The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice
                        Voicework Techniques Towards a New Cross-Cultural Methodology for Actor
                        Training

Roza, Elizabeth de; Miller, Budi

doi:10.16995/jer.6

Cited by 2 publications

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“…This follows an embodied and increasingly video-based approach as seen in works of interdisciplinary scholars (e.g. De Roza and Miller, 2018) . I also highlight the meanings behind the practices so that they can ‘listen’ to the voices of Marisela and other members of the Xilam community who provide verbal commentary to the demonstrations.…”

Section: The Studymentioning

confidence: 99%

“…Many fighting arts are abundant in cities, where their validity as fighting and self-defence systems are questioned through the efficiency of their body techniques. However, some martial arts are less concerned with the 'reality' of the 'street' so often conflated with fighting (Bowman, 2014), but are instead directed towards cultural transmission, ritual and even historical and contemporary preparation for actor training such as in Keralan Kalarippayattu (De Roza and Miller, 2018) or cultural and musical expression seen in Chinese lion dance (McGuire, 2015). It is as Mauss (1970) pondered, "Technical action, physical action, magico-religious action are confused for the actor ' (p. 74).…”

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confidence: 99%

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‘A Punch Has No Paternity!’: techniques, belonging and the Mexicanidad of Xilam

Jennings

2021

Ethnography

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This article combines ethnographic and netnographic data to explore the relationships between body techniques and a sense of belonging through the contemporary Mexican martial art of Xilam. This art, founded by a female Mexican martial arts veteran, is slowly developing as a hand-to-hand sport, and has attracted critics for its supposed use of East Asian fighting techniques. Netnographic data reveal online debates on the origins and ‘true belonging’ of specific techniques while ethnographic fieldwork in a Xilam school demonstrates how the art is made ‘Mexican’ through specific accompanying practices and philosophy surrounding the movements. The movements of sitting, punching and standing are selected as key examples as understood through Mauss’s classic thesis. I conclude that Xilam follows a philosophical pedagogy that associates these techniques with a sense of Mexicanness – Mexicanidad.

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Section: The Studymentioning

confidence: 99%

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confidence: 99%