What is Capoeira | The Music of Capoeira
Escola de Balança
We are part of the United Capoeira Association (UCA), created by Mestre Acordeon, Ra and Suelly. UCA has schools throughout the United States and is recognized throughout the World as
Teachers
Instructor Cebola (aka Alex Patz) has been a student of Mestres Acordeon, Suelly and Ra (UCA) for over 9 years. Cebolao has trained Capoeira for over 10 years and has been teaching for 4 years. During his Capoeira career, he has taught in after school programs for the boys and Girls Club of Goleta Ca, in Baghdad, Iraq while serving in the military and currently teaches after school programs for the Mount Diablo Unified School District.
Press
Mestre Acordeon is recognized for teaching capoeira for 30 years in the United States and practicing for 50 years.
Capoeira Artist seeks to promote Art form
Mestra Suelly: The Making of a Mestre
What is Capoeira?
Capoeira is an Afro-Brazilian art form that combines elements of martial arts, games, music, and dance. It was created in Brazil by slaves brought from Africa, especially from present day Angola some time after the 16th century.
Participants form a roda, or circle, and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints, and extensive use of sweeps, kicks, and headbutts. Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a fighting form directly descended from ancient African techniques. Some interpretations emphasize Capoeira as a fighting style designed for rebellion, but disguised by a façade of dance.
For some time, Capoeira was criminalized and prohibited in Brazil. In 1890, Brazilian president Deodoro da Fonseca signed an act that prohibited the practice of capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, also caused by police interference, were common.
In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional." Mestre Bimba was finally successful in convincing the authorities of the cultural value of capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras.
return to topThe Music of Capoeira
Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (são bento regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others have lighthearted and playful lyrics. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau commands. In this manner, it is truly the music that drives capoeira.
There are three basic kinds of songs in capoeira. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the mestre (master). These ladainhas will often be famous songs previously written by a mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song.
The instruments are played in a row called the bateria. The rhythm of the bateria is set by the berimbaus (stringed percussion instruments that look like muscial bows). Other instruments in the bateria are: two pandeiros (tambourines), a reco-reco (rasp), and an agogô (double gong bell). The atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.