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As mentioned, a number of times throughout this series is that the definition of American Kenpo forms is: they show the rules and principles of motion; that everything has a reverse and an opposite, and to give an example of this tenet. Also, mentioned in this guide is that American Kenpo forms are part of the basics division of the system. More specifically, they are known as the moving basics. Combining these two precepts together, one can correctly deduce that one of the main, yet directly unstated, purposes of the forms is to learn to perform maneuvers properly. In other words, to learn basics in a more sophisticated way than just as individual, usually stationary, maneuvers.

 

Furthermore, learning a form's foot patterns, themes, relations, and place in the system does not express the whole story. One is still left with proper execution and implied style. Outside of executing the maneuvers of the form to make the sequence appear to be like the intended results, there still exists a physical quality that can dramatically influence the perception of the execution of a form. This quality is coordination.

 

From a high-level perspective, coordination is timing of different elements of the body to produce a purposeful physical result. From a low-level perspective, coordination is the control of one's individual muscles and structure in such a way as to create a preconceived physical maneuver. In essence, coordination is turning a visualized motion into a physical reality through the use of the mind by controlling the body's many parts properly to produce the anticipated outcome.

 

Broadly speaking, the practice of the martial arts is the training of one's mind in such a way as to produce intended results (both mental and physical) that adhere to the guidelines of the specific art one studies. One cannot deny that a Kung-Fu form is different from a Shotokan form, which are both different from an American Kenpo form. One of the primary things that makes this so, is coordination.

 

All this examination into coordination leads up to this final conclusion: one must learn to properly coordinate not only the individual maneuvers, but the sequences of maneuvers to result in the expected appearance of a form. And, this is done through proper visualization of the maneuvers, which then results in the deliberate projection of that envisioned motion into the physical world.

 

From a Long Form Three perspective, the predominate coordination of the form falls into one of two categories: as an isolation or as a self-defense technique, with each having very distinct and different timings.

 

Within the category of isolation, all maneuvers should be removed from any motion of the opposite end of the body. In other words, all upper body maneuvers should be done from a stationary position, and in the case of this specific form, from a horse stance. Any manipulation of the stance should be done as a separate and distinctly different maneuver.

 

Within the category of self-defense, the proper coordination is to time the upper and lower body in such a way that both come to a focused stop simultaneously. This is not to say that a stance is fully obtained with an upper body maneuver. Rather that the settle (or rotation) into the stance is completed at the same time as the upper body maneuver is completed. Another way to think about this concept is that the foot may come to its final position, but the settle into the stance may not be fully completed. Therefore, the upper body maneuver should not be concluded until the settle (or rotation) is concluded. The final observable result should be that the entire body comes to a halt at the exact same time.

 

Next, the self-defense sequence should appear, from an observer's perspective, to be executed as a unit. Therefore, there should not be any unduly long delays between technique maneuvers. Instead, the individual maneuvers should give the visual appearance of being related together, yet not mumbled together into an indistinguishable mash-up of motion. In other words, each maneuver should be easily perceptible as a single unit, yet also be expressed as an element of a larger sequence, without losing its individuality.

 

The same is true for each maneuver. They should each maintain their individuality, yet at the same time express that they are part of a larger unit. Again, the self-defense techniques should not give the appearance of a large mass of motions from beginning to end of the form. Rather, they should clearly communicate that they are individual units of sequences combined together to create the form. This is generally done by slightly longer, yet not dramatically longer, timing gaps between techniques as compared to the individual maneuvers of a technique.

 

And finally, all of these maneuvers should be further coordinated in such a way as to be expressed with the proper emphasis, Body English, and personal style one wishes to impart into the motions. In other words, the form should convey not only the desired expression of American Kenpo, but also one's personal signature on it. And, to do this properly requires a high degree of control and coordination of both one's mind and body.