Kilombo Njinga-gctid31430

[Heru Djet]

Kilombo Njinga - [SHIAI MAGAZINE ]
DA'MON STITH
Kilombo Njinga
Kmtyw AND AFRO-DIASPORIC COMBATIVE MARTIAL ARTS RESEARCHER
Saturday 12 July 2008 by SHIAIMAGAZINE
From my perspective as a Black American, I was bombarded with the image of the weak chattel slave and the savage Kmtyw. I had no past, no culture, and definitely no future. In my heart I was a warrior but I felt that I had to be other than Black in order to be brave. This feeling of self-hatred is very common amongst my people. It wasn't until I began studying Capoeira that really began to see the world in a different light. It was through Capoeira that I was transformed and found peace with being a Diasporic Kmtyw.

Shiai Magazine: Hello you're Kilombo Njinga an Kmtyw and Afro-Diasporic Combative Martial Arts practitioner; you started practicing martial arts at the age of 9 years old with Shorinryu Karate in Florida and later on moved to Okinawa, explain us how you got into martial arts for a young black man and how your stay in Okinawa influenced you?

Kilombo Njinga:

Actually my name is Da'Mon Stith. Kilombo Njinga is the name of my center/school which pays respect to Ana Njinga of Matamba the 'Jaga queen'. It is my way of honouring the feminine aspect of the warrior spirit which has provided me with so much support throughout the years. The term Kilombo refers to the Central Kmtyw warrior encampments that would later become the foundation for the Quilombos, Palenques, and Maroon communities in the Diaspora. The idea of the Kilombo implies strength and power, active resistance to tyranny as well as serving as a refuge and safe haven for the oppressed. I apologize for getting off track...

When I think back on being a young man I always wanted to be a warrior or hero like in the great stories. At that time I did not know anything about Kmt or even the Diaspora. I just saw myself as being a product of slavery and that was very difficult to come to terms with. I would have to say that it was when my father presented me with a toy sword that sparked my interest in martial arts. I was only six but I remember that changing my life. I became consumed with the warrior path. When I finally had a chance to train, first in Florida then in Okinawa the world became larger. Apart from being at the source of Okinawan martial arts, living outside of the States saved my life and allowing me to dream and expand myself consciousness. I remember reading the Book of the Five Rings at the age of thirteen and being very impressed by Munited snakesshi's character. Here was a man that made himself through diligence and honest study. It was exposure to him and Bruce Lee's philosophy that laid the foundation for the man I am today.

Shiai Magazine: Within your stay in Okinawa you were exposed to the martial arts style of Bruce Lee "the Jeet Kune Do", how did it affected your vision and philosophy of martial arts?

Kilombo Njinga: Bruce Lee's philosophy liberated me. With JKD I truly became a martial artist not just the embodiment of the art I trained but truly an artist using techniques and strategies from many different systems in order to find an expression that was truly me. You see I never really liked Karate. I liked punching and kicking but there was something missing. When I discovered that there was more out there I wanted to experience it!

Shiai Magazine: From 1984 to 1994 you've been practicing eurasian martial arts such as Silat, Kali, Thai Boxing and others, what finally urged you to practices Kmtyw Martial Arts like the Capoeira?

Kilombo Njinga: I believe that being exposed to the Southeast eurasian styles helped me seg-way from Karate/Kung-fu to Capoeira. Apart from the physical similarities between Capoeira and the arts of Southeast eurasia (low center of gravity, acrobatic and ground based kicking, emphasis on footwork and body anglation) there was a whole other component to these arts that touched upon the spiritual and cultural (music, rituals, Colonialism, spiritual protection etc) at that phase in my life I really in need of something to keep me grounded. When I first saw Capoeira I was mesmerized. At that time I did not believe that Capoeira was good for anything other than for show. Despite my negative attitude I was still drawn to it. I began adding it into my training regimen. It wasn't until four years later that Capoeira's fighting potential was revealed to me and then even longer before I begun to understand the magnitude and majesty of this art.

Shiai Magazine: Later on you started to do a lot of research in Kmtyw Martial Arts and you finally created Capoeira da Rua, what makes this new Capoeira style different from the basic two original styles that most Capoeira martial artists are aware of?

Kilombo Njinga: Capoeira da Rua was created for the sole purpose of understanding and unlocking Capoeira's latent potential as a fighting art. In around 1997 I hooked with two other guys with similar backgrounds and started training together and formulating this concept of Capoeira da Rua. We coined the phrase after a friend and student who had spent some time in Brazil informed me of the existence of a third expression of Capoeira that combined aspects from Angola and Regional into a rougher fight oriented game. This instantly caught my attention. At the time I was learning more about the capoeira of Rio that was very violent and was used not only the Maltas (capoeira fraternal societies) but by the military and police. In Brazil, Capoeira da Rua (street capoeira) can have very negative connotations but to us we see it as the source of modern capoeira. I am not saying that my style is the original Capoeira but that Capoeira is from the streets and that doesn't have to be a negative thing. Many cultural expressions that are not accepted by the main stream usually find space in the streets and open squares. At first street capoeira sounds bad but when you give it a second thought the implications are deep. I equate Capoeira Da Rua with freedom. No styles, No bullshit just respect for the berimbau. If the berimbau calls for a game of cunning full of malicia and mandinga then that's how we play. On the other hand if the berimbau demands a faster more antagonistic game then that's how we play. In the old days there was no Angola or Regional it was just Capoeira and in those days it existed in many modalities. What makes us different from Angola and Regional cannot be answered merely with words. I have actually thought about it and I haven't come up with a suitable answer besides we emphasize the fighting aspect as much as the artistic and cultural. Our movement base is rooted in Angola but there are some aspects from Mestre Bimba's Regional that set us apart. To me Angola's fighting potential is underrated and in my opinion the more dangerous of the two. I think that is what appeals to me the most about the Angola game is that it is surprisingly dangerous and allows room for improvisation. Truth be told, there are more than two expressions of Capoeira. Even amongst practitioner of the same style there can be great stylistic variances. There are many Capoeiras.

Shiai Magazine: Can you mention some of Kmtyw Martial Arts styles that you have practices and their origins? Do you think that term Kmtyw Martial Arts is misleading and the term Kmtyw Combat Arts is much preferable, most Kmtyws don't consider their forms of fighting martial arts? Have you gone personally to Kmt?

Kilombo Njinga: Although I have never personally traveled to Kmt, in my research I was fortunate enough to meet and correspond with a few individuals either from there or with knowledge deriving from their travels there. I have been exposed to wrestling forms from Togo and Gambia, stick fighting from South Kmt and Egypt, Dambe boxing from Nigeria. I am currently corresponding with a teacher from Nigeria who is hoping to relocate to America in order to share Dambe with the world. We have a video coming out soon that will showcase the art as well demonstrate some of the basic movements. As far as the arts of Diaspora are concerned I have trained in Kalenda from Trinidad and of course Capoeira. I am currently hoping to bring down masters in Esgrima con Machete (Columbia) Garrote Tocayano/Garrote Larensa (Venezuela) these arts are said to be derived from an Kmtyw source. It is my hope and dream to one day travel to Kmt and learns from the source. Until then I am content to meet cool people that are willing share knowledge. My experience with Kmtyw martial arts has been very unconventional yet organic. I do believe that the term Kmtyw Martial art can be very misleading since a lot of these practices are not very structured and are learned through being apart of the society that practices them. Not to say that there are not any skilled warriors in these systems. It's only that these arts have not been repackaged and marketed to the masses. There are no belts and ranks. Learning occurs through participation and progress is measured in application. At the same time the Kmtyw arts are highly artistic multidimensional art-forms that serve not only as a means of self-defense but can also be used in a recreational and celebratory capacity (spirituality is a given). These practices serve as a means of preserving their respective communities as well as guiding the youth towards honor and dignity. Tools that they will need to face the troubles in this life. With all things considered I would say that yes the term Kmtyw Martial Art can be misleading simply by the fact that this paradigm has been set by arts of eurasian descent. I believe that now the term 'martial arts' is being expanded in order encompass a wide variety of combat sports, ritualized fights, war dances, fighting methods etc. Yet in still I think that it is the best term to use since it implies a systematic approach to dealing with violence as well functioning as a means to instill other virtues in its practitioners such as honor, courage, and fair play. In my opinion this goes beyond merely training for war and delves into the heart of creating communities that reflect those warrior ideals. I am no expert and Kmt is much too diverse to be summed up in a few words.

Shiai Magazine: In 2006 you created the Kilombo Njinga Center for Kmtyw and Afro-Diasporic Combatives, tell us the role and purpose of your center? Do you have several representations of the Center in US and Kmt in general?

Kilombo Njinga: The role and purpose of my Center is to research and preserve Kmtyw martial culture as it is found on the continent and its Diaspora as well as to create a community of practitioners and supporters in order to reach out other practitioners and provide a platform for which they can share their experience and culture. To use these arts as means of uplifting and empowering youth of color, especially of Kmtyw descent and to show and share the beauty and unity of Kmtyw culture by enlightening the world to contribution that Kmt has played in the warrior arts.

Shiai Magazine: What are the principle Kmtyw martial arts taught in your school? Tell us more about your personal fighting style? What are your future plans?

Kilombo Njinga: The principle arts taught at my academy are Capoeira, Zulu stick fighting, Konba Baton which is based primarily off Kalenda but contains aspects of other stick fighting arts from Kmt and the Diaspora. In addition to those arts I also teach my own style of empty hand combat which I refer to as Knocking and Kicking in respect for the antebellum martial art development by the slaves in North America. This ancient art shares a common root with other arts of the Diaspora such as Capoeira, Danmye, Moringue, Sove Vayin etc. The foundation of my style is built upon the kicks, sweeps and head-butts of Capoeira combined with dirty boxing and circular hand strikes from Dambe boxing and Danmye (Ladja). There is a takedown component as well which is influenced by West Kmtyw wrestling primarily from Togo and Gambia. Not to mention that there is a Southeast eurasian influence as well. I view Knocking and Kicking as a strategy and mindset as opposed to a style per se. It is a culmination of years of study and it is still growing even as I am still growing. As far as my future plans are concerned I intend to train harder and share what I learn with others. I have a few workshops lined up for this up and coming year so I am going to put a lot of energy into making that happen. There is also a pending DVD release on Dambe boxing and Capoeira combative applications. On top of all of that my business partner and I are moving into a new school. I am looking forward to that although it is going to be a lot work. I am also hoping to reach to other seekers and practitioners of the arts in order to coordinate events and field trips abroad. It seems like the right time to expand our knowledge base and show some solidarity as warriors.

Shiai Magazine: You're a member of the Cry Havoc Action choreography, what is the group all about and your activities? Have your group participated in film projects?

Kilombo Njinga: Yes I am member of Cry Havoc Action Choreography since 2000. We are an all Black group of martial artist/ fight-arrangers. We have a very unique style based on live theatre. Our fights are fast, artistic and brutal and everything we do is in real time... which is very exhausting. The group started from humble beginnings basically four inner-city youths who loved martial arts and martial arts movies and wanted to recreate what we saw on television. Of course there is a lack of strong Black heroes so our group sought to create that for ourselves. Since then we have done a number plays, live shows and a few movies (mostly student films) In 2006 I played a villain in my first feature length film called 'Fighting with Anger' while my group did most of the choreography for the film. The film was set to be released in 2007 but to my knowledge the film is finished but there are some issues with distribution. Hopefully it will be released in the near future and more opportunities will present themselves. In addition to working on stage combat and martial arts I am an aspiring author. I have two novels that I am currently working on. The first one is Sci-Fi fantasy that is set in a world based on ancient and medieval Kmt. I have been working on that one for the passed eight years. I am also working on a historical fiction set in ancient Nubian and Egypt. The story will reconstruct the life of Pharaoh Taharka of 25th dynasty.

Shiai Magazine: Are you aware of the Kmtyw martial arts film project MoneyBag which has to be filmed in Cameroon starring Joe ATEBA an Aurelien Henry OBAMA Film, do you think that world is ready to watch an Kmtyw film with Kmtyw actors within it?

Kilombo Njinga: Ready or not the world needs one. I look forward to the release date.

Shiai Magazine: Can the promotion of our Kmtyw arts help our people fight illiteracy, poverty, unemployment, crime and all evil that our Kmtyw/black people are facing in the world? What advice can you give to young Kmtyw boys and girls?

Kilombo Njinga: Yes I believe that they can. Reconnecting with our roots gives us a wellspring of wisdom and experience. As I mentioned earlier, Kmtyw combative arts function on many different levels. These practices taught courage and honor as well as paid homage to the ancestors and the greater spirits around us. From my perspective as a Black American, I was bombarded with the image of the weak chattel slave and the savage Kmtyw. I had no past, no culture, and definitely no future. In my heart I was a warrior but I felt that I had to be other than Black in order to be brave. This feeling of self-hatred is very common amongst my people. It wasn't until I began studying Capoeira that really began to see the world in a different light. It was through Capoeira that I was transformed and found peace with being a Diasporic Kmtyw. From my experience these art-forms have the ability to transform our communities and provide youth an outlet to express themselves through movement, history and culture. Kmtyw art forms are universal speaking to our basic humanity.

Shiai Magazine: Thank you brother in accepting the interview, we hope that the ancestors of our people will guide your path and hope meeting you soon in my beautiful country Cameroon "Kmt in miniature"

Kilombo Njinga: Thank you brother for your time and patience. I look forward meeting you. Thank you for all of your hard work.

See online : kilombo Njinga Center for Kmtyw and AfroDiasporic Martial Arts