Fma-Special-Edition-Lsai-Leskas.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Honorees of Rizal
THE HONOREES OF RIZAL By Sir Eliseo B. Barja, KOR Knight of Rizal, Malaya Chapter The national hero of the Philippines, Dr. Jose Rizal, great as he was, did not fail to give honor to others he believed deserved their due. Unlike other great men in history, his acts and writings reveal how he placed his honorees’ names in high pedestals of accolade. These people were his own race, which he always maintained as equal to or at par with other races. Father: Don Francisco Mercado Rizal First of these honorees was his own father, Don Francisco Mercado Rizal. Dr. Rizal did not simply praise his father; in fact he was so modest in giving praises. He affectionately called him “a model of fathers” as he was quoted in his biography by historian Gregorio F. Zaide. But it was evident in his writings while he was traveling that he always wanted that his parents be taken care of. Then In his last letter to his brother Paciano, dated December 29, 1896, a day before his execution, he said: “My dear Brother, Now I am about to die, and it is to you that I dedicate my last lines, to tell you how sad I am to leave you alone in life, burdened with the weight of the family and our old parents… Tell our father that I remember him! And how I remember my whole childhood, of his affection and his love. Ask him to forgive me for the pain that I have unwillingly caused him.” And on the following day, December 30, just two hours before his execution, Rizal wrote his father in part: “My beloved Father, Pardon me for the pain with which I repay you for your sorrows and sacrifices for my education. -
The Development of the Philippine Foreign Service
The Development of the Philippine Foreign Service During the Revolutionary Period and the Filipino- American War (1896-1906): A Story of Struggle from the Formation of Diplomatic Contacts to the Philippine Republic Augusto V. de Viana University of Santo Tomas The Philippine foreign service traces its origin to the Katipunan in the early 1890s. Revolutionary leaders knew that the establishment of foreign contacts would be vital to the success of the objectives of the organization as it struggles toward the attainment of independence. This was proven when the Katipunan leaders tried to secure the support of Japanese and German governments for a projected revolution against Spain. Some patriotic Filipinos in Hong Kong composed of exiles also supported the Philippine Revolution.The organization of these exiled Filipinos eventually formed the nucleus of the Philippine Central Committee, which later became known as the Hong Kong Junta after General Emilio Aguinaldo arrived there in December 1897. After Aguinaldo returned to the Philippines in May 1898, he issued a decree reorganizing his government and creating four departments, one of which was the Department of Foreign Relations, Navy, and Commerce. This formed the basis of the foundation of the present Department of Foreign Affairs. Among the roles of this office was to seek recognition from foreign countries, acquire weapons and any other needs of the Philippine government, and continue lobbying for support from other countries. It likewise assigned emissaries equivalent to today’s ambassadors and monitored foreign reactions to the developments in the Philippines. The early diplomats, such as Felipe Agoncillo who was appointed as Minister Plenipotentiary of the revolutionary government, had their share of hardships as they had to make do with meager means. -
Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H
ge Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H. Mason Journal ǁ Global Ethnographic Publication Date ǁ 1.2013 ǁ No.1 ǁ Publisher ǁ Emic Press Global Ethnographic is an open access journal. Place of Publication ǁ Kyoto, Japan ISSN 2186-0750 © Copyright Global Ethnographic 2013 Global Ethnographic and Emic Press are initiatives of the Organization for Intra-Cultural Development (OICD). Global Ethnographic 2012 photograph by Puneet Singh (2009) 2 Paul H. Mason ge Capoeira Angola performance outside the Santo Antônio Além do Carmo, also known as the Forte da Capoeira, in Salvador da Bahia, Brazil. 3 Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H. Mason ABSTRACT In the port-cities of Brazil during the nineteenth and twentieth centuries, a distinct form of combat- dancing emerged from the interaction of African, European and indigenous peoples. The acrobatic movements and characteristic music of this art have come to be called Capoeira. Today, the art of Capoeira has grown in popularity and groups of practitioners can be found scattered across the globe. Exploring how Capoeira practitioners invent markers of difference between separate groups, the first section of this article discusses musical markers of identity that reinforce in-group and out- group dynamics. At a separate but interconnected level of analysis, the second section investigates the global origins of Capoeira movement and disambiguates the commonly recounted origin myths promoted by teachers and scholars of this art. Practitioners frequently relate stories promoting the African origins of Capoeira. However, these stories obfuscate the global origins of Capoeira music and movement and conceal the various contributions to this vibrant and eclectic form of cultural ex- pression. -
Dancing Through Difficulties: Capoeira As a Fight Against Oppression by Sara Da Conceição
Dancing Through Difficulties: Capoeira as a Fight Against Oppression by Sara da Conceição Capoeira is difficult to define. It is an African form of physical, spiritual, and cultural expression. It is an Afro-Brazilian martial art. It is a dance, a fight, a game, an art form, a mentality, an identity, a sport, an African ritual, a worldview, a weapon, and a way of life, among other things. Sometimes it is all of these things at once, sometimes it isn’t. It can be just a few of them or something different altogether. Capoeira is considered a “game” not a “fight” or a “match,” and the participants “play” rather than “fight” against each other. There are no winners or losers. It is dynamic and fluid: there is no true beginning or end to the game of capoeira. In perhaps the most widely recognized and referenced book dealing with capoeira, Ring of Liberation: Deceptive Discourse in Brazilian Capoeira, J. Lowell Lewis attempts to orient the reader with a fact-based, straightforward description of this blurred cultural genre: A game or sport played throughout Brazil (and elsewhere in the world) today, which was originally part of the Afro-Brazilian folk tradition. It is a martial art, involving a complete system of self-defense, but it also has a dance-like, acrobatic movement style which, combined with the presence of music and song, makes the games into a kind of performance that attracts many kinds of spectators, both tourists and locals. (xxiii) An outsider experiencing capoeira for the first time would undoubtedly assert that the “game” is a spectacular, impressive, and peculiar sight, due to its graceful and spontaneous integration of fighting techniques with dance, music, and unorthodox acrobatic movements. -
The Africanisms of Capoeira Angola Juan Esteban Sosa SIT Study Abroad
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2006 Visiting the Past, Reclaiming the Present: The Africanisms of Capoeira Angola Juan Esteban Sosa SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, and the Performance Studies Commons Recommended Citation Sosa, Juan Esteban, "Visiting the Past, Reclaiming the Present: The Africanisms of Capoeira Angola" (2006). Independent Study Project (ISP) Collection. 272. https://digitalcollections.sit.edu/isp_collection/272 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Visiting the Past, Reclaiming the Present: The Africanisms of Capoeira Angola Juan Esteban Sosa Advisor: Eduardo David de Oliveira Graduado em filosofia Especialista em culturas Africanas e Relações Interetnicas na Educação Brasileira Mestre em Antropologia Social Doutorado em Educação Ativista dos Movimentos Sociais Populares Membro do Movimento Negro School for International Training- CSA Brazil – Northeast Fall 2006 1 Iê! Viva meu mestre, Viva meu mestre, camará! Iê! Que me ensinou Que me ensinou, camará! 2 This research is dedicated to Mestre Boca do Rio and to Grupo de Capoeira Angola Zimba for allowing -
MARTIAL ARTS Capoeira Aikido Shorinji Kempo Tai
ADULT MARTIAL ARTS Capoeira NEW Shorinji Kempo Tai Chi - 24 Form DAY Edson Gomes Shorinji Kempo Society (Suitable for Beginners) Capoeira is a Brazilian martial art that is unique A sophisticated martial art that not only develops Kelly Maclean because of the music, and dance-like movements. individual’s confidence and courage, but also Tai Chi is a martial art which uses the soft to Everyone is welcome in the class as all students nurtures a spirit of compassion and a sense of defeat the hard. It is a study of natural movement have something to contribute, no matter their age justice. The motto of Shorinji Kempo is “Half for and structural alignment to optimize the flow of or physical ability. Drop in $10. No class April 21 one’s own happiness, and half for the happiness energy (Qi) in the body. Balancing Yin and Yang and May 19. Instructors: Lesley Maranhao and of others. Please note: Pro-rated fees do not energies, it has been shown to confer both mental Edson Gomes. Cedar Hall Performing Arts Room. apply to this program. Drop in $8.00. Elm and physical health benefits. In training, we slow Mon Apr 7 8:10pm-9:40pm Room. down our movement in order to examine more 41654.201TL FREE/1 session Mon Fri 7:30pm-9:30pm closely our alignment and posture, to heighten Mon Apr 14-Jun 30 8:10pm-9:40pm Sat 2:30pm-4:30pm Apr 4-Apr 28 our awareness, and to cultivate our intrinsic, 41654.202TL $100/10 sessions 43409.201TL $50/12 sessions power and improve our balance. -
Kim Chi, K-Pop, and Taekwondo: the Nationalization of South Korean Martial Arts
© Idōkan Poland Association “IDO MOVEMENT FOR CULTURE. Journal of Martial Arts Anthropology”, Vol. 18, no. 2 (2018), pp. 1–14 DOI: 10.14589/ido.18.2.1 HISTORY & ANTHROPOLOGY John Forrest1(AE), Badger Forrest-Blincoe2(ABDEF) 1 Professor Emeritus of Anthropology, Purchase College, State University of New York (USA), 2 Yonsei University, Seoul (South Korea) Contact: No 213J Street 19z, Chey Chomneas, Daun Penh Phnom Penh 12206, Cambodia, (+855) 8987 3956, e-mail: [email protected] Kim Chi, K-Pop, and Taekwondo: The Nationalization of South Korean Martial Arts Submission: 11.12.2017; acceptance: 7.01.2018 Key words: Korea, taekwondo, tang soo do, taekkyon, nationalism Abstract Background. Forrest-Blincoe is a 4th dan black belt master in Tang Soo Do which he has studied in the United States and Korea. He has also studied Taekkyon in South Korea.1 During this time, he has been interested in the official histories of these martial arts in contrast with documented histories (which often differ significantly). Both Forrest and Forrest-Blincoe are trained anthropologists. Forrest specializes in symbols and national identity, and has published extensively on the anthropology of movement and dance. Problem and Aim. The martial arts Taekwondo, Tang Soo Do, and Taekkyon have competed within Korea for some time to rep- resent Korean culture, and Korea has used martial arts as an export as one component in its drive to gain legitimacy as a world power competitive with its more powerful neighbors of China and Japan. This paper examines the process of using martial arts as symbols of Korean national identity. -
Muslims in Global Societies Series Volume 2 Series Editors
Muslims in Global Societies Series Volume 2 Series Editors Gabriele Marranci University of Aberdeen, Scotland, UK Bryan S. Turner National University of Singapore, Singapore For further volumes: http://www.springer.com/series/7863 D.S. Farrer Shadows of the Prophet Martial Arts and Sufi Mysticism 1 23 ISBN: 978-1-4020-9355-5 e-ISBN: 978-1-4020-9356-2 DOI 10.1007/978-1-4020-9356-2 Library of Congress Control Number: 2008938182 © Springer Science+Business Media B.V. 2009 No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed on acid-free paper 9 8 7 6 5 4 3 2 1 springer.com But as there is no language for the Infinite, How can we express its mysteries In finite words? Or how can the visions of the ecstatic Be described in earthly formula? So mystics veil their meanings in these shadows of the unseen Mahmud Sa‘adu’l-Din Shabistari (quoted in al-Attas 1963: 25) Preface Contemporary accounts of Malay culture that focus on shamanism, dance, medicine and performance reveal only a partial view of Malay mysticism. However, given knowledge of the Malay martial art (silat) a more comprehensive understanding of Malay mysticism, religion, sorcery and magic becomes possible. Recognizing the silat master’s (guru silat) role in Malay mysticism reconfi gures the social anthro- pology of Malay religion, sorcery and magic. -
Axé Capoeira: Introduction a Tour De Force from Brazil to Canada and the World
Axé Capoeira: Introduction a tour de force from Brazil to Canada and the world ACKGROUND B Grupo Axé Capoeira has performed worldwide since its conception in Brazil, making its Canadian debut at the Vancouver International Children’s Festival in 1990. Featuring traditional capoeira music as well as upbeat Brazilian vocals and instrumentals, performances showcase professional capoeiristas and dancers at the height of their skill. With exciting choreographed dances, internationally acclaimed capoeira, high-flying acrobatics, invigorating music and dazzling costumes, Axé Capoeira performances have enthralled audiences of all ages and sizes iin thousands of schools, festivals, and theatres across the globe. ABOUT BRAZIL • largest country in South America • covers about 45% of the continent’s total area • the only Portuguese speaking country in South America • population is over 174 million people: almost 5 times that of Canada • covered extensively by the Amazon Rainforest • one of the most biologically diverse places in the world • traditional Brazilian music and dance results from the multicultural fusion of European, African and Indigenous influences ARRÃOZINHO Contramestre B Marcus Aurelio (Lelo), also known as Contramestre Barrãozinho, was born in Recife, Brazil, and moved to Vancouver, Canada, with his family at age nine. In addition to being internationally acknowledged as a world-class capoeirista and capoeira instructor, Contramestre Barrãozinho is a recording artist and stunt actor, having performed in various films, TV shows, music videos, and commercials, and done motion-capture for popular video games. He placed second out of 250 competitors in the 2000 International Capoeira Competition in Brazil and has competed in several mixed martial arts (MMA) tournaments, one in which his 20-sec-ond knock-out victory was captured on video and quickly went viral across Youtube and other social media platforms. -
The Afro-Brazilian Martial Art of Capoeira: Cultural Healing and Identity
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2021 The Afro-brazilian Martial Art of Capoeira: Cultural Healing and Identity Lauren Hsiao-ling Mascari University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Cognitive Psychology Commons Recommended Citation Mascari, Lauren Hsiao-ling, "The Afro-brazilian Martial Art of Capoeira: Cultural Healing and Identity" (2021). Theses and Dissertations. 2699. https://dc.uwm.edu/etd/2699 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE AFRO-BRAZILIAN MARTIAL ART OF CAPOEIRA: CULTURAL HEALING AND IDENTITY by Lauren Mascari A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Educational Psychology at The University of Wisconsin – Milwaukee August 2021 ABSTRACT THE AFRO-BRAZILIAN MARTIAL ART OF CAPOEIRA: CULTRAL HEALING AND IDENTITY by Lauren Mascari The University of Wisconsin – Milwaukee, 2021 Under the Supervision of Professor Nadya Fouad, PhD, ABPP By the year 2050, racial and ethnic minorities are projected to become the rising majority accounting for more than 50% of the population in the United States, however minorities are consistently at greater risk for poorer health outcomes and at higher risk for trauma-related symptoms than their White counterparts. Although some individuals seek and access traditional mental health services, more than half of the individuals who have diagnosable conditions never obtain formal treatment. -
Producing Rizal: Negotiating Modernity Among the Filipino Diaspora in Hawaii
PRODUCING RIZAL: NEGOTIATING MODERNITY AMONG THE FILIPINO DIASPORA IN HAWAII A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2014 By Ai En Isabel Chew Thesis Committee: Patricio Abinales, Chairperson Cathryn Clayton Vina Lanzona Keywords: Filipino Diaspora, Hawaii, Jose Rizal, Modernity, Rizalista Sects, Knights of Rizal 2 TABLE OF CONTENTS Acknowledgements……………………………………………………………………..…5 Chapter 1 Introduction: Rizal as a Site of Contestation………………………………………………………………………………………....6 Methodology ..................................................................................................................18 Rizal in the Filipino Academic Discourse......................................................................21 Chapter 2 Producing Rizal: Interactions on the Trans-Pacific Stage during the American Colonial Era,1898-1943…………………………..………………………………………………………...29 Rizal and the Philippine Revolution...............................................................................33 ‘Official’ Productions of Rizal under American Colonial Rule .....................................39 Rizal the Educated Cosmopolitan ..................................................................................47 Rizal as the Brown Messiah ...........................................................................................56 Conclusion ......................................................................................................................66 -
Human Rights and Exhibit Space
Human Rights and Exhibit Space Author: Jennifer Rose Hasso, Art History Professor, Harold Washington College, Triton College Time: 80 minutes Overview: The venue where art is displayed and how it is curated impacts how we interpret it as a historical document. The location of an artwork reflects how well it upholds academic tradition or rejects that format. Locale determines the amount of bureaucratic control an artist faces and may determine the economic prospects of their work. Therefore, artworks range from literal to symbolic according to the artists’ ability to create their vision without fear of censorship. Objectives: Understand the similarities and differences between works of art. Understand the relationship of art history to other histories. Identify historical events that have contributed to the evolution of the arts. Develop observational abilities in order to critique visual art. Justify personal and non-personal critiques of art. Gain an overall academic awareness through the study of the fine arts. Outcomes: Analyze the relationship between visual art and human rights. Connect human rights to larger social and cultural issues and movements. Understand how artists critique and challenge history and cultural conventions. Analyze the impact that artists have on improving the lives of those around them and society at large. Background Information: Human rights themes in Philippine visual art began in the late 19th century and extend into the present era. Initially, artwork reflected abuses enacted by colonial or foreign powers that were in direct control of the government and military, or were controlling economic and political affairs from afar. Colonialism is deeply embedded in the history and identity of the Philippines and is a controversial topic because many Filipinos want to divorce themselves from this colonial past, while others see the Western world as a positive influence on their culture.