Teaching and Learning Bujutsu

Lessons from literacy learning

The (un)natural movements of budo

Jacob Sibley 2020

When we write confidently and naturally we are able to express ourselves not just in words but also our writing style…… BUT no one writes naturally, we all learned.

So often as martial arts beginners we are taught technique- surely we came into the room wanting to learn techniques? This is what someone enters the dojo for- to learn martial arts. But a single technique can appear abstract, present challenge, be misunderstood and be stiff and mentally complex and little use in reality for months or even years. If we can help a student engage in basic core movements these may be of more practical use sooner and create a better foundation for effective martial techniques.

The evolution of all natural human movement follows the same development. We roll before we sit up, we crawl before we walk, we walk before we run, we run before we jump, we jump before we turn in the air……..

Few people enter the dojo with the intention of understanding the process of movement learning or even any interest in it. Instructors have a responsibility to understand the ways in which movement is learned and to incorporate that knowledge into their transmission of knowledge.

The codified techniques of martial arts are an interpretation of the once natural response of a person or people who were successful in battle. They have been passed down through centuries of tradition and adapted and modified by each instructor who has taken the mantle of responsibility to carry that art and transfer it to the next generation. The science of teaching has not always been at the core or transmission; oppression or growing regional tensions as well as expectations for citizens to become ‘warriors’ or soldiers placed demands on citizens to engage in a range of techniques or activities that promote the development of certain mindsets. Most modern martial artists have the luxury of time and peace. We are not pressured to become warriors, while the capacity to defend oneself and feel safe is invaluable, the long term objective is learning an art and all that it encompasses.

If a student is involved in a violent altercation when they first begin to train they will often be more successful swinging their arms in the right direction with limited control than in remembering the intricacies of a strike, lock or throw. In lessons swinging their arms in a vaguely martial manner may also allow them to engage in the root movements of a technique and access it more directly rather than an abstract set of movements that work really well when the instructor does them. This approach to learning ultimately allows the student to engage at a deeper level with the history and cultural value of a movement. This is how people moved, this is why, this is how you can move like that too.

If we force the body into unnatural postures, or overextend to achieve certain shapes we undermine our own balance and ability to transmit force through the body. When students are taught exaggerated movements early in training (often with an understanding that they will gain strength through them) we often create weaker structures. The progression to stylised and larger physical forms should be gradual.

What are the qualities we look for in a good teacher? We often look to great masters but would Jimi Hendrix teach a good beginners guitar lesson? Would Agatha Christie teach basic letter formation to a child? Heroes and inspirational masters are important but if they represent mystery and unattainable action what can we learn from them. As teachers we want students to be their own hero, to master themself. 

In most of my martial arts, circus and physical theatre teaching I began teaching a ‘technique’ or a ‘move’. This is rewarding to the student after all. As I have grown a greater understanding of the teaching of movement I have seen a need for a clearer pedagogy that all movement teachers can utilise. The most researched aspect of teaching and learning in the western world is that of literacy. Writing is seen as a vital part of education and the process of learning this skill has been researched and documented. Using the process of learning in literacy research we are able to determine a comparison of the stages of movement learning and it’s application.

The following chart places the stages of learning to write against the potential stages of skills development in budo. The skills and strategies included are in no way exhaustive but an understanding of a process may help us better understand the process of learning and teach better. In essence any unfamiliar technique may require the student and teacher to examine the movement from the very start of movement development. This is especially important if we want martial arts students to go beyond ‘mimicry’ to embody movement and philosophy that is their own.

Writing

Martial Arts

Beginning Writing 

This is the first stage in which a child learns to write. Usually, a child will draw to show their message, and then verbalise what their drawing means (Hill, 2012). Drawing is a very important aspect of a child's learning to write, as it demonstrates they're understanding to visualise how they feel and to convey a message. 

Beginning movement

Most people have reached the developmental point where they can perform basic movements to live ie eating, walking, throwing catching etc

Embrace what the student can already do! There is no better point to start.

Confidence to move freely can be inhibited in adults so it is important to allow people time to gain confidence to move in the space and with others. To avoid ‘over exposure’ which could increase self-consciousness and inhibit movement.

Limiting the range of movement to that which is both familiar and physically safe. Many injuries occur in beginners when pushed too hard or beyond their range or capacity.

Inclusive thinking must be at the forefront of the teacher’s mind. Embrace and celebrate physical differences and acknowledge, accept and adapt to physical disabilities and neurodiversity.

Early-Emergent Writing

In the second stage of writing, children start to discover symbols (Hill, 2012). These symbols consist of either numbers or letters, or both, which are used to symbolize words. An example of this is a child using the letter "d" to symbolise the word "dog". Their writing may not use clear and concise words, however they start to understand that letters can represent words.

Pre martial movement

Focus on freedom of movement and movements within the scope of the experience of the student while expanding into the shapes, steps and awareness of martial arts.

Shapes created with the arms and hands such as circles and lines can be practised and even applied with basic martial principles. Circles can block or deflect easily while straight lines support pushes or punches.

Introduction of basic martial movements.

Stepping should be comfortable and not complex and within the natural movement range of the student. Stepping forwards to push, stepping back or sideways to avoid etc

Combining hand movement and body movement or steps begins at this stage. Moving both hands and feet at the same time can be very challenging and time and fun should be core values.

Inclusive teaching requires careful consideration to ensure everyone is able to participate at all times

Emergent Writing

This is the stage when children start to recognise shapes that look more like letters. They begin spacing out their writing and start to write from left to right (Hill, 2012). There writing may also start to show more depth and meaning into what it is they are trying to accurately write.

Martial movement  

Basic core techniques are introduced with an emphasis on safety and cooperation in working with others.

Techniques individually defined with a greater emphasis on posture, spatial awareness and breathing

Paired work mainly focuses upon kata and sequences are short with clear endings

Inclusive teaching: techniques are developed for the specific needs of those who face physical or learning challenges

Early Writing

Children start to recognise that there are lower case and capital letters. Their spelling becomes more apparent; however they may still create their own spelling of words and may still use one letter to signify a syllable. Children are often found repeating sentences, as this helps them practice and therefore build their confidence in writing (Hill, 2012). 

Basic techniques/applications

Understanding context

Direction of power

Greater focus on posture

Sharpness of technique

Responsive use of technique

Introduction of ways of movement  ie aggressive, muscular, sharp, smooth

Inclusive teaching- all people learn different things at a varying pace. While we present a linear progression in learning, learning is not linear.

Transitional Writing 

In the stage of transitional writing, punctuation becomes clearly visible and the children’s quantity of writing increases, as does the quality of writing (Hill, 2012). Children may still struggle in this stage to adequately complete their sentences properly, however they are able to write stories with good story lines.

Joining techniques together

A flow from one technique, posture or skill with clarity and purpose towards conclusive endings.

Application of techniques independently in response to stimulus

Basic understanding of how martial arts are used in different historical contexts. Why movements are delivered in one way and not another due to culture or science.

The motivation of uke and tori in all actions. The expression of the self in kata and the utilisation of the imagination and spirit to deliver technique.

Strategic expression of ideas, thoughts and feelings and imposition or evasion through martial technique or skills.

The ability to be able to use different skills in the same circumstance. To exercise choice and determine outcome.

Extending Writing 

understand audiences, punctuation, spelling and storytelling, all to a suitable level. There may still be mistakes, however this is usually kept to a minimum. 

A growing vocabulary of techniques and strategy

Ability to use a variety of approaches, techniques, skills and strategies competently

Adapting prior knowledge to new techniques

Grounded, fluid and effective kamae

Space and proximity used effectively and instinctively

 Etiquette and manners understood and utilised to promote safety

Writing for audiences

Understanding that different audiences have changing language and technical demands.

That subject changes the semantics and syntax.

Expression through a variety of martial movements

The motivation of the student and the motivation of the potential assailant in different settings. Utilising this knowledge as the range of technical and physical skills expands further.

Adapting existing skills to environments and spaces

 Considering culture and history at a deeper intrinsic level creating emotional connects with the past and more importantly with peers and associates

Expressing ideas which acknowledge context

Self expression through techniques Application and technique appropriate to circumstance

 Learning different techniques for different contexts and adapting

Expression of Art, philosophy, science

Able to utilise a wide range of movements in different settings 

 Scientifically to understand and utilise the power and structures of the human form. To control their own mind, understand the motivations of others and to influence. To move efficiently and effectively analytical

Artistically to find art and magic in movement. To express joy in the variations and nuances of execution and variety of techniques. To perform with choice and focus utilising the width of physical knowledge and expression.

 Philosophically to contextualise movement within different cultures and within the student’s own beliefs. To understand your own human condition and that of others in making movements and in responding to the movements of others. The roles of emotion, art and science within the martial tradition expressed in the body, the choice of technique and execution of movement.

So what do we learn from that?

The root of movement is not the ‘technique’ itself but something far before, the movement that led to the technique existing and also a movement or memory  which can be accessed by the student immediately. If students are to access the technique beyond basic mimicry and then improve upon it then they must be provided with the opportunity to learn the movement from a fundamental root. 

Teaching of martial arts should involve far more than asking a student to repeat a technique and then continue to repeat a technique until they reach a level or competence, excellence or even mastery. Teaching needs to break down a technique to not only component parts but to core movements and ‘pre-movements’. The intention and motivation to move at each stage of the development of a technique should be part of the learning experience. 

There will always be a value in discovery for each individual learning a technique but there is also be a responsibility of an instructor to teach so that the individual can progress. The better we understand teaching and learning the better we teach and the faster and more deeply a student learns. We not only see faster progress but a greater depth of understanding.

Why worry about punctuation until you write words, why worry about words until you can form letters, why worry about letters till you can make shapes…….naturally.