Austin Society of Karate

Transcription

1 Austin Society of Karate Weapons Manual

2 Austin Society of Karate OFFICIAL WEAPONS MANUAL 1998 by Austin Society of Karate. Official Manual of the Austin Society of Karate. All rights reserved. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise. Greg Beaver Director

3 Table of Contents The Arnis The Bo The Nunchaku The Sai The Tonfa

4 The Arnis Austin Society of Karate 1-1

5 Arnis History Kali is the mother art of the modern Filipino Martial Arts. Records from the Malay Sri-Vishaya empire dating to the 8th century A.D. refer to Kali as the art of the Philippines. According to historians, the Ten Datus of Borneo brought their fighting methods to the island of Panay. Here, basic reading, writing and Kali were taught in the schools. Due to the loss of written records, the exact techniques of Kali remain a mystery today, although elements of Kali remain alive in the foundation of today's Filipino Martial Arts. The Spanish began a 400 year occupation of the islands late in the 16th century. To suppress opposition to their rule, the Spanish banned the teaching of Kali. Elements of the art were hidden in folk plays and native dance. However, over time, Spanish fencing methods were blended into the indigenous fighting framework. Under Spanish influence, the native art became known as eskrima, estocada, arnis de mano or arnis. The Filipino Martial Arts assume different names in different regions. In the Manila area, the art is known as Arnis or Pananandata, in Pangasinan as Kalirongan, in the Ilocos region of Luzon as Kabaro-an, and in the Visayas as Eskrima. Arnis historians have cited as many as 200 systems or styles of Arnis-Eskrima-Kali. Names describing the range of fighting include Largo (long-distance), Medio (medium-range), and Corto or Serrada (close, infighting). Names based on movement include Abanyko (fanning), Palis-Palis (go with the force), Sungkiti (flicking), Ocho-Ocho (figure eight), and Lastico (snapping). Systems can be called by the choice of weapon, e.g., solo baston (single cane), double baston or sinawali (double cane), espada y daga (sword and dagger), mano-mano or de kadina (empty hands). Arnis is the basic art with single stick, double stick, 5 foot bo, and 10 to 14 inch short staff. Escrima is arnis with a single knife, double knife, and stick and knife. Kali is arnis and escrima with a sword, double sword, and grappling empty hands against weapons with kicking, tripping, and foot work. Arnis Anatomy The stick is called a BATON. The grip is one hand s width up from the bottom. To grasp the arnis properly, hold it firmly as if shaking hands and fold your thumb on top of your first finger. The bottom of the baton is called the PUNO. You use the puno for locks, grabs, and jabs. The striking surface is the last 3 inches of the baton. In this manner you get maximum speed, range, and force. There are three different ways of hitting: Stab, Strike, and Ratick. Austin Society of Karate 1-2

6 Arnis Stances Attention Stance Ready Stance FEET TOGETHER. ARNIS CRADLED IN RIGHT ARM. RIGHT ELBOW BACK TO SIDE. LEFT HAND CENTER OF BODY. FEET IN A 45 DEGREE ANGLE BACK STANCE. Horse Stance Forward Stance ARNIS AND KNIFE HAND FORM AN X IN FRONT OF BODY. STANDARD HORSE STANCE. ARNIS AND KNIFE HAND FORM AN X IN FRONT OF BODY. STANDARD FORWARD STANCE. Austin Society of Karate 1-3

7 Arnis Stances Back Stance Rear Defense Stance ARNIS AND KNIFE HAND FORM AN X IN FRONT OF BODY. STANDARD BACK STANCE. ARNIS OVER THE TOP OF THE HEAD DOWN CENTER LINE OF BODY WITH OTHER HAND IN KNIFE HAND AT CENTER OF CHEST. Crane Stance Cat Stance ARNIS OVER THE TOP OF THE HEAD DOWN CENTER LINE OF BODY WITH OTHER HAND IN KNIFE HAND AT CENTER OF CHEST. ARNIS OVER THE TOP OF THE HEAD DOWN CENTER LINE OF BODY WITH OTHER HAND IN KNIFE HAND AT CENTER OF CHEST. Austin Society of Karate 1-4

8 Arnis Blocks Highriser Block Low Block ARNIS BLOCKS HIGH, PARALLEL WITH FLOOR. OTHER HAND IN TIGHT AT CENTER OF BODY. BLOCK SWINGS ACROSS AND DOWN PAST THE LEG. OTHER HAND IN TIGHT AT CENTER OF THE BODY. Diagonal Block BLOCKS ACROSS THE FACE WITH ARNIS AT AN ANGLE. OTHER HAND IN TIGHT AT CENTER OF BODY. Austin Society of Karate 1-5

9 Arnis Blocks Double Highriser Block Double Low Block ARNIS BLOCKS HIGH, PARALLEL WITH FLOOR. OTHER HAND ON OPPOSITE END OF ARNIS. BLOCK SWINGS ACROSS AND DOWN PAST THE LEG. OTHER IN HAND ON OPPOSITE END OF ARNIS. Double Diagonal Block BLOCKS ACROSS THE FACE WITH ARNIS AT AN ANGLE. OTHER HAND ON OPPOSITE END OF ARNIS. Austin Society of Karate 1-6

10 Arnis Strikes Vertical Strike Up Vertical Strike Down FROM A READY STANCE ARNIS SWINGS UP FROM GROUND. PIVOT OFF BACK FOOT. TURN BODY TO SIDE. FROM READY STANCE ARNIS SWINGS DOWN FROM TOP. ARNIS SWINGS TO FLOOR THEN BACK TO READY. Horizontal Strike Ratick FROM READY STANCE ARNIS SWINGS ACROSS TO OPPOSITE SIDE. PIVOT BACK FOOT AS THE ARNIS SWINGS ACROSS. ARNIS SWINGS BACK UP BEHIND YOU THEN JABS FORWARD WITH THE END OF THE ARNIS (PALM UP). Austin Society of Karate 1-7

11 Arnis Strikes Jab Vertical Slash ARNIS SWINGS BACK BEHIND YOU THEN OVER THE TOP AND JABS WITH THE END OF THE ARNIS (PALM DOWN). ARNIS SWINGS DOWN FROM THE HEAD TO THE FOOT. Diagonal Strike Hammer Fist Strike FROM READY STANCE ARNIS SWINGS ACROSS TO OPPOSITE SIDE. PIVOT BACK FOOT AS THE ARNIS SWINGS ACROSS. DOWNWARD STRIKE WITH THE PUNO. Austin Society of Karate 1-8

12 Arnis Kata 1. Diagonal Strike Down to left collar bone. 2. Diagonal Strike Down to right collar bone. 3. Horizontal Strike to left elbow. 4. Horizontal Strike to right elbow. 5. Vertical Strike Up to left knee. 6. Vertical Strike Up to right knee. 7. Ratick to stomach. 8. Jab to right side of chest. 9. Ratick to the face. 10. Vertical Slash from head down to foot. 11. Jab to the eye. 12. Double Hand Vertical Slash from top of head to groin. Austin Society of Karate 1-9

13 Arnis Kata DIAGONAL STRIKE DOWN TO LEFT COLLAR BONE. DIAGONAL STRIKE DOWN TO RIGHT COLLAR BONE. HORIZONTAL STRIKE TO LEFT ELBOW. HORIZONTAL STRIKE TO RIGHT ELBOW. VERTICAL STRIKE UP TO LEFT KNEE. VERTICAL STRIKE UP TO RIGHT KNEE. Austin Society of Karate 1-10

14 Arnis Kata RATICK TO STOMACH. JAB TO RIGHT SIDE OF CHEST. RATICK TO THE FACE VERTICAL SLASH FROM HEAD DOWN TO FOOT. JAB TO THE EYE. Austin Society of Karate 1-11

15 Arnis Kata DOUBLE HAND VERTICAL SLASH FROM TOP OF HEAD TO GROIN. Austin Society of Karate 1-12

16 The Bo Austin Society of Karate 2-1

17 Bo History The exact origin of the bo (or kon) is not really known. The earliest form was a stick or branch from a tree. One popular theory is that around 517 A.D., the Zen Buddhist priest Daruma Daishi, the leader of the Shorin-ji Temple in China, brought into effect fluent use of the bo. Since government control was minimal during this part of Chinese history, protection and safety were up to the individual. Daruma and his disciples found proficiency in the martial arts and the use of weapons such as the bo provided the only feasible means of protecting their temple. The bo-jitsu techniques Daruma ordered his disciples to master were of great influence to the development of the Okinawan art of Ryukyu Kobu-Do, the use of karate weapons such as the bo, the sai, the kama and the nunchaku for self defense. This was a result of the Japanese government barring the use of lethal weapons for the people of Okinawa. The people were forced to use farm implements as weapons. The bo originated with the tenbin, a stick held across the shoulders, usually with buckets hanging from each end, that was used to convey food, water or other things. Bo Anatomy The standard bo or kon is the straight six-foot-long roku shaku-bo. Measuring 1-1/4 inch thick at its center, it tapers out to a 3/4 inch thickness at each end. The ends are called Kontei and the center is called Chukon-bu. Note: A number of Bo blocks can also double as Bo strikes. For example, the Reverse Strike and the Reverse Block are the same movement. Note: All descriptions of blocks and strikes will include an abbreviation of the grip being used. For example, a reverse grip will be denoted RG and a basic grip will be denoted as BG. Austin Society of Karate 2-2

18 Bo Grips Basic Grip Reverse Grip HANDS APPROXIMATELY SHOULDER WIDTH APART IN THE CENTER OF THE BO, RIGHT HAND FACING DOWN, LEFT HAND FACING UP. BG SAME AS BASIC GRIP BUT BOTH HANDS ARE FACING DOWN. RG Double End Grip Underarm Grip HANDS IN THE BASIC GRIP POSITION BUT ON THE END OF THE BO. DEG HANDS IN THE BASIC GRIP POSITION WITH THE BO ON THE RIGHT SIDE UNDER THE RIGHT ARM. UG Austin Society of Karate 2-3

19 Bo Stances Attention Stance Ready Stance FEET TOGETHER, BO AT RIGHT SIDE. FEET APART, BO HORIZONTAL WITH A BASIC GRIP. BG On Guard Stance Horse Stance BACK ON RIGHT FOOT IN A FIGHTING STANCE, BO ON RIGHT BICEP. BG 50/50 - BO AT RIGHT SIDE WITH A DIAGONAL STRIKE. UG Austin Society of Karate 2-4

20 Bo Stances Forward Stance Back Stance 60/40 - BO AT RIGHT SIDE WITH DIAGONAL STRIKE. UG 70/30 - BO AT RIGHT SIDE WITH DIAGONAL STRIKE. UG Rear Defense Stance Crane Stance FEET OFFSET APPROXIMATELY ONE FOOT, BO DOWN CENTER LINE OF BODY. 80/20. RG ON ONE LEG, BO DOWN CENTER LINE OF BODY. RG Austin Society of Karate 2-5

21 Bo Stances Cat Stance 90/10 - BO DOWN CENTER LINE OF BODY. ONE HAND HIGH AND ONE HAND LOW. RG Austin Society of Karate 2-6

22 Bo Blocks High Block Low Block BO SHOULD BE AT A 45 DEGREE ANGLE FROM HEAD. RG LEAN FOWARD AND BEND LEAD LEG. RG Side Block Diagonal Block BO HELD VERTICALLY DOWN CENTER LINE OF BODY TO THE SIDE. RG BO HELD AT 45 DEGREE ANGLE. RG Austin Society of Karate 2-7

23 Bo Blocks Inside Block Outside Block PALMS FACING IN, BO MAKES A QUICK SEMICIRCLE TO THE INSIDE. UG PALMS FACING OUT, BO MAKES A QUICK SEMICIRCLE TO THE OUTSIDE. RG Reverse Down Block Pressing Block FROM A FORWARD STANCE, LEFT HAND SWINGS BACK OVER TOP OF HEAD AND SWINGS OUT TO THE FRONT AND DOWN. BG DESIGNED TO BE A PUSHING TECHNIQUE INSTEAD OF JUST A BLOCK. RG Austin Society of Karate 2-8

24 Bo Blocks Parry Block THIS BLOCK IS DESIGNED TO PARRY A JAB TO THE STOMACH. BO SWINGS FROM ONE SIDE TO THE OTHER. BG Austin Society of Karate 2-9

25 Bo Strikes Vertical Up Strike Vertical Down Strike FROM A READY POSITION, BO SWINGS UP FROM GROUND, STOPS AT GROIN. BG FROM A VERTICAL UP STRIKE, BO SWINGS FROM THE TOP STRAIGHT DOWN, STOPPING AT THE HEAD. BG Diagonal Strike Reverse Strike FROM THE ON GUARD POSITION, BO SWINGS UP AND OVER AT A 45 DEGREE ANGLE. BO STOPS AT HEAD. BG FROM A FORWARD STANCE LEFT HAND SWINGS BACK OVER TOP OF HEAD AND SWINGS OUT TO THE FRONT. BG Austin Society of Karate 2-10

26 Bo Strikes Outside/Backfist Strike Jab FROM A READY STANCE, SLIDE OUT INTO A HORSE STANCE, SWING BO OUT TO SIDE HOLDING BO WITH ONE HAND. JAB FORWARD WITH THE END OF THE BO. BG Reverse Jab Sliding Jab JAB BACKWARD WITH THE END OF THE BO. BG FROM A BACK STANCE, SLIDE BACK HAND DOWN THE BO JABBING OUT TO THE FRONT WHILE LETTING THE BO SLIDE IN THE FRONT HAND. DEG Austin Society of Karate 2-11

27 Bo Strikes Overhead Strike HANDS MOVE INTO A DOUBLE END GRIP. BO SWINGS OVER THE TOP OF THE HEAD AND DOWN WITH A STRIKE FROM THE HEAD TO THE FOOT. Austin Society of Karate 2-12

28 Bo Grabs Back Grab THE BO SWINGS FROM A FORWARD STANCE AROUND THE BACK AND IS GRABBED WITH BOTH HANDS. RG Austin Society of Karate 2-13

29 Bo Grabs Full & Half Circle Back Grab RELEASE BO WITH LEFT HAND. BO SWINGS DOWN AND AROUND THE BACK. GRAB BO WITH THE OTHER HAND AND SWING BACK AROUND IN FRONT. FOR THE HALF CIRCLE, GRAB THE BO WITH BOTH HANDS AND RETURN TO THE ON GUARD POSITION. FOR THE FULL CIRCLE, SPIN THE BO IN FRONT LIKE A BATON, MAKING A FULL CIRCLE, THEN GRAB THE BO WITH THE RIGHT HAND AND REPEAT THE PROCEDURE. Austin Society of Karate 2-14

30 Bo Sweeps Leg Sweep BO SLIDES FROM BASIC GRIP TO DOUBLE END GRIP. BO SWINGS UP AND OVER THE HEAD THEN OVER AND DOWN TOWARD THE FLOOR IN FRONT, SWEEPING THE OPPONENT S LEGS. THE BO THEN SWINGS BACK UP AND RETURNS TO THE ON GUARD POSITION. Austin Society of Karate 2-15

31 Bo Movements Single Handed Figure Eight HOLDING BO WITH ONE HAND, SWING BO AROUND IN A FIGURE EIGHT. BO SWINGS ON EACH SIDE OF THE BODY. Austin Society of Karate 2-16

32 Bo Movements Double Handed Figure Eight SAME AS SINGLE HANDED FIGURE EIGHT BUT HOLD BO WITH BOTH HANDS IN THE CENTER OF THE BO IN THE STANDARD GRIP POSITION. Austin Society of Karate 2-17

33 The Nunchaku Austin Society of Karate 3-1

34 Nunchaku History The original usage for the nunchaku was by mounted soldiers as a horse bridle in ancient China. These early nunchakus were two pieces of wood tied together with horse hair or straw. However, the nunchakus came into historical prominence in the 1600s in Okinawa (part of the Ryukyu Islands). The nunchaku was a simple farm implement used to beat rice or separate beans from their shells. When Japan outlawed all weapons in Okinawa, including those used in martial arts, the Okinawans began practicing the art of Okinawa-te or kara-te (the martial art of the empty hand). The farmers discovered that by using certain farm implements as extensions of their empty hands, their techniques were more powerful. The farm tools used included the nunchaku, the bo and the sai. By using these innocent tools as deadly weapons, Okinawan people could carry them in the open without fear of discovery. Nunchaku Anatomy The approximate size and weight of the nunchaku has changed little since the 1600 s. Today the two 13 to 14 inch hard wood sticks are 1-1/4 inches in diameter and held together by rope or chain instead of horse hair. The original sticks were made from the core of the palm tree and soaked three to five years in mud water to harden them. The wood became so hard from the soaking that it could not be cut by a samurai sword. Every part of the nunchaku is potentially useful. The bottom (Kontei) and top (Kontoh) are used to jab or spear. The upper handle area (Jokon-Bu), nearest to the rope or chain, and the lower handle area (Kikon- Bu) are used in swinging strikes. The middle area (Chukon-Bu) is for blocking and striking. The rope (Himo) or chain (Kusari) serves to pinch or choke. Note: All techniques with the nunchakus are done in the standard grip (SG) except for the knife defense, which is done in the reverse grip (RG). Austin Society of Karate 3-2

35 Nunchaku Grips Standard Grip Reverse Grip CHUCK IS HELD ABOUT MIDWAY BETWEEN THE ENDS WITH THE THUMB CLOSER TO THE CHAIN. CHUCK IS HELD ABOUT MIDWAY BETWEEN THE ENDS WITH THE THUMB FARTHER FROM THE CHAIN. Ready Position Return Position RIGHT CHUCK HIGH, LEFT CHUCK LOW. CAN ALSO BE DONE IN A 45 DEGREE FIGHTING STANCE. CHUCK UNDER RIGHT ARM WITH THE LEFT HAND IN A KNIFE HAND POSITION. Austin Society of Karate 3-3

36 Nunchaku Stances Attention Stance Forward Stance FEET TOGETHER WITH CHUCKS AT SIDE. CHUCK IN READY POSITION OR RETURN POSITION. 60/40. Back Stance Horse Stance CHUCK IN LEAD HAND. 70/30. CHUCK IN RETURN POSITION. 50/50. Austin Society of Karate 3-4

37 Nunchaku Stances Cat Stance Rear Defense Stance CHUCKS HELD DOWN CENTER LINE OF BODY. 90/10 CHUCKS HELD DOWN CENTER LINE OF BODY. 80/20. Crane Stance CHUCKS HELD DOWN CENTER LINE OF BODY. Austin Society of Karate 3-5

38 Nunchaku Blocks X Block High CHUCKS MAKE AN X, THEN ROTATE INWARD AND SWING BACK OUT BLOCKING WITH THE CORD. X Block Low CHUCKS MAKE AN X, THEN ROTATE INWARD AND SWING BACK OUT BLOCKING WITH THE CORD. Austin Society of Karate 3-6

39 Nunchaku Blocks Double Block FROM A READY POSITION PIVOT BODY AND SWING ARM AROUND WITH A HIGH BLOCK. Austin Society of Karate 3-7

40 Nunchaku Strikes Vertical Strike Up Vertical Strike Down FROM DOWN POSITION SWING CHUCK UP TO READY POSITION. FROM READY POSITION SWING CHUCK DOWN. Jab HOLDING ON TO BOTH STICKS WITH ONE HAND. THROW THE TOP CHUCK OUT WHILE HOLDING ON TO THE BOTTOM CHUCK, HITTING WITH THE END OF THE CHUCK. Austin Society of Karate 3-8

41 Nunchaku Slashes Horizontal Slash CHUCK SWINGS BACK AND FORTH ACROSS BODY. THE CHUCK WRAPS AROUND THE BACK OF THE BODY AT EACH END OF THE SWING. Austin Society of Karate 3-9

42 Nunchaku Movements Large & Small Figure Eight FOR A LARGE FIGURE EIGHT, THE ARM SWINGS AWAY FROM THE BODY AND THE CHUCK SWINGS ON EACH SIDE OF THE BODY. FOR A SMALL FIGURE EIGHT, THE ARM STAYS STILL AND JUST THE WRIST TWISTS. THE CHUCK STAYS OUT IN FRONT OF THE BODY. Austin Society of Karate 3-10

43 Nunchaku Movements Changing Ready (Front) RELEASE HIGH HAND. EXECUTE A VERTICAL UP STRIKE AND CATCH THE CHUCK UNDER THE OPPOSITE ARM PIT. Changing Ready (Back) RELEASE HIGH HAND. EXECUTE A VERTICAL UP STRIKE AND CATCH THE CHUCK BEHIND THE BACK WITH THE OTHER HAND ON THE OPPOSITE SIDE. Austin Society of Karate 3-11

44 Nunchaku Movements Knife Defense HOLDING CHUCK IN REVERSE GRIP (RG), CHUCK SWINGS FROM SIDE TO SIDE CLOSE TO STOMACH. ONE HAND IN KNIFE HAND POSITION AT CHEST. Austin Society of Karate 3-12

45 The Sai Austin Society of Karate 4-1

46 Sai History When the Japanese prohibited the use of ordinary weapons such as the sword or spear in Okinawa some 350 years ago, the Okinawans turned to karate and kobu-do (the use of karate weapons such as the bo, the nunchaku, the tonfa, and the sai) for protection. Some kobu-do weapons were farm implements which the farmers converted to weapons. The sai (short sword) was dragged through the soil by one peasant while another would plant seed in the resulting furrow. If attacked by a marauding samurai, the peasant could counter the sword attack with the sai. Usually a sai was carried in each hand and a third one was concealed inside the peasant s obi. The third sai was actually used to throw at the attacker. The original sais had only a single prong. They were sharp and capable of killing or maiming an enemy with a blow to the back of the neck or a thrust to the throat. Originally, the sai was formed from two components, the curved prong section and the main stem. These separate parts were then pounded into a unit in a process similar to the one used to make a samurai sword. About 100 years ago this process was changed to pouring molten lead into a sand cast. When the sai cooled and hardened the rough edges were smoothed and the finished weapon was polished. Sai Anatomy The sai is made of chrome-plated steel and weighs between one and two pounds. A wrap is wound around the handle to give a better grip. The sai should be approximately one inch past the length of your elbow. The butt of the handle should be one inch beyond the tip of your index finger. The point of the sai is sometimes sharp but more often rounded. The blade is either rounded or faceted into a hexagon or octagon. The blade can also be flattened like that of a sword. The prongs or guards are usually curved like a trident and useful for halting the stroke of a sword or bo. The guard center is the hub where the prongs meet the handle. The center of balance is just above the guard center. The handle is generally wrapped with cotton tape or thick string for a firm grip. The butt is designed in various shapes and can be used in the same manner as a karate punch. Note: All descriptions of blocks and strikes will include an abbreviation of the grip being used. For example, a reverse grip will be denoted RG and a standard grip will be denoted as SG. Austin Society of Karate 4-2

47 Sai Grips Standard Grip Reverse Grip SAI IS ALONG FOREARM, INDEX FINGER ALONG GRIP, THUMB INSIDE PRONG AND FINGERS OVER OTHER PRONG. SAI IS POINTED OUT WITH INDEX FINGER ALONG BLADE, MIDDLE AND RING FINGER ARE INSIDE PRONG, THUMB AND LITTLE FINGER OUTSIDE OF PRONGS. Full Grip HAND IS WRAPPED AROUND GRIP. Austin Society of Karate 4-3

48 Sai Stances Attention Stance Ready Stance SAIS HELD AT BELT. SG BODY TURNED SIDEWAYS IN FIGHTING STANCE, BOTH HANDS UP. SG Horse Stance Forward Stance 50/50 STANCE. HANDS IN FIGHTING POSITION. SG HANDS IN FIGHTING POSITION. 60/40 STANCE. SG Austin Society of Karate 4-4

49 Sai Stances Back Stance Rear Defense Stance HANDS IN FIGHTING POSITION. 70/30 STANCE. SG SAIS DOWN CENTER LINE OF BODY WITH A HIGH BLOCK AND A LOW BLOCK. 80/20 STANCE. SG Crane Stance Cat Stance SAIS DOWN CENTER LINE OF BODY WITH A HIGH BLOCK AND A LOW BLOCK. ONE FOOT RAISED BEHIND THE OTHER KNEE. SG SAIS DOWN CENTER LINE OF BODY WITH A HIGH BLOCK AND A LOW BLOCK. 90/10 STANCE. SG Austin Society of Karate 4-5

50 Sai Blocks High Block Down Block SAI BLOCKS HIGH IN STANDARD HIGH BLOCK POSITION WITH SAI DOWN THE FOREARM, BLOCKING WITH THE BLADE OF THE SAI. SG SAI IS ALONG FOREARM WITH BLADE TURNED TO THE OUTSIDE, BLOCKING WITH THE BLADE OF SAI. SG Inside Forearm Block Outside Forearm Block SAI IS ALONG FOREARM, BLOCKING WITH THE BLADE OF THE SAI TO THE INSIDE ACROSS THE BODY. SG SAI IS ALONG FOREARM, BLOCKING WITH THE BLADE OF THE SAI TO THE OUTSIDE ACROSS THE BODY. SG Austin Society of Karate 4-6

51 Sai Blocks Knife Hand Block Flipping Block SAI DOWN FOREARM, BLOCKING TO THE OUTSIDE WITH THE BLADE OF THE SAI. SG SAI FLIPS FROM STANDARD GRIP TO REVERSE GRIP, BLOCKING WITH THE BLADE OF THE SAI. THIS CAN BE DONE HIGH OR LOW. X Block Scissor Block BLOCK OVER HEAD. INSURE THAT SAIS CROSS. THIS BLOCK CAN BE DONE HIGH OR LOW. SG BLOCK OVER HEAD. INSURE THAT SAIS CROSS. THIS BLOCK CAN BE DONE HIGH OR LOW. RG Austin Society of Karate 4-7

52 Sai Strikes Punch Backfist Strike HITTING WITH BUTT OF GRIP. SG FLIPPING SAI FROM STANDARD GRIP TO REVERSE GRIP, HITTING WITH BLADE OF SAI. Jab Elbow Strike HITTING WITH THE POINT OF THE SAI. RG STRIKING WITH THE POINT OF THE SAI TO THE BACK. SG Austin Society of Karate 4-8

53 Sai Strikes Ridge Hand Strike Knife Hand Strike STANDARD RIDGE HAND STRIKE, STRIKING WITH THE INSIDE PRONG OF SAI. SG STANDARD KNIFE HAND STRIKE, STRIKING WITH THE OUTSIDE PRONG OF SAI. SG Austin Society of Karate 4-9

54 Sai Strikes Outside Flipping Strike (Half & Full) SWING SAI FROM OUTSIDE TO INSIDE, HITTING WITH BLADE OF SAI. HALF FLIPPING STRIKE ENDS WITH SAI POINTING OUT IN A REVERSE GRIP POSITION. FULL FLIPPING STRIKE ENDS WITH SAI COMPLETING A FULL CIRCLE AND ENDING UP IN THE STARTING POSITION. Inside Flipping Strike (Half & Full) SWING SAI FROM INSIDE TO OUTSIDE, HITTING WITH BLADE OF SAI. HALF FLIPPING STRIKE ENDS WITH SAI POINTING OUT IN A REVERSE GRIP POSITION. FULL FLIPPING STRIKE ENDS WITH SAI COMPLETING A FULL CIRCLE AND ENDING UP IN THE STARTING POSITION. Austin Society of Karate 4-10

55 The Tonfa Austin Society of Karate 5-1

56 Tonfa History When the Japanese prohibited the use of ordinary weapons such as the sword or spear in Okinawa some 350 years ago, the Okinawans turned to karate and kobu-do (the use of karate weapons such as the bo, the nunchaku, the tonfa, and the sai) for protection. Some kobu-do weapons were farm implements which the farmers converted to weapons. The tonfa, or toifa (handle), was originally a wooden handle fitted into a hole on the side of a millstone used by the Okinawans for milling grain. This handle was easily removed from the millstone and became a very effective weapon of defense. Tonfa Anatomy The main part of the tonfa consists of a large hardwood body about 15 to 20 inches in length and a smaller cylindrical grip secured at a right angle to the main body about six inches from one end. The short end of the body is the front head. The end of the tonfa on the long end of the body is the back end. The top of the grip is called the grip head. The edge of the tonfa to which the grip is attached is the top. The opposite side from the grip is the bottom. Note: All descriptions of blocks and strikes will include an abbreviation of the grip being used. For example, a reverse grip will be denoted RG and a standard grip will be denoted as SG. Austin Society of Karate 5-2

57 Tonfa Grips Standard Grip Reverse Grip THE TONFA IS HELD BY THE GRIP WITH THE BACK HEAD ALONG THE FOREARM. SG THE TONFA IS HELD BY THE GRIP WITH THE BACK HEAD EXTENDED IN FRONT. RG Full Grip TONFA HELD BY THE BACK END. THE GRIP CAN BE FACING IN EITHER DIRECTION. FG Austin Society of Karate 5-3

58 Tonfa Stances Attention Stance Ready Stance FEET SHOULDER WIDTH APART. TONFA DOWN THE OUTSIDE OF RIGHT ARM. SG FEET BACK IN A FIGHTING STANCE WITH HANDS UP IN A FIGHTING POSITION. SG Horse Stance Forward Stance HANDS UP IN A FIGHTING POSITION. 50/50 STANCE. SG 60/40 STANCE. HANDS UP IN A FIGHTING POSITION OR IN A DOWN BLOCK POSITION. SG Austin Society of Karate 5-4

59 Tonfa Stances Back Stance Rear Defense Stance HANDS UP IN A FIGHTING POSITION. 70/30 STANCE. SG TONFAS DOWN CENTER LINE OF BODY (HIGH BLOCK AND LOW BLOCK). 80/20 STANCE. SG Crane Stance Cat Stance TONFAS DOWN CENTER LINE OF BODY (HIGH BLOCK AND LOW BLOCK). ONE FOOT RAISED BEHIND THE OTHER KNEE. SG TONFAS DOWN CENTER LINE OF BODY (HIGH BLOCK AND LOW BLOCK). 90/10 STANCE. SG Austin Society of Karate 5-5

60 Immovable Stance Tonfa Stances FORWARD STANCE BUT WITH BOTH LEGS BENT WHILE PERFORMING A PRESSING BLOCK. SG Austin Society of Karate 5-6

61 Tonfa Blocks High Block Down Block TONFA BLOCKS OVER HEAD IN STANDARD HIGH BLOCK POSITION WITH TONFA DOWN FOREARM. SG BLOCKING WITH OUTSIDE OF TONFA STOPPING OUTSIDE OF THE LEG. SG Inside Block Outside Block TONFA DOWN FOREARM BLOCKING TO THE INSIDE ACROSS BODY. SG TONFA DOWN FOREARM BLOCKING TO THE OUTSIDE ACROSS BODY. SG Austin Society of Karate 5-7

62 Tonfa Blocks Knife Hand Block Flipping Block TONFA DOWN FOREARM BLOCKING TO THE OUTSIDE. SG FROM A READY STANCE, THE TONFA SWINGS OUT IN A REVERSE GRIP POSITION, BLOCKING WITH THE BOTTOM OF THE TONFA. THIS BLOCK CAN BE DONE HIGH OR LOW. X Block Pressing Block BLOCK OVER HEAD. ENSURE WOOD CROSSES. SG THIS TECHNIQUE CAN BE DONE WITH TWO TONFAS AS SHOWN OR BY USING THE OTHER HAND FOR SUPPORT. SG Austin Society of Karate 5-8

63 Tonfa Blocks Scissors Block Double Forearm Block TONFAS BLOCK OVER HEAD. INSURE THAT WOOD CROSSES. THIS BLOCK CAN BE DONE HIGH OR LOW. RG TONFAS DOWN FOREARM TO THE SIDE, BLOCKING TO FRONT OF BODY. BODY ROTATES 90 DEGREES FROM A FORWARD STANCE. SG Austin Society of Karate 5-9

64 Tonfa Strikes Punch Hammer Fist HITTING WITH FRONT HEAD OF TONFA, PALM DOWN. SG HITTING WITH A DOWNWARD STRIKE, USING THE BOTTOM OF THE TONFA. SG Elbow Strike Chicken Hand STRIKING HIGH WITH BACK HEAD OF TONFA. SG STRIKING UP WITH GRIP HEAD OF TONFA. FG Austin Society of Karate 5-10

65 Tonfa Strikes Ridge Hand Strike Knife Hand Strike STRIKING WITH A STANDARD RIDGE HAND STRIKE, HITTING WITH THE GRIP HEAD OF TONFA. SG STRIKING WITH A STANDARD KNIFE HAND STRIKE, HITTING WITH THE BOTTOM OF TONFA. SG Jab Uppercut STRIKING WITH FRONT HEAD OF TONFA. RG STRIKING UP WITH FRONT HEAD OF TONFA. SG Austin Society of Karate 5-11

66 Tonfa Strikes Outside Flipping Strike (Half & Full) SWING TONFA FROM OUTSIDE TO INSIDE, HITTING WITH SIDE OF TONFA. HALF FLIPPING STRIKE ENDS WITH TONFA POINTING OUT IN A REVERSE GRIP POSITION. FULL FLIPPING STRIKE ENDS WITH TONFA COMPLETING A FULL CIRCLE AND ENDING UP IN THE STARTING POSITION. Inside Flipping Strike (Half & Full) SWING TONFA FROM INSIDE TO OUTSIDE, HITTING WITH SIDE OF TONFA. HALF FLIPPING STRIKE ENDS WITH TONFA POINTING OUT IN A REVERSE GRIP POSITION. FULL FLIPPING STRIKE ENDS WITH TONFA COMPLETING A FULL CIRCLE AND ENDING UP IN THE STARTING POSITION. Austin Society of Karate 5-12