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The
Stories and Practice of the Okinawan Sai
by
Toshihiro Oshiro and William H. Haff
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.
Oshiro Sensei
poses in a kamae that demonstrates the concept of "kakushi
buki" or concealment of the weapon. The idea behind it is that
the opponent cannot tell exactly what you are holding and how long
the weapon is. This gives one the advantage of surprise. Keep in
mind that in the old days the normal dress was a kimono that had
very long and baggy sleeves that could conceal a short weapon much
better than a standard karate gi worn today.
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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 words (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 self-defense 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. If this is true, then where and how did
the sai originate?
Stories
on the Origin of the Sai
One story suggests that the sai made its way into Ryukyuan history by
following the path of Buddhism, migrating from India to China to Okinawan.
The shape of the sai were designed in the image of the human body; after
the monks who carried them for protection. While there is little way to
ascertain the veracity of this story, it remains an interesting projection.
Another, more modern story that martial artists often hear is that the
practice of the sai originated with the Okinawan police force who carried
the sai as their personal "side-arm" to control crowds and apprehend
criminals. This story gains credibility because one of Okinawa's leading
sai practitioners was Kanagushiku (Kinjo) Ufuchiku, a highly regarded
police captain who lived from 1841-1926. But if the sai was the required
weapon for the police, Sensei Oshiro believes that there would be some
evidence in recorded laws or regulations from the previous century in
Okinawan history. To date Sensei Oshiro says that he hasn't been able
to find any proof in his research that supports this story. He thinks
that the sai had a much wider following in the Okinawan martial arts community.
"Kakushi
Buki" The Use Of Concealed Weapons
As we mentioned above, while the Satsuma did not confiscate the personal
weapons of the Okinawan samurai class, there were tight restrictions imposed
on their rights to carry their weapons in public. The Okinawans increasingly
relied on "kakushi buki" or the practice of concealed weapons
for their self-defense and the defense of their family and property. Sensei
Oshiro maintains that the sai were one of the prevalent weapons used for
this purpose.
The Okinawan samurai would often carry as many as three sai concealed
in the sleeves of their kimono and in their obi. These hidden sai were
typically shorter than the modern sai used today, with straight wings
rather than flared so as not to snag on clothing when they were being
drawn. When the Okinawans felt that they were in danger of imminent attack
they would immediately strike with or throw their concealed weapon. Since
throwing the sai was a common technique, the Okinawans routinely carried
more than one sai.
A concealed
technique to use for in-fighting, is the jab with the tip of the sai
from the basic grip. This of course, only works when the Sai length
extends past the elbow. |
Many modern martial arts practitioners assert that because of their winged
structure they were used to block bo. While these assertions might be
technically feasible, the range and momentum generated by the longer weapon
would make sai a risky defense. Sensei Oshiro believes that sai were generally
used in a "first strike" or surprise movement. The winged shape
of the sai increases it versatility and enables a wide variety of striking
techniques.
There is also evidence that use of the sai was integrated more widely
into the Okinawans' martial arts practice and used to augment other disciplines.
Many Okinawan martial arts reference books speak of the sai being used
for "hojo undo" or endurance training. While it is possible
that the native martial artists used these heavy sai for fighting, it
is more probable that they were training tools used for developing arm
and wrist strength. Similar to swinging a weighted bat in baseball batting
practice, the benefits from this type of training would improve not only
their sai strikes, but carry over into their karate and bo training as
well.
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In
figure "A" Oshiro Sensei stands with the Sai at his side
and low. In order not to telegraph when you are about to deliver a
strike, you must begin from whatever position your hands happen to
be at without any preparatory or wind-up movements. In this case following
figures "B" though "E". Notice how the Sai goes
directly from the lower position to the target and immediately back
to the recovery position, prepared for the next strike. |
The
Sai in Modern Martial Arts Practice
The sai have been practiced for many years in Okinawa, but it was very
individual practice. Because the sai were used primarily for self defense,
they were not systematically taught as a separate martial arts style.
Each person would have their own places to carry and hide their sai and
developed their own favored techniques. Thus we find that sai does not
have as documented a tradition in Okinawan martial arts culture as either
the bo or karate. The "traditional" sai kata practiced today
are of relatively recent invention.
If the above comments are reasonably "accurate", where does
that leave modern martial artists as they consider their practice of the
sai and its place in Okinawan kobudo tradition? While the sai do not have
as long a kata's history as the bo Sensei Oshiro feels that they are very
beneficial for modern budoka to study.
Starting with basic techniques, today's practitioners can study how to
grip the sai, how to use their wrist in flipping the sai and developing
a stronger strike. Modern students should spend long hours building up
their striking speed and capabilities. As Sensei Oshiro constantly admonishes
his own students, "when you swing the sai, you should always cut
the air. Swing fast, but never let your arms move outside the scope of
your body. Basically, you should always try to reach longer when you swing.
In advanced forms you should recoil after your strike, hiding your sai
and preparing for the next movement.
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Many
Sai practices today employ rigid karate-like punches and strikes.
The Sai can be used more effectively by using slashing and cutting
movements. For example the picture above shows a common upper level
strike which ends in the position shown.
A more effective movement is to pass this point and execute the kime
or focus at the end of the arc at the lower position (left). This
movement creates a threat to your opponent that covers not only the
head by the entire torso, hands, arms and finally the legs. |
With kihon movements
for the sai, it is perfectly appropriate for beginners to move each arm
sequentially, first one side then the other. But in more advanced technique
both the right and left sai should be used in tandem, flowing from one
"waza" to the next. "Of course", says Sensei Oshiro,
"when you complete a certain combination or series of techniques,
you must use kime, or focus".
Consistent with the sai's history as "kakushi buki", modern
practitioners should try to initiate their strikes right from where their
hands are without too much setting or winding-up. Also they should not
let the tine of the sai separate from their forearm as they prepare to
strike, giving away the position of the sai and telegraphing their intended
movement to their opponent.
Because of the sai's short range, footwork is critical to the proper use
of this weapon. Learning how to move in and out dynamically and how to
change sides and angles will provide the modern sai student with many
hours of challenging practice. Footwork, hip movement, and the upper body
should all be integrated for maximum power and effect. Well founded sai
kata should incorporate this elements. Look for a combination of basic
and advanced technique in your katas.
The art and practice of the Okinawan sai has a long yet murky history.
Inspite of the fact that our current understanding of the origins of the
sai is not definitive, the practice of the sai can provide today's martial
artists with a chance to look back to the "old ways" and flavor
their modern training with a taste of earlier Okinawa....
The research for
this article is based on Sensei Oshiro's own experience, the oral traditions
passed along by his teachers, and from the following texts:
Okinawa No
Rekishi by Eisho Miyagi (1968)
Okinawa Ken
No Rekishi by Keiji Shinzato, Tomoaki Taminato, Seitaku Kinjo (1972)
Shijitsu
To Dento O Kokoru Okinawa No Karate-Do by Shoshin Nagamine (1975)
Okinawa No
Dento Kobudo by Masahiro Nakamoto (1983)
Taidan-Kindai
Karate-Do No Rekishi O Kataru by Shinkin Gima, Ryozo Fujiwara (1986)
Karate No
Rekishi by Tokumasa Miyagi (1987)
Ryukyu Ohkoku
by Kurakichi Takara (1990)
Ryukyu Bojutsu
by Katsumi Murakami (1992)
Ryukyu Oh-koku
No Jidai by Okinawa Kokusai Daigaku Kokai Koza Iinkai (1994)
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