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Martial Arts As Embodied Knowledge: Asian Traditions in a Transnational World
1 Introduction Martial Arts, Transnationalism, and Embodied Knowledge D. S. Farrer and John Whalen-Bridge The outlines of a newly emerging field—martial arts studies—appear in the essays collected here in Martial Arts as Embodied Knowledge: Asian Traditions in a Transnational World. Considering knowledge as “embodied,” where “embodiment is an existential condition in which the body is the subjective source or intersubjective ground of experience,” means under- standing martial arts through cultural and historical experience; these are forms of knowledge characterized as “being-in-the-world” as opposed to abstract conceptions that are somehow supposedly transcendental (Csor- das 1999: 143). Embodiment is understood both as an ineluctable fact of martial training, and as a methodological cue. Assuming at all times that embodied practices are forms of knowledge, the writers of the essays presented in this volume approach diverse cultures through practices that may appear in the West to be esoteric and marginal, if not even dubious and dangerous expressions of those cultures. The body is a chief starting point for each of the enquiries collected in this volume, but embodiment, connecting as it does to imaginative fantasy, psychological patterning, and social organization, extends “far beyond the skin of the practicing individual” (Turner and Yangwen 2009). The discourse of martial arts, which is composed of the sum total of all the ways in which we can register, record, and otherwise signify the experience of martial arts mind- 1 © 2011 State -
Efficacy and Entertainment in Martial Arts Studies D.S. Farrer
Dr. Douglas Farrer is Head of Anthropology at the University CONTRIBUTOR of Guam. He has conducted ethnographic fieldwork in Malaysia, Singapore, Thailand, Hong Kong, and Guam. D. S. Farrer’s research interests include martial arts, the anthropology of performance, visual anthropology, the anthropology of the ocean, digital anthropology, and the sociology of religion. He authored Shadows of the Prophet: Martial Arts and Sufi Mysticism, and co-edited Martial Arts as Embodied Knowledge: Asian Traditions in a Transnational World. Recently Dr. Farrer compiled ‘War Magic and Warrior Religion: Cross-Cultural Investigations’ for Social Analysis. On Guam he is researching Brazilian jiu-jitsu, scuba diving, and Micronesian anthropology. EFFICACY AND ENTERTAINMENT IN MARTIAL ARTS STUDIES anthropological perspectives D.S. FARRER DOI ABSTRACT 10.18573/j.2015.10017 Martial anthropology offers a nomadological approach to Martial Arts Studies featuring Southern Praying Mantis, Hung Sing Choy Li Fut, Yapese stick dance, Chin Woo, Brazilian jiu-jitsu, and seni silat to address the infinity loop model in the anthropology of performance/performance studies which binds KEYWORDs together efficacy and entertainment, ritual and theatre, social and aesthetic drama, concealment and revelation. The infinity Efficacy, entertainment, loop model assumes a positive feedback loop where efficacy nomadology, Brazilian jiu-jitsu, flows into entertainment and vice versa. The problem addressed seni silat, Chinese martial arts, here is what occurs when efficacy and entertainment collide? performance Misframing, captivation, occulturation, and false connections are related as they emerged in anthropological fieldwork settings CITATION from research into martial arts conducted since 2001, where confounded variables may result in new beliefs in the restoration Farrer, D.S. -
Might for Right: Martial Arts As a Way to Understand the Black Panthers
Tapestries: Interwoven voices of local and global identities Volume 4 Issue 1 Threats to the American Dream Article 7 2015 Might for Right: Martial Arts as a Way to Understand the Black Panthers Richard S. Raya Macalester College, [email protected] Keywords: black panthers, martial arts, tiger, foucault, tae-kwon-do, oakland Follow this and additional works at: https://digitalcommons.macalester.edu/tapestries Recommended Citation Raya, Richard S. (2015) "Might for Right: Martial Arts as a Way to Understand the Black Panthers," Tapestries: Interwoven voices of local and global identities: Vol. 4 : Iss. 1 , Article 7. Available at: https://digitalcommons.macalester.edu/tapestries/vol4/iss1/7 This Ain't no stoppin us now: Adaptation and Resistance in the 1970s is brought to you for free and open access by the American Studies Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Tapestries: Interwoven voices of local and global identities by an authorized editor of DigitalCommons@Macalester College. For more information, please contact [email protected]. Might for Right: Martial Arts as a Way to Understand the Black Panthers Richard Raya reincarnated context and circumstance. Viewing INTRODUCTION the Panthers as “descendants” in this way can encompass their history in its entirety and One of the most salient identifying complexity, unified as it is when situated in the characteristics of the Black Panthers is their genealogy of Tiger-Style. militant nature and prominent usage of guns. METHODS: Popular discussion surrounding the Black Panthers from mainstream, dominant sources propagates In my analysis I will employ archival and the idea that the Panthers were a savagely violent historical materialist methods. -
The Best Moves from Great Pioneers in the Martial Arts
The Best of the Best: The Best Moves From Great Pioneers in the Martial Arts By Dr. Carl Totton INTRODUCTION Los Angeles in the 1960’s was a hotbed of fervent martial arts activity. It became ground zero for a renaissance in martial arts and fighting strategies which continues to this day. Many prominent masters of kung fu, karate, judo, jujitsu, tae kwon do, hapikdo, escrima, silat, kenpo, aikido, kendo and more immigrated to Los Angeles and opened pioneering schools. At the center of this activity was a man generally credited for being the first to open kung fu’s restrictive doors to non-Chinese, Grandmaster Ark Yuey Wong, recipient of Inside Kung Fu’s Hall of Fame award. Ark Wong was born in Canton China in 1900. His three primary instructors were local legends in the secretive kung fu world: Shaolin masters Lam Ark Fun and Ho Yeng, and the Chief Abbot of Canton, the monk surnamed Pang. Wong began his study at the age of 7 after his grandfather decreed that all heirs should learn martial arts if they wanted to retain their inheritance! Wong eventually moved to the US at the age of 21 and taught in California until his death in 1987. Wong played a Shaolin monk in the original Kung Fu pilot episode movie with the late David Carradine. Some of the many who learned from or were influenced by Wong over the years included kenpo legend Ed Parker, kajukenbo pioneer John Leoning, limalama founder Tino Tuiolosega, the Samoan giant Haumea “Tiny” Lefiti, BKF founders Steve Muhammad (then Steve Sanders) and Ron Chapel, karate champion Jim Kelly of Enter The Dragon fame, martial arts actors James Lew and Albert Leong, white lotus kung fu founder Douglas Wong, and even Jeet Kune Do and Filipino martial arts great Danny Inosanto, among many others including his grandson and successor, Se-Ming Ma. -
Hard Play: Capoeira and the Politics of Inequality in Rio De Janeiro
HARD PLAY: CAPOEIRA AND THE POLITICS OF INEQUALITY IN RIO DE JANEIRO KATYA WESOLOWSKI Submitted in Partial Fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2007 © 2007 Katya Wesolowski All Rights Reserved ABSTRACT Hard Play: Capoeira and the Politics of Inequality in Rio de Janeiro Katya Wesolowski Capoeira is a game of physical dexterity and cunning that incorporates fight, dance, acrobatics and music. Developed by African slaves in Brazil and once an exclusively male domain, capoeira was viewed as a social threat and severely persecuted through the 19th century. By the mid 20th century capoeira had come to be celebrated as an element of national identity, and today the practice crosses class, ethnic, gender and national boundaries. Among its myriad definitions, capoeira is conceived of as “play”: two participants “play” in a ring, or roda, surrounded by other participants and accompanied by percussive music and singing. Interaction oscillates between playful cooperation and aggressive confrontation as partner-adversaries attempt to outmaneuver each other, claim space, and demonstrate greater corporal expression, intelligence and creativity. A bounded ritual space, the roda is also contiguous with the external world, as is evident in claims that skills learned in the roda carry into everyday life. This ethnographic study, based on two years of fieldwork in Rio de Janeiro and my ongoing involvement as a practitioner, approaches capoeira as embodied play and a social practice that constitutes a particular type of engagement with the world: cultivating intelligent, expressive bodies through training and play, and forging collective identities and fictive kinship ties through group affiliation, practitioners become “capoeiristas,” and in so doing reshape themselves and their relationships to their environment and people within it. -
MMA Encyclopedia / Jonathan Snowden and Kendall Shields
00MMAEncycl_i-iv__ 02/09/10 3:54 PM Page i ECW Press 00MMAEncycl_i-iv__ 02/09/10 3:54 PM Page ii Copyright © Jonathan Snowden and Kendall Shields, 2010 Published by ECW Press 2120 Queen Street East, Suite 200, Toronto, Ontario, Canada m4e 1e2 416-694-3348 [email protected] All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any process — electronic, mechanical, photocopying, recording, or other- wise — without the prior written permission of the copyright owners and ECW Press. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the authors’ rights is appreciated. library and archives canada cataloguing in publication Snowden, Jonathan, 1975- The MMA encyclopedia / Jonathan Snowden and Kendall Shields. Includes bibliographical references. isbn 978-1-55022-923-3 1. Mixed martial arts--Encyclopedias. i. Shields, Kendall ii. Title. gv1102.7.m59s65 2010 796.81503 c2010-901256-9 Developing Editor: Michael Holmes Cover Design: Dave Gee Text Design: Tania Craan Color Section Design: Rachel Ironstone Typesetting: Gail Nina Photos copyright © Peter Lockley, 2010 Printing: Solisco Tri-Graphic 1 2 3 4 5 The publication of The MMA Encyclopedia has been generously supported by the Government of Ontario through Ontario Book Publishing Tax Credit, by the OMDC Book Fund, an initiative of the Ontario Media Development Corporation, and by the Government of Canada through the Canada Book Fund. -
Synthesizing Zhenshi (Authenticity) and Shizhan (Combativity) Reinventing Chinese Kung Fu in Donnie Yen’S Ip Man Series (2008-2015) WAYNE WONG
Wayne K. T. Wong is a joint PhD student at the Department of CONTRIBUTOR Comparative Literature at The University of Hong Kong and the Film Studies Department at King’s College London. His research interests include martial arts cinema, action cinema, and digital culture. He is currently researching the transformation of kung fu cinema amid the hegemonic presence of Chinese cinema and Hollywood. This essay was presented at the 2016 Martial Arts and Society Conference in Cologne, Germany. Synthesizing Zhenshi (Authenticity) and Shizhan (Combativity) Reinventing Chinese Kung Fu in Donnie Yen’s Ip Man series (2008-2015) WAYNE WONG DOI ABSTRACT 10.18573/j. 2017.10096 This article argues that Donnie Yen’s Ip Man series (2008-2015) synthesizes two predominant unarmed, hand-to-hand combat traditions of Hong Kong martial arts cinema – what I call zhenshi (真實; authenticity) and shizhan (實戰; combativity), represented by the series of kung fu films featuring Kwan KEYWORDs Tak-hing as the legendary Wong Fei-hung and the martial arts action films of Bruce Lee respectively. Despite kung fu cinema’s shizhan, zhenshi, wen-wu, claim to ‘realism’ since its conception in the 1949, there is a kung fu cinema, martial arts strong suppression of wu (武; the martial) in the genre’s action action, authenticity, action aesthetics due to the elevation of wen (文; the literary and the aesthetics. artistic) in traditional Chinese culture. By exposing the inherent contradictions within kung fu cinema and incorporating of CITATION combative action aesthetics derived from Bruce Lee’s martial arts philosophy and wing chun principles – what I call kuai ( Wong, Wayne. -
Safety Measures Poignantly Recounts Her Experiences Making the Daunting 4,300-Mile Journey from Washington a Solo Cross-Country Bike Adventure
Laura Madeline Wiseman’s Safety Measures poignantly recounts her experiences making the daunting 4,300-mile journey from Washington A solo cross-country bike adventure. to Maine – alone. She writes almost lyrically about her inner thoughts and concerns as she encounters the inevitable obstacles of taking such an epic journey as a woman alone on the often dangerous and unforgiving road. Filled with a mix of fascinating minutiae of each day SAFETY MEASURES and the delectably written details of the day, Wiseman conquers her adventure through the unpredictable terrain, the limits of her bike, and the strangers met along the way. The prevailing undertone throughout Laura Madeline Wiseman her book shows that safety concerns remain a constant companion for all women venturing out; they by no means define the possibilities. - Katie Krcmarik S AFETY Safety Measures by Laura Madeline Wiseman documents the M wanderlust of a woman and her bicycle. Moments of tangible fear, joy EASURES and exhaustion inch you closer to understanding both the ride and the desire to ride. An empowering book of perseverance, reflection and occasional calamity, Safety Measures will leave you wondering what you Madeline Wiseman Laura are capable of...and knowing the answer is “anything.” - Kaci Richter Laura Madeline Wiseman’s Safety Measures documents something that is dear, sacred, a safe place, a compass. Not many know what they want to do with their studies, but Wiseman knew she wanted to explore cycling and take that intimate leap to name experience. Part of the lure of cycling is self-reliance. You could be vulnerable – theft, violence. -
Superhuman in the Octagon, Imperfect in the Courtroom: Assessing the Culpability of Martial Artists Who Kill During Street Fights
Emory Law Journal Volume 60 Issue 6 2010 Superhuman in the Octagon, Imperfect in the Courtroom: Assessing the Culpability of Martial Artists Who Kill During Street Fights Stephen Michael Ian Kunen Follow this and additional works at: https://scholarlycommons.law.emory.edu/elj Recommended Citation Stephen M. Kunen, Superhuman in the Octagon, Imperfect in the Courtroom: Assessing the Culpability of Martial Artists Who Kill During Street Fights, 60 Emory L. J. 1389 (2010). Available at: https://scholarlycommons.law.emory.edu/elj/vol60/iss6/3 This Comment is brought to you for free and open access by the Journals at Emory Law Scholarly Commons. It has been accepted for inclusion in Emory Law Journal by an authorized editor of Emory Law Scholarly Commons. For more information, please contact [email protected]. KUNEN GALLEYSFINAL 7/14/2011 2:10 PM SUPERHUMAN IN THE OCTAGON, IMPERFECT IN THE COURTROOM: ASSESSING THE CULPABILITY OF MARTIAL ARTISTS WHO KILL DURING STREET FIGHTS ABSTRACT This Comment offers a new way for subjective characteristics to influence the criminal law of self-defense. Specifically, this Comment proposes a higher standard of self-defense for martial artists who kill their opponents outside competition settings, by denying the martial artists, as a matter of law, the ability to claim two distinct partial defenses: imperfect self-defense and provocation. For a martial artist, a proportional use of force should rarely require killing the aggressor because martial artists possess special fighting skills that are designed to subdue opponents without killing them. Courts should allow juries to judge a martial artist’s culpability for homicidal violence by considering his skills according to what this Comment introduces as the “martial sufficiency test.” The martial sufficiency test serves two functions. -
Fighting Rhetoric and Training Composition: Theory and Pedagogy of Mixed Martial Arts Argument Trevor C
University of South Carolina Scholar Commons Theses and Dissertations 2018 Fighting Rhetoric And Training Composition: Theory And Pedagogy Of Mixed Martial Arts Argument Trevor C. Meyer University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Meyer, T. C.(2018). Fighting Rhetoric And Training Composition: Theory And Pedagogy Of Mixed Martial Arts Argument. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4641 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FIGHTING RHETORIC AND TRAINING COMPOSITION: THEORY AND PEDAGOGY OF MIXED MARTIAL ARTS ARGUMENT by Trevor C. Meyer Bachelor of Arts University of Northern Colorado, 2010 Master of Arts University of Northern Colorado, 2012 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in English College of Arts and Sciences University of South Carolina 2018 Accepted by: John Muckelbauer, Major Professor Christina Friend, Committee Member Pat J. Gehrke, Committee Member Patricia Roberts-Miller, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Trevor C. Meyer, 2018 All Rights Reserved. ii Acknowledgements This dissertation is the culmination of a life’s dream and the beginning of what I hope is a productive career. I could not have gotten here on my own. First, I would like to thank my family for their love and support over my many years of study, even though they don’t quite understand what “rhetoriticians” do exactly; they set my feet on the path of knowledge. -
VICTOR SILVEIRA COSWIG.Pdf
UNIVERSIDADE FEDERAL DE PELOTAS Escola Superior de Educação Física Programa de Pós Graduação em Educação Física DISSERTAÇÃO Estrutura temporal e respostas biológicas em luta simulada de Mixed Martial Arts (MMA) VICTOR SILVEIRA COSWIG Pelotas, 2014 VICTOR SILVEIRA COSWIG Estrutura temporal e respostas biológicas em luta simulada de Mixed Martial Arts (MMA). Dissertação apresentada ao Programa de Pós-graduação em Educação Física, da Escola Superior de Educação Física da Universidade Federal de Pelotas, como requisito parcial à obtenção do título Mestre em Educação Física. Orientador: Prof. Dr. Fabrício Boscolo Del Vecchio Pelotas, 2014 Victor Silveira Coswig Estrutura temporal e respostas biológicas em luta simulada de Mixed Martial Arts (MMA) Dissertação aprovada, como requisito parcial, para obtenção do grau de Mestre em Educação Física, Programa de Pós-Graduação em Educação Física, Faculdade de Educação Física, Universidade Federal de Pelotas. Data da Defesa: 25 de fevereiro de 2014 Banca examinadora: Prof. Dr. Fabrício Boscolo Del Vecchio (Orientador) Doutor em Ciências do Esporte pela Universidade Estadual de Campinas Prof. Dr. Fábio Yuzo Nakamura Doutor em Ciências da Motricidade pela Universidade Estadual Paulista Prof. Dr. Airton José Rombaldi Doutor em Ciência do Movimento Humano pela Universidade Federal de Santa Maria Dedico este trabalho a meu falecido pai. Gostaria de poder enxergar em seus olhos o orgulho que sentiria. E a minha mãe, Sempre presente e dedicada, fico feliz em poder te alegrar!!! Agradecimentos Ao meu orientador, Fabrício Boscolo Del Vecchio pela atenção, dedicação e compreensão durante esta parceria que certamente não acaba por aqui. Aos meus pais, Flávio Coswig (In memoriam), Adalgiza Silveira e Carlos Sica pelo suporte e pelo incentivo a seguir em frente. -
Martial Arts Terms (A Seven Star Student’S Handout1)
Martial Arts Terms (A Seven Star Student’s Handout1) abanico or “Fan” in Tagalog/Spanish. An arnis technique using a fanning motion for abaniko striking or blocking. Strikes may be abanico corto (short) or abanico largo (long). arnis cane or A stick weapon usually 26-30 inches in length and often made from rattan (a arnis stick hard-stemmed palm plant similar to bamboo). Called a baston in Tagalog (pronounced “boston”). A practitioner can fight with a single cane (solo baston) or two canes (doble baston). Arnis de Mano “Harness (or armor) of the hand” in Tagalog/Spanish. A Filipino fighting system with an emphasis on stick and blade fighting similar to Escrima and Kali. A practitioner is an Arnisador. Black Belt Between 1947 and 1949 the five founders of Kajukenbo formed the “Black Belt Society Society” in the Palama District of Honolulu, Hawaii, with the goal of combining the best of their various martial arts. Bodhidharma A Buddhist monk from India called the “father of Zen” who traveled to China around AD 525 to teach Zen (Chan) meditation to the monks at the Shaolin Temple. The physical exercises he also taught them are considered by some historians to be the forerunner of Chinese martial arts. The name Bodhidharma in Sanskrit is Ta-Mo in Chinese or Daruma in Japanese. bolo A type of machete used throughout the Philippines, primarily as an agricultural tool and for clearing vegetation, it could also be used as a weapon. chi “Energy” or “life force” in Chinese. The same as ki in Japanese. chi sao “Sticky arm” or “energy arm” in Chinese.