Martial Sound : Drumming Empowerment in Diasporic Chinese Kung Fu and Lion Dance
Book Details
Format
Paperback / Softback
ISBN-10
0197775942
ISBN-13
9780197775943
Publisher
Oxford University Press Inc
Imprint
Oxford University Press Inc
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Dec 18th, 2024
Print length
264 Pages
Weight
386 grams
Dimensions
22.60 x 15.20 x 1.80 cms
Product Classification:
Other performing arts Non-Western music: traditional & "classical"
Ksh 4,850.00
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Martial Sound examines the sound, conceptualization, and function of music in the martial arts traditions of Chinese Canadians. Author Colin McGuire argues that while kung fu practitioners have traditionally used their interdisciplinary performances as a ritual to disperse negative energy for patrons, they now extend that martial function in diaspora to become an empowering performance that challenges a history of race-based discrimination in Canada.
Martial Sound examines the performance and function of music in the martial arts traditions of Chinese Canadians. Author Colin P. McGuire''s novel theory of martial sound identifies the ways in which one can hear music as martial arts and listen to hand combat as musicking. In doing so, McGuire both outlines how to discuss fighting rhythms in musical terms and provides a conceptual framework for analyzing how music can function as a form of self-defence. Throughout, McGuire closely studies the gong and drum percussion music that accompany the lion dance and kung fu, all of which are practised together as a single blurred genre by members of the Hong Luck Kung Fu Club in Toronto, Canada. While Hong Luck''s history and character are distinctive, the club''s practices and approaches are typical of many styles of Southern Chinese martial arts, both in China and abroad. During the eight years of participant observation fieldwork completed for this book, both of Hong Luck''s founding masters passed away, marking the end of an era. The first female lion dancers also began performing during the fieldwork period, which reconfigured traditional constructions of gender. Through highlighting recent developments within this community and the diaspora, McGuire shows that while kung fu practitioners have traditionally used their interdisciplinary performances as a ritual to disperse negative energy for patrons, they now extend that martial function to become an empowering performance that challenges a history of race-based discrimination in Canada.
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