Abstract
In this article, the writer discusses today's martial arts. The writer looks at this form of unarmed combat that is associated with Asian culture, philosophy and mysticism. The writer points out that it may be argued that in their incarnation in contemporary North America as sport, these martial arts have lost the underlying philosophical and cultural roots that gave them their fundamental identity.

From the Paper
"When one speaks of martial arts today one conceives of unarmed combat in a context pervaded by Asian culture, philosophy and mysticism. Despite different countries of origin - whether it be China (kung-fu), Japan (akido, judo, karate) or Korea (tae kwon do) - these martial arts have all been closely associated with the rich Asian philosophical and cultural traditions that gave them birth."

Tags:asia, martial, arts

Abstract
This paper discusses Japanese martial arts with an emphasis on Budo and the main purpose of Budo. The paper discusses the history and philosophy of Japanese martial arts and takes a look at its three main branches.

Tags:martial arts, budo

Abstract
This paper examines the Taoist principles of abiding by the yin or abiding by the soft. Specifically, in Taoism, this means that one should favor approaches that are flexible and adaptive rather than rigid and forceful. The essay uses the martial arts as examples of this principle at work in human endeavors, specifically drawing on examples from kung fu and aikido.

From the Paper
"Abiding by the Soft in the Martial Arts On the surface, one of the hardest principles to understand in Taoism is the idea that individuals should favor the yin principle in their lives, or, rather, that they should abide by the soft. Conceptually it is rather counter-intuitive, especially in Western culture, which often favors strength and brashness over subtlety and finesse. But that is the basis for the point that Lao Tzu was making when he advised fellow Taoists to abide by the soft. It is the idea that all actions will eventually be dominated by the yin principle. Taoism is built on this assumption. While this can seem complicated to understand, it is nevertheless apparent in many human endeavors. Specifically, I will draw on examples from the martial arts to illustrate just how abiding by the soft can be especially useful in mastering those skills."

Tags:taoism, martial, arts

Abstract
The paper reviews the origin of Chinese martial arts and looks at some examples of the these martial arts. The paper briefly discusses how in today's day and age, Chinese martial arts are practiced in countries all across the world and examines who contributed to the forwarding of the traditional martial arts. The paper looks at the sub-categories within the traditional Wushu style, the three different methods of categorizing Chinese martial arts and the six basic classification purposes used for judging modern Chinese martial arts. The paper outlines the reasons why people choose to learn Chinese martial arts and concludes that one must truly appreciate the philosophy and performance of Wushu to have a real understanding of Chinese martial arts today.

From the Paper
"Chinese Martial Arts is a style of traditional fighting that has been passed down from one generation to the next. There are many styles of Chinese Martial Arts that exist today. The origin of Chinese Martial Arts originated hundreds of years ago in Ancient China and is used in many different countries today. There are many different types of fighting styles associated with Chinese Martial Arts, otherwise known as "Wushu." The style of fighting known as Wushu is defined around the fighter's survival being the number one priority."

Tags:Wushu, combat, fighting, self-defense, weapons

Abstract
This paper discusses the nature, use, and meaning of the male body within the context of martial arts film, specifically the traditional Hong Kong-style Kung Fu movie. The paper explains that the martial arts hero is a man of average height whose exceptionally fit body is proof of his skill and dedication, and his demeanor, his coiled muscularity (ready to strike, but calmly composed) is his personal testament to the superiority of his training. The paper clarifies that the heroes' fitness is differentiated from that of their opponents because the heroes "earn" their bodies; the physical manifestation of the martial arts hero is centered on the idea that they are apart from their enemies: they are in better shape, they are more attractive, they are of a greater moral strength, they are, in short, representations of physical perfection gained through honest labor. The paper adds that Bruce Lee, Jackie Chan, Sammo Hung, and Jet Li represent the core of the martial arts heroic catalog. The paper concludes that the body on display in the Hong Kong Kung Fu martial arts film is at once an example of exceptional fitness and highly complicated movement.

From the Paper
"The male body is represented, within the context of the Kung Fu film, in three different ways: as male strength, as a testament to personal dedication, and as the bared identity of the character. In this, we have the body, mind, and soul. There is great purpose in using actors who are exceptionally fit, allowing them to perform feats of superhuman strength, agility, and speed, and in giving them accomplish absolutely impossible tasks, because this is their heroic journey. In virtually every martial arts film, and particularly those of Lee, Chan, Hung and Li, the star is the lone center. He is the Ronin, the last Samurai, the rebellious Monk - he is the outsider within the boundaries of his community. As such, it is his responsibility to defend and avenge his home, family, community, and people. Thus, when we see the male body we are seeing the entire summary both physical and metaphysical of the man himself - and, by extension, ourselves."

Tags:kung fu kinesthesia, Bruce Lee, Jackie Chan, Jet Li, Sammo Hung

Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.

Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion

From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"

Tags:repetitious, practice, sound, expression, rhythm, gesture, movement, body

Abstract
This paper discusses that martial arts not only is the art of warfare but also has a philosophy based in an elaborate blend of ancient codes of conduct, ethics and a spirituality that appears to be a fusion of Daoism, Zen Buddhism, and Confucianism. This paper states that, making the leap from East to West, this merger of physical and spiritual mastery has become a booming industry in the U.S. resulting in action films and T.V. shows that, besides being a series of highly choreographed fight scenes, also conveys ethical messages, codes of conduct and spiritual direction. The author is concerned that many people are being exposed to the martial arts without any ethical grounding at all; thus a generation is learning the physical aspects of the martial arts without the ethical or spiritual code that has historically been taught alongside it and has no concept of how to take the right action in the face of a dilemma, of delayed gratification or of respect to others.

Table of Contents
Introduction
History of the Kung Fu Film
Bruce Lee and His Successors
Martial Arts in Film and on Television Today
Conclusion

From the Paper
"Bruce Lee has been credited as the one who officially brought martial arts to the film industry in the United States. Although born in San Francisco, Lee spent most of his childhood making films in Hong Kong and did not return to the U.S. until he was 18 years old. Thus, he began to develop and teach Jeet Kune Do ("way of the intercepting fist") and to infuse his philosophy into the films he was in, "which was his ultimate goal in movie-making". Unable to break through the racial barrier in Hollywood, Lee went back to Hong Kong to become a superstar there. Only after achieving success did Hollywood notice him, resulting in "Enter The Dragon" (1973), the only Hollywood-backed film he would star in."

Tags:codes, spiritual, physical, action, choreograph

Abstract
This paper presents working guidelines for martial arts instructon and discusses how the instructor can teach children with Asperger's syndrome to sustain focus on training. The paper first discusses the challenges related to martial arts that a child with Asperger's syndrome faces. The paper then focuses on how children with Asperger's syndrome can be taught how to maintain their concentration during martial arts training.

Table of Contents:
Introduction: Recognizing Asperger's Syndrome Children
Typical Displays of the Inability to Sustain Focus
Root Causes of the Maladaptive Behaviors
Connecting with Asperger's Syndrome Children
Adjusting the Teaching Environment and Methods
Creating the Best Learning Environment
Teaching Concentration and Training Behavior as Skills
Adjusting Learning Objectives and Approach
Building a Calm, Productive Rapport
Conclusion

From the Paper
"Moreover, the experience with martial arts can be a critical turning point for AS children. With enough understanding of Asperger's Syndrome, martial arts instructors can make a profound and positive change to support the children's self-confidence, social competence and school experiences. With that solid foundation they will function well in the workplace as adults. Many AS children are exceptionally intelligent and will develop deep knowledge of their areas of interest, making them fully capable of making important contributions to the arts and sciences."

Tags:behavior, focus, teaching, student, training, AS

Abstract
This paper provides an overview of the necessary legal considerations unique to martial arts school operators, including civil liability. The paper explains that today, few students train to fight hand-to-hand on the battle field and only the fringe hearken back to the day of mountain-living, black-clad ninja fighting against the Shogunate over-lords. The paper emphasizes that because societal circumstances have changed so much, so too must martial arts training if it is to address the real-life issues of today. The paper concludes that martial arts training, no matter how traditional, must not set students up for failure in a real self-defense situation.

From the Paper
" This is why Martial Arts Instructors, as well as practitioners, need to be fully aware of the legal definitions of self-defense, fighting and assault (MacYoung, 1). There are specific rules that must be followed, and a myriad of circumstances may apply in any given situation. All of these elements must be interpreted and weighed by the participant before action can be taken. It is unfortunate for the Martial Artists who, in an actual physical altercation, will most likely respond in the same way that they were trained (MacYoung, 3). If they were trained to pull punches for tournaments, they will most likely do so on the street. If they were trained to respond to a grab by snapping the grabber's wrist - this is what they will do.
"In New York State, if a person comes up and pushes you, it is considered only "harassment" (Hoyer, 1). Consider the legal implications if a Martial Artist was trained to instinctively respond to this kind of aggression with physical severity? In this instance it would be the Martial Artist who would be facing civil and possibly criminal action, not the person who initiated the altercation. Likewise, when police are called to the scene of a physical dispute, they are trained to analyze the situation in terms of legal accountability. Was the situation avoidable? Did both parties contribute to the dispute? Were both willing participants in the altercation? If so, the situation would not be considered self-defense. It would be interpreted as fighting and both participants would be going to jail (MacYoung, 5). An important question for the Instructor to ask is what possible legal accountability do they have in teaching a student? Though the Instructor may not have a legal obligation in what he teaches, since passing on knowledge is not sufficient cause to be civilly liable for what that student might do (Marty, 2), don't Instructors have an ethical responsibility to inform students of their legal risks?"

Tags:liability, small business

Abstract
This research paper summarizes and analyzes the historical development of martial arts in China. The paper explores the history of the artform as a product of the confluence and interaction of many religious, philosophical and practical influences dating back to ancient times. Included in the topics are the Chinese classical approach to warfare and military tactics, Daoist thought, Buddhism and various more modern syntheses of martial arts theories, including the teachings of the monks.

Contents:
Chinese Military Realities and Classical Theories
Daoist Thought
Buddhism
Consolidation of Martial Arts Theory
Conclusion

From the Paper
"The martial arts in practical terms formed the basis for the training of Chinese for combat which in turn was influenced strongly by the nature and realities of warfare as it was practiced in ancient times and recounted by Chinese historians. Most of those histories related to civil wars between contending power factions, later to the wars which established China's first longlasting unified dynasty, the Han (B.C. 202-A.D. 221), and the wars fought by the Han against barbarians from Central Asia."

Tags:chinese, buddhism, buddha, dao, dynasty, tao, asian, form