THE ESSENTIAL GUIDE TO MASTERING THE AR Mestre Poncianinho Nev Holland Publishers Lid London * Cape Town » ney + Auekland ‘ww. newhollandpubliserscom Gari House ‘ondon Ws 264 Unie 6b Gidbes Street Norteote, Auckland Copyright © 2007 New Holland Publishers (UX) Lut Copyright © 2007 i tex: Ponciano Almeida and Michelle Porter Copyright © 200 In phototaphs New Holand Publishers (UN) Lid th the exception of the ivi! photogrsphers and/or their agents sted on page Agere Xo pt pian may readied we 2 ech potooyi ig arn tout pe ron SAN op yy 968 8 SENIOR EDITOR: Sra Goulding DESIGNER: lyn Bridgewater PHOTOGRAPHY: Mike Holdsworth PUBLISHING MANAGER: Clee Habbard PUBLISHING DIRECTOR. Rosemary Wikinson PRODUCTION: Marion Store eproducton by Pca Disa Pe Singapore Printed and bound in Malaysia by Times Offset) San Bh DISCLAIMER The autor and pbtisers Rae made every tlle onsite tht te norman com of eng o pres ant accept respon by any perso using ths book o following CONTENTS 1_Introduction 8 What is Capoeira? An explanation of the aims and benefits of the ‘sport, along with its history and eign, 2_Development 14 Intzoducing the two main styles of Capoeira — Capoeica Jonal and Capocia Angola — contemporary Capoeira and the techniques of some ofthe most famous mestres, 3._ Training 2 Warming up; basic moves; defence and escape moves; falling; stretching; kicks; raining combinations; strengthening exercises; ‘ground movements; more advanced acrobatic movements 4 The Music 108 ‘The importance of music In Capoeira, the signiticance of the ‘pateriaand the instruments that are used, S_the Game ‘The roda and the jogo. Heirarchy within Capoeira, mestres and the grading system, Glossary ‘Making contact Index ERE NTRODUCTION the tender age of for, and 22 years ater am sl. hooked. Taday Capooia i played all over the ‘old, and | often stop to rellect an what attrant people to thc art. Sinco moving to London in 200, 1 Tua tau yates fall wats uf ite end havo travllod thoughout Europe and tho USA to hare ‘uy wai yuu tai tha ee fll understood tho appeal of Capers. Peopa atk me wy Aiea eT Ua sn ats ll ‘them that Capoeira offers much more than simply scoring points, Ihave seen Capoeira rarsforn peo lives; it takes them on a journey of self development, ving them an ouslet to express thelr indhvdualty Snthin the tractional framework of 2 martial at. In the following pages | wil uilne the extraordinary history of Capocira, from its african roots to the present day. | wll also outine Its development and introduce you to its mort famous Mestes, Mestre Bima and teste Pasrnha. music 1 vital within Capoeira, but canuses many who are new tothe at, ‘01 have included a section an the music and culture of ‘Capoeira, a wel san lteoduetion tothe instruments | play. Asa besinner the rles and etiquette of Capoeira may seem alien, so have also included a section onthe roda (the cicle within which Capoeira is played) and the hierarchy within Capocira, also explain the nature ‘ofthe Jogo ("the game’); what it entails and how Is played, withthe help of my students from the Cordio| ‘de Ouro school in London, | have broken down some of the basic moves, from the fundamental ginga, ick, ‘round movements and sequences, to simple acrobat es have ale included a bret insight nto some ofthe more advanced moves to inspire your proses. Te would be imposible for me to cover all the pos ble moves within Capocia, as these often difer from sup to group, Capoeira is always growing and devel ‘ping and due tothe spontaneous nature ofthe game, I hagan stusyingapoera wath my rater art at new maves are developed ll the time. ths ponk simply gulge for thore withing to eapore the world of Capoeira, and I pe thats wil ngpire you to tnd a las in your are, Asan intrucor Ica teach students the mavet, tho mucic and tho tradition, but i aly by wlayng Ue game uf Carls at you sat uly fovprece your individuality. Each Capooirsta wil find ce urn wave ad hs isha hes ital ase rt, Duo to tho oxprosiva nature of the art, no two selols ave ena he sae ad ther ct samen be aleagreements over the way thing are dene, | have simply shared the knowledge, experience and tradition "nave been lucky enough to accumulate within Cordio de Ouro over the last 22 years. | have almed tobe rue to the spirit of Capocia, and | hope that thc bea. Inspres you, In the words of Mestre Bimba, one ofthe founders of modern Capocirs, "Take what | teach yeu and develo it into your avn reality Mestre Puneiuninho (Ponciane Almeida) What is Capoeira ? So what 1s Capoeira? | am often asked to describe Capoeira, to clarity the confusion between whether oF roti isa dance or a martial at Isa martial art for self-defence or a dance created for street perfor mance? | will answer that iti neithes, but rather & Unique art that can be seen asa dance that simulates fight, o¢ a fight that simulates a dance. Capoira i an expressive art and dificult to pigeonhole, as it ‘encompasses musi, fighting and lud movements akin toa dance. A common misconception about Capoeira is that iti @ non-contact sprt, and some argue that it ‘cannot therefore be a martial art. Contact does not feature heavy in Capocra and this does indeed distin fish it from other forms of martial arts Each Capoersta develops his or her own style of play, with many choosing to avoid contact altogether | Caposirita can choose to make contac f there Isa failure in their opponent’ defence, but as Capoeira oes not place an emphasis on rules and pint scoring, contact snot an obligatory part ofthe game. The way the game is played in Capoeira — the interaction between the Caposirstas~ is considered to be more ‘mmportant than the contact made. One dees not win a same of Capoeira by making contact with the oppo ent, and this what makes it unique. should nt be forgotten, however, that Capoeira was developed 353 fighting art too, and can be used effectively asa form (of self defence. Some of the kicks within Capoeira can be lethal Why Capoeira? The benefits of Capoeira are endles. Not ony does it Impcove your physical strength, flexibility and reflexes, tals improves your musicality and encompasses rich cultural and historical heritage, Many. students of Capocira learn simple Portuguese, and others take the opportunity to vist raz at part of thelr training Capoeira is a martial art that embraces musi, aro: atic, fighting, sport and pilosopty. It is steeped in {radon and eval, and werks to develop the inv talon both physical and menta eves. In Capocira one doesnot tain alone, andthe sci aspect of Capoeira is one of the most appealing features of the art. Capocra transcends all social, boundaries and in Brazil, for example, you wil find Capoeira academies everyahere from exclusive gyms to faveas (shanty towns) Capoeira isa democratic art, and all Capoeiristas can play together within the roda regardless of level or ability. The spin of Capoeira can be extremely playful and does not rely on physical strength. This enables men, women and children to train and pay together regardless of ability. Capoeira can accommodate both a fierce and awe-inspiring "game" between two strong. adults, or a playful exchange between father and sen, Capoeira has place for everyone who's wing to learn URES oe ; BRATZ } wR mr SS nie same 1& : < 5 scone (3 s The history of Capoeira [Although Capocira ie» Broan mortal art dose not originate from the Tupt people native 10 Braz. Dut Instead has is root firmly In African culture. There i rn qutinn «tothe african rte nt re at ur here fa much debate asta whether ar not it wes imparted Uunolecaie tn Kram oF develop atin the cenraae {the slaves’ quarters) on Brazilian sal. The argument {ends to Tav0ur the theory that Capaatra was dove. coped by African slaves within Brazil, and not brovaht uth tham a part of the eultural heritage ef thei Iramelards. This (s supoored by the fast that the history of Capoora can only bo tnkod to Bra despite ‘He widespread ue of Afi slaves worlddes The history of Capooira, therfore, bogins wth th hetory of african slavery in Broa ‘The colonization of Branl began In 1500 whan a Portuguese fleet chanced upon her shotes The teader The histery of Capoeira (of the leet Pedro Alves Cabral. promprly decarea Brasil to be the possesion ofthe king of Portugal and for te next three centuries she remained unger Portuguese conto, Broil wos colonized and exploited {nr ecaanmic gain, ePeiting i a nped fr an exten labour fore, Detwesn 1540 and 1800 Greil received in excess of tun miion staves, pening tanour Yor the saffee and sugar plantations. The frst few hundred years oF savory within Krai are poorly documenta, ‘but what is certain i that they fed cruel and intl ‘erable treatment. What ie ineradine 6 that, in the face of such adversity and oppression, the ican {aver continue to maintain a rong level of cultura ieoity, Eves ta hie tine sis ard deren ‘wore banned by tha lave oumar, they cl managed to keep Ue wan wait alive. Cava thereore wan bom under the shadow of oppression, and can be seen tw represent the tiumpi of sit over adverse, ‘The origins of the word Capocira can aso lead to rch debate, and severa theories exist to account for how it got its name. Many believe that the word Capoeira comes from the Tupi language and is derived from the name given to an ara of jungle that hae been cleared to make way for qulombos (an area of safety and hiding for fugitive slaves). Te Tupi words “caa” meaning ‘down’ and "litle’, and "punera’ meaning ‘gras’, ae combined to crete a word tat quit li erally means “hiding In the grass". This explanation ives credence to the underground and hidden practice ‘of Capoeira by the early Atrican slaves. Another explanation forthe uie ofthe word Capoeira Is that it closely related tothe ward ‘capa’. A capa was a basket worn by Afian slaves to carry bids to ‘the market, A“capoeira’ literally refers tothe person no wears the basket. twas atthe markt that games of Capoeira were played, so this explanation also car ries much weight. The third theory is that Capoeira finds its oot inthe word "kipura’. Kura, meaning to flutter, 1s often used to describe the movements 3 rooster makes when he fights Its often said that Capocira was developed as a form of self-defence against brutal slave masters. The rusia elements are sid to have been added to fol the masters into believing thatthe slaves were simply dancing. Evidence suggests that this account isa myth because even dancing was a forbidden practice. It can ‘also be argued that Capoeira was no match for the us, hnivas and chains used by the ppressers, and ‘would not have been an effective form of self-defence. Capoeira in effect was an expression of African culture ‘during a time when it faced the most oppression Despite this suppression, Caposia continued to fou Ish as an underground movement, inelving secret meeting places and intlation ceremonies throughout the colonial years. The development In 1888, the Golden Law was passed and slavery was officialy abolished in Bran. In effect many slaves were made homeless by this and, gaining no financial assistance from the government, were forced to head to the cities in search of work. Competing for work a such a prejudiced society often proved dificult forthe slaves and many tured to petty crime for survival. was during this period that Capoeira gained its bad reputation and became associated with the criminal classes and anti-government movements. The name Capoeira became synonymeus with the bandit, the thief and the vagrant. Eventually it was banned, and 2 Capoetrita could face the harsh punishment of having ther tendons cut if they were caught playing it, Just a5 "had survived slavery, Capoeira continued to thrive a5 an outlawed practice. Capocirstas assumed ‘apelids* (sickrames) to avoid detection from the police. This custom is stil used today where Caposiristas assume a Capocira nickname a ther rt "batizado" (baptism, of| trading ceremony). This is another example of Bow the traditions of Capocira derive from its abiity to resist oppresin. ‘2y the twentieth century Capoeira was widespread in Bra, but stil mainained its reputation as the art of| ‘the mercenary and thet. Public opinion frowned upon ‘it and Capoeira was driven futher underground. The suppression didnot abate until the 1930s, when Getto Vargas came to power. Vargas was eager to support all. forms of Brazitan cultural expression, including Capoeira. The tide was finally turing in favour ofthe at, It was during tis time that Meste Bimba (one of the forefathers of modesn Capoeira) was invited by the State Governor General to perform an exhibition of his Caposira Regional for foreign alignitaries. Slowly Capocira was beginning to mave away from its criminal past and towards the respectability ofa martial art. Ie was during the 19305 that the foundations were laid for modern Capoeira. With the permision of tuto Vargas, Mestre Biba opened his doors to the fist Capoeira schoo n 1932, moving Capoeta onto 3 ew level of organization and respectability, Mestre Bimba aimed to promote and teach Capoeira as a form of self-defence and as a disciplined martial art. He wanted to reclaim the art and fre it from ts criminal past. Te style he developed is refered to as Capoeira Regional an is til practised as part of contemporary Capoeira A few years ater Mestre Pastnha opened an academy teaching Capoeira Angola In an effort to reserve what he saw as traditional aspects of the game, and thus the two maln styles of Capoeira tai ‘ng were In place. Capeeta moved from being simply & Spontaneous, expresive art to becoming a structured and disciplined martial at. During the 1960s and 19705 ‘became so structured that it was almost unrecogiz: able. The traditional style of Capoeira Angola began to decline, and Capoeira saw the emergence of compet: tons with rules and bet systems inspired bythe Asian martial ats The development The history of Capociea is stil evolving. Since the 19705, Capoera has spread throughout Brazil and to the rest of the world, Mestres have travelled abroad and academies have opened in Europe and the USA Despite these developments, Capociritas still play using the styler established by Mestre Bimba and Mestre Pastnha during the 19305. The durabilty of Capoeira, its adaptability and resience are Is Nstory Capoeira. was born fom slavery and has survived ‘oppression and globalization, enabling it to become ‘one ofthe fastest owing martial ats in te wore tt, Cpa cone toe pet tomo Ceca, vino es fone An fn eame Cpe nl plete pct Gamsoel aos tore re ee feral a pe eth or eceped tr hese Se, ec eye oe ia Ma come eter teers Tenpeny Cpe, Kilt ave on Mestre Bimba and Capoeira Regional In 189 Manoel Dos Reis Machado was born in Salvador, Bahia. He is more conmenly known as Neste Bnba, Bimba being @ nickname given to him by his mother when he wasa cid, He began to tak informa lessons In Capoeira atthe age of 12 under the instruction ofan ‘rican bythe name of Bentinho. He dedicated the rest Of his tite to Capoeira, developing a syle he referred to as "the Resona fight from Bahia’. The style and tuaiton i now referred to as Capoeira Regional and is practised wortdvie. When Mestre Simba besan to practise Capocia it stil ha the reputation of beng an at used by thieves and vagrants. Pracized inthe street orn workplaces, ithad no organized strecture and was not realy con sidered tobe a serous marti art, During the 193s, however, Mestre Bimba set out to change this, and in 1932 he opened the ist Capoeira academy. Mestre Bimba aimed to discipline insti ‘nto is EVELOPMENT students — vagrants were banned from attending Classes and anyone arcving late to cass was fined Mestre Simba famously diplayed the rues of bis academy on a noticeboard ‘The nine commandments of Mestre Bimba Stop smoking. Smoking during training ts forbidden. Stop drinking. Drinking affects the muscles. Do not use Capoeira to impress your frien. ‘Always remember that suprise is your best friend in a fight 1 Do not talk during traning Use the ime you are paying for to observe others Always use the ging, Practise the basic exercises dally Don't be scared to get close to your opponent. Yu wil lem mare from claer play. At Eliminate unnecessary tension from your bod. You're better off being beaten inthe roda than in the streets Mestre Bimba was quite an eccentric character, and the fiat time a student attended his academy they would be expected to undergo one of his infamous tests Potential students were subjected toa test of physical ability, which involved being held in a neck lock by estre Bima without utering a word of complaint. On ‘the Second visit he would hold their hand and teach ‘them the glaga (see section five, pages 34-35). He