Rap Is a Martial Art

A Cross Cultural History of Kung Fu, Hip Hop, and Activism

By Michael Messina

“Shaolin Kung Fu chose me, I chose rap” stated Philippe Prosper, better known by his rap name Rap is a Martial Art (RMA). As a Haitian American immigrant, professional rapper, and international Shaolin Kung Fu Grand Champion, RMA embodies the often overlooked stitches connecting Asian American and Black American cultures. A look at RMA’s popular “Adidas Originals” video finds him rapping with his signature style of dizzying rhyme schemes and crisp striking techniques. “I am Liu Kang’s hands meets the Wu-Tang Clan,” he boasts, further referencing the connection between hip hop and Kung Fu. This connection, however, runs deeper than words and weapons, flows and films. In a present that includes such tumultuous race relations, an examination of this cross cultural past may help inform how we approach an uncertain future.

Black Communities & Kung Fu

Picture of group Wu-Tang Clan

Grindhouse cinemas, theatres playing low budget action and exploitation films throughout the ‘70s, boasted a variety of Kung Fu films often featuring themes of racism and colonialism, themes that many young Black Americans could relate to. Films such as “Enter the Dragon” eventually saw a more explicit victory for Black representation as the legendary Bruce Lee costarred alongside Jim Kelly, a prominent Black film actor and accomplished martial artist in his own right. Later, 1985’s “The Last Dragon” saw a majority Black cast and crew paying homage to the martial arts films of the preceding decades with a fight film steeped in Black culture. Of course, one of the most famous examples of Kung Fu and hip-hop emerged from these theatres, an example that would become an American cultural icon… and they ain’t nothing to fuck with.

After viewing the Hong Kong action film “Shaolin and Wu-Tang,” a group of nine New York emcees became a foundational milestone in hip hop culture: the Wu-Tang Clan. A major influence on RMA, Wu-Tang Clan saw the appeal of honor and combat apparent in many martial arts films and translated it to hip hop. “Overcoming oppression and spreading the culture [was] the united theme of that whole sequence of films,” said RZA, Wu-Tang leader and hip hop icon, “it resonated with me.” Indeed, in an era where the Black Power and Civil Rights movements exposed and challenged the racist status quo, many comparisons were drawn between fiction and reality. RZA felt these similarities. “The element that resonated with me was people being oppressed by the government and young people wanting to make a difference… I guess around the same time, I was becoming conscious of black consciousness and the struggles of the ‘60s and the ‘70s. Realizing the differences in the world of how we’re treated.”

Asian Communities & Hip Hop

Picture of Artist Awkwafina

Just as Black culture has participated in traditionally Asian culture, Asian Americans have also expressed their experiences through Black genres. 2 Live Crew, an East Coast rap duo, is often cited as the earliest prominent Asian American force in hip hop. Other influential Asian American voices include LA’s Far East Movement, Koreatown’s Dumbfoundead, New York’s Awkwafina, and Florida’s MC Jin. Though not strictly Asian American, one would be remiss to not mention the 88 Rising label definitively staking its claim in the modern music landscape. However, no hip hop act better defines the connection between Asian and Black experiences than one particular California based label advocating for community organization through its artists and music.

“Through the scope of Black music I am Bam,” raps Jonah Deocampo, a musical artist performing under the name “Bambu”. A community organizer and founder of the Beatrock Music label, Bambu represents the impoverished Filipino American community exposed to drug and gang culture in certain regions of California. They now push an especially progressive message for institutional change that includes solidarity with other minority groups. Ruby Ibarra, perhaps the largest name on the label, contributes a guest verse on a recent Bambu release, stating “My community is dying… While all of y’all focused on Asian representation, I’m yelling 'Brown lives, Black lives liberation.'”

Black & Yellow

Rappers and filmmakers, however, are not the only Asians to aid other minority communities in need. In fact, there is a rich history of cross-community support throughout the twentieth century in the United States. Grace Lee Boggs is perhaps the best example of this, a Chinese American woman and key figure in the Black Power Movement. Yuri Kochiyama, too, comes to mind, a Japanese American who shared a birthday with Malcolm X, worked for the same progressive causes as Malcolm X, and held Malcolm X in her arms as he passed away.

Perhaps a more useful historical reference for a college publication would be the student actions at San Francisco University and University of California in the late 1960’s. During a period of political turmoil, cultural upheaval, and identity crises along many societal cleavages, minority students banned together on these key campuses to demand their history and struggles gain greater educational representation in the classroom. Spearheaded largely by Black students and organizations, the movement accumulated support from other cultural groups as well as faculty members. Curriculums were drawn from scratch, funding was demanded, and phrases like “third world solidarity” and “third world liberation front” were abound. Though administrations appeared responsive to student wishes, little action was taken. What resulted at San Francisco State was the longest student strike in U.S. history. After a five month period of picket lines, loudspeakers, class interruptions, rallies, and police brutality against students, administration met student demands.

The results of these student efforts can be felt in schools across the country, including in the existence of Binghamton’s Africana Studies Department and Asian / Asian American Studies Department. In fact, another notable result of this movement is the popularization of a simple yet incredibly powerful term largely taken for granted today: Asian American.

Wrapping Up

RMA spoke repeatedly about compassion and care for others when discussing how to build a bridge between Asian and Black people. “I’m far from an expert, but they’re all communities that I love,” he stated. “That love of martial arts from the Black community and the love of hip hop from the Asian community is kind of a funny trade off… I wish that mutual respect and love would go beyond art forms… We’re supposed to love… I think it always comes down to love and compassion.”

RMA also speculated on some possible tension between the two communities stemming largely from a difference in experiences, from Asian Americans feeling left out of the discussion regarding racism. Indeed, the model minority myth has been used as a weapon of separation since World War II, a wedge driven between the Asian American community and the Black / Latinx community to complicate solidarity efforts under the sinister guise of compliments for Asia America. Despite these historic challenges, the history of Bruce Lee and Jim Kelly, Wu-Tang Clan and Beatrock Music, and San Francisco University and University of California proves that solidarity is possible. In fact, as Asians4BlackLives trends and K-Pop fans dismantle racist WhiteLivesMatter hashtags, solidarity in activism is happening now.

As we reflect on this rich past of culture and activism, let us carry this inspiration into the genuinely troubling near and far future. I urge every Asian American to take intentional steps towards understanding and connecting with other minority communities. At a university, student organizations provide extremely convenient avenues to do so. Attend an event with a few friends. Attend an event on your own. Talk to one new person every time. Be intentional about the media you consume. Be conscious of the differences between Black and Asian American struggles while also realizing the similarities; both differences and similarities should serve to inspire.

“History is not the past. It is the stories we tell about the past. How we tell these stories - triumphantly or self-critically, metaphysically or dialectally - has a lot to do with whether we cut short or advance our evolution as human beings.” -Grace Lee Boggs