Dan Inosanto 2006 Australian Tour Brisbane
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Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy. -
Do You Know Bruce Was Known by Many Names?
Newspapers In Education and the Wing Luke Museum of the Asian Pacific American Experience present ARTICLE 2 DO YOU KNOW BRUCE WAS KNOWN BY MANY NAMES? “The key to immortality is living a life worth remembering.”—Bruce Lee To have one English name and one name in your family’s mother tongue is common Bruce began teaching and started for second and third generation Asian Americans. Bruce Lee had two names as well as his first school here in Seattle, on a number of nicknames he earned throughout his life. His Chinese name was given to Weller Street, and then moved it to him by his parents at birth, while it is said that a nurse at the hospital in San Francisco its more prominent location in the where he was born gave him his English name. While the world knows him primarily University District. From Seattle as Bruce Lee, he was born Lee Jun Fan on November 27, 1940. he went on to open schools in Oakland and Los Angeles, earning Bruce Lee’s mother gave birth to him in the Year of the Dragon during the Hour of the him the respectful title of “Sifu” by Dragon. His Chinese given name reflected her hope that Bruce would return to and be his many students which included Young Bruce Lee successful in the United States one day. The name “Lee Jun Fan” not only embodied the likes of Steve McQueen, James TM & (C) Bruce Lee Enterprises, LLC. All Rights Reserved. his parents’ hopes and dreams for their son, but also for a prosperous China in the Coburn, Kareem Abdul Jabbar, www.brucelee.com modern world. -
Jun Fan Jeet Kune Do Terminology
THE SCIENCE OF FOOTWORK The JKD key to defeating any attack By: Ted Wong "The essence of fighting is the art of moving."- Bruce Lee Bruce Lee E-Paper - II Published by - The Wrong Brothers Click Here to Visit our Home page Email - [email protected] Jun Fan Jeet Kune Do Terminology Chinese Name English Translation 1) Lee Jun Fan Bruce Lee’s Chinese Name 2) Jeet Kune Do Way of the Intercepting Fist 3) Yu-Bay! Ready! 4) Gin Lai Salute 5) Bai Jong Ready Position 6) Kwoon School or Academy 7) Si-jo Founder of System (Bruce Lee) 8) Si-gung Your Instructor’s Instructor 9) Si-fu Your Instructor 10) Si-hing Your senior, older brother 11) Si-dai Your junior or younger brother 12) Si-bak Instructor’s senior 13) Si-sook Instructor’s junior 14) To-dai Student 15) Toe-suen Student’s Student 16) Phon-Sao Trapping Hands 17) Pak sao Slapping Hand 18) Lop sao Pulling Hand 19) Jut sao Jerking Hand 20) Jao sao Running Hand 21) Huen sao Circling Hand 22) Boang sao Deflecting Hand (elbow up) 23) Fook sao Horizontal Deflecting Arm 24) Maun sao Inquisitive Hand (Gum Sao) 25) Gum sao Covering, Pressing Hand, Forearm 26) Tan sao Palm Up Deflecting Hand 27) Ha pak Low Slap 28) Ouy ha pak Outside Low Slap Cover 29) Loy ha pak Inside Low Slap Cover 30) Ha o’ou sao Low Outside Hooking Hand 31) Woang pak High Cross Slap 32) Goang sao Low Outer Wrist Block 33) Ha da Low Hit 34) Jung da Middle Hit 35) Go da High Hit 36) Bil-Jee Thrusting fingers (finger jab) 37) Jik chung choi Straight Blast (Battle Punch) 38) Chung choi Vertical Fist 39) Gua choi Back Fist 40) -
TEST YOUR KNOWLEDGE of BRUCE LEE Bruce Stares Down His Opponent in “Enter the Dragon” TM & (C) Bruce Lee Enterprises, LLC
Newspapers In Education and The Wing Luke Museum of the Asian Pacific American Experience present ARTICLE 1 In 32 years of life, Bruce Lee became a global icon and changed the world. More than just an action star, Bruce Lee broke barriers, defied stereotypes and inspired generations after him. His own personal journey, including his time in Seattle, shaped the person he would become and the approach he would take with his martial arts and film roles. TEST YOUR KNOWLEDGE OF BRUCE LEE Bruce stares down his opponent in “Enter the Dragon” TM & (C) Bruce Lee Enterprises, LLC. All Rights Reserved. www.brucelee.com 1. Bruce Lee was born in: 8. In 1971, Bruce Lee left Hollywood to produce films in Hong Kong due to: a. United States a. Low pay b. China b. Discrimination c. Hong Kong c. Family 2. True or false: Bruce is of mixed Chinese and European descent. Get to know the man behind the icon and find the answers to these questions a. True at the Wing Luke Museum and its new Bruce Lee exhibit, Do You Know Bruce? b. False 3. Bruce Lee was the 1958 Hong Kong champion for: This special exhibit features multimedia displays, a. Kung Fu personal belongings and collector memorabilia b. Boxing related to Bruce Lee’s time in Seattle and the c. Cha-cha dancing Chinatown-International District, his relationship with wife Linda and family, his global influence 4. What did Bruce Lee study at the University of Washington? and legacy and his martial arts. Items in the exhibit include: a. -
FILIPINO MARTIAL ARTS the Filipino Martial Arts
Ronald A. Harris, Ph.D. FILIPINO MARTIAL ARTS The Filipino martial arts (FMA) can be called Filipino fencing, because they are methods of personal armed combat that emphasize skills in weaponry over skills in empty hands. Unarmed combat is practiced in FMA, but is traditionally studied after weaponry. This training sequence sets FMA apart from other martial arts that initiate with empty hands. Armed combat is known as Arnis, Eskrima (fencing, Spanish), and Kali. Arnis derives from the Spanish arnes meaning armor. It also comes from “harness,” referring to the battle harness worn by Filipino soldiers under Spanish command. Arnis-de-mano means “harness of hand”, referring to deft hand movements of Filipino grooms for Spanish officers. These lightning fast hand movements were native martial arts techniques in disguise. Forbidden by the Spanish to practice martial arts, defiant Filipinos retained their fighting skills in secret by hiding them in dance forms called Santikan, Sayaw, and Moro-Moro. Other etymologies have been suggested for the names of the various Filipino arts. Dueling an opponent is “to skirmish”. The Spanish term Esgrima is in the Pilipino language. Kali might be named after the Hindu Goddess of c:\mars\clio\fma 1 Ronald A. Harris, Ph.D. Destruction. Dan Inosanto says Kali is the conjunction of the first syllables of two words from the Philippine Islands Visayan language--kamot meaning “hand” and lihok meaning “motion”. Thus, Kali means “hand motion”. An etymology of the Pilipino language indicates otherwise. In the Hiligaynon dialect of the Western Visayas, the term kali means “to dig”, as with a shovel (pala). -
Bruce Lee Merchandise
Wing Luke Museum Marketplace - Bruce Lee Merchandise Please call the Marketplace at (206) 623-5124 x203 during our business hours, 10am-5pm Tuesday-Sunday to confirm the availability of these items or to order with card payment information. Members save 10% on merchandise year-round and new or renewing members save 20%. Shipping & Handling starts at $10. You can also shop in-store at the Wing Luke Museum (719 S King St Seattle, WA 98104). Accessories Bruce Lee lanyard ($5.99) Bruce Lee: The Dragon Rises enamel pin ($13.50, 1.5”) Bruce Lee kicking enamel pin ($13.50, 2”) Apparel Bruce Lee signature black baseball cap ($35.95) Do You Know Bruce? t-shirt ($36) Bruce Lee: A Dragon Lives Here t-shirt ($36) A Dragon Lives here sweatshirt ($46) Stationery Bruce Lee meditating by Lake Washington postcard ($2.25) A Dragon Lives Here postcard ($2.25) Other Bruce Lee photo magnet ($6.95, 3”) Bruce Lee Be Water, My Friend stainless steel water bottle ($29.95, 10”) Bruce Lee 9.3” x 9.3” 196 piece wood puzzle set ($36) Bruce Lee 12” x 8” 204 piece wood puzzle set ($36) Martial Arts Master, The Life of Bruce Lee DVD ($19.99) Books Bruce Lee: A Life by Matthew Polly ($35) Bruce Lee: The Art of Expressing the Human Body compiled and edited by John Little ($24.95) Bruce Lee: The Tao of Gung Fu Commentaries on the Chinese Martial Arts edited by John Little ($12.95) Bruce Lee: Jeet Kune Do Bruce lee’s Commentaries on the Martial Way edited by John Little ($24.95) Bruce Lee: Artist of Life Inspiration and Insights from -
Be Water, My Friend
Be water, my friend Kluwer Mediation Blog February 2, 2020 Ting-Kwok IU (Kwok, Ng & Chan, Solicitors & Notaries) Please refer to this post as: Ting-Kwok IU, ‘Be water, my friend’, Kluwer Mediation Blog, February 2 2020, http://mediationblog.kluwerarbitration.com/2020/02/02/be-water-my-friend/ I was first introduced to Kluwer Mediation Blog byProfessor Joel Lee of the National University of Singapore when he shared “A Mediator’s Prayer” in his July 2014 blog entry. Joel is no stranger here. He is not only a prominent mediator but also a Chinese martial arts master. Joel practises and teaches Wing Chun – a kind of Chinese martial arts which was also practised by the world-famous martial artist, philosopher and movie star Bruce Lee (1940-1973). In 1971, Bruce Lee was interviewed at “The Pierre Berton Show” (commonly known as Bruce Lee: The “Lost” Interview). During the interview, Bruce Lee was asked about the lines that he had in the famous TV series “Longstreet”. Bruce Lee on the spot recited the following which, though not exactly the same as the lines of “Longstreet”, have become viral internationally throughout the years. He said: “Empty your mind. Be formless, shapeless, like water. Now you put water in a cup, it becomes the cup. You put water in a bottle, it becomes the bottle. You put water in a teapot, it becomes the teapot. Water can flow or it can crash. Be water, my friend.” While I am no martial arts practitioner, I also find the practice of skills of mediation like water. -
Film Culture Crossover
1 Film Culture Crossover: Film Fight Choreography and the East/West Binary After Bruce Lee Paul Bowman Keywords: Batman Begins, Bruce Lee, Rey Chow, Cultural Translation, Hollywood, Jeff Imada, Dan Inosanto, Jeet Kune Do (JKD), Keysi Fighting Method (KFM), Martial Arts Choreography, Oriental Style, Jane Park, Jacques Rancière. Abstract: This paper reads the emergence of ‘Oriental style’ in Hollywood (Park 2010) as an exemplary case of what Rey Chow calls ‘cultural translation (Chow 1995). The paper explores some of the intimate yet paradoxical relationship between ‘Oriental’ martial arts and the drive for ‘authenticity’ in both film choreography and martial arts practices; plotting the trajectories of some key martial arts crossovers since Bruce Lee. It argues that, post-Bruce Lee, Western film fight choreography first moved into and then moved away from overtly Chinese, Japanese, Hong Kong or indeed obviously ‘Oriental style’; a move that many have regarded as a deracination or westernisation of fight choreography. However, a closer look reveals that this apparent deracination is actually the unacknowledged rise of Filipino martial arts within Hollywood. The significance of making this point, and the point of making this kind argument overall boils down to the insight it can give us into how ‘cultures’ and texts are constructed, and also into our own reading practices and the roles they play, sometimes in perpetuating certain problematic ethno-nationalist discourses. Bio: Paul Bowman (Cardiff University) is author of Theorizing Bruce Lee (2010), Deconstructing Popular Culture (2008), Post-Marxism versus Cultural Studies (2007), Culture and the Media (2012, forthcoming) and Beyond Bruce Lee (forthcoming 2013). -
Inosanto Lacoste Kali
Inosanto LaCoste Kali The backbone of the Filipino empty hand skills are derived from that Outline of Inosanto LaCoste Kali of the knife. In a knife fight your entire body if utilized, you can kick with either leg and strike with your free hand. The difference 12 Areas of LaCoste Kali between life or death rests solely on your skill....little wonder why the a Filipino martial arts are so effective. 1st Area There is no excuse for taking a man's life, for life is precious. Any man can take a life, but no man can give back a life. Killing is then a 1. Single Stick matter between a man and his personal conviction and conscience. It 2. Single Sword is a matter of your own personal belief of right or wrong. It is 3. Single Axe therefore important to train the mind before training the body. 4. Single Cane I once asked a close friend, "What can I do to make this world a 2nd Area better place to live?" His answer, "Develop yourself first." The martial arts have been my way of developing myself physically, mentally and spiritually. 1. Double Stick (Double Olisi) 2. Double Sword Bruce Lee once said, while philosophizing on martial arts, "Dan, 3. Double Axe before I studied the art, a punch to me was just like a punch and kick just like a kick. After I learned the art, a punch was no longer a 3rd Area punch, a kick no longer a kick. Now that I've understood the art, a punch is just like a punch, a kick just like a kick. -
Filipino Martial Arts and the Construction of Filipino National Identity
Filipino Martial Arts And the Construction of Filipino National Identity A thesis submitted to the University of Manchester For the degree of Doctor of Philosophy In the Faculty of Humanities 2015 Rey Carlo T. Gonzales School of Arts, Languages and Cultures Table of Contents Plates…………………………………………………………………………….........4 Abstract…………………………………………………………….…………………5 Declaration…………………………………………………………………………...6 Copyright Statement……………………………………………..……………….. …7 Acknowledgements and Dedication………………………………………………….8 Introduction…………………………………………………………………………9 Historical Framework……………………………………………………….11 Method and Sources…………………………………………………….…..27 Scope, Structure and Contents………………………………………………32 Chapter I - Old School: Homogeneity, Diversity, and the Early Practice of FMA………………………………………………………………………………..37 Sixteenth Century Warfare in Visayan Barangays…………………………39 Arnis, Kali, Eskrima and the Historical Narrative of FMA………………...45 FMA Old School……………………………………………………………54 Conclusion………………………………………………………………..…69 Chapter II - New School: The emergence of FMA Clubs and the Construction of National Identity from FMA…………………………………………………...71 Emergence of the New School……………………………………………...74 Juego Todo and Martial Prowess as Prestige……………………………….79 Conflicts between and within FMA Clubs, and the strengthening of local FMA identities………………………………………………………………87 Creation of ‘Filipino’ in FMA from abroad………………………………...94 NARAPHIL and ARPI: State Appropriation of FMA and FMA’s Appropriation of Nationalism………………………………….98 Conclusion…………………………………………………………………105 Chapter -
Bruce Lee As Method Daryl Joji Maeda
Nomad of the Transpacific: Bruce Lee as Method Daryl Joji Maeda American Quarterly, Volume 69, Number 3, September 2017, pp. 741-761 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/aq.2017.0059 For additional information about this article https://muse.jhu.edu/article/670066 Access provided by University Of Colorado @ Boulder (19 Nov 2017 16:06 GMT) Bruce Lee as Method | 741 Nomad of the Transpacific: Bruce Lee as Method Daryl Joji Maeda The life of the nomad is the intermezzo. —Gilles Deleuze and Félix Guattari Be formless, shapeless, like water. —Bruce Lee he transpacific nomad Bruce Lee was born in San Francisco, raised in Hong Kong until the age of eighteen, came of age in Seattle, had his Thopes of movie stardom extinguished in Hollywood, and returned to Hong Kong to rekindle his dreams. In 1971 he made his first martial arts film, Tang Shan Daxiong, in which he played a Chinese immigrant to Thai- land who discovers that his boss is a drug-smuggling kingpin. The following year, he starred in Jing Wu Men as a martial artist who defends Chinese pride against Japanese imperialists in the International Settlement of early twentieth- century Shanghai. Because of the overwhelming popularity of both films in Hong Kong and throughout Asia, National General Pictures selected them for distribution in the United States in 1973. Tang Shan Daxiong was supposed to be released as The Chinese Connection to associate it with The French Con- nection, a mainstream hit about heroin trafficking; the title ofJing Wu Men was translated as Fist of Fury. -
Bruce Lee and Post-DVD Textuality
JOMEC Journal Journalism, Media and Cultural Studies Enter the 2-Disc Platinum Edition: Bruce Lee and Post-DVD Textuality Leon Hunt Brunel University Email: [email protected] Keywords Bruce Lee DVD textuality DVD extras The Big Boss Game of Death Abstract Bruce Lee’s films have moved across not only cultural boundaries, but also different media platforms – film, television, video and an assortment of digital media. DVD and Blu- ray don’t just facilitate ownership of optimum and definitive versions of texts, but also re- define textuality through their secondary materials. As Barbara Klinger argues, ‘DVD acts as an ambassador of context, entering the home complete with its own armada of discourses meant to influence reception, including behind-the-scenes industry information and commentary tracks’. In the case of a culturally contested figure like Bruce Lee, such an armada of discourses might be particularly worthy of study. Moreover, DVD introduces new criteria for determining what makes a ‘perfect DVD movie’, by making use of the audio-visual ‘perfection’ facilitated by the medium or presenting particularly impressive arrays of extras. Bruce Lee is perhaps not an obvious candidate for post-DVD study, compared to such formats as the TV boxed set or multi-disc extended cut of a Hollywood blockbuster. These comparatively low budget films don’t lend themselves to the audio-visual perfection expected of a high-end blockbuster movie. Moreover, most DVD versions of his films (including releases in HK and the US) have been light on extra features. Nevertheless certain releases of Lee films do raise interesting questions in the light of post-DVD debates.