| Revision as of 10:14, 14 November 2002 edit217.35.127.124 (talk)m sp← Previous edit | Revision as of 13:18, 14 November 2002 edit undo64.122.15.173 (talk) Revised the History, Music and Roda sections. More work is needed on the Play and outside linksNext edit → | ||
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| '''Capoeira''' is a ] developed in ]. It was developed as a way for ] to defeat their oppressors. The dance-like movements and the musical beat attached to |
'''Capoeira''' is a ] developed in ] around 1520. It was developed as a way for ] to defeat their oppressors. The dance-like movements and the musical beat attached to Capoeira effectively disguised this style of fighting as a form of ]. | ||
| This style emphasizes kicks, sweeps and acrobatic maneuvers. | This style emphasizes kicks, sweeps and acrobatic maneuvers. It also strives to teach Respeito(Respect), Responsabilidade(Responsibility), Seguranca(Safety/Security), and Liberdade(Liberty/Freedom). | ||
| ==History== | |||
| The origins of capoeira are debated. Some claim that it descends from African (especially ]) martial arts, others that it began primarily as a dance and was later adapted for fighting. | |||
| During the 1500’s ] shipped slaves in from Western ]. Brazil was the largest contributor to slave migration with 42% of all slaves shipped across the Atlantic. The following peoples were the most commonly sold into Brazil: The Sudanese group, composed largely of ]a and ] people, the Mohammedanised Guinea-Sudanese group of Malesian and Hausa people and the ] group (among them ], Kimbundas and Kasanjes) from ], ] and ]. | |||
| These people brought their cultural traditions and religion 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 people claim that Capoeira originated among slaves brought to Brazil from Africa. This belief may explain why capoeira uses kicks extensively because such slaves would have their hands chained together. Little evidence has been found to substantiate this claim. | |||
| Some people claim that Capoeira was the fighting style developed by street gangs of Brazil in the 1800s. Some stories exist of Capoeistas (practitioners of Capoeira) tying knives to their ] (a stringed instrument resembling an archery bow with an attached gourd resonator) for extra reach. | |||
| == Music == | == Music == | ||
| Music is integral to Capoeira. It sets the tempo and style of game that is to be played within the roda (pronounced Ho'da). The music is comprised of instruments and song. The songs can depict what is going on within the roda; they are sung in a call and response format. | |||
| Music is integral to Capoeira. The most experienced Capoeista will usually play the gunga (deepest toned berimbau). Others will play berimbau, agogo (two cow bells of different tone) or drums. Everyone sings, even the players. The leader will call a few lines of a song and everyone will reply with the chorus. The music can tell you how to move and when. The leader of the song will sometimes change the song to tell one of the players what to do. Sometimes the song doesn't mean anything and is just joyful noise. | |||
| 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. These three bows are the Berraboi / bass, Viola / lead the Violinha / rhythm. Other instruments in the bataria 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. | |||
| ⚫ | == Roda == | ||
| ⚫ | The Roda |
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| ⚫ | == Roda == | ||
| Everyone gathers in a circle and sits on the ground. The leader of the roda calls out "EEEE-AAAAAAAAAA" as loudly as possible to tell everyone in the area that the roda is starting and that if they want to be involved they should get there soon. The leader then starts playing his berimbau and will usually tell a story, in song, of the history of capoeira. After the story is complete, two people get up from the circle and walk around the outside. The music continues with its twange-buzz-twange-pause. The two players wait at both sides of the musicians until it is clear that they are welcome to play. They enter and squat in front of the leader until he lowers his berimbau between them and invites them to begin. The two players cartwheel or role (pronounced Ho'lay) out of their squat and into the circle. They begin to play capoeira. | |||
| ⚫ | The Roda is the circle of people within which Capoeira is played. It is about the radius of a berimbau. The roda is a microcosm, which reflects the macrocosm of life and the world around us. You practice in the roda so that you can handle the problems of life. | ||
| == The Play == | == The Play == | ||
Revision as of 13:18, 14 November 2002
Capoeira is a martial art developed in Brazil around 1520. It was developed as a way for slaves to defeat their oppressors. The dance-like movements and the musical beat attached to Capoeira effectively disguised this style of fighting as a form of dance.
This style emphasizes kicks, sweeps and acrobatic maneuvers. It also strives to teach Respeito(Respect), Responsabilidade(Responsibility), Seguranca(Safety/Security), and Liberdade(Liberty/Freedom).
History
During the 1500’s Portugal shipped slaves in from Western Africa. Brazil was the largest contributor to slave migration with 42% of all slaves shipped across the Atlantic. The following peoples were the most commonly sold into Brazil: The Sudanese group, composed largely of Yorubaa and Dahomean people, the Mohammedanised Guinea-Sudanese group of Malesian and Hausa people and the Bantu group (among them Kongos, Kimbundas and Kasanjes) from Angola, Congo and Mozambique.
These people brought their cultural traditions and religion 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.
Music
Music is integral to Capoeira. It sets the tempo and style of game that is to be played within the roda (pronounced Ho'da). The music is comprised of instruments and song. The songs can depict what is going on within the roda; they are sung in a call and response format.
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. These three bows are the Berraboi / bass, Viola / lead the Violinha / rhythm. Other instruments in the bataria 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.
Roda
The Roda is the circle of people within which Capoeira is played. It is about the radius of a berimbau. The roda is a microcosm, which reflects the macrocosm of life and the world around us. You practice in the roda so that you can handle the problems of life.
The Play
Much like aikido, capoeira doesn't focus on destroying the person you play against. You are both there to become better. If your opponent cannot dodge your slowest attack, there is no reason to use your fastest. Each attack that comes in gives you a chance to practice an avoidance technique. When mastery has been shown the two players take a short break, walking in large circle, loosely holding right 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.
If the leader of the roda finds it is time to stop the players, he will strike his berimbau string repeatedly on the same note. The players should quickly squat before the leader while he explains what he needs to explain.