Capoeira
(Quick,Fluent,Unpredictable)
is an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves from Africa by mixing the many fighting styles from many of their tribes, sometime after the sixteenth century. It was developed in the region of Quilombo dos Palmares, located in the Brazilian state of Alagoas, which was the state of Pernambuco before dismemberment, and has had great influence on Afro-Brazilian generations, with strong presence in the states of Bahia, Pernambuco, Rio de Janeiro and São Paulo. Participants form a roda, or circle, and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints, takedowns, and with extensive use of leg sweeps, kicks, and headbutts. Less frequently used techniques include elbow strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.
Ranks:
aluno[student](academy student-Genin)
graduado[graduated](Chuunin)
formado[formed](Jounin-ANBU)
professor[teacher](Sannin)
mestre[master](S Rank, SS Rank, Kage)
aluno[student](academy student-Genin)
Movement
ginga (literally: rocking back and forth; to swing)- is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of this movement. In Angola, ginga is a very free and individualistic, while in regional the ginga has a more structured look. In most Regional schools, the ginga is learned the same way until the aluno advances to a certain level and begins to develop their own style of using it. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular 'step' on the ground.
Ginga movement is done to prepare the body for other movements: hiding, dodging, feinting and attacking. It puts a capoeiristas in constant motion, making them a frustrating target for a forward-advancing opponent.
The entire body is involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria. The Ginga is also capoeira's most recognized movement. Very few martial arts employ a constant rhythmic movement that matches the ginga. One of the few exceptions would be Korea's own taekkyeon.
Cadeira-The cadeira is the position in the ginga when both legs are squared off. This makes it the actual base of the ginga. Depending on how the capoeira academy teaches, the cadeira is generally a low position similar to one that a shortstop adopts right before stopping a ground ball. One arm is protecting the face while the other is extended out protecting the other side. Since it is essentially a low squat with the torso slightly bent at the waist, most of the core muscles are engaged to keep balance. All attack, movements, and escapes can flow seamlessly from this position including balança, au, queda de rins, martelo, resistência, and many others. An alternate name for cadeira is 'parlelo'.
Aú- An aú is the capoeira term for what is more generally called a cartwheel. It differs a bit from the traditional cartwheel. An aú, in its base form, is performed very slowly, with arms and legs bent in order to keep a low target profile. Also the back can be curved in order to perform a kicking maneuver. Since a capoeira player always risks being kicked while upside down, capoeira players always watch their opponent instead of the ground. Capoeira players can incorporate attacks from the au. These include an upside down kick known as an Aú Malandro or Aú Batido. Players sometime pause midway during an au holding it for a handstand position, from which they can execute a wide variety of moves.
The aú variants are:
Aú Aberto—From esquiva, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass over the body fully extended. While inverted, the body should be opened and entirely extended. One foot touches the ground then the other. The arms must be lifted for protection as soon as they are no longer supporting weight.
Aú Batido—The aú batido is an aú variation where a practitioner does a handstand, followed by a twist with the hips and a split, performing a downward martelo. During the kick, one arm is protecting the face while the other one is obviously supporting the body. Aú batido literally means "broken cartwheel". This movement is a defensive move, used when attempting to perform a cartwheel and the opponent attacks, generally with a cabeçada, a headbutt, the aú batido takes place, attacking the opponent by surprise before the attack is executed. The aú batido is sometimes also used in doubt or simply as a trick move. This move is also performed in tricking, and for quality, it is also used often in breakdancing where it is known as the L-kick. Names used in different schools may also include Beija Flor (Humming Bird, literally Flower Kiss(er)), Leque (Fan), Aú Québrado (also "broken cartwheel"), Aú Malandro(wily cartwheel), Aú Amazonas (Amazon cartwheel) or Amazonica).
Aú Batendo-A similar technique, except that the hands generally stay on the ground and the cartwheel is not stopped during the kick, but rather continues over.
Aú Fechado—From esquiva or negativa, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass bent in front of and slightly over the body. While inverted, the body should be closed and maximally protected. One foot touches the ground and then the other. The last step is return to esquiva.
Aú sem Mão—An aú performed without hands in the same manner as the aerial cartwheel. Can be used to stylishly avoid sweeps such as a rasteira or banda.
Aú variants
Aú Aberto (open aú)
Aú Fechado (closed aú)
Aú Batido (broken aú)
Balança- A series of side to side feints done with the torso to deceive the opponent, throw off their timing, and make it harder for them to track the centerline. In a similar manner as a speedskater, the bodyweight is shifted from one leg to the other in a slight lateral hopping/sliding motion while the arms move in a similar fashion as they do during the ginga. The balança is usually done from the forward ginga and is also known as the Cavalo. As with other movements in capoeira, all types of kicks, handstrikes, or headbutts can be executed unexpectedly from the
Bananeira-The bananeira is a handstand in capoeira that derives its name from the banana trees of Brazil. The hands are spread at least shoulder-width apart and the legs are usually together over the capoerista's head. Other variations include having the legs split apart to the side or front. One outlying difference the bananeira has in capoeira is that the face and eyes of the capoeirista are towards the other player; not the ground. While in Bananeira, the feet can be used to defend as well as attack. The bananeira's other uses can be to take a quick break and observe the other player, draw an opponent in to a trap, or in the case of contemporary regional schools, show off balance and strength as a floreio. The bananeira is thought to have originated from the use of the handstand by an Nganga (Bantu healers and spiritual leaders) by showing their spiritual connection to the ancestors who walk on their hands in the spirit world.
Macaco-The macaco is similar to a back handspring with the exception of starting with one hand planted behind the capoeirista and the initial movement starting from a low crouch. The macaco begins by lowering the body down into a low crouch and placing one hand on the floor directly behind the back making contact with the ground. The other hand is thrown over the body while jumping off with both feet to launch the hips straight over the head. This back sweeping movement mirrors the motion that a swimmer adopts when performing a backstroke. As the capoeirista passes into a handstand position, the second hand is placed onto the ground before bringing the first foot makes contact with the ground. The macaco shares visual similarities with the valdez. Variations can include beginning and finishing with the first arm and/or landing with both feet simultaneously. The move is commonly known as the jump of the monkey as the word Macaco literally translates to monkey.
Macaquinho- This movement is very similar to the macaco with the exception being that it is lower and less explosive. The knees are in a more forward bent position while one arm is placed directly behind the balls of the feet. Instead of jumping as with the macaco, the capoeirista lowers his/her external oblique onto his elbow and brings his other arm and legs over. The macaquinho, which means little monkey, is a combination of a macaco and queda de rins.
Macaco em Pé-This is a macaco that is done without a hop or crouch. The macaco em pé resembles the combined motions of a back walkover and acartwheel. Instead of crouching and jumping, the capoeirista falls backwards onto one arm while bending his back and allowing his hips to go over his head while moving into a standard macaco motion.
Macaco Lateral-This is also known as a Xango. It is a standard back handspring. Instead of placing one hand on the ground and flipping, an abrubt leap is made backwards in an arch while extending the hands over the head.
Negativa-Meaning "negative," the negativa is used to negate an attack by going low to the ground on one's side, with the leg closest to the ground tucked to the chest, the other extended, supporting one's body weight with the hand , with the upper arm in a location to protect the face. Negativa can also be performed in a lower stance with the stomach parallel to the ground. The negativa is also used as a sweep. If the other capoeirista is delivering a standing kick that leaves them with only one supporting leg, the extended leg can be used to hook behind that supporting leg and sweep it. This takedown is known as a negativa derrubando.
Rabo-de-Arraia-students of the havana group of capoeira Angola performing the Rabo de Arraia.
Literally translates to "stingray's tail." This is a popular name given to different capoeira movements at different times and capoeira schools. There are more than 7 techniques that were at some point in time called "Rabo de Arraia". Today, it mostly refers to the Meia lua de Compasso in Capoeira Angola schools.
Rolê- This 'rolling' motion is - together with the Ginga and the Au - the basic method of moving around in the Roda. This move can be performed from Ginga or from most of the esquivas. It is essentially a spin to one side while remaining low to the ground and always watching your opponent. One of the hallmarks of the move is that during the part where your back is facing the opponent, you are looking between your legs to watch for an attack. The rolê can end easily in Ginga, Negativa, or various esquivas. The Rolê de Cabeça is performed by placing the head on the ground in the middle of the rolê so as to be able to transition into various headstand techniques.
Troca De Pé(Literally Change of Foot)-From a Negativa position with the leg extended, a slight hop during which the extended leg becomes the support leg and the guard arm becomes the support arm and vice versa.
Ponte- is a bridge with the stomach facing upward and the hands and feet pushing to keep the back arched and off the floor. Most learn to roll into a ponte by turning their legs and hips around first and then inverting into a bridge. The capoeirista can then roll out into a cocorinha, queda de rins, or resistincia for a stylish entrance into a roda. The ponte also doubles as a last resort esquiva although that depends on the player's skill level, style, and speed of the game. Another interesting fact is that Mestre Bimba would give a potential student (aluno) a series of tests before actually teaching them at his academy. One of the tests was a measure of the applicant's natural ability to hold a bridge
Queda de Rins(fall on the kidneys)-can be used as an esquiva or a launching point for a technique. It involves supporting the torso with the inside elbow and the head, often with the knees resting on the supporting elbow. The head is usually the lowest with the feet and at the highest in a rough 45° angle. The legs themselves may be together, tuck, split depending on the position.
