Capoeira VS Muay Thai

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Tags: Capoeira

Capoeira - Mester Pastinha founder of the first organized Angola academy

The son of Jos้ Se๑or Pastinha and Eug๊nia Maria de Carvalho, Vicente Ferreira Pastinha was born on April 5th, 1889 in Salvador-BA, Brazil. Mestre Pastinha was exposed to capoeira at the age of 8 by an African name Benedito. An older and stronger boy from Pastinha's neighborhood use to beat him up often. One day Benedito saw the aggression then told Pastinha to stop by his house that he was going to teach him few things. The next encounter with that boy, Pastinha defeated him so quickly that the older boy became his admirer. Mestre Pastinha had a happy and modest childhood.

During the mourning he would take art classes at the Liceu de Artes e Ofํcio school where he learned to paint; during the afternoons he would play with kites and practice capoeira. He continued his training with Benedito for three more years. Later, he joined a sailor school by his father wish, which would not support the capoeira practice. At the school, he use to teach capoeira to his friends. At the age of 21, he left the sailor school to become a professional painter. During the spare time he would practice capoeira stealthily, since it was still illegal at that time. In 1941, by Aberr๊ (Patinha's ex student) invitation, Pastinha went to a Sunday roda at "ladeira do Gengibirra" located at bairro da Liberdade, where the best masters would hang out.

Aberr๊ was already famous on these rodas, and after spending the afternoon there, one of the greatest master of Bahia, mestre Amorzinho, asked Pastinha to take over the Capoeira Angola. As a result, in 1942 Pastinha found the first Angola school, the "Centro Esportivo de Capoeira Angola", located at the Pelourinho.

His students would wear black pants and yellow t-shirt, the same color of the "Ypiranga Futebol Clube", his favorite soccer time. He participated with the Brazilian delegation of the "First International Festival de Artes Negras" in Dakar, Senegal(1966), bringing with him Mestre Joใo Grande, Mestre Gato Preto, Mestre Gildo Alfinete, Mestre Roberto Satanแs and Camafeu de Oxossi. Pastinha worked as shoe shiner, tailor, gold prospector, security guard (leใo de chแcara) at a gambling house (casa de jogo) and construction worker at the "Porto de Salvador" to maintain him financially so he could do what he loved the most, be an Angoleiro. Betrayed by local authorities false promises and with no support, Pastinha was left abandoned in a city shelter (abrigo D. Pedro II - Salvador), blind and very sick. He dedicated his entire life to capoeira angola, and in April 12th, 1981, he played his last capoeira game. Mestre Pastinha, the father and protector of Capoeira Angola, died at the age of 92, in November 13th, 1981.

Capoeira - Mestre Bimba founder of the regional style.

Mestre Bimba (born Manuel dos Reis Machado November 23, 1900, Salvador, Brazil - February 15, 1974) was a mestre (a master practitioner) of the Afro-Brazilian martial art Capoeira.

The son of Luiz Cândido Machado and Maria Martinha do Bonfim, Manuel he was born at the "bairro do Engenho Velho", Salvador. The nickname "Bimba" came up due to a bet between his mother and the midwife during his birth; his mother bet that he was going to be a girl and the midwife bet he would be a boy. After he was delivered, the midwife said... it's a boy, look at his "bimba" (male sexual organ).

He started learning Capoeira when he was 12 years old, with a capitão da Companhia Baiana de Navegação (Navigation Captain) from Estrada das Boiadas (present day bairro da Liberdade) in Salvador called Bentinho, even though, in those days, Capoeira was still being persecuted by the authorities. He would later be known as one of the legendary founding fathers of contemporary Capoeira. The other would be Mestre Pastinha, the father of Capoeira Angola

Mestre Bimba was a coalman, carpenter, warehouse man, longshoreman, horse coach conductor, but mainly Capoeirista. Unhappy with false promises and lack of support from local authorities in Bahia, he moved to Goiânia in 1973 by invitation from a former student. He died a year later, on February 15, 1974 at the Hospital das Clínicas de Goiânia due to a stroke.

Bimba managed to recover the original values within Capoeira, which were used amongst the black slaves centuries before him. For Bimba, Capoeira was a fight but "competition" should be permanently avoided since he believed it was a "cooperation" fight, where the stronger player was always responsible for the weaker player and helped him to excel in his own fighting techniques.

Mestre Bimba fought all his life for what he strongly believed was best for Capoeira and succeeded. After he died in 1974 one of his sons, Mestre Nenel (Manoel Nascimento Machado), at 14, took over his father's Capoeira academy. Mestre Nenel is still responsible for the remarkable cultural and historical legacy his father left him and he is the President of Filhos de Bimba School of Capoeira.

At 18, Bimba felt that Capoeira had lost all its efficiency as a martial art and an instrument of resistance, becoming a folkloric activity reduced to nine movements. It was then that Bimba started to retrieve movements from the original Capoeira fights and added movements from another African fight called Batuque - a vicious grappling type of martial art that he learned from his father (of which his father was a champion), as well as introducing movements created by himself. This was the beginning of the development of Capoeira Regional.

In 1928, a new chapter in the history of Capoeira began, as well as a change in the way black people (of African descent, brought to Brazil as slaves) were looked upon by the Brazilian society. After a performance at the palace of Bahia's Governor, Juracy Magalhães, Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending its official ban in the 1930s.

Mestre Bimba founded the first Capoeira school in 1932, the Academia-escola de Cultura Regional, at the Engenho de Brotas in Salvador, Bahia. Previously, Capoeira was only practiced and played on the streets. However, Capoeira was still heavily discriminated by upper class Brazilian society. In order to change the slyness, stealthy and malicious reputation associated with Capoeira practitioners at that time, Bimba set new standards to the art.

His students had to wear a clean, white uniform, show proof of grade proficiency from school, show good posture and many other standards. As a result, doctors, lawyers, politicians, upper middle class people, and women (until then excluded) started to join his school, providing Bimba with better support.

Capoeira - Special events

Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.

Batizados and Trocas de Corda do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.

Capoeira - Styles of capoeira

Capoeira has two main classifications: traditional and modern. Angola refers to the traditional form of the game. This is the oldest form, approximately 500 years old, with roots in African traditions that are even older, and is the root form from which all other forms of capoeira are based. Modern forms of capoeira can be classified as Regional and Contemporanea

Capoeira Angola

Capoeira Angola is considered to be the mother form of capoeira and is often characterized by deeply held traditions, sneakier movements and with the players playing their games in closer proximity to each other than in regional or contemporanea. Capoeira Angola is often mis-characterized as being slower and lower to the ground than other major forms of capoeira. However, this is a common misperception as some of the fastest and intriguing games can be found in Capoeira Angola rodas.

The father of the best known modern Capoeira Angola schools is considered to be Mestre Pastinha who lived in Salvador, Bahia. Today, most of the capoeira Angola media that is accessible in the United States comes from mestres in Pastinha's lineage. He was not the only Capoeira Angola mestre. However, he is the best known mestre who helped bring more traditional Capoeira philosophy and movements into the modern setting of an academy.

The Angola style, while emphasizing the traditions and history of capoeira remains a contemporaneous art in the vibrant street scene of Salvador, Bahia. There is a diversity of styles and players, all of the traditional form, playing or performing in a great range of speeds and testing each other in various academies and in the street.

Capoeira Regional

Regional is a newer form of Capoeira. Regional was developed by Mestre Bimba to make capoeira more mainstream and accessible to the public, and less associated with the criminal elements of Brazil. The regional style is most often composed of fast and athletic play.

Later, so called modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.

Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice.

Capoeira Contemporânea
Contemporanea is a term for groups that train Angola and modernized capoeira simultaneously. This is controversial because many modern practitioners argue that Angola must be practiced alone, or that regional can only be practiced alone for the student to truly understand the form of the game. Other practitioners argue that a capoeirista should have a working knowledge of traditional and modern capoeira, and encourage training both forms simultaneously. This is an issue of great disagreement amongst capoeiristas.

The label contemporânea also applies to many groups who do not trace their lineage through Mestre Bimba or Mestre Pastinha and do not strongly associate with either tradition.

In recent years, the various philosophies of modern capoeira have been expressed by the formation of schools, particularly in North America, which focus on, and continue to develop their specific form of the modern art. This has become a defining characteristic of many schools, to the point that a seasoned student can sometimes tell what school a person trains from, based solely on the way they play the game. Some schools teach a blended version of the many different styles. Traditionally, rodas in these schools will begin with a period of Angola, in which the school's mestre, or an advanced student, will sing a ladainha, (a long, melancholy song, often heard at the start of an Angola game). After some time, the game will eventually increase in tempo, until, at the mestre's signal, the toque of the berimbaus changes to that of traditional Regional.

Each game, Regional and Angola stresses different strengths and abilities. Regional emphasizes speed and quick reflexes, whereas Angola underscores a great deal of thought given to each move, almost like a game of chess. Schools that teach a blend of these try to offer this mix as a way of using the strengths of both games to influence a player.

Capoeira - The game

Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.


Ginga
The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of ginga. 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. This movement is done to prepare the body for other movements.

The rest of the body is also 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.

Attacks
Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. Some scholars have speculated that this is because the art was originally developed by handcuffed slaves fighting against their guards but this is highly unlikely as slaves were just as often restrained by the feet and/or neck. Another, more probable explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction. Elbow strikes are commonly used in place of hand strikes. "Cabecada" or Headbutts are common- as they are in many of the fighting arts of the African Diaspora. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), hand-springs (gato), sitting movements, turns, jumps, flips (Mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of "traps" or illusory movements are very common.

Defenses
Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "escape", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive player to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.

Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick).

Combinations
There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, eg. at an opponent's drop of guard. Two kicks called meia lua de frente and armada are usually combined to create a double spinning kick.

Chamada
The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signalling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. Some practitioners call the chamada "the game, within the game" reminiscent of Shakespeare's use of the dramatic tool of "plays within the play." The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.

During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.

Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.

The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

Volta ao mundo
Volta ao mundo means 'trip around the world.'

The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle, and the other player will join the 'trip around the world' before returning to the normal game.

Trickery
As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the art.

Capoeira - Roda

The "roda" is the circle of people within which capoeira is played. People who make up the roda's circular shape clap and sing along to the music being played for the two partners engaged in a capoeira "game" ("jogo"). In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.



The minimum roda size is usually a circle where the radius is about 3 metres (10 feet) in diameter. They are often larger, up to 10 metres in diameter (30 feet). The rhythm being played on the berimbau sets the pace of the game being played in the roda. Slow music limits the game to slow yet complex ground moves and handstands.

Hits usually aren't made but feigned or just shown. The players often turn away from each other's hits just to throw their own. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum which is key to gaining "big air" in the roda.

For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself. Philosophy plays a large part in capoeira and the best teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Malicia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).

Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its "playfulness" and dialogue, in the sense that many capoeiristas tend to focus more on impressive acrobatics or the martial elements than the playful interaction with the other player in the roda.

Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.

Capoeira - Music

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the Roda (IPA: ['xɔ.dɐ]). The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (São Bento Regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life, or love lost. Others are lighthearted or even silly things, sung just for fun. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau (right) commands. In this manner, it is truly the music that drives capoeira.

There are three basic kinds of songs in capoeira. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the Mestre (Master). These ladainhas will often be famous songs previously written by a Mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song. For the lyrics to many of the songs, see Capoeira songs.

The instruments are played in a row called the bateria. Three instruments are berimbaus, which look like an archer's bow using a steel string and a gourd for resonance. It is played by striking the string with a stick, and the pitch is regulated by a stone. Legend has it that, in the old times, knives or other sharp objects were attached to the top of the berimbau for protection and in case a large fight broke out. These three bows are the Berra boi (also called the bass or Gunga), Medio, Viola, and lead the rhythm. Other instruments in the bateria are: two pandeiros (tambourines), a Reco-Reco (rasp), and an Agogo (double gong bell). The Atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.

Capoeira - Etymology

The derivation of the word "capoeira" is under dispute, as there are several possibilities:

The Portuguese word "capoeira" derives from the word capão, which translates as capon, a castrated rooster. The sport's name may originate from this word since its moves resemble those of a rooster in a fight. "Capoeira" has several meanings, including any kind of pen where poultry is kept, a fowl similar to a partridge, and a basket worn on the head by soldiers defending a stronghold. "Capoeira" is also what people used to call a black inlander who mugged travelers.
Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a capa commonly worn on the head by urban slaves selling wares.
The word could derive from two Tupi-Guarani words, kaá (leaf, plant) and puéra (past aspect marker), which literally means "formerly a forest", referring to an area of forest that had been cleared by burning or cutting down. In such places a thick, low secondary vegetation would grow, making it a good place for those who escaped slavery and bandits to hide. According to this etymology, the term was first used as a synonym of outlaw, especially the type of outlaws that would evade justice by escaping to the jungles, to be only later applied to the fighting art most of them knew.
Kongo scholar K. Kia Bunseki Fu-Kiau has posited that "capoeira" could be derived from the Kikongo word kipura, a term used to describe a rooster's movements in a fight and meaning to flutter, flit from place to place, struggle, fight, or flog.

Capoeira

In the 15th and 16th Centuries, Africans were taken away from their homelands and thrown into ships that carried them away to new lands recently discovered by the great European powers of that era. After arriving they were kept like cattle; slaves were branded with red-hot irons and housed in crowded, infectious slave quarters. In the "age of great discoveries" slaves were a valuable commodity. After days of intensive work, exhausted, these slaves were gathered into their quarters, receiving poor rations of food, becoming extremely undernorished and sick.

Dutch invasions between 1624-1630 caused temporary disorganization in the farms and sugar mills of Brazil. For the slaves, these invasions brought an opportunity for escape. Taking advantage of the nearby forests, they hid themselves and formed communities that would become known as Quilombos. They were organized politically and socially like African tribal societies. The leader of the Quilombos was a king called "Gunga-Zumba", later shortened to "Zumbi". This king was a great general, who became famous because of his defensive skills and numerous victories against the Portuguese

When the Dutch were expelled from Brazil the slave owners send out armed expeditions to recapture the fugitives and destroy the Quilombos. Without a substantial amount of weapons, the ex-slaves realized they would have to defend themselves with their hands (and feet!). They created a style of self-defense that would stand against weapons and firearms. This style of fighting was called "Capoeira de Angola"; capoeiras were the name of the brushwoods where the fugitives entrenched themselves and it was believed that the first group of slaves who arrived in Brazil were from Angola.

In 1890 Capoeira was outlawed in Brazil. It remained outside of the law until in 1928, when Master Bimba (Manoel dos Reis Machado) founded what was known as "Luta Regional Baiana". A fusion of Capoeira Angola and batuque (street Capoeira) it was later called Capoeira Regional. During this time Capoeira became more than just a fight. It acheived national recognition and b ecame what it is today: a dance, a sport, a game and an artistic expression of freedom.