Soul Capoeira » Regional

52 MOVEMENTS OF MESTRE BIMBA

chan — Mon, 21 Jan 2008 04:43:00 +0000

CAPOEIRA REGIONAL MOVEMENTS:

The capoeira regional movements are split into three categories:
basic, traumatic and take-downs.

BASIC:
1. AU
2. COCORINHA
3. GINGA
4. NEGATIVA
5. ROLE

TRAUMATIC:
6. ARMADA
7. ASFIXIANTE
8. BAU
9. BOCHECHO
10. CABECADA
11. CHIBATA
12. CHAPEU DE COURO
13. CALCANHEIRA
14. COTOVELADA
15. CHAVE
16. ESCORAO
17. ESPORAO
18. FORQUILHA
19. GALOPANTE
20. GODEME
21. JOELHADA
22. LEQUE
23. MARTELO
24. MORTAL
25. MEIA LUA DE COMPASSO
26. MEIA LUA DE FRENTE
27. PONTEIRA
28. PALMA
29. QUEIXADA
30. QUEDA DE RINS
31. SAPINHO
32. SUICIDIO
33. TELEFONE
34. VOO DE MORCEGO

TAKEDOWNS:
35. APANHADA
36. ARQUEADO
37. ARRASTAO
38. BAIANA
39. BALAO DE LADO
40. BALAO CINTURADO
41. BANDA DE COSTAS
42. BANDA TRACADA
43. BENCAO
44. CRUZ
45. CRUCIFIXO
46. CRUZILHA
47. DENTINHO
48. GRAVATA ALTA
49. GRAVATA BAIXA
50. RASTEIRA
51. TESOURA
52. VINGATIVA

Many of these movements over time have lost relevance or have lost their meaning. Many of the movements associated with these names have also been lost. But I am sure there are some mestres who still remember which movements are which.
Many of these movements were rarely used in the game of regional anyway. It was mainly the movements from the 8 sequences that were mainly used. Mestre Itapoan said once when teaching a workshop that if you have learnt the sequences properly and understand them, you will be able to apply the movements and method to any roda from any style around the world.

Capoeira Regional Rhythms- Santa Maria

chan — Sun, 20 Jan 2008 10:39:15 +0000

Santa Maria

This rhythm is the ‘hino’ de capoeira, the anthem of capoeira. In the associacao de capoeira mestre bimba, bahia brazil, we play this anthem before every class to pay homage to the mestres of the past, and of course mestre bimba. There are many variations that can be added, but it is generally played with a different timing than that of Apanha laranja no chao tico tico.

VERBAL ANNOTATION:
TICH TICH DOM DOM DOM DOM DOM TICH TICH DOM DOM DOM DOM DIM
TICH TICH DIM DIM DIM DIM DIM TICH TICH DIM DIM DIM DIM DOM

CAPOEIRA REGIONAL-A Basic Overview

chan — Mon, 31 Dec 2007 03:06:24 +0000

CAPOEIRA REGIONAL TRADICIONAL:TOQUES (BERIMBAU RHYTHMS): SÃO BENTO GRANDE (DE BIMBA/DO REGIONAL), IUNA, BANGUELA, CAVALARIA, SANTA MARIA, IDALINHA, AMAZONASTHE ORQUESTRA:1x BERIMBAU, 2x PANDEIROS, THE BERIMBAU IS USUALLY A MEDIO, AND IS EITHER WITHOUT PAINT OR WITH STAINER AND LACQUER.THEY ARE USUALLY SHORTER BERIMBAUS MEASURING AROUND 1.2 M TALL. THEY SET UP THE ORQUESTRA ALWAYS SITTING ON A BENCH, WITH THE BERIMBAU IN THE MIDDLE AND THE TWO PANDEIROS AT EITHER SIDE.Capoeira Regional traditionally began with 52 movements and 8 sequences. With these tools, it is within the timing and placement of each movement in the correct context which made the game of Capoeira, traditionally, Capoeira Regional. The São Bento Grande rhythm played on the berimbau with the orquestra set up with one berimbau and two pandeiros only, is a good indication of where a Capoeira game should be played within a Capoeira Regional context. The game will start with a quadra, which traditionally consists of four verses, with the first and third verse sung high in pitch, and the second and fourth in a lower pitch. The improviso is then sung which is usually a set string of call and response. The clapping also begins when the improviso begins. From there, the corridos/chulas will start and the players will receive the signal from the dono da roda to when they can start playing. The corridos traditionally consist of short call and response verses which are sensitive to the energy of the roda. Capoeira Regional’s main focus is in the timing and context of the movements. Where every single movement has purpose and intention.SOME OF THE FUNDAMENTALS CAPOEIRA REGIONAL:•NO ACROBATICS, NO KICKS THAT TAKE THE FEET OFF THE FLOOR.•MUST USE ONLY THE ORIGINAL 52 MOVEMENTS THAT MESTRE BIMBA PROMOTED AS CAPOEIRA REGIONAL.•USUALLY PLAYED CLOSE, NEVER REALLY PLAYING OUTSIDE OF STRIKING DISTANCE.•ALWAYS FOLLOWING THE RHYTHM OF THE BERIMBAU, WHICH WILL TRADITIONALLY BE PLAYING SÃO BENTO GRANDE DE BIMBA.•MUST SEEK A BALANCE IN YOUR GAME BETWEEN THE DIFFERENT HEIGHTS OF MOVEMENT AND ALSO THE TYPES OF MOVEMENTS.•MUST REGULARLY PRACTICE THE 8 SEQUENCES OF CAPOEIRA REGIONAL AS THEY ENCOMPASS CAPOEIRA REGIONAL’S NATURE.MUSIC:A QUADRA MUST BE SUNG FIRST, FOLLOWED BY A CHULA/IMPROVISO AND THEN CORRIDOS. THE QUADRA TRADITIONALLY IS SUNG WITH ONLY FOUR LINES, AND THE CHULA/IMPROVISO IS OFTEN A SET STRUCTURE OF CALL AND RESPONSE. THE CORRIDOS ARE SHORT CALL AND RESPONSE SONGS. USUALLY FEEDING OFF THE CONTEXT OF THE CAPOEIRA BEING PLAYED.

Capoeira Regional Rhythms- Iuna

chan — Mon, 31 Dec 2007 00:43:35 +0000

The berimbau Rhythm-Iuna
This Rhythm has been explained to me in many different ways by many teachers, and with various meanings.However, I am just going to say that in capoeira regional (in angola it is different), they use this for the jogo dos mestres e professores. They usually accompany this rhythm with The cintura desprezada, or some call it the balanca durada. Which is the advanced sequences mestre bimba taught.they usually just play it on one berimbau and no other instruments are played.

VERBAL ANNOTATION:
TICH DOM NNN DOM NNN DOM NNN DOM
TICH DOM NNN DOM NNN DOM DOM
TICH DOM NNN DOM NNN DOM NNN DOM DOM DOM DOM DOM NNN DOM NNN DOM
TICH DOM NNN DOM NNN DOM NNN DOM DOM DOM DOM DOM
TICH DOM NNN DOM NNN DOM NNN DOM DOM DOM DOM DOM NNN DOM NNN DOM

just remember the moving on and off of the gourd from the stomach is very important. It is crucial that you try and get the timing of this otherwise it will not sound the same.

Capoeira Regional Rhythms- Banguela

chan — Mon, 31 Dec 2007 00:38:40 +0000

The Berimbau Rhythm-Banguela

In capoeira Regional, they traditionally used this rhythm to slow down the capoeira game for practice purposes. This game was almost like a pseudo-capoeira angola game.

There are a few ways I have been shown how to play this rhythm, however the one on this video is what I was shown in the Academy of Mestre Bimba.

VERBAL ANNOTATION:
TICH DOM DIM SHAKE

Berimbau Regional Rhythms- Idalinha

chan — Mon, 31 Dec 2007 00:33:23 +0000

The berimbau Rhythm- Idalinha
I am sorry, but I have not heard any kind of explanation for this rhythm other than it was just a rhythm that people liked to play, it was not used for any kind of purpose or intention.

VERBAL ANNOTATION:
TICH TICH DOM DOM DIM DOM DOM TICH TICH DIM
TICH TICH DOM DOM DOM DIM DOM DIM DOM TICH TICH DIM

Berimbau Regional Rhythms- Amazonas

chan — Mon, 31 Dec 2007 00:29:31 +0000

The Berimbau rhythm of Amazonas some people say that bimba developed it from when he went to the amazon and heard it from the native indians. However, Mestre Bimba never went to the Amazon. The only other explanation I have heard is it was used as a sign of respect to mestres and professores. They would play it when a new master would enter the room to play.It is a difficult rhythm, but a worthwhile one.

VERBAL ANNOTATION:
TICH TICH TICH DOM TICH TICH TICH DIM
TICH TICH TICH DOM DOM DIM
TICH TICH TICH DOM TICH TICH DOM DIM
TICH TICH TICH DOM DOM DIM
TICH TICH TICH DOM TICH TICH DOM DIM
TICH TICH TICH DOM DOM DIM DIM DIM DIM DOM DOM DOM DOM DIM DOM DIM DOM DOM DIM

Berimbau Regional Rhythms- Cavalaria

chan — Mon, 31 Dec 2007 00:20:42 +0000

The Berimbau Rhythm of Cavalaria
This is one of the seven toques of Capoeira regional. The Rhythm of cavalaria was thought to be traditionally played to warn the capoeiristas that the cavalry were coming. This was because of the banning of capoeira practice, they would thus warn the capoeiras so they could escape persecution. However, this could be debated because the cavalry as such would have only existed in the 1800′s. The berimbau was only introduced into capoeira in the late 1800′s some even suggest the early 1900′s.

Some say that another rhythm called samongo, which is similar, used to be played to warn capoeiristas of police.
I remember doing a workshop with Mestre Itapoan, and he said that they used this rhythm when someone entered the academy it was used to advise the secretary to attend the door.The cavalaria used in Capoeira angola differs from this rhythm as well.

VERBAL ANNOTATION:
Tich Tich, Dom,
Tich Tich, Dom,
Tich Tich, Dom, Dim, Dom.

Berimbau Regional Rhythms- Sao Bento Grande

chan — Mon, 31 Dec 2007 00:06:04 +0000

Sao Bento Grande (Regional)

The Rhythm of Sao bento grande is usually played in most traditional Capoeira Regional Rodas. Many groups and people have either suppressed or misunderstood where and when to use this toque.

The game of regional has specific guidelines that over the years have been changed and manipulated to match with the current times. Because of this, the traditional regional game is uncommon to see. My mestre once said that if you wanted to see a true traditional capoeira regional roda, you would need to bring back all of the students teachers and masters from that era and have them all have a roda together. Which is, of course, impossible. The aim of the associacao is to help maintain and preserve some of the aspects of regional that were passed on from when it was created.

VERBAL ANNOTATION:
TICH TICH, DOM, TICH TICH, DIM, TICH TICH, DOM, DOM, DIM

Many groups that say they do capoeira regional, are really more of a contemporary based capoeira regional. They use the toque sao bento grande, but the sao bento that is used in angola. Tich, Tich, Dim, Dom Dom. Within traditional or semi-traditional regional rodas you will see them using the Sao bento grande de bimba, or da regional