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.

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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 a mixture of martial art and dance, performed in a playful way. If you don't understand, let's try to explain it differently. Imagine 2 people fighting. But at the same time, they do not hit each other with their fists, but make graceful, complex jumps and sweeps. All this action is accompanied by a kind of music, to which the rivals insert

Are you afraid of pain? In vain! After all, capoeira is only an imitation of a fight with non-contact blows. In some ways it is similar to breakdancing. In this article we will briefly talk about it

Capoeira - what is it?

Let's try to answer this question. Still, this is more of a martial art than a dance. There are many guesses, hypotheses and opinions about the origins of capoeira, which are mostly contradictory. They are based on both romantic stories and real facts. The most common version is that capoeira was invented by African slaves who were taken to Brazil. The word itself has no specific meaning. But researchers and craftsmen translate it as “low vegetation.” That is, this is a place with short grass where it is convenient to practice capoeira.

The first reliable information about this martial arts dates back to the 18th century. It was then that written sources appeared. But in reality, capoeira is much older.

In 1500 the Portuguese arrived in Brazil. Having begun colonization, they began to use local Indians as slaves. But they either ran away or quickly died. To replenish the Portuguese decided to bring slaves from their colonies - Congo, Guinea, Mozambique and Angola. The slaves brought their own culture, religion and traditions, which later formed the basis of capoeira. For example, the series had an initiation rite called the Zebra Dance. This action developed into a ritual battle between young wars. in combination with others and formed the basis of martial arts. Now you know the short answer to the question: “Capoeira - what is it?” Let's move on.

Advantages

Of course, the skills you gain in training will be useful for self-defense. But that's not why most people take classes. The main advantage of this martial art is that it makes the body graceful and beautiful, allowing you to achieve optimal physical shape. And all this takes place in an exciting way - in the form of battle, dance and games. Beginners often ask the question: “Capoeira - what is it in terms of training?” We answer: “Creativity and freedom.”

During exercise, a lot of energy is consumed, and almost all muscle groups are involved. This helps reduce excess weight and tone the skin. First of all, the buttocks and hips are tightened, since the main load falls on the legs.

Capoeira also helps get rid of belly fat, because various turns and inclines constantly tone the abdominal muscles. You will have to work extra on the relief, but a toned, flat stomach is definitely guaranteed.

In addition, flexibility and coordination of the body develops. Your body becomes strong and controlled, and your movements become refined.

How are classes conducted?

First, you should take care of your clothes. You can buy a special suit or wear what is comfortable. The only thing is that loose T-shirts will not work, as you will have to stand on your head. No shoes are needed - training takes place barefoot.

Any capoeira school divides the lesson into three stages:

• Warm up. These can be fitness exercises or standard dance moves;
• Practicing basic movements and techniques;
• The dance itself. At first, beginners can only watch from the sidelines. But after acquiring the appropriate skills, they are allowed to participate on an equal basis with others.

Beginners need to remember that even though the fight is non-contact, some injuries are still possible. It is not always possible to predict your opponent’s movements and dodge. Also, serious stress is placed on the joints. Therefore, if you have any related diseases, you should consult your doctor.

Varieties

Brazilian capoeira includes two main styles - regional and angola. Regional is sharpness, speed, jumping and Here all blows are delivered with full force, so it is not always possible to dodge. Thanks to this, regional is the most spectacular style. Angola is characterized by smooth and slow movements. This is not very beautiful capoeira. This style is ideal for beginners. It will help you learn basic movements well.

Most often, during a dance duel, participants use both styles. But the main factor in choosing a fighting style is music, which has always been an integral part of performance and training. Moreover, ordinary music is not suitable for capoeira. They use exclusively folklore motifs and songs, accompanied by playing ancient instruments. Such music acts as a background, and also provides inspiration, energizes the fighters and sets the mood of the game.

Conclusion

Now you know the answer to the question: “Capoeira - what is it?” If you are bored with simulators and begin to irritate the same type of exercises, then try this martial arts. There has never been a single person who has been left indifferent by this fashionable and exciting dance-fight.

History of capoeira

Reliable information about capoeira begins in the 18th century, but, in fact, it originated somewhat earlier. According to the generally accepted version, capoeira originated in South America thanks to black slaves whom the Portuguese brought from other colonies - Angola, Mozambique, Guinea, Congo. As a result of the cruel treatment of Brazilian slave owners, some slaves fled to the jungle, where African religion and culture met Indian. The fugitives settled in quilombos (singular - quilombu) - “free cities”, from the subculture of which capoeira began to spread.

According to various sources, capoeira originates from:

• subcultures of African national dance. Initially, it did not carry a combat aspect, which appeared later, on the territory of Brazil.
• African ritual war dance “ngolo” (“n’golo”), which was an integral attribute of the initiation rite in the southern regions of Angola, and depicted the dance of zebras - young warriors entered into a ritual battle with each other.

However, despite the different versions, the qualities of dance in capoeira are present.

The development of capoeira at that time is inextricably linked with the legendary hero - Zumbi, who became a symbol of resistance for the people of Brazil. Zumbi dos Palmaris (port. Zumbi dos Palmares) headed one of the largest quilombos - Palmaris, which existed under government blockade for about seventy years.

origin of name

Disputes regarding the etymology of the word “capoeira” continue to this day. The most common versions:

Capoeira underground

A new stage in the development of capoeira was the official documentation of information related to capoeira. This period begins with the signing in the city of Brazil Golden Law who abolished slavery. It should be noted that the import of slaves was prohibited even earlier - in the city - by the Queiroz law, but for almost another forty years the slave trade continued illegally, until May 13, 1888. On that day, Princess Isabella, who ruled at that time in place of the sick emperor, signed the following law:

Despite the official equalization of all Indians, blacks and mestizos in human rights with Europeans, social discrimination still existed in the country, manifested in all spheres of social life. The religion of Candomblé and capoeira, like many other elements of the culture of the non-European population of Brazil, were officially banned. Social reflection on this fact was the so-called. “Resistance” - capoeira became both a dance and a weapon among underground groups and street gangs. In the city, the practice of capoeira was prohibited by the first constitution of the Brazilian Republic.

Style separation

Capoeira Regional

Quite prominent representatives of the Angola Capoeira style are:

Capoeira Contemporanea

The term "Contemporanea" is used for groups who practice the Angola style while modernizing it. This style is very controversial, as many modern capoeiristas argue that the Angola and Regional styles should not be mixed, and that the student must practice only one of them in order to fully accept the form of the game. Others argue that a capoeirista should be skilled in both traditional and modern capoeira and advocate training in both styles simultaneously. In general, the Contemporanea style is the subject of much debate among capoeiristas.

The name "Contemporanea" is also applied to various groups that do not associate themselves with either Mestre Bimba or Mestre Pastinha.

Over the past few years, the different philosophies of modern capoeira have been expressed in the creation of various schools, particularly in North America, which create and continue to develop their own school of modern art. This has become a defining characteristic of many schools, to the point that an experienced student can sometimes tell which school his opponent comes from just by the capoeirista's playing style. Some schools teach mixed media, which is based on a combination of several styles. Traditionally, the birth in these schools begins with the Angola style, during which the Mestre or an experienced student sings the ladainha (which can usually be heard at the beginning of the game in Capoeira Angola). After some time, the game speeds up and soon the Mestre gives a sign, after which the berimbau rhythms become traditional for the Regional style.

Each of the styles, Regional and Angola, focuses on different properties and key points. Regional focuses on developing speed and quick reflexes, while Angola emphasizes the deep meaning of each movement, almost like a game of chess. Schools that teach a combination of both teach it as an opportunity to use the strengths of each in your game.

Spread of capoeira around the world

Capoeira in Europe

Europe's first close acquaintance with capoeira dates back to 1951 - the European tour of the artistic troupe Companhia Brasiliana, followed by others - for example Furacões da Bahia or Brazil Tropical, based master Camisa Rocha. After this, individual specialists were given the opportunity to stay in Europe for a long time, teaching capoeira or performing solo performances. Considered the pioneer of European capoeira Martinho Fiuza, who came to the city. It should be noted that regular teaching of capoeira in the USA began only three years earlier - in the city by a master Jelon Vieira(school Senzala) in NYC . Paulo Siqueira arrived in Germany ( Paulo Siqueira), this event is considered to be the beginning of the continuous development of capoeira in Europe.

Capoeira in the CIS

The first serious interest in this type of art in Russia and the CIS was shown in the city, after the release of the film “Only the Strongest”, with Mark Dacascos in the title role.

The situation due to the lack of information began to change when capoeiristas from the CIS countries began to attend capoeira training camps and seminars in Europe, the USA and Brazil.

The next stage in the development of domestic capoeira was the visits of Brazilian masters. Every year many famous Brazilian capoeira masters come to the CIS with a program of seminars, and, as a rule, they are really interested in the development of capoeira groups in Russia and the CIS.

Capoeira in Russia

Capoeira today

Capoeirista meetings

Meetings between capoeiristas, in the vast majority of cases, are held according to the following rules. The musicians stand at the head of the circle (port. Roda). The roda is formed by capoeiristas or the audience standing or sitting in a circle. Everyone sings songs in Portuguese. The two enter the game near the location of the musician with Gunga, called Pe do Berimbau (port. Pe do Berimbau), sometimes using acrobatic elements. The game begins - movements, strikes, jumps alternate in attempts to reach the opponent or force him to fall. The nature of the game in Roda (fast or slow, friendly or aggressive) depends on the rhythm that the berimbau plays and the songs.

Music

“The ability to sing and respond... is the responsibility of every capoeirista. The inability to sing solo is not a defect, but the inability to sing along with the choir is a big disadvantage. There should not be people in the bateria who do not sing with the choir.”

“Why do songs have a plot?.. ...So that when a representative of another group or a master comes to the clan, improvisation would warn the clan whether it needs to stop, or encourage them to continue playing.”

Training and activities take place to the accompaniment of live music, which is created by a special “capoeira orchestra” - bateria (or sharanga). There are several traditions of bateria composition, they are quite diverse.

The main role in the accompaniment and management of labor is played by Berimbau(port. Berimbau) - an instrument resembling a bow with a resonator. Berimbau sets the basic rhythm and tempo of the game in Roda.

A more or less generally accepted tradition is that the basis of the bateria is three berimbau, each of which serves its own purpose:

In addition to berimbau, the “classic” bateria includes:

Berimbau rhythms

Three main types of berimbau

The rhythm of the berimbau determines the nature of the game in Roda; there are many popular traditional and “author” rhythms for this instrument, for example:

There are other rhythms, described in more detail in the main article of the section.

Songs

In traditional capoeira, the song cycle is divided into three main parts:

The musical sequence opens with the ladainha, a traditional solo song by the mestre (or the person who “leads” the family). The singer may tell a parable or convey a message to the audience. The solo can be improvised. While the master sings, the first pair of players sit and wait, positioned on either side of him.

General concepts and definitions in capoeira

• port. Abada/ Abada - special white capoeirista pants.
• port. Amazonia/ Amazonia is a style of playing capoeira; when playing in this style, capoeiristas imitate the movements of animals, using mainly the lower technique.
• port. Angola/ Angola - capoeira style of play, characterized by a special rhythm of playing the berimbau, in roda they play very close and slowly.
• port. Apelido/ Apelidou is a name in capoeira, given to the mestre before the batizada.
• port. Axé/ Ashe - the energy of capoeira.
• port. Bateria/ Bateria - the orchestra, the instruments and the people playing them, they set the pace of the game.
• port. Batizado/ Batizadu - initiation ceremony, baptism, receiving the first cord.
• port. Benguela/ Benguela is a style of playing capoeira, characterized by a special rhythm of playing the berimbau, the style is dominated by departures, movements, the rhythm is average, the blows are smooth and not high.
• port. Volta ao mundo/ Volta au mundu - a walk in a circle, used for a break for players or musicians.
• port. Grimas/ Grimash - sticks for makulele.
• port. Jogo/ Jogu is a game of sorts.
• port. Jogo de compra/ Jogu di compra is a game in which one person comes out in a family and replaces the one who plays longer.
• port. Iuna/ Iuna is a style of playing capoeira, characterized by a special rhythm of playing the berimbau, acrobatics predominate in the roda, they play at a distance so as not to interfere with each other.
• port. Corda/ Corda - a colored cord indicating the status of a capoeirista, worn on the belt.
• port. Corridos, quadros/ Curridus, cuadrus - songs performed by the participants of the roda.
• port. Ladainha/ Ladainha - introductory song, sung only in Angola, performed solo.
• port. Maculelê/ Makulele - a dance-game with sticks, participants perform various movements, falling into the rhythm set by the drums.
• port. Regional/ Regional - style of playing capoeira, characterized by a special rhythm of playing the berimbau, the roda is played quickly, high and fast strikes predominate, you can do jumps and acrobatics.
• port. Roda/ Roda - a circle formed by participants in which capoeiristas play.
• port. Solo/ Solo - a single performance by a capoeirista, with or without rode, in which he shows his ability to perform some kind of strikes, connections, acrobatic movements.
• port. Toque/ Toke - rhythm of playing the berimbau.
• port. Troca de corda/ Troka di cord - change cord, move to the next level.
• port. Chamada/ Shamada - a call, a certain sequence of steps and actions, used exclusively in Angola for a break or to change the course of the game.
• port. Chulas/ Shulas is a song of praise, sung only in Angola.

Movements and Strikes

There are no static stances in capoeira. Its basis is ginga (port. ginga). Ginga is a continuous movement, the player is constantly moving, ready to escape the blow or carry out the blow himself. Main stands and movements:

• Ginga (port. Ginga).
• Negachiva (port. Negativa).
• Eshkiva (port. Esquiva).
• Cocorinha (port. Cocorinha).
• Roles (port. Role).

Handstands and movements:

• Au abertu (port. Au aberto)
• Au feshadu (port. Au fechado).
• Oh good luck (port. Au goodness).
• Au agulya (port. Au agulha).
• Bananeira (port. Bananeira).
• Biku di papagayu (port. Bico de papagaio).
• Macaque (port. Macaco).

The names of the movements vary from school to school; the terms given above are characteristic of certain schools of the Regional and Capoeira Contemporanea directions. The same names in other schools may mean slightly different movements.

Gradations of skill

In modern capoeira directions regional And contemporary to indicate skill, a system of belts or scarves is adopted, the colors of which are determined by each individual school. Belts (port. cordão) or neck scarves (port. lenço) are colored scarf cords worn by capoeiristas. They can receive their degree, apelida (and scarf belt) only at the initiation ceremony (port. batizado). Along with practice in roda and practicing new elements, the student learns the Portuguese language, music, songs, the history of capoeira and its philosophy. With perseverance and constant training, after a few years you can achieve the title of an experienced student (port. formado). The next level allows you to help your teacher. The highest ranks are Mestre Xarangeiro (port. mestre-xarangeiro) contra-mestre (port. contra-mestre) and Mestre (port. mestre). The title of Mestre allows you to open your own school; achieving this title takes at least ten years.

In the tradition of most schools of the direction Angola issuing belts and conducting batizada is not practiced.

Batizado

Initiation into capoeirista, when a newcomer can be given a name (“apelida”) and the first cordao. In capoeira there is no traditional change to a belt according to standards as in other martial arts; readiness to change the belt is determined by the coach based on the results of training for the entire time. If a player is called into the circle for a batizada, we can assume that he has an increase in the gradation of belts, unless he makes “loud mistakes” or shows basic ignorance of the rules of entry into the family. The ceremony is held differently in different schools; usually a capoeirist of at least the level of “professor” has the right to conduct a batizada. The ceremony for changing the belt (degree) is called “Troca di cordao” (port. Troca de Cordao) and is usually carried out together with batizada.

Organization of the capoeirista movement

Capoeira schools now unite tens of thousands of people around the world. Festivals and seminars are held regularly.

A school is determined by its affiliation with one of the capoeira styles. Typically, each school has a base location and many branches around the world. The Mestre (or his disciples) regularly visits the branches and conducts batizada. There are many internationally recognized and respected schools, as well as little-known ones.

However, it is certainly necessary to take into account the following opinions:

“...Capoeira is like air: we know that it exists, we breathe it, we cannot live without it. And at the same time, we cannot catch it, put it in some kind of framework. Capoeira cannot be limited to just one single group of practitioners, one single formal organization, and especially not one group of masters who claim a monopoly on its ownership. Capoeira goes beyond all of us. No society, group or person will ever control it...
...Before thinking about creating a capoeira institution, we must ask ourselves: why would anyone want to organize us? Why do we need an organization that will control our way of life? Who will benefit from this? Capoeira? Capoeira player? Bureaucrats? Is the creation of such organizations really necessary?...
…we are open to learning about capoeira, but we don’t want anyone to impose their own scale of values ​​on us. We want a community that values ​​and encourages both the individuality of each member and the collaboration between them...” - Mestre Cobra Mansa

Thus, it can be seen that there are two main trends: maximum organization and maximum freedom. And, of course, there are as many opinions as you like between these poles. Each group, association of capoeiristas, or individual who does not have a strong connection with a specific group chooses its own path. However, here another principle comes into play - following the “line” - a tradition passed on from teacher to student.

Capoeira in films, videos, commercials and computer games

Modern capoeira includes many spectacular acrobatic jumps, tricks and movements. A game that combines powerful blows with dizzying acrobatics can make a strong impression on an outside observer. It is natural that capoeira did not go unnoticed by Hollywood directors.

Only the strong

The first feature film entirely dedicated to capoeira.

Other games

In addition to the game "Capoeira Fighter", made by enthusiasts, there are many commercial games in which capoeira is present in one form or another. Games of this kind include such titles as “Tekken” (episodes from 3 and up: Eddie Gordo, Tiger, Christy Monteiro), Prince of Persia (The Sands of Time; WW; TTT), “Fatal Fury” (FF1 , 3, Real Bout 1, 2, Special), “The King of Fighters” (KoF: MI 1, KoF: MI2, KoF 11), “Street Fighter 3” (all versions), Rage of the Dragons. The matter is not limited to the games listed, and not all games present capoeira specifically as a combat discipline. For example, in the online role-playing game World of Warcraft, trolls, after commanding to dance (/dance), begin to perform capoeira movements.

Notes

1. Health"snews.com Capoeira - is it appropriate for a gentleman? ,
2. Health"snews.com Capoeira – The main thing is stretching,
3. ISBN 5-93347-205-0.
4. Article Quilombush - free cities on v8mag.ru
5. Capoeira Angola: collection of articles. M., Rusaki, 2005., ISBN 5-93347-205-0. Daniel Dawson, article “Capoeira Angola and Mestre Joao Grandi”, English.
6. Capoeira Angola: collection of articles. M., Rusaki, 2005., ISBN 5-93347-205-0. page 22
7. Article CAPOEIRA: BRAZILIAN WAR DANCE on idance.ru
8. Capoeira during this period is described in more detail in the book

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. Associated 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 is the name of an Afro-Brazilian martial art that combines elements of dance, acting and acrobatics, accompanied by the rhythm of traditional Brazilian musical instruments. Mainly in capoeira (capoeira) the technique of using the legs is used.

The etymology of this word is not reliably known. There are a number of different interpretations, of which the researcher’s version seems to be the most likely Phu Kiaw Bunseki. He suggests that it is a corruption of a Kikongo word meaning "to flit from place to place" as well as "to hit or fight." Both words are used to describe the movements of a rooster during cockfighting. " Kipura in the cultural context of the Kongo people also means a person who imitates the movements of a rooster during cockfighting..."

There are several different versions regarding the history of this branch of martial arts. In the 17th century, fierce colonial wars took place in Brazil. African slaves, whom the Portuguese brought from the colonies of Angola, Mozambique, Guinea and Cogngo, ran away from slave owners to the jungle and created free communities there ( Quilombos). Attacks on Quilombos were a regular occurrence, and their inhabitants needed to develop a system of self-defense. It is believed that it was then that the prototype of capoeira was transmitted to the inhabitants of Quilombos by the Indians of the South American continent.

According to another version, capoeira was originally an African ritual initiation dance, which was later assimilated under the influence of the Indians of South America and shifted its emphasis to martial art.

Sometime in the early 1800s. Capoeira went beyond Quilombos and began to be used by street groups of various ethnic gangs.

Modern capoeira, unlike earlier forms, is rarely used for combat purposes. As a rule, these are non-contact fights, however, full contact fights are also held at world championships. Traditions determine the appearance of the participants, the music and the procedure for passing certification, in general - the entire course of meetings.

The first official capoeira school, founded by Mestre Bimba (Manuel dos Reis Machado), was opened in 1932. Mestre Bimba created a new style of capoeira and called it "Luta Regional Baiana" (Luta Regional Baiana), a more common name "Capoeira Regional"" ("Regional"). Thanks to the systematization of the experience of various schools and the improvement of teaching techniques, as well as the development of teaching methods and blow complexes, Mestre Bimba's capoeira is a completely unique and new approach to the theory and practice of this martial arts. Mestre Bimba developed the "8 sequences of Bimba" ("sequences "), which are still considered the ABC of training for capoeiristas practicing regional and some other areas of modern capoeira.

Another influential figure in the art of capoeira was Mestre Pastinha(Vicente Ferreira Pastinha), founder Academy"Capoeira Angola", opened by him in 1941. His style of capoeira is called "Angola". The difference from the regional style is that importance is attached not so much to the combat aspect of capoeira, but to the traditional ritual playing nature. Between these two directions there is a serious difference both in the speed and method of performing the technique, and in the general nature of the direction of the game. If regional puts emphasis on speed and quick reflexes, Angola attaches great importance to the meaningfulness of every movement.

However, there are supporters of a unified capoeira (capoeira "Contemporanea"), not contrasting these two techniques, but using the advantages of each of them in the game.

Regional and Contemporanea have adopted a system of belts, the colors of which indicate skill and are determined by each individual school. The belt can only be obtained at initiation ( batizado / batizado). Together with the practice of the game, as well as the development of movement elements, the Portuguese language, culture, music, songs, philosophy and history of capoeira are studied. Experienced Apprentice Title ( formado) is given after several years of constant training. The next level is considered to be a contra mestre teacher's assistant ( contra-mestre), and the title of Mestre ( mestre) makes it possible to open your own school. It usually takes at least ten years to achieve this rank.

In the tradition of most schools of the Angola direction, the batizadu ritual and the belt system are not practiced.

Capoeirista meetings take place according to certain rules: the musicians who set the rhythm of the game stand at the head of the circle (the so-called Rhoda/Roda). The composition of the Roda is formed by the capoeiristas themselves and the audience, located in a circle. Rhoda sings songs in Portuguese. The game itself takes place in the center, in which players, using jumps and punches, try to reach their opponent and force him to fall. The nature of the game in Rod (friendly or aggressive), its tempo (fast or slow) completely depends on the rhythm being set. Capoeira does not practice static poses; its basis is ginga ( ginga) - continuous movements of players.

Today, capoeira schools unite many people all over the world. Capoeira festivals and seminars are held regularly in different countries.

Modern capoeira is a spectacular performance that makes an indelible impression, a game in which stunning acrobatic stunts are combined with combat strikes of amazing beauty and power.

During training at a capoeira school, you can lose excess weight, get a great stretch and build up your muscles. Modern hip-hop, breakdancing and such incendiary Latin American music originate from the art of capoeira. There are practically no restrictions on age and abilities; almost anyone can start classes. They say that the art of capoeira teaches you to fly not only above the ground, but also above yourself.