The Blueprint of Modern Arnis
A structured look at the complete curriculum of Remy Presas’s legacy
By Datu Tim Hartman, CEO, World Modern Arnis Alliance

Modern Arnis, developed by the late Grandmaster Remy Amador Presas, is far more than a collection of stick drills or sparring techniques. It’s a complete martial arts system—a structured, progressive curriculum that integrates weapon work, empty-hand techniques, grappling, and flow-based training. What sets it apart is how well everything fits together. The system isn’t built on random concepts—it’s built on layers of understanding, where each element connects to and reinforces the next.

Let’s walk through what that blueprint looks like.

Foundations: Where It All Begins
Modern Arnis starts like any good martial art should—with fundamentals. The first step is establishing strong striking mechanics using basic tools: forefist punches, reverse punches, hammerfists, uppercuts, and hooks. These techniques are paired with foundational kicks like front, side, and back kicks, along with elbow strikes and knees that cover multiple ranges. From day one, movement and positioning matter just as much as power.

But striking is only part of the equation. Defensive mechanics are introduced right alongside the offense. Students learn to block—whether it’s an inward block, an outward deflection, a downward parry, or an X-block covering the high line. These basics are then layered with footwork and body positioning, eventually leading into one of the system’s most important concepts: trapping hands. Trapping builds control, reaction timing, and close-range dominance—skills that appear again and again in both the weapon and empty-hand portions of the art.

Weapons Training and the 12 Angles of Attack
Weapon work enters early in training, starting with the 12 angles of attack—an essential framework in Filipino martial arts. Each angle teaches not just how to strike, but how to defend, move, and control space. Students learn how to handle attacks from every direction, along with the appropriate parries, blocks, and counters.

What’s unique about Modern Arnis is that this material isn’t isolated. Every weapon movement ties directly back to the empty-hand material. Whether you’re holding a stick or not, the angles, mechanics, and intent remain the same. That’s where the system really starts to open up.

One of the first major drills that ties everything together is Block–Check–Counter. This exercise teaches students to defend against a strike, control the opponent’s weapon hand, and follow up with their own attack—all in one fluid sequence. It’s simple in theory but deep in practice, and it forms the foundation for almost everything else in the art. With or without a weapon, this drill teaches timing, positioning, and how to transition from defense to offense without hesitation.

Refining the Tools: Advanced Striking and Flow
As a student develops, they’re introduced to various striking styles—each with its own purpose. Figure-eight patterns build smooth transitions. Rompida develops explosive vertical strikes. Banda y Banda reinforces horizontal power, and Abaniko introduces tight rotational movement through fan-like strikes. These aren’t just drills; they’re tools for power generation, rhythm, and controlled aggression.

These patterns also serve a dual purpose. While they work well in combat, they’re equally valuable for attribute development. They train your hand speed, your coordination, and your ability to hit targets from unconventional angles—all of which show up in more advanced drills and sparring.

Disarming: Control Through Precision
Professor Presas designed a clear and memorable approach to disarming. Each of the 12 angles of attack was paired with a specific disarm, allowing students to build muscle memory and conceptual understanding at the same time. But this was never meant to be the end point.

As a student progresses, those disarms are applied across different angles, situations, and types of attacks. The material becomes less about memorizing techniques and more about reading positions and using leverage and timing to take control. At the advanced level, disarms are even reversed against one another, developing a deeper understanding of counters, flow, and reactive movement.

Dumog and the Close-Quarters Game
While many associate Filipino Martial Arts with sticks and knives, Modern Arnis also includes a strong grappling component known as Dumog. It covers a range of locking, holding, and throwing techniques—many of which flow naturally from the trapping and striking sequences already in the curriculum.

Rather than being treated as separate modules, these grappling techniques are integrated into forms, drills, and partner flows. They give practitioners the ability to manage close-quarters encounters, control posture, and neutralize an opponent without relying solely on striking or weapons.

Interactive Drills: Timing, Sensitivity, and Flow
A major strength of Modern Arnis is the use of partner drills to develop real-time sensitivity and control. Drills like Palis–Palis train the student to redirect and pass incoming strikes, developing timing and tactile awareness. Sinawali—often seen as a basic double-stick weaving drill—evolves into more functional versions like Sinawali boxing, which includes head movement, zoning, and entry into trapping or takedowns.

Another core drill is the Crossada Flow, sometimes referred to as gunting, or “scissoring.” This drill emphasizes intercepting incoming strikes and flowing directly into counter techniques, whether that’s a strike, a disarm, or a control.

Then there’s Sumbrada, the six-count partner drill. This structured exchange teaches rhythm, pattern recognition, and smooth transitions between attack and defense. It’s a foundational piece for developing reaction under pressure without resorting to rigidity or memorization.

Tapi–Tapi: The Pinnacle of Partner Play
Eventually, everything leads to Tapi–Tapi—a dynamic, semi-alive training structure that blends all previous material. It’s more than a drill; it’s a method of live interaction that teaches timing, sensitivity, counters, and recounters.

There are two major versions of Tapi–Tapi in the Modern Arnis curriculum. The first, which is based on Block–Check–Counter, is built around timing, reaction, and counter-for-counter movement. It’s nuanced and fluid, with fewer repetitions and more spontaneity. The second version is a Sinawali-based semi-sparring format—more structured and rhythm-oriented, often used to introduce students to the concepts in a more digestible way.

What’s important to note is that both versions prepare practitioners for live application. They also explore interactions like right-vs-left and left-vs-right—something Professor Presas, being a left-hander himself, intentionally built into the curriculum. The goal is to ensure adaptability no matter the opponent or the hand they fight with.

The Forms: Cataloging the System
Modern Arnis includes 12 forms (anyo): four weapon-based and eight open-hand. These forms act as a library for the system, containing key concepts, sequences, and transitions. They include striking, trapping, disarms, throws, and grappling—all presented in a way that encourages repetition, refinement, and reflection.

Six of these forms include explicit trapping sequences, reinforcing the use of close-quarters control. They’re more than choreographed routines—they’re training tools that showcase how the individual components of the system are meant to connect in motion.

Final Thoughts: Why It All Matters
The genius of Modern Arnis lies in its structure. Each layer of training supports the next. Striking leads into trapping. Trapping leads into disarming. Disarming flows into control. Control transitions into throws. Forms reinforce the techniques. Drills bring it all to life.

Everything is taught with the expectation that the student will practice:

• With a weapon
• Without a weapon
• Against a weapon
• Right- and left-handed

This creates a practitioner who’s not just memorizing techniques—but truly understanding movement, timing, and control.

Modern Arnis isn’t just an art about sticks. It’s about strategy, adaptability, and intelligent training. The blueprint is there—you just need to follow it.

—
Respectfully,
Datu Tim Hartman
CEO, World Modern Arnis Alliance

#ModernArnis #FilipinoMartialArts #ArnisBlueprint #FMAeducation #RemyPresasLegacy #MartialArtsStructure #StickFighting #DatuTimHartman #WorldModernArnisAlliance #TapiTapi #Dumog #Sinawali #FMAcurriculum #ArnisTraining #FilipinoWarriorArts #CompleteMartialSystem #WeaponsAndEmptyHand #TrainBothSides

25 Years Ago Today – A Turning Point in My Martial Arts Journey

In every martial artist’s path, there are defining moments—turning points that reshape how we train, how we teach, and how we see the art. For me, one of the biggest happened exactly 25 years ago: I officially began training in Balintawak Eskrima under the late Grandmaster Ted Buot.

Many of you have heard the story, but for those who haven’t—it all started with Professor Remy Presas. He once told me, “If you want to become a real stick fighter, train with Ted.” At the time, I didn’t fully grasp the weight of that advice, but I quickly found out why he said it.

What many don’t realize is that Balintawak was the last system Professor Presas trained in before creating Modern Arnis. In fact, he was one of Anciong Bacon’s top fighters. Because of my deep background in Modern Arnis, I began to recognize the roots of our system—tracing key concepts and techniques directly back to Balintawak. And that insight began changing me almost immediately.

My live hand transformed. I started setting traps, creating openings, and drawing reactions—not by telling partners what to do, but by baiting them into predictable patterns. That strategic depth—that ability to manipulate the flow—came straight from the Bacon–Buot lineage.

And as I continued training, one thing became clear: Balintawak didn’t replace Modern Arnis—it revealed deeper layers of it. I wasn’t switching systems; I was expanding my understanding. That’s an important distinction. Too often people think it’s either/or. But the truth is, both arts brought different tools to the table, and knowing both gave me a distinct advantage. When I sparred with players from either system, I had answers—because I could see both playbooks.

As I grew in Balintawak, I began teaching the relationship between Modern Arnis and Balintawak, helping others see how the two systems complement one another. Eventually, with Grandmaster Buot’s blessing, I began conducting dedicated Balintawak seminars. It was an incredible honor to be one of only two people he personally authorized to teach his material in that format.

Now here’s something I don’t think enough people talk about: Professor Presas wasn’t trying to keep us from Balintawak—he was pointing us back toward it. Over the years, he sent several of us to train with Manong Ted. And every time we saw him afterward, he’d ask what we had learned. In my opinion, he was trying to return to his roots. Unfortunately, his seminar schedule was relentless, and it left little room for that kind of focused retraining.

But he trusted students like me—people who weren’t leaving Modern Arnis, but were trying to understand it on a deeper level. I truly believe that if Professor were still with us today, Balintawak would have had a far greater influence on the evolution of Modern Arnis.

In the end, this journey didn’t just change how I move—it changed how I think. It gave me new eyes to see the arts I’ve devoted my life to. And for that, I’m forever grateful to Manong Ted—for his time, his wisdom, and his trust.

His influence still guides everything I do.

Respectfully,
Tim Hartman
Remy Presas Arnis
Bacon–Buot Balintawak

Stick It to Hunger 2025 – A Smashing Success!

This weekend, Horizon Martial Arts hosted the 2nd annual fundraiser for the West Seneca Food Bank, and this year’s theme said it all: Stick It to Hunger! 

This was an official event of the World Modern Arnis Alliance, part of our ongoing mission to give back and support community needs through martial arts.

Proudly supported by the MA Tour Tournament League, this event brought together martial artists—mostly stick fighters—for a day filled with action, camaraderie, and purpose. (Yes, that’s where “Stick It” comes from. LOL.)

We were honored to welcome five incredible schools, including:

TKO Martial Arts – Erie, PA
MSD Kempo – North Tonawanda, NY
Amerikick – Batavia, NY
And of course, our home team at Horizon MA and other supporting schools

Competitors faced off in Sport Karate, Sport Jiu-Jitsu, and Sport Arnis Fighting for two hours of Rock’em Sock’em action—with masters and grandmasters on the floor, helping others elevate their game and deepen their art. ?

Special thanks to Ray Nowicki of the West Seneca Chamber of Commerce for stopping by, making a generous donation, and showing his support.

We raised $600 in cash
Collected a huge amount of food
And we’re still not done—donations are open through August 1st!

If you’d like to help us Stick It to Hunger, click the link below to donate. Every dollar or can helps feed a local family in need.

Thank you to everyone who trained, donated, and supported this great cause. Let’s keep building strong martial artists and stronger communities.

— Datu Tim Hartman
Horizon Martial Arts | World Modern Arnis Alliance

#StickItToHunger #MartialArtsForACause #WMAA #HorizonMA #MATour #BlackBeltsGiveBack #WestSeneca #CommunityStrong #ModernArnis #TKOMartialArts #MSDKempo #Amerikick #FMA #MartialArtsUnite

No Lineage? No Legitimacy.

I’ve been seeing a lot of people lately—especially in the MMA, BJJ, and even FMA communities—saying that lineage doesn’t matter. And here’s my honest take: when someone says that, it’s usually because they don’t have one.

Yes, doing the work matters. You’ve got to train hard, pressure test, and be consistent. But lineage also matters. Knowing where your art comes from, who passed it down, and how it was developed—that gives your training roots. It provides structure, authenticity, and legitimacy.

Think about it: when you go to a doctor, their degrees and certifications are right there on the wall. Same with attorneys. Why? Because it matters where they learned and who taught them. Martial arts should be no different.

I’ve been around long enough to remember when the MMA boom first started. And honestly, it was one of the most frustrating things I ever saw. People who had a few fights—sometimes underground or on the reservation—mistook that for being qualified to teach. Suddenly they were opening gyms with no formal training, no teaching experience, and zero understanding of safety protocols or proper instruction.

Some of these folks may have taught themselves how to fight, but they were never taught how to teach. And in my opinion, that’s a betrayal of trust. Students walking through that door expect a professional, safe environment—not some guy who got lucky in a cage fight and thinks that makes him a master.

Now, to make things worse, anybody can jump online and order a black belt and uniform off Amazon. But wearing the uniform doesn’t make you legit. Before I’d ever train with someone, I’d want to know: what are your credentials? Who taught you? What system are you teaching—and did you earn the right to teach it?

We’re now seeing people who barely scratched the surface in one system creating their own arts. Not because they mastered anything—but because they’re trading on gimmicks, personality, or even nationality. It’s all smoke and mirrors if you can’t back it up with knowledge and experience.

So if you’re a student looking for a place to train, do your homework. Ask questions. Look at their website (if they have one). Who certified them? What’s their lineage? Are they preserving something meaningful—or just making something up the night before and slapping their name on it?

Lineage isn’t about living in the past. It’s about honoring where the art came from—and building a future that’s worth something.

Respectfully,
Tim Hartman

Accountability Isn’t Being a Hater—It’s About Protecting the Truth

Let’s clear something up—especially within the Modern Arnis community—accountability is not the same as persecution.

When I speak up to correct something, it’s not about attacking anyone. It’s not about being petty, even if it might come off that way to some. It’s about making sure the right information is out there. That matters—especially when we’re dealing with history, lineage, and the legacy of Professor Presas. Words carry weight, and when people throw them around carelessly, they can twist the narrative, whether they mean to or not.

I’ve had people dissect things I’ve said, cherry?picking one sentence while ignoring the full context—just to try to discredit the point I’m making. But when I speak, it’s with purpose: to be accurate, to be fair, and to keep the story of our art intact.

Here’s an example: if someone says something happened in 2005 when it really happened in 1999, that’s not a small detail. That’s a huge shift. Professor Presas was still alive in 1999. He wasn’t in 2005. That difference changes the entire context—who was involved, what influence was present, and how the event fit into the bigger picture of Modern Arnis history.

Now, I’ll admit—there have been times I’ve spoken up and it might’ve felt like I was being petty. But let’s be real: I’ve been accused of things, and when the truth comes out—when it’s proven I was right or not guilty of what I was being blamed for—I do feel vindicated. And yes, I sometimes bring that to light. Not to say “I told you so,” but to clear the air and set the record straight.

The reality is, when you’re the one consistently holding people accountable, it becomes easy for others to paint you as the bad guy. They start looking for reasons to discredit you, to twist your words, or to question your motives. But accountability isn’t about being liked—it’s about being honest. And I’ll always choose truth over popularity.

At the end of the day, it’s not about putting people down. It’s about lifting up the truth and making sure the legacy we’re all a part of gets the respect it deserves. Nothing more, nothing less.

Respectfully,
Datu Tim Hartman
World Modern Arnis