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MUSICALITY

ABOUT IT:

The musicality of capoeira plays a crucial role in the art form, serving as an integral component that enhances both the practice and the cultural experience. Music in capoeira is not merely an accompaniment; it is a fundamental element that shapes the rhythm, energy, and spirit of the practice.

Firstly, the music sets the tone for the capoeira roda, creating an atmosphere that influences the movements and interactions of the participants. Different styles of music, such as samba de roda or angola, evoke various moods and intensities, guiding the flow of the game. The rhythm encourages capoeiristas to express themselves through their movements, allowing for a deeper connection between the music and the physical practice.

Moreover, musicality in capoeira fosters a sense of community and tradition. The songs often tell stories of history, struggle, and culture, connecting practitioners to their roots and to each other. Singing together during the roda creates a bond among participants, reinforcing the idea that capoeira is not just an individual practice but a collective experience.

Additionally, learning the musical aspects of capoeira, such as playing instruments like the berimbau or atabaque, enhances a capoeirista's overall understanding of the art form. It cultivates a sense of rhythm and timing that is essential for executing movements effectively. Musicianship in capoeira also allows practitioners to engage with the art on a deeper level, enriching their appreciation for its cultural significance.

In conclusion, the musicality of capoeira is vital as it enhances the practice, fosters community, and deepens the connection to cultural heritage. It transforms capoeira from a mere physical activity into a holistic experience that celebrates the interplay between music, movement, and tradition.

INSTRUMENTS:

BERIMBAU: It consists of a single-stringed bow made from a flexible wood, typically with a gourd resonator attached to one end. The instrument is played by striking the string with a stick called a "baqueta" while using a coin or stone to modify the pitch and tone. The berimbau is essential in setting the rhythm for capoeira and is known for its distinctive sound, which contributes to the cultural richness of Brazilian music and dance.
 

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PANDEIRO: it is a traditional Brazilian percussion instrument that resembles a frame drum. It typically consists of a circular wooden or plastic frame with a drumhead made of animal skin or synthetic material, and it features jingles (similar to those found in a tambourine) attached to the frame. The pandeiro is played by striking the drumhead with the hand while simultaneously shaking or tapping the frame to produce a variety of rhythmic sounds. It is commonly used in Brazilian music styles such as samba, choro, and forró, and is known for its versatility and expressive capabilities.

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ATABAQUE:  is typically made from wood and has a cylindrical shape, with a skin stretched over one or both ends. The atabaque is played with the hands and is known for its deep, resonant sound, which plays a crucial role in the rhythm and atmosphere of the music. In Candomblé, the atabaque is often used in religious ceremonies to accompany songs and dances dedicated to the orixás (deities). Its significance extends beyond music, as it is also a symbol of cultural heritage and spiritual expression in Afro-Brazilian communities.

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AGOGÔ:   It consists of two metal bells of different sizes that are struck with a stick to produce sound. The agogô is known for its distinctive, sharp tones and is often used to provide rhythmic accents in musical compositions. It plays a significant role in traditional Brazilian music and is also found in various other musical genres.

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P0ETRY IN CAPOEIRA:

Ladainha: The ladainha is a type of song that is sung at the beginning of the capoeira Roda, usually before the game starts. It is a form of invocation, a prayer or a hymn, that serves to create a spiritual atmosphere and prepare the capoeiristas for the practice. The ladainha is typically sung in a slower and more solemn tone, and may include themes such as the invocation of saints, the homage to ancestors, or the celebration of life.

Chula: The chula is a type of song that is sung during the capoeira game, usually when the capoeiristas are preparing to play or during breaks between games. The chula is a more upbeat and rhythmic song that serves to create an energetic and enthusiastic atmosphere. The chula may include themes such as the celebration of capoeira, the homage to masters, or the description of movements and techniques.

Corrido: The corrido is a type of song that is sung during the capoeira game, usually when the capoeiristas are playing at a high intensity. The corrido is a faster and more intense song that serves to accompany the rhythm of the game and create an atmosphere of energy and adrenaline. The corrido may include themes such as the description of movements and techniques, the celebration of the capoeiristas' skills, or the homage to masters.

Quadra: The quadra is a type of song that is sung at the end of the capoeira Roda, usually after the game has finished. The quadra is a slower and more reflective song that serves to close the Roda and express gratitude for the shared experience. The quadra may include themes such as reflection on the practice, homage to masters, or celebration of the capoeira community.

OUR FAVORITE SINGERS:

- Mestre Suassuna

- Mestre Acordeon

- Mestre Ananias

- Marcelo Finco

- Mestre Dunga

- Mestre Traíra

- Mestre Waldemar da Paixão

- Mestre Jogo de Dentro

- Mestre Esquilo

- Mestre Buiu

- Mestre Tony Vargas

- Mestre Moreira

- Mestre Chita

- Mestre Capu

- Mestre Moraes

- Mestre Boca Rica

- Mestre Bimba

- Paulo Cesar Pinheiro

- DJ Capoeira

- Capoeira de Outra Maneira

- Rafael de Lemba

- Varão da Angola

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