Style, standards, and philosophy
Style
"ABADÁ-Capoeira prides itself on the originality and constant refinement of its style of capoeira, renown icfor its efficiency, aesthetics, and its cultural and historical relevance", explains ABADÁ-Capoeira San Francisco.ABADÁ-Capoeira, San Francisco. (21 July 2009) "ABADÁ Style". ABADÁ-Capoeira Overview. Retrieved 21 July 2009. Part of the contemporaryStandards
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 theAs this last suggests, ABADÁ-Capoeira expresses itself not only as an athletic endeavor but also as atechnique Technique or techniques may refer to: Music * The Techniques, a Jamaican rocksteady vocal group of the 1960s * Technique (band), a British female synth pop band in the 1990s * ''Technique'' (album), by New Order, 1989 * ''Techniques'' (album), by ...to improve efficiency and prevent injury. Equally important is the understanding of and reverence for capoeira's rich history, including the preservation and recovery of theinstruments Instrument may refer to: Science and technology * Flight instruments, the devices used to measure the speed, altitude, and pertinent flight angles of various kinds of aircraft * Laboratory equipment, the measuring tools used in a scientific lab ...,rhythms Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular rec ..., and games of capoeira, individual competency in and knowledge of the game’s music and instruments, and participation in the larger capoeira community in Brazil and throughout the world.
Philosophy
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.ABADÁ-Capoeira, New York. (24 April 2006) "Philosophy". About ABADÁ. Retrieved 22 July 2009. 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 also 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 valuableHistory and Mestres
ABADÁ-Capoeira was officially established in 1988 inMestre Camisa
Mestre Camisa, born José Tadeu Carneiro Cardoso, grew up on a farm known as Fazenda Estiva in northeast of Brazil, in the state ofGrão Mestre Camisa Roxa
Grão-Mestre Camisa Roxa was born Edvaldo Carneiro da Silva in 1944 and spent his childhood on the Fazenda Estiva, a farm in the interior of Salvador, Bahia. He was the eldest of ten children, and he was greatly respected by his younger siblings, a number of whom followed in his footsteps in life and in capoeira.ACNYC. (27 July 2009)When he was 10 years old, Grão-Mestre Camisa Roxa began to play capoeira. At the time, it was only one of the many games he played to entertain himself and to pass the long hours of childhood. He had no idea that, 19 years later, he would be a professional capoeirista and the first to carry his art outside of Brazil, first to Europe and then around the world.His talent and knowledge of capoeira became recognized throughout the community as he sought out other capoeiristas: playing in the rodas at Mestre Pastinha's academy and in the rodas of Mestres Valdemar and Traira on Pero Vaz Street, Camisa Roxa became very highly regarded.
Camisa Roxa first made his name as a capoeirista in Salvador, Bahia, as a student of Mestre Bimba. In the 1960s, he left his family ranch for the capital city in order to complete his high school education. In addition to his school work, he also began studying capoeira at Bimba’s Academy. He was an apt and hard working pupil, and eventually gained recognition as Bimba’s best student.
When he was 21, Grão-Mestre Camisa Roxa's father died, and he became the patriarch of his family. He took on the responsibility of educating his brothers and sisters and providing for their general welfare. He became their second father, and was greatly admired by all. In fact, three of his brothers—Ermival, Pedrinho, and José Tadeu—followed in his footsteps, training capoeira with Mestre Bimba at his academy in Salvador. Like their brother, all three became alunos formados, graduates, of the Acadamia de Mestre Bimba.Camisa Roxa eventually began teaching capoeira in a number of academies and clubs in Salvador. Inspired by the idea of spreading the practice of capoeira, Camisa Roxa helped form the folkloric dance company Olodum Maré, a travelling performance group to promote traditional arts, including capoeira, throughout Brazil. After completing a year-long tour of the country, the group planned a tour of Europe under the name "Brasil Tropical."Almeida (1986, p.46-47) When the troupe embarked in 1973, "few people believed that his voyage would meet with success. Yet, trusting in his vision, his talent, and in the power of capoeira, Camisa Roxa made the journey and e and the troupe werevery well received. That trip was the first step towards what has now become the internationalization of capoeira". In ''Capoeira : A History of an Afro-Brazilian Martial Art'' Matthias Röhrig Assunção states, "Important for the diffusion of capoeira in Europe during the 1970s was Brazil Tropical, a company headed by the dancer and choreographer Domingos Campos and M. Camisa Roxa. Camisa Roxa, a student of M. Bimba, was at the time considered to be one of the best Regional players of Brazil." The Brasil Tropical troupe would become dedicated to promoting the art of capoeira throughout the world. Though the art remains firmly rooted in Brazil, it has been planted in 40 countries around the world, largely as a result of the travels and the work of Grão-Mestre Camisa Roxa. Grão Mestre Camisa Roxa has lived the last years in
Mestre Cobra
This bio originally appeared at the website for ACNYC. This version has been significantly edited for grammar, translation, and stylistic errors; the content has not been altered.Mestre Cobra, Antonio Marcelo Rodrigues Trinade, was born in Amparo—a city in the interior of the state ofSão Paulo São Paulo (; ; Portuguese for 'Paul the Apostle, Saint Paul') is the capital of the São Paulo (state), state of São Paulo, as well as the List of cities in Brazil by population, most populous city in Brazil, the List of largest cities in the ...—on November 18th, 1963. As a teenager he used to watch capoeira rodas around town with friends. Capoeiristas noticed his interest in the art and invited him to train at the local capoeira school where he met Mestre Carlão. Cobra was the oldest of four children, so by the time he turned sixteen, he was working as a weaver to help support his family. Every day after work he went to the capoeira school and became one of Carlão's most dedicated students.
Capoeira also helped him overcome one of the most difficult moments of his life: the early loss of his mother when he was 16 years old. The family experienced difficult moments with the separation of the brothers while the father, who was a traveling salesman, was reorganizing the structure of the family. "Athat A hat is a Headgear, head covering which is worn for various reasons, including protection against weather conditions, ceremonial reasons such as university graduation, religious reasons, safety, or as a fashion accessory. Hats which incorpor ...moment capoeira was my escape valve; t'swhat held me together, and this gave me motivation," explains Cobra.
Cobra trained in the city of Amparo for six years, hearing stories of great capoeiristas and about capoeira in Rio de Janeiro. Mestre Carlão spoke about Camisa not only as a great capoeirista, but also in reference to his personality, the work he was doing, and his preoccupation with the direction in which capoeira was heading. These conversations sparked Cobra’s interest in going to Rio de Janeiro to meet Mestre Camisa. During a trip to Acres for a batizado at the school of Mestre Rodolfo (the Mestre of Carlão), Cobra met Mestre Camisa and asked if he could go to Rio de Janeiro to take a class with him; Mestre Camisa agreed. Cobra held the rank of Graduado and taught capoeira in Amparo, but he had many financial difficulties. Despite that, Cobra began saving money for the trip to Rio.
In December 1984, Cobra went to Rio with just enough money to watch one of Camisa’s classes and return to Amparo the next day. When he arrived at the class, he was told that Mestre Camisa was at the Circo Voador (The Flying Circus), organizing the First National Capoeira Encounter. When Cobra arrived at the Circo Voador, he saw Mestre Rodolfo, who told him it was very important that Cobra participate in Camisa’s event. Mestre Rodolfo paid for Cobra's hotel and meals for a week, which he remembers today as the greatest gift of his life. He reflects, "At that point I realized my destiny was going to change…I understood how advanced capoeira was in Rio de Janeiro compared to the rest of the country; I was fascinated by the world of capoeira and its leadership here in Rio de Janeiro".
From 1985 to 1986, Cobra trained monthly in Rio de Janeiro. He spent a week at the “''Associação''” inBotafogo Botafogo (local/standard alternative Brazilian Portuguese pronunciation: ) is a beachfront neighborhood (''bairro'') in Rio de Janeiro, Brazil. It is a mostly upper middle class and small commerce community, and is located between the hills of M ..., where he trained daily from 4–6 PM with Mestre Camisa and 7–10 PM with Mestre Caio before returning to São Paulo. In 1987, Cobra decided to move to Rio de Janeiro permanently. Cobra informed Mestre Carlão about his decision. In response, Mestre Carlão asked Mestre Camisa to welcome Cobra, saying he was a good man to have by his side. And so Camisa gave Cobra a small room at the Associação, the capoeira school where Camisa once taught.
"That little room was like a five star hotel; a place where I can live and train…it was the best", Cobra would recall. He began to train consistently with Mestre Camisa and soon took on organizing events and social projects. As Mestre Camisa developed ABADÁ-Capoeira in the late 1980s, Cobra stood by his side, and he has ever since. As the ABADÁ organization grew, so did Mestre Cobra’s popularity as one of the most technical capoeiristas in Rio.
Mestre Cobra has not stopped giving workshops and seminars throughout the world. In 1993 he received the rank of Mestrando, and in 2005 he was recognized as a Mestre. Mestre Cobra has mentored hundreds of students and has been an essential piece in the growth of ABADÁ-Capoeira.Unknown. Revista ABADÁ-Capoeira, August 2005. Quoted from ACNYC. (27 July 2009) "Mestre Cobra." ABADÁ Capoeira: Masters. Retrieved 27 July 2009.
Mestre Morcego
Rogério Francisco da Silva, was born inRio de Janeiro Rio de Janeiro, or simply Rio, is the capital of the Rio de Janeiro (state), state of Rio de Janeiro. It is the List of cities in Brazil by population, second-most-populous city in Brazil (after São Paulo) and the Largest cities in the America ...and began training capoeira in 1981. Mestre Morcego began training with Mestre Camisa at the Santa Luzia Regatta and Swimming Club in Aterro do Flamengo, RJ, Brazil. In 1989, he received the brown cord. In 1991, Mestre Morcego along with Mestres Cobra and Canguru, were the first to receive the brown and red cords of Abadá-Capoeira. In 1995, he received the red cord and was recognized as Mestrando Morcego. In 2011, he was recognized as Mestre by Mestre Camisa and Abadá-Capoeira. During the period from 1984 to 2011, Mestre Morcego balanced his time between being an active member of the Marine Corps of Brazil and as a capoeirista. Today, however, Mestre Morcego is solely dedicated to capoeira! He supervises and guides the members of the Abadá School. Mestre Morcego travels internationally in order to teach up to date technical courses. Mestre Morcego is fluent in English thus facilitating the dynamics of his teachings.
Mestre Canguru
Waldec Velasco Cota.
Started capoeira in 1980. Became a Mestrando in 2000 and a Mestre in 2013.
He currently lives and teaches in Rio de Janeiro.
Mestra Edna Lima
Edna Lima.
Mestra Edna started training capoeira in 1975. She is also a black belt in karate. She became a Mestranda in 1997 and a Mestra in 2013. Mestra Edna created Capoeira Workout which is based on capoeira moves.
She currently lives and teaches in New York City.
Mestra Márcia Cigarra
Márcia Treidler.
Started Capoeira in 1982. Became a Mestranda in 1997 and a Mestre in 2013.
She currently lives and teaches in San Francisco.
Mestrandos
The elite group of Mestrandas and Mestrandos in ABADÁ-Capoeira’s forty-thousand-member organization contains 25 individuals who have made life-long commitments to the art of capoeira. Their enduring dedication has been instrumental in maintaining the distinctive technique and philosophy of ABADÁ-Capoeira. Led by the Mestres, these Mestrandos/as oversee ABADÁ-Capoeira throughout the world to ensure that its style, technique, and philosophy are preserved, and, above all, that the art of capoeira continues to expand without jeopardizing its essence. The Mestrandos/as, together with the Mestres, are also responsible for the further enhancement of movements, norms, and ethics within the organization.ACNYC. (27 July 2009)Cord System
ABADÁ has a graduated cord system using colors that refer symbolically to nature and reflect the level of practice.Arte Capoeira Center – ABADÁ Capoeira. (21 July 2008) "ABADÁ Cord System". ABADÁ. Retrieved 21 July 2008. The cord system does not so much reflect the practitioner’s level of skill as much as their progress on their individual path as a member of the ABADÁ community. The cord system as outlined by Arte Capoeira Center – ABADÁ Capoeira is as follows.Adult Graduation System
See also
*Notes
References
*Almeida, Birra "Mestre Acordeon" (1986). ''Capoeira: A Brazilian Art Form''. Berkeley: North Atlantic Books. . *Assunção, Matthias Röhrig (2005). ''Capoeira : A History of an Afro-Brazilian Martial Art''. New York: Routledge. .External links