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Black Dragon: Afro Asian Performance and the Martial Arts Imagination de Zachary F. Price

Black Dragon: Afro Asian Performance and the Martial Arts Imagination: Black Performance and Cultural Criticism

Autor Zachary F. Price
en Limba Engleză Paperback – 10 ian 2022
In Black Dragon: Afro Asian Performance and the Martial Arts Imagination, Zachary F. Price illuminates martial arts as a site of knowledge exchange between Black, Asian, and Asian American people and cultures to offer new insights into the relationships among these historically marginalized groups. Drawing on case studies that include Kareem Abdul-Jabbar’s appearance in Bruce Lee’s film Game of Death, Ron van Clief and the Black Panther Party for Self-Defense, the Wu-Tang Clan, and Chinese American saxophonist Fred Ho, Price argues that the regular blending and borrowing between their distinct cultural heritages is healing rather than appropriative. His analyses of performance, power, and identity within this cultural fusion demonstrate how, historically, urban working-class Black men have developed community and practiced self-care through the contested adoption of Asian martial arts practice. By directing his analysis to this rich but heretofore understudied vein of American cultural exchange, Price not only broadens the scholarship around sites of empowerment via such exchanges but also offers a compelling example of nonessentialist emancipation for the twenty-first century.
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Specificații

ISBN-13: 9780814258132
ISBN-10: 0814258131
Pagini: 240
Ilustrații: 23 black & white illustrations
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.34 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Black Performance and Cultural Criticism

Recenzii

“Martial arts cinema is underrepresented in cinema history and the Black presence in martial arts cinema is even more so, which makes Price’s Black Dragon groundbreaking, significant, and overdue.…This timely, necessary volume is soundly theorized and documented. Focused on Price’s theory of ‘transcultural kinesthesia,’ the book offers perhaps the first scholarly analyses of Moses Powell, Ron van Clief, Ronald Duncan, and the Black Karate Federation. Summing Up: Highly recommended.” —K. J. Wetmore, CHOICE
“Black Dragon makes an outstanding intervention into the sub-field of martial arts in theatre and performance, as well as interculturalism more broadly, both of which have often been silent on issues of race … Price’s vision is ultimately an optimistic one: the possibility of racial coalition in moving bodies.” —Broderick D. V. Chow, Performance Research
“Black Dragon finally brings to light the underexamined legacy of Black/Asian American cultural history in American martial arts.” —Karen Shimakawa, author of National Abjection: The Asian American Body Onstage
“A richly chronicled history of the adoption and dissemination of Black martial arts in the United States.”  —Shannon Steen, author of Racial Geometries of the Black Atlantic, Asian Pacific and American Theatre
“The most comprehensive and thorough treatment of Afro Asian martial arts to date.” —Bill Mullen, author of Afro-Orientalism

Notă biografică

Zachary F. Price is Assistant Professor of Drama and African American Studies at the University of California, Irvine.

Extras

Performance studies scholars such as Shannon Steen, Heike Raphael-Hernandez, and T. Carlis Roberts have furthered the terrain of Afro Asia as a performance of race that disturbs traditional racialized binaries through varying modes of cultural production such as music, theater, and literature. The compendium AfroAsian Encounters: Culture, History, Politics, edited by Steen and Raphael-Hernandez, sought to drop the hyphen between “Afro-Asia” and interrogated the negotiation of race in Afro Asian buddy films such as Rush Hour (1998), Rush Hour 2 (2001), and Romeo Must Die (2000) while also digging into the complicated cultural links between oppressed peoples across a variety of national, racial, and political contexts as seen in the work by artist-citizen Paul Robeson, who forged connections through performances such as the Chinese national anthem, Chi’lai (March of the Volunteers) in Harlem during the 1950s. Steen further developed a theory of “racial geometry” through the interrogation of figures such as Robeson, Mei Lanfang, and Anna May Wong alongside international performances such as Gilbert and Sullivan’s The Mikado and Chinese productions of Uncle Tom’s Cabin. Racial geometry helps explain how Afro Asian performance impacted America’s relationship to Asia in terms of immigration and the maintenance of domestic racial categories between the World Wars and the subsequent politics of the Pacific theater of World War II. Lastly, T. Carlis Roberts’s most recent work focuses on the interminority politics of music and interrogates how contemporary Afro Asian performance ensembles create “physical and/or sonic spaces in which blackness and Asianness coincide within a juxtaposition of musical traditions, visual representations, and the identities of the artists that perform them.” Similar to Roberts’s concept of the “sono-racial,” the process through which music becomes raced within a pre-existing taxonomy of racialized bodies, I propose not only that racial kinesthesia is a way of understanding a history of martial arts as Afro Asian performance but that the cultural memory of Afro Asian coalitional politics and disjuncture is a kinesthetic process—a choreography of bodily politics that binds together practices such as the martial arts, theater, film, and dance to an otherwise hidden struggle. The individuals and organizations explored in this book are part of an interrogation of how martial arts were used as a performative strategy in response to US racism and neocolonialism. In the case of the martial arts practitioners themselves, the identity that they inscribed into the world becomes legible through their movement as they developed their own particular form of racial kinesthesia. Such is also the case in the mediated movements of the martial arts cinema, print media, and performative sounds of the Wu-Tang Clan and Chinese American baritone saxophonist, Fred Ho. However, because this project is also concerned with how to respond to racial violence and racial capitalism, it is important to ask: what are the mechanisms for producing violence and normalizing systemic racism?

Thus, this project also takes under consideration the way in which martial arts has been deployed as a recuperative process for those who have been incarcerated. Specifically, it examines the possibilities that emerge when youth who have been incarcerated engage in martial arts. Referred to as The Odyssey Project, this prison intervention tool for incarcerated youth incorporates martial arts in conjunction with theater exercises for dramatic storytelling purposes. All of the incarcerated youth who are participants in The Odyssey Project are males who, like Duncan, Uyehara, RZA, and the other characters in this project, are confronting their masculinity while also negotiating the impingements of neocolonialism.

Cuprins

List of Illustrations
Preface            Performing Gender in a Broken City
Acknowledgments
Introduction    The Crisis of Black Masculinity
Chapter 1        Enter the Black Dragons
Chapter 2        Black Panther Martial Art
Chapter 3        How Do You Like My Wu-Tang Style?
Chapter 4        The Sound of a Dragon: Fred Ho’s Afro Asian Jazz Martial Arts
Chapter 5        Here Be Dragons: The Odyssey Toward Liberation
Post     A Virtual Kinesthesia
Bibliography
Index

Descriere

Deploys martial arts as a lens to analyze performance, power, and identity within the evolving fusion of Black and Asian American cultures in history and media.