Sauzin

Well when I was a kid about 10 years old I joined a local club organized by a teenager where we pretended to be knights and bet the crud out of each other with sticks. So my first weapon was a very fine and sturdy branch cut to a manageable length. About 10 years later a guy by the name of Dean Stephens offered to show me some bo techniques. He later became my instructor in both empty hand and kobudo. That’s when I really began to learn how to use a stick.

A quick google search turns up... "The word yo-yo is a Tagalog word, the native language of the Philippines, and means 'come back.' In the Philippines, the yo-yo was a weapon for over 400 hundred years. Their version was large with sharp edges and studs and attached to thick twenty-foot ropes for flinging at enemies or prey. People in the United States started playing with the British bandalore or yo-yo in the 1860s. It was not until the 1920s that Americans first heard the word yo-yo. Pedro Flores, a Philippine immigrant, began manufacturing a toy labeled with that name. Flores became the first person to mass-produce yo-yos, at his small toy factory located in California. Duncan saw the toy, liked it, bought the rights from Flores in 1929 and then trademarked the name Yo-Yo. "

Woah, what's wrong with baton twirling? That takes a lot of practice. Sticks were one of the most primal weapons and baton twirlers have elevated this to a very captivating performance art. I don't understand why you feel insulted by this association?

I've made a lot of posts on this but I kind of like finding new ways of saying the same thing so I'll post again. Take a look at the yo-yo. Look at what happened to it. It used to be a weapon, now it's a plastic toy you can buy at a Walmart. This is the fear traditional artists are faced with. In 100 years what will nunchaku be then? Now don't mistake this as an insult to yo yo enthusiasts. They are awesome. My uncle competed nationally. But they aren't martial artists. They don't practice what they do in karate schools. And they don't post on weapon forums. How is what you do with the nunchaku any different then yo yo techniques in this respect? I've got a potential solution. A suggestion if you will. Why use the name nunchaku for what you do? Why not call them "extreme rope sticks" or ERS for short. Or heck maybe use the term "chucks" if you are concerned about people not being familiar with a new term. The term "nunchaku" is a traditional name for a weapon. Using the name for the weapon is misleading don't you think? Further more why not advertise flash techniques as juggling techniques. Juggling isn't just throwing balls in cascades you know. One of my best friends is a professional juggler. Jugglers do all kinds of tricks with sticks and rings and yes even ropes. Do a little research on jugglers, you will find that in fact what you are doing doesn't just fit with juggling, it is juggling. Why not recognize this and clear some confusion for beginners who might not understand the difference between flash and fighting. In an ideal world these suggestions would work. These distinctions would clearly separate martial arts from performance/entertainment arts and people would know what they are signing up for. No worry for diluting either art, they would be kept as pure as can be. But the problem is that it's the diluting that is feeding the performance side of nunchaku. If these two sticks on a string were never known as weapons I doubt any flash artists would have ever picked them up. Something in every one of us wants to be the fastest, deadliest, bad*** on the block. It’s the basic survival instincts in us all. The difference between a flash artist and a traditional artist is that we meet and confront this craving by actually studying how to fight with a weapon. When you are learning flash on some level you are tricking yourself into thinking you are studying something that you are not. A weapon. weapon 1 : something used to injure, defeat, or destroy 2 : a means of contending against another - Merriam Webster Dictionary

Besides white oak is a type of hardwood. I agree with the above post. Hickory is awesome. Purpleheart, Brazilian cherry, Rosewoods, high qulaity red oak, and even Philippine (macassar) ebony would make good bokens in my experiance. Japanese white oak is good, but when you say white oak, most people think the wide grained and very brittle stuff that is sold here in the states. Not the same stuff, if it is white oak it needs to be specifically Japanese white oak also called shiro kashi.

Well I'm a sandan in Okinawan (Shinjitjsukan) Kenpo and Kobudo. Shorinryu Sensei is a yondan, I believe, in Shorinryu Matsumura Kenpo Karate and Kobudo. Shorinryu Sensei has at least double (probably triple) my experience however, so be sure to listen to him before you listen to a young big mouth like me.

My sensei was very sick at the time and he seemed to be of the frame of mind that someone gets when they have a very limited time to live. I lost contact with him about 3 years ago. I doubt he's still alive.

You see I really think that this concept ... Is derived from this concept... But they mean two very different things. Efficiency of motion means less motion to create greater effect. This is not to say the point is to simply obtain less motion of the body. If this were true, standing stiffly and still while twirling the nunchaku with the fingers would be the best technique. Instead you want to find technique that provides the greatest effect per effort or movement made. Even if it means that a huge motion equates to a even more enormous effect, as long as the ratio is still as good as it can be, you have held true to the latter principle. I think the fallacy is to simply dismiss a larger, more flowing motion, without evaluating its efficiency. Efficiency can still exist on a larger scale. In fact, sometimes it is necessary to increase the scale to find the greatest efficiency. This may hold particularly true in li'lsempai's case where the more she reduces her body’s movement, the more it gets in the way of her weapon. Here are some basic principles that I really think would help you find technique that feels more natural and has the greatest efficiency. Move your body and weapon as one. When a beginning black belt first looks to make his punch stronger he realizes that his hips are a key player. Eventually he grows to realize that in fact his whole body is involved in increasing the power and efficiency of his punch. Everything must be connected from the straightness of his wrist to his shoulders being down to the torque his hips and torso create to the push, momentum, and stability provided from the stance. If any one piece is missing, the puzzle isn't complete. The same is true of weapons. Every swing, every strike, every block, every throw, and every transition utilizes the whole body. Sometimes it is very subtle and not everything must actually move to be used, as is dictated by efficiency. But a body part that gets in the way of others that are doing the job, reduces efficiency, even if it doesn't move. True efficiency is only obtained by complete alignment and participation of the entire body. Even if it’s impossible to see. Flow. In my mind it is better to obtain unison in motion and smooth transition from one technique to the next before efficiency is obtained. There are some basic principles you can't neglect (like balance or alingment) but as a general rule you will learn more about how it will actually work in combat if you flow then if you efficiently don't flow. Balance. Learn to flow, and learn to move your body in unison, but do not sacrifice balance. This refers specifically to exercises that teach staying in position while performing different techniques. The key element here is stance. You have to learn to maintain and use a stance without compromising it's structure, while you perform multiple techniques. I think this is what your class practices and it is a very good complement to the other principles. Striking outside the arm. If your style practices the inside the arm strike then you need to talk to your instructor or someone of greater experience in your style to understand how to make this work for you. I wouldn't know since I don't use it. All I know is that if you strike to the outside of your arm you won't have the problem you describe. But I certainly understand why you would not want to change this due to style constraints. I hope this helps a little. I still hold a lot of what I said in my previous posts will help as well. Experiment, give it a try, and let us know.

Hmmmm, your line is looking a little bare there Shorinryu Sensei.

This I freely admit. I don't really see this as a disadvantage though. A counter throw is a lot easier to perform against someone who has it secured between their arm and ribs. While the same throw is harder to perform against someone who strikes to the outside of the arm and if it does suceceed it merely disarms them. I don't know if you've ever had someone flip you around by grabbing your bo and having them get it just right under your armpit but it's quite a ride. Still it does have the advantage of being harder to take away. But one disadvantage is illustrated by this woman's complaint. Bringing it to the outside of the arm protects your ribs and breasts (to those who are so endowed). Like you said, both are legit, but if I had breasts I would probably prefer the outside of the arms. I imagine you have to turn at the hips a little to get any kind of swing with the nunchaku to reach. Probably not as much as Okinawan Kenpo though. And that's fine, like you said, less exposed. But if you have these big obsticals on your chest, turning your chest a bit more might allow more room for a swing of the nunchaku. And this of course should be done at the hips. At least that's how I would imagine the mechanics would work.

I have a question. When you strike with the bo does the non-striking end land under your arm at your ribs or does it land at the outside of the arm. Okinawan Kenpo does it kind of like this: http://www.swwkokondo.com/sitebuildercontent/sitebuilderpictures/bo1small.jpg Beyond just making sure the bo goes to the outside of the arm (which if the arm is between your breasts and your bo it should protect your breasts) we also lengthen our front stance and make it a bit more narrow. This allows for more hip manipulation, gets the knees out of the way, and makes for a more solid structure in the direction the weapon is being used. With the nunchaku we really turn our body and hip a lot to accommodate the full swing of the nunchaku. We never stand square in a front stance while swinging this weapon. This isn't just hazardous if you have breasts, it's hazardous if you have a head, shoulders, or anything else that is in arc of the weapon. This does mean allowing the front foot to come up a bit as you swing across the body as well. If this is followed with a shuffle forward as you swing back the other direction it really generates a lot of power. Same concept goes for the tonfa as well. Turn the body as you swing and your body will never be in the path of the swing. Swing your arms separately and your body is just another immobile target waiting to get hit by your own weapon.

Not true. One of my instructors has had her belt for over a decade, and it is a little dull but it is definitely still black. I didn't mean to infer that they become completely white. What I was trying to point out is that the "raggedy" look is where that adage came from. Of course it also points to the ideological return to the beginning that a master makes. First off I want to say that there is a certain level of respect that I give anyone upon first meeting them. From there I look for clues that key me into who they are. For example if I see them do a kata that impresses me, they gain more respect. If I talk with them and they show a lot of knowledge and experience, they gain more respect. If I see they have a black belt that has been worn down by years and years of practice (it would be very hard to duplicate both the uneven fade and worn tear of the matted fibers), again I would respect them more. It would be silly to only judge a person by the wear of their belt. Of course you should take other things into account. But a belt is often the first sign you see of a person's experience. I think it would be equally silly to ignore it.

I hear what you are saying, TangSooGuy. This is yet another reason why I am glad I don't frequent commercial circles. Of course this is a luxury.

Actually any blackbelt worn for 10+ years of consistent training will tear up and start to look "raggedy". That's why they say a black belt becomes a white belt again at some point. Personally I don't think it is unprofessional. If I saw someone with a high quality black belt that was nearly white they would gain my instant respect. It shows the years of dedication they have put in. My black belt is starting to show a bit of white around the edges and I couldn't be more proud of it.

Well mattys, even within Shorin-ryu there is variation in kata to some degree. Some guys do a high puch where others do a chest level and stuff like that. Also there are a couple of versions of Kusanku out there. The one Odo did was the dai version but who knows what other Shorin-ryu stylists from different backgrounds are doing. I mean have you seen the Shorin-ryu lineage tree? It’s huge with all kinds of different branches. Almost as many as ours. Even the most standarized systems have some variance. Shorin-ryu being as big as it is, has more then most. Certainly you have to expect like variance from kata derived from that system.

Oh and that hands behind the head thing at the begining was definitely not something Odo taught him. Odo did it more similar to the Shorin-ryu way. Also he used leaning stances after the punches at the beginning as well. I’m not sure where your sensei got some of those things, but the rest of the pattern is darn near dead on. With a few exceptions that I mentioned above.

First of all I want to compliment you on your kata. Not half bad for a brown belt. Heck in most circles here in the states, not half bad for a black belt. First my take on the Shorin-ryu demo: Now that’s some pretty darn good focus and clean technique. A little choppy, but something tells me that’s what he was going for. Their Kusanku has a huge amount of cat stances. There’s like maybe 2 or 3 fronts and a couple of dozen cats. That guy even shuffles around in his cat. Depth wise his kata is ok, but like I said, he’s a bit choppy. Which means some of the throws and more intricate manipulations aren’t really there. That’s the thing about performing a kata as though it was technique – step – technique – change stance – technique – technique. You miss some of the whole body applications that are in-between that way. Still it looked good and I sure as heck wouldn’t want to get hit by some of that. Which brings me to your kata. Some of the same choppiness. Which may be what your sensei is looking for. If you’ve ever seen a tape of Odo though you’d know what I’m talking about when I say “fluid”. Rather then focusing on getting that “snap” in each technique he really flowed from one technique to the next. Because of this there was a lot of depth. For example a knife hand block is just a knife hand block (or maybe a strike) when done hard and fast. But done fluidly and you can do a four corner throw, a head break, a leg catch and throw, or even a wrist lock and take down. Your sensei also seems to have modified your front stances a lot. The back leg isn’t straight in your kata. And since you were consistent, I’m assuming this is on purpose. Odo’s leg was straight in his front stance. Also every time he assumed a front stance he would adjust his back leg forward and out at the last second. This created kind of a shuffle effect that was a signature of his. I don’t see it in your kata. Aside from that it seems your knife hands aren’t quite as high as is standard. They normally should be fingertips at eye level and you’ve got yours about at nose level. You have a tendency to look down when you do a low technique. You don’t cross your hands over in your blocks. You don’t keep your non extending hand chambered at your hip in your kicks. And your upper cuts are really high. I mean like you are trying to give an 8 ft giant a nose bleed. But from a depth perspective you got all the basics. There are plenty of throws to be had all you need to work on is the transitions and they are there. Every time you turn, every time you step. I really don’t see, when compared to the Shorin-ryu kata, any real difference in terms of complication of the technique. All that complicated stuff is in how you do the simple stuff. Maybe you could point out a few specific techniques that you feel are lacking or missing in your version.

Speaking of specifics, at Sankyu you should have many if not all of the following kata: Naihachi Shodan Naihachi Nidan Naihachi Sandan Wansu Ananku Sesan and maybe Niseishi I find it hard to believe that your Sensei could have taught you these kata in terms of just blocks, punches, and kicks. For example. What does he call the movement in Wansu just after you do the simultaneous front kick and chest punch about two-thirds through the kata? You know the part where you grab low then step back around with one hand in the air and throw down. I don’t think a more obvious throw exists in a kata. Or how about the part where you slap your foot in Seisan? Or the part in Naihachi Nidan where you stick one arm out with a fist, then lift a leg, then elbow? I can’t think of an application of that movement where the guy doesn’t fall on his rear end. How can you say these techniques are just basic punches, blocks, or kicks?

At what is traditionally your first brown belt rank it is very possible that your instructor is still requiring you to focus on the basics. Chances are he's shown you some other techniques as well. Perhaps he's shown you a few different ways to apply your blocks. But it would not be improper for him to still have you focused on improving your basics. Why don't you try asking him when these other aspects might be addressed in his class or at what rank/level he expects you to take on these other aspects? In regards to the comparisons you've made. Could you provide a few more specific examples and perhaps some links. Maybe we can talk about these comparisons in how the techniques differ more specifically.

And to AnonymousOne's post. I agree with aspects of what you are saying. In karate fast intense workouts are good. Also kata must have focus. It should feel like a fight. But where you and I differ is I don't think it necessarily has to look like a fight from to an outside observer. Take older styles of Tai-chi for example. Slow movements with intense focus were (and still are in some places) used to develop extreme accuracy, technical precision, fluidity, and yes even bursts of tremendous power and speed. That's right they trained slow to move fast. Seems like a paradox but it works. I've both seen it and experienced it. And I think focus is the key. If you are just lazily going through the motions without intent then you really need to step back and re-evaluate the purpose of what you are doing. Can every movement have purpose unless they are guided by focus and intent? I think not. The same goes true with those who go through their kata too quickly, rushing towards the end. The end doesn't matter, its how you get there that makes the difference. In my mind, speed is inconsequential. If you have the technique biomechanically correct in timing and alignment and you have focus, then moving at whatever speed is necessary will come naturally. I don't think it is necessary to power through each technique to achieve this. In many ways I think that doing that would actually be detrimental to understanding what is in the transitions. In other words I think you might miss something in between. One man's dance is another man's fluid redirection and manipulation of an opponent’s technique. Another thing to think about is how many boxers train in deep stances as much as Shotokan does? Most karate mixes it up a bit in their kata.

First off to the poster's original comments. Mattys, a more legitimately Okinawan art then Okinawan Kenpo does not exist. While Okinawan Kenpo could be accurately coined as the "mutt" of Okinawan arts this is not a negative aspect. Shigero Nakimura and Odo networked well. They exchanged and worked advanced techniques with the best of other Okinawan arts, both improving and adding to their own pedigree, which might I add is legit. Okinawan Kenpo originates from a Naha-te art. This is why you see kata like Sanchin, Seisan, and Niseishi in our art. You mentioned that you were watching video's of kata that looked very different, well if you were looking at some of these kata and comparing to Goju-ryu, Isshin-ryu, or Ueichi-ryu then you would definately see differences. Because we have a very unique naha-te lineage which you can be very proud of. A more advanced and knowledgeable kata technician then Seikichi Odo has not and likely never will exhist. Oyata (which Shorinryuu briefly mentioned) was known as the sloppier of the two students of Nakimura. I guess what I am saying is that your sensei would have had to have exerted effort to not learn very advanced grappling, pressure point, and fluid principles from his teachers in order for him to have only basic knowledge. Because the people he studied with and the art he practices has these things and more. When I first began to study Okinawan Kenpo I was coming from a Goju background and I didn't have a very high opinion of Okinawan Kenpo, Shorin-ryu or other "outside fighters". But let me tell you what I found. -You will never find a more powerful punch then what is practiced by Okinawan Kenpo. -You will never find more fluidity in hard and soft then what is practiced in Okinawan Kenpo. -You will never find a karate with more throws then what is practiced in Okinawan Kenpo. -You will never find a more powerful bo strike then what is practiced in Okinawan Kenpo. -You will never find more dynamic hip movement then what is practiced in Okinawan Kenpo. -You will never find more technical depth then what is practiced in Okinawan Kenpo kata. You may find other arts that have different things. You may find other arts are as good. But at these things you won't find better. Mattys, depending on your rank it is very possible that your sensei is waiting to teach you some things until you get the basics down. Because it's through proper application of those basics that that everything else works. Each sensei is different, but if he practices Okinawan Kenpo I would assume the best and see what's what from there.

I've also heard that these swords were decent considering the price (around $50). http://stores.ebay.com/JW-INTERNATIONAL-USA_Category-1-CHINESE-SWORDS_W0QQcolZ4QQdirZ1QQftidZ2QQtZkm They aren't anything spectacular but if you are on a budget they aren't bad.

Take a look at this web site as well... http://www.dguertin.com/ I went a slightly cheeper route and got the Paul Chen practical tai chi sword. http://www.swordarmory.com/chinese/2008gt.htm I really like the balance on the sword I have but it's not really any good for cutting.

I measure my progress, technique, and effectiveness by asking myself a question my sensei continually asks me. "So, how does it feel?" There are a lot of ways to answer this question. But more important then the answer is the asking of the question. You see it trains awareness of the technique. If something isn't working you should feel it. If something is working well you should feel that. And the better it gets, the better it should feel. My sensei has always said that your body tries to tell you how well something is working. It talks to you. And if you learn to listen then you can judge your progress, be it from month to month, year to year, or from the beginning of a technique to the end. So how do you know if your measurement is working? Well that's what a sensei is for. If you're so high in rank that you no longer have seniors then by that time I figure you probably know darn well how effective your measurement is.

Woah, so who says an instructor who has a few extra pounds can't keep up. I'm not saying that an instructor shouldn't be able or shouldn't have to keep up with the class. Ideally he'd not just be keeping up but he'd be leaving them in the dust once in a while just to set the bar. But having a bit of a belly has nothing to do with this. There are a lot more causes for extra weight then just laziness. Number one on the list is metabolism. And if you think that a lower metabolism automatically disqualifies an instructor then you haven't seen the instructors I've seen. Secondly I'm not going to argue that excess weight won't slow you down, but I will say that I've seen some very fast heavy guys. Very fast. I will also say that weight is not the largest contributing factor to speed. I will also say that speed is not the largest contributing factor to an effective technique. Timming is. A guy with extra weight with enough training can train a fast enough response and technique to get his timing spot on, without any problem. That's what really matters. Thirdly any disadvantage of lack of speed (if there even was one) would be counterbalanced with the advantage the weight gave to better balance and forceful movement. If you learn how to use weight it can definitely be an advantage. The trick for a big guy is learning how to use weight the same way a little guy does. Learning it as an enhancement, not something you rely solely on. While karate-do is defiantly benefited by physical fitness, it does not rely on it. While an instructor should be as fit as he can be, his skill is what makes him who he is. Because even the most fit man/woman will eventually age and physically fade. There is a reason why karate-ka get better as this happens and not worse. Because the art does not lie in one's physical performance but in the skill that takes him there.