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Rio de Janeiro: A roda do Cais de Valongo

O cais do Valongo situa-se na zona portuária do Rio de Janeiro e desde sempre manteve uma relação com a cultura afro-brasileira, seja pelo fato de ter sido um entreposto de escravos no Rio ou por ter sido frequentada por capoeiristas, babalorixás e yalorixás, sambistas e outros personagens da cultura popular carioca. O cais do Valongo ele próprio sofreu alterações urbanas ao longo do tempo, como em 1893 quando foi alargado para receber a imperatriz que casaria com D.Pedro II e chamado de Cais da Imperatriz.

A roda do Cais de Valongo foi idealizada por Carlo Alexandre Teixeira da Silva, conhecido na capoeiragem como Mestre Carlão. O Mestre começou o seu trajeto na capoeira Angola nos anos 80 e fez parte de uma geração de capoeiristas no Rio que participou na revitalização da capoeira Angola, mas também, na sua difusão para fora do Brasil. Mestre Carlão residiu em Londres, idealizou alguns espetáculos de teatro com performatizações híbridas entre o teatro e a Capoeira Angola, mas também organizou um dos mais importantes eventos da capoeira londrina, o Movement for change.

De retorno ao Brasil para residir novamente no Rio, consta que Mestre Carlão foi dar aulas próximo ao Cais do Valongo e deu se conta da importância do lugar e da necessidade de criar a volta daquele espaço simbólico um movimento. As rodas do Cais do Valongo têm um carácter temático, tendo sido a primeira dedicada a Prata Preta, líder negro contra a revolta da vacina. A roda também é frequentada e conta com a intervenção de personalidades importantes que pensam a capoeira, a cultura negra e a cidade do Rio como o jornalista Décio Teobaldo e o historiador Mathias Assunção. A ideia central da roda, na compressão do Mestre Carlão, é “ocupar os espaços públicos e históricos para fincar o pé nos locais que estão cada vez mais controlados”. Segundo o mestre existe um “choque de ordem” na ocupação dos espaços públicos em que os gestores municipais criaram regras estritas de utilização que limitam a ação dos agentes da cultura popular na rua. Na perspetiva do Mestre Carlão e de outros agitadores culturais da capoeira carioca, a área do Cais do Valongo tem sido muito visada pela especulação e os investidores, seja por seu carácter histórico e o valor do solo urbano, mas sobretudo pelos avultados investimentos que ali se pretendem fazer. Para além da roda, outros grupos tem feito na praça as suas intervenções como grupos de Jongo, o bloco carnavalesco Prata Preta e inclusive grupos indígenas.

É importante perceber que essa intervenção dos capoeiristas em parte tem um carácter de reforço cultural da atividade, ocupando e intervindo nos espaços público, fazendo notar-se como uma atividade que é popular e que esta em diálogo com os grupos sociais que ocupam a urbe carioca. Mas tem também e principalmente um carácter político e militante em favor da cidade, do direito de manifestar-se nela através da cultura e opondo-se a qualquer forma de elistismo e segregação socio-espacial que os poderes públicos pensem em instituir. Perceba-se também que a roda do Cais do Valongo trás uma proposta de ação para a capoeira Angola no Rio de janeiro. Para além da roda em si, há um tema, ocorrem palestras e podem eventualmente ocorrer intervenções de outras ordens, dentro do contexto de organização da roda. No decorrer dessa proposta outos líderes de grupos também dinamizaram as suas rodas na rua, construindo um movimento espontâneo, mas que vibrava a partir de um sentimento comum de intervir na cidade e engajar a Capoeira Angola numa ação conjunta e assim criou-se a Conexão Carioca de Rodas na Rua, como uma iniciativa dos capoeiritas de integrar as rodas já existentes na rua num mesmo fim. Os grupos envolvidos nessa iniciativa são: Grupo Volta ao Mundo – M. Cláudio (Roda na Praça São Salvador, Laranjeiras); Grupo Kabula Rio – M. Carlão, CM. Leandro, Treinel Fátima (Roda do Cais do Valongo); Grupo Ypiranga de Pastinha – M. Manoel (Roda na Cinelândia, Centro); Grupo Aluandê – C.M Célio (Roda da Feira do Lavradio, Rua do Lavradio); Grupo Valongo – Treinel Maicol e Pedro Rolo e Roda da Praça XV com Prof. Fábio-Pezão do Instituto Uka – Casa dos Saberes Ancestrais.

A roda do cais do Valongo está para continuar. Para além do ritual da capoeira angola e da mandinga e teatralidade dos seus jogadores, a roda do Cais do Valongo é um casamento de várias intervenções artísticas. Já foram produzidos vídeos, realizadas palestras, experimentações fotográficas em que se destaca o trabalho da fotógrafa Maria Puppim Buzanovsky e estão marcadas outras intervenções.

O Rio pulsa e reflete sobe si mesmo na roda do Cais do Valongo.

 

Ricardo Nascimento

Geógrafo – Doutorando em Antropologia pela Universidade Nova de Lisboa

 

Rodas de Capoeira and the Public Art Movement

Rio de Janeiro has always been a city known for its unique beauty, home of cheerful and welcoming people. But now, in addition to the natural beauty and the typical brazilian kindness, we also want to show that our culture, specifically the popular one, still has a value which is not yet known to the public, national and international, to their fullest potential, artistic, cultural, philosophical and historical.
The cultural movement known as “Conexão Carioca de Rodas na Rua” (Carioca Connection of Rodas held on the Street) for almost one year, has developed an innovative proposal which includes 7 groups of Capoeira Angola, promoting a series of Rodas and presentations in public spaces in Rio, with the aim of showing that the culture of Brazil surpasses and does not accept the stereotype and cliché in which we were placed over the centuries, the one which still imagines a Brazil made of beach, forest, football and a carnival that lasts 365 days.
Besides the “Rodas” we have been doing lectures, film recording and photography shoots in order to bring awareness, political consciousness and critical thinking about the Afrobrazilian history and so.
The big events that are coming to Brazil has created an ideal environment to transform many of such misconceptions about us.
Well, the time has come for the people of Brazil show that its value goes far beyond the labels created by propaganda and prejudice. The opportunity to deconstruct the grotesque and reinvent what has always existed is knocking at our door and we do not intend to waste it once again. The Public Art and its protagonists, now has the determination and the voice of thousands of artists and thinkers to say what we think, what we do and how we want to do.
Come and learn about this Cultural Movement that is giving the example of how to organize, gain attention, respect, visibility and attract the public.
The rodas has returned to the street to stay! So, come to Rio de Janeiro to meet and participate in this cultural and political action!

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  • See all the videos of the Cais do Valongo Roda / “Conexão Carioca”, which been made in order to promote awareness and disseminate our ideas and actions: 7th Roda do Cais do Valongo – https://vimeo.com/user12575042Photos by Maria Buzanovsky

 

In September 2012, invited by Master Carlão, I began my photographic shootings of the “Cais do Valongo Roda”, but my initial contact with Capoeira and the group Kabula is older, having been a student of Contramestre Leandro Bicicleta. From the first photo session in that Roda, the main goal was to show intimate moments which could reveal the ritual of Capoeira Roda, its movement and body language of the players or the details of the berimbau and also the other percussion instruments. It has been privileged with absolute focus, a look from the inside the game itself, which I got through my experience within the world of Capoeira as a practitioner and scholar of the history of this cultural manifestation.

I believe that the difference in my work, in addition to the plasticity and beauty inherent in all aspects involved in the ritual, and the game of Capoeira Roda portrayed, is concentrated in special moments and angles which I use for these photos.

It is precisely the perspective from the heart of the Roda that attracts both the general public, as well as the protagonists themselves, when they see themselves in the photographs and the signs of their culture, such as the berimbau and the “atabaque” (capoeira traditional drum), the “chamada de Angola” step or a beautiful “rasteira”. Thus, they identify temselves with the images because they feel a portion of their most private emotions portrayed out of their bodies. I believe this is due to the great success that, to my surprise, the photos reached on social networks, through which I have been receiving affectionate messages from capoeiristas from around the world, who appreciate my work.

Beyond the ritual of Capoeira Angola, from “mandinga” and theatrics of its players, the idea is to provide the combination of various artistic actions and interventions. In addition to the photographic shootings it has been produced videos and lectures with the participation of scholars and artists who think capoeira, the black culture and the city of Rio de Janeiro. The aim is therefore to stimulate greater insight into Capoeira, as a Brazilian Intangible Cultural Heritage, broadcasting its ritualistic aspect, it recognition as an important part of the history of Brazil and african-Brazilian cultural heritage and above all, lead to reflection on its role and political action in the present.

Maria Buzanovsky

 

siga os clipes das Rodas do Cais do Valongo | follow the Roda do Valongo teasers

7a Roda do Cais do Valongo
6a Roda do Cais do Valongo
5a Roda do Cais do Valongo

 

Carlo Alexandre

Kabula Rio & London

Diretor Artístico / Mestre de Capoeira Angola

web: www.kabula.org

Cel. 21 7948.7969 tim |

Skype: carloalexkabula1

Angolan Roots of Capoeira: Angariação de fundos para finalizar produção

O filme Raízes angolanas da capoeira documenta a busca das origens da capoeira em Angola por um mestre de Capoeira e seus amigos.

Está em fase de pós-produção e a arrecadar fundos para a finalização. O projeto necessita de US $ 32.000 para terminar o filme.

 

Angolan Roots of Capoeira

Raising funds to finish post production of our documentary film

 

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Hi, I am Cobra Mansa, teacher and “master” of the Afro-Brazilian martial art, Capoeira. Pairing up with my friend Matthias Assunção, a historian from Essex University, we are working to realise our common dream to find out more about the African roots of Capoeira.

After an initial research trip to Angola we raised funds and returned to make a documentary film. We filmed amazing Angolan combat games and dances and their encounters with Capoeira.

Angolan Engolo players share with us the legendary African dance fight which many Capoeiristas consider to be an ancestor of Capoeira.

For us all it is a great joy and great privilege to make this film with its rich meetings and great themes of Capoeira, Angola and Slavery.

We now need $ 32.000 to finish the documentary film.

We are asking the global Capoeira community and everyone interested in the common heritage of Africa and the Americas, to join our project, to contribute and to help finish the film.

This will enable us to share with you our meetings with amazing Engolistas, Capoeiristas and many more wonderful characters who enrich the film.

Contribute whatever you can. Every small contribution helps.  You can also assist making this film by spreading the word about this project. Thank you!  Axé!

Background

As a Capoeirista I was always told that Capoeira comes from Angola.  Going to Angola I followed not only the real traces of movements and musical instruments related to Capoeira but was also confronted with the past of my people.  I was retracing the steps of our Angolan ancestors who were taken to Brazil as slaves.

The film is the core outcome of a larger research project (“The Angolan Roots of Capoeira”) based at the History Department of the University of Essex. The research project has established a large database from which publications are being produced.

Our film is a dialogue between traditions that have not been in direct contact for more than a century. This exchange is generating new insights about the relations between combat games of the African Diaspora.

What we have done so far

Our project was funded by our own funds, the University of Essex and a major grant from the British Arts and Humanities Research Council (AHRC), which allowed us to successfully complete two lengthy research and filming trips to Angola (2010, 2011) and one to Brazil (2010) and to start post-production of the film (2012).

  • In Angola we filmed our meetings and exchanges with practitioners of various combat games and dances. We also filmed with people playing string instruments similar to the Berimbau played at Capoeira Rodas in Brazil.  We documented the daily life and rituals of the family that introduced us to Engolo players. Through their eyes the social contexts of the combat games, music, lyrics and dances come to life. One of these filmed rituals is the female initiation known as Efiko, which provides an important context for the playing of combat games in Angola.
  • In Brazil we filmed with Capoeira masters who shared their knowledge of the foundations and traditions of their art.
  • We have archived, transcribed, translated and edited over 140 hours of footage and audio recordings.
  • We now have a rough cut which needs further editing.

What we need the money for
The money we raise will go towards paying our editors to produce the final cut, paying for the sound mix,  the on-line edit, a graphic designer, music rights and copyright fees for graphic material we want to use.  To share our findings and meetings with as wide an audience as possible we need to sub-title the film very carefully with respect to the Angolan languages, Portuguese and English.  Last, but not least we need to pay for the duplication, packaging and shipping of the DVDs to you, our supporters. Any additional money raised will be used to take the film back for screenings with the Angolan and Brazilian communities whose energies make this beautiful project.

To complete outstanding post-production work will require four months, counted from the end of the successful fund-raising campaign.

We expect to complete the film and launch it in July 2013.

The team

Cobra Mansa (Cinésio Feliciano Peçanha, graduated mestre in 1984) has been performing and teaching capoeira for the last thirty years. He is the founder of the International Capoeira Angola Foundation, based in Washington, DC, with affiliated groups in Brazil, the US, Asia, Africa and Europe. Cobra Mansa has researched the movements, music, lyrics and instruments of capoeira for many years. He is a well-known and highly-respected teacher of capoeira and has given many workshops and talks across the world. He worked as a consultant for the capoeira documentary films Mandinga in ManhattanFio na Navalha and Capoeiragem na Bahia, and performed as a leading musician on capoeira CDs.

Matthias Röhrig Assunção is a reader in Latin American History at the University of Essex specialising in the history of Brazil, and popular culture. His last book, Capoeira. The history of an Afro-Brazilian martial art (Routledge, 2005) provides a synthesis of the history of capoeira, and underpins the current research project. He also wrote and co-directed the documentary film Verses and Cudgels.  Stick Playing in the Afro-Brazilian Culture of the Paraíba Valley (Rio de Janeiro, Brazil) (LABHOI & Essex, 2009).

Richard Pakleppa is an independent filmmaker from Namibia. Since 1990 he has made films incorporating oral history and story telling in Namibia, South Africa and Angola.  Some of his films are: Those Glowing Eyes, a story of land theft and restitution at the end of colonial rule; Ndamona, a film about conflict and reconciliation after a long liberation struggle; Angola, saudades from the one who loves you a documentary about Angola emerging after 30 years of war; 3 1/2 Lives of Philip Wetu, a drama; Land, Fire and Water about San communities in southern Angola; and Taste of Rain (2012), an emotional drama set in the vast light filled spaces of the Namibian desert.

Christine Dettmann is an ethnomusicologist and Capoeirista who has previously worked with Brazilian musicians in Lisbon. As the research assistant of the AHRC-funded project ‘The Angolan Roots of Capoeira’ based at Essex University, she is particularly interested in the traditional music and musical instruments of Angola as well as their possible transatlantic links to Brazil.

Mariana Candido, is a specialist of Angolan history at Princeton University and a consultant of the project. The research for her forthcoming book on the history of Benguela (Cambridge University Press, 2013) has provided many insights for the team.

Catherine Meyburgh is an editor based in Johannesburg, South Africa. Her work on documentaries, short films and feature films includes The Guguletu Seven, Portrait of a Young Man Drowning, Gugu & Andile, Heartlines, Sophiatown. She has worked with artist William Kentridge on his films, opera and theatre projects since 1998. In television she has edited the drama series Yizo Yizo, Zero Tolerance, Soul City. She has also directed documentaries, including Alan Paton’s Beloved CountryKentridge & Dumas in ConversationMadibaA Hero for All Seasons. Her work with video installations has been exhibited in Moma (New York), The Louve (Paris), and Museum of Modern Art (Tokyo).

Documentário: Slum, Drums and Capoeira

É com satisfação que anunciamos em anunciar que o Kabula estará exibindo o documentário “Slum, Drums and Capoeira” (Favela, Percussão e Capoeira). Esta festa se destina a todos os membros do Kabula e também a toda comunidade da capoeira em Londres e UK. O intuito maior dessa celebração visa a arrecadação de fundos para o projeto do Kabula no Reino Unido, o Projeto JINGA.

Slum, Drums e Capoeira conduz você a uma viagem única de descoberta dentro do universo dessa antiga arte. Desde suas origens até a favela mais famosa do Rio de Janeiro e assim vivendo o espírito da capoeira no Brasil moderno.


Na Rocinha – maior favela do Rio de Janeiro, que tem suas ruas estreitas manchadas com o sangue de tráfico de drogas, encontramos

Tiane, uma capoeirista talentosa e jovem, que perdeu seu irmão para a violência. Nós seguimos a sua jornada mostrando como ela luta para estabelecer uma escola de capoeira na favela para proporcionar as crianças a possibilidade de caminho alternativo.

Sua história está entrelaçada com a dos antigos mestres de Salvador um dos berços da Capoeira no Brazil. Com imagens raras de Mestre Bimba e Mestre Pastinha (os pais da moderna Capoeira) e entrevistas dos mestres mais respeitados de hoje (Mestre Curió, Nenel, Bamba, Moraes Bola Sete e muitos mais). Favela, Percussão e Capoeira capta a verdadeira essência da capoeira no Brasil de hoje.


Após a projeção, termos uma performance com uma orquestra de berimbau (por isso, por favor traga o seu próprio berimbau se você pretende participar). Em seguida acontecerá uma roda e também um festa com DJs tocando uma mistura eclética de música brasileira. Cópias do filme também estarão disponíveis para venda em DVD em £10 (normal price £ 15), com 50% das vendas revertidas ao Kabula.

O Projeto Kabula JINGA projetado para escolas e espaços comunitários para jovens, refugiados e público em geral tem como finalidade maior utilizar a capoeira como uma ferramenta para a transformação pessoal e social, inspiradas na filosofia da capoeira Angola.

Esperamos que você possa para participar conosco deste evento especial … se inspirar, se divertir e contribuir para uma boa causa.



O quê? Projeção de filme e festa de angariação de fundos para o projeto Kabula Jinga!


Onde: Favela Chic (Londres)

Quando: 06 de dezembro

Horário: das 7pm em diante

Custo: doação de £ 3 (recomendado)

 

 

Film Screening: “Slums, Drums and Capoeira” & Fundraising Party

 

(Link: http://slumsdrums.com/)

We’re delighted to announce that Kabula will be hosting the premier screening of the documentary film Slums, Drums and Capoeira. This will be a party for Kabula members and the wider capoeira community and others to raise funds for the work of Kabula in the UK and Brazil.
Slums, Drums and Capoeira takes you on a unique journey of discovery into this ancient art form. From its origins in Salvador to Rio’s most notorious slum, we see the spirit of capoeira alive in modern Brazil.
Rocinha – the largest slum in Rio de Janeiro, where the narrow alleys are stained with the blood of drug trafficking. Here we meet
Tiane, a gifted young capoeirista who lost her brother to the violence. We follow her journey as she fights to establish a capoeira school in the slum to provide the kids with a different path.
Their story is interwoven with that of the old masters from Salvador the home of Capoeira. With rare footage of Mestre Bimba and Mestre Pastinha (the fathers of modern day Capoeira) and interviews from today’s most respected masters (Mestre Curio, Nenel, Bamba, Moraes Bola Sete and many more). Slums, Drums and Capoeira captures the true essence of capoeira in today’s Brazil.
After the screening we will have a berimbau orchestra (so please bring your berimbau if you want to play), a roda and a party with great DJs playing an eclectic mix of Brazilian music. Copies of the film will also be available for for sale on DVD for £10 (normal rrp £15), with 50% of sales going to Kabula.
Kabula works in schools and community settings with young people, refugees and the general public to use capoeira as a tool for personal and social change, inspired by the philosophy of capoeira Angola.
We hope you can attend this special event, be inspired, have fun and contribute to a good cause.

What: A film screening & fundraising party for Kabula!

Where: Favela Chic (London)
When: 6th Dec.
Time: from 7pm onwards
Cost: Recommended donation £3 to Kabula

Besouro – Fly Away Beetle

Besouro mangangá, ou se preferirem Besouro Preto, Besouro Cordão de Ouro, está mais uma vez sob as “luzes da ribalta”. Depois de fantástico documentário de amigo e colaborador Pedro Abib: “Memórias do Recôncavo: Besouro e Outros Capoeiras”, depois do exelente longa-metragem do diretor João Daniel Tikhomiroff Besouro : Nasce um herói”, nosso exaltado “herói”, Manoel Henrique (1897-1924), está novamente na grande tela, desta vez em um novo documentário produzido pela Bluedot Productions, rodado nas ruas de Salvador – Bahia.

Desejamos a toda a equipe de Besouro – Fly Away Beetle, muito sucesso e felicidade e que seja mais uma grande valia para a nossa capoeira.

Luciano Milani

Besouro – Fly Away Beetle

Pode um ritual nascido da escravidão tornou um movimento moderno?

Capoeira, dança composta de combate, ritual estilizado e segue a música sacra do berimbau. Nascida na escravidão e renasce nas ruas modernas do Brasil, o produto Capoeira do desejo incessante de liberdade. Com fotografia deslumbrante este documentário de longa metragem de BlueDot capta a beleza da dança, como Capoeira e ao mesmo tempo a explorar a história, mito e simbolismo atrás de seus movimentos graciosos.

Através de entrevistas, exposições e seguimos a vida de três renomados Mestres de Capoeira de Salvador, Brasil, casa de grande parte da história controversa da arte. Nós vemos como o seu trabalho, juntamente com a dos seus colegas e alunos estão trazendo esperança para as suas comunidades, ea libertação eo respeito a uma geração sem direitos. A fim de melhor compreender o estado actual da Capoeira O filme traça-lo de volta às suas raízes Africano.

Ao fazê-lo, encontramos os Africanos deuses do candomblé (religião indígena animista do Brasil), o cristianismo, bem como a escravidão a partir da qual surgiu a Capoeira. Ouvimos histórias místicas do Besouro lendário (o capoeirista que vôo), bem como as contas do homem histórico por trás dos contos. Encontramos um jovem estudante que ela navega os perigos do seu bairro, transformando a arte da Capoeira.

Em caso de necessidade um é atirado para a luta. No âmbito da luta alguns aprendem a dançar.

(Tradução google)

Fonte: Blog Rabo de Arraia – http://www.rabodearraia.com/capoeira/blog/

 

Can a ritual born out of slavery become a modern day movement?

Capoeira, comprised of stylized dance and ritual combat takes its cue from the sacred music of the berimbau. Born from slavery and reborn on the modern streets of Brazil, Capoeira proceeds from the timeless urge for freedom. With stunning cinematography this feature length documentary film from BlueDot captures the ballet-like beauty of Capoeira while also exploring the history, myth and symbolism behind its graceful moves.

Through interviews, and exhibitions we follow the life of three renowned Capoeira Mestres from Salvador, Brazil; home to much of the art’s contentious history. We see how their work, together with that of their colleagues and students are bringing hope to their communities, and liberation and respect to a disenfranchised generation.

In order to better understand the present state of Capoeira the film traces it back to its African roots. In so doing, we encounter the African gods of Candomble (the indigenous animistic religion of Brazil), Christianity as well as the slavery from which Capoeira has emerged. We hear mythic stories of the legendary Besouro, (the flying capoeirista); as well as accounts of the historical man behind the tales. We meet a young student as she navigates the dangers of her neighborhood by turning to the art of Capoeira

Out of necessity one is thrown into the fight. Within the fight some learn to dance.

Read More

Mestre Russo & O ZELADOR

No próximo dia 25 de setembro(quinta feira) as 19 horas será exibido no TEATRO RAUL CORTEZ (Praça do Pacificador-Centro de Duque de Caxias-RJ) o longa metragem O ZELADOR. Este documentário conta um pouco da trajetória de mestre Russo como uma das figuras mais importantes da tradicional roda de capoeira que já acontece desde 1973 no centro de Caxias.

Mestre Russo: "a valorização atual da capoeira está ligada ao fato de ela estar fazendo sucesso no exterior. “É como aconteceu com o samba, que ganhou força ao ir para fora. O reconhecimento lá fora faz o reconhecimento aqui dentro”, diz. Ele próprio foi destaque no jornal inglês The Times no último dia 5 de julho, por causa do filme O Zelador, produzido por ingleses, sobre ele e sua tradicional roda de rua em Duque de Caxias, RJ. “Lá fora ninguém me pede documento”, garante o mestre, que viaja no mínimo duas vezes por ano para o exterior, “fazendo turnezinhas”.

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Pequeno depoimento sobre a capoeira como Patrimonio Imaterial

 

O ZELADOR ( Para ver o trailer do Filme, clique aqui )

O Zelador was filmed in an extremely under-privileged suburb of Rio de Janeiro (Baixada Fluminense). In 1971-1976 the United Nations made a study of trouble spots worldwide …their conclusion was that Belford Roxo in Baixada Fluminense was the most violent place on earth. Even today the homicide investigation rate is only 1.3%. Mestre Russo grew up in this environment. He is a 50 year-old Carioca (man from Rio) who has led a capoeira existence for close to 40 years. At the age of 11, fatherless and from a family of 9 brothers he gave himself to capoeira.

Russo used this capoeira culture as an instrument for education and survival. He met his wife Eliane and has 2 sons.

“…capoeira…it is his mission in life…” remarked his 11 year-old son.

Mestre Russo not only uses the capoeira culture as a didactic for himself, but has integrated this powerful culture into his family totally. Russo is a ‘zelador’ (caretaker) of culture.

The manifestation of this cultural devotion can be seen in a place called Caxias, where every Sunday for 33 years Mestre Russo has met with other capoeiristas to play, sing dance and fight in the street.

Mestre Russo has defended the integrity of this roda many times, enduring many forms of discrimination and has even been stabbed. The significance of the traditional Roda de Caxias is that it was juxtaposed directly against the political turmoil of the 70s and 80s in Brazil. The street capoeira environment was a form of cultural expression that was eyed with great suspicion by the right wing military hard liners who ran the country with a rod of steel. The Roda de Caxias survived this repression and is now one of, if not, THE most traditional street rodas in Brazil today.

Mestre Russo is an organic academic and poet. He strives to share his knowledge and love equally with his family and a group of young men from his region, who, like him, endure tremendous hardships and danger. These young men form the core of his group, or his extended family as he calls it. This part of his work started in 1996 and has given hope and joy to all associated with it.

This film O ZELADOR is a record of his life. How, as a youth, he discovered the value of his ancestral culture and recognized its power. He and his students continue with the development of capoeira and provide a link to a culture that has existed for many years within this impoverished region of Rio de Janeiro. The film is a social document of one man and his family living with the unique culture of Afro-Brazilian capoiera and charts its significance within the political and cultural history of Brazil. It is the story of a man who has gained the love and respect from students and contemporaries alike, who all owe so much to this remarkable person, teacher, father and a true master.

Genre Documentary

Running time Approx 84 minutes

Format DV Cam / Super 8

Language Brazilian Portuguese (English Subtitles)

Production Company Bantam Films

O Zelador is an independently funded production

Brasileiros mostram Axé no Festival Latino em Boston

 

O grupo Afro Brazil apresenta-se na sexta-feira, 11, às 21 horas, no Jorge Hernández Cultural Center e é peça fundamental da série de performances latinas do “Café Teatro”, da temporada da primavera 2008. A Casa de La Cultura/ Center for Latino Arts e Inquilinos Boricuas en Acción (IBA) adicionaram no festival a diversidade da música e da dança herdada da cultura afro-brasileira.

A apresentação, intitulada AXÉ, inclui, além da batucada mágica do Afro Brazil, a Capoeira Camará Angola do Centro Cultural Brasileiro da Nova Inglaterra. E os organizadores fazem questão de pontuar: “AXÉ significa a origem de todas as coisas, a fonte da vida, a energia da vida”.

Se o nome do festival por si só promete uma onda eletrizante de energia boa, a cultura peculiar do Brasil é ótima referência. O show inclui expressões artísticas nascidas da religião e do folclore popular e contemporâneo da comunidade africana do Brasil como Candomblé, Maracatú, Ijexá, Capoeira, Forró e ritmos do carnaval.

“Essa festa mostra a riqueza da nossa cultura. O próprio brasileiro conhece novas expressões e os estrangeiros se encantam com tanta variedade vinda de um só país”, garante Marcus Santos, percussionista e diretor artístico do Afro Brazil.
Os artistas que participam do AXÉ também fazem uma matinê para as crianças das escolas do South End no mesmo dia.
O Jorge Hernández Cultural Center fica no 85 West Newton Street, South End, Boston.

Para mais informações, visite www.claboston.org ou ligue 617-927-1717

Fonte: Brazilian Voice – http://www.brazilianvoice.com/

 

Capoeira é tema de jogo para celulares (Telefones Móveis)

A Kato Studios anunciou a produção do jogo "Capoeira" para celulares (Telemóveis), baseado na arte brasileira que mistura dança, esporte e luta.
 
O jogo pretende reproduzir a fluidez e a beleza da arte desenvolvida pelos escravos. Os 125 quadros de movimentos foram reproduzidos por mestres, e reproduzem golpes como o martelo e a queixada.
 
Os cenários também serão tipicamente brasileiros, como as ruas de Salvador, a Amazônia Brasileira, as cataratas do Iguaçu e, é claro, o Corcovado do Rio de Janeiro. A trilha sonora pretende ser genuína, ao som de tambores e flautas.
 
Não é a primeira vez que a capoeira foi usada em um jogo. "Tekken 3", jogo de 1998 para PSOne trazia um personagem brasileiro, Eddy Gordo, que usava essa arte marcial e era dos lutadores mais eficientes do game.
 
 
 
Kato Studios – Capoeira The Game
 
The Game
 
Synopsis
 
The world’s most fashionable sport comes at last to your mobile phone, bringing you the rhythms, the colors and the landscapes of Brazil. Capoeira is a unique blend of fighting and dancing, the Afro-Brazilian martial art that is rocking the world by storm. Spectacular kicks at a mind-boggling pace and with breathtaking realism, all surrounded by the magical sights and sounds of Brazil .
 
Game Objective
 
To become the best “Capoeirista” in the world you must defeat your opponents with the performance of really artistic movements. It’s like beating them up with a combination of dance steps.Movements are smooth, attractive… beautifully dangerous. Definitely a great fight charged with lots of“beleza” .
 
TOP FEATURES
 
– A graphic jewel for your mobile : More than 125 shots make the game visually stunning.Animations are extremely detailed and fluent.It’s something never seen before in a Java mobile game.
– Sceneries are marvellous : An encounter might well be in the middle of the Amazon, at the Corcovado in Rio de Janeiro, in the streets of Salvador de Bahia or before the imposing Iguazu waterfalls.Encounters take place in the most characteristic sceneries of Brazil .
– Music : As contagious as a samba and as energetic as a “batucada”. An ethnic touch is given to the game through its music. Drums, flutes and percussions will keep you moving on and on.
 
Core Gameplay
 
Capoeira The Game – Movements : Perform real Capoeira movements such as ‘martelo’, ‘meia lua’, ‘armada’, ‘queixada’, ‘au chibata’ and ‘roda parafuso’ among others. You can also make any movement you want by pressing any combination of keys, or follow the instructions if you want to do a special movement and see the very impressive graphics .
– Special effects : Every punch is accompanied by great sound and visual effects.
– New playing system : In Capoeira you can pick the attack you want to perform freely. Keys will not make you jump, advace, go back or fire. The combination is what counts, and you can make whichever one you like. – – Playing modes : Go into a championship or play just one combat. A championship will demand strength from you during six combats, each one of them of two rounds.You will face six different enemies in every championship, and each time you play, enemies will change.
– Levels: There are five difficulty levels. Will you resist?
 
 
 
Fontes:
 
UOL – http://jogos.uol.com.br
Kato Studios & Bluetech SL – http://www.katostudios.com

Documento Histórico: CAPOEIRA, BRAZILIANS KARATE

Demonstrating knowledge of body leverage, Master Pastinha prepares to throw his opponent off balance.

Black Belt Magazine: CAPOEIRA, BRAZILIANS KARATE

by Master Pastinha
 

The Players would jump, weave, gambol, trip, and kick their opponents, then avoid retaliation by slithering on the ground like serpents.
 
Some 400 years ago in Angola, on the west coast of Africa, a form of combat practiced by the natives was beginning to take shape in what we would today call a martial art.
 
Four centuries later, thanks to a mutual tie with Portugal which Angola shares with Brazil, Capoeira is practiced in that South American nation. It is no longer the savage method of self-defense which originated in the dark continent, however. And thereby hangs a tale.
In the days of the great plantations, the owners took a dim view of the capability for mayhem which the natives possessed. Practitioners of Capoeira suffered great persecution at the hands of the owner-dominated police.
In order to avoid this persecution, the Capoeristas began to camouflage their "sport" by turning it into a weird dance, consisting of pantomime, music, and dances. Capoeira ceased to be a matter of violence and death, and became an amusement. It became the custom to remark that "the natives are playing Angola style."
 
Even the plantation foremen would applaud the "performances" as the "players" would jump, weave, gambol, trip, and kick their opponents, then avoid retaliation by slithering on the ground like serpents.
So in spite of early difficulties, Capoeira caught on. Legendary names appeared—invincible fighters, men with flesh impenetrable by knife or bullet; men under contract to the devil; men with charms against the most powerful of enemies; men who could liberate themselves from any kind of a trap.

INSTRUMENTS OF CAPOEIRA
 

The Berimbau (a kind of jews harp) can be divided into two types: The Berimbau de boca, and the Berimbau de barriga. The Berimbau de boca was used by the old Angolians, hence, it used to be said that it came originally from Angola. This, however, is contested by some students of the subject. It consists of a bow that tightens a cord of "limbo" (a kind of vine). The resonating chamber is the mouth of the player. The cord is made to vibrate by striking it with a knife.
 
The Berimbau de barriga is the most usual type. It is formed by a piece of wood called "the pigeon" which maintains tension in a steel wire. The resonator is a small gourd attached to the wire by a string. The wire produces a sound which is modulated by a copper coin, while the mouth of the gourd is placed at varying distances from the abdomen of the player.

Black Belt Magazine: CAPOEIRA, BRAZILIANS KARATE - by Master Pastinha
As his opponent drops to the floor to avoid his attack, Capoeira master Vincente Ferreira Pastinha of Brazil aims kick. Stylized maneuver is dance-like in its execution.

The Berimbau has many quivering vibrations which are marvelously adapted to the reproduction in sound of the swaying of hips and the feline jumping of the Capoeiristas. Independently of this, it lends a melancholy note to the singing of "Lundus" which accompany the movements of the game of Capoeira.
 
According to Oneyda Alvarenga, the music of the Berimbau is a "force activating the energies of two combatants, and in such manner the music ties itself to the game so that the latter is entirely dependent upon it, and is regulated by it." So, the ardor of the battle grows in accordance with the crescendo or ralentando of the music.
The other instrument which accompanied the evolution of the Capoeira is the caxixi. It consists of a round bamboo basket with dried seeds inside. The orifice is covered with dried gourd skin. It acts as an accompaniment to the Berimbau. Each time the wire resounds, it is accompanied by the rattle of the dried seeds.
 
The third instrument which frequently accompanies the game of Capoeira is the "recoreco." It is a large segment of bamboo, in which have been made innumerable lateral incisions for the escape of the air, which is caused to vibrate by a piece of cane which is scraped across the incisions in the side of the bamboo, thus producing the characteristic sounds.
Finally, we must consider the Pandeiro. It is a regional instrument, used not only to accompany the Capoeira, but also to mark the shaking rhythm of our sambas. Its shape is well known—the circle of quince wood, the goatskin top, and the jingles of Flemish tin. Certain societies of Capoeira use agogó.

TUNES OF THE BERIMBAU
 
The Berimbau is used by the accompanists of the Capoeira to produce definite and resolute tunes which modulate the rhythms of the game. The most important are the following:

Sao Bento Grande– the light game
Sao Bento Pequeno– Samba of the Capoeira
Banquela– The Knife Game – lively, animated
Santa Maria– The Measured Game
Ave Maria– The Capoeira Hymn
Amazonas– The Middle Game
Iuna– The Creeping Game
Cavalaria– A signal denouncing the proximity of strangers
Angolinha
Samba de Angola

In view of what we tell, it is easy to understand the character of the game of Capoeira. At the sound of the music of Sao Bento Pequeno the combat is transfigured into the clashing of the Samba.
The good masters of Capoeira, in order to give a demonstration of singular ability in this game, after blows and counterblows, much whirling in the space left by the tangle of arms and legs, end the battle without showing a single spot or stain on their Sunday clothes.
 
The old masters, such as I, are capable of similar feats. At my age, 74, I also perform with my pupils. I would like to give exhibitions in any part of the world.
As a Brazilian, I am proud of this friendly country, which may wish to give me an opportunity to exhibit myself and my pupils there, in order to show our American brothers the possibilities of a personal defense against an enemy- An adversary or several adversaries, without the necessity of using firearms or knives.

Black Belt Magazine: CAPOEIRA, BRAZILIANS KARATE - by Master Pastinha
From his defensive position, the 74-year old Master Pastinha counterattacks.
On the contrary, the Capoeirista, meeting his adversary armed with a weapon, has the possibility by means of the lightness and quickness of Capoeira, to disarm his opponent by taking his weapon from him; or, if it is not possible to take the weapon, to vanquish him by tripping and throwing the armed adversary to the ground.
 
Even though the Capoeirista may be physically inferior to his opponent, a good Capoeirista has no fear of him, be he of superior physique; be he a younger man, or be he armed tooth and nail.
In case it may not be possible for me to demonstrate Capoeira in America, I shall be proud if your people may have an opportunity to come to our land of Brazil—to live at Salvador-Bahia—to know intimately this game, this personal defense, which is the Capoeira, substituting well for any weapon physical force, or age, for self-defense.
 
 
Cortesia: Piter Bedoian
 
Vale ressaltar a importância, mesmo que a matéria esteja em ingles deste documento histórico que contempla fotos de Mestre pastinha com 74 anos.

Se pretende ver esta matéria traduzida para Português, utilizando a ferramenta de tradução do Google, clique aqui.
 
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