Three phase practice model
Three-phase learning models have been a part of human learning for a very long time. Brandon Sensei argues that they are archetypal. For an example central to Japanese arts see https://en.wikipedia.org/wiki/Shuhari. The process described below is unique not in its origins but in its specificity and application as part of his Conflict Done Well™ system.
This three phase practice model telescopes. For a student at the primary level, it is helpfully predictable. For a more advanced student it becomes progressivley more challenging, the three levels of practice defined by factors which shift to accomodate the purpose of a given session and developmental needs of the participants.
Phase One is fundamental, and refers to following as specifically as possible whatever has been demonstrated as basic (kihon) for the purposes of a given period. At the primary level (students early in their practice), this means naming the technique in Japanese before beginning, the throwing practicioner (nage) focuses on their own structure/posture and balance, and a slow stop-start movement in silence through each balance transition. The receiving practicioner (uke) is helpful, most ready to move in the way appropriate to the technique.
Phase Two is a blending (awase) flow (ki no nagare), opens the technique up to take in surroundings and awareness of potential other participants, and includes two scripted phrases that help the practitioners integrate a specific concept that is vital to the martial (in confict) application of each particular technique. At the primary level, this means that one partner will use simultaneous timing to continue the movement of the other, both speaking agreed upon words as they engage, with the focus of one being on the movement of and connection with the other. The receiving practicioner (uke) is neutral, only moving if their balance is taken consistently (kuzushi) in the way appropriate to the technique.
Phase Three draws all the elements of the previous two phases together, as though committing to both awareness of an entire system and this particular moment in time, connecting differing elements by making one beautiful knot of different strands (ki musubi)--a shared movement system around a dynamic center in a moment. At the primary level this means uncertainty and little explicit guidance, simplifying as much as possible to move directly to a different state, to speak or not, to attack physically or not emerges in the moment (takemusu), so that attention, choice, and movement become sharp and clear. The receiving practicioner is opposed and challenging, not only moving only if their balance is taken, but having their own agenda and movement still appropriate to learning the technique at an ever more advanced level.
In all of this, the uke does not introduce variations from the technique being studied in order to control and become the victor. That happens in technique reversal (kaishiwaza), sparring (kumite) and the chaotic level of group attacks (randori).
At an advanced level, each phase can expand into three sub-phases, for deeper integration of the process being practiced. For instance, a practice can:
remain basic (self and structure focused) while being done three ways: slowly, with more motion but with pauses for exploration or to return to a theme, and then as simply/directly as possible. This is Phase One expanded and expressed in a three part progression.
flow in different ways that 1) help to reinforce rather than challenge strutural integrity, 2) truly expand the space avalable for movement beyond the comfort zone, and 3) simplify through larger-than-life expansion rather than compression to tiny circles. This is Phase two expanded into three levels.
simplify without losing essential funtions so that 1) efforts at maintaining structure disappear in the establishment of posture 2) the minimum possible blend becomes sufficient before redirection and 3) adjustments are already made before anyone is fully aware that an interaction was in progress.
Kihon/Basic/Pausing
(pron. key-hohn), or Basic, concerned with Function and posture, attention to self, fundamental structure/balance
"Pausing to sense what I am actually doing, step-by-step, this is how I balance while connecting and blending. When someone is connected to me and I move into/with balance, they become aware of their own imbalance."
Ki no nagare/Flowing
concerned with taking the grounded functionalism into continuous connection and blending, attention to other and continuous connection
"Without pausing, continue the initial reception, connection, and attention to places where there is an imbalance."
Ki musubi/Integrating
the two previous stages tied together--woven into a moment, the martial Now in which each movement is the Finish and both legitimate (effective) self-defense and an embodiment of a carefully cultivated ethical character allow attention to be paid to all aspects of the system as choices are made now.
"Connecting as early as possible, immediately bring your structure into balance in a way that accounts for the parts of the system that are out of balance, and weave the actual movements happening together in a Now of dropping into a third point."
The thread that undelies and pushes one beyond the three part learning series, always repeating, is Takemusu (pron. tah-keh-moo-soo), or emergent improvisation in which each response is the ideal response to the choices happening in the whole conflict system. You may want to watch Aiki Peace Week 2012 Classes with Brandon Williamscraig for an articulation of the basic themes of aikido as it applies to Martial Nonviolence to put this all in context.
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