 ne of the most popular weapons that
make up the art of kobudo (the ancient martial way) is a three-pronged,
metal truncheon that can be a very effective means of self-defense. Known
as the sai (pronounced "sigh"), the implement's heritage reflects
a period of time on Okinawa when war faring weapons such as spears and swords
were forbidden to the general populace. The peasants had to devise methods
for defending themselves, their property, or their families from marauding
bandits and pirates. In this way, everyday items and tools were used for
self-protection, and Kata were eventually developed to define the use of
each "weapon." Multi-purpose instruments like the sai became especially
useful, since an opponent's weapon could be blocked and/or trapped with
one sai with the other could be used to deliver a thrust to a vulnerable
area of the body. |
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Three sai were often carried, with one placed behind the back in the belt, where it could serve as a replacement for a hand-held sai that was thrown at an opponent. |
Customarily fifteen to twenty-one-and-a-half inches in length, the modern sai consists of an octagonal or round rod leading to a pointed end that is flanked on either side by two shorter tines or forks. The shaft (monouchi) of the sai leads to a pointed tip (saki) at the top and a rounded bottom (tsukagushira) at the handle end. The outer curved prongs (yoku) project from the hilt of the weapon, with the tips (tsume) ending approximately one-quarter of the way up the shaft. While little is known about the exact origin of the sai, one belief exists that traces the weapon back to ancient China and a tool that resembled a common pitchfork, along with an instrument that was used to make furrows in the ground for planting seed. An early version of the sai had only one prong, and consisted of a flat metal handle with a bamboo hilt held together with cord. The purpose of the sai is to ensnare an opponent's spear, sword, or bo (long staff); disarming the attacker with the option of delivering a thrust with the pointed tip of the main shaft, which is used to puncture a target. Designed to work in pairs, an additional third sai was often carried behind the back in the belt sash (obi) as a replacement for a hand-held sai that was thrown at an opponent. As the weapon evolved into the form that is used today, it became a symbol of authority that was carried by Okinawan police, representing the office of law enforcement much as police in the United States wear a badge and carry a nightstick. |
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1A As the attacker steps forward to deliver a strike to the midsection... |
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1B ... Porta Sensei counters by catching and trapping the bo between the prongs of the sai with his left hand. He then turns his wrist over to ensnare the bo. |
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1C Porta Sensei strikes with the sai in his right hand by thrusting between the legs of the attacker, then pulling upward and back ... |
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1D ... jamming the prongs into the opponent's groin area. |
| The sai is a major part of Matayoshi Kobudo, which is one of the leading systems on Okinawa that is known world-wide for teaching a great variety of weapons. The founder of this system, Shinko Matayoshi (1888-1947), became famous as one of the world's greatest masters of kobudo. Coming from a family where every member was involved to some extent in the Martial Arts, Matayoshi traveled extensively to learn the weaponry systems of various cultures. He used the knowledge thus gained to incorporate the movements into his style, which he called Ryukyuan Kobudo. Matayoshi spent more than thirteen years studying in China, which accounts for the strong Chinese influence that is so representative of today's Matayoshi Kobudo system. Rather than using short, choppy movements within the numerous Kata, Matayoshi Kobudo relies on a relaxed, flowing style designed for quick, light movements which explode at the point of contact, resulting in powerful techniques and the conservation of energy, which can prove to be of vital importance in a self-defense situation. The Chinese influence also becomes evident in the Kata, where circular blocking techniques are combined with both circular and linear strikes. Specific movements that are contained within all Matayoshi Kobudo sai Kata center around trapping, catching, and hooking techniques, which are a trademark of the weapon. |
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| 3A Assume the ready position with a forward grip on each sai. As the attacker brings his bo over the defender's head in an attempt to pull the weapon into the neck area, the defender raises his right shoulder, which deflects the backward movement of the bo. | 3B Simultaneously turning his body and changing to a reverse grip on both sai, Porta Sensei delivers a double strike to vulnerable areas of the neck and abdomen. Speed is essential, as the turn has to be made quickly, before the hold can be applied with the bo. |
The teachings of Shinko Matayoshi are carried on today by his son, Shinpo Matayoshi, who like his famous father is known on a world-wide basis as one of the greatest kobudo instructors. Born in 1923, Shinpo Matayoshi began his Martial Arts training at the age of four, and eventually founded the Ryukyu Kobudo Renmei in 1970, which was reorganized into the Zen Okinawa Kobudo Renmei (All Okinawan Kobudo Federation) in 1972. This organization now has branches in Japan, France, Germany, Spain, Mexico, and in the United States, where Porta's Karate-Do & Kobudo Academy is the American headquarters for Matayoshi Kobudo. John Porta, has been teaching authentic Okinawan karate and kobudo since 1966. He also serves as the International Representative for the prestigious Okinawa Goju-Ryu Shobukan Organization. Many years ago, the sai was made according to a practitioner's personal standards, and different shapes and styles were produced. One 'offshoot' of the conventional sai is the nunti, which has one of the outer prongs pointing in the opposite direction, toward the handle, and is often attached to the end of a bo. Today's student of kobudo has a wide variety of weapons to choose from, but should be extremely careful when selecting the correct sai. It should be chosen according to arm length. To test the sai, a practitioner assumes a reverse grip (gyaku-mochi) on the weapon and measures the length of extension. A sai is of the proper length for the student if it extends approximately one inch past the elbow. Balance is also an important consideration in choosing or purchasing a weapon, which can be tested by placing the forefinger under the shaft where the two prongs meet. If the sai is properly balanced, the weapon should remain in place and not tilt to either side. The quality of the metal can be discovered by taking a sai in each hand with a natural grip (honte-mochi) and tapping them together. A ringing resonance should be heard, rather than a dull sound. |
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4A To defend against a high bo thrust: |
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4B Porta Sensei traps the attacking weapon in the prongs of the sai ... |
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4C ... and turns his wrist over to lock the bo off to the side ... |
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4D ... allowing a strike to the neck area to be delivered with the second sai. |
Chrome plating or raw metal is another consideration when selecting a modern sai, which is blunted at the end to be used in demonstrations and kumite drills. Chrome plating looks impressive in demonstrations with its bright shine, but could prove ineffective in actual use, as the finish may allow a trapped weapon to slip out of the hold. Raw metal is the best choice, as it will not chip or dent, and plant oil can be applied to all parts (except the handle) to prevent rusting. Chrome sai should be rubbed down with a cloth after each training session. Though the modern sai is blunt rather than pointed at the ends, great care must be taken when training with the instrument. Safety should always be of the utmost importance. Another important aspect concerns the student carefully choosing an instructor who is qualified to teach. One must keep in mind that this system is very popular on Okinawa, there may be those who falsely claim to have studied under Shinpo Matayoshi, but in reality have never been authorized to teach by this master. This is an unfortunate fact with many of the styles in existence. Students who do have the opportunity to train in the authentic, traditional manner will realize the benefits of increased self-development and self-discipline, which are the goals of a system where the head instructor views kobudo as a means of achieving inner peace. |
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John Porta and Kouki Miyagi perform a sai kata at Porta's Karate-Do & Kobudo Academy in Pompton Lakes, New Jersey, during a 1994 visit by several masters. Miyagi Sensei is a 9th dan black belt and a senior student of Matayoshi Sensei. |
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This page last updated September 6, 2000. |
| Okinawa Karate-Do Goju-Ryu Shobukan |  |
Porta's Karate-Do & Kobudo Academy |