Form Work

"The difference between Western martial arts and Chinese martial arts is that Chinese martial arts also consider internal training, breath training, not only fighting. In Western styles, the concentration is most important on fighting and that is why forms are not necessary in these types of martial art. Traditional Chinese martial arts must be with forms.

Forms training is very important in martial arts. Firstly, it links all the skill together in one continuous movement, i.e. a form as it helps train the fighting skill. Forms also develop the balance between the internal and external body and the principles of that particular style. For instance, in say Crane style, Monkey style, Tiger style, they all have different principles. They also train the breathing and co-ordination.

Forms also help the body to release any injuries that may have occurred during fighting. Of course, if the form is done incorrectly, then you are likely to injure yourself more! If a form is good, then the more healthy you will become and more skilful as well. Bad forms, the more you practise, the more injury you will get. Traditionally, forms helped prepare the student for weapons training. So after two to three year’s practice of bare hand forms, then they would begin training with a weapon."
- Michael Tse, Shaolin - Spirit of the Sword, Qi Magazine



"The catechisms of the kata are not unique to the bugei. Every Japanese art employs preset patterns given to initiates to emulate and master. The practitioner of tea performs a kata of tea preparation with precisely the same gestures and ritual as were used two centuries ago. He has learned it exactly from his teacher, who learned it in his time the same way. So it is with the kata of the bugei. Devised by warriors and refined by their successors, martial kata gradually assumed a fixed form. The modern bugeisha who assimilates and exercises them is thus tapping into a deep source of knowledge, a pedagogy that has proven itself in the firestorm of battle.
Those lacking a firsthand acquaintance with them are unlikely to take such a respectful view of the classical combative kata. They will interpret them to be a sterile, mindlessly repetitive imitation with little relevance to real fighting. For those not involved intimately with them, the appearance of kata is one of a highly choreographed ballet, with rigidly set patterns devoid of any creativity or spontaneity."
- Dave Lowry, Sword and Brush, 1995, p. 28