Shaun Gladwell's Central

Here's about Shaun Gladwell's Central

The first things you notice when you enter Shaun Gladwell’s central Sydney studio are the dozens of brightly painted skateboards stacked against the wall and a tangle of mountain bikes—there were nine on the day he invited The Art Newspaper into his studio, shortly before his departure for Venice, where he will occupy the Australian Pavilion.

“Venice must be the worst place in the world for a skateboarder,” says Gladwell. “But I love it.”

He has no idea how many skateboards are in the stack—there must be more than 100 of them—although he quickly locates three particular boards kept in plastic to preserve their pristine condition, too precious ever to ride: one by Liam Gillick, who is set to occupy the German pavilion at the Venice Biennale this year, and two by Jeff Koons. “I like having the collection near me,” he says. “I just look at them and they collect dust.”

And the mountain bikes? “Yeah, I have a bike fetish too, I love them. But they have to be black, to have dual suspension, and to be made by a firm called Specialized.”

Skateboarding is central to Gladwell’s idea of himself as well as to his practice as an artist. It links the 37-year-old artist—in early mid-career, as Doug Hall, commissioner of the Australian Pavilion put it—with his teenage years in a Sydney urban subculture, that links in turn with urban cultures from Tokyo to London, New York to Seoul. Skateboarding also provided him with the two defining video pieces he made in 2000, which still inform his work: Double Line Walk, in which he uses a handicam to video the tip of his board as he skates around Sydney—Gladwell’s take on Paul Klee’s dictum that drawing is “taking a line for a walk”—and Storm Sequence, in which he performs freestyle tricks on a board while a storm rolls in from the ocean behind him on Bondi Beach. Storm Sequence has become an important Australian work of art, and drew accolades at the 2007 Venice Biennale.

Other performances chronicled by Gladwell have included a stunt cyclist riding on one wheel through a McDonald’s, unnoticed by the eaters; a breakdancer doing headspins, again with the image inverted; two breakdancers locked in a frozen position for as long as their bodies can manage at a Tokyo underground station; and a Capoeira dancer performing exercises in a deserted 24-hour petrol station. “I like to think of the spaces and dynamics before the work, almost as if the space inspires the work,” he says.

He also explores these formal ideas in the least formal of settings, deploying what he terms “post-pop logic” and offering multiple entry points into the work. “I try to use the debris of the collision between pop and high art,” he explains, citing the human skull, a graphic image in youth culture but also the memento mori of art history. He’s interested in how skateboarders, for instance, will get something very different from his work to art world insiders—“I like things to be open-ended, to allow multiple interpretations.” This openness extends to allowing chance to introduce elements of broad humour or absurdity, such as a pigeon that wanders through the shot in the McDonald’s sequence, and a bright blue municipal garbage truck that chunters up behind the Capoeira dancer.

Learn Capoeira moves

Above about Capoeira moves.

-Ginga: The standard movement from which all Capoeira moves are performed. (See Capoeira Corner for an animation)
-Queda de Rins: A stance positioning your legs over your body, elbows and head supporting the weight

-Queda de Tres: Angola position with both hands on the ground, one leg straight. This position is used to land into to escape a banda or other attack and go into an evasive move.

-Queda de Quatro: Angola Position with legs straight in front on the ground and weight on your hands. You use this to escape or back away from an opponent. It's also a position you fall back onto to escape takedowns like the queda de tres

-Esquiva Baixa: A low dodge with one leg back, one hand blocking your head and one supporting your weight.
-Esquiva Lateral: Like Esquiva Baixa but to the side, and one arm is overhead

-Cocorinha: A crouching position.
-Ponte: Backbend or low backbend (arms and legs bent but back isn't touching the ground)
-Resistencia: Like cocorinha, but one leg can be forward, you lean back as you escape. You use reistencia to go to a low ponte, rolé or rasteira to the side.
-Entrada: A sidestep dodge, also a step forward. The entrada step is also what leads into spinning moves like the Armada, Mei Lua de Compasso, and Meia Lua Solta
-Balanço: An evasive maneuver to the side with legs spread, you use the momentum to bounce back into other moves.
-Rolé: A way of moving low to the ground, legs sweeping short in front of you.

-Escala: Defensive move where you fall back onto one leg. From here usually you spring forward to attack, a sweep or Chapeu de Couro

-Reverse Planche (left) and Manna (right): These strength holds are sometimes seen in the roda by very strong capoeiristas. Just thought I'd throw them in.

-Vingativa: A counter that uses your weight and leverage to topple an opponent.
-Cruz: A counter that ‘uproots’ the opponent.
-Boca de Calca: A simple takedown where you grab the opponent's ankles and yank.
-Arrastão: Takedown where you move in close, shoulder to the opponent's chest, grab their thighs and heave their skull to the ground.
-Acoite de Braco: A body slam or throw or takedown. Grab one arm, put your other arm between his legs, heave him up onto and over your shoulders and plunk him on the ground.
-Cintura Desprezada: A series of 4 acrobatic partner exercises developed by Mestre Bimba to teach students how to land on their feet. This training helped students learn moves like backflips, forward flips & au sem mao. I don't know what these are and I've never done them before, so don't bother asking.
-Arpão: Spinning handslaps.
-Giro: To spin on your heels, like faking a kick
-Asfixiante: Forward punch.
-Godeme: A backhand elbow, backhand or overhead strike.
-Galopante: A swinging palm strike.
-Cutelo: Any hit with the outer edge of your stiff hand, like a chop
-Dedeira: Eye gouge
-Telefone: Smacking both sides of the head with your hands
-Cutevelada: Any elbow strike.

-Banda: A standing sweep, used to place the foot for one of the following takedowns

-Banda de Costa: Takedown where you move in, put one leg behind his and push him over.
-Banda por Dentro: Takedown where you sweep the inside leg rather than the outer leg.
-Aú: A cartwheel. There are many variations, i.e. legs tucked, aù into hand/headstand, one-handed, legs together, etc.
-Aú Agulha: A cartwheel, but in the middle you hop off your hands into the landing.
-Aú Leg Switch: A cartwheel but the legs switch position midway through and you land on the opposite foot.

-Aú Cortado, aka Slanted Aú: A cartwheel slanted with the legs coming down over head rather than sideways.

Ladainha music in capoiera

This is about ladainha music capoeira.

In capoeira, music sets the rhythm, the style of play, and the energy of a game. In its most traditional setting, there are three main styles of song that weave together the structure of the capoeira Angola roda. The Angola roda represents the most strict and traditional format for capoeira and is ideally suited for an introduction and discussion of the music.

The roda commences with the ladainha (littany), a solo often sung by the most senior member present, usually the one playing gunga. These songs may be improvised on the spot, but are most often chosen from a canon of extant ladainhas. The ladainha varies in from as little as two lines, to 20 or more. Topics for this song type include moral lessons, stories, history, mythology, can be topical for a particular occasion as well as pure poetry, and almost always metaphorical. The song is loosely strophic and the melody is pretty much the same throughout the entire ladainha repertoire, with some variations here and there. The ladainha uses quatrain form as a template, with the first line almost always repeated.

Iê...ê
Eu já vivo enjoado
Eu já vivo enjoado
de viver aqui na terra
amanhã eu vou pra lua
falei com minha mulher
ela então me respondeu
que nos vamos se deus quiser
Vamos fazer um ranchinho
todo feito de sapé
amanhã as sete horas
nos vamos tomar café
e o que eu nunca acreditei,
o que não posso me conformar
que a lua vem à terra
e a terra vem à lua
todo isso é conversa
pra comer sem trabalhar
o senhor, amigo meu, colega velho
escute bem ao meu cantar
quem é dono não ciuma
e quem não é vai ciumar
camaradinho

Ieeeee
I am sick
of living here on Earth
Tomorrow I'll go to the Moon
I said to my wife
And she responded
Then we'll go, God willing
We'll have a little ranch
All made of straw
Tomorrow morning at seven
We'll have some coffee
What I never believed
Nor could I ever confirm
The moon would come to Earth
And the Earth to the Moon
This is just talk
to eat without working
Sir, good friend, old colleague
Listen well to my song
He who is the master of his land doesn't envy
And he who isn't certainly will
Camaradinho

An interpretation of this song could be: Nothing comes easy without hard work. The person who sings the ladainha cries out "Ieeeeeeee" (pronounced YaaaaaaaaY) to call to order the attendees of the roda, that the roda is starting. The ladainha ends with "Camará", "Camaradinho" (fits better rhythmically), or conversely, "É hora, hora" (It's the hour). This tagline marks the end of the ladainha and the beginning of the chula, or more properly louvação (praise).

Add kicks to defenses in capoeira

Here are the tips.

1. Step 1

   Set yourself in an opening stance. Place your legs shoulder-width apart with one in front of the other.

2. Step 2

   Perform an Armada or standard kick. Quickly spin your body around 360 degrees while lifting your back leg and extending it for the kick. Shift your weight as you turn. Keep your front foot on the floor. Continue the rotation and then place your back foot on the floor. You land sideways with your feet shoulder-width apart.

3. Step 3

   Use the Meia Lua de Frente as a defensive attack. Lift your back leg waist-high. Swing it around 180 degrees. Hold your arms out to balance yourself during the move. Pull your leg back in to get into position.

4. Step 4

   Do a straight kick or Bênção. Bend your knees and lift your front leg waist-high. Lean forward with both hands and grab the opponent. Straighten your lifted leg out slowly and firmly kick the opponent.

5. Step 5

   Utilize the Meia Lua de Compasso or Rabo de Arraia in a defensive attack. Start in a basic stance. Step back with one foot. Bend forward and place your hands on the floor. Push off with your back leg. Kick that leg to waist-height. Spin your body around with the kick and land on your back foot.

6. Step 6

   Perform the Negativa or takedown. Allow your partner to kick low. Lift your knee up to your waist. Extend your lifted leg. When your partner kicks, defend yourself with a kick to her chest. This knocks her down and gives you the advantage.

Basic Capoeira Moves

Here the basic moves of capoeira.

This is by no means a teaching method, but rather a reference. Anyone seriously interested in learning capoeira should do his or her best to seek out a mestre to learn how capoeira is really played.

There are a limitless amount of capoeira moves, some with the different names according to style, region and teacher.

Ginga: The swinging back and forth rhythm that characterizes capoeira, giving the capoerista an ever changing base and elusive quality.

Cocorinha: Low crouching evasive move.

Queda de Rins: Low defensive move where you balance your body on your elbow and head.

Capoeira self-defence

Above about capoeira self-defense.

"CAPOEIRA IS A GAME," SAID JELON VIEIRA, A MASTER of the Brazilian dancelike martial art. He spoke at his favorite New York cafe in SoHo. "It's a fight like a dance, a dance like a fight," he said. "It's not about winning or losing,,but who plays smarter."

The 48-year-old Mestre (master) Jelon, as he is known to his students, was a long way from his hometown in Brazil's northeast state of Bahia, home to the majority of the country's Afro-Brazilian population. Wearing a black turtleneck with jeans and occasionally holding a cell phone up to his closely cropped graying hair, he doesn't look like he grew up in a world far, far away from the speed-injected Manhattan lifestyle.

As the founder and choreographer of DanceBrazil, a troupe that incorporates capoeira, samba, and modern dance, Vieira splits his time between New York and Bahia and seems to be on a mission to bring these two worlds together. It all started in 1975 when he came to the United States, speaking no English and knowing no one. Like most immigrants, he left a country marked by poverty and political instability in search of a better life.

Two years later, Vieira founded DanceBrazil, and the rhythmic and lively dance-martial art form was thus catapulted into American culture. The company was soon traveling throughout Europe and Asia and performing in such prestigious venues as the John F. Kennedy and Lincoln Centers. Capoeira has skyrocketed in popularity, and its movements can now be seen in many modern and hip-hop dance performances. Dozens of capoeira teachers have also come from Brazil, including some of Vieira's former students, offering classes in New York, Florida, Missouri, Texas, and California (see sidebar on page 123).

Capoeira hasn't prompted migration only northward. Many Americans, some also inspired by Vieira, have headed south across the equator hoping to gain a deeper understanding of the art form's essence. Last February, I was one of them. Although anyone who is flexible, strong, and balanced can learn the circular kicks, one-handed handstands, and cartwheels of capoeira, its subtleties can only be absorbed along the coast of Baia de Todos os Santos (All Saints Bay). It is there that the discipline's history and culture begin. Until I visited this mystical place myself, I was unsure of all this meant.

I had been studying capoeira in New York for only a few months when I arrived in Bahia with just the basic moves under my white (meaning very beginning) belt. Vieira, who holds a black cord indicating his master status, invited me to his family's home a short walk from the beach in Salvador, the capital city. His mother, with her warm smile that welcomed the gentle comings and goings of visitors all day long, served a delicious lunch of salad with mango, rice and beans, chicken lasagna, and watermelon.

I had arrived from an island off the coast of Salvador, where I practiced capoeira with some boys who play on the beach each evening when the burning sun begins to set. (February is the height of summer in Brazil.) I approached them humbly one night to ask if I could participate in their roda (pronounced hoda), or circle, that surrounds the capoeiristas as they play two at a time. They invited me in and began to demonstrate not only the physical moves but the philosophy behind them. "Keep your head up and your eyes open," I was told. "Always be aware."

As I looked into their eyes, aware of my burnt skin and the salty sea air, I began to sense the evolution of this art form as it had been practiced over hundreds of years. Though I understood only about half of what they were saying in Portuguese and nearly collapsed from lack of stamina, I realized that what was a source of exercise and fun for me in New York was a way of life for many in Bahia.

As Vieira had told me that day in Manhattan, "Capoeira is a language. It's a dialogue. It's about camaraderie and bringing people together. It teaches self-respect, self-control, discipline, and respect for life."

Vieira does not allow his eighty students, who range in age from 7 to 24, to drink, smoke, or use drugs, and encourages them to do well in school. They admire and respect him, so they comply with any request or demand. Given the poverty and violence that pervade that region in Brazil, it is easy to see how capoeira has been a source of self-confidence and hope for Vieira and his students.

THE FORM IS THOUGHT TO HAVE developed as a means of self-defense in the sixteenth and seventeenth centuries by slaves brought to Brazil by the Portuguese. Forbidden to practice, the slaves disguised the form as a dance, and "played" the round, fluid, low-to-the-ground movements to pulsating musical beats that remain part of capoeira. (No capoeira circle is without someone playing a birimbau, a tall, slender instrument made from a wooden stick, string, and a gourd. Drums and tambourines may also accompany the call-and-response songs, which tell old stories of slavery and new tales of life and love in Bahia.) Some say the moves--in which only head, hands, and feet touch the ground--were developed to avoid dirtying the white religious clothes worn by the slaves.

Capoeira is energy, humble, friendship and strength

Talks about Capoeira.

MEXICO CITY — The sounds of Africa, Brazil and Arabia echoed through the tiny studio, bringing 25 students together in a circle to sing what sounded like an African-American spiritual.

Two fighters jumped into the middle of the circle, their movements so fluid and connected to the music that, at first glance, it looked like a choreographed dance. Yet the movements mimicked the martial arts in the blend of dancing, fighting, music and acrobatics that is capoeira.

"There are many dimensions to capoeira," said Adolfo Flores, a capoeira (pronounced cah-poh-AY-rah) master who teaches at a studio in Mexico City's Roma neighborhood. "A person needs to be a musician to learn capoeira; a person needs to be a dancer to practice capoeira; a person needs to be involved with martial arts, because at the very end, capoeira is martial arts."

The look and sound of the mysterious art form have become increasingly popular in Mexico in the last five years.

Every Saturday at around 4 p.m., the streets in one of Mexico City's southern neighborhoods transform into a stage for the Roda de Capoeira, the Circle of Capoeira, where the performances take place.

Jingling tambourines offset the low beat of the atabaque, a conga-like drum from Africa. Flores directs the capoeira ceremony with the berimbaus, a bow-shaped instrument with metal strings, as he glides a wooden stick across it while shaking a rattle in his other hand.

"Capoeira is exactly what you see," said Flores, who's been a teacher for the past seven years. Putting it into words is difficult, even for a capoeira master such as Flores.

Though it may look like a choreographed dance to the uninformed, it's much more than that, he said. Capoeira enables a follower to become a fighter and a singer, he said.

Its traditions are deeply rooted in African and Brazilian culture, and it has some Arabian musical influences, as well.

Its origins and even its name are widely disputed. Is it strictly a Brazilian form of dance integrated with African fighting techniques, or an African form of fighting with influences of Brazilian dance?

The most accepted explanation is that capoeira was born in the 16th century when slaves from Angola were taken to Brazil.

"In Brazil, particularly, the black people survived through capoeira," said Angel Rivero, a 25-year-old Venezuelan who moved to Mexico City to get his master's degree. "It was just a way of rebelling against the oppression, the slavery."

Capoeira became a way for the African slaves to defend themselves against their Brazilian masters. The movements within capoeira are acrobatic, mixing back flips and cartwheels with kicks and karate chops.

According to Princeton University's capoeira Web site, the dancelike appearance of capoeira was a way for Africans to disguise its practice from their Brazilian masters. Its lack of physical, direct contact and aggression was yet another way to disguise its purpose as a form of self-defense.

Although it once was banned in Brazil, capoeira has continued to grow since the 16th century, and it's become popular all over the world. It's played throughout Mexico, Australia, Brazil, Venezuela, Europe and the United States.

In Mexico City, the Roda de Capoeira is played as street fighting among teams like the one at Flores' studio.

"You know, being inside a circle of capoeira in which every single person is involved, something happens during that time that every single person is so committed to what is happening at that moment. That's wonderful," Flores said.

Capoeira's recognition in Mexico has grown over the last five years because of its portrayal in posters, magazines and TV, Flores said. It's most popular with youths ages 15 to 25, but it's practiced among people from ages 3 to 55.

"We believe there are no physical limits for capoeira. I truly believe that anybody can learn it," he said. "I have a person that weighs over 120 kilos" — 264 pounds — "and also I have seen people with Down's syndrome who practice capoeira. There was one guy who was armless, a couple of deaf people."

It's not limited to men, either, said 33-year-old Nora Flores, who's been practicing for a few years and who's no relation to Adolfo Flores.

"You know, women have to look for a place in whatever they like to do," she said. "Though the number of men is (larger) than the women, women are involved in the same way men are involved in capoeira."

The master and the students said that capoeira tested and strengthened them physically and mentally. The changes and challenges that each player faces are different, and the experience of capoeira is unique to each person.

"First of all, capoeira is life," Rivero said of his own experience. "Second, it is energy, it is humble, it is friendship and it is strength."

Capoeira as a dance

Capoeira is nice martial art.

The Afro-Brazilian martial art that can be considered or confused as a dance, whoever you're talking to. Some people think it's stupid. Some people think it's wonderful. Whatever they feel, it's rather big, and at the same time, it's not. The interesting about Capoeira is that, to me, it's everywhere, but a lot of my friends really don't know what it is, or even never heard of it. I see giant roda's, small roda's, containing people of different walks of life that practice it. It had its origins in Africa and/or Brazil and then, somehow, into todays world, made its way to Japan, Israel, the US, Canada, and different parts of Europe. You name it, Capoeira is probably there, SOMEWHERE.

Even in a town like Rochester.

It's been a great past 3 weeks for me and capoeira. Coming from 2 quarters of an endless barrage of work, I was so out of practice when I started practicing again a couple of weeks before the ImagineRIT event, and then a week after, the Batizado. I hated it. I hated not being able to play and I hated being so out of practice. Work takes priority, does it not?

Nevertheless, playing week after week in the last couple of weeks have been great. It has reinvigorated my willingness to improve, especially when the Batizado came along. It was my first all day event, and it was the first time in a while since I've played someone from outside of the club. Trying new things was refreshing. Playing new people made me wonder how my game can improve. In small steps? Leaps and bounds? We'll see.

Capoeira unique martial art

It's about capoeira.

Capoeira. The Dance of War. From its humble beginnings in South America, this unique martial art has spread around the world. From Brazil to the United States and everywhere in between, fighters are stepping into the traditional circle to see who is the greatest martial arts fighter of them all. Do you have what it takes to be the best? Find out this summer when Destineer and developer Twelve Games release “The Circle: Martial Arts Fighter” exclusively for Wii™.

“The Circle: Martial Arts Fighter is an exciting addition to Destineer’s catalogue,” said Paul Rinde, CEO of Destineer. “With its fast-paced combat and intuitive controls, The Circle is sure to please both casual gamers and the Wii’s growing ‘hardcore’ audience.”

Features:

• Intuitive Gameplay: Master the fast-paced martial art of Capoeira with a unique control scheme that fluidly melds depth with simplicity.

• The Best of the Best: Choose from 12 fighters from around the world, each with a unique style and move set. Battle in 13 arenas from across the globe, from Capoeira’s homeland of Brazil to Japan and everywhere in between.

• World Warrior: Challenge yourself with Training Mode, Story Mode, Versus Mode, and more. Tackle three different difficulty settings to see how powerful your martial arts skills really are!

• Bulk Up: Customize your fighter by earning skill points to increase your strength, constitution, speed, and other skills!

Capoeira impressive health benefits

Here's some capoeira health benefits.

Capoeira is at once a widely communal and a deeply individual experience. Once you become a capoeirista, you form an instant bond with thousands of people across the globe who share your passion. At the same time, you will gain the ability to do things that most of the general public could never dream of doing, and in doing so you will discover a true sense of uniqueness.

If you want to start capoeira, or if you’ve ever seen capoeira and were curious about it, you’ve come to the right place.

If it wasn’t clear from the superhero-like bodies that some capoeiristas have, capoeira has some impressive health benefits, such as:

• Strength: Capoeiristas are always moving around on their hands in handstands, rolls, poses, etc. that can make a drastic improvement on upper body strength. They also perform many jumping kicks and movements that definitely improve leg strength.
• Flexibility: Some capoeiristas are on par with yoga practitioners in terms of their flexibility.
• Cardio and Stamina: Intense capoeira games can require enormous amounts of energy. This, combined with constant repetition of movements and techniques, makes capoeira a valuable cardio exercise.
• Overall Fitness: Capoeira will improve your strength, flexibility, and stamina, thus improving your overall fitness. It may take a while to become fit, but once you start to take capoeira seriously you can become the picture of health.

In addition to the numerous health benefits that capoeira offers, it can also improve your social life:

• Meet new people: When you join a capoeira group, you become part of a family. You will meet people from all over the world, and you will definitely make new friends along the way.
• Learn a new language: You may not become fluent (though that’s always a possibility), but there is no doubt that you will come to understand and perhaps speak a bit of Brazilian Portuguese.
• Learn about a new culture: Capoeira is deeply connected to Brazil. In a time when many martial arts are reduced to aerobic workouts and cookie cutter dojos, capoeira maintains all of its roots and traditions. Maybe you’ll even develop a taste for Brazilian food!
• Gain confidence: If nothing else, capoeira is perfect for instilling a sense of pride and confidence in anyone who plays. Not only will you feel stronger and more courageous once you become comfortable in the jogo, you’ll find confidence in knowing that you are unique among your (non-capoeira) peers because you can do things they couldn’t imagine doing.

When you decide to start taking capoeira, you may be faced with a choice to go down the path of capoeira angola or capoeira regional. I’ll give you a quick primer to each:

• Angola: Angola is the more “traditional” style of capoeira. The angola game focuses more on a slower (not always), controlled game played closer to the ground. There is a lot more emphasis on sneakiness and trickery (malicia).
• Regional: Regional keeps all of the traditions of capoeira, but focuses more on the martial and “flashy” aspects. In general, this is where you will find the fast, upright style of play characterized by high kicks and backflips.

In my opinion, there is nothing wrong with being a “capoeira chameleon” and learning both styles. Even if you have a preference for one over the other, it never hurts to know a little about both. And, as always, there is room for exception: not all regional is played the same, nor is all angola. A lot depends on the group you join, and even the song played by the berimbau (it dictates the game). One group may focus more on florieo (fancy tricks), while another focuses more on combat.

The best thing to do is research and try both, because it’s up to you to decide what best suits your tastes.

In the end, the decision to embark on the capoeira journey is one that only you can make for yourself. I can give you reasons why capoeira is awesome, but only you can choose to listen to me. One might say that these reasons can apply to any martial art or dance, which is somewhat true. But there is so much more to capoeira that makes it special, it could never be covered in a simple blog post.

Capoeira isn’t for everybody, but if you catch the capoeira bug you will know almost instantly if capoeira is for you.

Defenses of Capoeira

Here's is about Capoeira 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 players 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.)

Capoeira primarily attack

Capoeira is common to use feet.

Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. A possible explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction^{[citation needed]}. Another common explanation is that slaves in Brazil were commonly shackled at the wrists, restricting them from using their hands. Lastly, striking with the hands is often seen as unelegant and disruptive to the flow of the game. Elbow strikes are commonly used in place of hand strikes. "Cabeçadas" or headbutts are as common as they are in many of the fighting arts of the African Diaspora^{[citation needed]}. 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), handsprings (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.

Music integral to capoeira

Above is about music of Capoeira.

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. 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 have lighthearted and playful lyrics. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau commands. In this manner, it is truly the music that drives capoeira.

There are three basic kinds of songs in capoeira^{[citation needed]}. 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.

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. In 'the little book of capoeira' - 'Nestor Capoeira, It is said Mestre Pastinha would tell of a small sickle sharpened on both edges which he would keep in his pocket. He was fond of saying "If it had a third edge I would sharpen that one too, for those who wish to do me harm." Pastinha also spoke of how this blade could be attached to the end of a berimbau. 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 agogô (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.

Facts about capoeira

Here's is means of capoeira.

Capoeira is a Brazilian art form which combines fight, dance, rhythm and movement. Capoeira is a dialog between players - a conversation through movement which can take on many shades of meaning. The details of capoeira's origins and early history are still a matter of debate among historians, but it is clear that african slaves played a crucial role in the development of the artform. Some historians claim that slaves used capoeira's dance-like appearance as a way to hide their training of combat and self defense. Capoeira's many styles come out of the context of two principle branches that were formalized in the first half of the twentieth century following capoeira's legalization. This is only the beginning of the story - look below to find out more. But to really understand capoeira, you need to see it for yourself