Capoeira in popular culture
The Brazilian martial art of Capoeira, noted for its acrobatic movements and kicks, has been featured in numerous films, TV shows and video game series. O Pagador de Promessas, winner of the Palme D'Or, contains a brief capoeira scene. Performed by Antônio Pitanga. Cordão de Ouro is the title of a futuristic Brazilian movie. Capoeira is central to the plot, the movie stars several well-known Mestres, such as Nestor Capoeira and Mestre Camisa. Rooftops, a 1989 film, is a film based around street kids who use dance fights to settle arguments and as a form of entertainment. One of the kids starts to integrate it into his dance. Only the Strong, a 1993 film following a former Green Beret turned teacher in Miami who uses Capoeira to teach his students discipline and faces off with the local gang. Kickboxer 4: The Aggressor, a 1994 martial arts action film, featured a tournament with fighters of many styles. One such fighter is a capoerista played by Mestre Joselito "Amen" Santo, who trained Mark Dacascos and played his mestre in Only the Strong.
The Quest, a 1996 martial arts tournament film featured a capoerista played by Mestre Cesar Carneiro. Bangkok Knockout, a 2010 Thai martial-arts action film. There is a fight between a man who uses moves from capoeira. Vincent Cassel, a proficient Capoeira practitioner showcased his skills in Ocean's Twelve to evade and bypass an advanced laser-based security system; when Bernie Focker first appears in Meet the Fockers, he is practicing capoeira. In the 2005 movie The Protector, the main character Kham, played by Tony Jaa, fights enemies that all are masters of a different art, he faces a fearsome man. Harry Potter and the Goblet of Fire wizards from the Durmstrang school display some Capoeira moves. Mestre Bimba: A Capoeira Illuminada is a documentary about Mestre Bimba and Capoeira. Indiana Jones and the Kingdom of the Crystal Skull includes capoeira in the "cemetery warriors" scene; the 2009 movie BESOURO is based on the story of a legendary fighter and practitioner in Capoeira history who goes by the same name as the title starring Aílton Carmo as Besouro.
It includes extensive capoeira fighting scenes. In the 2010 film Undisputed III: Redemption, Lateef Crowder plays Brazilian character Santiago Silva, a capoeira-trained fighter, has two fight scenes against a Grecian and a Russian fighter, the protagonist Yuri Boyka played by Scott Adkins. Many of Wesley Snipes' action films include scenes involving capoeira, as it is one of several martial arts he practices; the French Connection, a company, a prolific producer of gay pornographic videos, has released at least twenty-seven Capoeira-themed films. In Rio 2 two turtles perform this martial art when auditioning for "Amazon Untamed" a contest held by Pedro, Nico and Carla; the performance is so long however they all fall asleep before it's over. They appear again during the climax to help defeat the loggers; the 2015 film Get Hard sees Ferrell clumsily engaging in capoeira. In Sultan, Salman Khan is seen fighting against an opponent using Capoeira; the 2016 documentary Resilience is set in a shantytown of Brazil, where a man refuses to let his physical disability prevent him from living a full life, becoming the first known capoeira master with paralyzed legs and to fulfill his dream of being able to live with his son.
Mindhorn shows the eponymous lead character, played by Julian Barratt, applying his dubious grasp of Capoeira moves to avoid an entire clip of bullets being fired at him. Thor: Ragnarok shows the lead character Hela, played by Cate Blanchett, using Capoeira moves to fight her enemies. Jumanji: Welcome to the Jungle has capoeira as a special skill of the avatar Ruby Roundhouse. In the movies Captain America: Civil War, Black Panther, Avengers: Infinity War, capoeira is one of several African martial arts that T'Challa utilizes in combat. Capoeira's "donkey kick" was a common part of Iolaus's martial abilities in the 1995 series Hercules: The Legendary Journeys. In the hit martial arts cartoon Xiaolin Showdown, one of the main protagonists, practices capoeira throughout the series. Professional wrestler and current WWE Championship holder, Kofi Kingston is trained in the art of capoeira and uses the style in the ring. Professional wrestler John Morrison working for World Wrestling Entertainment incorporates many capoeira moves in the ring.
In the Bob's Burgers episode "Sexy Dance Fighting", Tina takes Capoeira lessons after developing a crush on the instructor. In American Dad!, Reggie the Koala uses Capoeira when fighting Bullock. In Teenage Mutant Ninja Turtles, the villain Xever/Fishface uses capoeira as his main fighting style. In the Avatar the Last Airbender episode "The Headband", the dance between Aang and Katara is similar to a Capoeira game. In the American web-series RWBY, a character by the name of Mercury Black is known to use capoeira. In the 2008 CGI anime series Fireball, Drossel performs obvious Capoeira moves on a few occasions though she insists she's practicing karate. In the Stargate_SG-1 Fifth Season episode "The Warrior", Teal'c fights K'tano using a fighting style based upon Capoeira. In the second season of Luke Cage, antagonist John McIver / Bushmaster utilizes a capoeira-heavy fighting style, despite being from Jamaica instead of Brazil. Batman is said to be trained in all "127 major martial arts"; the DC Ultimate Guide to the character mentions Capoeira by name as one of these, as well a
Reinaldo Ramos Suassuna
Reinaldo Ramos Suassuna known as Mestre Suassuna is the founder and head of the international capoeira organization Cordão de Ouro. Suassuna was raised in Itabuna and began practicing capoeira in the early 1950s because it was prescribed to him by a doctor, as treatment for a physical handicap in his legs, he graduated under Masters Sururu, Abine in Itabuna, studied under Waldemar and Bimba. In the early 1960s, Suassuna became a prominent practitioner of capoeira in Bahia, receiving numerous invitations to present his capoeira show in other Brazilian states and abroad. In 1965 he moved to São Paulo with the intention of opening an academy and making a career in capoeira. In September 1967, after some financial hardship, he met Mestre Brasilia in Ze Freita's Academy, together they founded Associacao de capoeira Cordão de Ouro; as Mestre Suassuna, he has produced many capoeira shows, recorded four compact discs, directed the Show Group of Cordão de Ouro. He has contributed to the development of capoeira itself, is the inventor of Miudinho, a musical rhythm, along with a distinct style in the martial art.
Suassuna continues to influence the world of capoeira today, conducting workshops and seminars in several states in Brazil and around the world. He has graduated several capoeiristas individually and 5 distinct group generations known as "turma". Among Mestre Suassuna's many achievements is the creation and development of the “Miudinho Game” and the respective berimbao rhythm. In 1970s and 1980s capoeira reached the peak of its popularity in Brazil and has expanded abroad. Not only capoeira was recognized as a martial art it was included in the curriculum of educational institutions, while newly opened schools of capoeira provided occupation for young people from disadvantaged families, but such a rapid development came at a price. Meanwhile Master Suassuna, concerned with the direction that capoeira had been taking, made an effort to revive and capoeira play used to play in 1950s, he focused on the artistic side of capoera, paying great attention to mobility and technique of movement, included more elaborated movements into basic training squences.
The new style called "miudinho" has the form of continuous play in a cramped space with a lot of swings and floreos. Miudinho game, developed by mestre Suassuna, is considered as the unique feature of Cordao de Ouro school
João Pereira dos Santos
João Pereira dos Santos or Mestre João Pequeno de Pastinha as he was known within capoeira circles. He began his life in Capoeira as a student of Mestre Gilvenson and became a disciple of Mestre Pastinha - the father of contemporary Capoeira Angola. Together with Mestre João Grande he is to share the honour of being one of the late Mestre Pastinha's two most learned students - the ones to whom he entrusted his legacy. Mestre João Pequeno died on 9 December 2011 at the age of 93. In 1970, Mestre Pastinha said the following about João Pequeno and João Grande, "They will be the greatest Capoeira players of the future and I have worked hard with them, for them, to achieve this, they will be true masters. Not just impromptu teachers, as can be found anywhere, who only destroy our tradition, so beautiful. I've taught everything; the Cat's Leap. That's why I have the greatest hopes regarding their future." During the recession of the late 70s, Capoeira Mestres and dedicated practitioners amongst the populace faced great hardships to continue the practice of their beloved art.
Many of them died hungry. Those who were able to, chose to migrate to other countries in search of greener pastures. Many Capoeira schools couldn't survive; however the most significant loss of the time, was to be the closing down of Pastinha's Capoeira academy and his death in 1981. The impact of Pastinha's death was far reaching and João Grande chose to stop playing Capoeira for a time. Despite these events, João Pequeno persevered these difficult years, biding his time to revive Pastinha's school. On 2 May 1982, with the world starting to recover from the recession, João Pequeno founded the Academia de João Pequeno de Pastinha with the purpose of continuing the lineage teaching of Capoeira Angola in the manner it was taught in Mestre Pastinha's academy; this lineage was nearly destroyed when Pastinha's academy was closed down by the government to "renovate" the buildings. The subsequent death a decade of the great Angoleiro only made things more difficult.. The authenticity of João Pequeno's academy in following Pastinha's academy was not limited to the technique and teaching methods, but in the manner of spiritual and cultural development.
In a way, João Pequeno revived and succeeded in achieving the original purpose for which Pastinha's Centro Esportivo de Capoeira Angola was established - that is, to preserve and promote the traditions of Capoeira Angola, the fundamental tenets of the Angoleiro and to provide a community based support for Capoeiristas. His old friend and Capoeira brother, João Grande did the same by establishing his academy in New York City the United States in 1990. Mestre João Pequeno dedicated his life to teaching Pastinha's style of Capoeira Angola since and has graduated students who today are well-known Mestres in their own right. Into his 90's, Joao Pequeno continued to teach and practice capoeira at his academy in Forte de Santo Antônio Além do Carmo which has, through the work of Mestre João and GCAP, come to be called the Forte da Capoeira, off to the north side of the historical center of Salvador, Bahia, called Pelourinho. Mestre João Pequeno died on 9 December 2011, at the age of 93. Capoeira Mestre Pastinha Mestre João Grande Mestre Pé de Chumbo https://web.archive.org/web/20030827111511/http://planeta.terra.com.br/esporte/capoeiradabahia/boletim/5/vitor_acad_joao_pequeno.htm http://www.ginganago.com/capoeira/histoire/joao_pequeno.asp
Jelon Vieira is a Brazilian choreographer and teacher who, in 2000, achieved recognition by New York City's Brazilian Cultural Center as a pioneer in presenting to American audiences the Afro-Brazilian art and dance form, Capoeira. In 1975, Jelon Vieira and fellow choreographer/performer Loremil Machado became the first artists to bring traditional Afro-Brazilian artistic endeavors to the United States. For over a quarter century, as the founder and artistic director of The Capoeira Foundation, Vieira has guided the dance company, DanceBrazil through critically acclaimed engagements across the United States, including performances at Spoleto Festival USA, the Kennedy Center and Lincoln Center; the company has toured in Europe and Brazil and has been featured on the PBS documentary series, EGG, the Arts Show and Alive from Off-Center. Vieira has worked with numerous major cultural institutions, including NYC's Caribbean Cultural Center and San Antonio's Carver Community Cultural Center. In 1999, City Lore, a New York City community organization, inducted him into its Hall of Fame for lifetime contribution.
In addition to his solo performances and works for DanceBrazil, his choreographic credits include the films Brenda Starr and Boomerang. For Times Square 2000, the globally televised, multinational 24-hour dance marathon in New York City, Vieira was chosen to create the only Brazilian performance, he has been a guest master teacher at Yale University, Oberlin College, Columbia University, Princeton University, Stanford University and other institutions. In 2000, he was the Bacardi Distinguished Visiting Eminent Scholar at the University of Florida in Gainesville, he has taught Capoeira to legendary footballer Pelé and American movie stars Wesley Snipes and Eddie Murphy. Snipes, himself a top martial arts practitioner, has described Vieira as one of "the masters of the martial arts of the 20th century", he is a recipient of a 2008 National Heritage Fellowship awarded by the National Endowment for the Arts, the United States' highest honor in the folk and traditional arts. Upon returning to Brazil, in his home community of Boca do Rio, a bairro of the nation's third-largest city, Vieira continues to teach children and young adults the art of Capoeira to build self-esteem, instill self-discipline and raise social consciousness while at the same time becoming a vital part of their own community.
In 2007, after having devoted many years to Grupo Capoeira Brasil, he founded Grupo Capoeira Luanda. DanceBrazil website Jelon Vieira on IMDb Jelon Vieira on The Egg
Martial arts are codified systems and traditions of combat practiced for a number of reasons such as self-defense and law enforcement applications, physical and spiritual development. Although the term martial art has become associated with the fighting arts of East Asia, it referred to the combat systems of Europe as early as the 1550s; the term means "arts of Mars", the Roman god of war. Some authors have argued that fighting arts or fighting systems would be more appropriate on the basis that many martial arts were never "martial" in the sense of being used or created by professional warriors. Martial arts may be categorized along a variety of criteria, including: Traditional or historical arts vs. contemporary styles of folk wrestling and modern hybrid martial arts. Techniques taught: Armed vs. unarmed, within these groups by type of weapon and by type of combat By application or intent: self-defense, combat sport, choreography or demonstration of forms, physical fitness, etc. Within Chinese tradition: "external" vs. "internal" styles UnarmedUnarmed martial arts can be broadly grouped into focusing on strikes, those focusing on grappling and those that cover both fields described as hybrid martial arts.
Strikes Punching: Boxing, Wing Chun, Karate Kicking: Taekwondo, Savate Others using strikes: Muay Thai, Kung Fu, Pencak SilatGrappling Throwing: Hapkido, Sumo, Aikido Joint lock/Chokeholds/Submission holds: Judo, Brazilian jiu-jitsu, Sambo Pinning Techniques: Judo, AikidoArmedThe traditional martial arts, which train in armed combat encompass a wide spectrum of melee weapons, including bladed weapons and polearms. Such traditions include eskrima, kalaripayat and historical European martial arts those of the German Renaissance. Many Chinese martial arts feature weapons as part of their curriculum. Sometimes, training with one specific weapon will be considered a style of martial arts in its own right, the case in Japanese martial arts with disciplines such as kenjutsu and kendo and kyudo. Modern martial arts and sports include modern fencing, stick-fighting systems like canne de combat, modern competitive archery. Combat-oriented Health-orientedMany martial arts those from Asia teach side disciplines which pertain to medicinal practices.
This is prevalent in traditional Asian martial arts which may teach bone-setting and other aspects of traditional medicine. Spirituality-orientedMartial arts can be linked with religion and spirituality. Numerous systems are reputed to have been disseminated, or practiced by monks or nuns. Throughout Asia, meditation may be incorporated as part of training. In those countries influenced by Hindu-Buddhist philosophy, the art itself may be used as an aid to attaining enlightenment. Japanese styles, when concerning non-physical qualities of the combat, are strongly influenced by Mahayana Buddhist philosophy. Concepts like "empty mind" and "beginner's mind" are recurrent. Aikido, for instance, can have a strong philosophical belief of the flow of energy and peace fostering, as idealised by its founder Morihei Ueshiba. Traditional Korean martial arts place emphasis on the development of the practitioner's spiritual and philosophical development. A common theme in most Korean styles, such as taekkyeon and taekwondo, is the value of "inner peace" in a practitioner, stressed to be only achieved through individual meditation and training.
The Koreans believe. Systema draws upon breathing and relaxation techniques, as well as elements of Russian Orthodox thought, to foster self-conscience and calmness, to benefit the practitioner in different levels: the physical, the psychological and the spiritual; some martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music strong percussive rhythms; the oldest works of art depicting scenes of battle are cave paintings from eastern Spain dated between 10,000 and 6,000 BCE that show organized groups fighting with bows and arrows. Chinese martial arts originated during the legendary apocryphal, Xia Dynasty more than 4000 years ago, it is said. The Yellow Emperor is described as a famous general who before becoming China's leader, wrote lengthy treatises on medicine and martial arts. One of his main opponents was Chi You, credited as the creator of jiao di, a forerunner to the modern art of Chinese wrestling.
The foundation of modern Asian martial arts is a blend of early Chinese and Indian martial arts. During the Warring States period of Chinese history extensive development in martial philosophy and strategy emerged, as described by Sun Tzu in The Art of War. Legendary accounts link the origin of Shaolinquan to the spread of Buddhism from ancient India during the early 5th century AD, with the figure of Bodhidharma, to China. Written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD; the combat techniques of the Sangam period were the earliest precursors to Kalaripayattu. In Europe, the earlie
The Associação Brasileira de Apoio e Desenvolvimento da Arte-Capoeira, in English translated as "The Brazilian Association for the Support and Development of the Art of Capoeira," is a nonprofit organization whose purpose is to spread and support Brazilian culture through the practice of capoeira. Founded in 1988 by Mestre Camisa, José Tadeu Carneiro Cardoso, ABADÁ is based in Rio de Janeiro, Brazil, it is one of the largest capoeira organizations in the world with over 41,000 members representing schools throughout every state of Brazil as well as 30 different countries. ABADÁ is distinguished from other capoeira organizations by its worldwide growth as well as its style and philosophy. “ABADÁ-Capoeira prides itself on the originality and constant refinement of its style of capoeira, renown for its efficiency and its cultural and historical relevance,” explains ABADÁ-Capoeira San Francisco. Part of the contemporary renaissance of capoeira, ABADÁ-Capoeira seeks to incorporate the practices of the two main branches of the art, Capoeira Regional and Capoeira Angola.
Its instruction embraces the fundamental customs of the time-honored art while at the same time engaging the modernizing advances of recent Mestres, in particular Mestre Bimba. An aluno formado of Mestre Bimba, Camisa “developed his own philosophy and methodology for teaching capoeira by following the innovative concepts of his teacher, the great master of Capoeira Regional, Bimba. Mestre Camisa's vision for ABADÁ-Capoeira has been to create an organization that strives to move forward by keeping one foot in the past and one foot in the future, maintaining tradition while adapting to society's changes.” As explained by ABADÁ-Capoeira San Francisco: ABADÁ-Capoeira believes that the study of capoeira involves dedication to all the various aspects of the art, emphasizing in particular the relentless pursuit of technical mastery of the physical elements of capoeira and the constant evolution of the technique to improve efficiency and prevent injury. Important is the understanding of and reverence for capoeira's rich history, including the preservation and recovery of the instruments and games of capoeira, individual competency in and knowledge of the game’s music and instruments, participation in the larger capoeira community in Brazil and throughout the world.
As this last suggests, ABADÁ-Capoeira expresses itself not only as an athletic endeavor but as a holistic practice that helps individuals develop as members of society at large. As described by ABADÁ-Capoeira New York City, ABADÁ-Capoeira incorporates a multi-leveled philosophy aimed at sustaining the development of capoeira through its members as well as utilizing capoeira as tool for individual and communal growth. At its base, the school stresses the “relentless pursuit of the technical mastery of capoeira, at both the student and instructor levels.” Training provides a solid foundation in the art’s movements and principles, promoting discipline as well as physical and mental awareness. Ongoing training recognizes the transformation of the student into a teacher as she or he progresses through various stages of development and returns his or her learned experience to the group; this process helps maintain the original value systems of the early capoeira masters, their culture and their life experiences, as the cycle of learning continues.
At the same time, a dialogue opens by which the “teacher” is informed and instructed by the “student” as the student marks her or his own personal achievements as a capoeirista. Just as important, ABADÁ-Capoeira promotes capoeira as an artistic and cultural resource, as well as a valuable pedagogic tool. A holistic approach to all aspects of the art and its traditions, in particular the songs and instruments, helps maintain a firm connection to its Brazilian heritage. At the same time, ABADÁ-Capoeira promotes creative exploration within the idea of “play.” Capoeiristas do not compete in the rodas, but rather strive with their partner to produce the best game possible, this understanding of play extends into other aspects of the capoeirista’s training. The school further seeks to “promote cultural and human values” based on respect, freedom and strength, its social orientation advocates community building, leadership in daily practice, the pursuit of education. It hopes to accomplish these goals by spreading the art of capoeira in and through universities, clubs and diverse communities.
It hopes to emphasize the cultural lessons inherent in its Brazilian roots, by doing so, promote social integration between people of different backgrounds and classes. While keeping sight of its social goals, ABADÁ-Capoeira seeks to instill good character and strong personal values in its students. Training thus can offer personal and spiritual examination. ABADÁ-Capoeira was established in 1988 in Rio de Janeiro. Mestre Camisa’s intention was to develop a group formally dedicated to the practice of the art which would build a strong sense of family and community for the numerous capoeiristas; this worldwide community is guided by the school’s Mestres, who number six. In the tradition of capoeira, all practitioners are given an apelido, or nickname, establishing their identity within ABADÁ-Capoeira. Appelidos are assigned during batizado celebrations, when new members are welcomed into the community. Mestre Camisa, born José Tadeu Carneiro Cardoso, grew up on a farm known as Fazenda Estiva in northeast of Brazil, in the state of Bahia.
He grew up with nine siblings, the eldest being Edvaldo Carneiro da Silva, who became the capoeirista Camisa Roxa. Mestre Camisa first began studying capoeira at about the age
Maculelê is an Afro-Brazilian dance where a number of people gather in a circle called a roda. In the roda, one or more atabaques positioned at the entrance of the circle; each person brandishes a pair of long sticks, traditionally made from biriba, canzi, or pitia wood from Brazil. The sticks, called grimas, traditionally measure 20–24 inches long by 1 1⁄8 inches thick; as the Maculelê rhythm plays on the atabaque, the people in the circle begin rhythmically striking the sticks together. The leader sings, the people in the circle respond by singing the chorus of the songs; when the leader gives the signal to begin playing Maculelê, two people enter the circle, to the rhythm of the atabaque, they begin striking their own and each other's sticks together. On the first three beats, they strike their own sticks together, making expressive and athletic dance movements, on each fourth beat, they strike each other's respective right-hand stick together; this makes for a dance that looks like "mock stick combat"..
Maculelê has steps similar to many other Brazilian dances such as "frevo" from Pernanbuco, "Moçambique" from São Paulo, "Cana-verde" from Vassouras-RJ, "Bate-pau" from Mato Grosso, "Tudundun" from Pará among others. In some capoeira schools, students perform maculelê using a pair of machetes; these large knives are associated with the tools used by slaves in plantations. The knives spark as they strike in the air, the sparks along with the sounds of the knives striking one another make this performance impressive; because a fast moving dance with large knives is dangerous, only experienced capoeiristas will use knives. The origins of Maculelê are obscure, there are many stories and beliefs that claim "this is how Maculelê came to be". Here are three: During the slavery era in Brazil, the slaves in the sugarcane plantations would gather and play Maculelê as a game to vent their anger and frustration from being slaves. At this time, machetes were used instead of sticks. Sticks were incorporated for safety reasons.
However, some experts still use machetes. There were two tribes in Brazil: a peaceful tribe, a warlike pirate one. For stealing supplies and raping this tribe would attack the peaceful tribe, who had no way of defending themselves. One day, during an attack, a young boy named "Maculelê" picked up a pair of sticks and fought off the other tribe; the other tribe never attacked again. His home tribe made a mock combat dance using sticks and named the dance "Maculelê" in his honor and memory. An interior West African village was embroiled in a regional conflict. All of the warriors of the village were called to the front lines to defend their people from invaders. All of the able bodied men went to join the battle; the next day, the villagers were awakened to find their small village far from the battle, was being attacked by part of the invading army. With no warriors left to defend the village, an unlikely hero emerged. A young boy took up two simple sticks and inspired the remaining villagers to mount a fearless defense.
His heroic efforts became legend are represented in the Maculelê. Maculelê is sometimes practiced by itself, but is quite practiced alongside capoeira, is featured in many capoeira performances. Maculelê and Capoeira are similar in style and reason. Maculelê was performed as a group dance in the Canadian version of So You Think You Can Dance. Weapon Dance Morris Dance Maculele interview with mestre popo Lyrics and videos of Maculele songs and music Article on Maculelê from Instituto Palmeiras