CDIO project on MaViCo heat compress for tackwondo players

Taekwondo is a traditional Korean martial arts sport which is currently practiced by many countries around the world. As claimed by the International Olympics Committee (2015), this sport made its debut in 1988 as a demonstration of Olympic sport in Korea and became an official medal sport in Sydney, Australia in the year 2000. The art of taekwondo develops posture, graceful movement, excellent coordination, and attention to detail. As a martial arts sport, taekwondo is characterized by its emphasis on dynamic techniques for taking mobile stances, speed, flexibility, and endurance in order to perform the whole process perfectly. Thus, athletes are required to have control over their shoulders, back, hips, knees, ankles, and feet when practicing this sport

Sport and education: Sport in secondary schools for all or for some?

The place of sport in schools has always been controversial and struggled to gain legitimacy and acceptance as a part of the formal curriculum. While some commentators argue sport has no place in the curriculum, others claim it is too important to be left to chance and, like other aspects of education, it can and should be pursued for its own intrinsic value. For example, Siedentop (1982, p. 2) stated, 'if sport is equal to other ludic [movement] forms (art, drama, music and dance) both for the individual and the culture; and if more appropriate participation in sport represents a positive step in cultural evolution then sport in education is justified'. From another but still supportive perspective, Arnold (1997, p. I) claimed, 'sport is a trans-cultural valued practice ... and despite its corruption from time to time it is inherently concerned with concepts, ethical principles and moral values which are universally applicable and justified as a form of education

Sport in Expressionist Art

This article explores representations of modern sport in the art of German Expressionism, c. 1910–1920. Following a brief outline of the movement’s main artistic concerns and historical contexts, the discussion will focus on a small number of artworks that depict a range of modern sports (cycling, football, and boxing) as well as exemplify some of the movement’s main artistic genres – from painting to woodcut to sculpture to film. As well as paying attention to genre, style, and other artistic features, I will explore the ways in which these Expressionist representations of sports emerged, and the cultural contexts in which they operated. As the article focuses on a movement contributing to the development of twentieth-century art, rather than an individual artist or a specific sport, it will, finally, articulate the methodological implications of the approach taken here, and consider the relationship between art history and sport history

Nothing Great Is Easy

A solo exhibition of 13 pieces of art work. Nothing Great is Easy is an exhibition of sculpture, film, drawing and photography that proposes reconstructed narratives using the sport of swimming and in particular the collective interaction and identity of the channel swimmer. The work utilises the processes, rituals/rules, language and the apparatus of sport. “Nothing great is easy” are the words on the memorial to Captain Matthew Webb who was the first man to swim the English channel in 1875

Artification of Sport: The Case of Distance Running

This article deals with the possibilities of artification in sport, using distance running as an example. Sport is viewed as one phenomenon in the history of physical cultures, with both predecessors and also the possibility of developing into something new. Sport was first defined primarily as a competitive activity but, by the end of the twentieth century, it had developed as part of the athletic trend towards exploring experience-seeking fitness sports. Through the developments of contemporary visual art, sport has also become a possible medium of art. These developments, both in sport and art, provide an opportunity to look for signs of artification in sport

The Sporting Image: A Personal Journey Utilising History to Develop Academic Inquiry and Creativity

In 1997, an optional third year undergraduate module, The Sporting Image, was developed for sports studies students in which they scrutinized the portrayal of sport in popular and high culture; including literature, film, TV, art and music. Fifteen years later, this module, now compulsory for Sports Journalism students, continues to examine the portrayal of sport and ways in which it has become an integral part of popular culture and resonates with values and standards specific in time and place. This paper describes the evolution of the module and its successes and failures in obliging both the lecturers and students to move outside of their comfort zones and engage with creative writing, poetry, music and the visual arts

MMA: Misunderstanding My Art

“MMA: Misunderstanding My Art,” explores the sport of Mixed Martial Arts (MMA) and the lives of four fighters who participate in the sport. MMA, one of the fastest growing sports in the world, continues to be ill-perceived and misunderstood because of the nature of the sport. MMA is a full contact sport in which opponents employ trained techniques in combating each other to win a competition. Fighters suffer injuries, but serious injury in the sport is not common. Like other contact sports, there are rules, regulations and safety tactics that are employed during matches, yet critics consider the sport “too dangerous,” and it has been labeled “human cockfighting”. “MMA: Misunderstanding My Art” further explores reasons negative views of the sport exist, and how such an aggressive sport has the power to change lives

Ways of Seeing, Ways of Telling: From Art History to Sport History

Art and sport tend to be regarded as very dissimilar areas of human endeavour. Yet, the excellence of human achievement attained in both fields promotes a similarity of consideration that suggests a degree of commonality in the respective methodologies of scholars working on the history of art and the history of sport. A particular sensitivity for sport historians has involved wanting to appear to be doing more than telling stories about great sportspeople and sporting contests. While this is an understandable concern, sport historians risk engaging in something other than ‘sport history’ if they allow anxiety to compromise the discussion of their core subject matter. The history of the history of art reveals a related tension over the existence of a canon of great artists. This tension has not been, and need not be, resolved. Sport historians do well to consider its negotiation as they think through ways to enhance their own modi operandi

Count Me In: The dimensions of social inclusion through culture and sport

This study was set up to examine claims made for the ability of cultural projects to promote social inclusion (cultural projects are here taken to include those incorporating sport, the arts, media, heritage and outdoor adventure). This was to be achieved primarily by collecting evidence from a sample of 14 projects selected from some 200 that had volunteered their services. The report to the government’s Social Exclusion Unit (SEU) from the Policy Action Team (PAT10) (1999)2 noted the potential. In his foreword, Chris Smith (then Secretary of State for the Department for Culture Media and Sport (DCMS)) wrote: “… art and sport can not only make a valuable contribution to delivering key outcomes of lower long term unemployment, less crime, better health and better qualifications, but can also help to develop the individual pride, community spirit and capacity for responsibility that enable communities to run regeneration programmes themselves”. Similar statements have followed from other politicians, particularly in the recent Commons debate on sport and social exclusion (22/11/01), and again in the public health debate (13/12/01). However, the PAT 10 report also came to the same conclusion as previous commentators (e.g. Glyptis, 19893; Allison & Coalter, 19964; Long & Sanderson, 19985) that there is little ‘hard’ evidence of the social benefits that accrue