Virtually no one had but a mere basic understanding of the forms, either historic- ally or functionally. A great majority of schools still teach only the most rudimentary explanation for the movements within these patterns. Some are just plain untrue and potentially dangerous to the user. Even Asian teachers often expound on applications of forms that simply are not logical or practical. We frequently assume that because a teacher is of Asian heritage he automatically knows deep secrets to the arts.
Most schools still utilize forms as a criteria for evaluat- ing a students progress for rank.
Forms are not simply static executions of individual techniques but compilations of inter- connected and related movements within acceptable standards of deviation. The execution against a living, breathing, moving and aggressive opponent requires variance and adaptation within parameters that still retain the overall pattern, giving the motions recognizable continuity, or form. What was so intriguing was not just Oyata 's skill, but that he was able to show how these strikes are hidden within the classical forms. Oyata went further to explain how all forms are more than simple combinations of blocks and strikes, but are also traps, joint locks and sequences of accupoint manipulations. When Master Itosu created the Pinan Kata in 1901, he essentially combined what was considered as two distinct martial art styles into a third and new style.