We are specially grateful to them for their help in promoting and explaining capoeira culture to more and more Chinese people. The group has gladly celebrated their love at their wedding ceremony, which has been a really special ocasion to do a capoeira demonstration for all their family and friends. Soneca has prepared a special wedding roda song for them by gathering all the ideas and best wishes from the group :

RINOCERONTE E DALILA

Download “Rinoceronte e Dalila” mp3

Ele e o rei da cabeçada
ela tem a perna longa
Ele não tem medo de nada
ela e libélula maluca

Ayo, aya! Rinoceronte e Dalila
Ayo, aya! Rinoceronte e Dalila

Eles tem a ginga suave
mais a alma concentrada
São os pais da comunidade
xinesa de capoeira

Ayo, aya! Rinoceronte e Dalila
Ayo, aya! Rinoceronte e Dalila

São jovens são namorados
nessa roda da existência
Eles querem ficar juntos
e se amar toda uma vida

Ayo, aya! Rinoceronte e Dalila
Ayo, aya! Rinoceronte e Dalila

No jogo de Adam e Eva
vamos lhes acompanhar
Bater palmas, bater palmas
parabéns vamos lhes dar

Ayo, aya! Rinoceronte e Dalila
Ayo, aya! Rinoceronte e Dalila

Vai capoeira mandinga
vamos pra eles jogar
Cabeçada, meia lua
parabéns vamos lhes dar

Ayo, aya! Rinoceronte e Dalila
Ayo, aya! Rinoceronte e Dalila

Rhinoceros and Dalila (English Translation)

He’s the king of cabeçada,
She’s got a long leg
He’s not scared of anything
She’s a crazy dragonfly

Ayo, aya! (typical Chinese interjections) Rinoceronte and Dalila
Ayo, aya! Rinoceronte and Dalila

They have a soft ginga
but a focused soul
they are the parents
of the Chinese capoeira community

(Coro)

They are young and in love
in this roda of existence
they want to be together
and love each other all their life.

(Coro)

In the Adam and Eve game
we’re going to join in
Clap your hands, clap your hands
Let’s congratulate them!

(Coro)

Let’s go Capoeira Mandinga
Let’s play for them
cabeçada, meia lua
Let’s congratulate them!

外滩画报《巴西战舞Capoeira —— 全身有氧新宠》

^{文/孙杰 编辑/施薇}

身为龙的传人，你当然知道中国有着名扬天下的“功夫”；但是你知道，远在地球另一端的巴西人民也有着他们自己的“功夫”吗？

What

Capoeira（巴西战舞），或称卡波拉、卡普埃拉、卡波卫勒，是一种16世纪由巴西的非裔移民反抗贵族和奴隶主的斗争衍发出来的介于艺术与武术之间的独特舞蹈。虽然其通常以两人一组的方式伴随音乐起舞这点与一般舞蹈雷同，但是它的动作中结合了大量侧空翻、回旋踢以及倒立等武术动作，被认为有极浓厚的战斗用途。而其源远流长，却因为被蓄奴者下令禁止了将近四百年的时间，直到1930年这种非洲传统艺术才得以被合法地教授及练习。现在我们所见的Capoeira多半已经和House结合成一种新式舞蹈。虽然起源于非洲，但这种舞蹈却融入了相当程度巴西原住民的文化特色，因此被认为是巴西最重要的本土文化象征与国技之一。

When

说到Capoeira的推广，电影及娱乐圈起了不小的推波助澜作用。1993年一部美国电影《王牌至尊（Only the Strong）》让Capoeira和武术演员马克·达卡斯考斯在欧美国家家喻户晓，主题歌《Paranaue》和插曲《Zum Zum Zum》更是一度被Capoeira和南美文化爱好者传唱。

此后，Capoeira元素便频繁出现于好莱坞。抛开功夫片不说，在喜剧《拜见岳父大人2》里，达斯丁·霍夫曼就欲用Capoeira与亲家罗伯特·德尼罗单挑，结果却踢中了儿子本·斯蒂勒的鼻子；莫妮卡·贝鲁奇的丈夫文森·卡塞尔在影片《12罗汉》中也是运用Capoeira巧妙地穿过了移动式防盗红外网，比起当年凯瑟琳·泽塔琼斯在《偷天陷阱》用芭蕾通过固定红外线更多了几分动感和幽默。

Who

除了以上提及的几位， Capoeira的明星拥趸里还有查理兹·塞隆、米拉·乔维奇，以及郭富城、林峰和应采儿等；林志玲小姐作为台湾时尚节目《流行追踪》的主持人也曾现身说法，特别介绍Capoeira这种最新的舞蹈运动。Capoeira风靡的一个原因，就在于它不仅有趣、实用，还对练习者要求不高，只要有兴趣一试身手，不需要任何的武术基础就可以入门，可以说是零门槛。

How

练习Capoeira的时候，教练会指导练习者围成一个圈，由其中的几名演奏音乐，其他人一起拍手唱歌，轮流在圈内跟着音乐节奏进行无接触对战演练。对战时双方的身体靠得很近，针对对方的动作做出相应的反应动作，但并不碰到对方，所以几乎不用担心受伤，完全不像其他武术那样有紧张感，可以说是用武术的动作做舞蹈游戏。

与大多武术不同，Capoeira的预备状态也是动态的，就像跳舞；但在练习时会有很多手支撑的动作，踢腿频率也绝不亚于跆拳道，同时大量转腰、滚动的动作使得全身每个关节都得到充分的运动，身体的素质也在此过程中逐渐得到全面的提高。

此外，学习Capoeira的同时还可以学习一些巴西音乐和乐器，因为伴奏音乐通常是由练习者轮流演奏的，这也是练习Capoeira的乐趣之一哦。

Why

很多人对于有氧运动这一概念的理解就是半个小时以上跑步、单车这样的运动，但事实上，有氧运动指的是人体在氧气充分供应的情况下进行的体育锻炼，因此除了跑步、单车，还有很多运动都属于有氧的概念。而我们常见的跑步、单车类项目，由于动作过于单一，常常导致全身各部位运动不均衡，部分关节磨损过多而或多或少有着弊端；Capoeira作为欧美八大有氧运动之一，能够使身体的各部位都得到舒展，对健康几乎没有负面影响。再者，从人类学的角度考虑，Capoeira的动作风格源自非洲，而人类的祖先也是源自非洲的灵长类动物，所以这种更接近原始和自然的运动或许比跑步和单车更适合我们。正是因为Capoeira的发源中蕴含着追求自由独立之精神，说不定还能激发潜伏在你身体里热爱生命的激情和手舞足蹈的天性，cheers for life and freedom!

有兴趣练习者可报读上海卡波耶拉学校—Capoeira Mandinga Shanghai
www.capoeirashanghai.com

Coro

Tava no quintal da minha casa
O menino me chamou pra vadiar
Eu no meu joguinho bem manero
Vou jogando bem ligeiro
Como o berimbau mandar

Coro

Sua capoeira é ligeira
A minha é devagar

Coro

Sua capoeira é ligeira
A minha é devagar

Coro

Não jogue com tanta agonia
Por que nesta roda
Aqui não vai dar

Coro

Tava no quintal da minha casa
O menino me chamou pra vadiar
Eu no meu joguinho bem manero
Vou jogando bem ligeiro
Como o berimbau mandar

Mestre would like to share the following songs with all of us in the coming days. Have a look.

Lyrics | Video: “Trafico de negro“, “Laue (Ser Mestre)”

Axe!

This is the first translation in Chinese. Hope it will be useful for all capoeiristas all across China.

二、防守动作

Queda de Quatro 奇达-德-夸托

这是最简单的一种防守动作。练习者蹲姿收缩躯干，双脚接触地面，胸部贴住膝盖，一只手臂保护躯干和头部，另一只手支撑地面。 一种变化是，当蹲下时，双手交叉在面部的前上方。

Esquiva 厄斯奇巴（闪避）

直译是“逃跑 (escape)” 或 “躲藏 (dodge)”. 有多种的形式存在，不过都跟将头部和躯干移向攻击方向的另一侧。厄斯奇巴 使卡波耶拉得以与其他武术区分开，因为厄斯奇巴 仅仅是沿着攻击路线躲开，之后进行针锋相对或更具杀伤力的反击。对卡波耶拉里那些凶猛的腿法，如果不是躲开而是去硬碰格挡的话，会受到更大的伤害。格挡对手的攻击会使游戏的节奏和气氛被破坏，因此，相比之下，在轮圈（Roda）里，厄斯奇巴就用的更多了。格挡动作偶尔也会用，往往是练习者在疏忽大意的时候下意识地用出，最常见的情况是格挡手部攻击。

• Esquiva de Baixa 厄斯奇巴-德-巴沙

  也被称作 厄斯奇巴-德-芬彻(Esquiva de Frente)，“低位躲闪”，看起来像是姿态极低的劲戈。后腿完全向后打开，使臀部靠近地面。上身也向前弯下使头部位置降低。如果左腿是在后面则右手支持在地面，左手则用来保护头部和面部。

• Esquiva Lateral 厄斯奇巴-拉特瑞

  “侧闪”或“侧躲”的意思。当双脚平行的时候实施。这种躲闪仅仅是将上身顺着对手的进攻方向的一侧降低重心，一只手抬起保护头部，也可将手放在面部前方保护。许多流派将不做防护动作的那只手撑在地面，使姿态更低。

• Esquiva Diagonal 厄斯奇巴-迭亚过那

  这是一种在躲闪的同时向前移动的动作。与直接向下或向一侧躲开的 厄斯奇巴-拉特瑞（Esquiva Lateral）或厄斯奇巴-德-芬彻（esquiva de frente）动作不同，卡波耶拉练习者向攻击方向的斜对角方向移动，前脚相对于后脚垂直，上身蜷伏在膝盖高度，成一种低姿态的弓步。一只手根据攻击的方向抬起保护面部，另一只手保持身体平衡。这是一种相当有用的闪避动作，因为许多反击动作可以从这个姿势实施而节省时间，例如马代落（martelo，锤），甘绰（gancho，钩子）或是文伽提瓦（vingativa，别腿摔）。

Queda de Quatro 奇达-德-夸托

字面意思为“四点落地”,通常是在快速向后转向避开对手之后变为简单的向后方成爬行姿势。

Queda de Tres 奇达-德-特斯

字面意思为“三点落地”。向后跌倒时靠双手和单腿支撑，另一腿抬起，因为往往是练习者从单腿支撑的状态被外力放倒。例如：一方练习者用 阿尔玛达(armada,后旋踢)被另一方用扫踢打击支撑腿时，则很有可能转换为此姿势。

Resistência 哈斯特夏

这个动作与它的姐妹动作 内伽提瓦（negativa）很相像。不同之处在于，不是用整个脚底支撑全身重量，而是用前脚掌承受大部分重量的同时，手臂在相对应的一边作为辅助支撑，支撑手的手指应放平以保护腕部。另一只手比稍微抬起保护面部，一只腿（不做支撑的那个）略微弯曲，向外伸出。对于伸出的那只腿而言，略为弯曲是非常必要的，可以防止由碰撞所引起的可能损伤，如果是腿完全伸直，则有骨折的可能。由于膝盖伸展至离支撑腿甚远，所以（大腿的）四头肌与小腿的肌肉必然会由于作用在膝盖上的伸展张力而得到拉伸。因为许多初学者做本动作时倾向于眼睛盯着地板，在此强烈建议眼睛要一直盯着对手。由于在一些卡波耶拉团体中动作的名称有所不同，哈斯特夏（Resistência）有时也被称为内伽提瓦（negativa）。

This is the first translation in Chinese. Hope it will be useful for all capoeiristas all across China.

一、Movement 移动动作

Ginga

Ginga 劲戈 (发音：jin ga。字面意思：前后移动；回转).劲戈是卡波耶拉的基础动作。该动作在安哥拉(Angola)卡波耶拉和瑞吉欧内(Regional)卡波耶拉中的形式有所不同。在安哥拉系统中，劲戈是非常自由和个性化的，但在瑞吉欧内系统里，则是比较固定的形式但仍允许个人风格的发挥。在两个体系中的动作内容都是：两脚大约与肩同宽分前后站立，类似于中国武术动作中的“弓步”，但后腿不应绷紧以保持弹力，两脚以一定节奏不断交替变换位置，从垂直地面的方向看，形成了三角步的步法。

在劲戈中可准备其他动作：躲藏，闪避，佯攻和进攻。它可使卡波耶拉武者保持不间断的运动，使他们成为令人头痛的对手。

身体的其余部分也会牵涉入劲戈：手臂:协调动作(以保护身体不被攻击)，躯干:(许多核心肌群会参与，不过取决于个人的风格)，身体的倾斜（与脚一起前后移动；身体向后可以避开攻击，向前则可以创造攻击机会）。整个的动作节奏应跟随鼓点（bateria，巴特落）。劲戈也被认为是卡波耶拉的招牌动作，很少有武术像卡波耶拉那样通过劲戈进行固定的节奏运动。一个例外可能是朝鲜半岛独有的武术“跆跟”。

Cadeira 卡代拉

卡代拉 是 劲戈 动作中双脚并立(马步)的姿势，其实是劲戈的基础。取决于不同卡波耶拉流派而有所不同，常常是较低的蹲立位置.一只手保护面部另一只手臂伸展保护身体另一侧。由于采用较低的蹲立所以身体在腰部略弯，主要的核心肌群都参与了维持平衡(所以做的时间长了会很累)。从这动作可以毫无困难地转入所有的攻击，移动，防守动作,包括：巴兰萨(Balança)（倒立），阿乌(Aú)（侧手翻），奇达-德-瑞（queda de rins），马代落（martelo），瑞斯特夏（resistência），等等。这个动作也可以叫做‘帕雷落 (parlelo).

Aú（阿乌，侧手翻）

阿乌(Au)是卡波耶拉里对通常被称作侧手翻一类动作的术语。与传统的侧手翻或侧空翻略有不同。阿乌的基本形式，通常是比较缓慢的过程，手臂和腿部弯曲以保持较低的投影。背部也可弯曲以进行腿部攻击。由于卡波耶拉武者在倒立的时候要冒被踢击的危险，所以总是盯着对手而不是看着对面。卡波耶拉武者也可以将侧手翻与其他的攻击动作组合起来，包括Aú Malandro（阿乌-马兰多） Aú Batido（阿乌-巴提多,单手侧翻踢击）。在动作的中途有时会停止住以通过侧手翻转入倒立姿势，这样可以实施各种变化的动作。阿乌的变种包括:

• 阿乌-阿贝尔多 从闪避动作厄斯奇巴(esquiva)开始，不用做防守的那一只手臂在头上沿运动方向成弧形，同侧的腿完全伸展离开地面，跃起并提供动量。之后手接触地面放在身体的另一侧，弯曲手臂通过肘部支撑两腿越过头顶时身体的重量。在翻转的时候，身体应该完全打开并伸展。两只脚先后落地。一旦手臂不再需要支撑身体的重量，就应该立刻抬起以进行保护。
• 阿乌-巴提多（Aú Batido） 是阿乌（Aú）的变种，只用一只手支撑，且髋部扭转两腿分开。看起来像是倒立的战锤（martelo）（卡波耶拉里的另一类动作，见下文）。在这个动作过程中，一只手保护头部另一只手主要地是支撑身体。阿乌-巴提多 的字母意思是“中断的侧手翻”。这是一个防守动作，当一方想做侧手翻而另一方攻击时（通常是用卡巴萨达，用头部撞），阿乌-巴提多就派上了用场，在对方攻击之前就出其不意地先攻击。这个动作在特技表演中也很常见，并且，在霹雳舞(breakdancing)中通称为L型踢。该动作在不同的流派中也有不同的名称，包括Beija Flor（蜂鸟，字母意思为“吻花者”），Leque（扇），Aú Québrado（也是“中断的侧手翻”之意），Aú Malandro(狡猾侧手翻), Aú Amazonas (“亚马逊侧手翻”或“亚马逊的”).
• 阿乌 巴特恩多（Aú Batendo ）-一种相似的招式，除了手一般是保持接触地面且在踢的过程中翻转是连续不停顿的
• 阿乌-菲沙达从防守动作厄斯基巴(esquiva)或内伽提瓦(negativa)开始，不用做防守的那一只手臂在头上沿运动方向成弧形，同侧的腿完全伸展离开地面，跃起并提供动量。之后手接触地面放在身体的另一侧，弯曲手臂通过肘部支撑两腿越过头顶时身体的重量。在翻转的时候，身体应该收缩并最大限度地进行保护。两只脚先后落地。一旦手臂不再需要支撑身体的重量，就应该立刻抬起以进行保护。最后的动作是回到闪避（esquiva）。
• 阿乌-斯-茂 不用手做支撑的阿乌（Aú），即侧空翻。可以很帅地躲开下盘扫踢如 哈斯代拉（rasteira） 或 班达（banda）。

阿乌-阿贝尔多（伸展的阿乌）

阿乌-菲沙达(收起的阿乌)

Balança 巴兰萨

一连串从一侧到另一侧的假动作可以欺骗对手，破坏他们的时机，并且使他们更难跟踪运动轨迹。有些类似速滑选手，在劲戈（ginga）的过程中通过小幅度的横向侧摆，身体的重心快速地从一只腿转换到另一只，手臂的动作也是同样进行。巴兰萨（balança）通常用在向前移动的劲戈（jinga）动作之后，如卡巴洛（cavalo）。其他的卡波耶拉招式，所有的踢法，手部攻击和头撞动作都可以通过巴兰萨（balança）出其不意地实施。

Bananeira 巴那内拉

巴那内拉 在卡波耶拉中指倒立动作，名称来源于巴西的香蕉树。双手分开至肩部宽度以上，腿部并拢保持在头部上方。此外一个细小的差别是卡波耶拉练习者在巴那内拉 中面部和眼睛会朝向其他练习者而不是朝向地面。在做巴那内拉时，双腿可用做防守也可进行攻击。巴那内拉 往往用来做一个快速的停顿及观察对手，把对手拉入圈套，在现代的瑞吉欧内卡波拉学校中，巴那内拉 常常作为一种花样动作用来展示平衡和力量。巴那内拉 被认为起源于非洲班图族的巫医（Nganga），他们通过倒立来展示与祖先的精神联系，而死去的祖先则被认为是通过倒立行走在灵魂世界的。

Macaco 马卡古

马卡古 是类似后手翻的动作，不同之处在于，以蹲姿动作起始，一只手放在身体后方，身体收缩，之后发力跳起使整个身体向上翻转的同时另一只手甩过身体后方。当身体翻过来成倒立姿势时，双脚落地之前，可以用甩在背后的手支撑在地面。这个动作看起来跟后手翻(valdez)很像。动作的变种有双脚同时落地等。这个动作通常被称为 “猴跃”，而马卡古（Macaco）直译就是 “猴子”。

• Macaquinho 马卡魁诺

  除了更低的姿势，更少的爆发力外这个动作跟 马卡古 很相像。双膝向前弯曲，一只手放在脚后，练习者不像 马卡古 那样跳起，而是降低他的姿势，使用肘部支撑，另一只手和双腿翻越过去。马卡魁诺，意思为“小猴子”，是马卡古 和奇达-德-瑞（queda de rins） 的动作融合。

• Macaco em Pé 马卡古-恩-贝

  这是一种不做跳跃或蹲伏动作的马卡古。马卡古-恩-贝 像是融合了后手翻和空翻。不需要蹲下再跃起。卡波耶拉练习者背部向后弯曲倒地的同时一只手撑地，腰部以标准的马卡古 姿势向上方和后方翻过去

• Macaco Lateral 马卡古-拉特瑞

  也被称作 桑谷（Xango）。这是一种标准的后手翻，不同于先将一只手向后放在地上然后翻跃，而是突然向后跳跃的同时双手向后伸展越过头顶。

Negativa 内伽提瓦

意思是“否定（negative）”， 内伽提瓦 通过低位的侧向动作化解攻击：一侧的腿贴近地面与胸部收缩在一起，另一只腿伸展，同时一只手撑住地面支撑体重，另一只手抬起保护面部。内伽提瓦也可以用更低的姿势，腹部平行地面。内伽提瓦也可用作扫踢。当一个卡波耶拉武者在做踢击只有一腿支撑时，做内伽提瓦一方的人可以用伸展的腿在另一方支撑腿后勾住并使之摔倒。

Rabo de arraia

字面意思可翻译成“鳐鱼尾”。这是一个很大众化的名称，可用来指在不同的时期及不同的卡波拉流派中若干不同的动作。在不同的时期至少有7个招式可称为拉波-德-阿瑞亚( Rabo de Arraia）。今天，这个名称主要地用来指 “美卢瓦-德-康巴索”(Meia-lua de Compasso）。

Rolê 欧勒

欧勒-这是个“滚动”的动作，与劲戈(Ginga)和阿乌动作一同作为在轮圈（roda）内的移动方式。这个动作可以从劲戈或是大多数 闪避(esquivas)动作开始，本质上来讲这是一个在较低的姿势原地旋转，同时紧盯对手。此动作的特色是，当你反向对着对手时，你是通过双腿的间隙观察对手的攻击的。欧勒可以很容易地以劲戈，内伽提瓦（Negativa），或是多种闪避动作结束。欧勒-德-卡贝萨（Rolê de Cabeça）则是在欧勒的中途用头接触地面以便转换成各种头手倒立(三点式倒立)技巧。

Troca De Pé 特罗卡-德-贝

字面意思是“换脚”。从内伽提瓦（Negativa）的一腿伸展的姿势开始，轻跳同时伸展的腿成为支撑腿，起防御作用的手变为支撑手，反过来亦然。

Ponte 朋特

朋特（桥）是身体后弓的姿势，腹部朝上，双手双腿撑起，保持背部反弓并离开地面。大多数人练习时从双腿和臀部收在一起开始转入后弓姿势。卡波耶拉练习者可以从此姿势进入可可琳娜（cocorinha，蹲防）或 奇达-德-瑞（queda de rins），做一个漂亮的轮圈（roda）入场动作。朋特也可作为万不得已的情况下的闪避动作，取决与练习者的技术水平，风格和游戏速度。另一种有趣的事实是，宾巴大师在教给一个有潜力的学生卡波拉技术之前，会给他做一系列测试。其中一项测试就是看这个学生做后弓动作的先天能力。

Queda de Rins 奇达-德-瑞

奇达-德-瑞（腰撑，或低位侧手撑），可以用作来闪避或是其他动作的起始。这个动作包括用内侧的手肘和头部支持身体，往往将双膝放在支撑手肘上。头部的位置最低可与脚平行，最高不过45度。双腿可以收拢在一起也可分开，取决于姿势。

Here the new songs we have been singing recently.

• La na Bahia, corre água sem chover
• A Navalha
• Besouro Mangangá
• Cordao De Ouro é Besouro Manganga

La na Bahia, corre água sem chover

La na Bahia, corre água sem chover/x2

A água do coco é doce, eu também quero beber/x2

Coro:

La na Bahia, corre água sem chover/x2

A água do coco é doce, eu também quero beber/x2

A Navalha

Mas a navalha que ta no meu bolso

Cortou, pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Mas a navalha que ta no meu bolso

Cortou, pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

A capoeira, invadiu meu coração

E nessa vida, só me deu satisfação

Eu aprendi, mas ainda não sei de tudo,

E além disso ela já conquistou o mundo

O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Coro: O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Mas a navalha que ta no meu bolso

Cortou, pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Não vejo a hora de tocar meu berimbau,

Para ouvir o mundo cantar igual,

Paranuê, tim tim tim lá vai viola,

Ver fazer jogo de dentro,

Vibrar com jogo de fora,

O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Coro: O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Mas a navalha que ta no meu bolso

Cortou, pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Cortou, pra que cortar

Coro: Cortou pra que cortar

Na minha vida, já levei muita rasteira,

Mas não é coisa, que abale um capoeira,

Graças a Deus, sei cair e levantar,

Fazer aú, sair na ginga,

E continuar a jogar,

O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Coro: O lê lê lê, é capoeira, lê lê,

É berimbau, lê lê,

É capoeira de angola e regional

Besouro Mangangá

Besouro Mangangá

Cidade de Santo Amaro

Terra do Maculelê

Viu os Mestres Popo e Vavá

E viu Besouro a nascer

Coro

Besouro cordão de ouro

Manoel Henrique Pereira

Desordeiro pra polícia

Uma lenda pra capoeira

Coro

A lenda diz que Mangangá

Também sabia voar

Transformando em besouro

Pra da polícia escapar

Coro

Mataram Besouro Preto

Não foi tiro nem navalha

Com uma faca de tucum

Na velha Maracangalha

Cordao De Ouro é Besouro Manganga

Quebrou pra são caetano

Um caso que sucedeu

Besouro de manganga

Que trabalhou e não recebeu

Não queria estar não

Na pele do patrão

Nem ver o que Besouro faz

Com a cabeça, os pés e as mãos.

Cordão de ouro é Besouro Manganga/x2

Na fazenda Maracangalha

Teve um dia de azar

Teve a morte encomendada

Por um tal de Baltazar

Foi por uma desavensa

Na usana que trabalhou

Doutor Zeca mandou uma carta

Pra que se matasse o portador

Cordão de ouro é Besouro Manganga/x2

• Ê dalila
• Areia, o areia
• Eu não sou daqui capoeira
• Tem Que Ter Axe
• Sinhá Vou Jogar Capoeira
• Berimbau Chamou
• Tem que ter mandinga
• Catarina (Rala côco)
• É o mar vai virar sertão
• Bate no batuque
• Maculelê Songs

Ê dalila

Ê dalila, ilê ilê, dalila ô
ê dalila, ilê ilê, dalila ô
capoeira mandou lhe dizer, também capoeira mandou lhe chamar
capoeira mandou lhe dizer, também capoeira mandou lhe chamar
quero falar com dalila, dalila, dalila, dalila
quero falar com dalila, dalila, dalila, dalila
dalila, dalila
ê dalila, ilê ilê, dalila ô

vamos se embora dalila
ê dalila, ilê ilê, dalila ô
Ê dalila, ilê ilê, dalila ô
ê dalila, ilê ilê, dalila ô

→ (English translation)

Areia, o areia

Areia, o areia
Areia, o areia
Areia, o areia
Areia, o areia
Areia la do mar
Areia, o areia
Areia da mare
Areia, o areia
Areia do Brasil
Areia, o areia
Areia de [anywhere]
Areia, o areia

Da licença moço
Eu quero passar
Sou pequenino
areia do mar

Eu não sou daqui capoeira

Eu não sou daqui capoeira
Capoeira eu não sou daqui
Eu sou de Sao Salvador
Bahia de Sao Salvador
Eu sou disciplo de Bimba
Ele e meu professor

Foi ele quem me ensinou, a capoeira
camara
Meia lua
camara
Berimbau
camara

Eu quero ver capoeira
capoeira eu quero ver
Quero ver berimbau
Quero berimbau bater
Quero ver a rasteira
Olha essa rasteira
Angola e regional, o la e la e la
O lele
O la e la e la
O lele

(English translation)

Tem Que Ter Axe

Quem vem la sou eu….
Capoeira de valor
Eu vou jogar capoeira
Que o meu mestre me ensinou

tem que ter axeeeeee
tem que ter axeeeeee

Olha pega derruba, levanta ligeiro
So entra na roda,quem e mandingueiro
Capoeira e pra homem, menino e? mulheeeeeer
pra entra nessa roda, tem que ter axe

tem que ter axeeeeee
tem que ter axeeeeee

Sinhá Vou Jogar Capoeira

Sinhá vou jogar capoeira
Lá na Ribeira lá em Maré
Eu falei pra Sinhá
Eu falei pra sinha
Vou jogar Capoeira
Eu falei pra Sinhá
Eu falei pra sinha
lá no Abaeté
Sobre a luz da candeia vai iluminar seus caminhos de fé

Sinhá vou jogar capoeira
Lá na Ribeira lá em Maré
Eu falei pra Sinhá
Vou jogar Capoeira
Eu falei pra Sinhá
lá no Abaeté
Sobre a luz da candeia vai iluminar seus caminhos de fé

Sinhá mora na casa grande e tem tudo que ela quiser
foi passear na senzala e lá aprendeu a jogar
toda mandinga de Angola e o jogo da Regional
eu falei o sinhá

Coro

Berimbau Chamou

Berimbau chamou pra guerriar,
Pra guerriar ia ia
Pra guerriar

La da serra da barriga,
Na madrugada ia ia
Tambor tocou
E da serra desceu Zumbi
E ao mesmo tempo
Berimbau chamou

(chorus)

Capitao do mato fugiu
Na senzala ia ia
Foi se esconder
No bate pau bate facao
Entao nasceu ia ia
Maculele

(chorus)

Negro queimou canavial
E a senzala meu deus
Se acabou
Na mandinga da capoeira
Negro cumpriu ia ia
O que Ogum mandou

(chorus)

O senhor do engenho foi se embora
E o fim da escravidao
Se confirmou
E la de baixo do canjinheiro
Pra festejar ia ia
Berimbau chamou

Tem que ter mandinga

Tem que ter mandinga
Tem que ter molejo
Na hora da roda eu nao me queixo

Coro

Toquei atabaque Toquei berimbau
Se a roda e de mestre
E um jogo legal

Corro

Ha muito tempo eu jogo capoeira
Ha muito tempo eu toco berimbau

Corro

Catarina (Rala côco)

O rala côco
Catarina
Fazer cocada
Catarina
O rala côco
Catarina
Não quebra nada
Catarina
Rala pra que
Catarina
Rala e vender
Catarina

Rala côco, rala côco, rala côco meu sinho
Rala côco, rala côco, rala côco meu sinho

É o mar vai virar sertão

Ôh Nana deixa eu ir,
Ôh Nana eu vou só
Ôh Nana deixa eu ir,
Lá pro sertão de Caipó

Ôh Nana deixa eu ir,
Ôh Nana eu vou só
Ôh Nana deixa eu ir,
Lá pro sertão de Caipó

O sertão vai virar mar
É o mar vai virar sertão

O sertão vai virar mar
É o mar vai virar sertão

Bate no batuque

O bate
bate no batuque
O bate
Quero ver bater

O bate
bate no batuque
O bate
Quero ver bater

Quero ver, quero ver, quero ver bater
Quero ver bater

Maculelê Songs

For the ones who are in the Maculele performance, here the songs you should learn:

Boa noite pra quem é de boa noite
Boa noite
Bom dia pra quem é de bom dia
Bom dia
A benção meu papai a benção
A benção meu pai
Maculelê é o rei da valentia

Boa noite pra quem é de boa noite
Bom dia pra quem é de bom dia
A benção meu papai a benção
Maculelê é o rei da valentia (chorus repeat solo)

Sou eu, sou eu, sou eu maculelê sou eu (chorus repeats)

Tindolelê lauê Cauiza
Tindolelê é sangue real
Meu pai é filho, eu sou neto de Aruandá
Tindolelê lauê Cauiza (chorus repeats)

Mestre Marcelo Caverinha

In continuation with my last post, I will address some more aspects of stretching. This time I will talk about muscle isolation. I will apply this to both injury prevention and flexibility.

First, muscle isolation is a misnomer. I use this term to describe ways to stretch individual and groups of tendons, ligaments and muscles. Which one of these are you actually stretching at any one time? No one really knows. Still, I use this term for simplicity.

I will start with an example. Our camara Virtual talked to me about a sore muscle that had been bothering him for a while but he could not stretch it. Every time he tried to stretch, other muscle groups got in the way. These muscle groups would pull tight before he could pull the sore muscle tight. He asked me if I knew how he could stretch the muscle. I did not know. However, I did know how to stretch muscles close to it. I had him use a normal stretching technique that stretched muscles near his injury. By slightly adjusting the position of his body and relative positions of his torso and legs, he was able to pull the sore muscle tight and stretch it. In other words, he was able to isolate the sore muscle. This is what I mean by muscle isolation.

To be more specific, his injured muscle was on the outside of his hip, just above and in front of the ball and socket joint of his hip.

When he tried to stretch is gluteus muscles (butt muscles) the stretch did not reach his injured muscle. This stretch is done by placing the outside of one ankle of one leg on the top of the other leg’s knee and pulling that knee towards your chest. This was ineffective at stretching Virtual’s sore muscle. By pushing the other knee away from his chest and turning his torso towards the stretched muscle group, he was able to stretch the sore muscle instead of the gluteus groups. (Don’t try this if you are reading this at your office now, especially if you are wearing a skirt.)

I went through this same process with a shoulder injury last year. It was just a matter of finding how to stretch those muscles and then stretching them routinely. One behavior that helped was doing this stretch after exercising the injured muscle group. The increased blood flow caused the muscles to be more tight and supplied oxygen and nutrients to the injured area.

This relates to stretching for flexibility quite well. Most people want to kick higher or be more flexible with their legs. The mistake most people make is that they try to gain lateral flexibility by just spreading their legs as wide as they can and pushing hard. This technique is mildly effective. This is because lateral leg flexibility requires that you stretch a lot of muscle groups all at once. Though it may hurt, you are pulling on too many groups to be really effective.

The best way to increase lateral leg flexibility is to isolate the tightest muscles and just stretch them. You basically stretch each muscle one by one by only stretching the most tight one. This is sort of like divide and conquer.

Rather than just spreading your legs to the sides and trying to drop to the floor, you should just spread your legs moderately wide. Before you feel any tension, just change the angle and direction of your pelvic bone. You can bend one knee slightly to get a better angle and pull one groin muscle tight. Once you have stretched this muscle, you can switch to another one. Just remember to stretch evenly.

Another tip I have is what I call isometric stretching. Interestingly enough, the Merriam Webster American English Dictionary provides one
of the following definitions: of, relating to, involving, or being muscular contraction (as in isometrics) against resistance, without significant shortening of muscle fibers, and with marked increase in muscle tone.
Rather than increasing muscle tone, isometric stretching involves muscular contraction to increase flexibility. Basically, once you isolate a muscle, flex (contract) that muscle for a better stretch.

It hurts a little more but it is a really good stretch. I suggest that once you isolate a muscle and stretch it, that you contract that muscle for ten or more seconds. When you release it, it will be more flexible and you will need to pull it more taught by shifting your body’s position. I recommend repeating this process three or four times to achieve a maximum stretch before moving on to another muscle group.

I hope this was clear enough. Please post comments and I will try to respond to your questions.

Lagartixa

Mestre Suassuna playing the berimbau
Magnificent display of how the berimbau is such a cool musical instrument.

1. Introduction

Originally brought to Brazil in the 1500′s by Bantu slaves from Africa and used to accompany the famous dance called capoeira (a sort of a martial art were two fighters are training while berimbau, pandeiro, atabaque and agogo bells play the rhythm).

The berimbau was also a means of communication used by slaves to prevent being understood by their masters and is considered a sacred instrument.

It is consists of an arched wooden stick (made of special wood from the interior of Bahia called ‘biriba’), a wire from end to end (‘aço’ or ‘arame’) and a gourd (‘cabaça’), open on one side serving as a resonator, attached with a piece of cord at the lower end of the biriba (20cm from the bottom).

Moving the cabaça back and forth from the abdomen creates a kind of wah-wah effect. You also can vary the “feel” of each sound.

To play berimbau, you need a stick- “baqueta” — to strike the aço, a stone (‘pedra’) or a coin (‘dobrão’) which is held against the aço to modify the sound, and a caxixí (a small percussion instrument consisting of a closed basket with a flat-bottom filled with seeds or other small particles).

2. Sounds

Basically, there are three different sounds:

1. Open sound – SOLTO (ABERTO)
   1. no pedra
   2. hit arame below stone (between pinky and other fingers)
   3. cabaça away from stomach
2. Closed sound – PRESO
   1. dobrao pressed firmly into arame
   2. hit arame above stone
   3. cabaça away from stomach
3. Buzz sound – CHIADO
   1. dobrao loosely against arame
   2. hit arame above stone
   3. cabaça against stomach

Moving the gourd back and forth AND changing the position of the pedra allows you to create slides between the different notes.

3. Rhythms, Toques, Syncopation

Rhythmically, the music is in 4/4 time, common for music in the Angolan region of Africa, where the rhythms of both Brazilian samba and Cuban guaguancó have their origins. The lyrics align themselves with the rhythm of the music, sometimes coming in on the strong beats, sometimes on the weak beats and pickups, depending on the vagaries of the song.
The atabaque serves as the heart beat of the music, providing a steady pulse on 1 and 3 with open tones, often with an anticipation to 1, and a muted bass on 2.

Angola/São Bento Pequeno Rhythms:

The Angola and São Bento Pequeno rhythms – which Capoeira Angola is known for – create a syncopation through silence on 3, and stressing 4 with two short buzzed notes.

Angola:

Sao Bento Pequeno De Angola:

São Bento Grande Rhythms:

The São Bento Grande rhythms stress both downbeats on the berimbaus which has the effect of a driving march (played in a quick double time tempo).

São Bento Grande De Angola:

Benguela:

Regiona Mestre Bimba (Sao Bento Grande Mestre Bimba):

Other Rhythms:

CAVALARIA

IUNA

MIUDINHO

Useful links

• Video Lessons at Virtual Capoeira
• Berimbau Setup
• Berimbau, by By Richard P. Graham and N. Scott Robinson