Soul Capoeira » REGIONAL

CINTURA DESPREZADA – BALANCA DURADA

chan — Sun, 03 Feb 2008 12:05:58 +0000

MESTRE BIMBA’S ADVANCED SEQUENCES

This is a clip of my mestre, mestre bamba and Instrutor Toinho doing the cintura desprezada.
There are a few variations you will see around the place, but these are the standard ones that are taught in the academy.
Cintura desprezada traditionally, was only taught to the formados or higher. It was traditionally used to help the capoeirista to understand how to get out of someone trying to throw you.
(it was NOT used to teach people how to get them into holds).

The capoeira itself is free flowing, but it has set sequences that occur within the game. This is like the advanced sequence of mestre bimba. It was used to help the students learn how to fall well, as well as overcome fear in complex situations.

It is to the tune of Iuna. With only one berimbau and two pandeiros.

52 MOVEMENTS OF MESTRE BIMBA

chan — Mon, 21 Jan 2008 04:43:00 +0000

CAPOEIRA REGIONAL MOVEMENTS:

The capoeira regional movements are split into three categories:
basic, traumatic and take-downs.

BASIC:
1. AU
2. COCORINHA
3. GINGA
4. NEGATIVA
5. ROLE

TRAUMATIC:
6. ARMADA
7. ASFIXIANTE
8. BAU
9. BOCHECHO
10. CABECADA
11. CHIBATA
12. CHAPEU DE COURO
13. CALCANHEIRA
14. COTOVELADA
15. CHAVE
16. ESCORAO
17. ESPORAO
18. FORQUILHA
19. GALOPANTE
20. GODEME
21. JOELHADA
22. LEQUE
23. MARTELO
24. MORTAL
25. MEIA LUA DE COMPASSO
26. MEIA LUA DE FRENTE
27. PONTEIRA
28. PALMA
29. QUEIXADA
30. QUEDA DE RINS
31. SAPINHO
32. SUICIDIO
33. TELEFONE
34. VOO DE MORCEGO

TAKEDOWNS:
35. APANHADA
36. ARQUEADO
37. ARRASTAO
38. BAIANA
39. BALAO DE LADO
40. BALAO CINTURADO
41. BANDA DE COSTAS
42. BANDA TRACADA
43. BENCAO
44. CRUZ
45. CRUCIFIXO
46. CRUZILHA
47. DENTINHO
48. GRAVATA ALTA
49. GRAVATA BAIXA
50. RASTEIRA
51. TESOURA
52. VINGATIVA

Many of these movements over time have lost relevance or have lost their meaning. Many of the movements associated with these names have also been lost. But I am sure there are some mestres who still remember which movements are which.
Many of these movements were rarely used in the game of regional anyway. It was mainly the movements from the 8 sequences that were mainly used. Mestre Itapoan said once when teaching a workshop that if you have learnt the sequences properly and understand them, you will be able to apply the movements and method to any roda from any style around the world.

CAPOEIRA REGIONAL-A Basic Overview

chan — Mon, 31 Dec 2007 03:06:24 +0000

CAPOEIRA REGIONAL TRADICIONAL:TOQUES (BERIMBAU RHYTHMS): SÃO BENTO GRANDE (DE BIMBA/DO REGIONAL), IUNA, BANGUELA, CAVALARIA, SANTA MARIA, IDALINHA, AMAZONASTHE ORQUESTRA:1x BERIMBAU, 2x PANDEIROS, THE BERIMBAU IS USUALLY A MEDIO, AND IS EITHER WITHOUT PAINT OR WITH STAINER AND LACQUER.THEY ARE USUALLY SHORTER BERIMBAUS MEASURING AROUND 1.2 M TALL. THEY SET UP THE ORQUESTRA ALWAYS SITTING ON A BENCH, WITH THE BERIMBAU IN THE MIDDLE AND THE TWO PANDEIROS AT EITHER SIDE.Capoeira Regional traditionally began with 52 movements and 8 sequences. With these tools, it is within the timing and placement of each movement in the correct context which made the game of Capoeira, traditionally, Capoeira Regional. The São Bento Grande rhythm played on the berimbau with the orquestra set up with one berimbau and two pandeiros only, is a good indication of where a Capoeira game should be played within a Capoeira Regional context. The game will start with a quadra, which traditionally consists of four verses, with the first and third verse sung high in pitch, and the second and fourth in a lower pitch. The improviso is then sung which is usually a set string of call and response. The clapping also begins when the improviso begins. From there, the corridos/chulas will start and the players will receive the signal from the dono da roda to when they can start playing. The corridos traditionally consist of short call and response verses which are sensitive to the energy of the roda. Capoeira Regional’s main focus is in the timing and context of the movements. Where every single movement has purpose and intention.SOME OF THE FUNDAMENTALS CAPOEIRA REGIONAL:•NO ACROBATICS, NO KICKS THAT TAKE THE FEET OFF THE FLOOR.•MUST USE ONLY THE ORIGINAL 52 MOVEMENTS THAT MESTRE BIMBA PROMOTED AS CAPOEIRA REGIONAL.•USUALLY PLAYED CLOSE, NEVER REALLY PLAYING OUTSIDE OF STRIKING DISTANCE.•ALWAYS FOLLOWING THE RHYTHM OF THE BERIMBAU, WHICH WILL TRADITIONALLY BE PLAYING SÃO BENTO GRANDE DE BIMBA.•MUST SEEK A BALANCE IN YOUR GAME BETWEEN THE DIFFERENT HEIGHTS OF MOVEMENT AND ALSO THE TYPES OF MOVEMENTS.•MUST REGULARLY PRACTICE THE 8 SEQUENCES OF CAPOEIRA REGIONAL AS THEY ENCOMPASS CAPOEIRA REGIONAL’S NATURE.MUSIC:A QUADRA MUST BE SUNG FIRST, FOLLOWED BY A CHULA/IMPROVISO AND THEN CORRIDOS. THE QUADRA TRADITIONALLY IS SUNG WITH ONLY FOUR LINES, AND THE CHULA/IMPROVISO IS OFTEN A SET STRUCTURE OF CALL AND RESPONSE. THE CORRIDOS ARE SHORT CALL AND RESPONSE SONGS. USUALLY FEEDING OFF THE CONTEXT OF THE CAPOEIRA BEING PLAYED.