The primary argument of this dissertation is that, despite the challenges of diaspora, Hong Luck’s transmission process uses intense physical training to engrain a distinctly Chinese, martial habitus onto practitioners this set of dispositions is the prerequisite for becoming a drummer and is sonically-and physically-manifested in percussion-accompanied kung fu and lion dancing with important implications for the identity of performers and patrons. This study draws on phenomenology, semiotics, practice theory, and cognitive semantics, which have been tempered by discipleship at Hong Luck.
The discussion’s primary lines of inquiry are the use of percussion-accompanied lion dance and kung fu in the construction of identity for performers and audiences in a multicultural context embodied knowledge in the movement and music that undergirds a Chinese, martial way of being-in-the-world and the experience of learning, performing, and observing these practices. The diasporic environment presented questions of identity, and the research also engaged with the emerging field of martial arts studies. It is based on six years of participant-observation and performance ethnography there, as well as a nine-month period of comparative fieldwork in Hong Kong. This dissertation is an investigation of the percussion used to accompany Chinese martial arts and lion dancing at Toronto, Canada’s Hong Luck Kung Fu Club. He is currently researching self-defence discourses, narratives, representations and practices. His next forthcoming monograph is The Invention of Martial Arts: Popular Culture Between Asia And America.
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He is author of eleven academic monographs on a range of topics in cultural theory, film, media and popular culture, most recently Deconstructing Martial Arts, which is published free online by Cardiff University Press. Contributor: Paul Bowman is professor of cultural studies at Cardiff University. The analysis suggests that caricatures, clichés and stereotypes of China, Chinese people and Chinese 'things' are so common that there can be said to be a glaring seam of unacknowledged, uninterrogated and hence 'invisible' racism in British advertising. Based on a historical survey of British television adverts from 1955 to 2018, it argues that a predictable, recurring, limited set of aural, visual and narrative clichés and stereotypes have functioned-and continue to function-as the principal resources to evoke 'Chineseness' in British television adverts. This article asks whether orientalism remains present or active within one dominant contemporary media context: British television adverts.
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Watch the full clip below.Edward Said's theory of orientalism proposes that Western European culture has overwhelmingly tended to (mis)represent non-European cultures, societies, regions, and ethnic groups via mythic, romantic, simplistic and simplifying sets of binaries. They then proceeded to watch the music video for "Chop Suey!" while Rubin bopped along and marveled at what System of a Down had accomplished. Why have you forsaken me?' It's wild… The context, it doesn't really make sense to what's going on, it's rad." "It's the part, 'Father, into your hands. Rogan followed up by asking what part Rubin was talking about specifically, and Rubin took a second to think before the words came to him. "He opened it, first phrase he sees: that's what's in the song, and it's a highpoint in the song.
So I said, 'OK, pick a book off the wall.' He picked a book randomly off the wall, I said, 'open it to any page tell me the first phrase you see.' "And we're sitting in the library in my old house and he said 'I don't have words for this' and we were finishing and it's like, OK. You know that song? It has this big bridge section in it where Serj , lyric writer - the singer - didn't have words for this one part of the song. "My experience is, when you are open and looking for these clues in the world, they're happening all the time," Rubin said. "And they're happening, often right when you need them… This System Of A Down song called 'Chop Suey!'… I think. During a new interview on the Joe Rogan Experience, Rubin recalled a time in the studio during the Toxicity sessions when Tankian needed a lyric to fill out that aforementioned section of the song, but couldn't muster up the inspiration in his own brain.
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