TONFA: Karate Weapon of Self-Defense 0897500806, 9780897500807

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TONEA Karate Weapon of Self'Defense by Fumio Demura

Edited by Gregory Lee Graphic Design by Karen Massad

OOhara Publications, lncorporated 1982

All rights reserved Printed in the United States of America Library of Congress, Catalog Card No. 82-81S57 ISBN No.0-89750-080-6 '

Eighteenlh printing I 998

WARNING This book is presented only as a means of preserving a unique aspect of the heritage of the martial arts. Neither Ohara Publications nor the author makes any representation, warranty or guarantee that the techniques described or illustrated in this book will be safe or effective in any self-defense situation or otherwise. You may be injured if you apply or train in the techniques illustrated in this book. To minimize the risk of training injury, nothing described or illustrated in this book should be undertaken without personal, expert instruction. In addition, it is essential that you consult a physician regarding whether or not to attempt anything desEribed in this book. Federal, state or local law may prohibit the use or possession of any of the weapons described or illustrated in this book. Specific self-defense responses illustrated in this book may not be justified in any particular situation in view of all of the circumstances or under the applicable federal, state or local law. Neither Ohara Publications nor the author makes any representation or warranty regarding the legality or appropriateness of any weapon or technique mentioned in this book.

oHARA

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euaLlcAloNS, tNcoRPoRATED

SANTA CLARITA, CALIFORNIA

ACKNOWLEDGEMENTS I would like to express my thanks to Gladys Caldwell and Dwight Lomayasva for their_help in the preparation of this book; and to my excellent students, chuck Lanza and Kiyoshi Kusuhara for their assistance as my partners in the photographs. My appreciation also to the staff of Ohara Publications.

DEDICATION

To the late Okinawan karate and kobudo master, Kenshin Taira, that perfect example of the gentle spirit of the martial arts, who was initially responsible for my interest and subsequent skill in kobudo; to Ryusho Sakagami and Kenwa Mabuni, revered masters who'are the founders of modern kobudo and karate; and to Masu Demura, my honored mother, for her constant mental inspiration.

ABOUT THE AUTHOR umio Demura, fifth-dan, is one of the most highly respected karateka in the world today. His strenuous schedule of demonstrdtions has made him an ambassador in the world of karate, taking him frohr Europe and dhe Middle East to Central America and Australia. Born in Yokohama, Japan, Demura first studied kendo in grammar school, progressing during his school years from karate and aikido to judo. While at Nihon University in Tokyo, he earned a Bachelor of Science degree in economics. At the same time, he developed his special interest in Robudo, including the use of such weaPons as the bo, the sai, the nunchaku, the tonfa and the kama. Demura studied kobudo under the tutelage of Kenshin Taira and Ryusho Sakagami. His reputation as a champion was secured in 1961 when he won the All-Japan Karate Freestyle Tournament, and for three consecutive years thereafter he was rated as one of Japan's top eight competitors. His many tournament wins include the East Japan, the Shito'Ryu Annual and the Kanto District championships. Demura has also'received the All-Japan Karate Federation President's trophy for outstanding tournament play, and he has been awarded certificates of recognition from Japanese Cabinet officials for his contributions to the art of karate. In 1965, Demura came to the United States at the invitation of Dan

Ivan to teach Shito-Ryu, one of the world's four major systems of karate.

Demura has entertained and educated thousands of people since 1968 at such diverse places as the Japanese Village and Deer Park in Buena Park, California; Marineland; Disneyland; the Las Vegas Hilton; and even the Playboy Club in New York City. He has appeared as a stunt man in films, ihcluding The lsland of Dr. Moreau. BLACK BELI Magazine's Hall of Fame has twice honored Fumio Demura, once in 1969 when he was named Karate Sensei of the Year and in 1975 when he was honored as Martial Artist of the Year. He has also won the martial arts' Golden Fist Award (1973) Since 7970, Demura has authored five books, beginning with ShitoRgu Karate. His books on kobudo include Nunchaku(7971), Sai (7974), Bo (1976) and Aduanced Nunchaku with Dan lvan (1977).

,

HISTORY uring the 17th century, the people of Okinawa were Prohibited from using weapons such as knives, swords and spears by the invading government of Japan. The lack of workable metal in the Ryukyu Islands added to the scarcity of weapons in Okinawa. This condition, and the need for personal protection, stimulated the development of the Okinawan martial arts: karate and kobudo.

Most kobudo webpons' were originally farm implements, in' geniously converted into effective weaPons of self-defense. The nun' chaku, the bo and the tonfa are three examples. The nunchaku, constructed of two hardwood sticks secured together at one end by a braided rope, could be used either to pound grain or to strike, block and pinch. The bo may originally have been the tenbin, a staff used to carry buckets of water on the shoulders. It's use as a powerful striking and blocking weapon with greater reach is obvious. The tonfa, or toifa (handle), was originally a wooden handle fitted into a hole on the side of a millstone used by the Okinawans for milling grain. This handle, which was easily disengaged from the millstone, became a very effective weapon of defense. The main part of the tonfa, or millstone handle, consists of a largle hardwood body about 15 to 20 inches in length and a smaller cylindrical grip secured at a right angle to the main body about six inches from one end. The early practitioners of the Okinawan rnartial arts foresaw these weapons as an extension of their hand techniques, and quickly adopted these weapons into their training. Karate and kobudo are mutually supportive practices; the knowledge of both skills can improve the student's techniques immensely. Without a thorough knowledge of karate basics, the tonfa student is severely limited in his development. By the same token, improvement in the use of the tonfa extends the attacks and strengthens the blocks of the karate student. Continued practice with the tonfa can hclp improve balance, coordination and physical strength.

CONTENTS Chapter l: INTRODUCTION TOTHETONFA.

.

. . .11

.....17

Chapterll:TONFASTANCES Chapter lll: KARATF AND TONFA SIMILARITIES Chapter lV: TONFA STRIKING TECHNIQUES.

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. . , .27 . .49

ChapterV:SELF-DEFENSEAPPLICATIONS . . . . . . . .81

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Chapter

I

INTRODUCTION TO THE TONFA hough not as ftasfry or as glamorous as the nunchaku, the tonfa is nevertheless an important tool in the kobudo tradition. Two tonfa in the hands of an expert make a poetic and graceful contribution to the art of kata. The tonfa is also an excellent tool for the development of stronger hands and wrists, essential for achieving necessary Power in blocking and striking in empty-hand techniques. This is where the tonfa is par' ticularly desirable in practice over such weaPons as the bo or nunchaku. Swinging the tonfa requires a snap of the wrist not unlike that used in the last instant of a karate punch. By developing control-for instance, learning to stop the swivel motion of the tonfa by gripping.the handle harder-hand strength will improve rapidly. ln this section, a basic introduction to the tonfa is provided. It is recommended that a karate student not begin practice with this or other kobudo implements until he or she has had at least seVeral y()ars of karate training.

ANATOMY OF THE TONFA In order to deliver or receive a powerful blow, the parts of the tonfa must be strong, yet flexible. Several hardwoods which are not too brittle will satisfy this requirement, with the most popular materials being oak and cherry wood. Grip Head

Back Head

Front Head

The length of the tonfa is determined from the grip to the back

head. While holding the tonfa, the back head should extend past the

elbow by about one-half inch. Once this distance is determined, the balance of the tonfa can be adjusted by reducing the length from the grip to the front head. Under these requirements, one must choose a length and balance to fit his physical characteristics and strength.

CARE OF THE TONFA Normally, the tonfa is made of oak and consequently is very sturdy,

but the connection between the grip and the main body can be a source of weakness. This location should always be checked before each practice to prevent injuries. The tonfa can also be varnished, if desired, and should be cleaned periodically with a cloth moistened

with olive or other vegetable oil.

TYPES OF TONFA Though the basic configuration of all tonfa is the same, with the small grip attached near one end of the weapon, the main body of the tonfa can be found in varied shapes. The illustrations below show some of the more common ones.

The square tonfa has four diStinct faces on the main body, forming a long rectangle.

The top edge of the main body in this tonfa is flat, while the sides and bottom are rounded, forming a semicircle. This is the most popular tonfa shaPe.

The main body of this tonfa is completely round from end-to-end.

A crude, pointed tonfa with both back and front heads ending in a point which can be used for stabbing defenses.

A pacldle-shaped tonfa, with the back troacl considerably wider

Itoittl.

than the front

The portion of the main body attaclrcd below the grip is wider and flatter than the rest of the bodY, which is round.

GRIPPING THE TONFA The grasp of the tonfa resembles the karate fist. The grip is held loosely, yet firm enough so that the weapon is not dropped while in use. This somewhat loose hold allows the tonfa grip to move easily in the palm of the hand. At the moment of a strike or block one should squeeze or tighten the fingers around the tonfa grip to form a tight fist. To be effective with the weapon, the practitioner should develop

THE GRASP Place the grip of the tonfa (1) between

the thumb and the index finger.

(2)

Place the palm of the hand on the grip. (3) Close the fingers over the grip. (4) Be sure the thumb is on top of the in-

dex finger, as

if

making

a fist.

(5)

Touch the top of the tonfa, back head end, to the elbow. (6) Front view of the tonfa adjusted correctly to the elbow.

strength in his wrist. This development will aid in the practitioner's karate training. When swinging the tonfa it is critical to remember that minimal bending of the elbow is absolutely essential to avoid striking yourself with the weapon. Great care must be taken to keep the arms extended when rotating the tonfa.

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Chapter ll

TONFA STANCES he stances reviewbd in this chapter are identical to those used in karate. Proper balance and maintaining good hip position is as essential in kobudo practice with the.tonfa as. in karate. Some of the stances, such as the heiko'dachi, kiba'dachi Other and, zenkutsu-dachr, will be familiar to students of karate' they because omitted been have stances, for example, the T'dachi, tonfa. with the in use have limited practical application Any stance should never be thought of as a decoration, but foundation for an effective, strong defense'

I

ii 'iiiii,

HEISOKU.DACHI

(Attention Stance)

A ready position in which your feet are together and

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arms at your sides. This

stance places the student in a proper position from

which to bow. iii

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MUSUBI.DACH!

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(Attention Stancefeet out)

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your heels are together

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A ready position in which

and toes pointed outward forming right angles. Your arms are slightly forward, gripping the tonfa.

HE!KO.DACHI (Open Parallel Stance).

A natural position" in which your feet are sPread slightlY apart approximatelY shoulder width, with the toes pointed forward.

SOTO-HACHIJ!.DACHI

(Outward Open Leg Stance) A natural position similar to ttrc heiko-dachi, excePt that

toes are pointed out'

UCHI.HACHIJI.DACHI (lnverted Open Leg Stance)

The heels are

separated

about shoulder width and the feet are turned inward at a 4S-degree angle.

SANCHIN.DACH! (Hourglass Stance)

An inside, tensed stance in which your legs are spread slightly apart about shoul-

der width with the

toes

pointed inward. One foot should be placed slightly forward so that the heel of

the forward foot is in line with the toes of the back foot.

REI.NO.JI.DACHI (V-Stance) The front foot is placed half

and" in line with the back foot. The toes of the front foot are pointed straight ahead while the

a step ahead

toes of the back foot are angled 45-degrees out.

KIBA.DACHI

(Horse Riding Stance) Ihe toes are turned inward, krrees bent, and the hiPs lhrust forward, pushing the krwer stomach area to the lrorrt.

SHIKO.DACHI

(Square Stance)

This stance is almost the same as the kiba-dachi or horse riding stance except that the feet are turned out-

ward at a 4S-degree angle and the hips are dropped lower.

ZENKUTSU.DACHI

(Forward Stance) This forward stance is wide-

ly used with attacks.

Put

most of your weight on your front leg while your back leg pushes forward. The shoulders remain squared.

llr I

I

GYAKU.ZENKUTSU.DACHI

(Rear Defense Stance)

This stance is used to retreat from attack from the

rear. Weight distribution and foot positions are the same as in the zenkutsudachi or forward stance.

KOKUTSU.DACHI

(Back Stance)

This stance is used to

fend against a frontal lack. Put most of your weight on your rear leg so that it may be used for suP1rort. The front foot points

:;traight ahead, the back kxrt angled out at 90r

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