“Globalization’ is a contemporary term used in academic and non-academic contexts to describe a late-twentieth-century condition of economic, social, and political interdependence across cultures, societies, nations, and regions precipitated by an unprecedented expansion of capitalism on a global scale.” (Lisa Lowe, in Keywords for American Cultural Studies, ed. Bruce Burgett and Glen Handler, New York: New York University Press, 207, p. 120)

The pop-osition our group’s four that I’ll expand upon is:

Kato Readings- Martial arts was a very integral part 0f Asiatic culture. Starts in China and spreads to Japan. The martial arts spread in a way that is “iconic” to the 2cd group.

Through Bruce Lee, author M.T. Kato writes in his book, “From Kung Fu to Hip Hop” that Kung Fu originated in China, and was the root for all other forms of martial arts– specifically Japan’s Karate;

“When I was a student at the University (University of Washington, Seattle)’ Bruce once recalled, ‘I gave a demonstration of Kung Fu. While explaining the art is the forerunner of Karate, I was rudely interrupted by a black belt karate man from Japan who sat in front of the stage. ‘No no, Karate not from China. Come from Japan!’ he hollered.’ Bruce reiterated superciliously, “Karate is from Kung Fu.’ After the crowd left, the karate man challenged Bruce. ‘You want to fight?’ ‘Anytime,’ Bruce retorted. ‘OK, I fight you next week.’ ‘Why not now?’ asked Bruce. ‘It took me two seconds to dispose of him,’ Bruce recalled. ‘He was too slow and too stiff’” (p20)

So in this case martial arts originates in China, goes to Japan and becomes its own art form. Later Karate becomes very popular in America. Kato writes;

“Once karate had been converted into the disciplinary art of the imperialist culture, it was widely circulated as a representative cultural property of Japan along the channels of postwar Japanese expansionism, greatly aided by the American importation of karate-do through the military.   Thus, in contrast to the original tou-di, which developed and spread out through the channel of popular defense, largely in secrecy, karate as an art of imperialist discipline became integrated into the dominant cultural paradigm” (p21).

Adding to the globalization of martial arts, living in America Bruce Lee creates his own Jeet Kune Do– “the way of the intersecting fist” (p49).

Lastly, a quick Google search on the subject provides another example of the globalization of martial arts in the FFP (Fight For Peace). Their Alumni map provides a visual of the arts global presence beyond Asia.  

BRUCE LEE REPRESENTED A CHARACTER AGAINST IMPERIALISM AND REPRESENTED CHINESE CITIZENS, INCITING OTHERS TO TAKE ACTION

In the book, the chapters talked about specifically Bruce Lee and the movies he starred in and how they represented a struggle that is personal to Lee. It’s revealed in the reading that Lee’s childhood was spent partly spent during the occupation of Hong Kong by Japanese forces during World War II. Having witnessed the brutal tortures and conditions the Chinese citizens faced under Imperial Japan’s control, Lee developed somewhat an anti-Imperial Japanese stance when it came to his movies.

For example, in Fist of Fury the main antagonist is the teacher of a Japanese dojo named Suzuki, whose students insulted Lee’s character, Chen Zhen, and his deceased master. Wanting to prove that Chinese people were not “sick Asians”, Zhen goes to their dojo and defeats every student there. Distraught, Suzuki sends his students to attack Zhen’s school. After witnessing the aftermath of his fellow students defeated, Zhen confronts Suzuki and defeats him in one-on-one combat.

The imagery here is focusing on the movement of Imperialism and the forces under it. Here Zhen represents the Chinese citizen, being called out as “less” than the Japanese. Lee tries to prove they can just be as equal when he confronts them at their own turf, taking them down all alone. Suzuki, the teacher of the dojo, represents Japanese Imperialism since he is trying to establish a form of superiority by keeping the students of the Chinese dojo down. This alludes to the occupation of the Japanese on Chinese citizens during World War II.

Another example of confronting Imperialism is in his other movie Way of the Dragon, in which Lee fights a Caucasian martial artist played by Chuck Norris at the end. Lee admits that his small physique is not quite as strong as Norris’ character, but he reassures Norris by saying that “speed and flexibility” can overcome strength. This can be seen as a representation for the Chinese citizen being able to survive what comes their way, whether it be occupational forces or opposition in a new nation, the Chinese have been through the rough and made it, regardless of how powerful their oppositions were. Chuck Norris’ character also symbolizes a Western form of Imperialism, specifically the thought of America conquering culture and land alike.

Bruce Lee’s fillms inspired many Asians, specifically Chinese, to start speaking up in important matters rather than being passive. For example, during a martial arts tournament in Japan, the champion was a Japanese kick boxer who defeated all the challengers from Thailand and claimed “kick boxing” was a Japanese martial arts . Many college students in Thailand thought this couldn’t believe this because kickboxing, or Muay Thai, is a marital arts they created, not the Japanese. In response, the students called foul and thought the fights were fixed, while the same time they urged the Japanese to admit “kick boxing” isn’t really a style made in Japan. Like in the Slanted Screen, these movies gave Asian men the confidence to be proud being Asian. This confidence thus allowed Asians and Asian Americans to voice out their own opinions and matters, instead of letting it slowly fade away without so much as a thought.

I was not there on Tuesday to talk about these pop-ositions, but I can agree and support the popositions that group 4 has presented.