HOW AFRIKAN MASTERS OF THE SWORDS OF KIPURA CHANGED THE WORLD
YASUKE, MASTER OF KIPURA...JAPAN'S GREATEST SAMURAI?
This particular topic came to me when I...for the hundred trillionth time...had to dispel some the persistent, vicious untruths about Afrikan warriors [ which most people know nothing of ] and Afrikan self defense and war arts [ which most people still don't know exist ].
The particular instance that encouraged me to write this specific blog entry revolved around the skeptical questions and responses of...shall we say, an acquaintance of a friend of a friend...who witnessed me practice with my practice weapons.
This "acquaintance of a friend of a friend" was the kind of guy who felt that his observations and opinions would improve every human interaction. He saw me working basic movements and...utterly miscomprehending what was happening...started making not-so-"sotto voce" criticisms about my technique, stances, attack selection, and how everything I did was evidence of deep amateurism and lack of real world fighting experience or skill. Over the next several rounds of my work, he would observe me and...not having any notion of what is going on...continue to make derogatory comments about how I kept myself wide open for the most basic attacks that "any noob could hit your Black friend with, and an experienced guy like me? Forget it!"
Of course, he was directing his comments to the handful of attractive women who stopped to watch me work weapons and were plainly enjoying what they saw. Yeah, he was one of THOSE guys.
After ascertaining to his satisfaction that my skill level was below his, he began to offer suggestions [ feigning politeness ] from the sidelines. I didn't take a single suggestion of his, instead politely explaining that I wasn't doing what he thinks I'm doing.
If I were to infer anything about his training from the terminology he used, I would guess that he was one of those noncontact JKD Concepts guys. After watching me move until he couldn't stand it anymore...and was now burtsting with overconfidence that he could defeat me...he asked me if he could come to me and show me with the practice blades and sticks what he is trying to TELL me, but which I'm not getting.
With a smile straight from Eshu and Anansi, I said: "SURE! Thank you for the offer!"
He tried to show me Heavens 6. I disarmed him and took him down, ending with my stick at his groin. The ladies gasped in shock and a few said: "Holy FUCK, dude! Shit was NICE!"
He was more than a bit miffed, and more than a bit embarrassed to be handled so thoroughly in front of the ladies. He protested. When I released him from the pinioning hold that kept him precisely where I wanted him so that I could land the groin strike, he hopped back to his feet. Recovered the sticks. The practice weapons are incapable of inflicting serious harm, but because they're made of hard rubber [ and my other pair is of wood ] they could give you a good knock. Emboldened by this and needing to regain lost "face", he came at me faster and harder than before. Swinging his sticks in those sweet Heaven and Earth patterns.
I disarmed him. Took him down. Stopped a head butt to his grill and a groin kick to his exposed testes. When he belated tried to defend his nads? I dropped a stick strike at his throat.
The ladies were like: "OOOOOOOOOOOHHHH! HAHAHAHAHA!!!"
I helped him back to his feet. "You're GOOD!" I said with the slick, shaded but impertinent, insincere glibness and smile of Anansi.
He mumbled: "Thanks," then too late realized that I wasn't giving him a compliment. And flushed an even deeper shade of embarrassed red.
He gave it one more go. After all, he was 6 inches taller, 40 pounds heavier. This should have been a cakewalk for him.
Disarmed him with The Hooks of Anansi. Took him down with a version of Nyani Rahisi called Sokwe Rahisi Kumenyana Ya Ogun. He was twisted up like a pretzel in a torquing maneuver which didn't have any specific name in European arts, but which made him look like a twisted kite crash landed onto the grassy sward I was practicing on.
"WHOOOAAAA!!!" the ladies and new guys chorused.
That was enough for this guy.
After he got back up and returned my practice weapons to me, this "acquaintance of a friend of a friend" asked me:"Do you practice with swords?" I said: Yes. He queried: "Who taught you the sword?" Upon my answer being: "My Uncle Bobby and later...a combination of my Uncle Bobby and myself." He kind of wrinkled up his face and kept asking me questions.
Immediately I saw where his line of questioning was going: He was pressing me in order to find a nonAfrikan source for my skills.
My skill with the katana, for instance, he insisted had to come from Japanese swordsmen. I asked him if he has ever seen classic Samurai training include the unending litany of agile, precise, effortless movements that mark Afrikan warriors and Afrikan arts more than any other. He said: "No." Then I asked him:" So why do you think that there must be a Japanese source for my skill with the katana?"
His response is that the katana is a Japanese blade [ and it IS ], therefore he thought it sensible that my skills were of Japanese origin. Despite the clearly Afrikan stamp of my movements, and the Afrikan names for the bladed techniques that I use.
I informed him that the entire bujutsu of Japan comes directly from the Montu of the Afrikan Ainu who settled Japan. He had no idea who the Ainu were, so...I SHOWED HIM THIS. NOT ONLY WAS HE SURPRISED BY THIS INFORMATION OF THE AINU, HE WAS DOUBLY DISPLEASED WHEN HE FOUND OUT THAT HERACLES AKA HERCULES AND ZEUS WERE ALSO BLACK.
I told him that the Blackness and Afrikanness of not only Zeus but MOST of Greece's Gods and Goddesses were old news. THE RHODES SCHOLAR MARTIN BERNAL HAD LONG EXPOSED THE HYPOCRISY AND RACISM OF SO-CALLED GREEK HISTORY BY EMPHATICALLY PROVING THE BLACKNESS OF THE HELLENISTIC DEITIES AND A LOT MORE STUFF, BESIDES.
He looked like he was going to have a coronary right there.
On top of the coronary he was having, I stated that amongst the very greatest ever Samurai...if not thee greatest ever Samurai...was a real life but legendary Afrikan of the Empire of Kongo [ some debate whether he was born in Mozambique or Kongo proper, but both are part of The Empire of Kongo so the point becomes moot in certain specific arguments ], master of the art of Kipura, the famous and mighty Yaskuke.
Yes. I said; "...master of the art of Kipura..." The same Kipura that my Njia Uhuru Kipura is descended from. Jaw dropping skill with blades, clubs, knives, quarterstaff, short staff, small dagger, guns, small and large blades etc were commonplace for Kipura warriors and frequently reported upon by awestruck Europeans and Arabs.
YASKUKE WAS SUCH A POWERFUL AND SKILLED WARRIOR, THAT THE FAMOUS MANGA AND ANIME "AFRO-SAMURAI" WAS INSPIRED BY AND LOOSELY BASED UPON HIS LIFE. [ CLICK THIS SENTENCE OF CAPITAL LETTERS TO SEE A BIOGRAPHICAL ARTICLE ON YASUKE ].
The poor child keeled right over on the spot. So, I engaged the small but attentive crowd of young to upper middle age men and women who'd spontaneously gathered to watch me train. I said to them like a Griot or Bard of Old...
...Oh, but don't forget! There are mighty Afrikan warrior women, queens, princesses, priestesses, and just flat out badass testicle thrashers like KAIGIRWA OF UGANDA, WHO NEVER LOST A ONE ON ONE FIGHT WITH ANYONE; MAN, ANIMAL, WOMAN OR COMBINATION OF THE ABOVE. [ CLICK ON THIS LINK TO READ MORE ABOUT HER ]
Kaigirwa kicked the living crap out of the British for YEARS, before disappearing into the hills. Never to be captured. Her amazing spiritual and fiercely brilliant contemporary warfare against the British of course found its way directly here to the USA and just as certainly was both heavily impacted by Kipura, and in turn heavily impacted the evolution of Kipura. This was inevitable as Uganda is a landlocked neighbor of The Central Afrikan Republic, the various Sudans and of course Kongo.
The poor guy....the acquaintance of a friend of a friend...recovered enough during my telling of Kaigirwa and answering questions about her to ply me with more questions. He was at first quite plainly skeptical about the accuracy of my words. He frowned heavily at the notion of fantastic Afrikan warriors with incredible victories against Europeans, and said: " I never heard of anything like that before" in a way that made it clear that what he was REALLY saying was: "That's bullshit, buddy!" ]
One Google sweep later? He was still salty like the Oceans but...he had to acknowledge the facts.
I urge you, my friends, to read the material provided in the links above to help expand your knowledge and appreciation of our human journey, and the many overlooked, truly amazing people who have made the right now possible. Starting with Afrika, the continent you know the least about.
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I'm going to quickly share with you the important history about the art of my family, Njia Uhuru Kipura.
Njia Ya Kupata Uhuru Kwa Kutumia Kipura..."The Way of Getting Freedom Using Kipura"...is the full real name of my family's art. But that's a lot to say. So we shorten it to "Njia Uhuru Kipura". Kipura's Way of Freedom or The Way of Freedom. As we all know, my family's Njia Uhuru Kipura is descended from the original Kipura of Kongo, the devastating war art that was probably created in BAMBA, the war capitol of Kongo. http://bit.ly/2fjGNv1
This BAMBA OF KONGO is the same BAMBA that Capoeiristas in Brasil sing about in their oldest songs like EU SOU BAMBAREAD HERE TO SEE THE SONG EU SOU BAMBA
In these songs? These "Capoeiristas" acknowledge that they are actually Kipura warriors from the region of Bamba.
The Kipura of Kongo created every single legend of "Capoeira" in Brasil, as all of these warriors are actually warriors of Kipura. Not "Capoeira". The Portuguese term "Capoeira" is the result of the mispronounciation of the correct word "KIPURA/KIPULA" of the KiKongo language of Kongo. "
"Capoeira" was first used in public documents in Brasil during the year 1712, 207 years after Afrikans were already using Kipura to defeat Brazil, Portugal, the Dutch and occasionally the Spanish in wars in or near Brasil. https://
This same art and/or its cognates was used everywhere in the Americas that Afrikans traveled, including the USA...where it was also called Knocking and Kicking. The Afrikans in the USA called The Gullah and The Geechee used this cognate of Kipura to fight and win a 50-100 Year War, establishing their independence and freedom during American Slavery. https://books.google.
We can see the overarching impact of Kipura on both Jailhouse Rock and 52 Blocks, which themselves are hybrid portions of the more comprehensive and deadlier Kipura of Kongo. https://en.wikipedia.
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