THE TRUE HISTORY OF "CAPOEIRA" PT 1; :"CAPOEIRA" COMES FROM "KIPURA" IN THE KONGO
If you're ready to learn the truly effective real deal training that I offer, complete with real acrobatic training that really works in real fights, and real Animal Styles, real Elemental Styles, etc. Come to my website.
https://sites.google.com/site/atacxgymcapoeira/home
I'm Head Coach Ras of THE ATACX GYM STREET WARRIORS. I, my students and family practice authentic self defense with our unique Afrikan rooted fighting system which is the personalized art of my family's inheritance from Afrika. Our art has been personalized by my family in exactly the same way that the Gracies have their own family's personalized variant of Self Defense Judo...which they miscalled Jujutsu, back then.
99.99% of you "capoeiristas" reading this not only don't practice the authentic art of my ancestors [ because native Afrikans don't speak Portuguese nor refer to our native arts by the Portuguese word "capoeira" ], you don't practice self defense at all. You practice a diluted, exercise centered sanitized workout crafted by the racist enemies of our art. You practice an activity more correctly called "Cardio Capoeira" because it is focused on exercise of a cardiovascular nature. Your practice is exercise centered, roda focused, noncontact, non-modern self defense training; which is the exact opposite of what my ancestors did and proof that neither you nor your Mestre nor anyone in your organization has ever. Ever. Ever. Trained the authentic art of my ancestors, yet you want to claim that you do. You don't. And you know it .
I know, I know, Perhaps you feel disrespected to read that I call you "Cardio Capoeiristas". I mean no disrespect. Please read further to see the scientific evidence, proof , facts, that 100% prove my words to be true.
Consider what we know of the history of the art that you miscall "Capoeira". The great legends of the art are all INCREDIBLE FIGHTERS. The traditional Kongo/Central Afrikan title Nganga Nzumbi was given to an incredible Afrikan warrior of astounding legend. The Portuguese misunderstood [ again ] and not only mispronounced the title of office of this warrior but also conflated this warrior's traditional title [ Nganga Nzumbi ] with the notion that their mispronounciation of his title Nzumbi [ which they mispronounced by ignoring altogether the "Nganga" part of the title, and mispronouncing "Nzumbi" as "Zumbi" ] was his actual given name.
Thus the historical ignorance of the "name" of so-called "Zumbi dos Palmares" was created.
This great Nganga Nzumbi stood off and defeated whole armies from 3 European Empires, and when faced with the specter of defeat 100 or more years into the existence of his Kilombo called Ngola Janga [ "Little Angola" ] in our correct KiKongo and Ndongo languages, but nicknamed "Dos Palmares" [ Two Palm Trees in honor of the gargantuan twin Palm Trees that flanked the entry into the Kilombo ], this great warrior killed as many of his enemies as he could [ some reports indicated that he killed 40 men with his own rifle, arrows and sword ]. Then, when facing insuperable odds from hundreds of enemies bent on capturing him in order to humiliate him publicly with torture and gruesome death... instead of surrendering to the inevitable, this great warrior chose to slay a dozen more enemies with his own hand [ providing the crucial time needed for his other family members...his brothers, sisters, mother, aunt, and children ] to escape. And when faced with the final extreme? The great Nganga Nzumbi refused to succumb to his enemeis and instead leaped off a cliff of such massive height that his enemies were sure that he chose to commit suicide rather than surrender. For nobody could survive a deadly and perilous fall dropping hundreds of feet into a gorge whose bottom was so distant that it defeated the gaze of the keenest eyes to plumb its depths to its bottom. And yet...not only did Nganga Nzumbi [ miraculously, impossibly ] survive? He continued to lead the war...WAR...against the slavers for another year, before he was betrayed and died in battle.
The Portuguese Brazilians thought their victory secure and all insurrections permanently ended with their beheading of the Nganga Nzumbi, their most implacable foe. They could not be more wrong. For even as one Nganga Nzumbi fell, he was replaced by another. The new Nganga Nzumbi was the younger, more keen minded, even tempered, visionary and bold brother [ an even better tactician than Zumbi was ] took over, and not only led multiple successful raids against the Portuguese Brazilians, but at last established actual freedom for his Kilombo, in a new location far from any European antagonists.
THE WARRIOR BEARING THE KONGO TITLE "NGANGA NZUMBI", BUT MISCALLED ZUMBI DOS PALMARES, GREAT HERO AND MARTYR OF THE WAR IN BRAZIL AGAINST SLAVERS
BESOURO MANGANGA, KNOWN TO BEAT RACIST POLICE MEN. TAKE THEIR KEYS AND LOCK THEM IN THEIR OWN CAGES. ACCORDING TO LEGEND, THE MAGIC OF CANDOMBLE, HE WAS GIVEN THE POWER TO FLY
LAMPIAO, THE DREADED MURDERING POLICE KILLING CAPOEIRA KING OF THE BANDITS, IS A POWERFUL PRESENCE IN "CAPOEIRA" LORE.
QORI KANDAKE AMANIRENAS, PROBABLY THE FIRST RECORDED PERSON TO PRACTICE ART THAT BECAME KNOWN AS "CAPOEIRA". SHE WAS FAMOUS FOR ABSOLUTELY THRASHING THE INVADING ROMANS NEARLY 4000 YEARS AGO. LONG BEFORE PORTUGAL OR BRAZIL EXISTED.
The history of the warriors of "Capoeira"...the warriors you sing about in your rodas...show the proof that you do not train a system of personal defense like they and I do.
Even if you didn't know the history of "capoeira"? You know how skilled Black fighters are. And...knowing how skilled Black fighters are today and have been in world history...
best in the world with punching: [ FLOYD MAYWEATHER JR CRACKING PACQUIAO ]
Black people can lay claim to being the greatest wrestlers of all time, whether we are not wearing a self defense uniform:
[ JORDAN BURROUGHS THE POUND FOR POUND G.O.A.T. OLYMPIC WRESTLER ]
Black people can lay claim to producing the greatest grappler of all time in a gi/uniform [ TEDDY RINER, GREATEST OLYMPIC JUDOKA OF ALL TIME ]
Black people have produced the greatest kickboxers of all time in Ernesto Hoost:
Remy Bonjasky, etc.
Black people have produced The greatest fighters of all time when putting all the skills together:
JON JONES, SPINNING BACK ELBOW
URIAH HALL JUMP SPIN BACK KICK
JON JONES, BELLY TO BACK SUPLEX
DEMETRIOUS JOHNSON KIMURA ARM LOCK
RONALDO JACARE SOUZA, THE MULTIPLE TIME WORLD CHAMPION THE ONLY MAN TO BEAT BLACK BELT ROGER GRACIE IN A BJJ GI
Now with all the skills of the male and female warriors you see above. From Zumbi to Jacare...do you really think that we would face tortures like these ten common barbaric tortures:
TEN COMMON BARBARIC WAYS SLAVEMASTERS PUNISHED SLAVES
And our response would be this Cardio Capoeira
useless stuff that you practice?
Do you really. Truly. Honestly. Think. That the techniques practiced in the rodas of Cardio Capoeiristas would help us or anyone else to fight for our liberty, to protect our lives? Do you truly think that Cardio Capoeira training can in any way help to defeat armies? If you do, then you are worse than naive, you are delusional.
Happily I'm going to teach you the factual scientific truth about real self defense skill, and I will show to you the scientifically proven history of our art. Right now.
And as a important piece of information that many of you don't know about? Let me introduce most of you...and reintroduce some of you...to the fact that "capoeiristas" training the authentic way that I and my family and my students train...the way that you DON'T train...already beat the Gracies back in the 1950's. We beat the Gracies using the techniques of GRAPPLING AND STRIKING. As you can see in the picture below, we used our fists, too. Is your Cardio Capoeira Mestre teaching you grappling and fist punches? No? Because your Cardio Capoeira Mestre doesn't know the real art. I am an expert in the authentic ways of Afrikan training, tailored for the modern day. So is everyone in my family who teaches our art.
Here is CONTRA MESTRE WALDEMAR SANTANA, STUDENT OF MESTRE BIMBA, BEATING HELIO GRACIE:
There is no way that we Black people would waste our time doing the things that you practice in your Cardio Capoeira class with your Cardio Capoeira Mestre who doesn't know the real art that I and my family practice, because if we failed to defeat our enemies? This happened to us.
But that's a blog for another time. I will show you the REAL practices of my ancestors' arts in another blog. Right now? We are going to examine the real history and the real Afrikan arts and the real truth and real definition of the word "capoeira". How the word "capoeira" came to be. What it means.
The mighty, recently deceased historical genius and peerless academic, K. Bunseka Fu Kiau
DR. K BUNSEKA FU KIAU
proved that the root word for "capoeira" is the KiKongo words "Kipura" and/or "Kipula".
According to K. Bunseki Fu-Kiau: "Both pura and pula mean to flutter, to flit from place to place; to struggle, to fight, to flog. Both terms are used to describe rooster's movements in a fight: back and forth, up and down as well as rotating movements. Kipura, in the Kongo cultural context, is an individual whose fighting style is based on a rooster's fighting techniques". [ We have since learned from studies of the Nkisi and Orisha that the fighting techniques in question aren't limited to the rooster or the zebra, but are most commonly associated with those animals. ]
Kipura is the war art that eventually gave rise to Libanda, and Libanda...centuries later...was watered down into an expression that looks very much like "capoeira". This is not by accident. In the Kongo, the art of Libanda is widely known and understood to be the source, the root from which "capoeira" comes. The Kongo gave us the word Kipura which the Portuguese miscalled "capoeira", and there are several forms of Kipura. One of which later became Libanda, Libanda was later diluted into more of a dance and exercise than its previous war art application.
DR. K BUNSEKA FU KIAU
proved that the root word for "capoeira" is the KiKongo words "Kipura" and/or "Kipula".
According to K. Bunseki Fu-Kiau: "Both pura and pula mean to flutter, to flit from place to place; to struggle, to fight, to flog. Both terms are used to describe rooster's movements in a fight: back and forth, up and down as well as rotating movements. Kipura, in the Kongo cultural context, is an individual whose fighting style is based on a rooster's fighting techniques". [ We have since learned from studies of the Nkisi and Orisha that the fighting techniques in question aren't limited to the rooster or the zebra, but are most commonly associated with those animals. ]
Kipura is the war art that eventually gave rise to Libanda, and Libanda...centuries later...was watered down into an expression that looks very much like "capoeira". This is not by accident. In the Kongo, the art of Libanda is widely known and understood to be the source, the root from which "capoeira" comes. The Kongo gave us the word Kipura which the Portuguese miscalled "capoeira", and there are several forms of Kipura. One of which later became Libanda, Libanda was later diluted into more of a dance and exercise than its previous war art application.
CLICK HERE FOR MORE VITAL INFORMATION FROM DR. K BUNSEKA FU KIAU
IN ORDER TO SEE PROOF THAT "CAPOEIRA" COMES FROM "LIBANDA", [ AND LIBANDA IS CONNECTED TO "KIPURA" ]...CLICK THE VIDEO BELOW.
IN ORDER TO SEE PROOF THAT "CAPOEIRA" COMES FROM "LIBANDA", [ AND LIBANDA IS CONNECTED TO "KIPURA" ]...CLICK THE VIDEO BELOW.
Of the greatest importance to this discussion...and the most important thing that Cardio Capoeiristas and Brazilian scholars oftentimes try to hide ignore dismiss or lie about...is the fact that the Portuguese encountered and were heavily impacted from the 1400's until today by the Kingdom of Kongo.
The Portuguese inevitably aggressed upon this Kingdom of Kongo, and immediately they were beaten so severely by Kongo "Kipura" warriors whom they described as: "flying low to the ground"...and using "a thousand twists jumps dodges rolls and great bodily dexterity" in defensive maneuvers they called "sanguar" [ "sanguar" is the European mispronouciation of the Kongo Kipura skill set called "nsanga" and other names. It is not GINGA, as GINGA is the proper given name of the woman who would later become the Ngola of Ndongo-Matamba; the specific form of "nsanga" that would bear her name...similar to the way that The Ali Shuffle bears the name of Muhammad Ali... was not to be born until SHE was born and became a feared warrior nearly 2 centuries later ] that the Portuguese never forgot them. This same skill in movement was evident in Angola, Mozambique and Kongo, as well as wherever the Imbangala roamed. This is of the greatest importance in debunking the stupidities associated with the [ centuries later developed ] "ginga" because in truth the "ginga"...which really has its roots in the name of Queen Ginga, not the Portuguese word "gingar"...was already being used and applied repeatedly in the field of war since at least the 1300's. As the Portuguese themselves left records stating this to be the case. Here is the truth and the proof, as recorded by [ HOSTILE TO AFRIKANS ] eyewitnesses of the era in question: https://books.google.com/books?id=c1AGqA1S-lAC&pg=PA278&lpg=PA278&dq=sanguar+gerard+taylor+capoeira+jogo+de+luanda&source=bl&ots=jBj-Ifzr2P&sig=A5yqrt782eNL0afat0l49x4JSRw&hl=en&sa=X&ved=0CCgQ6AEwAWoVChMI5rPrleOiyAIVCjeICh2BcwUR#v=onepage&q=sanguar%20gerard%20taylor%20capoeira%20jogo%20de%20luanda&f=false
I will write another blog detailing THE REAL "GINGA" at a later time. Now, I want you to keep your attention upon how the word "capoeira" came about, and how this history leads to the misunderstandings and stupidities of today that racist enemies of our art benefit from. To continue the history...
... The Portuguese mistakenly thought that the word being said..."KIPURA"... was "capoeira". Further, they misunderstood what "Kipura" means. They thought "kipura" which they mispronounced as "capoeira" actually referred to ALL Afrikan fighting styles.
I will write another blog detailing THE REAL "GINGA" at a later time. Now, I want you to keep your attention upon how the word "capoeira" came about, and how this history leads to the misunderstandings and stupidities of today that racist enemies of our art benefit from. To continue the history...
... The Portuguese mistakenly thought that the word being said..."KIPURA"... was "capoeira". Further, they misunderstood what "Kipura" means. They thought "kipura" which they mispronounced as "capoeira" actually referred to ALL Afrikan fighting styles.
FROM THAT POINT ON, THEY REFERRED TO ALL AFRIKAN FIGHTING METHODS AS "CAPOEIRA".
According to Gerard Taylor, the excellent author of this series:
..prior to really establishing forts and whatnot upon the Afrikan continent proper, the Portuguese established a foothold on what would later be called Reunion Island by European invaders. They promptly set about enslaving the friendly Afrikan indigenous inhabitants, and speedily found themselves being confronted with...and knocked unconscious by...an art of kicking boxing and weapons very similar to Moraingy.
According to Gerard Taylor, the excellent author of this series:
..prior to really establishing forts and whatnot upon the Afrikan continent proper, the Portuguese established a foothold on what would later be called Reunion Island by European invaders. They promptly set about enslaving the friendly Afrikan indigenous inhabitants, and speedily found themselves being confronted with...and knocked unconscious by...an art of kicking boxing and weapons very similar to Moraingy.
The Portuguese, by their own account, received slaves from as far away as Nigeria to south of Mozambique, all the way up until the early 20th century. Nigeria is the land where magnificent warriors like the magnificent, brilliant, fierce Queen Amina
As you can see, Queen Amina practiced the Nigerian arts of war, including the kicks and blows [ Igbo ] deadly grappling choking strangling and bone breaking [ Ijakadi ] and weapons arts. The kicks and stances bore a remarkable similarity to what is miscalled "capoeira" nowadays, but instead of being trained in the dysfunctional useless way that Cardio Capoeiristas train...she trained the way that my family trains. The result? She is an extremely formidable warrior. As is everyone in my family...man or woman, boy or girl... who practices my family art.
They called the devastating art of the Mbundu...called Ngolo...by the name :"capoeira". This art...Ngolo/Engolo... was actually born from the "zebra dance" of the Kunene.
What Brazilians don't know and the few who do know won't tell you is...the Kunene are the Ovimbangala. They are the literal descendants of the Imbangala warriors whose Kipura war skills were preserved as Engolo Kipura. The legendary "zebra dance" is in fact Ngolo, which in turn is in fact the Kipura of the Imbangala from Kongo.
This same Ngolo/Engolo would later become known as "Capoeira Angola", and be the focal point of factional rivalry within the Brazilian "capoeira community" when Mestre Bimba created his Regional. The tragedy and stupidity of this is that the many other arts that were considered to be part and parcel of Ngolo...like Kandeka, the deadly empty hand and weapons art, and the indigenous wrestling styles of the Mbundu, Mbangala, etc...when combined with Ngolo gives us a look that is quite similar to the ORIGINAL Regional of Bimba. Those who are aware of the roots of the Afrikan fighting arts would and should be very disinclined to continue this factional division or rivalry between Ngolo and Regionale.
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The Portuguese received many Yoruba and a decent number of Hausa slaves. These highly educated warriors were masterful practitioners of many arts, being incredible horsemen and horsewomen cavalry experts [ according to British invaders ]
and both they and their cousins the Hausa very skilled "in close quarters, with heavy head butts, blows and holds of all kinds..." including the lethal crushing kicks knees elbows and punches of Dambe and other arts which are the forerunners to Muay Boran. Despite these facts, the Portuguese insisted on calling Dambe by the name of "capoeira"
Thee Ijakadi and Idigbo grappling arts of the Yoruba and Igbo famously used arm wrist elbow leg ankle spine snapping techniques and even neck snapping techniques,which the Portuguese also called "capoeira".
The highly educated Yoruba were usually better educated than the men who attempted to claim them as slaves. Not only were these Afrikans the source and root of what later became known as Candomble, but they were also the source of the most severe and most Incessant and best planned direct resistance to and uprisings against slavery In any form. They were the masterminds behind the Infamous Males uprising that badly scared White Brazilian authorities.
During these Incessant uprisings both large and small, when fighting fell to hand we swiftly demonstrated that we're expert at every form of wrestling and grappling
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Our arts used punches
as well as every conceivable kind of weapon that we were so adept at using...
Our arts used punches
as well as every conceivable kind of weapon that we were so adept at using...
that not only did Europeans acknowledge our skills respectfully in this regard....
they acknowledged that one of the greatest fencer of all time, the Chevalier St. George was not only Black...CLICK HERE TO LEARN ABOUT THE GREAT CHEVALIER ST. GEORGE
.
... his general exemplary conduct, his legendarily fiery temper when aroused, his amazing ability to repeatedly overcome what was usually the insurmountable obstacle of his race in a racist slaving country provided impetus for Cyrano overcoming the seemingly insurmountable blemish of his humongous ugly nose, and Joseph de Bologne's [ the actual name of the Chevalier du St. George ] incredible, far reaching overall genius was so extraordinary that he was one of the inspirations for the character qualities of the fictional French swordsman with the famously long nose, Cyrano de Bergerac
We were also well known for the use of firearms both before and after "capoeira" became known to the average Brazilian citizen.
And after all of this...what did the Portuguese call our art? "CAPOEIRA". Completely ignoring the proper Afrikan terms, history, etc of our art. That is, of course, a very racist, very arrogant, very ignorant thing to do. Guess what? When you call the art of my ancestors by anything other than its proper name? You, too, are being very racist, very arrogant, very ignorant.
"Wait, wait, wait, Head Coach Ras!" some of you are saying. "You call your stuff ATACX GYM STREET WARRIOR CAPOEIRA. You use the word CAPOEIRA, too! So aren't I justified in using it, too?"
Hell no, you're not.
You see, I'm using the word "capoeira" in order to attract the attention of those who have been miseducated. There are literally hundreds of thousands of people like you who have been miseducated, and many of them are still clinging to their cherished illusions, despite the invincible scholarship that I show in this blog. I use the word "capoeira" in order to teach the REAL history and tell people NOT to use the word "capoeira". A more appropriate word would be MONTU, as "capoeira" ACTUALLY refers to an admixture of specifically known Afrikan fighting methods. And one of the acceptable names for the collective Afrikan fighting methods is...MONTU.
So you saying "capoeira" without knowing its meaning is like dropping the N-bomb. Not a good idea for anyone. Most especially if you don't know what the word means, AND you're not of phenotypically obvious Afrikan descent. Got it? Good. Now back to the history lesson.
The greatest terror which the Portuguese never foresaw coming was this: as time passed, the various experts of the fighting systems of Afrika who lived in the Americas [ not just Brazil; the Americas ] actually DID combine their fighting systems to create a more powerful system. The result was that many hybrid fighting systems took root which were even more fearsome than any of the full spectrum fighting systems of Afrika by itself. Remember, every system of my ancestors at the time had everything from every form of combat to healing secrets. No art lacked any aspect of warfare or healing, cultural transmission or education, spiritual teaching or morality. However; taking the knowledge in these areas gathered for centuries by each Afrikan ethnic group and dropping this massive amount of information into a shared community pool of knowledge made every aspect of the resultant hybrid discipline superior in every way...and completely befuddled Europeans all the more.
That means that the authentic skill sets of "capoeira" in the Western Hemisphere is a combination and amplification of the hybrid fighting arts of the Motherland that I have written about since the top of this blog. Either a combination of all or some or even "merely" two of these arts. This is the indisputable proof of history.
Look at those arts. Ground fighting. Weapon training including firearms. Blows strikes throws sweeps tackles slams wrist finger limb and joint locks, breaks, constraints, etc. Cunning means of unbalancing, pushing, displacing, etc opposition. Amazing defensive skills, unparalleled movement and body skills. Regular training with partners genuinely attempting to make contact with their opponent by hitting kicking weapons multifights etc etc etc. Knowledge of healing arts including healing herbs, meditation, Smai Tawi, bone setting, chemical development and use, poisons, animal habitats, autohypnosis and much more. These are the mandatory beginning...BEGINNING..skill sets of the Afrikan arts of war.
Now look at what you think is "capoeira". There is no connection, is there? That's because you're not practicing the authentic art. You practice, like I have repeatedly told you, Cardio Capoeira. And it's not your fault. You, your Mestre, and the Mestre before your Mestre all learned Cardio Capoeira due to the mandates of the racist civilian and military governments of Brazil, which held sway at least until 1986. In fact, a great deal of evidence proves that they're still doing the same thing today,
Sp there is a good reason for you and your Mestres and nobody in your organization having never learned the art, and having no clue about the authentic arts of my Afrikan ancestors.
The enemies of our art who are also the most implacable enemies of Afrikan people, freedom for anyone who is not them [ regardless of gender or color ], and fairness for anyone who is not them [ regardless of gender or color ] , have forced this change in Brazil and propagandized the rest of the world with this same flawed outlook purely for the purposes of self aggrandizement and ensuring that they remained in power. But that will be delved in moreso in upcoming blogs, despite the fact that I will refer to this fact a few more times prior to the end of this blog.
The first locus for this hybridization which took root was near the areas of encroaching slavers. Because of the necessity all encompassing necessity of combating these rapacious invaders, hybridization began to spread to both the Afrikan ethnic groups immediately contiguous with the slavers and most especially it spread [slowly ] within the Americas. The successful revolution of Haiti, the magnificent battles of the unsung but wonderful warriors of John Horse in the USA all the way down to teh bottom most point of Chile in South America...and literally everywhere in between, inclusive of the mighty "Invisible Queen" known as "Queen Nyabinghi" in Jamaica all the way down to literally every area that Afrikans inhabited in Europe or the Americas can trace their most dreadful Afrikan slave revolts directly to the spread of this hybridization amongst Afrikans. Not to say that powerful and nigh incessant smaller but aggravating revolts, uprisings, etc didn't happen prior to this hybridization. I am saying that...with the commingling of various Afrikans of various Afrikan groups with the "Afrikan Americans" who have spent a generation or more among their slaving captors...a hybridization of technique and tactics occurred which led directly inexorably and repeatedly to the most severe and consistent and successful uprisings. History again bears this out without any form of factually valid doubt.
This same hybridization also spread to the Orient, as many Afrikans were reintroduced to the Orient via the encroaching Portuguese and Europeans upon the kingdoms and lands of the Orient. There came a hybridization of established Oriental arts with Afrikan arts...a truly interesting thing, because the Afrikan arts are the root and seed of all Oriental arts and all arts of Southeast Asia as well. But again, that story is so huge that it belongs to other blogs. Right now,the focus is upon the deliberate destructive lies told to all of us about the Montu miscalled "capoeira", and its continuous divisive affect upon the races and classes of humanity.
This hybridization...over the centuries...is what led directly to the formulation of my family art of NJIA UHURU, and which leads directly to what I do and show in my videos. More about that topic later.
Let the focus of this blog return back to the time of the beginning of the combining, coalescing and hybridization of Afrikan arts in response to the relentless racist pressures and horrors of slavers as we fought the Maafa..."The Great Holocaust"
This reality...the hybridization of Afrikan Montu [ the fighting arts of Afrika ] terrified the Portuguese and Brazilians so completely that they did everything they could to control the art; and when they failed they hid the history involved in order to prevent knowledge of what happened from spreading amongst especially Afrakan people. That story is so big and significant that it requires several more entries in this blog series.
Centuries later in the early 20th century, only after the police forced many many changes in the public matches held by "capoeiristas" did the art began to look like this, even when magnificent cognates of the art like Samuel Querido de Deus used the art in public matches. Note the emphasis on PUBLIC matches.
According to a surviving vivid description of the match between Samuel Querido de Deus [ Beloved of God ] and Onca Preto [ Black Panther/Leopard ] written by the famed anthropologist Landes nearly eighty years ago [ 77 years before the time of I wrote this blog in 2015 ], Landes took special note of the police requirements. She was unaware of how huge the restrictions of the police upon the "capoeirista" actually were, but she did know enough to note:
"...Beloved of God swayed on his haunches while he faced his opponent
with a grin and gauged his chances. The fight involved all parts of the body
except the hands, a precaution demanded by the police to obviate harm..."
I repeatedly emphasize PUBLIC matches because...according to Mestre Noronho and the others who were there and left records and cited police reports...the REAL fighting art was much more vicious and merciless. It retained "the true poison" of the arts that I showed from Afrika above, when adapted to deal with modern day threats and self defense needs. Mestre Noronha made this point very clear when he recounted the incident of El Barulho Grande at Curve Grande in 1917 or so...when he was merely a boy. Mestre Pastinha also spoke of the art of Kipura/Capoeira around the docks as "a violent fight, nobody can restrain it...I saw it..." he spoke of how oftentimes malandros would "...use the moves to avenge themselves on people or confront the police..."
Police reports of the time show without question that Pastinha and Noronha were speaking truthfully. In fact, they UNDERPLAYED how deadly the warriors of Kipura were at that time. These warriors were masters of self defense and malandragem, capable of pulling off ambushes and whirlwind attacks from any distance or position. Their deceptiveness was legendary, their speed, skill with the knife club gun stick foot fist head knee elbow kicks etc were unequaled. They were feared for their takedowns sweeps and throws which frequently put opponents in the hospital or...if the fight happened on the docks...frequently KILLED their opponents by throwing them into the ocean or near moving boats where the unfortunate victim would be crushed to death by the passing boat. Oftentimes opponents would be rendered nearly unconscious by violent blows and clubbings or knifings BEFORE they were DELIBERATELY launched into the oceans by the docks, never to be found again. Many a racist brutal police officer found his demise at the hands of a justice dealing "capoeirista" that way.
The takedowns themselves were so violent that...even on the ground, whether it's a dirt road or pavement, wood floor or carpet...unconsciousness and broken bones were frequent occurrences. Again ,this is not a guess. Merely look at the police reports of the time and the anecdotes of the people of the time, as works like the Brazilian focused scholarly research done in the work: "A BRIEF HISTORY OF BRAZIL" resoundingly prove. It also mentions in passing both maculele and maracutu, which were so clearly hyrbridizations of the Afrikan empty hand fist total body and weapon arts that the practice of these arts were heavily outlawed and ostracized as being both Afrikan and nonBrazilian.
CLICK HERE TO READ PAGES 116-117 OF THE SCHOLARLY WORK ON BRAZIL CALLED "A BRIEF HISTORY OF BRAZIL"
Even Brazilian history proves that the REAL art shows warriors who practice like I do. They're fast, cunning, agile, athletic, smart, dextrous, usually armed, and devastating fighters with every part of the body whether armed or not. White Brazilians were TERRIFIED of this Afrikan warrior, and they did not conceive of the idea of turning the art into the national gymnastics of Brazil until the late 1880's. More than 300 years after Afrakans were already using the art with devastating success against incredibly difficult odds...both in and outside of Brazil.
I must emphasize over and over again that you must know the history of Afrika to understand the true skill sets and true history of "capoeira".
Simultaneously, you must understand that the Brazilian government and the whole of the politics and organizations of "capoeira"[since the Brazilian government took power away from Mestres Bimba and Pastinha ] are all dedicated to lying to you, in order to keep getting money from you and hide the true legacy fighting skill etc of our art. In this way, they continue to control you...and prevent people of all colors and classes from demanding equal justice and fair government for us all. And do it in a way that they can't stop by sending in police and military to beat jail and kill us.
Simultaneously, you must understand that the Brazilian government and the whole of the politics and organizations of "capoeira"[since the Brazilian government took power away from Mestres Bimba and Pastinha ] are all dedicated to lying to you, in order to keep getting money from you and hide the true legacy fighting skill etc of our art. In this way, they continue to control you...and prevent people of all colors and classes from demanding equal justice and fair government for us all. And do it in a way that they can't stop by sending in police and military to beat jail and kill us.
Now along comes Head Coach Ras of THE ATACX GYM STREET WARRIORS, and I bring out the real truth. The REAL truth that I am showing not only upsets many lies taught to the Brazilian people and the rest of the world by the lying racist Brazilian government, but it ALSO threatens your Cardio Capoeira Mestre. You pay your Mestre good money that you work hard for...in order to learn something that is completely useless in self defense and which they lie to you about. Your Mestre claims that he/she/they are Mestres of my ancestral art of self defense when they know NOTHING about it. I am one of the very very few who DOES know what I'm talking about, and practices what I preach.
The system I teach is called NJIA UHURU. It means "The Way of Freedom". It's 100% in keeping with the Afrikan philosophies of old, and originates from the combination of skill sets and fighting methods of ancient Afrika. My ancestors over hundreds of years adapted adopted refined improved upon and changed the fighting skills we had in order to better address the realities of the Americas and the realities of the modern world. That is why my system actually does what I say it does, and the Cardio Capoeira people don't. We REALLY CAN DO ACROBATICS IN FIGHTS THAT ACTUALLY WORK AND MAKE SENSE. Literally nobody else in the world does.
Here's further proof that the your Cardio Capoeira is NOT the authentic art. My Afrakan ancestors' authentic practice was legendary for stopping and defeating slavers, corrupt police, etc. Right? Well. Let's see what is happening in Brazil.
Here's further proof that the your Cardio Capoeira is NOT the authentic art. My Afrakan ancestors' authentic practice was legendary for stopping and defeating slavers, corrupt police, etc. Right? Well. Let's see what is happening in Brazil.
Young women and others from the favelas are tricked into working abroad and forced into sexual slavery or other kinds of slavery.
In the favelas of Brazil, Cardio Capoeiristas came to teach their Cardio Capoeira. They teach in the same favela that Simone Felipe came from. This is the kind of stuff they teach.
You know what happened after the Cardio Capoeiristas did their play above? The favela got worse, not better.
READ HERE TO SEE HOW CARDIO CAPOEIRA DIDN'T HELP THE FAVELAS
CARDIO CAPOEIRA DOESN'T HELP THE FAVELAS
See the guns used by the criminals there? Who is the only "capoeirista"teching gun and knife disarms that really work in real life? That's right, only me. I actually HELPED the people in the favelas.
READ HERE TO SEE HOW CARDIO CAPOEIRA DIDN'T HELP THE FAVELAS
CARDIO CAPOEIRA DOESN'T HELP THE FAVELAS
See the guns used by the criminals there? Who is the only "capoeirista"teching gun and knife disarms that really work in real life? That's right, only me. I actually HELPED the people in the favelas.
I also teach this:
Now, do you think that Simone and others would have been knifed to death if they followed what I teach? Or do you think they would do fine if they learned the Cardio Capoeira teachings?
This hits home especially hard for me, because when I was a child my father was going to move my brothers sisters and I to Brazil. Near the favelas of Bahia or Rio. I probably would have met Simone or someone like her. If I did? She'd be alive today, because I would have taught her authentic functional self defense techniques, instead of the trash taught in Cardio Capoeira.
This hits home especially hard for me, because when I was a child my father was going to move my brothers sisters and I to Brazil. Near the favelas of Bahia or Rio. I probably would have met Simone or someone like her. If I did? She'd be alive today, because I would have taught her authentic functional self defense techniques, instead of the trash taught in Cardio Capoeira.
Think about that. What are you doing with your practice that will really help you against the skills of any other stylist, or in a real life self defense situation?
If you're ready to learn the truly effective real deal training that I offer, complete with real acrobatic training that really works in real fights, and real Animal Styles, real Elemental Styles, etc. Come to my website.
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