Martial Arts Weapons Training
Martial Arts Weapons Training (Sai, Kama, Tonfa) Part-5
(1:04:10) That pull can go an inside motion, or an outside motion. Blocking with the ‘Kama’ is very similar to the blocking in Karate. It should be with the ‘Kin-fran-tey’. Same kind of block to utilize in Karate or utilize with the kama.
(1:04:27) Once again, I can’t stress enough. You have to have respect for the weapon, because as you see as I’m blocking, I’m bringing that blade back towards me. You always have to make sure that the blade is going around your body. Not towards your body. Away from your body
(1:04:44) Something you’ve act, I have to add right away before we go any further because it seem get hurt by this. When you block with the Kama blade, you never block out and down, like so. A lot of the motions that I am about to do have been a look like I’m coming in like this to block, I’m not. I’m blocking out, outward. The reason, if there was a wooden weapon coming towards me, whether it be a bow staff or a sphere. The tip of that weapon is not what I should really be afraid if I’m going to block like so.
(1:05:19) Once this blade comes down and cuts through that weapon, I’m going to knock the tip of the blade to the tip of bow whatever, block and create a new weapon coming at me.
(1:05:32) Picture a stick, being sliced on an angle, that stick is coming towards you. You think you are blocking it, you are cutting it in half, and now you have got an even sharper point coming straight at you. I’ve seen people get their right kick, so always remember that this type of motion, when you see me doing it, it looks like I’m doing that, I’m not.
(1:05:52) That is actually to watch my wrist carefully. Deflecting, not trapping.
(1:06:11) First thing I’m going to do, like all the Arakaki Kobudo, is I’m going to retract. We always start with the defensive posture.
(1:06:22) Just like all the other ‘katas’, let’s start with a squinting back motion, now retract. What I am going to do now is we call ‘climbing the stairs’. What I just did, I came in with a double block or defensive posture as I retract it and then I came in and worked my way up to my final trapping motion.
(1:06:47) So I retract and work my way up to the trapping motion. I go on the opposite modality. From here, working my way up to the trapping motion. You will notice I’m using the same hand on both sides. I’m going to work my way in, hop at one time and then there is going to be what we laterally call ‘chop chop chop’, or downward center line of the ‘imbulsen’
(1:07:14) I’m going to shuffle step forward, working my way up, the final motion is to step thrust. Now, I’m going to work my way backward. Bringing the arm across, I come across, bring the arms back, I come straight down, bring the arms across, I come across, go back to the original posture. From here.
(1:07:40) This time, I’m going to enter with a block. This is going to come down, my front is going to come down and to move at the top and hop. You will notice I have got complete basic instrument going through the stomach strike, and that strike is actually a stab.
(1:07:57) As I go back, I’m going to step forward, put it into the side. Same thing, I’m not changing and using the other hand. I’m always using the same power hand.
(1:08:09) Coming in, I pull and I step. Now, I’m going to pervade again. Step back, down twice, step back, down twice, come back forward, same thing.
(1:08:29) Step away, step away, drop straight down, I turn. This is going to be a figuring pattern. One, two, three, four, five, six. Back, come back turn, one, two, three, four, five, six. Back, coming forward, chopping down, coming backward, chopping down. One, two, forward back.
(1:08:58) This is a block, I’m going to be trapping whatever I am blocking and the ‘Kata’ ends with a forward step.
(1:09:08) Bring it in and the form.
(1:09:14) On the twisting figurate pattern, what I am actually doing there, there could be a couple of different reasons, couple of different blowing ties to the motion. I block, I slash, I hook, I cut.
(1:09:33) It could also be the least to quote the Okinawa, we have a distinguish call ‘Tru she’. The other marines are not, because you could also be fencing a weapon with that. In other words, parry until finally going to assault close enough and you got a cut or a bite.
(1:09:52) All the motions that looked like offensive motions are also blocks. The wooden or medal handle fort of the ‘Kama’ also sometimes is used as oblegion. You are actually striking with the world.
(1:10:08) Follow the strike is always followed by a ‘Ko’. A lot of times, what looks like a cut is not really a cut. What you are doing is ‘hoking’. What you are doing is, well I didn’t say a bite, but we are doing is we are sinking into a weapon or a person’s arm or a person’s leg in order to pull them in for the next strike.
(1:10:28) The important of the utilization of the ‘Kama’ , when doing especially these techniques here are always nowhere the tip of the weapon is going and nowhere your other arm is going. Very important especially on these motions here, very easy to get caught up, I’ve seen people lose quarter of an inch of their nobles just by not knowing where the other hand is going.
(1:10:53) When I am coming in with this motion, it looks very similar to the karate double chop motion and it could be the true ‘bonkai’ of this in the ‘Kata’. One is taking your guard away, the other one is entering with a slash.
(1:11:15) Bottom line, taking the guard away. Either the weapon, the arm, whatever they have. The other one is coming in with a strike. That could usually go the opposite way to have one could be doing that from a downward position.
(1:11:28) On the spin and this is one of my favorite techniques. When I am coming here, I’m spinning. This awkward motion, which obviously is an attack is also one of the best defenses because you have got an oncoming, whether it be a sword, whether be a stick, whatever, a sphere, you are blocking up and there is the bike right there. Of course, we would never ever stop there. The motion continues.
(1:11:56) So, what I am doing is I am blocking and carrying it this way. So, whatever is coming down, it is being thrown away. It is very powerful because you are not just knocking it away, you are digging into that weapon.
(1:12:09) And believe it or not even a sword, when that sword is coming down, when another blade comes up, one of them is going to bite. That’s not the same of any good samurai’s sword being wield by somebody that knows what they are doing, what is already through this, always remember that.
(1:12:22) That is why blocks are never done even in Karate, you would never block straight across. There would always be an angle on there. When you are blocking with these, it is always on an angle and moving over.
(1:12:36) More explanation on the ‘Kata’. The defensive posture, here, watch the first one, forward stick, not only a guard but sweeping away. Just like I just explained. Sweeping away, secondary one, that is basically going to be the one that you are dealing with, the one that you are actually taking the technique out on.
(1:13:05) The same thing on the other side.
(1:13:09) Interesting point, watch how I do this now. Okay, pay attention.
(1:13:16) If I make the ever popular backward’s peace sign, bring it around. The entire form that I just showed you, can also be done like so.
(1:13:28) All the motions would be used and done opposite from what you are doing. All the motions that you are doing, all of them, over hand motions would be coming under hand. All of the techniques with the ‘Kama’ in the opposite modality.
(1:13:43) You see a lot of times and there is nothing wrong with this. This is just not something that I take for granted. If you care for my opinions, during the course of combative in a lot of ‘Katas’, that were probably made by somebody that knows a lot more than I do, you will see that change. You will see the change, the switch over.
(1:14:01) In the middle of the ‘Kata’ and that looks really good, but to do a switch in the middle of a combat situation, my opinion is really no good. That is asking for trouble, let’s say that is a invitation to disaster. So, in Arakaki Kobudo, once again, you can do all of those techniques, as a matter of fact some of them becomes much more useful when the ‘Kama’ is held backwards.
(1:14:24) Like I just showed you for instance with the cross motions. When I am coming across to prepare to do this, when I am holding them backwards, the initial motions are cut. Now when I flip my hand over, the next motion, back. When you are using this way, you have only one cocktail, here when you have got them backwards, you have got two.
(1:14:48) Stepping motions also, when you are holding the ‘kama’ upside down, same techniques, same motion that I showed you in the ‘Kata’. Like so, when you are holding it upside down, you have got a slight upward broke, that makes the steady motions much more effective.
(1:15:07) So, remember that, as you are studying the motions of the ‘Kata’, try opposite. I’ll you show to turn one more time. The ever popular peace sign, drop, turn, and here. Arakaki-no-Kama.