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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Capoeira, Korybantes, Haka, Sabre Dance, Gymnopaedia, El Juego de Maní, Fire Knife, War Dance, Weasel War Dance, Khorumi, Cakalele. Excerpt:o dadatako Cakalele refers to a kind of ceremonial war dance originating from North and Central Maluku . The dance is performed using a narrow, wooden shield, sometimes also referred as a cakalele, though usually known by the North Moluccan Malay term sawako or by a local name, such as Tobelo o dadatoko . Image showing traditional cakalele dance performance. 2 cakalele dancers. Notes Websites (URLs online) A hyperlinked version of this chapter is at Capoeira or the Dance of War by Johann Moritz Rugendas , 1825, published in 1835 Afro-Brazilian topics Capoeira (Portuguese pronunciation: ) is an Afro-Brazilian art form that combines elements of martial arts , music , and dance . It was created in the Congo and was brought to Brazil by slaves from Africa , especially from present day Angola , sometime after the sixteenth century. It was developed in the region of Quilombo dos Palmares , located in the Brazilian state of Alagoas , which was the state of Pernambuco before dismembrement. and has had great influence on Afro-Brazilian generations, with strong presence in the states of Bahia , Pernambuco , Rio de Janeiro and São Paulo . Participants form a roda , or circle, and take turns either playing musical instruments (such as the Berimbau ), singing , or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints , takedowns , and extensive use of leg sweeps, kicks , and headbutts . Less frequently used techniques include elbow strikes , slaps , punches , and body throws . Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk... ... Read more

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Chapters: Ricky Martin, Bryan Alvarez. Source: Wikipedia. Pages: 27. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Enrique Martín Morales (born December 24, 1971), better known by his stage name Ricky Martin, is a Puerto Rican pop singer and actor who achieved prominence, first as a member of the Latin boy band Menudo, then as a solo artist after 1991. During his career he has sold more than 60 million albums worldwide. He is the founder of Ricky Martín Foundation (in Spanish Fundación Ricky Martin) a non-profit charity organization. Martin was born on December 24, 1971, in San Juan, Puerto Rico, the son of Nereida Morales, an accountant, and Enrique Martín Negroni, a psychologist. His parents divorced when he was two; his father remarried. Martin has two maternal half-brothers, Fernando and Ángel Fernández, and two paternal half-brothers, Eric and Daniel Martín, and a paternal half-sister Vanessa Martín. Martin grew up in a Catholic home and was an altar boy until he joined Menudo. Martin has Italian and Catalan-Spanish ancestry as his paternal fourth great-grandfathers were born (Rogliano, Cap Corse, Corsica) and Vilanova i la Geltrú, Catalonia, Spain. Ricky Martin rose to fame as a member of the Latin American boy band Menudo, after which he became a solo artist in 1990. He is considered a major star in the world of Latin pop and is considered to have opened the doors for some of his fellow Latin American singers. Martin has been nominated one of the 50 Most Beautiful People in the World by People magazine and its sister magazine People en Español in 2000 and 2006. After completing high school, Martin left San Juan and moved to New York City. Later, Martin moved to Mexico city where he started acting. He first in a musical-theater in 1989 named Mis Tennis Rojos (My red tennis shoes) ne...More: http://booksllc.net/?id=84065 ... Read more

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Many people have dreams but few have the guts to follow them. This is the story of a young Englishman whose passion for Capoeira took him on an incredible journey from the sedate surroundings of the English Home Counties to the heart of Rio de Janeiro's toughest shanty towns. This book is a must for anyone who wants to study Capoeira in Brazil, and any martial arts student will admire Gleadall's dedication to Capoeira -- his enthusiasm fizzes off every paragraph. His tenacity in the face of a brutal training regime, injuries and the gun violence of the Favelas is a lesson in focus for any aspiring martial artist. And the book has an appeal far beyond the world of Martial arts. It is also a wake up call to anyone who has a passion and is afraid to take the leap of faith to pursue it. Above all this tale is a testament to the power of following your heart. ... Read more

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Chapters: American Capoeira Practitioners, Brazilian Capoeira Practitioners, Mexican Capoeira Practitioners, Puerto Rican Capoeira Practitioners, Ricky Martin, Eddie Murphy, Anderson Silva, Wesley Snipes, Marcus Aurelio, Bryan Alvarez, Alfonso Herrera, Pep Love, Ilram Choi, Gustavo Gianetti. Source: Wikipedia. Pages: 91. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Anderson da Silva (born April 14, 1975) is a Brazilian mixed martial arts fighter. He is the current UFC Middleweight Champion as well as the promotion's longest reigning champion. With 12 consecutive wins, Silva holds the longest active winning streak in the UFC and the record for the longest winning streak in UFC history. Silva holds a black belt in Brazilian Jiu-Jitsu under Antônio Rodrigo Nogueira. He currently trains with Antônio Rodrigo Nogueira and Lyoto Machida at Black House. Silva is currently ranked as the number one Middleweight in the world by multiple MMA publications; Sherdog and Yahoo! rank Silva as the top pound-for-pound fighter in the world. Since 2006 he has been the UFC Middleweight Champion, and he is also the last Cage Rage Middleweight Champion and former Shooto Middleweight Champion. Besides the UFC and Cage Rage, Silva has fought for a number of other MMA promotions including the Pride Fighting Championships, Shooto and Rumble on the Rock. Although known primarily for his skills in Muay Thai, Silva is a black belt in Brazilian Jiu-Jitsu, which he earned in 2006 from Antônio Rodrigo Nogueira who follows Gracie Lineage through Carlson Gracie, ergo Murilo Bustamante and the Brazilian Top Team. He first started martial arts at age 14 doing Tae kwon do and earned a black belt by the age of 18. He is also a black belt in Judo and a yellow rope in Capoeira. Once a member of the Chute Boxe Academy, Silva le...More: http://booksllc.net/?id=5390123 ... Read more

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This digital document is a journal article from Agriculture, Ecosystems and Environment, published by Elsevier in 2006. The article is delivered in HTML format and is available in your Amazon.com Media Library immediately after purchase. You can view it with any web browser.

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In the humid tropics of northern Brazil, where slash-and-burn cropping is the prevailing smallholder land use system, pastures ecologically degrade after 7-10 years of use, mostly due to invading vegetation, decline of soil fertility (N, P) and insect pests. Degraded pasture areas cannot be easily restored or returned to cropping, so large areas are abandoned. To avoid this degradation process, two alternative pastures were tested to incorporate cattle into the slash-and-burn cropping cycle. It was thought that the inclusion of secondary woody fallow vegetation, locally called capoeira, or of legumes in pastures restores the soil for a subsequent cropping phase while allowing an acceptable level of animal performance. This hypothesis was tested in a researcher-managed on-farm experiment in Igarape-Acu (Bragantina region, Para). A grass-legume pasture (GLP), combining the grass Brachiaria humidicola with three multi-purpose legumes, was compared with a pasture, where controlled regrowth of capoeira was tolerated (GCP), and tested against two controls in the form of a conventional B. humidicola pasture (GP) and undisturbed regrowth of capoeira (UC). The pastures were grazed in a rotational system for 2 years at 1.5livestock units (LU)ha^-^1 in the first year and at 1.2LUha^-^1 in the following year. The results showed that the GCP kept the full regenerative potential of the capoeira, showing no significant loss of phytodiversity (GCP 67 species 100m^-^2; UC 72 species 100m^-^2) and low dissimilarity in species composition measured by Euclidian distance (UC/GCP=51; UC/UC=52; GCP/GCP=33). On the GLP, the legumes Arachis pintoi and Cratylia argentea almost disappeared due to the grazing pressure, while Chamaecrista rotundifolia var. grandiflora was little palatable and invaded the plots by seed propagation. None of the legumes produced a meaningful quantity of nodules, and no difference in total soil N was found between GLP and the other pasture treatments. With regard to animal production, both alternative pastures were less productive than GP over 21 months of grazing (GLP=384kgliveweightha^-^1, GCP=474kgha^-^1, GP=659kgha^-^1), which was attributed to overstocking in the second year. GCP was considered to be an interesting option for smallholdings, provided the balance between the vigorous regrowth of capoeira and forage grass cover can be maintained. In contrast, on GLP a more palatable Ch. rotundifolia accession would be desirable and the establishment of all legumes needs to be improved. It was concluded that GCP would support a subsequent cropping phase better than GLP. However, on both pastures stocking rates would have to be frequently adjusted a management practice that is of secondary consideration in a crop/livestock system in which cattle are kept as cash-generating assets. ... Read more

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Der Erwerb des Buches enthält gleichzeitig die kostenlose Mitgliedschaft im Buchklub des Verlags zum Ausprobieren - dort können Sie von über einer Million Bücher ohne weitere Kosten auswählen. Das Buch besteht aus Wikipedia-Artikeln: Samba, Capoeira, Bossa Nova, Lambada, Forró, Capoeira Regional, Capoeira Angola, Batuque, Maxixe, Bumba-meu-boi, Carimbó, Jongo, Capoeira Contemporânea, Congada, Baião, Coco, Chegança, Lundu, Ciranda, Caboclinho, Xote, Calango, Cururu, Reisado,. Online finden Sie die kostenlose Aktualisierung der Bücher. Nicht dargestellt. Auszug: Capoeira ist ein brasilianischer Kampftanz, dessen Ursprung auf den afrikanischen NíGolo („Zebratanz") zurückgeführt wird. Capoeira wurde während der Kolonialzeit in Brasilien von aus Afrika eingeschifften Sklaven praktiziert und weiterentwickelt. Es wird heutzutage zwischen zwei Hauptrichtungen unterschieden: Dem „alten" Capoeira Angola und dem „modernen" Capoeira Regional. Die afrikanischen Elemente verschmolzen im Capoeira Regional im Laufe der Jahre zusätzlich mit Einflüssen anderer Kampfkünste wie zum Beispiel Ringen, Jiu Jitsu und Wushu. Zu dieser Zeit (etwa 1970er Jahre) entwickelten sich auch viele der heute charakteristischen Akrobatiken, wie hohe, gedrehte Sprünge oder Salti; auch wenn viele der bodennahen Akrobatiken zumindest in der Tendenz bereits vorhanden waren. Inhaltlich ist Capoeira von drei Ebenen geprägt: dem Kampf, der Musik und der „Roda" (portugiesisch „Kreis") als gesellschaftlichem Rahmen, in dem der Kampf stattfindet. Die Kampftechniken selbst zeichnen sich durch extreme Flexibilität aus; es gibt viele Drehtritte, eingesprungene Tritte und Akrobatik. Traditionell wird zu den Kämpfen Musik gespielt, diese folgt einem Endlos-Rhythmus in verschiedenen Variationen; dazu werden passende, häufig noch aus der Zeit der Sklaverei stammende Lieder gesungen. Die Kämpfe finden immer in einer Roda statt. Diese Roda besteht aus einem Kreis von Capoeiristas und...http://booksllc.net/?l=de&id=43002 ... Read more

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Capoeira’s unique blend of martial art, dance, and thrilling sport has made it an increasingly popular activity worldwide. But its origins have been shrouded in mystery and its complex history not well understood. For volume two of his Unknown Capoeira series, Mestre Ricardo Cachorro has done extensive archival research to shed light on these shadowy areas. Reaching back as far as the year 1415, Cachorro documents the cultures and individuals that gave birth to—and helped alter and redefine— capoeira. He uncovers its beginnings in the dramatic saga of the Akindele family, who lived in a storied Yoruba kingdom in pre-Colonial Africa, and in the vibrant culture of newly explored Bahia de Todos os Santos in 1531. Cachorro continues his investigation with the Feitorias and Capitanias—the legendary sugarcane mills of the seventeenth century—an important but little-known cradle of capoeira. He explores the historical and cultural aspects of each significant period of the discipline’s development from ancient Africa to present-day Brazil, in the process profiling its key contemporary players and answering such longstanding questions as why capoeira did not emerge in other enslaved countries of the New World.

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Kapitel: Mestre Pastinha, Zumbi, Capoeira Regional, Capoeira Angola, Mestre Bimba, Besouro Mangangá, Liste Der Capoeira-Vereine, Ginga, Capoeira Contemporânea, Capoeira União, Martelo. Aus Wikipedia. Nicht dargestellt. Auszug: Capoeira (Portuguese pronunciation: ) is an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves from Africa, sometime after the sixteenth century. It was developed in the region of Quilombo dos Palmares, located in the Brazilian state of Alagoas, which was the state of Pernambuco before dismemberment, and has had great influence on Afro-Brazilian generations, with strong presence in the states of Bahia, Pernambuco, Rio de Janeiro and São Paulo. Participants form a roda, or circle, and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints, takedowns, and with extensive use of leg sweeps, kicks, and headbutts. Less frequently used techniques include elbow strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques. The word "capoeira" had a probable origin as a derisive term used by slave owners to refer to its practice as chicken fights (the word literally means "chicken coop" in Portuguese). Another claim is that the word "capoeira" derives from the Native-American language Tupi-Guarani words kaá ("leaf", "plant") and puéra (past aspect marker), meaning "formerly a forest." Capoeira is a direct descendant of African fighting styles, and was incorporated with Brazilian dance form distilled from African slaves in Brazil which is in essence from various African and B...http://booksllc.net/?l=de ... Read more

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This digital document is an article from Contenido, published by Editorial Contenido, S.A. de C.V. on April 1, 2000. The length of the article is 1306 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: La capoeira llegó para quedarse.(TT: Capoeira arrived to remain.)
Author: Rubén González
Publication: Contenido (Magazine/Journal)
Date: April 1, 2000
Publisher: Editorial Contenido, S.A. de C.V.
Page: 52

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Capoeira dates back to the 18th century, probably created by slaves in Brazil during their battle for freedom. Since then, Capoeira has developed and is enjoying a surge in popularity, featuring in video games, films and music videos.This book goes back to basics and looks at what Capoeira is, the differences between the different styles, and then demonstrates and explains the basic movements that any Capoeirista will need to know. All of the moves are broken down into clear step-by-step photographs and instructions, demonstrated by a master of Capoeira. ... Read more

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Chapters: Dances of the Caribbean, Dances of the United States, Latin American Folk Dances, Tap Dance, Capoeira, Carolina Shag, Collegiate Shag, Bachata, Hip-Hop Dance, Cumbia, Mexican Cumbia, Krumping, Tap Dogs, Shim Sham, El Juego de Maní, Tap Dance Technique, Afro-Bolivian Saya, Cueca, Jarabe Tapatío, Merengue, Caporales, Tap City, Ballet Folklorico de Mexico, Beguine, Bèlè, Bomba, Calinda, Hoofers Club, National Tap Dance Day, St. Louis Shag, Hunguhungu, Flash Dance, Maxie Ford, Kwadril. Source: Wikipedia. Pages: 137. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Hip-hop dance refers to social or choreographed dance styles primarily danced to hip-hop music or that have evolved as part of hip-hop culture. This includes a wide range of styles notably breaking, locking, and popping which were developed in the 1970s by Black and Latino Americans. What separates hip-hop dance from other forms of dance is that it is often freestyle (improvizational) in nature and hip-hop dancers frequently engage in battlesformal or informal freestyle dance competitions. Informal freestyle sessions and battles are usually performed in a cipher, a circular dance space that forms naturally once the dancing begins. These three elementsfreestyling, battles, and ciphersare key components of hip-hop dance. More than 30 years old, hip-hop dance became widely known after the first professional breaking, locking, and popping crews formed in the 1970s. The most influential groups are the The Lockers, the Rock Steady Crew, and the Electric Boogaloos who are responsible for the spread of locking, breaking, and popping respectively. Parallel with the evolution of hip-hop music, hip-hop dancing evolved from breaking and the funk styles into different forms: moves such as the "running man" and the "cabbage patch" hit th...More: http://booksllc.net/?id=2024225 ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: See text. Narcissus (pronounced ) is the botanic name for a genus of mainly hardy, mostly spring-flowering, bulbs in the Amaryllis family native to Europe, North Africa, and Asia. There are also several Narcissus species that bloom in the autumn. Though Hortus Third cites 26 wild species, Daffodils for North American Gardens cites between 50 and 100 including species variants and wild hybrids. Through taxonomic and genetic research, it is speculated that over time this number will probably continue to be refined. Daffodil is a common English name, sometimes used now for all varieties, and is the chief common name of horticultural prevalence used by the American Daffodil Society. The range of forms in cultivation has been heavily modified and extended, with new variations available from specialists almost every year. There are two derivations of the name. One is that of the youth of Greek mythology called Narcissus, who, in at least one of many variations of the tale, became so obsessed with his own reflection as he kneeled and gazed into a pool of water that he fell into the water and drowned. In some variations, he died of starvation and thirst from just sitting by the edge of the pool until he gave out, gazing at his reflection until he died. In both versions, the Narcissus plant first sprang from where he died. The other derivation is that the plant is named after its narcotic properties ( narkao, "to grow numb" in Greek). Narcissus 'Geranium'There are several plurals in common use: "Narcissuses", "Narcissi", and "Narcissus". This last is common in American English but is very rare in British usage. The American Webster's Third New International Dictionary gives plurals in the order "Narcissus", "Narcissuses", and "Narcissi", but the Briti... More: http://booksllc.net/?id=142854 ... Read more

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Chapters: List of Capoeira Techniques. Source: Wikipedia. Pages: 157. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: This is a list of techniques used in capoeira. Capoeira has a variety of different techniques that make use of the hands, feet, legs, arms and head. Both kicks, punches and takedowns are among the offensive movements, but the emphasis is normally on kicking. Because of the appearance of many techniques, they are often mistaken for dancing or acrobatic maneuvers. However, while capoeira has some quite impressive, acrobatic signature moves, many of the basic techniques in capoeira are similar to those found in other martial arts. Please be aware that different groups may use different names for the same techniques, or use the same name for different techniques. Animation of ginga movementThe ginga (pronounced jinga; literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of this movement. In Angola, ginga is a very free and individualistic, while in regional the ginga has a more structured look. In most Regional schools, the ginga is learned the same way until the aluno advances to a certain level and begins to develop their own style of using it. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular 'step' on the ground. Ginga movement is done to prepare the body for other movements: hiding, dodging, feinting and attacking. It puts a capoeiristas in constant motion, making them a frustrating target for a forward-advancing opponent. The entire body is involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core ...More: http://booksllc.net/?id=10421353 ... Read more

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"The Footprint Reading Library" is the first non-fiction reading series for English Language learners to present real-world stories in print, audio, and video. It ensures that students not only become good readers, but become better at reading non-fiction and information materials. Through photographs and organisational aids - such as diagrams, graphs, tables, maps and charts - the reader learns how to read non-fiction books. Student activities are integrated into each reader, guiding learners through the text and helping them understand and apply information. A short Assessment Reading at the end of each book recycles key vocabulary and concepts. Each reader can be used on its own, or with the accompanying video and audio programmes. ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Pankido, Taï-Do, Capoeira, Combat Libre, Sambo, Bartitsu, Qwan Ki Do, Jiu-Jitsu Brésilien, Kajukenbo, Shaolin Kempo Karaté, Instructeur de Close Combat, Sanda, Séquences de Mestre Bimba, Jeet Kune Do, Tae Bo, S.c.a.r.s., Close Quarter Combat, Dao Shu, Shootfighting, Ki-Jutsu, Bertrand Amoussou, Kitaido, Bozendo, Keysi Fighting Method, Jukaikido, Shinshinkan Karate. Non illustré. Mises à jour gratuites en ligne. Extrait : Le combat libre est un sport de combat complet associant pugilat et lutte au corps à corps, dans lequel les deux combattants peuvent utiliser de nombreuses techniques. Selon les fédérations, sont autorisées des techniques de percussion telles que coups de pied, de poing, de genou et de coude, des techniques de projections et de soumission (grappling) et parfois certaines techniques de percussions au sol. Les organisations les plus connues de combat libre sont le Pride FC au Japon, l'UFC et Strikeforce aux États-Unis. Sport considéré comme récent, le combat libre existe en réalité depuis fort longtemps et on en retrouve des traces dans de nombreux arts anciens. Sous la dénomination française de combat libre on regroupe généralement les disciplines suivantes, les appellations variant selon les points de vue et les périodes : Le concept des premiers tournois de combat libre enregistrés était simple : deux hommes, dans un octogone ou sur un ring, s'affrontent dans un combat où presque tous les coups sont permis. Les façons de gagner un combat sont le KO, TKO ou la soumission (l'abandon d'un combattant) ou bien la décision unanime ou partagée. Ces tournois avaient pour objectif de permettre la confrontation de différents sports de combat (d'où le concept de Mixed Martial Arts) dans le but de déterminer quel...http://booksllc.net/?l=fr ... Read more

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This book questions whether the practice of martial arts in physical actor training encourages a physicality with its origins in masculinised regimentation. The training of the body of the actor in physical practices, historically connected with the martial and military sphere, assumes that disciplining methods can lead to a 'neutral', 'natural' or 'universal' body, which leaves out of account the question of cultural context and gender identity. The book examines key training methods theoretically and explores how actor training might resist such masculinised regimentation. It analyses physical exercises, derived from the martial and militaristic spheres, in well-established actor training approaches of the twentieth-century. The book proposes an alternative training structure inspired by capoeira, an Afro-Brazilian martial art. ... Read more

Customer Reviews (1)

From actor and academic
This book contributes a unique theoretical perspective on how martial arts training methods are being used in the process of contemporary actor training. Readers interested in Brazilian and Asian physical training methods for actors will find this an invaluable resource. Actors looking to extend their understanding of how their bodies are active and dynamic elements of theatre production and spectatorship will also appreciate this book. This book also examines the complex relationships between the uses of bodies in theater and the ways in which bodies are culturally imagined and understood in western and asian theatre practices. I highly reccomend this book to all readers engaged in academic and practical research on the body and theatre. ... Read more