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Pace is one of the many key factors that go into determining whether the performance of a specific form is well executed. By strict definition pace is:

 

A measure, quality, or frequency compared to another measure, quality, or frequency.

 

As applied to form execution, this somewhat overly precise and yet relatively vague definition essentially means that any portion of a form's execution - from a single maneuver all the way up to the entire form, can be compared to either itself executed at a different point in time, and/or any part of or the entirety of another form's execution. Regardless of the specific assessment composition chosen for comparison, the evaluation all comes down to time: The time it takes to execute the section being analyzed compared to the other reference point. From that appraisal, pace can then be established.

 

Note: for a much more detailed overview of pace and its precise application to a form, refer to "The Official EPAKS Guide to Short Form Three - Execution: Pace" section.

 

Suffice it to say that we humans are very good at determining patterns. And pace is basically pattern recognition. Pace is realistically the determined rate at which a form (or any part of a form) is executed. Without question, most individuals can compare multiple executions of the same (or different) maneuvers and conclude whether one execution is slower, faster, or about the same pace as the other execution. And from that determination, combined with one's personal experience, are able to place their individual judgment on which pace meets with their internal expectations of correct and/or optimal.

 

The important element that is being called out here is personal perception as it relates to pace. Pace is a major contributing element to perceived correct maneuver execution, overall aesthetics of a form's appearance, and perceived effectiveness of the form. Because all of this revolves around personal perception, one may come to the conclusion that pace is a subjective, not an objective, feature of form execution. In other words, a good pace is a personal preference, not a universal constant; therefore, not everyone will agree upon what is the optimal pace for the execution of a specific form. And, this supposition would be mostly true.

 

Although it is correct that an exact pace for any form is not universally agree upon, there is guidance as to the boundaries of a proper and acceptable pace. From a minimum perspective: the pace of the form should be such that the entire form is performed in a manner where each maneuver of the form is correctly executed and effective. From a maximum perspective: the pace of the form should be such that every maneuver of the form is correctly executed, precise, and properly defined (i.e. individually distinguishable from other maneuvers). In other words, also effective and correctly executed, just from the opposite point of view.

 

At this point it is important to point out that one common factor for both ends of the pace perspective is correctness. To get more insight into the subject of maneuver correctness, refer to "Improving Your Execution of Long Form Three / General Errors".

 

But even this previous explanation remains too vague and requires further clarification.

 

On the slow end of the spectrum: the pace of the form should be fast enough so that each and every maneuver of the form looks to be executed effectively from a self-defense perspective. In general terms, this means that a strike looks like an effective strike, a step looks like a normal step, a block looks like a proper block, etc. For comparison, in Tai-Chi, the form is purposely executed at a slow pace, resulting in the perception that the maneuvers, although very precise and well defined, are not effective in a combative situation. From the point of view of an American Kenpo form, this pace is too slow and needs to be increased on both an individual maneuver level and on an overall form level.

 

On the fast end of the spectrum: when the pace gets so great that the individual maneuvers begin to blend together (a.k.a. mumble), are not able to be precise, correct, and/or accurate; then the pace is too fast. From a higher perspective, the individual self-defense techniques should also be distinguishable from one another and should not blend into a continuous flow of motion. Each of these issues, either individually or collectively, is an indication that the pace needs to be decreased.

 

In summation, if the pace of the form is fast or slow enough to obscure and/or detract from the effectiveness of any individual maneuver or group of maneuvers, then the pace needs to be adjusted.

 

But once within these somewhat objective boundaries, pace becomes almost entirely subjective, leaving the final determining verdict for optimal pace to the observer and/or practitioner. Where one individual / group may determine a specific pace to be optimal, a different individual / group may determine that pace to be too fast (or too slow); preferring a different overall pace. Ultimately, any pace that is within the upper and lower boundaries is acceptable, from a general sense; with the "optimal" pace determined by one's experience, expectations, general consensus with others, lead instructor, etc. And, although an individual / group may determine a specific pace to not be optimal, from a universal perspective, that is simply a personal and subjective determination.

 

Another factor that needs to be referenced in relation to pace is: pace consistency, where other styles may have dramatically varying paces throughout the execution of a form, American Kenpo forms tend to have a relatively consistent pace of execution. As a general rule, once a pace is set, that relative pace is maintained throughout the entirety for the form's execution. But this is a general rule and not etched in stone. One is free to execute the form at varying paces without generally effecting the information conveyed by the form. And again, this is a subjective determination, not an objective one. So, as long as the information within the form is not affected, one is relatively free to handle pace as they see fit. And, depending upon the audience the form is being performed for, one may want to vary the overall pace throughout execution, in an effort to elicit the intended perception, acceptance, and/or response to the form's execution.

 

One final note: pace should not to be confused with coordination. Coordination deals with the timing of the many constituents comprising maneuvers, either individually or collectively, to achieve a specific physical and/or psychological outcome - such as effectiveness, emphasis, intent, etc. Pace being only one of those components. And, although pace is directly intertwined with coordination, it is not coordination.