⁣Media Kit for the 2nd Historic Abibitumi Conference on Black Power
For the PDF version, visit https://conference.abibitumi.com/mediakit

Ɔbenfo Obadele Kwame Kambon demonstrates Capoeira Combat Sciences on Sunrise @ TV3 Studios.
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⁣Abibifahodie History
Capoeira is an Afrikan=Black combat science.
“Capoeira veio da África; Africano quem a trouxe.”
Capoeira originated as an artform of the Macupe people of Angola where it was known as N’golo due to its similarity to the movements of the Zebras when they fought. It was associated with the male rites of passage whereby a young man who was able to best other youths of his age grade was afforded the opportunity to marry without having to pay the bridewealth. According to pre-eminent scholar of Bantu culture, Dr. Kibwandende kia Bunseki Fu-Kiau the word Capoeira itself is Afrikan and comes from the Kikongo word Kipura – to flutter around like roosters in cockfights.
With the coming of the portuguese and their mandate from the pope to reduce all non-catholics to enslavement, many of the Macupe, Bakôngo, Ovimbundu and other Bantu people were enslaved where they were taken to the then portuguese colony of Brasil. During this time on the continent, during the Maafa (“Middle Passage”) and once in Brasil, the artform took shape as an instrument of liberation as Afrikans relentlessly fought off the portuguese enslavers and established some of the first free (non-slave) republics in the western hemisphere, known in Kikôngo as Kilombos (portuguese Quilombo). One of the best known Kilombos was Palmares led by its legendary leader Zumbi. Here, Afrikans were dreaded by portuguese for using razor blades stuck in between their toes and hopping from trees slashing their enemies as the fell. Much of the malícia, or trickery, associated with Capoeira was deployed in the guerrila warfare struggles waged against an often better-equipped enemy.

In the war of the triple alliance against Paraguay in 1865, Brasil offered Afrikans who would fight in the war their freedom upon returning. Due to the reliance on hand-to-hand combat in trenches, Capoeiristas such as Cezario Alvaro da Costa, Antonio Francisco de Mello and the battallion “Zuavos Bahianos” were able to distinguish themselves. This is enshrined in the Capoeira song Paraná ê.





Despite the heroism of the Capoeiristas on the battle field, capoeira began to get a bad reputation in urban centers. With the abolishment of chattel enslavement, Capoeira flourished as an urban phenomenon in Bahia, Rio de Janeiro, Pernambuco etc., up until its ban due to association with malandros (thugs) in 1890. Oftentimes, politicians would hire capoeiristas to beat up supporters of political rivals. Capoeiristas were also known to use straight razors to slash the throats or enemies and victims. This led Capoeiristas to wear red silk scarves (so that an attacker’s razor blade would not cut through) to protect their own necks. With the state repression of capoeira, many practitioners had to practice underground leading to such toques as “Cavalaria” which would alert Capoeiristas that the police were approaching. Due to repression, Capoeira became almost extinct except for in Bahia in general and Salvador da Bahia in particular. It is worth noting that some practitioners were able to survive repression in other cities and regions.




With the fall of the expansion and decline of the Ọ̀yọ́ empire and the last major wave of enslaved Afrikans coming from the so-called “Slave Coast”, modern-day Nigeria, Capoeira came to be associated with Candomble, a syncretistic spiritual system founded on Yorùbá spirituality which incorporated various aspects of the vestiges of Bantu spirituality (such as Macumba). As such, capoeristas developed a symbiotic relationship where they would go to the practitioners of Candomble for spiritual protection and in turn offer physical protection for the Candomble houses.
In the past Capoeira was practiced with 3 drums rather than the 3 berimbau (also of Afrikan origin) configuration used in Capoeira Angola today. Those drums were known as rum, rumpi, and iê due to the different pitches of sounds they produced. Iê is still the distinctive call announcing the beginning of the opening ladainha and the close of the final corrido songs sung in the capoeira roda.
As Capoeira developed, many other changes were introduced such as those introduced by Mestre Bimba to change the image of Capoeira and also to get it legalized. In a performance for the governor of the state of Bahia, Juracy Magalhães, Mestre Bimba succeeded in convincing authorities of the cultural value of Capoeira and went on to establish the first official capoeira school, Academia-escola de Cultura Regional, in 1932. This is where the Capoeira style known collectively as Regional gets its name and distinctive styles attributed to Mestre Bimba’s introduction of techniques from Batuque, another Afrikan=Black combat science. The legalization led to other schools being established, most notably Mestre Pastinha’s Centro Esportivo de Capoeira Angola, the first school of Capoeira Angola, in 1942 in Pelourinho. A third strand of Capoeira, Capoeira da Rua (Capoeira of the streets) also continued to develop and is still practiced most notably at Mercado Modelo in Bahia.
Capoeira has now spread across the world and Abibifahodie Capoeira marks a milestone in the return of Capoeira to its native land, Afrika, bringing things full-circle. In our capoeira indigenization and re-Afrikanization program, we are working on translating the songs and lessons found in portuguese into one of the primary indigenous languages of Ghana, Twi. Additionally we are incorporating songs from other Afrikan languages such as Yorùbá and Kikongo.
Abibifahodie upholds the tradition of Capoeira as an instrument of Afrikan Liberation and is open to all Afrikan people of the continent and the diaspora. If you live in Ghana or plan on being in Ghana and are interested in training in Capoeira, contact us today!
Dr. Ọbádélé Kwame “Africano” Kambon
+233249195150
info@abibifahodie.com

Fruits & Vegetables in English and Twi - Kids Vocabulary
Twi for Kids by Nana's African TV



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⁣The purpose of this series is to highlight the journey of Kmt(yw) [Black People] towards Abibifahodie [Black Liberation].

This episode features Ɛna Nkanyezi.

To find future episodes, engage with the guest, or to Join In The Discussion, please head over to the Abibitumi Group: Complementarity Couples and Revolutionary Singles: https://www.abibitumi.com/grou....ps/complementarity-c

Yeza - God African (Lyric Video)

Stream/download: https://distrokid.com/hyperfol....low/yezasarangetti/g

Written by Yeza
Produced by Sarangetti Music
Co-Production by Yeza Music/Sarangetti Music
Mixed & Mastered by Rohan Dwyer
Recorded at Tuff Gong Studios c/o Oneil Smith
Videography by Vartex Studio
Dance Choreography by Shakira Richards & Yeza

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Follow Yeza:
Spotify: https://open.spotify.com/artist/36jYC...
YouTube Channel: https://www.youtube.com/c/YezaMusic
Instagram: https://www.instagram.com/yeza_music/
Facebook: https://www.facebook.com/yezarebel/
Twitter: https://twitter.com/yeza_music

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Lyrics:

Long time we a call pon them savior
Spiritual war, that a danger
Black like tar anuh caveman, ancestors nah par with nuh stranger
When wi full up a d powers anuh ranger
Ride a stallion like I’m Yennenga, say the Congo worth 24 trillion
Welcome to the Rich generation; Hold on!
Wha-happen to the bloody diamonds and the Coltan
Sierra Leone nuh get nuh money for the platinum
Shaka Zulu army full a bare bad man so them fi know
Them should a never dis the program
Africa for Africans that a mi slogan
Asantewaa stand up ina me like a soldier
Them have the Rasta youth stand up ina devotion
And a gwaan like say them a d better portion

Oh no no no no, we nuh Roll so no no no
Kingston to Westmoreland, a the same bad African
Oh no no no no we nuh laugh and run them jokes
Accra to London town a d same bad one.

Wu kum apem a, apem beba and if a five thousand fall, million a gather
Long time we fi gone but we still deya
Peter kya come a my land that a never never
King Shango hear the bass ina the sky and the thunder
And the Cuban a beat pon d Conga
Revolution time weh them a run go
Big Olmec head ina them jungle
Broad nose black face like me uncle
And them still a teach the pickney bout Columbus
Ask Indiana Jones him still a mumble, real dutty bungle
Minefield ina the West so watch the beast and mind yuh fall
Everything a decorate like carnival, African a run them place like waterfall
Check the walls ina Benin bout China Wall.

Oh no no no no, we nuh Roll so no no no
Nairobi to Jamdung, a the same bad African
Oh no no no no we nuh laugh and run them jokes
St. Georges to Bridgetown a d same bad one.

Well spiritual, channeling the medium
Them a sing about sweetheart voice full up a Helium
Warriors a train hard for d Armageddon,
Them a run like Racers Track Club ina stadium
Ancestors speak through me , flow tight cause the ancestors
Bleed through me.

Knowledge of myself me power deep rooted
See say me a Goddess and a real truth
That’s why me pick up on the energies the universe empower me
Showers a blessings hourly them beast cannot devour me
Rebel no apology them politics nuh govern me
Lawd God know me pre like the soldiers, a Empress thing
Respect thing, love is what we’re requesting from them system
But you nago impress we with incentives
None a we nuh interested or invested no no

Oh no no no no, we nuh Roll so no no no
Europe to Africa, a the same bad African

**
God African - Message from Yeza

“God African” is a reminder of African greatness, natural wealth and abundance! God African is a musical reminder that the often-negative images pushed about Africa and Africans in the media and elsewhere are just a part of our social programming. This is my historical and contemporary appreciation of Africans ‘a yard and abroad’ over a 3-minute track. People of African descent need not separate themselves from continental Africans, we are often faced with similar judgments and problems.

“Bad African” as the chorus says is using lemons to make lemonade:

Owning the stereotype of ‘no good Africans’ while simultaneously showing that it is through this same “badness” that we’ve created legacies, this is a power move in my eyes. From regality to freedom from slavery and emancipation, “Bad” is always relative to who is perceiving it.

Revolution against slavery during the period of enslavement was the greatest crime, everyone should remember this. Importantly, before any of this we the “Africans” are the original faces of Wealth and civilization across the world, let this be known through “God African” I am just the messenger.

#yeza #godafrican #lyricvideo

What are the ways we can empower our own communities? Let us discuss Co-ops as the first option.

From "Fela Ransome-Kuti And The Africa '70 - Afrodisiac"

[ Regal Zonophone ‎- SLRZ 1034 ‎– EMI Nigeria Ltd. - 1E 062-81290 (LP) UK, 1973 ]


Composed and arranged by Fela Kuti

Recorded at E.M.I. Studios, Abbey Road, London -- Recording Engineer: John Kurlander , Tony Clark

Produced by Jeff Jarratt


Trumpet – Eddie Faychum , Tunde Williams
Tenor Saxophone – Igo Chiko
Baritone Saxophone – Lekan Animashaun
Rhythm Guitar – Peter Animashaun
Bass – Maurice Ekpo
Drums – Tony Allen
Lead Conga – Henry Koffi
Congas – Akwesi Korranting , Friday Jumbo
Percussion (Sticks) – Tony Abayomi
Shekere – Isaac Olaleye

Tribute to all the Afrikan woman all over the world

Ebonics as a Language Tom Seros and Matt Chang. Done as a project for a class in University