Approaches to Teaching and Learning pt. 5

Expression Method

Next is the Expression Method (EM). Counter to IM, the Expression Method seeks to draw personal ability out of the student and makes his thinking a large part of the development process.

Instead of forcing him to accept indoctrination, he is guided through several stages of empowerment, namely physical (re)education, attitude orientation, affinity identification, skill development and practical application.

Because of the unpredictability and delicate psychological processes involved, it can sometimes take years or a matter of months before any noticeable change can be observed. This training method can also be described as experience-guided learning. It is the hallmark of many traditional martial arts and to be fair, traditional education.

A fictional scene reflects this training orientation. A student who had come to study from a silat master was told he had to perform physical duties around his master’s home. The reason is often and justifiably so, that if the master was to devote time to training him, his energies couldn’t be put to sustaining his livelihood.

However, tending to the garden or performing menial tasks served a double purpose. It was meant to educate the student in physical efficiency. Not only would he be taught to swing a hoe properly – using minimal strength and maximum leverage – to reduce long term physical damage and increase work efficiency, he would obviously receive superb physical conditioning.

Going to the gym always ends up with no productivity and glistening muscles, but farmwork got you that and potatoes as well.

Doing work would eventually bore the young student and once in a while, for displaying patience, kindness, diligence – and other good qualities that the master would have deliberately inculcated within him – he would be rewarded with a lesson of empowerment.

The master then identifies the student’s strength in a particular area and develops him towards mastering that end. If his coordination leans toward high fighting, his skills would be developed in that direction.

If he seems comfortable on the ground, then ground fighting and so on. However, the student wouldn’t be forced into any direction, simply given the opportunity to develop.

Finally, the student is given the opportunity to see for himself what he has achieved. He is tested not for what he has learned from his master, but for what he has discovered about himself.

Thus, confidence-breakers such as wrestling with wild animals, engaging full-fledged masters of rival schools, jumping into pits full of sharpened bamboo or being buried alive ensure that the student brings not his master with him to his tests, but that he has all the tools already at hand. He just had to discover them with a little help.

Brotherhood of the Blade Gathering

It's Coming!

Approaches to Teaching and Learning pt. 4

Disadvantages of IM

Unfortunately, there are two sides to every coin. A fighting-focused student usually shies away from the more esoteric aspects of the art such as ethics, responsibility, philosophy, religion, etc. Only a small percentage actually do find themselves interested in such topics and even less finally adopt it as an integral part of their worldview.

Secondly, a realistic setting doesn’t necessarily mean real. A reflex-conditioned fighter may find himself dealing with situations that were not inherent in his training. Since his analytical mind has already been trained to take a back seat to his reflexes, he may survive by sheer effort, but will rarely escape unscathed.

Thirdly, large group training creates minor mistakes and bad habits that unless attended to personally by a trained instructor (and not mass-produced carbon copy yes-men), could result in the ineffectiveness of the technique when applied combatively, or worse, muscular and ligament injury that will lead to permanent damage.

Fourthly, strict IM style training often mentally cages a student and teaches him to think within the box and rarely outside of it. This cuts off important avenues of creative and lateral thinking in problem solving. In combat, life or death hangs in the balance.

IM arts have been very popular in Malaysia because of their apparent systematic pedagogical style and are quite well represented among the major silat styles. Silat Seni Gayong[1], Silat Cekak and Silat Lincah are some of the better examples. Each of them has encountered the setbacks of the Impression Method and have compensated for them in their own ways.

For example, in Silat Cekak, after the initial memorisation and drilling of the standardised buah to completion, students are taken through a Skill Set. Unusual and sneaky attack styles are introduced, of which no standard answer was provided for in the syllabus. Students are guided to analyse the tools provided in the memorised buah and apply them in their unique fashion to counter these new threats.

Approaches to Teaching and Learning pt. 3

Teaching Pekiti-Tirsia in West Africa

Impression Method

The Impression Method (IM), which is technique or buah-based, relies heavily on the impression of the syllabus upon the mind and physique of the student.

This involves the creation of standardised blocks of movement with a set beginning and an end. The student begins with nothing and is taught to mimic and act out the blocks and eventually string them together.

The key characteristics of this system is the initial rigidity of the process, the stressing of reflex as against analytical thought and the belief that a particular block of movements (often termed technique) are a result of strenuous research and is the best possible answer to a particular incursion.

Although the term ‘buah’ is also used to describe any strikeform that makes contact with the opponent, even if it isn’t a reflex action but a result of strategic analysis, most modern Malaysian Silat styles subscribe to this impression method to achieve immediate results.

The advantages are numerous. It keeps the student’s attention focused upon the apparent physical goals of silat: that is learning how to fight. It creates a realistic setting in which the student learns: reacting off a partner who is simulating violence.

It also allows for minimal supervision of a large group: several instructors could monitor a group of hundreds. It allows for training of large numbers of students in a short span and it also produces immediate results: The student usually apply the technique drilled into him almost immediately.

Approaches to Teaching and Learning pt. 2

I. Impression

II. Expression

III. Activation

The truth is that all three methods are considered standard practise by many Melayu martial artists in Malaysia. Ironically, because of the often exclusiveness of major Silat Melayu styles in Malaysia, not many pesilat are aware of alternative training methods. That is, alternative to their own.

Approaches to Teaching and Learning pt. 1

Learning from the Master

We'll resume the knife discussion soon. In the meantime, we had an out of town visitor last week. A gentleman came to train with us from the West Coast who very little in the way of previous experience. I only had a few days to teach him, and I had no gauge of his ability nor capacity to learn. I wanted him to have the best, most fulfilling training experience possible under the circumstances, and I considered what would be the best approach to teaching under these parameters. In that spirit, I want to share an article written by my brother in Malaysia - Mohd Nadzrin Wahab - in serial form as promised...

Learning Silat: Nurture, Nature, or Gnosis

It is a standard scene. The student has come here to study silat. He harbours a personal goal in wanting to be able to defend himself. It may be for revenge, for protection, for self-development or simply for recreation.

He sees the other students milling about, talking about things other than martial arts until one of them becomes aware of the teacher approaching. He is the first to stand at attention followed by the others.

The teacher says a few words and indicates the beginning of the class. The students salute the teacher, their friends and begin training. Here, the commonality of this scene fractures into three separate realities.

I.

In one reality, the teacher asks one of his students to strike him in the chest. One obligingly does and is met with an evasion and a parry, a strike to the vitals, usually just indicated, followed up with a lock or takedown.

The teacher then repeats it a few more times, ensuring they remember what they see. Once he is satisfied, he tells them to copy his exact movements and apply them on their partners.

End of scene one.

II.

In a second reality, the teacher has prepared his student for months in the field. The work he does on the farm has given him proficiency in his physique.

When he executes the wardance, it is something neither master nor student has seen before. It comes naturally to him, and yet, each blossoming of the hands and prancing of the feet are calculated, as if reacting to an unseen enemy.

Every angle is in his control, every imbalance correctable, every muscle in its proper place, every beat of the accompanying rhythm matched note for note. His movements are both pleasing to the eye and intoxicating to the self.

End of scene two.

III.

In a third reality, the teacher sits in front of his student and clasps his right hand, or recites some verses into a glass of water, which he drinks, or pats the small of his back, or, or, or... Almost immediately, the student feels empowered, as if his sinews have been charged by a battery. He is pit against a senior student and they fight.

He defends successfully against all his senior's attacks and manages to beat him back and wins the round. He has never studied a martial art before. End of scene three.

Three foreign students who come to Malaysia with the specific intention of studying Silat Melayu may get a shock of their lives when they meet each other at the airport to compare notes on their way home.

Each of them has trained in a different system with different methods and has been indoctrinated with a different idea of what silat is. None of them can comprehend what the other is rambling about because the methods they studied make no sense. Is this a familiar problem?

(stay tuned for part 2)