| METHOD OF INSTRUCTION | | | | to the more single-minded instructors for what |
| "Ichí! Ni! San! Yamae! Ichí! Ni! San! | | | | they had contributed to my knowledge of |
| Mawatte! Ichí! Ni! San!" Stop! Turn! But do | | | | instruction. I knew that each specialty helped me |
| not twitch! Repeat, repeat, repeat! There has | | | | better understand an aspect of my wider view of |
| never been a more tried and true method of | | | | the arts. |
| drilling instant reaction than obeying a command. It | | | | I also studied the history of all the arts, especially |
| produces, in most cases, disciplined students with | | | | my own Japanese arts, to discover which |
| honed reflexes. | | | | traditions were relative to contemporary training |
| Close your eyes and think of yourself surrounded | | | | and which were outmoded. If I were to judge |
| by four assailants. When you open them again, | | | | other methods of teaching, if I were to alter my |
| fight off the assailants all at once but in slow | | | | own, I wanted to do so with a logical argument. |
| motion as if in a movie. Special drills put students | | | | Since so many approaches were consciously |
| in different circumstances to broaden the type of | | | | traditional or anti-traditional, it was the root of the |
| reactions they can have and to develop skills | | | | traditions which I wished to understand. The |
| within them. | | | | following segment is what I discovered about the |
| Consider the use of the latissimus dorsi muscles. | | | | instructional history of my own arts. |
| They lock your arm into the mass of your body, | | | | STYLE OF TRAINING |
| so it is important to flex these muscles by | | | | The ryu was a martial tradition perpetrated by a |
| dropping your shoulders when punching. Analyses | | | | bloodline inheritance (sei) or by a non-genetically |
| of movements make students better able to | | | | related one (dai). The establishment of ryu was |
| correct themselves and better able to teach | | | | always attributed to divine guidance, which gave |
| others. | | | | its founder a sudden insight during his years of |
| Even within a specific style of a specific art, there | | | | arduous practice. Thus ryu are naturally given to |
| can be as many methods of instruction as there | | | | mysticism and to making their students learn |
| are schools. Three general methods seem to | | | | through insight and hard practice, rather than |
| summarize them however: | | | | through rational teaching. I term this the |
| 1. the traditional method (usually based on | | | | ìzen method. |
| repetition) is the most prevalent; | | | | Spiritual aspects of old bu-jutsu (warrior skills) |
| 2. the creative method (which invents new | | | | became emphasized in classical budo (martial way). |
| exercises to perfect a skill or teach a principle); | | | | "One strike, one life" was the essence of classical |
| and | | | | budo. It means that spiritually the warrior must |
| 3. the intellectual method (based on verbal | | | | wield his weapon, make his strike as if his life not |
| explanation and rational understanding). | | | | just depended on it, but was to be sacrificed with |
| Some instructors just inherit their method as if it | | | | it. Thus kyudo (archery) places the emphasis on |
| were part of the style itself. Others seek out or | | | | how the bow is to be drawn, not on whether the |
| stumble upon different methods which more | | | | arrow hits the target. Kata in karate, judo, and |
| efficiently help them reach their goals. In order to | | | | kendo emphasize exact form, not immediate |
| consciously choose a method of teaching, | | | | effectiveness. JKA (Japan Karate Association) |
| instructors must state their goals, at least to | | | | karate looks for one-punch kill, not combat |
| themselves. They must have a picture of what | | | | give-and-take. This style is totally Japanese in its |
| they want to accomplish, the ideal student. | | | | spiritual aspect even though it descends from an |
| Depending on the makeup of this ideal, each | | | | Okinawan lineage which was much more practical |
| instructor may favor one of the three methods | | | | in its view of fighting. Thus certain karate kamae |
| over the others. | | | | (postures) become purposeless combatively in an |
| When I first began studying judo, no one | | | | effort to visually represent the spirit of the |
| questioned the method of teaching. The method | | | | warrior. Classical budo's main emphasis is spiritual |
| and the art were considered synonymous. The | | | | The method of teaching this spiritual state, and |
| art was "ancient" Japanese (we were not aware | | | | thus enlightenment, is the zen method: intuition |
| that it was less than 100 years old at that time), | | | | through imitation. Supposedly, imitation is |
| so the method must be similarly Japanese and | | | | "body-learning" rather than "mind-learning" and thus |
| ancient. Long periods of exercises and falling were | | | | lasts longer. Certainly, some things we learn |
| followed by a longer period of uchikomi (simulated | | | | rationally pass right through us; but, things we |
| throws or "fit-ins") or occasionally sute-geiko | | | | learn physically, like bike riding, are never |
| (exchange-throwing practice). Then, as if we were | | | | forgotten. However, what is lacking in the imitation |
| not exhausted enough, randori (free style). For | | | | learning style are those things which are needed |
| fifteen or twenty minutes somewhere in the | | | | for a combatively effective fighting art: |
| practice, Sensei would show and we would | | | | 1. the zen method is slow; |
| practice a new throw or new approach to an old | | | | 2. it requires the trainee to constantly re-learn |
| throw, but 90% of our work was sweat and | | | | techniques which were falsely imitated initially; |
| repetition. We were in terrific shape, muscularly | | | | 3. although it greatly heightens the powers of |
| and aerobically, but everybody seemed to use | | | | observation, it reduces the powers of analysis; |
| the same three or four throws. The method of | | | | the practitioner is given to perfecting his/her own |
| teaching had all by ordained it. | | | | form but cannot analyze what is wrong with |
| My first traditional ju-jutsu class had little to do | | | | someone else's even though he/she may in fact |
| with sweat but a lot to do with patience. We | | | | recognize the flaw; |
| knelt down facing each other and practiced a | | | | 4. the practical purposes of all forms are lost |
| basic wrist release for 20 to 30 minutes. No one | | | | gradually and, if retained, cannot be modified to |
| explained why; no one taught how. Then we | | | | take into account a different opponent, nor can |
| stood up and sensei taught a new move by | | | | they be changed to make them more effective. |
| demonstrating it four times (two right-side and | | | | In short, the zen method dispenses with idea of |
| two left-side) with his uke. We tried to imitate. No | | | | principles (since they are rational) and of |
| one was to talk. Sensei never taught anything | | | | effectiveness (since this goal is non-spiritual). |
| verbally. If we were doing it completely wrong, he | | | | But there are also advantages to the zen method |
| would step in and demonstrate again with one of | | | | of training. Zen teaching attempts to overcome |
| us, usually once. This went on for another 30 to | | | | the ego (for this read "egotism") by having its |
| 40 minutes. With only some falling practice added | | | | disciple become self-centered, thus ignoring |
| for spice, that was the entire workout. There | | | | comparisons with others. Too much reliance on |
| was a method but little actual teaching. | | | | combative method produces the "competitive |
| Initially my karate teacher ran a class that was as | | | | mind" which is a positive thing to have in combat, |
| traditional as the ju-jutsu class had been: no | | | | but can be self-destructive since it leaves the |
| talking, no excess motion like scratching or | | | | trainee in a constant state of frustration; he must |
| adjusting one's uniform. This was a military | | | | always have someone to better. The |
| discipline meant to challenge the student's will | | | | ego-controlled trainee always has himself to |
| power. Where ju-jutsu forced us to analyze how | | | | better; so that, although he may get frustrated |
| a technique worked (or, frustrated, give up on | | | | also, he will not become destructive or belligerent. |
| analysis altogether, hoping to subconsciously | | | | His goal is not to beat somebody else but to |
| absorb the technique), karate dared us to | | | | master himself. |
| discipline ourselves using techniques as the | | | | A lack of combative balance is the outstanding |
| instruments of self-discipline. We gained power by | | | | characteristic of all budo entities. Combative |
| repetition, form by imitation; this was a | | | | balance is established and maintained by attaining |
| combination of the judo and ju-jutsu approaches. | | | | expertise in a wise range of weapons and |
| There was little explanation, however, and few | | | | familiarity with other martial systems. But the |
| interesting drills. Then my teacher changed | | | | effects of peace in the Edo period eventually |
| somewhat and added a little of both. I did not | | | | eroded this sense of practical realism (Donn |
| know if this was because we were no longer | | | | Draeger, Classical Budo, Weatherhill Publishing, |
| beginners or because sensei was getting soft. But | | | | 1973). |
| when Sensei's cousin Elliot was graded to shodan | | | | It is ironic that the same styles of martial arts |
| (first degree black belt), I found out that our | | | | which claim to be combatively superior are those |
| school was not to be lost to traditions of | | | | styles which do not recognize or become |
| militarism, repetition, and imitation for long. Elliot | | | | proficient at other martial systems. A second |
| was the drill-sergeant, while sensei was the | | | | irony is that those systems which do try to |
| teacher. Elliot had us repeat exactly the things | | | | integrate other martial teachings may claim to be |
| which he himself had to repeat as a novice. | | | | superior because of this, but they neglect to |
| Sensei had us try things which he had not been | | | | recognize many non-physical advantages of more |
| allowed to try as a novice. Sensei created; Elliot | | | | conservative systems. |
| repeated. | | | | Great modern exponents like Jigoro KANO |
| When I earned my shodan, sensei asked me to | | | | (1860-1938) and Gichin FUNAKOSHI (1868-1957) |
| teach a few classes as well. I was no | | | | believed in a well-balanced system of training with |
| drill-sergeant, so I left that to Elliot. I did not think | | | | respect for all types of techniques, but their |
| it was my place to invent new exercises, so I left | | | | followers either never completely understood their |
| that to sensei. What I did was to explain and | | | | intentions (despite their writing on the subject) or |
| analyze. I brought an intellectual approach to the | | | | completely ignored them. Thus Kanoís |
| lessons which the students appreciated since | | | | judo became known as a totally defensive art |
| previously they had been using their muscles, their | | | | and later as a non-self-defense sport. Funakoshi's |
| emotional strengths, but not their thinking | | | | Shotokan karate became known as only a |
| machines. Our dojo represented all three major | | | | kick-punch art without grappling or throws and |
| teaching methods in three separate teachers. Elliot | | | | later as a very regimented sport-form. Both Kano |
| challenged us physically and drilled proper technique | | | | and Funakoshi wanted spiritual development (their |
| into us; sensei made it possible for us to use that | | | | prime goal) and self defense ability. Ironically, what |
| technique in new and different ways; and I | | | | judo and Japanese karate are known for today is |
| explained movements technically and gave a | | | | not primarily either of these qualities even though |
| purpose to each new drill. One method | | | | the techniques which comprise them can easily be |
| complemented the others. | | | | taught as self-defense and the founders' moral |
| There are many approaches to teaching a style, | | | | principles can easily be taken as guidelines to |
| and none of the above methods by itself is | | | | character development. |
| wrong or right. One method may be perfect to | | | | In old, classical bu-jutsu, the prime goal was |
| attain one concept of "the ideal student", but it is | | | | combat effectiveness; although, because of the |
| difficult if not impossible to integrate all the | | | | Japanese character, discipline and morals were |
| methods and each type of ideal into a program | | | | considered important in training as secondary |
| intended to produce the complete martial artist, | | | | characteristics of the warrior. In later budo, |
| an holistic ideal. However, I think the attempt is | | | | combat-training was considered unnecessary. The |
| worth the effort. Too often teachers who claim | | | | emphasis switched to morals, with discipline an |
| their students will become | | | | aesthetic form considered additional attributes for |
| completely-integrated-artists-possessing-all-talents | | | | which a student should strive. |
| use only one method to attain this goal. Few | | | | This misunderstandings which have produced |
| teachers want to admit that they have a limited | | | | today's inherited methods of teaching have also |
| ideal; fighting ability, for instance, but not | | | | blinded the adherents to the fact that they are |
| character; tournament ability, but not self-control; | | | | not necessarily ancient ways of teaching. The |
| self-defense ability, but not artistry. | | | | present generation of practitioners often believes |
| It is a mixed method which I tried to bring to my | | | | that what it practices has been handed down to it |
| own dojo. I not only combined methods but also | | | | relatively unchanged form classical periods. This is |
| emphases. In judo, I taught competitive technique | | | | simply untrue. |
| as well as classical ones. In aiki-ju-jutsu, I taught | | | | Today, many styles of martial arts are trying to |
| hard, fast, slow, soft, strikes, locks, throws, | | | | recapture the aesthetics of old budo and the |
| takedowns, etc. And in karate, I emphasized kata | | | | combat effectiveness of old bu-jutsu. The goal is |
| sometimes, sparring other times, personally | | | | an honorable one, but too often this is done |
| developed techniques at other times. I even | | | | without an attempt to also change the "traditional" |
| taught aiki-principles as applied to the "harder" | | | | method of teaching. |
| karate. I acknowledged to my students my debt | | | | |