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Pace, by technical definition is: a measure, quality, or frequency compared to another measure, quality, or frequency. In more understandable terms, and as it relates to form execution, is: one speed compared to another speed.

 

Pace can be determined via a single maneuver, multiple maneuvers (such as a self-defense technique), or the entire form; with each element being directly or indirectly compared to something else - usually (but, this is not a requirement) to a corresponding equivalency maneuver or maneuver set.

 

One may say that a single maneuver has an improper pace, a part of the form (such as a self-defense technique) has an improper pace, or the entire form has an improper pace (or varying pace). But what is an improper pace? Is it too slow? Is it too fast? Or, is the pace inconsistent (e.g. not steady)?

 

The answer is surprisingly subjective. Where one practitioner may say too fast, another may say just right. The same is true for too slow. The only real, generally accepted constant one may find is that most people will agree that a vastly varying pace throughout form execution is generally not preferable and should be avoided. Although, this rule does not hold true for all systems of martial arts, it is considered a best practice for American Kenpo.

 

In American Kenpo, a sustained pace is almost universally considered more appropriate than one that varies. Although, it is somewhat acceptable that certain parts of a form may have a slightly different pace than others, depending upon purpose within the form. Using Form Four as an example: it may be acceptable by some to have a slower isolation pace when compared to self-defense pace. But even this is a subjective determination and this practice may be considered unacceptable by others. Therefore, a relatively consistent pace is preferable.

 

Why is it that a specific pace is not universally accepted? Because everyone has developed an internal ideal pace. This internal ideal pace is, by definition, based upon experience. And, experiences can be drastically different. Therefore, opinions upon any ideal pace can vary by individual or even lineage. In other words, proper pace generally breaks down to a judgment call on the ideal. And because of this, a true ideal pace is a myth. And, this is a good thing when dealing with an art that is tailored to the individual, such as American Kenpo.

 

So, all hope is lost for setting a proper pace? In short, no. Fortunately, there is a general rule in American Kenpo regarding forms and form pace - "one should only execute a form as fast as they can do it correctly". If one follows this rule, one is doing form execution at a proper pace. Although some might prefer a slower pace and some might prefer a faster pace, the pace is still within the bounds of "proper".

 

Another way to look at this rule is: if the movements of the form mumble together or focal points of maneuvers are being missed, slow down - if maneuver speed is too slow to be effective, speed up. Everything else is based upon personal opinion.

 

At this point, a boundary needs to be applied onto the pace rule: this rule only applies to actual performances, and not to specific practice scenarios. For example, one may want to slow down the form to a "Tai-Chi" pace to further study details of specific maneuvers or sets of maneuvers. Or, speed the form up to find, or expand, where their personal upper pace limit is. These are just two examples of legitimate scenarios where it is appropriate to disregard this general rule.

 

Also, a note is needed about pace and its definition: pace should not to be confused with coordination. Coordination deals with the timing of the many constituents comprising maneuvers, either individually or collectively, to achieve a specific physical and/or psychological outcome - such as effectiveness, emphasis, intent, etc. Pace being only one of those components. And, although pace is directly intertwined with coordination, it is not coordination.

 

For a much more detailed overview of pace and an example of precise application to a form, refer to "The Official EPAKS Guide to Short Form Three - Execution: Pace" section.

 

So, now that a proper pace range has been established how does pace influence the overall perception of the execution of a form?

 

Generally speaking, a slower pace is perceived to be of lower power output; in contrast to a faster pace, which is perceived to be of greater power output. This is primarily due to the effect pace has on the cardiovascular system of the body. Faster paces increase breathing and heart rate more than slower paces. And, this detail is important to know within the context of why the form is being performed. If one is attempting to perform a series of forms back-to-back, one may want a slower pace, to conserve energy (and/or concentrate on detail). If one is trying to impress (or get a higher score in a tournament), one may want a faster pace (depending upon judges).

 

Looked at slightly differently: faster paces give the impression of being more energetic, and potentially of a higher skill level; where slower paces give the impression of greater detail and more thought, and almost inconceivably, of a higher skill level. It is the middle pace range that is the most normal; and therefore, the most commonplace, familiar, ordinary, and susceptible to giving the impression of being unexceptional. Yet, this impression can be overcome by correctness, precision, accuracy, and/or definition of movement - which is also of a higher skill level. And, as stated earlier, if these details are missed in the upper and lower ranges of pace, also negatively affect the impression of form execution.

 

At this point it is imperative to call out the common factor that is being expressed for all ranges of the pace spectrum: correctness. Correctness is co-equal to pace for improving overall form execution. To get more insight into the subject of maneuver correctness, refer to the subsection of this chapter named "General Errors".

 

One notable and common circumstance as it relates to pace and Form Four (but is not exclusive to Form Four) is that one often begins the form at a higher pace and perceived intensity and concludes the form at a lower pace and therefore lower perceived intensity. Or, concludes the form at a pace and intensity that is far more labored. As most seasoned practitioners have already guessed, this is primarily due to the length of the form.

 

This problem arises due to two major factors: inexperience and/or heightened expectations. The experienced practitioner knows that setting a proper and sustainable pace at the beginning of the form demonstrates more command over a form's execution, than one who "runs out of gas" near the end of the form. One who has "put in the time" practicing the form knows just how much effort is needed to make the end of the form just as dynamic as the beginning. One of the clearest signs of inexperience is the inability to sustain form pace from the beginning to the end of a form's performance.

 

There are only two practical ways to solve for this problem: increase of cardiovascular abilities and/or governed output. Either one needs to be able to sustain a heightened pace for a longer period of time, or one needs to perform the form at a more sustainable pace. Regardless of solution choice, the ability to perform at a sustainable pace demonstrates a higher degree of skill and experience.

 

Pace is only one of the many important elements to improving the execution of a form. But it is just as important as the others and should not be overlooked or disregarded as such. Like the other elements, pace is something that one needs to understand, use to one's advantage, and ultimately master.