Berimbau Rhythms
There are many traditional and contemporary rhythms of the berimbau that
exist, and each Capoeira school uses particular rhythms for their own training
purposes. Though many of the same rhythms are used by different Capoeira
schools, the names, rhythm speeds, and game styles of the rhythms vary by
school. Even the notes of each rhythm may vary slightly from school to school.
Common rhythms trained in Capoeira schools are Angola, Benguela/Banguela, Regional de
Bimba (São Bento Grande de Bimba), and São Bento Grande de Angola.
Angola
Learn how to play
Angola on the berimbau
Angola is a slower-paced rhythm generally used to accompany what is known as
Capoeira Angola, the traditional form of Capoeira that was later given this
title to distinguish it between Mestre Bimba's style known as Capoeira Regional.
Most groups, however, refer to the game simply as Angola. In traditional Angola
schools, the Angola rhythm is played by the gunga, while the médio and viola
play the São Bento Pequeno de Angola and São Bento Grande de Angola rhythm
respectively. In most contemporary schools only Angola is used during the Angola
roda, but some schools use São Bento Pequeno de Angola as an intermediary rhythm
to build speed from Angola to the generally faster São Bento Grande de Angola.
The Angola rhythm usually begins with a ladainha, a dramatic solo that serves to
open the roda. Ladainhas can be both instructive and narrative, and typically
end with a canto de entrada (“song of entry”) that pays tribute to renowned
Capoeiristas, historical places, and respected mestres such as Mestre Pastinha.
The Angola game is generally considered to be most like Capoeira in its earliest
and most historical form, incorporating elements of malicía (trickery or
treachery) that reflect the deceptive relationship between slaves and their
owners. In his essay, Capoeira—an Introductory History, Mestre Acordeon, a
well-known Capoeira authority and one of Mestre Bimba's students, describes
characteristics of the Angola game as featuring “a high degree of combat
simulation in which the mere suggestion of an attack should be acknowledged; a
focus on rituals, strategy and tactics of the game; and an emphasis on
playfulness and theatrics of the movement.”
Angola in training
Angola is recognized as representing traditional Capoeira. Contemporary
Capoeiristas quickly find they must be well-versed in the Angola game if
expected to keep up with the skillful creativity of experienced Angoleiros. The
unrefined, often “sloppy” appearance of Angola movement is an intentional
deception that veils strategic and spontaneous attacks. In contemporary training, Angola can be used to develop malícia, train a closer game, and be educated in traditional philosophies that
are not always focused on in contemporary styles.
The Angola game
Angola is a game of mock respect where players often dodge a kick with the
intention of turning it into a counter-attack. The Angola game in itself serves
as a method of teaching where Capoeira came from and what it might have looked
like in its raw form. Angola movements are very fluid and are generally slower
and lower to the ground than in other games; however, the underlying
characteristic of all Angola movements is malícia—a slow starting Angola game
often masks sudden attacks to come.
Benguela/Banguela
Learn how to play
Benguela/Banguela on the berimbau
Named after an Angolan port used during the Brazilian slave trade, Benguela/Banguela is a rhythm that was created by Mestre Bimba in
part to help his students deal with the malicía of the Angoleiros. The game is a
type of jogo de chão (a game using mostly ground movements) that traditionally
abides by the guidelines of Capoeira Angola, while sometimes incorporating
characteristics of the São Bento Grande de Angola game. According to Mestre
Acordeon in his book Capoeira: A Brazilian Art Form, Mestre Bimba would play the
Benguela/Banguela rhythm after the intense jogos of his São Bento Grande rhythm to “cool
down the heat of the jogos.” Though the rhythm's notation varies from group to
group, the basic notation is similar to the Angola rhythm played at a medium
pace.
Benguela/Banguela in training
Benguela/Banguela is used as an intermediary rhythm usually played between the Angola
and São Bento Grande de Angola games. The game focuses on malicía and creativity
without the incorporation of traditional rituals and theatrics found in Capoeira
Angola. It is played at a medium to fast pace and is often used as a method of
training technical kicks, take-downs, cunning sweeps, and fakes. Benguela/Banguela helps
to develop malícia and to practice an effective reaction to an opponent's
attacks and style of movement. In training, Benguela/Banguela can be used as a “game of
learning” where players can allow an opponent to get inside their guard in order
to train reacting appropriately with a deceptive counter.
The Benguela/Banguela game
The Benguela/Banguela game is a close, fluid game that focuses on communication
between players. Players make an effort to fit movements together by consciously
reacting to one another. The fluidity of movement demonstrated in the game is
best described as a set of gears; as one gear turns, the other reacts, leading
to harmonious movement. The bulk of movement in the game include fakes, ground
acrobatics, and balança movements. The game is also very technical, focusing on
completed movements that integrate skillful malicía.
Regional de Bimba (São Bento Grande de Bimba)
Learn how to play
Regional de Bimba on the berimbau
Created by Mestre Bimba, the rhythm many Capoeira schools know as Regional
traditionally embodied the Regional style that Mestre Acordeon, in his book
Capoeira: A Brazilian Art Form, says was introduced by Mestre Bimba “in reaction
to the sloppy street Capoeira of the twenties.” In his school, Mestre Bimba
would play the rhythm to train the martial aspects of Capoeira after having his
students perform the sequência, a series of “eight combinations of attacks and
defenses,” that probably served as preparation for the game's intensity. Though
there was no singing during the game, Mestre Bimba would call out corrections to
the players and would tell his students, “When you strike a martelo, kick to
break your own foot; when you throw a galopante, punch to break your hand; and
when you throw someone with the head to the floor, do it to make a big hole in
the cement.” Mestre Bimba called this rhythm and its corresponding game São
Bento Grande, however, some refer to it as São Bento Grande de Regional to
differentiate between the more common São Bento Grande de Angola rhythm. Today,
the Regional rhythm is often used to develop speed and precision, training an
upright fighting style that reflects Mestre Bimba's original purpose of the
rhythm.
Regional in training
Regional is essentially the “fight” of all Capoeira games. In many schools,
the Regional rhythm is played after the Benguela/Banguela game or occasionally in the
middle of a São Bento Grande de Angola game when a sudden outbreak of aggression
might call for a quick switch to Regional. In training, the game is used to
develop the martial aspect of Capoeira, focusing on the “pé quente e cabeza
fria” mentality, meaning to practice performing aggressive movements while
keeping a cool head.
The Regional Game
The objective of the Regional game is to perform quick golpes traumatizantes
(traumatizing strikes) while reacting to the attacks of an opponent. It's
important, however, that the harmony of the game is never lost to simple
stand-up fighting. The game is generally played at a medium to fast pace and is
marked by upright movements, take-downs, cunning sweeps and strong defenses.
Acrobatic movements are not customary, but can be performed at a player's will,
assuming he is prepared to risk a counter-attack.
São Bento Grande de Angola
Learn how to play
São Bento Grande de Angola on the berimbau
Generally the fastest and most widely known and agreed upon rhythm in the
Capoeira community, São Bento Grande de Angola embodies elements of each of the
different Capoeira games. Features of the São Bento Grande de Angola game used
in contemporary Capoeira schools include ground techniques, fast kicks and
dodges, deceptive take-downs, and various kinds of acrobatics, making it an
ideal game for beginning students to experience many of the different types of
movement found in the games of Capoeira. The São Bento Grande de Angola game can
also include a demonstrational aspect to the game, often referred to as voador
(flyer), that gives individual Capoeiristas the opportunity to perform solos
that focus on aerial acrobatics. As one of the most common rhythms of the
berimbau, São Bento Grande de Angola is usually the designated rhythm for the
batizado event as well as the primary rhythm used during a roda where other
Capoeira groups participate. The rhythm is named after the Catholic Saint
Benedict and is most often recognized as São Bento Grande de Angola, a name that
it was given to distinguish it between Mestre Bimba's São Bento Grande rhythm.
In the traditional Angola roda, the São Bento Grande de Angola rhythm was played
by the viola berimbau.
São Bento Grande de Angola in training
São Bento Grande de Angola is the most common rhythm played by contemporary
Capoeira groups and is the primary rhythm used during batizados. Because of the
wide variety of movements allowed in the São Bento Grande de Angola game, all
other Capoeira games are typically played to “build up” to the speed and
exhilaration of this game. The São Bento Grande de Angola game is often used as
the showcase for demonstrational rodas because it allows players to exhibit all
categories of movements and talent. It is often sped up at the end of a roda or
demonstration to provide a climatic and energetic finish.
The São Bento Grande de Angola game
The São Bento Grande de Angola game is a very fast, open game that
shares aspects of all other games in its fluidity, theatrical style, acrobatics,
aggression, and expression. It is best described as “modern Capoeira” as it
incorporates a contemporary style of Capoeira that invites creativity and change
in movement. Movements that are most unique to the São Bento Grande de
Angola game include take-downs, crossing kicks, quick ground movements, aerial
spinning kicks, and aerial acrobatics.
|
