Being FEMALE is causing a slight problem...

[Sauzin]

That is a legitimate technique, but it is not as strong and secure as holding it between your arm and ribs.

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.

Well, just so everybody knows, this isn't the way that ALL systems do it. We, for example, don't turn/rotate/move our hips to generate more power (leaves you exposed and open to attack) and we do stand square to our opponent oftentimes

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.

[Shorinryu Sensei]

I'll start looking around to see if I can find a suitable canidate and do some research on this subject.

The line forms over here------>

[Sauzin]

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

[lilsempai]

The way we hold the bo means that if you're hitting someone down over the head with the right side of the bo the left side is between your arm and your ribs - hence my problem.

The senseis in the dojo I train in most have told us that with weapons you should be aiming to move the weapon as much as possible and yourself as little as possible - we've done excercises sitting on the floor (to restirct movement) and my sudden slowing down has earned me some funny looks!

[Shorinryu Sensei]

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

Yeah...I noticed that too.

The senseis in the dojo I train in most have told us that with weapons you should be aiming to move the weapon as much as possible and yourself as little as possible - we've done excercises sitting on the floor (to restirct movement) and my sudden slowing down has earned me some funny looks!

Hmmmmm...well, moving your body depends on what you're objective is when using a weapon. You don't want excessive, non-functional movment, but there are some movements with the body that are beneficial to the movement of the weapon.

I guess all I can suggest here is to get used to the "funny looks" and crack jokes about them....uhhh...the looks I mean.

[lilsempai]

moving your body depends on what you're objective is when using a weapon. You don't want excessive, non-functional movment, but there are some movements with the body that are beneficial to the movement of the weapon.

For the most part, in our dojo, the weapons classes have kickboxers in them too (a LOT of kickboxers) - if there are any exceptions to a rule then you have to hope you can find them for yourself because you feel guilty distracting whoever's taking the class from trying to explain cat stance...

[Sauzin]

You see I really think that this concept ...

The senseis in the dojo I train in most have told us that with weapons you should be aiming to move the weapon as much as possible and yourself as little as possible - we've done excercises sitting on the floor (to restirct movement) and my sudden slowing down has earned me some funny looks!

Is derived from this concept...

You don't want excessive, non-functional movment, but there are some movements with the body that are beneficial to the movement of the weapon.

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.

[Kicks]

Most instructors are either male or female

I'll have to agree 100% with you on that one. Yea, this could be the problem.

[lilsempai]

Thanks Sauzin, the dojo's closed for a week over easter but I'll ask her again if there's anything I could do to prevent/lessen this as soon as possible.

Does anyone mind If I ask if you're dan grades? You seem very knowledgeable of your stances etc. especially compared to me! (I'm a fourth kyu.)

[Sauzin]

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.