Capoeira
Lesson in Movements
maintained by unt-capoeira@unt.edu
last update: June 25, 2006
summary
summary of lessons
Here are the movements described
| ginga | queixada | esquivar baixo | queixada esquivar |
| esquivar frente | armada | meia lua de frente | meia lua de compasso |
| negitiva | negitiva rolê | negitiva switch | au |
movement combinations and practice techniques
During practice, the ginga should serve as the fundamental movement. You should move through the ginga in rhythm if you are doing no other movement. You may even try to ginga for five minutes or so at a steady pace.
When you feel ready, do some other movements in isolation, for example: ginga, then armada, then back to ginga in the same rhythm.
Here are some other examples of movements in isolation: ginga-au-ginga; ginga-queixada-ginga; ginga-meia lua de frente-ginga; etc.
Also, do some combinations movements, as this is more appropriate for playing in a roda. For example, from ginga, do armada, then immediately following that, do queixada esquivar then queixada, then back to ginga Here are some patterns,
ginga - armada (r) - queixada esquivar (l) - queixada (l) - ginga
ginga - esquivar frente (l) - au (r) - meia lua de frente (r) - ginga
ginga - armada (l) - esquivar baixo (r) - negitiva (r) - negitiva rolê - ginga
ginga - esquivar frente (l) - (one step to second ginga position) - meia lua de compasso (r) - negitiva (l) - negitiva rolê - negitiva (l) - negitiva "switch" - negitiva rolê - ginga
esquivar-se
From the first ginga position, imagine a capoeirista is opposite you (but is a little bit left of directly in front of you. Bring the left leg forward of your right foot. Rotate you left leg 90-degrees outward and put your foot down. Your left foot should now be pointing at the imagined capoeirista from the side. Raise your right foot, and bring it forward in the direction that it is pointing. As you do this, allow yourself to rotate towards the other capoeirista (if you can imagine). End by placing the right foot parallel to the left foot having a good ginga width between them. You should be in the second ginga position. (A good ginga width for the second ginga position is about twice shoulder's width).
from esquivar baixo with right hand on the floor
Balancing with your right hand and left foot, raise your right foot. Bend your right leg into a squat. Place the ball and toes of the right foot onto the floor so that your right ankle is just underneath your right hip. Balance on this foot. Bring the left leg forward almost straight in front of you. Point the left toes slightly. Keep the knee bent and keep the left leg rotated so that what contacts the floor is the foot's outside edge between its bottom and side. Raise your right arm off of the floor and place the left hand on the floor at about the same place where the right hand was, but on the opposite side of you. Make a fist with the right hand. Bend the right arm into a right angle. Bring the middle of the right forearm close to your forehead. This is the negitiva position.
tips
You should not sit down on your ankle. Take care to support yourself properly when using your hands: if it hurts in any way other than muscle fatigue, don't do it.
the mirror image applies as well
negitiva to negitiva
Begin in the negitiva position as described above. Imagine that a capoeirista is facing you. Using your right hand, reach to your left and push yourself to the left by standing up on the right leg. You should being to turn upside down and place your right hand a shoulders width to the left of your left hand. As your right hand gradually moves closer to the floor, you should be able to stand upon your left hand and leg, swing your right leg around and pivot on your right foot. You should now be stable and on all fours, and you should be looking through your legs to where you are imagining the capoeirista to be. This is the mid-negitiva rolê position.
From this position you will arrive again into the negitiva. Here is how: raise your left hand. Balance on your right hand and foot. Raise your right heel just off the floor. Gradually squat down on your right leg. As you do, pivot on your right foot so to swing your left leg forward (towards the capoeirista. Continue to rotate until you are facing the same direction as when you began the negitiva role. Switch your arms so that your left hand is on the floor and your right mid forearm is close to your forehead. You should now be in a negitiva position.
negitiva to ginga
go from negitiva to the mid-negitiva rolê position. The next position is the second ginga position. Arrive to it by pulling your upper body to the right side in an upward, sweeping motion. Then, pivot on the right foot and sweep the left leg around behind you in a half circle. You should now be in the second ginga position. Like all moves, this one is left-right symmetric.
note
the negitiva rolê always moves to the side on which the hand is down and the leg is forward.
from negitiva with the left leg forward and left arm down, switch the legs by firmly supporting yourself with the left hand. Then switch the arms. You should be in a negitiva with the right arm down and right leg forward.
This is like a cartwheel. From the second ginga position, reach to the floor as in the meia lua de compasso, but get as close as you can to the floor without raising your left leg. You may bend at the right knee to make this easier. When your hands are on the floor a shoulders width or almost on the floor, push yourself into a handstand using your right leg for force. Bring your knees together as you elevate. As you descend on the opposite side, move your legs so that you place them on the floor like in the second ginga position. When you can stand on them, pull your upper body up so that you are complete in the second ginga position. This movement is the au.
the fundamental movement of capoeira, having three positions
first position
Stand in a lunge with the right foot forward and flat on the ground and with the left foot back and arched. The toes of both feet should be pointing forward. Only the toes and ball of the left foot should press onto the floor.
The right calf should be at a 90-degree angle to the floor. The left leg should be stretched out.
The torso and pelvis should be facing forward. The lower back should be neither arched nor bent in the opposite direction, but it should be straight. The spine should have no twists. The should blades should be brought back so to straightened the back. The shoulders should be down.
The right arm should hang down and be relaxed but that the hand should be in a gently clasped fist. The left arm should be bent at the elbow at a 90-degree angle. The left forearm should be out in front of the face. The left hand should be in a gently clasped fist with the wrist rotated so that the thumb is on top. The head should not be hanging forward, it should be looking tall.
This is first of the three positions of the ginga
second position
Moving from the first position, push forward with the left foot. Balancing on the right foot, throw the left leg forward. Bring it to the side by pushing outward with the thigh and bending at the knee. With the ball of the left foot, reach out for the floor and press the whole foot onto the floor. Try to balance on both feet. They should be pointing forward. The calves should be at a 90-degree angle to the floor, if possible. Feel the energy flow through the thighs. This is the second of the three positions of the ginga.
third position
Moving from the second position, switch the arms. Throw the right leg back, balancing on the left foot. Straighten the right leg and press the ball and toes of the right foot onto the floor. You should be in a position that is the mirror image of the first position. This is third of the three positions of the ginga.
note on rhythm
The ginga is a continuous motion that is an oscillation between the first and third positions using the second position as an intermediate. The time in moving from one position to another should be uniform. One second is a good translation time for practice. Capoeira Regional has faster rhythms and Capoeira Angola has slower rhythms.
first position
Starting from the first ginga position, rotate your body 90-degrees to the left, pivoting on the balls of the feet and keeping the knees as far apart as possible. Raise the right arm so to mirror the left arm; both forearms should be more or less pointing upwards. The head should remain facing forward so that after the rotation, you are looking over your right shoulder. This is the first of the three motions of the queixada.
second position
Gently move the torso forward by shifting at the hips, keeping your head directly above your hips, so to balance on the right foot. By the strength of the inner thighs pull the left leg forward and press the ball and toes of the left foot onto the floor. The left kneecap should be very near to the back of the right knee, and both knees should remain bent. This is the second of the three motions of the queixada
third position
Rotate the arms so that both hands are in front of the body. Using the strength of the upper right thigh and right abdomen, pull or throw the right leg upward as high as possible, straightening it as it rises. Let your body pivot to the right, on the ball of the left foot.
Your body should rotate to face forward while your right foot traces a half-circle, roughly from a point as high as your neck to a point on the floor behind you. As you let your right leg descend, switch you arms into their places as they would be in the third ginga position. (You should feel how this movement helps balancing). Press your right foot onto the floor. You should be in the third of the three positions of the ginga. This is the last of the three motions of the Queixada.
note on rhythm
Each motion should occupy the same amount of time, which will naturally require faster movements in the third motion than in the other two. THe amount of time should be in tempo with that of the ginga; the ginga and the queixada may connect smoothly into one continuous motion having a constant rhythm.
queixada esquivar
From the first queixada position, while looking forward at all times (i.e., over your right shoulder), bend the torso downward using the hips. Keep the back straight or slightly curled. Keep the arms raised on either side of the head. Bend until the shoulders are level with the pelvis. Pause. Imagine that a friend plays a queixada while standing in front of you, and imagine that you see his leg pass above you. Breathe. This is the queixada esquivar position. Moving in reverse, return to the first queixada position.
note
The queixada may start from the first or third ginga positions. The queixada-esquivar is therefore also possible from either of them.
esquivar baixo
From the first ginga position, place the right hand on the floor just to the right of the right foot. Do not twist the back to accomplish this; rather, by using the hips, lower your chest down to rest upon your knee. Your left arm should remain upright next to your head. Imagine again that a friend plays a queixada and that you see his foot pass over you from your left side then to the right. This is the esquivar baixo. Breather. Moving in reverse, return to the first ginga position.
From the third ginga position, the esquivar baixo is the mirror image of that from the first ginga position.
esquivar frente
from first ginga position
From the first ginga position, the esquivar frente is identical to the esquivar baixo, except that your hands should not touch the floor. You may reach forward with your right hand imagining that you are gently slapping the calf of your friend while he plays the queixada.
from second ginga position
As with the other esquivar, lower the torso squarely so that the chest touches the knee. Do not move or rotate your legs. You may bend a little at the knees. You should keep one arm and should raised above and around your head. If you esquivar on the left knee, then the right arm should be raised, and you may imagine that your friend plays the queixada and that you see his leg pass over you from the right to the left. If you esquivar on the right knee, then the left arm should be raised, and you may imagine his queixada moving from the left to the right over you. This is the esquivar frente in either case. Breath and do the motion in reverse to return to the second ginga position.
From the first ginga position, move into the second ginga position. Keeping the back and shoulders straight, switch the arms but keep the left arm raised to shoulder level. Reach with both arms far to your left. Imagine that another capoerista is standing in ginga and facing you and that you are looking him in the eyes. Turn your head to the left, look to your left, and spin to your left by pushing off with your right foot. Rotate until you can place your right foot down on the floor about 135-degress to the left. You should now almost be able again to see the place where you saw his eyes. Your feet may be closer together here than they were in a ginga position. This is the first armada position.
From this position, the next position that you form is the first ginga position. Here is how you should arrive to it:
Continue to spin to the left, but now balancing on the right foot. Let your body unwind into the first ginga position; first your head, then your arms, then your lower body, and finally your feet. You should throw your left leg upwards towards your chest while you spin and bring it downwards when you begin to unwind. You should see your left foot moving through the space where you had imagined your friend's eyes, only now you may imagine that he is in an esquivar, so your foot moves over him. When you arrive to the first ginga position again, you should be facing the very same direction as when you began. This is the armada.
From the third ginga position the armada is the mirror image.
note
try to keep your angular momentum constant from start to finish
meia lua de frente [MAY-ah LOO-ah jee FRENCH]
from second ginga position, to the right
Reach both arms at should or face level to the right. Using the hips and thighs, shift your torso and whole upper body to the right, gently. Don't let your lower torso lead in the movement; keep the back straight so that water could run down the spine, all the way to the pelvis.
Using the front of the thigh and left abdominal muscles, pull the left leg off the ground. Move the leg upward and in a circle to the left. Your foot should be at its highest point while it passes in front of your face. The leg should be straight. Let your leg descend, continuing the circular motion. Using your strength, stop it when it is a little before being horizontal.
Note that while the left leg moves to the right, you may move your arms, reaching to the left for balance. You may make the motion of your arms oppose the motion of your left leg.
Pause for a moment, standing on the right leg, having the left leg almost straight out to the right, and the arms posed to the left. Arriving at this position is the meia lua de frente.
Finish the movement by returning yourself to the second ginga position. To accomplish this, move the leg through slight upward bending arc; don't let it just swing or drop back into place.
from second ginga position, to the left
This is the mirror image of the right.
Reach both arms at should or face level to the left. Using the hips and thighs, shift your torso and whole upper body to the left, gently. Don't let your lower torso lead in the movement; keep the back straight so that water could run down the spine, all the way to the pelvis.
Using the front of the thigh and right abdominal muscles, pull the right leg off the ground. Move the leg upward and in a circle to the right. Your foot should be at its highest point while it passes in front of your face. The leg should be straight. Let your leg descend, continuing the circular motion. Using your strength, stop it when it is a little before being horizontal.
Note that while the right leg moves to the left, you may move your arms, reaching to the right for balance. You may make the motion of your arms oppose the motion of your right leg.
Pause for a moment, standing on the right leg, having the right leg almost straight out to the left, and the arms posed to the right. Arriving at this position is the meia lua de frente.
Finish the movement by returning yourself to the second ginga position. To accomplish this, move the leg through slight upward bending arc; don't let it just swing or drop back into place.
meia lua de compasso [MAY-ah LOO-ah jee com-PA-so]
to the right, from second ginga position
Imagine a friend is oppositely facing you in second ginga position. Go to the esquivar frente position to the right and at the same time, step forward with the left foot as to go to the first armada position. Let the arms, head and upper body fall. Press the hands onto the floor about the same time as you finish the step with the left foot. Your head should be hanging between your hands and you should be looking through the space between your legs. You should also imagine that you can still see you friend the capoeirista where he is standing.
This is the first position of the meia lua de compasso. The next position to which you should arrive is esquivar baixo on the left side. To accomplish this, pull you right leg up and around in a three-quarter circle. Your foot should move through the space where you imagined your friend to be. Now you may imagine that he is standing in esquivar frente, and you foot passes over him. You should pivot by bearing your weight on your left calf and your left hand for balance. Keep your left hand pressed on the floor during the whole rotation . From the esquivar baixo you may move into third ginga position
to the left, from second ginga position
The mirror image of from the right.
Imagine a friend is oppositely facing you in second ginga position. Go to the esquivar frente position to the left and at the same time, step forward with the right foot as to go to the first armada position. Let the arms, head and upper body fall. Press the hands onto the floor about the same time as you finish the step with the right foot. Your head should be hanging between your hands and you should be looking through the space between your legs. You should also imagine that you can still see you friend the capoeirista where he is standing.
This is the first position of the meia lua de compasso. The next position to which you should arrive is esquivar baixo on the right side. To accomplish this, pull you left leg up and around in a three-quarter circle. Your foot should move through the space where you imagined your friend to be. Now you may imagine that he is standing in esquivar frente, and you foot passes over him. You should pivot by bearing your weight on your right calf and your right hand for balance. Keep your right hand pressed on the floor during the whole rotation . From the esquivar baixo you may move into third ginga position.
note about using hands for support
One particular part of the hand is best for support and avoiding injury (a useful tip that comes to us from a troop of breakdancers in the south of Hungary). To locate this point, look at your left palm. Bend your wrist back to its natural limit; do not strain it. The part that should support you is the corner of the palm where it meets the wrist and that is farthest from the thumb. Always, the palm, fingers and thumb should be flat on the floor. Also, the fingers and thumb should be mostly relaxed. Allow the hand to arch at the knuckles if it feels natural.
| Created by Mathematica (June 25, 2006) | |