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Capoeira
History of Capoeira
History of Senzala group
Ranking system
Music, instruments and rhythm
Capoeira
Capoeira is an afro-Brazilian martial art which dates back to about the 17th century when it was first performed by African slaves in colonial Brazil. Capoeira was performed as an expression for the slaves’ longing for freedom. Capoeira incorporates elements of dance, acrobatics as well as mysticism and magic ritual. For this reason it is able to captivate everyone and keeps attracting more and more followers’ worldwide each year.
It can be said that Capoeira is a dialogue through movement; a conversation between the physical and mental level with an infinite number of solutions and an incredible freedom of improvisation. This makes every performance of Capoeira unique, as there are no predetermined patterns or choreography. It starts anew with every new movement. This martial art differs from other artistic forms because of its complexity; it combines elements of combat, acrobatics, rhythm and music. It’s often referred to as a dance (jogo) that requires the grace and agility of a dancer and the power and skill of a warrior.
 Capoeira can be very usefull in self improvement and developing communication skills. With the universal languages that are music and dance it encourages the development of physical and mental dexterity by improving perception, reflexes, self confidence, respect, self control, strength, balance and so forth. Capoeira teaches us to control our emotions and to face our fears in order to discover who we really are. This is why it paints the picture of everyday life with all its ups and downs. Capoeira makes us happier, more fulfilled and ready to tackle all temptations.
Everyone can practice Capoeira regardless of age, gender or physical ability. The best time to start with Capoeira is at the moment you arrive at your first lesson and start to feel the energy it offers.
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History
In 1537 the Portuguese slave owners brought over the first African slaves into Brazil to work in the sugar cane plantations. These slaves were primarily made up of the Bantui from Angola, Golfo de Guiné and Congo, Sundanezi from Golfo de Guiné and Sudan and Malenazi from Angola and Costa da Mina. According to one theory, Capoeira came to Brazil along with the slaves from Africa. Another theory claims that Capoeira developed amongst the Afro-Brazilians in “senzalas” or clusters of slaves. There are those that believe that Capoeira came about as a form of self defense against the Portuguese slave traders in Palmares, the well known Brazilian “quilombos”, or slave market which is often sung about in Capoeira songs. Official historical records of any of the theories don’t exist, as many written documents were destroyed upon the formation of the first government of the new republic of Brazil.
Regardless, everyone agrees upon fact: Capoeira and Afro-Brazilian art form both esthetically and philosophically. It is based on traditional African dance and ritual to which the slaves were dedicated when not working. However, with that, by preparing their bodies and spirits, they also prepared for real situations in real combat. Since the slave owners forbade all martial arts, the combative side of Capoeira was hidden behind the dance.
 The slave escapees formed their own “quilombos” of which the most famous and longest lasting was “Quilombo dos Palmares” (located where Alagoas is today, on the northeast of Brazil). It lasted for 65 years. During this time, within it, Capoeira was practiced freely. The heterogeneous population of this group was comprised of not only African slaves, but also Brazilian natives, and other local races. The government of the group mimicked the organization of African monarchies; the best warriors chose a suitable king to rule the monarchy. Of all the kings the most famous was Zumbi, the last king of Palmares. When this quilombos was destroyed in 1694 Zumbi simply disappeared, which is why he was believed to have been immortal. However, a year later he was discovered and caught. His head was put on display at the city square. After this he gained the fame of a great warrior and became a national hero. He became a symbol of freedom and today he represents a legend of Capoeira.
Capoeira was not used exclusively in man to man combat. It was also an inspiration for battle tactics through the simulation of retreat, enemy deception, leading the enemy into the unknown and then attacking and so forth. Despite the fact that during the Paraguay war (1864-1870) the front lines consisted of many Capoeira students, its ban was not lifted. The ban stayed in place even after slavery was outlawed in 1888. The ban was strict and the penalties for being caught practicing Capoeira atrocious. This, however, didn’t stop even the lowest classes of society from practicing. They especially loved to perform for the holidays. This caused many conflicts with the police.
With the start of the 20th century Capoeira begins to emerge from the dark period in its history. Capoeira’s rebirth can be accredited to Master Bimba and Master Pastinha. While Master Pastinha practiced the traditional style of Capoeira, “Capoeira Angola”, Master Bimba (Manuel dos Reis Machado) created a new style “Capoeira Regional” also known as “Luta Baiana Regional”. He incorporated the “Batuque” martial arts technique he learned from his father into the traditional forms of Capoeira. This was, he considered, a much more efficient form of Capoeira. He was also able to show the national officials the cultural importance of Capoeira which brought about the lift of the ban of Capoeira. Master Mimba founded the first Capoeira school, “Academia-escola de Capoeira Regional” in Engenho de Brotas, Salvador-Bahia in 1932. In 1937 he received an official certificate for practicing Capoeira and in 1942 he opened a second school, “Terreiro de Jesus-rua das Laranjeiras”. He also taught the art to the military and police. This “father of contemporary Capoeira” was born on November 23, 1900 in Salvador, Bahia. He started practicing Capoeira when he was 12 years old, from Bentinho who was the famous  “batuqeiro”. Bimba was a miner, a carpenter, port worker but most of all a Capoeira disciple. With his strong personality he was able to save Capoeira from collapse as well as greatly influence its spread. Even after his death (February 15, 1974 in Goiania) he stayed an inspiration to many. A glimpse of this can be caught in the documentary film “Mestre Bimba- Capoeira Illuminada” in which he is represented through the testimonies of his students and followers.
Since the time of Mater Bimba, Capoeira has been changing, evolving and absorbing its surroundings but it has essentially remained a unique art form.
Master Pastinha (Vincente Ferreira Pastinha) is also quite deservingly referred to as Capoeira expert. This founder of “Capoeira Angola” learned the art from Benedito, an African from Angola. He also opened his own school “Centro Esportivo de Capoeira Angola” in Peloriña, Salvador, a few years after Bimba opened his. Pastinha is considered a philosopher of Capoeira due to his many aphorisms. His most famous thought was “Capoeira é para homen, menino e mulher, só não aprende quem não quiser”, meaning “Capoeira is for men, women and children; the only ones that can’t learn are those that wish not to”. Unfortunately, his academy was shut down by the Brazilian government, and Master Pastinha spent his last years in poverty, blind and essentially forgotten. He died at the age of ninety two, and his greatest legacies were the great students left behind; João Grande and João Pequeno.
More about the history of Capoeira here.
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History of Senzala group
The group Senzala was founded in Rio de Janeiro over forty years ago and today represents one of the biggest and most respected Capoeira groups in the world not only because of its long standing tradition but also due to its consistency and a systematic way of work. Thanks to the sincerity of its members, Senzala is one of the most prominent Capoeira groups outside of Brazil, and its influence in the world is unparalleled.
Its roots date back to the 60s. In fact in 1963 brothers Paulo, Rafael and Gilberto Flores, its founders, moved from Salvador, Bahia to Rio de Janeiro, but kept returning home and practicing Capoeira with the two Capoeira Masters today considered to the of highest rank, Master Bimba and Master Pastinha. As it became their passion the brothers began holding weekly lessons in their apartment in the suburb of Rio de Janeiro, Laranjeiras. In 1964 the group was joined by one of today’s famed Masters, Fernando C. C. Albuquerque, also known as Gato, or cat.
Gato became friends with Paulo Flores when the two met on their way from Bahia to Rio, however, Gato only later found out about Paulos devotion to Capoeira when Paulo was attacked at a party. Paulo docked a leg kick and retaliated with a circular heel hit which knocked his opponent out. Impressed with the move, Gato begged Paulo to teach him. Although Paulo insisted he was not a Master, nor a professor, but merely a student, after persistent insisting on Gato’s part he agreed to show him a few basic movements of Capoeira. From then on Gato trained with Paulo and his brothers. “You learn a few movements, and then another few, and then you try what you learned”-remembers Master Gato, adding that the dances were strenuous and with quite a bit of contact, but that he quickly learned to defend himself.
 Soon after, the group was joined by Claudio Jose Queiroz, and his friend Peixinho. Following them, Garrincha and Sorriso joined, as well we Gato’s brother Gil. The group grew! Two years later, more famous names joined the group: Itamar, Mosquito, Barracha, Sanfona, Bigode, Jimmy, William and Antero. In 1966, the group had 15 regular members. Because of the noise they made they were asked to leave the location where they had practiced and trained, and so the group moved to Largo de Machado. That same year the group appeared with the name it still holds today, Grupo Senzala.
In the late 60s, there weren’t many Capoeira competitions. Nevertheless the most important one was Berimbau de Ouro. The first year the Senzala group competed at this event, the team that was in part made by Gato and Pregisa, won! They following year they won again! This made the Senzala group stronger. The third year, the Capoeira association denied Gato and Pregiso the right to compete. Berimbau de Ouro was a competition for students, and their dedication to the art the two years prior was cause for the association to grant them Master titles. Now Masters, Gato and Pregisa started training the newer members of Senzala: Mosquito and Barracha. Their win at the Berimbau de Ouro marked the group’s third trophy, the golden Berimbau. At this point the news of the groups tremendous success quickly spread across Brazil and people wanted to train with the group. As the number of members grew the need to move arose yet again. This time the group moved to Cosme Velho where one of the students had a large space which he offered for the groups use. In the period between 1968 and 1971 Masters and students of Capoeira from all over Brazil came to Cosme Velho. Master Gato remembers this place as “place of great energy”.
The Senzala group began practicing Capoeira by Master Bimbe’s system, but they were quickly influenced by the style from Rio de Janeiro and Bahia. At that time they were already the leading Capoeira group in Rio and one of the best known in all of Brazil.
In the mid 80s, the Senzala group began performing outside of Brazil. After their first European encounter in France in 1987, Senzala begins to grain presence in all of Europe mainly thanks to the core group that was composed of Peixinho, Garrincha, Sorriso, Elias, Itamar, Ramos, Beto, Samara and Arruda. Today the Senzala group has branches all over the world.
In Serbia, the Senzala group has been present since 2001. It was then that professor Steen (of Centro Cultural Senzala de Capoeira-Master Peixinho) from Copenhagen, Denmark held the first Capoeira workshop and with it integrating Serbia into the great Senzala family.
The Masters that make up Senzala today are Rafael Flores, Paulo Flores, Claudio Danadinho, Gato, Peixinho, Itamar, Gil Velho, Garrincha, Sorriso, Toni Vargas, Elias, Ramos, Amendoim, Feijao, Beto, Claudio Arruda, Claudio Samara, Azeite and Abutre.
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The ranking system of Senzala group
Capoeira as a martial art is characterized, amongst other things by a ranking system which bears similarity to those of other martial arts. It differs from group to group and it exists for the betterment of the organization of Capoeira. It is also a way to determine development from a beginner (calouro) to a Master (mestre). A belt (cordão) is awarded once yearly during a ceremony called Batizado. This is the ranking system as adopted by the Centro Cultural Senzala:
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Music, instruments and rhythms
Music is the basic element of Capoeira. It controls the speed and type of dance (jogo).  It controls everything that happens inside the magic circle (roda de capoeira) in which two participants exchange techniques using acrobatics (floreio) to discover their opponent’s weakness.
If music is the heart of Capoeira, then rhythm is its beat. The rhythm is produced by an array of instruments called “batteria” and usually comprised of three “berimbau”, two “pandeiro”, an “agogô”, “reco-reco” and an “atabaque”, which is similar to a conga drum. The order of the instruments varies from group to group but at the Centro Cultural Senzala it is as follows from right to left: pandeiro, atabaque, berimbau (gunga, medio, and viola), pandeiro, agogô.
 Berimbau is a single-string rhythmic instrument originally from Africa. It is a symbol of Capoeira and its representing emblem. The sound is produced by a wooden wand (baqueta or vaqueta) striking the string (arame) which is wound from one end of the wooden handle to other. Usually the wood is of the Beriba tree (Oxandra lanceolata) due to its elasticity and resistance. At the same time, a rattle with small stones (caxixi) is used, in order to enhance the sound of berimbau. For the sound of the berimbau to be clear and deep a coin (dobrão) as well a resonance, or a cavity made of flesh (cabaça) is needed. The cabaça is tied with a thread to the wood (verga) the correct distance from which is important for the degree of quality of sound. The sound is made as the coin touches the string, the position of which controls the frequency of sound. The position of the flesh in relation to the body produces different depths of sound. The rhythm section is made up of three berimabus: berimbau gunga (the main rhythm), berimbau medio (variations of the main rhythm) and berimbau viola (complete improvisation).
Atabaque is a large drum, similar to a conga drum. It plays a very important role in raising the  tempo of the rhythm section, and for this reason it is placed in very close proximity to the berimbao gunga. It is made up of calf skin with a system of metal rings and wooden strings stretched over the wooden area. It’s used in roda de Capoeira, samba de roda, maculêlê, puxada de rede.
Pandeiro is an instrument alike the tambourine originally from eastern Africa. It represents a percussion instrument made of animal skin with 5-6 metal rings that make noise when played and completes the sound. It’s used in roda de Capoeira, samba de roda, etc…
Agogô can be made of metal or wood. It has two metal bells which when struck with either a metallic or wooden stick produce sound. It’s a unique instrument and due to its specificity commonly used in roda de Capoeira, maculêlê, and samba de roda.
 Very important elements of the music of Capoeira are the songs. The songs dictate the intensity and the type of dance, while the lyrics speak of important historical events, famous people, Masters and so on. Traditional songs don’t have known authors; in fact they are a collection of productions of generations of Capoeira followers. Today the Masters declare the songs they have written.
The rhythm of the music of Capoeira is deeply rooted in African rhythmic music but with modifications created by slaves in Brazil. There are many known rhythms but they vary from Master to Master and from one school to the next. The rhythms of the Senzala group are: Angola, Sao Bento grande de Angola, Sao Bento grande de Regional, Jogo de dentro, and Iuna. Also there are Idalina, Santa Maria, Sao Bento Pequeno, Amazonas, Miudinho (of Master Suassuna).
 The Angola rhythm alternates from a slower to a faster rhythm and it guides toward a dance close to the earth full of mimicry and theatrics, as well as ritual. The Angola rhythm along with Samba de Roda, are considered amongst the oldest rhythms. It’s commonly combined with the rhythms Sao Bento Pequeno or Benguela.
The Sao Bento grande de Angola rhythm leads towards intensifying a dance which becomes full of elaborate hits with much movement  and acrobatics, as well as contact. Clapping in the Palma de Terreiro style accompanies this dance.
The Sao Bento grande de Regional rhythm asks for the dance to be quick, almost completely focused on the fight, without acrobatics and with a lot of contact. Clapping in the rhythm of Palma de Treis is required.
The Jogo de Dentro rhythm supplements a continuous dance, without contact in a smaller space without clapping.
The Iuna rhythm represents the imitation of a dialogue between a male and female species of bird of the same name. To dance to this rhythm is a privilege available mostly to experienced Capoeira performers since it requires a high degree of technique as well as much acrobatic movement, without contact. There is no clapping or lyrics that accompany this rhythm.
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