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Isolation is the name given to the motions of a form where the upper and lower body are purposely detached from one another, and the concentration of movement is isolated solely to one of the sides, almost exclusively the upper half. At one point in time, these types of maneuvers were referred to as an "exercise", but this nomenclature was fleeting and was permanently replaced with the term "isolation". This mention is presented not just for historical reference, but because one might encounter an individual using this obsolete nomenclature, and understanding that the terms are synonymous, may help resolve any confusion or misunderstanding.

 

Regardless of naming convention, the first thing that is characteristic about an isolation is that its use is limited to long forms and excluded from short forms. Secondly, an isolation is purposely placed within a form as a technique for highlighting and/or concentrating maneuvers (information) that is not expressed anywhere else within the forms. Also, isolation sequences are only placed within a form 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

 

Another way to look at an isolation is that it is a convenient place to situate maneuvers that don't quite fit anywhere else, need to be expressed for categorical purposes, and/or introduce matters that will have further significance in the future, relative to its execution.

 

Using this understanding, one is given a guide into determining what the rationale for specific maneuvers of an isolation is. And therefore, help reduce motion that has no identified reason to be contained within the form. Instead, one is aided in transforming this apparent meaningless motion into motion that is both understood and has significance and purpose within the totality of this form, and the forms as a whole.

 

In the end, it is the stated goal of the system that the practitioner fully understands each and every maneuver executed within the forms (and the system as a whole), but at the same time initiating them in a mindset of the inter-connectedness and modularity of these seemingly isolated motions of the system. Motions that can be efficiently and effectively executed at numerous places and situations, when applied in a combat situation.

 

Unfortunately, all too often, this goal, both personal and systematic, is reached by not always explicitly conveying this information in an obvious manner. But rather, it is designed to give the practitioner the needed mental tools and requisite physical skills to help them fill in the purposeful and/or planned vaguely explained maneuvers of the forms on their own. This is specifically and decisively done to aid the practitioner into obtaining the proper mindset. A mindset that is prepared and guided by qualified instruction as one progresses through the system. With these obtained skills, one is then encouraged to explore these areas of the forms in an effort to give them further meaning and justification for inclusion.

 

Finally, one of the main purposes of the guides in this series is as an aid in helping the Kenpo practitioner not only understanding the construct and goals of the forms (and system as a whole), but also an invaluable reference into understanding and obtaining the correct mindset into deciphering the many non-obvious aspects of these brilliantly structured and meticulous explorations into the martial arts from an American Kenpo perspective.