CAPOEIRA GUERREIROS

CORDEL VERDE AMARELO STUDENT BOOK

AFRO BRAZILIAN CULTURAL CENTER OF NJ554 BLOOMFIELD AVEBLOOMFIELD NJ 07003

973-744-4934WWW.ABCCNJ.COM

A EVOLUÇÃO DE CAPOEIRA

CAPOEIRA from the Tupi (a Brazilian Indian language) CAA-APUAM-ERA, translated as "underbrush that has been cut." - José de Alencar – 1865

CAPOEIRA is also associated with the common name of a bird (Odontophorus Capueira), also known as URU or URU-OF-THE-NORTHEAST. It is a bird that lives on the ground, very similar to a pheasant

CAPOEIRAGEM refers to the game or its practitioners.

One theory says that the slaves, during their free hours would get together in an area of underbrush that had been cut, where they would practice their dances, relics of a free past in Africa.

A second theory says that the Africans, both slaves and free, would bring cages of birds to be sold at the ports and markets, and until the markets opened they would amuse themselves by playing Capoeira.“There are so many stories about the beginning of capoeira that no one knows what is true and what is not.” “Well, there is one thing that no one doubts: it was the Africans from Angola who taught us capoeira. It’s possible that it used to be very different from the capoeira of today. They tell me that there are written records proving this. I believe it. Everything changes. But that which we call Capoeira de Angola, that which I learned, I didn’t allow it to change here in my Academy. This capoeira is at least 78 years old. And it will live past 100, because my students pull for me. Their eyes are now mine. They know that they must continue. They know that this art is good for self-defense.” “Leave from the Academy here knowing everything. Knowing that the martial art is very cunning and full of cleverness, that we have to be calm. Capoeira is not an attacking martial art, it waits. The good capoeirista is obligated to cry at the foot of his attacker. He is crying, but his eyes and spirit are active. Capoeiristas don’t like hugs or handshakes; it’s always better to distrust polite gestures. Capoeiristas don’t turn a corner with their body open and unprotected. You have to take two or three steps to the right or the left to observe your enemy. Don’t enter through the door of a house where the hallway is dark. Either have some way to light up the darkness or don’t go in. If you are in the street and you see that you are being watched, disguise it, turn around quickly and look at the guy again. Well, if he’s still looking, he is an enemy and the capoeirista prepares himself for whatever comes.”Mestre Pastinha - It’s a fight, it’s a dance, it’s Capoeira by Roberto Freire in Revista Liberdade - February 1967.

The modern capoeirista, like the capoeirista of the old days, is unemployed. With his abilities and dispositions, he does the same thing as the fencers of the seventeenth century. He puts his acrobatic talents at the service of magnates, of politicians, and especially of owners of gambling houses, from the elegant clubs to the sordid establishments, from the cabarets to the ranchos. When guarding one of these lairs he is a lion, a domestic lion. He risks his life carelessly and it ends, invariably, in an explosion of tragedy. "Either I'll go up or go down," he says, referring to going to prison (going up) or dying (going down).

The capoeirista supersedes his rivals in the various styles of quickness and physical skill. He is a talented acrobat. He jumps, he turns his body totally inside out to avoid falling, and gives a headbutt. And he does this quickly, calmly, and subtly, without being ostentatious. Two, three, four of his blows – which come continuously and simultaneously – embarrass, confuse, dizzy, and dominate his adversary.

He is a loyal enemy, never attacking when your back is turned. He is a brave guy. Also nicknamed capadócio (bum, tough guy) and malandro (street-smart guy, unsavory character), the capoeirista, as evidenced by the name, comes from the capoeiras of the colonial age. And it is not just the idle vagabonds, the runaway kids, the escaped slaves who are capoeiristas – it is also journalists, deputies, engineers, and generals.Criminal Magazine" in 1929 by Paulo Várzea

This booklet has been developed to continue to assist the student in Capoeira. It continues to explain of the philosophy and theory of Capoeira. This booklet is meant to be a guide to the student as they continue his or her Capoeira career.

Cordel Verde Amarelo Student Goals

With this cord the student will play at least five toques on the Berimbau (Banguela & São Bento Grande de Regional) and will sing in the Capoeira roda. Train the Seqüência da Ensenio Capoeira Regional with the Cintura Desprezada. The basic floreio and desequilibrantes movements are developed. Learn the dances of Capoeira and be able to participate in them. For the next cord the student will play at least seven toques on the Berimbau (Jogo de Dentro & Cavalaria) and will lead the Capoeira roda. The basic floreio and desequilibrantes movements are perfected. The student will be able to teach Children’s Capoeira Lessons under supervision.

-To continue to develop the students game of Capoeira.

- To continue developing the skills to play the Berimbau.-To train the Seqüência da Ensenio Capoeira Regional with traumatizing and unbalancing (desequilibrantes) blows.

-To train the Cintura Desprezada.

-To execute Seqüências with floreios.

-To train the Seqüências e Passagems de Capoeira Angola with Chamadas.

-To train the fundamentals of all styles of Capoeira.

-To continue to develop musicality.

-To know the history of Maculêlê and play the toque on the Atabaque.

-To know the History of Samba de Roda.

This Manual and the material it contains is the creation and express property of The Afro Brazilian Cultural Center of New Jersey. Any reproduction of the

material contained without written permission is prohibited.

© 2019 All Rights Reserved

INDEX

1 - What is Capoeira2 - Seqüência e Passagem 1 de Capoeira Angola with Chamada3 - Seqüência e Passagem 2 de Capoeira Angola with Chamada4 - Seqüência e Passagem 3 de Capoeira Angola with Chamada5 - Seqüência e Passagem 4 de Capoeira Angola with Chamada6 - Seqüência e Passagem 5 de Capoeira Angola with Chamada7 - Seqüência e Passagem 6 de Capoeira Angola with Chamada8 - Seqüência e Passagem 7 de Capoeira Angola with Chamada

9 - Music of Capoeira12 – Instrument Tips

14 - Capoeira Traditions & Etiquette14 - Brazilian Penal Code of 1890

15 - First Documented Record of Capoeira in 178916 - Mestre Bimba’s Nine Commandments

17 - Capoeira in "Criminal Magazine"

CAPOEIRA

“When I was ten years old – I was skinny and weak – another boy who was bigger than me became my rival. All I had to do was go out on the street – to go to the store, for example – and we would get caught up in a fight. I just know that I always got beaten up by him. So I would cry in secret from shame and sadness.” “One day, an old African watched our fight from the window of his house. ‘Come here, my son,’ he told me, seeing that I cried from rage after getting beaten up. ‘You can’t beat him, you know, because he’s bigger and older. In your spare time, come to my house and I will teach you something of great value.’ This is what he told me, and I went.” “He would always say: ‘Don’t provoke, boy, make him aware of what you know very slowly.’ The last time the kid attacked me, I made him aware of the only blow that I could do. And he stopped being my rival, and even became my friend from admiration and respect.” “When I was 12 years old, I went to Sailors’ School. There, I taught capoeira to my peers. Everyone called me 110. I left the Navy when I was 20 years old. It was a hard life. Because I was young and poor, I sometimes had the Police after me for street fights and whatnot. When they tried to catch me, I would remember Mestre Benedito and defend myself. They knew that I played capoeira, so they wanted to humiliate me in public. So there were times when I beat up rude policemen, but it was to defend my body and my morale. In that era, from 1910 to 1920, the game was free.” “I started to work at a gambling house. To maintain order. But even though I was a capoeirista, I was never without a 12-inch, double-bladed knife. Professional capoeira players in those days were always armed. Whoever was among them without any weapons was a damned fool. I saw a lot of commotion, some blood, but I don’t like to tell about fights that I was involved in. Anyway, I only worked when I couldn’t earn a living from my art. Besides the gambling house, I worked as a shoe shiner, I sold newspapers, I was a gold prospector, I helped build the port of Salvador. All temporary jobs; I always wanted to live from my art. My art was being a painter.”Mestre Pastinha

For me, capoeira is health, it is a “sport for real men,” as the expression goes! You have to have courage, behave yourself, accept a challenge. It’s not just hitting, like the capoeiristas do today… we have an iron strength; there are people who say it’s just a dance, but for me it is the dance of death. Capoeira kills while smiling; within a greeting comes an attack, dude!!! Capoeira is everything in my life. If it wasn’t for capoeira, I would not have lived to the age I am now. You have to be dedicated in order to learn everything in capoeira, from the instruments to the game. You also have to know how to teach. There is much to learn. It’s not just banging away on the instruments either, there is much to learn. Comparing the capoeira of the old days with the insolent capoeira of today… hmm! Today it’s all slow… let’s put a bit more wood in the fire, shall we? This is why no one respects capoeira angola. Capoeira angola should be low and high, a lively game. And there’s more – they’re making up all this stuff about how capoeira belongs to the world, it belongs to the world and has no owner – just wanting to make money from naïve people. In the old days, the rhythm was lively, the notes were perfectly clear. Today it’s a shame, it’s impossible to understand.Mestre Ananias

I have always been an angoleiro. I don’t even discuss regional because I don’t know it and don’t understand it. If I don’t understand it, I don’t have to pretend that I do! There were always rogues with straight razors. Capoeira has always had troublemakers, but one thing used to exist and seems not to exist anymore: respect. Now there are 20-year-old kids who, just because they can do a bunch of flips, challenge the mestre and asks for a fight! Capoeira was never played with straight razors. Put a razor between your toes to play? That’s a lie. It’s just done during exhibitions, for show! It had razors, but they were in the capoeirista’s pockets. That story about putting it between your toes to cut people is a lie. There are skilled guys around here who, if you grab a knife to attack him and you’re not real tough, the guy will take the knife and beat you up. Imagine putting a razor between your toes to go around cutting people! That’s a fantasy to deceive stupid children!Mestre José Paulo dos Anjos

Seqüência 1

Aluno A

Meia Lua de FrenteMeia Lua de FrenteQueda de Negativa

Rolê

Aluno B

Negaça (Guarda Baixa)Negaça (Guarda Baixa)

Ponteira

PASSAGEM

Aluno A

Chama

Aluno B

Saída de Aú

Seqüência 2

PASSAGEM

Aluno A

ChamaJoelhada

Saída de Aú

Aluno B

Queda de Negativa

Aluno A

Meia Lua de FrenteMeia Lua de Frente Chibatada (Martelo) Queda de Negativa

Rabo de Arraia

Aluno B

Negaça (Esquiva) Negaça

Negaça (Guarda Alta)Chapa Solta ( Bênção)

Seqüência 3

Aluno A

Meia Lua de FrenteMeia Lua de Frente

Joelhada

Rolê

Aluno B

Negaça (Guarda Média)Negaça (Guarda Média)

CabeçadaQueda de NegativaBanda (Vingativa)

PASSAGEM

Aluno A

Chama

Aluno B

Saída de Aú

Seqüência 4

Aluno A

Meia Lua de FrenteMeia Lua de Frente

Rabo-de-ArraiaQueda de Negativa

Tesoura

Aluno B

NegaçaNegaça

Chapa de Frente (Queda de Três)

Queda de NegativaBoca de Calça

Aú

PASSAGEM

Volta Ao Mundo

Aluno A

ChamaMeia Lua de Costas (Armada)

Saída de Aú

Aluno B

Queda de Negativa

Seqüência 5

Aluno A

Meia Lua de FrenteMeia Lua de FrenteQueda de Negativa

Chibatada

Aluno B

NegaçaNegaça

Chapa de Lado

PASSAGEM

Sapinho

Aluno A

ChamaChapa SoltaSaida de Aú

Aluno B

Queda de Negativa

Seqüência 6

Aluno A

Meia Lua de FrenteMeia Lua de FrenteQueda de NegativaChapa de Costas

Aluno B

NegaçaNegaça

Chapa GiratóriaCabeçada

PASSAGEM

Aluno A

ChamaRabo-de-Arraia

Saida de Aú

Aluno B

Queda de Negativa

Seqüência 7

Aluno A

Meia Lua de FrenteMeia Lua de FrenteMeia Lua de CostasQueda de Negativa

Rasteira

Aluno B

NegaçaNegaçaNegaça Ponteira

PASSAGEM

Aluno A

Chama (low hands)Saida de Aú

Aluno B

Saida de Aú

MUSICSongs

LadainhaIt is the opening song sung by the Mestre at the beginning of each Capoeira Angola roda. It is traditionally sung to the Toque Angola. During the Ladainha there is no game being played. Two Capoeirstas wait at the Pe do Berimbau (foot of the Berimbau). The Ladainha ends with the Saudação, or Canta de Entrada. The game starts when the first verses of the Chula or Corrido are sung.

QuadraThis style of song was used by Mestre Bimba in Capoeira Regional. It is a short song with four to eight verses about a theme. It ends with the Saudação. It may be used to start the roda, during normal class training or during a game.

Corrido or ChulaA short song with a chorus. Chula is normally very short with a simple call and response. A Corrido may be longer with more complex verse and response.

MarteloA type of music sung with ten syllables with six to ten lines

Toques

AngolaIt is the base toque of Capoeira Angola. It can be played slow or fast. It is appropriate for a controlled game, usually low to the ground, dangerous, malicious, expressive, theatrical and most importantly spontaneous. It is used to accompany the ladainha, the chula and the songs of Capoeira Angola. In this rhythm, there is no hand clap. São Bento PequenoAnother Toque of Capoeira Angola. It is used for a "jogo de dentro", nimble, a game of technical exhibition.

São Bento Grande de AngolaIt is the fastest toque of Capoeira Angola. The toque of São Bento Grande de Angola is used for a faster and decisive Angola game, less near to the ground than Angola, with occasionally some floreios.

São Bento Grande de RegionalIt is the base toque of Capoeira Regional. It was created by Mestre Bimba. This game is very fast, virile and agile. It is an attack-response game, vigorous and decisive in which the blows are strong and explosive.It allows line kicks and "traumatizing" blows, which makes it the most effective style game in combat.The São Bento Grande de Regional is the toque played when the rhythm speeds up and when the game becomes agressive. It is also used in public demonstrations, street rodas, events.... and is ideal for dynamic songs.

BanguelaThe name Banguela derives from the name of a province in western Angola. This toque was created by Mestre Bimba. At that time, the game associated with this rhythm had not been developed yet, but Bimba defined it as a jogo de dentro, a close game of self-defense against knife attacks. The main concept of Banguela is to "transform" movements so one can get out of attacks in a fluid way. That is why it is the most technical game style of Capoeira Regional, one of the most difficult to play. In Banguela, "aggressive" hits (with shock) are prohibited (like martelo, ponteira). Theoretically, no kick should be done higher than the waist, the game and body are very closed and suspicious, and one does the ginga as little as possible.

IúnaThis toque of Capoeira Regional created by Mestre Bimba, inspired by the bird's singing which has the same name, "Iúna". It is a game which is characterized mainly by its aesthetic and acrobatic components but not forgetting the game. The movements must be wide, supple, less cautious, CONTROLLED (it is not the rhythm in which one tests movements that one does not control), and the game requires a perfect coordination of the movements, which is only acquired after many years of practice. This is why it is reserved only for graduated students. During the Iuna game with formados it is obligatory to do at least one Balão from the Cintura Desprezada.In Bimba’s school only the most advanced students could play to this toque. It is generally used in ceremonies or at the end of rodas. In this rhythm, one does not sing.

AmazonasIt is a toque of Capoeira regional created by Mestre Bimba, but the corresponding game by Mestre Camisa. The toque of Amazonas characterizes a game in which the animals movements are imitated. There are certain basic animals and movements (caranguejo, cachorro, escorpião, macaco, sapo, crocodilo, beija-flor, elefante, canguru, grilo, cobra, coelho, aranha, caracol...) but one does not limit oneself with that, and the creativity of the players can give rise to new tricks, as long as the expression of the animal imitated is there.On the game level, there is no ginga; the "speed" is the same one as for the Banguela, the kicks used too. But there is a great difference. Contrary to the Banguela in which one closes the body when the adversary tries to penetrate, here the play must be open.It is a coordinated game, where the partners must pass one below the other, on the top, by the sides; between the legs, the arms while moving like an animal.One does not sing nor does not clap in the hands during this rhythm.

Cavalaria/AvisoIt is the alarm toque. At the time of slavery, this toque was used to inform the capoeirists of the arrival of the master and, during the Republic (when capoeira was prohibited), the capoeiristas used the "cavalaria" to prevent the arrival of the mounted police, the cavalry.When they heard this toque during their fighting training, they dispersed or transformed their game by dancing, making floreios, to make them believe that it was just an entertainment.In certain groups, one now uses this toque to inform the danger in the game, the violence and the discord to be avoided.

Santa Maria (de Regional) (Dobrados of "Apanha Laranja”)This toque was created by Mestre Bimba, who called it "Hino da Capoeira Regional" (Anthem of Capoeira Regional), and had not attributed a way to play it. Today it is played at the start and end of events and roda as a commemoration.

Apanha Laranja This toque is associated with a game which was common to the festivals of Santa Barbara, where a tournament was organized to catch a prize placed at the center of the roda with only the teeth. Initially the money was placed directly on the floor, then for hygienic reasons, it was placed in a white cloth.Currently, it is played by putting an object sometimes a caxixí in the middle of the roda, which one must catch with the teeth. The one who picks up it wins. The adversary must prevent him by blocking him, without moving the object, which makes of it a rather technical game. The toque has also been called "Santa Maria", like the forgotten toque of "Santa Maria" of Capoeira Angola. Normally, one does not sing in this rhythm, but at times the song "Apanha Laranja no chão, tico-tico", or “Samta Maria Mae de Deus” are used to accompany the game.

Santa Maria (de Angola)The toque of Santa Maria of Angola is a toque corresponding with a game which was played with knives or machetes.

IdalinaA toque created by Mestre Bimba, who did not define the game principles. Now one associates it to a game formerly practised for mortal confrontations, with razors or knives, at the foot or the hand. The Maltas who clashed generally put a silk scarf around the neck in case a blade would come to attack there, so that it remains wedged.

Samba de Roda This toque used for the Samba de Roda is generally played after the roda to rest and relax the mood. It is to this rhythm that the capoeirista shows his talent to dance samba using flowing movements of the hip and attentive glances towards his/her partner.In Samba de Roda, one dances in pairs or in group and, in Samba Duro, it is allowed to make playful contact while dancing with bandas and vingativas.

LamentoIt is a funeral toque, used in case of death of a close relation, for the funeral...At the Mestre Bimba academy and in other ones, one started the roda with the toque of Lamento.One does not play during this rhythm.

Jogo de DentroThe toque Jogo de Dentro is a toque of Capoeira Angola. The name of the rhythm, “Inside Game” tells you how to play. It calls for a close game with your partner.

MiudinhoThe toque Miudinho was created by Mestre Suassuna. It is a variation of "Jogo de Dentro". It calls for a game combining the elements of Angola and Regional. It is fast, close, low to the ground at times and acrobatic at others. There is little contact as the game is played in a small space and challenges the players to create dynamic ways to escape the attacks.

Instrument Tips

• At the beginning of the roda, there is an order for the instruments to start playing. The berimbau(s) always start first; the person leading the roda (often playing the gunga) starts first and sets the toque, and then the other berimbaus begin. Then pandeiros, agogô, reco-reco and finally the atabaque. In Angola rodas the Atabaque does not play during the ladainha; it enters during the chula/louvação.• In Angola rodas, instruments are only switched at the beginning/end of games, never in the middle. • If you’re playing an instrument and you want to hand it off, catch the eye of one of the people in the roda, and hold the instrument up to offer it.• Try to switch only one instrument at a time; it gets chaotic and the music dies down if three people are exchanging instruments simultaneously.• Just as you would watch out for your fellow players tiring in the roda, keep track of the bateria and know who’s been playing for a long time. That way, you can offer to take instruments from someone who needs a break as opposed to someone who just started. This is also simple consideration; it can be extremely tiring to get “stuck” on an instrument forever when no one else is offering to play it.

Berimbau• There are several ways to string a berimbau. It’s easiest to get someone to show you the first time. Don’t be discouraged if you have a hard time with it; it takes strength and practice!• The cabaça should not be much higher than one hand-span above the bottom of the berimbau. Squeeze the wire while you slide the cabaça on.• Unstring the berimbau whenever you’re not using it• Hit the arame above the dobrão for the high tone and buzz tone, below the dobrão for the low tone, and keep the cabaça pressed against your body for the buzz tone.• RELAX your shoulders and your hand while playing! It will help you get a better, louder sound.• Don’t hit and then pull the baqueta away; relax your hand and let the baqueta bounce off the arame naturally.• Try to make your tones “clean”; each note should be distinct. • In Angola rodas, each berimbau has a specific role. The Gunga/Berra Boi sets the main toque: Angola The Médio/Viola will play São Bento Pequeno and the Viola/Violinha will play São Bento Grande with dobrados

Pandeiro• Start with the simple rhythm – rim-center-rim-(rest) – and work up in complexity.• The hit in the center of the pandeiro should sound different from the rim hit. The center hit should be slightly muted; leave your hand on the surface a little bit longer instead of letting it bounce off immediately.

Atabaque• Relax your hands in order to get the best sound out of the instrument.• There are three basic notes. A tone note when you hit the rim with a cupped hand allowing only your fingers to strike the skin. A slap note in the center of the skin with a slightly cupped hand that flattens as you hit. And a Bass note that hits the center of the skin with a flat hand and is allowed to bounce back from the skin.

Agogô• The sound of a metal agogô is high and sharp enough to be heard over all the other instruments, so stay on beat! • The three count beat can be played, little-big-little, or big-little-big.

Reco-reco• The reco-reco is a pretty simple instrument and a good one to start out with if the idea of playing instruments intimidates you. The rhythm is the simple 1-2-3-(rest).• Do not make all three scrapes in the same direction. Scrape away from the body on 1, towards on 2, and away on 3.

Traditions & Etiquette

If you arrive late to class. Wait at the side of the room to be acknowledged by the teacher. Say "salve" when entering the floor.Line up in size order and cordel order when saying the saudação.Train in class with cordels in front of the room and going first for drills.The person playing the Berimbau (and singing) is the one in control of the roda. You must sing and clap with energy in the roda You must learn how to play instruments in order to advance to the next cord.Never put down an instrument while the roda is in progress. It must be passed to another person.Always be aware in the roda and maintain the shape of the roda Always Squat at the Pe do Berimbau (foot of the Berimbau) before entering the roda, and ask permission from the leader to enter the roda Shake hands whenever possible after a game with the other capoeiristaNever buy out a teacher, buy the game with them to allow them to play until they stop.Questions can be asked at any time during class or after the roda and there should be no talking to other students during the rodaYou should wear a clean uniform to class (abada, corda, and group t-shirt) This is a requirement for events and workshops.

CAPOEIRA IN THE BRAZILIAN PENAL CODE OF 1890

Penal Code of the Republic of the United States of Brazil(Decree number 847, from October 11th of 1890)

Chapter XII – On Vagrants and Capoeiristas

Article 402. To do in the streets and public squares exercises of agility and corporeal skill known by the denomination Capoeiragem; to walk in rows, with weapons or instruments capable of producing bodily injury, provoking trouble or disorder, threatening people, or incurring fear of something bad

happening.

Penalty: Prison from 2 (two) to 6 (six) months. The penalty is that of article 96.

Special case. It is considered an aggravating circumstance for the Capoeirista to belong to a band or gang. For bosses or heads of such gangs, the penalty is doubled.

Article 403. In the case of a repeat incident, the penalty of article 400 will be applied in the maximum degree to the Capoeirista.

Special case. If the Capoeirista is a foreigner, he will be deported after completing the penalty.

Article 404. If in these exercises of Capoeiragem someone commits a homicide, causes a bodily injury, offends public and private decency, disturbs the public order, tranquility or safety, or is found with

weapons, he will incur cumulatively the penalties commanded for such crimes.

First Documented Record of Capoeira in 1789

This is the first written evidence of capoeira that exists. It was discovered by the historian Nireu Cavalcanti in a judicial archive in Rio de Janeiro. It was republished in the newspaper Jornal do Brasil in 1999.

The capoeira

Adam, the mulatto boy that master Manoel Cardoso Fontes had bought a young lad, grew into a robust, hard-working and very obedient slave in household duties. Manoel decided to rent him out as a mason assistant, a porter, or for any other hard labor. So Adam turned out to be a major source of income for his master. With time, the shy slave who used to be fairly domesticated became more off-handed and independent and began to come back late, much later than the end of his working hours. Manoel asked repeatedly what was it that made Adam change so much -- but his answers were weak and inconsistent. Until one day, fulfilling Manoel's fears, Adam did not come home at all. He had certainly fled to one of the villages (quilombos) around the town. To his surprise, Manoel found Adam behind the bars of the regional jail. He had been arrested with a gang of ruffians who practiced capoeira. A quarrel had broken out that day and one of them got killed in the action. These were extremely grave crimes under the laws of the time: practicing capoeira, and what's more, causing a death. The trial found Adam not guilty of the homicide, but confirmed his guilt on the charge of capoeira, and condemned him to 500 lashes and two years hard labor in public service. After Adam had suffered the lashes in public and labored some months in the public works, his master sent the king a plea in the name of the Passion of Christ, asking that his slave be released from the rest of his term, on the grounds that himself was a poor man and depended on the income that his slave brought him. He promised to take care that Adam would not join the capoeiras again. His plea was granted by the Regional Judge on April 25, 1789.

MESTRE BIMBA’S NINE COMMANDMENTS

1. Stop smoking. Smoking is prohibited during training.

2. Stop drinking. The consuming of alcohol impairs muscle control and jeopardizes the muscles metabolism.

3. Never show your progresses to friends outside the roda. Don't forget that surprise is the best way to win a fight.

4. Don't talk during the training. You are paying for the time to learn in the academy. Instead of talking observe others and you will learn more.

5. Always do the Ginga.

6. The fundamental exercises are to be practice daily.

7. Don't be afraid to get close to your opponent. The closer you get the more you will learn.

8. Keep your body relaxed.

9. It is better to get hit in the roda at the academy then in the roda out on the streets.

The academy of Mestre Bimba, due to the necessity of its time, not only intended to teach students how to fight but also how to survive

1929 - Capoeira in "Criminal Magazine"Paulo Várzea, September 2007

Madrid has the chulo, Buenos Aires the compadron, Lisboa the fadista, and Rio de Janeiro the capoeirista. The capoeirista supersedes his rivals in the various styles of quickness and physical skill. He is a talented acrobat. He jumps, he turns his body totally inside out to avoid falling, and gives a headbutt. And he does this quickly, calmly, and subtly, without being ostentatious. Two, three, four of his blows – which come continuously and simultaneously – embarrass, confuse, dizzy, and dominate his adversary.

He is a loyal enemy, never attacking when your back is turned. He is a brave guy. Also nicknamed capadócio (bum, tough guy) and malandro (street-smart guy, unsavory character), the capoeirista, as evidenced by the name, comes from the capoeiras of the colonial age. And it is not just the idle vagabonds, the runaway kids, the escaped slaves who are capoeiristas – it is also journalists, deputies, engineers, and generals. The famous capoeira played in the early morning hours in Rio at the old Café Londres involves scholars and military men.

In Rio de Janeiro of the old days, capoeira was an organization appropriately divided into teams: the guyamús, the nagôas, flor da gente, fransiscanos, luzitanos, conceição da marinha, conceição da glória, bocas-rasgadas, natividades, monduros, caxinguelês, etc. (All names of capoeira "gangs" in Rio around the turn of the 20th century).

These teams clashed daily in the streets in terrible conflicts, and because they were a serious threat to public security, they were energetically persecuted by a capoeirista himself: Dr. Sampaio Ferraz, the ex-chief of police. With their numbers lessened, today capoeiristas are rare and are no longer identified by their groups, but instead individually, by their own names.

A capoeirista's birthplace, neighborhood, women, physical and/or moral characteristics all influence the name and fame of the modern malandro: "Cardosinho da Saúde" - Cardosinho from Saúde (a neighborhood), "Hespanholito" - Little Spaniard, "Canella de Vidro" - Glass Shin, "Galleguinho" - From Galicia (in Spain), "Cabelereira" - Hairstylist, "Mulatinho do Catete" - Mulatto from Catete (a neighborhood), "Camisa Pretas" - Black Shirt, "Treme-Treme" -Shake-Shake, "Carvoeiro" - Coal-Seller, "Cabo-Verde" - Cape Verde, "Bonitinho do Castello" - Pretty Boy from Castello (a neighborhood), and "Paulo da Zazá."

The modern capoeirista, like the capoeirista of the old days, is unemployed. With his abilities and dispositions, he does the same thing as the fencers of the seventeenth century. He puts his acrobatic talents at the service of magnates, of politicians, and especially of owners of gambling houses, from the elegant clubs to the sordid establishments, from the cabarets to the ranchos. When guarding one of these lairs he is a lion, a domestic lion. He risks his life carelessly and it ends, invariably, in an explosion of tragedy. "Either I'll go up or go down," he says, referring to going to prison (going up) or dying (going down).The real malandros are hungry for fame. They consider the job of guarding a gambling house a matter of life and death. They don't want to damage their reputation or lose face. We erroneously labeled the malandro as a

bandit. However, he is not so low. You have to get to know him to see how he is nice, polite, and generous as an enemy, he is cruel; but when he goes to visit you he brings news and presents: cigars, tobacco, and newspaper, having taken the precaution of tricking the guard.

But with the same hand that he offers these generosities, he will kill a man. And, with the same ease, he plays the guitar, the cavaquinho, the berimbau. These little tunes that we sometimes hear sung in the sleeping and deserted streets are composed by him, as a poet