Afrikan Martial Arts, A Comprehensive Overview

[RBG Street Scholar]

Yoruba Wrestling The Yoruba people are to be found in modern day Nigeria. As part of their rites of passage into manhood, Yoruba men are required to perform: wrestling, horse riding, swimming and hunting. Throughout the year, men practice wrestling in villages up and down the country. (The rules and style resemble Nuba wrestling, see below). Then at special festivals known as Ijakadi, the men come together to show their prowess. Men who are successful in competitions or duels, receive a great deal of kudos and prestige. In ancient times, these competitions would confirm a man’s future status, as a chief or a warrior, but now the prestige is more ceremonial. In other parts of West Africa, there are arts like Laamb in Senegal . There are two types of Laamb. In the first, opponents are allowed to strike with bare hands but in the latter, no striking is allowed. A win is secured, when the adversary pins his opponent ‘s back onto the floor (Like Judo or Greco Roman wrestling.) Nuba/Nubian wrestling The Nuba are to be found in present day Sudan. Without a doubt, the Nuba are the people closest in tradition and appearance, to the Ancient Nubians of antiquity. As can be seen from the pictures below, Nuba wrestling is almost identical to those of ancient Nubians. (See the images on the tombs and monuments dating from the 12th Dynasty of Ancient Kemet/Egypt). In antiquity, the Nubians were known as the greatest fighters in the world and this reputation lasted until the time of the Ancient Greeks (see Herodotus). This means that Nuba wrestling is the oldest unbroken system of martial arts. In the Nuba Mountains and throughout the present day Sudan, Nuba practise with weapons and also use an empty hand technique similar to Aikido. Nuba Wrestling is the original martial art that all of Africa, Asia, and Europe later came to benefit from". Nuba wrestling is still practiced today in the South of Sudan as parts of Rites of Passage... http://www.mashufaa.co.uk/history.htm African American Martial Arts And It's Grandmaster (Click Menu for related) Afrikan Martial Arts: An Overview (Compiled from Wikipedia resources and extentions ) Capoeira Angola Capoeira Angola has its roots in the Bantu tradition and was used by the enslaved Africans of Brazil as a form of training for war. In keeping with African war strategies, Capoeiristas masked the art's effectiveness from plantation overseers. Then and today, to uninformed onlookers, the art appears to be a harmless acrobatic dance to music. Authorities eventually learned of its power during conflict with Africans in Bahia and other Quilombos. They outlawed the practice, with death being the penalty for involvement. Capoeira was so troublesome, that penal colonies were later constructed for the imprisonment of capoeiristas. For years Capoeira was practiced in secrecy and was not lawful to teach or learn until after the 1930s. African Diaspora Akeru A program opened as a workshop to teach African. It is based on Afro-Brazilian Dance, martial arts, culture, discipline, and philosophy. Kamau Njia Kamau Njia, which means “Way of the Silent Warrior” in Swahili, is based on instinctive movement, practical concepts, and sound principles. This is coupled with the ability to develop skills from an individual’s natural defensive and offensive movements. These skills are thoroughly enhanced through "real time" training scenarios against grabs, strikes, weapons, and ground attacks. Through these training scenarios, students are better prepared to function during the pressure and distress of violent attacks. Derived from a variety of martial arts styles. Kiungo Cha Mkono (a.k.a. "Shackle Hands" and "The Shackle Hand Style") is an art developed by Master Nganga Mfundishi Tolo-Naa from traditional African arts. The hands are linked together based on the concept that two hands are better than one. It is also symbolic of Africans in slavery. It takes traditional blocks and strikes and combines into one action. This defense can be practical in application, but it is more flashy than anything. There are three levels, 1) hands joined at the wrist, 2) hands are separated, and 3) hands are crossed as the Egyptians are often depicted. The last being the highest level and symbolizes spiritual cultivation. Kupigana Ngumi Known as the "Essence of African Martial Arts," Kupigana Ngumi is a comprehensive term that is inclusive of all Afrikan Martial Arts systems. Recognized for its rhythmic dance like movements, Kupigana Ngumi was founded in the 60's by Shaha Mfundishi Massi and Nganga Mfundishi Taloo-Naa. Kupigana Ngumi Is a complete system designed around four areas of training, namely: Cultural, Emotional, Mental and Fitness. Mshindi Vita Saana “Mshindi Vita Saana" is Kiswahili for "Champion War Art" or Victor('s) War Art. Mshindi Vita Saana is a system of self defence developed for and by people of African descent (African Americans.) Using an African frame of reference, Mshindi Vita Saana approaches self defence using rhythm, strategy, coordination and agility to highlight traditional and contemporary movements. At its core, Mshindi Vita Saana reflects the graceful elaborate polyrhythms found in African dance and music. African Martial Arts-The following arts are native to Africa Jailhouse Rock (USA) It is in the hostile racist environment of the United States Prison system that African martial arts systems that had survived slavery evolved into the gloriously mutated manifestation known as “Jailhouse Rock”. Having been brought into the penal system via ex-slaves, various styles emerged within different prisons. Since the African language had long been forbidden and forgotten, new regional names were developed to reference the art. Some of them are Jail-House-Rock, Closing Gates, 52, 42, Strato, PK, Mount Meg, Comstock, Gorilla, Barnyard etc. Due to the contemporary politics of the United States and the profitable running of prisons by private corporations this lethal art continues to thrive as a functional necessity of modern African Americans. Kwa Asilia Avita Sanaa Kwa Asilia Avita Sanaa is a deadly fighting art that can be used as an educational system, a competitive sport, and a form of self-enlightenment. Although Kwa Asilia Avita Sanaa attempts to remain consistent with the fighting systems of ancient African warriors, it does not emphasize the traditional methods of guerrilla warfare (Ambush, Assassination, and stealth). Instead emphasis is placed on internal development, meditation, breath control, and healing which includes medical gymnastic (self-defence techniques). Mani Mani, a fighting-dance martial art, grew in 19th century among slaves of sugar plantations in Cuba. Only the men take part in it. The dancer in the circle does movements simulating fight, and chooses a protagonist among the others men of the circle. Then the elected "adversary" comes in the circle, and, in harmony with the other dancer, executes a choreographed routine of movements, between fight and dance. Koko Makaku The walking stick, Koko Makuku, was in fashion in Curaçao in the early 20th century. In addition to being used as a walking stick, the "koko makaku" was also used as a defensive weapon and for cultural and sports activities. Among these were stick-dancing, stick-fighting and the tambú game 'blood for the drum', thus reports René Rosalia in his contribution to the 'third seminar on Latin-American and Caribbean folklore', which took place in Curaçao in 1990. Stick-fighting, performed during tambú feasts, is also mentioned by father Paul Brenneker in his series "Sambubu". As in the old times practically every man went out with a stick, the development of the game of sticks was obvious, according to Brenneker. "The game of sticks was not bound to seasons or festivities and in former days it used to be played on Sundays, at approximately 4 o'clock in the afternoon. It was a game of skills. Each of two men held his stick at the ends, approached the other and danced and jumped around to the rhythm of the singing and clapping of hands of the spectators. A drummer would beat time. The men were supposed to defend their own head with their stick and simultaneously make efforts to strike the opponent with it on his head. They manipulated the sticks masterfully. If one of them saw an opportunity to deal a blow to the other on his head, he would be the winner. If the loser bled from his head wound, the bystanders would shout: "sanger pa tambú" (blood for the drum). The loser had to let some blood flow on the skin of the drum." This was made from a wine or rum barrel. Bénolè (or Bénolin) a stick fighting art of Guadeloupe. Mayolet (or Mayolé) Mayolet is a stick fighting martial art from Guadoloupe. It was developed from Danmyé. Sové Vayan (or Sovayan) a stick fighting art that was created developed in Guadeloupe Pinge A Haitian martial art developed by the African slaves residing there. Developed for the same reasons as Machet’e and Capoeira Bangaran A martial art developed by the maroons of Jamaica. Bangaran is taught from generation to generation. Machet’e A Jamaican martial art developed by African Slaves out of a burning desire for freedom. Danmyé (a.k.a. "Ladja") Is the first martial art to ever be practiced in Martinique. Some slaves from Senegal and elsewhere, that were on their way to the island of Gorée, created a fighting art inspired by the initiation ceremony of "N’golo", which symbolized the passing from adolescence to adulthood and included a confrontation which took the form of a fight. Fights were practiced in festivals, village fairs, and appointed fights until 1947, when the authorities banned Danmyé. There are many places to practice: in pits, in front of a bank, during carnivals, and bèlè events The wrestler has to get the upper hand of his opponent while respecting the drummer's pace. A fighter can win by referee's ruling after a decision blow, one fighter being hit more than the other (amount of points in a 2-minute fight), lifting your opponent off the ground, or being immobilized on the ground (Kakan). It combines strikes with wrestling and grappling skills. The wrestlers determine the fighting space by dancing around in a ring to the rhythm of the drum, known as the introductory stage of the fight. The wrestler then draws an invisible circle which represents a magic space and any person entering the circle is an opponent. However, all strikes must be restrained and given without intending to hit. They can only be given to drive the opponent to refuse a hand-to-hand fight. The wrestler has to hit and move in harmony with the rhythm or the guilty party would be disqualified. The main goal is to score more points than the opponent does and hit without being hit. Kalenda (or Kalinda) It is believed that kalinda began around 1860 when the freed slaves organized themselves into competing bands and held performances. Men, women and children gathered to sing, dance and be entertained by stick fights. The aim of each stick fighter was to deliver a blow that would hit the opponent on the body - any part above the waist - hard enough to fell him to the ground. Blows were usually aimed at the head and damage to the skull was a very common occurrence in stick fighting. The rules of the game were few. Hitting “under the belt” or striking a player when he fell or was forced to kneel was an infringement. Again, as long as a player's skull was cut he had to retire and drain the blood into the "blood hole", a hollow made for this purpose in the ground in the centre of the fighting ring. The stick used was between three and four feet long and was about seven-eighths of an inch in diameter. It was made of cog-wood, the wood of the yellow poui tree or even the sour guava. Trinidad Stick Fighting (a.k.a. 'Bois' or 'Sticklick') is an art from Curacao. It was confined to two communities, Mt. Desire and La Resource. A conch shell is blown to call the drummers and the batonniers to the ring. There are many stances, the main is to hold the stick with 2 hands in front of your face for defence and let swing down to which ever way you need. The object is to strike your opponent while moving away artistically to make them look foolish. It is a serious full contact art that can open gashes on the head and chest. Music is very important in most African arts and this is no exception. When the contestants get in the ring, different songs are played on the drums to help the contestants along. Bate Coxa Used by Africans of bigger stature, the object of Bate Coxe was to knock the opponent down using collisions of the thigh. Bets, of money or even women, were made. A predecessor of Capoeira. Batuque (a.k.a. Capoeira Batuque) Batuque is supposedly much like Capoeira (and one of it's many predecessors), but much more dance-influenced. Much emphasis on kicking. Luta do Bode A headbutting martial art used by the Africans in Brazil. The goal is to knock the opponents head till the death. For this reason, the art is little used today. A predecessor of Capoeira. Susa Susa is an art very similar (and may be a style of) Capoeira that is practiced by the Saramaccan and Ndyuka diasporic people of Suriname. Broma An Afro-Venezuelan martial art. Northern Africa Aha (a.k.a. Kemetic Aha, Ahah, Kemet Mariama) Aha is a tricky form of boxing and grappling practiced by the Kemites. According to some sources, it was practiced exclusively by Kemetic priests. Hikuta An ancient Egyptian boxing art still used today. The basis for Hikuta is claimed to be the ancient art of Kuta. Today Hikuta is used for very modern reasons, mostly the defeat of criminals. Naboot Supposedly almost the same as Tahteeb, except that the fighters use longer staffs. *NOTE: Other sources say Naboot isn’t a martial art, but the name of the staff used in Tahteeb. Sebekkah A native grappling art of Egypt. According to one of our Martial Talk posters, Sebekkah requires much waist power in its movements. Tahteeb Tahteeb is played mostly in the Northern regions of Egypt by tough men young and old who enjoy the challenge of a good fight, also it is a great way to show machismo and rack up potential brides. Like Surma stick fighting of southern Sudan, Tahteeb is played only by men and can get very bloody when two opponents do not particularly like one another. When Tahteeb is played nicely one man will attack and the other will only defend and then vice versa, but when men do not like each other and they play together suddenly the rules change and the real rules are announced: there are no rules. Due to the full contact aspect of Tahteeb, parrying and blocking are essentials to survival when playing the game, striking is the norm and joint locking is almost unheard off. Ta-Merrian An Egyptian martial art that is based on totem animal movements and spirit dances. El Matreg A North African martial art most commonly practiced as entertainment in Algeria. In this, two players fight using long sticks – the idea is to score points by outwitting and out-manoeuvring your opponent. Nuba Stick Fighting Rarely practiced today, traditional Nuba Stick fights are most commonly practiced among the Moro tribe. The stick-fighting is a contest conducted by, as the name indicates, a stick and a shield between two contestants, This sport is always carried out at the end of autumn and the beginning of harvest, and it is completely forbidden during the cultivation season, in case it puts the youths off their work. Stick fighting is part of the ceremonies that follow the harvest, in which thanks is given to God for providing a good harvest. It is embedded in the spiritual traditions of the people. Toubata A native wrestling art of Sudan. Eastern Africa Massaï The fighting techniques and disciplines of the Masai people of Kenya. Testa Testa, or Riesy, is a brutal Eritrean head butting art. It may also include kicks, hand strikes, parries, grabs, etc. Hand, foot, and grabbing techniques are very intricate and are solely used in order to strike the opponent with the “Big Knuckle”, or head. A Testaman may even bite the opponent’s windpipe or groin out of pure desperation. Dula Meketa The stick fighting art of the Oromo people of Ethiopia. Re-Efi-Areh-Ehsee An Ethiopian martial art that is used as a way to convey cultural identity through a fighting system. Surma or Donga Stick Fighting, is a test of nerves and brute strength. The Donga of Ethiopia fought to prove masculinity, settle personal vendettas, and most importantly, to win wives. The 50 or more men who participate in each tournament represent different villages. The contestants fight in heats, with the winners going on to the next round until the competition narrows to two finalists. The winner of the last bout wins the entire contest Kayti Arguably the first of all weapon-based martial arts, Kayti represents the origins of all weaponry. Though centred in Africa (primarily Kenya), the roots come from all over Africa. Kayti is the predecessor to modern swordplay (from China) and the better known Islamic Kali (from Philippines). Southern Africa Bassula This Angolan art's sole purpose is to immobilize the opponent. However, because of the high risk of injury, the modern objective is to only knock them down. A predecessor of Capoeira. Gabetula An Angolan art that supposedly involved punching that later contributed to the art of Capoeira. Kamangula An Angolan martial art and predecessor of Capoeira, this art is much like modern Slap Boxing, it consists of bashing your opponent open-handed. N'gola (or N’golo) An Angolan ritual martial art (used by the Bantu and Mucupis peoples) in which two males would fight in order to win a bride presented by the parents of the girl. The fight uses both hands and feet all to knock the opponent down. The winner would prove his bravery in order to receive his wife. A predecessor of Capoeira. Njinga An Angolan art that later contributed to the art of Capoeira. Morengy The traditional boxing martial art of Madagascar. Isinaphakade Samathongo An ancestral esoteric warrior system practiced by the Zulu and Xhosa tribes of South Africa. The system emphasizes strong combative techniques and ethical philosophy. It is used as an initiation into the “warrior-priest caste” of the two tribes. Musangwa A martial art of South Africa. It consists of punching, headbutting, earslaps, and knees. Nguni Stick Fighting Stick-fighting in Nguni-speaking areas of South Africa has an educational role, it teaches young members of society social values, gender roles, the worthy nature and respectability of physical endeavours. Zulu and Xhosa boys begin learning at an early age the utilitarian function of sport, sharpening physical skills and mental attitudes necessary for hunting game and combat. The rise of stick-fighting as a physical contest created a stage for young boys to assert themselves within a specific age-group, achieve a social identity in competition with others, and, possibly, achieve a degree of 'independence' unavailable to the common person. Zulu Stick Fighting (or Zulu Impi) Long past its days of glory, stick fighting is no longer a common practice among the Zulu people, and practitioners struggle to validate its existence in these days of political turmoil, acculturation, and modernisation. Nonetheless, stick fighting appears to assist in upholding the traditional social system by perpetuating socially accepted modes of male behaviour and ideals. Stick fighting, as a cultural tradition, therefore continues to fulfil its traditional didactic function in some Zulu communities. Central Africa Gwindulumutu A head bashing style of martial arts from Congo Kipura A martial art of Congo in which the fighting techniques are based on that of a rooster's. Believed to be a predecessor of Capoeira. Mousondi A Martial art that later lead to the development of Kalenda. Western Africa Borey Borey is from the Gambia it is a grappling art of the Mandiga; it consists of knees, head butts, kicks and holds to break the neck, leg, collar bone and arm. It is similar to Laamb. Gambian Wresting Gambian Wrestling is an African martial art that is a deep-seated tradition and national sport. The warriors wear loincloths called "Juju's" and strut, dance, spar, and brag in challenge of noisy support from the drums. The fight continues until a contestant is brought to the ground. Punching, kicking, spitting and flinging sand in the eyes is all legal. After sundown, the atmosphere builds with excitement as the champions come out to fight. Note: May be the same as Borey. Peul A martial art of Guinea. Dambe Dambe, or Hausa Boxing, is a fist fighting system from Nigeria consisting of kicks, punches, knees and headbutts. Dambe is a savage method of empty hand combat and a testament to the creativity of African warriors. Gidigbo A kind of Wrestling practiced by the Yoruba of Western Nigeria. Igba Magba A martial art native to Nigeria. Korokoro A ritual martial art intertwined with the Korokoro dance of Nigeria. Moringue A stick fighting art of Reunion. Béri A native style of wrestling from Senegal. Borey The art of Borey is also native to Senegal, and (in the Senegal style) consists of punching, kicking, headbutting, grappling, and joint locks Dioula A native martial art of Senegal Laamb Laamb (a.k.a. "Senegalese wrestling") is a wrestling art that takes place in Senegal. Before the event, the beating of the drums, along with the mellow voices of the singers, will alert everyone that it's about to start. The crowd would gather around a sandy pit and watch several bouts before the final bout of 2 champions. The fighters would wear "wrappers" around their waist, which would be provided by their fiancés or female relatives, and the rest of their body will be naked. The winner must knock his opponent's knees, shoulder, or back to the sand. Strikes and slaps are allowed nowadays. azo Ncha Shikana African pressure point grappling. Most commonly practiced in Senegal. N’oboro A stick fighting art from Senegal. Olva A native style of wrestling from Senegal. Evala Evala is a wrestling sport practiced by the Kabye people of northern Togo. In wrestling competitions, boys try to prove their manhood by winning an Evala wrestling match and it is used as an initiation ceremony. Zvaha A native wrestling martial art of Togo. Yuna Onse An art that is very similar to Capoeira, as it is one of its many predecessors. For Further Study Link Out To: African Roots in Martial Arts An Interview with Kilindi Lyi A RBG Street Scholar Educational Design