Tai Chi (Taijiquan, T’ai Chi Ch’uan) is a martial arts form which aims at developing conscious awareness through the physical medium in specialised movement practices. In this article, we investigate how bodily attention is practised and might possibly affect the way the body is present to the bodily awareness of Tai Chi practitioners. The article draws on phenomenological clarifications of attention and awareness in an analysis of ethnographic fieldwork carried out during 10 months in two different Tai Chi practices, a) a modern sporting practice also known as Wushu Tai Chi, which is practised in China, and b) a traditional non-sporting practice in the Yang-style, Huang Sheng Shyan system, as it is practised in Denmark. The two types of Tai Chi practices differed in their execution of movements and practice aims. Nevertheless, both types are based on practices of bodily attention through the continuous and deliberate processes of engaging the moving body. Hence, despite the different ways of orchestrating bodily attention, bodily awareness was cultivated and opened up for a transition from a mediated body to an interconnected and unmediated awareness of the body as a whole. The present study has particularly expanded on perspectives of how athletes can assist and actively use bodily attention during skilled movement practices to improve and expand their movement expertise in their cultivation of bodily awareness.

This article is a general introduction to the cultural impact of Jin Yong’s works beyond original serialization as they contribute to the construction of the “kungfu industrial complex”—a complicated, multi-dimensional cultural/business matrix related to the production and consumption of Jin Yong’s (and other martial arts writers’) works and legacy. Three selected overlapping areas of impact of Jin Yong’s novels introduced in this article include: kungfu cultural literacy; rhetorical kungfu; and kungfu star power. Kungfu cultural literacy presents a broad look at the cultural content of Jin Yong’s works. Examples highlight Jin Yong’s contributions in each of these areas. Rhetorical kungfu is demonstrated through analysis of Jin Yong’s humorously subversive language in The Deer and the Cauldron and The Demi-Gods and Semi-Devils. Analysis of kungfu star power sketches the role of Shaw Brothers Studios and their TVB actors training program with particular attention to the careers of “The Five Tigers of TVB.”