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<< Click to Display Table of Contents >> Navigation: Forms and Sets > Form 4 > Improving Execution > General Errors > Coordination Errors |
Unlike the lower forms in the system, Form Four execution examines varying coordination timings more thoroughly. There are places in the form where the upper body maneuvers are purposely out of sync with the lower body maneuvers.
A good example of this is the close of the form. There is an adage that goes with the form close that goes: think to yourself - sweep, punch, plant. This can be translated as: the sweep is the initial foot maneuver (cross-over sweep), the punch is the left and right hands meeting (left over right), and the plant is the final placement of the foot onto the ground (completed cross-over).
A list of areas of the form which have offset coordination similar to this are:
i) |
Unfurling Crane |
double factor block is completed with foot maneuver / primary block is completed with rotation into stance |
ii) |
Destructive Kneel |
drop of hands timed with transition into natural stance / parry and heel-palm timed with continued step and rotation |
iii) |
Gathering Clouds |
drop of hands timed with natural stance (modified horse - side 1) / middle-knuckle timed with horse / forward hand-sword timed with cat / inward elbow timed with settle |
iv) |
Dance of Darkness |
final poke timed to complete just prior to foot placement |
v) |
Unwinding Pendulum |
plant of foot timed to complete just prior to final upward shape of crane |
vi) |
Circling Fans |
final vertical back-knuckle timed to complete with pivot + settle into stance (not plant of foot) |
vii) |
Bowing to Buddha |
initial block (pivoting) timed to complete after drop onto knee |
viii) |
Shield and Mace |
initial block + punch timed to complete with plant into stance (and without any stance rotation) |
ix) |
Five Swords |
initial block timed to complete prior to initial step |
x) |
Close |
sweep / punch / plant |
An understanding of this exploration into coordination changes is necessary in order to execute these maneuvers correctly. Without this knowledge a practitioner would make the assumption that the timings of these maneuvers would match standard coordination patterns. And, performing the form without these coordination subtleties would be very apparent to the experienced observer.
Another way to look at this scenario is that the experienced observer could quickly observe that the practitioner performing the form is not aware of these important nuances contained within the form. And from that observation, make the assertion that the practitioner is deficient in their understanding of the form's proper execution. All of this is accomplished by only observing execution coordination.
This example demonstrates how important coordination is to the proper performance of the forms. And, that something as simple as the timing of a maneuver sequence can convey understanding or the lack there of without uttering a word. This is especially important in the upper forms of American Kenpo, where coordination (combined with Body English) play an important role in execution evaluation.
In short, coordination is a subtle and often overlooked element to form execution. But as one progresses in the art it becomes more and more a vital element in proper execution of maneuvers. One should take the time to understand, explore, and learn to master this characteristic of execution. This element is a key factor into distinguishing between the neophyte and the adept practitioner.