As stated elsewhere in this guide, Form Four is probably the form most often executed within American Kenpo; followed closely by Short Form One or Form Six. As such, how does one determine if they are executing Form Four correctly? Or, how can one improve their performance of the form? Simply put, there are a number of factors that contribute to the overall execution of any form. Each of these elements individually and collectively impact the perceived performance of the form. An improvement in any of these areas will influence the form's implementation in a positive manner.
First and foremost, to consider is the proper execution of the form itself. In other words, doing the same established base maneuvers as everyone else in the system. Or put another way, is one doing the same form, the same way, or is it being executed differently? And if done differently, is the difference purposeful or accidental?
At first, this concern may seem to be both obvious and moot, but it is far from that - it is both essential and important to mention. It is extremely easy to allow variations to creep into one's execution of the form. This can happen both unintentionally and intentionally.
Unintentional modifications can be the most difficult to determine and eradicate, due to the fact that one believes they are performing the form unaltered. But as everyone knows, people are not perfect; and neither are their mental abilities. Unintentional modifications due to memory or misinterpretations can easily slip into one's "standard" execution. And, if this person is an instructor, may pass this modification on to their student practitioners without malice or even awareness of this fact. That is why a baseline needs to be provided, as a correcting path back to the original "standard".
Intentional modifications often directly align with the subject of context. Simply put, context can be thought of as the environment or situation in which the form is being performed. Some examples include: testing, practice, and tournament competition. Temporary variations for competition purposes are common. Often, one wants to "stand out" from the other competitors by performing their form in a unique manner. While this is encouraged, sometimes these modifications find their way back into a more formal context. This is discouraged. Again, to compensate for this eventuality, a foundational baseline from which one can reference is essential.
To review the "standard" execution of the form, please refer to the chapter of this book named "Execution" and its adjunct chapter named "Variations". These chapters layout the set of maneuvers that comprise Form Four in both a written and graphical structure. These chapters are specifically designed to provide an unbiased baseline for the practitioner of any experience level to reference.
But, a baseline "standard" is only the first piece of the puzzle for improving execution of a form.
The next element to consider is form flow. One way to define form flow is that it is a combination of both pace and coordination; where pace is the speed of execution and coordination consists of proper body mechanics and timing during execution. An alternate way to describe form flow is: one is using their body efficiently, properly, and within idealized timings and speeds (e.g. coordination and pace). Regardless of how one decides to think about this property of form execution it will always break down to these fundamental elements - pace and coordination.
Because of their importance in form execution, both of these elements will be covered in more detail, independently, in the following sub-sections of this chapter named "Form Pace" and "Form Coordination".
The next element to consider is precision of execution. This can be roughly defined as proper, detailed, and accurate execution of the individual basics that constitute the form. By proper it is meant that each maneuver is actually the intended basic being performed. By detailed it is meant that each of the maneuvers are discernible. And, by accurate it is meant that each maneuver is executed to the correct dimensions and with the proper focus point(s). The opposite of this goal would be that the maneuvers are mumbled together, lazily performed, unfocused, and/or to improper heights, depths, or widths.
Again, this subject of form execution will be covered in its own sub-section of this chapter named "General Errors".
And finally, one of the most important, but often overlooked, elements of form execution is understanding the motions that compose the form. One of the distinct aspects of American Kenpo is that we do not execute meaningless motion. In other words, every motion we do has a meaning. This is especially important for the forms. Therefore, it is critical that the motions of the form do not become just that - motions. In other words, maneuvers without practical application and/or purpose. One should strive to understand every maneuver within the form and how it fits into the greater structure of the form, and ultimately the system. If this is not done, then the individual details of the form, and the form itself, begins to lose its meaning and purpose. Loss of meaning also folds directly back into the previously mentioned elements, making them harder or sometimes impossible to achieve.
The sub-sections of this book that help the practitioner overcome this dilemma of misinterpretation or lack of meaning are the "Analysis" chapters, accompanied with the chapter named "Execution".
A thorough understanding of these components of form execution is essential in aiding the practitioner's improved overall form performance. But there are other, external methods a practitioner may consider.
One simple tool is a full-length mirror. Visually being able to view and correct for mistakes can help in fixing dimensional and other physical anomalies. There is a reason many marital arts studios have mirrors. Visual feedback can quickly point out mistakes, while simultaneously providing a focal point to the exact dimensions of the practitioner.
Along this same vein is video. In the early days of modern martial arts this practice was nearly impossible or very impractical. But with modern technology this should be an obvious tool in one's feedback arsenal. Mr. Parker often used video tape to watch himself. He made a number of discoveries and advancements in the system by using this tool. It is very illuminating to compare what one believes they are doing against the video of exactly what they are doing. Suffice it to say that this tool is both easy, practical, and very helpful for form improvement.
And finally, employ others. Let a novice, colleague, instructor, or layman view your performance and give feedback. Many times, the feedback provided is informative and helpful. But, keep in mind that this feedback is generally subjective and may not be in total alignment with your ideals and/or goals.
In the end, and regardless of the tools employed, always strive to understand, refine, and ultimately improve the execution of the form. This is a never-ending endeavor which lasts as long as one continues to study the art. Complacency is the practitioner's own worst enemy.