Capoeira Angola Palmares

“Capoeira na vida, capoeira na roda .” Mestre Nô

Basics of Capoeira

Ginga

It is the movement used by the player to confuse and break the opponent's concentration. The player also uses it to maintain a distance from the opponent, thus being able to attack and protect himself at the same time. Ginga is a trademark of capoeira. In the past, it was used to disguise its fighting characteristics into just a dance form. Ginga is the foundation of capoeira, with it, that the player can move all over the game area and avoid being hit. It is in the ginga that the player masters his skills, since everything is done in constant movement and the ginga being the link between strikes, esquivas, rasteiras, etc. When doing the ginga, it is important to remember that the front leg is always slightly bent. The back leg heel should never touch the floor. The defense is done with the arm opposite to the front leg in front of the face. The torso should be slightly bent forward. The ginga is always done facing the opponent.
Music in Capoeira

Without music, there is no capoeira. The instrumental sounds of the bateria (which is what the band is called) reflect the types of instruments used: the berimbau (musical bow), the pandeiro (tambourine), atabaque (conga drums), agogo bells and caxixi (woven rattle). The music is played specifically for capoeira circle ceremonies. It serves to teach and guide the players, and follows an order of rank created by capoeiristas. Added to the various rhythms and melodies are the lyrics of the songs. The litany (ladainha), epic or otherwise, is always the opening song, and the game cannot begin until it is over. 

 

Music in the context of capoeira is used to create a sacred space through both the physical act of forming a circle (roda) and an aural space that is believed to connect to the spirit world. The music is also open to variations inspired by the current game. The lyrics of the songs often express basic fundamentals of the capoeira arts, history and life teachings. 

 

The berimbau is the master of the bateria, the berimbau commands the game, it's rhythmic combinations suggest the variations in movement between the two players inside the roda. The roda begins and ends at it's discretion, setting the tempo for the game and calming the players if the game gets too rough. There are three types of berimbau, berra-boi, medio and viola. The rhythms and melodies produced by the berimbau are called toques, the basic toques are: Angola, Sao Bento Grande de Angola, Sao Bento Pequeno, Santa Maria, Cavalaria, Samba de Roda. Many toques are associated with a specific type of game. 

There are four different types of capoeira songs: ladainha, corrido, chula and quadra. 

 

LADAINHA is the introductory song for the game. It must be played at the beginning of every game. It is a soulful song where the player prepares his body and spirit, asking through personal prayer, protection throughout the game. The ladainha can't be performed in the middle of the game. it is characterized by the "E" shout and by the praising song (louvacao) that follows it. The game can only being after the ladainha. That's when the other songs being (corrido). The Ladainha can describe a story, it can challenge, declare love, give a compliment, etc. The challenges made through the ladainhas can only be done while playing the Sao Bento Pequeno and Angola rhythms. 

CORRIDO marcs the beginning of the game, they are songs of call and response. 

QUADRA It is all the rhyming songs. The verse is answered by the chorus. In the quadras, it is possible to challenge, and joke with someone. The quadras can be, and usually are, improvised at the game. 

CHULAS Is a song similar to the ladainha, without the "E" shout or the praising. There can be no challenges in the chulas. Instead histories are told and compliments are given.  

 

Capoeira is helping to spread the Portuguese language, especially as spoken in Bahia. This bracing and invigorating cultural expression, with its wealth of physical movement, is holistic in its approach to integration, and Brazilian through-and-through. Its strength and creativity is most strongly felt through music.