Page 55 - Martial Science Magazine February 2018 dig

A artifacts, and uniforms of through the American Film
MASTERPIECE
CONCEPT
some of the greatest icons Institute and a number of
to preserve the treasures colleges and universities. In
The origins of a concept within. The museum is a the process of his training,
can come in many forms place for all to discover, he gained knowledge in di-
and belief in an idea allows explore, learn, and enjoy recting and producing vid-
goals to be set in order to for future generations to eos, learned how to man-
bring that abstract idea come. age a traveling exhibit and
into fruition. For Matsuda, how to create visually stim-
his goal for the museum ulating areas for children
aspects of the martial arts MICHAEL and families to appreciate
was to focus on the cultural
and relish in. After earning
combined with the edu- his degrees in business and
cational component that MATSUDA journalism, he knew that
comes with knowing where he had the tools needed to
a particular art came from AND THE move forward, to officially
or how it was established. MARTIAL ARTS register and establish The
Martial Arts History Muse-
the establishment of the HISTORY um in 1999.

Another element of
museum was in its design. Like many visionar-
Matsuda wanted to ensure MUSEUM ies, obtaining acclamation
that the museum highlight- does not occur overnight,
ed the countries that the it is a process that comes
arts came from and how with many obstacles along
the martial arts played a UILDING THE with requiring patience,
key role in its development. BFOUNDATION nurturing, and support
Thus, in order to captivate to make it through those
the essence of each art, As a contributing editor roadblocks successfully.
the facility is divided into for Black Belt and Inside Due to the museum being
several sections: China, Ja- Kung Fu magazine for 20 a creative business, Matsu-
pan, Korea, Hawaii, Thai- years, Michael Matsuda da knew that it would en-
land, the Philippines, An- set his focus on starting his tail intricate design work,
ime and Media. Through own publication in 1983. elaborate displays, regal
a scintillating exhibition Five years later, he sold the architecture, effective mar-
designed by artists from martial art magazine and keting, proper archiving,
Disney, Dreamworks, The set his sights on a grander and comprehensive his-
Simpsons and Halloween project that would keep the torical timelines. Lastly,
prop makers, the muse- martial arts history alive Matsuda’s vision of paying
um is like a miniature Dis- and thriving. In 1988, he homage to the individuals
neyland with tantalizing had very little knowledge that paved the way for the
backdrops, actual artifacts, of how to go about creating martial arts gave him the
and animatronics to greet a museum but knew that in mental and physical stami-
guests. The museum takes order to keep the remem- na to continuously work to-
one through the journey of brance of martial arts pio- wards his end goal of being
the martial arts with vid- neers from being lost and the first museum of its class
eo displays explaining the forgotten, action needed and stature.
arts history and walls filled to occur. Consequently, for
with artistically designed the next 11 years, he went
photographs of pioneers back to school to learn how
and legends. Encased in to create, design, display,
glass are unique weapons, run and manage a museum

FEBRUARY/2018 55