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¿Violencia O Arte Marcial? Mitos Y Realidades En El Cubrimiento Mediático Y En El Consumo De Las Mma En Estados Unidos

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¿Violencia O Arte Marcial? Mitos Y Realidades En El Cubrimiento Mediático Y En El Consumo De Las Mma En Estados Unidos ¿VIOLENCIA O ARTE MARCIAL? MITOS Y REALIDADES EN EL CUBRIMIENTO MEDIÁTICO Y EN EL CONSUMO DE LAS MMA EN ESTADOS UNIDOS DAVID HORACIO ROSALES ROJAS UNIVERSIDAD AUTÓNOMA DE OCCIDENTE FACULTAD DE COMUNICACIONES DEPARTAMENTO DE DEPARTAMENTO DE CIENCIAS DE LA COMUNICACIÓN PROGRAMA COMUNICACIÓN SOCIAL - PERIODISMO SANTIAGO DE CALI 2008 1 ¿VIOLENCIA O ARTE MARCIAL? MITOS Y REALIDADES EN EL CUBRIMIENTO MEDIÁTICO Y EN EL CONSUMO DE LAS MMA EN ESTADOS UNIDOS DAVID HORACIO ROSALES ROJAS Trabajo de grado para optar al título de Comunicador Social – Periodista Director CÉSAR TULIO CASTRO Comunicador Social-Periodista UNIVERSIDAD AUTÓNOMA DE OCCIDENTE FACULTAD DE COMUNICACIONES DEPARTAMENTO DE DEPARTAMENTO DE CIENCIAS DE LA COMUNICACIÓN PROGRAMA COMUNICACIÓN SOCIAL - PERIODISMO SANTIAGO DE CALI 2008 2 Nota de aceptación: Aprobado por el Comité de Grado en cumplimiento de los requisitos exigidos por la Universidad Autónoma de Occidente para optar al título de Comunicador Social – Periodista Diana Margarita Vásquez Arana Jurado o Docente o Director Gustavo Adolfo Mejía Artunduaga Jurado o Docente o Director Santiago de Cali, 7 de noviembre de 2008 3 A mis padres, por la bondad y la paciencia con la que me han acompañado en la senda de la vida. A mi tía Luz Nelbi Zent y a su esposo Steve Zent, por hacer posible mi práctica en Hermosa Beach, California, lugar donde pude acceder a la información y contactar a las personas necesarias para el desarrollo de esta investigación. A César Tulio Castro, mi asesor durante la elaboración de este trabajo, por el entusiasmo y la lucidez con la que me acompañó durante todos los procesos de su elaboración. 4 CONTENIDO Pag. RESUMEN 11 INTRODUCCIÓN 12 1. PROBLEMA DE INVESTIGACIÓN 15 1.1 PRESENTACIÓN DEL PROBLEMA 15 1.2 FORMULACIÓN DEL PROBLEMA 18 1.3 SISTEMATIZACIÓN DEL PROBLEMA 18 1.4 OBJETIVOS 18 1.4.1 Objetivo general 18 1.4.2 Objetivos específicos 19 1.5. JUSTIFICACIÓN 19 2. MARCOS DE REFERENCIA 21 2.1 MARCO TEÓRICO 21 2.2 MARCO CONTEXTUAL 28 5 2.3 MARCO CONCEPTUAL (GLOSARIO) 35 3. METODOLOGÍA 40 3.1 ENFOQUE INVESTIGATIVO 40 3.2 INSTRUMENTOS 41 3.3 PROCEDIMIENTO 42 3.4 CRONOGRAMA 45 4. EL DOMINIO DE LOS GRACIE 46 4.1 LA LEYENDA DE ROYCE GRACIE 46 4.2 LOS IMAGINARIOS DEL CINE Y EL UFC 54 4.3 LA REACCIÓN DE JOHN MCCAIN 57 4.4 LA PERCEPCIÓN DEL UFC EN NOTICIEROS ALIADOS A MCCAIN 59 4.4.1 ¿Un nuevo show? 60 4.4.2 El fenómeno de la interdisciplinaridad marcial. 61 4.4.3 “¿Quiénes son estos tipos?” 63 4.4.4 “No hay reglas” 64 6 5. EL AUGE DE LOS LUCHADORES 71 5.1 DAN SEVERN 71 5.1.1 La mímesis: emociones e imaginarios a partir del escenario y la 86 publicidad del UFC 5.2 LA INFLUENCIA DE DAN SEVERN EN LAS MMA COMO UNA 89 NUEVA OPORTUNIDAD PARA LOS LUCHADORES 5.3 LA REACCIÓN DE BILL O´REILLY Y LA TRANSFORMACIÓN DE 92 LOS IMAGINARIOS DE LAS MMA DURANTE EL DOMINIO DE LOS LUCHADORES 93 5.3.1 El ´Ground and Pound’ 5.3.2 ¿Dinero o sed de gloria? 98 5.3.3 De espectáculo a deporte 100 6. EL SURGIMIENTO DE LAS MMA COMO DISCIPLINA DE COMBATE 104 6.1 EL SUEÑO DEL PELEADOR PERFECTO: LA HISTORIA DE 107 FRANK SHAMROCK 6.1.1 Transformaciones de las MMA durante la era de Frank 111 Shamrock 6.2 EL UFC LLEGA A LAS VEGAS Y A NEW JERSEY 114 6.3 EL EXITOSO NEGOCIO DE LAS PERSONALIDADES 117 ARTIFICIALES 7 6.3.1 La búsqueda del peleador perfecto se convierte en ‘reality 119 show’ 6.3.2 Personalidades artificiales y medios 119 6.4 EL ‘REALITY’ VS LA REALIDAD 121 6.4.1 Peleadores y entornos violentos. 126 7. CONCLUSIONES 130 8. RECOMENDACIOES 132 BIBLIOGRAFÍA 135 8 LISTA DE TABLAS Pag. Cuadro 1. Estructura de la investigación (I) 27 Cuadro 2. Estructura de la investigación (II) 28 Cuadro 3. Cronograma de la investigación 45 9 LISTA DE FIGURAS Pag. Figura 1. Royce Gracie vence con una luxación de brazo al 51 practicante de kung Jason Delucia en el segundo UFC, en 1994. (Foto cortesía de Semaphore Entertainment Group) Figura 2. Afiche publicitario del segundo UFC 78 Figura 3. Afiche publicitario del sexto UFC 79 Figura 4. Afiche publicitario del séptimo UFC 80 Figura 5. Afiche publicitario del octavo UFC 81 Figura 6. Dan Severn (calzoneta negra) se enfrenta a Ken Shamrock 83 (calzoneta morada) en la ‘Súper pelea’ del sexto UFC en 1995 (Foto cortesía de Semaphore Entertainment Group) Figura 7. El luchador Randy Couture domina al peleador Tito Ortiz 94 mediante ‘Ground and Pound’ en 2004 (Foto cortesía de Sherdog.com) Figura 8. Frank Shamrock aplica una presa de dolor al luchador 110 Kevin Jackson en Tokio, Japón. 21 de diciembre de 1997 (Foto Cortesía de Susumo Nagao) 10 RESUMEN El presente trabajo cuestiona los imaginarios mediáticos dominantes en el cubrimiento de las Mixed Martial Arts (Artes Marciales Mixtas) en Estados Unidos. Las MMA son una nueva modalidad de los deportes de combate cuyo crecimiento en el mundo del entretenimiento ha sido vertiginoso y polémico desde su primera aparición en la televisión norteamericana en 1993. Esta investigación confronta la reacción de varios medios estadounidenses que consideran las MMA como la celebración de la violencia por parte de seres marginales (los luchadores de la modalidad) con las experiencias vitales y las opiniones de los artistas marciales radicados al sur de California, una de las zonas con mayor concentración de peleadores de MMA. Asimismo, describe los beneficios de las Mixed Martial Arts en el rumbo de su historia personal y deportiva. 11 INTRODUCCIÓN El presente trabajo expone diferentes visiones de las MMA —Mixed Martial Arts— a través de una colección de historias de vida de peleadores que han consagrado sus vidas a ella en distintos momentos de su evolución como expresión deportiva y cultural. Las Mixed Martial Arts, MMA, son un deporte* de combate en el que los peleadores poseen conocimientos en diferentes disciplinas marciales y en el que las reglas permiten el despliegue de una amplia variedad de técnicas generalmente restringidas en otros deportes de este tipo. En las MMA, al luchador se le permite golpear a su oponente con los puños, los codos, las rodillas y los pies. En este sentido, las MMA asimilan disciplinas como el kickboxing, el savate o el muay thai, en las que se permiten contactos similares, aunque en el kickboxing y en el savate las reglas tienden a restringir el uso de los codos o de las rodillas por la frecuencia con la que impactos de esas articulaciones generan cortes profundos en las facciones de los peleadores. Al peleador de las MMA, también se le permite derribar a su oponente empleando técnicas de desequilibrio y proyección provenientes del judo, el jiu-jitsu o la lucha. De igual forma, las reglas aprueban la aplicación de luxaciones a los codos, rodillas, tobillos, muñecas y el cuello, aunque restringen el ataque a las articulaciones menores de los dedos de manos y pies. Asimismo, el peleador puede someter a su oponente con estrangulaciones. Tanto las luxaciones como las estrangulaciones son técnicas heredadas del jiu-jitsu, el judo y el catch wrestling, pero prohibidas en la lucha amateur. * Este trabajo asume, e intenta demostrar al lector, con argumentos de la historia y la sociología del deporte que las MMA son una práctica deportiva. De acuerdo con Norbert Elias y Eric Dunning autores de ‘Deporte y Ocio en el proceso de la Civilización’ todas las actividades deportivas contienen una carga de violencia, porque la competitividad es siempre una representación de la guerra. La guerra y la competencia tienen una relación evidente: ambas son esenciales en el proceso de civilización, pues las dos permiten a los grupos sociales cohesionarse y diferenciarse, elaborar una distinción entre el nosotros – ellos. Si bien el Ultimate Fighting Championship, el primer torneo que lograría hacer de las MMA un fenómeno mediático, empezó a promocionarse y a ser percibido como un evento de competencia sin reglas, a lo largo de esta investigación se demostrará cómo el fortalecimiento de su reglamento elevó a las MMA de espectáculo a deporte, de acuerdo a la definición que Elias y Dunning ofrecen sobre las actividades deportivas. 12 Los impactos con puños, codos, rodillas y pies están prohibidos en la lucha, el judo y en las competiciones de jiu-jitsu. Las proyecciones, luxaciones y estrangulaciones se restringen en el boxeo, las competencias de karate, de kickboxing, de savate y de muay thai. En MMA, el competidor tiene la posibilidad de golpear al oponente derribado para llevarlo a la indefensión y someterlo. Tal estrategia ofensiva no se permite ni en los deportes de combate que privilegian la pelea de impactos a cierta distancia, como el boxeo, el kickboxing o el muay thai, y en los que se basan en la lucha cuerpo a cuerpo, como el judo o la lucha amateur. La intensión de las MMA es un combinar en una sola disciplina de combate los conocimientos de muchas otras para ofrecer tanto al atleta que compite en ellas como al espectador una acción similar a la de un combate real. El comentarista deportivo Joe Rogan, experto en Mixed Martial, Arts afirma: Las MMA no son un deporte de combate, son el deporte de combate. Si lo comparamos con el boxeo, en el que dos peleadores hacen el contrato de enfrentarse sólo golpeándose con los puños, podemos decir que el boxeo es algo tonto o fantasioso. Las MMA están ganando tanta popularidad y tantos practicantes en todo el mundo precisamente por su parecido a lo que es una pelea de verdad1.
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