Is the knowledge of many forms important for you?

[Hanak]

Hello all,

Let exchange some knowledge together.

Normaly if you are new in a shaolin school you start with.

Basic Stance, Wu Bu Chuan, Liang Chan Quan ect

After the first form is Xiao Hong Chuan "normaly"

But then after you learned all of those, not meaning you master it.
But you know how the form works and now you can look to complete those details.

But what i see much then that after they done the basics, they allready learning new form. Without know the first well!

For myself its not important to know many forms.
I gues 3 forms without weapon and 3 with weapon is allready much!

Why 3 with weapon, my idea of that is you have to learn Basic stance ect, but for me Basic weapons are also a must know!

Broad Sword and Stick are for me those basic weapons, then you should take a weapon with interests you most.

Now your opinion.

http://users.telenet.be/Vakantie2008/posts/shi.jpg

[RenDaHai]

One of the most important aspects of Kung Fu is 'Bian Hua' That is Changeability. THe ability to change from one move into another.

If you only practice a few forms you find you will be very stuck with those movements. To Break this you can practice the individual ShouBa of the forms (that is the individual movements) and practice free combining them. ALso you can try more forms.


If you train a great deal, then there are only advantages to training more forms. It makes you very comfortable at changing and gives you such a large repertoire of techniques that you see through the move to the formula behind and no longer need any of the moves at all. Thus you can become formless. You can also become this way by having the style explained to you in very high detail, but such a teacher is rare.


When you learn a new form it unlocks new information about all the older forms you learned. So you will find you progress more quickly generally. Its all about time. If you have a lot of time to dedicate, then I would suggest learning as many as you can get your hands on. However few people have such time, and so it is important to sreamline. In this case I would suggest learning enough for a complete style but to focus on their individual techniques.


In SHaolin the problem for a lot of beginners is having a complete martial art. The problem is that WuBuQuan, LianHuanQuan and XIaoHongQuan are not enough. THey don't contain all the techniques you need. Neither WuBuQuan or LianHuanQuan are old Shaolin forms, they are later additions specifically for beginners. XiaoHongQuan is a complete stlyle if you learn all its roads (4 forms). It can work in combination with Pao Quan very well as well. However it is not so well combined with TongBei, Luohan, Jingang, etc.

No one has yet organised Shaolin into a Logical syllabus. So at the moment, in order to learn the style well, you really do have to practice a lot of forms. Or have an extremely good teacher who teaches you all the principles well.


IMPORTANCE

So, is it important to have the knowledge of many forms? No, it is important to have the vast knowledge of your system of Wushu. This may be just a few moves or even a few principles, well applied. However in Shaolins case, its gonna take quite a few forms.

It goes without saying that a form should be well learned before moving on, but not to the point of stagnation. It is difficult to know when to move on. But you will know yourself. If you get to a point where progress is slow, move on.

[LFJ]

You can also become this way by having the style explained to you in very high detail, but such a teacher is rare.

So true. The majority of people in Shaolin now just do sanda for the fighting side, and maybe have some hypothetical applications to the movements of their traditional sets. But those who really know and teach the concepts and principles of the system are rare, and one must really know how to seek them out. Ironically, most of them aren't the monks, who rather fall in the former category. For many people, an expensive trip to Shaolin these days is a big disappointment.

In response to this topic, I agree 100% with RDH. That's my understanding as well and how I train. I personally know many forms and can use them freely, but "specialize" in one or two.

[David Jamieson]

Not for me. It is about the principles contained within the forms that is more important ultimately.

I've learned dozens of forms, some very long and complex, others short and simple.

I personally only maintain a couple of handsets and a few weapons such as staff(gwun), single broadsword(dao), wu dip do(butterfly knives) an gim(straight sword).

I occasionally reach into the way back machine and pull something old just to dust it off and give the rust a shake, but having many forms is not of great importance, especially in context to the actuality of fighting.

[ShaolinDan]

My Sigung once said that "Just because you don't remember a form you learnt, doesn't mean your body doesn't still know it."
Knowing a lot of forms might not be so important, but learning a lot of forms is very useful for the reasons RDH mentioned.
Even if, like David, you only keep up on a few of them, your body has still learned new ways to move/combine techniques from the forms you've 'forgotten.'

[GeneChing]

When I was younger, I had the entire BSL system. It was over 50 forms. I've let all those go. A few of the more basic ones are still hardwired into me and I can pull them back up with a little effort. I remember many of the weapon techniques, but couldn't recite the entire form. That's when I had a lot more time to focus on physical training.

Nowadays, I only focus on a few forms. I started a thread on that (http://ezine.kungfumagazine.com/forum/showthread.php?t=56233) two years ago. I haven't updated that in a year. At this time in my life, I'm content to focus on a few fundamental Shaolin forms. I don't need to know many, but I'm glad that I did once, because it gives me a stronger foundation and more diversity. If I was presented with a new form, I would certainly explore it, but my coach now wants me to work on what I have, and I'm in total agreement.

[Hanak]

My Sigung once said that "Just because you don't remember a form you learnt, doesn't mean your body doesn't still know it."
Knowing a lot of forms might not be so important, but learning a lot of forms is very useful for the reasons RDH mentioned.
Even if, like David, you only keep up on a few of them, your body has still learned new ways to move/combine techniques from the forms you've 'forgotten.'

Well learning many forms is indeed good for progress!
But true that people say here is, that its good for further training experience.

But remember them all or specialized in all of them is impossible.

Like bruce lee once said, I'm more affraid from a guy who punch 100000 times the same punch, then from a guy who knows 100000 techniques.

But allways interesting what people think of such things.

Thx for it!

[YouKnowWho]

Well learning many forms is indeed good for progress!


IMO, learning many forms is a big waste of time. I have learned more than 50 forms so I believe I'm qualified to say this.

The best training method is to develop a set of "finish moves". You then try to use your other moves to set up, create opportunity, and apply your "finish moves". When you do that, you will find out that you need to design your own combo that fit your own body type. None of those moves that you have learned from your forms are useful for your purpose.

Without developing a set of "finish moves" first, all your training will have no purpose - like a homeless person with no home.

[RenDaHai]

IMO, learning many forms is a big waste of time.
.

In MA many aspects of training Plateau quickly. This is how 20 year olds can become champions. They become equal with their peers at most aspects then physical condition becomes paramount. To stop things becoming stagnated we must change up our training frequently. Time spent on form is never wasted, you are always improving your ability to move and always learning new strategies, new concepts entirely through the diversity of form.

As soon as anything Plateaus time is only needed to maintain it, extra time is wasted. To improve it you need inspiration, new ideas and new experiences. Form is there to inspire and create these new ideas. I am always in the process of learning a new form. It doesn't matter if you remember every one clearly, what is important is that you allow it to teach you new concepts. You will remember the concepts without having to remember the form.


I have learned more than 50 forms so I believe I'm qualified to say this.
.

Depends on the forms and your attitude towards training them.


No time of any training is wasted if you are learning new things

Its only a waste of time if you allow it to plateau

[bawang]

each songshan shaolin form is a complete style with its own lineage.

if u leanr more than 2 ur pushing it

[tattooedmonk]

Not for me. It is about the principles contained within the forms that is more important ultimately.

I've learned dozens of forms, some very long and complex, others short and simple.

I personally only maintain a couple of handsets and a few weapons such as staff(gwun), single broadsword(dao), wu dip do(butterfly knives) an gim(straight sword).

I occasionally reach into the way back machine and pull something old just to dust it off and give the rust a shake, but having many forms is not of great importance, especially in context to the actuality of fighting.I agree with this.:D :eek:HOLY SH!T! dude, you have a B#TTLOAD of posts, D@MN!:cool::)

Gene should give away some free shw@g to the 3 top POSTERS, what do you think?

[rett]

As soon as anything Plateaus time is only needed to maintain it, extra time is wasted. To improve it you need inspiration, new ideas and new experiences. Form is there to inspire and create these new ideas.

I think this is a really important point. Learning new movements and sequences triggers some kind of cognitive process that feels quite different from refining what one already knows. There's that feeling of discovery that come as a new form starts revealing its secrets. Even if some of these aha-moments turn out to have been wrong, it's invigorating and inspiring.

I read somewhere that learning new movement sequences actually raises performance on cognitive tests, but only temporarily. This was tested. Learning new forms of dance led to a spike in ability at solving logical puzzles.

And I believe, exactly as I think you're saying, that going back to an old form, after learning something in between, can make your relationship to the old form fresh again.

My approach to open handed forms has changed since I started with staff. Staff has changed how I dig a ditch. Digging has changed my stance training. Stance training has changed my sitting meditation and how I sit at a desk during the day. And that has changed my life.

But all that is only with about 5 or 6 forms depending on how you count. Maybe 3 active at any given time. I'm one of the people with little time who needs to stick to relatively few forms.

About free-combination / bian hua. The simple little staff form I'm working on takes less than a minute at medium speed. But then try learning everything in a mirror-image, and then finding all the different ways to combine and recombine the steps, turns, grips, and power projection aspects it contains, and you've got a huge field of possibilities to work with.

[YouKnowWho]

You have to be very careful to select the forms that you want to learn. If all your forms are on the same level, you may grow fat but you will not grow tall. Going through the elementary school class material multiple times won't earn yourself a PhD degree.

When your teacher wants to teach you a new form, you should ask, "Why do I need to learn this form for?" If your teacher can't give you a good reason, don't learn it.

[Bacon]

You have to be very careful to select the forms that you want to learn. If all your forms are on the same level, you may grow fat but you will not grow tall. Going through the elementary school class material multiple times won't earn yourself a PhD degree.

When your teacher wants to teach you a new form, you should ask, "Why do I need to learn this form for?" If your teacher can't give you a good reason, don't learn it.

Exactly I think a style should have maximum 5 or 6 forms. I think even that is pushing it. There are too many things to work on practice and get good at to spend so much time on forms and probably not paying enough attention to detail. I want to do my forms and go on to drills, sparring, strength training, and cardio.

[RenDaHai]

You have to be very careful to select the forms that you want to learn. If all your forms are on the same level, you may grow fat but you will not grow tall. Going through the elementary school class material multiple times won't earn yourself a PhD degree.

When your teacher wants to teach you a new form, you should ask, "Why do I need to learn this form for?" If your teacher can't give you a good reason, don't learn it.


I can agree with this. It has to be pushing something new.

[GeneChing]

Exactly I think a style should have maximum 5 or 6 forms. That's not very many weapons. If you practice weapons, forms are more important. And you got to figure at least one from for each weapon. The magnitude and diversity of the Chinese arsenal of weapons is truly one of its greatest treasures. By reducing it down to just 5 or 6, we might as well just practice the Okinawan weapons.

[Bacon]

That's not very many weapons. If you practice weapons, forms are more important. And you got to figure at least one from for each weapon. The magnitude and diversity of the Chinese arsenal of weapons is truly one of its greatest treasures. By reducing it down to just 5 or 6, we might as well just practice the Okinawan weapons.

Sorry I was talking empty hand. For weapons I think one or two forms apiece should do.

[Syn7]

That's not very many weapons. If you practice weapons, forms are more important. And you got to figure at least one from for each weapon. The magnitude and diversity of the Chinese arsenal of weapons is truly one of its greatest treasures. By reducing it down to just 5 or 6, we might as well just practice the Okinawan weapons.

Yeah but if you want to get good at any of them you may want to select a few and stay within that realm. Know what I mean? You can't learn it all, trying is a waste of your time. Very inefficient. If you really want to learn more, maybe learn weapons that are similar to the other you train with.

It's like with Physics, you gotta choose a field and just roll with it. Otherwise you just end up a jack of all, master of none. That limits your potential to mediocrity.

[Jimbo]

That's not very many weapons. If you practice weapons, forms are more important. And you got to figure at least one from for each weapon. The magnitude and diversity of the Chinese arsenal of weapons is truly one of its greatest treasures. By reducing it down to just 5 or 6, we might as well just practice the Okinawan weapons.

IMO, it's better to become good in a few weapons than try to learn a bunch. My personal favorites were the long staff, then the spear. Then the saber. Maybe even better to really know one weapon very well. I never liked the special weapons like 3-section staff, chain whip, rope dart, etc., etc. But if they're practiced for interest or preservation, then I suppose more is perfectly fine.

With the staff, it's easy to practice sparring with padded staffs. With many weapons, that's more difficult to implement.

[GeneChing]

...it's hard to get great at one.

But to get a basic proficiency in a wide array of weapons is a viable strategy too. That's the foundation of the Shaolin notion of the 18 weapons. If you've got 18 weapon forms, assuming they are all diverse enough, you could pick up any inanimate object and go all Jackie Chan on someone. It's a jack of all trades method. Perhaps I should say 'Jackie of all trades'...

With open hand fighting, most practitioners lean towards a reductionist curriculum, but for weapons, being competent with a wide range of different weapons can be very useful. And it's not as hard as it sounds. Once you get the fundamentals of the basic four, then twin weapons and some flexibles, that covers a lot of ground. The rest is just variation.

Weapon sparring with some of the more exotic ones can be challenging because of safety concerns, but there's always working with live blades, cutting practice and target practice.

[Orion Paximus]

I think it's important to be exposed to a wide variety of empty hand forms in a system so you can then settle on the 5 or 6 you really connect with. I agree that you need a working knowledge of at least the 18 classic weapons forms if you're going to consider yourself a CMA practitioner. Empty hand forms really just help us refine our natural tools so a smaller number is okay, but with weapons, you need the forms to open your eyes to ideas your body wouldn't naturally produce.

[sanjuro_ronin]

I would think that 1 basic, 1 intermediate and 1 advanced empty hand form is more than enough.
Add to that 1 form for every weapon you choose to train with.

[Orion Paximus]

I guess it really depends on your purpose then. Are you training to:

1. Just learn how to fight
2. Say you know Kung Fu
3. Actually learn a system

It seems to me that a lot of people that comment on this board aren't really interested in learning a system to carry it on to the next generation. When I started learning Kung Fu, being chosen or allowed to inherit the system seemed like the only goal... and really it's still what I care about most.

[YouKnowWho]

I guess it really depends on your purpose then. Are you training to:

1. Just learn how to fight
2. Say you know Kung Fu
3. Actually learn a system

It seems to me that a lot of people that comment on this board aren't really interested in learning a system to carry it on to the next generation. When I started learning Kung Fu, being chosen or allowed to inherit the system seemed like the only goal... and really it's still what I care about most.
When a teacher teaches a student, he will ask that student whether he wants to be a fighter on the mat (in the ring), or a teacher who can pass down his linkage. The training pathes will be different. It's better to make that decision as early as possible so both teacher and student won't waste time on each other.

[sanjuro_ronin]

I guess it really depends on your purpose then. Are you training to:

1. Just learn how to fight
2. Say you know Kung Fu
3. Actually learn a system

It seems to me that a lot of people that comment on this board aren't really interested in learning a system to carry it on to the next generation. When I started learning Kung Fu, being chosen or allowed to inherit the system seemed like the only goal... and really it's still what I care about most.

A valid point.
Traditionally, systems either had a few sets or a bunch.
Depending on the current GM inclination towards forms.
Those that had limited forms were more inclined to be "hands on" and "combat oriented' in their mode of succession - best fighter passed it on ( exceptions did happen of course).
Systems that had many forms had them because they believed that different people need different skills to fight, to the GM would teach the right form to thr right person.
Typically only a small group would have ALL the forms and these would be the ones to pass it on.
Of course those that only learned some of the forms passed them on as well ( hence we get silly lineage wars about who has the real whatever).

There was no "best method", it is not a case of either/ or but simply a case of which method best suited the GM of the time of that particular branch/style/pai, etc..
'

[YouKnowWho]

The following conversation did happened during one of my TCMA goodwell tours in China.

A: How many forms do you teach to your students?
B: Only 3. How about you?
A: I teach 15 forms to my students.
B: Why do you need to teach that many forms?
A: How long can you keep your students with only 3 forms?
B: ...

[Orion Paximus]

@YouKnowWho: I agree, the training methods should definitely be different depending on your path. I was fortunate to know what I wanted to do early on. Luckily, IMO, becoming a good fighter also comes with the more extensive training of learning a complete system so it's the best of both worlds, it just requires a larger commitment.

@sanjuro: I wish more teachers thought of CMA as a gift to pass on than a trophy to display.

[Jimbo]

When I learned CLF, I had to learn and practice everything up to the level to become a teacher myself, whether I liked it or not. And there is a LOT of material; CLF is a vast system. And I did teach for several years, but not anymore, and I don't intend to again. Now I only train for myself. I train the parts that I feel are important for me, and put the rest 'on the shelf'. The other material is still in my head and body, I just don't spend much or any time on it anymore. Since I'm training for my own benefit, I want to concentrate on the quality of what I'm doing rather than the quantity.

A practitioner isn't necessarily selfish or lesser to not want to pass on the art to the next generation, if that isn't their goal. It was a goal of mine once, but priorities can change. I fully respect those who make it a priority to pass on their art; otherwise, how would I have learned it, right? There are other qualified people from my art who are passing it on.

[Orion Paximus]

The following conversation did happened during one of my TCMA goodwell tours in China.

A: How many forms do you teach to your students?
B: Only 3. How about you?
A: I teach 15 forms to my students.
B: Why do you need to teach that many forms?
A: How long can you keep your students with only 3 forms?
B: ...

I mean if you're teaching 15 Tiger forms then yeah, that's a bit much, how many unique techniques could you possibly be passing on? But if those 15 forms teach 3 different systems of fighting, then it's not about retention for money's sake, but about passing on a true system. FWIW, I'm sure someone could validate 15 tiger forms, I'm just using it as an example.

[sanjuro_ronin]

@YouKnowWho: I agree, the training methods should definitely be different depending on your path. I was fortunate to know what I wanted to do early on. Luckily, IMO, becoming a good fighter also comes with the more extensive training of learning a complete system so it's the best of both worlds, it just requires a larger commitment.

@sanjuro: I wish more teachers thought of CMA as a gift to pass on than a trophy to display.

I don't think it is fair to judge others because they don't have the same POV as we do.
Not ever MA is a teacher and not every teacher is a good one and most certainly, not every teacher should be teaching.
Passing on a MA was never something done "just because it has to be passed on", many teacher were quite happy to die and take their MA with them.
There is no reason to think that passing on a MA is a "great accomplishment".

[Orion Paximus]

Don't misunderstand, I'm not saying that it's something to be revered, but something that should be paramount! It's about preserving the history of something that you (the general you i guess) find important. All martial artists, in a sense, are keepers of a historical treasure. I don't know, that just seems important to me for some reason.

[Jimbo]

I read an article by Adam Hsu that, if I remember right, said that there were originally 10 hand sets in the Cha Chuan system, but that most of the Cha Chuan masters only have about half of the sets. Apparently, this didn't stop them from having a comprehensive understanding and ability in their art.

[YouKnowWho]

I wish more teachers thought of CMA as a gift to pass on than a trophy to display.

I don't teach form any more. The reason is simple. My longfist brother Yang Jwing-Ming is doing that. I don't feel any responsibility to pass down the art of SC either. My SC brother David C. K. Lin is doing that. After my students have learned my favor moves, I'll tell them that they can leave any time they want to and find themselves other teachers. If my teacher's best moves are what I want to develop, that's all I care about. I prefer to be able to take care 7 opponents by just one move than to be able to use 7 moves just to take care one opponent.

[YouKnowWho]

I read an article by Adam Hsu that, if I remember right, said that there were originally 10 sets in the Cha Chuan system, but that most of the Cha Chuan masters only have about half of the sets.

You are right. My longfist brother Nelson Zhou in NYC had learned Cha Chuan 1, 2, 3, and 4. I had only learned Cha Chuan 4. There are book for Cha Chuan 5. I have not heard or seen Cha Chuan 6, 7, ... yet.

[RenDaHai]

Passing on a MA was never something done "just because it has to be passed on", many teacher were quite happy to die and take their MA with them.
There is no reason to think that passing on a MA is a "great accomplishment".

During the cultural revolution it was a fairly great accomplishment to pass something on. I'm glad for it. There are so many aspects to KungFu that there is no way of Me telling how much a style of KungFu can affect someone else's life, and in what ways. It may mean a lot more to someone of the future then to me now.

If all people passed on all their skills all throughout history we we be far more advanced today in all aspects. I think anyone can be a teacher if they have something that someone else wants to learn, no matter what it is.

[RenDaHai]

GongFu in China is HIGH CULTURE. In the west high culture is Classical Music, Fine Art, Ballet, Poetry, Theatre, Ethics, Philosophy, Literature, Architecture Etc. When you look at these things they have little practical application to the life of the average peasant. Its true, but it is because of these things that our civilisations are as fantastic as they are. High Culture inspires all levels of society.

If you don't understand the importance of High Culture to society, then I can't help you, but I am sure their are many essays you can find.

Gong Fu in China is High Culture. It is not simply a bag of dirty tricks to be pulled out during combat. It is penetrates all aspects of a mans life and makes them BETTER.

Form is the ballet, the poetry, the music, the fine art. It is these things as well as a Martial Art and a philosophy. It is important to appreciate it, to attempt it, to learn it and to pass it on.

Ask a singer how many songs they can sing? I can play any form if you give me the lyrics.

Does a musician only learn to play one tune? If you are good you should be able to play any set of movements because you are a master of the instrument that is your body. So I say, practice many forms, and revel in the moment.

[GeneChing]

That was all the 26 forms listed here (http://ezine.kungfumagazine.com/forum/showthread.php?p=714167#post714167) plus a few more for good measure. I don't have them all now because that's a lot of forms to maintain, way more than I needed as I don't teach any more. But I'm very proud to have accomplished that. What's more, BSL is an amazing system when you get that many forms. It opens up this whole new door. The BSL 10 hand forms function as an amazing training system. Sure, it's laborious, and it would be much more efficient to train basic strikes. But ask anyone who's completed the BSL 10. We'll all tell you what a magnificent composition it is when you get the whole thing.

[Jimbo]

GongFu in China is HIGH CULTURE. In the west high culture is Classical Music, Fine Art, Ballet, Poetry, Theatre, Ethics, Philosophy, Literature, Architecture Etc. When you look at these things they have little practical application to the life of the average peasant. Its true, but it is because of these things that our civilisations are as fantastic as they are. High Culture inspires all levels of society.

If you don't understand the importance of High Culture to society, then I can't help you, but I am sure their are many essays you can find.

Gong Fu in China is High Culture. It is not simply a bag of dirty tricks to be pulled out during combat. It is penetrates all aspects of a mans life and makes them BETTER.

Form is the ballet, the poetry, the music, the fine art. It is these things as well as a Martial Art and a philosophy. It is important to appreciate it, to attempt it, to learn it and to pass it on.

Ask a singer how many songs they can sing? I can play any form if you give me the lyrics.

Does a musician only learn to play one tune? If you are good you should be able to play any set of movements because you are a master of the instrument that is your body. So I say, practice many forms, and revel in the moment.

Actually, IME, many of the people who seem to display the least interest in kung fu are Chinese.

Everyone is different. I have learned MANY forms, in CLF, and before that, Tanglang quan and also, Chang Chuan. Also some Lung Ying sets. These aren't even counting the weapon sets, and all the other important material that goes into learning a kung fu system. I had no problem doing the sets in each art with the flavor of that art; meaning, I practiced TLQ with TLQ body and CLF with CLF flavor, even allowing for differences in the stances, footwork, etc, etc. I finally settled only on CLF.

At some point, too much is too much. Trying to practice/maintain too many sets or styles is like going further into debt; you're never caught up. Then it can be more difficult to be 'in the moment' during practice because you're just trying to maintain rather than improve, which becomes difficult anyway, with so much quantity. Practicing sets/ forms is only a part of kung fu practice, not the only or main focus.

But then, everyone's purpose for training is different. I'm only saying what I eventually arrived at; quality of practice time over quantity of material. Of course, enough material makes practice much richer, but there is a point of diminishing returns.

Plus...not everyone who trains MA has a life centered only on practicing and teaching kung fu. Kung fu was the center of my life for years, but now it's not. I must make my practice time count. Kung fu must share my time now with other responsibilities and other interests, too.

[r.(shaolin)]

Thoughtful insight RenDaHai.
r.


GongFu in China is HIGH CULTURE. In the west high culture is Classical Music, Fine Art, Ballet, Poetry, Theatre, Ethics, Philosophy, Literature, Architecture Etc. When you look at these things they have little practical application to the life of the average peasant. Its true, but it is because of these things that our civilisations are as fantastic as they are. High Culture inspires all levels of society.

If you don't understand the importance of High Culture to society, then I can't help you, but I am sure their are many essays you can find.

Gong Fu in China is High Culture. It is not simply a bag of dirty tricks to be pulled out during combat. It is penetrates all aspects of a mans life and makes them BETTER.

Form is the ballet, the poetry, the music, the fine art. It is these things as well as a Martial Art and a philosophy. It is important to appreciate it, to attempt it, to learn it and to pass it on.

Ask a singer how many songs they can sing? I can play any form if you give me the lyrics.

Does a musician only learn to play one tune? If you are good you should be able to play any set of movements because you are a master of the instrument that is your body. So I say, practice many forms, and revel in the moment.