history – Page 11 – Jogo Corpo Fechado

BRAZIL, TROUGH WODE MAYA’S EYES Part 2

Kobina Ackon, known as Wode Maya, is a notable Ghanaian Vlogger and YouTuber renowned for his engaging and insightful videos that showcase African culture and lifestyle. With a degree in Aeronautical Engineering from Shenyang Aerospace University, China, he successfully combines his technical knowledge with his passion for storytelling. Over the years, he has established a thriving niche in social media content creation, captivating audiences with his unique perspective and relatable content. His channel has experienced tremendous growth, amassing over a million subscribers in just a few years, a testament to his ability to connect with viewers and shed light on the beauty and vibrancy of the African continent. As an advocate for positive representation, Wode Maya aims to inspire the youth and foster a greater appreciation for African heritage through his work.

Click HERE to visit his YouTube channel for engaging videos that highlight his exceptional talents and provide valuable insights on various topics, from cultural experiences to personal growth. Through his unique storytelling and vibrant personality, he captivates viewers while fostering a deeper understanding of diverse perspectives, making the channel a must-visit for anyone eager to be inspired and entertained. Whether you’re looking for entertaining lifestyle content, educational discussions, or just a dose of positivity, Wode Maya’s videos consistently deliver an enriching experience that keeps audiences coming back for more.

So, why am I posting Wode Maya’s videos here?

The image of Africa has been distorted globally, leading to misconceptions that fail to capture the true essence of this vibrant continent. However, efforts are underway to change these narratives through engaging YouTube videos that provide authentic insights into the region’s diverse culture, rich history, and remarkable achievements. By highlighting local stories, traditions, and the unique lifestyles of various communities, these videos aim not only to dismantle stereotypes but also to enrich global perceptions of the African experience, showcasing the continent’s rich tapestry of languages, art forms, and culinary delights. Through this medium, viewers are invited to explore the continent’s natural beauty, from the breathtaking landscapes of the savannahs to the bustling markets steeped in cultural significance, all of which contribute to a more nuanced and appreciative understanding of Africa’s multifaceted identity. In doing so, these videos play a crucial role in fostering connections, sparking curiosity, and promoting a deeper conversation about the continent’s place in the global narrative.

These narratives ensure that African voices tell their own history, celebrating unsung heroes and fostering appreciation for diverse cultures that have often been overlooked. This reclamation process empowers future generations by instilling a sense of pride in their heritage and identity, while simultaneously encouraging a more nuanced understanding of Africa, emphasizing its resilience and innovation across various sectors, including technology, arts, and social movements. As these authentic representations circulate and gain traction, they contribute to a broader dialogue that challenges prevailing misconceptions and highlights the continent’s vibrant potential. Moreover, the promotion of these stories not only preserves the rich tapestry of Africa’s past but also paves the way for new narratives that showcase the continent’s dynamic present and promising future. By actively engaging young people in the storytelling process, we not only enrich their cultural education but also inspire them to become agents of change, capable of driving social progress. This interconnected approach fosters a deep appreciation for the continent’s diverse narratives, empowering individuals to take ownership of their stories and advocate for their communities on both local and global stages. Ultimately, these efforts create a more inclusive and accurate representation of Africa that resonates with audiences worldwide, encouraging a collective journey towards healing and understanding.

SPIRITUAL PRACTICES OF AFRICA, AND THE DIASPORA (11/25/24)

Many discussions on global religious and spiritual practices often overlook Sub-Saharan Africa, and when addressed, it is usually negatively; this series aims to change that perception by highlighting the rich tapestry of beliefs and traditions that thrive in this region. From the diverse array of indigenous faiths to the profound influence of world religions such as Christianity and Islam, Sub-Saharan Africa is home to a vibrant cultural heritage that reflects a deep connection to spirituality and community. By showcasing the unique rituals, philosophies, and the stories of practitioners from various backgrounds, we hope to foster a greater appreciation for the complexity and beauty of spiritual life in this often-misunderstood part of the world.

In this installment..

The importance of African centered Spirituality in the Black Community is questioned amidst the presence of Christianity, Islam, Judaism, and Atheism. Many individuals find themselves in a struggle to reconcile their ancestral traditions with the prevailing faiths around them, leading to a rich but complex dialogue about identity and worship.

There’s a dilemma of whether to practice traditions like Ifa, Yoruba, Kemetic, Igbo, or Vodun while also grappling with the significance of established faiths like Jesus, Allah, and Yah. This tension not only influences personal beliefs but also impacts community dynamics, creating a space for both conflict and unity as people seek to honor their roots while remaining true to their spiritual journeys. As individuals explore the rich tapestry of their ancestral customs, they often find themselves negotiating their identities in relation to modern societal values and expectations.

The interplay between these ancient traditions and contemporary faith systems can lead to profound reflections on spirituality, identity, and community, as adherents strive to harmonize the teachings and practices of their heritage with the more widely accepted beliefs that shape the world around them. This complex landscape invites dialogue and introspection, encouraging a deeper understanding of the significance of faith across different cultures and the shared human experience that transcends time and space. Ultimately, this exploration fosters a sense of belonging and empowerment, as individuals navigate their paths in a world that increasingly values diversity and inclusivity, celebrating the richness brought forth by differing perspectives on the divine and the ancestral.

As the conversation evolves, understanding and respect for diverse pathways become crucial, fostering an environment where African centered Spirituality can coexist alongside other belief systems, enriching the collective experience of the Black Community.

Shoutout to the Ijakadi African Martial Arts YouTube channel for creating this video. If you want to know more about them click HERE,

AfricanMartialArts.com offers Ijakadi African Martial Arts, a comprehensive at-home program that covers various techniques such as footwork, striking, grappling, and weapons, rooted in African culture. Users gain access to weekly video lessons, live workshops, rank testing, and more, catering to all skill levels from beginner to advanced.

HAPPY BIRTHDAY, MESTRE BIMBA!!!

TODAY, The Legendary Mestre Bimba would have been 124 years old today, a remarkable milestone that signifies not only his age but the profound impact he had on the world of capoeira. His innovative techniques and dedication to preserving the cultural heritage of this Brazilian martial art have influenced countless practitioners around the globe, ensuring that his legacy continues to inspire new generations. As we reflect on his contributions, we also recognize the importance of his teachings that emphasized not only the physical aspects of capoeira but also the values of respect, community, and resilience, which remain crucial to its practice today.

So we at Jogo de Corpo Fechado would like to celebrate by showing you this vintage video of his life and his school from the 1960’s, a period of rich development in the art form, presented by the CAPOEIRA MUSEUM OFFICIAL YouTube channel. This video, which captures the essence of Mestre Bimba’s innovative teaching methods and the vibrant culture of capoeira during that era, serves as a fantastic insight into how he shaped the contemporary practice of this martial art. Along with the video, we encourage you to read the detailed description below, which provides additional context and translations in both English and Portuguese for a deeper understanding of his legacy.

The Bimba group!! This historic video has undergone image and sound treatment, and as in many of our videos, we have added identification of the characters present and information about the material. Of course, it might require further additions, but we leave that to the comments on the videos, as that enriches each of our videos. The date is 1968 (finalization of editing), but the filming may have occurred in 1967; this is an excerpt from a documentary from the French TV INA.fr, which goes to Pelourinho to capture this historical gem for our study of capoeira. Master Bimba sits on the bench and begins to play the cavalaria while the camera captures the scenes of the graduating classes of Capoeira Regional, with photographs likely from performances and capoeira games. In addition to the famous, albeit inappropriate, posters normalized for the time, we can also see captured by the camera several painted berimbaus hanging on the wall. With only a single berimbau present, without accompaniment from pandeiros, the rhythm of the beginning of the roda is in São Bento Grande da Regional. It is noteworthy to observe the attire (clothing) worn by the capoeiristas, with or without shirts and wearing everyday trousers and shoes. We see the entrance of Atelino, the lightning of Capoeira (there is a book released by Master Itapoan featuring a long interview with him). Atelino enters the academy and crosses the roda, and we notice his significance when we see Master Saci promptly rising and conceding his place to him, who from that moment will stand next to Master Bimba (Do we notice hierarchy?). The chant “Oi sim, sim, sim, oi não, não, não” follows.

move to the foot of the Berimbau, Saci and Prada; I had heard today that in Regional, there was no squatting to enter the game, which is not what the video shows. However, we will wait for someone to explain this “contradiction” to us in the comments on the video. In the academy, we see two circles painted on the ground, a smaller one in the center and a larger one around it, both in the same colors. Sitting in the back to the right of the Master, we see Master Gigante wearing sunglasses and smoking. In the second round, we see a game accompanied only by the berimbau without the palmeado. The player is Baiano Anzol (wearing black pants, who takes a header) with…? – Master Baiano Anzol states: “In this recording, they gave a meia lua that hit the camera, and it took two months to bring another lens and continue the recording work” (Text from the Master on his YouTube). When the third round begins, Atelino enters with the “bode” (pandeiro) to accompany the berimbau, starting off-cross so that the Master can accompany him with the berimbau, resulting in only one berimbau and one pandeiro. Master Bimba begins his chant, “Oi, Sim, Sim, Sim, Oi Não, Não, Não”… now with participation in the chorus from his “pastoras,” including his wife Dona Alice. The palmeado happens in Ijexá’s rite (1, 2, 3) and in the palm of terreiro. The chant changes to “Vou dizer a meu senhor, que a manteiga derramô” and we see the third pair at the foot of the berimbau, Camisa Roxa and Saci. In the background, behind the Master, standing, we see Master Piloto, and nearby, sitting on the bench in a white shirt, is Dr. Decanio. I “believe” the source of research was Grupo de Estudo Regional Baiana (WhatsApp) – ADM – Leco/Laecio Souza.

A turma de Bimba!! Esse vídeo histórico recebeu tratamento de imagem e som e ainda acrescentamos como em muitos vídeos nossos a identificação dos personagens presentes e informações sobre o material, claro que pode carecer de mais acréscimos, mas isso deixamos por conta dos comentários aos vídeos, pois é o que deixa mais rico cada vídeo nosso. A data é 1968 (finalização da edição) porém as filmagens possam ter ocorrido em 1967, esse é um trecho de um documentário da TV francesa INA.fr e que vai até ao Pelourinho registrar essa preciosidade histórica para nosso estudo da capoeira. Mestre Bimba senta no banco e inicia o toque de cavalaria em quanto a Câmara registra os quadros das turmas de formados da Capoeira Regional, fotografias provavelmente de apresentações e jogos de capoeira, para além dos famosos cartazes menos próprios, mas normalizados para a época, podemos ver captados pela câmara ainda, alguns berimbaus pintados pendurados na parede. Com a presença apenas de um único berimbau, sem acompanhamento de pandeiros o ritmo do início da roda é em São bento Grande da Regional, é de se notar a indumentária (roupas) que os capoeira utilizam, com ou sem camisa e utilizando caças e calçados do dia a dia, notamos a entrada de Atelino, o relâmpago da Capoeira (Existe um livro lançado pelo Mestre Itapoan com uma longa entrevista com o mesmo), Atelino adentra a academia e atravessa a roda, nota-se seu grau de importância quando vemos o Mestre saci prontamente levantando-se e cedendo o lugar para ele, que desse momento em diante seguirá ao lado do Mestre Bimba (Notamos hierarquia? ) Segue-se o corrido “Oi sim, sim, sim, oi não, não, não”…

Seguem para o pé do Berimbau Saci e Prada, eu já havia ouvido nos dias de hoje, falarem que na Regional não existia agachamento para sair para o jogo, não é o que o vídeo mostra, no entretanto vamos esperar que alguém nos explique essa “contradição” aqui nos comentários ao vídeo. Na academia vemos dois círculos pintados no chão, um menor no centro e um maior em volta, os dois nas mesmas cores. Sentado ao fundo no lado direito do Mestre vemos o Mestre Gigante de óculos escuro e fumando. Na segunda volta vemos um jogo acompanhado somente pelo berimbau sem o palmeado. Quem está jogando é Baiano Anzol (calça preta, que leva uma cabeçada) com ..? – Mestre Baiano Anzol afirma que: ” Nessa gravação deram uma meia lua que acertou a câmara e levaram dois meses pra trazer outra lente e continuar o trabalho de gravação” (Texto do Mestre em seu Youtube). Quando começa a terceira volta, Atelino entra com o “bode” (pandeiro) para acompanhar o berimbau, começando atravessado fazendo com o que o Mestre o acompanhe com o berimbau, ficando unicamente um berimbau e um pandeiro. O Mestre Bimba começa seu corrido, “Oi, Sim, Sim, Sim, Oi Não, Não, Não”… e agora já com participação no coro, das suas “pastoras”, entre elas sua mulher Dona Alice. O palmeado se dar no rito Ijexá (1, 2, 3) e na palma de terreiro. O corrido muda para “Vou dizer a meu senhor, que a manteiga derramô” e vê a terceira dupla para o pé do berimbau, Camisa Roxa e Saci. Ao fundo, atrás do Mestre, em pé, vemos o Mestre Piloto, e próximo a eles sentado no banco com uma camisa branca o Dr. Decanio. “acredito” que a fonte de pesquisa foi Grupo de Estudo Regional Baiana (Whatsapp) – ADM – Leco/Laecio Souza.

CITIBANK’S GREATEST SCAM

I didn’t include this in the “Malandros in action” series because this involves a whole corporation rather than just one person, which fundamentally alters the narrative’s focus and scope. By shifting the spotlight from individual actions to collective corporate behaviors, it becomes necessary to explore a myriad of complex dynamics that govern such an entity, including corporate strategies, employee interactions, and the broader impact on the community.

This more “holistic” approach would require a nuanced examination of how these corporate decisions shape lives and influence our society as a whole, potentially detracting from the intimate stories of individual malandros that I initially intended to highlight in the series.

So, let’s get this blog started.

This is the story of how Citibank caused the fall of Haiti, a tale that intertwines financial power and political instability, revealing the devastating impact of external influence on a nation struggling for autonomy.

The bank’s aggressive lending practices, coupled with exploitative interest rates, ensnared the Haitian government in a cycle of debt that ultimately stifled economic growth and led to widespread poverty. As the nation grappled with these challenges, the all-consuming grip of foreign financial institutions became evident, contributing significantly to the deterioration of societal structures and the erosion of civil rights in the pursuit of profit.

Hopefully, Haiti bounces back hard from the challenges it has faced in recent years; with its rich culture, resilient people, and abundant natural resources, there is a significant potential for recovery and growth, enabling the nation to rebuild its economy, restore its infrastructure, and enhance the quality of life for its citizens.

SPIRITUAL PRACTICES OF AFRICA, AND THE DIASPORA (11/21/24)

In this installment…

About 45 percent of all Africans transported throughout the Americas during the transatlantic slave trade arrived from West Central Africa, including the Kongo, a region rich in cultural heritage and historical significance. This area was not only characterized by its vibrant societies and complex political structures but also by its diverse languages, art forms, and traditions that reflected the deep-rooted connections of its people to their land.

The Kongo played a pivotal role in trade networks, facilitating the exchange of goods, culture, and ideas long before the onset of the slave trade. Furthermore, the experiences and contributions of those who came from this region have profoundly influenced the cultural landscapes of the Americas, giving rise to unique blends of African, European, and Indigenous traditions that continue to resonate in music, religion, and culinary practices today.

Kôngo spirituality includes a wide variety of concepts grouped around two areas of application: divine practice and human practice. This intricate system encompasses not only rituals and beliefs but also the profound relationship between the spiritual and the material realms, reflecting the interconnectedness of life.

This lecture aims to elucidate this wealth, with regard to Palo and Bukôngo as two different schools of Kôngo spirituality, both of which offer unique perspectives and methodologies for understanding the universe and one’s place within it. The richness of Kôngo spirituality is rooted in ancient traditions and oral histories that convey wisdom through generations.

This elucidation will be attained through the interpretation of the divine initiatory process through the Kôngo cosmogram, a vital tool that visually represents the spiritual journey and its stages, allowing practitioners to navigate their path with clarity and purpose. By delving into these elements, the lecture will highlight the significance of both the divine and human aspects in the pursuit of spiritual enlightenment within the Kôngo tradition.

HAPPY BRAZILIAN NATIONAL BLACK AWARENESS DAY!!!

Today commemorates the death of Zumbi, the last king of Palmares, a quilombo founded by escaped enslaved Africans in Brazil.

This extraordinary community, which thrived in the 17th century, was not just a refuge but a powerful symbol of resistance against the brutalities of slavery and colonialism. Palmares, known for its remarkable ability to withstand repeated Dutch and Portuguese invasions, stands as a testament to the strength and resilience of those who dared to fight for their freedom and dignity.

Zumbi’s leadership was instrumental in uniting diverse groups of enslaved people, immigrants, and indigenous individuals, creating a vibrant society that valued culture, knowledge, and autonomy. This coalition fostered a unique community where different traditions blended harmoniously, allowing members to share their stories and histories while celebrating their distinct identities. As a result, Zumbi became not only a symbol of resistance against oppression but also a beacon of hope for those seeking freedom. Through organized efforts, this society cultivated a sense of belonging and camaraderie, where education and mutual support were paramount. The gatherings held in the heart of this community became crucial for strategizing against their oppressors, empowering individuals and enhancing their collective resolve to fight for justice and dignity.

As a capoeirista, I see it as my duty to resist not only in honor of Zumbi and the legacy of Palmares but also to continue the fight against modern forms of oppression that still persist today, ensuring that their spirit lives on in our struggles for justice and equality. This commitment drives me to engage actively in community organizing and education, empowering others to recognize the injustices that permeate our society.

In every movement and every stroke of my craft, I channel the voices of those who fought before us, reminding us that our art is not merely a dance but a powerful weapon against inequality. I strive to foster a sense of unity and resilience among my peers, motivating us to carry forward the torch of liberation and to confront systemic challenges with courage and creativity. Together, we embody the hope for a future where freedom, respect, and dignity are not just ideals, but lived realities for all.

Rei Zumbi de Palmares

A história nos engana

Dizendo pelo contrário

Até diz que a abolição

Aconteceu no mês de maio

A prova dessa mentira

É que da miséria eu não saio

Viva 20 de novembro

Momento pra se lembrar

Não vejo em 13 de maio

Nada pra comemorar

Muitos tempos se passaram e o negro sempre a lutar

Zumbi é nosso herói Zumbi é nosso herói, colega velho

De plamares foi senor

Pela causa do homem negro

Foi ele quem mais lutou

Apesar de toda luta, colega velho

Negro não se libertou, camarada!

The history deceives us.

Saying otherwise

Even says abolition

It happened in the month of May.

The proof of this lie

I can’t get out of misery.

Viva November 20th

Moment to remember

I do not see on May 13th.

Nothing to celebrate.

Many times have passed and the black man has always fought.

Zumbi is our hero Zumbi is our hero, dear old friend

From palares it was sir

For the cause of the black man

He was the one who fought the most.

Despite all the struggle, old colleague

The black man did not free himself, comrade!

BAHIA DE TODOS OS SANTOS “(Bahia, the bay of all saints)”

Este é um documentário abrangente sobre a vibrante cidade de Salvador, focando especificamente nas semanas animadas do Carnaval de 1974, uma época em que as ruas explodiam em música, cor e expressão cultural. O filme é inspirado no livro homônimo do renomado autor brasileiro Jorge Amado, mostrando a rica história e tradições da cidade durante este período festivo. Através de entrevistas com os moradores, filmes de arquivo e narrativas cativantes, o documentário busca capturar a essência de Salvador, destacando a importância do Carnaval não apenas como uma celebração, mas também como um reflexo da herança diversa e do espírito comunitário da cidade.

(This is a comprehensive documentary about the vibrant city of Salvador, focusing specifically on the lively weeks of the Carnival in 1974, a time when the streets burst with music, color, and cultural expression. The film draws inspiration from the eponymous book by the renowned Brazilian author Jorge Amado, showcasing the rich history and traditions of the city during this festive period. Through interviews with locals, archival footage, and captivating narratives, the documentary aims to capture the essence of Salvador, highlighting the significance of Carnival not only as a celebration but also as a reflection of the city’s diverse heritage and community spirit.)

Sinopse: Escrito em 1944, Bahia de Todos os Santos Ã© um relato sobre a cidade de Salvador publicado no ano seguinte. Canto de louvor a cidade da Bahia, o livro evita, por isso, o pitoresco dos guias turísticos. Passa em revista as belezas e as qualidades da capital baiana, e faz Questão de abordar também suas missões e dores. Jorge Amado compõe aqui um guia das ruas e dos mistérios de São Salvador da Bahia de Todos os Santos, a cidade da Bahia, ?negra por excelência?, fundada em 1549. O autor descreve os bairros proletários e os nobres, as feiras e os mercados, as inúmeras ladeiras e ruas da cidade e principalmente os personagens míticos da cidade de são Salvador. A adaptação da obra de Jorge Amado para os anos 70 encontrou dificuldade para encontrar os novos personagens dos batuques do candomblé, os mestres dos saveiros, as Mães de Santo dos terreiros, os artesões do Mercado Modelo, os malandros da Baixa dos Sapateiros. O escritor recomenda que não se tente decifrar os segredos da cidade, pois seus mistérios envolvem por completo o corpo, a alma e o coração dos baianos. Mas os personagens estavam lá¡ e fomos encontrar Mário Cravo, Gilberto Gil, Mestre Pastinha, Mestre Waldemar, e em pleno Carnaval o Trio Elétrico de Dodô´ e Osmar e até mesmo os capitães de Areia dos novos tempos.

(Synopsis: Written in 1944, Bahia de Todos os Santos is a narrative about the city of Salvador published the following year. A song of praise to the city of Bahia, the book avoids the picturesque nature of tourist guides. It reviews the beauty and qualities of the capital of Bahia and also addresses its missions and pains. Jorge Amado composes here a guide to the streets and the mysteries of São Salvador da Bahia de Todos os Santos, the city of Bahia, “black by excellence,” founded in 1549. The author describes the working-class and noble neighborhoods, the fairs and markets, the countless hills and streets of the city, and especially the mythical characters of the city of São Salvador. The adaptation of Jorge Amado’s work for the 1970s faced difficulty in finding the new characters from the candomblé rhythms, the masters of the saveiros, the Mães de Santo from the terreiros, the artisans of Mercado Modelo, and the tricksters from Baixa dos Sapateiros. The writer recommends that one should not try to decipher the secrets of the city, as its mysteries completely involve the body, soul, and heart of the Bahian people. But the characters were there! We found Mário Cravo, Gilberto Gil, Mestre Pastinha, Mestre Waldemar, and during Carnival, the Trio Elétrico of Dodô and Osmar, and even the captains of Areia from the new times.)

Bahia de todos os santos
Bahia dos orixás
Bahia de menininha
Menininha do gantois

Bahia dos angoleiros
Bahia dos regional
Bahia dos angoleiros
No mercado popular

Bahia de João Pequeno
Bahia de Curió
Bahia de Boca Rica
Mestre Lua de Bobó

All Saint’s Bahia
The Orixás Bahia
Little girl’s Bahia
Little girl of the gantois

The angoleiros’ Bahia
The regional’s Bahia
The angoleiro’s Bahia
At the public market

João Pequeno’s Bahia
Curió’s Bahia
Boca Rica’s Bahia
Mestre Lua de Bobó’s Bahia

DOMESTIC VIOLENCE SERIES(11/18/24) “You wouldn’t get away with it here, you shouldn’t get away with it at home”

Welcome to the domestic violence series, where we raise awareness about the particularly insidious nature of domestic abuse and its lasting impact on individuals’ mental and emotional well-being. Understanding the signs of domestic violence and providing support to those affected is crucial. Through education and open conversation, we strive to create a safer environment free from the shadow of domestic abuse, emphasizing the importance of not only defending oneself but also defending others.

In today’s installment, we have these 2 thought-provoking Public Service Announcements that aim to raise awareness about this critical social issue affecting our community.

“You wouldn’t get away with it here; you shouldn’t get away with it at home.”

These very powerful words resonate deeply when discussing the pervasive issue of domestic violence. They highlight the unacceptable nature of abusive behavior, regardless of the setting. It serves as a stark reminder that such actions should not be tolerated in any environment, emphasizing the importance of accountability and the need for a supportive community.

Victims must know they are not alone, and that there is a collective responsibility to foster a culture where everyone feels safe and respected, both at home and in society. This sense of community is essential, as it empowers individuals to share their experiences and seek help without fear of judgment or stigma. By standing together, we can dismantle the cycles of abuse and create pathways to healing and justice. It is crucial for us to actively engage in discussions that raise awareness about the impacts of abuse, encourage empathy, and support preventative measures. Furthermore, establishing support networks that include trained professionals and compassionate allies can significantly enhance the recovery journey for victims. Together, we can cultivate an environment that not only protects the vulnerable but also promotes resilience, understanding, and hope for a better future.

If you, or anyone you know needs assistance, National Domestic Violence Hotline Free · Confidential · Hours: Available 24 hours

Call 1-800-799-SAFE (7233)

You’re not alone

HAPPY INDEPENDENCE DAY, ANGOLA!!!

Observed annually on the 11th of November in Angola, Independence Day is a holiday that celebrates the significant anniversary of the Republic of Angola’s independence from Portugal, marking the end of a long and arduous struggle for freedom. This country’s connection to the Portuguese Empire dates back several centuries, with colonial rule deeply impacting its culture, economy, and social structure. However, with the culmination of intense resistance and a protracted liberation movement, Angola achieved its hard-fought independence in 1975.

Because this is the national holiday of Angola, it’s a day when most people take the opportunity to reflect on their rich heritage and the sacrifices made for liberation, enjoying a well-deserved day off as schools, businesses, and government agencies are typically closed for the occasion. It’s also a day on which vibrant holiday celebrations take place all across the country, including parades, music festivals, and cultural dances, showcasing the diversity and resilience of the Angolan people. Citizens from every walk of life come together in unity, enthusiastically celebrating their independence and expressing their pride in their national identity, reinforcing a sense of belonging and hope for the future.

So, Election day has come and gone in the U.S.A…

And now, once again, we’re in the Trump era.

So, what does this mean?

Well, the impact of Trump’s second presidency, I believe, is a clear and present threat to all of us, as it undermines the very foundations of democracy and civil liberties that we hold dear. This alarming rise of authoritarianism not only endangers the diverse fabric of our society but also promotes an atmosphere of fear and division among communities.

However, I’m a Capoeirista, and historically, the Capoeirista has always not only survived, but THRIVED no matter how oppressive the system of government in place. This resilience can be traced back to the heart of Brazil’s colonial past, where enslaved Africans, stripped of their freedom and dignity, ingeniously adapted their traditions and cultures into a unique form of expression and resistance. Through the art of capoeira, they forged a powerful connection not only among themselves but also created a legacy that would inspire future generations to stand against injustice and fight for their freedom.

Capoeira became more than just a means of combat; it evolved into a symbol of cultural identity, unity, and an indomitable spirit that resonated with those who practiced it. This vibrant tradition of ours has allowed practitioners to navigate through adversity while celebrating their heritage, fostering community and solidarity in the face of oppression, and advocating for our rights in a challenging world. To this day, it serves as a testament to their enduring strength, turning pain into power and transforming struggle into a profound expression of joy and resilience.

One thing is certain. With democratic institutions weakening and the voices of dissent being stifled, we must remain vigilant, united, and proactive in safeguarding our rights. This involves not only standing up for our beliefs in the face of oppression but also fostering an environment where open dialogue and diverse perspectives are encouraged and respected. By actively participating in civic duties, such as voting and community organizing, we can reclaim our agency and influence the trajectory of our society.

It is our collective responsibility to educate ourselves and others about the importance of democracy, and to challenge any attempts to undermine it, Ensuring that future generations inherit a society where freedom and justice prevail requires our unwavering commitment and continuous effort to champion equality, inclusivity, and accountability in all spheres of public life.