Capoeira

It is known for its acrobatic and complex maneuvers, often involving hands on the ground and inverted kicks. It emphasizes flowing movements rather than fixed stances; the ginga, a rocking step, is usually the focal point of the technique. Though often said to be a martial art disguised as a dance,[5] capoeira served not only as a form of self defense, but also as a way to maintain spirituality and culture.[6]

Capoeira has been played among Black Brazilians for centuries. The date of its creation is unknown, but it was first mentioned in a judicial document under the name capoeiragem in 1789, as "the gravest of crimes".[7] In the 19th century, the street fighting style called capoeira carioca was developed. It was repeatedly outlawed and its performers persecuted,[7] and it was declared totally illegal and banned in 1890.[8] In the early 1930s, Mestre Bimba reformed traditional capoeira and incorporated elements of jiu jitsu, gymnastics and sports.[9] In doing so, the government viewed capoeira as a socially acceptable sport. in 1941, Mestre Pastinha Later founded his school where he cultivated the traditional capoeira Angola, distinguishing it from reformed capoeira as the Brazilians' national sport.[10]

Capoeira

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In the late 1970s, trailblazers such as Mestre Acordeon started bringing capoeira to the US and Europe, helping the art become internationally recognized and practiced. On 26 November 2014, capoeira was granted a special protected status as intangible cultural heritage by UNESCO.[11]

In the past, many participants used the name angola or the term brincar de angola ("playing angola") for this art.[13] In police documents, capoeira was known as capoeiragem, with a practitioner being called capoeira.[14] Gradually, the art became known as capoeira with a practitioner being called a capoeirista.[15] In a narrower sense, capoeiragem meant a set of fighting skills. The term jogo de capoeira (capoeira game) is used to describe the art in the performative context.[14]

Although debated, the most widely accepted origin of the word capoeira comes from the Tupi words ka'a ("forest") pa ("round"),[16] referring to the areas of low vegetation in the Brazilian interior where fugitive slaves would hide.

In the past, some participants used the name angola or the term brincar de angola ("playing angola") for this art.[13] In formal documents, capoeira was known as "capoeiragem", with a practitioner being known as a "capoeira". Gradually, the art became known as capoeira with a practitioner being called a capoeirista.[15]

Capoeira first appeared among Africans in Brazil, during the early colonial period. According to the old capoeira mestres and tradition within the community, capoeira originates from Angola.[18][19] Although the origin of capoeira is not entirely clear, many studies have supported the oral tradition, identifying engolo as an ancestral art and locating the Cunene region as its birthplace.[20][21][22] Still, some authors believe there were more ancestors besides engolo.[23] However, at the core of capoeira we find techniques developed in engolo, including crescent kicks, push kicks, sweeps, handstands, cartwheels, evasions and even the iconic Meia lua de compasso, scorpion kick and L-kick.[21][24]

The street capoeira in 19th-century Rio was very violent and far from the original art. This street-fighting capoeiragem was mix of five fighting techniques: foot kicks, head butts, hand blows, knife fight and stick-fighting,[25] only the first of them arguably originates from Angolan art.[26] That now extinct version of capoeira was called capoeira carioca (meaning of Rio de Janeiro).[27]

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira, important both for attack and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of constant motion, preventing them from being a still and easy target. The other, using also fakes and feints, is to mislead, fool or trick the opponent, leaving them open for an attack or a counter-attack.

The attacks in the capoeira should be done when opportunity arises, and though they can be preceded by feints or pokes, they must be precise and decisive, like a direct kick to the head, face or a vital body part, or a strong takedown. Most capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras (leg sweeps), tesouras or knee strikes. Elbow strikes, punches and other forms of takedowns complete the main list. The head strike is a very important counter-attack move.

A series of rolls and acrobatics (like the cartwheels called a or the transitional position called negativa) allows the capoeirista to quickly overcome a takedown or a loss of balance, and to position themselves around the aggressor to lay up for an attack. It is this combination of attacks, defense and mobility that gives capoeira its perceived "fluidity" and choreography-like style.

Through most of its history in Brazil, capoeira commonly featured weapons and weapon training, given its street fighting nature. Capoeiristas usually carried knives and bladed weapons with them, and the berimbau could be used to conceal those inside, or even to turn itself into a weapon by attaching a blade to its tip.[28] The knife or razor was used in street rodas and/or against openly hostile opponents, and would be drawn quickly to stab or slash. Other hiding places for the weapons included hats and umbrellas.[28]

In Bantu culture, the Nkhumbi term ochimama encapsulates the overlapping meanings of game, dance, and tradition. This overlap is also found in Afro-Brazilian folklore, where many similar forms of expression are called brincadeiras (games).[21] Some scholars have interpreted capoeira as a way of concealing martial arts within dance movements. However, research from Angola suggests that the relationship between game, fight, and dance may be even deeper. These scholars propose that the ambivalence between these three elements is a fundamental aspect of the ancestral grammar shared by engolo and capoeira.[21]

Playing capoeira is both a game and a method of practicing the application of capoeira movements in simulated combat. It can be played anywhere, but it's usually done in a roda. During the game most capoeira moves are used, but capoeiristas usually avoid punches or elbow strikes unless it's a very aggressive game.[30] The game does not focus on knocking down or defeating opponents, but rather on body dialogue and highlighting skills.

The roda (pronounced [od]) is a circle formed by capoeiristas and capoeira musical instruments, where every participant sings the typical songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to the style required by the musical rhythm. The game finishes when one of the musicians holding a berimbau determines it, when one of the capoeiristas decides to leave or call the end of the game, or when another capoeirista interrupts the game to start playing, either with one of the current players or with another capoeirista.[31]

In a roda every cultural aspect of capoeira is present, not only the martial side. Aerial acrobatics are common in a presentation roda, while not seen as often in a more serious one. Takedowns, on the other hand, are common in a serious roda but rarely seen in presentations.[citation needed]

The batizado (lit. baptism) is a ceremonial roda where new students will get recognized as capoeiristas and earn their first graduation. Also more experienced students may go up in rank, depending on their skills and capoeira culture. In Mestre Bimba's Capoeira Regional, batizado was the first time a new student would play capoeira following the sound of the berimbau.[citation needed]

Traditionally, the batizado is the moment when the new practitioner gets or formalizes their apelido (nickname). This tradition was created back when capoeira practice was considered a crime. To avoid having problems with the law, capoeiristas would present themselves in the capoeira community only by their nicknames.

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. Typically the music is formed by instruments and singing. Rhythms (toques), controlled by a typical instrument called berimbau, differ from very slow to very fast, depending on the style of the roda.[35]

Capoeira instruments are disposed in a row called bateria. It is traditionally formed by three berimbaus, two pandeiros, three atabaques, one agog and one ganz, but this format may vary depending on the capoeira group's traditions or the roda style.[citation needed]

The berimbau is the leading instrument, determining the tempo and style of the music and game played. Two low-pitch berimbaus (called berra-boi and mdio) form the base and a high-pitch berimbau (called viola) makes variations and improvisations. The other instruments must follow the berimbau's rhythm, free to vary and improvise a little, depending upon the capoeira group's musical style.[36]

As the capoeiristas change their playing style significantly following the toque of the berimbau, which sets the game's speed, style and aggressiveness, it is truly the music that drives a capoeira game.[37]

There are four basic kinds of songs in capoeira, the Ladanha, Chula, Corrido and Quadra. The Ladanha is a narrative solo sung only at the beginning of a roda, often by a mestre (master) or most respected capoeirista present. The solo is followed by a louvao, a call and response pattern that usually thanks God and one's master, among other things. Each call is usually repeated word-for-word by the responders. The Chula is a song where the singer part is much bigger than the chorus response, usually eight singer verses for one chorus response, but the proportion may vary. The Corrido is a song where the singer part and the chorus response are equal, normally two verses by two responses. Finally, the Quadra is a song where the same verse is repeated four times, either three singer verses followed by one chorus response, or one verse and one response.[citation needed] e24fc04721