Youth
Theme: humility/humildade
Moves:
Group A: cocarinha, negativa, role
Group B: sit down in negative, role, macaco
Song: A Palma de Bimba... kids need to know the response, which is, "E um, dois tres" (it's one, two, three). See below for more information about this song.
Moves:
Group A: cocarinha, negativa, role
Group B: sit down in negative, role, macaco
Song: A Palma de Bimba... kids need to know the response, which is, "E um, dois tres" (it's one, two, three). See below for more information about this song.
Adults
Song: A Palma de Bimba
PortugueseA palma estava errada bimba parou outra vez bata esta palma direito a palma de bimba e um dois tres olha a palma de bimba E Um Dois Tres olha a palma de Bimba E Um Dois Tres se voce e devoto de bimba na roda ele vai lhe ajudar mas se nao e sai correndo que a roda ta aberta e o bicho vai pegar e a palma de bimba E Um Dois Tres e a palma de bimba E Um Dois Tres a quadra estava errada bimba parou outra vez cante esta quadra direito a palma de bimba e um dois tres olha a palma de bimba E Um Dois Tres a iuna estava errada bimba falou outra vez nao matrate esta ave moleque e a palma de bimba e um dois tres olha a palma de bimba E Um Dois Tres a ginga estava errada bimba parou outra vez o ginga bonito moleque e a palma de bimba e um dois tres olha a palma de bimba E Um Dois Tres | EnglishThe claps were wrong Bimba stopped again hit those claps right The claps of Bimba is one two three look, the claps of Bimba It’s One Two Three look the claps of Bimba It’s One Two Three If you are a follower of Bimba In the roda he will help you but if not and you rush in the roda is open and someone will catch you and the claps of Bimba It’s One Two Three look the claps of Bimba It’s One Two Three The quadra was wrong Bimba stopped again sing this quadra right The claps of Bimba is one two three look the claps of Bimba It’s One Two Three The Iuna was wrong Bimba spoke again Boy don’t mistreat this bird The claps of Bimba is one two three look the claps of Bimba It’s One Two Three The Ginga was wrong Bimba stopped again Ginga well, boy The claps of Bimba is one two three look the claps of Bimba It’s One Two Three |
Some notes on the song:
- Bimba of course refers to Mestre Bimba, the creator of Capoeira Regional (the style we do). The clapping is said to be from Bimba in this song because he developed the music and bateria in regional so that we clap on the first, second, and third beats.
- Quadra- a song with 4 lines for the calls... like this song.
- Iuna- a capoeira game played by graduated students and above, which is medium-paced and graceful- floreios and flow with the partner are showcased. Iuna has it's own berimbau toque. Iuna is also a bird- it is said that the toque mimics the sound of the bird call.
- "o bicho vai pegar"/"someone will catch you"- this literally translates into the bug will hit/sting you.
Training Focus: Santa Maria
author: Coruja
A toque used for the not often seen 'money', game where the players try to pick up a coin purse placed in the center of the roda with their mouths. In addition to the picking up of money people are also known to use items like caixixis. This was also a rhythm played for people to play a game where they would place a ‘navalha’ (knife) between their toes while playing.
This jogo (game) has a different feel than other capoeira rhythms like Benguela or Sao Bento Grande de Bimba because you are trying to win by picking something up. This jogo has an end where Benguela and Sao Bento do not necessarily. That being said it is important to remember when playing this game that there is more to winning than just picking up the item. If you watch the video linked above you see that the two players are moving withTONS of expression. When you play this game part of it is to also try and use as much expression in your movements to throw off your partner so you can sneak around them to get to the item. You also see the two players stopping each other by blocking each other with their feet or head. There is even one point where you see the one person use his head to hold the others head on the ground so he can’t pick up the caixixi… pretty crazy move if you ask me, but in this you can see that they are playing a very specific way. They aren’t striking each other, like you see in Benguela or Sao Bento, but rather they are trying to utilize their kicks and movement to inspire the other player to move a certain way to create an opening for going in for the item. This is an extremely helpful way to think about training and playing because it transfers to how you would play during Angola, Benguela, or Sao Bento in that you would be, if you want, connecting those kicks instead of just using them to inspire a reaction.
The jogo de Santa Maria is helpful to understand and be able to play because it teaches you how to play with a goal in mind, but also teaches you how to occupy another person’s space to make them move where you want them to. Vice versa, it also teaches you how to react appropriately when you are being challenged by someone who is trying to crowd you or make you move where they want you to go. It teaches you to be mindful of your entire surroundings because if you get too focussed on just going after the item you wind up with a foot in your face. In order to play a good Santa Maria game you have to be able to play with a goal, but not lose sight of the bigger picture, which is to have a coherent/connected game with your partner.
Another phrase used to describe this type of playing is “jogo de dentro” (game of inside or playing on the inside). What this describes is how the two players never move away from each other, but are always trying to move through the other or around while staying as close as possible. If you pay attention to the video you can see that the two players are never more than a couple inches away from each other at any given time.
The melody imitates the corrido Santa Maria, Mãe de Deus. The corrido Apanha Laranja no Chão Tico Tico (não leva com mão, só com pé ou com bico) gives general rule for the game: use your mouth and feet, not your hands.
Song with other lyrics:
Apanha laranja no chao tico tico
Se meu amor for si embora eu nao fico
Apanha com a mao ou com pe ou com bico
translation:
grab the orange from the ground tico tico (tico is the sound of the berimbau)
if my love went away I will not stay.
Grab it with your hand or your foot or your mouth
Below is an example of a Santa Maria game (Abada Capoeira, Mestre Camisa)
A toque used for the not often seen 'money', game where the players try to pick up a coin purse placed in the center of the roda with their mouths. In addition to the picking up of money people are also known to use items like caixixis. This was also a rhythm played for people to play a game where they would place a ‘navalha’ (knife) between their toes while playing.
This jogo (game) has a different feel than other capoeira rhythms like Benguela or Sao Bento Grande de Bimba because you are trying to win by picking something up. This jogo has an end where Benguela and Sao Bento do not necessarily. That being said it is important to remember when playing this game that there is more to winning than just picking up the item. If you watch the video linked above you see that the two players are moving withTONS of expression. When you play this game part of it is to also try and use as much expression in your movements to throw off your partner so you can sneak around them to get to the item. You also see the two players stopping each other by blocking each other with their feet or head. There is even one point where you see the one person use his head to hold the others head on the ground so he can’t pick up the caixixi… pretty crazy move if you ask me, but in this you can see that they are playing a very specific way. They aren’t striking each other, like you see in Benguela or Sao Bento, but rather they are trying to utilize their kicks and movement to inspire the other player to move a certain way to create an opening for going in for the item. This is an extremely helpful way to think about training and playing because it transfers to how you would play during Angola, Benguela, or Sao Bento in that you would be, if you want, connecting those kicks instead of just using them to inspire a reaction.
The jogo de Santa Maria is helpful to understand and be able to play because it teaches you how to play with a goal in mind, but also teaches you how to occupy another person’s space to make them move where you want them to. Vice versa, it also teaches you how to react appropriately when you are being challenged by someone who is trying to crowd you or make you move where they want you to go. It teaches you to be mindful of your entire surroundings because if you get too focussed on just going after the item you wind up with a foot in your face. In order to play a good Santa Maria game you have to be able to play with a goal, but not lose sight of the bigger picture, which is to have a coherent/connected game with your partner.
Another phrase used to describe this type of playing is “jogo de dentro” (game of inside or playing on the inside). What this describes is how the two players never move away from each other, but are always trying to move through the other or around while staying as close as possible. If you pay attention to the video you can see that the two players are never more than a couple inches away from each other at any given time.
The melody imitates the corrido Santa Maria, Mãe de Deus. The corrido Apanha Laranja no Chão Tico Tico (não leva com mão, só com pé ou com bico) gives general rule for the game: use your mouth and feet, not your hands.
Song with other lyrics:
Apanha laranja no chao tico tico
Se meu amor for si embora eu nao fico
Apanha com a mao ou com pe ou com bico
translation:
grab the orange from the ground tico tico (tico is the sound of the berimbau)
if my love went away I will not stay.
Grab it with your hand or your foot or your mouth
Below is an example of a Santa Maria game (Abada Capoeira, Mestre Camisa)
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