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 09/25/2021 06:28:19 pm 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 09/25/2021 06:28:19 pm Page 2 of 2.

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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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Capoeira Is an Afro-Brazilian Martial Art That Combines Self-Defense, Acrobatics, Dance-Like Moves, Music and a Lot of Playful Energy--Which Is Why Kids Love It
Capoeira is an Afro-Brazilian martial art that combines self-defense, acrobatics, dance-like moves, music and a lot of playful energy--which is why kids love it. Parents love capoeira because it its a dynamic tool to channel energy and nurture the athletic, artistic, musical and personal development of their child. Capoeira is active and energetic, musical and artistic, serious and funny, and requires focus and awareness. Classes will keep your child physically fit and mentally engaged. Our youth program provides opportunities for students to develop self-defense and life skills including: MOVEMENT - MUSIC - CULTURE - COMMUNITY DISCIPLINE - RESPECT - SELF CONFIDENCE BALANCE - COORDINATION - RHYTHM AGILITY - CREATIVITY - FLEXIBILITY Through drills, exercises, working with a partner or alone, children learn to “play capoeira” with an understanding of limits and respect for each other. Students learn: • Fundamentals—Ginga & Aú (cartwheel) • Basic Attack and Defense Movements • Stretching Techniques • Tumbling/Acrobatics • Focus and Awareness • Etiquette and Tradition • Play instruments • Sing songs in Portuguese As with other martial arts, capoeira has traditions and codes of behavior that are very important to follow and understand--for safety purposes as well as to show respect and cultural responsibility for the practice and preservation of the art. Students will learn Portuguese naturally as many of the commands and direction in class are given in Portuguese. As shown in the classes, all of the names of the movements (and songs) are in Portuguese. Students who train capoeira will gain a sense of achievement and confidence through hard work, dedication to the art, and camaraderie with fellow students. From the youngest student to the oldest, we encourage leadership qualities in all our students and seek opportunities for each student to improve and demonstrate these skills.
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Title Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Arts
Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Title Arts between Hollywood and Beijing Author(s) Marchetti, G JOMEC Journal: Journalism, Media and Cultural Studies, 2014, Citation n. 5 Issued Date 2014 URL http://hdl.handle.net/10722/204953 Rights Creative Commons: Attribution 3.0 Hong Kong License JOMEC Journal Journalism, Media and Cultural Studies Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Arts between Hollywood and Beijing Gina Marchetti University of Hong Kong Email: [email protected] Keywords The Karate Kid choreography wu shu movie fu real kung fu Abstract This analysis of the martial arts choreography in The Karate Kid (2010) examines the contradictory matrix in which action films produce meanings for global audiences. A remake of a 1984 film, this iteration of The Karate Kid begins its imaginative battle over martial arts turf with English and Chinese titles at odds with one another. For English- speaking audiences, the title of the film promises a remake of the popular 1984 story of a displaced Italian American teenager (Ralph Macchio) trained by a Japanese American sensei (Pat Morita) to compete against the local karate bullies. However, the 2010 version has another identity competing with the first. Its Chinese title translates as Kung Fu Dream – Japanese culture, karate, and domestic American class and racial politics out of the picture. In this version, an African American youngster (Jaden Smith) moves to Beijing from Detroit and is taken under the wing of a drunken kung fu master (Jackie Chan) to battle a group of wu shu/san da villains.
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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.
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Which Is Yours? Capoeira Angola, Regional, and Contemporânea
Which is yours? Capoeira Angola, Regional, and Contemporânea By Rui Takeguma Translation by Shayna McHugh (All footnotes are the author’s, in the original text) Source: http://brancalulaleone.vilabol.uol.com.br/qualeasua.html Introduction As we enter the new millennium, we find that the Capoeira universe has expanded, showing very different faces from those that it showed during the last centuries. At first glance we find two icons and two styles: Mestre Pastinha of Capoeira Angola and Mestre Bimba of Capoeira Regional. But in today’s Capoeira environment, rich in diversity, there is semantic confusion regarding the origin, development, and complexity of the existing forms of Capoeira. This text aims to put a bit of “wood in the fire” regarding the definitions, and proposes a new way to see the various capoeiras. Less than 100 years ago, Capoeira was a crime under the Brazilian penal code, and there was a prison in Fernando de Noronha to which captured capoeiristas were sent. Today, Capoeira possesses the fame of the only genuinely Brazilian sport; it is present in many countries and aims to become an Olympic sport. We hit the turn of the century with an “Advanced Professional Course Specifically in Capoeira” at the University Gama Filho in Rio de Janeiro, and we have a number of practicing capoeiristas today that we never had in history. On the other hand, a minority of these capoeiristas do Angola or Regional, while almost all of them do neither of these styles. Others think they do both… In this globalized capitalist society, we have to be very careful with concepts.
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