Abstract
This paper explores the experience of space afforded by the practice or lian of taolu 练套路, the prearranged movement patterns of the Chinese martial arts. It examines the roots of taolu in Chinese martial preparation, religious self-consecration and theatrical performance. It develops the structure and phenomenology of this practice with special attention to its exponents’ perceptions of negative space. Following an interdisciplinary approach, the author contextualizes embodied, martial knowledge in terms of Chinese social history, theatre and religious praxis.
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