The first authoritative overview of martial arts studies, written by pioneers of this dynamic and rapidly expanding new field

"The Invention of Martial Arts examines the media history of what we now call 'martial arts' and argues that martial arts is a cultural construction that was born in film, TV and other media. It argues that 'martial arts' exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread 'invention of tradition', the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, The Invention of Martial Arts argues for the primacy of media representation as key player in the emergence and spread of martial arts. This argument overturns the dominant belief that 'real practices' are primary, while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, tai chi and MMA across a range of media, from newspapers, comics and books to cartoon, film and TV series, as well as television adverts and music videos, focusing on key but often overlooked texts such as adverts for 'Hai Karate', the 1970s disco hit 'Kung Fu Fighting', and many other mainstream and marginal media texts"--

Signs and images of Chinese martial arts increasingly circulate through global media cultures. As tropes of martial arts are not restricted to what is considered one medium, one region, or one (sub)genre, the essays in this collection are looking across and beyond these alleged borders. From 1920s wuxia cinema to the computer game cultures of the information age, they trace the continuities and transformations of martial arts and media culture across time, space, and multiple media platforms.

This imaginative and innovative study by Daniel Miles Amos, begun in 1976 and completed in 2020, examines sociocultural changes in the practices of Chinese martial artists in two closely related and interconnected southern Chinese cities, Hong Kong and Guangzhou. The initial chapters of the book compare how sociocultural changes from World War II to the mid-1980s affected the practices of Chinese martial artists in the British Crown Colony of Hong Kong and neighboring Guangzhou in mainland China. An analysis is made of how the practices of Chinese martial artists have been influenced by revolutionary sociocultural changes in both cities. In Guangzhou, the victory of the Chinese Communist Party lead to the disappearance in the early 1950s of secret societies and kungfu brotherhoods. Kungfu brotherhoods reappeared during the Cultural Revolution, and subsequently were transformed again after the death of Mao Zedong, and China’s opening to capitalism. In Hong Kong, dramatic sociocultural changes were set off by the introduction of manufacturing production lines by international corporations in the mid-1950s, and the proliferation of foreign franchises and products. Economic globalization in Hong Kong has led to dramatic increases both in the territory’s Gross Domestic Product and in cultural homogenization, with corresponding declines in many local traditions and folk cultures, including Chinese martial arts. The final chapters of the book focus on changes in the practices of Chinese martial arts in Hong Kong from the years 1987 to 2020, a period which includes the last decade of British colonial administration, as well as the first quarter of a century of rule by the Chinese government.

The phrase “martial arts studies” is increasingly circulating as a term to describe a new field of interest. But many academic fields including history, philosophy, anthropology, and Area studies already engage with martial arts in their own particular way. Therefore, is there really such a thing as a unique field of martial arts studies? Martial Arts Studies is the first book to engage directly with these questions. It assesses the multiplicity and heterogeneity of possible approaches to martial arts studies, exploring orientations and limitations of existing approaches. It makes a case for constructing the field of martial arts studies in terms of key coordinates from post-structuralism, cultural studies, media studies, and post-colonialism. By using these anti-disciplinary approaches to disrupt the approaches of other disciplines, Martial Arts Studies proposes a field that both emerges out of and differs from its many disciplinary locations.

This open access book is the first publication to provide a comparative framework for the study of martial culture and historical martial arts in Europe and Asia, in particular in Italy and China. Due to the interdisciplinary nature of martial studies, contributors to this volume include historians, archeologists, art historians, scholars of fencing literature, metallurgists, as well as contemporary master swordsmiths and masters-of-arms in historical martial arts. Assembling researchers from these diverse fields, this book offers a multi-perspectival and dynamic view of martial culture across time and space. The cross-cultural and interdisciplinary significance of this book cannot be overemphasized. Whereas a number of contributors are internationally recognized and, indeed, leading authorities in their respective fields; for example, Jeffrey Shaw has been a world-leading new media artist and scholar since the 1970s, while Ma Mingda is a well-known historian and the contemporary founder of Chinese martial studies; and while there are significant overlaps in their research interests, this book brings their research within a single volume for the first time. Equally significant, the book is structured in such a way to reflect the various core aspects of martial studies, particularly in relation to the study of historic sword culture, including history, culture, philosophy, literature and knowledge transmission, material culture, as well as the technical aspects of historical fencing. As one of the first titles on martial studies, this book becomes a reference not only for scholars taking an interest in this subject, but also for historians; scholars with interest in Chinese and/or Italian history (particularly of the Medieval or early modern periods), the history of international relations in Asia / Far East; anthropologists; scholars of martial (arts) studies and researchers in sword-making and/or historic metallurgy.

This book examines the profound interplay of martial arts, combative, and self-defense disciplines with nationalism and ethno-religious politics through the analysis of Zionism, the birth of the State of Israel, antisemitism, and the life of the contemporary Jewish Diaspora in the United States. It connects martial arts studies and political science, spearheading the new field of political hoplology. Focusing on the complex formative process of national communities, their growth, resilience, and consequences for the individuals, Krav Maga and the Making of Modern Israel presents the unique case of Krav Maga (literally hand to hand combat), a self-defense system developed between the late nineteenth and early twentieth centuries, which is now considered a staple of Israeli culture and a prime self-defense practice. Through its chapters, the book provides strong evidence supporting the idea that physical violence is indeed needed as a unifying experience to allow national communities to emerge and thrive. Furthermore, it examines the growing importance of violence for modern democratic societies and suggests the existence of a “gladiatorial effect,” or the need for a certain level of violence to exist to maintain a harmonious, stable, and cooperative society.

In 1978 the films Snake in the Eagle’s Shadow and Drunken Master, both starring a young Jackie Chan, caused a stir in the Hong Kong cinema industry and changed the landscape of martial arts cinema. Mixing virtuoso displays of acrobatic kung fu with knockabout humor to huge box office success, they broke the mold of the tragic and heroic martial arts film and sparked not only a wave of imitations, but also a much longer trend for kung fu comedies that continues to the present day. Legacies of the Drunken Master—the first book-length analysis of kung fu comedy—interrogates the politics of the films and their representations of the performing body. It draws on an interdisciplinary engagement with popular culture and an interrogation of the critical literature on Hong Kong and martial arts cinema to offer original readings of key films. These readings pursue the genre in terms of its carnival aesthetic, the utopias of the body it envisions, its highly stylized depictions of violence, its images of masculinity, and the registers of its “hysterical” laughter. The book’s analyses are carried out amidst kung fu comedy’s shifting historical contexts, including the aftermath of the 1960s radical youth movements, the rapidly globalizing colonial enclave of Hong Kong and the emerging consciousness of its 1997 handover to China, and the transnationalization of cinema audiences. It argues that through kung fu comedy’s images of the body, the genre articulated in complex and often contradictory ways political realities relevant to late twentieth-century Hong Kong and the wider conditions of globalized capitalism. The kung fu comedy entwines us in a popular cultural history that stretches into the folk past and forward into utopian and dystopian possibilities. Theoretically rich and critical, Legacies of the Drunken Master aims to be at the forefront of scholarship on martial arts cinema. It also addresses readers with a broader interest in Hong Kong culture and politics during the 1970s and 1980s, postcolonialism in East Asia, and action and comedy films in a global context—as well as those fascinated with the performing body in the martial arts.

Taekwondo is unlike any other martial art and it deserves some special attention because of its importance as a sport with a unique history and influence. This anthology, as part of our projects to provide stellar articles from the Journal of Asian Martial Arts, provides high quality materials about taekwondo you will not find elsewhere. Topics include fascets of taekwondo history, practice, competition, health, education, character, techniques, and sport/athletics. You’ll find the notes, bibliographies, illustrations, and index are also valuable. We have been very fortunate to include the writings of Dr. Willy Pieter, a pioneer in the scientific study of taekwondo. Other articles in this book provide details of taekwondo history, such as the detailed work by Dakin Burdick. The earlier version as published in the journal caused quite a stir among Korean martial art afficionados, particularly in the clear exposition that taekwondo’s roots are found in Japanese/Okinawan traditions. Some chapters focus on specific techniques, especially the pieces by Udo Moenig, Louis Bercades and Willy Pieter. The interview by José Suporta with Juan Moreno is very insightful as it includes a discussion of the differences of taekwondo practices for the martial artist and sport athlete. In her chapter, Marzena Czarneca uncovers the social relationships that often develop between students and teachers. The emotional and psychological bonds formed during classes are often difficult to notice and define, but she does so with a unique research methodology. Van Reenam’s chapter gives a refreshing portrait of childhood development through taekwondo practice. His conclusions will benefit those who teach, as well as the youngsters and parents involved in taekwondo. Authoritative works dealing with taekwondo are published occasionally. This book is a milestone in taekwondo literature. Hopefully you will enjoy reading each page of this important anthology. Besides being a convenient collection of special readings on taekwondo, we also hope the chapters will inspire future research and writing in this field.