Tag: martial arts
Blade as the apex of late 20th Century cinema
They are calling Blade ahead of its time. I never saw it like that. To me it was a quintessential reflection of the times in which it was created. It echoed themes from a lot of the science fiction/action cinema of the late 20th Century:
-A shadowy cabal seeks to control the destiny of humanity
-Martial arts a central to its visual spectacle
-Guns, guns, guns…and swords
-An ambiguous hero who reflects a loss of faith in moral purity
-A protagonist who epitomizes coolness, wittiness, and masculinity
Again, I think Blade actually aptly reflected its times. I think that this is why they are struggling so to reboot it. What cultural material can such a film draw upon today that would be equally compelling? Blade represented the culmination of a range of cultural themes which had been expressed in cinema since the 1970s. I believe that this is why it was so beloved, and also why, it cannot be easily duplicated–after all, even the sequels of Blade fell short of the magic of the first film. Though this image from the promotional material for the second film was pretty amazing.
When an elder dies: Reflections on Ahati Kilindi Iyi’s life and legacy
I first met Ahati Kilindi Iyi in 2005. My encounter with him came after years of wanting to study the African fighting arts, but not being certain how. By this time I had studied Wing Chun, Choy Lay Fut, mixed martial arts, Kendo, and Kali. While I did feel confident in my training, that is in its practicality, what was lacking was a sense of connection to the fighting traditions of my ancestors.
So in April 2005, after watching his two video tapes “The World of African Martial Arts”, I decided to send him an email inquiring about additional training materials. In his response he told me about an upcoming martial arts training in June, which I was fortunate enough to be able to attend.
The camp was edifying, providing a great deal of clarity pertaining to things that I saw in his videos, while also exposing me to other arts—such as Capoeira Angola de Sao Bento Grande via Mestre Preto Velho. I returned from the camp energized, determined to continue to grow in the African fighting arts. I also continued to stay in contact with Ahati Kilindi.
Inspired by his example, I too sought to become an exponent of the African arts and in 2007 I was able to invite Ahati Kilindi to Saint Louis, Missouri where I was a sociology professor at Saint Louis Community College. This was the first of two programs that I coordinated in the hopes of exposing more members of our community to the African fighting arts.
Later that year I travelled to Detroit to attend his World African Martial Arts conference. It was a great opportunity to see the national and international community of scholars and practitioners interested in and devoted to the African arts.
In the ensuing years I would converse with him via social media and see him occasionally at conferences. The last time that I saw him was at the 2019 conference of the Association for the Study of Classical African Civilizations in Brooklyn, NY. We had an interesting conversation about African American styles of prison fighting. He told me about a Michigan prison, Jackson State Prison, that was renowned for being a hotbed of skilled fighters. He went on to link the popular expression “Jack you up” to the prison’s legacy.
In 2018 I helped to coordinate an interview with him via Abibitumi. It was a good dialog about the African combat arts and their revitalization and popularization today.
Ahati Kilindi Iyi was one of the people that gave me a foundation in the African arts. Two of the styles of stick-fighting that he taught continue to be foundational to my practice. What’s more, I have been able to share this and other knowledge pertaining to the African arts with youth in my community. I would impress upon them that these were our traditions, our combat arts, and that we should both cherish them and build upon the foundation that they represent. I would often think of Ahati Kilindi Iyi, inspired by his example, and contemplate ways that I could both continue to grow my knowledge of African combative traditions while also working to institutionalize these arts in our community.
His passing is truly a monumental loss for our community. It is as A. Hampâte Bâ said, that every time an elder dies, it is as if a library has burned to the ground. Ahati Kilindi Iyi was a cultural treasure, and it is most appropriate that we reflect on his legacy and seek ways to expand it and to build upon it by creating a place for the African martial arts in our communities globally.
Asante sana Ahati Kilindi Iyi for your many contributions to our cultural revitalization. We will seek to honor that legacy in both word and deed.
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.
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!