Capoeira Capoeira is an Afro-Brazilian martial art developed in the 1500s by African and Indigenous slaves in Brazil as a form of self-defence from their oppressors and cultural expression. It is marked by its agile and tricky movements that may be executed anywhere from an upside-down position, to a gravity defying kick. Capoeira incorporates various forms of physical movement and is always played with music. The word Capoeira can have many meanings. It is believed to be linked to the tall grass, capoeira, in forests where the slaves would hide and attack their slave masters when they escaped. The term is also believed to be linked with a breed of fighting rooster.

There are two main styles of Capoeira, along with many other less distinct ones. One is called Angola, which is characterized by tricky, low play with particular attention to the rituals and tradition of Capoeira. This style is often described as slow, however, may be just as fast as the next style, but with different rituals.

The other style is Regional, known for its fluid acrobatic, high-flying kicks and powerful attacks. Speed and agility are common traits of this style. Both styles of Capoeira are marked by counter-attacks, and use lots of ground movements along with elbows, hands, kicks, head butts, sweep and other take-downs.

History:

During the 1500s, Portugal shipped slaves into South America from Western Africa. Brazil was the largest contributor to slave migration. The following peoples were the most commonly sold into Brazil: The Sudanese group, composed largely of Yorubaa and Dahomean people, the Islamised Guinea-Sudanese group of Malesian and Hausa people and the Bantu group (among them Kongos, Kimbundas and Kasanjes) from Angola, Congo and Mozambique.

There are engravings and writings that describe a now-lost fighting dance in Cuba that reminds us of Capoeira with two Bantu men moving to the yuka drums. It is called the baile del maní. Batuque and Maculele are other fight-dances closely connected to Capoeira.

These people brought their cultural traditions and religion with them to Brazil. 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.

After slavery was abolished, the slaves moved to the cities of Brazil, and with no employment to be found, many joined or formed strong cultural groups. They continued to practice Capoeira, and it became associated with anti-government and Afro-Brazilian activities. As a result, Capoeira was outlawed in Brazil in 1892. The punishment for practicing Capoeira was extreme, 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. To avoid being persecuted, Capoeira practitioners (Capoeiristas) also gave themselves an apelido or nicknames, often more than one. This made it much harder for the police to discover their true identities. This tradition continues to this day. When a person is baptized into Capoeira at the batizado ceremony, they may be given their apelido.

In 1937, Mestre Bimba was invited to demonstrate his art in front of the president. After this performance, he was given permission to open the first Capoeira school in Brazil. Since that time, Capoeira has been officially recognized as a national sport, and has spread around the world. 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 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," his favorite soccer team. Most Angola schools since then follow in this tradition, having their students wear yellow capoeira t-shirts.

Together, Mestre Bimba and Mestre Pastinha are generally seen as the fathers of modern Capoeira Regional and Capoeira Angola respectively.

Music

Music is integral to Capoeira. It sets the tempo and style of game that is to be played within the Roda. The music is comprised of instruments and song. The tempos differ from very slow to very fast. Many of the songs are sung in a call and response format (quadras and corridos) while others are in the form of a narrative (chula or ladainha). 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, or a personal challenge from one Capoeirista to another. Sometimes the songs are about life, or lost love. 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 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. 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, following a call and response pattern. Each call is usually repeated word-for-word by the responders. The chula is 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.

The instruments are played in a row called the bateria. The first three instruments are Berimbaus, which look like an archer's bow using a steel string and a gourd for resonation. 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 Berimbaus are the Gunga (also called the Berraboi), Medio, & Viola (or violinha), and lead the rhythm. Other instruments in the bateria are: Pandeiro (tambourines), a Reco-Reco (rasp), Agogo (double gong bell), and the Atabaque (conga-like drum). It is important to remember that not all groups use all the instruments at all times and different groups may use different combinations of them (Example: 1 Berimbau and 2 pandeiros).

Roda and Philosophy

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 Capoeiristas engaged in a Capoeira match or rather a "Jogo" (game). Depending on some Capoeira schools, an individual clapping and singing in the Roda can join in to engage one of the two players and begin another game. 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. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum and gravity-defying movements in the roda. It is also easier to see the fighting aspect of Capoeira in these faster games as they tend to be more obvious. Philosophy plays a large part in Capoeira and teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Confiança (Self-Confidence), Malícia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).

Ginga

The "Ginga" is the fundamental movement in Capoeira. Both Capoeira Angola and Capoeira Regional have their own "ginga". Both are accomplished by having both feet shoulders distance apart and then moving one foot backwards and then back to the base. Then this is done with the other foot and repeated. This is done to move around the roda quickly and to trick the other player.

Summary

Capoeira is an artform which can be described in many ways. It encompasses Afro-Brazilian culture, art, music, language, and movement into one cohesive whole.  The result is at once beautiful yet dangerous, smooth yet powerful.

At its purest level, Capoeira simply becomes a conversation between two bodies in motion, and at this level it truly becomes a sight to behold.  The music controls the focus of the game, and from the music the movements of
Capoeira flow.  The berimbau leads the roda and dictates the type of jogo that the two capoeiristas must play.  They, and everyone else playing in the roda must essentially follow the rhythm of the berimbau.