Tag: Capoeira

Being on the path: Meditations on Living and Re-Africanization

I am convinced that when we are on the path, when we are doing the things that we are supposed to be doing, we are consistently presented with reminders of the correctness of the direction in which we are moving. I received three such reminders in the last two days.

Reminder one: Today while working at my wife’s community training farm, a six year old boy asked me, “How do Africans fight?” I found his question intriguing, not only that he asked it of me, but that he posed this question at all. I am not entirely sure why he posed this question to me. Maybe he overheard me talking to his mother about teaching Capoeira at his school years ago, and understood what I was talking about. Maybe he presumed that as an African man I should know something about this. I did start to build on his existing knowledge base of Kiswahili, so maybe he figured that I might know something about fighting too. In any event, I deeply appreciated his question, a question that I did not think to pose until I was a young adult.

I told him that there are different ways that Africans have approached fighting and that I could show him some. I asked him if he wanted to know something related to kicking, punching, or stick-fighting. He said punching, so I showed him something. If he’s serious, I may teach him some basic elements of the arts whenever we see one another in-between farm work.

Reminder two: Similarly, a brother who attends my Capoeira class with his daughter told me that he intends for her to be a fighting arts practitioner, and wants for her focus to be specifically on Capoeira, given that it is an African art. I was intrigued by this. He has studied multiple arts, and sees Capoeira as not merely a matter of technical application, that is the process of fending off violent attackers, but also as a matter of affirming one’s cultural identity. In this way, Capoeira can be understood as a combat art that also embodies the kinesthetic dynamics of several African cultures, thus it is the embodiment of a distinctly African philosophy of movement. It also represents the sprit and tactics of African resistance in the Americas.

Reminder three: A brother who attended the mdw nTr conference in October told me that he had been so inspired, that he intended to teach his then unborn daughter mdw nTr. Today I saw him and his young daughter. He told me, consistent with his earlier statement, that he speaks to her in mdw nTr and proceeded to speak do so. I also spoke to her in mdw nTr. My wife claims that she perked up when she heard the mdw nTr, but I can’t confirm this.

That this would happen the day after African Languages Day was most inspiring for me. While I do study African languages regularly, I have struggled to find time to study of late. However, yesterday my studies were inspired. While riding the train I read about and practiced (silently) two African languages. African Languages Day gave me the opportunity to affirm something that I know I am capable of, using our languages on a regular basis to communicate complex ideas. To my understanding, the greatest challenge that we face is one of transmission, that is of creating new speakers of these languages in our communities in the African Diaspora. Solving this problem is one to which I will continue to devote my time and energy, as we cannot truly communicate about an African worldview if such a discourse is mediated in an alien language and from a culture characterized by fundamental alienation.

Our people once they know that they are an African people, they subsequently want and desire to ground themselves in African things, to understand their reality from the paradigms of their ancestors, to reclaim our languages, to practice our fighting arts, and to—in all areas of life—be African. This is more than just a matter of identity, but is one of solving the paradigmatic problem implicit in liberatory struggles—that is one of decolonzing the minds of the people as a means of enabling them to win the physical struggle which is for land, their lives, and the future.

Capoeira and mdw nTr (Medew Netcher)

My first Capoeira teacher, Tebogo Schultz,​ once said to me that when practicing and seeking to understand Capoeira, that “You have do Capoeira for its own sake.” I think about this from time to time as learning Capoeira is a lot like learning a language, particularly one that has its own indigenous script. You must learn the script, you must learn vocabulary, you must learn grammar, you must find contexts to apply this knowledge, and you must understand the ontological dynamics of this linguistic system.

This is a lot like Capoiera which consists of a technical repertoire of physical movements, a kinesthetic philosophy which underlie all of this, various contexts of application, songs and instrumentation, a historical narrative, in addition to a rich body of epistemic and ontological knowledge which seek to explicate the “magic” of the art. The art conveys all of this knowledge, in many instances multiple things concurrently. These layers become fuller once decoupled, unpacked, reflected upon, or revisited much in the same way that learning mdw nTr (Medew Netcher), the language of ancient kmt (Kemet) or Egypt illuminates deeper insights upon further reflection and with deeper study.

I first began learning mdw nTr thirteen years ago and continue to study this language. My continued study has been rewarded in kind with richer insights and a deeper appreciation for this language and the cultural and historical contexts out of which it emerges. Much like my study of Capoeira, it has made everything richer via its contribution to my intellectual growth. Admittedly my focus has vacillated between the general and the specific. Some times I have focused on personal pronouns (mdw nTr has three classes of pronouns). At other times I have sought to memorize the many bi-literals (these are symbols that represent two consonant sounds). On other occasions I have worked on transliterating and translating texts, rich exercise whose frustration inevitably enables growth. One of the most exciting realms of study has been my efforts to integrate the language into my life. The point is that mdw nTr is, in its totality, too vast to approach for the sake of achieving narrow ends. One must simply plunge into its depths, buoyed by the intellectual rewards that it promises.

My Capoeira journey began a decade ago with the goal of learning Capoeria as a combat art. This was and remans necessary, but Capoeria is many things at once. Like Xing Yi Capoeira can serve as a gateway to a more fully integrated self. Like Muay Thai, Capoeira is a tool for physical conditioning. Like Choy Lay Fut Capoeira can be a highly effective fighting art. Like Yoga, Capoeira can build the suppleness of the body. Capoeira is not one thing. It is many things. And like studying mdw nTr, one must plunge fully into its depths, swimming through the waters of renewal, becoming water oneself.

When my daughters go to bed and wake up in the morning we speak mdw nTr to each other. These acts, though short in duration are complex in their layers. When my children and I train Capoeria together, or when I teach a class, these occasions are also multilayered. These knowledges become a part of an integrative toolset, a collection of resources firmly embedded in one’s being. They augment you. I say the mdw nTr and see the words in my mind. I stumble, but never fall because Capoeria teaches you to find balance in the midst of adversity. I find myself translating my thoughts into Kiswahili and mdw nTr as an exercise in multilingualism. I juxtapose defensive tactics for specific attacks between Wing Chun, Choy Lay Fut, and Capoeira. I find innovative ways to use the languages that I study. Capoeira has become central to the curriculum of a rites-of-passage program that I help coordinate, and thus a tool that we are using to build men.

Again these tools, once fully integrated, augment one’s humanity, enabling us to become, day-by-day, a greater expression of our highest selves. This is what it means to “…do Capoeira for its own sake.”

Legitimacy, authenticity, and the African martial arts

I suspect that the debates regarding authenticity & African martial arts stem from the maafa and its assault on African culture in the U.S. The idea that only traditional African combat arts are authentic suggests that African American cultural production is somehow less African. To suggest that Africans in the U.S. lack this form of cultural agency is a specious notion to say the least.

Tradition expresses itself in two forms. First, it is expressed in cultural traditions that are contiguous through time. For now we’ll call these “contiguous traditions”, that is, traditions whose intergenerational transferral have been seamless. However there are also traditions that are reconstituted in a different time and place from their initial formulation. These “reclaimed traditions” are often characterized by broken lines of transmission. Yet while they may appear to die off, “reclaimed traditions” are informed by contexts, collective wills, and various forms of cultural memory that enables their reformulation.

The whm msw in ancient kmt, the founding of the Ashanti Federation, and Palmares could all be argued as examples of “reclaimed traditions”. The whm msw sought to restore kmt to its magnificence from the Old Kingdom. The founding of Ashanti initiated a period of expansion that echoes the glories of the great Ghana Empire. Palmares represents an effort to reconstitute African state formations in the midst of the Maafa. In each of these contexts people looked to their past for some indicator of what their future should be. Having identified an instructive historical paradigm, they sought to institutionalize that model in their present.

Despite the passage of time and the pain of spatial dislocations, traditions can be reclaimed. Africans in the U.S. in the 1950s-1970s created martial systems which were, in effect, attempts to reclaim a martial tradition thought long-suppressed by the Maafa. Once these “reclaimed traditions” were juxtaposed with “contiguous traditions” these claims of inauthenticity gained expression. However I argue that to cede the question of legitimacy only to “contiguous traditions” is to deny the Africanness of Africans in the U.S. It is to deny our own cultural agency, and suggests that U.S. born Africans have been both dispossessed of authentic cultural knowledge, and further, have been dispossessed of the capacity to reconstruct and reclaim that knowledge. Much of the work of many U.S. born Africans, from the 1950s to the present has involved an on-going effort best expressed by the Akan concept SankOfa–that is an attempt to reclaim that which has been lost. This process has produced many emergent traditions, both contiguous and reclaimed that convey what the African-Centered psychologists have called the African personality, and what others have called the African Worldview. This suggests that these two parallel traditional forms are not oppositional, in fact they may be complimentary, for in any society, contiguous and reclaimed traditions can coexist and contribute to the forward flow history.

With regards to African martial arts, I suspect that there is room for both these notable traditions. To respect the “reclaimed traditions” is to affirm the legitimacy and dignity of our struggle for self-determination and those Africans who sought to craft dynamic solutions to this problem. Furthermore, to respect the “contiguous traditions” is to honor our esteemed ancestors and their struggle for self-determination, as they to sought to apply their martial knowledge in the service of African liberation. In both instances an African warrior tradition was invoked as a necessary element in our liberation struggle. The African maroons of Jamaica, the denizens of the dismal swamp, and the cultural nationalists of the Black Power Era were all drawn to a similar call, what the Akoto’s refer to as “an ancestral summons”, to recognize “the reality of war” and to steel their bodies and minds for struggle that lay ahead.

Abibifahodie!