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Martial Arts Weapons Training (Sai, Kama, Tonfa) Part-1

Martial Arts Weapons Training


(00:20) What we will be talking about today is the Sai form called Arakaki-no-sai, literally meaning the sai arakaki. Arakaki was my okinawa kobudo and nahati kimpo instructor.

(00:35) His lineage’s family calls way way back and the Katons that were passed down through the Arakaki family are old style traditional Kobudo Katus. Kobudo meaning old school, literally.

(00:47) Many people think that Kobudo means weaponry, it does not. It means old school ways. The methodologies of the Kobudo weaponry using weapons, just like the marine or soldier would be educated in using rifle, also educated in whatever other aspects of this job. There are many different passage, originally the warrior was educated in various different passage.

(01:14) The misnomer about the sai is that many people think it is fulminant omen. That’s not true. It was never a fulminant. It wasn’t use for making holes to plant seeds, it was not use for making the pearls in the ground.

(1:27) Originated in the Indonesian Archipelago, you also see something very similar ‘koliksik‘ in China. The Sai Okinawa once again was originated in the Indonesian Archipelago.

(01:39) It was brought over, literally, by pirates.  Back in the old days, the sai was a batch. The police, when they would show up to confront whatever was going on, would hop the sai up as a symbol of authority.

(02:04) The sai obviously is something that was used to take away weapons. Originally in Japan, they have what this called a ‘Jute‘, which picture of sai with one prom. It was used to take the sword away from a samurai or a bandit.

(02:20) The sai is a very very similar, it was used by pirates to fight against swords. Once again, not a form tool. The various techniques in Arakaki-no-sai that I am going to explain before I do the Kata. When I do the Kata, I am going to do it in an motion’s study format, which will be easy to learn.

(02:40) Any of the fancy motions that you see when people are wielding a sai, I’m more for a static purpose than anything else. Sai motions are usually very basic. Not very fancy.

(02:53) The Arakaki cut off course begins in what we call the ‘sovedatch‘, the position of retention builds together and the cell retention. We go on to what is called ‘hipotatch‘ or joy. Like so. With the melting posture on the side.

(03:17) There is a gesture pull. It’s not just a gesture, it is actually is in an oncoming verse with the both of the side in the sitting occur and then there is a fade back, as you fade back, there is a blocking.

(03:35) Before I do that, let me explain the blocking with the side. If one blocks with the karate type block holding the side, all they are doing is asking for trouble because the sai, once again, it is for defending yourself basically against the sword, or it could even be against a stab or a stick, whatever.

Martial Arts Weapons Training
Img Cred: jolynne_martinez-Flickr

(03:53) The sai has to be held as such. Never as such when blocking. So, the blocking always has to be done with the sai wrapped around the wrist, so that it is protecting the forearm.

(04:07) Once again, we start the Kata with a bow. Going to ‘hikodatch‘ and one definite nouns in karate. The gesture is here, holds the throw. Then we fade back into a back stands, that aiming steps.

(04:26) With the downward block and high block together. We will then fast forward, we have got one sai, guarding our center, we got the other sai coming forward in a blocking but more than a blocking of guard. You will notice where my thumb is. With the thumb kept up here, it is a lot easier to rip the sai but on the same token, if a blade is coming down, it is going to take your thumb.

(04:55) So the thumb should be kept where the knob is. Once again, thin back and blocking. Guarding the center and coming forward.

(05:06) And now what we called the wind shield type of block. This and that. In actual motion, here, here, one two. What we are doing is blocking this way, blocking that way, sooner or later, whatever we are blocking is going to wind up and pull up in the prom.

(05:29) Again, here. Here. Block, block and we are going to get ‘dambarai‘.

(05:37) Downward quicken, as you advanced. I’ll show you that again. From mountain, dama. One, two, block, block, advance forward, gain dambarai, and striking.

(05:53) Depending on the side which using a live to sai we will have a pointed edge here. So this could either be one trama or scattered.

(06:05) Blocking, advancing, block, block, advance, and strike. Hooking in the leg will doubt it. Gesture, but not just a gesture, I’m letting him repel himself to the throat.

(06:24) Fading away, cracking, block, block, advancing, and strike.

(06:33) Going down the center. This motion here is pretty cool because what I am doing is I’m creating up the sai. I confront him. Place him. Now when I advanced, he is not going to see that step time. Once again, from ‘hikodatch’, here, here. He is looking at this. He is not seeing this with his vision.

(07:04) Now, when I come forward, this is going to be a shuffle step with a stand. Coming into a blocking time. I twist my body, and with a shoot goal, karate shot kind of motion, I attack the temple. Now you can see what looks like a kick, it’s not.

(07:25) I want to come in and block. That is not a kick. In Okinawa, very much like Florida, the ground is very sandy. What I just did from here to here, shuffling forward, and here when I strike, I’m taking the sand or dirt and I’m taking it into the eyes.

(07:47) And then blocking what I was dealing with. This is where the sai becomes oblegion. I strike, I strike. Once again, from here to here, shuffling in and stabbing. Blocking motion. Not necessarily dealing with two people, blocking motion.

(08:13) Something very similar to a Karate chop to the temple, throwing the sand, blocking, striking and striking.

(08:23) Now I assume a ready posture. What I am doing here is I am leaving an opening, from my opponent. I’m asking for trouble.

(08:33) I come out, I come back. What I’m doing here is double-blocking, it will be the same thing in Karate where you will be blocking like so. From my ready posture, double-blocking, and that. Now, I’m going to confront somebody from my right.

(08:52) So I step forward to get out of the way and block. The block is in such. What I am doing is blocking with this and catching whatever that weapon is with this. So they are coming this way, I step forward and block.

(09:09) I’ll show next to you from this angle. I was like so, they are coming this way at me, I’m high slackened by emotion and get out of the way and blocking. Advancing, using the part of the sai, a lot of people don’t realize, the prom.

(09:25) Three times. Picture somebody with a stab, or a stick, attacking me. I get out of the way, catch it, move in, strike, now I’m catching that step and wrestling it out of their hands.

(09:45) So getting back to the subject, from here to here. Here, taking the sand, blocking, oblegion, posture. Open, close, confront, block, strike-strike. To the opposite mordality, block, strike-strike, cross-block. Once again, keeping in mind, the sai has to be wrapped around the wrist.

(10:21) Keep it straight, I’m blocking weapon with my arm, not a good idea. The sai wrapped, block. So it is one, and, it’s probably kind of obvious, two.

(10:39) The attackers coming in, block, trap, pulling the person down. This isn’t impalement and I’m doing it not just with my arm but by dropping my weight.

(10:53) That is a K.I.

(10:59) That’s not the end of the carnival, we are going to take it to the end.

(11:02) From the bell, ‘yamakamay‘ mountain posture. Gesture, actual strike, fade back, forward, block-block. Advacing, gain ‘dambarai‘ and strike. Gesture, fade away, confront, block-block, advancing, gain dambarai and strike.

(11:36) Center of the performance lie, shuffles step, and stabbing. This is ‘kudatch‘. Horse-riding stance. Twisting the body, striking the temple, hitting the sand, and blocking. Hammer… hammer.

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