Clarrel Pope

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Clarrel Pope Gender: Male Mobile: 310-414-7564 Height: 5 ft. 5 in. E-mail: [email protected] Weight: 125 pounds Web Site: http://www.imdb.com/... Eyes: Brown Hair Length: Regular Waist: 29 Inseam: 25.75 Shoe Size: 9 Physique: Slim / Athletic Coat/Dress Size: 36 Ethnicity: Asian, Latin/Hispanic, Mixed, Native American, Pacific Islander / Polynesian Photos Film Credits After Earth Jaden Smith/Stunt Double R.A. Rondell 300: Rise Of An Empire Stunt Performer Damon Caro Television American Idol - Season 10 Acrobat Fatima Robinson Lab Rats Tyrel Jackson Williams/Stunt Alex Daniels Double Hope: The Last Paladin Stunt Performer Keith Davis Commercial Stage Generated on 10/03/2021 11:06:59 am Page 1 of 2 Music Videos Bucky Done Gun Capoeira Performer M.I.A. Motion Capture Guild Affiliations SAG / AFTRA Stunt Teams No Affiliation at this time. Stunt Skills Stunt Skills: Ratchets, Fight-Guy/Gal - General, Martial Artist, Free-Running / Parkour, Wire Work, Weapons ~ General, Motion Capture, Martial Arts: MMA, Martial Arts: Kung Fu, Martial Arts: Karate, Martial Arts: Tae Kwon Do, Snow Boarding, Martial Arts: Capoeira, Martial Arts: Eskrima, Martial Arts: Grappling, Weapons: Knife, Weapons: Staff, Tumbling ~ Basic, Creature Suit / Prosthetics, Martial Arts: Black Belt, Weapons: Dagger, Weapons: Smallsword, Motorcycle: "M" Licence, Martial Arts: Kick Boxing, Martial Arts: Wing Chun, Martial Arts: Kali Athletic Skills: Baseball , Basketball, Boxing , Football, Golf, Martial Arts, Rollerblading, Surfing, Tennis, Bowling, Snowboarding, Softball, Volleyball, Wrestling, Yoga, Grappling, Rock Climbing, White Water Rafting, Roller Skating Accents: Spoken Languages: English Dance: Capoeira, Club/Freestyle, Salsa Training Inosanto Academy Of Martial Arts, Marina Del Rey, CA, Muay Thai, Kali/Eskrima/Arnis/Silat, Jeet Kune Do, Wing Chun, Brazilian Jiu-Jitsu, MMA, Dan Inosanto, 1998, I've been instructor under Guro Dan Inosanto since 1998, but started training in Muay Thai/Kali/JKD since 1992. Capoeira Brasil, Los Angeles, CA, Capoeira, Mestre Boneco, 2004, I started training at Mestre Boneco's school in 2004, but started training under one of his instructors in 1998. Awards References Jeff Imada, Sr. Martial Art Instructor Stunt Skills Work History: Commercial, Film, Internet Projects, Music Video, Television Job Categories: Stunts, Stunt Double Prior Job Title(s): Stunt Double, Stunts, Stunt Performer Are you willing to work Globally?: yes Authorized to work in United States?: yes What state are you considered a Local Hire?: California What state are you considered a Local Hire?: Do you have a valid passport?: yes Generated on 10/03/2021 11:06:59 am Page 2 of 2.

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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).
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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).
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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.
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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
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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.
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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.
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My Time and Experience in Martial Arts by Lynda Niemczak Hatch
My Time and Experience in Martial Arts By Lynda Niemczak Hatch Hello, I’d like to introduce myself… I was born with a profound hearing loss but it was not discovered till age 6 months when my parents took me to a pediatrician. I’m the only one in my family that has this invisible physical disability. But my loving parents had trained me well, and they also made sure I received my education starting from two and a half years old in special education for hearing-impaired, and onto elementary through high school, and then through four years of college with a Bachelor’s Science degree in Computer Sciences. After graduation from high school at age 17, I started in karate during my first semester at a local junior college, Henry Ford Community College, in Dearborn, MI, where I met my future husband Dave Hatch in September of 1969. It was held after classes on a weekly basis. At that time, Dave was an assistant instructor in the art of Japanese Shito-ryu. From that point on, I continued for the next two years there, plus I enrolled in the karate club called Karate/ Judo Schools of America a year later where Dave was a student. My big thanks were to my mom and dad for trusting me to forge ahead in this art as they had invested quite a bit of their hard-earned money for me. God bless their souls. After that, I attended Detroit College of Business for another two and a half years. Fast forward to April 1977… I attained my black belt about two years after my college graduation with a bachelor’s degree (1973), and my marriage (1974).
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History of Babao Arnis
History of Babao Arnis In November 1963, 18 year-old Narciso “Narrie” Requina Babao reluctantly started his Arnis de Mano training under his father, the late Turing Babao. The style he learned was the Baston Batangas system, which his father learned from Master Ka Juan, a Katipunan rebel under General Miguel Malvar, during the Filipino- American war. Turing Babao was suffering from hypertension, and his doctor advised him to workout daily, to alleviate the problem. Narrie had other interests then. Foremost was bodybuilding and weightlifting. He was selected as the 1964 Jr. Mr. Philippines, during a contest sponsored by PWABBA (Philippine Weightlifting and Bodybuilding Association). For two years, the father and son trained hard in Arnis. Twirling the rattan sticks was the only warm-up exercise. Their training consisted mainly of free-style sparring. Only after getting hit, would Narrie learn the lesson for the day. His father would then methodically explain why Narrie got hit in that particular area. Narrie described the training as the school of hard knocks, and he resented being on the receiving end. His father was precise in controlling his strikes to the head and body, but accidental hits to the knuckles were unavoidable. With his knuckles busted many times over, Narrie finally found a good excuse for getting away from Arnis training. He enrolled in a karate school. His Shotokan karate instructor was Romeo Plantado, a former police officer who became a fugitive, and eventually a commander of the New People's Army, the communist rebels in the Philippines. However, it was Master Jimmy Galez of Manila, who awarded Narrie his first black belt.
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Enter the Žižekian: Bruce Lee, Martial Arts, and the Problem of Knowledge
EnterText 6.1 PAUL BOWMAN Enter The Žižekian: Bruce Lee, Martial Arts, and the Problem of Knowledge Q: What’s your style? Lee: My style? I suppose you could call it the art of fighting without fighting. Q: Fighting without fighting?... Show me some of it! Lee: Later. Enter The Dragon1 1. “What’s your Style?” The Problem of Knowledge In a famous exchange in Enter the Dragon, a belligerent martial artist who has been bullying the crew and staff of the boat on which a group of martial artists are travelling to a competition, asks Mr Lee (Bruce Lee) “What’s your style?” He is clearly out for a fight. Lee replies: “My style? I suppose you could call it the art of fighting without fighting.” This unusual and unexpected response baffles his questioner, who demands to be shown some of it. Unable to avoid a confrontation, Lee’s response takes the form of a completely banal and pragmatic demonstration of “fighting without fighting:” by proposing that they would hve more room to fight if they were to row to a nearby island, Paul Bowman: Enter The Žižekian 11 EnterText 6.1 he tricks the aggressor into climbing aboard a small rowing boat in a perilously rough sea. Lee then untethers the boat and hands the rope to those who had been bullied, who proceed to toy with their now-helpless erstwhile persecutor. Hence, Lee shows what “fighting without fighting” most literally means. Nevertheless, despite the banality of this demonstration, every viewer knows that the phrase “the art of fighting without fighting” really encapsulates something more, something enigmatic, “deep” and profound.
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Dan Inosanto 2006 Australian Tour Brisbane
REGISTRATION FORM SEMINAR DETAILS DAN INOSANTO 2006 AUSTRALIAN TOUR BRISBANE: Name Age Wynnum North State High School Hall Wynnum Road. Address Saturday 9th December 2006 Postcode 9:00am to 12:00pm Home Phone Work Phone Sunday 10th December 2006 Mobile 9:00am to 12:00pm Email TRAINING EQUIPMENT: PLEASE TICK: Focus mitts, bag gloves, kali sticks, SYDNEY Thursday 7th Dec 2006 training knife SYDNEY Friday 8th Dec 2006 Equipment will be available for purchase at BRISBANE Saturday 9th Dec 2006 the seminar. (You can also order equipment ahead of time and we will have it ready for BRISBANE Sunday 10th Dec 2006 you to pick up at the registration desk). CAIRNS Wednesday 13th Dec 2006 ADELAIDE Friday 15th Dec 2006 MELBOURNE Saturday 16th Dec 2006 MELBOURNE Sunday 17th Dec 2006 INOSANTO INSTRUCTORS CONFERENCE Saturday 9th -Tuesday 12th Dec 2006 Please return application form and payment to your seminar representative SEMINAR COSTS: 1 Day: $100, 2 Days: $180 Amount Enclosed $ Cash (if paying in person) or CONTACT DETAILS TH write Cheque or Money Order to V. Vassiliou. For more information, call your local Progressive Martial Arts Academy representative or check our web sites Cookie Vassiliou www.progressivemartialarts.com.au 0412 400 836 www.ninopilla.com www.progressivemartialarts.com.au BIRTHDAY TOUR REGISTRATION FORM SEMINAR DETAILS DAN INOSANTO 2006 AUSTRALIAN TOUR BRISBANE: Name Age Wynnum North State High School Hall Wynnum Road. Address Saturday 9th December 2006 Postcode 9:00am to 12:00pm Home Phone Work Phone Sunday 10th December 2006 Mobile 9:00am to 12:00pm Email TRAINING EQUIPMENT: PLEASE TICK: Focus mitts, bag gloves, kali sticks, SYDNEY Thursday 7th Dec 2006 training knife SYDNEY Friday 8th Dec 2006 Equipment will be available for purchase at BRISBANE Saturday 9th Dec 2006 the seminar.
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Newsletter April 2018
Sifu’s Corner What can I do with the skills that I learn? You are learning a unique set of arts that are all guided by the philosophy of Jeet Kune Do. Train with an open mind. Every technique can be applied in different scenarios. For example you can take an ABC drill and make it a great cardio workout, use it in a competitive environment or in a self defence situation. You are only limited by your own thinking and mind. Your instructors give you tools for your toolbox. You decide which tools you use for the task you are faced with. Student of the Month Did you know? Victor Young has been with WCMAA for just over a year. He has shown Guro Dan Inosanto began training in martial arts at the age of 11 receiving willingness to pay attention and instruction from his uncle who first taught him traditional Okinawan Karate and practice the skills being taught to the later also Judo and Jujutsu. He was a student of Ed Parker, from whom he best of his ability. Victor has learned received a shodan rank in American Kenpo. Guro Dan Inosanto is one of three patience is the key to learning. Special people who have been appointed to teach at one of the three Jun Fan Gung thanks to his parents and instructors for Fu Institutes under Bruce Lee; Taky Kimura and James Yimm Lee are the other their dedication and support. He has two people. Inosanto studied with different martial arts masters elsewhere in shown great improvement and has the United States, Southeast Asia, and Europe, including Johnny Lacoste, and come a long way! Chai Sirisute.
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The Heart of PFS: the RAT
Wandering Warrior Martial Arts™, Cain Morano, pfsslc.com, [email protected] The Heart of PFS: The RAT By Cain Morano PFS, Progressive Fighting Systems, is the second generation evolution of Bruce Lee’s Jeet Kune Do. Bruce Lee’s personal expression of martial arts research was called JKD, theoretically nobody except for Bruce Lee can be said to perform JKD. However, the material that Bruce Lee discovered and refined according to the Taoist philosophy was given to Dan Inosanto, who then further researched and expanded it. This first generation of JKD, Dan Inosanto’s personal expression of JKD, is typically referred to as JKD Concepts and Inosanto Kali. Dan Inosanto has many great students, but one stands out from the rest. This student is Paul Vunak, who left the Inosanto Academy as an instructor with Guro Dan Inosanto’s blessing and encouragement. When Paul Vunak struck out on his own to form Progressive Fighting Systems, it was for the benefit of Jeet Kune Do. PFS is the next evolution of JKD concepts, a streamlining of ‘the blend’ down to the principles of training for violence and not art. While Vunak maintains some of the more artful aspects of JKD to preserve the original teachings, he has fleshed out a collection of techniques more compatible with the aggressiveness and simplicity of what he feels JKD is meant to express. PFS is based on the blend and theory of JKD but is taken a step further, a step out onto the street. His system is so effective in high pressure tactical situations that the Navy hired Paul Vunak and partner Tom Cruse to train their special warfare operators, the SEALs, for three years.
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