capoiera - an introduction

8/14/2019 Capoiera - An Introduction

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AN INTRODUCTION

Compiled, Edited, & Created by snazir77


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Table Of Contents

Warm up in Capoiera Page1The Ginga Page2The 8 sequences of Mestre Bimba Page 2

Sequncia 1 Page3

Sequncia 2 Page4Sequncia 3 Page5Sequncia 4 Page6Sequncia 5 Page7Sequncia 6 Page8Sequncia 7 Page9Sequncia 8 Page10

Cintura Desprezada Page11Apanhada Page11Balao de Lado Page11Balao Cinturado Page12Gravata Alto Page12

The Berimbau Page13Parts of the Berimbau Page13Tones of the Berimbau Page 13Types of berimbaus Page14Rhythms of the berimbau Page 14

Compiled, Edited, & Created by snazir77


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Warm Up in CapoieraWritten by Instructor Bruxa

Warming up properly is one of the key things you can do to prevent injuries. Takingsome simple precautions can help reduce the risk of injury and keep you trainingtowards your goals. Most martial arts disciplines recommend sustained stretching for at

least 15 minutes before any kicks or punches are thrown.

A) Static stretches are an option to start your warm-up. They will assist you to setyour mind and thoughts in what you are about to start, in this case: TRAINING andthey will increase blood flow to your muscles.

1. Remember to always move slowly and smoothly. Using quick, jerky movementsincreases your chances of injury and doesnt stretch you as effectively.

2. Always try to relax. Tensing up while stretching eliminates the effectiveness ofthe stretch.

3. Hold the stretched position for at least 30 seconds at a time4. Increase the number of repetitions as you progress5. Think about what muscle or muscle group you are trying to stretch and make

your stretch muscle-specific

B) Active stretching should be your second step. You can use your capoeiramoves or the ginga as a way to perform your active stretches.

Once again:1. Remember to always move slowly and smoothly. Using quick, jerky movements

increases your chances of injury and doesnt stretch you as effectively.2. Always try to relax. Tensing up while stretching eliminates the effectiveness of

the stretch.3. Start with low kicks (knee height) and low movements and increase your Range

of Movement as you increase your repetitions.

1Compiled, Edited, & Created by snazir77


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The Ginga

1 2 3 4 5 6

7 8 9 10 11 12

13 14 15 16 17 18

19 20

The 8 sequences of Mestre Bimba

Remember: "Liso" in white pant, "Riscado" in striped pant.Note:All 8 Sequncias should be executed to Toques with a fast rhythm (e.g. So BentoGrande de Regional).After having mastered a whole Sequncia, practice the "reflection" as well; that means: e.g.the things you did with your left leg will now be done with the right leg, and reverse.



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Sequncia 1

"Liso" - Meia Lua de Frente (right), Meia Lua de Frente (left), Armada, A"Riscado" -Cocorinha, Cocorinha, Negativa

Explanations:

1.) Two players play in Ginga, accompanying each other. "Liso" is the left one, "Riscado" isthe guy on the right.2.) "Liso" takes one step towards "Riscado" (left foot), and places himself in a position to bea "serious" attacker to "Riscado".Note:In the beginning "Liso" tells "Riscado" when he attacks...3.) "Liso" attacks with a Meia Lua de Frente (right foot) while "Riscado" defends himselfgoing ino a Cocorinha (he hops alittle to the front, towards "Liso's" left leg).4.) "Liso's" leg now passed "Riscado", so that he can stand up.5.) "Liso" attacks again with a Meia Lua de Frente, this time with his left leg, while "Riscado"again hops in Cocorinha, this time towards "Liso's" right leg.6.) "Liso" finishes his Meia Lua de Frente, but instead of putting his left foot back into Gingastance (like it's usual), he drops his foot to the front, heading for an Armada that would hit

"Riscado" for sure, if he'd try to stand up.7.-9.) "Liso" quickly twists his body and starts the Armada, but "Riscado" doesn't stand up.Instead, he gets into Negativa with his left leg stretched, so he could make "Liso" fall."Liso performs his Armada with the left leg."Riscado" is already preparing to leave the Negativa so he can hit "Liso", in case he'd try toescape with an A.10.) "Liso" attempts an A to the left."Riscado" comes closer to "Liso" while leaving the Negativa and attempts aCabeada (Headbutt) at his Solar-Plexus.



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Sequncia 2

"Liso" - 2 Martelos, Cocorinha, Bno, A"Riscado" - 2 Bandas, Armada, Negativa, Cabeada

Explanations:

1.) "Liso"& "Riscado" play in Ginga."Riscado" realizes "Liso's" attempt to attack with a Martelo.2.) "Liso" takes a long step to the front, searching for a good position to perform his Martelo."Riscado", faster than "Liso" hit him with a Banda a.k.a. Rasteira em p."Liso" starts his Martelo, but doesn't hit; "Riscado" already executed his Banda and couldthrow "Liso" on the ground.3.) "Liso" ends his right-foot-Martelo and quickly throws a left-footed-Martelo."Riscado" was faster. He replaced his left foot, then moves the right one behind "Liso's" leg,so that he could throw him again.4.) "Riscado" prepares an Armada, while "Liso" returned to his basic-stance.5.) "Riscado" throws an Armada, "Liso" goes into Cocorinha.6.) "Liso" stands up and prepares a Bno.

7.) "Liso" executes the Bno, but "Riscado" dives into Negativa, and tries to place his footbehind "Liso's" leg8.) "Liso" finishes his Bno, preparing to get away with A, while "Riscado" prepares for aRol, to attack with a Cabeada.9.) "Liso" got away with A."Riscado" steps forward into a Cabeada."Liso's" only chance to escape would be an A com Rol, which is not shown here.



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Sequncia 3

"Liso" - Queixada. Queixada, Cocorinha, Bno, A"Riscado" - Cocorinha, Cocorinha, Armada, Negativa, Rol, Cabeada

Explanations:

1.) Both players are in Ginga. In the normal Sequence, "Liso's" foot would now go to theright.2.) Instead, he steps forward with his right foot.3.) "Liso" attacks with a Queixada, "Riscado" crouches in Cocorinha.4.) "Riscado" gets up again.5.) "Liso" attacks again with another Queixada, this time to the left, but "Riscado" hops a littleforward into Cocorinha, which brings him a bit closer to "Liso's" leg...6.) "Liso" finishes his second Queixada in the stance shown in the drawing. "Riscado" standsup, a prepares an Armada.7.-9.) "Riscado" quickly turns his torso and throws an Armada to the left..."Liso" meanwhile got down into Cocorinha under the Armada."Liso" gets up, ready for a Bno. "Riscado" finishes the Armada and quickly drops into

Negativa."Liso" would fall, if "Riscado" pulled his leg...10.) "Liso" gets away with a cartwheel, while "Riscado" leaves Negativa and heads for aCabeada.



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Sequncia 4

"Liso" - Galopante, Negativa, A"Riscado" - Arrasto, A

Explanations:1.) "Liso" and "Riscado" play in Ginga.2.) "Liso" steps forward and tries to hit "Riscado" with a Galopante from the right."Riscado" steps forward with his right foot, and push his right shoulder against "Liso's" hip,while pulling his legs(Arrasto).He throws him on the ground.3.) "Liso" falls, "Riscado" puts his right foot back...4.) "Liso" managed it to land in Negativa,"Riscado" is up to get away with an A.5.) "Liso" uses Rol and attacks with Cabeada



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Sequncia 5

Liso - Giro, Joelhada, ARiscado - Arpo de cabea, Negativa, Cabeada

Explanations:1.) Both Capoeiristas play in Ginga.2.) "Liso" performs a Giro (Turn), to make it look like a kick, from which "Riscado" goes into acrouch, expecting an Armada...He attacks with Arpo de cabea ("Harpoon with the Head"):A dangerous headbutt with all of "Riscado'" body's power is now aiming at his opponents'stomach..."Riscado" keeps his arms crossed in front of his face to defend his face...3.) "Liso" points with a Joelhada (kick with the knee) at "Riscado's" face, who flees intoNegativa without having finished the headbutt...4.) "Liso" already prepared to get away with an A. "Riscado" would now have to do a Rol

in order to be able to attack "Liso" with a Cabeada.



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Sequncia 6

"Liso" - Meia Lua de Compasso, Cocorinha"Riscado" - Cocorinha, Meia Lua de Compasso

Explanations:1.) Both Capoeiristas play in Ginga. "Liso" prepares to enter the Meia Lua.2.) "Liso" takes a step with the left foot and brings himself into a good position for a Meia Luade Compasso to the right...3.) "Liso" does a Meia Lua, but "Riscado" is already in Cocorinha.4.) "Liso" finishes his kick. "Riscado" takes a step with his right foot from the crouch, theprepares a Meia Lua de Compasso to the left.5.) "Riscado" executes his counsterstrike - "Liso" drops into Cocorinha.



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Sequncia 7

"Liso" - Armada, Cocorinha, Bno, A"Riscado" - Cocorinha, Armada, Negativa

Explanations:1.) Picture 1 shows both player already in action: Out of his Ginga, "Liso" steps forward withhis left foot and starts twisting his body, ready to throw an Armada to the right. "Riscado"drops into Cocorinha.2.) While getting up, "Riscado" already takes a step with his left foot to get himself into agood position to twist his body and to "shoot" an Armada to the right. "Liso" hasn't finished iskick yet.3.) "Riscado" executes his counterstrike, while "Liso" finishes his movement and drops intoCocorinha.4.) "Liso" gets up with a Bno and "Riscado" drops down into Negativa.5.) "Liso" attempts an A. "Riscado" leaves Negativa and comes closer for a Cabeada."Liso" moves away with A.



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Sequncia 8

"Liso" - Bno, A"Riscado" - Negativa, Rol, Cabeada

Explanations:1.) Both players play in Ginga. "Liso" comes closer very fast and launches a Bno."Riscado" dives into Negativa.2.) "Liso" executes the Bno, while "Riscado" has already reached Negativa.3.) "Liso" flees with A, while "Riscado" does a Rol and performs a Cabeada



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Cintura Desprezada:

A sequence of connected blows and balances introducing the throws of Capoeira, wherethe capoeirista projects his partner. The exercises have the objective of developing self-confidence, sense of cooperation, responsibility, agility and skill. It requires thecapoeiristas to project the companhon and always land on the feet. Mestre Bimba

created a sequence of 4 baloes, later more variations like the first three are added.AuTesoura de costasMeia-lua de frente-backflip

Apanhada

Aluno A- makes a bananeira from AuAluno B- receiving the body from aluno A on the shoulders, stands up with one energyexplosion of the legs, and stimulates aluno A to go high over his back

Balao de Lado

Aluno A- turns to the backside of pupil B, passes to the front with his hand over the waistof pupil B and with the bent body to the side, he applies balao with the impulse of the hip

and the legs.



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Balao Cinturado

Aluno B, leaves in the Au, aluno A applies cabecada to the pupil B and bending theknees passes his hands under the body of pupil B and protect him with his shoulders.

Gravata Alto

Needs lots of repetition, the pupil B on his feet turns to the back and with his handsunder the neck of pupil A on the front cite of his body, it projects the pupil for front overthe body, because when falling on his feet they must turn and repeat this balao to the

other side.



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The Berimbau

The berimbau has long been recognized as a symbol of Capoeira. The instrument playsan integral role in the Capoeira roda, directing the speed and style of the jogo (game)through distinctive rhythms. As the lead instrument, the berimbau is always the first tobegin the music of the roda and is usually played by the mestre or senior Capoeirista.

Parts of the Berimbau

The berimbau is made up of a long wooden bow (verga) bent by a steel wire (arame)that runs from one end to the other. A hollow gourd (cabaa) is attached near the bottomwith strong twine. A thin stick (baqueta) is used to strike the wire to make sound, and acoin (dobro) is pressed against the wire at different levels to change pitch.

Tones of the Berimbau



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Types of berimbaus

In the typical Capoeira roda, three types of berimbaus are played that differ in tone, size,and musical role:

1. Gunga: A lower-toned berimbau marked by a large cabaa, a thinner verga, anda more lax arame; it usually plays a base rhythm.

2. Mdio: A medium-toned berimbau marked by a medium-sized cabaa, a thickerverga, and a tighter arame; it usually plays a harmonious rhythm with occasionalflourishes

3. Viola: A high-toned berimbau marked by a small cabaa, thick verga, and a tightarame; it usually plays the main rhythm with frequent flourishes.

Rhythms of the berimbau

The rhythms of the berimbau determine the style of game being played within theCapoeira roda. Each rhythm calls for a specific game that varies in speed, aggression,movement, and style; these games can be fast and forceful, slow and mischievous, orharmonious and expressive. Capoeira schools use different rhythms to train techniquesthat characterize the style of the corresponding games. One game might be used to trainfast spinning kicks and dodges, while another might be used to train acrobaticmovements.


capoiera - an introduction

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