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Toward “Sport for all”: Jang Gwon and Sport Promotion by the Korean YMCA in the Japanese Occupation Era

Moongi Cho

This study examines the historical significance of Jang Gwon’s activities in the sport promotion carried out by Korea’s YMCA. At its birth, the Korean YMCA’s sport promotion was closely linked with the Korean nationalist movement under Japanese colonial rule, and this link was most evident around 1920, when Jang Gwon worked as a judo master. Citing the Sokol movement in Czechoslovakia, Jang Gwon took initiatives to enlighten Korean people’s consciousness and popularize sports, including judo and basketball, across the country through the Korean YMCA’s sport promotion. In particular, Jang Gwon introduced modern judo—formally known as Gangdogwan (Kodokan judo), initiated by Jigoro Kano—in Korea and took initiatives to establish the Korean Basketball Association and the Korean Basketball Referee Association. Through the Korean YMCA’s sport promotion, Jang Gwon motivated the Korean people to aspire to liberation and independence from Japanese colonial rule. Moreover, amid the prevailing social climate, in which physical activities were discouraged due to the influence of Neo-Confucianism, he provided a paradigm shift that called for “sport for all,” which enabled the modernization of sports and physical education in Korea.

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From Sport as an Instrument in Rehabilitation to the Adoption of Competitive Sport: Genesis of a Delegatee Sports Federation in France for Those with Physical Disabilities (1954–1972)

Sylvain Ferez, Sébastien Ruffié, and Nicolas Bancel

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Lowering the Bar: Larry Gains’s Heavyweight Battle for a Title Shot, 1927–1932

Ornella Nzindukiyimana and Kevin B. Wamsley

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Southern Methodist University Football and the Stadia: Moving toward Modernization

Chad Stephen Seifried and Patrick Tutka

The specific information provided in this paper offers a descriptive history regarding the attempts of Southern Methodist University (SMU) to be “modern” through tracing the institution’s movement from one playing field to another. Like other southern universities, SMU started football and built an on-campus stadium of concrete and steel believing their legitimacy as an institution could be enhanced through providing football as a product for consumption. However, SMU is unique among many of its contemporaries because soon after building an on-campus facility, it decided to move off campus in the pursuit of greater name recognition and revenue. Collectively, such efforts were recognized as helping to make SMU the “educational surprise of the decade, if not the century,” following its opening in 1915. The modernization of SMU football stadia involves construction and renovation of facilities from Armstrong Field (1915) to Gerald J. Ford Stadium (current).

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Volume 47 (2016): Issue 2 (Nov 2016)

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“Whatever This Intangible Spirit Is”: Hockey and Institutional Culture at Bowdoin College, 1956–1973

Dan Covell and Claude Catapano

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Wounded Lions: Joe Paterno, Jerry Sandusky, and the Crisis in Penn State Athletics

Robert K. Barney, Hart Cantelon, Robert J. Lake, and Kevin B. Witherspoon

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Book Reviews

Cat Ariail, Robert K. Barney, Sean Dinces, Ryan C. Hendrickson, Andrew D. Linden, and Don Morrow

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Editor’s Note

Carly Adams

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Le Catch et son Histoire en France: Représentations et Dynamiques Socio-historiques d’un Loisir Spectacle (1900–1970)

Frédéric Loyer and Jean François Loudcher

Au début du XXème siècle, le développement du sport moderne lié à la vitesse et à l’exploit laisse peu de place à la lutte « gréco-romaine » qui, trop statique et peu spectaculaire, ne connaît plus les faveurs du public Parisien. Une nouvelle forme de pratique plus attractive se développe, le « catch-as-catch-can » (« attrape comme tu peux »), de culture américaine et proche de plusieurs styles traditionnels anglais et écossais. Cependant, jugée trop dangereuse, elle donne naissance au « free style » ou « lutte libre », activité olympique qui interdit toutes formes de violence. Mais, peu plébiscitée, c’est le « catch », version édulcorée du « catch-as-catch-can », qui s’impose en tant que sport de combat « spectaculaire ». Après une tentative de sportivisation, la pratique mêlée d’extravagances et d’exubérances se tourne alors dans l’entre-deux-guerres vers sa professionnalisation en France. Interdite pour cette raison sous Vichy, et peu envisageable de manière éducative, le catch s’impose après la Seconde Guerre mondiale sous la forme de spectacle théâtralisé assez localisé. L’activité impressionne par les qualités physiques de l’athlète qui s’adjoint aussi les symboles d’une mythologie traditionnelle du héros défenseur du bien. Cependant, les années 1960 se caractérisent par une évolution des pratiques sportives qui, grâce aux techniques de retransmission télévisuelles, peuvent aussi concurrencer le catch sur ce plan. Plus encore, le sport moderne offre une nouvelle mythologie à travers un spectacle qui sollicite une identité politique plus nationale visant à dépasser les oppositions et les divisions. Dès lors, le catch est condamné. La pratique doit alors se transformer pour survivre. Finalement, l’histoire du catch est celle de ses représentations et de sa difficulté à fonctionner comme spectacle réclamant la ferveur du public.