Judo as a Work of Art

Fairplay Revista De Filosofia Etica Y Derecho Del Deporte, 2014

The research on the aesthetic experience may be focused both on the athlete's perspective and on the observer's. Although some studies have already emphasized the importance of sportsman's aesthetic experience, it is exactly in this domain that large gaps in the literature can be perceived. The aim of this study is to understand the aesthetic experience lived by Taekwondo Portuguese National Team athletes, in the combat practice. The research of qualitative nature, with a phenomenological approach, has an exploratory and a descriptive character. The speech of fourteen athletes was collected in semi-structured interviews, and the information was treated from a mapping of the athletes' speech contents. It was concluded that the combat athlete, in search of the beautiful and accurate technical-tactical execution, in the face of the most diverse opponents, with an aggressive and an assertive attitude, and at sometimes surpassing risky situations and showing his/her inner energy through kihap (yell), is able to overcome, to win and to live an aesthetic experience.

2020

This review presents the book Judo : caminho das medalhas , written by PhD Professor Alexandre Velly Nunes, published in Brazilian Portuguese in 2013 by Kazua. This work comes from the doctoral research of the author, who interviewed about 90 personages from the history of Brazilian judo in four years of studies. The objective was to present the origins of this sport in the country based on the oral history of the life of Brazilian athletes, who were medalists in World Championships and Olympic Games, and their sensei . I make a brief presentation of the author and summarize the contents of the book, followed by my comments and conclusion.

Ido Movement for Culture. Journal of Martial Arts Anthropology, 2019

Background. Martial arts and fighting sports have taken their place among the many elements of contemporary mass culture. This integration has been due to the assimilation of certain Eastern values by mass media consumers from the West [Cynarski 2004]. Problem and aim. The problem investigated in this study relates to the existence of specific discourses concerning the arts and martial arts in the magazine "Judo Kodokan Review". The aim of the study was to verify three hypotheses: 1) Articles focusing on judo as a sport dominate the periodical as opposed to those focusing on judo as a martial art form, 2) Among the journalistic genres into which the periodical entries may be categorized, documentaries (journalism) and articles (publicism) dominated, 3) The thematic content from 1950-1969 was subject to change based on the number of publications and types used. Methods. The research methods used in this study consist of semantic and formal qualitative analysis of the mass media content using Atlas.ti (The Qualitative Data Analysis & Research Software). Results. Based on the data obtained and analyzed, all three hypotheses tested positively. Conclusions. The results obtained in this study can be compared with findings made by, among others, Tywyn G. Martin, Antonio S. Williams, Warren Whisenant, and Windy Dees, who analyzed various mass media in terms of their presentation of martial arts and (to a lesser extent) fighting sports.

2014

Recent years have seen the International Jūdō Federation (IJF) introduce several changes to jūdō – none of which were designed for the betterment of Kōdōkan Jūdō itself, but rather were changes implemented solely with the self-serving aim of attempting to increase jūdō’s popular entertainment (and hence commercial and televisual) appeal. The consistency of these changes with the underlying objectives and traditions of Kōdōkan Jūdō was ignored, and no change exemplified this more than the 1997 introduction of the blue jūdōgi—a controversial and illjudged move which almost resulted in a walk-out by the delegation from the All Japan Jūdō Federation.

International Journal of English and Cultural Studies, 2018

While there is no "expressive theory of sport", there is certainly, according to Hyland (1984, 1990), Osterhoudt (1973), Kerr (1997) and Weis (1969) a pivotal role played by emotions and feelings in sport which amount to a type of expressive theory and in that sense it parallels expressive theories in art. In this article I will first isolate three moments that capture sports performance and parallel art. Then, I will describe sport as an expression of emotional release, which is often how one understands art. Based on such overlaps, I will argue for two philosophical observations that devolve from such a comparison, namely ineffability and the unity of mind-body (in sport). Finally, I will apply a reading of Kant to sport, in order to substantiate the idea that sport, like art draws from a philosophical heritage. Imagine three isolated "steps" in sport: the focus before performance; the performance itself and the fan's response as they articulate the emotional basis of sport which is familiar, albeit perhaps subconscious. After a brief analysis of these imagined images, I give a simplified historical outline of sport which describes the feeling-basis of play that forms the foundation for modern sport. I then examine what I have termed the "(surplus) expressive-energy theory of sport" which I have gleaned from the above writers, a theory that argues that sport is the expression of inner emotional states. Such states are in need of expiation of both the practitioner as well as the expression of certain basic emotions on the part of the audience. A narrower version of this theory is that sport is the release of aggressiveness, which coheres with its instinctual origins and the "surplus theory". A critique of sport as expression (of surplus energy, aggression…) follows with a view to highlight some shortcomings in the ideas presented and thus the need for further theories to account for the multi-faceted nature of sport, a similar requirement that is needed for art given the shortcomings of expressive theories as applied to the arts.

Sport, Ethics and Philosophy, 2011

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with “O Sport, you are Beauty!”, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts.The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength’s expression.It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience.El punto de partida de este artículo es la distinguida Oda al deporte de Pierre de Coubertin, específicamente la segunda parte de la elegía, la que atañe a la belleza. Comenzando con “¡ deporte, tú eres la Belleza!”, Pierre de Coubertin menciona, además de la belleza, una colección de categorías estéticas tales como lo sublime, lo abyecto, lo equilibrado, la proporción, la armonía, el ritmo, y la gracia. También menciona la fuerza, el poder, y la flexibilidad. Aunque las categorías citadas en primer lugar son categorías propias de la estética, parece bastante importante el enfatizar la necesidad del autor de introducir categorías estéticas que encajen al cuerpo en movimiento y el deporte, tales como la fuerza, el poder, y la flexibilidad. No cabe duda de que el primer grupo de categorías también encaja con el deporte y el movimiento corporal, pero igualmente encaja con diferentes formas de arte, mientras que la fuerza, el poder, y la flexibilidad solamente pueden ser aplicadas literalmente al deporte y las artes escénicas.Este artículo tiene como propósito el analizar la fuerza como una categoría estética del deporte, desarrollando tres argumentos principales: el sentimiento del logro y su conservación, la lucha contra la fuerza de la gravedad, y las múltiples formas de expresar la fuerza.Se concluye que la fuerza puede mejorar el poder comunicativo del depore y su atractivo emocional. En los deportes tales como la gimnasia, los saltos de trampolín, o la natación sincronizada, la apreciación de la fuerza exhibida por los atletas comunica al espectador un tipo de facilidad y ligereza que realza el juicio estético. En otros deportes como la halterofilia, el sumo, o el rugby, el esfuerzo y la pesadez se estampan sobre las caras de los atletas, lo que contribuye a un tipo de comunión entre el espectador y el atleta que también puede mejorar la experiencia estética.Der Ausgangspunkt der vorliegenden Arbeit ist die bekannte Ode an den Sport von Pierre de Coubertin, speziell der zweite Teil der Elegie über die Schönheit. Beginnend mit „O Sport, du bist die Schönheit!“, erwähnt Pierre de Coubertin – über Schönheit hinausgehend – eine Ansammlung von ästhetischen Kategorien wie Sublim, Elend, Gleichgewicht, Proportion, Harmonie, Rhythmus und Grazie. Er erwähnt auch Stärke, Kraft und Geschmeidigkeit. Obwohl die erstgenannten Kategorien allgemeine Kategorien der Ästhetik sind, scheint es durchaus bedeutsam zu sein, dass es dem Autor wichtig ist, bestimmte Kategorien wie Stärke, Kraft und Geschmeidigkeit, die auf die Bewegung des Körpers und auf den Sports abzielen, einzuführen. Es besteht kein Zweifel, dass die erste Gruppe von Kategorien auch zu Sport und körperlicher Bewegung passt, aber sie passen ebenso zu anderen Formen der Kunst, während Stärke, Kraft und Geschmeidigkeit nur wörtlich auf Sport und darstellende Kunst angewendet werden können.Le point de vue de cet article est la fameuse Ode au sport de Pierre de Coubertin, spécifiquement la deuxième partie de l‘élégie, celui concernant la beauté. En commençant avec ”O le Sport, vous êtes la Beauté !”, Pierre de Coubertin mentionne, au-delà de la beauté, un assemblage de catégories esthétiques comme le sublime, le vil, l‘équilibre, les proportions, l‘harmonie, le rythme et la grâce. Il mentionne aussi la force, la puissance et la souplesse. Bien que les premières catégories citées soient des catégories esthétiques générales, il semble tout à fait approprié de souligner le besoin de l‘auteur de présenter des catégories spécifiques au mouvement du corps et au sport, comme la force, la puissance et la souplesse. Il n'y a aucun doute sur le fait que le premier groupe de catégories convient aussi au sport et au mouvement corporel, mais il convient également aux différentes formes d'art, tandis que la force, la puissance et la souplesse peuvent seulement être littéralement appliqués au sport et aux arts du spectacle.Le but de cet article est d'analyser la force comme catégorie esthétique du sport, en développant trois arguments principaux : le sentiment d'accomplissement et son maintien, la lutte contre la gravité et les multiples formes d'expression de la forceIl est conclu que la force peut améliorer la puissance communicative du sport et son attrait émotionnel. Dans les sports tels que la gymnastique, le plongeon et la natation synchronisée, l'appréciation de la force exhibée par les athlètes diffuse à l'observateur une espèce de confort et de légèreté qui améliorent le jugement esthétique. Dans d'autres sports comme l‘haltérophilie, le sumo ou le rugby, l’effort et la gravité sont marqués sur les visages de l’athlète, ce qui contribue à une sorte de communion entre l’observateur et l’athlète qui peut aussi améliorer l’expérience esthétique.

International Journal of Social Science Studies, 2019

I argue that sport can be considered aesthetic and thus converge with a certain view of art. We can enjoy abundance and proliferation as well as negation and austerity in nature, art and sport. The aesthetics of abundance and negation are “intertwined” in sport as art-like. Sport is well positioned to perform art’s cultural task better than traditional forms of art. Art and sport are intertwined in the sense that sport as an aesthetic, cultural phenomenon may continue the work of art. By aesthetics, the author focuses on notions of formalism in sport. This “will to form” is predicated on the need humans have for order, pattern and harmony. In that sense, art and sport might offer us a vision of clarity and precision. A theory of formalism applies equally to art and sport.

International Review for the Sociology of Sport, 2004

This article considers some of the sociologically significant changes to jūdō in its process of transformation from a Budō based martial art into a modern competitive spectator sport. Taking the period of time from 1946 until the Sydney Olympics, an examination is undertaken using Giddens's notion of reflexive modernization in which key aspects of the original jūdō are disembedded or 'lifted out' of the practice. They are then re-embedded with western structures, practices and meanings. Central themes to emerge from this analysis are the social forces of internationalization, institutionalization and commodification of jūdō over this period, each of which contributes to a reflexive modernization process. It is concluded that the evolution of this activity in its now dominant sporting form is taking jūdō further and further away from the aims, methods and ideas derived from the philosophical principles on which it was originally conceived. Ironically, in spite of this, it appears that many western practitioners are attempting to re-embed the very aspects of eastern movement forms, such as Budō, that have been disembedded, a situation that prompts us to call for further work in this area.