| Foreword |
|
| Charles N. Ricketts |
9 |
| Mark V. Wiley |
10 |
| Kelly S. Worden |
12 |
| Conrado N. Rigor Jr. |
14 |
| Luis Cruz |
16 |
| |
|
| Introduction |
|
| Reynaldo S. Galang |
18 |
| Placido Yambo |
21 |
| |
|
| Acknowledgement |
22 |
| |
|
| Profile |
|
| Placido Yambao |
23 |
| Buenaventura Mirafuente |
24 |
| Luis Cruz |
25 |
| Juan Aclan |
26 |
| Francisco de la Cruz |
27 |
| Reynaldo S. Galang |
28 |
| |
|
| A Brief History of Arnis |
35 |
| |
|
| The Art of Weaponry |
36 |
| |
|
| Strikes and Thrusts (Alpabeto) of the Sword |
37 |
| Tagang Buhat Araw(Overhead Strike) |
38 |
| Aldabis sa Ilalim (Inside Upward Diagonal Strike) |
40 |
| Aldabis sa Itaas (Inside Downward Diagonal Strike) |
42 |
| Haklis (Scooping Strike) |
44 |
| Sablay (Low Scooping Strike) |
46 |
| Tagang San Miguel (Outside Downward Diagonal Strike) |
48 |
| Saboy (Outside Upward Diagonal Strike) |
50 |
| Tabas-Talahib (Outside Horizontal Strike) |
52 |
| Tagang Alanganin (Inside Middle/Horizontal Strike) |
54 |
| Bunot Kaluban (Drawing of the Sword) |
56 |
| Hulipas (Inside Transition Strike) |
58 |
| Bartikal (Backhand/Whip Strike) |
60 |
| Tigpas (Inside Low Diagonal Upward Strike) |
62 |
| Saksak sa gawing Kaliwa (Inside Sword Thrust) |
64 |
| Saksak sa gawing Kanan (Outside Sword Thrust) |
65 |
| Bulusok ng Dalawang Kamay (Double Decending/Avalanche Thrust) |
66 |
| Techniques of the Dagger |
67 |
| Lagusan (Tunnel Thrust) |
68 |
| Ang Makata (The Poet) |
69 |
| Sima-Tulay (Scythe Parry and Thrust) |
70 |
| Tusok-Fraile (Friar's Thrust) |
71 |
| |
|
| The Foundation Drills (Mga Abakada) |
73 |
| Strikes and Blocks 1 |
|
| Blg. 1 - Taga at Sangga sa Abakada ng Limang Taga |
75 |
| Strikes and Blocks 2 |
|
| Blg. 2 - Taga at Sangga sa Abakada ng Limang Taga |
81 |
| Strikes and Blocks 3 |
|
| Blg. 3 - Taga at Sangga sa Abakada ng Limang Taga |
87 |
| Strikes and Blocks 4 |
|
| Blg. 4 - Taga at Sangga sa Abakada ng Apat na Taga |
95 |
| Strikes and Blocks 5 |
|
| Blg. 5 - Taga at Sangga sa Abakada ng Anim na Taga |
101 |
| Strikes and Blocks 6 |
|
| Blg. 6 - Taga at Sangga sa Abakada ng Apat nab Taga |
107 |
| Strikes and Blocks 7 |
|
| Blg. 7 - Taga at Sangga sa Abakada ng Pitong Taga |
113 |
| Strikes and Blocks 8 |
|
| Blg. 8 - Taga at sangga sa Abakada ng Labindalawang Taga |
119 |
| Strikes and Blocks 9 |
|
| Blg. 9 - Taga at Sangga Sa Abakada ng Siyam na Taga |
129 |
| Strikes and Blocks 10 |
|
| Blg. 10 - Taga at Sangga sa Abakada ng Sampung Taga |
137 |
| |
|
| Dimasupil |
143 |
| Featured Sinawali Technigues |
155 |
| Bulalakaw (The Comet/Meteor) |
156 |
| Putakti (The Hornet) |
158 |
| Lagusan (Tunnel Thrust) |
160 |
| Redonda Salok-Saboy (Reverse Whirlwind Strikes) |
162 |
| Salikop-Pana (Augmented Block with the Archer) |
164 |
| Ang Tanod (The Sentry) |
166 |
| Kalasag/Palis-Tusok (Shield/Parry and Thrust) |
168 |
| Pluma, Bagsak (Pen/Wing/Outside Roof Block and Strike) |
170 |
| Sima-TTulay, Makata (Scythe Parry and Thrust, The Poet) |
172 |
| Fraile, Nakaw-Tusok (Friar's Blessing, Inside/Covert Thrust) |
174 |
| Salikop - Makata (Augmented Block with the Poet) |
176 |
| Salikop, Sumbrada - Sungkite |
|
(Augmented Block with Roof Block and Thrust) |
178 |
| Salibas - Salisok (Inward - Outward Circles) |
180 |
| Glossary |
182 |
For nearly half a century, the work of Placido Yambao has interested and intrigued Filipino Martial Arts (FMA) aficionados all over the world. Yambao's book was the first widely released documentation of a popular and, at the same time, obscure art. The book was the primary reference used by many FMA authors for details on the history of arnis.
Placido Yambao and his colleagues, in their own way, were able to preserve the priceless legacy of the Warrior Arts of the Philippines. Despite the haphazard illustrations and notations used in the original book as well as the classic and archaic language and phraseology, the manuscript managed to safeguard the art's many overt and hidden treasures. Taking advantage of this book, unscrupulous writers have blatantly ransacked Placido Yambao's work while making specious claims of ownership and originality.
With the publication of this book, we hope to clarify and credit the true origin and seed of this plundered knowledge. The reader will discover familiar terms whose origin and exclusive ownership have been ambiguously claimed by other FMA systems. Yambao and his colleagues were unselfishly focused on documenting the art, as it was practiced in their days, and in sharing it with the general public. They liberally shared this generous legacy with the Filipino people and the martial arts world.