Higher Critical Thinking
and Martial Art Training
Dr. Rob Debelak, 6th Dan
November 2005
Fall 2005 marked my 25th year as a member of the American Karate System (32 years total involvement with the martial arts). I am grateful for the training my predecessors have trusted me with, and I can see where the quality input of others has shaped me as both teacher and as student.
After three decades of study, I can still say I very much enjoy learning something new! Often that “something new” comes as an old principle dressed in new clothes. For example: a few short years ago, I took up the study of Kendo. Like most novice swordsmen, I immediately drew on the idea that power and speed would vanquish my sparring partners. Wisdom though, soon set in, as I was on the receiving end of those who were more adept at sword play: not because of their speed or power alone, but because of experience and finesse produced from their years of training. Slighter steps and slower movements often proved more effective than blaring speed and powerful “batting” of the shinai (bamboo training sword). This is an old and well-known concept familiar to most of us in the empty-hand arena and as such may be seen as an old friend dressed in the new clothes of a fresh experience.’
This new sport aspect of sword training required adapting known principles to a new framework of application. Synthesizing what was effective for me in empty hand sparring, now with a training weapon, opened up new horizons to think about. I will venture a guess that readers of this page can relate. Many of you hold a level of Dan-ranking and function in some capacity as instructors, yet you too see yourselves as students who continue to learn and grow.
While instructor-status helps define our leadership roles, I would like to enhance personal and instructional ability by asking you to put yourself once again in the shoes of your students. For just a moment, recall those first awkward movements you performed as a novice karateka. Familiarity with the basics soon gave way to more innovative techniques and applications of the movements. What was once difficult became easier and effective/attractive in proper performance of kata, sparring, etc.
Without a doubt, time and practice are essentials to our learning and development! There is more though, at work in the big training scheme of things. So, with a common frame of reference in mind (developmental experience through the grades), this brief article presents food for thought at how students of any level (Dan ranks included), progress from beginner grades to advance black belt status.
*******
Bloom’s taxonomy (1950’s) is referenced in educational circles as a means to discuss higher critical thinking. This perspective on educational development diagrams basic knowledge of a given discipline through the following levels; knowledge, comprehension, application, analysis, synthesis, and evaluation. These are illustrated in the following manner (reading from the bottom up):
Evaluation
Synthesis
Analysis
Application
↑ Comprehension
Knowledge
The lower three tiers represent basic thinking practices. A few definitions will help:
-
“Knowledge” is the essential terminology, recall of basic facts, recognition, etc.
-
“Comprehension” implies a fundamental understanding of terms in the knowledge category, and includes functional definitions such as interpreting, organizing, describing, etc.
-
“Application,” as implied, is the skill or ability to put the basics into practice working toward some result. This also implies one learns further, by doing.
Relating these initial three elements to martial art training, “basics” easily connect to elementary stances, blocks, kicks, strikes, and the like. “Basics” also infer fundamental concepts related to areas of recall (such as remembering significant persons, places, and events in martial art history). Coupled with an understanding of protocol and basic strategy, instructors can gauge if and how etiquette, ethics, and tactical engagement integrate in the initial process of learning for their students (or for themselves!)
Without further elaboration, these three levels (knowledge, comprehension, application) form essential building blocks of a method by which the developing student is formed in the discipline of martial rigors.
Somewhat silently though, a process can become ingrained whereby the practitioner assumes merely learning basics at any given belt-level equates to martial prowess. Experience, as well as the grid above, reveals this is far from the truth. The instructor as coach, mentor, and friend does his or her students a greater service by honestly reminding and challenging the student to know what they do, why they do it, and to excel at greater levels of application. This learning process is unending. Even with age alone, those of us graying with time are forced to rethink how to perform basics with greater efficiency, overcoming the waning strength of our youth.
A case in point might be shown through examination of the basic low-block. This is among the first techniques learned at the beginner’s level, often performed in hard styles with speed and strength. Fundamental comprehension of the technique implies that giving the command, “low-block (gedan barai)” a student knows the primary accompanying front stance (zenkutsu dachi), distribution of weight, squaring of shoulders, action-reaction principle, and the like. The instructor merely says “low-block” and the rest is unpacked in the proper performance of the technique. Application is assessed by the instructor in the daily regimen of class sessions as well as in the formal examination cycle. Knowledge of the basic technique is built upon by some level of comprehension in order for application to occur.
-
“Application” though finds the same technique becomes the opening move of partner exercises, such as one and three step training. Further, it is among the primary techniques emphasized in the first kata learned by AKS white belts (H Form). In a grade-appropriate way, the student is challenged to use the same technique in a variety of settings. Ideally, this requires analyzing and synthesizing, albeit at fundamental levels; the complexity however, will appropriately increase as one makes progress through the ranks.
-
“Analysis” begins description of higher critical thought processes.
-
Ask a white belt to break down the low-block technique for explanation, and a variety of possible answers, if any, are offered. This is fine for this level of learning/development.
-
Ask a higher ranking student the same question of this technique, and one expects to hear specifics on the dynamics of movement, major muscle groups involved in the dynamics of motion, and other possible applications involving speed, form, power, focus, merits and demerits of situation use, etc.
→
To illustrate further, and to stimulate a little critical thinking for readers: why do we teach low-block, yet also tell our students not to drop their hands when sparring? The difference is not a contradiction; rather, analyzing forces us to engage situation-appropriate application of any given technique, and/or to begin asking the right kinds of questions: could training this low-block point us in the direction of some other, more important, higher-valued training principle?
“Application” is the foundation for “analysis” – one learns by doing. “Synthesis-Evaluation” then takes the basic concept and blends or tests the validity of the learned concept or behavior in other applications.
-
For example, one can identify the movements of low-block with the gripping or holding of an opponent’s hand as the downward movement of the technique parallels or synthesizes the similar movement of the basic low-block, now in a new setting or application (such as that of a wrist lock seen in the arts of Aikido, Hapkido, or Jiu Jitsu)
-
Other examples of synthesis-evaluation might be analytical comparison and reframing/use of the same downward block movement with weapon applications, such as in bo or sword kata (to name only two).
Where tailoring of the basic concept is needed, the advanced thinker (belt grade appropriate) makes the needed and appropriate changes for personal safety, technical efficiency, etc. The root is the basic technique; the advanced application is where higher critical thinking and execution come into play.
These graded levels of thinking are demonstrated in both word and deed. It is therefore, not simply enough for a higher ranking student to be able to perform a series of movements. Complexity of application is part of the karateka’s curriculum. The performance of a basic low-block or front snap kick at the white belt level, takes on, ideally, greater artistry at the brown and black belt levels. A fine case in point is the comparison of H Form with the technical demands of the 1st Dan Kata: Cat I (Nicho Cho Dan) developed by Mr. Sullenger, AKS 8th Dan.
In the progress from beginner to some mastery of a technique, it is helpful to periodically revisit the requirements for each belt with these points in mind. It is expected that students strive for and demonstrate higher critical thinking in their technical performance. Percentage wise, this emphasis will necessarily be greater at the higher levels of rank – and rightly so. Advancement in rank is tied to one’s ability to demonstrate higher critical thinking and application of basic martial knowledge. As the learning curve comes full circle, even the most fundamental of techniques may be performed with such simplicity that they take on a profound meaning. The evaluative level is not perceived as a step of “enlightenment;” rather, it is the perceptive stage of analysis and application whereby one knows and can critique why something works or does not work. Comparison and contrast operate here at an advanced stage of evaluation; a goal then is (ideally) for those advanced in rank to be able to express what they do and why they do it.
In short, as instructors, our role includes passing on good information. Finding age, belt-level, and development-appropriate ways to impart our wisdom is in the mix. We are better teachers as we find where our students are at with any given technique, and offer them the encouragement to excel. In the process, we build on prior grade-levels of material and experiences, concepts, etc. Our goal is not merely to perform a set of ritual movements – rather, it is teaching people how to think! That is where a noted difference is evident between the technician and the artist!
While this presentation isolates discussion and focus purely on the technical features of kicking, blocking, and striking, it is certainly applicable to other matters of history and theory. These as well, should ideally move from rudimentary knowledge to artistic conceptualization in the developing martial artist.
An oriental concept I have encountered that gets at this is: Shu – Ha – Ra (pronounced shoe, hah, ray). The implications relayed in this phrase are: one learns the basics; one modifies the basics; one finally breaks from the basics, transcending and creating a new look of the basic. A few qualifying thoughts:
-
I do not interpret this to mean abandonment of our past, nor are we changing purely for the sake of something new and posh.
-
Rather, the idea holds traditions in honor, yet recognizes that each person is of different stature, weight, speed ability, etc. Each person must tailor the basic technique to work effectively for her or himself.
-
Finally, the creative adaptability of the basic is seen when performed by the artist in new and effective ways, against a variety of opponents, each who are configured uniquely [See a prior AKS Punchline on my review of Paul Maslak’s helpful book, “Strategy in Unarmed Combat”]
Our own AKS history and present emphases of development reflect this very process:
-
We have basics of tradition taking us back to the 1960’s (when our art was known as American Chi Do Kwan). Prior to that, the historic connection to ancient oriental fighting arts is acknowledged. Our foundation is vitally linked to older values of respect, loyalty, and good old-fashioned hard work and sweat.
-
The AKS ideals continue vibrantly in adaptation of basic fighting concepts in the dojo, in the tournament arena, on the streets, or the battlefield. Mr. Lieb’s own story is a remarkable illustration of success in tournament competition where his adaptation, creativity, and willingness to attempt the unorthodox won him the recognition he enjoys today.
-
Our philosophical approach continues in that vein; one of our guiding principles has been, and is, to take the best and use it effectively; so that the AKS student is ideally trained to perform the best they can in any given situation.
To achieve that lofty goal, higher critical thinking skills will factor into the mix.
I offer then, as a system of training, the AKS has excellent principles in place for the introduction, development, advancement, and continued refinement of students, at any level. Intentionality of critical thinking emphases is offered as one training point to keep in mind as we pass along our knowledge to the next generation of AKS students.
As I grab my shinai then, one more time, I conclude that in terms of learning, teaching, and performing, a little saying (author unknown) I learned as young martial artist ties this discussion about thinking and technical performance together:
Difficult tasks must become easy
Easy tasks must become habit
Habit must become beautiful
◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊◊
If this article helped you to reflect/critically think a little more,
send your feedback thoughts to Dr. Debelak! It would be a pleasure to hear from you!
We welcome those who would like to contribute to this "quarterly" space. Please submit article to ljwerner@mail.com for considerations.
|
