Forms and Sets > Short Form 3 > Improving Execution > General Errors

Coordination within a form can be referenced by a number of different similar terms, such as: timing, synchronization, pace, or speed - just to name a few. Although the definition of each word is not entirely synonymous with one other, for the purposes of this section they will be treated as elements of the same categorical grouping. In general, coordination refers not only to the overall aesthetics of the form's execution, but also includes the minute synchronization of each individual maneuver and/or self-defense technique of the form.

From a micro to macro perspective, the most common ways coordination comes into play when scrutinizing a form's execution are: the timing of each individual maneuver, the transition from one self-defense technique to the next, the coordination of each self-defense technique as a unit, and the general flow and speed of the form as a whole. Each of these components are essential to not only the form's proper implementation, but also key elements for helping to improve the form's execution.

In general, the coordination of the majority of maneuvers in this form 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 the 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.

Also, the execution of each self-defense technique should be completed as to represent a single entity. This is not to say that every self-technique has the same timing; just that from the performer's perspective, each self-defense technique should be executed as such - a self-defense technique, not a series of individual maneuvers with no overall strategy behind them. Using this first person perspective, the performer should think and execute each self-defense technique from start to finish understanding the individual maneuvers, but also understanding the goal and strategy of the self-defense technique. This point of view will help properly coordinate the execution of each self-defense technique as a whole and allow maneuver emphasis (and Body English) as needed and desired.

Next, Transition from one self-defense technique to another is generally done such that there is a perceptible time gap between individual self-defense techniques. Even if an observer did not understand that there were multiple self-defense techniques composing the form, they still would be able to discern that certain groups of maneuvers go together with a timing gap between those different groups of maneuvers. Another way to think about this is that each self-defense technique should be executed as a whole and a slight pause or timing gap between each is acceptable and recommended. To emphasis this point, some practitioners add a kiai at the end of each self-defense technique. This is by no means a requirement, nor even recommended; rather this practice is done as a personal reminder and/or preference.

Finally, the form should not be executed as one continuous flow of movement. Rather, the overall flow of the form should be such that it looks like a unit and not like separate units strung together to create a form, but not a bunch of individual maneuvers that just flow from one to another from start to finish. At first, this may seem to be in direct contradiction to the previous paragraphs, but this only highlights how execution timing can change the reception of the form. Too much delay creates the impression of choppiness. Too little delay creates the impression of rush and/or lack of distinction of the individual maneuvers / self-defense techniques.

From a high level perspective, improper coordination can create distractions and/or negative reactions from the observer. Manipulation of coordination can and will also directly manipulate the observer's response and receptiveness to the form's performance, either positive or negative.