Okinawa Kobudo Implements

These are brief descriptions of the weapons taught in Kodokan. A number of the weapons resemble agricultural implements, or are said to be derived from them. However, most of these weapons are seen in various forms across the region, and it is highly unlikely that they were developed first on Okinawa, or that they are originally farm tools modified for combat. Much more likely is that local implements were used to substitute for weapons that were otherwise unavailable. This information is also available as a pdf.

Care for Buki | Proper Weapons (buki)

Descriptions of Weapons

Bo | Tonfa | Sai | Manji Sai | Nunti Sai | Nunti Bo | Nunchiyaku

Kudamon Bo | Sansetsu Kon | Kama | Yon or Roku Shaku Kama | Eku

Guwa | Tinbe | Suruchin | Chizikun bo | Tekko | Gifa

Shushi no kon is the base kata for the system. This kata is common to most Okinawan kobudo systems, in slightly different iterations. It is said to come from a Chinese expert named Shushi, who came to Okinawa in the early 1800’s and lived in Naha.

Choun no kon is said to have been made about 250 years ago by a Tomari warrior named Choun, which means roughly “ending the morning mist”. It is also practiced in Yamane Ryu and some Taira linage schools.

Sakugawa no kon is also common on Okinawa in various versions, and is said to be named for its creator, “Tode” Sakugawa, a famous Okinawan martial artist. Matayoshi Shinko learned it from Chinen Yamane. Matayoshi Shinko also taught a second Sakugawa no kon, Ufugushiku no Sakugawa, which is very similar to the main version, and was created by Oshiro Chojo.

Chiken (or Tsuken) no kon is named for the island it comes from, Tsuken Jima and is said to be over 400 years old. It is also said to have been passed on by Tsuken Oyakata Seisoku, compiled on the island, and to contain reverse techniques and techniques countering a spear. Matayoshi Shinko learned it from Gushikawa Teragua.

Shishi no kon is the last kata formally taught in the system. It is also taught in some Taira lineage schools, and is sometimes called Sueyoshi no kon. It is named for its creator, though a stone reference in the name also refers to the technique of tossing small stones with the feet that is contained in the kata, and is said to be over 300 years old. It was supposedly created by Shishi Oyakata, a martial arts instructor to the Ryukyu king, and passed down only to members of the royal family and the eldest son of the Shishi family. Matayoshi Shinko learned it from Shishi Ryoko.

There are also a number of other bo kata that have been trained or taught at one time or another in the Matayoshi dojo, though they were not considered a core part of the system. These include:

Ufutun no kon, a village form. Its name refers to a militia, and is said to have been made by a garrison commander at Urasoe castle. It may also have been influenced by local bo dances.

Tokumine no kon, which was created by Tokumine sensei and passed on to Matayoshi Shinpo by Kyan Chotoku.

Yonegawa no kon, a left handed kon kata also included in the Taira lineage schools, from Yabiku Moden.

Kubo no kon which may have been created by Matayoshi Shinchin.
Yara no kon, which may be related to Chatanyara no kon from the Taira lineage.

Papuhaku sho and dai, training kata for the bo created by Kimo sensei, together with 2 person bunkai kumite for them.

The Matayoshi system also includes the kyushaku, or nearly 3 meter, bo, which is usually practiced using Sakugawa no kon.

It also includes a shorter 1-1.5 meter bo, or jo. The jo training consists primarily of individual techniques, and most teachers do not teach a kata for it. However, some of Matayoshi sensei’s senior students teach a separate kata for the jo.

Tonfa

Also called tunkua, tuifa, or tunfa. This implement is derived from the handle of a small stone mill used for grinding grain. The agricultural model includes a bamboo sleeve around what is used as a handle. It is a common weapon in China and South East Asia. (The baton many American police officers carry is modeled after this weapon. However, the larger size and greater weight of the baton make the style of use different.) There are two kata for the tonfa; tunkua dai ichi and tunkua dai ni. The kata taught in the Matayoshi lineage in Okinawa were created by the Matayoshi family, and the techniques were taught to Matayoshi Shinko by Irei, of Chatan village. There is also a third kata, tunkua dai san, created by one of Matayoshi sensei’s senior students and practiced by a few of them.

back to top

Sai

These weapons are of Chinese or possibly Indonesian origin. They are seen in many Indonesian styles of silat, and in Chinese arts. They are usually used in sets of three, with a third sai kept in the belt, ready to replace one thrown or left behind. We study 3 kata for the sai: ni cho sai, san cho sai, and Shinbaru no sai. The kata ni cho sai and san cho sai were created by Matayoshi Shinpo, and Shinbaru no sai either by his father or his father’s teacher, Gushikawa Teragua. Shinbaru no sai is also sometimes called Matayoshi no sai. While the techniques for throwing the sai in the kata aim at the foot of the target, traditionally the sai were also thrown into the center of the body.

Manji Sai

These are sai that have one of the two tines bent backwards towards the handle, not towards the point. They are called manji due to their shape, which resembles a swastika, a symbol used to represent Buddhism in Japan. In Japanese, this character is called a manji. They are used much like the sai are, with the same kata, and are also sometimes called Matayoshi sai.

Nunti Sai

These resemble manji sai in that they have one tine bent backwards, however they have no handle; both ends are pointed like the long end of the sai. While they can be used in the hands, they are usually used with the nunti-bo (see below), kept in the back of the belt and thrown.

Nunti Bo

This is a Chinese weapon, learned by Matayoshi Shinko from Kingai while he was in Shanghai. According to Matayoshi sensei, the name implies piercing hand (nuchi-di). It consists of a bo length staff with a nunti sai affixed into the end, leaving a long point and two hooks in opposing directions. The kata also includes techniques for throwing the two nunti-sai usually carried in the belt while using the weapon. While the techniques come from Kingai Roshi, they are also related to the bo jutsu of Tsuken island. There is one kata specifically for this weapon, nunti no ti. We also practice this weapon using bo kata, in particular Tsuken no kon, properly modified for the hooked end of the weapon.

Nunchiyaku

While these are usually considered to be derived from rice flails, the actual form of the weapon used on Okinawan is derived from a mugei, a wooden bridle that stood vertically over the muzzle of a horse or donkey. The weapon itself, much like various other types of flails, is common across China and South East Asia. The characters for the weapon read “sosetsukon” in Japanese, but it is said that in the Fuchow dialect these characters are pronounced “nunchiyaku”.
While many systems use a great deal of flashy movement with the nunchiyaku, when hitting something the rebound is very difficult to control, so combative technique is often very simple and direct. Training on a makiwara is essential to mastering the weapon. The kata we do for the nunchiyaku, Matayoshi no nunchiyaku, was created by the Matayoshi family, and the techniques were taught to Matayoshi Shinko by Irei. The Matayoshi kobudo system also uses a san bon nunchiyaku- a three section nunchiyaku, used much as the normal nunchiyaku.

Eku

Called a kai in standard Japanese, this is a boat paddle. Similar paddles are still visible all over southern Japan and Okinawa in festival boat races and village dances, and are used as emergency paddles in all manner of boats. As a weapon it is also common in Indonesia. The kata for the Eku is called Tsuken Akachu no Eku di. The name refers to the creator, a martial artist nicknamed "red man" (Akachu) for his red face, from Tsuken jima. According to a story from Tsuken, this man was a fisherman named Azato, who helped Tsuken Oyakata Seisoku when he was hiding on the island after a defeat, and learned bo techniques from him. This kata was passed to Matayoshi Shinko by Gushikawa Teragua.

back to top

Kama

These are standard sickles used for harvesting rice and other farm and garden tasks. They are common garden tools, and can be bought in any Japanese hardware store. As weapons they are common across Japan and South East Asia. In the kama techniques taught by Gushikawa Teragua to Matayoshi Shinko, a kama is used in each hand. There are also techniques for a kama with a string attached, and it is said a kama can also be kept in the belt to be thrown. We study 1 kata for this weapon, called Matayoshi no ni cho kama or kama no ti.

Yon or Roku Shaku Kama

These are kama affixed to the end of a 4 or 6 foot pole, like a pruning hook. It is practiced using modified bo or kuwa kata.

Guwa

Also called a kue or kuwa. This is a heavy agricultural hoe. It has a waist high stock and a blade about 25 cm long and 10-15 cm wide. A potato hoe, with 3 or 4 rake like points instead of a single blade, is also used in the same manner. As a weapon, this implement is also seen in China and in various South East Asian countries. There is 1 kata for this weapon, called kuwa or kue no di.

Sansetsu Kon

This means three piece staff, and the weapon is also called the Shorin (Shaolin) Sansetsukon. Matayoshi Shinko learned the techniques for using it from Kingai, in China, where it is a common weapon. There is 1 kata for this weapon in the system that was passed down by Matayoshi sensei. There is also a shorter sansetsukon kata, created by one of Matayoshi sensei’s senior students and practiced by some of them.

Tinbe

Also called tinbe or tinpei. In the Matayoshi system, this consists of the tinbe, a shield like implement, made of leather, cane, or metal, and the seiryuto, a machete. The traditional tinbe is made with a reed base covered with leather and coated with a thick, almost tar-like, material. The tinbe is used to hide the seiryuto from view, to defend and cover, and to scoop sand or dirt into the opponent's face.

Suruchin

This is a 2-3 meter long rope with a teardrop shape rock tied to each end. The style of use is derived from Chinese and Okinawan sources, and similar weapons are common in Indonesia and Japan as well. The form for the suruchin is called suruchin no taeseki, and is more a series of drills than a kata.

Kudamon Bo

Also called an utsu bo. This is a 130-160 cm bamboo staff with another length of bamboo, about 60-100 cm long attached to it by either a piece of rope or a rotating joint made from bamboo. The implement itself is derived from a grain threshing flail; this is much more logical than a similar origin for the nunchiyaku would be, as with a long threshing flail the user wouldn't have to crouch over to do his work. Similar flail type weapons are common world wide. There is one kata for this weapon, a relatively new kata not practiced in all the Matayoshi kobudo schools, called kuramon bo no di, and it is the only kata in the Matayoshi kobudo that includes kicking techniques.

Tekko

Also called tikko or tetsuko. This particular version of these weapons is supposedly derived from the stirrups from a saddle, or from horse shoes. The ends of the stirrups have a diamond shaped bump that can be used as a dull spur, (and to amplify the effects of a hammer fist) but the top of the curved section is either smooth or has just a couple of small studs.

Gifa

Also called kanzashi or jifua. These are hairpins, made of metal or wood, about 15- 20 centimeters long. They are practiced using karate or chizikun bo kata, properly modified.

Chizikun bo

The shape of this form of handload is said to be derived from wooden handles on fishing nets. The middle finger is slipped through the string in the center, and the weapon is held across the palm. Similar wooden hand loads are common in the Philippines, Indonesia, Japan, and China. This weapon is not part of the Matayoshi kobudo- Kimo sensei learned it from another teacher in Okinawa. The schools under Taika Oyata practice a similar kata. There is 1 kata for these weapons, called Chizikun bo.

Bo, Tonfa, Nunchiyaku, Eku, and other hardwood weapons

When you get the weapon, you should first sand it with a light sandpaper- around 200 to 400 grit, sanding along the grain. Wipe the weapon down fully, to get all the dust off. You can wipe it with a damp cloth, but be sure it is dry before you oil it. Then coat it lightly with natural linseed oil (not boiled) or some other oil that does not harden to a varnish (mineral oil will do, and some people recommend a mixture of equal parts Tung and Linseed oil). You can apply the oil with a cloth, or rub it in with your hands. Let this coat of oil soak in overnight. Don’t lay the weapon flat or stuff will stick to it. Try to lean it up, or suspend it. This first coat of oil should raise the grain some. Wipe the excess oil off, and sand it again, lowering the raised grain. Then wipe it clean again, and apply another coat of oil, letting sit over night. If the weapon absorbs this coat, wipe it down, and give it another light coat. Once it is not absorbing oil quickly, wipe off any excess from the last coat. The weapon is now ready to train with. Make sure the excess oil is removed, however, or you will find it a bit sticky when using it. A new coat of oil, and perhaps some more sanding if the weapon gets dinged up much, should be done every year or two, and can be done again a month or two after you first do it. If the weapon gets a large ding, from a sai for example, the dent can be sanded a tad and oiled.

When storing your wooden weapons, do not lean the longer weapons against the wall, or in the back of a closet. They should be stored flat, suspended from hooks or pegs at roughly equal thirds, or stood vertically, resting on their ends. Nothing should be stacked on them. This will prevent them from warping much. They should also be protected as much as possible from rapid or radical changes in heat and humidity, so keeping them in your car in the winter between trainings is not such a good idea.

Sai, Nunti & Mangi sai, and Nunti-bo heads

When you get the weapon, not much needs to be done. The cord on the handle should be lightly coated with Elmer’s glue, or something similar and left to dry, (obviously not resting on anything). The weapon should be stored somewhere where it will not get wet. When transporting it, it is best to wrap it in a towel or carrying case of some type, so it does not sit against your gi and rust. If the weapon does rust, it should be wiped down with a towel until clean, and that is all. If it is VERY rusty, it can be cleaned with steel wool. The body of the weapon has a light, uneven coating on it that helps retard rusting to some extent- once this is rubbed off, it will rust quicker. Some people oil their sai to keep them clean, but this in turn usually gets your gi dirty, so I do not recommend it.

Chizikunbo, and other small wooden weapons

These should be kept clean and dry. They should be sanded smooth, and can be lightly oiled or even stained and have a varnish or other sealant applied.

Repairs

Occasionally strings need to be replaced on nunchiyaku or chizikunbo, the handle wrappings on sai, or the shims in tonfa handles will need to be re-seated, and so on. This is all pretty easy, so if it is necessary and you are not sure how to do it, just ask.

Proper Weapons for Kobudo Practice
(this information is also available as a pdf)

To train in any of the weapons we practice, the student must first own and properly prepare the weapon. Without the weapon, there is no point in practicing the movements. The process of purchasing and taking care of the weapon also increases the students familiarity with it.

Any weapon used must conform to the standards set for our dojo. This is primarily a safety issue. A weapon must be safe for both the user and those around him or her. Also, a weapon must be properly sized, weighted, and constructed to be both appropriate for the user and appropriate for the techniques of our system. The instructor retains the right to prohibit a student from using a weapon if it is below standard quality or otherwise inappropriate.

More details are listed by weapon below.

Chizikunbo
The chizikunbo can be made of any wood. They should have a cord or rawhide loop, not one made or wire or plastic, and should not have any sort of metal cap on either end. They are a fairly universal size- an approximately 6" slightly ovoid stick with a loop for the middle finger in the center.

Kon
A kon (bo) should be about a hand’s width, about 6", taller than the person using it. Adults under 5’6" should use a 6’ bo. In general, the bo should be made of a hard wood, be at least 1 1/4" in diameter at the center, and taper to around 1" at the ends. Thicker bo are acceptable, and traditionally Okinawan kon were up to 2" or more in diameter at the middle. While exact dimensions vary, very thin or light bo are not acceptable. They break, and do not have enough weight to do proper technique. The ends of the bo should be square cut, not rounded off. The bo should also be simple- no designs, staining, or other decoration. The surface should be sanded and oiled, not coated with any type of varnish or other hard finish. As they get used they must be maintained. Periodic re-sanding and oiling is needed to smooth chips and nicks and keep the weapon in good shape.

For much of our paired work, we also use a simple rattan bo. These kumi bo are made of rattan with the skin of the plant still on- the peeled versions will simply fall apart with any serious use. They are a bit safer for paired work, and much cheaper to replace when they wear out. These should also be over 1" in diameter.

Sai
A sai should have the center tine just long enough to project about 1" beyond the elbow when it is held in the closed position. The index finger of the hand should not extend beyond the end of the handle when it is held in the same position. Sai must be plain iron or stainless steel. Chrome, aluminum, or composite sai are not acceptable- they are usually too light, the chrome chips off during use, and they can shatter in paired work. The handle should be wrapped in cord, or perhaps leather, and this should not be wrapped around the tines. It makes no difference if the shaft is round or octagonal, though the octagonal versions grip an attacker’s weapon a bit better. The usual set of sai for our kobudo training consists of 3 sai, not just 2. You can train with a pair, but the senior kata all require 3.

Tonfa
A tonfa should be long enough to go about 1" past the elbow when held in the closed position. The handle should be tall enough that the top side of the thumb and index finger have some clearance from the cap when the weapon is spun, to allow for proper movement, and prevent blistering. We usually use a tonfa with a round body, not the square tonfa some systems use, though those are perfectly fine weapons. The tonfa should be made of hardwood. Soft wood tonfa are too light, and break easily. The surface should be sanded and oiled, not finished with paint or a varnish or other hard finish.

Nunchiyaku
The nunchiyaku can be of different sizes, depending on the person and use. They should be made of hardwood, and should be sanded and oiled, not painted or varnished. The connection should be parachute cord or other strong cord, not chain, wire, or light cord. It should be securely tied through the top of the weapon, not attached to a swivel or hook at the top of the shaft. They can be round, ovoid, or octagonal, with octagonal being the most common.

The general weapon specifications we require call for a high quality weapon. This is primarily for purposes of safety, but also is an indication that we take our training, and the tools we use for it, seriously. It also means that the weapons we use are not the cheapest you can buy. However, by purchasing the proper weapon, you should have one that will last for many many years of hard use.

We can recommend companies to purchase weapons from. Some of them are on our website, and some give us a discount if ordering through the dojo. Any weapon brought to the dojo is subject to the inspection of the instructor, so you are better off speaking to the instructor before purchasing one.