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On
the contrary of what most people
think, the black people did
not accept peacefully the capture:
the Brazilian history is full
of episodes where the slaves
revolted against the humiliating
situation that they were going
through. One form of those resistances
was the quilombo - communities
organized by the black fugitives
in places hard to reach, usually
in the highest points in the
woods. The major of those quilombos
established himself in Pernambuco
in the XVII century, in an area
known as Palmares. One type
of African State was created.
Distributed in small villages
called mocambos and with a hierarchy
where on the top was the king
Ganga-Zumbi, Palmares could
have been the cradle of the
first protests of Capoeira.
Developed as defense, the Capoeira
was being taught to the black
people still captives, for those
who were captured and went back
to the mills. In order not to
raise suspicions, those fight
movements were being adapted
to the African songs and singings
in order to look like dances.
This way, such as in the Candomblé,
surrounded by secrets, the Capoeira
could develop itself as form
of resistance.
From the country to the city,
the Capoeira had gained malice
among the slaves and the people
who frequented the port areas.
In the city of Salvador, the
Capoeira players, organized
in groups provoked disorders
in the popular parties and reinforced
the marginal character of the
fight. During decades, the capoeira
was banned in Brazil. The release
of its practice happened in
the 30’s, when one variation
of the Capoeira (more towards
the sport rather than cultural
manifestation) was presented
to president at that time, Getúlio
Vargas. From that time on, the
Capoeira Angola improved itself
in Bahia keeping loyal to the
traditions, thanks mainly to
its great guru, Mestre Pastinha,
who played Capoeira until the
age of 79, forming generations
of angoleiros.
Elements
of the Capoeira Angola
The
Mestre (master) Pastinha used
to say, "Capoeira Angola
is, after all, fight, fight
and a violent fight." But
nowadays, Capoeira is usually
practiced as a sport or simply
folklore to preserve the traditions.
Of
course that, among the serious
players in their practices,
the strikes are just simulations
and the Capoeira becomes a physical
and mental exercise. The violence
in its strikes, however, does
not leave room for mid-term,
or you play Capoeira for real,
with its serious consequences,
or just simulate a game. The
possibility to fit it into a
sport category is inexistent.
Who does it so is being frivolous
or does not really know the
Capoeira.
The
Blows
The Capoeira Angola has a relatively
low number of blows that can
be, however, reach a harmonious
complexity though its variations.
As the music has just seven
musical signs.
Their main blows are: Cabeçada
(hit with head), Rasteira (trip),
Rabo de Arraia, Chapa de Frente,
Chapa de Costas, Meia Lua e
Cutilada de Mão.
The
Music
Capoeira is the only type of
martial arts that has musical
instruments along. This is due
mainly to its origins among
the slaves, that in this way
they could disguise the practice
of the fight in a kind of dance,
deceiving the lords of the mills
and the capitães-do-mato.
In the beginning, those accompanying
was made just with clap of the
hands and drums beats. Later,
the berimbau (Jew’s harp)
was introduced (photo). This
instrument is made of a stem
tensioned by a wire, having
as a resonance box, a cut calabash.
The sound is obtained playing
a stem in the wire. The sound
can be adjusted baffling the
sound of the calabash and or
touching a cupper coin in the
wire. The instrument is followed
by a small basket made of wicker
with dry seeds inside.
The Berimbau, an instrument
initially used by street salesmen
to attract customers, became
an instrument symbol of the
Capoeira, leading the game,
with its peculiar timbre. The
rhythm is binary and the time
is slow, moderated and fast
as indicated by the Berimbau’s
touch. Among the most known
are São Bento Grande,
o São Bento Pequeno (faster),
Angola, Santa Maria, the touch
of Cavalaria (that used to be
used to warn the arrival of
the police), the Amazonas and
the Iuna.
in a round of angoleiros, the
complete rhythm group made up
by three berimbaus (one bass
- Gunga; one medium and one
sharp - Viola); two tambourines,
a reco-reco, one agogô
and one conga drum. The musical
part has yet songs that are
sung and repeated in chorus
for all in the round. A good
Capoeira player has the obligation
to know to play and sing the
themes of the Capoeira.
The
Game
"Capoeira is a dialogue
of bodies, I win when my partner
has no more answers to my questions"
- Mestre Moraes. The Capoeira
game is the friendly way, that
is, in the round is truly a
body talk. Two Capoeira players
bless themselves at the Berimbau
foot and start a slow ballet
of body questions and answers,
until a third player “buys”
the game, and so it goes on
until all of them get into the
round.
The
Malice
Basic element of the Capoeira
Angola, the malice or mandinga
makes it even more dangerous.
This mean purpose that makes
believe that goes and will not
go, withdraws and comes quickly
back; this body sway that deceives
the opponent, makes the difference
of the Capoeira among the other
martial arts. This is a characteristic
that is not learned just practicing.
Source:
ABrasOFFA – ONG (www.abrasoffa.org.br)
Photo: Costa do Cacau –
(www.costadocacau.com.br)
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