SALVADOR DA BAHIA

Hello everyone.

This is the beautiful game,  of Capoeira Angola.

O.K., let’s get right into it.

Born and raised in Paterson, NJ, Edward L. Powe has a Ph.D. in African Languages and Literature (specializing in Hausa) from the University of Wisconsin-Madison, an MA in Linguistics (minor in Arabic) from Indiana University-Bloomington, and a BA (with distinction) in Spanish (minor in Portuguese) from the University of New Mexico in Albuquerque. He has traveled extensively in Africa, India, the Indian Ocean, Latin America, Indonesia, and Melanesia and has occupied various administrative and teaching positions in the US and abroad.

In the video clip below, he’s teaching a workshop in Chicago…

…And here, he’s instructing and testing some of his students in Indonesia.

O.K., now let me explain to all of you some fundamental principles of Capoeira Angola.

The Jogo de Capoeira Angola is a method of practicing the application of capoeira movements in simulated combat. Played as a game. It can be played anywhere, but it’s usually done in what is called a RODA DE CAPOEIRA. The Roda is what I describe as a grand theater, where the art of Capoeira is displayed to the world. It is a micro representation of the greater communities that we are all a part of. By succeeding in the micro community of the Roda, participants learn that they can succeed in the greater community outside the roda. At least, that’s the theory…

The Roda represents a highly structured environment with defined boundaries, physical, moral and ethical. It uses community imposed sanctions and guidance, as part of the growth process. This environment offers an opportunity for the player to develop self-respect and self-improvement.

However, sometimes 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, or at least we try to…

The dominant instruments are the three berimbaus; no other instrument should be played louder than these. There is also an order to the types and use of songs, all of which will be explained in more detail in the MUSIC AND SONG PAGE.

Now, since I described to you what a roda is as best as I can on a webpage, I’m gonna introduce you to the major components of the game within the roda, and then we’ll get into basic movements.

 

CHAMADA

Chamada means ‘call’ and can happen at any time during a roda where the rhythm angola is being played. It happens when one player, usually the more advanced one, calls his or her opponent to a dance-like ritual. The opponent then approaches the caller and meets him or her to walk side by side.

After the chamada ends, both resume normal play.

While it may seem like a break time or a dance, the chamada is a very important component of the traditional Angola game, as it is actually both a trap and a test. The caller is watching to see if his partner will let his guard down, or trying to get him to do something so she can perform a takedown or a strike.

It is a critical situation, because both players are vulnerable due to the close proximity and potential for a surprise attack. It’s also a tool for experienced practitioners and masters of the art to test a student’s awareness and demonstrate when the student left herself open to attack.

The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person’s hidden intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

VOLTA AO MUNDO  (Around the world).

The volta ao mundo is a type of chamada that takes place usually after an exchange of movements has reached a conclusion, after there has been a disruption in the harmony of the game, or if one player wants to control the pace of the game. In either of these situations, one player will begin walking around the perimeter of the circle, and the other player will join the volta ao mundo in the opposite part of the roda, before returning to the normal game.

O.K., now that we’ve covered some aspects of the game, let’s go over some basic movements of Capoeira Angola.

OR, LET’S NOT.

Okay I’m kidding… but not really.

What I mean by that is, I’m not gonna be posting videos of myself demonstrating the basic movements…

Not yet, anyway.

But I will. soon.

Maybe.

However, I do want to point out that there are quite a few videos and tutorials showing Basic Capoeira movements from all styles out there in cyberspace already, for those who can’t find a QUALIFIED teacher.

Which brings me to this course.

Tom “MANDINGUERO” Polonsky is what I would call a “Capoeira Nerd”. He has created “THE CAPOEIRA ANGOLA LIBRARY”, an online course for people who want to learn Capoeira Angola.

I’ll let Tom describe the course to you:

Now, me being a “Capoeira Nerd” myself, I bought this course. I bought it thinking I would hate it, because to be honest, when I first saw this course being advertised on YouTube, I saw it as a travesty.

I thought it would just be some product for Capoeiristas of different styles, who want to add a little something from Capoeira Angola to spice up their game you know, add a little “secret sauce” to their game.

And let’s face it. That’s EXACTLY what this course is.

However, having looked at the course, and trying it out, I have to say that it’s not all that bad. I like the way the course is set-up, and that what is shown on the course is easy to learn; that is, if you put in the time and effort it takes to learn.

Although I firmly believe that if you want to learn Capoeira Angola, you should GO FIND QUALITY INSTRUCTION, this course CAN be a good guide and resource for someone who can’t find quality instruction in their area.

That is,

UNTIL THEY FIND QUALITY INSTRUCTION.

Now, this is my own opinion. If any of you want to check this course out FOR YOURSELVES, rather than just listen to some random guy with a website like me, you can order it HERE.

He also has a course for total beginners, click HERE to check it out.

And, click HERE to check out his You Tube channel, CAPOEIRA LIFE SHOW, where he shows many tips for Capoeiristas of all levels.

This is my favorite video from his channel.

Obviously.

Let me say this again. There are quite a few videos and tutorials showing Capoeira movements, how to play all the instruments, etc. out there in cyberspace. In fact, as you can see, almost ALL of the videos that I posted on this website came directly from You Tube.

Having said that, I also firmly believe that if you want to learn Capoeira Angola, you should GO FIND QUALIFIED INSTRUCTION. This is not to try to discredit the hard work that the creators of those You Tube tutorials out there went into making them.

However, I would bet that even they would tell you that the best way to learn Capoeira of ANY STYLE is to find a good school with a qualified teacher, and study there.

Now having said all THAT, I would like you to watch these 2 particular videos.

The 1st video is of my great friend and brother CHEYENNE AMEN, as he gives us his take on The Ginga in Capoeira Angola.

The 2nd video is a video I found on You Tube, made by LEV CORAZAO, showing his take on the Ginga, along with a couple other of basic movements.

The reason that I wanted you to watch these 2 videos together here, is to show you how 2 main aspects of any traditional Martial Art, the HARD, savage destructive side, and the SOFT, flowing, healing, creative side, are shown here in Capoeira Angola.

I’ll post more about that on another PAGE.

And yes, you will see both of these videos elsewhere on this website.

Now here, we have a small playlist of 4 videos, of Treinel Carla Natureza of GRUPO ANGOLEIROS DE SERTAO, teaching some basic movements.

And, click HERE to go to the You Tube page of Contramestre Xande, also from Grupo Angoleiros do Sertao, where he also shows basic movements, and gives a lot of great tips on training.

Yes, all of these videos are in Portuguese. if you have a problem with that, well you should learn Portuguese.

O.K., these videos are NOT tutorials, just classes that were filmed. However, these classes were taught by the 2 top students of Mestre Pastinha, Mestres Joao Pequeno, and Joao Grande.

There are many more “CAPOEIRA ANGOLA TUTORIALS” out there. While I believe that even the people making these tutorials will tell you that it’s better to get QUALIFIED INSTRUCTION than learning from a book or video, something’s better than nothing.

Hell, when I first started learning about Capoeira, I started with this video series from Panther Productions…

But later, I found a qualified teacher who taught me the art.

And, so should you.

   

 

 

 

 

Malandragem and Mandinga

In capoeira, malandragem is the ability to quickly understand an opponent’s intentions, and during a game or an actual fight, fool, trick and deceive him.

Here’s the best example I found on You Tube…

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Similarly capoeiristas use the concept of mandinga. Mandinga can be translated “magic” or “spell”, but in capoeira a mandingueiro is a clever fighter, able to trick the opponent.

Mandinga is also way 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 wanderer (with flute in hand), traveler, vagabond.

But more about that on ANOTHER PAGE…

Bahia dos Todos os Santos

O.K., we are almost at the end of this page. The main thing I want to stress to you that what you’ve seen and read here, is just a tiny bit of information on the BASICS of the art of Capoeira. And, what most people see, or know, about Capoeira is just the tip of a huge iceberg…

How deep is this art, you ask? Well, allow me to give you an idea…

And remember…

EVERYTHING I SHARED WITH YOU ABOVE IS BULL%*&T!!!

THAT IS… UNTIL YOU APPLY IT.

O.K. Now, I’ll leave you with these words of wisdom from Mestre Bola Sete.

José Luiz Oliveira Cruz, Mestre Bola Sete was born on May 31, 1950, in Santo Antonio de Jesus, in the Reconcavo de Bahia. He began self-training capoeira in 1962 in the streets of Salvador, and in 1968 he began to train with the great capoeirista Pessoa Bababá, a sailor with the merchant navy and student of Mestre Pastinha. In 1969 Bola Sete entered the academy of Vicente Ferreira Pastinha, where he occupied the position of Field Supervisor; he was graduated by Mestre Pastinha  in 1979. He founded  his own academy, the Centro de Cultura da Capoeira Tradicional Bahia (Center for traditional Bahian Capoeira Culture), in 1980. Today, He is the president of the Council of Mestres of the Associacao Brasileira de Capoeira Angola (Brazilian Capoeira Angola Association).

This is an english translation of the last chapter of his book, CAPOEIRA ANGOLA NA BAHIA.

Observations that we must follow in order to acquire a good use of the practice of capoeira

1)      Respeite e faca serem respeitados as normas, os rituais e as traditcoes da capoeira angola. (Respect and make respected the norms, rituals, and traditions of capoeira angola).

2)      Respeite todos os Mestres da Capoeira. (Respect all the Mestres of Capoeira).

3)      Nao aplice golpes ofensivos com os membros superiores; golpes ligados, assim como pisadas e pontapes abaixo da cintura do camarada. quando estiver vadiacao. (Do not apply aggressive hits with players who are more experienced than you, linked kicks and kicks below the waist of your partner, while playing capoeira.)

4)      Ao agachar-se ao pe do berimbau para vadiar, procure concentrar-se, relaxe o corpo e, a partir da saida do jogo, nao desive mais a sua atencao do camarada. Entretanto, no momento em que estiver vadiando, dirija o olhar para a frente ou para os lados, aparentemente desligado, mas sem fitar o camarada, pois, desta forma, trairia suas intencoes. O olhar nao deve fixar-se em nada, embora o seu campo de visao deva ser o mas amplo possivel. (When you crouch at the pé do berimbau to play, concentrate, relax the body, and, from the moment you enter the game, do not let your attention deviate from your partner. However, while you are playing, direct your gaze to the front or to the sides, appearing not to pay attention, without staring at your partner, because this will reveal your intentions. Your gaze must never fix itself on anything, although your field of vision should be the most ample possible).

5)      So entre em um roda de capoeira na rua quando ja estiver totalmente preparado na capoeiragem. (Only enter a roda when you are already completely prepared for capoeira).

6)      Nas rodas de rua, so passe para o jogo de dentro no momento exato do golpe desferido pelo seu camarada, aplicando-1he simultaneamente um contragolpe.Evite descer quando o golpe passsar didatnte, ou o adversario apenas fintar o golpe… (In street rodas, only go to the jogo de dentro at the exact moment of the movement done by your partner, while simultaneously applying a counterattack. Avoid descending when his movement passes at a distance, or when your adversary only feints a movement).

7)      Quando estiver no jogo de dentro e o seu camarada se aproximar rapidamente para aplicar-lhe uma pisada ou pontape no rosto, nao lhe dando oportunidade de sair no role ou aplicar-lhe um golpe, procure levantar-se unido a ele, ficando, assim, em condicoes de aplicar-lhe varios golpes. (When you are playing the jogo de dentro and your partner approaches rapidly to give a kick to the face, not allowing you the opportunity to leave in a rolé or give him a hit, try to get up together with him, putting yourself in the position to apply various hits.)

8)   Procure aprender bem a Ginga. Lembre-se de que ela e o principal movimento a Capoeira, o primeiro a ser ensinado-e, consequentemente, a sua base.  Aim to learn the ginga well. Remember that it is the main movement of capoeira, the first to be taught and, consequently, its base.

9)    Gingue constantemente, procurando fintar sempre.  Ginga constantly, aiming to always feint.

10)  Todo bom Capoeirista, alem de jogar, deve saber tocar berimbau e cantar. Aprenda-os. (Every good capoeirista, besides playing capoeira, must know how to play the berimbau and sing. Learn these.)

11) Nao elogie a si propio no que diz respeito ao jogo da capoeira. Se voce por realamente um bom capoeirista, sera reconhecido como tal. (Don’t praise yourself to gain respect in the roda. If you are really a good capoeirista, you will be known as such).

12)  Nao demonostre o que sabe forada roda de capoeira. So quando assim se fizer necessario. (Don’t demonstrate what you know outside the roda. Only when it is necessary.

13)  Observe os seus camaradas mais treinados. Assim procendendo, Aprendera melhor. (Observe your more experienced training partners. If you do this, you will learn better.)

14)  Procure imaginar-se em qualquier situacao dificil, procuando o melhor meio de livrar-se. Quando se encontrar, na realidade, dentro dela, tera maiores chances de exito. (Try to imagine yourself in any difficult situation, seeking the best method to free yourself. When in reality you find yourself in such a situation, you will have a better chance of success).

15)  Quando for chamada na passagem, aproxime-se com bastante cautela, pois, dentro das normas da capoeiragem, o capoeirista que chama podera aplicar o golpe que desejar, caso o outro aproxime-se sem o devido cuidado.  (When a chamada is called, approach very carefully because, in the norms of capoeira, the capoeirista that calls the chamada can apply any hit he desires if the other approaches without the necessary caution).

16)  Quando estiver vadiando, so execute determinado movimento da capoeira quando possuir pleno domindo do mesmo. (When you are playing, only execute capoeira movements of which you have complete control).

17)  Quando vadiar com um camarada desconheido, nao mostre todo o seu jogo, guardando os seus melhores golpes para hora decisiva, se houver necessidade. (When you play with a stranger, don’t show all of your game, saving your best hits for the decisive hour, if necessary).

18)  Nao vadeie em roda de rua ou lugar desconhecido, sem antes ter observandobastante o abiente. (Don’t play in a street roda or place with which you are not familiar, without first having observed the environment sufficiently).

19)  Preste bastante atencao quando se levantar. Isto e, quando passar do jogo de dentro para o jogo de fora. (Pay lots of attention when you get up. This is when the jogo de dentro turns into the jogo de fora).

20)  O capoeirista, depois de formando, que ainda encontrar dificuldade para aprender determinando movimento da capoeira. deve de faze-lo, procurando se aperfeicoar naqueles que aprendeu. (The graduated capoeirista who still finds difficulty in learning a certain capoeira movement must stop doing it, trying instead to perfect himself in the movements that he has already learned).

21)  Procure jogar sem tocar o corpo no chao. So as maos e os pes devem tocar no solo. Os grandes capoeiristas costumam jogar de roupa branca, durante varias voltas, sem que a sujem. (Try to play without touching the body to the ground. Only the hands and the feet must touch the ground. The best capoeiristas used to play in white clothes without soiling them).

22)  So depois de adquirir um bom desempenho tecnico, por meio da excucao dos movimentos ofensivos de uma forma lenta e progressiva, e que o capoeirista devera preocupar-se com rapidez e, consequentemente, com a potencia dos golpes. (Only after acquiring good technique through the execution of offensive movements in a slow and progressive manner should the capoeirista worry himself with speed and, consequently, with the power of hits).

23)  Quando practicar a capoeira, procure manter o punho solto. Caso aconteca o contrario, por breve instante, relaxe-o imediatamente. Na Capoeira, o punho fechado foge totalmente as suas caracteristicas, que consistem em movimentos descontraidos que permitam a facil circulacao do sangue, e, assim, a excucao de movimentos mais espontaneos e ageis. (When practicing capoeira, keep your hands relaxed. If you make a fist for a brief instant, relax it immediately. The closed fist is completely foreign to capoeira’s characteristics, which consist of relaxed movements that allow the free circulation of the blood, and thus the execution of more spontaneous and agile movements).

24)  No comenco do jogo de capoeira, procure executar movimentos giratorios e lentos no jogo de dentro, com a finalidade de aqecer os musculos, para, depois passarmos para o jogo de fora, no qual o ritmo podera continuar lento ou mais rapido, a depender do toque executado pelo berimbau-mestre. (In the beginning of the capoeira game, try to execute slow, circular movements in the jogo de dentro, with the goal of warming up the muscles, so that later you can progress into the jogo de fora, in which the rhythm may stay slow or become faster, depending on the toque played by the berimbau-mestre).

25)  Durante a practica a capoeira, procure evitar a utilizacao da forca muscular. Todo o corpo devera estar distendido, nao havendo, assim, lugar para este tipo de forca, que nao passa de uma energia superficial. (During the practice of capoeira, try to avoid the utilization of muscular force. The whole body must be stretched/extended; thus there is no place for this type of force, which is nothing more than superficial energy).

26) Nao considere muito importante a capacidade de executar saltos, movimentos complicados e golpes em serie com extrema velocidade que, fatalmente,levam o capoeirista ao esgotamento, muito em practica na capoeira moderna.Na capoeira angola (tradicional), dirigimos o movimento pela calma. (Do not consider very important the ability to do flips, complicated movements, and series of extremely rapid hits that, fatally, bring the capoeirista to exhaustion, occurring much in the practice of modern capoeira. In traditional capoeira angola, we direct movements calmly).

27)  A capoeira angola é essencialmente defensiva. O capoeirista deve tentar guiar o ataque do adversário a seu favor, atraindo-o com movimentos do corpo, colocando-o em posição desfavorável. (Capoeira angola is essentially defensive. The capoeirista must try to guide his opponent’s attack in his favor, attracting him with movements of the body, putting him in an unfavorable position).

28) O capoeirista no inicio de sua aprendizagem, deve procuar mostrar os golpes, a fim de distenzer os músculos. A seguir, uma vez que obtiver certa mestria, os movimentos podem  tornar-se mais fechados, pois nao mais existira tanta cobranca nas partes technica r fisica.  (The capoeirista in the beginning of his learning should try to show the hits, to stretch the muscles. When he obtains a certain expertise, the movements can become more closed, because there would not be so much charge on the physical and technical parts).

29)  Onde quer que o  esteja capoeirista, a capoeira deve acompanhá-lo. O corpo e o espírito devem estar preparados para qualquer situação. (Wherever the capoeirista is, capoeira must accompany him. The body and the spirit must be prepared for any situation).

30) Quando dobrar uma esquina, tarde da noite, arraste o pé e tome a direção da rua, retornando ao passeio mais adiante. (When you turn a corner late at night, drag your foot and take the direction of the street, returning to the path later).

31) Quando se encontrar em um estabelecimento qualquer, jamais fica de costas para a entrada, a nao se que na sua frente se encontre um espelho  que domine  a entrada, ou outro objecto que reflita a imagem. (When you are in any room, never sit with your back towards the entrance, unless in front of you is a mirror or other object that fully reflects the entrance).

32) Quando  passar por uma rua escura, anda  sempre  pelo meio, nunca pelo passado. (When you pass through a dark street, always walk in the middle, never on the sides).

33) Jamais entre em  corredor escuro. (Never enter a dark corridor).

34) Não se deixe abraçar por desconhecido, a titulo de cumprimento. (Don’t let yourself be embraced by a stranger as a greeting).

35) Não agrida. A violência da capoeira está contida no intimo  do capoeirista, manifestando no momento oportuno. (Don’t attack. The violence of capoeira is contained in the innermost part of the capoeirista, only manifesting itself at the opportune moment).

36) Jamais golpeie o camarada, quando o mesmo estiver de costas para você. (Never hit your partner when his back is towards you).

37) Seja leal com seus companheiros na luta. (Be loyal to your friends in the fight).

38) Procure evitar brigas. So brigue quando estiver com cem por cento de razao.(Try to avoid fights. Only fight when you are 100% correct.)

39). Nao podendo evita-las, procure defender-se. Fique calmo. Não tenha pressa de aplicar o golpe, ele sera desferido quando as probabilidade de falhas forem as minimas possíveis. Procure aproveitar tudo o que o ambiente pode proporcionar. Lembre-se que a malícia é essencial no capoeirista e, por meio dela, você pode decidir uma briga em questão de segundos. (If you are unable to avoid a fight, try to defend yourself. Stay calm. Don’t rush to apply a hit; give it when the probability of fault is the lowest possible. Try to take advantage of everything the environment can provide. Remember that malícia is essential to the capoeirista and through it you can decide a fight in a question of seconds).

40)  O bom capoeirista tem  obrigação de chorar ao pé do adversário.  Está chorando, mas os olhos e o espírito estão ativos. (The good capoeirista has the obligation to cry at the feet of the adversary. He is crying, but the eyes and the spirit are active).

41) Tenha fé no que você aprendeu. (Have faith in what you learned).