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If there was one (1) major issue with breath and the forms it would be that as the American Kenpo forms become longer and more sophisticated, attempts at regulating breathing follow suit. This should be avoided. Taken as a general rule, the breathing technique in Short Form One should be essentially the same as in any other form of the system. It is understandable that as the forms become longer and more difficult to execute breathing may become more labored, and that is perfectly normal. But for the most part, the technique of breathing remains exactly the same as a short and easily executed form.

 

Generally speaking, the rule for breath is that it should always remain natural and relaxed as much as possible. At no point should the breath become constrained or held for periods of time. The only real exception to this rule would be purposeful and specific emphasis in breath, such as in adding a kiai, If undo regulation of breath is practiced, one will notice that as the more difficult and longer forms progress, one begins to get more and more out of breath; sometimes to the point where one needs to take a break in order to complete a form's execution.

 

Improper breath regulation, along with physical conditioning are the two (2) primary factors for one getting out of breath during form execution. And, although physical conditioning is an important factor, its detrimental effects can be further exasperated by improper breathing technique. In other words, if one does not breath properly this can directly affect not only how well, but how long one can sustain physical exertion without rest. If one does not learn to properly manipulate their breath, this becomes more and more apparent as the duration of the forms continues to increase. And, Form Five is a relatively long and sophisticated form.

 

Therefore, like many other aspects of the forms, the lack of learning to properly regulate one's breath becomes more and more critical and outwardly apparent as one progresses in the art. Any well-versed practitioner will easily be able to deduce another proficiency in this facet of the art, simply by observing their performance of a form.

 

And although one's breath will tend to increase as the form progresses, the overall goal is to maintain a fairly smooth and regular tempo, with deep inhalations from the core, not shallow and from the upper lungs. Likewise, exhales should be deep, relaxed, and initiated from the lower abdomen. The increase in breath should attempt to come from larger breaths, rather than faster and shallower breathing.

 

There is one (1) more aspect that may not be obviously noticed about maintaining a relaxed breathing technique. A relaxed breath can also help in maintaining a relaxed and controlled physical execution of the form. In other words, the proper control of breath can translate into proper control of the rest of the body and mind. In contrast, a labored and out of breath practitioner directly leads to a more hastily and less precisely executed form.

 

Without question, proper breathing helps to reinforce correct execution and accurate coordination. In fact, breath is just one of the many elements of proper coordination. And in many respects a vital one. And although often overlooked, breath is critical not only for proper manifestation of individual maneuvers, but also for one's extended performance and maintenance of a focused state of mind. Take the time to pay attention to breathing. We often neglect this aspect of our art because we do it automatically. But, like many other aspects of the art, we must learn to go beyond the automatic and untrained, by learning strategic application and proper manifestation with purpose, understanding, and control.