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There is one more factor that could arguably fall withing maneuver coordination, but is being called out because of its distinctiveness to form perception and because it borders on being included at any of the levels, individually: head and gaze maneuvers. Head and gaze maneuvers occur when any change of direction is required or anticipated. At such a point, one must re-focus their gaze and potentially the position of the head.

 

The more dramatic head maneuvering is to turn both the head and the eyes prior to re-positioning onto the new direction. This style of over emphasis on a change of direction with head maneuvering is done even if the new direction can be viewed with just turning the eyes. This is done specifically to give the observer(s) an indication as to the direction of the next maneuver. And like other forms of coordination, it can be executed to express an added element of flare to the form.

 

This form of exaggerated maneuvering is unique to form execution. In a real-world scenario, such amplified and suggestive signals may be used to determine a practitioner's intentions and movements, and thus used against them. By definition, this form of oft unintentional signaling is called telegraphing and should be avoided. Yet, it is considered by some to be not only acceptable, but preferable within form execution. If one engages in this form of coordination, one should be cognizant of not allowing this physical trait to become a habit that is carried outside of form execution and into a combat situation.

 

Because there are good reasons for both an emphasized and subtle implementation of gaze manipulation, head maneuvering can be construed as a very personal preference, and therefore can be enhanced or downplayed depending upon the performer's desired outcome. Both methods have their merits, and it is left up to the individual practitioner to decide how to handle head maneuvering.

 

More important than the style of head turning is the understanding of the pros and cons of each method. Some practitioners come to a compromise where-in the lower forms (i.e., the One's and Two's) are executed with the dramatic head maneuvering, since they are the more basic and elementary forms. While the more subtle method is used during execution of the upper forms (i.e., Short Form Three and up), since they contain more realistic and advanced maneuvering.

 

Head and gaze manipulation is a very subjective subject; one that is left up to the individual practitioner to decide how and when to implement their specific methodology. The only real objective factor is that one's gaze must be correctly positioned throughout execution of the form. All other factors of visual attention are definitively more subjective and personal.