added water to the sand so that it was just a little wet and sticky, over and over we would
take a hand full of sand and squeeze it losing a little amount of the sand back into the bucket so
that with each squeeze the hand was worked differently. After an hour of working the wet sand
we let it dry on our skin before washing our hands. By this practice the palms of the hand
develops a thick callus and the grip when applied to others feels like they have been squeezed in
a vice. Using the paper wadded up is more convent for practicing and strengthening your grip,
however a serious student must use the sand for proper callus development.
57
Striking
The cane has two ends we strike with both.
When the distance is closed and you are too close to use the power end of the cane that
one inch sticking out of the bottom of your hand becomes highly effective and useful.
A single cane used primarily in the right hand can be move to the left hand when
needed. It is natural to be either right or left handed one side is always dominant, because of
this we have a primary and a secondary hand that we use.
In Martial Arts we train to become proficient with both hands and feet and to some
degree everyone does. In Modern Arnis each hand takes on a different function the left in
support of the right, all though their rolls can be reversed it is not a mirrored practice in every
technique, left against right does not work the same as right against right.
Trying to make the left and right exactly the same only leads to confusion. We have two
hands that need to be used together each having their own responsibility, in support of each
other, working together.
1. Prepair
2. Elbow Strike
3. Prepair
4. Elbow Strike
58
Checking
The left hand is used to assist the weapon hand and is used for protecting the weapon
from being grabbed or taken by the opponent.
If you move the cane to the left hand the roles that each hand plays reverse somewhat
but not exactly, due to the student being right or left handed. Remy was left handed and so his
use of his checking hand was more powerful than the right, he could also change hands quickly
reversing the roles that each hand played; even in the middle of a defensive movement.
Being left hand dominant I understand this all too well, students need to improve the
dexterity of their weak side so that it can support the dominant side properly. When checking is
done well it acts as a complement to the striking hand and supports the success of your
defense.
Note:
The checking hand may not always be empty, it may hold another cane as in two cane
fighting, a short cane or dagger as in; “Espada — y — Daga the sword and the dagger” it is still
used for checking with the check extended from the hand on to the weapon. In it’s use for
checking it can also move from checking to attack as well.
59
Courtesy
At the beginning and ending of a class as well as training or sparing with a fellow
student we show a courtesy or respect. We salute the teacher or our opponent before we begin
to say thank you and after we are done we finish with the thank you salute. In the martial arts
learning respect and gratitude for what we receive is essential for building the character needed
to possess such skills, building a student’s skill without developing proper respect has proven
to be self-destructive as well as a danger to others, the world does not need another bully we
have enough to go around already.
When the students line up or face their opponent they stand at a ready position with feet
shoulder width apart holding the cane with both hands placed at each end of the cane. When
instructor give the command “salute” the right foot is brought to the left while releasing the
cane with the left hand and placing it over the heart while moving the cane to the right side
extending the right arm and pointing the cane straight up and then returning to the original
position returning the right foot and left hand to their starting position. When you perform this
courtesy you are saying “my heart is with you”.
60
1. Ready position
2. Salute
Courtesy
3. Ready position
61
Rest
When the student is at rest during class while the instructor is speaking the cane is
placed between the left arm and the body wrapping the left around the cane and the left hand
up and over the right wrist locking the cane from use, showing that “I mean you no harm”.
62
Rest modified — Always ready to fight
When the student is at rest during class while the instructor is speaking the cane is
placed between the left arm and the body with the left hand and arm over the cane to hide the
cane partially from view the cane and checking hand can move quickly to defend or attack from
this position, it is to show that “I mean you no harm, but I am always ready to fight”.
63
Stances — 10
It has been said that you have to stand for something or you will fall for anything. One
needs to take a stand.
Stand and stance are not the same thing, any student that spares will be instructed to
come to attention, bow or solute the person controlling the match and then bow or solute the
person he is sparing. They will then be told to take fighting stance and then fight. A better
explanation would be “get ready” and “begin”.
Stance and the study is about how to form our feet position at the moment of impact
when we block or strike, at that moment we form a solid foundation to support our action or
reaction, proper stance keep us from losing our balance. Much like a dancer we move from
stance to stance during the skirmish, proper stance helps to maximize the force generated.
If you fail to move you will lose and if you have a weak or improper stance you will not
generate the power that you are capable of.
Consider the fact we are constantly falling down, it is our constant shifting of balance
that keeps that from happening. Stance is the foundation that all movement builds on, the
serious student will continue to practice stance the rest of their life in order to be able to move
properly.
Think about a dancer, all they are really doing is walking from place to place ina
graceful manor and each step becomes important that makes up the dance. So it is with stance ?
we need to lean to move gracefully so that each step becomes a proper stance as needed.
64
1. Attention stance
Stand with feet close together, the cane should be in front of the body parallel to the
ground with the left hand open and on top of the cane.
65
1-a. Attention stance solute
The right arm is extended to the right parallel to the ground cane pointed up while
bringing the left hand to checking position.
66
2. Ready Stance(Open-leg)
Stand with legs spread apart about shoulder width the toes pointing slightly outward.
67
3. Forward Stance (Walking) — Front view / Side view
Stepping out right foot, move leg forward about twice the distance of the width of your
shoulders with the foot landing so that the feet are just outside the width of the shoulders about
30° to the side and bend your front leg at the knee so that the front of the knee is just behind
the center of the foot. The rear leg is extended fully with the rear foot turned out slightly. Both
feet rest flat on the ground.
68
4. Side Facing Stance (Back) — Front View / Side View
Stand with the rear foot toes pointing outward and the front foot toes pointing forward
so that the feet form a L-shape. The rear knee should be bent with 70% of the bodyweight being
supported under rear leg. If you were to draw a line along the edge of the front foot backward
you would find that the rear foot's heel is just outside that line and that the toes of the rear foot
are pointing slightly forward. Remember this stance is L-shaped it is not a perfect “L”.
69
5. Straddle-leg Stance (Ridding) - Front View / Side View
Spread the legs about twice the width of the shoulders and bend the knees, pointing the
toes slightly outward with weight evenly distributed on both legs and feet. The back should be
erect and your body should look somewhat like a person that was setting on a horse.
70
6. Rear-leg Stance (Cat) — Front View / Side View
Stand with the rear foot toes pointing outward and the front foot toes pointing forward
the ball the front foot should be placed on the ground with its heel raised. The knee of the front
leg should be bent and the knee of the rear leg should be straight. Keep 90% of the weight on
the rear leg.
71
7. Bent-leg Stance — Front View / Side View
Stand on one foot toes pointing outward and the other foot toes pointing forward the
ball the front foot placed on the ground with its heel raised and the knee bent. Keep 60% of the
weight on the straight leg. This stance gives the user a half step advantage for body shifting,
using gravity for power in a strike or kicking.
12
8. Oblique Forward Stance Right
Move right leg forward on a 45 degree angle from center the stepping of this stance is
the same as forward stance, but the movement is on the angle and the facing of the upper body
is back towards the center line as you form the 45 degree angle.
Note: The oblique stance was Remy’s favorite stance and he used it effectively to close
the distance while stepping out of the direct line of the opponent’s attack.
73
9. Oblique Forward Stance Left
Move left leg forward on a 45 degree angle from center the stepping of this stance is the
same as forward stance, but the movement is on the angle and the facing of the upper body is
back towards the center line as you form the 45 degree angle.
Note: The oblique stance was Remy’s favorite stance and he used it effectively to close
the distance while stepping out of the direct line of the opponent’s attack.
Stepping to the left changes the out come compared to the right, depending on Remy’s
second thought the cane would jump from his right hand to the left which gave him an
advantage and confused his opponent. After the quick exchange he returned the cane back to
the right hand instantly . Many times the opponent never realized that the cane had changed
from one hand to the other.
74
10. X-stance — Front View / Side View
Step one foot across in front of the other leg or behind the other leg to form a “X” with
the legs. This is a transitional stance and is used mainly to set up the next step for the delivery
of a kick, punch or strike with the cane.
15
Movements
Movements - 12
There are 12 movements that could be all separate fighting styles. The problem with
entertaining that type of thinking is that each movement has a strength and a weakness. Think
of it in the terms of the game “paper, scissors, rock” paper covers rock, scissors cuts paper and
rock breaks scissors. This game from my youth taught nothing works all the time and if you
guessed wrong the person playing the game with you got to slap your wrist with two fingers. It
did not take long to get the point.
In Modern Arnis it is not about guessing it is about reacting to a movement with the
proper response so you are not injured or killed. Modern Arnis was developed to minimize the
Art and not a sport, even
danger of injury during training, it is however a Martial
though it is presented as such, training is deadly serious because of the weapons involved.
Arnis in it’s original form was primitive and brutal. Remy told stories of how the people
in the Philippines would complete for a goat or a pig where the combatants would sign a paper
holding their competitor blameless should they be injured or killed. The practice was so brutal
_ that the government had to ban the competitions.
Today Modern Arnis has reduced the danger in training and has become the national
sport of the Philippines, because of the modern approach to the art. Just because it is presented
as a sport the student should never allow themselves to be lulled into a false sense of security.
77
1. Fan Short (Abaniquo Corto)
A style of striking in which the cane moves in a fanning fashion this is characterized by
the twisting of the wrist from left to right or right to left with the cane moving back and forth
quickly. There are two types of fan strikes; fan short (abaniquo corto) and fan long (abaniquo
largo).
2 Block or Strike
78
1-a. Fan long (Abaniquo Largo)
2 Block or Strike
19
9, Horizontal side to side (Banda-y-banda)
A style of striking in which the cane moves horizontally in front of the body with the tip
of the cane pointing forward, the movement to the left from the right is characterized by wrist
twisting, bringing the palm facing upward as cane passes across in front of the body. At the end
of the travel the wrist is twisted, bringing the palm facing downward and moving the cane back
across the body from left to right. This movement moves rapidly side to side, across the body.
Both Hands
Toward Center
Palm Up
80
2-a. Horizontal side to side (Banda-y-banda)
lee
Second Movent
Both Hands
Away From Center
Palm Down
81
3. Up and Down With Wrist Twisting - UP (Rumpeda)
Up and down with wrist twisting (Rumpeda) is a style of striking in which the cane
moves up and down vertically across the body. This is a repeated motion is characterized by the
twisting of the wrist. As the cane is raised the tip of the cane points slightly down and the wrist
twists clockwise moving the palm of the hand facing outward to the left, when the cane reaches
the end of its stroke the wrist is twisted counter clockwise pointing the cane upward while
bringing the cane striking downward.
Up
as
Hand
Checks
Down
82
3-a. Up and Down With Wrist Twisting - DOWN (Rumpeda)
Note: On the next up and down motion of the pattern reverses the wrist on the up strike
the wrist is twisted counter clockwise on the up stroke with the tip of the cane pointing slightly
downward and inward, when the cane reaches the end of its stroke the wrist is twisted
clockwise pointing the tip of the cane upward while striking downward.
Cane
Strikes
Down
83
4. Vertical Up and down
The vertical up and down is a style of striking in which the cane moves up and down
vertically across the body. This method of striking is similar to Rumpeda, where it differs is
that the cane always point s up with the wrist holding position. On the upward motion the
strike is with the tip of the cane and with the downward motion the strike is with the body of
the cane.
Note: This is a very fast charging style of striking, Remy used the vertical Up and Down
to win matches that he played in his youth. His opponent was simply not ready for this
straightforward attack as most of the styles of striking are so circular in motion, Remy
explained that when the Spanish came and concurred the Philippines many of the sword
movements that they used were based on a straightforward attack which the Filipino people
had not seen before and they were over run and many died because of the linear attack motion.
The vertical up and down was quickly adopted and became part of the movements used in
Arnis and then Modern Arnis. It can be countered like all movements unless you do not
understand it. It is a very important movement to practice and then practice countering do not
under estimate the directness of this simple movement.
84
4. Vertical Up and down
5. Figure-8
The figure-8 is used for striking on a diagonal upward strike. Starting on the right side
with the cane pointing down and out to the right, the right hand is palm up with the cane
moving on a diagonal crossing in front of the body from low to high, as the cane finishes its
stroke on the diagonal to the left side the cane is moved in a circular counterclockwise motion
down to the left so that the cane ends pointing out to the left and the right hand is twisted so
that the palm of the right-hand is now facing down.
Continue moving from the left side with the cane pointing down and out to the left, the
right hand is palm down with the cane moving on a diagonal crossing in front of the body from
low to high, as the cane finishes its stroke on the diagonal to the right side the cane is moved in
a circular clockwise motion down to the right so that the cane ends pointing out to the right
and the right hand is twisted so that the palm of the right-hand is now facing up. This
completes the figure-8 motion.
Each time the cane passes in front of the body the right-hand is pulling it upward on the
diagonal in a slicing motion for the strike.
86
5. Figure-8
87
6. Reverse figure-8
The reverse figure-8 is used for striking on a diagonal downward strike. Starting on the
right side with the cane pointing out and out to the right, the right hand is palm up with the
cane moving on a diagonal crossing in front of the body from high to low, as the cane finishes
its stroke on the diagonal to the left side the cane is moved in a circular clockwise motion up to
the left so that the cane ends pointing out to the left and the right hand is twisted so that the
palm of the right-hand is now facing down.
Continue moving from the left side with the cane pointing up and out to the left, the
right hand is palm down with the cane moving on a diagonal crossing in front of the body from
high to low, as the cane finishes its stroke on the diagonal to the right side the cane is moved in
a circular counterclockwise motion up to the right so that the cane ends pointing out to the
right and the right hand is twisted so that the palm of the right-hand is now facing up. This
completes the reverse figure-8 motion.
Each time the cane passes in front of the body the right-hand is pulling it downward on
the diagonal in a slicing motion for the strike.
88
6. Reverse figure-8
89
Single weaving
7. Single weaving (sinawali) one cane
Single weaving (sinawali) is a weaving striking pattern. It is based on a two count-
system of four strikes which can be performed with either one or two cane.
One cane - move the left-hand to checking position at the center of the body, while at the
same time move the right-hand with the cane back and up to the right to prepare for the strike,
strike Number 1 and then withdraw the cane over the left shoulder and strike down Number 8,
this completes the first half of the “one two” motion
Continue, move the cane back and up to the left and strike Number 2 and then withdraw
the cane over the right shoulder and strike down Number 9, this completes the second half of
the “one two” motion. From this point on the pattern is repeated.
The Single weaving (sinawali) should be practiced switching the cane from the right
hand to the left, with the first two strikes with the right hand and then passing the cane to the
left hand and striking the next two strikes. Passing the cane back and forth while striking helps
develop the ability of catching the cane in the air should it come out the hand it is being held in,
’ by your opponent or you.
The single weaving (sinawali) should be practiced with empty hand as well.
91
Single Sinawali - One Cane

1. OF 4. Strike
Left Temple
No.1 Strike
92
2.0£ 4. Strike
Right Knee
No.8 Strike
93
3. of 4. Strike
Right Temple
No, 2 Strike
94
4. of 4. Strike
Left Knee
No. 9 Strike |
95
Single weaving
8. Single weaving (sinawali) two canes
Two canes - holding a cane in both hands move with the cane in the left-hand so that it
is pointing slightly out and down, at the same time move the cane in the right-hand back and
up to the right to prepare for the strike, strike Number 1 and then withdraw the cane over the
left shoulder and strike down Number 8, this completes the first half of the “one two” motion.
Continue and move the cane in the right-hand so that is pointing slightly out and down,
at the same time move the cane in the left-hand back and up to the left to prepare for the strike,
strike Number 2 and then withdraw the cane over the right shoulder and strike down Number
9, this completes the second half of the “one two” motion. From this point on the pattern is
repeated.
97
Single Sinawali - Two Canes
1. of 4. Strike
Left Temple
No. 1 Strike
2. of 4. Strike
Right Knee
No. 8 Strike
99
3. of 4. Strike
Right Temple
No. 2 Strike
100
4. of 4. Strike
Left Knee
No. 9 Strike
101
Double strike
9. Two cane double strike
Two cane double strike - holding a cane in both hands move the canes back and up to
the right to prepare for the strike, moving both hands strike Number 1 with the left hand cane
and Number 3 with the right cane and then withdraw the canes up over the left shoulder and
strike down Number 8 with the left hand cane and Number 4 with the right hand cane, this
completes the first half of the “one two” motion.
Continue and move the canes to the left and up over the left shoulder and strike Number
3 with the left hand cane and Number 2 with the right hand cane and then withdraw the canes
up over the right shoulder and strike down Number 3 with the left hand cane and Number 9
with the right hand cane, this completes the second half of the “one two” motion.
From this point the pattern is repeated.
103
Two Cane Double Strike
a
1 of 4 Strikes
No. 1 Strike
Left Hand Cane
No. 3 Strike
Right Hand Cane
104
fe
2 of 4 Strikes
No. 8 Strike
Left Hand Cane
No. 4 Strike
Right Hand Cane
105
‘wa
3 of 4 Strikes
No. 4 Strike
Left Hand Cane
No. 2 Strike
Right Hand Cane
4 of 4 Strikes
No. 3 Strike
Left Hand Cane
No. 9 Strike
Right Hand Cane
107
~ Double
Weaving
10. Double weaving (sinawali) two canes
A weaving striking pattern based on a three count system.
Two canes - The starting position is right over left on the right side of the body. Strike
Number 1 with the right-hand cane, strike down Number 9 with the left-hand cane while
moving the right-hand up and back over the left shoulder, strike Number 2 with the right-hand
cane, while moving the left-hand up and back, and then move the right-hand so that the
position is left over right on the left side of the body. This completes the first half of the three
count system.
Strike Number 2 with the left-hand cane, strike down Number 8 with the right-hand
cane, while moving the left-hand up and back over the right shoulder, strike Number 1 with the
left-hand cane while moving the right-hand up and back to the right and then the left-hand so
that the second half completes right over left.
From this point on the pattern repeats, the count is one two three, one two three. The
pattern is right left right, left right left for six strikes and then repeat.
One cane in right hand - The pattern using one cane is identical to the two cane pattern.
The cane is held in the right-hand and the left-hand is empty. Strikes are made one - with the
cane, two - with the left-hand and three - with the cane for the first half. The second half
reverses the strikes, one - with the left-hand, two - with the cane and three - with the left-hand.
One cane in left hand - This pattern is performed with the cane in the left-hand and the
right-hand empty as above.
No canes empty hands - Same as above without canes.
It is important to practice all four methods to develop movement and use of hand with
and without the cane.
109
Double Sinawali
1. of 6. Strikes
Left Temple
No.1 Strike
110
Double Sinawali
2. of 6. Strikes
Left Knee
No.9 Strike
114
Double Sinawali
3. of 6. Strikes
Right Temple
No.2 Strike
Double Sinawali
4. of 6. Strikes
Right Temple
No.2 Strike
113
Double Sinawali
5. of 6. Strikes
Right Knee
No.8 Strike
114
Double Sinawali
6. of 6. Strikes
Left Temple
No.1 Strike
115
Reverse
Weaving
11. Reverse weaving (sinawali) two canes
A weaving striking pattern based on a three count system with all strikes low.
Two canes - Start with each cane pointing up with the arms extend out to the sides.
Strike down Number 9 with the right-hand cane, while moving the left-hand cane to the right
shoulder, strike down Number 9 with the left-hand cane while moving the right-hand cane to
the left side, strike down Number 8 with the right-hand cane, while moving the left-hand cane
back to its starting position. This completes the first half of the "one two three" motion.
Strike down Number 8 with left-hand cane on moving the right-hand cane to the left
shoulder, strike down Number 8 with the right-hand cane, while moving the left-hand cane to
the right shoulder, strike down Number 9 with left-hand cane, while moving the right-hand
cane back to the starting position.
From this point on the pattern repeats, the count is one two three, one two three. The
pattern is right left right, left right left.
One Cane - The pattern using one cane is identical to the two cane pattern. The cane is
held in the right-hand and the left-hand is empty. Strikes are made one - with the cane, two -
with the left-hand and three - with the cane four the first half. The second half reverses the
strikes, one - with the left-hand, two - with the cane and three - with the left-hand.
Empty hand - This pattern can also be performed with the cane in the left-hand and the
right-hand empty.
Tim
Reverse Sinawali - Two Canes

f
ea
% f
‘ *
“
j
bt
jFa
1. of 6. Strikes
Left Knee
No. 9 Strike
118
2. of 6. Strikes
Left Knee
No. 9 Strike
4419
3. of 6. Strikes
Rigth Knee
No. 8 Strike
120
4. of 6. Strikes
Right Knee
No. 8 Strike
121
5. of 6. Strikes
Right Knee
No. 8 Strike
122
6. of 6. Strikes
Left Knee
No. 9 Strike
123
12. X - Movement (Redonda)
The X-movement (Redonda) is a series of three strikes in a pattern where the arms form
a X at the center of the body.
With two canes start out with the right over the left placing both canes on the right side,
the sequence is as follows: 1- you strike from the right side with the right cane, 2-you strike
from the right side of the left cane as a right cane continues to left shoulder and 3-you strike
from the left side with the right cane.
The canes continue to left over right with both canes on the left side in the sequence
reversing as follows: 1- you strike from the left side with the left cane, 2-you strike from the left
side of the right cane as a left cane continues to right shoulder and 3-you strike from the right
side with the left cane.
This striking pattern should be practiced empty hand as well with or without a partner.
Note: this pattern follows a rhythm with the one-stroke harder or more dominant than
two and three much like dancing a waltz follows a: one two three pattern.
124
Redonda or “X” Movement
Start
Right over
Left
125
, §trikel
: Right Cane
126
127
Redonda ¢ x” Move
Strike 3
Right Cane
128
| Strike 4
| Left Cane
129
130
a
a.
131
Blocking
Story
There was a young man that lived in a small village, his father was a great sword fighter
and one day he said “Father you are the greatest swordsman alive today and I want you to teach
me so I can become the best just like you”. His father told him that although he was good there
lived an old man up in the mountains that had trained him in his youth and he was the best, so
with his fathers blessing he set off to find the old man.
After several days he came to the mountains and found the small path just as his father
described. He traveled up the path until he finally came to a small hut were an old man was
setting taking a nap. Old man he cried out I am from the village down in the valley and my
father was your student, he said you trained him to be a great swordsman and I want to be
great in fact I want to be the greatest swordsman in the world. The old man waking and hearing
the young mans statement simply said go away, your father was a man of discipline and respect
which I see you lack, so just go away. The young man pleaded please train men I will do
whatever you say. Finally the old man said I will train you, providing you do everything I say
and it will only take 25 years, no cried the young man can you train me in less time, well I could
possibly train you in 15 years, no cried the young man that is still too long. The old man said ok
I can train you in seven years, but you must give me your word that you will do everything I say
without complaint, the young man agreed, so the old said go cut some fire wood and went back
to sleep.
For the next year the young man did nothing but work, cutting fire wood, fixing the hut,
cooking, finding food for himself and the old man and cleaning. One day as he was cleaning the
cooking pot feeling sorry for himself for making such a bad agreement thinking he was never
going to learn anything: the old man came out of nowhere and struck him on the head with a
stick saying, you must be ready at all times and you must learn how to block, it is not as
important to strike as it is not to be struck, if an attacker cannot strike you then you cannot lose
and you are the greatest. From that moment on the old teacher was constantly attacking the
young man day and night even in his sleep and over the next six years his skill at blocking
improved to where no mater how the old man came at him he could stop the attack and counter
strike. Without blocking being able to strike has little value.
Note: In Modern Arnis there is no: good better and best, there is only a winner and a
looser regardless if you are the teacher or the student. The one that delivers the first strike wins
so learn to block.
133
1. Inward block with the brace and without the brace
Use against number 2, 4, 6, & 10 strikes
With the elbow at a right angle and the cane pointing upward twist the body Clockwise
while moving the cane from left to right across the body, while bracing the cane with the left
hand. Without the brace the left hand is brought to checking position.
134
2. Outward block with the brace and without the brace
Use against number 1, 3, 7, & 11 strikes
With the elbow at a right angle and the cane pointing upward twist the body
counter
clockwise while moving the cane from right to left across the body, while bracing
the cane with
the left hand. Without the brace the left hand is brought to checking position.
135
3. Vertical block with the brace and without the brace
Use against number 5 &7 strikes
With the elbow at a right angle and the cane pointing downward twist the body counter
clockwise moving the cane from right to left across the body, while bracing the cane with the 4
left forearm. Without the brace the left hand is brought to checking position.
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136
——
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4. Rising block with the brace and without the brace
Use against number 12 strike
With the brace: Raise the cane horizontally forward pointing inward across the body
move the cane upward over the head supported by the palm of the left hand; the cane should be
somewhat parallel to the ground.
Without the brace: Raise the cane horizontally forward pointing outward to the right
side of body; move the cane upward over the head while bringing the left hand to checking
position, the cane should be somewhat parallel to the ground.
137
5. Downward inward block and downward outward block
Use downward inward block against number 8 strike and downward outward block
against number 9 strike
Inward block: With the elbow at a right angle and the cane pointing downward, twist the
palm down while turning the body clockwise moving the cane across the center of the body
from left to right to just outside the right leg, while bring the left hand to checking position.
Outward block: With the elbow at a right angle and the cane pointing downward, twist
the palm up while turning the body counter clockwise moving the cane across the center of the
body from right to left to just outside the left leg, while bring the left hand to checking position.
138
6. Rolling block right and rolling block left
Use rolling block right against number 2, 4, 6, & 10 strikes and rolling block left against
number 1, 3, 7, & 11 strikes
Hold the cane with both hands at each end with both hands facing palm down. The cane
held parallel to the ground. Shift the cane to the left at the same time rolling the right palm up
and in lifting at the center of the body, while moving the left hand to the center and down. Roll
and move the cane around to the right side of the body. Reverse the action for rolling block left.
139
7. Umbrella block
Cross the right wrist over the top of the left wrist facing palm down with the cane
pointing across to left at the center of the body. Raise both hands over the head while sliding
the left-hand down the cane in a checking motion at the same time moving the right-hand out.
The movement is as if there was an umbrella above your head and you are tracing its shape as
you move your hands and cane.
140
8. Slanting block
Palm up the right-hand pointing the cane out and slanting it down. At the same
time,
_ bring the left-hand down the cane ina checking motion.
141
9. Inward go with the force block
—
Used against a number 1, 3 or 6 strike. Bring the cane upward in a fan (abaniquo)
motion to the backside of the attacking cane, scooping the cane upward from left to right and
finishing by bringing the left-hand to check the attacker’s right-hand.
142
10. Outward go with the force block
Used against a number 2, 4 or 7 strike. Bring the cane in a fan (abaniquo)
motion to the
backside of the attacking cane, scooping the cane upward from right to left
and finishing by
bringing the left-hand to check the attackers right-hand.
143
11. Downward inward go with the force block
Used against a number 9 strike. Bring the cane downward in a fan
(abaniquo) motion to the backside of the attackers cane, scooping the
cane downward from left to right and finish by bringing the left-hand
to check the attackers right-hand.
144
12. Downward outward go with the force block
Used against a number 8 strike. Bring the cane downward in a fan (abaniquo)
motion to
the backside of the attacker’s cane, scooping the cane downward from right to left
and finish by
bringing the left-hand to check the attackers right-hand.
ce
145
Striking
The 12 Strikes
Every new student is taught the 12 strikes stationary with the right foot forward, first
with the feet stationary, then with body shifting rocking back onto the left foot and as they
make each strike shifting the weight back onto both left and right foot in a rhythm and finally
walking in a straight line striking six steps forward and six steps back.
Meditation
As the student continues to practice this drill it will become a moving meditation and
their strikes and movement, will align with the rhythm of their heart. Once the student aligns
movement with the core of their being then is no conflict, only harmony of purpose. They are
neither fast nor slow, being fast or slow would show timing and proper movement is not about
timing it is about being in harmony with the attacker.
Import Understanding
We should never choose to hurt anyone, we should simply choose not to be hurt and if
that requires striking our attacker it is necessary in our self-defense. Remy called this the
“second thought” after years of training I have come to understand this as harmony of purpose
where you do what is necessary without hesitation or reserve in harmony with your inner
being.
Becoming Centered
The world revolves around you if you let it, let go of your fears and conflicts they have no
place inside you, as you begin to clear your mind and empty your being, the moving meditation
will begin, instead of 12 strikes you will begin to experience a new peace inside and your person
will become centered. Jesus said “the kingdom of God is within you”, most people are looking
outside for their enlightenment.
Note: From time to time people become enlightened, the problem is they do not stay
that way, if they did there would be no attackers or a need for self-defense and Martial Arts,
until that day comes we study.
146
Number 1 Left temple - Number 2 Right temple
Fatal - The least it will cause is internal hemorrhage in brain or skull fractur
e
147
Number 3 Right shoulder/Elbow Number 4 Left shoulder/Elbow -
Numbing pain - It may also cripple the shoulder / elbow
148
Number 5 Stomach
Crippling pain - Could be fatal
149
Number 6 Left chest - Number 7 Right chest
Numbing pain - Could be fatal
150
Number 8 Right knee - Number 9 Left knee
_ Dislocation or fracture — May also cripple
154
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Number 10 Left eye - Number 11 Right eye
Serious damage or blindness to the eye
152
i Number 12 - Crown of head
_ From fracture to fatal
=
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153
Disarming
In Modern Arnis after the student learns to block and strike the
next step in the journey is disarming. Before we continue lets
consider the follow words:
Arnis - Harness - a device used to control
De Mono - The Hand
Arnis De Mono - A harnessing of the hand or “Trapping hand”
Modern Arnis - A safer way to practice Filipino Martial Arts
Eskrima - Skirmish a small conflict. The word was derived from the Spanish word
Escaramuza which means skirmish and not the Spanish word Esgrima which means fencing.
Kali - The use of bladed weapons.
The definitions are Remy’s as he explained them to me, his favorite saying was “When
you are Modern Arnis they are all the same”.
It is easy for the student to begin to understand the importance of being able to disarm
first using their cane and then empty handed against an armed opponent. The student must
lean to harness their emotion and to harness the actions of others, there can be no conflict
within only singleness of purpose.
155
Number 1 - Inside Twisting
The Attacker strikes the left side of the body, the defender blocks number 1 block with
the brace, the defender quickly moves the checking hand to the end of the attacker’s cane.
Grabbing the cane move the left hand counter clockwise from 12 to 6 palming up the left hand
and then drawing the left hand to the left hip. At the same time press the attacker’s cane with
your cane disarming the attacker. Once disarmed the defender is in control as he has both
canes and the advantage.
oo
2a- to
—
Number 1 - Inside Twisting
15%
Number 2 - Elbow Twisting
The Attacker strikes the right side of the body, the defender blocks number 2 block with
the brace, the defender quickly moves the checking hand over the attacker’s cane and around
and under the attacker’s right wrist hooking the attacker’s right hand, the check hand is quickly
drawn back to the defenders left shoulder pointing the left thumb up locking the attacker hand
into the defenders body. The attacker’s elbow is twisted and locked and the defender presses
down on the back of the attacker’s neck or locked arm.
158 a
Number 2 - Elbow Twisting
159
Number 3 - One-Hand Circle
The Attacker strikes the left side of the body, the defender blocks number 1 block with
the brace, the defender quickly reaches the checking hand over the attacker’s cane and then
striking the back of the attacker’s wrist with the inside ridge of the left hand in a counter
clockwise motion from 6 to 12 pointing the thumb up and drawing the attacker’s hand back to
the defender’s shoulder locking the attacker’s elbow and wrist. The defender disarms the cane
with the right forefinger. Once disarmed the defender is in control as he has both canes and the
advantage.
——
160
Number 3 - One-Hand Circle
161
Number 4 - Snake circle
The Attacker strikes the right side of the body, the defender blocks number 2 block with
the brace, the defender quickly moves the tip of the cane over, around and slapping the face of
the wrist in a snake motion bringing the canes parallel. The Defender grabs both canes creating
a thumb lock and moves the canes in a clockwise motion. The attacker’s elbow is twisted and
locked with the thumb being crushed. The defender is in control] and has the advantage, the
defender can now disarm, or throw the attacker to the ground.
{e
162
Number 4 - Snake circle
163
Number 5 - Downward Push
The Attacker thrusts to the center of the body, and the defender blocks Number 5 block
with or without the brace, the defender quickly reaches the checking hand forward and takes
hold of the attacker’s cane and then strikes the back of the attacker’s wrist with the short end of
the cane disarming the attacker twist the cane clockwise. Once disarmed the defender is in
control as he has both canes and the advantage.
164
Number 5 - Downward Push
165
Number 5-a — Downward Hook
The Attacker thrusts to the center of the body, and the defender blocks Number 5-a
block, the defender quickly strikes down the checking hand to the back of the attacker’s wrist
with inner ridge of the hand and hooks the wrist of the attacker and disarms the attacker’s
cane. Once disarmed the defender is in control as he has both canes and the advantage.
166
a
Number 5-a — Downward Hook
167
Number 6 - X-Disarm
The Attacker strikes the left side of the body with a Number 6 strike and the defender
blocks Number 1 block with the brace, the defender quickly reaches the checking hand over the
attacker’s cane and then places the end of the cane on his left forearm. Continuing the motion
the defender strikes the attacker palm wrist with the top of his right hand. Move clockwise the
attacker wrist is locked and as the defender withdraws his cane against the attacker’s wrist the
attacker is disarmed. Once disarmed the defender is in control as he has both canes and the
advantage.
168
Number 6 - X-Disarm
n A-- oresnf
Number 7 - Upward Twisting
The Attacker strikes the right side of the body with a Number 7 strike and the defender
blocks Number 2 block with the brace, the defender quickly reaches the checking hand under
the attacker’s cane keeping the blocking cane in position. Taking hold of the attacker’s cane
twists the cane in a counter clockwise motion creating a lock to the back of the attacker’s wrist
with the two canes. The pressure release the attacker’s cane and disarms the cane. Once
disarmed the defender is in control as he has both canes and the advantage.
170
Number 7 - Upward Twisting
171
Number 8 - Upward Hooking
blocks Number 8 block, the defender quickly hooks with the cane hand under the attacker's
wrist hooking upward while at the same grabbing the attackers cane with the checking hand.
Continuing in a clockwise motion the attacker’s wrist is locked as his cane stops at the checking
forearm and the attacker is disarmed. Once disarmed the defender is in control as he has both
Lie
Number 8 - Upward Hooking
2°%
173
Number 9 - Upward Hooking Checking Hand
blocks Number 9 block, the defender quickly hooks with the checking hand to the back of the
attacker’s wrist hooking upward while at the same grabbing the attackers cane with the cane
hand. Continuing in a counter clockwise motion the attacker’s wrist is locked and attacker is
disarmed. Once disarmed the defender is in control as he has both canes and the advantage.
174 ee
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Number 9 - Upward Hooking Checking Hand
175
Number 10 - Downward Hooking
blocks Number 1 block, the defender quickly hooks with the checking hand to the back of the
attacker’s wrist hooking downward while at the same grabbing the attackers cane with the
checking hand as the wrist is locked and the grip loosened. The motion is a clockwise motion
striking the attacker’s wrist. Once disarmed the defender is in control as he has both canes and
the advantage.
176
Number 10 - Downward Hooking
14
Number 11 - Downward Hooking Checking Hand
blocks Number 1 block, the defender quickly hooks with the checking hand under the attacker's
wrist hooking upward while at the same grabbing the attackers cane with the cane hand.
Continuing in a counter clockwise motion and back to the left shoulder the attacker’s wrist is
locked and the attacker is disarmed. Once disarmed the defender is in control as he has both
178
Number 11 - Downward Hooking Checking Hand
179
Number 12 - Upward Pushing
The Attacker strikes down to the body with a Number 12 strike and the defender blocks
with a Number 12 block with the brace, the defender quickly grabs the attacker’s cane with the
checking hand while at the same time drawing back the cane under the left arm. Continuing the
defender strikes upward to the attacker’s wrist and the attacker is disarmed. Once disarmed the
defender is in control as he has both canes and the advantage.
180
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Number 12 - Upward Pushing
181
Number 12 a — Downward Wrist Strike
The Attacker strikes down to the body with a Number 12 strike and the defender blocks
with a Number 12 block with the brace, the defender quickly grabs the attacker’s cane with the
checking hand while at the same time raising the cane up. Continuing the defender strikes
downward to the attacker’s wrist in a counter clockwise motion and the attacker is disarmed.
Once disarmed the defender is in control as he has both canes and the advantage.
182
Number 12 a — Downward Wrist Strike
183
Inside and
~ Outside
Locking
Cain Inside and Outside Locking
Inside and Outside Locking are not to be confused with outward and inward, the term
in this instance refers to where you are with relationship to the attacker on the outside left or
right side or inside between the arms at the center of the attacker. Once this locking is learned
with the cane it is to be practiced empty hand using your arm in place of the cane to create the
lock.
You can use locking to control or throw the attacker depending on circumstance for
example: If you have two attackers, you can start the lock on the more aggressive of the two
and then moving the first attacker into a throw on the path of the second attacker forcing the
first into the legs of the second possibly taking both people off their feet.
Story
Having been attacked once in my life by three young high school boys who were up to no
good, I can only tell you it works. I caught the arm of the first as he tried to punch me and
locking his arm drove him head first into the second putting both on the ground. I turned to the
third and pointed at him and told him to set down on the ground or I would hurt him. With all
three on the ground I told them they were not to get up, until I gave them permission or I was
going to hurt more than their pride and they set there. After talking to them about their
behavior, I sent them home and told them that the police would be by their house to talk to
them. My daughter new the names of the boys and so I reported them to the police, because of
their age they were place on probation and so they stayed out of trouble. Several years later I
_ ran into one of them and he thanked me, he said that he was heading for trouble and because of
the way that I conducted myself and reported the situation, getting placed on probation was the
- best thing that could have happened.
The student should always practice as if their life depends on their training because
some day it just might.
185
Inside Lock
The Inside Lock is not to be confused with inward the term in this instance refers to
where you are with relationship to the attacker. This is a lock using the cane against a strike to
the left side of the body. Note that the left hand reaches over the cane placing the thumb on the
pulse point and fingers to the back of the wrist of the attacker’s right hand as the defenders
cane is drawn down to the left side so that it cannot be grabbed by the attacker. Note: If the
attacker was to try to reach or strike with the left hand the defender would strike the left arm
with his cane before applying the lock. Continuing with the lock motion this also becomes a
throw as the attacker can no longer maintain balance and will be thrown down.
186
Inside Lock
187
Outside Lock
The Outside Lock is not to be confused with outward the term in this instance refers to
where you are with relationship to the attacker. This is a rare lock using the cane in the left
hand which is contrary to most of the training, but was effetely used by Remy as he was left
handed and his cane would jump to the left hand at will. Note that the right hand reaches
under the cane placing the fingers to the pulse point and thumb to the back of the wrist of the
attacker’s right hand as the defenders cane is withdrawn to the right side so that it cannot be
grabbed by the attacker. Note: If the attacker was to try to reach or strike with the left hand the
defender would strike the left arm with his cane before applying the lock. Continuing with the
lock motion this also becomes a throw as the attacker can no longer maintain balance and will
be thrown down.
188 ——
Outside Lock
189
Forms
In today’s sport culture you will find all kinds of forms for competition in tournaments
in club or against other clubs. They have become flashy and acrobatic in design and other than
entertainment they serve no real purpose.
In Military or Martial Arts, forms were intended for the sole purpose of perfecting one’s
movement and technique for combat or self-defense. Modern Arnis has forms designed so that
the student can practice the art without a physical partner. Instead the student learns the
moves in a pattern and starts to visualize an invisible attacker making each move in perfect
harmony with the attack until the movements become a moving meditation and as natural as
the act of walking. As an infant you have to think to walk, after practicing you just walk. We
marvel at champion dancers who really raised walking to a higher art in a pattern or form and
so it is with Modern Arnis, through the practice of forms we need to raise our ability to move
until each movement is a part of our soul or personality. When we have perfected our
movements, our responses will be automatic and appropriate.
Story
Bobby Fisher one of the greatest chess champions of all time was once asked a question
about how many moves ahead he could think in a game. The reporter had quoted sever other
grand masters of the chess world as stating they could think 25 to 40 moves ahead. Bobby
Fisher said “Only one, the right one”.
And so it is with Modern Arnis we only need one, the right one and that only comes with
practicing forms. There is no first, second and third place, like there is in a tournament in self-
defense there is a winner and a looser or for those that cannot defend themselves there is an
attacker and a victim.
190
Modern Arnis - Anyo
Modern Arnis uses the word Anyo for forms. The forms are rhythmic in nature like
a
dance when executed they are both graceful and flowing. Not only do they teach the
techniques
they are also an excellent form of exercise.
The weapon forms are:
1- The Snake Strikes - 12 movements
2 - Anyo 1 (part 1) - 11 movements
3 - Anyo 2 (Part 2) - 8 movements
6 - Anyo complete (All 4 forms combined into one) - 47 movements
7 - Remy’s Morning Star - 16 movements
The empty hand forms are:
1 - A - The beginning - 17 movements
and B The beginning Advanced - 17 movements
2 - Anyo 1 Empty hand (part 1)
3 - Anyo 2 Empty hand (Part 2)
6 - Anyo complete Empty hand
7 - Remy’s Morning Star Empty hand
Note: Before and after every form the practitioner moves from the rest position closing
the feet together holding the cane with both hands, one hand at each end of the cane or hands
at side empty hand. From this closed position or stance there is a courtesy which is the modern
_ Arnis salute, the cane is raised with the right-hand extending the right arm out to the right side
pointing the cane upward while bringing the left-hand over the heart, this is to signify that my
heart is with you and respect for the teacher. The practitioner then takes ready stance and
begins the form. Although this is practiced at the beginning and end of each form, it is not part
of the form.
Professor Remy A. Presas in his earlier years used a bow as part of this courtesy; it may
have been a carryover from some of his studies in other martial arts. When I met him back in
the late 1970’s this practice had already changed to the Modern Arnis salute.
491
Pattern: Straight line
Form 1- The Snake Strikes
Note: Checking Position — The Left hand checking position is at the center of the chest
with fingers pointing up and the palm of the hand facing right and slightly forward about two
to three inches away from the chest. When extended forward, it is about 12 inches from the
center of the chest.
First half:
o. Ready stance
1. Extend the left-hand at the center of the body, maintain checking position at the same
time draw back the cane with the right-hand over the right shoulder with the cane pointing up.
Step out with the right foot into a right walking stance toward [A] at the same time strike
Number 1 while drawing the left-hand back to the center chest — checking position.
2. Keeping the left hand at the center of the chest, checking position, draw the cane back
over the left shoulder. Step out with the left foot into a left walking stance toward [A]; at the
same time strike Number 2
3. Repeat step one striking Number 3
4. Repeat step two striking Number 4
5. Extend the left hand at the center of the body, checking position, at the same time
draw the right hand back, keeping the cane parallel to the ground at waist level. Move the right
foot to the back of the left foot toward [A] forming a left rear leg stance; at the same time strike
Number 5 while drawing the left hand to the center of the chest.
6. Without moving your feet extend the left-hand and draw the right hand back keeping
the cane parallel to the ground at shoulder level. Strike Number 6 while drawing the left-hand
to the center of the chest; to checking position.
192
Second half:
7. While keeping the left-hand to the center chest checking position. Move the cane in a
clockwise motion to the left while stepping back with the right foot into a left walking stance
toward [B] at the same time strike Number 7
8. While keeping the left-hand to the center chest checking position. Draw the cane back
over the left shoulder, while stepping back toward [B] with the left foot into a right walking
stance at the same time strike Number 8
9. Extend the left-hand to the front center of the body checking position at the same
time draw the cane back with the right-hand over the right shoulder. Step back toward [B] with
the right foot into a left walking stance at the same time strike Number 9 drawing the left-hand
to the center chest checking position.
10. Extend the left-hand to the front center of the body checking position at the same
time draw the cane back with the right-hand keeping the cane parallel to the ground at
shoulder level step back toward [B] with the left foot into a right walking stance at the same
- time strike Number 10 drawing the left-hand to the center chest checking position.
11. While keeping the left-hand to the center chest checking position. Move the cane in a
clockwise motion to the left step, backward with the right foot into a left walking stance toward
[B] at the same time strike Number 11
12. While keeping the left-hand to the center chest checking position. Move the cane
directly over the top of the head bringing the left and right hand together forming a X-block.
Bring the left foot next to the right front forming a left bent leg stance toward [B] at the same
time striking Number 12
o. Return to ready stance.
193
Name: Anyo 1 (Part 1 - 11 movements)
A
dz
B
Note: Checking Position — The Left hand checking position is at the center of the chest
with fingers pointing up and the palm of the hand facing right and slightly forward about two
to three inches away from the chest. When extended forward, it is about 12 inches from the
center of the chest.
First half:
o. Ready position
1. Bring the left-hand to the center chest checking position. While drawing back the cane
over the left shoulder step out with the right foot forming a right walking stance and execute a
Number 8 downward block.
2. Extend the left-hand to the center chest checking position. While drawing back the
cane over the right shoulder and step out with the left foot forming a left walking stance and
execute a Number 9 downward block.
3. Keeping the left-hand to the center chest checking position, bring the right foot
forward to line [A-B] forming a straddle-leg or riding stance facing left. At the same time, bring
the cane over the left shoulder and then strike to [A] keeping the cane parallel to the ground.
4. Keeping the left-hand to the center chest checking position, bring the right foot back
to [B] so that you face [A] forming a left walking stance. At the same time, bring the cane over
the left shoulder and strike Number 8 downward block.
5. Step back with the left foot toward [B] forming a right walking stance. At the same
time, bring the cane over the right shoulder and strike Number 9 downward block.
194
Second half:
6. Stepping forward with the left foot toward [A], form an oblique Facing L- stance. At
the same time, bring the cane over the left shoulder and then block Number 2 with a brace to
the right.
7. Stepping forward with the right foot toward [A], form an oblique facing L-stance. At
the same time, bring the cane over the right shoulder and then block Number 1 with the brace
to
left.
8. Bring the left-hand to the center chest checking position. Stepping backward with the
right foot toward [B], form an oblique facing L-stance. At the same time, bring the cane over
the right shoulder with the cane parallel to the ground and the tip of the cane pointing toward
[A]
g. Stepping backward with the left foot toward [B], form an oblique facing L-stance. At
the same time, execute an upper strike with a circular clockwise motion. Cut a diagonal line at
where an opponent’s rib’s would be, upward toward where the shoulder would be, until the
right-hand is palm up with the cane parallel to the ground. The tip of the cane should face [A]
so that the right-hand is above and in front of the left shoulder.
10. Keeping the left-hand at the center chest checking position. Shift from the oblique
facing L-stance to form a right front or walking stance toward [A] moving the right foot, while
twisting the body. At the same time raise the right-hand over the center of the head so that the
cane is pointing down over the left shoulder and then execute a downward Number 9 block.
11. Keeping the left-hand at the center chest checking position. Step back with the right
foot toward [B] to form a left front or walking stance. At the same time raise the cane over the
Number 8 block.
left shoulder and execute a downward
0. Move the right foot forward back to the ready position
195
oe
B
Note: Checking Position - The Left hand checking position is center chest with fingers
pointing up and left hand facing right and slightly forward about two to three inches out from
the chest. When extended out it is about 12 inches out from the center of the chest.
Also note that each time you position or load the cane for movement throughout the
form the checking hand is extended forward and the drawn back as the cane is moved to strike
or block. The checking hand works and moves with the cane hand so that it is in support of the
block or strike and ready to counter.
First half:
0. Ready position
1. Bring the left-hand to the center chest checking position. At the same time, While
drawing back the cane over the right-shoulder step out with a right foot toward [A] onto line
[A-B] forming a right side facing or back stance and execute an upper strike with a circular
clockwise motion cutting a diagonal line at where an opponent’s rib’s would be upward toward
where the shoulder would be until the right-hand is palm up with the cane parallel to the
ground with the tip of the cane facing [A] so that the right-hand is above and front of the left
shoulder.
2. While holding the cane in the raised position, shift the right foot a half step to the left
and then pivot turn counterclockwise swinging the left foot behind the right leg toward [A]
turning to face [B].
3. Continue stepping back with the left foot toward [A] to form a right front or walking
stance toward [B]. At the same time, bring the cane over the left shoulder and strike down to
execute a downward number 8 block.
4. Stepping back with the right foot toward [A] to form a left front or walking stance
toward [B]. At the same time, bring the cane over the right shoulder and strike down to
execute
a downward number 9 block.
196
Second half:
5. While drawing back the cane over the right-shoulder step out with a right foot toward
[B] onto line [A-B] forming a right side facing or back stance and execute an upper strike with a
circular clockwise motion cutting a diagonal line at where an opponent's rib’s would be upward
toward where the shoulder would be until the right-hand is palm up with the cane parallel to
the ground with the tip of the cane facing [B] so that the right-hand is above and front of the
left shoulder.
6. While holding the cane in the raise position, shift the right foot a half step to the left
and then pivot turn counterclockwise swinging the left foot behind the right leg toward [B] and
turning to face [A].
7. Continue stepping back with the left foot toward [B] to form a right front or walking
stance toward [A]. At the same time, bring the cane over the left shoulder and strike down to
execute a downward number 8 block.
8. Stepping back with the right foot toward [B] to form a left front or walking stance
toward [A]. At the same time, bring the cane over the right shoulder and strike down to execute
a downward number 9 block.
0. Move the right foot forward back to Ready position
197
First half:
o. Ready position
1. Step out with a right foot toward [A] forming a right front or walking stance and
execute a Number 2 outward block with the brace.
2. Without moving the feet execute a Number 1 inward block the brace.
3. Shifting the body weight slightly back toward [B] onto the left leg slightly while
withdrawing the right foot and then reform a right front or walking stance while executing a
Number 12 rising block with the brace.
4. Stepping forward with the left foot toward [A] to form a left front or walking stance.
At the same time, bring the cane over the head and then strike in a circular clockwise motion so
that the cane moves down to the right and then cuts on a diagonal from where in attackers rib
cage would be upward toward your left shoulder. At the end of the stroke the cane should end
parallel to the ground with the tip of the cane pointing toward [A] above and in front of the left
shoulder.
5. Pivot on the right foot, clockwise while moving the left foot to the right until you are
facing [B]. At the same time raise the cane over the top of the head so that the cane is pointing
behind you and slightly down. Continue moving the cane in a circular motion until you have
executed a Number 9 downward-outward block.
198
Second half:
6. Step backward toward [A] with the right foot forming a left front or walking stance
_ while moving the cane over the left shoulder and execute a Number 8 downward-inward block.
7. Step forward toward [B] with the right foot forming a right side facing or back stance.
At the same time strike up with the cane cuts on a diagonal from where an attacker's rib cage
would be upward toward your left shoulder. At the end of the stroke the cane should end
parallel to the ground with the tip of the cane pointing toward [B] above and in front of the left
shoulder.
8. Pivot on the right foot, counterclockwise while moving the left foot toward [B] until
you are facing [A] in a right front or walking stance. At the same time raise the cane over the
top of the head so that the cane is pointing behind you and slightly down. Continue moving the
cane in a circular motion until you have executed a Number 9 downward-outward block.
9. Step backward toward [B] with the right foot forming a left
walking
front or stance
while moving the cane over the left shoulder and execute a downward-inward
Number 8 block.
0. Move the right foot forward back to Ready position
q39
Pattern: I
First half:
0. Ready Stance
1. Turn to face [D] pivoting on the left-foot while stepping with the right-foot into a right
Front or walking stance toward [D]. At the same time, bring the cane up over the left shoulder
and then execute a downward Number 8 block while bringing the left hand to checking
position.
2. Stepping forward with the left-foot toward [D] to form a left front or walking stance
toward [D]. At the same time, bring the cane over the right shoulder, while extending the left
checking hand slightly forward and strike down to execute a downward Number 9 block while
200
3. Shift the weight onto the left-foot and then move the right-foot a half step sideways
toward [A] and then shift the weight to the right-foot and pivot the right-foot clockwise
while
moving the left-foot a half step toward [B] to form a right front or walking stance toward [C].
At the same time as you pivot to face the opposite direction, bring the cane over the left
shoulder keeping the left checking hand in place and execute a Number 8 downward block.
4. Stepping forward with the left-foot toward [C] to form a left front or walking stance
toward [C]. At the same time, bring the cane over the right shoulder, while extending the left
checking hand slightly forward and strike down to execute a downward Number 9 block while
5. Without moving the feet position shift the weight slightly onto the left-foot and then
pivot both feet to form a right front or walking stance toward [A]. At the same time, bring the
cane over the left shoulder and then execute a Number 2 block with the brace.
6. Stepping forward with the left foot toward [A] to form a left front or walking stance
toward [A]. At the same time, bring the cane over the right shoulder and then execute a
Number 1 block with the brace.
7. Stepping forward with the right foot toward [A] to form a right front or walking stance
toward [A]. At the same time, bring the cane over the left shoulder and then execute a Number
12 rising block with the brace.
8. Shift the weight onto the left foot and then move the right foot a half step sideways
toward [E] and then shift the weight to the right foot and pivot on the right foot
Counterclockwise turning the body 270 degrees while moving the left foot toward [F] to form a
left front or walking stance toward [F] . At the same time as you pivot to turn swing the cane in
a circular clockwise motion to the right and then strike on the diagonal from where the
attackers rib cage would be to the left shoulder with the cane finishing in front of the left
shoulder parallel to the ground pointing forward Number 7 striking position with the right
_ hand facing palm up.
9. Stepping forward with the right foot toward [F] to form a right front or walking stance
toward [F]. At the same time, bring the cane over the left shoulder and swing the cane ina
circular counter clockwise motion to the left and strike on the diagonal from where the
attackers rib cage would be to the right shoulder finishing in front of the right shoulder parallel
to the ground pointing forward Num 6 striking
ber position with the right hand facing palm
down.
201
Second half:
s
10. Shift the weight onto the right foot and then move the left foot a half step sideway
toward [B] and then shift the weight to the left foot and pivot on the left foot clockwise 180
degrees moving the right foot toward [E] to form a right front or walking stance toward. At the
same time as you pivot to turn move the cane over the left shoulder and swing the cane counter
clockwise motion from the left to the right and then strike on the diagonal from where the
attacker’s rib cage would be to the right shoulder finishing in front of the right shoulder parallel
to the ground pointing forward Number 6 striking position with the right hand facing palm
down.
11. Stepping forward with the left foot toward [E] to form a left front or walking stance
toward [E]. At the same swing the cane in a circular clockwise motion to the left and the strike
on the diagonal from where the attackers rib cage would be to the left shoulder with the cane
7 striking
finishing in front of the left shoulder parallel to the ground pointing forward Number
position with the right hand facing palm up.
12. Shift the weight onto the right foot and pivot 90 degrees toward [B] while stepping
with the left foot toward [B] to form a left front or walking stance toward [B]. At the same time
swing the cane in a counter clockwise circular motion over the head and execute a Number 9
downward block.
13. Stepping forward with the right foot toward [B] to form a right front or walking
stance toward [B]. At the same time move the cane over the left shoulder and then execute a
Number 2 block with the brace.
14. Stepping forward with the left foot toward [B] to form a left
walking
front or stance
toward [B]. At the same time move the cane over the right shoulder and then execute a Number
1 block with the brace.
15. Shift the weight onto the right foot and then move the left foot a half step sideways
toward [C] and then shift the weight to the left foot and pivot on the left foot clockwise 270
degrees while moving the right foot toward [D] to form a right front or walking stance toward
[D] . At the same time as you pivot to turn swing the cane in a circular counterclockwise motion
to the right striking on the diagonal from where the attackers rib cage would be to the right
shoulder with the cane finishing in front of the right shoulder parallel to the ground pointing
forward Number 6 striking position with the right hand facing palm down.
202
16. Stepping forward with the left foot toward [D] to form a left front or walking stance
toward [D]. At the same time, swing the cane in a circular clockwise motion to the left and
strike on the diagonal from where the attackers rib cage would be to the left shoulder finishing
in front of the left shoulder parallel to the ground pointing forward Number 7 striking position
with the right hand facing palm up.
17. Shift the weight onto the left foot and then move the right foot a half step sideways
toward [A] and then shift the weight to the right foot and pivot on the right foot clockwise 180
degrees while shifting the left foot toward [B] to form a right front or walking stance toward [C]
. At the same time as you pivot to turn move swing the cane counter clockwise motion to the
right striking on the diagonal from where the attacker’s rib cage would be to the right shoulder
finishing in front of the right shoulder parallel to the ground pointing forward Number6
striking position with the right hand facing palm down.
18. Stepping forward with the left foot toward [C] to form a left front or walking stance.
At the same swing the cane in a circular clockwise motion to the left striking on the diagonal
- from where the attackers rib cage would be to the left shoulder with the cane finishing in front
of the left shoulder parallel to the ground pointing forward Number 7 striking position with the
right hand facing palm up.
19. Shifting the weight onto the left Foot pivot on the left foot moving the right foot to
line [C-D] forming a straddle leg stance facing [A]. At the same time strike a Number 2 strike
across the body while centering the left checking hand.
o. Move the left foot back to Ready position
203
Pattern: Star
Name: Remy’s Morning Star
AC.
BC BD
First Half:
o. Bring the left foot to the right foot and form attention-stance and solute facing [A]
and then step back with the left foot on line [C-D] into ready-stance facing [A].
1. Step out with a left foot toward [A] forming a left-walking stance at the same time
strike Number 2
2. Step back with a left foot toward [B] to line [C-D] into a Bent-leg stance at the same
time block inward with a brace.
3. Step back with the left foot toward [B] forming a right-walking stance at the same
time strike Number 1
4. Step forward with the left foot to line [C-D] forming ready-stance.
5. Step out with a right foot toward [A] forming a right-walking stance at the same time
strike Number 1
6. Step back with a right foot toward [B] to line [C-D] forming a Bent-leg stance at the
same time block outward with a brace.
7. Step back with the right foot toward [B] forming a left-walking stance at the same
8. Step forward with the right foot to line [C-D] and form ready-stance.
204
Second Half:
9. Step out with the left foot to [AC] forming Oblique-left-front stance at the same time
strike Number 9
10. Step back with a left foot toward [B] to line [C-D] into a Bent-leg stance at the same
time block Rising-block.
11. Step back with a left foot toward [B] to line [BC] into a Right side facing- stance at
the same time strike Number 3 followed by a front kick with the right foot.
13. Step out with the right foot to [AD] forming Oblique-right-front stance at the same
14. Step back with a right foot toward [B] to line [C-D] into a Bent-leg stance at the same
time block Vertical-block.
15. Step back with a right foot toward [B] to line [B-D] into a left side facing- stance at
the same time strike Number 4 followed by a front kick with the left foot.
O. Bring the left foot to the right foot and form attention-stance and solute facing [A]
and then step back with the left foot on line [C-D] into ready-stance facing [A].
205
Pattern: Plus
Name: The beginning - 17 movements
First half:
o. Ready stance.
1. Step backward toward [B] with the right foot into a left walking stance. At the same
time, execute a low outer-forearm block with the left arm. [Scream]
2. Keeping the right leg locked lift the heel of the left foot and stomp it down. At the
same time, execute a middle punch with the right hand.
3. Turning to face toward [C] step back toward [D] with the right foot into a left walking
stance. At the same time, execute a low outer-forearm block with the left arm.
5. Turning to face toward [B] step back toward [A] with the right foot into a left walking
7. Turning to face toward [D] step back toward [C] with the right foot into a left walking
same time, execute a middle punch with the right hand. [Scream]
9. Return to ready stance facing [A].
206
Second half:
10. Step backward toward [B] with the left foot into a right walking stance. At the same
time, execute a low outer-forearm block with the right arm. [Scream]
11. Keeping the left leg locked lift the heel of the right foot and stomp it down. At the
same time, execute a middle punch with the left hand.
12. Turning to face toward [D] step back toward [C] with the left foot into a right walking
stance. At the same time, execute a low outer-forearm block with the right arm.
14. Turning to face toward [B] step back toward [A] with the left foot into a right walking
stance. At the same time, execute a low outer-forearm block with the right arm.
16. Turning to face toward [C] step back toward [D] with the left foot into a right walking
- stance. At the same time, execute a low outer-forearm block with the right arm.
same time, execute a middle punch with the left hand.[Scream]
o. Return to ready stance facing [A].
207
Pattern: Plus
Name: The beginning (Advanced) - 17 movements
First half:
o. Ready stance.
1. Step backward toward [B] with the right foot into a left walking stance. At the same
time, execute a low outer-forearm block with the left arm. [Scream] Continue block into a circle
in a scooping motion with the left hand ending up at the center of the chest.
3. Turning to face toward [C] step back toward [D] with the right foot into a left walking
stance. At the same time, execute a low outer-forearm block with the left arm. Continue block
into a circle in a scooping motion with the left hand ending up at the center of the chest.
4. Keeping the right leg lock lift the heel of the left foot and stomp it down. At the same
time, execute a middle punch with the right hand.
5. Turning to face toward [B] step back toward [A] with the right foot into a left walking
time, execute a middle punch with the right hand.
7. Turning to face toward [D] step back toward [C] with the right foot into a left walking
time, execute a middle punch with the right hand. [Scream]
9. Return to ready stance facing [A].
208
Second half:
10. Step backward toward [B] with the left foot into a right walking stance. At the same
time, execute a low outer-forearm block with the right arm. [Scream] Continue block into a
circle in a scooping motion with the right hand ending up at the center of the chest.
11. Keeping the left leg lock lift the heel of the right foot and stomp it down. At the same
time, execute a middle punch with the left hand.
12. Turning to face toward [D] step back toward [C] with the left foot into a right walking
stance. At the same time, execute a low outer-forearm block with the right arm. Continue block
into a circle in a scooping motion with the right hand ending up at the center of the chest.
14. Turning to face toward [B] step back toward [A] with the left foot into a right walking
16. Turning to face toward [C] step back toward [D] with the left foot into a right walking
time, execute a middle punch with the left hand. [Scream]
o. Return to ready stance facing [A].
209
Cane Attacks
And
- Counters
Attacks and Counters
One of Remy’s favorite sayings was “The knife that cuts you is the one you do not see”,
on the surface you could think this statement only has to do with knife fighting, the deeper
meaning is much more important, what I have come to understand is that we need to plan and
train for every situation. When something comes along that we do not understand we fail to
move, without a proper response our self-defense breaks down, we lose because we do not
understand.
The second item is our counter or as Remy called it “the second thought”, we have to ask
ourselves “does it work”, only perfect practice makes perfect; practice on the other hand makes
a permanent habit and when our preparation and training is faulty then so goes our self-
defense, we put on our armor believing that it will protect us, but in reality we have holes in our
armor, that expose us to failure.
We have to look at the big picture and only then reduce it down to each detail until our
understanding is complete.
The words that I shutter at are “In my style we do it this way”, true self-defense is not a
style, it is about core movements and being able to understand and use them for maximum
affect.
Seven Circles
Always question your understanding, think of what you know in this way, we all live in a
circle with seven circles inside one another, each wall is made up of one way mirrors, only the
people in the inner most circle can see everything and yet everyone no mater what ring they are
on think they can see the whole picture, in reality because of the mirror they only see
themselves. The people at the center no longer see themselves, they see the whole picture.
To become Modern Arnis is to let go of style and center yourself, if you fail to do this be
pre paired to be cut by the knife you do not see.
214
1 - Cane Attacks and Counters
Outbalancing and Grabbing Left-side-pulling
a
e
Outbalancing and Grabbing Right-side pulling
213
Outbalancing and Grabbing Pushing Backward
N xeaay
58
RE
TA
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OR
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na
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E
E
w
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e
Outbalancing and Grabbing Inside Scooping Throw
215
Blocking-Hand Trapping Joint-Locking Advanced Step 1-4 of 8
216
e ee
Blocking-Hand Trapping Joint-Locking Advanced Step 5-8 of 8
217
Clockwise Hook
218
Blocking with Inside-Lock and Throw
219
Inward Blocking with Outside-Lock using Checking Hand
220
e
e
Force to Force Block with Thumb-Lock and Downward-Wrist Strike
221
Force to Force Block with Thumb-Lock and Upward-Wrist Strike
22e
Force to Force Block with Downward Push Disarm
223
Empty Hand
Weapon
Attacks
And
Counters
1 - Weapon Attacks and Counters Empty Hand
Empty Hand Blocking with Outside Lock
226
Empty Hand Blocking Cover-The-Distance Throw
22h,
Empty Hand Blocking swing snatching
228
Blocking with Shoulder-Elbow Lock Knee Strike
229
Empty Hand Elbow-Lock with Shoulder Press Throw
Long Pole Attack to the Left Side of the Body
231
Long Pole Attack to the Right Side of the Body
232
Long Pole Attack Vertical Lift with Finger and Thumb Lock
233
Empty Hand - Knife or Dagger Attack 1-4 of 8
Wrist-twisting Locking and Disarm - Right over Left
234
eFw a
Wrist-twisting Locking and Disarm - Right over Left
1. f
235
a
Wrist-twisting Locking and Disarm - Left over Right
”
1.
236
Wrist-twisting Locking and Disarm - Left over Right
Zan
Wrist-Locking with Reverse Elbow Twist and Disarm
238
Wrist-Locking with Reverse Elbow Twist and Disarm
209
Empty Hand - Knife or Dagger Attack Elbow-Press Locking with Take Down
240
Empty Hand - Knife or Dagger Attack Elbow-Press with Reverse Head Twist
241
Empty Hand - Bolo or Long Blade Attack
Clockwise Circle with Wrist Twisting Lock
242
Clockwise Take Down with Elbow Lock
243
Empty Hand - Bolo or Long Blade Attack Wrist-Jerk Elbow-Lock Arm-Crush
44
Control-Wrist Counter Clockwise-Arm Lock Folding
° 2
245
Control-Wrist-Pull with Elbow Strike
a 4
246
Empty Hand - Bolo or Long Blade Attack Control-Wrist with Arm-Bar
Lock
‘di
A
1.
247
Control-Wrist with Elbow-Fold Body Strike
248
Pistol Attacks
And
Counters
Empty Hand
1- Pistol Attacks and Counters Empty Hand
Empty Hand - Pistol Threat Control-Hand with Wrist Lock-Disarm
250°
2 - Pistol Attacks and Counters Empty Hand
Empty Hand - Pistol Threat Control-Hand with Reverse-Disarm
251
Empty Hand - Pistol Threat Control-Hand with Right Hand-Reverse
252
Empty Hand - Pistol Threat From Behind Low
Move Weapon Control-Hand Lock Wrist Reverse Throw
253
Empty Hand - Pistol Threat From Behind High;
High Block with Trap and Arm Lock Take Down
254
Long Blade - Bolo
The progression from the cane is first applied to empty hand once the student
becomes
totally familiar with the movement it progresses onto knives and then the long blade.
All my
students train with rubber knives and wooden swords long before they are allowed to work
with live blades. Without proper training and developed movement this part of the training can
become extremely dangerous do the amount damage or permanent damage that can be done
with a bladed weapon. Remember there is no good better and best in Modern Arnis there is a
winner and a looser.
Story
My greatest danger came many years ago when I was visiting Remy In San Francisco,
Remy’s front room of his apartment was void of furniture, he used the room for training. I was
sleeping on a blanket on the floor when Remy woke me in the middle of the night, handed me a
sword and said “Defend yourself” in almost total darkness he came at me with a fierce attack, I
was able to see the blade coming at me because of a glimmer of light on the chrome finish of
the blade, I could see very little, one thought raced through my mind “I hoped I do not lose my
fingers or die”. Despite my best efforts it took little time for Remy to trap my blade hand and
start to lock my fingers, as he was applying the lock I used the only weapon at my disposal, my
foot, without thinking I kicked Remy’s arm, he let out a yelp and released his grip and I
regained control of my weapon, he said “you passed the test and you win.” That was my test for
my Fifth Degree Black Belt, it made no difference what rank we held, there was a winner and a
looser.
After Remy turned on the lights we sat down and he told me that was the first time he
had lost, because of the pain he was inflicting on my hand I had kicked him harder that I would
have planned to it was just a reaction, I had picked the only path at my disposal.
When J ask him why he had tested me in that manor he said “you cannot pick the
circumstance that you are attacked in”, he then presented me with the two long blade bolos. It
was as if we had turned back time at the end of a battle a sword being surrendered to seal a
victory.
255
Progression in Training
When I was trained by Remy the progression followed this order, in regards to weapons:
1- Cane
2-Empty hand against the cane
3-Long blade - Bolo
4-Empty hand against the long blade
5-Butterfly Knife
6-Empty hand against the butterfly knife
7-Empty hand against the pistol
Note: My personal tests for fifth degree was against the sword in combat, six degree was
against the knife in combat, seventh was for loyalty and teaching, eight degree for writing and
developing the set of training manuals for each Modern Arnis rank test.
I received Remy’s swords at my fifth, his butterfly knife at my sixth and the flute that
was given to him by the Japanese at my seventh.
256
Remy’s swords, his butterfly knife and
the flute that was given to him by the Japanese.
25
1 -Long Blade - Bolo
Bolo - Long Bladed Weapon Tapping Drill
258 -
2 - Long Blade - Bolo
Bolo - Long Bladed Weapon No. 1 Block
with Upward Strike to the Back of the Hand
259
with Downward Strike to Hand and Neck
Bolo - Long Bladed Weapon No. 5a Block
with Upward Strike to the Arm
261
with Wrist-Elbow Lock Rib-Strike and Neck-Cut
with Wrist-Lock Arm-Strike-Cut
263
_
Conclusion
In today’s world books are becoming a thing of the past, do to the expense of printing
many quality books like Remy’s text book is no longer in print, very few people are dedicated to
spending the time and money that it takes to produce a book for publication.
What you can find is all kinds of videos on Modern Arnis, In comparison to books
videos are easy to produce and publishing them to sights like You-Tube is easy as well, a high
quality video on the other hand is difficult, it requires a script and expensive equipment for
production that is why most lack accurate explanations and are poorly produced, the author
“wings it” so to speak.
What I have observed is that there are three problems with You-Tube Modern Arnis
videos:
1. They lack a step by step approach so that the student can quickly lean a movement as
well as a repetitive process doing the same thing over and over so that the viewer can train
along.
2. The second is damaging because of the insecurity of the person producing the video,
for some reason there seems to be a need to put their own spin on things adding or subtracting
from the movement. When this happens the core movement gets cloudy or lost.
3. The third and most damaging is they fail to teach the cardinal rules and principles of
Modern Arnis that produce a student of character.
The reason that I fell in love with Modern Arnis was because it still retained the core
movement that all movements are built on. Every building is built on a foundation, the better
the foundation the stronger the building and so it is with Modern Arnis.
With the arrival of electronic books it has become possible to produce a book that will
never go out of print, preserving the information for all future generations, which is the soul
purpose for this book. What Remy started should not end, get lost or turn into something else,
his life’s work is a gift to the world, it is my sincere hope that this information helps you better
understand the need for True-Self-Defense, Modern Arnis.
264
The Training Hall
265
Acknowledgements
Pictured In This Book

Students
Dana L. Holcomb
Dana Logan
Terry Ross
Michael T. James
Author
Founder of Modern Arnis

Professor Remy A. Presas
“The Father of Modern Arnis”
267
>
P
2
&
Remy A. Presas |
The Father of
Modern Arnis |
268
1977-1995 Pictures
1. Professor Robert DeMott - General Choi - James B. C. YU 1977
2. Modern Arnis Students - Flint Michigan 1980
3. James B. C. YU - Joshua DeMott (Son) - Professor Remy A. Presas 1995
269
Chinese ox symbol :
When I chose to Follow Christ I had to take up my cross.

When I chose to follow Remy I had to take up the Cane.
The interesting part is that with the cross, the spike and the cane
are put together they form my birth sign the OX.
270
Complete the set
Buy the Companion Book
Volume 1,2 & 3
Along with the core movements in this book
the companion has all requirments to go from a beginner
to a Master Teacher.
Compa
Volumes sets 1, ‘
Stick Fighting —
And
Empty Hand ;
ae
ATI...
Robert James DeMe

4 Blac kk Belt
pa)
Life time Membership in The
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Demott Robert James Modern Arnis The Master Text

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Modern

by: Professor Robert James DeMott

Stick Fighting And Empty Hand

By: Professor Robert James DeMott

First Printing March 2015

All RIGHTS Reserved: This book may not be reproduced in

Changes to This Book

Not a Substitute for Professional Health Care Advice

Remy Amador Presas

The Father of Modern Arnis

About the Author

The Reason for this book ?

Cardinal Rules and principles of Modern Arnis

The Meaning of each belt — Lower System

Meaning of each belt — Upper System

It’s all about the time Bb

The Principles of Modern Arnis

Modern Arnis Equipment

Techniques - Warming - Understanding Terms - Experience

Medical Implications from the Strikes

Understanding the Terms

Cain Inside and Outside Locking

Attacks and Counters

Long Blade - Bolo

Jerry Armstrong — Judo

General Choi Hong Hi — Tae Kwon Do

Professor Remy A. Presas — Modern Arnis

Honorable #1 Master Bruce Juchnik — Karate and Kenpo

Professor James Price 9th Degree Black Belt — Goju Karate

Ralph Black PH.D. 10th Degree Black Belt

Professor Robert James DeMott - Black Belt

One of my favorite Bible verses: 2 Timothy 2:15

From this story we learn two things:

Kyoshi - refers to an advanced teacher

A more accurate depiction terminology is as follow:

Modern Arnis —-——Tae Kwon Do

Belt Ranking System for Modern Arnis

Lakan Walo 8th Lakan Sityam 9th

1. Yellow 7th - lakan pito

1. Yellow belt - To begin

2. Green belt - To Grow

3. Blue belt - To Water

4. Brown belt - To Earth

6. Brown belt two stripes - To Earth

7. Black belt - To Die

1. Lakan Isa 1st Dan Black Belt (The serious student)

2. Lakan Dalawa 2nd Dan Black Belt (Instructor)

3. Lakan Tatlo 3rd Dan Black Belt (Advanced Instructor)

6. Lakan Anim 6th Dan Black Belt

7. Lakan Pito 7th Dan Black Belt

9. Lakan Siyam 9th Dan Black Belt

10. Lakan Sampu 10th Dan Black Belt

Minimum time to become a 1st degree black belt — 2 years of training

When I was 20 a friend said to me that he should go to school to be a doctor, the

The three sins that cause us to fail.

“What is real, to know yourself, what is life to know your art

“The kingdom of God is within you.”

Velma DeMott the wife of Professor Robert DeMott

Understanding the Terms