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THE METHODICAL PYRAMID By Yossi Sheriff

After nine years of studying and ingesting, instruction became the natural

next step, and so – in 1985, my instructor Doron Navon, entrusted me with a

training group.

Since then, many more groups have evolved, and the roster includes hundreds

of names of past and present students. As dozens of them have achieved the

highest professional levels, it is only natural yet again that veteran students

would mature and turn into colleagues.

The large community of beginners, students and fellow martial-artists

requires knowledge that is not offered in training. The Methodical pyramid as

a 'progress model' constitutes a proper framework for such knowledge. This

model has yielded favorable results, not only in the actual performance of this

martial-art itself, but also when applied for instruction purposes and solution

of military combat problems. Such implementation has yielded impressive

time-economy and casualty reduction.

As for the martial-arts trainee, the model's effectiveness depends on the extent

to which it is internalized. There is no need to transform practice into a focus

of complex philosophy. The fact that the model serves as a framework for

practice does not infiltrate the practice itself. There is still that same

aspiration to mastery in action. One may still assess one's ability versus

others, and challenge one's own, inner limitations.

Daily use of this model is made by those teachers who develop new instruction

tools. Although the main goal is to intensify the use of this model, another goal

is no less significant: using this model and the contents of this manual to

consolidate a uniform professional language. My many peers, practicing

various martial-arts, use a large variety of professional terminologies and

formulations, indicating an even larger variety of meanings. Understanding

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the methodical pyramid and its implementation in instruction will help build

a common professional language that will enable reciprocal learning processes

and transmission of knowledge.

Background of developing the working model

History

Ninjutsu is the inclusive name - not necessarily the most precise - for nine

martial-arts that came into being centuries ago in Japan and China. The

Bujinkan School, headed by Masaki Hatsumi, preserves these methods which

have different origins although they live under one roof. Three of the methods

were probably created by the Ninjutsu clans in Japan's mountainous region of

Iga, three methods were brought to Japan from China by warrior-monks and

military men, and three were regularly practiced in Samurai warrior training.

Ninjutsu delineates a highly conservative notion of martial-art training. The

knowledge of the nine different Budo streams we practice is contained and

codified in more then 400 Katas, or choreographies, for both empty-handed

and armed fighting. These Katas are practiced in pairs, each in numerous

variations. Ninjutsu has sometimes been compared to a huge museum. One

may observe this ancient method as a living, breathing museum; a library

documenting warriors' martial past; a database that has preserved the

conclusions arrived at on the battlefield and recorded it in the language

spoken by warriors – the language of action and movement.

The reason for constructing the model in Israel

When Doron Navon returned from his years in Japan, practice was rigorous

and tough. The time devoted to overcoming physical obstacles and pain did

not leave much room for deeper examination. The Ninjutsu group trained by

Doron Navon, my own instructor and the first non-Japanese ever authorized

to teach the method, practiced Katas and sparred for over a decade without

asking too many questions. Over the years, common problems that usually

prevail among novices were solved, and were replaced by problems facing

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more advanced practitioners. Many questions originated in the small group of

veterans who were authorized for instruction and began to transmit to new

students the knowledge they had received.

As an instructor and member of that original group, I regarded them as

central questions.

Tradition vs. change in martial arts

Martial-arts techniques are expected to produce combat effectiveness –

producing the appropriate response in real fight situations. And here is the

problem: real fight situations constantly change with time, and with the

constant development of weaponry. They also evolve along with popular

techniques and might vary to accommodate physical build, weight or limited

flexibility.

This is nothing new. The warrior's need to prepare himself to an ever changing

battlefield was already mentioned in the Bible. For us, here, this is not just an

abstract question; the preparation for fighting in Israel is especially complex

and, unfortunately, real. The State of Israel is subjected to an ongoing state of

war, facing either hostile neighboring countries or terrorist organizations.

Most of the Ninjutsu trainees in Israel have served, are presently serving or

will serve in the Israeli armed forces. They require a physical and mental

preparation for their military service.

In this atmosphere, there is the need to update and re-adjust traditional

techniques to contemporary combat situations. Several instructors have found

themselves in inner conflict: on the one hand, they feel the need to preserve

the traditional knowledge with which we have been entrusted, and on the

other hand, the obligation to accommodate their knowledge to combat

situations that have transformed since this knowledge was sealed in Japan.

Japan has entered a time of peace and its need to develop warfare has died

out. Israeli reality is tough and ever-changing, and peace still seen merely as a

hopeful dream.

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The methodical pyramid supplies tools to answer the following questions:

1. How does one examine the effectiveness of the techniques?

2. Can training injuries be reduced?

3. Can the enormous number of techniques be organized into a well-

ordered syllabus?

4. How can a traditional martial-art prepare the trainee for changing

scenarios of violence?

5. How is common language used to bridge technical gaps?

6. How can time be economized in training?

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THE SPIRITUAL FARMEWORK

Preserve, break, leave

On the highest level, the martial-art which lies at the basis of this

booklet emphasizes an outstanding feature: letting go or abandoning

previously-learned fight scenarios. This feature might seem odd since

the source school of our method is traditional - preserving an ancient

tradition. I will try to put this dichotomy in perspective.

In traditional martial-arts, combat wisdom is preserved through

practice and the repetition of fight scenarios. These are contained in

what is called Kata in Japanese, meaning: form, pattern, a rigid model.

We try to perform Katas as precisely as possible, like a pianist reading a

musical score and responding as accurately as possible to the

composer's written instructions. We are required to commit the Katas

to memory as well as internalize their rationale. But on the other hand

the fighting itself possesses a dimension of unplanned immediacy. This

dimension is not fully solved by the Kata. As we all know, it is very

difficult to perform precise Katas while sparring, since even a

superfluous move by the partner makes the planned Kata inadequate.

Why can there be no ready answer for every confrontation?

Although our martial-art consists of about 400 recorded Katas and

thousands of techniques collected in Japan and in Israel, this

tremendous wealth is finite. However, partners/adversaries create an

infinite amount of combinations and offense and defense modalities. A

finite tool, expansive as it may be, cannot always provide answers in

real events, made up of endless attack and response situations.

Solving the Kata-battle dichotomy by doing

Apparently we are not the only ones to have deliberated this issue. One

of the older students of the chief instructor at Bujinkan, a senior

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instructor by the name of Manaka summarized this essence in three

words: 'preserve, break, leave'. It is done as follows: after a long

training period devoted to precise practice of the form (preserve), we

deliberately introduce changes in the Kata (break) in order to adapt it

to offensive moves that were not foreseen in the original form. After an

additional training period, we are required to take a highly unusual

step: abandon the external mode of action (leave), give up the effort to

perform the Kata, and let an immediate response present itself without

inner mental intervention.

Preserve, break, leave

This is the essence that describes combat on the highest level. After

years of practicing single moves, their combinations and the best

responses to confrontational situations, the warrior leaves, giving up

his tight grip.

The intention here is not to cease practicing, but to focus his perception

on his immediate environment rather than his own mode of operation.

The environment might be a dangerous adversary, and then the proper

response presents itself. It might also be a smiling baby and then, too,

the proper response, a smile maybe, will present itself. The veteran

master, after many years of practice, abandons the desire to always be

right, and 'crosses the river to the opposite bank', where his actions are

proper, adequate and timely.

It is impossible to leave properly without first having held on tightly

The things we have to teach about martial art stop where there is

nothing to say, at the point of letting go.

"To leave" without many years of previous practice is the worst of

illusions. The warrior had better stay indefinitely in the first two phases

rather than delude himself prematurely. A Japanese story illustrates

the illusion of letting go in other realms: A scholarly Zen student

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arrives at an old woman's inn. Before she serves him – his meal, she

asks:

– "What do you think? Do things exist or not?" The scholar answers

her:

– according to what I have learned, things do not exist. The old

woman promptly beats him with an iron rod. When the scholar

rises to hit her back, his face flushed with anger, the old woman

says:

– "If nothing exists, whence this anger?"

This scholar 'left' prematurely, and was therefore surprised by life into

an inadequate response. A warrior's responses must always be

adequate. There must not be a 'premature letting go'. This problem,

too, is addressed by the progress model of the methodical pyramid.

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THE PROGRESS MODEL

A model is a model – not reality but a tool for understanding

it.

The progress model is layered into different phases by order of the

student's progress. First is physical preparation. The next levels

progress from the performance of simple moves up towards the

achievement of martial-art expertise. The model is a progressive rather

than a descriptive one. There is a certain overlap between some of the

levels. However, the model delineates a clear structure for advancing

physical skills. Thus the model is intended for the use of those who are

planners and instructors.

Why is this layered model?

Layering facilitates accurate feedback from real fights or sport fights

back to preparatory levels. Such precise feedback helps analyze any

task (not just sport fights), and through going down in levels, design

unplanned but safe confrontations, create permanent practices for

these, take apart basic moves, and very precisely define the physical

preparation requires. The clear division into levels facilitates target-

oriented training, and locating weak spots. Thus, goals may be

achieved effectively with the least consumption of time. Practice

towards any physical task - from preparation for a contest to generally

improved health and motor functions – is enhanced by the

comprehensive use of the methodical pyramid.

What are the martial levels?

Every level in the methodical pyramid consists of skills and

contents that do not appear in previous levels.

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The physical preparation level is where general movement skills

appear. However, only on the basic level - the kihon - do movements

appear that belong to the martial-art: kicks, punches, rolls etc.

The regular practice level – Kata – contains basic move sequences that

are not included in the basic level. Here adversaries practice range,

timing and continuity.

On the sparring level, the randori, an element of uncertainty is added

to the practice of range, timing and continuity. The adversary, his

moves unforeseen, forces his partner to use all the skills acquired in

previous levels and to merge them on the spot.

The top level, the reality level, the tatakai**, is a relational phase, it can

not be practiced but has to be the background for everything else

learned. In real fighting, the warrior encounters wildness and a total

absence of rules for the first time in the progress model. Sparring

matches, even contests, always contain an inner skeleton of rules. In

the movement goal level there is no certainty.

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BASIC PREMISE – PREPARATION FOR FIGHTING

The Methodical Pyramid is a progress-targeted model. It describes

process and progress in the learning of movement. It was developed as

a progress model of the Budo Ninjutsu martial-art, but soon honed into

a more comprehensive model that facilitates other movement goals.

This does not stand as a contradiction to other models that analyze

martial activities by other means. Most of these models try to use

analysis as means of navigation and categorization. There are models

that analyze martial-arts along other parameters such as types of

techniques, "softness", country of origin etc. Most other models do not

contradict the progress model presented in this booklet, even while

setting their own unique goals.

The Budo Ninjutsu martial-art progress model is based on the

following premise: a martial-art prepares its practitioners for

real fighting as well.

For the sake of clarity, I am well-aware of other aspects enhanced by

martial-arts, and apply them in my own groups: humaneness, physical

health, aesthetic and precise performance, and other realms that

embrace much more than just the narrow field of fighting.

This is in no sense an inconsistency. The basic premise of Budo

Ninjutsu, the same axis of the progress model, does not keep other

dimensions from developing in parallel.

The need for new terminology

As work on the model began, I used only Japanese names to describe

the different levels. In time, as more general applications were

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developed for the progress model, the use of English/Hebrew terms

seemed more apt. The tradition is, indeed, Japanese, but it needs to be

adapted to the West. The precise meaning of terms is important: the

existence of different interpretations for the same term hinders

learning and sharing knowledge among various disciplines. Some

contents that receive a precise definition in this booklet are different

from those commonly used in our field. As more professionals embrace

the names and terminology of this booklet they will comprehend the

model and facilitate communication amongst peers.

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THE PHYSICAL PREPARATION LEVEL

The components of physical preparation

At the base of the progress model resides the physical preparation.

Good physical preparation is the foundation of the martial-art and

many other disciplines of movement. This base is not an obstacle to be

overcome, but rather a domain that needs tending through ongoing

practice.

Physical preparation entails into four learning components:

a. movement pattern

b. strength

c. flexibility (range of movement)

d. fitness (cardio vascular fitness)

How to work with the model?

People are built very differently to begin with. This requires the

instructor, while planning the physical preparation:

1. to understand the entire model;

2. to possess reasonable knowledge in anatomy and general

physiology, and accommodate physical preparation to the pupil's

body state and aptitude;

3. to be able to deconstruct demands on the higher levels;

Minimizing injuries – physical preparation as a safety cover

The risk of injuries may be reduced through practice that prepares for

performance under the most rugged conditions and maximal effort. Seldom

will the student function at such effort levels, and physical preparation will

create a safety envelope in which the student functions without approaching

the limits of his physical ability.

A student who reaches such limits by practicing kicks for half an hour will be

dangerously and superfluously exerting himself, and risk tearing muscle

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fibers, tendons and ligaments. Therefore, if a half hour's kicking fight is at

hand, physical preparation requires practice for at least forty minutes. A

physically weak student can hardly be expected to maintain proper movement,

for his entire attention will be invested in overcoming his physical

shortcoming. Good physical ability enables the student to focus on the

training, on proper performance, and uphold the safety of his training partner,

as well.

Short-term effectiveness vs. and long-term abilities maintenance

The need for physical preparation is obvious. A person developing physical

skills in general and martial-arts in particular, who ignores the need to

prepare his body for action, injures himself both in the short and long terms.

In the short term, a martial-arts method that emphasizes kicks, for example,

requires physical preparation of leg power and hip-joint suppleness. A

competitive martial-art will also stress, among other elements, heart-lung

stamina, etc.

The lack of a proper physical preparation will not enable adequate

performance of moves. It might even rule it out entirely. The problem of short

term effectiveness is so well understood, that all martial-arts I am familiar

with solve it properly. Because in our specific end goal there is the demand for

long term activity, meaning many years of training, it requires the instructor

to prepare a good long term basis while planning the levels according to the

model.

Correct movement pattern – emphasizing proper movement

Long-term over or misuse injuries are a tricky matter. Without using a

suitable model, the student will inevitably be injured when movement

patterns and wrong habits have already set in. Change is difficult at this stage.

Therefore, beyond stamina, muscle strength and flexibility, good physical

preparation must sustain an additional element: 'correct movement pattern'.

This term applies to motor development befitting the student's age - the

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ability to creep, crawl, walk, run, rise from sitting to standing, and more.

Adults normally possess these abilities as these are the basis for acquiring any

complex motor skills.

'Correct movement pattern' as a training element, should be an inseparable

component of the physical preparation level, for in many cases students lack

basic motor capabilities. Some entirely lack a basic motor skill such as

crawling or running, while others do not reach the required level of execution.

Students with even minor developmental deficiencies might not able to

perform certain movements and will therefore be barred from complex

techniques.

The instructor observes students at the physical preparation level, in order to

ascertain their normal motor abilities and locate problems. Training aims to

increase all three other components of physical preparation: muscle strength,

flexibility and fitness. Adequate dosage of each is related to the type of goal

activity required in the specific martial-art, as well as to the maintenance and

preservation of skills in the long run.

Correcting at the lower levels of the pyramid

"Technical faults are best corrected at the lowest level at which they appear.

Analyzing the movement of a student who does not spar well, one might find

his legs lack strength and flexibility. In such a case, correction will take place

at the physical preparation level. Results should be followed-up at the

foundation level, the kihon (kicks etc.), the movement sequence level, the

Kata, and the sparring level, the randori.

A student who begins to train and cannot roll properly (namely, master a

movement on the foundation level) is best corrected at the physical

preparation level. One of my students had difficulty rolling. Two main

obstacles were observed at the physical preparation level: limited movement

range in the thoracic spine and adjoining ribs, and the inability to coordinate

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lateral flexion in that area. The same student could not crawl normally

because of his limited grasp of movement pattern. The solution was to learn

proper crawling and train for several weeks in order to expand the movement

range of his rib cage. After achieving the proper movement pattern on the

physical preparation level, the student was able to perform a perfect roll

without undue effort.

Long-term health

Some types of physical activity are harmful when done to excess. Research

indicates that running over 150 km a week often lowers the body's resistance

to disease. Other studies associate frequent strikes to the head in professional

boxing with a considerable risk of Parkinson's disease. Apart form such

extreme dangers; a wide variety of injuries in training is the result of misusing

or overusing different body systems.

As we began to follow-up such instances of training injuries, over 30% of my

students were found prone to knee problems (from pain to states requiring

meniscus-removal). Over 25% were prone to back problems (from neck pains,

upper and lower back, to herniated discs). Knee and back problems usually

appear as an evidence of misuse! Students should be encouraged, as should

we, to regard such pain as warning signals, to locate and correct harmful

movement habits, as stated before, at the lowest level in the pyramid.

Proper stance should be maintained; correct and precise feet position; strong

legs; hip-joint range of movement; all begin with good and thorough physical

preparation and the foundation for the long-run.

Using feedback from the higher levels – the expert instructor's domain

The progress model does not contradict most existing training methods in the

martial-arts; it can only systematically augment them. Combined, the model

helps its users re-examine again and again the necessity of certain exercises on

the physical preparation level. Some physical preparation components

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necessary for beginners are no longer useful in more advanced levels of the

art, and become superfluous.

The progress model offers a goal oriented perspective that allows for feedback

at the higher levels and, as a result, very precise change of the physical

preparation. Such feedback is crucial – needs change even within the same

technique. Youth groups training in Budo Ninjutsu at its advanced levels are

required to meet high standards of stamina and strong sparring. Children

groups' training emphasizes easier and more varied activity. These different

age groups face different challenges.

Working with scientific knowledge in martial arts training

Scientific knowledge relevant to the physical preparation changes with current

research. Methods considered valid several years ago, have been scientifically

examined and refuted.

We now know, for example, that short bounces and stretches are not the best

way to achieve flexibility for increasing movement range. There are far better

ways to do that. We know that stamina training performed at 70-80% of the

maximal heart rate suffices to preserve reasonable fitness. Studies indicate

that a deficiency in liquid intake during training injures the kidneys and

decreases concentration, muscle strength, and potential aerobic effort.

Another study associates knee pain with limited knee flexion etc. Scientific

literature is replete with studies and conclusions that may improve training

and preserve our health. Working with the model facilitates changes because

there is no dogma to follow but the dogma of usability, efficiency and

improvement.

In summary: using the model and the flow of feedback from all its levels, we

can change the physical preparation and adjust it to the activity in the more

advanced levels, as well as integrate constantly the development of relevant

scientific knowledge.

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KIHON – THE FOUNDATION LEVEL

What is the foundation level?

The foundation level succeeds the physical preparation in the pyramid model.

The Japanese term for this foundation is kihon.

The foundation level in martial-arts consists of their basic building blocks:

individual techniques of kicks, strikes, locks, throws, stances etc. Such basic

techniques are the components of performance at higher levels.

The foundation level and its individual techniques are enormously important.

An individual technique such as a punch or a throw might prove crucial in

winning a real fight or sparring. Furthermore, faulty or imprecise

performance of such techniques will hinder progress.

Many martial-arts have a detailed traditional level of fundamental

movements. This is not the case in Ninjutsu. Most of the knowledge was

concentrated in fixed movement sequences (Katas). The foundation level in

our dojo is in fact artificial, and intentionally created. Doron Navon and his

peers in Israel and Japan isolated basic moves of the Katas and thus filled the

foundation level, the kihon, with numerous individual techniques that may be

practiced one by one.

Feedback from higher levels improves focusing on the important basics

The model offers two options:

1. Deconstructing movement sequences into single components, thereby

enabling selective training;

2. Using the results, the individual techniques, in order to introduce

change and construct new sequences;

An example of deconstruction and practice: When I participated in

competitive sparring as a child, I realized that a certain movement sequence is

actually an advantage. Trying it myself, I failed. Later I did the natural thing

for many martial-artists – took this sequence apart: gliding step, forward

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punch, and spin-kick while diving down. Deconstruction was followed by

practice. Most of the components of this sequence were easy, but the spin-kick

combined with the fall was complicated, so I concentrated on that crux.

Understanding needs on the higher levels should induce systematic practice at

the foundation level of those techniques that constitute an advantage.

Reasons for focusing practice on individual techniques

Performance can be honed and enhanced by first practicing the individual

technique. Technical inefficiency and faulty performance are often the result

of inadequate practice of basic technique. In cases where progress ceases and

performance is weak at the sparring level, practitioners should back down two

levels and check the performance of basic moves. If that is where the problem

lies, practice focused on individual basic techniques will prove fruitful at the

more advanced levels.

Correction at the lowest level

As in the physical preparation level, both the instructor and the student aim to

locate the lowest level where faults appear, and correct them at that level.

Namely, movement problems should be solved where they first appear. If even

after a proper physical preparation, the sparring practitioner has difficulty

with throws, practice of throw-components on the foundation level will

improve performance at the higher levels.

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KATA – FIXED PRACTICE SEQUENCES

What is a Kata?

When individual techniques compose a movement sequence and are

preserved by regular practice, the result is a Kata, or fixed practice – the main

form of training in numerous martial-arts. The numerous types of Katas that

exist are presented here in two categories – performed individually and

partnered. There are other possible divisions: strong and rapid Katas vs. slow,

soft ones. The progress model does not contradict traditional categories – it

offers another perspective, one of progress, which can be applied to all the

divisions. A student will progress well with this model regardless of the

'softness' or 'hardness' of the Katas executed.

The two person Kata in Budo Ninjutsu – preserving fight insights

In our martial-art, the Kata is the primary tool for preserving martial

knowledge. A sequence is more similar to a real-fight situation than the

individual movement. Most Katas we practice have been preserved in the

ancient Japanese format, whereby the Kata is practiced with a partner, each

with his prescribed role. This format preserves a short combat scenario, and a

special understanding stemming from this sequence. Since the sequence is

made up of a few moves, performance of this ancient form of Kata is short.

Such Kata-format is very ancient and may be found in several koryu martial-

arts.

The one person traditional Katas

The Kata families involving one or more partners are called in this model

partner-synchronized Katas.

The practice of a Kata without an active partner places it in the category of

individually-executed Katas. Many of these Katas combine numerous combat

scenarios with multiple opponents, creating a sequence fought with imagined

opponents.

In such individually-executed Katas, imagination and concentration on

imaginary opponents is emphasized (Zan shin). Another mode of execution

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emphasizes stance, breathing and concentration rather than imagining one's

opponents. Both modes – 'external' and 'internal' – have no fixed limits, and

usually individually-executed Katas, relate to breathing, concentration and

the like. These Katas are an excellent practice tool, not requiring a skilled

partner, and their high 'practicability' is an added benefit.

Kata learning process

The learning process of both Kata categories – partner-synchronized and

individually-executed Katas – is similar. It begins by learning the basic moves

at the foundation level, the kihon. They are then learned as sequences –

'choreography'. But the basic performance of the partner-synchronized Katas

sets even further demands: learning the proper range as well as its right

timing when performed against a partner.

This is nothing new: it is common to most of the martial-arts with which I am

familiar.

The initiated Kata

Both types of Katas: the partner-synchronized and the individually-executed

Katas may lead to an additional, important 'family' of Katas: the initiated

Kata. In movement skills where no fixed sequence exists, there is room and

much need for the initiated Kata, either partner-synchronized or

individually-executed. Inventing a sequence enables both the practice of

important sequences and an easy tool for memorizing.

The initiated Kata can be a traditional Kata in which changes have been

made. The main purpose for such changes is to accommodate the Kata to

different situations. The traditional Kata, of both types, aims to apply and

practice certain insights. These might be fresh even today, but at times, under

changing circumstances, new insights ('internal' and 'external') appear. Then,

alongside the older, preserved insights, an initiated Kata can be created,

preserving such new insights in its moves.

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Similar work of creating initiated Katas and their collection was done in

Japan in the 1960's and 70's, as sword-fighting martial-artists of all the main

schools gathered and decided about collecting and changing Iai Jutsu and

Batto Jutsu katas from various traditional methods. New accents in

performance were meant to meet the need for exercising sword-drawing

which would be easy to learn and practice. This collection of Katas was named

"Saitei gata" and is now practiced internationally and in Japan, in the form of

the martial-art Iaido.

Initiated Kata -What changes can be made in traditional Katas?

Changes take place on two levels: basic and advanced.

Basic changes take place in

1. breathing and concentration;

2. performance speed;

3. performance rhythm;

Advanced changes take place in

1. the type of technique (including the rival's);

2. range;

3. increasing number of rivals;

4. use of weapons;

5. performance on difficult terrain;

6. performance in difficult visibility;

7. performance in difficult weather conditions;

8. clothing;

Many of my peers, martial-artists of various schools, have observed the list of

changes possible in a Kata and immediately responded: "We always make

such changes." Some changes, even advanced ones, are seen instinctively in

many martial-arts: for example, changes in performance of Katas on difficult

terrain. Both individually-executed and partner-synchronized Katas change

when performed on rocky terrain or upon especially slippery surfaces.

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In both basic and advanced changes, there is room for change of breathing

and concentration in performance. Several changes may be made at the same

time. For example, in a Kata performed at high speed in close range vs.

multiple opponents.

Set practice sequences in other fields

Set practice is a primary training tool. It enables rehearsing a large number of

fundamental moves and helps preserve knowledge. If we observe just the

movement aspect of first-aid procedures, we see extensive use of set practices.

Every medic learns and practices the 'resuscitation Kata' with a partner or

dummy. This fixed practice was created especially to develop the basic actions

in sequence: checking breathing and restoring respiration, checking pulse and

performing heart massage. The relatively simple movement skill that is

required for initial resuscitation procedures is learned quickly. A fighter pilot,

on the other hand, invests much time in repeating dozens and hundreds of set

practices for various instances. Planners of medic training programs, just like

pilot trainers, have long since understood the need for set practice - the

initiated Kata.

Spiritual role of the Kata in martial-arts

Even though this model focuses on pragmatic goals, it is not blind to other

aspects of training. In martial-arts – unlike fighter-pilot or first-aid training –

the way is no less important than the goal itself. The Kata and its practice

have a spiritual role in understanding many insights. As indicated earlier (the

section about the spiritual framework of Budo Ninjutsu), there are three

phases of practice: preserving (the traditional Kata), breaking (the

initiatied Kata), and letting go (the randori).

The latter stage begins in the sparring, at the next level, but letting go can

happen at the Kata level as well, after years of Kata practice. The warrior has

internalized the Katas by then, and performs them effortlessly.

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SPARRING – RANDORI

How does sparring differ from the real-fight level?

The sparring level is the free practice of all the techniques and achievements

of the former levels, with a practice – opponent, uke, whose moves are

unforeseen. All activity at this level is partner-synchronized.

Much work has been done in our school, AKBAN, to expose hidden

assumptions and articulate the differences between real danger situations and

sparring practice that prepares for such eventualities. There are many types of

sparring, but all are distinct from real fight situations, however, in that all

sparring has underlying sets of rules, shared by all participants. Some of the

rule sets that underlie sparring and shiai are public while sometimes there are

common rules that are not articulated. In the sparring level, some actions are

prohibited – whereas in real fights there are no such restraints. Real fights

contain a personal application of what Carl von Clausewitz - calls 'total war'.

Sparring, always tuned to inner rules

The complexity of inner rules might be illustrated with an example from

music: musicians who have already mastered the rules and are familiar

enough with the rhythmic and tonal components to share them

spontaneously. They are then able to improvise new musical material. Their

improvisation will abide by the rules and still respond immediately to changes

they introduce. If such music is well performed, their 'free sparring jam

session' is harmonious and well-timed. A player who is out of tune or 'out of

sync' will sound neither harmonious nor pleasing. Sparring - free practice with

an opponent - resembles musical improvisation which adheres to commonly

accepted rules and constraints.

In my field – the martial-arts – even the toughest competition fights adhere to

inner sets of rules. If such a skeleton is broken by one of the opponents, the

fight is immediately suspended. There are known instances of this: boxer Mike

Tyson bit off a chunk of Evander Holyfield's ear at a world championship

fight, forfeiting that fight on the spot. Even in the most extreme mixed martial

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arts competitions (MMA) there are certain rules: no use of 'cold steel', no use

of firearms, no multiple assailants, etc.

Can a competition-fight be regarded as a real-fight?

At the top of the Budo Ninjutsu progress model, the real-fight differs from

sparring in that the former has no inherent rules. This would seem to

constitute a problem: fierce competitive fights – such that challenge the

fighting spirit and jeopardize the warrior's safety – are included in the special

case of Budo Ninjutsu at the sparring level only. This methodical choice, in

our case, is explainable. It does not constitute a lighthearted approach of

competition fight, on the contrary,

Competitive fighting is risky, in that it demands courage and technical

expertise. However, it indicates the presence of set rules for competition.

The instructor of a martial-art in which most of the effort is dedicated to

competitive achievement and fighting, can and should place competitive

rather than real-fighting at the head of the progress model. In martial-arts

that emphasize preparation for life-or-death fights as well, a clear line must be

drawn between real-fight and sparring, as fierce as the latter may be. This

distinction prevents surprises in real-fighting. This is the reason that in our

private analysis, according to the Budo Ninjutsu founding rational, we put at

the top of the pyramid confrontation with no rules.

Health and injuries – Another reason for the distinction between real-fighting and sparring

The section on preparation for real-fighting would seem to be the last place for

standards of movement and rules, given that real-fighting characteristically

lacks accepted rules. Apparently, then, the sparring level is the last real phase

where we may control such rules.

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The purpose of the progress model is to offer tools of control for all progress

phases, and improve performance. Achievements in Budo Ninjutsu are not

meant to be temporary. They promise many years of outstanding

performance. The risk, however, is that without separating the various levels,

and narrowly focusing only on aggressive effectiveness, temporary

achievements tend to mix with faulty technique. Such performance often

causes physical problems (which could have been corrected at the basic

levels).

Even in precise technique, injury may be sustained at the sparring level if the

two opponents are not matched, and one or both are not familiar with the

inherent rules of the specific sparring. Lack of distinction between sparring

and real-fighting might thus often results in disaster.

Possible physical change at the sparring level

Possible change and learning is another reason to distinguish – as the

progress model does – between sparring and real-fighting. Fierce, competitive

'sparring' and real-fighting may appear very similar. They do differ, however,

in their potential for change. At the next level, that of 'real-fighting', control

over responses and processes is limited, and is exercised only by fighters at

their highest personal and professional development levels. With others,

changes or new habits can be acquired only at the sparring level, or earlier.

Change at the 'real-fighting' level, and at times in intense sparring fights,

happens in retrospect: not during the fight but afterwards, when the warrior

can draw his conclusions. (This concerns the type of violent confrontation that

lasts mere minutes or seconds, rather than wars or confrontations that last

days or weeks. In the latter case, slightly different rules are applicable).

What is important in groups?

In training, emphasis should be placed on avoiding injury. In real-fighting the

warrior cannot avoid taking calculated risks. Injuries incurred while sparring

are a superfluous risk that should be prevented by good physical preparation,

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precise performance of the fundamental moves (kihon), and internalizing the

inner rules of the sparring level.

The inability to clearly distinguish sparring from real-fighting almost always

leads to injury.

Technical characteristics of two types of sparring – advantages and disadvantages

Easy sparring – advantages:

1. the possibility to develop sequences, techniques and new modes of

performance;

2. practicable for many years;

3. easier to perform physically;

4. low risk of injury;

5. opportunity to practice timing, balance, and throwing and falling skills;

6. no protective gear: simulation of everyday apparel and gear;

7. developing strike and defense timing

8. with protective gear: simulating strikes and kicks with real-fight power

and speed; reducing hand- or foot strike-related injuries; getting used

to protective gear creates wrong habits. Strikes that do not seem

dangerous with protective gear are more dangerous without it.

9. free sparring: strikes and kicks, throws and locks – technical simulation

of real fighting;

10. teaches maximal caution

11. raises sensitivity to opponent;

Disadvantages of easy sparring

1. slows down some of the student's reactions;

2. does not confront the student with stress situations;

Disadvantages of competitive sparring (Shiai)

1. potentially dangerous if physical preparation and foundation are

deficient;

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2. requires practice and familiarity with the rules by both partners;

3. possible serious injuries as a result of clumsy falling;

4. no possibility for full-intensity striking at certain weak points;

5. requires training and preparation of all the practiced techniques and

counters. higher risk of injury;

6. poses difficulties in developing new performance techniques;

Advantages of competitive sparring

1. prepares the student for real-fighting stress;

2. opportunity for intensive practice of high speed and timing;

TATAKAI – REAL-FIGHT LEVEL

The movement goal at the top of AKBAN's methodical pyramid

Movement goal – a realistic constraint, not wishful thinking

The term for the progress model's top level – movement goal – might prove

misleading. In our method, not only is there no commitment to arrive at a

'goal' of real fighting, we usually prefer to avoid it. However, in martial-arts

that emphasize sports or other movement skills, the movement goal is

different: a competition which one aspires to reach repeatedly might serve as a

sports goal.

The movement goal level in Budo Ninjutsu – real-fight level – does not

describe an instruction process, or the end of the instruction process. It is

solely a point of reference. This is the level of violent reality. It is the endless

provision of our social life, exerting force and physically injuring the other.

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This level is placed at the head of the progress model not because it is the

ultimate test of the warrior's ability, but rather to let reality cast its imposing

shadow on all progress levels.

Letting go in real-fighting

The level of the real-fight (movement goal level) presents a state of affairs

different from other levels. The needs of this level demand a unique emphasis

such as disregarding injuries in order to survive. The spirit of this level is that

"performance is more importance than the performer". In fact, this is not true,

for it is the person and not the fight that is the goal. But the spirit of the motto

is fitting. If, driven by fear, the warrior hesitates to act at the right moment;

his chances in a real-fight are reduced. This is one gloomy characteristic of

'letting go' that was mentioned in the section describing spiritual progress.

Learning through real-fighting

The first phase of preparing for a real situation is learning from previous

cases. Thus, in my groups, there is a documented archive (written and video-

taped) of real-fights in which students and others have been forced to take

part. Here hundreds of fights are recorded, a valuable asset which my

instructor colleagues and I can analyze and isolate cases for which we prepare

ourselves, changing the contents of the model levels accordingly.

Documentation of confrontation components must be as detailed as possible,

and include the following:

1. the assailants' primary purpose, and whether it changed during the

confrontation;

2. the kind of terrain on which the confrontation took place;

3. the techniques used;

4. were any weapons used and how;

5. how did the confrontation end;

6. Any fact that will help the instructor analyze the confrontation and

prepare for a similar one, e.g. clothing, by-standers' engagement, etc.

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Analysis of the images offers the instructor a wide variety of facts to be

integrated into the training model, from the physical preparation level, all the

way to the sparring level.

Martial-art sports – how can facts be drawn from the movement goal level?

In martial-arts practiced with an emphasis on sport competition and other

movement skills, the movement goal level serves as a source for facts not

similar to the real-fight level.

If the movement goal level is competition, the general picture is rather clear.

The instructor, gathering facts from this level, must observe as many

competitions as possible and record their components. To my knowledge,

similar analysis is done in all competitive martial-arts. In competitive Judo,

for example, there are statistics indicating the practices most beneficial for

competition, such that help score the highest, etc. With such statistics at hand,

and the analysis of opponents' preferred practices, the instructor can

construct a training program to optimally prepare participants to compete.

Example for applying the progress model in Budo Ninjutsu

Years ago I began to note real-fights. At first I recorded violent confrontations

of my own experience, but after half a year I began to record street fights,

certain competition fights, and confrontations in which my colleagues and

friends were involved. This notebook as well as numerous video tapes serve as

a reality check: does technical focus in the dojo prepare for proper response in

a violent situation in reality? Perhaps it provides tools for an imaginary

confrontation? Are certain techniques effective? If so, what are such

situations?

Some of the information deals with multiple opponents in a violent

confrontation.

The most common scenario targeted by martial-arts training is a violent

situation with one assailant. After a few years of noting down real-fights and

analyzing them with the progress model, several larger pictures came into

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focus: defense against weapons, competitive fights, techniques that may be

successfully performed on difficult terrain and many others that were formed

out of the wide-range of information at hand.

In this section I shall refer only to one type, although in my instruction I try to

relate to several (involving weapons, certain competitive fights, etc.).

Some conclusions drawn from the street-fight scenarios

1. many of the situations involving a single assailant were avoidable, or

relatively easy to withdraw;

2. A larger part of the cases involved multiple assailants, and were

unavoidable. (the larger number of assailants increased their

confidence);

3. More scenarios took place with several assailants, less with a single

assailant.

4. a rather consistent action pattern was revealed, in confrontations with

several assailants;

5. certain modes of operation proved successful time and again, others

did not prove effective as defense;

(I was especially concerned with item no. 3; was I actually preparing my

students to confront a single opponent, while such confrontations are rare and

usually avoidable?) A new instruction plan was needed, to meet the demand

for proper confrontational performance which would still preserve the

traditional characteristics of the martial-art.

Working with the progress model

In those early years, as the picture of multiple-opponent fighting became

clearer, the progress model was at its initial stages. My idea then was that

"insufficient preparation for multiple-opponent fighting requires more

multiple-opponent sparring". This thought was followed by doing – first by

me, then with veteran students. We began with fierce sparring one-on-one,

and occasionally, with multiple opponents. We did see certain progress and

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were rather lucky, but injuries happened soon enough, and rather frequently.

Neither was the progress itself satisfactory: in especially fierce sparring

correct technique was altogether forgotten and made way for sheer

aggressiveness and harmful body misuse.

At times, martial-art education disregards injury. Thus, as a student I

remained rather indifferent to my own injuries: a broken nose, fractured

fingers, concussions, broken teeth, fractured jaw and ribs, etc. As I began to

teach, this attitude changed completely: I found myself much more upset with

a student's injury and noticed a repeated pattern: I could not correct my

students as they sparred. Certain injuries were related to poor physical ability,

and for a long time I failed to introduce movement unique to Budo Ninjutsu

into the sparring fights. These were actual fights and benefited us only in a

limited way.

Even then, before using the model, the partial result of my lack of

understanding at the time shows that certain results may be achieved even in

ignorance. The number of students was constantly growing, and indicated that

popularity is not always a yardstick for professionalism.

Beginning of a solution

In those years the training session was divided in two: the traditional part in

which Katas and their endless variations were performed, and the fighting

part, in which students sparred with each other and with me. The two parts

touched upon each other only incidentally. At times, a part of a Kata or even a

single precise movement would appear in a sparring fight. To the untrained

eye, most of the fights looked like street brawls. One day, while practicing a

traditional Kata, I introduced an intended change in the Kata: instead of

performing it as one would respond to an assault seven hundred years ago, I

used it in response to one of the wild techniques popular in our own sparring.

I was hit by a kick instead of a ray of light, but a some understanding hit me as

well. I realized instantly that in order to improve sparring, we had to adapt the

Katas to the fights, with precision.

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I began to introduce intended change into the Katas and the single moves that

compose them. Changes were now also inspired by the real life sequences I

had analyzed in the fight notebook.

Division into levels of progress

The division into degrees of complexity yielded the progress model. As soon as

the model began to work, a considerable improvement was noted in the

training and its achievements. The sparring fight was planned so as to

correspond precisely to real- fighting. One could change or choose Katas

suited for sparring and real-fighting; choose single moves that were needed in

the Katas and create the physical preparation adequate for the effort

anticipated at all levels.

The specific solution – from the top down

Fierce sparring with multiple opponents must be carried out so that no

injuries will be sustained, with full protective gear. This is the primary

requirement: diminish injury.

• sparring was graded so as to teach fighting skills first against a

single opponent, and only subsequently with multiple

opponents;

• at the Kata level: traditional Katas were chosen, partner-

synchronized, that accommodate work against multiple

opponents; suitable initiated Katas were created;

• at the foundation level: single moves of the kihon level were

chosen and emphasized, such as have already proven effective at

the real-fight and sparring levels with multiple opponents;

• at the physical preparation level: since sparring with

multiple opponents and at times real-fights, as well, demand

superb physical fitness and movement, the physical preparation

level emphasizes stamina (cardio-pulmonary) and leg power.

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Conclusions of the methodical pyramid

1. Real-fights are not the goal. They are the reality.

2. Real-fights should be fought with full force. The division into levels of

the methodical pyramid is meant solely for planning and

understanding. The pyramid is a tool for AKBAN instructors to plan

training sessions for their students.

3. The methodical pyramid divides only the learning process – not the

fighting – into levels. This division facilitates more professional

planning.

4. The levels of learning progress gradually from general skills to real-

fighting:

I. Physical preparation – general physical capacity: strength,

flexibility, stamina etc.

II. Basic moves – strikes, kicks, throws, basic strikes with weapons

etc.

III. Katas – basic move sequences vs. an opponent.

IV. Randori – full-contact sparring whose variables and rules are

determined by the earlier and next levels.

V. Tatakai – real-fighting;

5. All planning and preparation is based on profound understanding and

analysis of the real-fighting level – this should be the special skill of

instructors. If we end up in outer space 'real-fighting' with eight-limbed

aliens equipped with laser guns, we would change and adapt our terrain

skills, sparring practices, Katas, foundation and physical preparation

levels.

6. Analyzing real-fights, the types of practice required should be

considered as well as the number of opponents, their weapons, their

mental state and terrain conditions. Overlooking any of these givens

would lead to inadequate sparring and deficient preparation.

7. We practice terrain skills, without which preparation lacks a central

component.

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8. Precise and consistent performance at every level of the pyramid

depends upon filling the requirements of the previous level. Winning

without understanding or preparation is, in fact, 'beginners' luck'.

9. Mistakes in execution should be located and corrected at the lowest

level at which they appear.

10. The Katas in Budo Ninjutsu are centuries-old. They constitute a

documentation of real-fights in natural terrain against a great variety of

opponents, weapons and techniques. Alongside the adaptation we

make to modern real-fights, we preserve the lessons learned from

ancient real-fights. This is our tradition.

11. Foundation practice is not Kata practice. At the foundation level we

concentrate on precision, adequate strength and proper movement

pattern.

12. Katas are not sparring. At the Katas level we practice with one or more

partners sequences of foundation moves and learn set responses to the

opponent's moves.

13. Sparring is not real fighting! At the sparring level we conduct fights that

resemble real ones in all their components save the main one: there is

no intent to harm the partner, but rather to spare him so that he will

continue to practice. Partners can be injured quite easily, which may

result in suffering and the loss of training time. Fierce sparring is

possible by limiting moves (no throws) and using protective gear.

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SUMMARY

The detailed progress model helps locate problems, isolate them and focus

on their solution. One of the main problems, unnecessary injuries, can be

located at every progress level. Recognizing causes of injury is the first

step to diminishing injuries to opponents and self as a result of body

misuse.

The model aims to develop not only progress but also communication

amongst martial-artists. Agreement is not a prerequisite – the progress

model is open to criticism, but mutual understanding is needed in order to

avoid mistakes made by others in the past. If one realizes the inevitable

necessity of proper physical preparation, then it is no longer important

whether preparation is geared for Budo Ninjutsu or for a competitive Judo

fight. Understanding the benefit of Kata practice, it no longer matters

whether these are individually-executed or partner-synchronized. And

most importantly, if the difference between sparring and real- fighting is

understood, training addresses violent reality but without bringing its ugly

face into the dojo – where the method is practiced.

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Perspective for fighters

Budo (fighting method) training is comprised of components much more

significant than the mere preparation fighting. Training is a way of life, an

ongoing pastime that has its own inner reason, not fully conceivable.

Training as preparation is wonderful. Preparing all life long is a great loss.

'Row, row, row your boat until you get to the shore', is what they say. But

the shore is already here: training and understanding are one and the same

(Shu Sho Ichi Nyo)

The understanding of violent reality belongs to the first two spiritual

phases – preserving and breaking. Sparring – with the years – belongs to

the third phase, letting go.