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.

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.

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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 Capoeira Moves

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Capoeira Moves Technique

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Capoeira Demonstration

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Mastering Capoeira

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Angola Liberation Movement

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Angola Liberation Movement

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Strategy add kicks to defenses in Capoeira

Here are tip to defenses in Capoeira.

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.

The Capoeira Defenses

Above about defenses of Capoeira.

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.)

It's about Capoeira

Here's about Capoeira.

Being from another country, Muzenza became a new group of friends, a family, a trustworthy house for me to learn in.
Capoeira is all encompassing; covering sport, fitness and well-being, language (Free Portuguese tutorials and also learning from other foreign students), singing and music, balance and flexibility, and strength and self control.

Capoeira offers a small amount of self-defense, along with speed and recognition training. It caters for the hard core exercisers, to the part-timers who like a lesson dedicated to learning to play an atabaque (drum), to those capoeirista's who know their stuff and would like to spend 2 whole hours learning flying kicks and mortals (back flips).

Bombril teaches regular classes 6 days a week. Catering to all levels - from beginner to intermediate, to professors and instructors. And also teaches personal training sessions during the day.

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.

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.

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.)