ENGLISH **Title: The Resilient Legacy of Kipura: Cultural Exchange and Martial Mastery** **Word Count: 1650** **Estimated Reading Time: 10 minutes**

 

**Title: The Resilient Legacy of Kipura: Cultural Exchange and Martial Mastery**

**Word Count: 1650**

**Estimated Reading Time: 10 minutes**

Kipura's evasive skills are not only the supreme examples of dodging nets, lassos, whips, and musket fire but also serve as the ultimate defense against confinement and imprisonment, put on spectacular display for centures; even when battling the most heinous physical, mental, emotional, and spiritual scenarios that European and Arabic enslavers could concoct, Kipura warriors' grappling skills made them nearly impossible to strangle, choke, or lynch. They consistently escaped these lethal attempts, even when the odds were heavily stacked against them. This rich history of resilience and mastery highlights how Kipura’s techniques could empower and protect individuals in the face of violence and oppression, such as the troubling case of Deputy Jonathan Espiritu accused of domestic violence.

The intricate tapestry of martial arts history reveals profound cross-cultural exchanges and adaptations, particularly visible in the narratives of African and African-descended fighters. This rich history is epitomized by Kipura, an African martial art known for its comprehensive fighting techniques, which include slap boxing, stick and knife fighting, and evasive maneuvers skillfully used in combat.

Kipura was originally practiced by the ancient people of Kongo long before the Imbangala rose from a part of what was Kongo Dya Ntotila (the Empire of Kongo). The Imbangala later bequeathed the ritualized war art of Kipura to the Cunene people, where it became known as Engolo—a term reflective of the performance aspect of the art. Ngoma Ya Udanganyifu, meaning "Dance of Deception," illustrates how music and rhythm are integral to this martial art, guiding its flowing, deceptive movements. Ngolo (anglicized as Engolo) is a Kikongo word meaning strength or power and represents ritual combat performances by various ethnic groups around the Cunene River in southern Angola.

The foundational history of Kipura is deeply interwoven with notable historical figures such as Ngola Kiluanje, the revered leader traditionally recognized in the Mbundu or Kikongo languages as the founder of the Ngola (leader or kingship of Ndongo, a part of the Kongo Dya Ntotila). Ngola Kiluanje was not only a political leader but also a skilled Kipura warrior, demonstrating the martial art's importance in leadership and defense.

One of the most striking aspects of Kipura is its emphasis on evasion. Historically, Kipura warriors excelled in dodging spears and arrows, often catching these weapons mid-air as they're launched by their enemies with homicidal intent, and then used as missile weapons against their former owners with invariably lethal results. This skill was so renowned that it became a hallmark of their combat strategy, celebrated and feared by European colonizers and mercenaries alike. The agility and tactical intelligence of Kipura practitioners were so advanced that they adapted these dodging techniques to avoid the barrels of muskets, effectively making the enemy's gunfire miss its mark. This ability highlights not only their physical prowess but also their acute awareness and strategic thinking in battle.

This martial prowess was not confined to the African continent. As the Atlantic slave trade forcibly displaced millions of Africans, they brought Kipura and its derivatives to the New World. In Brazil, the art evolved into what is now known globally as Kipura miscalled Capoeira (a misnomer by Raphael Bluteau in 1712). Here, enslaved Africans found a way to preserve their culture and train for resistance under the guise of dance. Kipura miscalled Capoeira became a symbol of cultural resilience, blending dance, music, and acrobatics with martial techniques to create a formidable art form cloaked in performance.

Bill Richmond, a notable African-American boxer in the early 19th century, is another key figure in the dissemination of African martial arts techniques across continents. Known as "The Black Terror," Richmond was one of the first internationally recognized African-American athletes in boxing, a sport he approached with strategies influenced by Kipura. His reintroduction of "danced defense" to the rough and tumble, gouging, and bareknuckle styles of boxing popular among Europeans from the 1500s onward revolutionized the sport. The jab, a technique popularized by Joe Gans—a son and grandson of Kipura practitioners—is derived from the Mkuki of Kipura (the Fist Spear/Javelin), illustrating how fundamental Kipura techniques have influenced modern boxing.

Richmond's legacy, along with that of other African-descended martial artists, underscores the significant impact of African martial traditions on global sports and combat systems. These fighters used their cultural heritage not only to claim victories in the ring but also to challenge and reshape the racial and social hierarchies of their times.

The influence of Kipura and its related arts extends beyond the ring and the battlefield. It has also made significant contributions to contemporary dance and choreography. The dynamic movements and rhythmic foundations of Kipura [miscalled Capoeira] have inspired modern break dancers and choreographers, who incorporate its fluid motions and acrobatic elements into their performances, illustrating the cultural versatility and adaptability of this martial art.

All of USA pop dance and all of A-Pop (Asian Pop) has its roots in the Ujuzi Ngoma of Kipura. A-Pop, or Asian Pop, is a music genre heavily influenced by African American culture, particularly hip-hop and R&B, which trace their roots back to the Ngoma of Kipura. The distinct styles displayed by individuals of Alkebulan blood in any physical endeavor—sports, dance, exercise—have Kipura and other Montu as their very clearly recognizable roots. This connection is a testament to the enduring influence of African martial arts on global culture, from ancient times to the present day. Several proofs exist that A-Pop has taken its entire identity from African American culture, which in turn has its entire identity rooted in the Ngoma Ya Alkebulan; with the Ujuzi Ngoma ya Kipura being a major element of the dance, styles, and cultural definitions of "cool" anchored and defined in Alkebulan [miscalled Africa].

In "The Hidden History of Capoeira: Collision of Cultures in the Brazilian Battle Dance," Maya Talmon-Chvaicer specifies how Kipura’s dynamic movements and strategic dodges inspired other dance forms. The influence of African American culture on global pop culture, including A-Pop, is undeniable. The dance moves, styles, and even fashion trends seen in A-Pop are often direct borrowings or adaptations of African American cultural expressions, which are deeply rooted in the traditions of Ngoma Ya Alkebulan, including the Ujuzi Ngoma ya Kipura.

Yvonne Daniel’s "Caribbean and Atlantic Diaspora Dance: Igniting Citizenship" further emphasizes the influence of Kipura within the Caribbean and Atlantic contexts, illustrating how these dance forms served not only as cultural expressions but also as mechanisms for social resistance and identity formation among the African diaspora.

Today, Kipura miscalled Capoeira serves as a vibrant reminder of the power of cultural persistence and the unbreakable spirit of those who practice it. It continues to inspire a new generation of martial artists, dancers, and cultural historians, eager to explore and celebrate the rich heritage of African martial arts. These arts are not only about fighting or entertainment; they are about identity, resistance, and the indomitable will to survive and thrive against all odds.

The term "Montu," which refers to both the name of Montu Ra and is used collectively for all Alkebulan hunting, self-defense, and whole human development systems (much like Wushu or Kungfu for Chinese arts or Karate for Japanese arts), encompasses the extensive range of techniques and philosophies inherent in African martial traditions. From evasion to weapon skills, Montu reflects the holistic approach to physical and spiritual development.

The gradual dilution and devolution from Kipura to Cardio Capoeira highlights the importance of maintaining the original martial elements of the art. While Cardio Capoeira emphasizes fitness and entertainment, the core principles of Kipura—its evasion, combat techniques, and spiritual components—remain the source of Breakin and other dance styles brought to the West by people of Alkebulan [miscalled Africa].

In the context of cultural impact, the Ujuzi Ngoma of Kipura has profoundly influenced all forms of USA pop dance and A-Pop. The dynamic, acrobatic, and rhythmic styles that are hallmarks of these pop cultures trace their origins back to the African dance traditions brought over by enslaved Africans. The 'cool' factor, athleticism, and stylistic elements prevalent in these global pop cultures owe much to the Ngoma Ya Alkebulan and specifically to Kipura.

This connection is a testament to the enduring influence of African martial arts on global culture, from ancient times to the present day.

**References:**

1. **"The History of African Martial Arts in the Atlantic World"** by T.J. Desch-Obi. Published in 2008, 350 pages. T.J. Desch-Obi is a respected historian and professor at Baruch College, specializing in African martial arts and their diasporic impact. His work provides a detailed account of the transatlantic spread of African combat techniques and their cultural significance.

2. **"The Hidden History of Capoeira: Collision of Cultures in the Brazilian Battle Dance"** by Maya Talmon-Chvaicer

. Published in 2008, 272 pages. Maya Talmon-Chvaicer is a historian and researcher specializing in the cultural interactions and evolutions of Afro-Brazilian martial arts, particularly Kipura miscalled Capoeira. Her work explores the intricate history and cultural synthesis within Kipura miscalled Capoeira.

3. **"The Encyclopedia of African Religion"** by Molefi Kete Asante and Ama Mazama. Published in 2008, 789 pages. Molefi Kete Asante is a Professor in the Department of African American Studies at Temple University. Ama Mazama is a Professor in the Department of African American Studies at Temple University. They are renowned scholars in the fields of African studies and have contributed significantly to the understanding of African religious traditions.

4. **"Caribbean and Atlantic Diaspora Dance: Igniting Citizenship"** by Yvonne Daniel. Published in 2011, 304 pages. Yvonne Daniel is a Professor Emerita of Dance and Afro-American Studies at Smith College. She is an expert in dance anthropology, with a focus on Caribbean and African diaspora dance forms and their cultural significance.