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To understand Form Four, one first must understand how Form Four fits not only with the other forms, but the entire system as a whole.

 

As stated earlier, the forms are the moving basics of the system. As such, they demonstrate basics that are not always explicitly taught to the student anywhere else. And obviously, they are taught via a different method than the non-moving basics - embedded within a series of other basics contained within the form, rather than as individual maneuvers. Also distinctive to the forms, is that these basics are not only taught on both the left and right sides (and usually moving), but in context to opposites, reverses, and themes to other basics of the same nature; and sometimes within a potentially realistic scenario.

 

These are important attributes, because this provides the practitioner with options and solutions to problems that may arise as it relates to real combat. By showing opposite and reverse maneuvers, one is exposed to potential solutions not only on a physical level, but also on a conceptual level. And, when one becomes mentally comfortable with this process of solving problems, they also become proficient at resolving physical difficulties by employing these mental solutions in real-time.

 

In other words, understanding and becoming comfortable with how the forms present one basic in relation to similar basics, one can become very good at solving combat problems by using the frameworks provided by the forms - e.g. using opposites, reverses, category completion, and other themes to quickly solve for real world problems.

 

Form Four fits into this structure by adding to the progression of previous forms by concentrating upon in-flight, major attacks (live) as one of its major themes. Where previous forms relied upon more simplistic and elementary thematic elements, Form Four advances to a more complex stage of aggression, dealing with aggressions that are intended to directly and immediately injure, and dealing with them prior to contact (in-flight).

 

Form Four also concentrates on a more complex, and a highly effective pattern of defensive and offensive maneuvering - intersecting circles (aka figure 8). Along with this theme, it demonstrates transitioning between circular and linear paths and employs both complimentary and opposing forces using the different extremities of the body in conjunction with one another (and the body). And, also demonstrates various timing progressions using multiple elements of the body in concert with one another - i.e. maneuvers are not always in-sync with settling into stance.

 

All of this combines to create a complex and densely packed form, in both a physical and informational nature. And, does so in a visually stunning and pleasing manner. But these visual attributes often hide the importance of the information contained within the form to both the viewer and the practitioner alike. This if fine for the uninitiated viewer, but the practitioner should strive to fully understand and apply this vital information as part of their training, and not just concentrate on perfecting the visual appeal and superficial performance of the form.