Slums drums and Capoeira follows the journey of a few kids that live in the slums of Rio, tracing a pathway to create a documentary about Capoeira. With many famous Capoeira Mestre’s interviewed along the way, the journey jumps backwards and forwards between Sao Salvador and Rio De Janeiro.

The documentary also follows the journey of their teacher, Tiane who lives in Rocinha, the largest slum in Rio. Tiane works to establish a new capoeira group with its main focus on helping keep the kids in that area occupied and away from drug gangs.

The DVD’s audio is in Portuguese with English subtitles, and has some really beautiful shots of Salvador and Rio. The interviews with many well renowned mestre’s are very interesting, giving great insight into their Capoeira knowledge and experience.

This documentary is yet another great contribution towards expanding the capoeirista’s knowledge and views of the art.

My favorite quote in the DVD:
“Capoeira for me is a way of living. Whereby you reach out to your ancestry, and thus your identity.” Mestre Moraes.

If you would like more information, the website has some great information on some of the mestre’s interviewed and provides details of how to purchase this DVD.
go to:
www.slumsdrums.com

MACULELE

Here is an interview between Paulino Aloisio Andrade (mestre Popo) and Maria Mutti, 1968. This interview was extracted from a book called MACULELE, which was released in 1977.
Mestre Popo passed away on the 16th of september 1969.

This interview was undertaken by the Folkloric Group Oxala, from Santo Amaro Da Purificacao.

Translated text by:
Chan Griffin.

POPO:
What I remember, Maculele arrived from the coast of africa by the slaves that arrived here.

OXALA:
Were you sir, a slave?

POPO:
Me? No. I was born by my mother who was a slave, but I was born free, I ran around these lands a lot. I was a slave to my mother and I helped her with work in the house right up until she passed away.

OXALA:
and with Maculele, when did you start sir?

POPO:
It was with a group of old black guys, “Preto Velhos” Male’s Slaves, who were freed. They did not have anymore slavery at that time. They would get together at night. I remember well, Joao Olea, Tia Jo and Ze do Brinquinho. The actual year I cannot really remember but it was after the slavery times, they were free. But who put the game on the streets was me.

OXALA:
How did you re-introduce Maculele into Bahia and afterwards the whole of Brazil?

POPO:
The old black guys had died a long time ago, from the group I was the only one left. This was because I started when I was very young. It was around 1944 when I was able to get together with my sons and neighbours to teach the ‘brinquedo’ (the game). Teaching these guys made me come to enjoy it, so I put a maculele academy in the santo amaro street. On the 2nd of febuary (the traditional day of maculele), every year Maculele goes to the streets of Santo Amaro and dance in front of the Igreja da purificacao (a church) in homage to the virgin saint who is everyone’s mother. After this, the rest was simple, people liked it and asked for the street maculele to keep running, even when they did not have training clothes, they would do it in their work clothes anyway.

OXALA:
Popo, is Maculele a dance or a fight?

POPO:
Are they separate? Maculele is a dance and a fight at the same time. Defense and attack mixed with black rhythm. (This is the definition Popo used a lot when talking about the rhythm of Maculele). We sing and dance in adoration to our Virgin Mother and enjoy also paying homage to princess Isabel, who freed the blacks from captivity.

OXALA:
In what way sir, do you think that the slaves of that era would practice Maculele as a fight?

POPO:
Hiding it in a dance. If a slave driver appeared at the slave quarters during the night, they would think that this was a way for the slaves to praise the gods from their land, and the african music they sung wasn’t able to be understood.

OXALA:
Did you sir, know what the african maculele songs were about? I ask because I have seen your group sing in african…

POPO:
They ask for power and agility in the dance, for when the days of their freedom arrives. Some I still know and teach to the guys, but others I forget. We here sing music from candomble and cabloco. We also have ‘musicas de chegada’ and ‘saida’ that we created. (music of arrival and leaving). The people applaud a lot and we want to thank them. Vava, my son, was the one who has made most of our groups music.

OXALA:
what are the original instruments used in the dance?

POPO:
Two or three atabaques, I dance with three, one for the ‘toque de ripique’ and two to help ‘dobrar’, an agogo a caxixi or a ganza. Now the music players need to be good. I have an atabaque made of tin carburet and cow skin that we made.

OXALA:
and the sticks? how are they made?

POPO:
The sticks are made of pieces of wood that the people use to attack or defend. They are made from wood chosen at night, sanded down and passed through a fire sometimes. Sometimes it isn’t even needed depending on the type of wood. You want to know which wood will work? Beriba, canzi, pitia, these are the best.

OXALA:
What are the exact measurements of the sticks?

POPO:
They are around 50-60cm. We always leave a knot on the wood to have a good grip.

OXALA:
POPO we have seen a presentation at the T.C.A and the program said it was Zezinho de Popo who put the machete into maculele purely for exhibition purposes. In your time, did Maculele use machetes?

POPO:
lady, the maculele that I learnt with the Males black people, was what I taught to my students that is now on the streets of Santo Amaro. Like you have seen many times.

OXALA:
But this other group said that it was your son who taught it to them. And your son is a continuation of your work.

POPO:
This is the deception of zezinho, ha! ha! ha!, if slaves had machetes in their hands to train maculele at that time they would have trained on the heads of their captors! ha! ha! ha! this is the deception of that boy, that is dancing over in Salvador for all of those rich people.

OXALA:
Sir do you have anything else you would like to say before we finish this interview? We would like to talk more with you sir, but I feel that you are tired and we will be able to maybe talk another day.

POPO:
Say nothing, I am wanting to see your group dance. I know at the time I did not see women dancing maculele, after seeing ‘finada agogo’ I haven’t seen anyone dance more beautiful than her.

The folkloric group OXALA that had met on the rua da linha, in front of his house, was the same place where he reunited for the first time, his sons to teach the dance. We danced like we never had to the best we could, and the old mestre popo who applauded, was full of emotion that affected everyone there. (The group OXALA de Santo Amaro, was the first group of maculele after the traditional group from Santo Amaro).

When Popo talked about what he was feeling at the time he said:

You have taken me back to 1944 or 46, I don’t remember the year exactly, but you made me remember Paulina e da finada agogo. But I am going to get my daughter Raimunda, who is a girl like you, to dance in this beautiful group. I also have Jaiminho my grandson who plays the instruments really well, he will give you everything you need to know for the orchestra. If my son Vava is ever around, I want you to meet him, you can trust him, he is a good guy. After a monkey bit me, my foot swelled up and I am now without a good leg.

Popo finished the interview playing with his woman, who dances maculele very well, and still lives in Santo Amaro da Purificacao, with their children: Vava de Popo, Raimunda and Vivi de Popo. (Zezinho for many years lived in Salvador).

Maria Mutti
16/12/1968
Santo Amaro-Bahia

An Interview with Mestre Bamba

Translated by Chan Griffin.

1.What does Capoeira Mean to you?

Today, Capoeira is a part of my life. I do not know how to live without teaching Capoeira, but at the same time I feel that I have a very strong mission which is to show our afro-brazillian culture to the world. 

2.Why did you start to play Capoeira?

I am certain that capoeira was in my life right from the start. I was born in the Pelourinho, and from the right moment, Capoeira called me. (Saying that it had a mission for me).

3.What do you think about International Capoeira?

Capoeira is the same, the only thing that is different is the Capoeiristas themselves and their teaching methods. I always tell my students, what I do here in Brazil, teaching Capoeira, is what I do in any other place in the world. I TEACH CAPOEIRA.

4.What do you think about Capoeira in Brazil?

Capoeira is still looking for its place in the Brazillian Society, and each Capoeira Master has his mission to evolve and preserve such an important culture such as capoeira.

5. How do you see Capoeira of the past in relation to Capoeira of today?

The Brazilian people learnt our history is very important for humanity, this root is our history. Capoeira of the past has been through many difficulties and has been able to maintain/survive the resistance of the Brazilian people. Today there are still those who resist, but they have come to accept it.

6.How do you see the mixture of other martial art movements within capoeira. Did Mestre Bimba incorporate other martial arts within Capoeira?

I need to clear this up well for you.It is important to remember that in that era Mestre Bimba went to the ring to fight against many fighters and of course he used some movements from martial arts that arrived here in Bahia, but in the Roda of Capoeira he utilized the Basic course of Capoeira Regional: The movements, and teaching of the sequences did not have a direct mix.

7. What is your suggestion to improve the Capoeira of today, in respect to its growth?

I think it is neccassary that every Capoeirista needs humility, humanity, and respect for others.

9. What is the difference between the Philosophy of Capoeira Angola and Regional?

This question is very complicated and has various significances, thus to me the similarity of these philosophies lies in the recognition of our art and of our culture, within these two different styles.

10. Why don’t the Angoleiros play Capoeira Regional?

Don’t forget that not all Masters think like this, one example is Mestre Geni, who was also a scholar of Capoeira Angola, but some of the personal choices of the mestres of that era will insist in saying “I am an angoleiro and will die an Angoleiro” and those of Regional that say “I am Regional and will die Regional”.

11. Is their much difference between the Capoeira of Mestre Bimba and the Capoeira that you teach today?

It is important to note that to play Capoeira of Mestre Bimba we need to put all of his disciples/students, together at the same time. There are two different phases. In my time as a student of Mestre Vermelho 27 their existed a diffence. Capoeira Regional is dynamic in my understanding, today we are always discovering new movements and clearly preserving the teachings of the sequences, rhythms of the Berimbau, etc.

12. Do you believe in evolving Capoeira or in its traditions?

I once read from Mestre Bimba where he stated to his students that to create and evolve more teachings of sequences…Thus this is respecting the traditions to discover new forms and movements in Capoeira. This shows that he had a very open mind.

13. What is the fundamental mentality a student must have to be a Capoeirista?

1)Respect for your Mestre.2)Do not get involved in Capoeira politics3)Train, Train, Train.

14) What is the fundamental Mentality that a capoeirista needs to become a good teacher?

a)Respect your Master (Discipline).b)Always train.c)to stand up to your challengersd) To be Humble.e)never think that you know it all so that it stops you from training it.f)See, listen, and be quite.g)Be a good example to your studentsh) Always communicate with your Master.

15.What is your opinion about Mestres that teach Angola and Regional?

The styles are different and here in Bahia there are many problems.I, Mestre Bamba, never had a Mestre of Capoeira Angola, but I am capable of playing Capoeira Angola with anyone. I learnt watching the Best Mestres of Capoeira Angola playing between themselves, for example: João Grande, João Pequeno, Curió, Boca Rica, Moraes, Nô, Cobrinha Mansa, Mestre Gildo Alfinete among many others.

16. What is the significance of the São Salomão emblem?

The significance is for protection and it is used like an amulet of luck.

17. What type of philosophy does capoeira have, because I have always thought that capoeira was born out of the freedom of a people, thus this Capoeira can be free. But isn’t this dangerous for the reason that this freedom could be used to destroy its ability to be free?

I do not believe this, the validity of our brazilian culture is a slow and waiting process and each Master or Teacher knows very well these processes. This shows that Capoeira was not only born for the longing of the freedom of a people, but it is also, today, a part of the roots of the Brazilian culture which raises international levels of interests.

18. How does the process of selection of Cordãos work?

We consider our Graduation system for the students after a certain amount of time of capoeira and awareness; with this I can differentiate the different levels. For our security, we have certain knowledge tests with Teachers and Graduated students, and from this we decide which is the correct graduation for the student. We put into careful consideration the class attendance, responsibility, faith to the group, respect for their colleagues, respect for hierarchy, conduct, amongst the interest of professional growth. Because capoeira is growing in this sense.

19. How do you know that capoeira creates good spiritual, philosophical and physical harmony?

Before everything capoeira is also a sport, move the body, and the mind is not going to remain without thinking. You are always sync with yourself, your body overcomes its limits, builds resistance, and correct practice, it continually brings an innumerable amount of benefits.Mestre Bamba