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  • When Sports Imitate Art 

    “Life imitates art far more than art imitates life,” Oscar Wilde once wrote in his 1889 essay The Decay of Lying. LJ Rader, the man behind @ArtButSports — a popular Twitter account comparing iconic images in sports with art historical paintings, sculptures, and installations — would probably agree.
    - click here to read the full article

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    Recommendation on Share, - a 2019 coming of age drama, written and directed by Pippa Bianco, based upon Bianco's short film of the same name. It stars Rhianne BarretoCharlie PlummerPoorna JagannathanJ. C. MackenzieNicholas Galitzine, and Lovie Simone.

    Although it had it’s world premiere at the Sundance Film Festival on January 25, 2019 and was released on July 27, 2019, by HBO Films, it’s highly relevant today, - right now.

    The original soundtrack is contributed by Shlohmo, - overall one of his most interesting pieces.

    arte.tv & olympia

    Ein Lorbeerkranz, der ewigen Ruhm verheißt – diese Belohnung winkte vor 3000 Jahren den Siegern der ersten Olympischen Spiele. Die sportliche Leistungsschau zu Ehren der Götter führte Athleten aus zahlreichen griechischen Stadtstaaten wie Athen, Korinth und Sparta zusammen. Mit der Eroberung Griechenlands durch die Römer verblasste die Strahlkraft der Spiele, die schließlich im 4. Jahrhundert n. Chr. eingestellt wurden, um erst 1500 Jahre später wiederbelebt zu werden.


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    Photograph © 2022 Motion Study / M.Bokor 

    www.matyasbokor.com

    Sensei: Masters of Okinawan Karate #7 Tsuguo Sakumoto - 沖縄空手

    “Tsuguo Sakumoto Sensei about tradition, art and ways to envolve…” 

    9th-dan in Ryuei-ryu karate Tsuguo Sakumoto is 7 times consecutive world champion and coach to 9 world champions including Tokyo Olympic Gold medalist in kata Ryo Kiyuna. In this 7th episode in the series, Tsuguo Sakumoto Sensei talks about his studying the once secret style of karate Ryuei-ryu, training world champions, and thinking about the role of karate in the future. 

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    get more info here 

    After hundreds of years of history, the Karate family finally approached the Olympic Games.
    The participants will compete in the discipline Kata (Form 型 / 形) and Kumite (Fighting 組手).
    This event will be accomplished in Tokyo, the capital city of the birth nation of this beautiful Martial Art.
    Although preferring the term martial art rather than sport,
    one could conclude a discourse between traditional ideologies and progressive ways.
    While practicing Karatedo since 25 years I went through countless sessions,
    focusing on sports, arts, history, philosophy and language.
    To be truly honest in my opinion, both sides have their advantages.
    That’s why I would like to skip this endless and tiring discourse and focus on the highlight:
    In its press release, IOC described the decision as
    «the most comprehensive evolution of the Olympic programme in modern history».
    We are really looking forward to summer 2020, get your diaries out - it’s starting to feel real.

    «Runscape» is a short film directed and produced by Valerie Portefaix and Laurent Gutierrez.
„Nenikikamen“, - „Rejoice we conquer“ were the last words of Pheidippides.
In 490 BC he ran the distance from Athens to Marathon for about 26 miles (around 40km) to tell the news about the great victory his people gained over the Persians.
Today a 40km run is totally affordable for trained runners. Challenges like 100k Ultramarathons, Mountain Marathons, even tracks through the Sahara are common.
By improving a runner’s fitness on one hand and enhance his technology on the other, running shifted its position of power according to terrain and its characteristics.
Runscape’s script is quite coherent with the idea and mindset of the urban runner in the 21st century.

    One could say: „Taking back a particular space,
- even it’s just for the time whilst you are running through, is a natural way of the human mind to regain its freedom.“
The film is an exciting experience which allows us to approach another point of view between the interaction of an athlete and its habitat. -M.Bokor


    This movie depicts several young male figures sprinting through public spaces of Hong Kong, almost invariably via the visual mode of the long shot, while a narrator describes this action through the rhetoric of post-structuralist urban theory. This narration makes repeated reference to a range of texts from the psychogeographical dérive of urbanism in Guy Debord and the Situationists to the biopolitical machines of Gilles Deleuze and the literary styles of Jean-Luc Nancy. The runners both follow existing paths and establish new ones, moving in straight lines through crowds and across rooftops while also using exterior walls as springboards for less-likely forms of motion. This is, however, far from parkour; it is a much more purposeful action that claims a certain territory or at least trajectory described within the narration through the image of the body as a “bullet that needs no gun.” A soundtrack contributed by Hong Kong rock band A Roller Control complements this aesthetic violence, guiding the eye and ear of the viewer across this novel interpretation of the definition and uses of public space. In this action, invisible facades are constructed across a grid that spans the area between the codified signs of polished facades, an open-ended and performative notion of being-in-transit. -Robin Peckham

    Synopsis: Political response to the current privatization and militarization of our cities. When running remains the only unbounded space in the urban field, a young man is constantly running in Hong Kong back alleys and left over spaces, revealing alternative route to the globalized and controlled urban spaces. Following the fragmented course of images, a narrative unfold the history of street fighting from the 19th century Parisians revolutions, 1968 and up to contemporary combat.

    More than a year ago a collection of rare photographs presented by Daniella Dagoor was exhibited at the London Photograph Fair.
Images of Samurai photographed in Japan and in the West from 1860
- illustrating the last decade of existence as a warrior...

    More than a year ago a collection of rare photographs presented by Daniella Dagoor was exhibited at the London Photograph Fair.
    Images of Samurai photographed in Japan and in the West from 1860
    - illustrating the last decade of existence as a warrior caste - to 1877 when the samurai class was abolished ending hundreds of years of their privileged status and powers.
    These images are of genuine samurai, taken between 1860 and 1877 and offer a rare glimpse into a vanished world. (Photograph: UENO Hikoma (1838-1904): Group of Samurai Scholars, Nagasaki, c.1864 Albumen print from wet collodion negative, 110 x 140 mm.)
    To break the myth of a chauvinist men dominated warrior caste, we post following portraits of swordswomen. The first one (photographed by Raimund Baron von Stillfried), is a hand-coloured albumen print from wet collodion negative.
    Founded in 1873, the ‘Gekken-kai’, or fencing association repackaged traditional samurai fighting into a profitable spectacle for the public.
    Drawn from the samurai class, group included several women, and their demonstrations of skill with the naginata, or polearm sword, proved a popular draw in tours across Japan.
    As an integral part of the samurai armoury, it was more generally accepted as a weapon used by aristocratic women and often formed part of a samurai daughter’s dowry.
    Although the versatile role of female warriors in ancient Japan are fact:
    There are several stories and myths about the so called „Onna-Bugeisha“.
    The history of the Onna-Bugeisha, literally meaning “woman warrior,”
    can be traced back to as early as 200 AD, when Empress Jingū, following the death of her husband Emperor Chūai, took to the throne and led an invasion of Silla (modern day Korea).
    While academics have speculated about the validity of Jingū as a historical figure, her legend is irresistible:
    A fearsome samurai warrior who defied the social norms of her time,
    Jingū is said to have been pregnant with the future emperor when she bound her body, donned men’s clothes, and rode into battle:
    Upon her return, it is said that the early empress subdued revolts and ruled for the next 70 years until the age of 100.
    The second picture shows three onna-bugeisha in serie. (Photographer unkown.)
    To counteract the academics speculation105 bodies were put through a DNA test, they excavated them from the Battle of Senbon Matsubaru between Takeda Katsuyori and Hojo Ujinao in 1580 and it revealed that 35 of them were women.
    Therefore 30% of the troops were made up of women.
    According to Stephen Turnbull (a specialist in Japanese religious history), the details of the excavation confirm the Onna-Bugeisha’s were almost certainly present in the battlefields.

    \

    More than a year ago a collection of rare photographs presented by Daniella Dagoor was exhibited at the London Photograph Fair.
    Images of Samurai photographed in Japan and in the West from 1860
    - illustrating the last decade of existence as a warrior caste - to 1877 when the samurai class was abolished ending hundreds of years of their privileged status and powers.
    These images are of genuine samurai, taken between 1860 and 1877 and offer a rare glimpse into a vanished world. (Photograph: UENO Hikoma (1838-1904): Group of Samurai Scholars, Nagasaki, c.1864 Albumen print from wet collodion negative, 110 x 140 mm.)
    To break the myth of a chauvinist men dominated warrior caste, we post following portraits of swordswomen. The first one (photographed by Raimund Baron von Stillfried), is a hand-coloured albumen print from wet collodion negative.
    Founded in 1873, the ‘Gekken-kai’, or fencing association repackaged traditional samurai fighting into a profitable spectacle for the public.
    Drawn from the samurai class, group included several women, and their demonstrations of skill with the naginata, or polearm sword, proved a popular draw in tours across Japan.
    As an integral part of the samurai armoury, it was more generally accepted as a weapon used by aristocratic women and often formed part of a samurai daughter’s dowry.
    Although the versatile role of female warriors in ancient Japan are fact:
    There are several stories and myths about the so called „Onna-Bugeisha“.
    The history of the Onna-Bugeisha, literally meaning “woman warrior,”
    can be traced back to as early as 200 AD, when Empress Jingū, following the death of her husband Emperor Chūai, took to the throne and led an invasion of Silla (modern day Korea).
    While academics have speculated about the validity of Jingū as a historical figure, her legend is irresistible:
    A fearsome samurai warrior who defied the social norms of her time,
    Jingū is said to have been pregnant with the future emperor when she bound her body, donned men’s clothes, and rode into battle:
    Upon her return, it is said that the early empress subdued revolts and ruled for the next 70 years until the age of 100.
    The second picture shows three onna-bugeisha in serie. (Photographer unkown.)
    To counteract the academics speculation105 bodies were put through a DNA test, they excavated them from the Battle of Senbon Matsubaru between Takeda Katsuyori and Hojo Ujinao in 1580 and it revealed that 35 of them were women.
    Therefore 30% of the troops were made up of women.
    According to Stephen Turnbull (a specialist in Japanese religious history), the details of the excavation confirm the Onna-Bugeisha’s were almost certainly present in the battlefields.

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