Musical Kung Fu ? Is it just me ?

[eulerfan]

Now, what exactly do you want me to do with the eels?

[KC Elbows]

The eels are just there to contrast with the body paint and pine cones. Have you worn one of these before?

[HANDS EULERFAN A THIMBLE WITH A STRING AROUND IT]

[Chang Style Novice]

psst - eulerfan. It goes on your nose

I already have tons of old canvasses not suited to anything better than potty training, so go for it.

[KC Elbows]

You can tell CSN's done this before.

This might take a while. Shy bladder.


































Could you please not watch?

[ZIM]

"...And here you see the posture 'Snake Creeps Down'..."

[ok maybe "golden c0ck stands on one leg"]

Who's getting the grant??

[KC Elbows]

Oh, for this sort of thing, you don't even need to look for the grants. People bring money to you for body paint, pinecones, eels, urine and canvas, and thimbles.

[ZIM]

They just...*bring* you money?? Man, I need to get into this gig....

[KC Elbows]

YOU'RE IN IT MAN!!!

YOU'RE THE NIPS, WITHOUT THE NIPS, WHAT DO WE GOT?!!!!

aside from Eulerfan with a thimble on her nose covered with pine cones and body paint and desparately trying to keep back two large slimy eels

WITHOUT YOU, THIS WOULDN'T BE ART!!!!

ALL HAIL THREE NIPS ZIM!!!

[ZIM]

Lordy, but we've sidetracked this thread!

So back to "Kung Fu: the Musical", scored by Andrew Lloydd Webber, no doubt [or maybe No Doubt]

[Chang Style Novice]

Yep, and in something close to a record number of posts.

Let me just offer what I think to be an appropriate analogy - I don't try to view paintings and practice forms. I don't try to watch movies and practice forms. I don't try to read and practice forms. These all provide extraneous information that can only distract me from what I'm trying to do, and I wouldn't get good practice or good art appreciation, reading comprehension, or viewing experience out of such a strategy. Or, put more simply -

I'm trying to concentrate, here!

[ZIM]

The only art I can think of where it really helps is Capoiera. Or Power Rangers-style things. Maybe this is where it comes from, maybe aerobics, too...
I agree that it really doesn't fit.

The comedy was an attempt to lampoon the trend...sorta!

[BrentCarey]

Not specifically a problem. However, the problem arises from the confusion of an ambiguous relation to other CMA. Since CMA is so loosely organized (nearly completely lacking in organization), there is not a clear distinction between musical forms competitions, and true martial arts practice.

I have respect for the athletes, but this is not martial arts because it specifically lacks the "martial" element. However, it is perceptually lumped together with all other forms of kung fu creating much confusion within the CMA community, and in the public view.

This problem is not isoloted to musical kung fu. Kung fu is so broad, rich, and varied, it is too big for most people to digest. Lumping together all of the pursuits that are based on CMA, and calling them collectively "kung fu" creates much confusion that hurts the MA community in general, and the CMA community specifically.

[Laughing Cow]

Some Tai Chi practicioners do practice forms to Music, more used as a pacing tool than anything.

It can also help the beginning student to relax.

There was a thread some time ago about it, do a search.

[Royal Dragon]

I voted for it. here's why:

People like it. I don't see anything wrong with it. HOWEVER, I think in the Kwoon it's a different thing. No loud hoppi'n tunes wile your trying to work. We used to do that at one of my old Kung Fu schools, and I was really annoyed by it.


In the same note, I have a "Tai Chi" CD that has some music that is timed well for practicing the 37 move form. It sets a good mood for my students, and it keep them from hearing my knees crackling.

[HuangKaiVun]

This Saturday, I was at a demonstration in Phoenix.

While I improvised melodies on my violin, my student improvised kung fu moves using the basics I showed him.

Depending on the jing I wanted him to demonstrate, I would play in the way necessary to get it out. If I wanted him to go harder, I would put more accents. If I wanted him to slow down, I'd reduce my tempo. Meanwhile, my student would influence me by his physical actions. We were responding to each other.

As the musician, I didn't just sit there and play. I'd get up and do the moves while playing (within limits, of course). For example, we walked the Baguazhang circle against each other while I was playing melodies.

Afterwards, my student said that he enjoyed it very much. It helped him feel the different jings and liberated his movement. I'll probably add it to my regular classes at some point.