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Martial Arts Weapons Training (Sai, Kama, Tonfa) Part-2

Martial Arts Weapons Training

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(12:00) Open, close. Look, blocking, this and that. Look, blocking, this and that. Coming across and down. Once again, I’m asking for trouble. Opening myself up and inviting an attack. I’m going to step forward and into-lock the sai.  We will talk about that for a minute, when we into-lock the sai, we hop the sai like so. Not like so, like saw, flat.

(12:45) It will make it a diamond. That diamond right here is where I catch the sword, or stick or whatever is coming out. So, once again, not sideways but flat. Up, creating the diamond. I take my thumb and place it on that plung right there with blocks on the side.

(13:07) So once again, as it is here, I come forward, block and draw of that. Open, free size would be carried. ‘Punchatuna‘ one of the rare, sometimes just like a sword. Once I create the diamond and lock it, if I had the extra weapon, that is when I re-grab it.

(13:33) Otherwise, if I only had two, create the diamond, lock, draw aback, one knuckle punch the way that cut is destroy. I advance slightly, I throw the one knuckle punch to the socket, to the throat. Draw aback, grab the sai and go back into our open posture.

(13:54) Re-track, first move I block, fade away to a screen posture. So, somebody is coming in, I’m throwing back at a horse stance, blocking, fading away. Blocking, fading away. That could be done in either side, that is actually interchangeable depending on the personal preference.

(14:23) I’ll start again. From an open stance, create the diamond, block, strike. In the opposite mordality, here, re-track, blocking, fading away. Blocking, fading away. My prep-foot now is going to block on oncoming foot attack for forward motion. From the crane stance, I come forward, and strike.

(14:57) As the end of the cutting. I come from here and here, now bring the hands together with the thumbs extended, in order to bring full size to one hand and the end. Arakaki-no-sai.

(15:12) Arakaki-no-sai in most stunning.

(16:08) For the more advance of technique, the less applicable is going to be the combat. Sai and Okubudo from Okinawa and China originally, were not aesthetic. Wushu is a beautiful art requires ridiculous talent but the original combative aspects weaponry were not aesthetic. They were not there for you to enjoy as far as their looks.

(16:33) Very very basic. You will see manipulation of the sai, if basic manipulation as such is essential and then it goes even further into what starts to look a little fancy but it is only reversing. What I am doing here, I came forward, I’m making a peace sign backward which in England means something different.

(16:57) Here, up. I drop the sai. Once again, here, backwards peace sign, drop the sai, and it comes forward again. So looks like this.

Martial Arts Weapons Training
Img Cred: jolynne_martinez-Flickr

(17:13) Now, here and there. Which brings you back to our retraction. Out here and there. Once again, it is only a change of handling the sai, not meant for steps.

(17:26) Another motion that you will look and see in combat with the sai, would be once again, the ever popular peace sign and the sai being brought up.

(17:36) This particular sai is not that sharp. But sometimes the size would be sharped into a point like a needle. Where a strike would be made and then a slashing motion would come up with the body behind it. Striking, slashing, coming back and manipulating out.

(17:53) Once again, the more intricate the motion, the more risky in combat. But that is a valid motion with the sai.

(18:01) Depending in how big you wrists are, the sai can also be spun. Like so. Brought across for a slash, and then spun. We did got a wide wrist and a big hand, you are going to have walk up to the wide side with a big palm.

(18:17) I’m here and there. Then we try to avoid excessive motion, but sometime it is necessary… switch. The ever popular backwards peace sign. The sai can also be spun and brought back into motion.

(18:35) The sai is used as oblegion instrument primarily not a stabbing instrument primarily is oblegion, it’s a club. So upon spinning it, these are actually figurates strikes. Here and back into motion. Depending on how good a person is with the sai.

(18:53) That could be effective or that could be nothing but a stun.

(18:56) This is something good to know. The sai is also a throwing weapon. My personal opinion is once you throw something you don’t have it anymore. So if that happen, follow on. Usually there’s two sais. Not always, and a lot of times there’s three.

(19:11) The sai could be thrown at the attacker, but primarily when you see in the ‘Katas‘ is the sai being thrown down at the foot.

(19:21) When you see the sai being thrown down with the purpose of that, is personally is it dancing forward, you are retracting. That is a foot strike. You got the guy’s foot pinned to the ground is kind of easy to deal with the other sai.

(19:36) That is the advantage of that. Thank you.

(Tonfa)

(19:39) Tonfa, also known as ‘Twifa‘. Originally, these were handles, in grimed us in a rice grime. Now, funny that you also see them in China, use as weapons. Obviously, they were handles in something else in China. I’m not going to lie to you, I don’t know what. Probably the same thing.

(19:59) The tonfa is a boxing tool actually, it is used to box but this various ways of manipulating it, so that rather than just jabbing with it, you can use various swinging motions. The tonfa is very good for blocking something that you don’t want to confront with your arm.

(20:28) Once again, like the sai, the tonfa has to be wrapped around the wrist. So that it is on the outside of the forearm. If you hold it, like it would be naturally help, you are really not going to be blocking anything. You are going to wind up taking the strike or the cut on the arm.

(20:46) Wrap around the forearm. Tonfa can be used on the same kind of blocking motion as Karate. The tonfa is usually spun when a strike is need.

(21:02) The very important part of the ‘Nisia‘, the time, the loose, and tie part of your grip and timing with the point of impact.

(21:15) It has two types of strikes with the Tonfa. It is a type that has ‘canage’ toward another words ‘focus’ and there is a type that has follow-through.

(21:24) Tonfa can be very dangerous, if you don’t keep it away from your body. If you manipulate the tonfa too close, you will wind up striking yourself. It will be fun.

(21:37) An Arakaki-no-tonfa, the motions are very basic, but they are very effective. The body has to be put into the motions. If you manipulate the tonfa with nothing but your arm, you are going to get the same effect as if you are striking somebody with nothing but the use of your arm.

(21:56) The tonfa has to be manipulated with the weight of the body. All the strikes have to be manipulated with the hip and foot, being utilized for power. Otherwise you are not going to have anything but a bing-bing-ding effect, it is going to wind up bouncing on.

(22:12) Once again, I’m going to stress this a lot, the posture, the grip is always wrapped around the wrist. Unless otherwise specify for different blocking and also, always on the outside of the forearm, very very important.

(22:30) Arakaki-no-tonfa begins at a posture as such, it is carrying the tonfa before you perform the ‘Kata’. You hold cradled like silt.

(22:42) Craning it to the outside and the cursing. Once again, just like the sai, we open up, mountain posture. Our first position is going to come back and do a high block. Wrap around the wrist, I squawk the arm up, I come forward, striking, in front of the tonfa. Strike, block, strike, come around, in a squinting motion.

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