Welcome to the KenpoPedia > Forms > Form 5 > Frequently Asked Questions > Why are there no isolation sequences in Form Five?

In order to answer this question effectively, one must first understand a few pieces of information about American Kenpo forms.

First, the specific definition of an American Kenpo form is that they teach:

•The rules and principles of motion

•That everything has a reverse and an opposite

•And, to give an example of this idea

Next, American Kenpo forms, from a broader perspective, can be considered a sub-section of the division Basics within the system of American Kenpo. They can colloquially be called the moving basics. One of their primary purposes is to detail information on specific areas of study within the subject of self-defense. These areas of study are broken up into definable topics, themes, and related motions around this information and are known as a form. These forms are numbered, starting at one (1), and are designed to get more complex and intricate, both physically and subject wise, as the numbers progress.

From a slightly tighter perspective, individual forms are further grouped together based upon whether they highlight the same targeted information (1, 2, 3, etc.). And, what are considered the beginner (1, 2) to intermediate (3) forms are further divided into an introduction form, known as the short form, and a continuation (or expansion) form, known as the long form. The short / long nomenclature came about because the both the physical length and extent of exploration into the subject matter for each form perfectly aligned with the descriptive term.

Also, the higher forms (4, 5, etc.) did not include an introduction and continuation form. Instead, there was just a single form to cover the included area of study. Therefore, these forms dropped the short / long nomenclature and just used the number mechanism. In spite of this, many practitioners continue to refer to each of these forms using the "long" nomenclature, even though it is not necessary.

Furthermore, it was determined that in order to include and concentrate specific pieces of information, certain parts of the continuation (long) forms would isolate the upper part of the body from the lower and detail this important information in a highlighted manner. This is almost always done from a horse stance with the upper body extremities executing the maneuvers. This grouping of movement is commonly referred to as an isolation sequence, because of the isolating manner of the physical execution. Plus, because the advanced forms (4, 5, etc.) do contain isolation sequences, and because they are long in length, is further rationale as to why practitioners still refer to the advanced forms as a "long" forms.

Looked at from a different perspective, the American Kenpo forms can be divided into three major types: the forms that define motion (a.k.a. the dictionary forms), those that further analyze motion (a.k.a. the encyclopedia forms), and those that concentrate on a specific subject (a.k.a. the set or appendix forms). The sets are considered a group unto themselves and do not adhere to a numbering system. Rather the sets have a naming convention based upon the subject it details. The remaining sections are divided in two, with this split occurring after the two's (2's), and there are physical (and other) attributes that distinguish the dictionary and encyclopedia segments from one another.

Finally, isolation sequences are placed within a form only for one or more of the following reasons:

•to fill in missing information

•to provide new information

•to demonstrate a preview of things to come

Ensuring all this foundational information is understood, it is now possible to answer the original question.

Since Long Form One and Long Form Two are dictionary forms, it was designed that their isolation sequences would be placed at the end of the forms. One reason for this this that this would allow for a smooth transition from one form to the next, by not only filling in needed information for the current subject, but also demonstrating specific attributes that are included in the next form of the series. Also, another distinguishing feature of these isolation sequences is that they are executed from a horse stance facing the starting point (front / 12:00).

Therefore, using the definition of an American Kenpo form, it is logical to deduce that it is requisite for the forms to both execute isolation sequences at the beginning and middle of the forms, and to demonstrate these isolation sequences to other angles, other than straight ahead (front / 12:00). This is what Long Form Three (and future forms) accomplish. This, accompanied with the fact that the subject matter of the three's is so vast, it became necessary to concentrate some of this information into isolation sequences, in an attempt to keep the forms to a reasonable length and to further highlight information that is not found elsewhere, but needed to be included.

But this still leaves Form Five. Form Five could be said to not have any isolation sequences because at no point in the form does the practitioner stand in a horse stance and demonstrate upper body maneuvers without moving their feet. Thus, never executing an isolation sequence as demonstrated by the previous forms.

Yet, if the reader goes back to the beginning of this answer and looks at the definition of an American Kenpo form again, they will see that the second and third precepts say "That everything has a reverse and opposite, and gives an example of this idea." Through these precepts one can conclude that there must be an opposite of isolating the top from the bottom and moving the top elements. One can deduce that one opposite might logically be: isolating the top from the bottom and moving the bottom. Taking this conclusion to its logical end, one would then surmise that there should most likely be at least one place in the forms where one isolates the top limbs and moves the bottom limbs.

And, where better a place to do such a thing than in the form that is more lower body centric than the others - Form Five. This logic can further be reinforced by the fact that Form Five not only has heavy emphasis on lower body maneuvers, but it also includes the sub-theme of "three on line" - with the feet. Combining both these logical deductions and the physical characteristics of Form Five together, one can quickly rationalize that Form Five should arguably have isolation sequences; just lower body sequences.

If one were to take this proposition and apply it to the physical movements of the form, they would find that the following areas of the form could arguably be called an isolation sequence: Leap of Death to Back Breaker transition and Back Breaker (left side) to Back Breaker (right side) transition. Other areas of the form might, but not necessarily, qualify as an isolation sequence. These areas would be: parts of Dance of Death's extension maneuvers, parts of Hopping Crane, and the end of Falling Falcon.

Using this logical and physical analysis as applied to this guide, one will see that the idealized execution, both written and illustration, sections of this guide refer to the first two maneuver sets listed above as isolation sequences, not transitions. This was purposely done to call out the conclusions of this answer to the reader. The other three areas, since they were already part of a self-defense sequence, where purposely not called out as isolation sequences. But again, using the precepts above, one could conclude that placing an isolation sequence within a self-defense sequence could arguably be considered another opposite.

For other information on this subject, refer to the "Introduction", "Execution", and "Focal Points - Speculative Focal Points" sections of this guide.