178:
438:. A grandmaster of the art who still teaches in Cuba is Juan de Dios Ramos Morejón, the founder-director of Cuban folkloric dance company Raices Profundas ('Deep Roots'). De Dios grew up fighting in the streets of Cuba and he has been called a "living encyclopedia" of the art, when he chooses to teach it. He has been an ambassador of Afro-Cuban music and martial arts for many years, having traveled to teach in places as diverse as
1081:
496:, both in form (played in a circle with similar instruments and strikes embedded in a rhythmic movement) and meaning (multiple social functions, a role of "witchcraft," and an emphasis on deception). These similarities support the view that African-derived combat games in Americas shared common features, regardless of their specific West or Central African origins.
467:
Argeliers Leon. Quijano writes of the eight graduates of Leon that they "knew the art ... in its entirety", as both a dance form and a martial art, and were founding members of the
Conjunto Folklorico Nacional (Cuba's 'National Folkloric Connection' dance organization), where they taught "a
475:
are kept alive. Although a few masters still exist in Cuba, not many truly understand the fighting aspects of the art over the folkloric dance version. According to
Quijano, who has studied under several of them, the only living master
379:
The rhythm of the dance/fight is based on the rhythm that is played by the musicians, and accompanying musicians are expected to synchronize drumming accents with movement accents in the performance. This form was popular in
205:
in Cuba, in their scarce free time. Some of their masters would recognize it as fighting competition and gamble on the outcomes. It is thought that sometimes slaves were made to fight to the death for their masters' sport.
507:
278:
involved a solo dancer who danced within a circle of opponents, who tried to strike blows as he executed various jumps and evasive steps. It later became a one-on-one form.
237:
is very folkloric, and those who practice it do so mainly as a pastime or for socializing, because it encompasses so much: music, singing, sparring, friendship, etc.
109:
in
Spanish to indicate stress on the final syllable) is said to mean 'war', in an indeterminate African language, and is not a reference to 'peanuts', which the word
632:
888:
1172:
850:
517:
1162:
480:
are Juan de Dios, Carlos Aldama, and
Rogelio Martinez Fure (he also counts Cuban journalist Alberto Pedro, but as a retired practitioner).
1127:
562:
810:
781:
749:
699:
590:
391:
and featured circling, competitive male dancing, which influenced non-combative, social dances that were created in Cuba, such as
1117:
368:(whether made of that traditional material or not), and about 16 inches (40 cm) long. The original martial art form of
454:. His Puerto Rican New Yorker protégé Miguel Quijano (a current mani teacher and instructional author) notes De Dios as also a
1137:
881:
689:
215:
form had emerged clearly by the 19th century on Cuban sugar-cane plantations, by then staffed by free people of mixed
640:
1152:
1142:
202:
1107:
270:
Bouts feature a pair of opponents who follow prescribed dancing and fighting patterns, in a circle. In early
1167:
874:
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1112:
957:
333:
460:, and a ceremonial singer "versed in Yoruba, Palo, Abakua, and Arara traditions, known throughout Cuba".
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317:
82:
1157:
1086:
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1080:
177:
975:
1027:
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558:
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85:. It is still kept alive today in Cuba by folkloric groups. Practitioners are referred to as
713:
Note that this source spells it both "stick fighting" and "stick-fighting" on the same page.
305:
1053:
765:
405:
372:
risked particular danger, because the dancer/fighter sometimes wore leather wrist covers,
1147:
897:
799:
742:
Dancing Wisdom: Embodied
Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé
357:
349:
321:
67:
1101:
980:
926:
769:
447:
329:
116:
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17:
990:
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1058:
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456:
393:
241:
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70:
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691:
The Way of the
Warrior: Martial Arts and Fighting Styles from Around the World
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300:
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216:
969:
325:
291:
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1001:
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may also use weapons such as a cane staff (used similarly to those of
931:
451:
408:, or simply Palo, an Afro-Cuban religion. One of the most popular
947:
911:
443:
332:, and strikes with the forearms, knees, and palms, as well as the
176:
74:
866:
143:
dance') would thus mean 'war game' or 'war dance', respectively.
555:
The Dances and the
Theatre of the Negros in the Folklore of Cuba
364:
and double machete. The stick used is about the thickness of a
336:. Each fight ends in a sweep, take down or grappling maneuver.
271:
78:
870:
463:
De Dios was in turn a student, with seven others, of the great
228:, and this was outlawed in the 1930s, but was still performed.
801:
Ring of
Liberation: Deceptive Discourse in Brazilian Capoeira
158:
greased game') because of its smooth and slippery qualities.
468:
folkloric version", i.e. one oriented to dance performance.
551:
Los bailes y el teatro de los negros en el folklore de Cuba
376:, that were adorned with nails and other sorts of metal.
723:
721:
719:
544:
542:
540:
538:
536:
509:
Capoeira: The
History of an Afro-Brazilian Martial Art
303:. The footwork is similar in theory to the Brazilian
471:
It is through these folklorical groups that Palo and
161:
In
English, some modern practitioners call it simply
1041:
1010:
940:
904:
841:
Rumba: Dance and Social Change in Contemporary Cuba
838:
798:
653:Detailed interview with a contemporary instructor.
557:] (in Spanish). Ediciones Cárdenas y Cia.
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832:
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153:
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120:
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104:
86:
60:
52:
44:
36:
28:
8:
744:. University of Illinois Press. p. 62.
631:Obama, Henry Aurélien (September 29, 2010).
583:Enciclopédia brasileira da diáspora africana
889:
875:
867:
626:
624:
622:
316:encompasses techniques such as low kicks,
683:
681:
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620:
618:
616:
614:
612:
610:
608:
606:
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356:and other Caribbean locales), as well as
256:which should not be confused with Cuba's
727:
677:
675:
673:
671:
669:
667:
665:
663:
661:
659:
492:shares many important similarities with
165:, with no accent. The descriptive term
576:
574:
532:
34:('game of peanut') often simply called
688:Crudelli, Chris; Ross, Chris (2008).
7:
222:Originally, Cuban women also danced
181:A match between English and French
506:Assunção, Matthias Röhrig (2002).
309:, but has a more stomping motion.
281:In some aspects, it is similar to
25:
430:Skilled practitioners are called
1079:
146:An even longer name recorded is
805:. University of Chicago Press.
1:
1173:African diaspora martial arts
776:. University of Texas Press.
201:origins. It was played among
119:. Its longer Spanish names,
845:. Indiana University Press.
774:Biography of a Runaway Slave
1163:North American martial arts
797:Lewis, John Lowell (1992).
266:Form, techniques, and music
240:Caricao has a version, and
50:, sometimes referred to as
1189:
1128:Latin American folk dances
585:. Selo Negro. p. 62.
1077:
414:Vamos a la guerra si maní
258:
252:
246:
233:
224:
211:
169:may also be encountered.
154:
148:
139:
133:
127:
121:
111:
105:
87:
61:
53:
45:
37:
29:
772:; Hill, W. Nick (1994).
549:Ortiz, Fernando (1951).
484:Similarity with capoeira
1118:Dances of the Caribbean
1087:The Martial Arts Portal
837:Daniel, Yvonne (1995).
740:Daniel, Yvonne (2005).
149:juego de maní con grasa
58:('dance of peanut') or
958:Kbach Kun Dambong Veng
433:
400:The music utilized in
190:
77:that was developed in
416:" ('We go to war if
312:The combat system of
180:
115:can also refer to in
1138:Martial arts in Cuba
922:Nguni stick-fighting
488:Assunção notes that
1018:Bajan stick-licking
581:Lopes, Nei (2004).
209:The distinct Cuban
167:mani stick-fighting
18:Mani stick fighting
941:Asia & Pacific
191:
1153:Theatrical combat
1095:
1094:
1028:Juego del garrote
852:978-0-253-20948-1
694:. DK Publishing.
519:978-0-7146-8086-6
185:in the Island of
16:(Redirected from
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1143:Religion in Cuba
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766:Montejo, Esteban
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756:
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639:. Archived from
633:"Miguel Quijano"
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436:
360:, including the
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1108:Culture of Cuba
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1054:Canne de combat
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643:on June 6, 2012
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1168:Stick-fighting
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898:Stick-fighting
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863:External links
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859:
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770:Barnet, Miguel
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730:, pp. 61.
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637:Shiai Magazine
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564:978-8489750210
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394:rumba Columbia
350:stick-fighting
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1113:Dance in Cuba
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512:. Routledge.
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448:United States
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402:juego de maní
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370:juego de maní
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330:elbow strikes
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272:colonial Cuba
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259:juego de maní
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225:juego de maní
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134:baile de maní
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122:juego de maní
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117:Cuban Spanish
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103:(or accented
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54:baile de maní
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30:Juego de maní
19:
1133:Latin dances
1085:
1084:
1064:Quarterstaff
1032:
840:
800:
792:
773:
760:
741:
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707:December 25,
705:. Retrieved
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647:December 25,
645:. Retrieved
641:the original
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244:has its own
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199:West African
195:game of Maní
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182:
166:
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100:
98:
59:
51:
43:
35:
27:
26:
1069:Singlestick
1059:Jogo do pau
1049:Bataireacht
986:Lathi khela
404:is that of
318:foot sweeps
242:Puerto Rico
197:likely has
152:(loosely, '
131:game') and
71:martial art
1158:War dances
1102:Categories
528:References
500:Literature
412:songs is "
406:Palo Monte
386:Las Villas
374:muñequeras
366:sugar cane
326:head-butts
301:Guadeloupe
297:Martinique
219:ancestry.
217:Afro-Cuban
991:Mau rākau
478:maniseros
434:maniseros
425:Maniseros
389:provinces
334:cartwheel
285:, and to
99:The word
95:Etymology
88:maniseros
1011:Americas
996:Silambam
494:capoeira
465:manisero
382:Matanzas
354:Trinidad
289:(a.k.a.
283:capoeira
253:kokobalé
187:Dominica
1023:Calinda
953:Bōjutsu
917:Istunka
457:santero
440:Germany
362:machete
348:-style
345:calinda
322:punches
295:) from
250:called
231:Today,
183:Negroes
173:History
66:, is a
62:bambosa
1042:Europe
1000:
974:
968:
962:
932:Tahtib
905:Africa
849:
809:
780:
748:
698:
589:
561:
516:
452:Mexico
450:, and
446:, the
358:knives
292:danmyé
287:l'agya
1148:Rumba
1002:Tanbō
964:Hanbō
948:Arnis
912:Dambe
553:[
444:Japan
306:ginga
75:dance
970:Jōdō
847:ISBN
807:ISBN
778:ISBN
746:ISBN
709:2011
696:ISBN
649:2011
587:ISBN
559:ISBN
514:ISBN
490:maní
473:maní
420:').
418:maní
410:maní
384:and
340:Maní
314:maní
299:and
276:maní
247:maní
234:maní
193:The
163:mani
155:maní
140:maní
128:maní
125:, ('
112:maní
106:maní
101:mani
79:Cuba
73:and
46:mani
38:maní
352:in
81:by
42:or
1104::
821:^
768:;
718:^
658:^
635:.
601:^
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535:^
442:,
397:.
328:,
324:,
320:,
274:,
262:.
137:('
91:.
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883:t
876:v
855:.
815:.
786:.
754:.
711:.
651:.
595:.
567:.
522:.
189:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
