HUNDREDS OF YEARS AGO, THE CLASSICAL JAPANESE METHOD OF TEACHING THE MARTIAL ARTS BY STEPHEN K.

HAYES PHOTOGRAPHY BY RICK HUSTEAD

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WARRIOR EDUCATION
students entering a martial arts training hall rst concentrated on learning the kihon, or basic, techniques and principles of the art. They included footwork and body posturing, body-movement dynamics, perhaps some ground hitting or tumbling escape skills, body-conditioning exercises, grips for barehanded or weapons techniques, and defenses and counter-techniques. Rarely acknowledged with any sort of diploma or symbol of graduation, the completion of kihon study more often than not led directly to the shoden, or initial teachings, of the art. In many martial education systemswhether studied by samurai or ninja in the Warring States period of Japanese history or by commoners in the later part of the Edo era in the late 1700s through the mid1800sshoden focused on a limited set of waza techniques, kotsu principles, keiko conditioning exercises and kata that demonstrated how a ght might be won.

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The aggressor (right) res a straight punch, and Stephen K. Hayes defends from the outside with a smacking shove to the arm (1-2). He then uses his right palm to strike the mans temple (3). The ninjutsu expert drives his right knee into the side of his opponents thigh or hip, causing him to lose his footing (4). Next, he repositions himself (5) to deliver a left knee to the tailbone (6). Hayes nishes by chambering his right leg (7) for a stomp to the ankle (not shown) and the thigh (8).

The list of kata fight scenarios in the ninja traditions of Japan generally ranged from eight to 16, although some systems taught as many as 20. The idea was to focus on the attacks most likely to occur and the most reliable techniques and skills for countering them. After gaining sufcient mastery of those skills, a student might be awarded a shoden
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scroll sealed with the master instructors name, listing the techniques learned and acknowledging that it was time to move on to the next level of learning. A shoden scroll diploma might be compared to a rst- or second-degree black belt. The scrolls themselves rarely contained any details on how to do the techniques and were often iconic at best. A list of techniques or principles might be brushed onto the paper, along with the names of current and previous headmasters of the school, after which it was sealed with the red-orange hanko signature block imprint of the issuing authority to serve as a form of graduation authorization in the dojo.

Middle Teachings
The second level of learning was often

Stephen K. Hayes (right) faces his opponent (1). The opponent extends his right arm for a punch or grab, and Hayes blocks the limb (2). The martial artist attempts to strike the mans head with his right arm, but he intercepts it with his left palm (3). Hayes uses his left hand to move the mans left arm out of the way (4), then completes his st attack to the face (5). Hayes uses his right hand to shove his foes right shoulder away (6), then traps his left arm in his own armpit (7). A knifehand to the face follows (8), after which Hayes applies pressure to his left triceps to drive him off-balance (9). The ninja forces the man down with his right leg and forearm (10). Once the assailant is on the ground (11), Hayes drops his right knee on the back of his left arm to pin him (12).

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called chuden, or middle teachings. The techniques and principles werent necessarily harder or more complicated; they were continuations of the skills and knowledge needed for the kinds of attacks not included in the initial-level training. If shoden training concentrated on how to use the kihon skills in combat, chuden training placed heavier emphasis on the importance of those tactics. A chuden practitioner might be compared to a third- or fourth-degree black belt.

Innermost Teachings
After chuden training and the awarding of its scroll, a limited number of graduates went on to okuden (innermost teachings). In some martial traditions, it involved a substantial leap in terms of depth of knowledge or degree of difculty. A few okuden lessons emphasized essential principles of strategy more so than ne details of mechanical technique. In some cases, okuden skills were

deceptively simple in description but incredibly difcult in application. I remember being taught a koto-ryu koppojutsu okuden exercise in which the technique was simply to approach an adversary and hit him in the throat. When the teacher demonstrated it, it was difcult to imagine that the simple act of walking up to a person and applying a hand edge to the throat was an advanced skill. When I began to practice the technique, though, I quickly found out why it was considered so difcult. I had to invade the enemys space without giving off any signals that would warn him to keep his guard up. Even the slightest mental or physical tension or the smallest pause or adjustment to the approach timing could be a blatant giveaway. In the modern combat sports, the parallel to okuden would be the highest level of coaching a champion might seek out to gain the skills needed to win an international title or a gold medal at the

Olympics. To use a military comparison, okuden training would be akin to attending war college, where the study of battles in different cultural or technological ages educates future generals in strategic thinking. In the modern martial arts, an okuden master might be compared to a fth- or sixth-degree black belt.

Secret Teachings
Training in hiden, or secret teachings, was restricted to the top few warriors who might be candidates for the role of grandmaster. Those with access to the deepest secrets would likely be seventhor eighth-degree black belts.

Learning Classifications
Beneath this hierarchy of learning lies a less-rigid system of interpreting progress toward mastery. Called shu-hari, it describes the overall advancement in martial arts training, as well as the

The opponent grabs Stephen K. Hayes right arm to pull him off-balance (1). Hayes extends his trapped arm as he advances and uses his left arm to hit the man in the face or neck (2). Hayes then turns counterclockwise and strikes the man in the face while lifting his arm to disrupt his balance (3). He steps forward and locks the opponents left elbow against his torso (4), then shifts his weight and throws him to the ground (5-6). 1 2 3

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The attacker grabs Stephen K. Hayes left wrist with his left hand to pull him in for a punch or clinch (1). Hayes lowers his left arm to twist the mans gripping hand into an awkward position (2), then grabs the mans face with his free right hand as he moves behind him (3). Hayes maneuvers the opponents gripping hand into a wrist lock (4), then twists the arm (5) to break his balance (6).

lifelong relationship the student might maintain with his instructor. The kanji characters used to write shu-ha-ri describe the cycles of training in three phases of personal advancement.

Learn by Imitating
The rst stage is shu (also pronounced mamoru) and is translated as to protect, defend, guard, obey, keep or observe. Its characteristics are best thought of as being protected or defended by the teacher and the teaching, obeying the orders of the teacher and the teaching, and carefully observing the teacher and the teaching. The term describes the relationship between a martial arts student and teacher in the students early stages, which can be compared to the relationship between

a parent and a young child. The student will imitate and absorb all that the teacher imparts and be willing to accept constructive advice. The teacher guards the student by watching out for his interests and encouraging his progress. Shu implies persistence in a single martial system. The student works to copy the techniques, without modication or attempts to interpret the rationale behind them. Technically, this stage is characterized by the learning and embodiment of the fundamentals through repetition, exactly as presented, without the burden of opinion or judgment. Because shu stresses the basics in an uncompromising fashion, all students perform techniques in an identical way, even though their personalities, body

structure, age and abilities may differ. By following a single route to the goal, a lasting technical foundation is built, on which a deeper understanding of the art can be based. Training in other schools too soon is frowned on because conicting techniques can hinder progress toward a sound theoretical or practical capability. Shu is an important basic habituation period during which all the necessary conditions are established for advanced study. Physically, its the time to learn how to move, how to maintain a center of gravity, how to balance the use of hands and footwork, and how to condition the body. Mentally, the student learns how to focus on a particular part of the body, and how to generate internal energy and

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direct its ow. He also learns the basic attitudes of successful martial arts training: condence, openness to new possibilities, respect for teachers, endurance and courage. The most important thing in the shu phase is to nd a good instructor and visit him as often as possible. Then, throughout the students practice, he must continually and honestly compare his actions with his mentors example. He examines his movements and compares them with his teachers and those of the more advanced students. He renes his actions step by step, slowly internalizing the basics. The instructor is like a walking textbook. He appears and imparts knowledge, then disappears back into the dojo ofce. The student watches carefully and listens to everything the instructor has to say. He shouldnt assume that corrections given to other students dont apply to him or wont apply to him later.

Learn by Exploring
The second stage of shu-ha-ri is ha, which can be translated as to break, detach, tear up, rip, open or burst. In this stage, the student breaks free from

tween the student and teacher is similar to that of a teenager and parent, in which guidance and inspiration replace the insistence on imitation and the following of rules without question. At this stage, the one who teaches and the one who receives the teaching simultaneously work toward the development of individualism. Training at the ha level develops a sense of self-afrmation and self-reliance, which is based on letting go of the rst stage of complete reliance on the teacher. A new horizon appears. A different perception is needed to grasp the meaning of whats happening. The ha stage demands careful preparation by the teacher and student. The strength of the teaching and the recognition of the potential of the student by the teacher, as well as the ceaseless and earnest study carried out by the student in response to the teaching, are essential. Ha is the stage at which the student must rearrange or adapt what the teacher has taught. That allows new elements to be brought into the study as prompters for growth. These changes are based on the true recognition of self, together with surrounding conditions such as temperament, personality, style, age, sex, weight,

ing. A moment of perceived insight may be all wrong. Its difcult to tell whether a particular interpretation of the basics is inspiration or error. The teacher must allow the student to come to a few false conclusions on the way to learning a deeper truth. You cannot just give someone insight. The deeper meanings of a kata may remain hidden for a long time. While beginners may appreciate the precision or the practicality of what theyve been taught, theyre not likely to understand the depth hidden in the details. That kind of learning can take several more years. Ha is also a dangerous time in training. Shu-ha-ri developed as an educational tool for learning the martial arts in an age when the only test was actual combat. Under those conditions, too much exploration or interpretation too soon could have been fatal because a failed test often left the student maimed or dead. Ha is sometimes misinterpreted as breaking with the teacher, although sometimes students are so convinced of the importance of their insights that they do leave their teachers too soon. The sense of power that comes with a teacher asking, What do you think it

The teacher must allow the student to come to a few false conclusions on the way to learning a deaper truth.
height and strength. At this stage, its necessary to have a high sense of inquiry and self-reection. More than anything else, the student needs to develop an unshakable understanding of himself as an individual. In other words, he develops a clear vision of his potential and the best way to stimulate it. That might require setting aside whats already an asset or strength in his art. Gaining insight often means losing or abandoning rigid beliefs, and that plays an important part in the process. After years of practice, the ashes of insight bring about a deeper perception of the style. Its a difcult task to carry out, and its often a confusing and scary time for the student. This is when most people get stuck and cease to grow. Ha can be a frustrating time in trainmeans? can be intoxicating. Especially in Western cultures, where individualism is valued, a student can, out of arrogance, ignorance and naivet, think hes ready for independence far too soon.

memorizing technique details to some extent. He must now consider the meaning and purpose of everything thats been learned and come to a deeper understanding of the art than pure repetitive practice allows. Each technique is absorbed into muscle memory, leaving the student prepared to explore the principles behind the techniques. Ha is a time to break free in two ways. In terms of technique, the student breaks free from the fundamentals and begins to apply the principles acquired in a more imaginative way. His individuality starts to emerge in the way he performs techniques. At a deeper level, he also breaks free of the need for rigid instruction from the teacher and begins to question and discover more through personal experience. At the ha stage, the relationship be86
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Learn by Creating
The nal stage is ri, or to separate, leave, release, set free or detach. Ri is the stage of going beyond or transcending, when the student separates from the instructor, having absorbed all he can learn from him. At this stage, the student is no longer a student in the earlier sense; hes a matured practitioner. He must develop original thoughts about the art, then test them against the reality of his background knowledge and conclusions, as well as the demands of everyday life. At the ri stage, the art truly becomes the
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practitioners own. Ri is a time of graduation, although its by no means the end of study. The student and teacher may now have an even stronger bond than before, much like a grandparent has with a son or daughter whos now a parent. The student and teacher become more like old friends sharing the path than a child obeying a parent. Although the student is independent, he treasures the wisdom and patient counsel of the teacher, and theres a richness to their relationship that continues through shared experiences. The student is learning and progressing more through self-discovery than through the receipt of instruction. He must rely on his own creative impulses, and his techniques will bear an imprint of his personality and character. At this stage, one has achieved mastery of the artand possibly recognition as a complete individual with independent standing in the art. He must continue to acquire every important bit of technical skill, knowledge and experience. He no longer depends or relies on external help or guidance. He depends on his own urge to inquire. It goes without saying that few people study the martial arts for the time it takes to get to ri. Some practice for years and succeed only in attaining a high level of shu, brightened by glimpses of ha. Ultimately, shu-ha-ri should result in the student surpassing the master in knowledge and skill. Thats the only way an art can grow. If the student never exceeds his master, the art will stagnate. If the student never achieves the masters ability, the art will deteriorate. But if the student can assimilate all the master has to impart and then progress to even higher levels, the art will ourish.

About the author: Stephen K. Hayes is Americas foremost practitioner of ninjutsu and a member of the Black Belt Hall of Fame. This article was excerpted from his latest book, Ninja Vol. 6: Secret Scrolls of the Warrior Sage. To order it, call (800) 581-5222 or visit www. blackbeltmag.com. For more information about Hayes, visit www.blackbeltmag. com and click on Community, then Black
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