AN INTRODUCTION

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Table Of Contents Warm up in Capoiera The Ginga The 8 sequences of Mestre Bimba Sequência 1 Sequência 2 Sequência 3 Sequência 4 Sequência 5 Sequência 6 Sequência 7 Sequência 8 Cintura Desprezada Apanhada Balao de Lado Balao Cinturado Gravata Alto The Berimbau Parts of the Berimbau Tones of the Berimbau Types of berimbaus Rhythms of the berimbau Page 1 Page 2 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 11 Page 11 Page 12 Page 12 Page 13 Page 13 Page 13 Page 14 Page 14

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Warm Up in Capoiera
Written by Instructor Bruxa

Warming up properly is one of the key things you can do to prevent injuries. Taking some simple precautions can help reduce the risk of injury and keep you training towards 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 set your mind and thoughts in what you are about to start, in this case: TRAINING and they will increase blood flow to your muscles. 1. Remember to always move slowly and smoothly. Using quick, jerky movements increases your chances of injury and doesn’t stretch you as effectively. 2. Always try to relax. Tensing up while stretching eliminates the effectiveness of the stretch. 3. Hold the stretched position for at least 30 seconds at a time 4. Increase the number of repetitions as you progress 5. 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 capoeira moves 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 doesn’t 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.

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The Ginga

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The 8 sequences of Mestre Bimba Remember: "Liso" in white pant, "Riscado" in striped pant. Note: All 8 Sequências should be executed to Toques with a fast rhythm (e.g. São Bento Grande de Regional). After having mastered a whole Sequência, 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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Sequência 1

"Liso" - Meia Lua de Frente (right), Meia Lua de Frente (left), Armada, Aú "Riscado" -Cocorinha, Cocorinha, Negativa Explanations: 1.) Two players play in Ginga, accompanying each other. "Liso" is the left one, "Riscado" is the guy on the right. 2.) "Liso" takes one step towards "Riscado" (left foot), and places himself in a position to be a "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 himself going 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 Ginga stance (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 to escape with an Aú. 10.) "Liso" attempts an Aú to the left. "Riscado" comes closer to "Liso" while leaving the Negativa and attempts a Cabeçada (Headbutt) at his Solar-Plexus.

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Sequência 2

"Liso" - 2 Martelos, Cocorinha, Bênção, Aú "Riscado" - 2 Bandas, Armada, Negativa, Cabeçada 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 pé. "Liso" starts his Martelo, but doesn't hit; "Riscado" already executed his Banda and could throw "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 Bênção. 7.) "Liso" executes the Bênção, but "Riscado" dives into Negativa, and tries to place his foot behind "Liso's" leg 8.) "Liso" finishes his Bênção, preparing to get away with Aú, while "Riscado" prepares for a Rolê, to attack with a Cabeçada. 9.) "Liso" got away with Aú. "Riscado" steps forward into a Cabeçada. "Liso's" only chance to escape would be an Aú com Rolê, which is not shown here.

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Sequência 3

"Liso" - Queixada. Queixada, Cocorinha, Bênção, Aú "Riscado" - Cocorinha, Cocorinha, Armada, Negativa, Rolê, Cabeçada Explanations: 1.) Both players are in Ginga. In the normal Sequence, "Liso's" foot would now go to the right. 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 little forward 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" stands up, 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 Bênção. "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 a Cabeçada.

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Sequência 4

"Liso" - Galopante, Negativa, Aú "Riscado" - Arrastão, Aú 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(Arrastão). 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 Aú. 5.) "Liso" uses Rolê and attacks with Cabeçada

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Sequência 5

Liso - Giro, Joelhada, Aú Riscado - Arpão de cabeça, Negativa, Cabeçada 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 a crouch, expecting an Armada... He attacks with Arpão de cabeça ("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 into Negativa without having finished the headbutt... 4.) "Liso" already prepared to get away with an Aú. "Riscado" would now have to do a Rolê in order to be able to attack "Liso" with a Cabeçada.

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Sequência 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 Lua de 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, the prepares a Meia Lua de Compasso to the left. 5.) "Riscado" executes his counsterstrike - "Liso" drops into Cocorinha.

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Sequência 7

"Liso" - Armada, Cocorinha, Bênção, Aú "Riscado" - Cocorinha, Armada, Negativa Explanations: 1.) Picture 1 shows both player already in action: Out of his Ginga, "Liso" steps forward with his 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 a good position to twist his body and to "shoot" an Armada to the right. "Liso" hasn't finished is kick yet. 3.) "Riscado" executes his counterstrike, while "Liso" finishes his movement and drops into Cocorinha. 4.) "Liso" gets up with a Bênção and "Riscado" drops down into Negativa. 5.) "Liso" attempts an Aú. "Riscado" leaves Negativa and comes closer for a Cabeçada. "Liso" moves away with Aú.

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Sequência 8

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

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Cintura Desprezada: A sequence of connected blows and balances introducing the throws of Capoeira, where the capoeirista projects his partner. The exercises have the objective of developing selfconfidence, sense of cooperation, responsibility, agility and skill. It requires the capoeiristas 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. Au Tesoura de costas Meia-lua de frente-backflip Apanhada

Aluno A- makes a bananeira from Au Aluno B- receiving the body from aluno A on the shoulders, stands up with one energy explosion 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 waist of 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 the knees 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 hands under the neck of pupil A on the front cite of his body, it projects the pupil for front over the 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 plays an 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 to begin 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 (cabaça) is attached near the bottom with strong twine. A thin stick (baqueta) is used to strike the wire to make sound, and a coin (dobrão) 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 cabaça, a thinner verga, and a more lax arame; it usually plays a base rhythm. 2. Médio: A medium-toned berimbau marked by a medium-sized cabaça, a thicker verga, and a tighter arame; it usually plays a harmonious rhythm with occasional flourishes 3. Viola: A high-toned berimbau marked by a small cabaça, thick verga, and a tight arame; 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 the Capoeira 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, or harmonious and expressive. Capoeira schools use different rhythms to train techniques that characterize the style of the corresponding games. One game might be used to train fast spinning kicks and dodges, while another might be used to train acrobatic movements.

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