Form Five is a very unique form in many respects. Its themes include "out of position", "take-down" (aka destabilization), and "hanging hands". It also includes and highlights some specialized foot maneuvers. Furthermore, its position in the system is also quite distinct. it is the first form after Form Four, which was originally intended to be the last form of the base system (see History" section of this guide for further information about this subject). It is nowhere near as long as Form Four, containing only ten self-defense technique sequences. It also, arguably, is the only long form without an Isolation Sequence (see "Execution" and "Focal Points - Speculative Focal Points", and "FAQ" sections of this guide for further information about this subject).
From an execution point of view, Form Five is not as smoothly performed as some of the other forms. This is mainly due to its major themes. But these themes are extremely important to the system, because they provide physical solutions and keys to dealing with problematic transitions and positions, along with various applications for actively using one's environment effectively, while simultaneously dealing with a variety of distinctive physical manipulation and destabilization scenarios. But what Form Five lacks in fluidity, it more than makes up for with its heavy use of the lower body in strategic ways. One could almost say that Form Five is more of a lower body form than an upper body form. But in reality, it is more accurate to say that the form emphasizes a synergistic coordination between the two ends; arguably more than any other form of the system.
From an observer's standpoint, Form Five can be a bit of an enigma. Generally speaking, one can usually determine potential defensive scenarios within a form based upon the performer's movements as the form progresses. The way in which Form Five is both constructed and executed definitely makes it harder to achieve these same determinations. This difficulty can be attributed, in many respects, to the form's use of non-typical motions. Also, this situation is often exacerbated by the form's use of non-typical situational angles and scenarios. The result is that the combination of these elements often leads an uninformed observer to incorrect conclusions and/or questions about specific areas of execution within the form. This outcome is not intentional; it just is a noticeable issue with such a distinctive form.
Because of this dilemma, it must also be noted that Form Five can often be misinterpreted and/or misunderstood by those not careful enough to take the time to learn its complexities; both physical and mental. These problems can be overcome by a guide such as this one (which is one of the purposes for the creation of this series); but also, from a qualified and well informed instructor. Like all American Kenpo forms, each and every maneuver of Form Five has meaning. At no point in the form is there motion for motion's sake. If one finds that they do not understand a specific or series of motions, they should endeavor to seek out a reference (such as this one) to resolve the underlying meaning of said maneuver(s).
From a systematic standpoint, Form Five is the next logical progression from Form Four in both complexity of concept and difficulty of execution. Also, it covers issues that are not as foundational as the previous long forms, but are still as important as those previous forms - only in a slightly different manner. Rather than focusing upon a potential aggressor's type of attack or how, in a macro sense, one is moving (e.g. circles, lines, or combinations thereof); the form centers around the ideas of position in relation to defense and offense, accompanied with a supplemental category of maneuvers of destabilization (aka take-downs).
Furthermore, Form Five is classified as an "extension" form. This designation arises from the fact that when the system was originally laid out, the last form was intended to be Form Four. But, by the time that Form Four was created, it became systematically apparent that more forms where needed. Therefore, that original idea was abandoned and each of the forms above Form Four was determined to be an extension to the foundation laid out by this set of lower forms.
To denote this change in classification, and to stick with how a change in classification was denoted earlier between the dictionary and encyclopedic forms, the beginning stance was purposely changed to something other than a standard attention stance. But rather than having these new extension forms all have the same starting stance (e.g. horse or attention), this rule would also be abandoned; thus, allowing each of the extension forms to begin from a starting point tailored to the needs of the themes of the individual form.
The overall purpose and result of creating these "extensions" was that the system would no longer be hindered by the fact that it was limited to the information presented up to Form Four. Rather, Form Five laid out a path of progression forward; one beyond this initial self-imposed limit. A path that was both logical, explainable, and without any further limits. And, due to SGM Parker's ingenuity, this "extension" was not even very noticeable by the average practitioner, unless called out by a historical reference such as this one. Finally, this seamless progression is true in both a mental and physical respect.
In conclusion, Form Five may not be many practitioner's favorite form; it may be often misinterpreted, misunderstood, and/or have creative execution styles; and it may also have some out-of-the-box maneuvers that defy initial scrutiny; but the form is distinctly important and a uniquely presented work of art that stands out as yet another masterpiece by its creator SGM Edmund K. Parker.