scholarly journals DANCESCAPE IN SAYAW BARONG PERFORMANCE OF BAJAU SAMA

2021 ◽  
Author(s):  
Mohammed Iqbal Badaruddin ◽  
Zaimie Sahibil ◽  
Luqman Lee ◽  
Simon Soon
Keyword(s):  
Material Culture ◽  
Martial Arts ◽  
Sacred Space ◽  
Belief System ◽  
Traditional Healing ◽  
Cultural Value ◽  
Performance Ethnography ◽  
Martial Art ◽  
And Performance ◽  
Symbolic Performance

Sayaw barong is one of the traditional performances for the Bajau Sama ethnic in Kota Belud, Sabah. With parang barong itself as a primarily customised weapon, this symbolic performance represents the war dance in Bajau martial arts locally and used as an offensive and defensive technique (buah/jurus silat) that merges in different streams (aliran) of silat such as silat kuntau, silat sping/sprint, silat betawi, and silat Nusantara. Through participants’ observation and performance ethnography, this particular style and technique encompasses the identity of Bajau Sama martial art through artistic movement as a representation that is also performed during other traditions such as wedding ceremonies, traditional healing, or funeral as their own cultural value. By referring to The Fan Theory suggested by Schechner, it shows how this tradition links and connects to other elements in sacred space such as ritualization, shamanism, rites and ceremonies. This paper also discusses the use of parang barong as a material culture and how its appearance helps the efficacy of the performance. The concept of sacred-scapes, death-scapes and kinetic-scapes take shape as tangible and intangible in order to understand this particular custom and how it fits in the Bajau identity as their own art of defence traditions. It also shows the Bajau Sama belief system that creates space in ritual including initiations, customs and celebrations.

scholarly journals Historical European Martial Art a crossroad between academic research, martial heritage re-creation and martial sport practices

2015 ◽  
Vol 3 (1) ◽  
pp. 5-35 ◽  
Author(s):  
Daniel Jaquet ◽  
Claus Frederik Sørensen ◽  
Fabrice Cognot
Keyword(s):  
Material Culture ◽  
Martial Arts ◽  
Academic Research ◽  
Study Groups ◽  
Practical Experience ◽  
Martial Art ◽  
Heritage Studies ◽  
Hands On ◽  
History Of ◽  
The Military

Abstract Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.

scholarly journals Historical European Martial Art a crossroad between academic research, martial heritage re-creation and martial sport practices

2015 ◽  
Vol 3 (1) ◽  
Author(s):  
Daniel Jaquet ◽  
Claus Frederik Sørensen ◽  
Fabrice Cognot
Keyword(s):  
Material Culture ◽  
Martial Arts ◽  
Academic Research ◽  
Study Groups ◽  
Practical Experience ◽  
Martial Art ◽  
Heritage Studies ◽  
Hands On ◽  
History Of ◽  
The Military

Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.

scholarly journals Non-discursive Knowledge and the Construction of Identity Potters, Potting and Performance at the Bronze Age Tell of Százhalombatta, Hungary

2009 ◽  
Vol 19 (2) ◽  
pp. 203-220 ◽  
Author(s):  
Sandy Budden ◽  
Joanna Sofaer
Keyword(s):  
Material Culture ◽  
Bronze Age ◽  
Social Categories ◽  
Social Sphere ◽  
Construction Of Identity ◽  
Differential Acquisition ◽  
The Social ◽  
And Performance ◽  
The Bronze Age

This article explores the relationship between the making of things and the making of people at the Bronze Age tell at Százhalombatta, Hungary. Focusing on potters and potting, we explore how the performance of non-discursive knowledge was critical to the construction of social categories. Potters literally came into being as potters through repeated bodily enactment of potting skills. Potters also gained their identity in the social sphere through the connection between their potting performance and their audience. We trace degrees of skill in the ceramic record to reveal the material articulation of non-discursive knowledge and consider the ramifications of the differential acquisition of non-discursive knowledge for the expression of different kinds of potter's identities. The creation of potters as a social category was essential to the ongoing creation of specific forms of material culture. We examine the implications of altered potters' performances and the role of non-discursive knowledge in the construction of social models of the Bronze Age.

scholarly journals MAKNA SYARAT DAN UNSUR SILEK DESA KUBU GADANG

2020 ◽  
Vol 17 (1) ◽  
pp. 43-66
Author(s):  
Mita Rosaliza ◽  
Muhammmad Fajar Vierta Wardhana ◽  
Risdayati Risdayati
Keyword(s):  
Martial Arts ◽  
Martial Art

The martial art of silat in Minangkabau, which is usually called silek, has its own uniqueness in terms of terms and movements. Silek in Minangkabau is a legacy from the Minangkabau ancestors that still exists and develops today. The requirements that must be possessed in this silat include cloth, knives, sewing needles, mirrors, rice and money that have meaning in this silat tradition. In addition, there are other elements in these martial arts which also have meaning in terms of movement, clothing and place of implementation. This study focuses on the meaning of the terms and movements used in the silek of Tuo gunuong in Kubu Gadang village. The informants in this study are traditional elders and people who still practice silat as a martial art and understand the terms and meanings of the movement.

scholarly journals Comunicando los movimientos de combate en obras impresas: cómo presentar las técnicas en fotografías y textos

2012 ◽  
Vol 3 (2) ◽  
pp. 50
Author(s):  
Tom Lang
Keyword(s):  
Martial Arts ◽  
Instructional Designer ◽  
Font Size ◽  
Martial Art ◽  
Technical Writer ◽  
Archival Quality ◽  
Made In

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-GB;" lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">In this article, suggestions are given “how to” write and photograph martial arts techniques for publication. The aim is to improve the instructional and archival quality of martial arts books and articles. These suggestions are based on the author’s reviews of books showing movement, his experience in writing martial arts books (and from mistakes made in these efforts), and from his experience as a medical-technical writer and instructional designer. Simply thinking about how to present a martial art in print will help you understand and teach them: you will find it a valuable and rewarding exercise, even if you never publish the results.</span></span></span></p>

scholarly journals La oposición leal y la práctica del aikido

2012 ◽  
Vol 2 (2) ◽  
pp. 64
Author(s):  
Jonathan Miller-Lane
Keyword(s):  
Martial Arts ◽  
Font Size ◽  
Multicultural Society ◽  
Martial Art ◽  
Creative Tension ◽  
Unique Manner ◽  
Democratic Life

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ascii-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">Discussions regarding martial arts often focus on the unique manner in which different styles respond to a set of common attacks. Indeed, it is in these unique responses that most martial arts distinguish themselves. However, this paper examines the role of the aggressor during training; specifically, in the martial art of Aikido and draws an analogy between the role of an aggressor during Aikido practice and the actions of a member of the loyal opposition in a democracy. A commitment to a set of rules that govern and protect the participants and a commitment to maintain a rich, creative tension mark both the vibrant interactions of an Aikido dojo and democratic life in a multicultural society.</span></span></span></p>

Vestigial Signs: Inscription, Performance, and The Dream of the Rood

PMLA ◽  
2010 ◽  
Vol 125 (1) ◽  
pp. 48-72 ◽  
Author(s):  
Seeta Chaganti
Keyword(s):  
Material Culture ◽  
Old English ◽  
Historical Narrative ◽  
English Text ◽  
Anglo Saxon ◽  
Dream Of The Rood ◽  
Media Performance ◽  
New Perspective ◽  
And Performance

Anglo‐Saxonists often explore connections between The Dream of the Rood and two ritual objects, the silver Brussels cross and the sandstone Ruthwell monument, inscribed with verses related to the poem. This essay offers a new perspective on these artifacts, elucidating not a historical narrative linking them but rather an Anglo‐Saxon poetics made visible in their juxtaposition. It argues that these three manifestations reveal a dialectic of inscription and performance in Anglo‐Saxon poetics. Reading the familiar Old English text through J. H. Prynne's “A Note on Metal” (1968), which imagines dialectics both of metal and stone and of inscription and performance, the essay also interrogates certain divisions between premodern and modern aesthetic traditions. Theories of media, performance, and inscriptionality help to stage an interdisciplinary analysis of The Dream of the Rood and to show that its poetics originate in the formal frameworks of Anglo‐Saxon material culture. (SC)

scholarly journals Theatres of Closure: Process and Performance in Inhumation Burial Rites in Early Medieval Britain

2020 ◽  
Vol 30 (3) ◽  
pp. 389-412
Author(s):  
Sue Harrington ◽  
Stuart Brookes ◽  
Sarah Semple ◽  
Andrew Millard
Keyword(s):  
Material Culture ◽  
Body Position ◽  
The Body ◽  
Cultural Issues ◽  
Early Medieval ◽  
Group Perceptions ◽  
Burial Rites ◽  
Funerary Ritual ◽  
And Performance ◽  
The Individual

Inhumation burials are recorded in Britain and Europe during excavations in a standardized way, especially graves of early medieval date. Just a limited number of attributes are usually foregrounded and these mainly concern skeletal identification, the grave plan and, when a burial is furnished, a list of objects, particularly metalwork, as well as occasional reference to burial structures, if present. In this paper, we argue that concealed within these recorded details are attributes that often receive little attention, but which can provide evidence for community investment in the individual funerary rite. These include grave orientation, grave morphology, the body position and the empty spaces in the grave, as well as categories of material culture. We argue here that these factors enable us to define communal burial profiles and can facilitate the identification of group perceptions and actions in dealing with death. By capitalizing on these additional aspects of funerary ritual, archaeologists can move away from a general dependency on well-furnished burials as the main stepping-off point for discussion of social and cultural issues. This has particular relevance for regions where unfurnished burial rites are the norm and where furnished rites do not rely on a wealth of metalwork.

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