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Coordination is the precise and intentional manipulation of the timing of the various components that comprise an individual and/or group of maneuvers. Coordination requires the direct, deliberate, and skilled control over one's physical self. Changes in coordination can dramatically alter the effectiveness, efficiency, intent, and/or perception of a maneuver or series of maneuvers. In short, coordination is just as significant a factor to successful execution of a form as proper dimensions, alignments, formations, etc. And yet, this essential and influential factor of performance is all too often overlooked, or just not considered nor properly understood.

Coordination should not be confused with execution method. Where coordination can be thought of as synchronization, method refers to the manner of execution. For example, changing a maneuver's Method of Execution from Thrusting to Snapping, would, by definition, change the effect, intent, and information pertaining to the maneuver. But, a change of method does not necessarily necessitate a change to the general coordination of the maneuver. Stated differently, change of method does not automatically mean change of overall coordination - and vice-versa.

This contrast of terms also highlights another important point about coordination vs method. It is generally considered non-destructive to the information contained within a maneuver to alter coordination. In other words, a change in coordination typically does not alter the information presented by the maneuver(s) in a form. In contrast, a change to method would change that information. This means that even though coordination manipulation can control the emphasis point on maneuver(s) or alter whether an individual maneuver's execution is maximized or not, the general information contained within the movement(s) is, in most cases, not changed. Therefore, one may generally feel free to adjust coordination without a high degree of concern over unintentionally altering the intended information illustrated within a form.

In the context of forms, coordination can be viewed from the following different perspectives:

1)coordination within the execution of an individual maneuver

2)coordination between the execution of a predefined set of maneuvers

3)coordination between groups of predefined set of maneuvers

For the purpose of this discussion, individual maneuver coordination will be referred to as Maneuver Coordination, coordination between multiple maneuvers will be referred to as Self-Defense Technique Coordination, and coordination between groups of predefined maneuvers will be referred to as Transition Coordination. This degree of combining multiple maneuvers into a single unit of analysis is chosen because Form Five is a self-defense technique based form. And, when the form is broken down into individual sections for analysis, it is almost always done by looking at the individual self-defense techniques that comprise the form. The exception to this rule is isolation sequences. For the purposes of this type of examination, an individual isolation sequence will be treated the same as a self-defense technique.

Coordination is an extremely important constituent to form execution. It should not be overlooked or dismissed as inconsequential nor unimportant. One way to understand the importance of coordination is that it is essentially the specific timing of any movement. And to use a famous American Kenpo adage: "timing is everything". From each level of coordination, a carefully fashioned timing is used to not only perform the maneuvers correctly, but also to relay pace and the perceived energy of the form; at both the set level (i.e. self-defense or isolation) and the complete form level.

Another way to look at coordination is that it can change a form from being ineffective, boring, and monotonous to one that is dynamic, energetic, and realistic. This is accomplished through the careful, purposeful, and skillful implementation and manipulation of coordination. Coordination just doesn't happen; it is painstakingly crafted and artistically infused into a form's execution; through practice and acquired self-control. Without proper coordination there can be no proper execution. And finally, with improper coordination there is not only improper form execution, but also a negative perception of form performance, from an observer's perspective.

Note: To read more about coordination refer to "Infinite Insight into Kenpo - Book 4 / Chapter 7". To read more on coordination and how it can more specifically effect a form, refer to "EPAKS Guide to Long Form Two - Execution of Long Form Two, Form Coordination".