Tuesday, 12 June 2007
Monday, 30 April 2007
Wednesday, 21 March 2007
Tuesday, 20 March 2007
Friday, 16 March 2007
Friday, 2 March 2007
When parkour first hit the English-speaking world, it was given another name: "free-running," mostly for ease of use.
The two terms have created a wildly enthusiastic schism which has only served to heighten the popularity of the two arts.
Purists argue that, while very similar to parkour, free-running/free-flowing is more liberal when it comes to the rule of not moving backward. On this side of the argument, parkour in its purist form is meant to be only practical and efficient; the fewest moves, executed in the best manner, while free-running allows moves to be purely aesthetic.
Groups like Urban Freeflow are lambasted by many for "prostituting" the art of parkour through participation in high-profile media projects; television advertisements, film projects and corporate events.
However, in light of David Belle's contributions to television and film, and those of parkour's other founders, this position is difficult to support. Other arguments against the purists' position have been that commercialization and competition in other sports does not diminish individual experience; rather, it's what one makes of the sport.
As of today, official parkour competitions do not exist. If purists have their way, they never will. Urban Freeflow's foremost writer, Dan Edwardes, argues that "competition already exists on many levels within the free-running community: friends challenge each other to improve upon their most recent efforts; training partners push each other during sessions, even involuntarily; members of the same crew feed off each other's energy and achievements as they seek new boundaries to break."
Either way, the schism has resulted into one art, two ways. The art of overcoming urban obstacles, pushing ourselves to imagine, discover, and explore.
Thursday, 1 March 2007
Wednesday, 14 February 2007
The president of "I-Parkour" writes, shortly after the death of a would-be traceur:
"Hey all you traceurs. Salut! ... I'm actually in Paris, France studying abroad for the whole year. Yes, I'm [in] the place where PK was born. I will be back next year, hopefully with several tricks up my sleeves. But for now, I hope you guys have fun and be careful. Parkour is not for showoffs! It's a discipline to be mastered. Do practice during the day. Try to avoid problems with officers, speaking from experience. Visit websites dedicated on PK instructions. Help each other out, and most of all have fun."
All of life entails risk.
As Dan Edwardes says, "No matter how much we try to pad the world with cotton-wool, the harsh reality is that danger is never far away. Every time you cross a road you take a risk. People slip and fall in their bathrooms, sometimes sustaining serious injuries or worse."
And he's right. Statistics say that sixty people are struck by lightning each year in Britain alone, three of these will die of severe burns. Risk is eternal; we cannot escape it. However, we can handle it correctly and minimise it.
Edwardes also writes: "In relation to the practise of the discipline, this means, primarily, understanding what the art is about. By doing so, one also comes to understand what it is not about. Despite the sensationalism and glamourising (principally by the media) of ‘gap jumps’ and height training, Parkour is not about running across roofs and other death-defying stunts. Anyone who thinks it is has simply missed the point.
Parkour is concerned with the refinement of one’s own movement, with grace, control, efficiency and self-expression. These goals can be achieved in any environment – so why pick a dangerous place to train, like a rooftop, when the more expansive and varied terrain is almost always to be found at ground level? The height you train at is irrelevant, and most rooftops actually offer very little in the way of helping the individual develop as a freerunner.
The art of movement is also based on developing and improving the body, making it strong, fast, effective: in a word, healthy. This means one must have the goal in mind of being physically capable for as long as possible, which, after all, is the true litmus test of health. We are seeking longevity, not only of our own training but also of our own lives; to be as healthy and vigorous for years, even decades, to come. Thus, to receive an injury while training – in other words, for an art that promotes health to damage one’s health – is not only counterproductive but also counter to the art’s very purpose. Much like with martial art practitioners who carry several incapacitating injuries, one is justified in questioning exactly how effective this training is? The answer would seem to be that their training has, in effect, produced the very results they were trying so hard to avoid…"
So we must look closely at our own training. Take stock. Evaluate the hazards. Are you taking unnecessary risks when you could just as effectively gain the same skills by a safer method? How much of your practise if geared towards exposing yourself to danger for no purpose other than to impress, or to prove a point? Be honest with yourself, for such actions are not justified within the philosophy of the art, nor ever have been.
This is not to say, however, that discipline cannot be practised on high levels. The aim of all practitioners is to be able to move freely and effectively – whatever they may view ‘effective’ to mean – within any environment, be it high or low, confined or spacious, urban or rural. The point is that the environment is not the focus; mastery of one’s body in relation to the environment is. Roofs are not important – you are important. So focus on yourself.
How do you do this?
Firstly, and most importantly, see the truth of the art beyond the mere spectacle and showmanship. Do not be deluded by what you see in movies or on television: in almost all those scenarios, extensive security and safety measures are in place and the actions are always performed by professionals while other professionals ensure that nothing is left to chance. Use of wires, safety nets and crash mats are common. Research, delve deeper – you will find that mastery comes from rigorous practise and continuous refinement of the fundamentals. There are no short-cuts, and no secrets.
Secondly, seek out proper instruction where possible. Attend workshops and seminars, train with the more experienced in your area as often as possible, and constantly feed yourself with good information and advice found here on Urban Freeflow.
Thirdly, stop and think. Evaluate the safety measures you employ in your own training. Examine carefully the surfaces and materials your commonly practise on, check their structural integrity and stability and be particularly careful in the wet. Be aware of your own limitations and do not push yourself too far for any reason. If you are not one hundred percent sure of your ability to complete the manoeuvre safely, simply walk away from it. Practise more, and come back to it when you know you are capable.
Sadly, accidents are inevitable in every walk of life. Statistics tell us that many of the everyday sports that society takes for granted, such as football or sailing, put your life more at risk than do the seemingly more dangerous sports such as parachuting or freerunning. A recent sports council survey showed that rugby tops the dangerous sports list with 95.7 injuries per 1,000 players, with football scoring 64.4 per 1,000: yet compare this to alpine skiing which has only 2.6 injuries per 1,000, and it is clear that you don’t have to climb mountains to be more at risk. And the fact is that in the many years Parkour has been practised as a discipline in its own right, serious injuries have been few and far between, even since its explosion onto the global stage, where almost every country in the World is now represented by practitioners of all levels.
All life does entail risk, obviously. And there is no doubt that a discipline as dynamic and energetic as Parkour does involve certain hazards. But the reverse is also true; due to having a better understanding and control of one’s body and capabilities, the practitioner can improve his ability to safeguard himself from physical harm. One who trains sincerely will become less clumsy in everyday life, less prone to accident, and more aware of one’s surroundings. By practising carefully and prudently, and with proper instruction, one should actually be safer. The training should in fact prepare practitioners for the few rare and unavoidable times in life when one has to use one’s body to remove oneself from harm’s way.
So practise safely, and in turn your practise will keep you safe.