The Music of Capoeira

History

 

Capoeira and its music came from the African slaves taken to Brazil by the Portuguese between the 16th and 19th centuries. There is some contention about whether it evolved from similar fighting styles from Africa or whether it was created in Brazil by the slaves. As the era was poorly documented it is difficult to find evidence to support either theory so it is impossible to say for sure which theory is correct. There are also different opinions about how Capoeira was practiced at the start. One theory is that the slaves disguised fighting as dance and play in a circle accompanied by live instruments so as not to arouse suspicion from their owners. Another theory is that the slave owners banned music and dancing and any other cultural practice so that it was escaped slaves who developed Capoeira when they joined the quilombos, the colonies of escaped slaves in the jungle. Here they kept their culture alive and Capoeira was the martial art they were supposed to have used to free and defend themselves.

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The Berimbau

 

The main instruments of Capoeira are the berimbau, which is a single string bow with a gourd at the base and tire wire for a string. It is monochordal and known as the Mbulumbumba in some parts of present day Angola. The stick is called the pau, the string is called the arame and the gourd attached to the stick is the cabeca. The small stick used to strike the wire is called the varreta and the stone is called the pedra.

 

The tension of the string is adjusted by something that resembles a large thick coin called a dombrau. This is pushed into the strings with the ring finger and thumb. A shaker is held in the same hand as the vaqueta which contributes to the rhythm. The berimbau can play three notes, open, closed and buzz. When the berimbau is struck with the stone fully pressed against the wire this is a closed note. When the berimbau is struck without the stone touching the string this is open. The buzz is when the stone is only touching the wire slightly.

 

The overall tone of each berimbau is dictated by the size of the gourd and there are three types in order of decreasing size and rising pitch: the Gunga is the lead berimbau and holds a steady base line; the Medio and Viola on which the majority of improvised variations are played.

 

Many different types of wood can be used to make a berimbau but the wood of the sacred Beriba tree is considered to be the best. It is said that it should be harvested from the forest at midnight when there is a full moon. The berimbau has overt spiritual connotations; it is an icon of great significance in Capoeira.

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The Pandeiro

 

This is a tambourine. It is traditionally made with a frame of wood which is covered with leather or snakeskin. Varying the hand slap and the region struck produces different tones.

 

The Agogo

 

This is a musical cowbell found in many areas of Africa. The most common form is made of two iron bells soldered into one piece. The bells differ in size giving different pitches, so two distinct notes are produced by striking the agogo with a small wooden or metal stick.

 

The Reco-Reco

 

The Reco-Reco is a serrated, hollow wood scraper of varying design. A constant rhythm is produced by the stick being dragged back and forth across the grooves.

 

The Atabaque

 

The Atabaque is a medium sized samba drum, traditionally tuned with rope and wooden wedges and covered with cow’s leather (couro de boi).

 

Musical Play

 

The Capoeiristas play the instruments sitting or standing at the head of the Capoeira circle or roda. Three berimbaus, with the Gunga held by the Mestre stay in the middle, next two pandeiros on either side of them and then one each of the other instruments. The berimbau leads, this controls the tempo of the other instruments and of the physical play within the roda.

 

The instruments are played with monotonous, repetitive, simple rhythms except for the Berimbau Viola which sings high above the rest with frantic improvisations. The effect is an adrenaline charged rush of sound anchored to a steady undertone of resonant African buzzing, beating and scraping. The Capoeiristas who form the perimeter of the roda sing, chant and clap in response to the music.

 

Capoeira music is exhilarating and hypnotic. It induces a trance-like state which calms the ‘conscious’ self and drives the players to ever greater feats of athleticism and cunning. The magical atmosphere in the roda helps to liberate the capoeiristas from their everyday lives so that they can reach new levels of experience as they ‘go out into the world’ of the Capoeira roda.

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Songs

 

The songs are sung in Portuguese so are difficult for beginners outside of Brazil to tell what the songs are about. Small history lessons are embedded in some of the songs, whilst others tell you something you need to do or pay attention to whilst playing in the roda and some are just chants. Most songs are based on the traditional African call and response songs and are called corridos. The lead is usually sung by the person playing the gunga and everybody else will sing the response together. It can become a very special experience when there are lots of people in the roda and everybody feeds of the great energy created.

 

There are different sorts of Capoeira songs. The teacher or person leading the roda will sing a solo called ladainhas at the beginning of Capoeira Angola rodas. Capoeira Angola is a slower type of Capoeira that is played closer to the ground and involves less acrobatics. An Angola game can also include fast kicks. The only instruments being played will be the three berimbaus with the rest not joining in until the ladainha is over and the louvação or chula begins. The person who sang the ladainha will start the louvação, which is a basic call and response part of the Capoeira songs, by singing “Iê, viva meu Deus” and then the chorus will responds “Iê, viva meu Deus, camará.”

This will keep going back and forth with the lead singer changing what the say after “Iê” and the chorus have to respond with the same words and add “camará” at the end. The most common line to start the chula with is “viva meu Deus” but it doesn’t have to start with these words.

 

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A quicker paced game of Capoeira called Capoeira Regional is played standing up and involves a lot of acrobatics. They sing quadras instead of ladainhas. These are short four-verse songs sung by the leading person at the roda and then the louvação sung. The difference being that quadras are sung to the Regional toque or São Bento de Regional, they are faster passed and the notes in response are not held as long. The words  “ê e, viva meu Deus, camará” are used instead of “Iê”.

Capoeira must have its music, it just wouldn’t work. The Capoeira, unlike other martial arts needs the element of music and singing to be performed or practiced. Although the songs and music have evolved since the days of slavery, the spirits of the people of that dark time can still be found in the music and the songs.

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