This article attempts to shed a little light on the subject.

Below, is in my opinion, a list from least agressive to most agressive movements you can execute whilst playing with another capoeirista. I left out all of the floreios and passive movements, as they are all movements that cannot at all be mis-interpreted, (hopefully).

AGGRESSION CHART
1. Marking or faking a kick or cabecada (showing you could have hit them without touching them)
2. Marking a rasteira
3. Marking a banda, vingativa, cruz
4. Cabecada body
5. Rasteira
6. Banda, vingativa
7. Kicking, body
8. Kicking head
9. cruz
10. shooting
11. Galopante face, grabbing the head (plum)
12. Kneeing body,face
13. Elbowing face
14. Punching face, grabbing hair
15. Cabecada face
16. Biting, eye gouging, striking groin

This is by no means the ultimate list, it is just a general gauge in my opinion of the extremities of attacks.

Misunderstandings are one of the most common triggers to why people fight in the capoeira roda.

Some groups may put some attacks before others, this is just a list based on my own experiences.

In our group in brazil, which is considered a harder style, it is okay for us to go up all the way to number 10 (depending on how hard you hit/takedown) without really offending anyone. This includes teachers and sometimes mestres. On the other hand, I have visited groups where marking a rasteira on a higher rank than you can be considered rude. So the tolerance varies extremely from group to group. This is why, in my opinion, there are so many misunderstandings in Capoeira.

I remember doing a workshop with a mestre in brazil and he was saying that they do not grab the head, they do no knee or elbow at all. It is not in their system because he considers them as aggressive, violent and as having no place in capoeira.

All of this of course depends greatly on the extremity of the blow delivered to the opponent. I have seen some people being knocked out from a vingativa, or a well executed kick. So it also depends on the power and intention of the attack to how agressive the movement is.

The progression of the jogo duro
Usually this is also the progression of how the game or a number of games will escalate as well.
As soon as one person does one of the things on the list, the other can do any of the things up to that point and will sometimes raise the bar by doing the next thing up from that. Eventually it reaches a point where the other does not dare to go further.

Sometimes people will jump from 1 to 16, because they are naturally aggressive people who have no patience. This type of thing is generally not looked upon well and is not good etiquette. A game or series of games needs to build and go through the motions otherwise people will not pick where the other persons level is at which brings misunderstandings and complications. This is the way it was explained to me.

This is really only one aspect of the game, however, I feel it is really a necessary one to focus on. Mainly because it is important to educate and clarify for those who don’t know so that people can be more aware of what is going on when playing in the roda.

WAYS OF COUNTERING OR NEUTRALISING THE AGGRESSION:
I know that a lot of people, including myself, get really nervous and unsure of what to do when faced with these situations. Remember you always have a choice, you always have options. You are in control, remember you are the driver, you are the one who controls the game, the game does not control you.

1. Do a volta ao mundo. This will give you time to really think and assess the situation.
2. Now you are faced with some choices here are a couple of questions I ask myself when I am in these situations.
3.do you have enough skill to be able to better the other person if the game escalates? whether I do or I don’t does it really matter?
Am I willing to accept the potential risks involved in playing this type of game? with the possibility of possibly maiming the other person or being maimed?
4. What can I learn from this game? what can the person you are playing learn from this game?
5. Are you playng this way for the correct reasons?
6. How many other people do you have to back you up if things go sour? can they handle it? how many people does your opponent have that will back them up?
7.What environment are you in? is there a way out? could anyone around you have weapons?
8.Is pride getting in the way of logic?

IF YOUR ANSWER IS TO NEUTRALISE THE SITUATION:
some of your options can be:
1. shake hands and cut out.
2. when you enter again gesture to the other person that you take your hat off to them, that they are really good, and make the sign of the cross imitating that you are preying that you get out of this situation ok, whilst smiling the whole time. I find this sometimes releases tension.
3. If you did something to get the person accidently, or hit them or tripped them accidently, do a volta ao mundo and apologise to them at the foot of the roda.
4. Try and do something funny, to release the tension.
5. If you are a lot better than the other person and have enough skill to do so, you could dominate the game with your ginga and game showing all the while how you could have gotten them but chose not to do so.
Sometimes the situation will call you to do this, but be warned, it has the potential to backfire if you dont have the required skill to do this.
6. If none of this works, and you have to hit or be hit. Take the person out, quickly and with focus. You only really get one shot so make it count. But remember, if you are visiting a group and you are by yourself or with only a couple of people, there are many many more people that will try and take you out after that, so be prepared. If you take one person on, you take all of them on.

Before I conclude, I must apoligise as this article is very generalised and subjective. However, I know that if I was able to have an article like this when i was first starting out capoeira, it would definately help me understand so much more about what was appropriate in a capoeira game and what wasnt.

Please, if anyone has any questions, queries or comments, they are more than welcome!

here is a video of our group, the associacao de capoeira mestre bimba. Believe it or not, all of these guys are friends and are just playing around. Its pretty scary when they are actually out to get you.

CAPOEIRA CHOREOGRAPHY

Creating a Capoeira show is only limited by your imagination. Regardless your limitations, there is always a way of being able to do something that will make an impact.

So many people worry about getting the best tricks, or focusing on showing ‘something that has never been done before’. From my experience, it is not what you can do, it is in how you present it.

THINK OUTSIDE THE SQUARE
Do some research. Don’t necessarily look soley at Capoeira performances, try and watch dance performances and study the formations. Look at the ways they use their bodies to create a certain effect.

THE DETAILS
It is really all in the details. Don’t settle for near enough is good enough. Fix something that is not working straight away. Every arm movement, every facial expression, every position will make a difference on the overall impression of the show.

OTHER THINGS TO CONSIDER
What kind of lighting is there at the performance place? Does the music sync completely with the performance? If you are doing live music, will you use mics? Can you create breaks and changes in the music to give a better flow to the performance?
Are you sure you are meeting your clients exact wishes? Are you keeping integrity in the art? Where did you place the highlights and ‘wow’ factors in the show? Will the audience be able to understand what you are expressing?

Many Capoeira Performances are just rodas. There is nothing wrong with that, but, there are always things that you can do to spruce up the roda to make it more audience friendly. Think about involving the audience in the story you are creating. Try and think about the best things you get out of capoeira and find ways of being able to express this to the audience.

Good luck with your creations! If anyone needs help with a performance or is interested in hiring us for a performance don’t hesitate in contacting me.
chan@soulcapoeira.org

VARIOUS MARTIAL ARTS RANGES

In Kali (A filipino Martial art), They usually break the basics ranges up into five ranges: Weapon range, Kicking range, Punching range, Trapping range and locking/grappling range. (locking is sometimes considered a different range from grappling and within the grappling arts they also have broken the ranges down even more). Most martial systems only specialise predominantly in two or three of these ranges. Capoeira for instance, could be argued to really only specialise in its kicking range, with only a few hand techniques, and throws that are either derived from Batuque or Judo/jiujitsu/greco-roman wrestling (non-african arts). However, there is a remote possibility that nubian wrestling played some kind of part in the development of capoeira.

THE MEANING OF NUBIAN

“Nubian” is a common term the Egyptians used to describe all brown- and black-skinned people living to the south.
According to oral tradition, the Nuba began wrestling in order to imitate monkeys. The Nuba wrestlers imitate certain animal and insect characteristics while wrestling.

Like a monkey, the Nuba will rub his hands on the ground; (to help his grip). (this is similar to moring/moringue of reunion which I will write about later). He also stamps his feet and shouts at his opponent. They flick their tongues like insects and dance within the ring, representing the spirit of their cattle herd or village.

Initiation

It is every Nubian boys dream to represent his village. From a young age, he competes with other village boys in his peer group. this is to prove intelligence, character and skill in order to be chosen to live in a cattle camp outside of town. While exceptional boys are taken to a camp at a young age, all the boys eventually go to the cattle camp by the time their thirteen. At the camp, the boys care for the herd. They are also trained daily in wrestling by the village champion. The village will provide food for them in order for them to become stronger. Whilst at the camp, they become almost a cultic fraternity. They spend time everyday to reflect and meditate. The wrestlers will take ash from burnt trees (which represents to them life’s essence) and they’ll dust their naked bodies with it, in order to give them power and cultic identity. (Similar to some of the womens traditions in the efundula). By wrestling, the young nubian men are initiated into manhood.

Wrestling Matches

Wrestling is more than just a sport to the Nubas—it is an important part of their culture. Each individual wrestles several randomly chosen matches at a tournament. Wrestlers are free to refuse to compete against someone if they wish. The athlete that is first to take his opponent to the ground will win the match. Some wrestlers wear gourds around their waist. An unbroken gourd will represent that a wrestler hasn’t lost a match. however, if they are taken down, it is both embarrassing to them and painful when the gourd breaks on their skin.

The overall winner recieves a twig, an animal hide or a fur tail. Every village has a famous wrestler who is experienced and consistently successful. Often the champion’s reputation spreads and girls compose songs about his success.

Wrestling tournaments are held between Nuba villages. The competition is conducted around sowing and harvest seasons. There are obvious fertility rites connected with the wrestling tournaments.

Religious Rites

The religious implications of Nuba wrestling are more complex, containing at least three interrelated ideas. First, wrestling is closely related to ancestral worship. Second, wrestling is closely connected with fertility rites. Finally, wrestling is the channel through which the participants dramatize their animistic beliefs. Wrestling has continued to unify an otherwise dislocated and isolated people.

This is a very interesting video that depicts some nuba culture. Here you can see some of the nubian wrestling. There is also some nubian dancing, which has movements very similar to some of the samba and axe dance steps.
Capoeiristas, in turn wear patuas ‘good luck charms’ that are meant to protect and give powers, much like the animal hide or fur tail that is wrapped around the legs of the nuba wrestler.

The nuba people also identify strongly with their wrestling style as a means to preserve their cultural heritage. I believe that it is not so much with the movements of nubian wrestling, but more so in the cultural similarities and belief systems, that capoeira can identify with and empathise with nuba wrestling. Even if it is on a very small level.

Information sources:

1. ngm.nationalgeographic.com/ngm/0302/feature3/index.html

2. wysinger.homestead.com/nubiansport.html

3. www.la84foundation.org/SportsLibrary/JSH/JSH1988/JSH1502/jsh1502b.pdf

These are questions that have not really been fully answered, and may never be.

However, I have found it interesting to research the POSSIBILITIES of various influences that Capoeira may have been subjected to.

Capoeira, like many other martial arts, has been constantly changing, to keep within a cultural and practical relevance to society. Whilst some practicioners struggle to maintain important traditions, others are constantly testing and experimenting with Capoeira. I find it important to adhere to both causes, in the aim to give back something to the art that we recieve so much from.

Over the coming weeks, I wish to provide some basic information on some other arts that have had similar histories, movement base, or could have maybe even influenced capoeira in its earlier stages. This is to give you a door to explore capoeira in a much wider context.

N’golo or Engolo

This is probably the most widely discussed African artform with Capoeira circles.
It is said to have been performed at a festival called Efundula which was traditionally a huge gathering of the community. It was a passing of rites ritual, where the girls would undergo tests and preparations to be accepted as women ready for marriage and procreation.

THE EFUNDULA CEREMONY

The efundula ceremony varied between communities and over time. This is just a brief overview of some of the things that were involved.

Firstly the girls would enter into a closed house called ondjuo. A ritual leader called the namunganga would feed them and they would wait until they were summoned. After the sacred initiation they would finish by crawling through the legs of the namunganga and step over a cleft stick. These were tests performed to see if the women was pregnant. If they stumbled when stepping over the stick this would be a sign they were pregnant and would be outcast and rejected by their community. They would then be given some beer mixed with a herbal brew. This was a second test. If they vomited, the woman would have deemed to be pregnant.

The next stage of the initiations would be more ‘endurance’ type tests, that were often tasks like pounding millet in mortars for hours. This would also be a process of weeding out those that may have been pregnant. Previously this process could last for days.

The next stage was called the oihanangolo where the initiates (ovafuka) would become boy-like (ovamati). They would cover themselves in white ash, dress in skirts and go around demanding food from other households and sometimes even beat up men who crossed their paths. The community would have to comply and subdue. They were even allowed to insult the men, make them prepare the food for them and beat them up if the man was caught sleeping with a women, even if it was their own wife! This process could last from days to weeks.

(from an essay: Efundula and History: Female Initiation in Pre-Colonial and Colonial Northern Namibia by Patricia Hayes)

The final stage was a public event. The men would drum and the girls would dance and sing. The men would approach the women and propose for their hand in marriage. The marriages were usually prearranged.

(note: this is a wedding ceremony from an ovambo tribe, It was all I could find, so it may not at all be similar to the efundula).

NOTE: Within my brief research of Efundula, I did not encounter any mention of n’golo being a part of this particular ritual or ceremony. So I am unsure to whether Capoeira researchers have linked N’golo with Efundula through presumptions or historical evidence…

(from an essay: Efundula and History: Female Initiation in Pre-Colonial and Colonial Northern Namibia by Patricia Hayes)

N’golo Origins

The name N’golo, (which they say mean the dance of the zebras), I believe originally came from Barama N’golo and Nia N’golo. They were two brothers who led an animist group called bambara, which later became a very powerful community. Barama was a great hunter and warrior.

The brothers introduced into their community a social conduct structure, consisting of various rituals. Among them was for work to be carried out by association and based on age-sets. All boys would be initiated by being circumcised at the same time, mainly to establish hierachy. I believe that it was within these traditions and probably the passage of rites to manhood, that N’golo as an artform may have been developed/performed/named. There is no evidence to support this claim, so further research is welcomed.

However, the current research is based on a couple of key figures. An angolan artist by the name of Albano de Neves e Souza went to Brazil in the 1960’s. He had claimed to have seen the N’golo being performed in southern Angola and believed it was very similar to Capoeira.

N’golo, the Zebra Dance, is possibly the origin of the Capoeira, the fighting dance of Brazil. It is danced at the time of the ‘Mufico”, a puberty rite for the girls of the Mucope and Mulondo regions. The object of the dance is to hit your opponent’s face with your foot. A rhythm for the dance is beaten by clapping hands, and anyone who attempts a [b]low while outside the marked arena is disqualified. The ‘Angolan Capoeira’ in Brazil also has its special rhythm, which is one more reason to believe that it originates with the N’golo. N’golo means ‘zebra’, and to a certain extent the dance originates from the leaps and battles of the zebra: the blow with the feet while the hands are touching the ground is certainly reminiscent of the zebra’s kick.

(Neves e Souza, Da minha Africa do Brazil que eu vi, p.57)

It is interesting to note that in 1964 Mestre Pastinha wrote a book on Capoeira Angola but does not mention N’golo as being the main ancestor of Capoeira.

There is no doubt that capoeira came to Brazil with the African slaves. It was a form of fighting presenting its own characteristics, maintained up to our days… The name “Capoeira Angola” comes from the fact that it was the Angolan slaves in Bahia who mostly distinguished themselves in its practice.

(Mestre Pastinha, Capoeira Angola, p. 26-27)

If Mestre Pastinha had known about the theory of N’golo before the publication of his book I would have presumed that he would surely have mentioned it.

Whilst Neves e Souza was visiting Brazil, he made friends with a Brazilian folklorist named Camara Cascudo. They maintained contact and eventually Cascudo published some of his notes in 1967. It is believed that Mestre Pastinha either had contact with Neves e Souza or Cascudo and used their theory to link Capoeira with N’golo, or one of Pastinha’s students found the published letters and showed Mestre Pastinha.

In any case, the most likely theory is that the first link between Capoeira and N’golo came from Neves e Souza’s accounts alone.

The slaves of the Southern tribes who went there [to Brazil] through the trading post of Benguela took along their tradition to fight with the feet. With time, what was initially a tribal tradition was transformed into a weapon of attack and defence, which helped them to survive in a hostile environment. [This is the] reason for its continuity in the urban context. The worst bandits of Benguela are generally Muxilengues, which, in the cities, use the N’golo steps as a weapon. In Luanda, these steps, possibly brought from the South, are called Bassula. Even in the name there is something suggesting that the fight originated among the pastoral people of the South. Ba-ssula, those from the South.

(Camara Cascudo, Folklore, p. 186)

It is interesting to note that when Camara Cascudo went to Angola he was unable to find n’golo or bassula.

T.J. Desch-Obi is the only other person I have found that has seen and written accounts of the n’golo practice. He describes his experience as follows:

The music begins with clapping and a rhythmic humming that can take the place of a response in the call-and-response songs that someone will begin to sing. Soon after the mantra-like song and humming has fully formed, with a shout a practitioner will enter the circle dancing and often shouting again to accentuate the techniques he begins to demonstrate. When a contender joins the challenger in the circle the two will continue to dance to the music as they square off and one adept will launch a kick or sweep at the other. This attack will be defended by dodging or ‘blending’ in such a way that will then allow the defender to launch a smooth counter-attack. The two will continue in a cycle of attacks, defenses, and counter-attacks in a smooth continuous flow.

(T.J. Desch Obi, ‘Engolo’ p.56)

Because of these accounts by T.J. Desch Obi and Neves e Souza, and the presumed links between Capoeira and N’golo, Capoeira today uses these accounts to concrete Capoeira’s African ancestry. Many Capoeira Angola groups will use N’golo as a certain proof that Capoeira was created in Africa and refined in Brazil. However, to me this may be, unfortunately, an over-simplification.

Conclusion

I believe that Capoeira was influenced by many different African martial arts, rituals and tribes. I also believe that Capoeira was formed in brazil by many ethnic groups that influenced society at the time and who were also influenced by society and its situation. There existed a huge number of African tribes over the centuries, each with their own traditions, languages, rituals and beliefs. They all developed different ceremonies that sometimes lasted and were passed down through the years, faded away, or over time, moulded into completely new traditions. There is still a huge amount of research to be done and I believe the search for answers and links, although seemingly sparse, is not yet over.

There are, in reality, only a certain amount of ways the human body can move. We are only born with two arms and two legs. If we were born with maybe three arms, movement possibilities could maybe be different but we weren’t. When there is similarities in social oppression, similarities in environment and culture, I believe there is also similarities within fighting systems. But we will touch upon this in the upcoming articles.

References:

1.Nestor Capoeira, Capoeira: Roots of the dance-fight-game
2.Mattias Rohrig assuncao, Capoeira, the history of an afro-brazilian martial art
3.Patricia Hayes, Efundula and History: Female Initiation in Pre-Colonial and Colonial Northern Namibia

http://www.gwsafrica.org/knowledge/patricia/efprint.htm

4.Mestre Pastinha, Capoeira Angola
5.T.J Desch Obi, Engolo
6.Neves e Souza, Da minha Africa e do brasil que eu vi
7.L. da Camara Cascudo, Folklore do Brasil
8.Waldeloir Rego, Capoeira Angola
9. Ousmane Sako, The Heart of the Ngoni By Harold Courlander
10. T.J. Desch Obi, Fighting for honor

The Queda de Rins in capoeira is so versatile and can open up a whole new range of motion and movement in your game.
It is important to try and practice quedas as I have found that it has given me a new outlook on creating and expressing within capoeira.

This is a combination that uses elements of the last queda combination that I have posted, however the beginning and the end of the combination has varied.

A FEW NOTES:
1. The first movement is like a handspin from a Au. I often practice these by breaking it down very simply by placing my hands down, and then switching my legs as I push of my hands and rotate my body inwards. Then I begin to try to lift my legs within the movement.

2. The second movement is a difficult one, and looks easy but I have found it a hard one to teach. The timing of when to switch the legs is a crucial point. The other thing is when I push off my feet I do not go over my wrists. If I go over it will turn into another movement all together and will not look the same at all. So I try to project my legs around. I switch the legs early and go into the queda position early. When I am in the queda with my legs wide open I am in a kind of L-shape position with my body and my legs. Then my legs swivel around and my body and legs reach a straight line.

3. At this point that is when I push off the other hand and swap the queda side. Remember, the positioning of the leg behind (in the case in the video the left leg) is crucial to ensuring that I am facing my partner when doing this exercise.

4. The last part is bringing that arm in to queda into, and then sweeping around into an S-Au, like the S-dobrado but just trying to lift those hips up further to come around like an au.

I hope you enjoy this combination, would love to hear any feedback you have about this combo, and keep a look out for more to come!

Stumble It!

Written by Instrutor Bruxa

Difficulty to recover: Low
Time Required: Depends on the severity of the injury

A FEW HINTS:
• A small, unbroken blister [less than 1 in. across] will usually heal on its own.
• Do not try to break the blister. Just leave it alone.
• Leave the blister uncovered unless something rubs against it. If you do cover it:
• Apply a loose bandage. Secure the bandage so the tape does not touch the blister.
• If the blister is in an area where pressure is applied, such as on the bottom of your foot, protect it with a doughnut-shaped moleskin pad or you as for Second Skins from the chemist. If possible, leave the area over the blister open
• Do not remove the flap of skin covering the blister unless it tears or gets dirty or pus forms under it

How do you know whether a person wants to harm you or not? When does the game turn from a game into a fight? Where do people’s true intentions lie?

How could you ever know?

Sensing intention has been around in the martial arts for centuries. Although it seems sometimes a little too abstract or far fetched for the average martial artist, it is definately a medium to explore if it is indeed possible.

Many times have I been in a roda and felt the hairs stand up on top of my arms. The look in one’s eye, the fake smile that someone wears, the feeling that lingers in the air…

By no means am I an expert on this subject, nor do I pretend to claim that I possess ’super human powers’. I am just merely exploring the subject to help contribute to it.

THE FIVE SENSES

From my understanding, the five senses are what we primarily use to gauge situations and react accordingly. Thoughts and emotions are secondary. This ’sixth sense’, sensing the intentions of others, seems to be overwhelmed and blocked out by the over-stimulation of your other senses, thoughts and emotions. It’s like with our bodies, sometimes we work too much on the bigger muscle groups. This can sometimes cause us problems because our smaller muscles become weak and eventually do not work properly.

By using the five senses and by directing our thoughts emotions and focus to opening this sense, I truly believe that you can become better aware of the way others may feel towards you and a better general sense of your environment.

If you get a chance, have a look into Gestalt psychotherapy. It explores heightening awareness and helping understand how to ‘be in the moment’.

Remember, the only thing that holds you back is your mind.

Training The Mind

here is a little left right brain test to help you explore the capabilities of your mind, and the way you percieve things.

In this picture below, is the dancer turning clockwise or anti-clockwise?

Can you make her spin either way?

Look closely, it is important that you believe you can, you must convince your mind and yourself that you can do it.

Apparently, if you naturally see her spin clockwise, then you use more of the right side of the brain and vice versa.

LEFT BRAIN FUNCTIONS
uses logic
detail oriented
facts rule
words and language
present and past
math and science
can comprehend
knowing
acknowledges
order/pattern perception
knows object name
reality based
forms strategies
practical
safe

RIGHT BRAIN FUNCTIONS
uses feeling
“big picture” oriented
imagination rules
symbols and images
present and future
philosophy & religion
can “get it” (i.e. meaning)
believes
appreciates
spatial perception
knows object function
fantasy based
presents possibilities
impetuous
risk taking

Now that your brain is sufficiently warmed up, I recently ran a trainathon, which involved teaching capoeira for 13 hours straight.

Intention exercise 1

Within our trainathon we covered a few experimental exercises on intention and feeling intention. One of the exercises we split the group into partners, and one person would hold a coin in one hand, whilst the partner tries to snatch the coin out of their hand. Just like a reflex game, the person holding the coin had to close their hand before the other person could get the coin. Next we made the person holding the coin do it with their eyes shut. Next, we held a coin in each hand, closed our eyes and tried to feel which hand the person would go for and at what time.

If you ever have the time and partner to do this with, I would love to hear how you go.

The important thing that helps me, is to try and relax and clear your mind from everything that is not that moment in time.

Intention Exercise 2

The next exercise was having two people face the other way kneeling down, eyes shut, with a soft stick in one hand. Two other people would sneak up behind them and try to have to touch the person on the back and run off. The person kneeling has to try and sense when the person is about to touch them and touch the person with the stick beforehand.

You will see in a video below some demonstrations of the exercises we performed. There were many more hits and misses, but I only put in a couple for your enjoyment. In the soft stick exercise we also had the music up really loud so that the people could not rely on hearing.

We related these intention exercises on general distancing and knowing if a person is about to kick you or not.
We did this by having each person ginga, and one person throw out a bencao. When they threw the bencao out they could choose to try and hit the other person or try and think about only kicking close to them but not touching them. The other person would have to decide whether or not to react to the kick by getting out the way or just staying in ginga.

When I know other people’s intent, I feel like I have more ability to control my actions and reactions to others. If I am sensitive to the people around me and my environment, I feel more connected to who I am.

These were only a couple of examples of exercises we ran through, We definately had a lot of fun and if you play with these ideas, I am sure you will too. If you know of any other exercises or have any comments or suggestions on exercises to help train feeling intent, please don’t hesitate to ask.

Axe and Salve!

Chan.

MACULELE

Here is an interview between Paulino Aloisio Andrade (mestre Popo) and Maria Mutti, 1968. This interview was extracted from a book called MACULELE, which was released in 1977.
Mestre Popo passed away on the 16th of september 1969.

This interview was undertaken by the Folkloric Group Oxala, from Santo Amaro Da Purificacao.

Translated text by:
Chan Griffin.

POPO:
What I remember, Maculele arrived from the coast of africa by the slaves that arrived here.

OXALA:
Were you sir, a slave?

POPO:
Me? No. I was born by my mother who was a slave, but I was born free, I ran around these lands a lot. I was a slave to my mother and I helped her with work in the house right up until she passed away.

OXALA:
and with Maculele, when did you start sir?

POPO:
It was with a group of old black guys, “Preto Velhos” Male’s Slaves, who were freed. They did not have anymore slavery at that time. They would get together at night. I remember well, Joao Olea, Tia Jo and Ze do Brinquinho. The actual year I cannot really remember but it was after the slavery times, they were free. But who put the game on the streets was me.

OXALA:
How did you re-introduce Maculele into Bahia and afterwards the whole of Brazil?

POPO:
The old black guys had died a long time ago, from the group I was the only one left. This was because I started when I was very young. It was around 1944 when I was able to get together with my sons and neighbours to teach the ‘brinquedo’ (the game). Teaching these guys made me come to enjoy it, so I put a maculele academy in the santo amaro street. On the 2nd of febuary (the traditional day of maculele), every year Maculele goes to the streets of Santo Amaro and dance in front of the Igreja da purificacao (a church) in homage to the virgin saint who is everyone’s mother. After this, the rest was simple, people liked it and asked for the street maculele to keep running, even when they did not have training clothes, they would do it in their work clothes anyway.

OXALA:
Popo, is Maculele a dance or a fight?

POPO:
Are they separate? Maculele is a dance and a fight at the same time. Defense and attack mixed with black rhythm. (This is the definition Popo used a lot when talking about the rhythm of Maculele). We sing and dance in adoration to our Virgin Mother and enjoy also paying homage to princess Isabel, who freed the blacks from captivity.

OXALA:
In what way sir, do you think that the slaves of that era would practice Maculele as a fight?

POPO:
Hiding it in a dance. If a slave driver appeared at the slave quarters during the night, they would think that this was a way for the slaves to praise the gods from their land, and the african music they sung wasn’t able to be understood.

OXALA:
Did you sir, know what the african maculele songs were about? I ask because I have seen your group sing in african…

POPO:
They ask for power and agility in the dance, for when the days of their freedom arrives. Some I still know and teach to the guys, but others I forget. We here sing music from candomble and cabloco. We also have ‘musicas de chegada’ and ’saida’ that we created. (music of arrival and leaving). The people applaud a lot and we want to thank them. Vava, my son, was the one who has made most of our groups music.

OXALA:
what are the original instruments used in the dance?

POPO:
Two or three atabaques, I dance with three, one for the ‘toque de ripique’ and two to help ‘dobrar’, an agogo a caxixi or a ganza. Now the music players need to be good. I have an atabaque made of tin carburet and cow skin that we made.

OXALA:
and the sticks? how are they made?

POPO:
The sticks are made of pieces of wood that the people use to attack or defend. They are made from wood chosen at night, sanded down and passed through a fire sometimes. Sometimes it isn’t even needed depending on the type of wood. You want to know which wood will work? Beriba, canzi, pitia, these are the best.

OXALA:
What are the exact measurements of the sticks?

POPO:
They are around 50-60cm. We always leave a knot on the wood to have a good grip.

OXALA:
POPO we have seen a presentation at the T.C.A and the program said it was Zezinho de Popo who put the machete into maculele purely for exhibition purposes. In your time, did Maculele use machetes?

POPO:
lady, the maculele that I learnt with the Males black people, was what I taught to my students that is now on the streets of Santo Amaro. Like you have seen many times.

OXALA:
But this other group said that it was your son who taught it to them. And your son is a continuation of your work.

POPO:
This is the deception of zezinho, ha! ha! ha!, if slaves had machetes in their hands to train maculele at that time they would have trained on the heads of their captors! ha! ha! ha! this is the deception of that boy, that is dancing over in Salvador for all of those rich people.

OXALA:
Sir do you have anything else you would like to say before we finish this interview? We would like to talk more with you sir, but I feel that you are tired and we will be able to maybe talk another day.

POPO:
Say nothing, I am wanting to see your group dance. I know at the time I did not see women dancing maculele, after seeing ‘finada agogo’ I haven’t seen anyone dance more beautiful than her.

The folkloric group OXALA that had met on the rua da linha, in front of his house, was the same place where he reunited for the first time, his sons to teach the dance. We danced like we never had to the best we could, and the old mestre popo who applauded, was full of emotion that affected everyone there. (The group OXALA de Santo Amaro, was the first group of maculele after the traditional group from Santo Amaro).

When Popo talked about what he was feeling at the time he said:

You have taken me back to 1944 or 46, I don’t remember the year exactly, but you made me remember Paulina e da finada agogo. But I am going to get my daughter Raimunda, who is a girl like you, to dance in this beautiful group. I also have Jaiminho my grandson who plays the instruments really well, he will give you everything you need to know for the orchestra. If my son Vava is ever around, I want you to meet him, you can trust him, he is a good guy. After a monkey bit me, my foot swelled up and I am now without a good leg.

Popo finished the interview playing with his woman, who dances maculele very well, and still lives in Santo Amaro da Purificacao, with their children: Vava de Popo, Raimunda and Vivi de Popo. (Zezinho for many years lived in Salvador).

Maria Mutti
16/12/1968
Santo Amaro-Bahia

An Interview with Mestre Bamba

Translated by Chan Griffin.

1.What does Capoeira Mean to you?

Today, Capoeira is a part of my life. I do not know how to live without teaching Capoeira, but at the same time I feel that I have a very strong mission which is to show our afro-brazillian culture to the world. 

2.Why did you start to play Capoeira?

I am certain that capoeira was in my life right from the start. I was born in the Pelourinho, and from the right moment, Capoeira called me. (Saying that it had a mission for me).

3.What do you think about International Capoeira?

Capoeira is the same, the only thing that is different is the Capoeiristas themselves and their teaching methods. I always tell my students, what I do here in Brazil, teaching Capoeira, is what I do in any other place in the world. I TEACH CAPOEIRA.

4.What do you think about Capoeira in Brazil?

Capoeira is still looking for its place in the Brazillian Society, and each Capoeira Master has his mission to evolve and preserve such an important culture such as capoeira.

5. How do you see Capoeira of the past in relation to Capoeira of today?

The Brazilian people learnt our history is very important for humanity, this root is our history. Capoeira of the past has been through many difficulties and has been able to maintain/survive the resistance of the Brazilian people. Today there are still those who resist, but they have come to accept it.

6.How do you see the mixture of other martial art movements within capoeira. Did Mestre Bimba incorporate other martial arts within Capoeira?

I need to clear this up well for you.It is important to remember that in that era Mestre Bimba went to the ring to fight against many fighters and of course he used some movements from martial arts that arrived here in Bahia, but in the Roda of Capoeira he utilized the Basic course of Capoeira Regional: The movements, and teaching of the sequences did not have a direct mix.

7. What is your suggestion to improve the Capoeira of today, in respect to its growth?

I think it is neccassary that every Capoeirista needs humility, humanity, and respect for others.

9. What is the difference between the Philosophy of Capoeira Angola and Regional?

This question is very complicated and has various significances, thus to me the similarity of these philosophies lies in the recognition of our art and of our culture, within these two different styles.

10. Why don’t the Angoleiros play Capoeira Regional?

Don’t forget that not all Masters think like this, one example is Mestre Geni, who was also a scholar of Capoeira Angola, but some of the personal choices of the mestres of that era will insist in saying “I am an angoleiro and will die an Angoleiro” and those of Regional that say “I am Regional and will die Regional”.

11. Is their much difference between the Capoeira of Mestre Bimba and the Capoeira that you teach today?

It is important to note that to play Capoeira of Mestre Bimba we need to put all of his disciples/students, together at the same time. There are two different phases. In my time as a student of Mestre Vermelho 27 their existed a diffence. Capoeira Regional is dynamic in my understanding, today we are always discovering new movements and clearly preserving the teachings of the sequences, rhythms of the Berimbau, etc.

12. Do you believe in evolving Capoeira or in its traditions?

I once read from Mestre Bimba where he stated to his students that to create and evolve more teachings of sequences…Thus this is respecting the traditions to discover new forms and movements in Capoeira. This shows that he had a very open mind.

13. What is the fundamental mentality a student must have to be a Capoeirista?

1)Respect for your Mestre.2)Do not get involved in Capoeira politics3)Train, Train, Train.

14) What is the fundamental Mentality that a capoeirista needs to become a good teacher?

a)Respect your Master (Discipline).b)Always train.c)to stand up to your challengersd) To be Humble.e)never think that you know it all so that it stops you from training it.f)See, listen, and be quite.g)Be a good example to your studentsh) Always communicate with your Master.

15.What is your opinion about Mestres that teach Angola and Regional?

The styles are different and here in Bahia there are many problems.I, Mestre Bamba, never had a Mestre of Capoeira Angola, but I am capable of playing Capoeira Angola with anyone. I learnt watching the Best Mestres of Capoeira Angola playing between themselves, for example: João Grande, João Pequeno, Curió, Boca Rica, Moraes, Nô, Cobrinha Mansa, Mestre Gildo Alfinete among many others.

16. What is the significance of the São Salomão emblem?

The significance is for protection and it is used like an amulet of luck.

17. What type of philosophy does capoeira have, because I have always thought that capoeira was born out of the freedom of a people, thus this Capoeira can be free. But isn’t this dangerous for the reason that this freedom could be used to destroy its ability to be free?

I do not believe this, the validity of our brazilian culture is a slow and waiting process and each Master or Teacher knows very well these processes. This shows that Capoeira was not only born for the longing of the freedom of a people, but it is also, today, a part of the roots of the Brazilian culture which raises international levels of interests.

18. How does the process of selection of Cordãos work?

We consider our Graduation system for the students after a certain amount of time of capoeira and awareness; with this I can differentiate the different levels. For our security, we have certain knowledge tests with Teachers and Graduated students, and from this we decide which is the correct graduation for the student. We put into careful consideration the class attendance, responsibility, faith to the group, respect for their colleagues, respect for hierarchy, conduct, amongst the interest of professional growth. Because capoeira is growing in this sense.

19. How do you know that capoeira creates good spiritual, philosophical and physical harmony?

Before everything capoeira is also a sport, move the body, and the mind is not going to remain without thinking. You are always sync with yourself, your body overcomes its limits, builds resistance, and correct practice, it continually brings an innumerable amount of benefits.Mestre Bamba