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Kobudo Weapon into American Kenpo Karate
Black Belt Thesis
Universal Kenpo Karate
By: Michael A. Collingwood
Table of Contents
I. Sai History; Modern Approaches
II. Sai Composition
III. Sai Basics Curriculum
IV. Sai Basics (with reference pictures)
V. Warm Up Exercises; Striking Points
VI. Forms with detailed Bunkai
VII. Techniques
VIII. Thesis Form
IX. Conclusion
X. Terminology used in Techniques and Forms
XI. References
I. Sai History
The history of the sai is varied depending on whom you're speaking with,
although there is one overall origination belief that the majority accepts as true, which
would be its use as a farm tool. The following excerpt details the history of the
Okinawan weapons ban and the subsequent use of farm tools as make shift weapons; the
author describes the Okinawan warrior class as samurai.
"Any penetrating review of Okinawan weapons history is a mixture of
hyperbole and fact. Most modern martial arts students have been taught that Okinawan
kobudo developed as a result of the Okinawan samurai being stripped of their weapons at
two different points in their history. But a review of these incidents shows that our
current view of the roots of Okinawan kobudo might be based on misconceptions.
The first time that the Okinawan samurai's weapons were supposedly
confiscated was during the reign of King Shoshin (1477 - 1526). While it is documented
that King Shoshin ordered his provincial lords, or aji, to live near his castle in Shuri,
many historians no longer believe that he totally disarmed his ruling class. A famous
stone monument, the Momo Urasoe Ran Kan No Mei, which is inscribed with the
highlights of King Shoshin's reign, talks about the King seizing the aji's swords, and how
he amassed a supply of weapons in a warehouse near Shuri castle. But some Okinawan
historians now interpret that King Shoshin was actually building an armory to protect his
ports and prepare for any potential invasion by wako, or pirates, not that he was stripping
the Okinawan samurai or the general population of their weaponry.
The second time that the Okinawan samurai were purportedly disarmed was
after the Satsuma invasion of 1609. But documents have been recovered that state that the
Satsuma outlawed the ownership and sale of firearms, all the Okinawan samurai of the
Pechin class and above were allowed to keep those muskets and pistols that were already
in their family's possession.
There is further documentation that in 1613 the Satsuma issued permits for the
Okinawan samurai to travel with their personal swords (tachi and wakizashi) to the
smiths and polishers in Kagushima, Japan for maintenance and repair. From the issuance
of these permits, it is logical to infer that there were restrictions on the Okinawan samurai
carrying their weapons in public, but it is also clear evidence that these weapons were not
confiscated by the Satsuma.
Based on this misconception that the Okinawan samurai were stripped of their
weapons by the Satsuma most modern martial arts students are taught that Okinawan
kobudo developed because the Okinawans turned to farm implements for their selfdefense and training. When we consider the sai specifically we can see that the
plausibility of this common myth is significantly strained.
Sensei Toshihiro Oshiro, long time practitioner of Yamanni-Chinen Ryu
Bojutsu and the Chief Instructor for the Ryukyu Bujutsu Kenkyu Doyukai - USA, says
that he has never found any evidence in his own extensive research to support the theory
that the sai was used as a farming tool. Nor has he been told that by any of his teachers.
He asserts that the sai has always been a weapon." (Toshihiro Oshiro and William H.
Haff http://www.oshirodojo.com/kobudo_sai.html)
Due to the lack of documentation for use of the sai as a farming tool, it is still the
most wide spread theory of where it originated from. The most recognized possible
origin is from a tool used to plant seeds to create evenly spaced rows. A practitioner,
with many years of throw and flipping, could become quite fluent with the sai. Other
possible uses for the sai on the farm were: to bail hay as a miniature pitchfork; as a way
to hook fish and bring them into the boat (manji sai); using the blade as a hitch between a
cart and oxen; or to spear fish (nunti bo).
Some other possible uses for the sai were as a makeshift step to climb castle
walls. An individual would thrust the blade in between the stones on a castle wall and,
by using it as a step, could get to the top. Also, others believe that the sai was strictly
created for endurance training. The oldest possible origin of the sai is that it came from
Buddhist monks traveling from India through China and eventually ending up in
The Buddhist monk theory came about from the fact that there is very little iron
on Okinawa and therefore, the sai probably would not have been readily found. Also, it
appears that the sai is in the general shape of a human body and thus adapted to form
what today is known as the sai.
Due to the lack of metal on the island of Okinawa, the theory that monks brought
the sai seems very logical and thus, the sai may have been intended for use as a weapon.
Consequently, the people of Okinawan may have disguised the sai as a planting tool,
hitch bolt for carts, a miniature pitchfork, or a fishing spear to throw off the ruling parties
on the island.
Because of the law that the people of Okinawa weren't allowed to carry around
weapons, they improvised other common farm tools, which is what Kobudo studies
today. Other traditional Okinawan weapons include:
Often made of metal and resembles the top portion of a "devil's" pitchfork, but the side
guards are shorter than the sixteen inch middle blade.
Two sticks connected together by a rope or chain, and was used as:
A flail to beat rice, a kind of horse bridle, or may be adapted from the Chinese 3 sectional
Has many different uses, such as herding livestock to guiding boats. It was usually about 6
feet long with a diameter of ½ to 1½ inch.
Used as a grinder for wheat and other crops. Today, police personnel use it as their
nightstick. Nicknamed "spinning fury".
Kind of sickle. Referred to as "Okinawan lawn mower". May be connected to a staff by a
rope or chain for added reach and versatility (kusarigama).
Boat oar used to paddle the boats
The reason for these terms is because the sai was easy to hide in garments and very effective at getting the initial strike in. of which the nunchaku is also a member. such as a throw. mainly as the first strike. it's a way to preserve the 4 . if the blade would miss the attacker. the sai is in a class of so-called "concealed" or "first strike" weapons. Throwing the sai was a very useful technique for the Okinawan's because it allowed a person to either stab or injure an opponent. it's also a national holiday or festival day. the villagers often carried an extra. First. Since the sai was effective in defending against the bo and the swords of the samurai.Due to the tighter weapon restrictions put on the working class in Okinawa. the Japanese police adapted it and the Jutte was created. The Okinawan people used to carry the sai inside of their sleeves or in their obi (belt). sai in their obi. thus it was effective in getting their enemy off of their horses. For example. the sheer weight of the weapon would knock them down. Because the sai was often thrown. For example. Modern Approaches In today's society. Some of the other terms are tonfajitsu and bojitsu. against the law. A variety of names came about for the individual study and practice of these traditional weapons. saijitsu basically means the study of the sai. or third. the people decided to hide their weapons in case of an attack from either the samurai or individuals of the Satsuma clan. In Japanese terms. carrying around any of these weapons is impractical and in some cases. As a result. So what's the point in studying them? There are a few different uses for the practice of traditional weapons.
the kama is still used in Okinawa today for chopping and tree trimming. When you first begin studying a weapon. and to do what your body has been trained for. Another reason for studying kobudo is to develop forearm muscles and wrist flexibility. the idea of training with a "tool" adds so much more to your drive to go further into your martial arts training. there is more fluidity in their movements. In other words. there can be pauses in between moves depending on your type of attack. is that weapon training is cool and flashy. it then becomes a "conscious reflex". and adults alike. Training with weapons are extensions of the open hand. After spending years training with empty hands. and will therefore make your empty hand strikes stronger. forces you to trust your own instincts.history of a certain aspect of the martial arts and in fact. Finally. it takes a certain basic knowledge. kobudo training creates hand eye coordination. want to learn it. and most obvious. Once you begin to understand more of the weapon and can perform movements without having to think about it. it takes strong muscles to control them and move the weapon where you desire. For this reason. 5 . look at weapon training as cool. kobudo. it's excellent endurance and strength training. Second. and for that reason. In Okinawan karate. thus referred to as karate's sister. With all of the whipping motions from the various weapon types. a style that is also very fluid in their actions. you can execute these movements without having to think about it. In standard karate techniques. Children. which compliments with Kenpo Karate. but when using weapons. you can't always take these pauses.
Sai Composition Point Blade Prong The point is sometimes sharp. Butt The butt is designed in various shapes and can be used in the same manner as a karate punch. Some blades are also flat like that of a sword. The facetted type blade is considered most practical. 6 . Handle To provide a firm grip. the handle is often wrapped with cotton tape or thick string. The prong or guard. are usually curved like a trident and useful for halting the stroke of a sword or bo. Guard Center of Balance Guard Center The guard center is the hub where the prongs meet the handle. but more often rounded. The blade is either rounded or hewn into six or eight symmetrical facets.II.
etc. etc. down. mid. or circle overhead (umbrella strike) o Neck. groin. leg. Sai Basics Curriculum From Normal position Blocks: • Inward • Upward • Outward (uses handle) • Extended Outward • Downward • Parries With blade out Blocks: • Inward • Upward • Outward • Extended Outward • Downward • X-block (up and down) • Parries Strikes: • Punch (thrust/snap) • Elbows o Inward. • Vertical (start with blade out) o Head. ribs. etc. inward overhead. outward overhead • Hooking/slashing (using prong) • Stabbing • Outward Handsword • Inward Handsword • Reverse Handsword • Whip (flip out and back quickly) • Can hold the blade and throw. outward. back. hook/tear through body Maneuvers: Flipping: • Standard to blade out o Regular vertical o Regular horizontal o Umbrella horizontal • Strikes: • Stabbing o Thrusting. upward.III. obscure. up. • Throwing (legs) • Slashing (form of slicing) Blade out o Vertical o Retraction Techniques: • Brushing Sai • Locked Sai • Circling Sai • Defensive Sai • Falling Sai • Thundering Sai • Storming Sai • Disarming Sai Forms: • Kyan No Sai • Ni-cho Sai • Tawada No Sai • Nakiama No Sensei No Sai Dai Ni • Short 3 • Kenpo Sai 7 . • Horizontal (starts from standard position) o Flip out from body.
blocking. It's important to block with the blade of the sai. regrab. The pictures below demonstrate the two different downward blocks. thus making the blade snug against the forearm. elbows. Some of the possible strikes that can be executed are: punches. Blade out – The blade of the sai can be used for many things. also called a "defensive hold". Blocks – All of the blocks found in Kenpo can be executed in either the Normal position. As with blocks. All of the fingers rotate around the handle. For all practical purposes.IV. 8 . The index finger keeps constant pressure on the handle. slashing. hand swords. Strikes – Most of the strikes found in Kenpo can be incorporated with the sai. etc. Notice how the blade is tightly pressed against the forearm with assistance from the index finger. Sai Basics: with Reference Pictures Normal position – Standard way to hold or grip the sai. such as stabbing. The pictures below show how to flip the sai horizontally to block or strike. firmly placed against the forearm. and whipping motions. or with the blade out. Some strikes that the sai can do which you cannot do with the empty hands are: hooking. it's better to block using the Normal position due to increased power generated from your forearm. and then you whip out the blade using your wrist and body movement. the strikes can be performed with the blade out or in the Normal grip position. Horizontal flipping – Various kinds of flipping the sai out from the Normal position for striking or blocking. to reduce the chances of the blade striking your forearm. striking. and stabbing.
knee. to flip the blade out and strike or slash. most of the fingers rotate around the handle to get the full whipping action of the blade with the strike. Can also begin with the sai in the Normal position and flip the sai out to strike up vertically to the groin.3 1 2 5 4 3 Vertical flipping – For this flip. 1 2 4 3 Umbrella flip – Circular motion of the sai. From there. 1 4 2 3 5 66 9 . above the head. you can flip the sai down and back up to restrike the head. etc. begin with blade out and move your thumb over inside of the right prong. the sai blade is already out and is used to strike the target vertically. The following pictures demonstrate how to do this maneuver. usually on top of the head. For flipping with the left sai. As for most flipping.
back to the Normal holding position. as shown below. This hold is used mainly for striking. 10 . Of course. great care should be taken when blocking this way as to not injure your finger due to a weapon sliding down the blade. but also for some blocking. For this movement with the right hand. 2 1 4 3 Spear Hold – This unique holding position isn't used very often because of the obvious placement of your index finger inside the guard.Retraction – This is the method for returning the sai in the blade out position. such as downward blocks. either from vertical or horizontal flipping. begin by placing the thumb inside the right prong.
V. strike and thrust • Horizontal strike from around the head (umbrella) and then thrust o Sit up and thrust only • Horizontal flipping motion. Warm Up Exercises Horse Stance: • Vertical flips (Normal to blade out and back) to 9 and 3 o'clock simultaneously • Horizontal Flips o Standard o Umbrella • Star Block Set (Normal position) Leg Exercises: • Squat down and back up with a downward blocking motion o One legged stance with downward block. then thrust 11 . blade out Push-ups: • Head of sai on floor in the Normal grip position • Hands and feet shoulder length apart Sit-ups: • Feet as wide as shoulders and flat • Keep heels down at all times o Sit up.
and throw 12 . grip the handle.Striking Points Normal position: • Chin/mouth • Throat • Solar plexus Stabbing with blade out: • Throat • Stomach • Groin Striking with blade out: • Top of head • Neck • Arm • Knee o Striking usually followed by thrusting of the sai forward Throwing: • Usually goes to the legs • Throw with the prongs facing horizontally in case you miss with the blade because then the prongs could hit the target • Keep wrist straight • For long distance. loop sai around head. grip the blade (length of distance depends on where you grip the blade) • For short distance.
as you execute a left overhead vertical strike. Prongs are horizontal. to the ribs/med section. followed by two punches: right then left. into a LNB and execute a left horizontal strike. 4d. 3a Group 2: 4a. Step through to 3. downward block in. 2. The prongs are vertical for this group. 3d. Shuffle to 12 and execute a left. Step back with right foot into horse stance facing 3. turn hand over with palm down then go into a forward bow and finally step through with the next move and strike* Group 3: 5a. blade out. blade out. to 6. 5b. Shuffle to 12. sai are in Normal downward block position. Cover with left foot so you are facing 6 and do a right 4a horizontal strike. (Blade should be striking in a downward motion to the top of head or collarbone. with right foot as you execute a right middle block strike. with prongs vertical. Group 1: 3a. while the other sai is checking in Normal position. 3c. Step to 3 with left foot as you do a left. blade out.VI. flip the blade out as you step. *Note: when doing the horizontal strikes. blade out. but looking to 12. into RNB and execute a right horizontal strike. to 6. refer to section X: terminology 1. Step through forward into RNB as right sai does an overhead strike. Follow up with two slashes at the wrist using the right sai. as the right sai retracts and executes a. other sai is in check position) 3b. retract sai to Normal position (with arm still extended). to 6. blade out. Step through forward. upward block. Step through forward. with left sai checking in Normal position. other hand is covering. (left then right with blade still out). Bow and Salutation. Normal downward block. blade out (usually aimed at wrists). (same as position 3a). Shuffle forward. Normal. Normal. place it along your hip. then draw it like a sword and strike horizontally as you settle in your stance* 4b. 4c. into a LNB. followed by two punches: left then right. Other hand is covering. blade out (same as 3a). Forms: Kyan No Sai For Bold faced terms. with prongs vertical. *Note: after every strike for Groups 1 and 2. 13 . Step through forward into LNB as left sai does an overhead strike.
retract right sai and execute a downward block. shuffle forward. land into your RNB and throw the sai. Have the blades slide against each other as the right goes out and down to 3 and the left to 9. pull right foot back to left (natural/attention stance) and have sai cocked on your left hip (Chinese hind fist). 6d. 5i. followed by two punches: left then right. blades out. Step through to 12 into a LNB and execute a left horizontal strike. Following the double punches from your RNB. Normal. 5g. Next. with blade out.5c. 6b. (Known as "Deblooding of the blades. blade out (similar to 5b. (For form purposes. as you look towards 12. Normal. 6f. Repeat steps bÆd facing 3 with right side. stay with blade out near right hip. Retract left sai and follow with a left. and stab using right sai. Shuffle to 3 as you execute a right. 6g. Group 4: 6a. Following the double punches facing 3 in your RNB. Reverse the motion from the previous move as you retract the sai. 5j. Repeat steps bÆd with left side. Step back into a LNB as you middle block with left sai.") 6g 6g 6h. 5h. Follow with a left stab to the throat. 6e. 5e. pull left foot to right. downward block followed by two punches: right then left.) Do not retract right sai. execute a right upward block. don't actually throw the sai) 6c. essentially making an X block. Step back with left foot into horse stance facing 12 and flip both sai out and up. blade out. Step to 12 with right foot as you do an umbrella motion 6c with the right sai. and end at attention stance facing 12. Repeat steps bÆc with right side. Retract left sai. blade out. to the neck using the umbrella motion. downward block. downward block as you step forward into a RNB. Repeat steps bÆd with left side. Normal. Repeat steps bÆc with right side. with prongs horizontal. 14 . 5d. 5f. Following the two punches. and execute a left. cover with right foot so you are facing 9 in a LNB and execute a left upward block.
Salute and bow. 15 .6h3 6h1 6h2 7.
is in cover position. Group 3: The series of these moves are to block and disarm an attacker coming at you with an overhead strike from a staff or possibly club. Group 4: This set of moves is for a defense against a staff or possibly a club or sword. The first move is to block the strike by either striking the weapon or fingers of attacker. if attacking with a weapon. This movement is repeated three times total. Finally. forcing them to step 16 . Group 2: The horizontal middle level strike can be used in a similar fashion as Group 1.Bunkai: Kyan No Sai Group 1: The vertical overhead strike can be used as a strike to the head or as a strike to the fingers/hand. as in Group 1. This movement is repeated three times also. to the attacker's wrist. The other hand. The other hand is in an augmented block/cover to protect the rest of your body as one hand strikes/blocks. These movements are repeated three times facing 3 and three times facing 9 o'clock. As the staff comes in. Next. clear the arm/weapon and double punch. you throw the right sai at the opponent's legs. This strike can be to the ribs or fingers/hands. blade out. step through with a slash.
while you grab your third sai in your obi. clear the weapon/arm and step through with a right stab to the fingers/hand. Step back into a horse stance and "deblood" the blades. and step through with a left umbrella strike to the neck followed with a thrust to the throat. A lot of push or step drags. such as the fingers. Then. In most cases when using a weapon. Also. In these cases. a "first strike" weapon. Finally. rather than the weapon. probably have a weapon. clear arm. Next.back. clear the arm and double punch. mid level. blade out. You execute a middle block. the attacker comes in with a right. horizontal strike. 17 . or body if possible. the final group reveals that another sai was usually carried for use once one was thrown or dropped. The first group of this form demonstrates what the sai was mainly used for. Retract the sai. as well as yourself. Discussion: Kyan no sai is used as the first form because it demonstrates how to properly flip and retract the sai and implements varying types of blocks. strikes. used mostly for advancing towards your opponent. are used in many of the Groups in these sai forms. and combination movements. push/step drags get you in closer to strike the opponent. the attacker.
look to the left and pull your left foot up to a cat stance facing 9 as your left hand downward blocks.Ni-Cho Sai 1. and follow with a double punch: left then right. 3j. 3g.Retract both sai and execute a dual double downward block. 4b. 3j 3k 3l 3k Group 2: 4a. and connect sai for the X block and/or weapon 'trapping'. 3d 3k. Repeat steps 3bÆ3h. 3m. Group 1: 3a. 3e. Normal. 3c 3b. as you pull into a cat stance. 18 . Downward block with the right sai. blade out. Step back with right to 6 as you extend blades out and down (downward blocks) towards 6 and 12. Bring up both sai to 12 and X block (sai are connected) 3l. Repeat steps 3cÆ3e on the left side. Bow and Salutation 2. cover with right foot so that you're in a LNB facing 3 and execute a left upward block that continues over into an extended outward block. 3d. Step back out to 12 as you thrust the right sai toward throat. while looking at 12. Retract sai to Normal position and downward block. Step to 12 into a RNB and execute a right punch. Repeat steps 3bÆ3h. While facing 9. 3i. 3f. Step to 12 with left foot and left punch. Begin with left arm extended in punch position. Group 3: 5a. 5b. 3h. Step to 12 with right and execute double horizontal throat strike with both sai. Repeat steps 3bÆ3e. which continues to move counter clockwise into an extended outward block (used to 'hook' opponent's weapon). Bring left sai back to right hand. Begin with sai in both hands. 3c. and natural stance. Step out to 9 into a LNB and execute a left upward block. at 6. While facing 12. 4c.
(For form purposes. 6c. Step left foot clockwise so you are facing 12 as you execute a right middle block. Step drag to 6 as you flip the right sai using the umbrella motion and execute a horizontal strike to the throat. 7. 6e. Salute and Bow. don't actually throw the sai). 19 . Retract right sai and downward block. using the umbrella motion. step counter clockwise with left foot to 6 (your back does face 'attacker' for a moment) as you throw the left sai toward 6.Group 4: 6a. Step to 6 into a RNB and execute a right punch. 6b. 6d. From your RNB facing 3. Normal position.
blade out. retract the sai and downward block. You block the strike with a downward block. blade out. which is the use of both sai.Bunkai: Ni-Cho Sai Group 1: The series of movements of this group are used to defend against a sword. attack is with a number four strike. pushing the weapon off to the side. followed with a thrust to the throat. These transitions demonstrate how you should move to block an attacker from different positions. For example. and to stay with the theme of second half of this group. Next. Group 2 and 3: These two groups are just like the beginning half of Group 1. then they come in with a low number three or four strike. or club/staff. Follow with a dual Normal downward block. depending on which side you're on. The initial punch drives the opponent back a step. if using your right hand. to clear anyone around you. except it starts with a different transition. and execute a dual horizontal neck strike. 20 . step back and execute a dual downward block. Repeat these movements for a total of three times and end the third with a downward block followed with a double punch. You then set up the sai for the next attack. Next. which is an overhead sword strike. Execute an upward X-block to the sword and step through. used to clear anything in the way.
and drilling a basic combination technique. Because of these different transitions and movements.Group 4: The initial move is used to draw back the attacker or to impale them by striking the leg with your throw. which makes them move back. which is used quite a bit with these sai forms. such as a double punch. 21 . using different transitions for the next attacker. we are going to the four major directions. Discussion: Ni-cho sai appears to be a simplistic type of form. End with a downward block to clear the attacker. you step forward to punch the opponent. Next. it's telling you to think of other things you could do. it is placed as the second form that a student would learn. In this form. a combination of EPAK's Short Form 1 and Coordination Set 1. The ending of this form actually can allow you to add more once you clear the arm. You then follow with a final strike to the neck. Thus.
step forward with right foot as you strike down with both sai blades on opponent's collar bone area. *Note: for steps 3bÆ3d. Retract both sai and do a left Normal downward block and double punch: right then left. the other retracts and is chambered in Normal position. 3b.* 3c. Cover with left foot to 6 and double downward block/strike with blades out to 6 (blades are moving in same direction). 3k. Right foot and right sai. blade out. Step forward into RNB with a right mid-level horizontal strike. place sai blade on hip and draw it out like a sword. Step forward into a RNB with a right mid-level horizontal strike. simultaneously pull your right foot back to left. *Note: with striking. Step back out to 12 into a RNB with a dual punch to eye level using butt of sai. then move them up to an upward X block. Step to 12 into a LNB with a left extended outward block. 3g. Bow and Salutation 2. 1 2 3 Step 3g: shows motion that the sai goes through and where you finish. Flip both sai out and down toward your legs and cross them in an X.Towada No Sai 1. do a circular motion (clockwise and parallel to ground) – right sai stops on right hip. 22 . 3j. blade out. with one sai strikes out. Once feet are together and sai are in upward X block position. Pull right foot back into a cat stance while hands cock on left hip (Chinese hind fist). Group 1: 3a. 3h. Stay in RNB and execute a Normal right downward block and double punch: left then right. Begin in horse stance facing 12 with sai in a Normal double downward block position. 3d. 3f. Step forward into LNB with a left mid-level horizontal strike. 3i. blade out. using prong. or can flip it out in front of you.* 3e.
Continuing the movement from 5a (strike doesn't stop at neck level). 23 . step up circle or seven step to face 3 in a RNB and execute a right horizontal strike. step back out to 3 into a RNB with a vertical strike to top of head.* 5d. execute a right cat stance. From your LNB facing 6. This move is also described in the basics (flipping) section. then double punch: left then right. 6a. Group 3: 5a. From your LNB facing 12. pulling right foot back. as your sai follows through the neck and comes back to right shoulder and makes a triangle with your head and neck. pull left foot into a cat stance facing 4:30 with a Normal left downward block and a Normal right upward block.3i 3h 3i 3i1 3j 3i2 Steps 3h-3i: these pictures demonstrate the series of moves and placement of sai during each of the moves. 6b. followed but a double punch: left then right. Cover with right foot to face 9 in a LNB and execute a left horizontal strike to head. From your LNB facing 9. 4c. Continuing the motion from 5b. 5c. Group 2: 4a. 5b. Step forward to 4:30 into a RNB with a Normal right downward block. 6c. Repeat steps 5bÆ5d using opposite side and facing 9. beginning with blade of sai already out. step to 12 with right foot and repeat steps 3bÆ3k. 4d. just different angle. *Note: steps 5b and 5c is just describing a vertical flip with an added cat stance. to the head/neck level. Retract sai and downward block. 4b. blade out. (3i1 and 3i2 are same movement/stance. Repeat steps 3bÆ3k. Pull your right foot into a cat stance facing 6 with a Normal right downward block and a Normal left upward block.
pull right foot back to left and step back out to 9 ("7" step). From the LNB facing 12. the right sai executes an umbrella flip and strikes the left sai blade (blade to blade) making a + design. but stays in contact with blade of left sai. 7b. 9b2 9c. 24 . 8b. and is in chamber or covering. 7a 7b 8a.Group 4: 7a. flip both sai up to make an X block with blades out. From your RNB facing 9. and does a middle block with blade at head level. From the LNB facing 3. the left sai retracts to Normal position. but now you're in a LRB facing 3 with a Normal left downward and Normal right upward block. Set back down into RNB to 9 and Normal downward block followed by a double punch: left then right. then slide left foot up to 9b1 the right on the 9 o'clock side (on ball of left foot). Group 5: 9a. Sai should also be perpendicular with ground. Slide right foot up to left as right sai thrusts straight forward. 9e. The right sai ends up being perpendicular with the ground. while the right stays with blade out and does an up and down motion to vertically strike at head level. 9b. Next. Step your left foot back into a RNB facing 12. step to 6 with right foot and repeat steps 3bÆ3k. Step right foot towards 12. While moving your feet. Pull right foot back into one-legged stance and right downward block. From your LNB facing 6. 9d. pull your left foot back to right and "7" step out as you end in a RRB to 9 and execute a Normal right downward block and Normal left upward block. Repeat steps 7bÆ7c on left side facing 3. blade out. then immediately step your right back into a LNB as your right sai retracts and does an upward block and the left sai flips out in a counter clockwise motion. 8c. 7c.
as both sai retract and do a dual "moving block" in front of your body. while both sai do the same blocks as 9f. pull left foot into one-legged stance facing 12 with a Normal left downward and Normal right upward block. Left foot steps back toward 6 into a horse stance 9f facing 9. 11. Salute and Bow. 9d1 and 9d2 are same movement/stance. Set left foot down into horse stance facing 12 and sai are in Normal downward block position. but on opposite side. The block is a Normal left downward and a Normal right inward (used as a defense against a bo or spear thrust). Step right foot back toward 6 into a horse stance facing 3.9c 9d1 9d2 9e 9d Steps 9c-9e: series of movements and placement of sai during the corresponding steps. 9f 10. 25 . Finally. right downward and left inward. 9g. 9h. but looking at 12. just different angle. going from 12 to 6. 9f.
or other available targets. Cover to face the opposite direction with a dual downward block. This last block and double punch is to perform this sequence of movements on the opposite side as a complement to the first side. blade out. retract sai. Next. The following horizontal strikes can be used to block or strike an incoming weapon. defense against aggressors. blade out to block or clear anyone behind you. step back out into stance with a dual strike to the collarbones. which is what the sai and weapons in general are for. Then. or ribs of an attacker. Finally.Bunkai: Towada No Sai Group 1: This form begins with a defensive movement. Group 2: 26 . Next. the fingers. downward block/clear. you pull into a cat stance with your sai chambered. Repetition cycle: Following the double punches. Normal. to stop an overhead strike. From there. the weapon and attacker's head. you circle out the right sai so as to hook your attacker and slash through them. These strikes are repeated three times and ended with a downward block/clear and double punch. step forward and execute a dual double punch. and double punch. pull your front foot back and execute an upward X-block. to the face.
Next. End with a downward clear and two punches. it starts with an attack with a #4 strike. You step back as the next attack comes in. you begin the Repetition cycle. the initial movement is a block from your attacker's overhead strike (staff. and then begin with the Repetition cycle. but then they come in with a low strike. Repeat on the other side. etc. Group 3: For this group. sword. simultaneously moving their weapon off to one side and vertically striking them on the head. Follow with moving forward. club. followed by a downward block/strike to the attacker's hand and double punch to their body. if possible. Then you vertically flip the sai and come back down with a strike to the attacker's hand or head.). For this set. You go into a reverse bow to avoid the attack. and then goes into your horizontal strikes. Group 5: The attack is an overhead strike of which you execute an upward X-block. blades out. the downward block is performed on the opposite side and instead of continuing with the previous motions. to which you downward block while getting your leg out of harms way. you set down with a downward clear and double punch.The initial block is to stop a #3 strike. Group 4: The start of this group begins with the attacker throwing a horizontal mid/head level strike. 27 . Next. etc. Repeat on the other side and begin the final set of the Repetition cycle.
Discussion: There are many complicated movements in this form. if possible.which is a head level horizontal strike. or the first parry can block and the second one can be used to pull them in for a strike. End with a dual block to parry away a staff thrust on both sides. Block the strike and follow with a right sai strike against your left sai either hitting the opponent's weapon or hand. 28 . Follow with a push of the sai in to stab the attacker's hands or. but each one demonstrates a different way to either block or strike your opponent. if possible. his/her body.
Step to 12 into a LNB with a Normal left extended outward block. Next. As the right sai is at the your shoulder. Then step back down and your sai end butt to butt with your left palm up. at mid level. and pull back to chamber. 3c. Bow and Salutation 2. 3b. in Normal position. Begin in horse stance facing 12 with sai in Normal downward block position.Nakiama No Sensei No Sai Dai Ni 1. As your right hand is moving. at head level and continues (non stop motion) to your right shoulder as your right foot pulls back into a cat stance. while the right sai is in chamber. Group 1: 3a. followed with a double punch: left then right. Step to 12 into a RNB as you execute a right horizontal strike. Then your right foot steps back out into a RNB as the right sai completes its vertical flip. 3d. 3f. the left sai stays in Normal position and the butts of the two sai stay in a straight line with each other. Retract sai and step to 12 into a RNB with a right downward block. as part of the vertical flip. in a spear hold. 3e. Start by stepping to 12 into a RNB with a Normal right extended outward block with the left sai chambered. and strikes the top of opponent's head (prongs are turned vertically. 3f 29 . blade out. 3 2 4 1 Step 3d: arrows demonstrate the motion that the sai will go to get to the following picture. step left foot to 12 just in front of right foot (left is on the ball) as both sai extend out. left sai is vertical in front of you with your palm facing you. Repeat step 3c on the opposite side.
facing 6. blade out. Next. step out into a RNB with a dual double strike to head level. Left sai is in chamber. 4c. From your LNB facing 12. 5b. 3g1 3g1 and 3g2 show same movement. 3g2 3h. Group 2: 4a. 4b. Seven step into a left "elephant" stance to face 4:30 with a Normal left upward block. In your LNB. just different camera angle. 4d. at head level. Push drag to 1:30 into a RFB as the right sai reverses its motion and does a downward block. into the spear hold. Push drag into a LFB at 4:30 with a double punch: right then left. step right foot to 1:30 in an "elephant" stance as right sai flips out. Flip sai blades out and cock over left shoulder and push drag to 12 as you thrust the blades of the sai straight out at collar bone area. Group 3: 5a.3g. palm up. Step to 6 into a RNB and repeat steps 3cÆ3j. Step to 7:30 into a right "elephant" stance with a Normal right upward block. push drag and move sai in a straight line to 6 at collar bone area. 4e. 30 . Hands actually cross. 3h 3h 3i 3j. retract sai and execute a left downward block and double punch: right then left. 3i. Push drag into a RFB at 7:30 with a double punch: left then right. with palm down and still in the spear hold. Cover with left foot and turn facing 6. so that the right sai is hitting opponent's right eye and left sai is hitting left eye with the left hand on top.
and plant the foot at 6 while looking at 12. Repeat steps 6aÆ6e on the opposite side facing 6. 6f. to 12. Push drag to 12 as right arm pulls back a little and. 6d. 6b. and strike at mid level. spear hold. 6c. 6b 6c 6c 6d 6e. and flip out the right sai in a vertical. and palm down. Step left foot to 10:30 in an "elephant" stance with a left sai flip. Push drag to 10:30 into a LFB as the left sai reverses its motion and does a downward block. 5d. releasing from the spear hold. Group 4: 6a. as if ready to stomp or just like the chamber for a knife-edge kick. and double punch to 12: left then right.5b 5a 5c. to head level (just like 5a). Retract right sai and double punch to 1:30: left then right. The blade is parallel with the ground and prongs are vertical. Right sai is in chamber. downward block. Place right foot down into a RNB facing 12 as right sai vertically flips in a clockwise motion. Retract left sai and double punch to 10:30: right then left. Lift your left knee. 31 . lift the right knee. palm up. Be sure to land in your RNB with the strike. Retract right sai. blade out with spear hold. 5e. just like 6a. Next. blade out in a spear hold. overhead motion. blade passing by the left hip with the same strike as in 6b. 5f. thrusts back out at midsection level with prongs starting horizontal and rotating to vertical once settled in RNB.
7c. 7f. Left sai is positioned "punching" down on the inside of your left leg and right is doing a Normal upward block. Step right foot back into a LNB facing 12 as right sai cocks at right shoulder and left stays straight out (prongs are vertical). Lift right leg up (knife edge chamber) and move it back to 6. 7d. Push drag to 12 as both sai circle above the head and out to execute a dual double spear hold horizontal strike to neck. You're basically in a one legged stance with left foot slightly in front of right leg. then step back with left foot 7a into a RNB facing 12 as the right sai makes a counter clockwise motion (forward on the circle) and hits the left sai blade making an X facing 12 (blades still out and at a 45° angle).Group 5: 7a. as the right sai circles down and over (counter clockwise or forward on the circle) back to 12 and strikes the left sai making a + pattern. 7h. 7a 7b 7d 7f 7g. The right sai should be at 6 and left at 12. Push drag to 12. prongs are horizontal. 7e. step right foot to 6 into a horse stance facing 3. Rotate head to look at 12. in your LNB. Step back with right foot. then lift up left leg in same manner. Step left foot back into RNB facing 12. and execute a dual double stab to attacker positioned between and in front of your legs. but still looking toward 6 and execute a dual double vertical strike to head (blade out). as right sai thrusts straight toward 12 (left stays in place as a guide). Prongs are vertical with a normal grip (release the spear hold). Left sai is sideways (pointing at 3) and right is on top of left. facing 12. From your LNB facing 6. 32 . still with the spear hold. Step back with left and do the same strike as 7d. retract both sai. except on other side. 7i. 7b. and sink into your stance (wide kneel).
33 .7f 7g 7h 7h 7i 8a. Set left foot down at 9 into a horse stance facing 12 with two Normal downward blocks. Salute and Bow. 8b.
Finally. side from the one in the beginning. Group 4: 34 . Repeat on the other side and begin the Repetition cycle. The strikes could be used for a high thrust or overhead strike attempt. then repeat entire sequence on opposite side. Next. cover and execute the same collarbone strike followed with a downward clear and double punch. Downward clear and double punch. Group 2: This movement is to block an overhead attack and follow immediately with hooking of the weapon and a double punch. Repetition cycle: The horizontal to vertical strikes are the start of the forms repetition cycle. opposite. This last clear and punch is the complementary. comes the downward clear and double punch. you move closer to the attacker and chamber your sai to execute a dual head/eye strike.Bunkai: Nakiama No Sensei No Sai Dai Ni Group 1: This form begins with two defensive extended outward blocks followed with two horizontal blocks/strikes into vertical strikes to the head. Then. Group 3: This set is to block a staff overhead attack and pursue with a strike to the fingers/hand. followed by a dual strike to the collarbones.
of which I have been unable to locate a picture of. For the teaching aspect of these forms. the next movement blocks the weapon and sets up your sai for a thrust to the hands//body. I attempted to place these four traditional forms in order of increasing difficulty and thus this arrangement came about. Discussion: This form was placed as the final sai form. After the second block. due to the complexity of the movements. is to get out of the way of a low strike or thrust attempt.Lifting of the leg. besides a modified short form 3. The next two movements are blocks to a staff thrust. End with a downward clear and double punch. 35 . following this one would be the modified short form 3. The final "pose" is supposed to be that of an ancient Okinawan God of the martial arts. comes an X-block for an overhead attack. in this group. as a form of clearing motion. then repeat sequence on the other side. Group 5: This first movement is to clear the last attacker and strike behind you in case anyone is there. As one knee comes up. you strike down on the attacker's weapon and follow with a vertical strike to the opponent's hand and finally end with a thrust into their body. if possible. End with a dual hooking move to the attacker or attacker's weapon. Next. Pursue with a push drag in as one sai clears the attacker's weapon and you execute a dual horizontal strike to their head.
Therefore. 7. the second movement is also similar to EPAK's "Mace of Aggression. Right knife edge kick to attacker's knee and grab the right side of their neck with your left hand. 36 . 6. Sai Techniques Technique #1 Brushing Sai (Front. Set the left leg back. Pin their left hand with your left hand as you step back into a RNB." I felt "Brush of Danger" could be advanced further to incorporate the sai and numerous other strikes.VII. Execute a left knee to their neck as your right hand begins to pull one sai from your left hip. Next. If need be. Discussion: The beginning three moves of this technique are from a Chinese Kenpo technique entitled "Brush of Danger". It seemed that using the ending of "Destructive Kneel" best complimented my intent with this technique. 2. 4. Simultaneously. Execute a right outward hand sword. Rotate your right arm above their arm and parallel to the ground. and execute a right inward hand sword. as you rotate into a LFB facing 3 and stab your attacker. 5. I decided to include the middle portion of "Circling Destruction. blade out. continue pulling the attacker down. straight right shoulder grab – 1 sai at end) 1. get the anchor on their head with the left hand. as they're falling or after they hit the ground. can go into a left wide/closed kneel. pull your arm into your body. execute a right forearm strike to their left elbow. 3. Step your left foot around to the back of your attacker into a RNB. drawing your attacker in." What I was trying to accomplish with this technique was to take the attacker to the ground.
flip out the right sai and. The position of the sai for this arm bar is that the blade is on top of the triceps and the bottom part of the blade is near the wrist or forearm. 5. strike the right knee taking your attacker to one knee. 4. I created a type of hammerlock using the sai. Immediately place the blade of the sai onto the attacker's right triceps or elbow. 2. Execute a back to front switch and step your right foot back to 9. 37 . be sure the prongs of the sai are vertical to the ground because this will keep your attacker's arm in place. should keep the attacker upright. execute a left anchor as you pull up on the handle of the sai. Also. As you settle into your LNB. 3. the attacker's right arm should be bent around the sai and behind them. Also. and placed my opponent into a position from which they couldn't get out. the anchor and arm bar. Discussion: In this technique. I found myself ending up behind my attacker and didn't want to do the standard methods of finishing them off. Step up into a LFB with a left vertical/extended outward block and a Normal right punch to the chest/head. and your left hand slides up to their neck on their left side. The prong acts as a stopper to prevent them from bending over and getting out. Therefore. which turned out to work very well. as you land into a RNB. or square with the attacker's center line. thus inflicting pain on the shoulder. Execute a right front snap kick to groin/bladder. The two counter moves. As you kick.Technique #2 Locked Sai (Front right straight step-through push – 1 sai) 1. landing forward into a RNB.
I wanted to stay in the front of my attacker to come up with various strikes that could be performed. shift back into a RFB as you execute a left stab to the chest/head. For the remainder of the technique. flip both sai. (If necessary for the next move. Because "Circling Wing" ends in a reverse bow. followed by a left front kick. Step back into a RNB with a Normal right inward block. The middle portion of the technique is borrowed from the end of "Circling Wing". 38 . straight step-through punch – 2 sai) 1. This is used to straighten the attacker up. Finally. step up circle with the left foot into a RRB to 4:30 (depends on the attacker's centerline). to the groin. Discussion: I decided to use "Five Swords" in this technique. and execute a right hammer fist. thus making the following move easier. 3. Next. 2. I wanted to add a bit more. Execute a Normal right outward slicing hand sword to neck.Technique #3 Circling Sai (Front. right.) 4. you can follow up the groin shot by striking with the butt of the right sai to the chest or head. hence the follow up with an uppercut and front kick. Cross out from point of contact. as the left sai executes a punch to the face. seeing as how predominate it is in the Kenpo system. blade out.
This time. I'm landing back. 4. landing back into your LNB.Technique #4 Defensive Sai (Right front kick followed by a right round punch – 2 sai) 1. Using the prong of the right sai. I want to place a hand by my head as a cover anyway. Step left foot back into a rear twist with a Normal left parrying downward block followed by a Normal right inward block as you rotate into a RNB. just like the second movement of "Intercepting the Ram. Execute a front right kick followed by a Normal right outward hand sword to the neck. I found it seemed more natural to follow up a kick with a punch. seeing as how I'm blocking low initially. 3. Normally. execute a right rear knee to the head. pull the attacker in as you step forward into a LNB with a Normal left inward overhead elbow/stab to attacker's back or kidney. Discussion: In creating a kick technique." 39 . I used an ending similar to "Defying the Storm". therefore. I noticed a lot of knee strikes to take the attacker to the ground. 2. Following the stab. I wanted to change at least one of them to something different. From the previous techniques. but instead of landing forward with the strike.
but the placement of my arms. slide or seven step your left foot around your attacker's right and execute a Normal left obscure elbow to the attacker's chest or head. You could also stab the opponent's throat or chest. and the middle is borrowed from "Grip of Death". 2. The beginning of the technique is reminiscent of "Twirling Sacrifice". I chose to go with the ending of "Grip of Death". Follow through into a LFB with a Normal right uppercut/reverse punch to the chest or face. Go with the full nelson (bending over). Therefore. as well as the attacker's. execute a right rear leg front thrust kick to the groin or solar plexus. You could also push drag back after the kick. landing into a front cross over. 40 . as your right leg steps down into a horse stance as you execute a Normal left hand sword to the groin.Technique #5 Falling Sai (Rear full nelson – 2 sai) 1. then finish crossing out. Discussion: Thinking of a technique for a hug or hold was one of the more challenging to do with the sai. 3. Next. seemed less likely to actually work. I was initially going to have the technique go from "Twirling Sacrifice" into the end of "Crashing Wings". Finally. 4.
5. 6. Next. Finish by stepping with your left foot to 3 into a RNB and. 8. 4. As you execute the right hand sword. Thus. pivot back into a left closed kneel as you execute a Normal right stab to the attacker's neck/back. 41 . I was in a recognizable position. Step your left foot to 4:30 into a rear crossover. which turned out to be from EPAK's "Thundering Hammers". 7. Land back into a RNB and cross out. into a left wide/closed kneel as you execute a Normal right reverse hand sword to their groin. I used the "thunder" from that technique as the finish. the left sai flips out and cocks above your head. using the right sai prong. 2. From the end of the technique. using the butt of the sai. Discussion: For this set. to their kidney/spine. 3. as you Simultaneously execute a Normal left blind hand sword striking your attacker in the groin. pivot into a right closed kneel while executing a left hammer fist. pull your attacker in as you execute a rear left knee to his/her body. ducking under his arms.Technique #6 Thundering Sai (Rear straight two hand choke – 2 sai) 1. When the attacker bends over from the groin strikes. I have adapted another Chinese Kenpo technique entitled "Dancer" or "Dancer with Cover". Unwind towards your attacker. Retract the left sai as you strike the attacker in the head and cock the right sai above your head.
Discussion: As in Kenpo. going into a wide or closed kneel. flip the right sai. 42 . As you settle into your RNB. execute a Normal right outward hand sword to the neck. I needed to create a technique for a left-handed attack to complete certain categories. For this technique. 2. Finally. The left sai/hand is checking the shoulder/back to keep them upright.Technique #7 Storming Sai (Front left step-through overhead club – 2 sai) 1. Execute a right knife-edge kick to attacker's left knee landing forward into a RNB. 4. I opted to have a little bit of overkill. If the attacker falls backwards to the ground from the rip. Needless to say these are just suggestions of what you could do to finish off your attacker. Step left foot forward into a front twist and execute a Normal left upward block. omit the flipping and stab straight down into the chest. blade out. and stab the attacker in the back. Step right foot back to 3 as the right sai prong rips through the neck and chambers back at your hip. 3. I chose to construct my own. Since I was unable to recall any left-handed club techniques from EPAK.
execute a left front thrust kick to attacker 2. as your right foot steps through to 12 and the right sai flips out and strikes attacker's head. 4. hook the staff or hand/wrist as you step to 12 into a LNB and execute a left punch to the head/chest. followed by a Normal right extended outward/upward block. The very end is reminiscent of many of the two person techniques from EPAK. Your back will momentarily face your attacker. Using the prong on the right sai. Land forward into a RNB as you stab the attacker in the chest. I wanted to be in a LNB facing my second attacker and the spiral move seemed to fit very well. 2. Therefore. Continue in a "spiral" motion. 5. 43 . 6. Following the stab. executing a right step-through overhead strike 1. blade out. although I did not have it there initially.Technique #8 Disarming Sai Two Person Attack (2 sai) Attacker 1: At 12 with staff. a front kick followed with a rear kick. Cross out accordingly. kicking them off your sai. shuffle forward (to 6) into a LFB and execute a Normal left upward block and a right reverse hand sword. Discussion: This two-person attack came about from being unable to think of another strike to give my first attacker. I decided to have one of his/her buddies come in from behind. to the groin. 3. Step back into a RNB with a Normal left downward block. As the second attacker comes at you from 6. and follow with a right rear kick to attacker 1 at 12. executing a #3 followed by a #2 strike Attacker 2: At 6 with club. Execute a rear right kick/knee to head/chest as you chamber the right sai. A portion of movement in number two is from "Spiraling Twig".
Set down left foot into meditative horse stance. twist out with into RNB with next block LNB at 12. Opp. Reg. crossover and step right foot out into a horse stance facing 10:30. Salute and bow. 3 12 3 12 3 9 7:30 3 1:30 Opp. then left foot moves for next technique From kick. 6 8 12 then 6 Opp. Thesis Form Kenpo Sai Tech: Attack From: Side: End Facing: Transition to Next Technique: 1 1 7 7 6 6 3 12 3 4:30 10:30 3 9 7:30 Reg. have the left rear kick plant at 3 (facing 12) into a front crossover. 10:30 5 4:30 Reg. then turn to face 12 in a RNB with the next downward block. then go into a one legged stance (right foot down) as your hands cock by your right ear. step-through into LNB Adjust right foot to face 1:30 in a RNB RNB at 12. LNB at 6. step-through to 1:30 into LNB RNB at 3. 44 . Reg. cover with left into RNB to 6 with a right downward block and step-through to 6 with next block After left knee strike. Horse stance facing 9 Plant left foot to 12 into a horse stance facing 3 Right knee lands to 7:30 into RNB Plant the left front kick to 7:30. Step left out to 6 into a RNB facing 12 and execute the right hand block. 6 5 10:30 Opp. crossover and step left out into RNB at 7:30. 4:30 2 2 7:30 1:30 Reg. 12 4 6 Opp. step right to 6 into a rear twist and a left downward block. land into a horse stance facing 4:30. Opp. 9 12 8 12 then 6 Reg. step left to 6 into a twist at 12 with a left downward block. 6 Right front crossover into LNB Step-through reverse to 4:30 then step to 4:30 into LNB Cover into a twist to 10:30 with the upward block No transition. Step-through with left block RNB at 6. plant right kick to 12.VIII. then right foot moves From kick. 1:30 4 12 Reg. Reg. Opp. Opp.
was reduced to learning the basics from videocassettes. Sensei Clint Hughes. that's when I was introduced to Mr. gave the okay for me to do my black belt thesis on the sai. I had been training on my own for over a year. When my instructor. Therefore. such as the tonfa and kama. from which I learned the basic movements. The knowledge that I received from Mr. Before training with Mr. as you have seen throughout these many pages. Ward is valuable and reinforces the importance of having a real instructor as opposed to one on a video. I was unable to locate a personal instructor of Okinawan kobudo and therefore. is complex and exciting at the same time. Videocassettes do contain a lot of useful information. In general. learning how to block or strike using a weapon will enforce the proper placement with empty hands. To ensure that your empty hand blocks/strikes are being executed properly. Ward in Crawfordsville. Conclusion The sai. Due to the area in Iowa where I lived. Because of these characteristics. and that enabled me to learn two traditional forms from Mr. I became very interested in learning the sai for myself. 45 . Tom Ward at a quicker pace than the average individual. flexibility. From my training with one type of Okinawan weapon. training with a weapon teaches many important aspects of coordination. I took it upon myself to get the necessary resources. Indiana. it has peaked my interest in learning some of the others. Ward.IX. I have discovered new formations and ideas dealing with proper blocking and striking with and without a weapon. Training with the sai. and proper motion. which would allow me to learn the fundamental basics of this unique weapon. who is a sixth degree black belt in Shorin-Ryu Shorin-Kan.
the time I have spent in the art of Kenpo has served me well in too many ways to describe in words. The main reason for learning this weapon and doing my black belt thesis on the sai is to try to incorporate it into the American Kenpo training. Mr. My girlfriend Jill and new baby Cole.It is amazing how much I have come to learn about the martial arts and Kenpo in general by only training with a different kind of weapon. and instructors. I would like to say thank you for all of your understanding and support through these difficult months of training. 46 . thereby giving students. very much. Thank you to all of those who have helped me along the way to achieve my goal. I have enjoyed these past six years and look forward to many more years of training. In conclusion. Tom Ward for his time and knowledge. My hope is that this will be the beginning of a curriculum that can be instated into our training methods at Universal Kenpo Karate Dojos. I love you both very. a more rounded training experience and knowledge with a more traditional weapon. Special thanks: Sensei Clint Hughes for all of his guidance and support. My family for supporting my decision to continue my training in Indiana.
3. 47 . Blade out – Indicates the sai blade is out. Only makes one revolution around head and usually lands with blade out for the strike. 4:30. 6. Shuffle – Step or push drag forward or backwards. 12 – Refer to positions on a clock. 9. 10:30. then strikes. unless stated otherwise in specific movements. Retract – Returning the sai from Blade out back to Normal position.X. 7:30. to restriking the target (vertical flipping). Umbrella flip – Circular motion that goes around and above the head. Terminology for Sai Techniques and Forms LNB – Left Neutral Bow RNB – Right Neutral Bow LFB – Left Forward Bow RFB – Right Forward Bow LRB – Left Reverse Bow RRB – Right Reverse Bow Normal or Normal position – Standard way of holding the sai with the blade held tightly against the forearm. Flip – Method of moving the sai from Normal position to Blade out or from Blade out.
Check or Cover – Normally indicates what the non-striking hand is doing. Depending on the target. but not limited to: head. Vertical strike – A strike. can be called Over or Under Vertical strike. usually using the blade of the sai in a motion. right palm down). etc. knee. but not limited to: head. Targets are. groin.Right cat stance with hands on left hip (left palm up. Chinese Hidden Fist – Placement of hands/sai on hip. 48 . ribs. while in a cat stance with the sai prongs horizontal. neck. Ex: Left cat stance with hands on right hip (left palm down. Horizontal strike – A strike. Targets are. usually using the blade of the sai in a motion. etc. right palm up) -OR. knee. a type of augmented block.
2000-2001. Demura. 1998-2004.thekarateacademy. "The Stories and Practice of the Okinawan Sai". Haff. 1974. Clint Hughes. Jim. Mastering the Sai: Volume 2. Videocassette. Dan Ivan. Online Posting. Tom: Sixth Dan Okinawan Karate-do Shorin-Ryu Shorinkan. Kim and Curt Sawyer. Online Posting. 1997. Online Posting. 1985 Murray. under the guidance of Mr. http://www. Online Posting. Fumio. Kobudo Sai: Karate Weapon of Self-Defense. 49 . Fumio. Videocassette. "Sai". Mastering the Sai: Volume 1. Panther Productions. 2000-2004.com/kobudo. Dir. "What use are ancient weapons in karate today?" 2001. Katsumi. Mikio. Videocassette.htm Murakami. http://www. Kobudo Weapons: Mastering the Sai. http://www. 1992.oshirodojo. Sai: Karate Weapon of Self-Defense. Saijutsu: Traditional Okinawan Weapon Art.com/reference/weapons/index. Videocassette. http://www.com/15Weapons/Offensive/Sai. Murray. Boston: Tuttle.pdf Logue.com/kobudo_sai. Panther Productions. Toshihiro and William H. 1985.XI. 2000. Dir.htm Ward. 2004. Michelle. Demura. "The Meaning and Importance on Bunkai". Online Posting. References Ed Parker's American Kenpo System. Personal Training/Interview.com/Articles/The%20Meaning%20and%20Importance%2 0of%20Bunkai%20Michelle.kushu.htm Laroche. Oshiro. Kim and Curt Sawyer. Black Belt Magazine Video.yorkkarate. "The Karate Academy: Weapons--Okinawan Kobudo".html TKD Tutor. Panther Productions. http://tkdtutor. Santa Clarita: Ohara Inc. Nishiuchi. Joseph Jennings.


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subset: commoncrawl


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C1/C2 injuryKenneth Mak kenmaksw at gmail.com
Tue May 31 00:40:44 BST 2011
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Thanks for all previous comments. Yes, I haven't found much references in the literature to rotatory subluxation at C1/C2 to this mechanism of injury. Patient was intubated during CPR when she was having PEA. No neuromuscular blockage was administered. She is not paralysed and yes, the torticollis is persisting, with the neck immobilised in place. I'm grateful for the reminder from Dr McSwain to avoid excessive fluid loading, given the cerebral oedema.We kept fluid therapy to the minimum needed to maintain adequate urine output. We did not arrange an MRI scan earlier, as we didn't have a MR compatible ventilator available when she presented to the hospital. But I don't think the torticollis is physiological. Dr Mattox's comments about the need for ethical considerations are cogent. I did not present this information earlier - this young lady is a contract domestic maid from overseas with no family in the country. We're trying to contact her family to participate in a discussion about treatment and resuscitation goals. Over the last 72h, she remains neurologically flat, without sedation or paralsis. Pupillary reflexes are absent. We're hoping to get in touch with the family before we commence tests for brain stem function. Unless determined otherwise, we remain committed to supporting her in the ICU. Regards, Kenneth Mak Singapore On Tue, May 31, 2011 at 7:13 AM, Rob Ojala <Rob.Ojala at cdhb.govt.nz> wrote: > Question - was the 'tortacollis' you describe persisting AFTER > neuromuscular blockade was established? - ie was there a mechanical > reason beyond muscular spasm creating this neck position? > > Two comments- > 1. Rotatory subluxation following self hanging is quite atypical. > 2. Physiological rotation in normal individuals at c1/c2 is in the order > of 80 degrees [can provide ref if desired] > > Ergo is it worth doing an MRI to see if there is ligamentous rupture to > support a diagnosis of c1-2 instability - because this might all be > physiological? > > Rob Ojala > > > > > > > -----Original Message----- > From: trauma-list-bounces at trauma.org > [mailto:trauma-list-bounces at trauma.org] On Behalf Of Kenneth Mak > Sent: Tuesday, 31 May 2011 1:05 a.m. > To: Trauma-List [TRAUMA.ORG] > Subject: C1/C2 injury > > Appreciate advice regarding the management of this cervical injury: > > 25 year old female, found hanged and immediately brought down. Attended > by paramedics and noted to have PEA - CPR commenced and continued into > hospital ED, ultimately with return of spontaneous rhythm and > circulation, but with fixed and dilated pupils. Intubated but difficult > to maintain inline neck immobilisation due to torticollis. > > Post-resuscitation able to maintain haemodynamic status with volume > loading alone. CT head shows diffuse cerebral oedema, CT cervical spine > shows rotatory subluxation of C1 on C2. No obvious fractures noted. Some > scan images enclosed. > > Outlook is obviously poor but assuming she had a better outcome, how > should such cervical injuries be managed? I gather these injuries are > seen more commonly in the paediatric population and often in > non-traumatic settings. > Is halo fixation still an option or should C1-C2 fixation be considered? > > > Kenneth Mak > Singapore > > > ************************************************************************************************************* > Check out our web site: http://www.cdhb.govt.nz > > This email and attachments have been scanned for content and viruses and is > believed to be clean > This email or attachments may contain confidential or legally privileged > information intended for the > sole use of the addressee(s). Any use, redistribution, disclosure, or > reproduction of this message, > except as intended, is prohibited. If you received this email in error, > please notify the sender and > remove all copies of the message, including any attachments. Any views or > opinions expressed in > this email (unless otherwise stated) may not represent those of Canterbury > District Health Board > > > *************************************************************************************************************** > -- > trauma-list : TRAUMA.ORG > To change your settings or unsubscribe visit: > http://www.trauma.org/index.php?/community/ > -- Kenneth Mak Senior Consultant & Head Department of General Surgery Khoo Teck Puat Hospital Clinical Associate Professor, Yong Loo Lin School of Medicine National University of Singapore
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November 2008, Auto Dealer Today - WebXclusive
by Jason Ezell
- Also by this author
There is a perception that Internet shoppers know exactly what they want and selling them something different will probably be impossible. I hear many dealers say they'd sell more cars from the Internet if they only had the right vehicle in stock. What?! Several Internet salespeople say they sometimes won't even respond to a lead if it's for a vehicle they don't have in stock. "We're not going to get the deal anyway; we don't have that vehicle. Why should I waste my time?"
Very similar to offline shoppers, in 2006, 58 percent of online shoppers who submitted a lead via the Internet actually bought a different vehicle than what they submitted a lead for. In fact, of all the traffic (actual visitors) you get to your dealership Web site, 42 percent have not even decided whether to buy a new or pre-owned vehicle.
Even better, 42 percent of buyers who submitted a new-car lead drove home in a pre-owned beauty. Of those new-car lead submitters, 20 percent bought a pre-owned vehicle within 30 days of submitting a lead, while over half (53 percent) bought a pre-owned vehicle within 90 days of submitting a new-car lead. So, as a new-vehicle lead gets older, the likelihood of that new-car shopper buying a previously-owned vehicle increases dramatically.
You see how all of this applies to lot ups and Internet ups? Granted, Internet ups might be more informed; they probably have trade values, invoice, etc. Since 2004, the number of people who drive onto dealers' lots looking for pre-owned cars has dropped from 62 percent to 56 percent. Do you think it's simply chance that the number of people going on the Internet to find that same vehicle has increased by almost exactly the same amount?
So even with Internet ups, we should default back to what we do best: 1) keep in mind what vehicle they say they want, 2) get to know the customer and his/her needs and 3) show vehicles that you know fulfill those needs, new and pre-owned. And the next time a salesperson comes to you and says, "We don't have the vehicle they are looking for," keep your cool and say, "There's a seat on this lot for every customer!" Then, hand them this article and tell them to call me.
*Statistics Sourced from JD Power 2006 Automotive Internet Shopper Study.
Vol 5, Issue 10
Tags: BDC
By Jim Ziegler
The Alpha Dawg charts the brief rise and long fall of Johan de Nysschen, the recently departed president of Cadillac and author of the business plan that effectively crowned Lincoln as the new king of American luxury.
By Jim Ziegler
Ziegler believes Uber's directors should face criminal charges for their role in an Arizona woman's violent death.
By Jim Ziegler
By Tariq Kamal
Hindsight is 20/20, but at least one industry member saw GM's latest mishap coming a mile away.
By Tariq Kamal
The Dealers' Choice Awards are the Yelp of vendors and finance sources.
By Jason Heard
Heard knows delegation and outsourcing are the quickest path to a work-life balance.
© 2018 Auto Dealer Today. All Rights Reserved.


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Product Details
ShopResponse time: Within 1 dayResponse rate: 88%
Listing categoryMaterialHow it's madeHandmadeOriginTaiwanQuantityDown to the last 4
- Listing summaryTRAN - crewneck cutting tee
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- Shoulder 46cm
- Chest 108cm
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- Length 80cm
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- Bicep 38cm
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- neutral or alkaline detergent only
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- line dry
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The internet is a system of communication, and as such, the relationship between client and server, as well as server to server, is one of the most oft-discussed and hotly contested concepts. event-driven architecture is a methodology of defining these relationships, and creating systems within a specific set of relationships that allow for extensive functionality. Read more
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Featured CommentShow All Comments
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Award Winning Business, Brewery & Beers with Free of Tie Real Ale Public House & separate Micro-Brewery in Worksop & Sheffield
Leasehold Price: £649,995 (Ltd Co sale)
Business Description
Super opportunity to acquire popular real ale house with excellent year-round trade currently operating just 3.5 days per week from charming detached character premises with extremely well fitted bar & ancillary facilities & smart versatile self-contained 2-bed apartment in high footfall town centre position, Comes with separate fully fitted & equipped micro-brewery & public bar premises & HUGE scope for food & extended hours etc in 2 excellent commercial locations priced for genuine Ltd Co sale with viewing essential REF NBS 1224
Tenure: Leasehold
Listed by:
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Seller Reference:
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