The form is a very important learning tool, besides the art and esthetical aspects of it, the form is a tool for motoric study, that teaches how to move, focusing, preciseness, combining moves and postures and how to concentrate. The form is also a meditative tool that allows ignoring the surrounding and cleaning up the head (also running and any monotonic activity). The form is a concentrated multipurpose training.
However, forms are treated as sacred thing, thus becoming dogma. forms are just a gate to learning path, they are not the path and nothing to stick to as a fighting style.
7.1 Learning the Moves of the Form
Learning the moves of the form is just the first phase. I use the term learning the moves of the form and not study the form, since knowing the moves is just a step. The form is more than a sequence or moves.
My preferred method for learning the moves is repetition of the moves, over and over again, until i feel that i remember the sequence, than I add some more moves and repeat all from the beginning.
The second phase is fining. At this phase we need to go over the moves of the form and fix each and every one of them, until they become esthetically and motoric correct. At this phase it is important to emphasize on stances, angles, transitions, small moves and other external finings.
The last phase in learning the moves is constant repetition of the entire form with all the fine corrections until the body assimilates it in the "muscles memory".
7.2 Breaking the Form to Moves
Now when the moves of the form are in the memory and the body performs the moves more or less correct, it is possible to start the breaking of the form into groups of moves or single moves.
The form is encrypted knowledge, breaking the form into shorter sequences allowing us to focus the study on this short sequence.
The focusing allows us to study the form in force developing, applications, combat drills, motorics and motion and of course combinations of factors.
All the next paragraphs are detailing of the different ways to study the form. This study is usually applied not on an entire form, but on shorter sequences of it.
7.3 Many Ways of the Form
7.3.1 Fragmented movement
It is possible to take a move, even the most simple, and instead of performing it in one move, it is possible to perform it fragmented.
This kind of movement allows focusing on the finest parts of the move and improving the fine motoric.
The fragmenting of the moves allows study of motion and not only posture.
7.3.2 Different Directions
Spatial directions, the form has a specific direction for each move, for example, a linear form has only backwards and forwards. In case of linear form, try to perform it in a way that will break the line, for example, try performing it in circular movement. This is most noticeable in a pair form, where different movement direction, changes the interaction between the practitioners.
This way of training helps to develop the subject of range. The spatial movement is improving the ability to react for sudden changes, "unpredictable", since this training is dealing with exiting the known form and breaking of patterns.
Changing the spatial directions of the move can suddenly give an explanation to the move, to decode the code and giving some sense and understanding to the move.
Right\left, most of the forms are performed on the right side. Try to perform it on the left side. This kind of training will train the brain, improve the motorics and ambidexterity. This is much more difficult that it seems, due to the fact that the brain is getting used to patterns. Another advantage is that in order to switch direction, one should understand the motorics of the form consciously.
The right-left subject is very important in weapons forms, since using the left hand for weapons requires a lot of practice from right-handed people. Switching the side of the form helps develop the opposite side and its dexterity, since most of the forms are right sided. The two hands usage will be discussed later on.
7.3.3 Speeds
Performing the form in different speeds allows training several subjects.
Slow performance allows focusing on motorics, posture, force, muscles stamina, stability and balance.
Fast performance allows improving of focusing, correct movement, coordination and speed.
Performing the form to fast to early will cause assimilation of mistakes, wrong motoric and moves.
Slow performance of the form allows study of the motion and forces in the form. This is due to the time we have to think, to understand and not performing as a machine.
7.3.4 Modes of Movement
One can perform parts of the form (or the entire form) in different modes of movement. Each mode has different goal of practice and different motion study. Of course, mostly different modes will join into one practice, however, different combinations will cause different trainings.
Rapid, fast performance for speed increasing and for staying focused in high speeds. In order to increase the speed, one must be loosen, thus fast training improves the looseness.
Slow, slow performance improves physical strength, balance and allows improving of the fine motorics. The slow performance allows finding mistakes and assimilating corrections. The slow movement allows studying the motion and forces in the form.
Strength-full, this mode activates muscles, thus strengthening the body. While working in this mode, one feels that he\she working out hard. There is a psychological effect that gives pure fun of the training, and there is a real physiological effect of strengthening up. This mode also helps in balance developing and vibration practice (7.6.4).
Heavy, in heavy mode we put a lot of weight into the moves and movements. In this practice mode we should understand where to concentrate the weight feeling of the movement and moves, where is our center of gravity, the opponent's center of gravity, what moves should be heavy and what should not and what is the difference in making a certain move heavy or light. In this training it is possible to work on static stability, like a rock. Those insights play a major role in avoiding being taken down or thrown, knowing when and how to loose and play with body weight are critical abilities for that.
Light, light weight movement requires looseness; looseness allows speed and improves it. Light mode practice improves speed of movement, speed of reaction, speed of spatial movement and dealing with the fact that within static instability there is dynamic stability. Being light-weight allows the movement to continue without stopping, like a wind in a canyon, it goes around obstacles.
Angular, angular movement improves sharpness, focusing and the ability to make a long move shorter in the middle of it and switch direction surprisingly.
Circular, circular mode of movement teaches to move in continues way, without stopping. We learn to bypass obstacles and not go through them. The circular movement teaches how the moves join and flow from posture to posture. This flowing is the key for understanding the motion; this is how we learn to produce the correct force. Many times the circular movement makes us move as one body unit, this is a very important concept known as One Unit Body, and is the key for correct and effective force developing and motion.
Flowing, in this mode, every move is joining the next move smoothly. In this mode we can miss a lot of fine aspects, however it teaches us to join the moves, feel the weight and not to stop.
Fragmented, make the movement fragmented. Even a simple punch can be broken into four different punches. This is not about making robotic movement, short and edgy, but breaking the moves for understanding its components.
7.4 Forwards and Backwards
The form has a certain direction, for example a certain move is going from up down, or a punch that is thrown forwards. In fact it Is possible to perform most of the moves in reverse direction, for example, the up down move has a reverse move from down up, the forwards thrown punch becomes pull on its way backwards.
This is a very important feature in study the form for applications and force developments.
7.5 Long and Short Moves
In the form, each move has a certain length, but in fact each of the moves can be performed in variety of lengths (short to long). Each length has its meanings, applications and combat range suitability. It is important not to have fixation on the form as a form, but to accept it as a compressed file.
Usually the practice is with long moves, what is called classical training, long and open. This is only a way of training on the pure moves, strengthening the body and the postures. Many "secrets" are hidden in shortening or elongating the moves out of the forms.
7.6 Forces
In the terms of forces I address to two layers. The first layer is about the physical mode of the movement. The second layer is about personal sensation, the guided imagery of the movement. By understanding the forces of the form it is possible to better apply it.
The following list is a list of basic forces that we can find in every force developing drill and every complex application.
7.6.1 Spring
A spring is accumulating energy as it is cocked, at maximum cocking there is a stop. The entire energy that is stored into the spring is released, at the maximum release point it is also the maximum speed. Our body is capable of making a lot of moves that feels like cocking a spring and releasing it. Many times it used for absorbing attack and then rapidly release it back.
7.6.2 Whipping (Snapping)
This is a rapid movement, possible to be heavy or light. Light whipping is acting just like a whip, going forwards and returns backwards, in order to perform it fast one should be loosened and focus on the return non-the-less than on the throwing of the move (as in wind punch 8.4.16), only this way the movement will be fast as a whip.
7.6.3 Weight
Focusing all the weight in a certain point, a hammer image or a weight with a rope are just examples. Working with the weight is obligating softness of movement, whenever the body is hard and stiff the weight is not concentrated, but spread all over the body.
7.6.4 Vibrations
Vibration is divided into two categories. The first is when we want to transmit vibration through the opponent's body. In this situation we will hit, for example, with an open palm while in the guided imagery the hit continues echoing through the opponent. In reality the hit will not be superficial and will go deep inside the opponent and echo within.
The second category is applying an actual vibration, such as several small pulls in a certain frequency. This mode allows opposing an opponent's hardening, breaking defenses and shocking the opponent's system, shocking the spinal cord and stability. It is important to notice that the series of pulls is continues, each pull (or push, etc.) begins where the previous has ended, and we do not go all the way to the start point.
7.6.5 Pendulum
Pendulum is a principle in which the movement is acting like a pendulum: the weight is at the end and moves from side to side. It is important to notice that there is almost no pendulum movement in which only the arms are moving as pendulums, mostly the entire body is involved, as one big weight and only at the end of the movement we concentrate the weight into the hitting zone, thus a shoulder strike can be also seemed as a pendulum as a battering ram, ramming down fort's gates.
7.6.6 Opposed Directions
Moves that balance each other, for example, one hand goes forwards and the other goes backwards simultaneously, or up and down, leg forwards and hand backwards, etc. the opposite movement creates balance and remains equilibrium (or steady state) of the body, physically speaking (vectors and stuff).
It is important to notice that the movement does not have to be symmetric or similar, such as two punches, a round blocking movement can balance direct strike, etc.
7.6.7 Void
Void is not really a force. It is about the principle of emptying the mind from plans and thoughts, letting the body react instinctively. We learn and practice long time in order to assimilate different instincts of those of a non-practitioner of martial arts, but at the end we do not want to stop for thinking, there is no time for that, but for rapid reaction, focused and correct.
Another aspect of letting go of thoughts and plans is the ability to work in the natural rhythm of the fight, this getting less tired and better integration with the opponent's moves. The rhythm element is best felt while training in stick fighting. The sticks are faster than the eye, so it is impossible to follow the sticks. We must let go, additionally, the sticks make sound while hitting each other, thus providing almost musical rhythm to the fight.
7.6.8 Wave Motion
Wave is not exactly a force image, but a principle of force production. the wave can come as pulses or as dense waves (vibration), and can come as a continuous wave that releases all its stored energy (mechanical, not metaphysical) at ones. The wave is a way to release stored energy, such as the one that is stored in a spring. The wave is not just an image but physical motion of the body, of the joints. The motion must be loose and free. The density of the wave that goes through the body joints is differing with the range. While working with pads, those strikes do not do much of impression, however on a living body they go deep and shocking the system (as far as I know, this is due to the fact that pads are designed to absorb energy, while the body is a good medium for the wave transition). There are styles with very distinguished wave motion, such as Tai Chi and Systema. This principle is good for kicks, direct punches, hook punches, etc.
The wave motion is constructed out of two directions:
The vertical wave is related to running, advancing, up down, etc.
The horizontal wave is related to turning of the pelvis, side-movements, round movements, etc.
Of course, that most of the motion will be combination (superposition) of the vertical and the horizontal waves.
7.7 Sounds and Vocals
Many of us, including myself, shy or do not like to produce sounds while practicing, especially when other people involved.
Each intention has a sound that suits it, each action has a sound suits for it and contains its essence, thus we must train with sounds and vocals. Later on it is possible to produce the "sound" in a quiet, soundless way.
This is a personal subject and each one has his\her own unique sounds and vocals for focusing and intention.
7.8 Different Images (different "Energies")
Sometimes the word Energy is not metaphysical at all, when it is spoken about water, air, earth and fire energies, for example. In the cartoon series of Avatar, the Last Airbander they did great work in associating certain kung-fu styles movement characters with those philosophical elements. I refer to the image that derives from the physical nature of those four philosophical elements and how it come true in the movement characteristics.
What do I mean?
7.8.1 Water
Water use gravity potential energy, converting it into kinetic energy while flowing down. Water flows and do not stop on obstacles such as rocks, instead they go turbulent and bypass it. Water moves as a massive body that grinds and abrasives the canyon in which it flows and carry away everything on its way. In Avatar series water associated with Tai Chi style, an internal style with emphasis on one body movement.
Water can also be associated with Ninjutsu, and every style with emphasis on integration with the opponent's movement and round movements around the opponent, in which the movement does not stop. Usually the movement direction is from up down.
7.8.2 Earth
Earth is heavy, locally it is stable, however when it does move the damage is vast (earthquakes, land-slides, volcanic eruptions, etc.). In the series of Avatar earth was associated with Hung-Gar style. An external style that uses a lot of strength with emphasize on grounding and hard (not soft) work. The image is of a rock that falls with all of it mass at once, suddenly with no compromises.
7.8.3 Air
Air can be devastating. The driving force for air movement is pressure gradient. This is true for global scale, local wind, lifting force in aeronautics and nice breeze or vicious storms. Winds have enormous and surprising force and air does not leave its own deposits, unlike water, earth and fire disasters. Another force that is air related is blast force. Blasts caused by fast expanding air due to extremely high-pressure gradient.
In Avatar series air was associated with Ba-Gua style, a style with a circular movement of the practitioner around the target.
Generally, the image is associated with tornado movement, a twister that moves around with no stopping; on the other hand it is associated with light breeze that does not oppose, thus hitting an obstacle only causes change in direction and course, as in drunken boxing style. Rapid changes in position, high spatial dexterity, non-stopping and non-regular ways of bypassing obstacles are the main features of the air image.
7.8.4 Fire
Fire is no more than hot gases, with no oxygen there is no fire. Fire bursts and leaves tremendous visible damage, it starts suddenly and hard to extinguish.
In Avatar series fire was associated with northern Chinese Kong-Fu style, jumpy with lots of kicks and long-range strikes. All of those are elements of fa-jing (bursting force), and just like with fire, with no aerobic stamina for such a style, one might get tired really quickly.
7.8.5 Images Summery
Of course, eventually while fighting, there is no time for concentrating on those images, and of course one should not have fixation for a certain image. The idea is that during training we adjust ourselves all of the features of those images, and know to change from one to another with a blink of an eye and to adjust ourselves to the situation.
Comments