Here's about Martelo kicks.
A Martelo is a type of kick as practiced in Capoeira. The martelo, which literally means "hammer" can be described as a roundhouse kick. In generic terms, it is a strike with the instep, the lower part of the shin, or the shin itself, against the opponent's body; the most common being the temple of the head. The most common forms of the Martelo include:
* Martelo-em-Pé
This is the most common martelo seen in Regional/Contemporânea rodas. There are many ways of beginning the kick. Capoeira's emphasis on utilizing a kick from anywhere at anytime can have the martelo begin with rear leg rising up as the knee is driven up and forward. Other ways can be from the ginga or jumping from the rear leg and turning the front leg into the kicking one. The martelo em pé has the kicking leg rising with the knee and turning inward toward the kicking surface. The leg is this snapped towards the head and returned back to the knee returning to the ground. Emphasis is placed on speed and deception rather than knockout. Even with this precaution knockouts can and will occur due to the weight and sheer force of the leg.
* Martelo-do-Chão
Martelo from the Floor. It can be delivered upward from a lower position usually right before a rolé while in esquiva baixa or downward going into a queda de rins. With one hand on the ground the capoeirista lifts his kicking leg up spinning it towards the other player. Has the look of a meia lua de compasso in reverse.
* Martelo Rotado
A spinning martelo. It resembles the Teh Tud of Muay Thai more because it is usually delivered from the back leg with the thigh and foot facing inward before they are fully extended. Control is sacrificed for power and speed as the leg does not stop, but follows through in a full rotation of the hips.
Wednesday, March 30, 2011
Tuesday, March 29, 2011
Capoeira Kicks : Chapa (sha-pa)
Below about the Chapa (sha-pa).
The chapa is a generic name for a range of kicks using the flat bottom of the foot. Generally a chapa, as I’ve learned it, has the player pivot like a martelo, but push out with their foot like a benção.
Chapa, the sole of the foot, is a generic term for various straight kicks with the sole or heel of the foot. This kick can be used in a roda to push away the other player for distance. These include:
* Chapa-de-Costas
It resembles a kick from a horse or mule in which both hands are usually on the ground while one of the legs is pushed outward towards the other player. It is a clever attack that can be delivered out of a role towards the groin or knee of the other player.
* Chapa-de-Frente
A straight kick facing the opponent sometimes performed from a Queda de Quatro, pushing with the hips to gain greater extension. It has the look of a Bençao given from a Queda de Quatro.
* Pisào
Another variation being a side kick. First the player begins by lifting the knee of the kicking leg and hip level of the support leg. The capoeirista turns his supporting foot 180 degrees to the rear while thrusting the kicking foot towards the other player's body.
* Chapa Baixa
This is a side kick to the lower areas including the thigh, knee, or instep. Impact is usually made with the heel or sole of the foot. As with the pisào, the chapa baixa begins with a forward knee raise. However, instead of rising upwards towards the usual kicking targets capoeira(head, chest, stomach), the kick is driven downward towards the other player's lower extremities. It incorporates the malacia in capoeira appearing as a high kick but ending in an unpredictable painful kick to the knee or thigh. In most rodas this is shown rather than completed to full extension. During the later rounds of his title defense in UFC 97 with Thales Leites, Anderson Silva made extensive use of this technique.
* Chapa Giratoria
Capoeira’s answer for the reverse side kick. It is done is the same way as ban dae yeop chagi in TKD with the capoeirista stepping forward or diagonally while turning his torso. At the same time he raises his back leg up, unleashing it at the apex of the turn in a straight path.
[edit] Chapéu-de-Couro
"Leather hat" is a squatting planted roundhouse kick. The arch of the foot taps the partner's exposed head in the spirit of a "tag, you're it" or "watch your head" move.
The chapa is a generic name for a range of kicks using the flat bottom of the foot. Generally a chapa, as I’ve learned it, has the player pivot like a martelo, but push out with their foot like a benção.
Chapa, the sole of the foot, is a generic term for various straight kicks with the sole or heel of the foot. This kick can be used in a roda to push away the other player for distance. These include:
* Chapa-de-Costas
It resembles a kick from a horse or mule in which both hands are usually on the ground while one of the legs is pushed outward towards the other player. It is a clever attack that can be delivered out of a role towards the groin or knee of the other player.
* Chapa-de-Frente
A straight kick facing the opponent sometimes performed from a Queda de Quatro, pushing with the hips to gain greater extension. It has the look of a Bençao given from a Queda de Quatro.
* Pisào
Another variation being a side kick. First the player begins by lifting the knee of the kicking leg and hip level of the support leg. The capoeirista turns his supporting foot 180 degrees to the rear while thrusting the kicking foot towards the other player's body.
* Chapa Baixa
This is a side kick to the lower areas including the thigh, knee, or instep. Impact is usually made with the heel or sole of the foot. As with the pisào, the chapa baixa begins with a forward knee raise. However, instead of rising upwards towards the usual kicking targets capoeira(head, chest, stomach), the kick is driven downward towards the other player's lower extremities. It incorporates the malacia in capoeira appearing as a high kick but ending in an unpredictable painful kick to the knee or thigh. In most rodas this is shown rather than completed to full extension. During the later rounds of his title defense in UFC 97 with Thales Leites, Anderson Silva made extensive use of this technique.
* Chapa Giratoria
Capoeira’s answer for the reverse side kick. It is done is the same way as ban dae yeop chagi in TKD with the capoeirista stepping forward or diagonally while turning his torso. At the same time he raises his back leg up, unleashing it at the apex of the turn in a straight path.
[edit] Chapéu-de-Couro
"Leather hat" is a squatting planted roundhouse kick. The arch of the foot taps the partner's exposed head in the spirit of a "tag, you're it" or "watch your head" move.
Wednesday, March 23, 2011
Capoeira Kicks : Benção
Below about Benção.
This literally means ‘blessing’, but getting one doesn’t feel like it...
The kick is aimed at the chest and it is normally used to push the opponent back. For a tall person like me, it’s useful for attacking while keeping my distance.
The Benção is a blow to poultry which aims to set up the abdomen of the opponent, whose leg is stretched behind the swing to straight ahead in order to push or move and not hit the opponent (as some groups do).
The "blessing" was spoken by blacks as a "blessing to. "
This can be traumatizing blow (hit) or destabilizing (push). Depending on the teacher it varies between one or the other. In some cases they are taught the two possibilities.
This literally means ‘blessing’, but getting one doesn’t feel like it...
The kick is aimed at the chest and it is normally used to push the opponent back. For a tall person like me, it’s useful for attacking while keeping my distance.
The Benção is a blow to poultry which aims to set up the abdomen of the opponent, whose leg is stretched behind the swing to straight ahead in order to push or move and not hit the opponent (as some groups do).
The "blessing" was spoken by blacks as a "blessing to. "
This can be traumatizing blow (hit) or destabilizing (push). Depending on the teacher it varies between one or the other. In some cases they are taught the two possibilities.
Monday, March 21, 2011
Meia Lua de Frente Kicks
Below the technique of Capoeira kicks.
The Meia Lua de Frente (may·loo·ah gee french) is the most basic circular kick in Capoeira. From a neutral stance just kick your foot up and around toward the opponent.
Meia Lua de frente is a powerful capoeira kick done to the front from a variety of opening moves. The kick gets its name from the half circle drawn by the kicking keg.
The leg moves in a big half circle from the outside to the centerline. The arms usually move in the opposite direction to balance the movement of the kicking leg. The kick can basically start with entrada or without any preparation, from ginga.
The Meia Lua de Frente (may·loo·ah gee french) is the most basic circular kick in Capoeira. From a neutral stance just kick your foot up and around toward the opponent.
Meia Lua de frente is a powerful capoeira kick done to the front from a variety of opening moves. The kick gets its name from the half circle drawn by the kicking keg.
The leg moves in a big half circle from the outside to the centerline. The arms usually move in the opposite direction to balance the movement of the kicking leg. The kick can basically start with entrada or without any preparation, from ginga.
Friday, March 18, 2011
Capoeira Kicks : Chapa
Here's about Chapa kicks.
Chapa, the sole of the foot, is a generic term for various straight kicks with the sole or heel of the foot. This kick can be used in a roda to push away the other player for distance. These include:
* Chapa-de-Costas
It resembles a kick from a horse or mule in which both hands are usually on the ground while one of the legs is pushed outward towards the other player. It is a clever attack that can be delivered out of a role towards the groin or knee of the other player.
* Chapa-de-Frente
A straight kick facing the opponent sometimes performed from a Queda de Quatro, pushing with the hips to gain greater extension. It has the look of a Bençao given from a Queda de Quatro.
* Pisào
Another variation being a side kick. First the player begins by lifting the knee of the kicking leg and hip level of the support leg. The capoeirista turns his supporting foot 180 degrees to the rear while thrusting the kicking foot towards the other player's body.
* Chapa Baixa
This is a side kick to the lower areas including the thigh, knee, or instep. Impact is usually made with the heel or sole of the foot. As with the pisào, the chapa baixa begins with a forward knee raise. However, instead of rising upwards towards the usual kicking targets capoeira(head, chest, stomach), the kick is driven downward towards the other player's lower extremities. It incorporates the malacia in capoeira appearing as a high kick but ending in an unpredictable painful kick to the knee or thigh. In most rodas this is shown rather than completed to full extension. During the later rounds of his title defense in UFC 97 with Thales Leites, Anderson Silva made extensive use of this technique.
* Chapa Giratoria
Capoeira’s answer for the reverse side kick. It is done is the same way as ban dae yeop chagi in TKD with the capoeirista stepping forward or diagonally while turning his torso. At the same time he raises his back leg up, unleashing it at the apex of the turn in a straight path.
Chapa, the sole of the foot, is a generic term for various straight kicks with the sole or heel of the foot. This kick can be used in a roda to push away the other player for distance. These include:
* Chapa-de-Costas
It resembles a kick from a horse or mule in which both hands are usually on the ground while one of the legs is pushed outward towards the other player. It is a clever attack that can be delivered out of a role towards the groin or knee of the other player.
* Chapa-de-Frente
A straight kick facing the opponent sometimes performed from a Queda de Quatro, pushing with the hips to gain greater extension. It has the look of a Bençao given from a Queda de Quatro.
* Pisào
Another variation being a side kick. First the player begins by lifting the knee of the kicking leg and hip level of the support leg. The capoeirista turns his supporting foot 180 degrees to the rear while thrusting the kicking foot towards the other player's body.
* Chapa Baixa
This is a side kick to the lower areas including the thigh, knee, or instep. Impact is usually made with the heel or sole of the foot. As with the pisào, the chapa baixa begins with a forward knee raise. However, instead of rising upwards towards the usual kicking targets capoeira(head, chest, stomach), the kick is driven downward towards the other player's lower extremities. It incorporates the malacia in capoeira appearing as a high kick but ending in an unpredictable painful kick to the knee or thigh. In most rodas this is shown rather than completed to full extension. During the later rounds of his title defense in UFC 97 with Thales Leites, Anderson Silva made extensive use of this technique.
* Chapa Giratoria
Capoeira’s answer for the reverse side kick. It is done is the same way as ban dae yeop chagi in TKD with the capoeirista stepping forward or diagonally while turning his torso. At the same time he raises his back leg up, unleashing it at the apex of the turn in a straight path.
Thursday, March 17, 2011
Capoeira Kicks : Armada
Today's about Capoeira kicks name Armada.
An armada can be either a Rabo-de-Arraia without the hands supporting on the floor (the head falls below the waist and the kick is executed with the heel), or a Meia lua de Costas (halfmoon from the back), a spinning kick with the body upright. However the general meaning of this technique is a spinning inside to outside crescent kick.
The striking surface is usually the outside blade of the kicking foot. A queixada and armada are executed in exactly the same way with the exception of the armada beginning with a step to the right or left before releasing the kick. The power of the armada actually comes from the torque placed on the hips from the spin.
After stepping across the body (to the right or left) at around 45 degrees, the hips are spun while the arms are up to protect from punches or other kicks. Once there is enough torque, the kicking leg is "released" rather than kicked. This leg goes around in the same motion as a queixada until the kicking leg has finished its arc all the way back or parallel to the other foot.
* Armada Pulada
An Armada that is released after a jump. The armada pulada begins the same way as the regular armada with the capoeirista turing to the left or right. Once the head, neck and shoulders rotate towards the front, he/she jumps during the release of the armada making it a spinning aerial kick.
* Armada Dupla
Also known as an Envergado. A Grupo Capoeira Brasil player coincidentally known as Envergado is said to have invented this very move. The distinguishing feature of this move is the fact that both legs remain together during the take off, execution, and landing. Its name, Armada dupla, is derived from this feature and also literally means "double armada". After the take off, the torso stays upright and vertical, but will begin to quickly torque in order to swing the legs around and upwards. At the peak of this move, the body is in the shape of a "V". The legs continue to swing over as the body straightens out for the landing. In tricking, this move is called a Double Leg. Along with the Meia Lua Compasso and Au Malandro/Batida, the armada dupla one of the trademark kicks unique to the art capoeira.
* Armada com Martelo
The armada com martelo is a spinning double kick beginning with an armada pulada and finishing with a martelo. The capoeirista begins with the same motion of the Armada. While the first leg is raised up, he/she jumps off their back leg. Once the first leg completes its arc, the leg that was jumped off of comes around in the form of a jumping martelo rotado.
An armada can be either a Rabo-de-Arraia without the hands supporting on the floor (the head falls below the waist and the kick is executed with the heel), or a Meia lua de Costas (halfmoon from the back), a spinning kick with the body upright. However the general meaning of this technique is a spinning inside to outside crescent kick.
The striking surface is usually the outside blade of the kicking foot. A queixada and armada are executed in exactly the same way with the exception of the armada beginning with a step to the right or left before releasing the kick. The power of the armada actually comes from the torque placed on the hips from the spin.
After stepping across the body (to the right or left) at around 45 degrees, the hips are spun while the arms are up to protect from punches or other kicks. Once there is enough torque, the kicking leg is "released" rather than kicked. This leg goes around in the same motion as a queixada until the kicking leg has finished its arc all the way back or parallel to the other foot.
* Armada Pulada
An Armada that is released after a jump. The armada pulada begins the same way as the regular armada with the capoeirista turing to the left or right. Once the head, neck and shoulders rotate towards the front, he/she jumps during the release of the armada making it a spinning aerial kick.
* Armada Dupla
Also known as an Envergado. A Grupo Capoeira Brasil player coincidentally known as Envergado is said to have invented this very move. The distinguishing feature of this move is the fact that both legs remain together during the take off, execution, and landing. Its name, Armada dupla, is derived from this feature and also literally means "double armada". After the take off, the torso stays upright and vertical, but will begin to quickly torque in order to swing the legs around and upwards. At the peak of this move, the body is in the shape of a "V". The legs continue to swing over as the body straightens out for the landing. In tricking, this move is called a Double Leg. Along with the Meia Lua Compasso and Au Malandro/Batida, the armada dupla one of the trademark kicks unique to the art capoeira.
* Armada com Martelo
The armada com martelo is a spinning double kick beginning with an armada pulada and finishing with a martelo. The capoeirista begins with the same motion of the Armada. While the first leg is raised up, he/she jumps off their back leg. Once the first leg completes its arc, the leg that was jumped off of comes around in the form of a jumping martelo rotado.
Wednesday, March 16, 2011
Ponte Movement
Below about Ponte movement.
The ponte is a bridge with the stomach facing upward and the hands and feet pushing to keep the back arched and off the floor. Most learn to roll into a ponte by turning their legs and hips around first and then inverting into a bridge.
The capoeirista can then roll out into a cocorinha, queda de rins, or resistincia for a stylish entrance into a roda. The ponte also doubles as a last resort esquiva although that depends on the player's skill level, style, and speed of the game.
Another interesting fact is that Mestre Bimba would give a potential student (aluno) a series of tests before actually teaching them at his academy. One of the tests was a measure of the applicant's natural ability to hold a bridge.
The ponte is a bridge with the stomach facing upward and the hands and feet pushing to keep the back arched and off the floor. Most learn to roll into a ponte by turning their legs and hips around first and then inverting into a bridge.
The capoeirista can then roll out into a cocorinha, queda de rins, or resistincia for a stylish entrance into a roda. The ponte also doubles as a last resort esquiva although that depends on the player's skill level, style, and speed of the game.
Another interesting fact is that Mestre Bimba would give a potential student (aluno) a series of tests before actually teaching them at his academy. One of the tests was a measure of the applicant's natural ability to hold a bridge.
Monday, March 14, 2011
Rabo-de-Arraia Movement
Today's about Rabo-de-Arraia movement.
-Literally translates to "stingray's tail."
-This is a popular name given to different capoeira movements at different times and capoeira schools.
-There are more than 7 techniques that were at some point in time called "Rabo de Arraia".
-Today, it mostly refers to the Meia lua de Compasso in Capoeira Angola schools.
-Literally translates to "stingray's tail."
-This is a popular name given to different capoeira movements at different times and capoeira schools.
-There are more than 7 techniques that were at some point in time called "Rabo de Arraia".
-Today, it mostly refers to the Meia lua de Compasso in Capoeira Angola schools.
Saturday, March 12, 2011
Resistência Defense Movement
These about Resistência movement.
This is very similar to the sister, negativa. However, instead of focusing on the soles of the feet, ball feet support the weight of the majority of the arm on the opposite side assistance. The fingers on the side of supporters spread out flat to protect the wrist. The other arm is raised slightly to protect the face while the other leg extended with a little bend to it. It's a little corner is very important to protect the feet from trauma creaking under the right leg. Because the knee is extended beyond the foot support, stretching and quadriceps gastrosoleus is a must for this position because the stress on the knee after the addition of a long-term use. Most beginners tend to look down on the floor while in Resistencia, it is highly recommended to always strive and continue to watch other players. In some capoeira groups each have a different name for the movement, Resistencia is sometimes known as negativa.
This is very similar to the sister, negativa. However, instead of focusing on the soles of the feet, ball feet support the weight of the majority of the arm on the opposite side assistance. The fingers on the side of supporters spread out flat to protect the wrist. The other arm is raised slightly to protect the face while the other leg extended with a little bend to it. It's a little corner is very important to protect the feet from trauma creaking under the right leg. Because the knee is extended beyond the foot support, stretching and quadriceps gastrosoleus is a must for this position because the stress on the knee after the addition of a long-term use. Most beginners tend to look down on the floor while in Resistencia, it is highly recommended to always strive and continue to watch other players. In some capoeira groups each have a different name for the movement, Resistencia is sometimes known as negativa.
Friday, March 11, 2011
Defensive Movement : Esquiva
Below about Esquiva movement.
Literally escape or dodge. Many forms exist but all involve moving the head and torso out of the way of an attack. Esquivas distinguish capoeira from many other martial arts for the simple fact of going along with flow of the attack and releasing an equal or more devastating attack. Many of the attacks in capoeira are fully committed kicks that would cause more injury blocking them instead of dodging them. Blocking attacks upset and imbalance the flow of the game making esquivas more common in rodas. Blocks do sometimes occur when one player is so caught off guard that they are used instinctively. The most common situations being defenses against hand attacks.
* Esquiva de Baixa
Also known as Esquiva de Frente."Low dodge", this has the looks of an extremely low ginga. The rear leg and foot are exaggerated and placed even farther back to bring the hips lower to the ground. The torso is bent forward bringing the head even lower. If the left foot is back then the right hand is placed on the floor; the left hand is used to guard the face and head.
* Esquiva Lateral
"Side escape" or side dodge. It is executed while the feet are in a parallel position. The escape is simply bringing the torso down and to the left or right (depending on the direction of the other player's kick) and reaching the hand over the head The hand can also be placed in front of the face for protection. Some academies will place the hand that is not guarding onto the floor to get even lower.
* Esquiva Diagonal
This is a dodge that simultaneously dodges and advances forward. Instead of going straight down under an attack or off to the side like in the esquiva lateral or esquiva de frente, the capoeirista steps diagonally of to the left or right of the attack. He/she places his front foot in a perpendicular position to his back foot and crouches down at the knees in a low lunge. The left or right arm comes up to protect the face depending on the direction of the attack while the other arm maintains the body’s balance. This is a quite useful esquiva because many counterattacks are available to the player from this position which can include martelos, ganchos, or vingativas saving valuable time.
Feel free to leave comment.
Literally escape or dodge. Many forms exist but all involve moving the head and torso out of the way of an attack. Esquivas distinguish capoeira from many other martial arts for the simple fact of going along with flow of the attack and releasing an equal or more devastating attack. Many of the attacks in capoeira are fully committed kicks that would cause more injury blocking them instead of dodging them. Blocking attacks upset and imbalance the flow of the game making esquivas more common in rodas. Blocks do sometimes occur when one player is so caught off guard that they are used instinctively. The most common situations being defenses against hand attacks.
* Esquiva de Baixa
Also known as Esquiva de Frente."Low dodge", this has the looks of an extremely low ginga. The rear leg and foot are exaggerated and placed even farther back to bring the hips lower to the ground. The torso is bent forward bringing the head even lower. If the left foot is back then the right hand is placed on the floor; the left hand is used to guard the face and head.
* Esquiva Lateral
"Side escape" or side dodge. It is executed while the feet are in a parallel position. The escape is simply bringing the torso down and to the left or right (depending on the direction of the other player's kick) and reaching the hand over the head The hand can also be placed in front of the face for protection. Some academies will place the hand that is not guarding onto the floor to get even lower.
* Esquiva Diagonal
This is a dodge that simultaneously dodges and advances forward. Instead of going straight down under an attack or off to the side like in the esquiva lateral or esquiva de frente, the capoeirista steps diagonally of to the left or right of the attack. He/she places his front foot in a perpendicular position to his back foot and crouches down at the knees in a low lunge. The left or right arm comes up to protect the face depending on the direction of the attack while the other arm maintains the body’s balance. This is a quite useful esquiva because many counterattacks are available to the player from this position which can include martelos, ganchos, or vingativas saving valuable time.
Feel free to leave comment.
Thursday, March 10, 2011
Capoeira Takedowns : Banda (Ban-da)
Today's talks about Banda (Ban-da)movement.
Banda is a very strong reduction and is used when both players know what they're doing. This is done by a player to take another step towards the middle of the football, moving in and swept away their land. This is clearly not the removal of the light used. Takedowns can be used in all types of driving situations. But make sure you know what you're doing and the other players know how to take them or someone might get hurt.
Banda is a sweep kick, the objective of which is to pull one of the opponent's feet making him lose his balance and fall. It usually is performed from a standing position. What separates the banda from the rasteria is that the sweep is mostly done with the heel of the foot instead of the instep.
* Banda de Costa
A defensive counter-attack performed against a kick. This is usually reserved for circular kicks such as the armada or queixada. By following the motion of the kick, the capoeirista steps to the outside left or right of the kicker and uses one hand to push them forward while the closest leg reaps the supporting leg of the kicker. It looks identical to the Osoto guruma in Judo.
* Banda de Dentro
The banda de dentro or passa pe is a similar sweep as the rasteira em pe. While the banda de costa focuses on sweeping the kicking leg from the inside instead. While one capoeirista is delivering a kick such as a martelo, the other player steps inside and sweeps the supporting leg in an inside to outside motion.
Any ideas or comment just leave it below.
Banda is a very strong reduction and is used when both players know what they're doing. This is done by a player to take another step towards the middle of the football, moving in and swept away their land. This is clearly not the removal of the light used. Takedowns can be used in all types of driving situations. But make sure you know what you're doing and the other players know how to take them or someone might get hurt.
Banda is a sweep kick, the objective of which is to pull one of the opponent's feet making him lose his balance and fall. It usually is performed from a standing position. What separates the banda from the rasteria is that the sweep is mostly done with the heel of the foot instead of the instep.
* Banda de Costa
A defensive counter-attack performed against a kick. This is usually reserved for circular kicks such as the armada or queixada. By following the motion of the kick, the capoeirista steps to the outside left or right of the kicker and uses one hand to push them forward while the closest leg reaps the supporting leg of the kicker. It looks identical to the Osoto guruma in Judo.
* Banda de Dentro
The banda de dentro or passa pe is a similar sweep as the rasteira em pe. While the banda de costa focuses on sweeping the kicking leg from the inside instead. While one capoeirista is delivering a kick such as a martelo, the other player steps inside and sweeps the supporting leg in an inside to outside motion.
Any ideas or comment just leave it below.
Wednesday, March 9, 2011
Capoeira Takedowns : Negativa Regional (Neg-a-tiva He-sho-nal)
These about the movement of Negativa Regional (Neg-a-tiva He-sho-nal).
It is used in a negative regional style. It can be used to give him notice. A player falls to squat on one leg, leans close to the ground a foot behind the other foot, and outstretch opponents. It can be used to players to be unprepared.
Negative similar to the ginga, one of the essential basic techniques, but not necessarily the easiest to treat. With negative control Capoeira learns about his movements on the ground floor. Negative learning teaches the players to recover quickly as the attack, dropping out or even discarded. Similarly Ginga are negative two versions, namely "negative since Angola" and "negative regional there." The main visible difference between the two versions is that Angola is a version much closer to the ground when the regional version more upright is. Negative in the palms and soles, and Capoeira only touch the ground.
Info from this site.
Please leave your comment if you have any ideas or want to share any info.
It is used in a negative regional style. It can be used to give him notice. A player falls to squat on one leg, leans close to the ground a foot behind the other foot, and outstretch opponents. It can be used to players to be unprepared.
Negative similar to the ginga, one of the essential basic techniques, but not necessarily the easiest to treat. With negative control Capoeira learns about his movements on the ground floor. Negative learning teaches the players to recover quickly as the attack, dropping out or even discarded. Similarly Ginga are negative two versions, namely "negative since Angola" and "negative regional there." The main visible difference between the two versions is that Angola is a version much closer to the ground when the regional version more upright is. Negative in the palms and soles, and Capoeira only touch the ground.
Info from this site.
Please leave your comment if you have any ideas or want to share any info.
Tuesday, March 8, 2011
Capoeira Takedowns: Tesoura de costas
Below the movement of Tesoura de costas.
The tesoura is a takedown preformed from or close to the ground. Literally, tesoura means scissors, which the player does with their legs around the other to twist them to the ground.
* Tesoura-de-Frente
A variation of the Tesoura (scissors) that targets the legs instead of the torso. Many times after faking a high attack, the capoeirista will move in low, hooking his outside leg to the calf of his and his other leg to the inner thigh trapping the leg at the knee. With a small amount of effort, the capoeirista turns his torso away from his opponent using the trapped knee as a lever, knocking the opponent off balance. The end result is the capoeirista on all fours with his feet and hands touching the ground in a resting Adho Mukha Svanasana position staring down at the person on the ground he/she just swept. He has many options of either attacking with a knee strike to the face or an au to escape. This move requires a high level finesse and timing.
* Tesoura Angola
Commonly performed from negativa or queda-de-rins, the capoeirist goes to a prone position, legs facing the opponent and scissored out, hips twisted to protect the groin, supporting themselves on their hands and toes. They then advance upon the opponent by pushing themselves along with their hands, watching by craning their neck over one shoulder, threatening a tesoura-de-frente. The opponent is expected to escape, traditionally via an aù or by diving over the attacking capoeirist, possibly going into their own Tesoura Angola upon landing. A more daring escape can be performed by travelling under the attacking capoeirist, optionally striking them as you pass beneath them.
Information from wikipedia.
Feel free to leave a comment.
The tesoura is a takedown preformed from or close to the ground. Literally, tesoura means scissors, which the player does with their legs around the other to twist them to the ground.
* Tesoura-de-Frente
A variation of the Tesoura (scissors) that targets the legs instead of the torso. Many times after faking a high attack, the capoeirista will move in low, hooking his outside leg to the calf of his and his other leg to the inner thigh trapping the leg at the knee. With a small amount of effort, the capoeirista turns his torso away from his opponent using the trapped knee as a lever, knocking the opponent off balance. The end result is the capoeirista on all fours with his feet and hands touching the ground in a resting Adho Mukha Svanasana position staring down at the person on the ground he/she just swept. He has many options of either attacking with a knee strike to the face or an au to escape. This move requires a high level finesse and timing.
* Tesoura Angola
Commonly performed from negativa or queda-de-rins, the capoeirist goes to a prone position, legs facing the opponent and scissored out, hips twisted to protect the groin, supporting themselves on their hands and toes. They then advance upon the opponent by pushing themselves along with their hands, watching by craning their neck over one shoulder, threatening a tesoura-de-frente. The opponent is expected to escape, traditionally via an aù or by diving over the attacking capoeirist, possibly going into their own Tesoura Angola upon landing. A more daring escape can be performed by travelling under the attacking capoeirist, optionally striking them as you pass beneath them.
Information from wikipedia.
Feel free to leave a comment.
Monday, March 7, 2011
Capoeira Takedowns : Vingativa (Vin-ga-tiva)
It's about Vingativa (Vin-ga-tiva) movement.
This is a very useful takedown in capoeira. It’s used to knock the other player off balance after a kick, or from ginga position. I’ve seen it used a lot in roda on people who let their guard down or weren’t paying close attention.
See this for watching a video of Vingativa movement.
Any comment just leave it below.
This is a very useful takedown in capoeira. It’s used to knock the other player off balance after a kick, or from ginga position. I’ve seen it used a lot in roda on people who let their guard down or weren’t paying close attention.
See this for watching a video of Vingativa movement.
Any comment just leave it below.
Sunday, March 6, 2011
Capoeira Takedowns : Rasteira (Ha-ster-a)
These about Rasteira (Ha-ster-a) movement.
Capoeira Take Downs are an example of movement, where it is necessary to touch the other players to knock them down.
These movements should be used only with practice and skill, so you better know what you're doing. If not, you have a very good chance of seriously injuring himself or another person.
The rasteira is very common in Capoeira Take Down. E 'is used widely in response to kicks, where the player is rasteira to sweep their opponents open leg to use. Two major variations of it are running and running while standing near the ground. The following video shows the two.
See here for video.
Capoeira Take Downs are an example of movement, where it is necessary to touch the other players to knock them down.
These movements should be used only with practice and skill, so you better know what you're doing. If not, you have a very good chance of seriously injuring himself or another person.
The rasteira is very common in Capoeira Take Down. E 'is used widely in response to kicks, where the player is rasteira to sweep their opponents open leg to use. Two major variations of it are running and running while standing near the ground. The following video shows the two.
See here for video.
Saturday, March 5, 2011
Capoeira Energy Range DVD5
Here's the Capoeira Energy Range DVD5.
DVD5 | English | 720x576 | MPEG-2 | 25.00 fps 9000 kbps | MP3 224 kbps | 4.2 GB
Genre: eLearning
Before you drive with the first Ukrainian film about Capoeira and the group Senzala television production Megasport and Development Center of Brazilian culture.
In addition to the movie in three languages (Ukrainian Russian and English) on CD contains additional material:
# Trailers
# Nevoshedshie scene
# Presentation of a film
# Photos
# Video
Written and directed by: Anna Yunda
Cast: Igor Vetrinsky Anisim Ilyinsky Kotelenets Nicholas Maxim Koryak Andrew Molev Alexei Solodkii Elena Chernyshenko Victor Vetrinsky.
Special guest: Contra-Mestre Rui
For download, go to this site.
DVD5 | English | 720x576 | MPEG-2 | 25.00 fps 9000 kbps | MP3 224 kbps | 4.2 GB
Genre: eLearning
Before you drive with the first Ukrainian film about Capoeira and the group Senzala television production Megasport and Development Center of Brazilian culture.
In addition to the movie in three languages (Ukrainian Russian and English) on CD contains additional material:
# Trailers
# Nevoshedshie scene
# Presentation of a film
# Photos
# Video
Written and directed by: Anna Yunda
Cast: Igor Vetrinsky Anisim Ilyinsky Kotelenets Nicholas Maxim Koryak Andrew Molev Alexei Solodkii Elena Chernyshenko Victor Vetrinsky.
Special guest: Contra-Mestre Rui
For download, go to this site.
Friday, March 4, 2011
School Students Learn the Art of Afro-Brazilian Martial Arts
These about Hazelwood West Middle School learn the art of Afro-Brazilian Martial Arts.
Hazelwood West Middle School seventh-grade students were in for an exotic and enriching historical treat Wednesday when the Cordão de Ouro Capoeira troupe came to perform as part of the school’s Black History Month celebrations.
Capoeira is an Afro-Brazilian art form that combines music and dance with acrobatics and martial arts. Tebogo Schultz, director of the group, said he originally learned about capoeira a video game he played in the school. When he found out it was more than a game, said he decided to learn more. In 1998, Shultz went abroad to study in Brazil, where he learned from some of the Capoeira master.
“Every culture in the world has a martial art,” he said. “We tend to forget that Africa is a diverse place with a diverse culture, and that there are still martial arts there today.”
The performance started with the players introducing the students to their instruments, which included drums, tambourines and an African string instrument. Shultz gave students a history lesson about Capoeira. The group then played a bit of music and began to demonstrate some of the more intricate Capoeira moves, individually at first and then in pairs. Students were enthralled by the performances, clapping and cheering throughout.
After the initial demonstrations, the players invited several students to try Capoeira. Once the players had given them a quick tutorial, most of the volunteers were surprisingly adept Capoeiras and participated enthusiastically.
“This is my first time doing it,” said seventh-grade student Jacob Pickett, one of the student volunteers. “It was a lot of fun…it’s great.”
Another seventh-grade student who took a shot at Capoeira, Lee Russell, seemed to be a natural during his performance with one of the players.
“I think it’s easier to know how to do it if you’re already a dancer,” Lee said. “It was a lot of fun and I may try doing it again sometime.”
Stacey McMackin, HWMS’s library media specialist and the event’s organizer, said this is just one of the many ways the school has celebrated Black History Month.
“Today’s performance is a multicultural thing that I thought the students would enjoy as part of our month-long Black History celebration,” she said. “I thought the seventh graders might really be engaged in something having to do with martial arts, too.”
She said that since many students don’t get the chance to see live arts outside of the school, it’s especially important and a personal goal of hers, to bring these performances in.
The purpose of Black History Month is to celebrate the many accomplishments of black Americans throughout history. Throughout the years, this month of celebration has served to unify Americans through learning new history, and for Shultz, Capoeira “transcends sport” by not being about competition, but rather a unifying art form that brings people together.
“Capoeira is the art of making friends,” he said.
Hazelwood West Middle School seventh-grade students were in for an exotic and enriching historical treat Wednesday when the Cordão de Ouro Capoeira troupe came to perform as part of the school’s Black History Month celebrations.
Capoeira is an Afro-Brazilian art form that combines music and dance with acrobatics and martial arts. Tebogo Schultz, director of the group, said he originally learned about capoeira a video game he played in the school. When he found out it was more than a game, said he decided to learn more. In 1998, Shultz went abroad to study in Brazil, where he learned from some of the Capoeira master.
“Every culture in the world has a martial art,” he said. “We tend to forget that Africa is a diverse place with a diverse culture, and that there are still martial arts there today.”
The performance started with the players introducing the students to their instruments, which included drums, tambourines and an African string instrument. Shultz gave students a history lesson about Capoeira. The group then played a bit of music and began to demonstrate some of the more intricate Capoeira moves, individually at first and then in pairs. Students were enthralled by the performances, clapping and cheering throughout.
After the initial demonstrations, the players invited several students to try Capoeira. Once the players had given them a quick tutorial, most of the volunteers were surprisingly adept Capoeiras and participated enthusiastically.
“This is my first time doing it,” said seventh-grade student Jacob Pickett, one of the student volunteers. “It was a lot of fun…it’s great.”
Another seventh-grade student who took a shot at Capoeira, Lee Russell, seemed to be a natural during his performance with one of the players.
“I think it’s easier to know how to do it if you’re already a dancer,” Lee said. “It was a lot of fun and I may try doing it again sometime.”
Stacey McMackin, HWMS’s library media specialist and the event’s organizer, said this is just one of the many ways the school has celebrated Black History Month.
“Today’s performance is a multicultural thing that I thought the students would enjoy as part of our month-long Black History celebration,” she said. “I thought the seventh graders might really be engaged in something having to do with martial arts, too.”
She said that since many students don’t get the chance to see live arts outside of the school, it’s especially important and a personal goal of hers, to bring these performances in.
The purpose of Black History Month is to celebrate the many accomplishments of black Americans throughout history. Throughout the years, this month of celebration has served to unify Americans through learning new history, and for Shultz, Capoeira “transcends sport” by not being about competition, but rather a unifying art form that brings people together.
“Capoeira is the art of making friends,” he said.
Thursday, March 3, 2011
Wednesday, March 2, 2011
International Women's Day of Capoeira Angola ECAMAR
These about International Women's Day of Capoeira Angola ECAMAR.
ECAMAR, school of Capoeira Angola in Surry Hills will be holding an Event of Afro-Brazilian Capoeira Angola for the 2011 International Women’s Day
Come this 11th and 12th of March to take part in a two day event with classes and seminars organized and delivered by the female students of ECAMAR with the participation of Mestre Roxinho.
All women, men and children, beginners or experienced, are welcome to participate and discover more about Capoeira Angola and honor women’s contribution in this beautiful art form.
On Friday 11th March we will have the opening of the event then from 7-9pm a Roda in Honor of Women open to all to participate or watch (free).
On Saturday 12th March we will start with a Movement Class from 10-12pm, a Music Class from 1-2:30pm, Seminar and Open Discussion at 3pm
and final Roda at 4pm once again open to all. The Event costs $25 entry.
At 12– 1pm there will be a lunch break with Feijoada available for $10.
All welcome to come along to this culturally rich experience, and celebrate International Women’s Day through Capoeira Angola.
Source from this link.
ECAMAR, school of Capoeira Angola in Surry Hills will be holding an Event of Afro-Brazilian Capoeira Angola for the 2011 International Women’s Day
Come this 11th and 12th of March to take part in a two day event with classes and seminars organized and delivered by the female students of ECAMAR with the participation of Mestre Roxinho.
All women, men and children, beginners or experienced, are welcome to participate and discover more about Capoeira Angola and honor women’s contribution in this beautiful art form.
On Friday 11th March we will have the opening of the event then from 7-9pm a Roda in Honor of Women open to all to participate or watch (free).
On Saturday 12th March we will start with a Movement Class from 10-12pm, a Music Class from 1-2:30pm, Seminar and Open Discussion at 3pm
and final Roda at 4pm once again open to all. The Event costs $25 entry.
At 12– 1pm there will be a lunch break with Feijoada available for $10.
All welcome to come along to this culturally rich experience, and celebrate International Women’s Day through Capoeira Angola.
Source from this link.
Tuesday, March 1, 2011
Capoeira technique : Cocorinha
Today's about Cocorinha.
Cocorinha is a dodge used to evade close quarter circular kicks and horizontal blows. When the kick or blow is begun the capoeirista ducks into a squatting position, lifting an arm to protect the head. In order to keep your balance whilst in the cocorinha the entire soles of the feet must be touching the floor. Do Not use the cocorinha to avoid direct and front kicks.
Cocorinha is a dodge used to evade close quarter circular kicks and horizontal blows. When the kick or blow is begun the capoeirista ducks into a squatting position, lifting an arm to protect the head. In order to keep your balance whilst in the cocorinha the entire soles of the feet must be touching the floor. Do Not use the cocorinha to avoid direct and front kicks.
Friday, February 11, 2011
Learn Defense in Capoeira
Talks about Capoeira defense.
The best defense is to avoid conflict. In Capoeira there are few blocking techniques. Most Capoeira attacks are done with the legs and absorbing these attacks would be foolish. Instead the Capoeirista escapes the attack without being touched.
Many defensive techniques in Capoeira are simple motions that flow into other techniques without stopping. Other defensive movements are visually dynamic and elaborate in order to frustrate the other player. An escape, or Esquiva, should flow directly into a counter-attack or a take-down. It is important to use the escapes as an opportunity to get closer to the other player. Esquivas are used as entrances to get inside, under, or even over the other player’s space. This can disrupt their balance and cause them to fall or lose position without even touching them.
Capoeira escapes should be smooth and relaxed, never tense. The more relaxed the motion the swifter the recovery. Tensing the muscles wastes energy and makes the bodies reactions slower. Even in the face of danger a Capoeirista should be in control and calm, no matter how aggressive the other player is. The secret to great defense in Capoeira is simply to relax, stay moving and concentrate on the game.
It is important to have clear vision when fighting or playing. You should know where you are and where the other player is at all times. Even in the more elaborate escapes, the eyes are always on the other player. When you spin or flip the eyes should also look directly at the other player. By watching the other player’s eyes you can read their thoughts and see their mistakes. When they glance away, then you can attack or vanish.
The best defense is to avoid conflict. In Capoeira there are few blocking techniques. Most Capoeira attacks are done with the legs and absorbing these attacks would be foolish. Instead the Capoeirista escapes the attack without being touched.
Many defensive techniques in Capoeira are simple motions that flow into other techniques without stopping. Other defensive movements are visually dynamic and elaborate in order to frustrate the other player. An escape, or Esquiva, should flow directly into a counter-attack or a take-down. It is important to use the escapes as an opportunity to get closer to the other player. Esquivas are used as entrances to get inside, under, or even over the other player’s space. This can disrupt their balance and cause them to fall or lose position without even touching them.
Capoeira escapes should be smooth and relaxed, never tense. The more relaxed the motion the swifter the recovery. Tensing the muscles wastes energy and makes the bodies reactions slower. Even in the face of danger a Capoeirista should be in control and calm, no matter how aggressive the other player is. The secret to great defense in Capoeira is simply to relax, stay moving and concentrate on the game.
It is important to have clear vision when fighting or playing. You should know where you are and where the other player is at all times. Even in the more elaborate escapes, the eyes are always on the other player. When you spin or flip the eyes should also look directly at the other player. By watching the other player’s eyes you can read their thoughts and see their mistakes. When they glance away, then you can attack or vanish.
Tuesday, February 8, 2011
AÚ Capoeira Malaysia
Here's about AÚ Capoeira Malaysia.
The history of Escola AÚ Capoeira began its roots in Brazil, originating from the work and history of its founder,Lourival Fernando Alves Leite, also known as Mestre Pop. The school aims to promote and perpetuate the practice of African-Brazilian culture through actions of social education.
Mestre Pop began learning capoeira in 1975 at the age of 22, in his hometown of Campo Grande – Mato Grosso do Sul. Being the pioneer in the teachings of this practice in Santa Catarina, his work began in the city of Florianopolis in Educandário November 25, a Santa Catarina institution chaired by the Foundation of the Welfare of Minors, on August 1 1977.
Here, Mestre Pop worked with children and inmates of the institution, where he remained for eight years. A group of about 80 people, children and adolescents of Educandário November 25, guided by Mestre Pop, began the work of Capoeira in Florianopolis. Thus, Quilombo de Palmares was born, the infant group of Educandário November 25.
Three years later, the first capoeira association legally registered in the state of Santa Catarina, Associação Cultural Berimbau de Ouro, was established, where children of Educandário also started to attend. During this period Grupo Berimbau de Ouro was created, integrating children of Educandário as students of the academy, who were college students, young and middle-class workers in general.
Read more from this following website.
The history of Escola AÚ Capoeira began its roots in Brazil, originating from the work and history of its founder,Lourival Fernando Alves Leite, also known as Mestre Pop. The school aims to promote and perpetuate the practice of African-Brazilian culture through actions of social education.
Mestre Pop began learning capoeira in 1975 at the age of 22, in his hometown of Campo Grande – Mato Grosso do Sul. Being the pioneer in the teachings of this practice in Santa Catarina, his work began in the city of Florianopolis in Educandário November 25, a Santa Catarina institution chaired by the Foundation of the Welfare of Minors, on August 1 1977.
Here, Mestre Pop worked with children and inmates of the institution, where he remained for eight years. A group of about 80 people, children and adolescents of Educandário November 25, guided by Mestre Pop, began the work of Capoeira in Florianopolis. Thus, Quilombo de Palmares was born, the infant group of Educandário November 25.
Three years later, the first capoeira association legally registered in the state of Santa Catarina, Associação Cultural Berimbau de Ouro, was established, where children of Educandário also started to attend. During this period Grupo Berimbau de Ouro was created, integrating children of Educandário as students of the academy, who were college students, young and middle-class workers in general.
Read more from this following website.
Sunday, February 6, 2011
Learn Capoeira Kicks
Learn Capoeira Kicks.
Capoeira is a martial art and had so many attacks. Fuck Capone formed the majority of the legacy of the attacks.
However, these attacks simply by using inheritance. They are also used for defense while playing in a roda strategic.
I have some important information about their basic kicks and I will present the following..
Straight Kicks
Generally, I’ve learned that most capoeira kicks can be divided into two categories, straight and spinning. The following are straight kicks. They are thrown directly towards the other player and don’t really travel like spinning kicks do. Here are some of the most common ones.
Ponteria (pon-tear-a)
This is a straight forward kick where the player kicks their leg straight up towards the opponent. In training we use it a lot for stretching out the leg to increase its range.
Watch video for Ponteria.
Source from thislink.
Capoeira is a martial art and had so many attacks. Fuck Capone formed the majority of the legacy of the attacks.
However, these attacks simply by using inheritance. They are also used for defense while playing in a roda strategic.
I have some important information about their basic kicks and I will present the following..
Straight Kicks
Generally, I’ve learned that most capoeira kicks can be divided into two categories, straight and spinning. The following are straight kicks. They are thrown directly towards the other player and don’t really travel like spinning kicks do. Here are some of the most common ones.
Ponteria (pon-tear-a)
This is a straight forward kick where the player kicks their leg straight up towards the opponent. In training we use it a lot for stretching out the leg to increase its range.
Watch video for Ponteria.
Source from thislink.
Learn Capoeira For Kids
Capoeira Angola for kids ages 2-5 and 6-14. Check this out.
Sing! Dance! Play! Experience in teaching capacity of Capoeira Angola, Afro-Brazilian dance-fight game.
Children love to sing, dance, play music and play. Capoeira Angola is an art form that is fun and interesting development of coordination, self-esteem, balance, strength, agility and more encouraged. Through the basic elements of cooperation, creativity and natural movements, support for children with each other and overcome their limitations.
Each class focuses on elements of achievement, leadership and community. Capoeira is by nature, a social art that is always played and practiced in a group. In these children enhance their musical, physical and social capacities through active and interactive participation.
More detail visit this website.
Source from this link.
Sing! Dance! Play! Experience in teaching capacity of Capoeira Angola, Afro-Brazilian dance-fight game.
Children love to sing, dance, play music and play. Capoeira Angola is an art form that is fun and interesting development of coordination, self-esteem, balance, strength, agility and more encouraged. Through the basic elements of cooperation, creativity and natural movements, support for children with each other and overcome their limitations.
Each class focuses on elements of achievement, leadership and community. Capoeira is by nature, a social art that is always played and practiced in a group. In these children enhance their musical, physical and social capacities through active and interactive participation.
More detail visit this website.
Source from this link.
Friday, February 4, 2011
Capoeira Angola Definition
Hey guys. Today I would like to describe about Capoeira Angola. Any comment or suggestion can leave in the comment box.
Capoeira Angola is an older form of capoeira and is often deeply rooted traditions, is characterized by slow movements and the players to play their games in close proximity to each other than in regional or Contemporanea. Capoeira Angola is often characterized as slow and deep on the ground than other major forms of capoeira, although in practice the rate varies according to the music. This is much as it was originally played capoeira in the street before moving indoors played and recorded in a modernized version of Capoeira Regional. Capoeira Angola will be used for physical Chamada questions and answers, to challenge the opponent, or to change the style of the tribe known.
The father of the best known modern Capoeira Angola schools is considered to be Grão-Mestre Pastinha who lived in Salvador, Bahia. Today, many of the Capoeira Angola schools in the United States come from Mestres in Pastinha's lineage. He was not the only Capoeira Angola mestre, but is considered to be the "Father of Capoeira angola"[13] bringing this style of Capoeira into the modern setting of an academy. He also wrote the first book about Capoeira, Capoeira Angola, now out of print. Capoeira Angola has experienced an explosion of growth during the past 20 years, it can be found in few cities Brazil where it's not often practiced or even recognized as real capoeira and many larger cities in the USA, Europe, South America, Japan, as well as many other locations.
Capoeira Angola is an older form of capoeira and is often deeply rooted traditions, is characterized by slow movements and the players to play their games in close proximity to each other than in regional or Contemporanea. Capoeira Angola is often characterized as slow and deep on the ground than other major forms of capoeira, although in practice the rate varies according to the music. This is much as it was originally played capoeira in the street before moving indoors played and recorded in a modernized version of Capoeira Regional. Capoeira Angola will be used for physical Chamada questions and answers, to challenge the opponent, or to change the style of the tribe known.
The father of the best known modern Capoeira Angola schools is considered to be Grão-Mestre Pastinha who lived in Salvador, Bahia. Today, many of the Capoeira Angola schools in the United States come from Mestres in Pastinha's lineage. He was not the only Capoeira Angola mestre, but is considered to be the "Father of Capoeira angola"[13] bringing this style of Capoeira into the modern setting of an academy. He also wrote the first book about Capoeira, Capoeira Angola, now out of print. Capoeira Angola has experienced an explosion of growth during the past 20 years, it can be found in few cities Brazil where it's not often practiced or even recognized as real capoeira and many larger cities in the USA, Europe, South America, Japan, as well as many other locations.
Capoeira: Chamada
About Chamada.
The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signaling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.
During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.
Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.
The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.
Source from this site.
The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signaling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.
During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.
Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.
The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.
Source from this site.
Wednesday, February 2, 2011
Book: Performing Arts in Brazil
Buy a Permorming Arts in Brazil book.
Chapters: Brazilian Stage Performers, Dance in Brazil, Capoeira, Zouk-Lambada, Forró, Frevo, Andrea Libardi, Samba de Gafieira, Maxixe, Lundu, Boi, Xaxado. Source: Wikipedia. Pages: 61. Not illustrated. Free updates online. Purchase includes a free.
If you interested you can buy and view this link
Chapters: Brazilian Stage Performers, Dance in Brazil, Capoeira, Zouk-Lambada, Forró, Frevo, Andrea Libardi, Samba de Gafieira, Maxixe, Lundu, Boi, Xaxado. Source: Wikipedia. Pages: 61. Not illustrated. Free updates online. Purchase includes a free.
If you interested you can buy and view this link
Saturday, January 29, 2011
Friday, January 28, 2011
Capoeira Technique: Aú
Here some of Capoeira technique. Learn it ok.
An aú is the capoeira term for what is more generally called a cartwheel. It differs a bit from the traditional cartwheel. An aú, in its base form, is performed very slowly, with arms and legs bent in order to keep a low target profile. Also the back can be curved in order to perform a kicking maneuver. Since a capoeira player always risks being kicked while upside down, capoeira players always watch their opponent instead of the ground. Capoeira players can incorporate attacks from the au. These include an upside down kick known as an Aú Malandro or Aú Batido. Players sometime pause midway during an au holding it for a handstand position, from which they can execute a wide variety of moves. The aú variants are:
* Aú Aberto—From esquiva, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass over the body fully extended. While inverted, the body should be opened and entirely extended. One foot touches the ground then the other. The arms must be lifted for protection as soon as they are no longer supporting weight.
* Aú Batido—The aú batido is an aú variation where a practitioner does a handstand, followed by a twist with the hips and a split, performing a downward martelo. During the kick, one arm is protecting the face while the other one is obviously supporting the body. Aú batido literally means "broken cartwheel". This movement is a defensive move, used when attempting to perform a cartwheel and the opponent attacks, generally with a cabeçada, a headbutt, the aú batido takes place, attacking the opponent by surprise before the attack is executed. The aú batido is sometimes also used in doubt or simply as a trick move. This move is also performed in tricking, and for quality, it is also used often in breakdancing where it is known as the L-kick. Names used in different schools may also include Beija Flor (Humming Bird, literally Flower Kiss(er)), Leque (Fan), Aú Québrado (also "broken cartwheel"), Aú Malandro(wily cartwheel), Aú Amazonas (Amazon cartwheel) or Amazonica).
o Aú Batendo-A similar technique, except that the hands generally stay on the ground and the cartwheel is not stopped during the kick, but rather continues over.
* Aú Fechado—From esquiva or negativa, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass bent in front of and slightly over the body. While inverted, the body should be closed and maximally protected. One foot touches the ground and then the other. The last step is return to esquiva.
* Aú sem Mão—An aú performed without hands in the same manner as the aerial cartwheel. Can be used to stylishly avoid sweeps such as a rasteira or banda.
An aú is the capoeira term for what is more generally called a cartwheel. It differs a bit from the traditional cartwheel. An aú, in its base form, is performed very slowly, with arms and legs bent in order to keep a low target profile. Also the back can be curved in order to perform a kicking maneuver. Since a capoeira player always risks being kicked while upside down, capoeira players always watch their opponent instead of the ground. Capoeira players can incorporate attacks from the au. These include an upside down kick known as an Aú Malandro or Aú Batido. Players sometime pause midway during an au holding it for a handstand position, from which they can execute a wide variety of moves. The aú variants are:
* Aú Aberto—From esquiva, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass over the body fully extended. While inverted, the body should be opened and entirely extended. One foot touches the ground then the other. The arms must be lifted for protection as soon as they are no longer supporting weight.
* Aú Batido—The aú batido is an aú variation where a practitioner does a handstand, followed by a twist with the hips and a split, performing a downward martelo. During the kick, one arm is protecting the face while the other one is obviously supporting the body. Aú batido literally means "broken cartwheel". This movement is a defensive move, used when attempting to perform a cartwheel and the opponent attacks, generally with a cabeçada, a headbutt, the aú batido takes place, attacking the opponent by surprise before the attack is executed. The aú batido is sometimes also used in doubt or simply as a trick move. This move is also performed in tricking, and for quality, it is also used often in breakdancing where it is known as the L-kick. Names used in different schools may also include Beija Flor (Humming Bird, literally Flower Kiss(er)), Leque (Fan), Aú Québrado (also "broken cartwheel"), Aú Malandro(wily cartwheel), Aú Amazonas (Amazon cartwheel) or Amazonica).
o Aú Batendo-A similar technique, except that the hands generally stay on the ground and the cartwheel is not stopped during the kick, but rather continues over.
* Aú Fechado—From esquiva or negativa, the free arm reaches in an arc over the head in the direction of motion. The leg extended furthest from the body leaves the ground first, kicking off and providing momentum. Then the reaching hand is placed on the far side of the body. Bending the arms at the elbows supports weight as both legs pass bent in front of and slightly over the body. While inverted, the body should be closed and maximally protected. One foot touches the ground and then the other. The last step is return to esquiva.
* Aú sem Mão—An aú performed without hands in the same manner as the aerial cartwheel. Can be used to stylishly avoid sweeps such as a rasteira or banda.
Thursday, January 27, 2011
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