"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"--

Folk tales of the Shaolin Temple depict warrior monks with superhuman abilities. Today, dozens of East Asian fighting styles trace their roots back to the Buddhist brawlers of Shaolin, although any quest for the true story soon wanders into a labyrinth of forgeries, secret texts and modern retellings. This new study approaches the martial arts from their origins in military exercises and callisthenics. It examines a rich folklore from old wuxia tales of crime-fighting heroes to modern kung fu movies. Centre stage is given to the stories that martial artists tell themselves about themselves, with accounts (both factual and fictional) of famous practitioners including China's Yim Wing-chun, Wong Fei-hong, and Ip Man, as well as Japanese counterparts such as Kano Jigoro, Itosu Anko and So Doshin. The history of martial arts encompasses secret societies and religious rebels, with intimate glimpses of the histories of China, Korea and Japan, their conflicts and transformations. The book also charts the migration of martial arts to the United States and beyond. Special attention is paid to the turmoil of the twentieth century, the cross-cultural influence of Japanese colonies in Asia, and the post-war rise of martial arts in sport and entertainment - including the legacy of Bruce Lee, the dilemma of the ninja and the global audience for martial arts in fiction.

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.

A groundbreaking investigation into the migration of martial arts techniques across continents and centuries The presence of African influence and tradition in the Americas has long been recognized in art, music, language, agriculture, and religion. T. J. Desch-Obi explores another cultural continuity that is as old as eighteenth-century slave settlements in South America and as contemporary as hip-hop culture. In this thorough survey of the history of African martial arts techniques, Desch-Obi maps the translation of numerous physical combat techniques across three continents and several centuries to illustrate how these practices evolved over time and are still recognizable in American culture today. Some of these art traditions were part of African military training while others were for self-defense and spiritual discipline. Grounded in historical and cultural anthropological methodologies, Desch-Obi's investigation traces the influence of well-delineated African traditions on long-observed but misunderstood African and African American cultural activities in North America, Brazil, and the Caribbean. He links the Brazilian martial art capoeira to reports of slave activities recorded in colonial and antebellum North America. Likewise Desch-Obi connects images of the kalenda African stick-fighting techniques to the Haitian Revolution. Throughout the study Desch-Obi examines the ties between physical mastery of these arts and changing perceptions of honor. Including forty-five illustrations, this rich history of the arrival and dissemination of African martial arts in the Atlantic world offers a new vantage for furthering our understanding of the powerful influence of enslaved populations on our collective social history.

Mythologies of Martial Arts is an introduction to the key myths and ideologies around martial arts in contemporary popular culture internationally. It is the first book to draw together practical experience and seminal texts across a multitude of disciplines to offer original insights into the complex, contradictory world of martial arts. It is an accessible but theoretically sophisticated book aimed at student, scholars and anyone interested in martial arts practice.

Mixed Martial Arts (MMA) is an international phenomenon, with a fascinatingly diverse and complex history that stems from fighting sports around the world. In Mixed Martial Arts: A History from Ancient Fighting Sports to the UFC, L.A. Jennings explores the vast global history of martial arts—including Asian martial arts, African fighting sports, European pugilism and wrestling, and the fighting styles of North, Central, and South Americas—and how they gave rise to the modern sport of MMA. Jennings shares some of the most famous moments in fighting history alongside stories of the fighters themselves, such as the infamous 1976 fight between Muhammad Ali and Antonio Inoki. When the Ultimate Fighting Championship premiered in 1993, it introduced the world to the controversial “cage fighting” at a scale never seen before. With the assistance of technological innovations and globalization, MMA has become the fastest growing sport on earth, the culmination of thousands of years of fighting for sport. Featuring fascinating stories and photographs of fighters from around the world, Mixed Martial Arts reveals the long and captivating history of this often-misunderstood sport.

Through popular movies starring Bruce Lee and songs like the disco hit "Kung Fu Fighting," martial arts have found a central place in the Western cultural imagination. But what would 'martial arts' be without the explosion of media texts and images that brought it to a wide audience in the late 1960s and early 1970s? In this examination of the media history of what we now call martial arts, author Paul Bowman makes the bold case that the phenomenon of martial arts is chiefly an invention of media representations. Rather than passively taking up a preexisting history of martial arts practices--some of which, of course, predated the martial arts boom in popular culture--media images and narratives actively constructed martial arts. Grounded in a historical survey of the British media history of martial arts such as Bartitsu, jujutsu, judo, karate, tai chi, and MMA across a range of media, this book thoroughly recasts our understanding of the history of martial arts. By interweaving theories of key thinkers on historiography, such as Foucault and Hobsbawm, and Said's ideas on Orientalism with analyses of both mainstream and marginal media texts, Bowman arrives at the surprising insight that media representations created martial arts rather than the other way around. In this way, he not only deepens our understanding of martial arts but also demonstrates the productive power of media discourses.