TAIJIQUAN AND THE SEARCH FOR THE LITTLE OLD CHINESE MAN: RITUALIZING RACE THROUGH MARTIAL ARTS. Dissertation

Romanization and Pronunciation Guide......Page 13
List of Figures......Page 15
The only moving thing......Page 17
Rationale and Definitions......Page 19
Taijiquan as a Vehicle for Understanding the Ritualization of Race......Page 21
Literature on Martial Arts......Page 33
Methodology......Page 37
Figure 1: Diagram of the Supreme Ultimate (taijitu)......Page 39
Structure......Page 51
The Body: Qi, “Daoism,” and the Mystique of Lore......Page 54
The Monthly Meeting......Page 58
Figure 2: JTA Demonstration, Shanghai Institute of Chinese Medicine (1995). Photo: Adam Frank.......Page 68
Figure 3: Teacher Qian pushing hands with author at monthly meeting, Shanghai, 1995. Photo: Anonymous JTA member.......Page 69
Figure 4: Association officers at JTA monthly meeting, Shanghai Stadium, 2001. Photo: Adam Frank.......Page 70
Creation Legends and Multivocal Histories......Page 71
Quasi-Daoism and the Origin of the Little Old Chinese Man......Page 80
The Social Construction of Qi......Page 90
“Use yi, don’t use li”......Page 98
Experiencing Qi......Page 106
Conclusion......Page 111
IV......Page 114
Gongfu in taijiquan is acquired not through dwelling on esoteric concerns about qi and yi, but through pain, through the process of what Elaine Scarry calls the “making and unmaking of the world” (Scarry 1985). On the one hand, it is the pain at the leve......Page 115
Manchu Invisibilty, White Visibility......Page 116
Teacher Lu......Page 119
History and Method......Page 137
Teacher Pang......Page 140
Teacher Chen......Page 152
Conclusion......Page 160
Figure 5: “Foreign Apprentice.” Photo of Teacher Pang and author from Shanghai newspaper (source unknown), 1997.......Page 163
Figure 6: Teacher Chen’s Thursday sword class, Shanghai, 2001. Photo: Adam Frank.......Page 164
V......Page 165
The Life of the Park, Part I......Page 166
Figure 7: “Wu style taijiquan” (JTA space marker), Shanghai People’s Park, 2001. Photo: Adam Frank......Page 178
Erasing Masculinity, Erasing Femininity......Page 179
The Life of the Park, Part II......Page 184
Secret Spaces......Page 187
Conclusion......Page 199
From Practice to City: Taijiquan as Public Art......Page 201
Inscribing the City......Page 202
Past, Present, Future......Page 203
Discursive Spaces......Page 206
Taijiquan as Public Art......Page 215
Conclusion......Page 224
Figure 8: Shanghai 1930 Scene neon sign, 2001. Photo: Adam Frank.......Page 227
Figure 9: Shanghai 1930 Scene. Bronze statue of shoeshine boy. Photo: Adam Frank.......Page 228
Figure 10: Bronze girl, Erickson telecommunications building, Shanghai, 2001. Photo: Adam Frank.......Page 229
Figure 11: Shanghai Urban Planning Exhibition Hall city model, 2001. Photo: Adam Frank.......Page 230
Figure 12: Jinjiang Hotel mural (detail): “Darkie Toothpaste (now Darlie Toothpaste)” ad, Shanghai, 2001. Photo: Adam Frank......Page 231
From City to Nation: Taijiquan as Master Symbol......Page 232
“Through the Martial We Will Become Friends”......Page 244
Figure 13: Banner, 2001 Zhengzhou International Shaolin Festival. Photo: Adam Frank.......Page 250
The Birthplace......Page 252
Figure 15: Cheng Zhangxin passing the art of taijiquan to Yangluchan, Chenjiagou, Henan Province, 2001. Photo: Adam Frank.......Page 257
Figure 16: Chen family teacher with corn, Chenjiagou, Henan Province, 2001. Photo: Adam Frank.......Page 258
Figure 17: Tour bus in front of stadium, Shaolin Temple, Henan Province, 2001. Photo: Adam Frank.......Page 259
Shaolin Temple and the Carnivalesque......Page 260
Scholarly Production and Languages of State......Page 267
Conclusion......Page 269
Masters of the Image......Page 273
Figure 19: Stuntwoman flying on wire, set of Flatland, Shanghai, 2001. Photo: Adam Frank.......Page 278
Imaginings......Page 279
Searching for/Manufacturing Authenticity through the Taijijing......Page 281
Martial Arts Storytelling: The Production of Heroes......Page 293
Figure 20: Video CD cover for “Mulan Congjun” (Mulan Enlists), c. 1935. Scanned image: Adam Frank.......Page 300
Figure 21: Video CD cover for Taiji Zhang Sanfeng (starring Li Lianjie). Scanned image: Adam Frank.......Page 301
Figure 22: Video CD cover for Tui Shou (Push Hands, dir. Ang Lee). Scanned image: Adam Frank.......Page 302
Figure 23: Animation exhibit at Huang Feihong museum, Foshan, China, 2001. Photo: Adam Frank.......Page 303
Figure 24: Marketplace, 2001 Taijiquan Tournament, Zhuhai, Guangdong Province. Photo: Adam Frank.......Page 304
Conclusion......Page 305
Bruce......Page 307
Theorizing the Transnation......Page 308
Sifu Wong......Page 312
Historical Context of the Chinese American Martial Arts Community......Page 313
“Qi” as a Transnational Marker of Identity......Page 316
Hybridizing Qi and Taijiquan......Page 325
Teacher Fu......Page 330
Media Representations I......Page 331
Peter......Page 333
Media Representations II......Page 334
Sifu Wong......Page 336
Media Representations III......Page 337
Health Products......Page 343
Barry......Page 345
Publications......Page 346
Conclusion......Page 350
Figure 25: Push hands competition, 1998 A Taste of China All-Taijiquan Championships, Winchester, Virginia. Photo: Adam Frank.......Page 351
Figure 26: Marketplace, 1998 A Taste of China All-Taijiquan Championships, Winchester, Virginia. Photo: Adam Frank.......Page 352
Figure 27: Tennis court with taijitu and bagua, International Healing Tao Center, Chiang Mai, Thailand. Photo: Adam Frank.......Page 353
From Transnation to Body......Page 354
Racial Formation as Chaos......Page 357
Stylistic Changes and the Reifying Power of Photography......Page 359
The Folklorization of Taijiquan......Page 360
Poetry in Motion......Page 363
Appendix I: Wu Style Slow Taijiquan (Wu shi taiji man quan) Posture Names......Page 365
Appendix II: JTA Lineage Chart......Page 369
Glossary......Page 371
Bibliography......Page 377
Vita......Page 410