Martial Arts Weapons Training
(23:19) When you come around into a squinting, it is very important that you bring it all away across. If you don’t bring your arm all the way across, that you wind up doing it if you don’t hit something, it is breaking your own wrist. Very important.
(23:34) So, once again, we fade back to evade with a high block, advancing in, we strike, retract, squinting motion and back.
(23:47) Going to the opposite mordality, fade back with a high block, come in, strike, retract, squinting motion, express enough. The arm has to be brought all the way across, if not, not good.
(24:07) Now the posture, block, strike, strike, and back, looking, block, strike, strike, and back. Now we move down in center line, legs up, it is not a high block, it is an outside squinting guard. Come in and strike, strike, strike. Come in, strike, strike, strike. Come in, strike, strike, strike.
(24:43) Something I want to mention right now because a lot of people looking at this video are studying for a loan course in the next fifty years. The downward motion of the PR 24, which is the modern version of tonfa, is a killing technique. Course motion, looking pretty much to get away with. When I was an embassy guard for the United States for Reinforce, we were told with the PR 24 to never use it in a downward motion, once again that is a killing technique.
(25:15) Keep that in mind, when you are deciding how far you want to go with your defense.
(25:20) I came in, strike, strike, strike, I came in, strike, strike, strike.
(25:30) How did I do that? Letting go and grab it, it is a figurate pattern. You can easily make that figurate pattern come to the sides of the hand, but it can easily also causing the interchangeable in the ‘Kata’ in becoming over to the top of the head.
(25:50) I’m just turning my hand over, coming down, turning the wrist over, as if I was going to strike like so and then flow aback of it. I came here, turning over, here, I’m letting the tonfa loose in my hand. So that I’m not just hammering, I’m literally swinging the tonfa around, as I manipulate my wrist.
(26:19) I moved in, creating an opening. There was more than likely a confrontation coming towards you, so I created an opening, strike, strike, strike.
(26:29) Creating an opening, strike, strike, strike.
(26:34) The next motion in the ‘Kata’, I come off. Somebody is attacking towards my leg, what I am doing is blocking. There are two ways of doing this in Arakaki-no-tonfa. Two ways of doing it.
(26:50) You can do it with a closed posture or an open posture. It is interchangeable, it doesn’t matter which one, both or belly.
(27:00) This way, I feel like actually confronting whatever is attacking my leg or this way more passive, just trying to protect.
(27:08) I drop my weight down, as I drop my weight down, I bring the tonfa over head. Once again, it is a killing move. You don’t want to use that on somebody that you only want to have a limited effect on. Especially considering that after you defended, you’re dropping your weight so all the weight is being dropped is going into the swinging motion.
(27:32) Block, down, and back. Up to side, re-done the motion, same thing, block, down, and back.
(27:42) We are now looking forward down the schematic, we come with an upper cut. Upper cut is very easy to do, this is if I was doing an upper cut motion, but I leave the tonfa loose in my hand, so cause up like such.
(27:56) Common mistake people make and learn, real fast not to do is the hole of the tonfa in an angle when they do this. If you are holding the tonfa in an angle, when you do an upper cut, it hits right on the head. You want to hold it straight. We are coming with the double-motion up. Now, for every four motion there is a reverse motion, as if we are throwing a two back fist, we come down, let it loose, down. So it is up, down, around, and strike.
(28:30) Or break that down. Up, down, I twist my wrist like so and back down. One, two, three. From the side, one, two, three. One, two, three.
(28:52) If I was just using one leg at PR-24, which is coming here.
(28:57) Up, down, and around. Same motions if I was doing an uppercut, back fist, downward thrust. Up, down, and around. And of course, we always follow through with a straight-forward. Better we have so far.
(29:20) We started out cradling, we bound. We open up with the ‘hikodatch’, assume mountain posture. Once again, you will notice, wrapped around the wrist, never here. I’m coming attack, I fade back, high block, come forward, strike, putting the body motion in, across, and back. Opposite mordality, fade back, block, come forward, strike, retract, squinting motion, and back.
(29:57) Looking down the central line of the ‘imbusen’, create the opening. One, two, three.
(30:04) Create the opening, one, two, three.
(30:11) Now, we are coming. Blocking, dropping the weight, coming down over head and back. Blocking, I’m down over head, and back.
(30:27) Looking forward, up, down, around, and in. I’m now going to retreat. My purpose of retreating is to actually draw the person in, so that I can attack again. So I retreat in an outside block. I retreat in an outside block.
(30:48) I retreat in an outside block. Now, I advance from the outside block, I come forward, striking up, around my neck. Very important, just like this strike here. You have to bring the hand around, if I don’t bring my hand all the way up here, no fun. Cal bone break.
(31:11) So I come up and around. Now, every forward motion. As an equal, opposite motion and down. Up, this way and down. Up, this way and down. Once again, redounding move, up, down and around, across, and back, across and back, blocking, blocking, and the ‘Katang’.
(31:47) Bring the tonfa together. Final motion. Cradle. Arakaki-no-tonfa.
(31:58) Arakaki-no-tonfa, now Kamai. Fade away block, come in, strike and strike. Opposite mordality, fade away block, come in, strike and strike. Opening, one, two, three.
(32:20) Crane posture. Dropping, striking, and away. Crane posture, dropping, striking and away. Uppercut, down and around, block, block, block. Coming in, strike, and strike, coming in, strike and strike.
(32:42) Uppercut down and around, across, across. Blocking, blocking, blocking. Basic tonfa-Kata.
(32:56) Arakaki-no-kon. Kon is a chinese word, later on, used in Okinawa meaning stick. Most people refer to this as a ball. Actual name for would be ‘Rukoshafu ball’. Six-foot step.
(33:12) They call it a kon, a stick. In Okinawa, it really doesn’t matter how long it is. But this was four feet, there would be a jaw and jack list. Once again, in Okinawa, it doesn’t matter long it is. It’s a stick. This ‘Kata’, originated in China. It was brought from ‘Fu Chiao’ to Okinawa by the Arakaki family. It was passed down through their family and there students.
(33:35) The in-laws cousins, etc.
(33:39) The thing that is unique about this form is that it is a right-handed form. Usually, you will see bow in the opposite modality of what you are about to see. The posture, the main posture is usually opposite to this. What makes this superior, in my opinion, it will be the same thing as a boxer who’s fighting in a regular standard, throwing up against the south pole.
(34:01) They are playing that is totally un-orthodox to what your standard is, so you got to change your total way of thinking. So it is an opposite sided-‘bukari’
(34:12) The basic posture carrying the kon in this kata, is to hold it inside the depletory. You have to hand as such. It is high up enough form of the ground that it won’t be dragging or hitting things. The way that we shoot that with the stick touching the ground, re-bend in the natural bend, down, sliding the hand out and lift.
(34:36) This is the way the bow would be carried. If it is a more formal, if we are confronting somebody, whether it is a social confrontation or a potential war confrontation. The bows have like so. It is a way, it cannot be taken away so easy.
(34:53) Edge ready for some sort of a clan deep-sighted pack. So once again, for confrontation, we both have a so. ‘Domo’ posture is at such. Keep in mind that in China, many years ago. People wore garments that had very large, long sleeves. A lot of times, the sleeves, came all the way down to the tips of the finger, so it will be passed that.
(35:20) To my first motion, after I bow and the bow before I even begin with that first motion. Remember that when you bow to the step, it is not a cringing bow with the stick pointing towards as this dealing, you bow with the weapon.
(35:37) I’m going to drop my weight. Reason being, when I start the confrontation, I want to have the most stability and potential power that I can and I’m going to achieve that by dropping my center gravity. I do that by bending my knees, by gripping the floor with my toes, and keeping my heels on the floor.
(35:58) As I do that, I do the following motion: I claw the arm up like so, almost conjure the chamber. I’m bringing out, like so. The purpose for this, besides being fancy, is I’m going to take this wall, big sleeve as covering my fingers.