Capoeira
From Wikipedia, the free encyclopedia
Capoeira (IPA: [ka.puˈej.ɾɐ]) is a Brazilian martial art practiced by African slaves in Brazil starting in the 1500s. Some argue that capoeira was created in Africa. They say that capoeira originated in Nigerian tribes where they fought with music and the winner won a partner, usually female. Participants form a roda (circle) and take turns playing instruments, singing, and sparring in pairs in the centre of the circle. The game is marked by fluid acrobatic play, feints, subterfuge, and extensive use of groundwork, as well as sweeps, kicks, and headbutts. Technique and strategy are the key elements to playing a good game. Capoeira has two main styles, known as "regional" and "Angola."[1]
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[edit] History
Painting by Augustus Earle depicting an illegal capoeira-like game in Rio de Janeiro
From the 16th to the 19th centuries, Portugal shipped slaves into South America from western Africa. Brazil was the most common destination for African slaves with 42% of all slaves shipped across the Atlantic. Most commonly sold into Brazil were Yoruba, Dahomean, Islamised Guineans, Hausa, and Bantu (among them Kongos, Kimbundas and Kasanjes) from Angola, Congo and Mozambique.
The slaves brought their cultural traditions and religions with them to the New World. The homogenization of the African people under the oppression of slavery was the catalyst for capoeira. Capoeira was developed by the slaves of Brazil as a way to resist their oppressors, secretly practice their art, transmit their culture, and lift their spirits. Some historians believe that the indigenous peoples of Brazil also played an important role in the development of capoeira. This form of Capoeira is best represented in Capoeira Angola (which continues to uphold the roots of capoeira) today.[2]
Batuque and Maculelê are other fight-dances also developed by slave populations that are closely connected to capoeira. There are also engravings and writings that describe a now-lost fighting dance in Cuba, the baile del maní, with two Bantu men moving to the yuka drums.
After slavery was abolished in 1888, the slaves moved to the cities of Brazil and with no employment to be found, many joined or formed criminal gangs. They continued to practice capoeira, and it became associated with anti-government or criminal activities. As a result, capoeira was outlawed in Brazil in 1890. The punishment for practicing it was extreme (practitioners would have the tendons on the backs of their feet cut), and the police were vicious in their attempt to stamp out the art. Capoeira continued to be practiced, but it moved further underground. Rodas were often held in areas with plenty of escape routes, and a special rhythm called cavalaria was added to the music to warn players that the police were coming. Capoeira practitioners (capoeiristas) also adopted apelidos or nicknames to make it more difficult for police to discover their true identities. To this day, when a person is baptized into capoeira at the batizado ceremony, they may be given an apelido.
Persecution of the art petered out eventually, and was entirely gone by 1918.
Mestre Bimba and Mestre Pastinha are generally seen as the fathers of modern capoeira regional and capoeira Angola, respectively.[3][4]
In 1937, Mestre Bimba was invited to demonstrate capoeira (regional,a less dangerous, more flashy version) in front of president Getúlio Vargas. After this performance, he was given permission to open the first capoeira (regional) school in Brazil. Since that time, capoeira has been officially recognized as a national sport. Mestre Bimba's systematization and teaching of capoeira made a tremendous contribution to the capoeira community.
In 1942, Mestre Pastinha opened the first capoeira Angola since before that it was illegal school, the Centro Esportivo de Capoeira Angola, located in Bahia. He had his students wear black pants and yellow t-shirts, the same color of the Ypiranga Futebol Clube, Mestre Pastinha's favorite soccer team. Most Angola schools still use yellow capoeira t-shirts, although some clubs have begun to adopt other uniforms.
Capoeira continues to be widely practiced in Brazil, primarily among Afro-Brazilians, but no longer exclusively. It has also been taken up by some members of the middle and upper classes who take capoeira classes offered by fitness centres. A stylized version of capoeira has been developed for stage performance and has attracted many new adherents to the sport. Capoeira has also spread to many other parts of the world.
[edit] Etymology
The derivation of the word "capoeira" is under dispute, as there are several possibilities:
- The Portuguese word "capoeira" derives from the word capão, which translates as capon, a castrated rooster. The sport's name may originate from this word since its moves resemble those of a rooster in a fight. "Capoeira" has several meanings, including any kind of pen where poultry is kept, a fowl similar to a partridge, and a basket worn on the head by soldiers defending a stronghold. "Capoeira" is also what people used to call a black inlander who mugged travelers.
- Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a capa commonly worn on the head by urban slaves selling wares.
- The word could derive from two Tupi-Guarani words, [CAA] ("down, little") and [PUOÊRA] ("grass"), referring to an area of forest that has been cleared by burning or cutting down. [CAÃ][PUOERA] was also a place used by fugitive slaves to attack slave transports.
- Kongo scholar K. Kia Bunseki Fu-Kiau has posited that "capoeira" could be derived from the Kikongo word kipura, a term used to describe a rooster's movements in a fight and meaning to flutter, flit from place to place, struggle, fight, or flog.
[edit] Music
- See also: Capoeira music and Capoeira toques
Music is integral to capoeira. It sets the tempo and style of game that is to be played within the Roda (IPA: ['xɔ.dɐ]). The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (São Bento Regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life, or love lost. Others are lighthearted or even silly things, sung just for fun. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau (right) commands. In this manner, it is truly the music that drives capoeira.
There are three basic kinds of songs in capoeira. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the Mestre (Master). These ladainhas will often be famous songs previously written by a Mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song. For the lyrics to many of the songs, see Capoeira songs.
The instruments are played in a row called the bateria. Three instruments are berimbaus, which look like an archer's bow using a steel string and a gourd for resonance. It is played by striking the string with a stick, and the pitch is regulated by a stone. Legend has it that, in the old times, knives or other sharp objects were attached to the top of the berimbau for protection and in case a large fight broke out. These three bows are the Berra boi (also called the bass or Gunga), Medio, & Viola, and lead the rhythm. Other instruments in the bateria are: two pandeiros (tambourines), a Reco-Reco (rasp), and an Agogo (double gong bell). The Atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.
[edit] The capoeira roda
The "roda" is the circle of people within which capoeira is played. People who make up the roda's circular shape clap and sing along to the music being played for the two partners engaged in a capoeira "game" ("jogo"). In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.
The minimum roda size is usually a circle where the radius is about 3 metres (10 feet) in diameter. They are often larger, up to 10 metres in diameter (30 feet). The rhythm being played on the berimbau sets the pace of the game being played in the roda. Slow music limits the game to slow yet complex ground moves and handstands.
Hits usually aren't made but feigned or just shown. The players often turn away from each other's hits just to throw their own. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum which is key to gaining "big air" in the roda.
For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself. Philosophy plays a large part in capoeira and the best teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Malicia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).
Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its "playfulness" and dialogue, in the sense that many capoeiristas tend to focus more on impressive acrobatics or the martial elements than the playful interaction with the other player in the roda.
Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.
[edit] The game
Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.
[edit] Ginga
The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular 'step' on the ground. This movement is done to prepare the body for other movements.
The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.
[edit] Attacks
Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. Some scholars have speculated that this is because the art was originally developed by handcuffed slaves fighting against their guards. [citation needed] Another possible explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction. Elbow strikes are commonly used in place of hand strikes. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (piao de cabeca), hand-spins (piao de mao), hand-springs (gato), sitting movements, turns, jumps, flips, and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes are also an extremely important element in capoeira games and the setting of "traps" or illusory movements are very common.
[edit] Defenses
Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "escape", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive player to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.
Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick).
[edit] Combinations
There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, eg. at an opponent's drop of guard. Two kicks called meia lua de frente and armada are usually combined to create a double spinning kick.
[edit] Chamada
Capoeira Angola rodas feature a ritual called the chamada. In a chamada, one player assumes a ritual pose, for example, with one hand in the air. Normally, the other player should approach and join the pose (in this example, touching their hand to the first player's hand). The players then walk back and forth until the first player separates and offers a slow attack, and the jogo (game) resumes. However, the whole chamada is fraught with tension, since it is acceptable for either player (although most often the player that called the chamada) to strike out in a sudden attack—at any speed at all. If the other player is caught, it's because they weren't being careful enough.
The goal of the chamada is to test a player's ability to cooperate, to appear friendly, without exposing himself to a sneaky attack. Some mestres will playfully involve spectators in the chamada (for example, introducing a female bystander to their opponent only to take the opponent down while he doffs his hat). Chamadas serve to show how well a player can handle the tricks of the world (o mundo enganador is a common call in the louvação).
[edit] Volta ao mundo
The volta ao mundo (or "trip around the world") is a short break taken by both players during a round in capoeira regional. It is analogous to the chamada in capoeira Angola and used to propose a change of pace in the game being played.
Though each school's practice of the volta ao mundo differs, one variant could be walking counter-clockwise in large circle, loosely holding the left hands and walking in the same direction. Two or three gentle laps is all the rest you get, then it's time to play again. In some traditions of capoeira Angola, the meeting of the left hands would indicate a specific chamada that requires a ritual exit distinct and different from merely separating hands.
The volta ao mundo is commonly used to force the players to cool down after a heated exchange or by a player when they need a break. It is important to note that volta ao mundo is practiced differently by different schools—some hold hands, some do not, some walk, some run. In some schools, the volta ao mundo is done when the music is over and the players are waiting for the new one to start.
[edit] Trickery
As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the art.
[edit] Styles of capoeira
There are many different kinds of capoeira. As previously stated the two largest types are Angola and regional. Although groups of one style do exist, most groups tend to mix the two styles to some degree. Capoeira Angola groups from the Northeast tend to identify only as capoeira Angola and will mimic regional for performances.
[edit] Capoeira Angola
Angola is considered to be the mother form of capoeira and is often characterized by deeply held traditions, slower, sneakier movements (ie: in the 1980's there were instances of the players concealing blades between the toes to injure the partner) played closer to the ground and with the players playing their games in closer proximity to each other than in regional or contemporanea. Capoeira Angola, in actuality, is played in a great range of speeds, ranging from Mestre Rene's school (with fast, highly acrobatic movements and frenetic high tempo music) to Mestre João Pequeno's school (with much slower, methodical movements to low tempo, hypnotic music). The father of modern capoeira Angola is considered to be Mestre Pastinha who lived in Salvador, Bahia. Today, most of the capoeira Angola media that is accessible comes from mestres in Pastinha's lineage, but this isn't to say that he was the only one or that he was the originator. Many others helped in the preservation and propagation of capoeira Angola, including Zeca do Uruguaio, Mestre Caiçara, Mestre Waldemar, Mestre Bobo, Mestre Noronho, Mestre No, Mestre Canjiquinha, and Besouro Mangangá, etc. The Angola style, while emphasizing the traditions and history of capoeira remains a contemporaneous art in the vibrant street scene of Salvador, Bahia. There is a diversity of styles and players, all of the traditional form, playing or performing in a great range of speeds and testing each other in various academies and in the street.
[edit] Capoeira Regional
Regional is a newer and more martially-oriented game. Regional was developed by Mestre Bimba to make capoeira more mainstream and accessible to the public, and less associated with the criminal elements of Brazil. While capoeiristas can sometimes play Angola-like, slow games, the regional style is most often composed of fast and athletic play. On the contrary to what you might read elsewhere, Bimba's regional style contains almost none of acrobatic movements so often associated with capoeira. It is combat-oriented while maintaining the trickiness of capoeira Angola.
Later, so called modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.
Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice.
[edit] Capoeira Contemporânea
Today, there are many fusion styles, which mix the Angola and regional traditions. Some refer to this as "Capoeira Atual", or "Capoeira Contemporânea". Whether playing Angola or regional, groups often have different styles of wildly different movements.
[edit] Capoeira in popular culture
- Main article: Capoeira in popular culture
As capoeira's popularity spreads throughout the world, so does its use in popular culture.
[edit] Special events
Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.
Batizados and Trocas de Corda do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.
[edit] Related activities
[edit] Samba de Roda
- Main article: Samba
Performed by many capoeira groups, samba de roda is a traditional Afro-Brazilian dance that has been associated with capoeira for many years. The orchestra is composed by pandeiro (tambourine), atabaque (drum), berimbau - viola (berimbau with the smallest cabaça and the highest pitch), chocalho (rattle - a percussion instrument), accompanied by singing and clapping.
[edit] Maculele
- Main article: Maculele
[edit] Puxada de rede
- Main article: Puxada de rede
[edit] Important Mestres (Masters)
- See also: Category of Capoeira Mestres
- Mestre Bimba: founder of the regional style.
- Mestre Pastinha: founder of the first organized Angola academy.
[edit] See also
[edit] References
- Almeida B. (1986). Capoeira, a Brazilian Art Form: History, Philosophy, and Practice (2nd ed.). North Atlantic Books. ISBN 0-938190-29-6
- Nestor Capoeira. (2002). Capoeira: Roots of the Dance-Fight-Game. North Atlantic Books. ISBN 1-55643-404-9
- Nestor Capoeira. (2003), The Little Capoeira Book (Revised ed.). North Atlantic Books. ISBN 1-55643-440-5
- Lowell L.J. (1992), Ring of Liberation : Deceptive Discourse in Brazilian Capoeira. University of Chicago Press. ISBN 0-226-47683-9
- Röhrig Assunção, Matthias (2004) "Capoeira: The History of Afro-Brazilian Martial Art" Routledge ISBN 0-7146-5031-5
- Downey, Greg. (2005). "Learning Capoeira: Lessons in Cunning From an Afro-Brazilian Art". Oxford University Press. ISBN 0-19-517697-9
- Mansouri, Arno (2005). "Capoeira, Bahia", Editions Demi-Lune. ISBN 2-9525571-0-1 Bilingual (French and English)
[edit] External links
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[edit] General Information
- Please refrain from adding links affiliated to capoeira schools to the list below. (See Wikipedia:External Links)
- Capoeirista.com Information and forums
- Capoeira basics Information on basic capoeira moves with illustrations and animations
- Capoeira4all.com Information on capoeira history, mestres, moves, and more
- Planetcapoeira.com Website of the Planet Capoeira Magazine
- Capoeira Fighter 3 Demonstration of capoeira, as a fighting game in Flash
[edit] International school directories
