论镖局文化与中国武术文化的融合

摘要：镖局文化是中国武术文化的重要组成部分,也是武术强势价值与功能的集中展现。采用文献资料法、对比研究和逻辑分析等方法,对镖局文化对中国武术文化的影响进行研究。认为：镖局是特殊社会环境和历史背景的催生以及经济演化的结果,武术搏击护卫价值的强势显现是镖局的基本入世态势;镖局的产生具有地缘、尚武和诚信三个方面的社会文化属性,在运作模式上主要体现为宗族属性和关系属性;镖局与镖局文化的出现促使习武者职业选择的多元化,在一定程度上促进了武术文化的扩布;促使崇尚强者、尚武精神与社会软性控制的文化元素在武术文化中进一步融入;在传统的道德伦理约束之下尚武、谦和、隐忍、诚信、无畏、正义、助人的镖局文化精神与武术文化精神相互融通;诚信教化、关系互动的社会属性与武术文化深入融合。     

竞技武术套路中腾空摆莲B 和C 级跳跃落地稳定性的研究 杨乃

竞技武术套路中腾空摆莲B和C级跳跃落地接马步是长拳、南拳武术项目的两个难度动作.通过对该组动作落地技术的动力学及相关稳定性因素的分析,提出合理的落地技术和训练中需解决的问题.采用录像观察与试验分析相结合的方法,针对男女运动员的腾空与落地的特点,提出相应的解决办法和训练理论.     

武术国际传播绩效评估框架体系建构的相关研究

本文根据武术国际传播科学化、规范化的要求,探讨了评估机制引入的必要性及意义．同时,以评估学理论为基础,以传播学中涉及的主要因素为轮廓,以涉及武术普及、推广的相关因素为主体,建构了武术国际传播绩效评估框架体系。     

他山之石,可以攻玉——从宫本武藏的《五轮书》看中国武术发展

对日本武术名著《五轮书》进行研究。研究认为:1)凡是武术就必须突出实战特点,并且要承认武术肯定具有一定程度的残酷性与危险性;2)在现代作为教育的武术,应多采用两人攻防形式练习,动作技术必须遵从战斗原则,求"简单"、"有效",即使是套路也应如此;3)武术在实战中须讲究战略与战术,应提倡"攻击、再攻击"的精神;4)武术的深层次理论须与人生的终极意义相结合,即通过技术练习进入哲学层次,以求得自然率直之心。这4点是值得中国武术借鉴的。     

武术的意境美及其美学价值

蕴含东方和谐哲学思想的武术,把中国传统哲学的普遍和谐价值观念落实到行之有效的操作层面,不仅对于构建和谐社会有益,也是人类和谐相处的和平之桥。从神美、阴阳和谐美、静虚之美方面谈及武术的意境美及其美学价值。     

武术的文化性与区域经济发展的适应性探查——来自武术之乡菏泽市的个案研究

以特色产品或服务谋取经济、社会发展是现代社会区域经济发展的制胜法宝。本文将视域定位在“武术之乡”菏泽市武术产业的考查上,试图理顺菏泽市武术资源的整合脉络、充分发掘武术文化的经济功能,打造菏泽市强势武术产业,促进地方经济发展。     

Soeng Joeng Toi: opening fissures towards a platform and a bridge

ABSTRACT

In May of 2017, a space called Soeng Joeng Toi was established, gathering a variety of people to share and co-organise a space together. While it may be considered a relative newcomer, Soeng Joeng Toi’s appearance can be seen as an inevitable breakaway from the mainstream political, economic and cultural climate of a city like Guangzhou. From its initial planning stages to its official operation, much of Soeng Joeng Toi’s inspiration and methods have come from extensive exchange with independent spaces both in China and abroad, where mutual recognition of similar conditions and thinking of the commons have led these different spaces to continue developing in a sustained dialogue. This text, written from the perspective of two of Soeng Joeng Toi’s “co-proprietors,” introduces the beginnings of Soeng Joeng Toi, its current operations and experiences of connecting with others as well as explores the possibilities of a shared activism involving people from different fields and geographic regions.     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.     

Accounting for quality: arts evaluation,public value and the case of “Culture counts”

Arts policy has a longstanding relationship with the concept of “quality” and the ways in which organisations measure, evaluate and account for it. Culture Counts, an evaluation system and digital platform, compiles data from standardised evaluation surveys of different stakeholder groups – organisations, audiences, critics, funders and peers – and provides the means to compare and triangulate data in an accessible format. As a result, it claims to provide a more effective, democratic tool for quality measurement of art, which demonstrates the public value of funding [Department of Culture and the Arts, & Knell, J. (2014). Public value measurement framework: Measuring the quality of the arts. Perth: Department of Culture and the Arts.]. Through qualitative research with two consortia of organisations involved in Culture Counts pilot projects in Manchester, England and Victoria, Australia, we explore these claims, comparing the reception and promotion of the system in both countries and considering its potential incorporation into policy assessment frameworks and adoption within arts organisations’ existing evaluation capacities.     

Arts participation and the three faces of time: A reflection on disentangling the impact of life stage,period and socialization on arts participation,exemplified by an analysis of the US arts audience

Arts participation bears the threefold imprint of time: people's life stage (age), their earlier socializing imprint (cohort) and the historical circumstances of the moment (period). A proper understanding of these three effects is of great importance in understanding the present and future sizes and preferences of arts audiences. Such understanding implies disentangling those three effects properly, rather than overlooking or confusing them. An example of how that might be done is presented here with regard to arts participation in the US.