Music is an essential element in Capoeira. The Berimbau (a bowed instrument originating in Africa) is the most significant instrument of Capoeira. Using different toques (rhythmic patterns) the berimbau determines the type of game to be played, giving each a unique speed and character. The other instruments follow the berimbau’s lead.
The order of the main orchestra used by Grupo Capoeira Brasil are three Berimbaus, two Pandeiros (a type of tambourine), one Atabaque (single-headed standing drum) and an Agogo (double bell). Solo and choral singing are combined with music and Palma (clapping) to create an atmosphere that is uniquely Capoeira. The atmosphere energises the Capoeiristas playing in the Roda (circle of players), thereby enhancing their game.
The two main styles of Capoeira is the traditional Angola and the contemporary Capoeira Regional.
ANGOLA RHYTHMS
1) Angola
Ladainha
In Capoeira Angola, the Mestre formally begins the roda by singing a ladainha - a traditional solo song containing some of the most profound Capoeira philosophies. Although there are sets of traditional ladainhas the master may elect to sing, it is also acceptable to improvise one on the spot, a practice which is hardly seen today. The ladainha is also sung before the most important bouts.
There is no game during the ladainha. For the two Capoeiristas at the foot of the berimbau, permission to play depends on the Mestre. According to Mestre Bimba, the proper manner for his students to enter the ring is with the call,
“IE! Vamos embora camara!” (Hey! Let’s go, brother.)
For the Angoleiros, permission to enter the ring is given only after the Chula or at the beginning of the corridos.
Chula (or Canto De Entrada)
The Chula call and response that always follow the ladainha. The chorus simply echoes what the soloist sings. It is a kind of invocation or prayer, since among the calls are lines praising God, one’s master, the Capoeira game and so forth.
2) Sao Bento Pequeno De Angola & Sao Bento Grande De Angola
Quadras are used in Angola to proceed the game, until the game stops for another ladainha. The quadras are sung in four verses, in rhyme form.
Corridos are used in Angola games in the same way as Quadras. It is a series of call and response chants.
REGIONAL RHYTHMS
1) Sao Bento Grande Da Regional or Regional De Bimba
2) Banguela
Quadras identify “Capoeira Regional” and were used often by Mestre Bimba. They are sung in the faster rhythm of Sao Bento Grande da Regional or Regional de Bimba and Banguela.
Quadras are sung in four verses, in rhyme form. They always end with a salute.
Corridos are series of calls and respond chants. They are one or two verse songs sung in the same way as Quadras. Corridos are also part of the music in Capoeira Regional. The chants that involve all the voices in the roda are a big contribution to the rhythm. These reassurances send the players messages of peace of mind, awareness, love, homesickness, memories of the past, celebrations of the present, gratitude, respect, etc.
3) Iuna
Iuna, a game developed by Mestre Bimba and named after a Brazilian Bird, is a game of acrobratic movements without contact or takedowns. It is a rhythm played in Capoeira Regional without the accompaniment of singing or clapping. The games are often conducted for “graduados” (blue/red cords and upwards). The Iuna rhythm is likewise played as a lamentation when a Master passes away.
FOLKLORIC DANCES
Maculele
Macuale, or Dance with the Sticks, is performed with powerful, expressive movements with an orchestra of traditional capoeira instruments.
Samba de Roda
Samba de roda is a playful game of samba between a man and a woman in a roda.
Puxada de Rede
Puxada de rede is performed to the beat of a slow atabaque.
References
Abdalla, J. Brazil's Black Guerillas
Almeida, B. Capoeira - An Introductory History, Acordeon
Carvalho, M. & Pereira, C. 1992, Cantos e Ladainhas da Capoeira da Bahia, Edicoes Via Bahia, Salvador
Mestre Boneco's Website - www.capoeirabrasil.com
World Arts West Dance Styles 2003, Brazilian Dance - Maculele
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