From: the_dojang-owner@hpwsrt.cup.hp.com To: the_dojang-digest@hpwsrt.cup.hp.com Subject: The_Dojang-Digest V8 #439 Reply-To: the_dojang@hpwsrt.cup.hp.com Errors-To: the_dojang-owner@hpwsrt.cup.hp.com Precedence: The_Dojang-Digest Thur, 26 July 2001 Vol 08 : Num 439 In this issue: the_dojang: Re: The_Dojang-Digest V8 #438 the_dojang: Re: Copyright THIS!!!- It's legal Re: the_dojang: Round Kick the_dojang: RE: Copyright THIS!!! the_dojang: Copyrighted forms the_dojang: 5-Day Workweek the_dojang: I got it, so here goes... the_dojang: KSR 2001-13: _Koreans in Japan_, ed. by Sonia Ryang the_dojang: . ========================================================================= The_Dojang, serving the Internet since June 1994. ~1111 members strong! Copyright 1994-2001: Ray Terry and Martial Arts Resource The premier internet discussion forum devoted to the Korean Martial Arts. Replying to this message will NOT unsubscribe you. To unsubscribe, send "unsubscribe the_dojang-digest" (no quotes) in the body (top line, left justified) of a "plain text" e-mail addressed to majordomo@hpwsrt.cup.hp.com. To send e-mail to this list use the_dojang@hpwsrt.cup.hp.com See the Korean Martial Arts (KMA) FAQ and the online search engine for back issues of The_Dojang at http://www.MartialArtsResource.com Pil Seung! ---------------------------------------------------------------------- From: foxdragon@cuttingedge.net Date: Wed, 25 Jul 2001 22:06:42 -0500 Subject: the_dojang: Re: The_Dojang-Digest V8 #438 > From: "Mac" > Date: Wed, 25 Jul 2001 17:22:47 -0500 > Subject: the_dojang: Kickin' Boots > > >David, I always wear cowboy boots too - pointed toes and large heals - > >great for kicking. > > < lot of it this summer. I know I have. Donna>> > > Hi Donna. Yup, my Harley Davidson ridin' boots are cowboy boots with an oil > resistant sole. Regular boots with leather soles are very slippery on > asphalt. It's been very hot here in Houston, and my bike's been a bit on the > blink and I don't want to get stuck out in the middle of nowhere. I did > re-charge the battery yesterday and I was planning on taking out my stele > horse for a ride this weekend. > > I know there are several members of the DD that ride, too bad we can't get > together for a group ride sometime. Imagine that - riding with fellow > martial artists and working out together - best of both worlds :-) Well, I've already had one get-together at my place for my internet motorcycle club. No reason why I cannot sponsor another for those who like to camp and do martial arts. I still need to prove to Jere that Wisconsin is not flat. :) What we could do, is arrange a date, have my instructor over to work out in either the do-jang or my place. Probally the do-jang for insurance reasons and then, I can take you out on some of the prettiest roads in Wisconsin. Donna ------------------------------ From: "Robert Martin" Date: Wed, 25 Jul 2001 21:29:10 -0600 Subject: the_dojang: Re: Copyright THIS!!!- It's legal I am not a copyright attorney. However, I work for a book publisher and have delt with copyright and trademark issues. The creation of a form/pattern is no different then the creation of a song or dance. These materials can be copyrighted and those copyrights can be enforced in the countries in which they are copyrighted or if other countries have copyright agreements. The ATA books are specific about copyright and I believe they have enforced them sucessfuly in the past. It would be difficult for you to prove ownership/authorship of the boxing combinations that have been in existence for many years. The actions of a sport such as football or basketball are much different then the set movements of a martial arts form. This has been an inhouse issue in the ITF in the past. Why does General Choi allow all these people that aren't part of his orginzation use his material? The answer is easy: because he gave Taekwon-Do to the world. It would have been very easy to copyright the name Taekwon-Do in the late 1950's, along with the patterns and techniques, as GM Lee did with the ATA. Hope this clears it up for you, Robert Martin > From: "Craig Stovall" > Date: Wed, 25 Jul 2001 16:17:49 -0500 > Subject: the_dojang: Copyright THIS!!! > > In regards to this business (pun intended) about the ATA copyrighting it's > forms. > > Are there any attorneys on the list that can attest to the legality of > copyrighting a martial arts form? When I first heard about this, I was > assuming that the NAMES of the forms were copyrighted...but additional > comments have led me to believe that the actual FORM itself is copyrighted. > > Is this possible? How do you copyright a series of bodily movements? If > this is possible, I'm going to copyright all of the boxing combinations that > I can think of, and then force Roy Jones, Lennox Lewis, et al to pay me a > royalty fee for using these combos in a fight. Maybe I can copyright the > motion of snapping a football between ones legs, and then make the NFL pony > up just to get their season going. Ohhhhhh...I be so smart!!! This is > better than selling Grit magazine! > > Seriously, what's up with this. > > Craig "My Trademarked Flying Crane Technique is Superior...HIYAHHHH" Stovall ------------------------------ From: Ray Terry Date: Wed, 25 Jul 2001 21:03:50 PDT Subject: Re: the_dojang: Round Kick > The chest protectors of old were made of bamboo or wood and canvas. If you > contacted them hard with the instep you could be disabled. It wasn't until > the advent of the new foam padded equipment that the kick evolved to a > instep kick. The instep is more effective in a sparring situation; less > effective if you're trying to damage someone. I'm not sure when exactly the softer hogus were introduced, perhaps several years earlier in Korea than in the US. But we/I used the older style hogus (I still have a couple). Not the oldest type, but the ones we used were rather hard, not at all like the ones that have been in common use in the US the last ~15 years. Point being we used the instep kick against the hard hogu. Yes, it could hurt a little, but less than throwing a 45 degree RH w/instep and catching an elbow, which happened/happens all the time. Also less than glancing your smaller toes off an elbow or blocking forearm when throwing a ball-o-foot RH. Ray Terry raymail@hpwsrt.cup.hp.com ------------------------------ From: "Lasich, Mark D." Date: Thu, 26 Jul 2001 07:42:27 -0400 Subject: the_dojang: RE: Copyright THIS!!! I believe by copyrighting the forms, the ATA was attempting to put some control around the formalized teaching of those forms. Granted, I doubt that legally one can restrict, limit or otherwise control the actual series of body movements. So - how much would need to change for a copyrighted form to no longer be the same form? Change one move? Add one move? Doing the movements with the opposite side of the body? In reverse? Not that I am advocating changing the forms, I personally enjoy the forms, and the symbolism of the Songahm Star that they represent when all put together. On the other hand, I don't believe copyrighting material is a good way to promote a closer martial arts community. In the arts, Mark mark.lasich@alcoa.com ------------------------------ From: "Meghan Gardner" Date: Thu, 26 Jul 2001 08:32:20 -0400 Subject: the_dojang: Copyrighted forms Cliff writes: <> I respectfully disagree. If you attend your city ballet and they perform a dance that was choreographed by a specific choreographer, then that dance company must receive permission and often pays royalty fees to that choreographer. You cannot copy a Picasso and sell it, you cannot copy music and distribute it, you cannot cut an paste the content of an online article and display it on your website without permission. Copyright does not mean that you cannot perform a kata - it means you cannot teach it publicly (esp. in a way that would allow you to make money from it). It also means you cannot perform it at a tournament (esp. if there is a cash prize) without permission. I believe and support this practice. Artists, no matter what art they perform, have a right to receive compensation for their art. I know an incredible music band who is struggling to make ends meet because they don't have the money for a lawyer to fight Napster. The result is that they cannot afford to record new tunes and we, their die-hard fans who SUPPORT them, won't get to hear as much of their artistry. If I spend gobs of time developing a form, refining it and writing it down, I have a right to keep the rights to that form. Meghan Gardner Director Guard Up, Inc. www.guardup.com "Always carry love in your heart, and a knife in your pocket." me ------------------------------ From: Ray Terry Date: Thu, 26 Jul 2001 7:16:19 PDT Subject: the_dojang: 5-Day Workweek ...news from Korea DPM Jin Vows to Finalize Details for 5-Day Workweek by Year-End July 25, 2001 Deputy Prime Minister Jin Nyum on Wednesday promised to resolve the controversy over the introduction of a five-day workweek system by the end of this year, so that it could be put in place by the beginning of next year. In a meeting with reporters, Deputy Prime Minister Jin Nyum said he plans to finalize the shortened workweek by the end of December if contending parties reach a consensus on cutting the number of national holidays and amount of paid leave as well as wage cuts. He vowed to broker negotiations between labor and management over the controversial issues through the Tripartite Commission. Last year, the commission, which is comprised of representatives from labor, management and government, agreed in principle on the need to introduce the shortened workweek. But the government has made little progress in putting the five-day workweek system in motion because managers and workers are sharply divided over a possible change, not only in national holidays and paid leave but also about wage adjustment. The Korea Employers Federation (KEF), which represents businesses, has been demanding a cut in wages, a reduction in the number of national holidays, and paid annual and monthly leave. But labor unions have been strongly opposed to the KEF's demands. President Kim Dae-jung instructed the Cabinet on Wednesday to speed up the introduction of the shortened workweek in accordance with international standards. "We are pushing for measures to adjust the number of holidays and paid leave to the level of international standards," said Jin, who concurrently serves as minister of finance and economy. He said that all three parties will have to tackle the problem of improving productivity in return for a cut in working hours, giving stimulus for workers to develop their capabilities during off hours, and enhancing the quality of living. However, he hinted at the possibility that government agencies and schools may introduce the five-day workweek first as part of efforts to encourage business to follow suit. Jin stressed that the new workweek system should be implemented on a step-by-step basis to minimize any side-effects and reduce financial burdens on the part of corporations. "The five-day workweek framework will not have to be introduced to all workplaces at once. Instead, it ought be gradually applied to firms, taking into account their size and the nature of their business," he added. ------------------------------ From: "Bruce Sims" Date: Thu, 26 Jul 2001 09:22:01 -0500 Subject: the_dojang: I got it, so here goes... Dear Folks: Some time back I was asked if I had seen the new book by Marc Tedeschi and I had to beg off commenting because I had not had time to examine it. I recent purchased both his large book and the smaller reduced version and had some time to examine them both. For my money I would recommend staying with Hapkido by Dr. Kimm. The new work by Mr. Tedeschi is a valiant effort and is pretty impressive at first blush when one picks it up. There are scads of pictures and a pretty good organization. I was left with the feeling that Mr. Tedeschi had been working to provide exactly what Weatherhill had touted the book to me as--- a definitive resource on the art. For me, personally, I was left with the feeling that what was catalogued was mostly the generally accepted oral traditions regarding Hapkido and nothing of any greater worth beyond that. Perhaps I am spoiled by the more academic and reasoned approach of Dr Kimm, and maybe I am a bit miffed at the inclusion of someone like Rim and Sheya almost on a par with the Likes of Ji, Myung, Oh and the rest.(Imagine how some of the folks on this Net would react if I published a book putting myself in such a position?) I think if I had $100 bucks to spend and could go back in time to be pressed to choose between the two, despite the glossier presentation in Tedeschis' book, I would opt for the greater depth of information in Dr. Kimms' work. Well, you asked..... Best Wishes, Bruce ------------------------------ From: Ray Terry Date: Thu, 26 Jul 2001 10:21:33 -0700 (PDT) Subject: the_dojang: KSR 2001-13: _Koreans in Japan_, ed. by Sonia Ryang Forwarding... _Koreans in Japan: Critical Voices from the Margin_, ed. by Sonia Ryang. London and New York: Routledge, 2000. 240 pages. ISBN: 0-415-21999-X. Reviewed by Haesook Kim Long Island University [This review first appeared in _Acta Koreana_, 4 (2001): 173-75. _Acta Koreana_ is published by Academia Koreana of Keimyung University.] The history of the Korean community in Japan spans nearly a century and includes not only the voluntary migration of Koreans during and after the First World War but also the involuntary migration perpetrated by the Japanese colonial authorities during the Pacific War. While many returned to Korea after the war, most of the earlier-arriving Koreans remained. Today, there are approximately 650,000 Koreans currently living in Japan, many of whom are of the second or third generation. In general, the experience of the Zainichi Chosenjin, as they have been commonly known in Japan, has not been an easy one. To be sure, overseas Koreans in other countries experienced hardships and discrimination, most notably in the Soviet Union. But the Koreans in Japan have arguably had it the worst, beginning with the massacre of several thousand innocent Koreans in the aftermath of the Kanto Earthquake of 1923. During the Pacific War, many Koreans served as forced labor for the Japanese war machine and ended up as victims of the American bombing campaign. During the prewar period, the household registration system in place in Japan assured that Koreans would remain second class citizens despite imperial rhetoric to the contrary. In the postwar era, numerous factors have operated to make life difficult for Koreans in Japan. The edited volume under review, consisting of ten articles, examines this postwar period. The editor, Sonia Ryang, is an anthropologist at Johns Hopkins University and a leading authority on the subject, having a number of articles and several books to her credit. As a Korean raised in Japan, she also brings a unique perspective of personal experience to the topic. Ryang also contributes one of the articles as well as an introduction to the volume, so it is appropriate to begin with her contention that North Korea serves as a kind of ideal "site" for Koreans in Japan, basing her findings on interviewee narratives. Despite its current problems, she concludes that North Korea is seen as symbolically "pure"--a feeling of an ideal "home"--cultivated by the pro-North Korean schools. As a symbol, she predicts that this feeling will be relatively slow to dissipate. In the space of a short review, it is impossible to do justice to the rich variety of the research reflected in this volume. One way to look at the wide range of insights, however, is to categorize some as representing a macro-level approach, while others look at the micro-level. One piece reflecting the former is a discussion of the legal status of Koreans in Japan that serves to exclude Koreans in important ways. The author (Kashiwazaki) argues that this status is reflective of Japan's state interest, but that it is also a product of the Koreans themselves and their attitudes and organizations, more concerned with Korean nationality and national identity than life in Japan. As such, at a time when aliens in most developed countries are becoming more empowered, one does not find such a trend in Japan. Educational issues are also a critical component in the identity of Koreans in Japan. Inokuchi looks at Korean ethnic schools during the Occupation, arguing that the Japanese did not want to fund Korean schools and that SCAP's policies toward Koreans in Japan were often incoherent, allowing the Japanese effectively to relegate these schools to insignificance. In what might be considered a micro-level approach to educational issues, Aoki looks at the textbooks used in Japanese schools. Because they emphasize the national language as necessary for passing the examinations, this emphasis tends to marginalize Korean school children. Similarly, in social studies texts, the stress is on an unbroken lineage in which Koreans have no place. Finally regarding education is an article in which the author (Hester) describes the Korean schools that many attend after their regular school day where Koreans can express their Korean identity. Here they learn Korean songs, learn han'gul, and use their Korean, rather than their Japanese, names. One can also look at representations of Koreans in Japan as oppressed minorities. Certainly the earlier literature on the subject (Mitchell and Lee and deVos) emphasize the suffering of the Koreans. Such themes are easy to find here. Melissa Wender, for example, focuses on two women writers in the Koreatown slum of Osaka whose themes of oppression include the fingerprinting issue and make common cause with other oppressed minorities such as the burakumin. Lisa Yoneyama also focuses on a Korean woman writer--Yu Miri--winner of the Akutagawa Prize who explores themes of dysfunctionality in Korean families in Japan. Yu finds herself in the same fix as Asian American writers whose works are deemed "Asian American" literature rather than "American" literature. Yi Yang-ji is another award-winning Korean writer in Japan whose story is taken up by Carol Hayes. Yi's parents suppressed their Koreanness, then divorced, leading Yi to run away from home and attempt to commit suicide out of a sense of shame from the duality of her existence. At the same time, some of the articles present evidence that many of the Koreans in Japan live quite normal, "ordinary" Japanese lives. Films such as the 1993 comedy "Where is the Moon?" by a Korean Japanese filmmaker pokes fun at Koreanness in Japan. If the subject were still a sensitive one, suggests Iwabuchi, a comedy about it would be the last thing one would expect to find. At the same time, it introduces Japanese audiences to a world to which few have been privy. John Lie, looking at three individual cases, suggests that not all Koreans in Japan feel oppressed. Challenging earlier scholarship, Lie says that there is a wide range of responses to living in Japan, not all of which fall into the category of oppression. In fact, many second- and third-generation Koreans live quite normal, Japanese, lives without much ado. This volume contributes to our knowledge of diaspora and the notion that where one is from and where one is at are constantly in conflict and that the complexity stemming from that conflict plays itself out in myriad ways. The editor hopes that by examining Koreans in Japan, this volume will contribute to the theoretical literature on minorities and oppressed peoples. The fascinating detail revealed in this collection will certainly advance this goal. Citation: Kim, Haesook 2001 Review of _Koreans in Japan: Critical Voices form the Margin_, ed. by Sonia Ryang, (2000) _Korean Studies Review_ 2001, no. 13 Electronic file: http://www.iic.edu/thelist/review/ksr01-13.htm ------------------------------ From: Ray Terry Date: Thu, 26 Jul 2001 11:05:21 PDT Subject: the_dojang: . ------------------------------ End of The_Dojang-Digest V8 #439 ******************************** It's a great day for Taekwondo! Support the USTU by joining today. US Taekwondo Union, 1 Olympic Plaza, Ste 104C, Colorado Spgs, CO 80909 719-578-4632 FAX 719-578-4642 ustutkd1@aol.com http://www.ustu.org To unsubscribe from the_dojang-digest send the command: unsubscribe the_dojang-digest -or- unsubscribe the_dojang-digest your.old@address in the BODY (top line, left justified) of a "plain text" e-mail addressed to majordomo@hpwsrt.cup.hp.com. Old digest issues are available via ftp://ftp.martialartsresource.com. Copyright 1994-2001: Ray Terry and Martial Arts Resource Standard disclaimers apply.