How do you improve your martial arts training? As
a teacher, how do you keep your students engaged and foster their development?
The “traditional” way is to tell the students to
train harder, and make more repetitions to somehow internalize the hidden
lessons these practices have to teach.
Is there a better way?
Russ Smith, the chief instructor at the Burinkan Dojo,
where he primarily teaches Goju-ryu Karate, has examined these questions and
has come up with an answer in his new book, Principle-Driven Skill Development,
published by Tambuli Media.
The traditional idea of training harder resonates
with the theory of 10,000 hours of practice which has been largely misinterpreted
by many after being brought to public attention by Malcolm Gladwell in his
book, Outliers.
When the public became aware of the 10,000-hour theory,
people in all sorts of activities thought that if they simply increased the
time of their practice sessions, accumulate their 10,000 hours and master their
subject. Bam!
It doesn’t work that way. The original paperdescribes 10,000 of deliberate practice.
What Mr. Smith came around to is applying the
ideas of deliberate practice to karate instruction.
Using his own Goju-ryu as an example, in his book
he delivers a blue print for imparting instruction and conducting practice for the
more rapid and satisfying progress of his students.
Smith begins with a clear, unambiguous
vocabulary, where a given word or term is not used to describe many different
things; or many different terms or words are used to describe one thing – a source
of confusion for students.
He then very clearly breaks down what he feels
are the core principles, strategies, tactics and preferences for his Goju-ryu
style.
Beginning with the most basic elements upon which
the others are built, Smith goes on to show how through many appropriate drills,
that his students can come to truly understand that element. The drills
aren’t the gold; they are only tools to be picked up, used or set aside
depending on how well they work for that specific student.
Smith reaches out to the ancestor arts of
Goju-ryu, such as Five Ancestors, Pak Mei and White Crane, to add depth and a
greater dimension to his drills.
Learning a physical technique is pretty simple.
Much more difficult is understanding. Understanding is the key. With
understanding the student can see how each element fits into the whole and increasingly
become self-correcting.
Smith is then able to circle back to the foci of
traditional instruction, basics and kata, to demonstrate how these elements are
alive in these practices. Basics and kata now become more relevant to the
student and something much, much more than they physical exercise they
represent. From the understanding acquired, the student is then more easily
able to apply what he has learned to free practice, kumite.
Mr. Smith believes that this approach can be
applied to the instruction and practice of any martial art. The original paper
on deliberate practice bears him out.
Mr Smith gives us a practical case study and
application of the theory of deliberate practice in martial arts. I have
benefited from his book in my own practice of taijiquan. I think that you will
too.
To what extent does the book apply to arts other than Karate? Is the information written in such a way as to form a tool set that one can use to approach a different art?
ReplyDeleteThanks
Also included are concepts and techniques from White Crane, Five Ancestor Boxing, Pak Mei and other arts.
DeleteI think the author did a good job identifying the principles, characteristics and preferences that he wanted to focus upon. He explained how he developed the drills he used to teach them and then tied these back to traditional practices.
ReplyDeleteI could see using this blueprint with the aikido I practiced as a young man as well as the taijiquan I practice now.
I wouldn’t expect to sit down and think up a fully formed system at once. You’d probably come up with an outline you expand, fill out and adjust as you acquire experience in deliberate practice.
I've used a ton of the information to laying out groundwork for my own students path primarily in wuzuquan, and pak mei classes, but have found parallels in almost any art I have been exposed to. Much has to do with the shared DNA, and principles within many arts. I am not a goju practitioner at all, and have found a wealth of usable knowledge to bring to the floor of every class. Principles are also explained in English, and not technically goju only, but almost universal in the arts. Goju just used for the photos, and demonstrations.
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