The Aesthetic Experience of the Combat athletes in Taekwondo

2020

In this brief article i make the argument that the first principles inherent in art, that is its formal components such as line, colour, composition and so on can be viewed as mechanism enabling a deeper aesthetic appreciation of sport. In this particular case the sport looked at is judo. If this thesis is correct, it implies an interdisciplinary field of study traversing art and sport, the humanities and the sciences and over turns the old Cartesian dualism in favour of a more integrated embodied experience.

Vega González, N. (2023, July 6). Training as Experience: Aesthetics and Operativity in Krav Maga. In: Martínez-Otero, V. y Martín Ramírez, J. (Dirs.). Violence and Sport (pp. 111-123). Madrid, Nebrija., 2023

Education in self-defense must necessarily include a study of the psycho-physiological aspects of aggression. The differential aspect of this research is the analysis of the aesthetic component in each of the phases of interpersonal violence, namely: the moment in which the aggressor is selecting their victim, the moment before violence reaches combat; and finally, combat, or physical resolution of the aggression. The key to the implication of aesthetics in this phases is the communication of the physical capacities, real or perceived, of the potential victim for the deterrence or neutralization of the capacity or the will of the aggressor to continue the action that constitutes them as such. The training in krav maga, the martial system that is the object of this investigation, starts from the pupose of providing the student with a series of skills and knowledge in combat and self-defense. Its practice is founded on what we will identify as the principle of sustainability and the principle of fidelity in simulacrum, both based on repetition. In relation to this, we will apply as students and teachers, the objectification process, attending to the subjectively positive component (CSP) and the objectively significant component (COS), characteristic of training at the individual level. Finally, we will analyze the experiential conditionants at training’s aesthetics and operational levels: inoculated stess, applied restrictions and objects implicated. In one of the first studies of its kind, we will seek to continue the growing institutional interest in investigating the psychophysiological and sociological aspects of violene in its most intimate and personal form. With this, we intend not only to revindicate the importance of the practice of krav maga and martial systems as a whole, but to also explore new conceptualizations of beauty from a functional, pragmatic and material angle. In short, we consider this research valuable for the progress in the study and understanding of violence for its prevention and to face it in all its manifestations. Keywords: pragmatist aesthetics, operativity, krav maga, self-defense, psychology and didactics

Collegium antropologicum, 2013

The aim of this research is to determine the order and importance of impacts of particular anthropological characteristics and technical and tactical competence on success in taekwondo according to opinions of top taekwondo instructors (experts). Partial objectives include analysis of metric characteristics of the measuring instrument, and determining differences between two disciplines (sparring and technical discipline of patterns) and two competition systems (WTF and ITF). In accordance with the aims, the research was conducted on a sample of respondents which consisted of 730 taekwondo instructors from 6 continents and from 69 countries (from which we selected 242 instructors), who are at different success levels in both taekwondo competition systems (styles) and two taekwondo disciplines. The respondents were divided into 3 qualitative subsamples (OST-USP-VRH) using the dependant variable of accomplished results of the instructor. In 6 languages, they electronically evaluated t...

Revista Brasileira de Educação Física e Esporte, 2016

Resumo Este artigo teve por objetivo verificar a existência de um sistema de desenvolvimento de judocas e nadadores brasileiros talentosos, assim como descrever como ocorre o mesmo na prática, segundo a opinião dos técnicos dessas modalidades. Foi realizada uma pesquisa exploratória e descritiva, por meio da realização de entrevistas com 18 técnicos de alto rendimento, sendo 11 de natação e sete de judô. Os técnicos participantes responderam a 10 perguntas semiestruturadas, relacionadas com o desenvolvimento de talento esportivo no Brasil. Os resultados foram analisados por meio do método do “Discurso do Sujeito Coletivo” DSC. Segundo 77% dos técnicos, não existe uma diretriz nacional para o desenvolvimento de talentos para as duas modalidades estudadas, e 66% dos entrevistados afirmaram que o desenvolvimento dos atletas ocorre por meio de cada entidade esportiva. De acordo com a opinião dos técnicos, conclui-se que as entidades nacionais de administração do esporte não elaboram dir...

Cuadernos de psicología del deporte, 2018

Perceptions of mental toughness attributes were explored among Judo competitors. Twelve Portuguese judokas from different levels of achievement underwent a semi-structured interview, based on Personal Construct Psychology sociality and dichotomy corollaries (Kelly, 1991). A total of 148 verbatim transcribed pages resulted as raw data from the interviews. Inductive content analysis revealed properties and dimensions for each conceptual category, totalizing 22 attributes that composed mental toughness in competitive Judo. Emotional regulation, resilience, self-confidence, attention regulation, self-motivation and optimism were reported by all subjects of the sample. In relation to previous single-sport researches that explored mental toughness attributes, our results supported the existence of large conceptual similarities across sports, despite subtle differences in Judo discussed in reference to optimism, self-improvement, pragmatism and self-presentation regulation. Self-esteem and adaptability emerged as a novelty in the sport's mental toughness literature. Combativity was suggested to be the only mental toughness attribute rather peculiar to Judo.

Revista de Artes Marciales Asiáticas

In sports studies, the body of research focussing on combat sports has developed, but so far few studies regarding the experience of starting a fight. In order to comprehend the process of starting a fight, this study aims to investigate and describe it through both a comparative and phenomenological approach of Brazilian karate, capoeira and mixed martial arts (MMA) practitioners (n = 11, 7, 11, respectively). Semi-structured interviews were conducted and in the analysis we used a phenomenological perspective. Most of the karatekas described the distance adjustment and bowing to their opponent as the beginning of the combat. Capoeiristas highlighted the sound of music and the roda, referring to the way they organize themselves to start fighting. MMA athletes commonly described the beginning of the fight as when they start the camp, from the weigh-in or the octagon entrance. Using the phenomenology of Merleau-Ponty, the process of beginning a fight can be understood as a relationship between a bodily consciousness and the world. The findings in this paper concur with the phenomenological understanding, according to which actions are not seen as randomly executed: instead they are pre-reflexively and corporeally understood, as well as situated within a specific context; this is illustrated in the manner a fight within each modality seems to begin somewhat differently, according to the specific modality in question. These results help us comprehend the beginning of the fight in which body and world are constantly intertwined. Future directions include comprehension of the fighting experience as a whole, understanding the perception and movement of these fighters through the entire combat, and enhancing phenomenological studies regarding bodily experiences.

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.

Revista Romaneasca Pentru Educatie Multidimensionala Journal For Multidimensional Education, 2012

The aim of this paper is to discuss the subject as well as the problem of corporeality and spirituality in the anthropology of martial arts. The authors attempt to show the vision of a new psychophysical education on the way of martial arts and the taking of personal patterns here. Analysies are made in the perspective of the holistic pedagogy and humanistic theory of martial arts. Qualitative methods, such as studying literature, direct interview and long-term participant observation were used. The authors wish to begin with the concept of corporeality as it is found in the available literature on the subject. The first author has been active in an environment of martial arts for over 30 years. Interviews and discussions were conducted with 9 martial arts masters of the highest rank. Results and conclusions. Psychophysical system of self-realization is an educational programme-a way which relates to spiritual development through physical and mental exercise, according to teaching by a particular master-teacher. Within the context of martial arts being used as a psycho-educational form of education, the body fulfills, above all, the role of a tool to be used on the way towards enlightenment and wisdom. It is utilized specifically in spiritual progress. Improving one's physical abilities is therefore an ascetic journey of physical perfectionism and technical accomplishment all towards achieving spiritual mastery. In some cases, spiritual development is described in terms of energy (qi, ki) and connected with the capacity of one's health. Traditional understanding of martial arts is often mixed with combat sports or systems of meditation are numbered among movement forms. The opportunity to avoid similar mistakes is to adopt a theoretical perspective of the anthropology of

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.