Martial Arts Weapons Training
Martial Arts Weapons Training (Sai, Kama, Tonfa) Part-3
(36:19) They can be brought all the way up to my bicep. I just took my arm, out of almost going to stop it from being moved to this.
(36:30) Next, I grab my weapon. Very important, this is a mistake a lot of people make. It could be a very crucial mistake in combat. I do not cover my eyes when I grab the weapon, even for a second. Because a good fighter is going to take that opportunity to attack.
(36:49) It comes across. Now, this is another reason. If the sun is in my eyes, and I bring my sleeves off, I can guard my eyes, blocking the sun from my eyes. Of course here, before my initial motion.
(37:06) I’m going to bring my leg up and retract the bow. The retraction actually puts me into a chamber position, it is going to lead to an offensive and defensive motion.
(37:20) Once again, shall we? Here, grab it, here, when I come forward, dropping my weight forward, this could be two different or three different things. It could be a strike, it could be a posture that would make somebody run into my guard or I could be knocking a weapon out of somebody’s hand by hitting on the forearms or the wrist.
(37:49) So, I’m here, here. One, and two. Multi-purpose, as if. Right now, I’m in a non-exaggerated forward stance, I have got my front foot facing towards the opponent, my back from a forty five degree angle, my hips are basically forward.
(38:09) I’m going to change that stance into a shallow ‘shikudatchi’, which is a horse stance. As I do that, I’m going to block. Let me explain something about the block, in Karate, the inside-outside block, we don’t just block the hero’s course, because if we did, we’re not really taking that on coming attack to bringing it outside our body.
(38:34) We are just redirecting it into our arm. Well this is a little more crucial because if I’m fighting with a bow, I’m probably fighting against the weather. More than likely, fighting against the weather.
(38:46) When I drop down and do this block, I just block it here. All I’m doing is directing that right into my heart. So, the key, then twist the wrist. Twist the wrist. Don’t just block the deal arm. Twist the wrist to the outside.
(39:04) As far as you can twist it. That not only brings the oncoming attack outside of my body line, it could also lends more power and snap my motion.
(39:18) Starting again, I now drop to get my arm out of his ques, grab the bow without covering the eyes, bring the leg up, come forward, striking, dropping into the horse stance, and I block.
(39:32) Please pay special attention at this stand. I’m not just using my forward arm, I’m twisting, turning the back, so I’ve got a rolling motion.
(39:47) I’m going to retract this leg, the purpose of the retraction could easily be somebody is trying to attack the leg, or perhaps I’m just trying to put a smoke screen front.
(39:57) So the first doesn’t realize that I would be moving forward, when I retract the leg, I attract the bug. I’ll say that again because that was just made up. Speech of impediment. When I retract the leg, I attract the bug.
(40:14) From here, shuffle step, strike. When I strike, I twist the wrist, not just bringing it in like so, I’m twisting the wrist, I’m also turning the back of the wrist.
(40:30) Like so. From here, here. That is done twice. One, two.
(40:40) Re-down, re-drop, take the arm out of the sleeve, bow across the forearm. Let’s do that again.
(40:55) Re-down, drop, bring the arm out of the sleeve, across the forehead, grabbing the stick. Retraction, confrontation. Dropping, turning slightly, block. Retract, shuffle forward, two step. Retract, shuffle forward, two step. We’re going to fade back again. As we fade back, we drop the front of the stick.
(41:24) Should be keeping the eyes directly at the opponent. Where the horse stance, we fade back, dropping the front of the stick, bringing the back of the stick up, blocking across.
(41:38) One, two, fade back, ‘nikodatchi’ at stance, bringing it across. From the beginning.
(41:40) This is okay that I’m doing it from the beginning over and over again. Now, dropping, taking the arm out of the sleeves, across the forehead, grabbing the stick. Retraction, confrontation.
(42:08) Turning, dropping, block. Retract the leg and the stick. One, retract the leg and the stick. Two, fade back into a cat stance and block.
(42:22) I’m not going to go into a back-leaning stance and as I do, I’m going to sweep down with the stick. I do that by bringing my top hand around and down, bringing my body and hand around and up, following until the stick is in my underarm.
(42:45) So, from here, I come down. That is a defensive and an offensive motion at the same time. It could be a block or it could be an attack as you advance.
(43:01) Shall we? Sleeve, forehead. Retract, advance, drop, block, retract, advance, retract, advance, move away, blocking, sweeping down. I’m going to turn around now, so that instead of going in the opposite way where you cannot see me and then I go towards you.
(43:35) I bring my hand like so. What I just did was a red coal of the stick and I brought it into a center guard with an open hand. I bring my feet together, as I bring my feet together, I bring the stick up, grabbing and block.
(43:55) I’m now going to do the same thing I just got done doing down the center line. I drop and strike. Bring my feet together as I retract the bow. Drop and strike. Bring the foot back, in ‘nikodatchi’, the cat stance and I block twice.
(44:17) Move to the top, strike, retract again, block. Close attention to the hand motion, I switch my grip, I have got thumbs down on the top, thumbs up on the bottom. I’m going to switch the grip in a block wise motion.
(44:38) From my cat stance, I’m going to shuffle forward into ‘sang-shin-dachi’, back foot straight, front foot turned in. I block out of ‘nikodatchi’, change my position, came forward in ‘san-sin-dach’. As my weight comes forward, I’m using that motion to get power to the following strike. Keep your eye on the bottom, tip of the bug.
(45:06) I’m gazing into the eyes of my opponent, I did a block, I switch from the back of my boron, gazing screen to the eyes of my opponent, attracting his attention here. I’m putting smoke in his eyes. I’m moving forward, so he is looking at my eyes, and the stick. When he is not looking at, as that my weight goes forward, I’m dropping it and whacking him in the foot.
(45:33) From the beginning. Incidentally, if you are viewing this for a competition, you’re going to learn this kind of competition, you never spike the bow in competitions. Spiking the bow means hit the floor. It’s very disrespectful to the weapon and disrespectful to the floor.
(45:53) I’m doing it right now into this ground side, on chemistry, in actual attention. When we do the ‘Kata’, conditionally, on an ‘buju’ floor or a competition floor. It will bring a new sort of touch.
(46:14) Shall we? Dropping, get the arm out of the sleeve, coming across the forearm. Appalling, dropping, getting the arm out of the sleeve, coming across the forehead, grabbing the stick, retraction, confrontation. Drop, block. Retract, shuffle forward, strike.
(46:40) I lean back. Blocking or striking with the bow, bringing my hand at such. This time I won’t turn so you can see. I come up, put me up in the blade, drop down, strike, shuffling, retract the bow, step, strike. Now I turn, one, two, strike, block, shuffling, going back this way. I’m going to sweep down with the bow, I come up, grab the stick, strike, come forward, bring the bow back, strike, I step back, one, two, over the top, blocking again, switching the grip, shuffle forward, striking and back on.
(47:34) From what I call the ‘Piking’ position, which meant I just came in and step down to the foot. I change modality as it go back to the front of the schematic. Right now, I’m turning around, facing the camera, so you can see what I’m doing, but if I’m doing the ‘Kata’, starting this way, right now I would face here.
(47:55) Now we will go over my shoulder, as I do I take my back load sliding over so that when I turn my head so that if you’re going to forward steps, facing the front into the schematic and the ‘Kata’. I twist on the balls of my feet, drop my weight and come as such the body.
(48:13) Very important, I don’t con-spring the bow over, I drop my weight and come at such. Reason being, I am confronting a person that is holding a weapon like this. I’m going to take that stick and come underneath their weapon, up into their throat.
(48:31) If I come straight across, I’m just going to get blocked. I’m taking the bow, coming underneath up to the throat, so I fade back to the foot and go over my shoulder, drop my weight as I bring my leg over and come up like so. The guy that I just hit on the foot, he is not done yet. I’m coming back at him and then back towards the first line construct.
(48:55) So the motion looks like this.
(49:02) Now I’m going to go to a square ‘Shiko-dachi’ or horse stance. Bring the bow across, drop my weight and as I drop my weight, I’m going to sweep the bow and literally his legs. I drop my weight and shift my hips. I now have the stick up on an angle, I’m going to shift my stance on my hips again and strike down at the first I just knock down.
(49:33) From the beginning. *In action*
(50:09) That is the end of Arakaki-no-konshu. Entire Arakaki-no-kon consist of two ‘Katas’— ‘Arakaki-no-toni‘ is added on to ‘Arakaki-no-konshu’ which makes the complete Arakaki stick styles, Arakaki-no-tondai. We will get to that everyday.