About the art and traditions of Capoeira Angola A Primer for beginner students ©2002 by Pererê Capoeira
Angola is a game with an amazingly diverse variety of interactive
elements. In Brazil, this many-faceted tradition has developed for
centuries with its roots tapping deeply down into ancient Bantu warrior
traditions and cosmology originating from within peoples of south
central Africa and these roots also reach broadly across into other
resonating cultural sources out from which Capoeira Angola derived
infinitely useful and practical perspectives, conceptual tools, and what
from the adept player's perspective might well be acknowledged as
spiritual medicine - all of which offers greater practical capacity to
navigate and negotiate the perils and obstacles (i.e. reality) of
surviving and living in Western-based Societies. In other words Capoeira
Angola as an activity and modality absorbed enough practical
utilitarian aspects of Western civilization to allow it to function and
metabolize an antidote to the prevailing systems of control within that
civilization. Capoeira Angola may be a creolized cultural art, but all
aspects of it - the composition of its music, song structures, self
defense techniques & personal safety tactics, its expressive dance,
ritual structure, and spiritual cosmology have all been developed by
master and adept players over many generations in order to function
together as a whole, and to function in many ways as a counterpoint to
what has been historically an overtly repressive dominant paradigm. *Ritual of the game:
The game of Capoeira is played by two contestants within the confines
of a ring, the boundaries of this ring can be set by swinging a gunga
(berimbau) at arm's length in a full 360 degrees, creating a space
roughly ten to twelve feet in diameter. The other participants then move
in to fill the designated edge of the roda. A bataria (battery),
comprised of participants playing percussive musical instruments, sets
up shop at one side of the circle. Usually taking a position that
affords the best vantage place to watch over the roda, and the
surrounding environs. This action precludes anyone from approaching the
roda unnoticed. After the parameters of the roda have been established,
two contestants from the group of participants enter the circle and
crouch down in front of one another. Centering themselves for their
coming engagement. The music has by this time begun and one of the
contestants, or another member of the bataria, begins to sing a litany,
sharing their views, offering praises, and metaphorical verses meant to
inspire reflection about the art. Once the litany has been sung, all the
praises and blessings offered, and views expressed, the leader of the
roda offers the contestants the ring. The game begins.
A
single individual always leads the roda de Capoeira Angola. This person
is either the mestre of the group, or someone designated as the
ringleader by the mestre. This ringleader, or 'mestre de roda' controls
the goings on within the roda and holds the authority for how the
rituals of the roda will be developed. The ringleader sets up the 'house
rules', commences and concludes the roda, and administrates what will
happen within the confines of that ritual space. The mestre de roda has a
lot of responsibility. Having to provide a safe environment for all the
roda participants. The mestre de roda is responsible for arbitrating
everything that goes on inside the ring, and for everyone that
approaches and then enters that ring. In the not so distant past of
Brazil, Capoeira was illegal to practice in any form, and the members of
Capoeira communities had to be very watchful so that they where not
caught unawares during the Capoeira roda, to be caught could mean
injury, imprisonment, or death.
*Objectives for playing in the ring:
When two contestants enter into the roda and crouch at the foot of the
berimbau to play, their game actually begins the moment they both step
within confines of the ring. Though it is considered improper for one
player to attack another before being offered to play by the viola, it
is also disrespectful to disregard the danger that one's opponent
represents. Players prepare themselves physically, emotionally,
mentally, and often spiritually for their games. As long as both players
conform to the basic rules of play, or at most bend them in creative
ways that do not ruin the integrity of the roda, they should expect that
anything can happen, and most likely will - to them - especially if
they forget to pay attention to their opponent. Each player studies the
habitual movements of their opponent in order to devise tactical
strategies that will give an advantage to them in the game. Angoleiros
also learn to ruthlessly stalk their own behavior and habits in order to
become tight and efficient, giving nothing away except by design. There
are three potential outcomes to a game of Capoeira Angola. These are
the same as in many types of gaming activities and sports. These
outcomes are: Ganhar (to win), Perder (to lose), and Empatar (to
draw/tie). Each player wants to win their bout, endeavoring to expand
their control within the circle while simultaneously minimizing their
opponent's ability to do like-wise. Ultimately reducing their opponent's
ability to mobilize within the roda to zero. This can be done by
applying any of a truly massive variety of strategically placed strikes,
feints, escapes, and take-downs combined with techniques that are meant
to draw one's opponent into making tactical errors that the player can
then take advantage of in order to prevail. Within our group's training
games, if a student wins or looses any individual bout it is of no great
consequence as long as both players give 100% to their game. The
important lesson is to understand that life is full of similar trip-ups,
and to realize that falling, and getting up again, is a vital part of
the learning process. If a student gets caught in a take-down while
playing in the roda, they learn over time to detach themselves from
feelings of failure, and work at finding the lesson within the fall.
Only in this way can they begin to constructively explore their own
strengths and weaknesses in order to master themselves.
*Music and song:
The music in Capoeira Angola is vitally important to the art. The
rhythms that are played on the gungas establish the type of game that is
to be played in the roda at that time. The other instruments in the
bataria provide a supplemental background for the rhythms to unfold. In
the tradition of Capoeira that we follow, we use a bateria that is
comprised of three gungas: the Berraboi / bass - this bow holds down the
bottom with the toque (rhythm) Angola. The Viola / lead - this bow
plays the toque which will designate what type of game is being
requested. The Violinha / rhythm - this bow plays variations on the same
toque that is laid down by the Viola. Other instruments in the bataria
are: two Pandeiros (tambourines), a Reco-Reco (rasp), and an Agogo
(double gong bell). The Atabaque (conga-like drum), a common feature in
most Capoeira baterias, is considered an optional instrument, and is not
required to compose a full bateria in our group. There
are hundreds of traditional corridos and many have been added over the
years from various mestres who popularize them. Done well, corridos
bring add a lot to the games being played, and can enhance the enjoyment
of the action in the by all who participate. There is also another
traditional song form called Quadras (four-line verses), but they are
falling into disuse by the majority of groups, and may completely vanish
within the next few generations of players if an effort is not made to
revitalize them. *Movement, Falling & Winning the Circle:
At its heart, the movements of Capoeira Angola are all about falling.
Learning how to fall in such a way that it stimulates new perspectives
and understanding about the nature of life and the world, and
maneuvering yourself and your innate resources within that world in ways
that open you to advantages and opportunities. Falling skills are at
the core of successful locomotion, recovery, effective attack &
defense, and all acrobatic embellishment. Falling skills are
particularly crucial to 'understanding' how to take advantage of power
inversions against an adversary set to dominate you. Don't let anyone
ever lead you astray on this, or try to convince you otherwise - your
time and life energy are precious. If you don't know how to fall well,
you don't know much at all. Malicia
for the Angoleiro is the embodiment of guile, craftiness,
one-up-manship. The use of malicia requires the Angoleiro to be
attentive at all times, in order to take advantage of the slightest
opportunity. Maicia is also used to develop vigilance so that others do
not take advantage of the Angoleiro. Malicia was developed as a primary
philosophy in Capoeira Angola at its origins. Africans brought to Brazil
and put to work as a slave-labor force were at the mercy of their
captors. These captors had all the firepower, all the authority, and all
the resources. Against superior physical strength, or other unequal
power relations, only cunning, craftiness, and deceit will prevail. It
is under this tremendous pressure that Capoeira Angola developed over
generations, into a tool for liberation, and a path for self-mastery.
*Lineages in Capoeira Angola:
There is a falsehood that has been circulated for some years by members
of various members of the Capoeira community which states that there
has been only one master of Capoeira Angola who single-handedly was
responsible for passing on this art into modern times, that there were
no other masters of this art during his life. This mestre of Capoeira
Angola: Mestre Pastinha is without a doubt one of the most famous
figures in modern Capoeira history. He opened the first academy of
Capoeira Angola and taught many generations of players. He was not,
however, the only mestre of Capoeira Angola during his lifetime. There
were many other teachers who, though they may not have had the same
spotlight or large number of students lived relatively quite public
lives more on the periphery of Bahian popular culture, and whom still
passed their knowledge and skills in the art of Capoeira Angola down to
new generations. The tradition that I have learned from my teacher
mestre No and guide my own students within is one such lineage. Though
it is not commonly acknowledged, or explained, Capoeira Angola has been
developed through many generations within a number of distinct
lineages. Not so long ago, in fact, in some instances only one
generation ago, Capoeira Angola was most commonly taught by a master to
his small number of current apprentices. There was no academy, no sala,
no group, just the backyard. Masters of various lineages would often
play together in arranged street rodas, exchanging ideas and innovations
while renewing a sense of common ground within the community of
players. Masters brought their apprentices along to watch and learn.
However, apprentices were not allowed to play in the roda until their
master said they demonstrated the proper skills, maturity, knowledge of
etiquette, and high level of self-restraint needed to function in these
venues.
*Four principles of Capoeira Angola:
One of my most formative teachers Mestre No teaches that there are four
primary principles, which form the ethical cornerstones of Capoeira
Angola. These principles are Respeito(Respect),
Responsabilidade(Responsibility), Seguranca(Safety/Security), and
Liberdade(Liberty/Freedom). These four principles are often expanded
upon and included into class lessons, for the purpose of developing a
foundation for moral and ethical behavior through Capoeira Angola as a
path, and towards life, for all our students. It is through an
appreciation of these values that Capoeira Angola is taught to new
generations of players within or academy. None of the above concepts are meant to serve as absolute definitions for this art. They merely reflect the lessons and perspectives that have been shared and followed within one tradition. These ideas may even be in conflict in some ways with what others may say or think about Capoeira Angola. Be that as it may, Capoeira Angola is more than what any one voice can define. Capoeira Angola: An art of many voices An
important fact to acknowledge about Capoeira Angola is that it has
never been standardized or codified into an art that has 'only one'
correct expression (though it would seem that this is the agenda of some
of the more influential organizations within the Capoeira Angola
establishment in recent years) Various Capoeira Angola lineages define
their techniques, movements, and game strategies in ways that differ
from one another on certain points. Whether a lineage/group prefers to
use one form of ranking system over another, does or does not wear shoes
(or does both), wears yellow and black training clothes or purely white
training clothes has nothing at all to do with the validity or
legitimacy of that lineage/group in Capoeira Angola. This, however, is
exactly what is done, with differences in management and administration
often used as a point of contention between organizations. |
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