african martial arts

Longshanks31 · Jun 14, 2007

does anybody know of any martial arts native/invented in africa, just curious i bet there has to be a continant that size and that diverse but ive never heard of any

Burbs · Jun 14, 2007

http://en.wikipedia.org/wiki/List_of_martial_arts

? mebe

slipthejab · Jun 14, 2007

Here's what appears to be a rather comprehensive listing. I can't vouch for it's accuracy... but it's worth giving a read. I've never seen much of African MA's outside of several types of wrestling. But that'd not be surprising as Africa doesn't make the newspapers or even the radar of the western world unless it's to show people starving, dieing of AIDS or involved in a civil war... oh wait... and maybe perhaps the quaint tribal person on a Discovery Channel show. :bang:

Music travels faster than martial arts do and still tons of westerners have no idea about African music... so it'd be no surprise at all to find that they have very little info on African MA's.

African Martial Arts

Yoruba Wrestling

The Yoruba people are to be found in modern day Nigeria. As part of their rites of passage into manhood, Yoruba men are required to perform: wrestling, horse riding, swimming and hunting. Throughout the year, men practice wrestling in villages up and down the country. (The rules and style resemble Nuba wrestling, see below). Then at special festivals known as Ijakadi, the men come together to show their prowess. Men who are successful in competitions or duels, receive a great deal of kudos and prestige. In ancient times, these competitions would confirm a man’s future status, as a chief or a warrior, but now the prestige is more ceremonial.

In other parts of West Africa, there are arts like Laamb in Senegal (click on www.earth2000.com/ho/wrest.html). There are two types of Laamb. In the first, opponents are allowed to strike with bare hands but in the latter, no striking is allowed. A win is secured, when the adversary pins his opponent ‘s back onto the floor (Like Judo or Greco Roman wrestling.)

Nuba/Nubian wrestling
The Nuba are to be found in present day Sudan. Without a doubt, the Nuba are the people closest in tradition and appearance, to the Ancient Nubians of antiquity. As can be seen from the pictures below, Nuba wrestling is almost identical to those of ancient Nubians. (See the images on the tombs and monuments dating from the 12th Dynasty of Ancient Kemet/Egypt). In antiquity, the Nubians were known as the greatest fighters in the world and this reputation lasted until the time of the Ancient Greeks (see Herodotus). This means that Nuba wrestling is the oldest unbroken system of martial arts. In the Nuba Mountains and throughout the present day Sudan, Nuba practise with weapons and also use an empty hand technique similar to Aikido.

Nuba Wrestling is the original martial art that all of Africa, Asia, and Europe later came to benefit from".
Nuba wrestling is still practiced today in the South of Sudan as parts of Rites of Passage.

Capoeira Angola

Capoeira Angola has its roots in the Bantu tradition and was used by the enslaved Africans of Brazil as a form of training for war. In keeping with African war strategies, Capoeiristas masked the art's effectiveness from plantation overseers. Then and today, to uninformed onlookers, the art appears to be a harmless acrobatic dance to music.

Authorities eventually learned of its power during conflict with Africans in Bahia and other Quilombos. They outlawed the practice, with death being the penalty for involvement. Capoeira was so troublesome, that penal colonies were later constructed for the imprisonment of capoeiristas. For years Capoeira was practiced in secrecy and was not lawful to teach or learn until after the 1930s.

Other African Martial Arts thanks to Hu Ren Qianzai Long

African Diaspora

Akeru
is a program opened as a workshop to teach African. It is based on Afro-Brazilian Dance, martial arts, culture, discipline, and philosophy.

Kamau Njia
Kamau Njia, which means “Way of the Silent Warrior” in Swahili, is based on instinctive movement, practical concepts, and sound principles. This is coupled with the ability to develop skills from an individual’s natural defensive and offensive movements. These skills are thoroughly enhanced through "real time" training scenarios against grabs, strikes, weapons, and ground attacks. Through these training scenarios, students are better prepared to function during the pressure and distress of violent attacks. Derived from a variety of martial arts styles.

Kiungo Cha Mkono
(a.k.a. "Shackle Hands" and "The Shackle Hand Style") is an art developed by Master Nganga Mfundishi Tolo-Naa from traditional African arts. The hands are linked together based on the concept that two hands are better than one. It is also symbolic of Africans in slavery. It takes traditional blocks and strikes and combines into one action. This defence can be practical in application, but it is more flashy than anything. There are three levels, 1) hands joined at the wrist, 2) hands are separated, and 3) hands are crossed as the Egyptians are often depicted. The last being the highest level and symbolizes spiritual cultivation.

Kupigana Ngumi
Known as the "Essence of African Martial Arts," Kupigana Ngumi is a comprehensive term that is inclusive of all Afrikan Martial Arts systems. Recognized for its rhythmic dance like movements, Kupigana Ngumi was founded in the 60's by Shaha Mfundishi Massi and Nganga Mfundishi Taloo-Naa. Kupigana Ngumi Is a complete system designed around four areas of training, namely: Cultural, Emotional, Mental and Fitness.

Mshindi Vita Saana-
“Mshindi Vita Saana" is Kiswahili for "Champion War Art" or Victor('s) War Art. Mshindi Vita Saana is a system of self defence developed for and by people of African descent (African Americans.) Using an African frame of reference, Mshindi Vita Saana approaches self defence using rhythm, strategy, coordination and agility to highlight traditional and contemporary movements. At its core, Mshindi Vita Saana reflects the graceful elaborate polyrhythms found in African dance and music.
African Martial Arts- These arts are native to Africa

Jailhouse Rock (USA)
It is in the hostile racist environment of the United States Prison system that African martial arts systems that had survived slavery evolved into the gloriously mutated manifestation known as “Jailhouse Rock”. Having been brought into the penal system via ex-slaves, various styles emerged within different prisons. Since the African language had long been forbidden and forgotten, new regional names were developed to reference the art. Some of them are Jail-House-Rock, Closing Gates, 52, 42, Strato, PK, Mount Meg, Comstock, Gorilla, Barnyard etc. Due to the contemporary politics of the United States and the profitable running of prisons by private corporations this lethal art continues to thrive as a functional necessity of modern African Americans.

Kwa Asilia Avita Sanaa
Kwa Asilia Avita Sanaa is a deadly fighting art that can be used as an educational system, a competitive sport, and a form of self-enlightenment. Although Kwa Asilia Avita Sanaa attempts to remain consistent with the fighting systems of ancient African warriors, it does not emphasize the traditional methods of guerrilla warfare (Ambush, Assassination, and stealth). Instead emphasis is placed on internal development, meditation, breath control, and healing which includes medical gymnastic (self-defence techniques).

Mani
Mani, a fighting-dance martial art, grew in 19th century among slaves of sugar plantations in Cuba. Only the men take part in it. The dancer in the circle does movements simulating fight, and chooses a protagonist among the others men of the circle. Then the elected "adversary" comes in the circle, and, in harmony with the other dancer, executes a choreographed routine of movements, between fight and dance.

Koko Makaku
The walking stick, Koko Makuku, was in fashion in Curaçao in the early 20th century. In addition to being used as a walking stick, the "koko makaku" was also used as a defensive weapon and for cultural and sports activities. Among these were stick-dancing, stick-fighting and the tambú game 'blood for the drum', thus reports René Rosalia in his contribution to the 'third seminar on Latin-American and Caribbean folklore', which took place in Curaçao in 1990. Stick-fighting, performed during tambú feasts, is also mentioned by father Paul Brenneker in his series "Sambubu".
As in the old times practically every man went out with a stick, the development of the game of sticks was obvious, according to Brenneker. "The game of sticks was not bound to seasons or festivities and in former days it used to be played on Sundays, at approximately 4 o'clock in the afternoon. It was a game of skills. Each of two men held his stick at the ends, approached the other and danced and jumped around to the rhythm of the singing and clapping of hands of the spectators. A drummer would beat time. The men were supposed to defend their own head with their stick and simultaneously make efforts to strike the opponent with it on his head. They manipulated the sticks masterfully. If one of them saw an opportunity to deal a blow to the other on his head, he would be the winner. If the loser bled from his head wound, the bystanders would shout: "sanger pa tambú" (blood for the drum). The loser had to let some blood flow on the skin of the drum." This was made from a wine or rum barrel.

Bénolè
(or Bénolin) a stick fighting art of Guadeloupe.

Mayolet
(or Mayolé) Mayolet is a stick fighting martial art from Guadoloupe. It was developed from Danmyé.

Sové Vayan
(or Sovayan) a stick fighting art that was created developed in Guadeloupe

Pinge
A Haitian martial art developed by the African slaves residing there. Developed for the same reasons as Machet’e and Capoeira

Bangaran
A martial art developed by the maroons of Jamaica. Bangaran is taught from generation to generation.

Machet’e
A Jamaican martial art developed by African Slaves out of a burning desire for freedom.

Danmyé (a.k.a. "Ladja")
Is the first martial art to ever be practiced in Martinique. Some slaves from Senegal and elsewhere, that were on their way to the island of Gorée, created a fighting art inspired by the initiation ceremony of "N’golo", which symbolized the passing from adolescence to adulthood and included a confrontation which took the form of a fight. Fights were practiced in festivals, village fairs, and appointed fights until 1947, when the authorities banned Danmyé. There are many places to practice: in pits, in front of a bank, during carnivals, and bèlè events The wrestler has to get the upper hand of his opponent while respecting the drummer's pace. A fighter can win by referee's ruling after a decision blow, one fighter being hit more than the other (amount of points in a 2-minute fight), lifting your opponent off the ground, or being immobilized on the ground (Kakan). It combines strikes with wrestling and grappling skills. The wrestlers determine the fighting space by dancing around in a ring to the rhythm of the drum, known as the introductory stage of the fight. The wrestler then draws an invisible circle which represents a magic space and any person entering the circle is an opponent. However, all strikes must be restrained and given without intending to hit. They can only be given to drive the opponent to refuse a hand-to-hand fight. The wrestler has to hit and move in harmony with the rhythm or the guilty party would be disqualified. The main goal is to score more points than the opponent does and hit without being hit.

Kalenda
(or Kalinda) It is believed that kalinda began around 1860 when the freed slaves organized themselves into competing bands and held performances. Men, women and children gathered to sing, dance and be entertained by stick fights. The aim of each stick fighter was to deliver a blow that would hit the opponent on the body - any part above the waist - hard enough to fell him to the ground. Blows were usually aimed at the head and damage to the skull was a very common occurrence in stick fighting. The rules of the game were few. Hitting “under the belt” or striking a player when he fell or was forced to kneel was an infringement. Again, as long as a player's skull was cut he had to retire and drain the blood into the "blood hole", a hollow made for this purpose in the ground in the centre of the fighting ring. The stick used was between three and four feet long and was about seven-eighths of an inch in diameter. It was made of cog-wood, the wood of the yellow poui tree or even the sour guava.

Trinidad Stick Fighting
(a.k.a. 'Bois' or 'Sticklick') is an art from Curacao. It was confined to two communities, Mt. Desire and La Resource. A conch shell is blown to call the drummers and the batonniers to the ring. There are many stances, the main is to hold the stick with 2 hands in front of your face for defence and let swing down to which ever way you need. The object is to strike your opponent while moving away artistically to make them look foolish. It is a serious full contact art that can open gashes on the head and chest. Music is very important in most African arts and this is no exception. When the contestants get in the ring, different songs are played on the drums to help the contestants along.

Bate Coxa
Used by Africans of bigger stature, the object of Bate Coxe was to knock the opponent down using collisions of the thigh. Bets, of money or even women, were made. A predecessor of Capoeira.

Batuque
(a.k.a. Capoeira Batuque) Batuque is supposedly much like Capoeira (and one of it's many predecessors), but much more dance-influenced. Much emphasis on kicking.

Luta do Bode
A headbutting martial art used by the Africans in Brazil. The goal is to knock the opponents head till the death. For this reason, the art is little used today. A predecessor of Capoeira.

Susa
Susa is an art very similar (and may be a style of) Capoeira that is practiced by the Saramaccan and Ndyuka diasporic people of Suriname.

Broma
An Afro-Venezuelan martial art.

Northern Africa

Aha
(a.k.a. Kemetic Aha, Ahah, Kemet Mariama) Aha is a tricky form of boxing and grappling practiced by the Kemites. According to some sources, it was practiced exclusively by Kemetic priests.

Hikuta
An ancient Egyptian boxing art still used today. The basis for Hikuta is claimed to be the ancient art of Kuta. Today Hikuta is used for very modern reasons, mostly the defeat of criminals.

Naboot
Supposedly almost the same as Tahteeb, except that the fighters use longer staffs. *NOTE: Other sources say Naboot isn’t a martial art, but the name of the staff used in Tahteeb.

Sebekkah
A native grappling art of Egypt. According to one of our Martial Talk posters, Sebekkah requires much waist power in its movements.

Tahteeb
Tahteeb is played mostly in the Northern regions of Egypt by tough men young and old who enjoy the challenge of a good fight, also it is a great way to show machismo and rack up potential brides. Like Surma stick fighting of southern Sudan, Tahteeb is played only by men and can get very bloody when two opponents do not particularly like one another. When Tahteeb is played nicely one man will attack and the other will only defend and then vice versa, but when men do not like each other and they play together suddenly the rules change and the real rules are announced: there are no rules. Due to the full contact aspect of Tahteeb, parrying and blocking are essentials to survival when playing the game, striking is the norm and joint locking is almost unheard off.

Ta-Merrian
An Egyptian martial art that is based on totem animal movements and spirit dances.

El Matreg
A North African martial art most commonly practiced as entertainment in Algeria. In this, two players fight using long sticks – the idea is to score points by outwitting and out-manoeuvring your opponent.

Nuba Stick Fighting
Rarely practiced today, traditional Nuba Stick fights are most commonly practiced among the Moro tribe. The stick-fighting is a contest conducted by, as the name indicates, a stick and a shield between two contestants, This sport is always carried out at the end of autumn and the beginning of harvest, and it is completely forbidden during the cultivation season, in case it puts the youths off their work. Stick fighting is part of the ceremonies that follow the harvest, in which thanks is given to God for providing a good harvest. It is embedded in the spiritual traditions of the people.

Toubata
A native wrestling art of Sudan.

Eastern Africa

Massaï
The fighting techniques and disciplines of the Masai people of Kenya.

Testa
Testa, or Riesy, is a brutal Eritrean head butting art. It may also include kicks, hand strikes, parries, grabs, etc. Hand, foot, and grabbing techniques are very intricate and are solely used in order to strike the opponent with the “Big Knuckle”, or head. A Testaman may even bite the opponent’s windpipe or groin out of pure desperation.

Dula Meketa
The stick fighting art of the Oromo people of Ethiopia.

Re-Efi-Areh-Ehsee
An Ethiopian martial art that is used as a way to convey cultural identity through a fighting system.

Surma
or Donga Stick Fighting, is a test of nerves and brute strength. The Donga of Ethiopia fought to prove masculinity, settle personal vendettas, and most importantly, to win wives. The 50 or more men who participate in each tournament represent different villages. The contestants fight in heats, with the winners going on to the next round until the competition narrows to two finalists. The winner of the last bout wins the entire contest

Kayti
Arguably the first of all weapon-based martial arts, Kayti represents the origins of all weaponry. Though centred in Africa (primarily Kenya), the roots come from all over Africa. Kayti is the predecessor to modern swordplay (from China) and the better known Islamic Kali (from Philippines).

Southern Africa

Bassula
This Angolan art's sole purpose is to immobilize the opponent. However, because of the high risk of injury, the modern objective is to only knock them down. A predecessor of Capoeira.

Gabetula
An Angolan art that supposedly involved punching that later contributed to the art of Capoeira.

Kamangula
An Angolan martial art and predecessor of Capoeira, this art is much like modern Slap Boxing, it consists of bashing your opponent open-handed.

N'gola
(or N’golo) An Angolan ritual martial art (used by the Bantu and Mucupis peoples) in which two males would fight in order to win a bride presented by the parents of the girl. The fight uses both hands and feet all to knock the opponent down. The winner would prove his bravery in order to receive his wife. A predecessor of Capoeira.

Njinga
An Angolan art that later contributed to the art of Capoeira.

Morengy
The traditional boxing martial art of Madagascar.

Isinaphakade Samathongo
an ancestral esoteric warrior system practiced by the Zulu and Xhosa tribes of South Africa. The system emphasizes strong combative techniques and ethical philosophy. It is used as an initiation into the “warrior-priest caste” of the two tribes.

Musangwa
A martial art of South Africa. It consists of punching, headbutting, earslaps, and knees.

Nguni Stick Fighting
Stick-fighting in Nguni-speaking areas of South Africa has an educational role, it teaches young members of society social values, gender roles, the worthy nature and respectability of physical endeavours. Zulu and Xhosa boys begin learning at an early age the utilitarian function of sport, sharpening physical skills and mental attitudes necessary for hunting game and combat. The rise of stick-fighting as a physical contest created a stage for young boys to assert themselves within a specific age-group, achieve a social identity in competition with others, and, possibly, achieve a degree of 'independence' unavailable to the common person.

Zulu Stick Fighting
(or Zulu Impi) Long past its days of glory, stick fighting is no longer a common practice among the Zulu people, and practitioners struggle to validate its existence in these days of political turmoil, acculturation, and modernisation. Nonetheless, stick fighting appears to assist in upholding the traditional social system by perpetuating socially accepted modes of male behaviour and ideals. Stick fighting, as a cultural tradition, therefore continues to fulfil its traditional didactic function in some Zulu communities.

Central Africa

Gwindulumutu
A head bashing style of martial arts from Congo

Kipura
A martial art of Congo in which the fighting techniques are based on that of a rooster's. Believed to be a predecessor of Capoeira.

Mousondi
a Martial art that later lead to the development of Kalenda.

Western Africa

Borey
Borey is from the Gambia it is a grappling art of the Mandiga; it consists of knees, head butts, kicks and holds to break the neck, leg, collar bone and arm. It is similar to Laamb.

Gambian Wresting
Gambian Wrestling is an African martial art that is a deep-seated tradition and national sport. The warriors wear loincloths called "Juju's" and strut, dance, spar, and brag in challenge of noisy support from the drums. The fight continues until a contestant is brought to the ground. Punching, kicking, spitting and flinging sand in the eyes is all legal. After sundown, the atmosphere builds with excitement as the champions come out to fight. Note: May be the same as Borey.

Peul
A martial art of Guinea.

Dambe
Dambe, or Hausa Boxing, is a fist fighting system from Nigeria consisting of kicks, punches, knees and headbutts. Dambe is a savage method of empty hand combat and a testament to the creativity of African warriors.

Gidigbo
A kind of Wrestling practiced by the Yoruba of Western Nigeria.

Igba Magba
A martial art native to Nigeria.

Korokoro
A ritual martial art intertwined with the Korokoro dance of Nigeria.

Moringue
A stick fighting art of Reunion.

Béri
A native style of wrestling from Senegal.

Borey
The art of Borey is also native to Senegal, and (in the Senegal style) consists of punching, kicking, headbutting, grappling, and joint locks

Dioula
a native martial art of Senegal

Laamb
Laamb (a.k.a. "Senegalese wrestling") is a wrestling art that takes place in Senegal. Before the event, the beating of the drums, along with the mellow voices of the singers, will alert everyone that it's about to start. The crowd would gather around a sandy pit and watch several bouts before the final bout of 2 champions. The fighters would wear "wrappers" around their waist, which would be provided by their fiancés or female relatives, and the rest of their body will be naked. The winner must knock his opponent's knees, shoulder, or back to the sand. Strikes and slaps are allowed nowadays.

Mkazo Ncha Shikana
African pressure point grappling. Most commonly practiced in Senegal.

N’oboro
A stick fighting art from Senegal.

Olva
A native style of wrestling from Senegal.

Evala
Evala is a wrestling sport practiced by the Kabye people of northern Togo. In wrestling competitions, boys try to prove their manhood by winning an Evala wrestling match and it is used as an initiation ceremony.

Zvaha
A native wrestling martial art of Togo.

Yuna Onse
An art that is very similar to Capoeira, as it is one of its many predecessors.
Click to expand...

source: http://www.mashufaa.co.uk/history.htm

Satsui_No_Hadou · Jun 14, 2007

Wow that was loooooooooooooong!

slipthejab · Jun 14, 2007

Just like African music... so many styles and variations... just mind boggling.
Though to be honest... I seriously doubt many if any at all are taught outside of Africa and are taught in the codified way that we generally expect martial arts to be taught.

slipthejab · Jun 14, 2007

too bad I've never seen any of the footage that these images come from. If I remember correctly the Nubian or Yoruba wrestler images come from a National Geographic article... I pretty sure I remember the same images when I was a kid.

slipthejab · Jun 14, 2007

A bit more on Nuba stick fighting:

the source for the following two bits: http://www.nubasurvival.com/Nuba Vision/Vol 1 Issue 2/8 Wrestling.htm

Nuba Stick Fighting

One of the famous Nuba traditions, well-known from the pictures of George Rodger and Leni Riefenstahl, is stick-fighting. This is rarely practised today. One of the Nuba tribes most well-known for stick fighting is the Moro.

The Moro area, which is located half-way between Kadugli and Talodi, is occupied by the Moro tribe one of the largest tribes in the Nuba Mountains . The Moro people maintain and practice very ancient traditions as long as they live. There is no way that these traditions , as part of their ancestral heritage, be abandoned.

The stick-fighting is a contest conducted by, as the name indicates, a stick and a shield between two contestants, This sport is always carried out at the end of autumn and the beginning of harvest, and it is completely forbidden during the cultivation season, in case it puts the youths off their work. Stick fighting is part of the ceremonies that follow the harvest, in which thanks is given to God for providing a good harvest. It is embedded in the spiritual traditions of the people.

The fight always begins by an invitation from one tribe to another. The invited tribe may detain the dispatched envoy just for provocation and excitement. The hosts have to make their way to fetch their messengers; and, thereafter, they engage in fighting. Another way of starting the competition is by symbolic provocation. For example, a man, aged 17 - 20 years old, may hold the hands of his rival’s fiancée for a couple of minutes, or cut her bracelets made from beads. When a would-be her husband hears about this, he instantly declares the fight by tying a handkerchief or piece of cloth on his competitor’s house at night, so that the contending should begin in the next morning.

The fight can be between two individual fighters from different villages, or between two villages themselves, fighting collectively.

There are special arenas set aside for this fighting where every athlete arrives with his equipment. Though the sport may be potentially lethal, every fighter ties ribbons of thick cloths or torn blankets around his body to lessen the effects of the stick blows. Some contenders put hats made of seeds or even mud on their heads for protection, and the heads are decorated with butter as indication of great wealth.

While the stick-fighting is performed, girls sing continually, praising one fighter as a bull, a leopard, an elephant or a lion; and, on the other hand, scolding the competitor as a coward, a hooligan and a womaniser.

Since the sport can be fatal, the participants say their prayers before heading to the assigned squares just in case they may come back as dead bodies. These stick-fighters can be Christians, Muslims or followers of African noble
spiritual beliefs. Before the beginning of the match, human circles are formed and, as a sign for starting the competition, the old or retired fighters initiate the game by skirmishes.

If one of the fighters is badly hurt, he will be compensated with a symbolic reparation, such as cow.

The stick fighting has merits and demerits. Its merits include:

1. It is a means of maintaining social and clan ties, since every one who travels outside the region is keen to return home for the occasion, so that he may not be accused of cowardice.

2. The fighter never commits adultery, nor does he philander with women, to maintain his stamina.

3. The fighter usually lives with cows in their fence, drinking their milk and looking after them.

4. The most important role of stick fighting is to inculcate the virtues of physical bravery and the ability to withstand pain. A good stick fighter will be a good warrior.

The demerits are:

1. The possibility of mutilation of the fighter’s face.

2. The breaking of his legs or arms that may cause a permanent disability, and even death in some instances.

Because of the dangers of stick fighting, in recent years the South Kordofan Advisory Council has restricted it. The fear is that young men will be injured or killed in this sport. At times of celebration such as SPLA day there are demonstrations of stick fighting but the old-style of combat is now very rarely found.
Click to expand...

slipthejab · Jun 14, 2007

A bit more on Nubian wrestling:

Wrestling in the Nuba Mountains: Past and Present

While watching Sudan satellite TV I was attracted by a programme called ‘Sudanese Wrestling’ in which Nuba traditional wrestling has been transformed in a way that distorts its uniqueness.

Instead of the familiar scenes of wrestlers in their traditional dress inside the wrestling ring surrounded by sabaras dancing and singing songs of triumph, the television shows wrestlers wearing trousers, a referee with a whistle in the middle of the ring and an audience who paid money to watch the event. A situation which is more like a football match than the traditional wrestling contest. Instead of hearing the wrestling familiar names like kura’a aljamal (camel’s leg), arba’a hamir (four donkeys), and Jebel Kuwa, we were told that the match was between aldababeen (militia formed by the government to fight in the South and the Nuba Mountains) and Hilal aljibal. Is it an attempt to modernize the Nuba’s ancient tradition or is it another form of cultural assimilation which has been directed to the region and its rich cultural heritage by the successive national government especially the one currently in power?

In this article I would like to shed some light on wrestling as a tradition that has been associated for so long with the Nuba people. A tradition that is deeply rooted in the Nuba life, and is almost practiced by every Nubian tribe. Even the Baggara Arabs, who used to live in harmony with Nuba for centuries, are practicing wrestling in addition to all the traditions associated with it.

To the Nuba, wrestling resembles not only a sporting occasion but a social event in which every member of the society takes a different part. Even young children in their early ages are no exception.

Leni Riefenstahl, in her book The Last of the Nuba (1976), describes the role of young children in wrestling as follows: ‘Young children, not yet able to walk properly begin to imitate the dancing and wrestling positions of their elders. From his earliest youth every healthy boy will prepare himself to become a wrestler. The children hold wrestling fetes among themselves and decorate themselves in a similar way to their older brothers and sisters. The best of them rise to higher and higher grades. Their heart’s desire is to be selected for ‘initiation’ by being the winner of the ceremonial wrestling matches, and then to be accepted into the highest grade of the strongest wrestlers’.

Wrestling ceremonial events

As a tradition, the ceremonial wrestling matches begin after the first dura harvest in November and December and last until the end of March. As a rule it is the Kujur and the council of elders who decide when and where a ceremonial wrestling match will take place. The wrestlers themselves and the rest of the community are not told until the moment. The frequency of the ceremony depends entirely on the harvest.

In very good harvest years, matches can take place almost daily during these months. Three ceremonies can take place in a row in the same place. When harvests are poor and the dura yield scarcely suffices for subsistence, ceremonies are rare or do not take place at all. In this context, wrestling may be regarded as a ceremony to celebrate a good harvest.

As soon as the decision has been made regarding the venue and date, messengers are sent out to offer invitation wherever there are good wrestlers. Usually the messengers appear at sunset since this is when the Nuba return from their fields. There are nearly always two messengers. One carries a large, triangular leather cloth attached to a wooden stem which the Nuba always carry with them for cult matters. When he arrives at a village he slaps the ground several times. The same process takes place before the wrestlers enter the ring. While one messenger is slapping the ground, the other blows a horn.

Soon the Nuba crowd, the messenger and the word of the invitation spreads quickly. Immediately boys run to the remote Zariba (cattle camp) in order to pass on the joyful news to all the potential competitors. In the Zariba, the

be competitors prepare themselves mentally and physically for the contest.

If the ceremony is to be a large one, with the most powerful wrestlers taking part, entire hill communities will attend, except for children and old people who cannot walk very far. If the site is very far away, they will arrange to arrive in the host village the evening before the ceremony, and they will sleep in their host’s house.

When the day arrived, everyone set out early - for twenty miles is too far to walk during the heat of the day. Everyone was decorated in some way with beads, ash, furs and calabashes which wrestlers usually tied to their belt behind. The village flag attached to a rod about 16-27 feet long was carried at the head of the procession.

Each village has a different flag, which is kept, in a special house together with the ceremonial dress of the best wrestlers, the drums, the long horn and other wrestling requisites. It is in this house, or in front of it, that a champion wrestler is solemnly dressed and smeared with ash while his fellowers watch. If the journey is too long and they have to rest overnight on the way, then the wives and sisters of the wrestlers carry the ceremonial dress in their baskets on their head. The women always form the rear of the procession, and their main burden is to bring the heavy pots with water and marissa to the ceremonies.

On the way the people from each village keep together as a group, generally led by their own champion wrestler who carries the village flag. In front of the contingent are the strongest wrestlers, followed by the married men and boys and then the women carrying the guords of marissa and water in a long line stretching back over the track. As they get closer to the wrestling-guard they close up to present a united and impressive spectacle to the villagers who are scattered in the scanty bits of shade waiting for the wrestling to begin.

Usually the matches begin in the early afternoon. But when established champions are fighting, they begin around mid-day and can even fight under a burning sun. Several Nuba men would form a circle somewhere. They crouch on their knees and put their foreheads to the ground. Behind them stand young men scattering ash from calabashes over the crouching group.

Meanwhile the men hum in chorus with one of them calling out words in solo, half singing and half shouting. This is a kind of communal prayer meant to help the champion to emerge as a victor.

A large ring is formed in which a few of the less powerful wrestlers begin to fight. Several pairs can fight at one time. The winner is the one who throws his opponent down on his back. Unfair practice is forbidden, and each pair has a referee who decides to interrupt the fight when two wrestlers are equally strong and neither can throw the other. This counts as a draw.

During Numeiri’s regime, when the late Mahmoud Hassieb was the commissioner of Southern Kordofan province, the Nuba culture withheld a real revival. Hassieb showed a genuine interest in developing the traditions and folklore in the Nuba Mountains. In every national event he would invite the big names in wrestling from areas all-over the mountains to come to Kadugli, the capital, to compete in the town football stadium.

Since that time wrestling has taken on another shape, as trophies and money are given to the winners. Thus, wrestling has started to lose its social importance for the individual combatants and for the villages as well. Wrestling used to be an important occasion for villagers to come together to renew and strengthen their contacts and revitalise the unity of the whole community. Unfortunately these tradtions are now in jeopardy as Khartoum continues to clamp down on non-Islamic cultures.
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Johnno · Jun 14, 2007

Slip,

Do you know of any martial arts native/invented in china, just curious i bet there has to be a country that size and that diverse but ive never heard of any

(That should keep him out of mischief for a week or two.)

shootodog · Jun 14, 2007

testa

SiAiS · Jun 14, 2007

Their whole culture is based on a highly delusional egotistical game

medi · Jun 14, 2007

slipthejab said:

I seriously doubt many if any at all are taught outside of Africa and are taught in the codified way that we generally expect martial arts to be taught.
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That's what I was thinking... it's probably more along the lines of "a bunch of guys just having a fight"

medi · Jun 14, 2007

In keeping with African war strategies, Capoeiristas masked the art's effectiveness from plantation overseers. Then and today, to uninformed onlookers, the art appears to be a harmless acrobatic dance
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I can think of several modern deadly arts that seem to be following the same strategy, in an utterly convincing way.

succubus · Jun 14, 2007

Zulu Stick Fighting
(or Zulu Impi) Long past its days of glory, stick fighting is no longer a common practice among the Zulu people, and practitioners struggle to validate its existence in these days of political turmoil, acculturation, and modernisation.
Click to expand...

not quite.

stick fighting is still widely practiced. i've seen it being done loads and loads of times at home. as can be seen with something like shaolin kung fu, though, a lot of the stuff you see is used more for exhibition than actual fighting.

it isn't taken as seriously as it used to, and it definitely isn't considered a martial art at home, but it's still incredible to watch.

and zulu stick fighting does not equal zulu impi. an impi is a fighting regiment.

here's a video for you, though it's really not a good example. the stick fighting is only about 15-20 seconds near the end, starting at arouns 1:50.
[ame="http://www.youtube.com/watch?v=zc_jt2kLo5I"]Zulu kids Dancing, Singing & Stick Fighting, Isandlwana - YouTube[/ame]

this one is sliiightly better, but looks more like capoeira than stick fighting!!
[ame="http://www.youtube.com/watch?v=NqPshesdlqw"]Zulu stick fighting (Kilombo Njinga) - YouTube[/ame]

ap Oweyn · Jun 14, 2007

Burton Richardson was travelling to Africa for a while to train Zulu stick fighting. He can be reached through some of the JKD forums around. Might be worth an inquiry.

And, as usual, great posts Slip!

Stuart

dormindo · Jun 14, 2007

Hey, great posts, Slip!

That blurb about capoeira in your first post is a bit incorrect, though, so I might be careful about the history involved with the other arts as well. You see, the whole 'disguised as a dance to fool the slave master' thing is largely historical myth to my understanding of it. Many African fighting arts have dance elements inherent within them from the word go. They serve ritualistic, ludic, theatrical, even strategic purposes. Furthermore, at points in Brazilian history, even dance and other cultural expressions were illegal. There was, as I understand it, some use of the game of capoeira as a dissembling mechanism to take attention away from the more threatening fighting aspects of it, but that still did not keep the art from being severely repressed in the colony (and Vargas' later 'Republic').

As for the wrestling, I had the good fortune to see some Central African versions on video during a lecture and presentation on the history of African martial arts in general and specifically Capoeira Angola presented by a noted--and current--researcher in that field, T.J. Desch Obi. Though I'm no grappler and cannot comment on the skill of the fighters involved, they seemed quite committed and formidible to my eyes. What was of greater interest to me at the time was the fact that there were a lot of ritual aspects tied into the preparation for entering the circle in this art, much as in Angola.

paz,

dormindo

SiAiS · Jun 14, 2007

ILLEGAL??

What kind of fool puts the possibility of restrictive illigaritaries into a fight?

slipthejab · Jun 14, 2007

@ said:

Slip,

Do you know of any martial arts native/invented in china, just curious i bet there has to be a country that size and that diverse but ive never heard of any

(That should keep him out of mischief for a week or two.)
Click to expand...

LOL!
Nice try... but I'm on to you.

Medi said:

That's what I was thinking... it's probably more along the lines of "a bunch of guys just having a fight"
Click to expand...

Yeah... I've always been down with this train of thought for a long time. A punch in the face is a punch in the face. Whether or not the guys ever had social hour in angry white pajama's is irrelevant most times. In most of Africa, sadly, I think most people are more worried about RPG's or automatic rifles than the indigenous Kung Fu chop.

Ap Owyen said:

And, as usual, great posts Slip!
Click to expand...

I can't take credit for it because I didn't write it... it was only down to my Google Fu... ... but I was hoping it'd spark a nice long conversation on the subject. It's probably one of the least discussed subjects in martial arts.

dormindo said:

Hey, great posts, Slip!

That blurb about capoeira in your first post is a bit incorrect, though, so I might be careful about the history involved with the other arts as well.
Click to expand...

Yeah like I said I can't vouch for the accuracy of the stuff... I came across it and thought it'd be good food for thought either way. It's pretty much the first time I'd seen as complete a list as this... even giving that there may be some errors in it. Massively interesting the history of the Capoeira... sigh... only so many hours in a day to read and train.

SiAiS said:

Their whole culture is based on a highly delusional egotistical game
Click to expand...

What on earth is this in reference to?!

ap Oweyn · Jun 14, 2007

slipthejab said:

I can't take credit for it because I didn't write it... it was only down to my Google Fu... ... but I was hoping it'd spark a nice long conversation on the subject. It's probably one of the least discussed subjects in martial arts.
Click to expand...

Oh I know you didn't write it. But you're like the frigging Library of Congress for martial arts. If it exists in written word, you'll find it. It's made for some very interesting reading.

Stuart

slipthejab · Jun 14, 2007

ahh.. that's good... it means my Google Fu is improving.
I've always been heavily interested in the whole African wrestling bit...as a kid seeing those images of the Nubian wrestlers.. they looked so friggen powerful it always stuck in my mind. Funny the way an image can stick with you for so long.

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