Music of Capoeira Styles and Folkloric Dance
Music is an essential element of 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 type of game a unique speed
and character. The other instruments follow the berimbau’s lead. The main
instruments used by Group Capoeira Brasil are 3 Berimbaus, 2 Pandeiros
(type of tambourine), 1 Atabaque (single headed standing drum) and an
Agogo (double bell). Solo and choral singing, combine 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) enhancing
their game.
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There are two
main styles of Capoeira,
Angola
and Regional
Angola
Angola is the traditional form of Capoeira, closely
resembling the game played by Brazil’s slaves. Played slowly and low to
the ground Capoeira Angola is a clever game, full of mischief and trickery.
Rhythms most used in Angola
Games
1.Angola (Sample
sonｇ）
Ladainha:
In Capoeira Angola the Master formally begins the roda by singing
a ladainha, a traditional solo song containing some of the most profound
Capoeira philosophy. 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. The permission for the two
Capoeiristas at the foot of the berimbau to play, depends on the Master
who can send them into the game during the Chula, Master Bimba taught
his students that this is the proper time to enter the ring, with the
call…
“IE! Vamos embora camara!” (Hey! Let’s go, brother)
For the angoleiros, the permission to enter the ring, is only after the
Chula or at the beginning of the corridos.
Chula (or Canto De Entrada):
It is a call and response that always follow the
ladainha. The chorus simply echos what the soloist sings. It is a kind
of invocation, a 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 (Sample
sonｇ）
Quadras:
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:
Also used in Angola games, in the same way
as Quadras. A series of call and response chants.
Capoeira
Regional
Capoeira Regional is the most commonly seen form
of Capoeira. Created by Mestre Bimba, Regional is a combination of Capoeira
Angola and Batuque (an old form of fighting his father was highly skilled
in). Incorporating takedowns, acrobatic flips and strong kicks, Capoeira
Regional is a fast and exciting style of Capoeira.
Rhythms most used in Regional
Games
1.Sao Bento Grande Da Regional
or
Regional De Bimba (Sample
sonｇ）
2.Banguela (Sample
sonｇ）
Quadras:
Identify the “Capoeira Regional” and were used a lot by Mestre
Bimba. They are sung in the faster rhythm of Sao Bento Grande da Regional
or Regional de Bimba and Banguela.
The Quadras are sung in four verses, in rhyme form. They always end with
a salute.
Corridos:
A series of call and respond chants. One or two verse songs sung
in the same solo and repeat fashion as in 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 for the rhythm,
they send the players messages of: peace of mind, be aware, love, homesickness,
the past, the present, gratitude, respect, etc.
3.
Iuna (Sample
sonｇ）
Iuna is a game of acrobratic movements without contact or takedowns. It
is a rhythm played in Capoeira Regional without singing or clapping. Developed
by Mestre Bimba, the name is after a Brazilian Bird and the games are
for the “graduados” (Blue/red belts and upwards). Also, the Iuna rhythm
is played when a Master passed away.
Folkloric Dance
Capoeiristas continue Brazil’s cultural heritage
through folkloric dances. Those performed by our students are Maculele,
Samba de Roda and Puxada de Rede.
Maculele - Dance of the Sticks.
Performers dance with a pair of sticks, accompanied
by 3 Atabaques, the large Rum, medium Rumpi and the small Le in the style
of Candomble. Dancers make powerful movements striking the right stick
of their partner every 4th beat. More experienced players may use machetes.
Practiced by slaves on sugar plantations the true origins of Maculele
have since been lost in stories and legends. Rescued by Mestre Popo, Maculele
is regularly incorporated in Capoeira performances.
Samba de Roda.
Samba de Roda is a playful game of the Brazilian
Samba. A man and woman samba together in the centre of a roda, accompanied
by Palma de Terreiro, Batucada (Samba drums) and the berimbau. Dancers
enter the roda and replace the man or woman by playing a trick or joke
to out their rival so they may then samba with the dancer of the opposite
gender. Even though there are traditional Samba de Roda songs, any pop
samba can be used.
Puxada de Rede.
This dance symbolises the pulling in of a fishing
net from the ocean, it is performed to the beat of a slow atabaque.
References
the following resources were utilised in writing
the above.
Capoeira- An Introductory History by Bira Almeida - Acordeon
Brazil’s Black Guerrillas by Jihan Abdalla
Mestre’s Boneco’s Website -
www.capoeirabrasil.com
Group Capoeira Brasil, Osaka Website- www.capoeirabrasil.jp
Brazilian Dance- Maculele- World Arts West, Dance Styles 2003
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