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78 BLACK BELT www.blackbeltmag.com / MARCH 2007
THE
CLASSICAL
JAPANESE
METHOD
OF TEACHING
THE MARTIAL ARTS
BY STEPHEN K. HAYES PHOTOGRAPHY BY RICK HUSTEAD
HUNDREDS OF YEARS AGO, students enteringa martial arts training hall first concentrated on learning the kihon, or basic,
techniques and principles of the art. They included footwork and body postur-
ing, 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 ini-
tial teachings, of the art. In many martial education systemswhether studiedby 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 mid-
1800sshoden focused on a limited set ofwaza techniques, kotsu prin-
ciples, keiko conditioning exercises and kata that demonstrated how a
fight might be won.
W
ARRIOR
EDUCATION
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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 sufficient mastery of those skills,
a student might be awarded a shoden
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 fist 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).
The aggressor (right) fires 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 finishes
by chambering his right leg (7) for a
stomp to the ankle (not shown) and thethigh (8).
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
first- or second-degree black belt.
The scrolls themselves rarely con-
tained 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 TeachingsThe second level of learning was often
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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 emphasison the importance of those tactics. A
chudenpractitioner might be compared
to a third- or fourth-degree black belt.
Innermost TeachingsAfter chuden training and the award-
ing 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 difficul-
ty. A few okuden lessons emphasized es-sential principles of strategy more so than
fine details of mechanical technique.
In some cases, okuden skills were
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).
deceptively simple in description but in-
credibly difficult in application. I remem-
ber 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 difficult to imag-
ine that the simple act of walking up to
a person and applying a hand edge tothe throat was an advanced skill. When I
began to practice the technique, though, I
quickly found out why it was considered
so difficult. 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 ten-
sion 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 highestlevel 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 attend-
ing war college, where the study of bat-
tles in different cultural or technological
ages educates future generals in strategic
thinking. In the modern martial arts, an
okudenmaster might be compared to a
fifth- or sixth-degree black belt.
Secret TeachingsTraining 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 seventh-
or eighth-degree black belts.
LearningClassifications
Beneath this hierarchy of learning
lies a less-rigid system of interpretingprogress toward mastery. Called shu-ha-
ri, it describes the overall advancement
in martial arts training, as well as the
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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 de-
scribe the cycles of training in three
phases of personal advancement.
Learn by ImitatingThe first 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 be-
ing protected or defended by the teacher
and the teaching, obeying the orders of
the teacher and the teaching, and care-
fully observing the teacher and the teach-
ing. 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 con-
structive 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 modifica-
tion or attempts to interpret the rationale
behind them. Technically, this stage is
characterized by the learning and em-
bodiment 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 con-
flicting 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 flow. He also learns the basic
attitudes of successful martial arts train-
ing: confidence, openness to new pos-
sibilities, respect for teachers, endurance
and courage.
The most important thing in the shu
phase is to find a good instructor and
visit him as often as possible. Then,
throughout the students practice, he mustcontinually 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 refines his
actions step by step, slowly internalizing
the basics.
The instructor is like a walking text-
book. He appears and imparts knowl-
edge, then disappears back into the dojo
office. The student watches carefully and
listens to everything the instructor has tosay. He shouldnt assume that corrections
given to other students dont apply to him
or wont apply to him later.
Learn by ExploringThe 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 in-
sistence 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 asense of self-affirmation and self-reli-
ance, which is based on letting go of
the first 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 tothe 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 tempera-
ment, personality, style, age, sex, weight,
ing. A moment of perceived insight
may be all wrong. Its difficult 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 learn-
ing a deeper truth. You cannot just give
someone insight. The deeper meanings
of a kata may remain hidden for a longtime. 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 train-
ing. Shu-ha-ri developed as an education-
al tool for learning the martial arts in an
age when the only test was actual combat.
Under those conditions, too much explo-
ration or interpretation too soon couldhave 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
memorizing technique details to some
extent. He must now consider the mean-
ing and purpose of everything thats been
learned and come to a deeper understand-
ing 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 tech-
niques. At a deeper level, he also breaks
free of the need for rigid instruction from
the teacher and begins to question and dis-
cover more through personal experience.
At the ha stage, the relationship be-
height and strength.
At this stage, its necessary to have a
high sense of inquiry and self-reflection.
More than anything else, the student
needs to develop an unshakable under-
standing 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 flashes of insight
bring about a deeper perception of the
style. Its a difficult 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 train-
means? 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.
Learn by CreatingThe final stage is ri, or to separate,
leave, release, set free or detach. Ri is
the stage of going beyond or transcend-
ing, 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
The teacher must allow the student to come to a few falseconclusions on the way to learning a deaper truth.
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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 ordaughter 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 indepen-dent, he treasures the wisdom and patient
counsel of the teacher, and theres a rich-
ness to their relationship that continues
through shared experiences. The student
is learning and progressing more throughself-discovery than through the receipt
of instruction. He must rely on his own
creative impulses, and his techniques
will bear an imprint of his personalityand character.
At this stage, one has achieved mas-
tery of the artand possibly recognition
as a complete individual with indepen-
dent standing in the art. He must continue
to acquire every important bit of techni-
cal skill, knowledge and experience. He
no longer depends or relies on external
help or guidance. He depends on his ownurge 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 onlyway 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 ifthe student can assimilate all the master
has to impart and then progress to even
higher levels, the art will flourish.
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 excerptedfrom 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