Wikipedia

Afro-Brazilian martial art
Capoeira ( portuguese pronunciation : [ kapuˈe ( j ) ɾɐ ] or [ kaˈpwɐjɾɐ ] ) is a brazilian soldierly art that combines elements of dance, [ 1 ] [ 2 ] [ 3 ] acrobatics, [ 4 ] and music. [ 5 ] [ 6 ] [ 7 ] It was practiced by enslave Africans in Brazil [ 8 ] at the beginning of the sixteenth hundred. It is known for its acrobatic and complex maneuvers, often involving hands on the earth and invert kicks. It emphasizes flowing movements rather than situate stances ; the ginga, a rock step, is normally the focal point of the technique. The most widely accepted origin of the son capoeira comes from the Tupi words ka’a ( “ forest ” ) paũ ( “ round ” ), [ 10 ] referring to the areas of low vegetation in the brazilian inside where fugitive slaves would hide. A practitioner of the artwork is called a capoeirista ( portuguese pronunciation : [ kapue ( joule ) ˈɾistɐ ] ). [ 11 ] [ 12 ] The dancing and music was incorporated in the organization to disguise the fact that they were practicing fighting techniques. [ 13 ] After the abolition of bondage in Brazil, capoeira was declared illegal at the end of the nineteenth century. however, by the 1920s, authorities began to relax enforcement on its prohibition, and soldierly artists began to incorporate capoeira technique into their practices. By the 1970s, capoeira masters started traveling around the world, helping the art become internationally recognized and practiced. On 26 November 2014, capoeira was granted a extra protect condition as intangible cultural heritage by UNESCO. [ 14 ]

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history [edit ]

During the sixteenth hundred, the Portuguese bought, sold, traded, and transport african peoples. Brazil, with its huge territory, received about 40 % of these african people via the Atlantic slave trade. The early history of capoeira is recorded by historians such as Dr. Desch-Obi. originally, the ancestor custom originated from the Kingdom of Kongo and was called N’golo/Engolo ( known as Angola today ) ; a type of ritual dance that used several elements of kick, headbutt, slap box, walking on one ‘s hands, deception, evasion etc. The purpose was besides religious as it both provided a link to the afterlife ( which was the face-to-face of the populate world ) and enabled a person to channel their ancestors into their dance. For exemplar, during the dance, a person might become possessed by an ancestor who was talented at N’golo. This could be applied to a soldierly specify in both combat and war which was called N’singa/ensinga ; the difference to N’golo being that it included weapon use and wrestle. During the Atlantic slave trade, this tradition transferred around the Americas ; Brazil ( capoeira ), the Caribbean ( Damnye ) and the United States ( knocking and kicking ) .

Origins [edit ]

Painting of fighting in Brazil c. 1824 by Augustus Earle In the sixteenth century, Portugal had claimed one of the largest territories of the colonial empires, but lacked people to colonize it, specially workers. In the brazilian colony, the Portuguese, like many european colonists, chose to use bondage to build their economy. In its inaugural hundred, the main economic bodily process in the colony was the production and process of sugar cane. portuguese colonists created boastfully sugarcane farms called “ engenhos “, literally “ engines ” ( of economic action ), which depended on the labor of slaves. Slaves, living in inhumane conditions, were forced to work arduous and frequently suffered physical punishment for little misbehaviors. [ 15 ] Although slaves much outnumbered colonists, rebellions were rare because of the lack of weapons, harsh colonial law, disagreement between slaves coming from unlike african cultures, and lack of cognition about the new bring and its surroundings. Capoeira originated within as a merchandise of the Angolan custom of “ Engolo “ but became applied as a method of survival that was known to slaves. It was a tool with which an get off slave, wholly unequipped, could survive in the hostile, unknown country and face the hunt of the capitães-do-mato, the armed and mounted colonial agents who were charged with finding and capturing escapees. [ citation needed ] As Brazil became more urbanized in the 17th and 18th centuries, the nature of capoeira stayed largely the lapp. however, the nature of the bondage differed from that in the United States. Since many slaves worked in the cities and were most of the time outside the master ‘s supervision, they would be tasked with finding influence to do ( in the form of any manual parturiency ) and in refund they would pay the master a parcel of the money they made. It is here where capoeira was common as it created opportunities for slaves to exercise during and after work. Though tolerated until the 1800s, this cursorily became outlaw after due to its association with being african, deoxyadenosine monophosphate well as a threat to the stream govern regimen. [ 16 ]

Quilombos [edit ]

soon several groups of enslave persons who liberated themselves gathered and established settlements, known as quilombos, in remote control and hard-to-reach places. Some quilombos would soon increase in size, attracting more fleeting slaves, brazilian natives and even Europeans escaping the law or christian extremism. Some quilombos would grow to an enormous size, becoming a real mugwump multiethnic state. [ 17 ] casual life in a quilombo offered freedom and the opportunity to revive traditional cultures away from colonial oppression. [ 17 ] In this kind of multiethnic community, constantly threatened by portuguese colonial troops, capoeira evolved from a survival cock to a soldierly art focused on war. The biggest quilombo, the Quilombo perform Palmares, consisted of many villages which lasted more than a century, resisting at least 24 small attacks and 18 colonial invasions. portuguese soldiers sometimes said that it took more than one dragoon to capture a quilombo warrior since they would defend themselves with a strangely moving fighting technique. The provincial governor declared “ it is harder to defeat a quilombo than the dutch invaders. ” [ 17 ]

urbanization [edit ]

In 1808, the prince and future baron Dom João VI, along with the portuguese court, escaped to Brazil from the invasion of Portugal by Napoleon ‘s troops. once exploited only for its natural resources and commodity crops, the colony ultimately began to develop as a state. [ 18 ] The Portuguese monopoly efficaciously came to an end when brazilian ports opened for trade with friendly extraneous nations. [ 19 ] Those cities grew in importance and Brazilians got permission to manufacture common products once required to be imported from Portugal, such as glass. [ 18 ] Registries of capoeira practices existed since the eighteenth century in Rio de Janeiro, Salvador and Recife. Due to city growth, more slaves were brought to cities and the increase in social life in the cities made capoeira more big and allowed it to be taught and practiced among more people. Because capoeira was frequently used against the colonial guard, in Rio the colonial government tried to suppress it and established hard physical punishments to its rehearse such as hunting down practitioners and killing them openly. [ 20 ] Ample data from patrol records from the 1800s shows that many slaves and absolve colored people were detained for practicing capoeira :

“ From 288 slaves that entered the Calabouço imprison during the years 1857 and 1858, 80 ( 31 % ) were arrested for capoeira, and only 28 ( 10.7 % ) for running away. Out of 4,303 arrests in Rio police jail in 1862, 404 detainees—nearly 10 % —had been arrested for capoeira. ” [ 21 ]

conclusion of bondage and prohibition of capoeira [edit ]

Golden Law, 1888. By the end of the nineteenth century, slavery was on the verge of departing the brazilian Empire. Reasons included growing quilombo militia raids in plantations that still used slaves, the refusal of the brazilian united states army to deal with escapees and the growth of brazilian abolitionist movements. The Empire tried to soften the problems with laws to restrict slavery, but last Brazil would recognize the end of the institution on 13 May 1888, with a law called Lei Áurea ( Golden Law ), sanctioned by imperial parliament and signed by Princess Isabel. however, absolve former slaves now felt abandoned. Most of them had nowhere to live, no jobs and were despised by brazilian society, which normally viewed them as faineant workers. [ 22 ] [ 23 ] besides, new immigration from Europe and Asia left most early slaves with no employment. [ 23 ] [ 24 ] soon capoeiristas started to use their skills in improper ways. Criminals and war lords used capoeiristas as body guards and assassins. Groups of capoeiristas, known as maltas, raided Rio de Janeiro. The two main maltas were the Nagoas, composed of Africans, and the Guaiamuns, composed of native blacks, people of assorted race, poor whites, and portuguese immigrants. The Nagoas and Guaiamuns were used, respectively, as a hitforce by the conservative and Liberal party. [ 25 ] In 1890, the recently proclaimed brazilian Republic decreed the prohibition of capoeira in the whole country. [ 26 ] Social conditions were chaotic in the brazilian das kapital, and police reports identified capoeira as an advantage in fighting. [ 24 ] After the prohibition, any citizen catch practicing capoeira, in a fight or for any other reason, would be arrested, torture and often mutilated by the patrol. [ 27 ] Cultural practices, such as the roda de capoeira, were conducted in distant places with sentries to warn of approaching police .

Luta Regional Baiana [edit ]

By the 1920s, capoeira repression had declined, and some physical educators and warlike artists started to incorporate capoeira as either a fight style or a gymnastic method. Professor Mario Aleixo was the beginning in showing a capoeira “ revised, made bigger and better ”, which he mixed with judo, wrestle and other arts to create what he called “ Defesa Pessoal ” ( “ Personal Defense ” ). [ 1 ] In 1928, Anibal “ Zuma ” Burlamaqui published the first capoeira manual, Ginástica nacional, Capoeiragem metodizada e regrada, where he besides introduced boxing -like rules for capoeira competition. Inezil Penha Marinho published a exchangeable book. [ 1 ] Mestre Sinhozinho from Rio de Janeiro went far, creating a education method that divested capoeira from all its music and traditions in the work of making it a complete martial artwork. While those efforts helped to keep capoeira alive, [ 28 ] they besides had the consequence that the pure, non-adulterated form of capoeira became increasingly rare. [ 1 ] At the same time, Mestre Bimba from Salvador, a traditional capoeirista with both legal and illegal fights in his records, met with his future student Cisnando Lima, a martial arts aficionado who had trained judo under Takeo Yano. Both thought traditional capoeira was losing its soldierly roots due to the use of its playful slope to entertain tourists, indeed Bimba began developing the first taxonomic train method acting for capoeira, and in 1932 founded the foremost official capoeira school. [ 29 ] Advised by Cisnando, Bimba called his style Luta Regional Baiana ( “ regional crusade from Bahia “ ), because capoeira was hush illegal in identify. [ 30 ] At the fourth dimension, capoeira was besides known as “ capoeiragem ”, with a practitioner being known as a “ capoeira ”, as reported in local newspapers. gradually, the art dropped the condition to be known as “ capoeira ” with a practitioner being called a “ capoeirista ”. [ 31 ] In 1937, Bimba founded the school Centro de Cultura Física e Luta Regional, with permission from Salvador ‘s Secretary of Education ( Secretaria da Educação, Saúde e Assistência de Salvador ). His work was very well received, and he taught capoeira to the cultural elite of the city. [ 30 ] By 1940, capoeira ultimately lost its criminal connotation and was legalized. Bimba ‘s Regional stylus overshadowed traditional capoeiristas, who were even distrusted by society. This began to change in 1941 with the establish of Centro Esportivo de Capoeira Angola ( CECA ) by Mestre Pastinha. Located in the Salvador neighborhood of Pelourinho, this school attracted many traditional capoeiristas. With CECA ‘s bulge, the traditional manner came to be called Capoeira Angola. The identify derived from brincar de angola ( “ playing Angola ” ), a terminus used in the nineteenth hundred in some places. But it was besides adopted by other masters, including some who did not follow Pastinha ‘s vogue. [ 32 ] Though there was some degree of permissiveness, capoeira from the beginning of the twentieth hundred began to become a more sanitize form of dance with less soldierly application. This was due to regions mentioned above but besides due to the military coup d’etat in the 1930s to 1945, arsenic well as the military government from 1964 to 1985. In both cases, capoeira was calm seen by authorities as a dangerous pastime which was punishable ; however during the Military Regime it was tolerated as an activity for University students ( which by this clock is the imprint of capoeira that is recognised today ). [ citation needed ]

today [edit ]

Capoeira is an active exporter of brazilian culture all over the world. In the 1970s, capoeira mestres began to emigrate and teach it in other countries. Present in many countries on every continent, every year capoeira attracts thousands of foreign students and tourists to Brazil. Foreign capoeiristas sour hard to learn Portuguese to better understand and become region of the art. Renowned capoeira mestres much teach abroad and establish their own schools. Capoeira presentations, normally theatrical, acrobatic and with short martiality, are coarse sights around the world. [ 14 ] In 2014 the Capoeira Circle was added to UNESCO ‘s example list of the intangible cultural Heritage of Humanity, the convention recognised that the “ capoeira circle is a place where cognition and skills are learned by observation and imitation ” and that it “ promotes social integration and the memory of resistance to historical oppression ”. [ 14 ] [ 33 ]

Techniques [edit ]

Capoeira is a fast and versatile warlike artwork that is historically focused on fighting outnumbered or in technical disadvantage. The style emphasizes using the lower body to kick, sweep and take down and the upper berth body to assist those movements and occasionally attack as well. It features a series of complex positions and body postures that are meant to get chained in an uninterrupted flow, to strike, dodge and motion without breaking apparent motion, conferring the style with a characteristic unpredictability and versatility .
ginga simple animation depicting part of the The ginga ( literally : rock back and forth ; to swing ) is the fundamental movement in capoeira, important both for assail and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of changeless motion, preventing him or her from being a however and slowly prey. The other, using besides fakes and feints, is to mislead, gull, trick the adversary, leaving them open for an fire or a counter-attack. The attacks in the capoeira should be done when opportunity arises, and though they can be preceded by feints or pokes, they must be precise and critical, like a steer kick to the head, expression or a vital consistency separate, or a solid takedown. Most capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras ( leg slam ), tesouras or knee strikes. Elbow strikes, punches and early forms of takedowns complete the main number. The head strike is a very significant counter-attack motivate. The department of defense is based on the principle of non-resistance, meaning avoiding an fire using evasive moves alternatively of blocking it. Avoids are called esquivas, which depend on the commission of the attack and purpose of the defender, and can be done standing or with a hand leaning on the floor. A block should only be made when the esquiva is wholly non-viable. This fighting scheme allows immediate and irregular counterattacks, the ability to focus on more than one adversary and to face empty-handed an arm adversary .
A capoeira drift ( Aú Fechado ) ( click for vivification ) A series of rolls and acrobatics ( like the cartwheels called aú or the transitional position called negativa ) allows the capoeirista to promptly overcome a takedown or a passing of remainder, and to situation themselves around the attacker to lay up for an attack. It is this combination of attacks, refutation and mobility that gives capoeira its perceived “ fluidity ” and choreography-like style .

Weapons [edit ]

Through most of its history in Brazil, capoeira normally featured weapons and weapon trail, given its street fight nature. Capoeiristas normally carried knives and bladed weapons with them, and the berimbau could be used to conceal those inside, or even to turn itself into a weapon by attaching a blade to its tip. [ 34 ] The knife or razor was used in street rodas and/or against openly hostile opponents, and would be drawn promptly to stab or slash. other concealment places for the weapons included hats and umbrellas. [ 34 ] Mestre Bimba included in his teachings a curso de especialização or “ specialization course ”, in which the pupils would be teach defenses against knives and guns, adenine well as the use of knife, heterosexual razor, scythe, club, chanfolo ( double-edged dagger ), facão ( machete ) and tira-teima ( cane sword ). [ 1 ] Upon graduating, pupils were given a loss scarf which marked their specialization. This class was hardly used, and was ceased after some time. A more common custom-made practised by Bimba and his students, however, was furtively handing a weapon to a musician before a jogo for them to use it to attack their adversary on Bimba ‘s sign, with the other player ‘s duty being to disarm them. [ 1 ] This weapon trail is about wholly absent in current capoeira teachings, but some groups still practice the consumption of razors for ceremony usage in the rodas .

As a game [edit ]

Capoeiristas outside Playing capoeira is both a game and a method acting of practicing the application of capoeira movements in simulate fight. It can be played anywhere, but it ‘s normally done in a roda. During the game most capoeira moves are used, but capoeiristas normally avoid using punches or elbow strikes unless it ‘s a very aggressive game. [ 35 ] The game normally does not focus on knocking down or destroying the adversary, quite it emphasizes skill. Capoeiristas much prefer to rely on a takedown like a rasteira, then allowing the opposition to recover and get spinal column into the bet on. It is besides very common to slow down a kick inches before hitting the target, so a capoeirista can enforce transcendence without the necessitate of injuring the adversary. If an adversary clearly can not dodge an attack, there is no reason to complete it. however, between two high-skilled capoeiristas, the game can get much more aggressive and dangerous. Capoeiristas tend to avoid showing this kind of game in presentations or to the general public. [ citation needed ]

Roda [edit ]

The roda ( pronounced [ ˈʁodɐ ] ) is a set formed by capoeiristas and capoeira musical instruments, where every player sings the distinctive songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to the style required by the musical rhythm. The game finishes when one of the musicians holding a berimbau determine it, when one of the capoeiristas decide to leave or call the end of the game or when another capoeirista interrupts the game to start play, either with one of the current players or with another capoeirista. [ 36 ] In a roda every cultural aspect of capoeira is confront, not only the warlike side. antenna acrobatics are coarse in a presentation roda, while not seen american samoa frequently in a more serious one. Takedowns, on the early hand, are common in a serious roda but rarely seen in presentations. [ citation needed ]

Batizado [edit ]

The batizado ( light up. baptism ) is a ceremonial roda where modern students will get recognized as capoeiristas and earn their first graduation. besides more feel students may go up in rank and file, depending on their skills and capoeira culture. In Mestre Bimba ‘s Capoeira Regional, batizado was the foremost meter a newfangled scholar would play capoeira following the sound of the berimbau. [ citation needed ] Students enter the roda against a high-ranked capoeirista ( such as a teacher or dominate ) and normally the game ends with the scholar being taken down. In some cases the more feel capoeirista can judge the takedown unnecessary. Following the batizado the new commencement, by and large in the form of a cord, is given. [ citation needed ]

Apelido [edit ]

traditionally, the batizado is the here and now when the modern practitioner gets or formalizes his or her apelido ( nickname ). This custom was created back when capoeira practice was considered a crime. To avoid having problems with the law, capoeiristas would present themselves in the capoeira community only by their nicknames. so if a capoeirista was captured by the police, he would be ineffective to identify his fellow capoeiristas, even when tortured. [ citation needed ] Apelidos can come from many different things, such as a physical characteristic ( like being improbable or big ), a habit ( like beamish or drinking besides much ), place of parentage, a particular skill, an animal, or superficial things. [ citation needed ]

even though apelidos or these nicknames are not necessity any more, the custom is still very alive not only in capoeira but in many aspects of brazilian culture. [ citation needed ]

Chamada [edit ]

Chamada means ‘call ‘ and can happen at any fourth dimension during a roda where the rhythm angola is being played. It happens when one player, normally the more advance one, calls his or her opponent to a dance-like ritual. The adversary then approaches the caller and meets him or her to walk english by side. After it both resume normal play. [ 37 ] While it may seem like a better time or a dance, the chamada is actually both a trap and a trial, as the caller is just watching to see if the adversary will let his guard down indeed she can perform a put-down or a strike. It is a critical site, because both players are vulnerable due to the close proximity and potential for a surprise attack. It ‘s besides a instrument for have practitioners and masters of the artwork to test a scholar ‘s awareness and attest when the scholar left herself overt to attack. [ citation needed ] The function of the chamada can result in a highly develop common sense of awareness and helps practitioners learn the subtleties of anticipating another person ‘s hide intentions. The chamada can be very simpleton, consisting entirely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or flush theatric embellishments. [ citation needed ]

Volta ao mundo [edit ]

Volta ao mundo means around the world. The volta ao mundo takes locate after an central of movements has reached a conclusion, or after there has been a disturbance in the harmony of the crippled. In either of these situations, one player will begin walking around the perimeter of the circle counter-clockwise, and the other player will join the volta ao mundo in the opposite part of the roda, before returning to the normal game. [ 38 ]

Malandragem and mandinga [edit ]

Malandragem is a parole that comes from malandro, which means a person who possesses cunning a well as malícia ( malevolence ). This, however, is misleading as the think of of malícia in capoeira is the capacity to understand person ‘s intentions. man who used street smarts to make a living were called malandros. In capoeira, malandragem is the ability to cursorily understand an adversary ‘s aggressive intentions, and during a fight or a crippled, fritter, flim-flam and deceive him. [ 39 ] similarly capoeiristas use the concept of mandinga. Mandinga can be translated “ magic ” or “ go ”, but in capoeira a mandingueiro is a cagey champion, able to trick the opponent. Mandinga is a catchy and strategic timbre of the game, and even a certain aesthetic, where the bet on is expressive and at times theatrical, peculiarly in the Angola style. The roots of the term mandingueiro would be a person who had the magic trick ability to avoid damage due to protection from the Orixás. [ 40 ] alternately Mandinga is a manner of saying Mandinka ( as in the Mandinka Nation ) who are known as “ musical hunters ”. Which directly ties into the term “ vadiação ”. Vadiação is the musical spider ( with flute in hand ), traveler, rootless. [ citation needed ]

music [edit ]

Music is built-in to capoeira. It sets the tempo and style of plot that is to be played within the roda. typically the music is formed by instruments and singing. Rhythms ( toques ), controlled by a typical instrument called berimbau, differ from very slow to identical fast, depending on the manner of the roda. [ 41 ]

Instruments [edit ]

A capoeira bateria showing three berimbaus a reco- reco and a pandeiro Capoeira instruments are disposed in a course called bateria. It is traditionally formed by three berimbaus, two pandeiros, three atabaques, one agogô and one ganzá, but this format may vary depending on the capoeira group ‘s traditions or the roda style. [ citation needed ] The berimbau is the leading instrument, determining the tempo and expressive style of the music and crippled played. Two low pitch berimbaus ( called berra-boi and médio ) form the free-base and a high pitch berimbau ( called viola ) makes variations and improvisations. The other instruments must follow the berimbau ‘s rhythm, release to deviate and improvise a fiddling, depending upon the capoeira group ‘s musical style. [ 42 ] As the capoeiristas change their play style importantly following the pillbox of the berimbau, which sets the bet on ‘s rush, expressive style and aggression, it is rightfully the music that drives a capoeira game. [ citation needed ]

Songs [edit ]

many of the songs are sung in a visit and reception format while others are in the mannequin of a narrative. Capoeiristas sing about a wide-eyed diverseness of subjects. Some songs are about history or stories of celebrated 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 have lighthearted and playful lyrics. [ citation needed ] There are four basic kinds of songs in capoeira, the Ladaínha, Chula, Corrido and Quadra. The Ladaínha is a narrative solo spill the beans alone at the begin of a roda, frequently by a mestre ( master ) or most respected capoeirista award. The solo is followed by a louvação, a call and answer form that normally thanks God and one ‘s master, among other things. Each call is normally repeated word-for-word by the responders. The Chula is a song where the singer separate is much bigger than the refrain response, normally eight singer verses for one chorus response, but the symmetry may vary. The Corrido is a song where the singer contribution and the refrain response are equal, normally two verses by two responses. ultimately, the Quadra is a song where the lapp verse is repeated four times, either three singer verses followed by one chorus reply, or one verse and one answer. [ citation needed ] Capoeira songs can talk about about anything, being it about a historical fact, a celebrated capoeirista, trivial life facts, hidden messages for players, anything. Improvisation is identical important besides, while singing a song the chief singer can change the music ‘s lyrics, telling something that ‘s happening in or outside the roda. [ citation needed ]

Styles [edit ]

The 1975 Capoeira Cup Determining styles in capoeira is unmanageable, since there was never a oneness in the original capoeira, or a teach method before the ten of 1920. however, a division between two styles and a sub-style is wide accepted. [ citation needed ]

Capoeira Angola [edit ]

Capoeira de Angola refers to every capoeira that maintains traditions from before the initiation of the regional manner. Existing in many parts of Brazil since colonial times, most notably in the cities of Rio de Janeiro, Salvador and Recife, it ‘s impossible to tell where and when Capoeira Angola began taking its award form. The name Angola starts american samoa early as the beginning of slavery in Brazil, when Africans, taken to Luanda to be shipped to the Americas, were called in Brazil “ black people from Angola ”, regardless of their nationality. In some places of Brazil people would refer to capoeira as “ playing Angola ” and, according to Mestre Noronha, the capoeira school Centro de Capoeira Angola Conceição da Praia, created in Bahia, already used the name Capoeira Angola illegally in the beginning of the 1920 ten. [ 32 ] The appoint Angola was ultimately immortalized by Mestre Pastinha at 23 February 1941, when he opened the Centro Esportivo de capoeira Angola ( CECA ). Pastinha preferred the ludic aspects of the game rather than the warlike side, and was much respected by recognized capoeira masters. soon many other masters would adopt the name Angola, even those who would not follow Pastinha ‘s style. [ citation needed ] The ideal of Capoeira Angola is to maintain capoeira as close up to its roots as possible. Characterized by being strategic, with sneaking movements executed standing or near the floor depending on the position to side, it values the traditions of malícia, malandragem and capriciousness of the original capoeira. [ citation needed ] typical music bateria formation in a roda of Capoeira Angola is three berimbaus, two pandeiros, one atabaque, one agogô and one ganzuá. [ 43 ]

Capoeira Regional [edit ]

Capoeira Regional began to take human body in the 1920s, when Mestre Bimba met his future scholar, José Cisnando Lima. Both believed that capoeira was losing its martial side and concluded there was a need to re-strengthen and structure it. Bimba created his sequências de ensino ( teaching combinations ) and created capoeira ‘s first teach method acting. Advised by Cisnando, Bimba decided to call his style Luta Regional Baiana, as capoeira was calm illegal at that time. [ 44 ] [ 45 ] The base of capoeira regional is the original capoeira without many of the aspects that were airy in a very fight, with less subterfuge and more objectivity. education focuses chiefly on attack, dodging and counter-attack, giving high importance to preciseness and discipline. Bimba besides added a few moves from other arts, notably the batuque, an old street fight crippled invented by his beget. [ 46 ] Use of jumps or forward pass acrobatics stay to a minimum, since one of its foundations is constantly keeping at least one hand or foot hard attached to the grind. Mestre Bimba frequently said, “ o chão é amigo do capoeirista “ ( the floor is a supporter to the capoeirista ). [ citation needed ] Capoeira Regional besides introduced the first ranking method acting in capoeira. Regional had three levels : calouro ( freshman ), formado ( graduated ) and formado especializado ( specialist ). After 1964, when a student completed a course, a special celebration ceremony occurred, ending with the teacher tying a silk scarf around the capoeirista ‘s neck. [ 47 ] The traditions of roda and capoeira game were kept, being used to put into manipulation what was learned during training. The disposition of musical instruments, however, was changed, being made by a single berimbau and two pandeiros. [ citation needed ] The Luta Regional Baiana soon became democratic, ultimately changing capoeira ‘s badly trope. Mestre Bimba made many presentations of his new style, but the best know was the one made at 1953 to Brazilian president Getúlio Vargas, where the president would say : “ A Capoeira é o único esporte verdadeiramente nacional “ ( Capoeira is the only truly national mutant ). [ 48 ]

Capoeira Contemporânea [edit ]

In the 1970s a desegregate style began to take mannequin, with practitioners taking the aspects they considered more important from both Regional and Angola. notably more acrobatic, this sub-style is seen by some as the natural evolution of capoeira, by others as adulteration or even misinterpretation of capoeira. [ citation needed ] nowadays the tag Contemporânea applies to any capoeira group who do n’t follow Regional or Angola styles, even the ones who mix capoeira with other martial arts. Some luminary groups whose style can not be described as either Angola or Regional but rather “ a manner of their own ”, include Senzala de Santos, Cordão de Ouro and Abada. In the case of Cordão de Ouro, the style may be described as “ Miudinho ”, a low and fast-paced game, while in Senzala de Santos the dash may described plainly as “ Senzala de Santos ”, an elegant, playful combination of Angola and Regional. Capoeira Abada may be described as a more aggressive, less dance-influenced style of capoeira. [ citation needed ]

Ranks [edit ]

Because of its origin, capoeira never had integrity or a general agreement. Ranking or graduating system follows the same path, as there never existed a rank system accepted by most of the masters. That means graduation manner varies depending on the group ‘s traditions. The most common modern system uses color ropes, called corda or cordão, tied around the shank. Some masters use different systems, or even no system at all. [ 49 ] There are many entities ( leagues, federations and association ) that have tried to unify the gradation system. The most common [ citation needed ] is the system of the Confederação Brasileira de Capoeira ( brazilian Capoeira Confederation ), which adopts ropes using the colors of the brazilian flag, green, yellow, blue and white. [ citation needed ] even though it is widely used with many small variations, many big and influential groups still use different systems, in exemplar, Porto da Barra Group that uses belts that tell the brazilian slavery history. flush the Confederação Brasileira de Capoeira is not wide accepted as the capoeira ‘s main representative. [ citation needed ] In a solid act of groups ( chiefly of the Angola school ) there is no visible ranking system. There can still be several ranks : scholar, treinel, professor, contra-mestre and mestre, but often no cordas ( belts ). [ citation needed ]

relate activities [edit ]

even though those activities are powerfully associated with capoeira, they have different meanings and origins .

Samba de roda [edit ]

Performed by many capoeira groups, samba de roda is a traditional brazilian dance and musical form that has been associated with capoeira for many decades. The orchestra is composed by pandeiro, atabaque, berimbau-viola ( high pitch berimbau ), chocalho, accompanied by singing and clapping. Samba de roda is considered one of the archaic forms of modern Samba .

Maculelê [edit ]

primitively the Maculelê is believed to have been an autochthonal arm active style, using two sticks or a machete. Nowadays it ‘s a folkloric dance practiced with heavy brazilian percussion section. many capoeira groups include Maculelê in their presentations .

Puxada de rede [edit ]

Puxada de Rede is a brazilian folkloric theatrical playing period, seen in many capoeira performances. It is based on a traditional brazilian legend involving the loss of a fisherman in a oceangoing accident .

Sports development [edit ]

Capoeira is presently being used as a tool in sports development ( the use of sport to create positive social deepen ) to promote psychosocial wellbeing in assorted youth projects around the universe. Capoeira4Refugees is a UK-based NGO working with young person in conflict zones in the Middle East. Capoeira for Peace is a project based in the democratic Republic of Congo. The Nukanti Foundation works with street children in Colombia. Capoeira Maculelê has social projects promoting cultural arts for health in Colombia, Angola, Brazil, Argentina, USA among others .

MMA [edit ]

many brazilian assorted warlike arts fighters have a capoeira setting, either training often or having tried it before. Some of them include Anderson Silva, who is a yellow belt, trained in capoeira at a young senesce, then again when he was a UFC combatant ; Thiago Santos, an active UFC middleweight rival who trained in capoeira for 8 years ; Former UFC Heavyweight Champion Júnior do Santos, who trained in capoeira as a child and incorporates its kick techniques and campaign into his stand up ; Marcus “ Lelo ” Aurélio, who is celebrated for knocking a fighter out with a Meia-lua de Compasso kick, and UFC veterans José Aldo and Andre Gusmão besides use capoeira as their base .