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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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MARCH 2007 / www.blackbeltmag.com

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

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