Invitation to Ethno-Kinesiology by Yosuke Washiya A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Exercise Sciences University of Toronto © Copyright by Yosuke Washiya 2019 Invitation to Ethno-Kinesiology Yosuke Washiya Doctor of Philosophy Graduate Department of Exercise Sciences University of Toronto 2019 Abstract Many studies today have not considered the foundation of our meta-methods, which are predominantly linguistic and thus descriptive. Any academic understanding we are pursuing is linguistically and descriptively preformed, and this preformation in turn usually precedes academic inquiry. Instead of adapting appropriate methods for the research designed, this study seeks to know what can be objectivized as the object, and how. Using a video camera, and making an ethnographic film, from three different case studies internationally, this study attempts to cultivate a different academic realm that has been missing and can complement existing studies’ unawareness and imbalances, particularly the studies of physical culture and movements. This dissertation argues for method driven inquiry, to let method capture, engage, and correspond with the research. How can we find what can be the object of academic inquiry, and how can we find the question to be pursued? As a result of the process of filmmaking and participation in the practice of judo, this research argues to move from thick to ‘thin description’, present-congruency, and a meta-methodology of subtraction. A new academic realm, ‘Ethno-Kinesiology’ is proposed as a novel way to engage in the research of movement. Keywords: techniques of the body, film ethnography, methodology, physical culture, Henri Bergson, intuition, duration Acknowledgments This project was a journey of six years, or even longer in some sense, starting even before I began my PhD program in Toronto. I could have drowned in this sea of journey, without all the support I received from so many people. Among them, here, I would like to particularly thank and acknowledge those who weave this journey together with me. First and foremost, everyone who participated in this research project. For their kind and generous heart and friendships. This journey was impossible without all of you. Kazunori Matsumura, for inviting me into academia and inquiry in the field, from the field. Bruce Kidd, for opening the door for this journey, and for demonstrating sincere attitude as an academic. Peter Donnelly for showing endless curiosity as a scholar. Mike Atkinson, for breaking all the barriers I had been stuck with, and illuminating wide open possibilities for doing research. I will never forget your class that changed my entire career. Philip Vannini, for your insights. I cannot deny a massive influence from your work, and I am thrilled to work with you in the coming future. Masayuki and Mitsuko Takao, for all the intellectual discussions we had over delicious homemade meals. I could not continue this journey without your kind and warm support. Patrick Jachyra, for your friendship. It was so fortunate for me to have you as a colleague. Tomonori Ishioka, for your being a peer scholar and also my older brother. This work is influenced by dialogues with your works. Philip Toppin and Conely de Leon, I am so lucky that this journey also let me share many other life events with you. Time we shared, from boxing sparring sessions to late night sushi dinners, shaped this project in many regards. Kosuke, Ayami, Sayuri, and Honori Washiya, for always giving me positive energy and smiles. Milijan and Gordana Lukić, for your bottomless, veliko srce. You let me stay calm and focus on this project in any difficult times. Dunja Lukić and Aaron Haddad, for your unmeasurable amount of support and inspiration. All the endless conversations we had were source of The Force to keep inquiring. I am so lucky to have you as my family. Kaoru and Kunio Washiya, for all those newspaper clips, books, and letters you sent me enabled me to keep swimming. In a sense, the seed of my curiosity and the mind of a researcher started from my grade one summer project researching pressed flowers with you. You taught me the joy of inquiry. You gave me insights, creativity and persistence, and let me pursue my works to be meaningful and joyful. Thank you for letting me pursue my goal and letting me believe in myself. Vuk, Jasen, and Kai Washiya, for your smiles iii and cries and wet diapers. You amaze me. All those moments that let me encounter your growth kept me in this journey going, going, and going. Lastly, Ljubica Washiya. This journey was literally with you. Dark nights, freezing mornings, windy days, you were always there with me. Thank you for always being a warm and bright anchor throughout the journey. I do not know where the next journey will lead us to, but I am sure that it will be great if you are here. iv Table of Contents Acknowledgments ........................................................................................................................... iii Table of Contents ............................................................................................................................. v List of Figures ................................................................................................................................. ix List of Appendices ............................................................................................................................ x Prologue ......................................................................................................................................... 1 Let the method speak ...................................................................................................................... 1 Format of this project ...................................................................................................................... 2 Messy realizations ........................................................................................................................... 3 On creativity .................................................................................................................................... 3 The poem ........................................................................................................................................ 4 Chapter 1. Escaping from described movements ....................................................................... 6 How this research started ................................................................................................................ 9 Problems of categorizations around culturalism ........................................................................... 11 Shifting interests ........................................................................................................................... 12 Cultural, linguistic ......................................................................................................................... 13 Captured ........................................................................................................................................ 14 What is it to seek the technique? ................................................................................................... 14 My biggest struggle – Paradoxical ................................................................................................ 16 Illogical thoughts – Eugen Herrigel .............................................................................................. 18 Beyond Herrigel ............................................................................................................................ 19 Chapter 2. Limit of description ................................................................................................. 21 In training ...................................................................................................................................... 23 v Techniques without names ............................................................................................................ 24 Why less descriptive? ................................................................................................................... 25 What is ‘a technique of the body’? ............................................................................................... 28 Today’s ‘techniques of the body’ as mainstream methodological foundation ............................. 30 Against culturalism and hybridity ................................................................................................. 31 Methodological coupling .............................................................................................................. 32 Driven by the question of what is ‘the technique’? ...................................................................... 33 Techniques are in their nature, descriptive. .................................................................................. 34 Rethinking the starting line ........................................................................................................... 36 Good-bye to ‘the technique’ ......................................................................................................... 37 Chapter 3. Wandering in a dark labyrinth .............................................................................. 39 Behind thick description ..............................................................................................................