How does your style judge patterns?

[Kacey]

How does your style judge patterns? By this I don't mean what is your style's opinion of patterns; I mean that, if your style performs patterns (forms, tuls, palgwe, whatever you call them), how are they judged? In Ch'ang H'on TKD, the following points are observed, per The Encyclopedia of Taekwon-Do, by Gen. Choi, Hong Hi:

9 Points to be observed while performing patterns:
1) Accuracy. A pattern should begin and end on the same spot.
2) Correct posture and facing should be maintained at all times.
3) The muscles of the body should be tensed and relaxed at the proper moments.
4) A pattern should be performed in rhythmic movements with an absence of stiffness.
5) Moves should accelerate or decelerate, according to the instructions.
6) Each pattern should be perfected before moving on to the next.
7) Students should know the purpose of each movement.
8) Students should perform each movement with realism.
9) Attack and defense techniques should be equally distributed among left and right hands and feet.

Now, some of these are used as the basis for judging patterns; others are inherent in the patterns learned at each rank, such as #9. Does your style have a codified set of criteria that determine if a pattern is performed correctly? If so, what are they, and are they written down, or passed on orally? If not, do you think such criteria would be useful?
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[jks9199]

When I'm judging a form, I'm assessing whether the student knows (and remembers under pressure, which isn't always the same!) the form, how cleanly they're executing the various evasions, steps, blocks, punches, kicks and other techniques of the form, whether they seem to understand what's happening (can I "see" the person they're fighting -- or are they just dancing?) in the story of the form, and whether they're showing the proper principles throughout. I like to see a little "drama" in the form; show some expression, make it clear to the judge that you're fighting someone... but I don't like when someone does more drama than technique! I look at whether they're breaking sets in the proper places, or making what amounts to a long run-on sentence out of the form, and I look for the proper rhythm and timing within the form.

We don't have a lot of formal guidance on judging, but we seem to produce pretty consistent scores, so we must be doing something right!

 

[CuongNhuka]

There are only two times when there is really anything codified. First is if your testing for brown belt and your Sensei is not a Shodan (keep in mind Shodan in Cuong Nhu is the first rank after black belt, not black belt itself). The second is your Black Belt test and up. And with both, that's really just you send in a video of certian forms to a fifth dan or up, and he tells you and the tester what to watch for ("work on speed and power" is the normal answer).
The general guide line is the same as what you posted from General Choi. Number four is the expection. We say dont be robot. Meaning 1, dont be stiff the whole way through; 2, alter your rythm, and pause at the end of counts if you like to. You also have to look any direction you are about to travel.

 

[stone_dragone]

This is a cut from the kata portion of my handbook. It describes the various elements of kata that we train in and look for. The majority of the info is from/can be found on http://www.gojuryu.net

There are multiple key elements of kata:
Kishin Yoi - Readiness; The correct state of mind and preparation - prior to the movements of the kata.
Kata Tokucho - Unique techniques of system or style, grace; there are specific principles and movements or type of movements within each of the major systems and styles of Karate-do as well as with different kata in each system. It is the Kata Tokucho which gives kata its meaning and beauty.
Osoi wa Hayaku Waza Kankyu – “Technique of slow and fast rhythm & timing.” All kata, no matter what Ryu-ha or Kai-ha must have a certain rhythm and contrast of fast and slow. Different techniques move at different speeds in different kata. Some kata that are found in different styles might even have the same movements however, are executed with a different speed.
Nujisashi - Slow and relaxed portions of kata specifically; not tense but focused.
Chikara Kyojaku - “Power of strong weak.” The correct use of power must be obvious in movements and stance. This power should also be obvious to the viewer. It should relax at the correct time and there must be balance showing a clear difference between strength and relaxation; stabilized tension of the body where the body sinks and is strongly rooted accompanied with proper breathing
Jushin Antei – “Center of body stability” or balance. There should be stability in Kata. Stability leads to power; no stability, no power.
Muchimi - Sticky motions of tense movement: exemplified specifically in Goju Ryu.
Tai Shinshuku “Body expansion and contraction.” Alternating from one posture to another requires a combination of balance, power, speed and control.
In – Yo – In & Yo must be in proper harmony with breathing and control [See also Kokyu]. This must harmonize the dual forces of kata, with the active and passive elements; with the offensive and defensive techniques.
Kiai - Correct use of shouts at predetermined points in the kata. A kiai is a shout coming from lower abdomen, short and powerfully shocking projecting energy and force.
Kokyu - “Breathing out and in.” Kokyu can be described as the best time to effectively use a combination of Tai Shinshuku, Yo-In and Kiai through out the execution of Kata. Breathing in kata should be measured by the action or motion being executed. Short movements (even those with full motion) have a short breath. Long movements, even done quickly, receive a longer breath.
Chakugan – “Observe the eyes, visualization of technique or focus of attention.” Focus is not merely striking, blocking or looking into the direction of an imaginary target. Chakugan is correctly focusing on each individual technique how it might flow and how it is executed. Chakugan, of course, includes your eyes to show the purpose of the movement but it is seen in our eyes, it's not an act, it is a feeling. Teachers should instruct students to look into the direction of attacks and defensive techniques.
Embusen - The imaginary line representing the directions of the kata. We follow this pattern as it has been preset by those before us. We follow the correct pattern of movement within the prescribed pattern of the Kata..
Zanshin – “Perfect awareness, remaining mind.” There is a state of mind when performing kata or technique. We perform kata as if there were actually someone there, blocking their strike, attacking. We perform kata with the mental awareness that someone actually exists with each execution of technique until the completion of kata, knowing exactly where you are when you end, precise, as strong as when you started, focused with an empty mind.

 

[Nomad]

A mantra when we're learning kata (that holds true for judging also) is

Power
Grace
Technique
Control

These cover the biggest things we're looking for in order, along with spirit (displayed by announcement, manner, and zanshin) and chakugan.

 

[terryl965]

Proper technique and power and the knowledge of knowing

 

[JWLuiza]

We don't codify, but through the testing/tournament process, there becomes a cultural imprint of what a good kata is...

I look for crispness in technique and the overall performance. I look for sequencing, intent, and crispness of technique (so imporant I said it twice).

 

[IWishToLearn]

I teach several forms - with the idea of all of them to teach the rules & principles of the system. A sort of dictionary/encyclopedia of movement, while at the same time allowing you to practice your self defense techniques.

There is no "judgeing" per se, it's simply whether or not you performed the required movements while still maintaining your poise and structure.