“You learn to play in kind, you learn to play in life.” Mestre Corba Mansa

The magic word "capoeira"

Capoeira Regional- a game of strength and speed. This style was developed by Mestre Bimba at the beginning of the 20th century. It prioritizes quick strikes, high speed, sweeps and throws. The founder wanted to make capoeira more effective so that his followers could apply their skills in fights with representatives of various martial arts. He was the first to introduce the gradation of students (based on the color of the scarves around their necks) and the ceremony of awarding belts: “batizada” - initiation and “formatura” - graduation of students.

Mestre Bimba was an outstanding fighter. His nickname was “three strikes” because he had them to defeat any opponent. He prepared his students to win any battle. Bimba consciously and under strict control introduced aggression into the educational process of his students. He believed that it was better to show his strength within the walls of the academy than on the street.

Capoeira mujinho- a game of dexterity and interaction. This style was developed by Mestre Suassuna. He noticed that capoeiristas began to forget traditions, partners played too far from each other. It took Suassuna over 16 years to create techniques and drills that combine the technique and expression of Angola (close play) with the speed and dynamics of Regional. In mujinho, players close together in a small circle show off their dynamic play. The blows are not applied to contact.

Capoeira contemporary- modern capoeira, which combines the traditions of Angola and Regionala and acrobatics.

Features of modern capoeira (based on materials from the Moscow school “Real Capoeira”)

Game in a circle (sort of)
Everything that modern capoeiristas learn in training is done in order to apply it in roda. Capoeiristas form a circle. In the center there is a battery of students or masters playing musical instruments. After two players hear the sound of the berimbao, they shake hands and begin to play. Then the third player buys out one of the players, and the game starts again. In the circle, capoeiristas always do ginga - a basic step, strikes, throws, movements, sweeps and acrobatics.

Music
This is an integral part of capoeira. She is able to set the rhythm and make the game meaningful. Masters, with the help of songs and music, tell some instructive story, celebrate an unusual game or an interesting moment during childbirth. The game must include a berimbao (a one-stringed musical instrument consisting of a wooden bow, a metal string and a gourd that serves as a sound amplifier), a pandeiro (tambourine), an atabaque (a large drum), an agogo (a bell), a reku-reku (a hollow stick with parallel cuts, the sound is produced by rubbing a thin stick along the grooves to produce a ratchet).

Dance
Some modern capoeira masters pay special attention to dance in their classes. They believe that this is a necessary condition for the rhythmic and harmonious interaction of two capoeiristas. Movements should not be cut off from each other, but flow smoothly from one another. To achieve this, modern capoeiristas optionally attend samba, afro, maculele, forro and many others classes.

Acrobatics.
After six months to a year of training, any beginner can perform simple acrobatics - a wheel, a bridge, handstands. But greasy and other tricks must be mastered separately. This is an optional, but very interesting part of the training. It is used in demonstration performances.

Belts
Initiation (batizado) is carried out for those who have been practicing regularly for more than six months and have an understanding of the basic blows and departures. The master conducts a “baptism of fire” and gives the first belt. In the future, every year students receive new belts, learn new movements, and participate in seminars. After completing the instructor course, some begin teaching.

The belt is not the main goal of a capoeirista; one might even say that it is given in advance so that the student has the motivation to grow. True, this does not apply to senior belts. They are issued for certain services to the school - participation in show programs, regular trips, teaching, in general, for an active life within the school.

Capoeira cannot become outdated or boring. She's too versatile. New songs, new rhythms, new meetings. The main thing is to find your balance between spontaneity and predictability, training and parties, flexibility and strength. The main requirement is the desire to develop. Capoeira never limits anyone. After all, her main goal and idea is the desire for freedom.

Photo source (5), (6) vk.com/realcapoeira

The content of the article

type of martial art. The birthplace of capoeira is Brazil. A distinctive feature of capoeira is the abundance of complex acrobatic elements, feinting movements, dives, escapes, sweeps and hooks of the opponent’s legs, as well as frequent changes of position and complete unpredictability of the direction of attack. Having made a handstand, a capoeirista can kick one opponent in the head, then, somersaulting, knock down another, and attack a third directly from the ground, forming a kind of “magic circle” around himself. The capoeira technique requires athletes to have good physical fitness, flexibility and plasticity, and acrobatic skills.

As a martial art, capoeira is unique in that it developed independently, without being influenced by other combat systems. In Brazil, capoeira is not only a popular sport, but also an integral element of the so-called street culture.

Historical reference.

In 1500 Brazil became a Portuguese colony. Slaves from Africa began to be imported to Brazil to work on plantations. Not wanting to accept their fate, the slaves fled from their owners at the first opportunity. In 1660, fugitive slaves formed the so-called Palm Republic in the jungle, which for several decades successfully repelled the onslaught of the Portuguese army. It was by the middle of the 17th century. are the first mentions of the martial art of black slaves. According to one version, the name “capoeira” itself comes from the word “capoeiras,” which means a type of jungle. The prototype of capoeira is martial dances, which are still common among tribes living in Mozambique and Senegal. The slaves disguised their martial arts exercises as dancing. The training took place to music and songs. From the outside, everything looked completely harmless: the slaves were resting after work. For the time being, the owners did not even imagine that their “movable property” knew fighting techniques and was planning something evil.

Experts have still not come to a consensus regarding the origin of capoeira (some historians believe that it was brought from Africa in an almost ready-made form) and the etymology of the word itself.

After the abolition of slavery in Brazil in 1888, capoeira became a national sport. In 1937, it received official recognition from the National Confederation of Sports: the first capoeira school was registered in the city of El Salvador - the Regional Center for Physical Culture - under the leadership of master Bimba (real name Manuel dos Reis Machado, 1900–1974). The word “regional”, present in the name of the school, eventually began to be used as the name of the style developed by the master Bimba. In 1941, Master Pastinha (Vincente Ferreira Pastinha, 1889–1982) founded the Angola Capoeira Sports Center. This marked the beginning of the official development of another style of capoeira - Angola. Masters Bimba and Pastinha are two key figures in the history of modern capoeira.

Since the 1950s, official competitions have been held among both amateurs and professionals. The World Championships, according to established tradition, are held in Brazil.

Capoeira today.

Modern capoeira, as it was presented to a wider audience, consists of two main styles: Angola and Regional. Angola is characterized by slow, “viscous” movements, smoothly flowing into one another. Regional is a high-speed, power style, replete with somersaults, jumping strikes and other complex acrobatic elements. Despite the fact that now there are schools (including outside Brazil) professing one of the varieties of capoeira, its division into styles is arbitrary. As the match progresses, capoeiristas can switch from one style to another. The preference given by a fighter to one style or another is very individual and depends on many factors (for example, on his age: older athletes, as a rule, prefer the calmer Angola, while younger ones prefer the more dynamic and aggressive regional).

Both styles of capoeira are characterized by a very low stance: the fighter almost touches the ground with his hands. The main type of movement is called “jingo”, it is a kind of dancing in a fighting stance. Protection from enemy attacks is carried out, first of all, by leaving the line of attack. The main attacking actions are carried out with the legs, the work with the hands is given a secondary role: the blows are “smeared”, not accentuated, mostly slaps with the palms. Kicks are performed both in jumps and with support on the hands, and at all levels: to the head, to the body and to the legs. Acrobatic elements (such as forward or backflips) can be used both to evade enemy attacks and to carry out your own attack.

Before the start of the fight, its participants stand in a circle, into which pairs of fighters take turns going out. After some time, the couple is replaced, but the change can also occur one person at a time. The order is not specified by anyone; each fighter himself feels when he needs to enter the circle and when to leave. The fight is called “roda” (Portuguese “roda” – lit. “wheel”, “circle”) and can last for several hours without stopping. The time of the fight is not limited, because everything happens only for your own pleasure. Capoeiristas often convey the essence of the game with the word “game”, and call themselves, accordingly, “players”. The game takes place under the performance of special, magical songs, accompanied by traditional instruments: berimbau, atabaki, kashishi. The berimbau is a stringed instrument that resembles a bow. It is attached to a pumpkin that has been dried and cleaned from the inside, and the sound is produced by striking a string with a stick. (According to legend, berimbau were once made like real bows, and an arrow was used instead of a stick, and at the right moment the musical instrument turned into a formidable weapon.) Atabaki is a percussion instrument like a tom-tom. Kashishi is a small basket with stones that makes a sound reminiscent of the rustling of rain. Musical accompaniment sets the necessary rhythm and tempo, and also creates a special psychological mood for all participants in the birth. From the outside it looks like a very beautiful and complex dance, and capoeira masters are indispensable participants in traditional Brazilian carnivals, where they give demonstration performances.

Capoeira matches are held with both full and limited contact. Fights without rules are also held. Mostly professionals participate in them.

In addition to sports, the capoeira technique also has a combat section. The combat section studies: the struggle of one person against several opponents, the struggle of an unarmed person against an armed person, the struggle with tied hands. Capoeira also cultivates work with weapons. The traditional weapon of capoeira is the machete. A duel with him is called “mokelele”. It takes place, like the birth, in a circle, accompanied by singing and musical accompaniment. Special small knives with a curved blade without a handle, which are held with the toes, are also used as traditional weapons in capoeira. Clutching the blades with their toes, the fighters slashed each other across the back and chest, leaving deep bleeding wounds. However, in this way the slaves fought only among themselves; it was not really a battle, because its participants did not try to kill each other. According to experts, this is a kind of ritual, the purpose of which is not entirely clear. Perhaps this was how the psychological training of the fighters was carried out.

Magic is another facet of capoeira, its dark side, hidden from prying eyes. Little is known about the “magical basis” of capoeira. Black slaves brought with them their religion, their beliefs, rituals and rituals. And although the Portuguese forcibly implanted Christianity, Afro-Brazilians, joining the new faith, were in no hurry to forget the old one. To this day, Brazil has preserved magical rituals that came from the distant past, such as umbada and condomblé. The race itself is not just a sports match, but also a magical process, in which not only the fighters directly involved in the game participate, but also those who form a circle and sing magical songs while clapping their hands, and musicians who produce magical sounds from their instruments . All participants in the process enter a state of trance, when a technical element of any complexity becomes possible, and fatigue is not felt at all.

Bloody rituals are a thing of the past. Modern capoeira is completely devoid of aggression, and fighters do not seek to incapacitate each other. A capoeirist trainer deals not only with the physical training and technique of his students, but also with the development of positive human qualities in them.

The traditional capoeirista costume consists of white cotton trousers and a white T-shirt with the school logo. The colors of the belt (cardao) indicate the level of skill of the capoeirista. (These colors correspond to the colors of the national flag of Brazil.) Beginners (alunu) wear a green belt, their next stage is a green belt with a yellow stripe. For instructors (to the monitor), the color of the belt is yellow or yellow with a blue stripe. Blue and blue with a white stripe are worn by senior instructors (professors), and white by masters (meistre); this is the highest rank in capoeira. Similar color symbolism is adopted in the Capoeira Federation. Schools that are not officially members of the Federation are distinguished not only by their unique “family” techniques in wrestling techniques, but also by the colors of their belts.

Capoeira in Russia.

Until recently, almost no one outside Brazil knew about Brazilian martial arts. Since the mid-1990s, in the USA, and then in other countries (including Russia), fights without rules began to be held, as a result of which fighters from the Gracie clan, practicing “Brazilian jiu-jitsu” and valetudo (the art of street fighting), became famous throughout the world ), based on the techniques of “regular” and Thai boxing, karate and freestyle wrestling techniques. Films that appeared a little later with the participation of actor Mark Dacascos, who demonstrated a martial art then little known in the world called “capoeira,” contributed to its popularization.

Now capoeira is cultivated in more than 60 countries of the world, including the CIS countries. In Russia, capoeira began to develop in the mid-1990s. At the end of the 1990s, several scientific and practical conferences were held in Russia with the participation of foreign capoeira masters, including from Brazil. Today, capoeira schools exist in Moscow (INBI Club and Ashe CAPOEIRA Group), St. Petersburg, Orel, Nizhny Novgorod, Ufa, Bryansk. In 2000, the Interregional Capoeira Association was formed.

If you don't know, capoeira is the Brazilian national martial art. What fundamentally distinguishes capoeira from all other types of martial arts is that it is more like a dance or some kind of paired acrobatic exercise. An abundance of acrobatics, the predominant use of kicks and sweeps, as well as the unique flavor of national Brazilian music - this is what capoeira is at its core.
However, if you were looking for a dictionary of capoeira terms, then you probably have at least a general idea about it.

A
Abada - Associacao Brasileira de Apoio e Desenvolvimento da Arte-capoeira (Brazilian association for the support and development of the art of capoeira)
Agogo is a musical instrument, a double metal bell played by striking it with a stick.
Aluno - student, beginner, first levels of capoeiristas from gray to orange-blue belt
Amazonia is one of the capoeira playing styles; when playing in this style, capoeiristas imitate the movements of animals, while using predominantly the lower technique
Angola - see Capoeira Angola
Angoleiro - man playing capoeira Angola
Arame - Literally “wire”. Berimbau string. Arame connects both ends of a verga (wooden bow) to form a berimbau. To make aram, cord is usually taken from old tires. Previously, animal tendons were used for this.
Armada - roundhouse kick with the edge of the foot
Armada Dupla - a jumping spinner with two legs pushed together
Armada Pulada - armada in a jump
Armada com Martelu - side kick in a jump with a turn in the air (applied with the instep of the foot or the front of the shin)
Arrastau - throw using hands and head
Atabak(e,u) - drum for accompanying capoeirista style. Almost similar to conga drums
Au Abertu - wheel
Au Aguli - randat
Au Batido - strike, standing on one hand, in a split leg (parrot beak)
Au Dubrow - a wheel with an exit through a bridge
Au Zhiratoria - wheel with rotation
Au Cortado - a wheel broken halfway through movement
Au Ponte Sam Mau - a wheel without arms with a deflection in the back at the end of the movement
Au Sam Mau - wheel without hands
Au Feshadu - Au with legs bent in front of the chest
Au Floris - blanche
Au Chibata - transition to lower positions with a twist through the arms with a straight leg kick
Au Escusito - inverted au
Au di Costa - Au back, similar to a macaque
Ashe - a feeling of joy, euphoria; energy of capoeira, state of capoeiristas in the roda (see roda)

B
Baqueta - A wooden stick approximately 30 cm long. By striking the string they play the berimbau
Bananeira - kicking while standing on hands
Banda di Costa - cutting and knocking out a partner's leg
Gang di French - sweep
Bateria - capoeira orchestra
Batizado - ceremony for presenting the first belt, initiation, at the batizada ceremony the capoeirist can receive a nickname
Benguela is one of the playing styles of capoeira, in which the strikes are performed slower than ginga, and the movements are performed mainly based on three points.
Bensu - straight punch (delivered with the heel)
Bensu Pulada - straight jump kick
Berimbau - A bow-shaped musical string instrument that sets the tempo of the melody and, accordingly, the tempo of the capoeirista game. Consisting of a flexible stick with a stretched metal string and a resonator made of dried gourd, it is considered the oldest musical instrument known. As a rule, there are three berimbau in the roda: gunga, medio and viola or violina, but master Bimba practiced using only one berimbau for the roda.
Bimba is a master, the founder of the Regional movement, thanks to him capoeira became widely known
Boca di calsa - a throw with a grip around the cuffs of your pants.

Note to readers: If you are interested in the weather, then you can get all the necessary information on the Internet resource ugadator.ru.

IN
Verga - A stick about one and a half meters long, from which the arc for the berimbau is made. Typically, branches of the Brazilian biriba tree are used for this, but any resilient variety, such as walnut, will do.
Vingachiva - shoulder thrust through the hip
Vintem - Synonym - good. Old Brazilian or Portuguese coin. Also called the object (heavy coin, puck or flat pebble) used to play the berimbau. Pressing it on the arame string produces a high sound, lifting it produces a low sound, lightly touching it produces a muffled rattling sound.
Viol, violina - Berimbau, which has the highest pitch in the orchestra, like a solo or lead guitar. Accompanied by gunga and medio, used for syncopation and improvisation
Vo do Morsego - kick-push with 2 legs in a jump
Volta au mundo is a break in the game in which the playing capoeiristas, without leaving the circle, make one or more rounds of the circle counterclockwise, after which they continue the game

G
Galopante - palm strike
Gange - kick with the sole
Graduado - capoeirista level corresponding to blue belt
Grimash - sticks for maculele
Gunga - Berimbau-bass. When played together with the berimbau, the medio and violina set the rhythm. Usually one of the basic themes is performed on it with minor variations. An instrument with a particularly deep sound is also called a berra boi (Portuguese for “roaring bull”).

D
Ginga - swaying, step, dance, the calling card of capoeira, "swinging" movement during a fight
Jogo - Translated as "game". Refers to everything that happens inside the circle (kind). Jogar - play capoeira. Jogador - capoeirista
Dobrow - a coin or stone with which the musician presses the berimbau string
Donu da roda - the person leading the roda
Dubrow - berimbau coin
Dedeira - punch in the eyes with fingers

AND
Zhogu (zhoga) - game, duel
Joelyada - knee strikes

AND
Iuna - a rhythm and style of play invented by Mestre Bimba, in which capoeiristas demonstrate complex techniques and acrobatic elements

TO
Kabasa - Dried pumpkin with a round hole made in it. Acts as a resonator in the berimbau, amplifying the sounds produced by the berimbau. Attached to the string with the same rope loop that tightens the aram string
Cabezada - Headbutt
Kalouru is a person who relatively recently began to practice capoeira
Kamara - \"friend\", \"comrade\" - this is how capoeiristas call each other
Kamaradinya - song of praise
Capoeira - Afro-Brazilian martial art
Capoeira Angola - After the opening of Capoeira Regional in 1930 by master Bimba, the traditional style of capoeira became known as Angola. Angola generally uses a slower rhythm and stays closer to the ground than Regional. Individual fights usually require more time, with special attention paid to physical dialogue, aesthetic qualities and performances
Capoeira Regional - A style of capoeira created in Bahia by master Bimba (Manoel dos Reis Machado) in the 30s of this century. Bimba modified many of the traditional capoeira strokes to create a more aggressive and less squat style. The region differs from Angola in the faster playing of the berimbau, which is mainly played by one of the rhythms composed by the master Bimba. Today, the pure Regional style practiced by Master Bimba and his students is quite rare. The most widespread is the hybrid school, which can be called Regional/Senzala (see Senzala)
Karibe - straight heel strike in Negachiwa
Kashishi - rattle, shaker, wicker basket with grains inside. Holding it in his right hand and shaking it in time with the music, the berimbau player emphasizes the rhythm
Quadros - see Corridos and quadros
Keda di Ginch - inverted position, standing on bent arms and head with elbow resting on the side of the body
Keda di Quatro - crawling, walking backwards on 4 limbs
Keda di Tres - defensive position sitting on toes
Keshada - outward straight leg kick (inflicted with the outer part of the foot)
Cocorinha - defensive position, half-squatting
Kordau - cord, belt, rope. The color of the cordão determines the level of the capoeirista
Corpo feshado - "closed body". A man who, with the help of special magical rituals, allegedly became practically invulnerable to all kinds of weapons
Corridos and quadros - Songs consisting of one or two verses, sung by a soloist and finished by a choir. These are the shortest of the three types of songs for the rod, present in both Capoeira Regional and Angola
Cruz - throw when attacking with Bensu, etc.
Cuadras - Dialogue quatrains performed by soloist and choir
Kutavelada - elbow strike

L
Ladainya - A song that serves as a typical introduction to a kind or game. Unlike other songs in capoeira, which are a kind of dialogue with the choir, the ladainha is performed by a soloist, usually sitting near the berimbau. At the end of the ladainha, the singer continues without stopping to the canto de entrada, in which he glorifies capoeira masters, famous players and places associated with the history of capoeira. Each of the toasts is, as it were, confirmed by a chorus of players repeating its words. For example, the soloist sings “Ie, viva Pastinha” (“Long live Pastinha”). The chorus responds, “Eh, viva pastinha, camara.” Ladaigni is an integral part of Capoeira Angola. Master Bimba replaced them with the singing of cuadras and corridos (see the corresponding terms)

M
Macacu - a movement similar to a flap through the hand
Makulele - dance with wooden sticks
Malandrazhi is a vile deception; first stage in capoeira
Malandro - Tramp, swindler, swindler. He is an integral part of capoeira legends and a popular character in the cultural tradition of the Brazilian nation. Malandragem capoeira is synonymous with an action that is difficult to perform and pursues difficult to predict goals.
Malicia - deceit, grace, cunning, anger
Malisya - cunning, tricks, deceptive movements in capoeira
Manjingeiro - sorcerer; person who wields manjinga
Mandinga - Magic or witchcraft. Knowledge of the basic natural elements and the ability to control them using magical rituals
Mandingeiro - A man skilled in Mandinga
Mariposa - rotation in a jump around an axis along the body in a horizontal plane
Martel Rotado - side thrust (delivered with the instep of the foot or the front of the shin)
Martelo di Giroud - side kick from the ginga with support on the hands (delivered with the instep of the foot)
Martelu di Chau - side kick from a negachiwa with support on the hands (applied with the instep of the foot)
Martel di Strau - side snap kick (delivered with the instep of the foot)
Mea Lua Solto - spinner without support on the hands (applied with part of the foot)
Mea Lua di Compasso - roundhouse heel kick supported by hands
Mea Lua di French - inward straight leg kick
Mea Lua na Ginch - Mea Lua with \"lowering\" in Kedah di Ginch
Media, medium, medio - Also just berimbau or berimbau de centro. In the orchestra, along with the gunga and violin, it plays the same role as the rhythm guitar: it plays the basic theme, periodically moving on to its traditional variations.
Mestrando - the level of capoeirista preceding Mestre, corresponding to the red belt
Mestre - Master of Capoeira. The highest level in capoeira corresponds to the red and white belt. The head of the school wears the honorary title of Grao Mestre and a white belt. In many modern schools, the criterion of excellence is the satisfaction of certain formal requirements. Traditionally, this title was a symbol of recognition of the capoeirista’s merits by other players and the rest of society. One became a master after many years (usually at least ten) of practicing playing and teaching capoeira.
Mortal - somersault

N
Negachiva - lower position, sitting on the toe of one leg, with the other straightened
Negachiva Angola - Angolan version of Negachiva
Negachiva Derubau - throwing negachiva

P
Palma - straight punch
Pandeiro(u) - Brazilian tambourine
Passo a Duas - Linked steps - a ritualized movement found only in Capoeira Angola. Passo-a-duas begins with one of the players standing in the center of the circle with their hands raised. The other approaches him using any of the accepted methods of approach, together they take three steps forward and back, then carefully separate and continue the game. Like volta do mundo, it can be used to catch your breath or turn the tide of the game in your favor.
Patois - A magical amulet usually worn around the neck to protect against injury and evil spirits
Pashtinha - maistre who founded the school of capoeira Angola
Piau di Cabeza - head spin
Ponteira - direct strike
Professor - capoeirista level corresponding to brown belt

R
Rise - Combination of Mea Lua di Compasso with Armada com Martelu
Rasteira - Trip, tackle. One of the most characteristic movements of capoeira
Regional(s) - see Capoeira Regional
Resistance - position on four supports with your back down
Reko-reko - rattle
Relogio - watch, rotation in a horizontal plane on the hand
Roda - Means "wheel" in Portuguese. The circle in which capoeira is played. Usually its boundaries are marked by standing players or spectators. Symbolizes the sun. The circle is led by musicians; players dance inside the circle.
Roda di Rua - street roda
Role - change Negachivy through 4 supports, rotation

WITH
Salve - greeting
Sao bento - rhythm and style of play, fast play with quick strikes
Sequence - a sequence of movements, their combination
Senzala - A direction in capoeira, formed in Rio de Janeiro by a group of young capoeirists in the mid-sixties. In general, it is based on the methodology of master Bimba. Supplements it with several new training techniques, an extended warm-up and some techniques borrowed from martial arts.
Sintura depresada - A set of four acrobatic exercises created by master Bimba to train capoeiristas to land on their feet from all positions
Solo - a single performance by a capoeirista in which he shows a related sequence of movements and demonstrates technique
Solo Roda - Roda, within which solo performances of capoeiristas are carried out

T
Telephone - hit with 2 palms on the ears
Tizora Angola - sliding towards a partner with legs spread apart
Tizora di costa - rear scissoring
Tizora di French - front cutting with scissors
Toke - rhythm played on the berimbau
Troca di Cordas - \"change of belts\", ceremony for assigning a new belt

F
Feint - a deceptive movement, approaching a strike without executing a strike
Folha Seka - one leg somersault
Formado is a graduate of the capoeira school
Fundamentos - Literally "foundations" or "origins". Used to refer to the philosophical roots of capoeira

X
Hashteira di French - front sweep with support on hands

H
Chapa Baisa - low chapa
Chapa di Giroux - roundhouse chapa
Chapa di Costa - pushing kick with one or two legs supported by hands (Angolan version)
Chapa di French - pushing kick with the foot turned inward

Sh
Shamada - challenge
Shulas - Can be used to refer to both songs in general and songs of medium length - less than a ladainha, but longer than a corrido

E
Es Dobradu - a combination strike that includes Ashteira and Martelu di Chau
Esquiva diagonal - a wide diagonal step with support on the hand at the end of the step, dodging the blow
Esquiva lateral - wide step to the side, dodging the blow

Capoeira is an Afro-Brazilian national martial art, a synthesis of dance, acrobatics and games, all accompanied by national Brazilian music. According to the generally accepted version, capoeira originated in South America in the 17th and 18th centuries.

But experts still argue about the homeland and time of origin of such a unique art. No one knows exactly where it came from, who was the founder of the ancient skill and, like capoeira, it has achieved rapid popularity from century to century. There are several main hypotheses for its occurrence.

1. The prototype of warlike movements was the African zebra dance, which was common among local tribes.

2. Capoeira - a fusion of ancient cultures - Latin American and African dances.

3. Dance of slaves, which gradually developed into a martial art. Connected with the landing of Europeans on the continent and the origin of the slave trade.

In any case, the origins of capoeira must be sought in the depths of centuries.

The history of capoeira

The last theory is considered to be the most likely. Slaves brought from Africa from backbreaking labor on plantations were forced to flee into the Amazon jungle and create their own communities “Quilombush” - free settlements or join those Indian tribes that had not yet been conquered by the colonialists of the Old World. Fugitive slaves had to defend Quilombush with all available methods. Due to the lack of weapons, training in hand-to-hand combat was introduced. At this time, as historians suggest, the art of defense - capoeira - appeared.

The word capoeira does not have an exact translation. According to some assumptions, it means a type of jungle thicket - capoeiras. According to other sources, a place with short grass is a site where it is convenient to conduct militant training.

Practical mastery of the art of capoeira

With the abolition of serfdom in 1888, all slaves became free, but this fact had little effect on the well-being of African slaves. Most of them took the path of crime. The number of murders, robberies, and assaults has increased in cities. Since then, the words capoeira - capoeirista began to bear unsightly synonyms: bandit, thief, robber. And the authorities had to officially ban capoeira. There is even a documented police report that mentions a certain Besouro or Bizoru. He alone, without outside help, for his own amusement, using the art of capoeira to “punch” a squad of police officers, took all the weapons and took them to the police station to laugh at the weakness of the law enforcement officers. Among capoeiristas he became a legend.

However, despite all the prohibitions, capoeira continued to exist as a dance and as a martial art. Capoeirista masters recruited students, gave them a middle name (nickname) and taught them combat techniques. The nickname was needed for secrecy and was also used during the training process.

The first capoeira schools in Brazil

If the police became aware of the location of the capoeira dances, and they wanted to take everyone by surprise, nothing worked. The sounds of the berimbao, a percussion musical instrument, were heard and then the musicians tapped out a special cavalaria rhythm. It served as a danger signal. The capoeiristas and spectators ran away, but the musicians continued to entertain themselves - playing and dancing.

After the revolution in Brazil in 1930 and the subsequent recognition of capoeira, in 1937, the first school of this martial art was registered in the city of Salvador. The regional physical education center was headed by capoeira teacher Bimba. Subsequently, training with Bimba developed into one of the areas of combat. Another style of capoeira art was developed by teacher Pastinha in 1941 and became known as Angola. The name came from the sports center he organized.

Worldwide distribution

Since the early 50s, people in Europe have become interested in capoeira. The first acquaintance with Latin American dance is associated with the figure of Camiz Rocha, but Martinho Fiuza is still considered to be the pioneer of European capoeira. In the United States, the founder of capoeira was Jelon Vieira, a master of the Senzala school.

This martial art cannot be clearly called a means of achieving a goal by force, although for centuries most strikes were practiced by street gangs, bodyguards, and mercenaries. Such individuals have nothing in common with capoeira. Real capoeira is hidden from prying eyes. Masters of the ancient art and devoted students gather at “roda” in secret places to support ancient traditions. Capoeira contains not only the strength of combat, but also a philosophical meaning and physical development. Such performances are accompanied by songs and music of simple musical instruments. The traditions have been preserved to this day.

Capoeira (capoeira) is one of the most beautiful and effective martial arts in the world. Whatever opinions exist on this matter, behind the acrobatic and smooth movements of capoeira, which almost reach the opponent, there is a mortal danger. Capoeira is fraught with many mysteries that cannot be understood by a person not initiated into capoeira. There is no exact answer to the question of what capoeira is. Capoeira intertwines the art of battle, the desire for freedom, music, dance, singing, spiritual unity with higher powers, and communication. Capoeira today has clear gradations of skill (in different schools in different ways), its own unique philosophy, traditions, characteristics, different directions and styles. But it all began with the desire of Brazilian slaves for freedom. They are credited with creating capoeira 5 centuries ago.

As a martial art, capoeira is full of various punches, kicks, and head strikes. Capoeira contains throwing elements, counterattacking actions, movements, and deviations. Acrobatic elements and power stances add to the beauty of capoeira.

The names of the basic elements are Portuguese, since Portuguese is the official language in Brazil. Translating many names into Russian will not give an idea of ​​how certain elements are performed. Capoeira originated from extreme poverty and slavery. Capoeira practitioners had no education, so they came up with names for the strikes and movements so that they could understand it themselves. For example, there are a lot of beats in the title meia lua (mia dua - "crescent"). They are actually performed like a crescent moon.

Basic technique is the first place to start learning capoeira. At the same time, impacts, movements and slopes begin to be studied only after mastering the basic movement ginga (Ginga). Ginga is a movement unique to capoeira. It allows you to change position during the game and leave the attack line. From the ginga all other blows grow. The movement in ging resembles a pendulum. Moving along three points, the capoerista changes his position, alternately placing each leg forward.

Jinga consists of two basic positions - primeira base (example base - "first base") And segunda base (segunda basi - "second base"). First base - stand on your feet shoulder-width apart, squatting on half-bent legs, feet fully on the floor. The back is straightened and the body is slightly tilted forward. Hands protect the face. The second base - one straight leg is laid back and stands on the toe, the second leg - bent at the knee at a right angle, stands in front on the full foot. One hand protects the face, and the other is pulled back and straightened. If the left leg is laid back, then the left hand protects the face. And vice versa.

The start of the movement does not matter. This can be either one or another base. Schematically, this movement is quite simple. But studying it sometimes takes many months. Having mastered ginga, the capoerista becomes unpredictable in battle.

In capoeira there are many positions, stances and movements upside down. If in other martial arts the main thing is to stay on your feet, and defeat is counted when you fall to the ground, then in capoeira - the closer to the ground, the more protected you are.

Thus, all the basic elements of capoeira can be divided into the following groups:

• Beats
• Slopes and protection
• Movements
• Acrobatics and flora

STROKES

The striking technique of capoeira is in many ways similar to that of other martial arts. The variety of strikes is not so great and it is very difficult to come up with something new. While developing capoeira, Mestre Bimba borrowed a lot from other martial disciplines. Thus, in capoeira, high strikes with support on one leg appeared (in Angola, all strikes are delivered with support on at least two or three points). Capoeira has also diversified with jumping kicks. The name of the same stroke may differ in different schools. Some strikes may have low and jump variations.

Capoeira has kicks, head kicks and punches. In capoeira, blows are thrown past the opponent or thrown over the opponent. But in a real fight, these strikes are quite effective. The blows are delivered to various parts of the body. High blows are thrown to the head and upper body.

Armada - (armada - "crowd") circular kick with a body turn. Apply to the upper body with the outside of the foot.

Bênção - (bensu - "blessing") push kick forward with the foot.

Сabecada - (cabezada - "headbutt") an attacking head blow to the opponent’s body or head.

Chapa - (shpa - "board") straight high kick to the head.

Escorpio - (iskorpiau - "scorpio") a sharp heel strike from behind the back with support on one leg and two arms.

Gancho - (ganchu - "hook") a high, biting blow to the head with the heel from the side.

Joelhada - (juelada - "knee strike") is often used as a counterattack against cabezadas.

Martelo - (martelou - "hammer") straight high ankle strike to the head from the side.

Meia-lua de compasso - (mia lua di compassu - "crescent moon with compasses") a circular kick in a horizontal plane with the heel supported by the arms and one leg.

Meia-lua de frente - (mia lua di frenchie - "crescent forward") swing semicircular kick in the frontal plane. The blow is delivered from primeira base the inside of the foot.

Meia-lua queda - (mia lua keda - "crescent moon on the lower back") swing semicircular kick in the frontal plane with support on the lower back.

Ponteira - (ponteira - "mouthpiece") swing kick with a straight leg from bottom to top. Apply with the heel at head level.

Queixada - (queixada - "jaw") swing semicircular strike with the outside of the foot in the frontal plane. The blow is delivered from a backwards angle.

Rabo de arraia - (habu ji ahhaya - "stingray tail") a circular kick in a horizontal plane with the heel supported by one arm and leg.

SLOPS AND PROTECTION

In contrast to the striking technique, in capoeira there are dodging and avoiding blows, and defensive actions. In capoeira, the defensive technique is quite specific, since all movements and avoidance of blows are done quite low and quickly. In capoeira, blows are not blocked. The players’ task is to evade the incoming strike in time by changing position or moving into one of the defensive stances.

Slopes in capoeira are called esquivas (ishkivas - "slopes") and are divided into technical and intuitive. Intuitive deviations occur automatically and without reflection. This is a natural reaction to a blow - to dodge the blow. Technical slopes require the transition to a specific position that protects the impact areas. Technical deviations make it possible to carry out retaliatory and counterattack actions.

Slopes and defensive actions may vary from school to school. For Angola, regional and contemporary, the same names of slopes can mean completely different positions in the game.

Cocorinha - (cocorinha) squatting.

Escala - (I was looking for - "scale") a defensive action in which the player sits back on a bent leg while the other straight leg is extended slightly to the side. A non-static position from which responses can be made (e.g. martelo no chão).
Esquiva lateral - (ishkiva lateral - “slope to the side”) deviation to the side from a side kick, in which the player falls on a bent knee from primeira base and covers his head with his hand. The body seems to rest on the bent knee, and the second leg straightens and stands on the inner surface of the foot.

Negativa - (negachiva - "negation") position, sitting on a fully bent leg standing on the toe and a straight leg extended forward from the position cocorinha. One hand rests on the ground next to the straight leg, the other closes the den.
Primeira base - (example base - "first base") position in a standing position, shoulder-width apart, squatting on half-bent legs, feet fully on the floor. The back is straightened and the body is slightly tilted forward. Hands protect the face.
Queda de quatro - (keda di quattro - "fall by four") lowering onto four support points - arms and bent legs in a squat.
Queda de rim - (keda de gim - "fall on the kidneys") lowering the body onto the elbow and arms, the legs are above the body from the side.
Queda de três - (keda di tres - "fall by three") lowering onto three support points - a hand and two bent legs in a squat.
Segunda baixa - (Segunda Baixa - "second lowest") a defensive action in which the player lowers himself onto a straight arm and continues to cover his other head in segunda base.
Segunda base - (segunda basi - "second base") one straight leg is laid back and stands on the toe, the second leg, bent at the knee at a right angle, stands in front on the full foot. One hand protects the face, and the other is pulled back and straightened. If the left leg is laid back, then the left hand protects the face. And vice versa.
Tesoura - (chizora - "scissors") kick throw.
Vingativa - (Vingachiva - "revenge") a counterattacking action in which the player brings his back leg forward from segunda base and turns the body in primeira base. With your front foot you need to step under the opponent’s foot from the outside and perform a throw by lifting from bent legs and straightening your back. The opponent must fall on his back from the position segunda base.

MOVEMENTS

An experienced player knows that by constantly moving and changing position, he remains inaccessible to enemy attacks. Most movements are made with support from the hands. From any position in capoeira you can move to another. A variety of striking techniques, exits and slopes are connected together by movements. The basis of movement in capoeira is ginga, all other movements grow from jinga.

Movements serve to change position in the genus. At the same time, players try to occupy free space in the circle, avoid the attack, deceive or prevent the opponent from moving to make a strike. A lot of transitions and movements look impressive, so to increase the general mood and provoke the opponent to jogo bonito (jogu bonita - "beautiful game") movements are performed as beautifully and plastically as possible.

Aú aberto - (au abertu - "open au") wheel with straight legs.

Aú batido - (au batida - “beaten in au”) wheel supported by one hand without ending the movement. At the top point, the legs are spread apart in a split to the sides and returned to the starting position.
Aú fechado - (au feshadu - "au closed") wheel with bent legs.
Aú queda de rim - (au keda de gim - "au in the fall on the kidneys") wheel with transition through position queda de rim to the outside hand.
Ginga - (Ginga) movement characteristic only of capoeira. It allows you to change position during the game and leave the attack line. From the ginga all other blows grow. The movement in ging resembles a pendulum. Moving along three points, the capoerista changes his position, alternately placing each leg forward.
Giratoria - (giratorium - "rotating") rotation on one hand with changing hands.

Giro - (fat - "turnover") transition like role, but on straight legs and without support on the arms.

Rolê - (hole) transition from position negativa with rising to your feet. In this case, the player rolls out of negativa towards the straight leg into a standing position on four points and looking between the legs at the opponent. Then he moves in the same direction and rises to his feet.

Troca - (troka - "change") change of legs.

ACROBATICS AND FLOREA

Acrobatics are not part of the learning curve in capoeira. Acrobatics only add decoration to what is happening in the game. At moments when energy is pumped to high levels, players can use high jumps and acrobatic techniques to raise morale. Acrobatics are very spectacular, but difficult to learn. Practicing acrobatic techniques takes a long time and requires players to be strong, flexible and agility. Acrobatic techniques are performed by experienced capoeristas. When performing elements, it is necessary to monitor the safety of your opponent. A careless jump can injure or injure your opponent and the jumper.

Armada dupla - (armada dupla - "double armada") a high jumping kick, reminiscent of an armada, but done with two legs.

Aú confusado - (au confusado - "ay in confusion") ay without arms and with bent legs.

Aú sem mão - (au sem mao - "ay without hands") without support on hands.

Aú batido dupla - (au batidu dupla - "double au batidu") au batida with two legs in front.

Folha seca - (foglia seca - "dry leaf") jump back with a bend over the head. Performed with a step by step, swinging one leg up and landing on the swing leg.

Macaco - (macaque - "monkey") throwing your legs over yourself from a sitting position in cocorinha. In this case, one hand is swung back and acts as a support behind the back, the other hand strives to stand next to the other as in a handstand, and the body, due to the swing of the arms and a springy jump with the legs, rolls from a sitting position to a handstand. You need to lower yourself from a handstand with both legs alternately to a standing position.

Macaco batido - (makaku batidu - "beating of makaku") combination aú batido And macaco in the final phase. Exit from handstand is done through aú batido.

Macaco reverção - (macacu reversao - "reverse macaque") macaque, which in the final phase is combined with a reverse movement into the macaque.

Manna - (manna) power rack with support on your hands behind your back. The legs are folded with the body and are above the ground in a horizontal plane.

Mariposa - (mariposa - "moth") a jump with a 360° rotation in a horizontal plane above the ground.

Parafuso - (parafuso - "screw" armada dupla. It is performed from a turn, the legs rise into the air alternately by the inertia of the spin, and the landing occurs on two legs folded together.

Raiz - (haiz - "root") a jumping element similar to parafuso, but the body is in flight in a horizontal plane and the legs do not fold together when landing.

Relogio - (helozhiu - "clock") turn in a stand on one arm, the body rests on the elbow. One leg swings, and the body follows the leg by inertia.