GUNGA

Written and researched by Professor Totti Angola (Aristóteles Kandimba) of The Capoeira Angola Center of the Netherlands.

(Este texto é apenas um trecho da pesquisa)

(This text is merely a small piece of the research)


O projeto literário “Entre Gungas e Kalungas” é uma pesquisa e tese sobre a ancestralidade, o simbolismo e a espiritualidade de vastos arcos musicais africanos, tais como o Mungongo da África Central, conhecido como a corda umbilical, de Nzambi (Deus) para o mundo, o Hungu e o M’bulumbumba de Angola, instrumentos de divertimento, diminuição de tensão e meditação, os Ugubhu e Uhadi, símbolos do braço forte do feminismo, dos ritos de passagem e dos ensinamentos históricos das mulheres da África do Sul, e o Berimbau. Instrumento de origem africana no Brasil, proeminente nas rodas de capoeira.


The literature project “Entre Gungas e Kalungas” is a research and thesis about ancestry, the symbolism and spirituality of various African musical bows, like the Mungongo of Central Africa, known as the umbilical cord of Zambi (God) connected to the world, the Hungu and the M’bulumbumba of Angola, instruments of entertainment, decrease of tension and meditation , the Ugubhu and Uhadi, symbols of the strong arm of femininity, the rites of passage and the historical teachings of the women of Southern Africa, and the Berimbau, the instrument of African origin in Brazil, prominent in the rodas of capoeira.


Com esta pesquisa, as minhas intenções são de dar a conhecer as origens dos instrumentos, como também a sua história intensiva. A tese, com fontes e referencias específicas, é uma das contribuições mais valiosas que disponho em prol de mais saberes e valorização da arte Capoeira. Arte essa que pratico, orgulhosamente, a dezoito anos.


With this research, my intentions are to let people get acquainted with the origins of the instruments as well as its intensive history. The thesis with specific references and sources is one of the most valuable contributions I offer for the enhancement of knowledge and valorization of the art Capoeira, the art that I practice with pride, for over eighteen years.


Link to his Blog: Link para o blog dele:

http://kandimbafilms.blogspot.nl/2012/10/o-gunga-no-berimbau-significacao-da.html

AXÉ AFRICANO NA EUROPA

AXÉ AFRICANO NA EUROPA: Uma Redação Sobre um Video Clipe de uma Demostração e Jogo de Capoeira Angola. 

Por: Lucia Kudielela Fernandes - Co-Founder of Capoeira Africana

Preâmbulo: Capoeira African é a colectivização, documentação e representação da experiência Africana na roda de Capoeira e da vida. Nós experimentamos a Capoeira Africana reavaliando continuamente, revivendo, e reafirmando filosofias e valores Africanos, velhos e novos, dentro e fora da roda.


ENGLISH (Translation)

AFRICAN AXE IN EUROPE: A Review of a Video Clip of Capoeira Angola Game and Demo. 

By: Lucia Fernandes - Co-Founder of Capoeira Africana

Preamble: Capoeira Africana is the collectivization, documentation and representation of the African experience in the rodas of capoeira and life. We experience it by continually reassessing, reliving, and reaffirming African values and philosophies, both old and new, in and outside of the roda.

In the year of 2012, on the streets of London,the African energy through it’s art and culture. Streets where centuries ago, enslaved Africans used to walk. Today, people from various parts of the world congregate to enjoy the beauty of the African art and culture.

“It has rhythm and enough ingredients to contaminate all” – Master Ngola Nvunji

[Africa, with the rhythm of Africa, I go to Africa.]. Through the sound of batuque (drum), Hungu, reco-reco, chocalho (sheker), the nostalgic shout, I go to Africa. Through the dance, ginga, rolé, I go to Africa. I listened to the carnival of victory rhythm that I used to see pass on the streets of Luanda during my infancy; through it, I go to Angola.

Africans always used the body as a vehicle for expression. It is not new!

In a public roda (circle), in a global circle, movements are exhibited; mandinga is shown, magic of the dance and fight, and free expression. Origin, nationality, ownership, asset of these or those, in relation to Capoeira, does not matter in moments of creativity and communion with the creator. What matters is “the axe”, life, contamination, inspiration offered through the unique moment, so desired by the hungry hearts of vital energy, which is found there (in that moment) – the axe, the African axe.

Two persons dance and fight. One person alone dances and fights, also. Two people  communicate between themsleves, and one shows acrobacies to the public. The essence of the dance and fight, and of the art is lost in the attempt to convince others that beauty exists. The pure beauty is adulterated. Deep expression is distorted; nevertheless, the axe is felt.

There are no certainties of facts, but there are certainties of feelings, clearly brought to surface of a reality of the moment. This is Capoeira Angola, the Ngolo Dance, recreative, ceremonial, propitiatory, and commemorative. It was brought to Brazil to be transformed into a dance of struggle,  liberty, and expression of the enslaved negro. Today, the world enjoys the African heritage, globally - the African Axe.

ENGLISH (Translation)

In the year of 2012, on the streets of London,the African energy through it’s art and culture. Streets where centuries ago, enslaved Africans used to walk. Today, people from various parts of the world congregate to enjoy the beauty of the African art and culture.

“It has rhythm and enough ingredients to contaminate all” – Master Ngola Nvunji

[Africa, with the rhythm of Africa, I go to Africa.]. Through the sound of batuque (drum), Hungu, reco-reco, chocalho (sheker), the nostalgic shout, I go to Africa. Through the dance, ginga, rolé, I go to Africa. I listened to the carnival of victory rhythm that I used to see pass on the streets of Luanda during my infancy; through it, I go to Angola.

Africans always used the body as a vehicle for expression. It is not new!

In a public roda (circle), in a global circle, movements are exhibited; mandinga is shown, magic of the dance and fight, and free expression. Origin, nationality, ownership, asset of these or those, in relation to Capoeira, does not matter in moments of creativity and communion with the creator. What matters is “the axe”, life, contamination, inspiration offered through the unique moment, so desired by the hungry hearts of vital energy, which is found there (in that moment) – the axe, the African axe.

Two persons dance and fight. One person alone dances and fights, also. Two people  communicate between themsleves, and one shows acrobacies to the public. The essence of the dance and fight, and of the art is lost in the attempt to convince others that beauty exists. The pure beauty is adulterated. Deep expression is distorted; nevertheless, the axe is felt.

There are no certainties of facts, but there are certainties of feelings, clearly brought to surface of a reality of the moment. This is Capoeira Angola, the Ngolo Dance, recreative, ceremonial, propitiatory, and commemorative. It was brought to Brazil to be transformed into a dance of struggle,  liberty, and expression of the enslaved negro. Today, the world enjoys the African heritage, globally - the African Axe.

Community & Ancestor Acknowledgement Pt. 2

                                                         By Taganyahu Gazaheng Swao

           The ego exists in the person who is devoid of the intention of true healing.  The ego can only exist in an environment devoid of divine wisdom. Divine wisdom is what teaches you love and all the manifestations of it.  The ego is everpresent in Capoeira Angola as there is the constant presence of competitiveness. I believe that this element of ego is what limits a capoeirista from furthering their spiritual development and healing. As one must know what they are fighting against in order to go to the next level. 

Ego going unchecked can cause a capoeirista to lose the path they set out on. Capoeira Angola, or N’golo as it was called in the continent, emphasized prudence, brotherhood , solidarity , chivalry, camaraderie, etc. All of these attributes were essential for captured africans to maintain their identity and sense of honor.  Secret socieities were constructed to maintain these traditions.  An outsider couldn’t be invited into a ritual space unless that person had already been through their own ritual space. This means that if you were a N’golo practitioner at the time that every person you’d meet in the roda had already done their own personal ritual and had spoken to their ancestors before starting their day.  This was common amongst the captured Africans that held onto their customs. Captured Africans had been displaced and needed these tools to empower themselves. N’golo was their tool. However, nowadays the scars from slavery still haven’t been healed, rather inherited from our forefathers. 

There is an acknowledgement of the suffering that captured africans suffered through however Capoeira’s solutions to this is rather short sighted. What I mean by saying this is…..Capoeira Angola is carrying the karma of our ancestrial trials and tribulations. Individually and spiritually people are suffering. Capoeira Angola is our respite from our daily stresses however it isn’t the end all solution to our trials and tribulations.  It is a fantastic and amazing form of liberation, however. If everyone isn’t doing their own individual healing ritual, when we come together in the roda, Capoeira Angola will be our only outlet for healing. Ritual is when you engage in an act that calls upon non-humans (spirits) to help you with something that you aren’t able to do by yourself. All indigenous cultures have some form of ritual.  I would also define ritual as doing an act that acknowledges spirit.  There are different forms of ritual. Your personal ritual, your family or group ritual. Then there’s the village ritual and finally the community ritual. If anyone of these rituals are missed by the participants involved in say a community ritual, the ritual will suffer as you are only as strong as your weakest link. I believe Our Masters don’t teach us these things overtly because "hiddenness" is effectiveness. Hiddenness is power.  Disclosure or exhibition is threatening to the relationship between us and the spirits invoked within a ritual. It becomes obvious there’s something more to capoeira than just the playing and singing. The more you spend around the game and the roda, it’s clear that there’s something else much larger than us present.

At some point or another we come to some understanding of the spirit in Capoeira. We sing about it then at some point we feel it. If you don’t have an awareness of ritual and spirit and Capoeira Angola is your first experience with it. You will never get enough of it!! Because Capoeira feeds the spirit.  And as individuals in a society that goes against what we believe in. We can become very hungry spirits!  This is quite natural when the majority of our experiences are based around making money and constantly running around to fulfil materialistic responsibilities.

The question shouldn’t be what can Capoeira Angola do for me, but what can I do for Capoeira?!

We have to satisfy our own ancestral suffering within ourselves in order to heal the community’s collective suffering. You have to have the intent to heal when you go to the Capoeira Angola roda. To play without ego, to play without fear and to play with your love for the game and see it advance. Or else your game will not advance spiritually. You can even become a master and will still carry the suffering of your ancestors. So it is imperative that Angola now make a shift consciously towards healing in totality.  If you have made the first step towards Capoeira Angola then take the next step towards working to fully heal your ancestors. Which will heal yourself. Then you will not play with ego and seek to be the best in the roda because you can only be the best at being you. 

Let us write ladainhas of our victories over the system that has kept us captive.  When anger, envy, fear or any manifestation of the ego appears let us be able to recognize it and not follow it. Let us acknowledge that we are indeed now free and only need to embody freedom through our character. If we are positive,  understanding, patient and compassionate in our actions then we will be truly free. Our interaction with our fellow angoleiros is important. To be genuine in greeting one another is the first thing we can do when we see each other.  There is no more room for being fake. There’s no more room for denial. We all feel incomplete and seek wholeness or else we wouldn’t’ be attracted to Capoeira Angola. Our thoughts are being manifested in the year of 2012 because the earth’s vibrational frequency is speeding up. Thus we are in a time where our experiences are becoming more spiritual and less materialistic. It is a shift we’re going through and we must be extra perceptive and aware of our thoughts and actions.

The problem with western culture is that it is a show-off culture that intimidates. If our goal is to repair all the damage done by the powers of progress, it becomes important to make sure that we focus on how to stay underground while attempting to connect with true rituals and our true ancestors. The focus here is not on just the ritual itself but on opening up something in our hearts and spirits that has been locked away so long that individuals can barely remember the source. Sometimes it is better not to partake in a roda at all than to do so in the wrong environment. I am against the powers of progress because in my opinion this is what has led to the demise of many African cultures.  Because what is being called progress these days is far from where Incan, Mayan and African technologies had reached before colonization and the transatlantic slave trade took place.  Can we call where we have advanced to as a planet in the last 100 years progress? I think not. It is time things go full circle.

“What is so good about being together with each other is that we can be the starting point for the possibility of building a larger community. Formation has to happen in a nurturing way if it is to work and prove itself to the rest of the world. In other words it has to prove itself to be different, attractive and nurturing without the ambition of competing with the current dysfunctional communities supported by an army of policemen. And for this to happen ritual must be the principal ingredient of its operating dynamics. Ritual must constantly be involved in order for the weak to become strong and the strong to get even stronger.”

- Malidoma Patrice Some

Community & Ancestor Acknowledgement Pt. 1

By Taganyahu Gazaheng Swao

It has come to my overstanding through the last 10 years of my practicing Capoeira Angola this art form has a connection with our ancestry. We connect to our ancestry through Capoeira Angola because when one enters a space where Capoeira Angola is happening, especially a roda, everything that is modern ceases to have any relevance in this environment. What the participants are doing in this ritual could have taken place 100 to 1000 years ago, if not longer. The instruments themselves could have been made from any time period so naturally our ancestors could have participated in such a ritual.  Many mestres talk of this connection to our ancestors that we cultivate when we practice/play Capoeira Angola. Some even say that by calling on disincarnated capoeira masters that they are able to enter into our bodies and play through us. 

However what is the purpose of connecting to our ancestors in Capoeira Angola if not to develop spiritually? To develop spiritually means many different things to people depending on their background and religion. Although Capoeira Angola is not a religion for the serious capoeiristas it is treated as one. It is known that we have a lot to learn through Capoeira Angola and are always learning. Many eventually come to the awareness that Capoeira Angola is a medium to interact with our ancestors through playing in the roda or just sitting in the bateria. Through it we are able to leave our worries at the door. And enter into a space that helps us transcend from our egos and stresses that modern living brings about in the age we are in.  Any practitioner of Capoeira Angola can attest to its healing qualities.  However there is a certain amount of darkness within the art that I feel has been brought on by the politics of it.  Many would say that this is a natural thing. And that this always occurs within communities. I disagree. I think that this is a result of opening the circle to outsiders who haven’t been indoctrinated into a ritual of their own. So naturally these people have no idea of what true community is. They instead want to impose a model that is not afrocentric but one based on domination. This has created a digression from how the art had developed in Central/West Africa. There were ancient technologies that had a certain code that ones had to be initiated into before they could practice the art. These initiation rites have been lost or maybe not passed onto as many “capoeiristas” that are out there.  

 

We call spirits into the roda in order to help achieve goals that cannot be achieved in any other way. This calling needs to remain in a safe containment, the way a baby remains hidden prior to being born. Safe containment means keeping the space away from impurities, any unwanted intrusions. I like the description of how Mestre Moraes once described the roda, "The capoeira ring, whose geometric form facilitates the propagation of energy, is one of the symbolic representations of the 'macro' world. The movements we make inside this ring symbolise the adversities we encounter in life, which we often don't know how to deal with. In the game of life, our opponents, in most cases, know nothing of capoeira, but have movements peculiar to their own game, which we should be able to interpret and understand in their context, taking the capoeira ring as a point of reference.“ Basically, anything that you find in the world/yourself will also be reflected in the roda and vice versa. I pondered over this interpretation of the roda for years and identified with it. As in my brief study of this art I’ve found my own and others personalities to have a direct representation in the roda. If that is the case then the roda is clearly affected by the people that are in it. And when I speak of Capoeira Angola I clearly am speaking about the community of practitioners. My idea of community is summed up as followed:

            Without a community you cannot be yourself. The community  is where we draw the strength needed to effect changes inside of us.   Community is formed each time more than one person meets for a purpose. Development of community depends on what the people involved consent to. What one acknowledges in the formation of the community is the possibility of doing together what is impossible to do alone. This acknowledgement is also an objection against the isolation of individuals and individualism by a society in service of the machine. What we want is to create community that meets the intrinsic need of every individual. The individual can finally discover within the community something to relate to, because deep down inside each of us is a craving for an honouring of our individualism.

            

                                                                                         - Malidoma Patrice Some

Questions for Clara: An African Woman in Capoeira

 

1) What is your name? Where are you from?
My name is Clara Ekeke. I was born and raised in Cameroon, in Central West Africa.

2) How long have you been training capoeira?
I have picked up an interest in Capoeira many years ago. I finally decided to train Capoeira Angola about two years ago.

3) How do you think your background influences your approach to capoeira, if at all? 
I believe that Capoeira Angola has allowed me to reconnect with my ancestry . Being born in Africa, there is a certain respect for the way of the Ancestors. This translates in my training of Capoeira as a profound respect for the “rituals” that are part of the game.

4) What has your experience been as an African woman in capoeira? 
It has been very beauty full so far. The playfulness, respect for oneself as an Angolera really resonate with me.

5) What do you think of the concept of Capoieira Africana?
I believe the vision of Capoeira Africana is one I can align with. I believe that there is an African view of the world and this provides a platform for that voice to be heard, as long as it (the platform) remains neutral and true to its mission of promoting dialogue.

6) What role would you like to play in the capoeira culture 10 years from now?
Well…I’d like to have improved my skills for sure! Besides that, I’d like to learn as much as possible about the history of Capoeira - minus the politics - and be able to share the true essence of those lessons with the younger generations. I believe that we all have a responsibility to pass what we know along in order to preserve the beautiful art that is Capoeira in general.

7) What else do you do outside of capoeira?
I am very active in my Faith organization (I have been practicing Buddhism with the Soka Gakkai International for the pas t 14 years). I am currently enrolled in school pursuing a degree as a Holistic Helath Practitioner. I am a Certified Life Coach and Hypnotherapist as well as Yoga teacher. I enjoy the Arts greatly (reading, writing, music, perfomances…).

Thank you Clara for sharing your time and perspective with us.

Dig Deep

"You hit me and I curl up, so you think you've won,

Not knowing that when I am at my lowest I am strongest."

                                                                 - filosofia africana

CELEBRATING THE DIASPORA / CELEBRANDO A DIASPORA

CELEBRATING THE DIASPORA

Oberlin Ohio, December 2011

DANCE AND MAGIC

Four Angoleiros (practitioners of Capoeira Angola) departed from New York City, to Oberlin, Ohio for a Capoeira Conference. During the trip, we talked about Capoeira, and reflected on Mestre Joao Pequeno’s life and passing away, which happened a day before. The voyage was quite pleasant, the moon was full and the atmosphere was filled with positive vibrations.

Upon arrival, we greeted the other angoleiros, and immediately went to rest. The following morning, we played and practiced for a couple of hours. Then, Justin Emeka, lead us into a “bate-papo” (informal conversation). Each participant shared a little insight of his or her Capoeira journey. The conversation was taken to a higher level when one of the angoleiros broke into tears while sharing how his life had changed through Capoeira. I cried with him. I felt that those tears were of gratitude, “saudade” (longing), and happiness. The thought that Capoeira was born in him and he was reborn in Capoeira instantly came to me. He stated that through Capoeira he had gone to Aruanda (a magical place), which was very profound. People talked about their frustrations, motivations, aspirations, and accomplishments in Capoeira and how it has impacted their lives. After the “bate-papo” we enjoyed a delicious meal at the Oberlin College Campus Cafeteria, which was followed by the children’s class and the roda (Circle).

To the sound of the berimbaus, the atabaque (drum), pandeiros, reco-reco, e agogo, beautiful singing voices were heard, and challenging games of Capoeira were enjoyed. Angoleiros came from Philadelphia, Boston, Canada, and New York City to celebrate the Diaspora - Mestre Chicago, his wife Kiameshia and their three beautiful children (Nailah, Geronimo, and Freedom-also great angoleiros), Contra Meste Chorao, Roque Bomfim, Chike, Tagen, Nina, Mtambusi, Martin, and Lucia. The roda was filled with much dance, “floreio”, “mandinga”, acrobatics, and several “jogos bonitos” (beautiful games). People from different places and backgrounds, including Brazil, Angola, Jamaica, Nigeria, the USA, Ghana, Eritrea, etc. joined in the name of Capoeira Angola to celebrate the Diaspora and life. The roda ended nicely, and some of the visitors left that same evening of Sunday.

On Monday morning, some of the visitors had the honor to be part of another great roda. This time, the college students had more time to play. I was happy to “dance”/play/jogo with them - I just wanted to dance… and felt very positive vibrations in the air. So much inspiration came from the moment when I was singing a “ladainha” and one of the players, who was about to start playing, shed tears of joy and appreciation.

On the way back to NYC we talked about how eager and inspired we were. Capoeira can inspire beyond what one can imagine. Capoeira can give tools to help you accomplish your dreams and goals in life. It will allow you to create and fly. Capoeira is BEAUTIFUL and TRANCENDENTAL!  

Lúcia Kudielela Fernandes

Co-Founder of Capoeira Africana Movement

PORTUGUÊS

CELEBRANDO A DIASPORA

Oberlin Ohio, Dezembro 2011

DANÇA E MAGIA

Quatro Angoleiros partiram da cidade de Nova Iorque à Oberlin, Ohio, para uma conferêcia de Capoeira. Durante a viagem, falamos sobre Capoeira e reflectimos na morte de Mestre João Pequeno, que havia acontecido um dia antes. A viagem foi agradável, a lua estava cheia e a atmosfera estava preenchida de vibrações positivas.

Na chegada, cumprimentamos os outros angoleiros, e logo depois fomos descansar. Na manhã seguinte, jogamos e treinamos por algumas horas. Depois do treino, Justin Emeka, nos guiou para um “bate-papo”. Cada participante compartilhou um pouco sobre a sua jornada na Capoeira. A conversa foi levada à um nível mais alto, quando um dos angoleiros começa a chorar enquanto falava sobre como a sua vida tivera mudado através da Capoeira Angola. Eu chorei com ele. Senti que aquelas lágrimas eram de gratidão, saudade, e felicidade. O pensamente que Capoeira nasceu nele, e ele foi renascido na Capoeira me veio espontaneamente. Ele disse que através da Capoeira, ele foi a Aruanda (lugar mágico), o que foi muito profundo. Os presentes falaram sobre suas frustações, motivações, aspirações, e realizações dentro da Capoeira, e como ela tem impactado as vidas deles. Depois do bate-papo, comemos uma refeição deliciosa na Cafetaria do Campus da Faculdade de Oberlin, que foi seguida pela aula das crianças e a roda.

Ao som do berimbau, do atabaque, pandeiros, reco-reco e agogo, belas vozes cantantes foram escutadas, e jogos desafiantes de capoiera foram desfrutados. Angoleiros vieram de Filadelfia, Boston, Canada, e Nova Iorque para celebrar a Diaspora; Mestre Chicago, sua esposa Kiameshia, e os seus três lindos filhos (Nailah, Geronimo, and Freedom – também bons angoleiros), Contra Mestre Chorão, Roque Bomfim, Chike, Tagen, Nina, Mtambuzi, Martin, and Lucia. A roda estava cheia de dança, floreio, mandinga, acrobacías, e vários jogos bonitos. Pessoas de diferentes lugares e experiências, tais como Brazil, Angola, Jamaica, Nigeria, Estados Unidos, Gana, Eritreia, etc. juntaram-se em nome de Capoeira Angola para celebrar a Diaspora e a vida. A roda acabou agradavelmente, e alguns dos visitantes partiram naquela mesma noite de domingo.

Na segunda-feira de manhã, alguns dos visitantes tiveram a honra de participar numa outra roda formidável. Desta vez, os estudantes universitários tiveram mais tempo para jogar. Eu estava contente por dançar e jogar com eles - Eu só queria dançar... e senti vibrações muito positivas no ar. Grande inspiração veio do momento em que eu estava cantando uma ladainha, e um dos jogadores, que estava prestes a iniciar um jogo, deitou lágrimas de alegria e apreciação.

No caminho de volta a Nova Iorque, falamos sobre o quanto ansiosos e inspirados todos nós estavamos. Capoeira é capaz de inspirar uma pessoas além do que ela pode imaginar. Capoeira dá ferramentas que podem ajudar na realização de seus sonhos e metas na vida. Ela te permite criar e voar. Capoeira é BONITA e TRANSCENDENTE!

Lúcia Kudielela Fernandes

Co-Fundadora do Movimento Capoeira Africana

Reflections on Capoeira Africana

"The roots don't depend on the tree. The tree depends on the roots."

In several African traditions, people believe that some trees are sacred symbols that store ancestral and spiritual information. I always felt a strong connection with trees, even before knowing about this. I remember having a mango tree in the backyard of our house in Luanda, Angola. I loved to climb up there, sit on the strong branches, savor delicious mangoes, and enjoy the tranquility. Trees are still very special to me. Their perfect structure is so fascinating as every part is perfectly connected and designed to function harmoniously. While I think about the meaning of Capoeira Africana, the representation of a tree comes to mind. Capoeira Africana is the “African” spirit of Capoeira. Ideally, it represents the roots of Capoeira.

When I first started practicing Capoeira, I didn't know exactly why I was doing it. However, the music and movements activated something deep within, which I could not explain. After taking a few classes, I realized that I was falling in love with this enchanting art form. Seeing others playing and singing, and allowing myself to be part of the circle gave me a sense of harmony. My subconscious began to send fuzzy messages to my consciousness. Since I could not decipher the messages I became more curious and thirsty. I felt the urgency to move deeper and to dive into this ocean of divine and physical messages, which were forming in my consciousness.  Eventually, Capoeira Africana blessed me with answers to questions I had during my beginning days of Capoeira. 

Being aware of what Capoeira Africana represents allows me to have access to ancestral and spiritual information. It also helps me to stay connected to the roots of Capoeira - a transcendental experience, which comes alive only through awareness of this innate spirit of Capoeira. Capoeira Africana brings a “holistic” way of seeing, learning, and practicing Capoeira. It has several components such as physical, mental and spiritual, and the practitioner should be familiar with all of them in order to master the art form. Before I began to develop a Capoeira Africana mentality, and started to understand what it really meant to me and to Capoeira as a whole, in my view, "my" Capoeira was rootless. I experienced all parts of the "tree" except the roots, thinking that it was simply a historical statement. But as I gained a better understanding of this philosophy/spirit, it became part my Capoeira, my “jogo” (game), my training/practice, and even became a way of life.  

Coming to the U.S. opened up a new world in my life, in addition to the “African” world in me. I was born in Africa and Africa was born in me. Deep inside I know that I am in the U.S. to fulfill a higher purpose. Capoeira is a way I find that helps me understand and fulfill this yet unrealized purpose. Capoeira Africana helps me stay connected with my African roots.  It helps me realize why I was sent to the U.S. by my ancestors. Sometimes, I sense that I have been trapped between two worlds, but it helps me untangle myself and freely express who I really am. It also helps me see clearly the path back to the roots, and lets me encourage others to do the same. It connects me to other practitioners in a real way. 

To complete the cycle of the existence of Capoeira, we are expanding the art form back to its origin. Capoeira Africana, as a movement, signifies a mark of a new age in the world of Capoeira, and in the African world. Yes, we need to keep in mind that there were various influences that shaped Capoeira to be what it is today. The trans-Atlantic slave trade, the Native Americans in Brazil, various African cultures in Brazil, the slaves’ struggle for liberation, etc. contributed to the expansion of the "Ngolo Dance", today, Capoeira . Remembering its roots and origins is a crucial factor as without roots the tree does not exist. To experience and celebrate the spirit of its origins (Capoeira Africana) one should be aware of it. It is also important to trace a historic line from where it started, where it is, to see where it might go.

Capoeira Africana is a way of life, and a new identity/contribution for the “new Africa” and for a “new world”, and we love to share this philosophy with others. It is also a new way of seeing and practicing Capoeira. The latent spirit of Capoeira Africana resides in Capoeira.  

We published our blog about a year ago, and it has been a beautiful journey since then. We continue to invite those interested in joining the Capoeira Africana movement, and sharing their ideas. 

Viva Capoeira Africana!

Lucia Kudielela Fernades

Co-Founder of Capoeira Africana

O Mestre e a sua Palestra

Em Berlin, a estrela da reconciliação entre mãe e filho -África e Diáspora- brilhou mais forte que nunca. Mestre Cobra mansa,  um Angoleiro respeitado da linhagem do glorioso Mestre Pastinha, palestrou sobre a sua viajem de pesquisa pela a República de Angola.

Cerca de 10.000 escravos chegavam em média anualmente ao Brasil, com a grande maioria vindos de Angola e do Reino do Congo.

O evento realizado pela Academia Jangada de Mestre Rosalvo e Contra mestre Susy, a escola mais velha de Capoeira Angola na Europa, contou com cerca de cem representantes e admiradores da arte.

Em tempos em que a desigualdade social e cultural ainda prevalecem, o Mestre apresentou desteminadamente uma palestra comprovando varias raízes da capoeira.

A palestra trouxe conforto e orgulho aos coraçoes dos bem intencionados e guerreiros da herança africana, como os Mestres João Grande, Paulo Siqueira e Cyro. Na mesma mão, provavelmente trouxe desdém para os demais que ainda hoje oram desacreditar as contribuições de Africanos e seus descendentes em Brasil e outras Diasporas.

De Benguela ao Cunene, desde a kabetula ao N’golo, o mestre alcançou o objectivo de reunir diversos mestres locais e seus discípulos. De acordo com o Mestre Cobra Mansa, os mesmos não se reuniam a mais de vinte anos.
As rodas realizadas em vários kimbos e sanzalas (aldeias) foram gravadas e fotografadas pelo próprio filho da Diáspora e sua equipe, que juntos  pretendem realizar um documentario sobre as raízes da capoeira.

Obrigado mestre, pela firmeza, claridade de expressão e contribuição pela reconciliação entre filhos e filhas de uma mãe única.
A capoeira veio da África! E Hoje podemos gritar mais alto.

Twapandula!

Professor Totti Angola
Capoeira Angola Center, Amsterdam
The Netherlands

ENGLISH (Translation) 

In Berlin, the star of reconciliation between mother and son-Africa and the diaspora-shone brighter than ever. Mestre Cobra mansa, a respected Angoleiro from the glorious lineage of Master Pastinha, spoke about his journey of research to the Republic of Angola.

The event held by the Academia Jangada of  Mestre Rosalvo  and Contra mestra Susy, the oldest school of Capoeira Angola in Europe,  counted with about one hundred representatives and admirers of the art.

At a time when social and cultural inequality still prevail, the Master presented a lecture fearlessly demonstrating several roots of capoeira.

Hundreds of slaves went taken to Brazil in an annually bases and the vast majority from Angola and the Kingdom of the Congo.

From Benguela to Cunene, from the Kabetula  to N'gola, the master was able to achieve the objective of bringing together several local masters and their disciples. According to Mestre Cobra Mansa, they had not met in more than twenty years.

The Rodas held in various Kimbos and sanzalas (villages) were recorded and photographed by  the diaspora’s own son and his team who intend to make a documentary about the roots of capoeira.

The lecture comforted and brought pride to the hearts of well-intentioned and warriors of the African heritage like Masters Joao Grande, Paul Siqueira and Ciro. On the same hand, probably brought contempt to others who still  discredit the contributions of Africans and their descendants in Brazil and other Diasporas.

Thank you master for the firmness and clarity of expression and contribution for the reconciliation between the sons and daughters of the same parents.

Capoeira came from Africa! And now we can shout it louder.

Twapandula!

Professor Totti Angola
Capoeira Angola Center, Amsterdam
The Netherlands

África Não é Uma Teoria

" A coisa mais escura de Africa tem sido sempre a nossa ignorância sobre ela" - George Kimble

  

Das belas paisagens naturais, as ásperas estradas asfaltadas. Das reuniões a volta da fogueira, aos momentos familiares, e entre amigos, em frente a tela da TV. Dos baldes de água do rio transportados a cabeça, aos camiões que transportam água para fábricas e estabelecimentos urbanos. Dos toques de batuque, tambor e marimba, as noites de dança e música já influenciadas pela globalização.  Dos trajes mais simples feitos de pele de animal, as modas urbanas que fazem parte do dia a dia dos Africanos. Das línguas tradicionais africanas, aos idiomas adquiridos pela colonização. Tudo isso faz parte de uma África de hoje, uma África contemporânea, da qual, orgulhosamente, faço parte, embora morando fora dela há mais de uma década. Ela é VIVA, e está presente na minha consciência, e de mais africanos, desta forma vibrante.

Quando converso com a minha família e amigos que lá residem, falamos de problemas sociais, culturais, morais, e outros mais. Falamos de coisas que fazem parte do quotidiano africano. Em contra-partida, maior parte das conversas que tenho tido com pessoas que nunca estiveram em África, ou pessoas que fazem turismo “com preconceito”, são geralmente baseadas numa África imaginária, não uma África real e viva. Tentando impor seus preconceitos, muitas vezes descartando a minha própria experiência como Africana nascida e criada no continente, essas conversas são, em parte, muito desgastantes para mim. Por exemplo, quando eu digo o meu nome, que é de origem da língua portuguesa, muitas pessoas ficam chocadas. Pre-determinam que uma pessoa Africana deve automaticamente ter um nome de origem Africana, o que não deixa de ter lógica., mas não é a realidade que se vive lá. Entretanto, feliz ou infelizmente, nomes com origem em línguas europeias, são hoje usados em África. Isto sim, é real. 

 

África tem sido fonte de renda para países do mundo inteiro. De igual modo, tem sido uma fonte de conhecimentos culturais, informações históricas, cientificas, etc. Um continente tão rico como aquele,  merece não só o seu lugar de direito na história mundial, mas como também um lugar apropriado em dias modernos, baseado na realidade em que as mais diversas sociedades daquela porção de terra se encontram. África, o segundo continente com maior número de habitantes, com 54 países, incontáveis grupos étnicos, com a sua enorme Diáspora espalhada pelo mundo, não deve ser tratado como um lugar onde só se encontram leões, onde só existe pobreza, e miséria. Um lugar onde muitos vão em expedições missionárias, de caridades, e exploração de recursos naturais, e que é muitas vezes marginalizado por muitos internacionalmente.  

Não se trata simplesmente das pirâmides do Egipto, do reino Ashanti, de youruba, lugar proveniente de escravos, da magia negra, das selvas, rainhas, reis, da miséria, dos governos corruptos, do lugar que está desesperado por ajuda de povos estrangeiros. África hoje é muito mais que isto. Habitada por pessoas intelectuais, devidamente instruídas, no continente, no Ocidente, pessoas ricas financeiramente, que desfrutam de uma vida de luxos. Uma variedade de culturas, hábitos e costumes, fazem parte da África moderna, onde, até hoje, respeitam-se certas tradições, e a voz dos mais idosos.  

O mundo tem testemunhado certas transformações no continente, e uma nova face africana, a África Urbana. Esta África é caracterizada por uma fusão de culturas africanas, do ocidente, e até mesmo do oriente. Musicas com novos ritmos, modas com um novo sabor, e outros estilos de vida que muitos africanos decidem aderir, ou simplesmente se enquadram naturalmente. Isto se manifesta, em parte, devido a globalização, e ao factor imigração. Muitos africanos vão para o exterior, por razões várias, e adquirem, de uma forma natural, um novo estilo de vida, que serve a realidade de cada um destes. Por outro lado, a media e os órgãos de difusão massiva, também influenciam esta nova “cultura” (sendo cultura uma forma de viver).

É também nessa África urbana, onde nós pretendemos inserir Capoeira Africana, como estilo de vida, e como um veiculo de expressão artística, intelectual, social, e espiritual. Desta África onde muitos de nós Africanos, e não Africanos vivemos, queremos usufruir os mais óbvios benefícios.

VIVA AFRICA!

Lúcia Kudielela Fernandes

Capoeira Africana