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2017 Usa Combat Wrestling U.S. Nationals, Pan American Open & U.S
2017 USA COMBAT WRESTLING U.S. NATIONALS, PAN AMERICAN OPEN & U.S. TEAM TRIAL RESULTS St. Louis, Missouri Parkway west High School July 29, 2017 ADULT RESULTS (see below for complete match breakdowns): Women -70kg (2 woman bracket, best of three) Gold – Katherine Reed (Rdojo/Bay JiuJitsu, California) Silver – Breanna Meadows (Katameda Dojo/St. Charles MMA, Missouri) Men/Master 62kg (5 man bracket, single elimination w/consolation bracket) Gold – Michael Caldwell (UFC Gym, Illinois) Silver – Javier Polomo (RDojo, Illinois) Bonze – Charles Johnson (Vaghi BJJ, Missouri) Men/Masters 68kg (2 man bracket, best of three) Gold – Reilly Bodycomb (RDojo/Bay JiuJitsu, California) Silver – Aaron Johnson (James Clingerman, Indiana) Men/Masters 74kg (4 man bracket, single elimination w/consolation bracket) Gold – Michael Palladino (Evolution Grappling Academy, New York) Silver – Taylor Bolin (UFC Gym, Missouri) Bronze – Stephen Goyne (RDojo/Bay JiuJitsu, California) Men/Masters 82kg (5 man bracket, single elimination w/consolation bracket) Gold – Stephen Wyatt (Gracie Humaita/UFC Gym, Missouri) Silver – Jonathan DiLorenzo (Evolution Grappling Academy, New York) Bronze – Aaron Butler (Westside MMA, Arkansas) Men 90kg (3 man bracket, round robin) Gold – Niko Koliastasis (Champions MMA, Arkansas) Silver – Micahel Tiefenauer (S2BJJ, Missouri) Bronze – Kyle Hunt (TK Martial Arts, Arkansas) Men Masters 90kg (2 man bracket, best of three) Gold – Niko Koliastsasis (Champions MMA, Arkansas) Silver – Erick Patterson (Team Storm, Indiana) Men/Masters 100kg (4 -
Le Mixed Martial Arts Entre Innovation Et Hybridation : Genèse Et Développement Techniques D’Un Sport De Combat De Synthèse
A paraître dans Sciences sociales et sport. Le Mixed Martial Arts entre innovation et hybridation : genèse et développement techniques d’un sport de combat de synthèse. Étude empirique de la diversité des techniques victorieuses à l’Ultimate Fighting Championship. Matthieu QUIDU. Professeur agrégé d’EPS à l’École Normale Supérieure de Lyon. Chercheur associé au Laboratoire sur les Vulnérabilités et l’Innovation dans le Sport (L-ViS ; EA 7428, Université Lyon 1). [email protected] Résumé : Le Mixed Martial Arts (MMA) s’est constitué en tant que sport de combat de synthèse à partir d’un projet originel de confrontation des différents styles martiaux. Nous examinons l’autonomisation de cette discipline à partir d’un processus, non prémédité, d’hybridation et discutons l’idée suivant laquelle l’intégration de différentes spécialités de combat produirait nécessairement un enrichissement gestuel. Inversement, le MMA professionnel est marqué par un double mouvement paradoxal de rétrécissement et d’uniformisation techniques, dominé par les frappes de poings et qui résulterait de la conjonction de facteurs économiques, médiatiques et réglementaires. Abstract: The Mixed Martial Arts (MMA) was established as a synthetic combat sport from an original project whose aim was to confront distinct martial styles. We underline the hybridization process - not planed – which has generated the emergence of a discipline sui generis and discuss the idea that the integration of various specialities produces inevitably a technical improvement. On the contrary, the professional version of MMA is characterized by a double and paradoxical dynamics of narrowing and standardization, dominated by the striking (especially with the fists), which would result from the convergence of economic, media and regulatory factors. -
JUDO Under the Authority of the Bakersfield Judo Club
JUDO Under the Authority of the Bakersfield Judo Club Time: Tuesdays and Thursdays, 6:30 -8:00 PM Location: CSUB Wrestling Room Instructors: Michael Flachmann (4th Dan) Phone: 661-654-2121 Steve Walsh (1st Dan) Guest Instructors: Dale Kinoshita (5th Dan) Phone: (work) 834-7570 (home) 837-0152 Brett Sakamoto (4th Dan) Gustavo Sanchez (1st Dan) The Bakersfield Judo Club rd meets twice a week on 23 St / Hwy 178 Mondays and Thursdays from 7:00 to 9:00 PM. JUDO Club They practice under the 2207 ‘N’ Authority of Kinya th 22nd St Sakamoto, Rokudan (6 Degree Black Belt), at 2207 N St. ’ St Q ‘N’ St ‘ Chester Ave Truxtun Ave Etiquette: Salutations: Pronunciation: Ritsurei Standing Bow a = ah (baa) Zarei Sitting Bow e = eh (kettle) Seiza Sitting on Knees i = e (key) o = oh (hole) When to Bow: u = oo (cool) Upon entering or exiting the dojo. Upon entering or exiting the tatami. Definitions: Before class begins and after class ends. Judo “The Gentle Way” Before and after working with a partner. Judoka Judo Practitioner Sensei Instructor Where to sit: Dojo Practice Hall Kamiza (Upper Seat) for senseis. Kiotsuke ATTENTION! Shimoza (Lower Seat) for students. Rei Command to Bow Joseki – Right side of Shimoza Randori Free practice Shimoseki – Left side of Shimoza Uchi Komi “Fitting in” or “turning in” practice Judo Gi: Students must learn the proper Tatami Judo mat way to war the gi and obi. Students should Kiai Yell also wear zoris when not on the mat. Hajime Begin Matte STOP! Kata Fromal Exercises Tori Person practicing Students must have technique Uke Person being their own personal practiced on health and injury O Big or Major insurance. -
Battle and Self-Sacrifice in a Bengali Warrior's Epic
Western Washington University Western CEDAR Liberal Studies Humanities 2008 Battle nda Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Maṅgal, Chapter Six of Rites of Spring by Ralph Nicholas David Curley Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/liberalstudies_facpubs Part of the Near Eastern Languages and Societies Commons Recommended Citation Curley, David, "Battle nda Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Maṅgal, Chapter Six of Rites of Spring by Ralph Nicholas" (2008). Liberal Studies. 7. https://cedar.wwu.edu/liberalstudies_facpubs/7 This Book is brought to you for free and open access by the Humanities at Western CEDAR. It has been accepted for inclusion in Liberal Studies by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. 6. Battle and Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Ma2gal* INTRODUCTION Plots and Themes harma Ma2gal are long, narrative Bengali poems that explain and justify the worship of Lord Dharma as the D eternal, formless, and supreme god. Surviving texts were written between the mid-seventeenth and the mid-eighteenth centuries. By examining the plots of Dharma Ma2gal, I hope to describe features of a precolonial Bengali warriors” culture. I argue that Dharma Ma2gal texts describe the career of a hero and raja, and that their narratives seem to be designed both to inculcate a version of warrior culture in Bengal, and to contain it by requiring self-sacrifice in both battle and “truth ordeals.” Dharma Ma2gal *I thank Ralph W. -
Professional Wrestling, Sports Entertainment and the Liminal Experience in American Culture
PROFESSIONAL WRESTLING, SPORTS ENTERTAINMENT AND THE LIMINAL EXPERIENCE IN AMERICAN CULTURE By AARON D, FEIGENBAUM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by Aaron D. Feigenbaum ACKNOWLEDGMENTS There are many people who have helped me along the way, and I would like to express my appreciation to all of them. I would like to begin by thanking the members of my committee - Dr. Heather Gibson, Dr. Amitava Kumar, Dr. Norman Market, and Dr. Anthony Oliver-Smith - for all their help. I especially would like to thank my Chair, Dr. John Moore, for encouraging me to pursue my chosen field of study, guiding me in the right direction, and providing invaluable advice and encouragement. Others at the University of Florida who helped me in a variety of ways include Heather Hall, Jocelyn Shell, Jim Kunetz, and Farshid Safi. I would also like to thank Dr. Winnie Cooke and all my friends from the Teaching Center and Athletic Association for putting up with me the past few years. From the World Wrestling Federation, I would like to thank Vince McMahon, Jr., and Jim Byrne for taking the time to answer my questions and allowing me access to the World Wrestling Federation. A very special thanks goes out to Laura Bryson who provided so much help in many ways. I would like to thank Ed Garea and Paul MacArthur for answering my questions on both the history of professional wrestling and the current sports entertainment product. -
MARTIAL ARTS FITNESS SYSTEM Session Outline
MARTIAL ARTS FITNESS SYSTEM Session Outline Samurai FT was designed to make exercise fun. By the end of this workshop, you should be able to perform all basic techniques and will have gained a deeper knowledge of why movements are beneficial and what results can be expected from various applications. Let’s Get Started! What is Samurai FT? SamuraiFT is a program inspired by martial arts drawn from a wide array of disciplines such as Karate, Boxing, Taekwondo, and Muay Thai. The class entails a non-stop routine of striking, punching, and kicking techniques along with cardio and strength drills that includes balance, core and cognitive work. 3 Components of SamuraiFT SamuraiFT includes a wide range of exercises and movement combinations that are into components, each designed to elicit specific results. Position Two Basic Stances: Fighting Stance and Regular Stance (Various combinations and techniques all depend on the stance – Keep in mind that we are moving like fighters as a result, the coordination and combinations improves overall agility.) Traveling Forms – Foot Work The versatility of the traveling forms are endless. (Warm-ups, Metabolic Conditioning, Active Rest and more.) They activate your cognitive skills and help with mind body connection. Kata Flow The movement of the body in a fluid sequence transferring energy from one SamuraiFT technique to the next. SamuraiFT techniques are based on perfect body control, which hugely relies on a strong core- stabilization. Your CORE is your POWER CENTER – “Martial Arts Masters” In SamuraiFT, all kicking, punching and blocking techniques involve the power center; which helps strengthen postural stabilizers (internal and external obliques, transversus abdominis). -
“Racist, Sexist, Profane, and Violent”: Reinterpreting WWE's Portrayals of Samoans Across Generations
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 8-2020 “Racist, Sexist, Profane, and Violent”: Reinterpreting WWE’s Portrayals of Samoans Across Generations John Honey Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the American Popular Culture Commons Recommended Citation Honey, John, "“Racist, Sexist, Profane, and Violent”: Reinterpreting WWE’s Portrayals of Samoans Across Generations" (2020). All Graduate Plan B and other Reports. 1469. https://digitalcommons.usu.edu/gradreports/1469 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. 1 2 Copyright © John B. Honey 2020 All Rights Reserved 3 ABSTRACT “Racist, Sexist, Profane, and Violent”: Reinterpreting WWE’s Portrayals of Samoans across Generations By John B. Honey, Master of Science Utah State University, 2020 Major Professor: Dr. Eric César Morales Program: American Studies This paper examines the shifting portrayals of Pacific Islanders in World Wrestling Entertainment (WWE) across three generations. As both a popular and historically racially problematic venue, WWE’s politically incorrect programming has played an underappreciated and under examined role in representing the USA. Although 4 many different groups have been portrayed by gross stereotypes in WWE, this paper uses the family of Dwayne “the Rock” Johnson—the Samoan Dynasty—as a case study. The WWE originally presented Pacific Islanders using the most offensive stereotypes, and the first two generations of the Samoan Dynasty had to “play Indian” or cosign onto gross representations of their people to be recognized by American audiences unfamiliar with representations of Pacific Islanders. -
Tartan Wrestling Philosophy
Tartan Wrestling Philosophy Mission Statement: The Tartan Wrestling Program believes there is more to life than athletics. It is our desire to develop not only great wrestlers, but great students and kids who demonstrate outstanding character. This program will measure its success not only in wins and losses, but also in our wrestlers’ abilities to have productive and successful lives. Wrestling Philosophy: Wrestling is a sport that requires more than talent. It takes physical and mental discipline as well as sound fundamentals. A Tartan wrestler should work relentlessly to maximize his potential in all of these areas. Although this staff teaches specific technical components of this sport, it is our belief that there is more than one way to wrestle. We work tirelessly to bring in an array of technique, giving each individual the best chance at personal success. There is however on area of wrestling that we believe is absolute. A Tartan wrestler must be a hard worker who strives to be in the best physical shape possible. We believe in the adage, “hard work beats talents, when talent doesn’t work hard.” Our expectations of our wrestlers are that they will out work their opponent each and every day. Our objective is to wear our opponent down so that we can physically break them. The third period should be our best, as our opponent fatigues and we are able to remain fundamentally sound due to superior conditioning. It is no accident when a Tartan wrestler wins a close match or a match in which they trailed. NEEDS AND VALUES OF WRESTLING The wrestling mat provides a constructive outlet for energies that are symptomatic of restless and uncertain teenagers. -
Rear Naked Choke"
"REAR NAKED CHOKE" James Grayford 1626 North Wilcox Avenue #482 Los Angeles, CA 90028 323.807.8599 [email protected] 1. INT. REGIONAL MMA - OCTAGON -- NIGHT We pull back from a mouthguard emblazoned with the words REAR NAKED CHOKE, reveal TED DE LEON, mid 20's, Latin. Ted raises 4 ounce gloves, trades blows with his OPPONENT, 20's. This is regional pro MMA. Smaller crowds, weathered canvas. Draped banners display local sponsors. The bell rings and the fighters return to their corners. CLEVON ALVARADO, 40's, slides a stool beneath Ted. CLEVON You're doing great, kid. How you feel? Like an Aztec? Clevon glances to the stands. DIEGO VELASQUEZ, 40's, suit, paunch, sits with a group of PROMOTERS. INT. REGIONAL MMA - STANDS -- NIGHT Through the door enters CHARLIE UNO, 50's, Caucasian, fat cigar, Don King persona. PROMOTER #1 The man's here. They rise to greet him. PROMOTER #1 Charlie, this is Diego Velasquez. Charlie sits. CHARLIE UNO You want in? VELASQUEZ Very much sir, yes. CHARLIE UNO (opening his hands toward ring) Then make us some money. INT. REGIONAL MMA - CAGE & STANDS -- NIGHT Grandstanding, Velasquez rises, points at his watch. Clevon sees it, turns to Ted. CLEVON You know what time it is? (CONTINUED) 2. CONTINUED: Staring at the ground, Ted nods. CLEVON Hey. Hey, listen to me... Clevon looks him dead in the eyes. CLEVON You got two fights left on your contract. Do this, you're out. You can make it to the show, Ted. No one has to know. Ted doesn't answer. -
Your Guide to a Lifetime Of
YOUR GUIDE TO A LIFETIME OF ENJOYING & IMPROVING YOUR BRAZILIAN JIU-JITSU By Five-Time World Champion Bernardo Faria Your Guide To A Lifetime Of Enjoying & Improving Your Brazilian Jiu-Jitsu Table Of Contents Introduction .........................................................................................................3 Where to train? How to pick a school…? .......................................................4 How to identify a good instructor? ..................................................................4 Beginners: Which positions should you focus on? ......................................5 Tournaments help you to improve ..................................................................6 How to maximize your learning.......................................................................7 How to set up a game plan ................................................................................8 How to pick who you are going to train with ................................................9 How to deal with the frustration when you feel you are not learning ...10 How often should you train? ........................................................................... 11 How to avoid injuries .........................................................................................12 How to get a sponsor ........................................................................................13 How to work out off the mat ...........................................................................14 In BJJ there is no right or -
Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│
Free uniform included with new membership. Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│ WWW.MMAOFBOWIE.COM BOWIE MIXED MARTIAL ARTS Member Handbook BRAZILIAN JIU-JITSU │ JUDO │ WRESTLING │ KICKBOXING Copyright © 2019 Bowie Mixed Martial Arts LLC. All Rights Reserved. Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│ WWW.MMAOFBOWIE.COM Free uniform included with new membership. Member Handbook Welcome to the world of Brazilian Jiu-Jitsu. The Brazilian Jiu-Jitsu program consists of a belt ranking system that begins at white belt and progresses to black belt. Each belt level consists of specific techniques in 7 major categories; takedowns, sweeps, guard passes, submissions, defenses, escapes, and combinations. Techniques begin with fundamentals and become more difficult as each level is reached. In addition, each belt level has a corresponding number of techniques for each category. The goal for each of us should be to become a Master, the epitome of the professional warrior. WARNING: Jiu-Jitsu, like any sport, involves a potential risk for serious injury. The techniques used in these classes are being demonstrated by highly trained professionals and are being shown solely for training purposes and competition. Doing techniques on your own without professional instruction and supervision is not a substitute for training. No one should attempt any of these techniques without proper personal instruction from trained instructors. Anyone who attempts any of these techniques without supervision assumes all risks. Bowie Mixed Martial Arts LLC., shall not be liable to anyone for the use of any of these techniques. -
The Oral Poetics of Professional Wrestling, Or Laying the Smackdown on Homer
Oral Tradition, 29/1 (201X): 127-148 The Oral Poetics of Professional Wrestling, or Laying the Smackdown on Homer William Duffy Since its development in the first half of the twentieth century, Milman Parry and Albert Lord’s theory of “composition in performance” has been central to the study of oral poetry (J. M. Foley 1998:ix-x). This theory and others based on it have been used in the analysis of poetic traditions like those of the West African griots, the Viking skalds, and, most famously, the ancient Greek epics.1 However, scholars have rarely applied Parry-Lord theory to material other than oral poetry, with the notable exceptions of musical forms like jazz, African drumming, and freestyle rap.2 Parry and Lord themselves, on the other hand, referred to the works they catalogued as performances, making it possible to use their ideas beyond poetry and music. The usefulness of Parry-Lord theory in studies of different poetic traditions tempted me to view other genres of performance from this perspective. In this paper I offer up one such genre for analysis —professional wrestling—and show that interpreting the tropes of wrestling through the lens of composition in performance provides information that, in return, can help with analysis of materials more commonly addressed by this theory. Before beginning this effort, it will be useful to identify the qualities that a work must possess to be considered a “composition in performance,” in order to see if professional wrestling qualifies. The first, and probably most important and straightforward, criterion is that, as Lord (1960:13) says, “the moment of composition is the performance.” This disqualifies art forms like theater and ballet, works typically planned in advance and containing words and/or actions that must be performed at precise times and following a precise order.