Capoeira Song Compendium Version 1.0 International

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Capoeira Song Compendium Version 1.0

A compendium of the most widely sung Capoeira songs with their English
translations. Plus a guide on Brazilian Portuguese pronunciation, a capoeira
glossary, an article about religion and its connection to Capoeira and other
articles about Capaoeira songs.

This work is an ongoing project and it is my hope that with feedback from users,
that this document can be regularly updated and thereby enriched.

Mathew Brigham (Espaguete), May 2006

THIS DOCUMENT CAN BE FREELY DISTRIBUTED - DO NOT ABUSE THIS TRUST AND TRY TO MAKE MONEY FROM IT.
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Dedication

Ax to Caapa and Grupo Bantus in
Tokyo and Bantus students around
the world.
Ax to Grupo Origens do Brasil , Bournemouth and
So Paulo and Instructora Bia and Mestre Adelmo.
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Aim
The aim of this document is to serve as a high quality resource for English speaking Capoeirsistas who wish to deepen their knowledge of the
most widely sung Capoeira songs and the wisdom contained therein and hopefully improving their Portugese at the same time. It is my hope
that with feedback from users, this document will expand and be enriched . I hope to release a revised version at least twice a year. Apart
from containing just lyrics in Portugese and English there is a section on pronunciation as well as a glossary at the end. There are also
sections on the different types of songs and improvisation (taken, with kind permission, from Grupo T.A.B.C.A.T), as well as a section
summarsing religious syncretism and its connection to Capoeira.

Acknowledgements
A debt is due to those soles who typed up capoeira songs (and in some cases translated them) and released them on the net to help budding
non-Portugese speaking Capoeiristas like myself! Songs that have been taken from the net, have been improved on; in particular with
reference to grammar errors, unnatural translations and missing cultural and historical references perhaps the most important thing to help
deepen knowledge of Capoeira. In addition, a big thanks to Pirulito from capoeira4all.com and Instructora Bia from Grupo Origens do Brasil,
Bournemouth for their help with translations and cultural references. Finally a big thank you to Raposa from Shadowcatcapoeira, who
painstakingly edited this document for grammar, spelling as well as plain silly translations!!!!! Other non-lyric based acknowledgements are
found within the document.

Song Versions
There are often several versions of songs sung by different groups in different ways Capoeira is an oral tradition so this is always bound to
be the case! The document will become too complex with all such variations, so just edit songs to tailour them to how you like them!

Feedback and Support
If you know of a popular song that is missing or an exceptionally beautiful song (will be put in separate section in Version 1.1) please contact
me so I can update this document. Similary, please contact me if you find any errors or know anything about the meaning or history of a
particular song. In this way the document will grow and be enriched. Note, I will only include group specific songs if they are widely sung by
many groups. Ax

Email feedback and support to: gowithwhatisATyahooDOTcom

Mathew Brigham (Espaguete), May 2006

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Capoeira Songs ..................1
Abalou capoeira, abalou ......1
A Bananeira Caiu .................1
A canoa virou, marinheiro ....1
Ado, Ado...........................1
A Capoeira Meu Amor..........2
A Hora E Essa......................2
Ai ai ai ai (So Bento me
charma) ................................2
Ai ai Aide ..............................2
Ajuda eu berimbau ...............3
Al Maria ..............................3
A Manteiga Derramou ..........3
Angola , Angola...............4
Apanha a laranja no cho,
tico tico .................................4
Aruanda .............................5
Bahia Ax.............................5
Bahia comea com B ...........7
Bahia De Qualquer Maneira.7
Bate palma pra ele ...............7
Boa Viagem..........................8
Caju....................................8
Camunger...........................9
Canarinho da alemanha.......9
Capoeira De So Salvador.10
Capoeira of Salvador..........10
Capoeira de verdade..........11
Capoeira E Defesa Ataque.12
Capoeira da nossa cor. ...13
Catarina (Rala Cco) .........13
Chu chu chu chu ........14
Cobra Verde.......................15
Cruz-Credo, Ave Maria ......15
Cuidado Moo....................15
D D D No Negro...........16
Dalila ..................................16
Devagar, Devagar ..............17
Dona Alice..........................17
Dona Maria Como Vai Voc
...........................................18
Dona Maria Do Camboat .18
De Couro De Boi.............19
E' De Manh, Idalina T Me
Chamando..........................19
Eu J Vou A Beleza ...........20
legal, legal....................20
Paran. Paran. ..........20
o Mar vai virar Serto .....21
S Prestar Ateno.........21
Eu sou angoleiro ................22
Eu Sou Capoeira Tambem
Sou Maculel .....................22
Eu tenho que ir me embora23
Eu Vi A Cutia Com Coco No
Dente..................................23
Foi No Claro Da Lua ........24
Gunga meu .....................25
I Capoeira, I Capoeir....25
Iaiaioio................................26
I Parana............................27
Jogar Capoeira De Angola. 27
Jogo de Dentro Jogo De Fora
........................................... 29
lavadeira............................. 29
La Vai Viola........................ 30
L vem vindo...................... 30
Leva morena me leva ........ 30
Le La Lae Lae La............... 31
Luanda meu boi .............. 32
Maculel Maracat............. 32
Meu Berimbau , Instrumento
Genial................................. 34
Moleque E Tu..................... 34
Nhem Nhem Nhem............ 35
No Mercado modelo........... 35
Ligeiro............................. 35
Oi Nega que vende a ........ 35
ei............................ 36
Oi Sim Sim Sim.................. 36
Olha O Nego sinh ............ 37
Olha Pomba vou .............. 37
O Me Da Meu Dinheiro ...... 38
Ona Morreu...................... 38
Zum, Zum, Zum ................. 38
Onde Vai Caiman............... 39
O que berimbau? ............ 39
O Capoeira e o Pescador .. 39
Parabns pra voc............. 40
Para Roda Capoeira .......... 41
Paran ............................. 41
Pela Capoeira Eu Poder
Jogar .................................. 42
Pisa Caboclo...................... 43
Pisa No Massap Escorrega
........................................... 43
Por Favor No Maltrate Esse
Nego .................................. 44
Pra Lavar Minha Roupa No
Tem Sabo ........................ 44
Preta Calunga.................... 45
Princesa Isabel, Princesa
Isabel ................................. 45
Quebra Gereba.................. 46
Quem Jogo ........................ 46
Quem E Voce..................... 47
Quem Vem L Sou Eu....... 47
Roda maravilhosa.............. 48
Sai Sai Catarina................. 49
Salom, Salom................. 49
Santa Maria me de Deus . 49
Sim sinha, Sim Sinho,........ 50
Sou Capoeira E Pego Na
Viola................................... 50
Solta A Mandinga............... 51
Sou Angoleiro .................... 51
Tabareu Que Vem Do Sertao
........................................... 51
Tava L Em Casa .............. 51
Tava l na beira do Mar ..... 52
Tem Dende, Tem Dende ... 52
Tim, Tim Tim Aruand ....... 52
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T dormindo t sonhando ..53
Troca Mo Pelo P.............53
Um pouquinho de dend....54
Uma Volta S .....................54
Um, dois, tres .....................54
Brincadeira Mandinga ........55
Vem Comeo A Roda Io Io.55
Vinha da Bahia pra lhe ver .56
Voc Que Forte...............57
Xarl, Xerer ......................57
X x meu canario .............57
Samba Songs....................58
L L L Baiana .................58
O Levanta Saia Mulata.......58
Praia Da Amaralina ............58
Sereia Sereia......................59
Maculele Songs ................59
Boa noite pra quem de boa
noite....................................59
Cabana De Guerreiro.........59
E na hora .........................60
Tindolel au Cauiza..........60
Maculele Jurou Vinganca...60
Sou Eu Maculele ................60
Brazilian Portugese
Pronunciation ...................61
Songs that reflect special
roda moments ..................65
Songs that reflect special
roda moments ..................66
Improvisation in songs....67
Why Sing In Portuguese?70
A Note On Oral Tradition .71
The different types of
Capoeira songs ................72
Syncretic Religious
Practice in Brazil ..............74
Capoeira Glossary ...........76

1
Capoeira Songs

Abalou capoeira, abalou

Abalou capoeira abalou,
Mais se abalou deixa abalar
Mais se abalou deixa abalar

A Bananeira Caiu

O faco bateu em baixo
a bananeira caiu
o faco bateu em baixo
a bananeira caiu
cai cai bananeira
a bananeira caiu

bananeira also refers to the handstand used in
capoeira.
This song may be appropriate to sing when a real
valento (valiant one) is taught the art of falling.

It shook capoeira, shook.

Shook capoeira shook,
But if it shook let it shake
It shook capoeira shook,
But if it shook let it shake
It shook capoeira shook,

The Banana Tree fell

My machete struck low
the banana tree fell
the machete struck low
fall, fall, banana tree

A canoa virou, marinheiro

No fundo do mar tem dinheiro
No fundo do mar tem segrdo
No fundo do mar tem malcia
No fundo do mar tem capoeira
Mas se virou, deixa virar
Oi est l, no fundo do mar

Ado, Ado

Ado, Ado
Oi cad Salom, Ado?
Oi cad Salom, Ado?
O foi na Ilha de Mar
Ado, Ado
Oi cad Salom, Ado?
Oi cad Salom, Ado?
Oi Salom foi passear
Ado Ado
Oi cad Salom? Ado
The canoe capsized, sailor

In deep sea there is money
In deep sea there are secrets
In deep sea there is trickery
In deep sea there is capoeira
But if it capsized, leave it
There it is, in the deep sea

The canoe has been capsized, but in every disaster there
is the opportunity to look on the bottom of the sea for
sunken treasure.

Adam, Adam

Adam, Adam
Where is Salom*, Adam?
Where is Salom, Adam?
Salom went to Mar Island
Adam, Adam
Salom went for a walk
Adam, Adam
But where is Salom, Adam?

* In the Christian Bible,Salom is known as the
step-daughter of Herod the Great, who danced the
Dance of the Seven Veils. She is said to have
asked for the head of John the Baptist. What does
Adam have to do with this? Perhaps because he is
the "original man," Salom wants to claim him as
well...
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A Capoeira Meu Amor

Voc se lembra de mim
Eu nunca vi voc to s
O meu amor, o meu xod, minha
Bahia
Voc se lembra de mim
Eu nunca vi voc to s
O meu amor, o meu xod, minha
Bahia
A capoeira meu Amor
A capoeira me chamou
A capoeira meu Amor
A capoeira me chamou

A Hora E Essa

A hora essa
A hora essa
A hora essa
A hora essa
Berimbau tocou na capoeira
Berimbau tocou eu vou jogar
Berimbau tocou na capoeira
Berimbau tocou eu vou jogar
Capoeira My Love

If you remember me
I never saw you that lonely
My love, my sweetheart, my Bahia

You remember me
I never saw you that lonely
My love, my sweetheart, my Bahia

Capoeira my Love
Capoeira called me
Capoeira my Love
Capoeira called me

Its now the time

Its now the time
Its now the time
Its now the time
Its now the time
Berimbau played in capoeira
Berimbau played, I will go play
Berimbau played in capoeira
Berimbau played, I will go play
Ai ai ai ai (So Bento me
charma)

Ai ai ai ai
So bento me chama
Ai ai ai ai
So bento me quer
Ai ai ai ai
Pra jogar capoeira
Ai ai ai ai
Conforme a razo

Ai ai Aide

ai, ai, aid,
Joga bonito que eu quero ver

Ai, ai, aid.
Joga bonito que eu quero apprender

Ai, ai, aid.

This song is frequently directed at players who are
making mistakes or generally playing sloppily in the
roda. It can also be sung as a celebration of a great
game in progress.
Ai ai ai ai (St. Benedict calls
me)

Ai ai ai ai
St. Benedict calls me
Ai ai ai ai
St. Benedict wants me
Ai ai ai ai
To play capoeira
Ai ai ai ai
The right way

Ai ai Aide

ai, ai, aid,
Play beautifully because I want to
see
Ai, ai, aid.
learn
Ai, ai, aid.

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Ajuda eu berimbau

Ajuda eu berimbau
Ajuda eu a cantar
Ajuda eu berimbau
Ajuda eu a cantar

Al Maria

Vou ligar pra voc
Alo, alo Maria
Vou dizer que te amo
No final do ano
Eu vou pra Bahia
E Maria, capoeira eu no largo no
J tentei mas meu corao
No vive sem ela no
Tinha que perder a viso
E nunca escutar ento
A voz do lamento
Ver um jogo de So Bento
Explode meu corao
Vou ligar pra voc
Alo, alo Maria
Vou dizer que te amo
No final do ano
Eu vou pra Bahia
Capoeira angola, regional, samba de
roda e maculele
Isso t no meu sangue
T perto de mim
S falta voc
Coro
The berimbau helps me

Helps me to sing
Helps me to sing

Al Maria

I will call you to tell you
Hello, hello Maria
I will say that I love you
In the end of the year
I will go to Bahia
Maria, I will not abandon capoeira
I Already tried but my heart
cant live without it
I have lost my sight
And never listened
to your cries
To see a game of Saint Benedict
My heart explodes
I will call you to tell you
Hello, hello Maria
I will say that I love you
In the end of the year
I will go to Bahia
Capoeira Angola, regional, samba of
the roda and maculele
Its in my blood
Its close to me
Youre the only thing missing
Chorus
A Manteiga Derramou

Vou dizer a meu sinh
Que a manteiga derramou
E a manteiga no minha
E a manteiga de ioi#
E a manteiga no minha
E a manteiga de ioi
A manteiga de ioi
Caiu na gua e se molhou
A manteiga do patro
Caiu no cho e derramou
A manteiga no minha
pr filha de ioi...

A slave narrative about a "mysterious" spillage. A
container full of butter has been knocked over, and
no one is taking responsibility. When asked, a slave
says, "it's not my butter, it's the master's butter,"
which, while technically true, does not help resolve
the matter. Slaves would often use such tactics of
"passive resistance" to remind the master of his
dependence on them.
The Butter Spilled

I'm going to tell my lord
That the butter spilled
The butter is not mine
It is the master's butter
I'm going to tell my boss
The butter is the boss
The butter is the boss
It fell in the water and got wet
The butter is the boss'
It fell on the ground and spilled
It's for the master's daughter

ioi / ioi (yoh-YOH / yah-YAH)
These were the master's children, who were often
allowed to play with slave children until a certain
age. When slave children reached working age,
however, they were separated from their white
friends. Slaves would often resent these children
thereafter, blaming accidents (like the one above)
on them.
4
Angola , Angola

Angola ,
Angola Angola
Onde Eu Vim
De Angola ,
Onde Eu Vim
De Angola Iaia

ANGOLA ,
ANGOLA ANGOLA

Vou Me Embora
Pra Angola
Capoeira De Angola
Vai Vadiar*

Angola ,
Angola Angola

Puxa Puxa,
Leva Leva
Eu Quero Jogar
E Vadiar

Angola ,
Angola Angola

Capoeira Mandingueiro
Capoeira Malandragem

*vadiar to hang out, bum around, do nothing in
particular. A synonym for playing capoeira.
Angola , Angola

Angola Eh,
Angola Eh Angola
Where I Come From
Is Angola, Eh Eh
Where I Come From
Is Angola, Iaia

Angola eh eh,
Angola eh Angola

I Will Go
To Angola, Eh Eh
Capoeira Angola
Will hang Around

Angola eh eh,
Angola eh Angola

Oh, Pull It Pull It,
Take It Take It
I Want To Play
And hang Around

Angola eh eh,
Angola eh Angola

Capoeira Is A Mandingueiro
Capoeira Is Malandragem

Apanha a laranja no cho, tico
tico

Apanha a laranja no cho, tico tico

Se meu amor foi embora eu no fico

Meu abada de renda, e de fita

No apanha com mo, s com pe e
com bico

This song reminds players to use their feet and
"beaks" instead of hands. It may also be used in the
"money game," where a handkerchief full of money
is spread in the middle of the roda.

tico-tico (TCHEE-koo TCHEE-koo)
A small songbird that makes a "tico-tico" sound.
Grab the orange
off the ground, tico-tico

Grab the orange
off the ground, tico-tico
If my love went away I won't stay
Grab the orange off the ground,
tico-tico
My abad is of lace, and of ribbon
Grab the orange off the ground,
tico-tico
Don't grab with the hand
only with the foot or the beak

abad (ah-bah-DAH)
Loose capoeira shirt and pants, usually white.
Probably came from the culture of dockworkers,
who often used flour or sugar bags to make their
clothing. The abad mentioned here, made of lace
and ribbon, is an extravagant luxury.
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Aruanda

Aruanda
Aruanda , aruanda

Aruanda camar (Coro)

Vem de dentro do peito
Essa chama que acende
Meu corpo inteiro no pode parar
Eu sou mandigueiro de l da Bahia
Ax capoeira salve Abad

Coro

Oxal que me guie
Por todo caminho
No deixe na roda a f me faltar
Sou vento que sopra eu sou capoeira

A luta de um povo pr se libertar
Aruanda

Aruanda
Aruanda , aruanda

Aruanda to camar (Chorus)

It comes from inside the chest
This flame that lights
My entire body cannot stop
I am mandigueiro from Bahia
Capoeira Ax long live Abad

Chorus

Oxal* who guides me
The whole way
Dont let my faith fail in the roda
I am the wind that blows I am
Capoeira
The fight of a people to be free

*Creator God in Candombl - a spiritualist religion
in Brazil.
Bahia Ax

Que bom
Estar com vocs
Aqui nesta roda
Com este conjunto
Bahia ax, ax Bahia
Bahia ax, ax Bahia
Io ioioioioo
Ioioioo
Ioioioo
Io ioioioioo
Ioioioo
Ioioioo
O vento
Que venta to lindo
Entre os coqueirais
Isso demais
Io ioioioioo
Ioioioo
Ioioioo
Io ioioioioo
Ioioioo
Ioioioo
Bahia ax, ax Bahia
Bahia ax, ax Bahia
Bahia Axe*

Its good
to be with you
here in this roda
with this group of people
Bahia ax ax Bahia
Bahia ax ax Bahia
Io ioioioioo
ioioioo
ioioioo
io ioioioioo
ioioioo
ioioioo
the wind
that blows so pretty
Through the coconut trees
this is too much
io ioioioioo
ioioioo
ioioioo
io ioioioioo
ioioioo
ioioioo
Bahia ax ax Bahia
Bahia ax ax Bahia

*Ax: The Yoruban word meaning life force or vital
energy
6
A Benguela

Coro
A Benguela chamou pra jogar
A Benguela chamou pra jogar
capoeira (repita uma vez)

Tudo comeou assim
Hoje eu tenho que lembrar
De Maria Martinha do Bonfim
Luiz Candido Machado
Que eram os pais de Mestre Bimba

Manoel dos Reis Machado

Coro

Em mil novecentos
Este fato aconteceu
Em vinte trs de novembro
O Mestre Bimba nasceu

Coro

Bimba assim dizia
Tocando seu berimbau
Sentado no velho banco
Ensinando regional

Coro

Nos dias de formatura
Era obrigado a jogar
O So Bento Grande e o toque de
Iuna
a Benguela no podia sujar

Coro

A Benguela

Chorus
Benguela called to play
Benguela called to play capoeira
(repeat once)

It all started like this
Today I have to remember
Maria Martinha do Bonfim
Luiz Candido Machado
Who were the parents of Mestre
Bimba

Chorus

In nineteen hundred
This event happened
On the twenty third of November
Mestre Bimba was born

Chorus

Bimba used to say in his way
While playing his berimbau
Seated on the old bench
Teaching Regional

Chorus

On the days of graduation
It was obligatory to play
So Bento Grande and the beat of
Iuna
In Benguela one cannot get dirty

Chorus

On the fifth of February
of the year of seventy-five
This sad event happened
In the city of Goinia
Mestre Bimba passed away
Em cinco de fevereiro
do ano de setenta e quatro
Esta tristeza aconteceu
Na cidade de Goinia
Mestre Bimba faleceu
7
Bahia comea com B

Bahia comea com B
Bahia termina e ia
bero e mae da capoeira
meu amigo era a Bahia
Bahia comea com B
Bahia termina e ia
Bahia comea com B
Bahia termina e ia
vim falar dos velhos mestres
que viveram na Bahia
Bahia comea com B
Bahia termina e ia
Bahia comea com B
Bahia termina e ia
Bahia, eee, Bahia, aaa
Bahia it starts with B

Bahia starts with B
Bahia ends with ia
cradle and Mother of capoeira
my friend was Bahia
Bahia starts with B
Bahia ends with ia
Bahia starts with B
Bahia ends with ia
I came to speak of old masters
who lived in Bahia
Bahia starts with B
Bahia ends with ia
Bahia starts with B
Bahia ends with ia
Bahia De Qualquer Maneira

Esse ano eu vou pra bahia de
qualquer maneira
esse ano eu vou pra bahia de
qualquer maneira
vou tocar berimbau
vou da salto mortal
vou jogar capoeira
vou tocar berimbau
vou da salto mortal
vou jogar capoeira

Bate palma pra ele

O menino bom
Bate palma pra ele
bom bom
Bate palma pra ele
O menino bom
Bate palma pra ele
bom bom
Bate palma pra ele
Bahia by any means possible

This year I will go to Bahia by any
means possible
this year I go to Bahia by any
means possible
I will play berimbau
I will give a backflip
I will play capoeira
I will play berimbau
I will do a backflip
I will play capoeira

Clap for him

The boy is good
Clap for him
He is good, he is good
Clap for him
This boy is good
Clap for him
Is good, is good
Clap for him
8
Boa Viagem

Adeus
Boa viagem
Adeus, adeus
Boa viagem
Eu vou
Boa viagem
Eu vou, eu vou
Boa viagem
Eu vou-me embora
Boa viagem
Eu vou agora
Boa viagem
Eu vou com Deus
Boa viagem
E com Nossa Senhora
Boa viagem
Chegou a hora
Boa viagem
Adeus...
Boa viagem
Bon Voyage

Goodbye
Bon Voyage
Goodbye, Goodbye
Bon voyage
Im going
Bon Voyage
Im going, Im going
Bon Voyage
Im going to leave
Bon Voyage
Im going now
Bon Voyage
I go with God
Bon Voyage
And with Our Lady
Bon Voyage
The hour has arrived
Bon Voyage
Goodbye
Bon Voyage
Caju

Vou mandar eu vou
Caju*
Eu mandar Boi
Caju
menina linda
Caju
Venha me buscar
Caju

Caju

Ill make myself go
Caju
I order Boi
Caju
pretty girl
Caju
Come and find me
Caju

*Caju refers to Cajueiro, which is a tree that grows
cashew nuts., In Brazil there is a city named
Cajueiro and this song is probably referring to that
city.
9
Camunger

Camunger como vai como t
Camunger
como vai vos mic?
Camunger
Se vai bem de saude
Camunger
Para mim um prazer
Camunger
Vim aqui pra lhe ver
Camunger

Camunger is a Brazilian greeting word - often
used as capoeira greeting song especially when
teachers or students of one group enter the roda of
another.

Camunger

Camunger, how are you?
Camunger
How do you do?
Camunger
If you are healthy
Camunger
Then its a pleasure for me
Camunger
I came here to see you
Camunger

Canarinho da alemanha

canarinho da alemanha
quem matou meu curi
eu jogo capoeira
mestre bimba o melhor
quem matou meu curi
na roda da capoeira
quero ver quem melhor
quem matou meu curi
eu jogo capoeira
e pastinha melhor
quem matou meu curi
eu jogo capoeira
na bahia Maceio
quem matou meu curi
eu jogo Capoeira, quero ver quem
melhor
quem matou meu curi
eu jogo capoeira
Caiara tambem
quem matou meu curi
Eu jogo capoeira
mas Pastinha o maior

German canary

German canary
who killed my songbird?
I play capoeira
master bimba is the best
German canary
in the roda of the capoeira
I want to see who is the best
German canary
I play capoeira
but pastinha is the best
German canary
I play capoeira
in Bahia and Maceio
German canary
I play capoeira
I want to see who is the best
German canary
I play capoeira
and Caiara is also the best
German canary
I play capoeira
but Pastinha is the greatest
10
Capoeira De So Salvador

Oi meu mano,
O que foi que tu viu la,
Eu vi Capoeira matando,
Tambem vi maculel, Capoeira

jogo praticado na terra de So
Salvador
Capoeira
Salvador

Sou discipulo que aprende,
Sou mestre que da lio,
Na roda de Capoeira,
Nunca dei um golpe em vo,
Capoeira

Salvador
Capoeira
Salvador

Manuel dos Reis Machado,
Ele fenmenal,
Ele o Mestre Bimba,
Criador do Regional, Capoeira

Salvador
Capoeira
Salvador

Capoeira luta nossa,
Da era colonial,
Nasceu foi na Bahia,
Angola e Regional, Capoeira

Salvador
Capoeira
Salvador

Capoeira of Salvador

O my brother
What was it that you saw there?
I saw Capoeira killing
I also saw maculel, Capoeira

This game is practised in the land
of Salvador
Capoeira
of Salvador

I am a student who learns
I am a master who teaches
In a circle of Capoeira
I never did a useless kick, Capoeira

of Salvador
Capoeira
of Salvador

Manuel dos Reis Machado,
He is phenomenal,
He is the mestre Bimba,
The creator of Regional, Capoeira

of Salvador
Capoeira
of Salvador

Capoeira is our martial art
From the colonial era
It was born in Bahia,
Angola and Regional, Capoeira

of Salvador
Capoeira
of Salvador
11
Capoeira de verdade
Isso Coisa da Gente

Se voc faz um jogo ligeiro
d um pulo pra l e pra c
no se julgue to bom capoeira

Que a capoeira no to vulgar
Para ser um bom capoeirista
pra ter muita gente que lhe d valor

voc tem que ter muita humildade
Tocar instrumentos, ser um bom
professor
O capoeira faz chula bonita
canta um lamento com muito emoo
quando v seu mestre jogando
Sente alegria no seu corao
Ele joga angola miudinho
se a coisa esquenta no corre do
pau
Tem amigos por todos os lados
um grande sorriso tambm no faz
mal
Isso coisa da gente
ginga pra l e pra c
mexe o corpo ligeiro
a mandinga no pode acabar
Isso coisa da gente
ginga pra l e pra c
mexe o corpo ligeiro
a mandinga no pode acabar
True Capoeira
This thing belongs to us

If you play a fast game
Jump here and there
It doesnt mean you play Capoeira
well
because Capoeira is not that cheap
To be a good Capoeirista
To have a lot of people giving credit
to you
You need to be very modest
Play instruments, and be a good
teacher
A Capoeirista sings pretty chulas
sings a lamento with much emotion
When he sees his mestre playing
he feels joy in his heart
He plays Angola and Miudinho
If things get hot he doesnt run from
the fight
He has friends everywhere
a big smile doesnt harm either

This thing belongs to us,
ginga here and ginga there
Move the body swiftly
the magic musnt stop
This thing belongs to us,
ginga here and ginga there
Move the body swiftly
the magic musnt stop
12

Capoeira E Defesa Ataque

defesa, ataque
A ginga de corpo
E a malandragem
Capoeira
defesa, ataque
A ginga de corpo
e a malandragem
So francisco nunes
Preto velho meu av
Ensinou para o meu pai
Mas meu pai no me ensinou
Capoeira
defesa, ataque
A ginga de corpo
e a malandragem
O maculel
dana do pau
Na roda de capoeira
no toque do berimbau
Capoeira
defesa, ataque
A ginga de corpo
e a malandragem
Eu ja tive em moambique
Eu ja tive em guin
T voltando de angola
Com o jogo de mal
Capoeira
defesa, ataque
A ginga de corpo
e a malandragem
Its defence and attack

Its defense and attack
Swinging of the body
And malandragem
Capoeira
Swinging of the body
and the malandragem
Saint Francisco nunes
The old black man, my grandfather
He taught my father
But my father did not teach me
Capoeira
swing the body
and the malandragem
maculel
Is a dance of sticks
In the Capoeira roda
Is the rhythm of berimbau
Capoeira
swing the body
and the malandragem
Ive already been to Mozambique
Ive already been to Guinea
Im coming back from Angola
With the game of mal*
Capoeira
swing the body
and the malandragem

*The Mals were a group of Africans who organized
a famous slave revolt in Brazil.

13
Se voc quiser aprende
Vai ter que praticar
Mas na roda de capoeira
E' gostoso de jogar
Capoeira
E' defesa, ataque
A ginga de corpo
e a malandragem

Capoeira da nossa cor.

au au au
E L l l l l l l l l
au au au
E L l l l l l l l l
t no sangue da raa brasileira
Capoeira
da nossa cor
berimbau
da nossa cor
atabaque
da nossa cor
o pandeiro
da nossa cor
au au au
E L l l l l l l l l
au au au
E L l l l l l l l l
If you want to learn
It requires practice
But in the capoeira roda
Its a delight to play
Capoeira
Its Defence and attack
swing the body
and the malandragem

Capoeira is our colour

au au au
E L l l l l l l l l
au au au
E L l l l l l l l l
Its in the blood of the Brazilian race
Capoeira
Its our colour
berimbau
Its our colour
atabaque
Its our colour
o pandeiro
Its our colour
au au au
E L l l l l l l l l
au au au
E L l l l l l l l l
Catarina (Rala Cco)

O rala cco
catarina
Fazer cocada*
Catarina
O rala cco
Catarina
No quebra nada
Catarina
Rala pra que
Catarina
Rala e vender
Catarina
Rala cco, rala cco,
rala cco meu sinho
Rala cco, rala cco, rala cco
meu sinho
Catarina (Grate coconut)

Grate coconut
catarina
To make cocada
Catarina
Grate the coconut
Catarina
Dont break anything
Catarina
Grate so that
Catarina
Grate and sell
Catarina
Grate coconut, grate coconut
Grate coconuts my lord
Rasp coco, rasp coco,
rasp coco my lord

*Cocada is a desert from Bahia made with
coconuts.
14
Chora Viola

E chora viola, chora,
Chora viola.
Chora
Chora viola.
Chora
Chora viola.
Chora
Chora viola.
Chora
Chora viola.
Chora
The Viola cries

The viola cries, it cries
The viola cries
It cries
The viola calls
It calls
The viola calls
It calls
The viola calls
It calls
The viola calls
It calls
Chu chu chu chu

Eu pisei na folha seca
ouvi fazer chu chu
chu chu chu chu
ouvi fazer chu chu
chu chu chu chu
ouvi fazer chu chu

This song has been adapted from a famous samba
by the group Fundo de Quintal, known for being
pioneers of pagode (party) music.

We might imagine that it is about a slave hiding in
the forest, fearful knowing every step might be
heard by the slave hunter, called the Capito do
Mato ("Captain of the Jungle").
Crunch, crunch, crunch....

I stepped on a dry leaf
and heard it go crunch, crunch
crunch, crunch, crunch, crunch
and heard it go crunch, crunch
crunch, crunch, crunch, crunch
ouvi fazer chu chu
15
Cobra Verde

Eu pisei na cobra verde
Cobra verde um bom sinal
um bom sinal um bom sinal
Cobra verde um bom sinal

Cruz-Credo, Ave Maria

Quanto mais eu cantava
Ningum respondia
Essa roda de mudo
e eu no sabia
Quanto mais eu rezava
Assombrao aparecia
Eu rezava de noite
E rezava de dia
Eu rezava e gritava
E ningum respondia
Green Snake

I stepped on a green snake
A green snake is a good signal
A good signal, a good signal
A green snake is a good signal

Cross-confession, Heil Maria

Holy Cross, Hail Maria
The more I sang
Nobody answered
Holy Cross, Hail Maria
This roda is mute
and I didnt know
Cross-confession, Hail Maria
The more I prayed
The ghost appeared
I prayed at night
and prayed during the day
I prayed and cried out
And nobody answered
Cuidado Moo

Cuidado moo
Que essa fruta tem caroo
Cuidado moo
Pela rama que da a arvore
Sei da fruta que ela da
Essa fruta tem caroo
Ela pode lhe engasgar
Cuidado moo
Cuidado moo
Mais vale nossa amizade
Que dinheiro no meu bolso
Para quem sabe viver
Essa vida um colosso
Cuidado moo
Cuidado moo
Ando com o corpo fechado
E um rosario no pescoo
Fui criado la na roa
Tomando agua de poo
Cuidado moo
Cuidado moo
Voc jogava muito
No tempo que era moo
J t ficando velho
Take care young man

Take care young man
As this fruit has a seed
Take care young man
Through the branches of the tree
I know of the fruit that she gives
This fruit has a seed
She can choke on it
Take care young man
Take care young man
Our friendship is better
than the money in my pocket
To those who know how to live
This life is a colossus
Take care young man
Take care young man
I walk with a closed body*
And a rosary around the neck
I was a servant in the country
Drinking water from the well
Take care young man
Take care young man
You played a lot
When you were a young boy
Youre already getting old
16
Olha as rugas no seu rosto
Cuidado moo
Cuidado moo
Cachorro que esperto
Come a carne e roi o osso

A mulher quando no presta

Mata o cabra de desgosto
Cuidado moo
Cuidado moo

Look at the wrinkles on your face
Take care young man
Take care young man
The dog that is smart
eats the meat and gnaws it to the
bone
A woman when shes not paying
attention
Disgustingly kills the goat
Take care young man
Take care young man
As this fruit is caroo

* There are rituals in candombl that can be
performed to close the body, magically protecting
it from injury.
D D D No Negro

No negro voc no d
D d d no negro
Mas se der vai apanhar

D d d no negro
No negro voc no d
D d d no negro
Jogue o negro para cima
D d d no negro
Deixa o negro vadiar
D d d no negro
No negro voc no d
D d d no negro

Dalila

dalila, il il, dalila
capoeira mandou lhe dizer, tambm
capoeira mandou lhe chamar
capoeira mandou lhe dizer,
tambm capoeira mandou lhe
chamar
quero falar com dalila, dalila, dalila,
dalila
quero falar com dalila, dalila, dalila,
dalila
dalila, dalila
vamos se embora dalila
Get get get the negro

You dont get the negro
But if you get him, youll take a
beating
Throw the negro upwards
Let the negro mess around

Dalila

capoeira told me to say to you,
capoeira also told me to call you
capoeira told me to say to you,
capoeira also told me to call you

I want to speak with dalila, dalila,
dalila, dalila
I want to speak with dalila, dalila,
dalila, dalila
dalila, dalila
lets go dalila
17
Devagar, Devagar

Devagar, devagar
Devagar, devagarinho
Devagar, devagar
Cuidado com o seu pezinho
Devagar, devagar
Capoeira de angola devagar
Devagar, devagar
Esse jogo devagar
Devagar, devagar
Eu falei devagar, devagarinho
Devagar, devagar
Esse jogo bonito devagar
Devagar, devagar
Falei devagar, falei devagar
Devagar, devagar
Slowly, Slowly

Slowly, Slowly
Slowly, very slowly
Slowly, Slowly
Be careful with your foot
Slowly, Slowly
Capoeira de angola is played slowly
Slowly, Slowly
This game is slow
Slowly, Slowly
I said slowly, very slowly
Slowly, Slowly
This pretty game is played slowly
Slowly, Slowly
I said slowly, very slowly
Slowly, Slowly

This is a song reminding players to slow their game
down. Usually played in Angola.
Dona Alice

dona alice
no me pegue no
no me pegue,
no me agarre,
no me pegue a mo.
dona alice
no me pegue no
no me pegue,
no me agarre,
no me pegue a mo
dona alice
no me pegue no

A song well suited to a game in which
one capoeirista is getting a little too
"clingy" with the other. For historical
informations, Dona Alice was one of
Mestre Bimba's mistresses! This
song is about resisting temptation to
fall into another woman's arms. A
parallel is easily made with the
capoeira game.
Ms Alice

Hey Ms Alice
Dont grab me, no
Dont grab me
Dont clutch me
Dont grab my hand
Hey Ms Alice
Dont grab me, no
Dont grab me
Dont clutch me
Dont grab my hand
Hey Ms Alice
Dont grab me
18
Dona Maria Como Vai Voc

E vai voc, e vai voc.
Dona maria, como vai voc?
Como vai voc como vai voc
Joga bonito que eu quero ver
E como vai como passou
E vai voc, e vai voc.
O joga bonito que eu quero aprender.
Ms Maria, how do you do?

How ya doing, how ya doing?
Play beautifully as I like to watch
How are you doing, how is it going?
Ms Maria, how ya doing?
Ms Maria, how ya doing?
learn
Dona Maria Do Camboat

Dona maria do camboat
Ela chega na venda
ela manda bot
Ela chega na venda e comea a
gingar
Ela chega na venda e d salto mortal


This appears to be a song about a woman who has
come to the market to "raise hell." Perhaps
someone tried to sell her a rotten coconut?

Ms Maria of Camboat

Ms maria of camboat*
She arrives at the market
and orders people around
Ms maria of camboat
She arrives at the market and starts
to ginga
Ms maria of camboat
She arrives at the market and does a
backflip
Ms maria of camboat

camboat (kahm-boh-ah-TAH)
This word may connote of two things: 1) certain
plants with medicinal properties; or 2) a small fish
that lives in fresh water.
19
Com O P Que Se Bate

Quem nunca jogou capoeira,
Ainda no sabe o que bom,
cultura brasileira,
Ensina o folclore,
E luta da gente,
Quando se escuta o pandeiro,
Rimando com o atabaque,
O berimbau vem dizendo,
No com a mo,
com o p que se bate
No com a mo
com o p que se bate
No com a mo
com o p que se bate
No com a mo
com o p que se bate
No com a mo
com o p que se bate

De Couro De Boi

O meu berimbau tem cordo de ouro
Ie o meu atabaque
de couro de boi
He keeps rhythm with his foot

Whoever never played capoeira,
Doesnt know whats good about it
It is Brazilian culture,
It teaches folklore,
And it is the fight of people,
When listening to the pandeiro,
Rhythm of the atabaque,
the berimbau comes in saying,
Its not with the hand,
Its with the foot that you hit
Not with the hand
Its with the foot that you hit
Not with the hand
Not with the hand
Not with the hand

de couro de boi

My berimbau has a golden cord
Oh, my atabaque
Its made of ox leather
E' De Manh, Idalina T Me
Chamando

Idalina tem o costume
De chamar e vai andando
E' de manh, idalina t me
chamando
O idalina meu amor
Idalina t me esperando
chamando
De mandar e se vai andando
chamando
Danado de falar de homem
chamando
Idalina meu amor
Idalina t me esperando
chamando
In the morning, idalina is calling
me

Idalina has the habit
to call and go walking
me
idalina my love
Idalina is waiting for me
me
Idalina has the habit
To give a command and then leave
me
Idalina has the damned habit of
talking about men
me
Idalina my love
Idalina is waiting for me
me
20
Eu J Vou A Beleza

Eu j vou a beleza, eu j vou me
embora
embora
embora
embora

legal, legal

legal, legal
jogar capoeira e tocar berimbau

legal, legal
jogar capoeira um negocio legal
legal, legal
I already I go the beauty

I already go to the beauty, Im
already leaving
I already go to the beauty, I already
went
went
went

Its great, Its great

To olay capoeira and play the
berimbau
Playing capoeira is a great thing
Its great, its great
Paran. Paran.

Paran, Paran,
Terra da boa madeira, Paran
Paran, e Paran,
Eu vim aqui aqui no vou voltar,
Paran
Paran, e Paran,
Eu quero ver voc jogar, Paran.
Paran, e Paran,
Eu quero ver voc cantar,Paran.
Paran, e Paran,
Eu vim aqui aqui no vou voltar,
Paran
Paran, e Paran,
Paran, Paranau, Paran.
Paran, e Paran,
Its Paran, its Paran,

Land of good wood, Paran
I came here, Im not going back
Paran
I want to see you play, Paran.
I want to see you sing, Paran.
I came here, Im not going back
Paran
Paran, Paranau, Paran.
,
21
o Mar vai virar Serto

h Nana deixa eu ir
h Nana eu vou s
h Nana deixa eu ir
L pro Serto* de Caip
h Nana deixa eu ir
h Nana eu vou s
h Nana deixa eu ir
L pro Serto de Caip
O Serto vai virar mar
O Mar Vai Virar Serto
O Serto vai virar mar
O Mar Vai Virar Serto

* Serto semi-arid region comprising parts of the
states of Bahia, Pernambuco, Paraba, Rio Grande
do Norte, Cear and Piau

The Sea turns to the Hinterland

h Nana let me go
h Nana Im going alone
h Nana let me go
There to the Caip hinterland
h Nana let me go
h Nana Im going alone
h Nana let me go
There to the Caip hinterland
Hinterland will turn into sea
The sea will turn into hinterland
Hinterland will turn into sea
The sea will turn into hinterland
S Prestar Ateno

I madalena rojo, bota lenha no
fogo,
Para fazer armao
Hoje dia de sol, alegria de coite,
curtir o vero
Iii te te te te te tee i
Te te te te te tei
Te te te te te tei
so prestar ateno, que essa luta
brasileira Capoeira meu irmo.

so prestar ateno, que essa
luta brasileira Capoeira meu irmo.
so prestar ateno, essa luta
brasileira Capoeira meu irmo.

so prestar ateno, que essa
luta brasileira Capoeira meu irmo.

Agora eu quero ouvir berimbau
Agora eu quero ouvir o pandeiro
Agora eu quero ouvir atabaque
Agora eu quero ouvir agog
Agora eu quero ouvir reco-reco
Pay Attention

I madalena rocket, put firewood in
the stove,
To make a great fire
Today is a sunny day, joy of coite,
Enjoy the summer
Te te te te te tei
Te te te te te tei
Pay attention, this is a Brazilian fight,
Capoeira, my brother.

Pay attention, this Brazilian fight is
Capoeira, my brother


Now I want to hear berimbau
Now I want to hear the pandeiro
Now I want to hear atabaque
Now I want to hear the agog
Now I want to hear the reco-reco
22
Eu sou angoleiro

Eu sou angoleiro
angoleiro o que eu sou
eu sou angoleiro
angoleiro de valor
eu sou angoleiro
angoleiro salvador
eu sou angoleiro
angoleiro sim senhor
eu sou angoleiro
meu mestre me ensinou
eu sou angoleiro
I am an angoleiro

I am an angoleiro
angoleiro is what I am
I am an angoleiro
An angoleiro of value
I am angoleiro
angoleiro saviour
I am angoleiro
angoleiro yes Sir
I am angoleiro
my master taught me
I am angoleiro
Eu Sou Capoeira Tambem Sou
Maculel

Quando chego no mercado modelo+

na festa do amanhecer
a morena* comea a chamar
perguntando, nego que vai fazer
eu respondo
eu sou capoeira tambem sou
maculel
eu sou capoeira tambem sou
macull
la, la, lau
la, la, lau
lau
la, la, lau
la, la, lau

*Morena can refer to skin or hair; it can either mean
a dark-skinned woman, or a brunette.

I am capoeira I am also
maculel

When I arrive at the Mercado Modelo
in the party of the dawn
The girl starts to call
asking, negro what are you doing?
I respond
I am capoeira I am also macull

I am capoeira I am also maculel

la, la, lau
la, la, lau
lau
la, la, lau
la, la, lau

+Famous market in Salvador, Bahia

+The Mercado Modelo is a famous market in
Salvador
23
Eu tenho que ir me embora

Eu tenho que ir-me embora
eu no posso demorar
A mar t cheia,
eu no posso navegar

Eu Tenho Que Ir-Me Embora
Eu No Posso Demorar

A mar t cheia,
eu no posso navegar

Eu No Posso Demorar

Eu no posso demorar
eu no posso navegar

Eu No Posso Demorar
I Have To Go Away

I have to go away
I can't be delayed
The tide is high
I can't sail

I Have To Go Away
I Can't Be Delayed

The tide is high
I can't sail

I Have To Go Away
I Can't Be Delayed

I can't be delayed
I can't sail

I Have To Go Away
I Can't Be Delayed
Eu Vi A Cutia Com Coco No
Dente

Eu vi a cutia com coco no dente,

Com coco no dente com coco no
dente
Eu vi a cutia com coco no dente

Comendo farinha, olhando pra gente.
Eu vi a cutia com coco no dente

Com coco no dente com coco no
dente.

*A small chipmunk-like rodent found in the forests
and "capoeiras" of Brazil. Here, "capoeira" refers to
a grassy field clearned from the forest, not the
movement form.

This song remarks upon a cutia unashamedly
showing coconut dangling from its teeth.
I saw a cutia* with coconut in
the teeth

I saw a cutia with coconut in its teeth

With coconut in its teeth with coconut
in its teeth
I saw a cutia with coconut in its
teeth
Eating flour, looking at us.
I saw a cutia with coconut in its
mouth
With coconut in its teeth with coconut
in its teeth
24
Foi No Claro Da Lua

Foi.....
Foi no claro da lua
que eu vi acontecer
Num vale tudo com jiu-jitsu
o capoeira vencer., mas foi
Foi.....
Foi no claro da lua
que eu vi acontecer
o capoeira vencer
Deu armada, e deu rasteira
meia lua e a ponteira
logo no primeiro round
venceu o capoeira
em baixo do ring
mestre bimba vibrava
tocando seu berimbau
enquanto a gente cantava
Foi.....
Foi no claro da lua
que eu vi acontecer
o capoeira vencer
It was in the moonlight,

It was.....
It was in the moonlight
that I saw it happen
In a freefight with jiu-jitsu
the capoeirista won
It was.....
the capoeirista won
He gave an armada and rasteria
meia lua and a ponteira
Soon in the first round
The capoeirista won
Below in the ring
Mestre Bimba was thrilled
playing his berimbau
while the people sang
It was.....
the capoeirista won
25
Gunga meu

Gunga meu, gunga meu
Gunga meu, meu, meu

Gunga Meu, Gunga Meu

Gunga meu, foi pai quem me deu


Gunga meu, eu no dou a ningum

Eu no vendo, eu no dou

This is a song intoning the importance of the
berimbau gunga, or the bass berimbau, which
controls the game and sets the pace for the roda. I
like this song because it sets quite a hypnotic
rhythm.
Gunga is mine

The gunga is mine, the gunga is mine
The gunga is mine, the gunga is mine

The gunga is mine, the gunga is
mine
The gunga is mine, my dad gave it
me
mine
The gunga is mine, I give it to noone
mine
I won't sell it, I won't give it

I Capoeira, I Capoeir

I Capoeira I Capoeira
Quando chegou na Bahia,
Trago berimbau em mo,
Eu toco cavalaria,
Gosto de fazer cano, Capoeira
Coro
Ningum sabe o sofrimento,
Ningum sabe a minha dor,
Olha o negro de Angola
Oh lutou e se libertou Capoeira
Coro
Eu jogo um jogo bonito
Com amor no coracao
Com um sorriso no rosto
E um aperto de mao
Capoeira
I Capoeira
Le le le le le le
O berimbau
Le le le le le le
O atabaque
Le le le le le le
O pandeiro legal
Meu professor
Que me ensinou
A Capoeira meu amor

When I arrived in Bahia,
Carrying berimbau in hand,
I play the cavalaria rhythm,
I love to make a song, Capoeira
Chorus
Nobody knows the suffering,
Nobody knows my pain,
look at the blacks of Angola
Who fought and freed Capoeira
Chorus
I play a pretty game
With love in my heart
With a smile on my face
A squeeze of the hand
Capoeira
I Capoeira
Le le le le le le
O Berimbau
Le le le le le le
O Atabaque
Le le le le le le
O The pandeiro is great
My teacher
Who taught me
Capoeira my love
26
Iaiaioio

Quando o meu mestre se foi
Toda a bahia chorou
Iaia ioio
Iaia ioio iaia ioio
Oi menino com quem tu aprendeu
Oi menino com quem tu aprendeu
Aprendeu a jogar capoeira aprendeu
Quem te ensinou j morreu
Quem te ensinou j morreu
O seu nome esta gravado
Na terra onde ele nasceu
Salve o mestre Bimba
Salve a Ilha de Mar
Salve o mestre que me ensinou
A mandinga de bater com o p

Iaia ioio
Iaia ioio iaia ioio
Mandingueiro
Cheio de malevolncia
Era ligeiro o meu mestre
Que jogava conforme a cadncia
Do bater do berimbau
Salve o mestre Bimba
Criador da regional
Salve o mestre bimba
Criador da regional
Iai Ioi
Iai Ioi Iai Ioi
Aprendeu meia- lua aprendeu
martelo e rabo- de- arraia
Jogava no p da ladeira
Muitas vezes na beira da praia
Salve So Salvador
A Bahia de mar
Salve o mestre que me ensinou
A mandinga de bater com o p
Iaia ioio
Iaiioi

When my mestre left
All Bahia cried
Iai Ioi
Iai Ioi Iai Ioi
Boy with whom did you learn
Boy with whom did you learn
Learned to play Capoeira, learned

He who taught you already died
He who taught you already died
His name is engraved
in the land where he was born
Hail mestre Bimba
Hail Ilha de Mar
Hail the mestre who taught me
the magic of kicking with the foot
Iai Ioi
Iai Ioi Iai Ioi
Mandingueiro
Full of malice
My mestre was fast,
he played to the music
of the berimbau rhythm
Long live mestre Bimba
Creator of Regional
Long live mestre Bimba
Creator of Regional
Iai Ioi
Iai Ioi Iai Ioi
He learned the Meia-Lua, learned
Martelo and Rabo de Arraia
Played at the foot of the hill
Many times by the seaside
Long live So Salvador
By the Sea of Bahia
Hail the master who taught me
The magic of kicking with the foot
Iaia ioio

Iaia ioio iaia ioio
Quando meu mestre se foi
Toda a bahia chorou
Iaia ioio
Iai Ioi Iai Ioi

Iaia ioio iaia ioio
When my master left
All of Bahia cried
Iaia ioio
Iai Ioi Iai Ioi
27
I Parana

I parana
Parana parana i parana
i parana
para boa maneira
i parana
Quero ouvir vocs cantar
i parana
Meia lua e rasteira
i parana
Na roda de capoeira
i parana
i parana
Meu para parana i parana
i parana
Meu para melhor que voc parana
i parana
E o coro vai ajudar parana
i parana
Terra boa de morar parana
i parana
Terra que voc planta dar parana

*Para and Parana are cities, but Parana could also
refer to a man. In candomble there is also a
caboclo called Parana

I Parana

Parana I
Parana parana Parana i
i parana
It is for a good way
i parana
I want to hear you sing
i parana
Meia lua e rasteira
i parana
In the capoeira roda
i parana
i parana
Stop me, Parana i Parana
i parana
My Para is better than your Parana*
i parana
And the choir will help parana
i parana
Good land to live on parana
i parana
Land where you established parana

Paran
A southern state of Brasil, which borders Paraguay
and whose river (also called the Paran) was
fought over in a war with Paraguay in the 1860s.
Many slaves (among them, capoeiristas) were sent
to fight in this war, with the promise of earning their
freedom.
Jogar Capoeira De Angola

Jogar capoeira de angola
No brincadeira
Menino vem ver lel
Com a cabea no cho
Vai saindo de a
Completando rol
No brincadeira
Menino vem ver lel
Com a cabea no cho
Vai saindo de a
Completando role

Eu fui l no cais da bahia
Jogar capoeira
Lembrei de pastinha e seu Aberr*
lel
Capoeira de angola
No brincadeira
menino vem ver

No brincadeira
Menino vem ver lel
Com a cabea no cho
Vai saindo de a
Completando role

Porquinho sempre falou
Solte o corpo menino
Deixe de falar
Tem que ter sentimento
Para capoeira de angola jogar
Playing Capoeira Angola

Playing capoeira Angola
Is not a joke
Boy come to see lel
With his head on the ground
He leaves with a cartwheel
Finishing with rol
Is not a joke
Boy come to see lel
Finishing with rol

I went to the port of Bahia
To play capoeira
I remembered pastinha and Aberr
lel
Capoeira of Angola
Is not a joke
Boy come to see

Is not a joke
Boy come to see lel
Finishing with rol

Porquinho always said
Free your body boy
Stop talking
You got to have feeling
In order to play Capoeira Angola
28
No brincadeira
Menino vem ver lel
Com a cabea no cho
Vai saindo de a
Completando role

Voc diz que entra na roda
Com ginga de corpo sabe balanar
Tem que ser mandingueiro
Para capoeira de angola jogar
Is not a joke
Boy come to see lel
Finishing with rol

You said enter the roda
With swinging the body
You need to be smart
to play Capoeira Angola

*Mestre Aberr was another famous mestre of
Pastinhas time, who taught Mestre Canjiquinha
29

Jogo de dentro, jogo de fora *
Joga bonito no jogo de Angola
Jogo de dentro, jogo de fora
Valha me Deus, minha Nossa
Senhora
Jogo de dentro, jogo de fora

This song is a reminder to play "inside" (towards
the opponent) as well as "outside" (backing away).
Frequently a beginner will back away most of the
time, but surprising things happen when one goes
into an attack.
Inside game, outside game

Play beautiful in the game of Angola
Protect me my Lord, Our Lady

lavadeira

Lava, lava, lavadeira
A roupa do Capoeira
A roupa do Capoeira
Porque hoje domingo
Amanh segunda feira
Hoje a festa no bonfim
Amanh na ribeira
Oi, vai ter roda de samba
E jogo de capoeira
Moleque, tome cuidado
Com o tombo da ladeira
Sua roupa est limpa
Coitada da lavadeira
A roupa do capoeira
A roupa do capoeira

*Tombo de ladeira literally means fall down the
hill. It is the name of a movement described in
Melo Moraes Filhos 1901 description of capoeira in
Rio: to touch, with ones foot, the opponent while
he jumps in the air.
Laundry woman

wash, wash, laundrywoman
capoeira clothes
capoeira clothes
Because today it is sunday
Tomorrow Monday
Today the party is in Bonfim
Tomorrow it is in the Ribeira
Oi, lets have samba de roda
And a game of capoeira
Kid, take care
With the tombo da ladeira*
Your clothes are clean
Poor laundrywoman
capoeira clothes
capoeira clothes
30
La Vai Viola

O l l la vai viola
Tim, Tim, Tim, la vai viola
O viola meu bem viola
Jogo o bonito no jogo de angola
Jogo de dentro e jogo de fora

L vem vindo

L vem vindo, l vem s

Capoeirista, com a fora maior


A fora divina com a fora maior

There goes the viola

O l l there goes the viola
Tim tim tim there goes the viola
O viola my good viola
Play beautiful in the game of Angola
Play inside and play outside

There he comes

There he comes, there he comes
alone
He is a Capoeirista with great
strength
alone
A divine force with a great strength
alone
Leva morena me leva

Leva morena me leva
Me leva pro seu bangalo

Leva morena me leva

Leva morena me leva
Eu sou Capoeira j disse que sou

Leva morena me leva

Leva morena me leva
O hoje faz frio, amanh faz calor

Leva morena me leva

Leva morena me leva
Me leva pro baixo do seu cobertor

Leva morena me leva

Leva morena me leva
Hoje sou pobre, amanh sou doutor

Leva morena me leva
Take me morena*, take me

Take me morena, take me
Take me to your bungalow


Take me brown girl, take me
I am Capoeira, I already told you so


Today it's cold, tomorrow it will be hot


Take me under your blanket


Take me brown girl take me
Today I'm poor, tomorrow I will be a
doctor


*Dark-skinned woman or brunette
31
Le La Lae Lae La

Le La Lae Lae La
La Lae Lae La
Le Le Le Le La La

Le La Lae Lae La
La Lae Lae La
Le Le Le Le La La

Berimbau chamou pro jogo
Pandeiro me respondeu
O Atabaque j entrou
Mestre Bimba apareceu
La Lae Lae La

Coro

Criador da Regional
Espalhando pelo mundo
Essa cultura national
La Lae Lae La

Coro

L no cais se batizou
A Capoeira Regional
Espalhando pelo mundo
Essa arte marcial
La Lae Lae La

Coro
Le La Lae Lae La

Le La Lae Lae La
La Lae Lae La
Le Le Le Le La La

Le La Lae Lae La
La Lae Lae La
Le Le Le Le La La

Berimbau called to the game
Pandeiro answered me
The Atabaque already started
Master Bimba appeared
La Lae Lae La

Chorus

Creator of Regional
Spreading around the world
This national culture
La Lae Lae La

Chorus

There in the wharf it was baptized
Regional Capoeira
Spreading around the world
This martial art
La Lae Lae La

Chorus
32
Luanda meu boi

Luanda meu boi,
Luanda para
Tereza canta sentado
Oi Marina samba de p
La no cais da Bahia
Na roda de Capoeira
No tem ll no tem nada
Oi, no tem ll nem lala

Oi la la la
Oi ll
Oi lae lae la
Oi ll

Oi la la la la la la o la la

Oi la
la la la
Oi ll
la la la
Oi la
la la la
Oi ll
la la la
Luanda is my ox

Luanda is my ox
Luanda is for
Teresa sings while sitting
Marina dances samba standing up
There at the banks of Bahia
In the roda of Capoeira
There is no ll there is nothing
There is no ll and no lala

Oi la la la
Oi ll
Oi lae lae la
Oi ll


Oi la
la la la
Oi ll
la la la
Oi la
la la la
Oi ll
la la la
Maculel Maracat

Quando meu filho nascer
Vou perguntar pra parteira
O que que meu filho vai ser
Meu filho vai ser capoeira
Capoeira cap

Maculel, maracatu

No karat nem tambm kung-fu

Maculel, maracatu

Fui na bahia comer carur+

Maculel, maracatu

Vim comer caru e no como angu

Maculel, maracatu

*Maracat is a Brazilian dance of African origin. In
Pernambuco (Recife) it means a group of street
dancing merrymakers at Carnival time.

+Vegetable and shrimp patty
especially common in Bahia.
Maculel Maracat*

When my son is born
Ill ask the midwife
what my son is going to be
My son is going to be capoeira
Capoeira cap

Maculel, maracatu

It is not kung-fu, nor karat

Maculel, maracatu

I was in Bahia to eat carur

Maculel, maracatu

I came to eat caruru and I dont eat
angu#

Maculel, maracatu

#Angu is a northeastern Brazilian dish that harks
back to the days of slavery. Prints by the French
explorer and travel writer, Jean Baptiste Debret,
show Brazilian women cooking large pots of angu
over wood fires. Similar to the coocoos of the West
Indies and the cornmeal mush of the southern
United States, this corn angu is prepared simply
from cornmeal and water, with the addition of a bit
of butter or animal fat.
33
Marinheiro s

Eu no sou daqui
Marinheiro s
Eu no tenho amor
Marinheiro s
Eu sou da Bahia
Marinheiro s
De So Salvador
Marinheiro s
Marinheiro, marinheiro,
Marinheiro s
Quem te ensinou a nadar
Marinheiro s
Foi o tombo do navio
Marinheiro s
Ou foi o balano do mar
Marinheiro s
La vem, la vem,
Marinheiro s
Como ele vem faeiro
Marinheiro s
Como todo de branco
Marinheiro s
Com seu bonezinho
Marinheiro s
Lonely Sailor

I am not from here
Lonely sailor
I don't have a lover
Lonely sailor
I am from Bahia
Lonely sailor
I am from So Salvador
Lonely sailor
Sailor, sailor
Marinheiro s
Who taught you how to swim?
Lonely sailor
Was it the sinking of the ship?
Lonely sailor
Or was it the rolling of the sea
Lonely sailor
There he goes, there he goes
Lonely sailor
How he goes at such ease
Lonely sailor
All in white
Lonely sailor
With his little hat
Lonely sailor
34
Meu Berimbau , Instrumento
Genial

Meu berimbau
Instrumento genial
Meu berimbau
Voc fenomenal!
Meu berimbau
Instrumento genial
Meu berimbau
Voc fenomenal!
My berimbau, Brilliant
Instrument

My berimbau
brilliant Instrument
My berimbau
You are phenomenal!
My berimbau
brilliant Instrument
My berimbau
You are phenomenal!
Moleque E Tu

(oi) tu que moleque*
Moleque tu
tu que moleque
Moleque tu
Cala boca, moleque
Moleque tu
Oi que eu te bato, moleque
Moleque tu
Eu te pego, moleque
Moleque tu
Te castigo, moleque
Moleque tu
Conforme a razo
Moleque tu
Oi aqui t o moleque
Moleque tu
Quem me chamou de moleque
Moleque tu
Eu te derrubo, moleque
Moleque tu
Eu te jogo no cho
Moleque tu
voc que moleque
Moleque tu

A playfully confrontational song accusing a player
of being a moleque ("street urchin") deserving of
punishment.
You are a scoundrel

Oi, It is you who is a scoundrel
You are a scoundrel
It is you who is a scoundrel
You are a scoundrel
Shut your mouth, scoundrel
You are a scoundrel
I beat you, scoundrel
You are a scoundrel
I catch you, scoundrel
You are a scoundrel
I punish you, scoundrel
You are a scoundrel
Like you should be
You are a scoundrel
Oh here is the scoundrel
You are a scoundrel
Who calls me a scoundrel?
You are a scoundrel
I knock you down, scoundrel
You are a scoundrel
I throw you in the dirt
You are a scoundrel
It is you who is a scoundrel
You are a scoundrel

moleque (moh-LEH-keh)
Translates as "street urchin"; homeless street
orphan. Hundreds of these children still roam the
streets of today's favelas (slums) throughout Brazil.
Here, the term is used more lovingly.
35
Nhem Nhem Nhem

O menino chorou
Nhem nhem nhem
Porque no mamou
Nhem nhem nhem
Sua me t na feira
Nhem nhem nhem
Cala boca menino
Nhem nhem nhem
O menino danado
Nhem nhem nhem
O menino malvado
Nhem nhem nhem
O menino chorou
Nhem nhem nhem
Chorou chorou
Nhem nhem nhem

This song may be sung when a player is being
particularly "bratty."

No Mercado modelo

No Mercado modelo
Tem acaraj
No Mercado modelo
Tem acaraj
Nhem Nhem Nhem

Hey the baby is crying
Nhem nhem nhem
Because he wasn't breastfed
Nhem nhem nhem
His mother is at the market
Nhem nhem nhem
Be quiet baby
Nhem nhem nhem
Oh mischievous baby
Nhem nhem nhem
Oh bad baby
Nhem nhem nhem
The boy cried
Nhem nhem nhem
Cried cried
Nhem nhem nhem

In Mercado modelo

In Mercado modelo
They have acaraj*
In Mercado modelo
They have acaraj

*black-eyed pea fritters served on streets of Bahia
and filled with shrimp paste.
Ligeiro

Oi ligeiro*,ligeiro
Paran
Pintor ligeiro
Paran
E Caapa ligeiro
Paran
Eu tambm sou ligeiro
Paran
Capoeira ligeiro
Paran
Batuqueiro ligeiro
Paran

*Has a double meaning quick and deceptive a
good skill in Capoeira!

Oi Nega que vende a

Oi nega que vende a
que vende a, o que vende a
oi nega que vende a
vende arroz e camaro
oi nega que vende a
vende arroz do maranho
oi nega que vende a

+A black woman
Oh quick

Oh quick, oh quick
Paran
Pintor is quick
Paran
And Caapa is quick
Paran
I am also quick
Paran
Capoeira is quick
Paran
A batuqueiro is quick
Paran

Oi Woman who sells there

Oi woman who sells there
who sells there, who sells there
Oi woman selling there
selling rice and shrimp
sell rice from Maranho*

*North-East state of Brazil
36
ei

ei
Eu vou bater
quero ver cair
ei
Eu vou bater
quero ver cair
ei
Topei
quero ver cair
ei
Quero ver
quero ver cair
ei
Eu aprend
com Pastinha
ei
A jogar de capoeira
ei
Puxa puxa, leva leva

ei
Eu vou bater
quero ver cair
ei

This song suggests a certain fighting spirit in the
roda, expressed in the joy of seeing the opponent
fall.
Oh ah oh ah eh

Oh, ah, oh ah eh
I will hit
I want to see the fall
Oh, ah, oh ah eh
I will hit
Oh, ah, oh ah eh
I punched
Oh, ah, oh ah eh
I want to see,
Oh, ah, oh ah eh
I learned
with Pastinha
Oh, ah, oh ah eh
To play capoeira
Oh, ah, oh ah eh
Pull it pull it,
take it take it
Oh, ah, oh ah eh
I will hit
Oh, ah, oh ah eh
Oi Sim Sim Sim

Oh sim, sim, sim
Oh no, no, no

Mais hoje tem amanh no


coro

Olha pisada de Lampio
coro


coro
coro
Oh no, no, no
Oh sim, sim, sim
coro

*Famous turn-of-century bandit who really existed
but after his death took on mythical qualities similar
to Robin Hood, however in reality he was a
rutheless heartless bandit.
Oh Yes, Yes, Yes

Oh yes, yes, yes
Oh no, no, no

What you have today is gone
tomorrow
tomorrow
chorus
tomorrow
Look at the footsteps of Lampio*
chorus
tomorrow
tomorrow
chorus
Look at the footsteps of Lampio
Look at the footsteps of Lampio
chorus
Oh no, no, no
Oh yes, yes, yes
chorus
37
Olha O Nego sinh

Olha o negro sinh
Olha l o negro
Olha o negro sinh
Mas que negro danado
Olha o negro sinh
Esse nego valente
Olha o negro sinh
Oi me pega esse nego
Olha o negro sinh
E derruba no cho
Olha o negro sinh
Esse nego valente
Olha o negro sinh
Esse nego um co
Olha o negro sinh
Mas Castiga esso nego
Olha o negro sinh
Mas conforme a razo
Olha o negro sinh
Ele Capoeira
Olha o negro sinh
Ele da Bahia
Olha o negro sinh
Olha l o nego
Olha o negro sinh
Olha l o nego
Olha o negro sinh
Mas Castiga esso nego
Olha o negro sinh
Mas conforme a razo
Olha o negro sinh
Esse nego ligeiro
Olha o negro sinh
Esse nego Limo
Olha o negro sinh
Esse nego safado
Olha o negro sinh
Esse nego um co
Look at the negro, lady

Look at that negro
such an angry negro
such a brave negro
Oh I will get this negro
and throw him on the ground
This negro is brave
This negro is a dog
Punish this negro
But do it right
He is a capoeira
He is from Bahia
Look there the negro
Look there the negro
Punish this negro
But do it right
This negro is quick
This negro is Limo
This negro is shameless
This negro is a dog
Olha Pomba vou

Olha Pomba vou, pomba vou.

A Pomba vou, gavio* pegou

Pomba vou, pomba vou

Pomba vou, gavio* pegou

This song may be sung at a crucial time during the
roda. Perhaps a player has frustrated an opponent
so much that it's time to escape from the roda. Or,
perhaps the game escalates to a level of "fighting"
where the dove (perhaps signifying peace) has
flown away.
The dove flew

The dove flew away, the dove flew
away
the dove flew away, the hawk
grabbed it

The dove flew, the dove flew

the dove flew, the hawk grabbed it

*gavio - hawk
38
O Me Da Meu Dinheiro

O me da meu dinheiro,
me da meu dinheiro valento
me da meu dinheiro, valento,
O no meu dinheiro,
ninguem pe a mo
Eh me da meu dinheiro,
Que no meu dinheiro ninguem pe a
mo
Que eu dou uma rasteira
Te ponho no cho

Ona Morreu

a ona morreu, o mato meu!
O mato meu, o mato meu
a ona morreu, o mato meu!
O mato meu, o mato meu
Give me my money,

Give me my money,
give me my money tough guy
On my money
Nobody puts a hand
Give me my money
give me my money,
Because in my money nobody puts a
hand
Give me my money,
Because I give a rasteira
I put you on the ground
Give me my money
Give me my money, tough guy

The Jaguar Died

The Jaguar Died, the forest is mine
The forest is mine, The forest is mine
The Jaguar Died, the forest is mine
The forest is mine, The forest is
mine
Zum, Zum, Zum

Zum, zum, zum (x2)
Capoeira mata um
Zum, zum, zum
Capoeira mata um

Onde tem marimbondo (x4)
zum, zum, zum.

Oh a o a e (x4)
Quero ver bater, quero ver cair

Zum, zum, zum (x2)
Capoeira mata um
Zum, zum, zum
Capoeira mata um

Onde tem marimbondo (x4)
zum, zum, zum.

Oh a o a e (x4)
Quero ver bater, quero ver cair
Buzz, Buzz, Buzz

Buzz, Buzz, Buzz
Capoeira kills one
Buzz, Buzz, Buzz
Capoeira kills one

Where is the wasp?
It goes buzz, buzz, buzz

Oh a o a e
I want to see hitting, I want to see
falling

Buzz, Buzz, Buzz
Capoeira kills one
Buzz, Buzz, Buzz
Capoeira kills one

Where is the wasp?
It goes buzz, buzz, buzz

Oh a o a e
I want to see fighting, I want to see
falling

39
Onde Vai Caiman

Onde vai caiman
Caiman vai Caiman
Onde vai caiman
Vai para ilha de mare
Onde vai caiman

O que berimbau?

O que berimbau?
A cabaa, arame e um pedao de
pau
O que berimbau?
A cabaa, arame e um pedao de
pau

Where is Caiman going?

Caiman is going, Caiman
Go to Mar Island

What is a berimbau?

What is a berimbau?
A gourd, string and a piece of
wood
What is a berimbau?
A gourd, string and a piece of
wood

O Capoeira e o Pescador

Mare me leva e, mare me traz

Mare me leva e, mare me traz

A vida do Capoeira
como a do pedcador
A onda balana o barco
E a ginga o jogador

Coro

A noite oloh as estrelas
Para me orientar
Bom Jesus dos navegantes
quem me guia pelo mar

Coro

O vento soprou nas velas
Carregando a minha nau
Na roda da Capoeira
Quem me guia o berimbau

Coro

s vezes a pesca boa
s vezes o jogo bom
Mas quando nada d certo
Eu volto a tentar entao
Capoeira and the Fisherman

The sea takes me, The sea brings
me back
The sea takes me, The sea brings
me back

The life of the Capoeirista
Is like that of the fisherman
The wave rocks the boat
And the ginga rocks the capoeira
player

Chorus

The night is full of stars
to guide me
It is Good Jesus of the navigators
who guides me on the sea

The wind blows the candles
Loading my vessel
In the Capoeira roda
The berimbau guides me

Coro

At times fishing is good
At times the game is good
But when nothing is right
I come back to try
40
Na rede vem a traira
Um peixa que morder a mo
Na roda brilha a navalha*
E o cinco Salomo

*A navalha is a cut throat razor. Many capoeirstas
used to carry them and use them in fights and in
rodas. These days they are still used by many
barbers in Brazil.

Parabns pra voc

Parabns pra voc
Neste data querida
Muitas felicidades
Muitos anos de vida
Parabns pra voc
Neste data querida
Muitas felicidades
Muitos anos de vida
In the net comes a traira+
A fish that bites the hand
In the roda shines the razor
and cinco Salomon#

+a kind of fish that looks pre-historic given its dark
color and mouth full of sharp, canine-type teeth. It is
quite a ferocious fish and care should be taken
when pulling it in as it is very strong. They have
wide mouths and very sharp teeth.

# This is a pentagram (as well as a toque capoeira
rhythm - used to ward off strangers in the roda.
Picutres of Mestre Bimba`s academy show a
cinco Salomon on the wall.

Congratulations to you

on this beloved date
May you have much happiness
And many years of life
on this beloved date
May you have much happiness
And many years of life

This is the Brazilian Happy Birthday song. Sung to
the same tune as the English version.
41
Para Roda Capoeira

Para roda Capoeira, para vai ter que
parar
Eu no para roda Capoeira
que cavalaria acabou de chegar
Para roda Capoeira, para vai ter
que parar
Eu no para roda Capoeira
Os homens to armado, ele vai te
matar
que parar
Eu no para dejeito nenhum
sou filho de Ogum e de pai Oxal

que parar
Eu no para sou cabra ligeiro
nasci mandingeiro, dou salto mortal

que parar
Eu no para repito de novo
esse jogo de povo vai continuar

que parar
Stop the roda

Stop the roda, because it has to stop

I won't stop the roda of Capoeira
because the police has just arrived
Stop the roda, because it has to
stop
I won't stop the roda of Capoeira
they are armed, he will kill you

stop
I will never stop
I'm a son of Ogum my father is Oxal

stop
I won't stop, I'm a fast guy
a born mandingeiro, giving a backflip

stop
I won't stop, I will do it again
this game of the people will continue

stop
Paran

Vou dizer minha mulher, Paran
Capoeira me venceu, Paran
Paran , Paran , Paran
Ela quis bater p firme, Paran

Isso no aconteceu, Paran
Oh Paranu, Paran
Paranu, Paran
Assim dera que o morro, Paran
Se mudou para a cidade, Paran
batuque todo dia, Paran
Mulata de qualidade, Paran
Vou mimbora pra Bahia, Paran
Eu aqui no fico no, Paran
Se no for essa semana, Paran
a semana que vem, Paran
Dou n e escondo a ponta, Paran
Ninguem sabe desatar, Paran
Eu sou brao de mar, Paran
Mas eu sou mar sem fim, Paran

Paran

I'm going to tell my woman, Paran
(that) Capoeira conquered me
She wanted to stomp her foot hard,
Paran
This did not happen, Paran
Oh Paranu, Paran
Paranu, Paran
I would end up in the slum, Paran
If moved to the city, Paran
Theres drumming all day, Paran
And good women, Paran
I will leave for Bahia, Paran
I will not stay here, Paran
If not this week, Paran
It will be next week, Paran
I tie a knot and hide the end
Nobody knows how to untie it
I am an arm of the sea, Paran
But I am the sea without end, Paran

42

Pela Capoeira Eu Poder Jogar

Ao meu mestre muito obrigado
Pela Capoeira eu poder jogar
Pelo au, pelo "s" dobrado
Ao meu Deus muito obrigado
Aos meus amigos muito obrigado
Mestre Bimba muito obrigado

Through Capoeira I can play

To my master thank you very much
with au and with "s" dobrado
To my God thank you very much
through au and through "s" dobrado
To my friends thank you very much
through au and through "s" dobrado
Thank you very much to Mestre
Bimba
with au and with "s" dobrado
43
Pisa Caboclo

Pisa caboclo quero ver voc pisar

Pisa l que eu piso c
Quero ver voc pisar


Na batido do meu gunga
Quero ver voc pisar


Pisa l que eu piso c
Quero ver voc pisar


Na batido do meu gunga
Quero ver voc pisar


*Describes a Brazilian of mixed race, usually
indigenous and African.

Step Caboclo*

Step caboclo, I want to see you step
Step there while I step here
I want to see you step

Step caboclo, I want to see you
step

To the beat of my gunga

step

Step there while I step here

step

To the beat of my gunga
I want to see you jump

step

Also of note, the Samba de Caboclo is is performed
in terreiros (meeting places) of the candombl
religion. Caboclo is a name for a half blood /
crossbreed
Pisa No Massap Escorrega

Quem no sabe andar
Pisa no massap escorrega
Quem no sabe andar

Walk on Massap* and Slip

He who doesnt know how to walk
Walks on massap and slips
He who doesnt know how to walk

*Very hard, wet clay
44
Por Favor No Maltrate Esse
Nego

Por favor no maltrate esse nego
Esse nego foi quem me ensinou
Esse nego da cala rasgada, camisa
furada
Ele meu professor
Por favor no maltrate esse nego
Esse nego foi quem me ensinou
Esse nego da cala rasgada,
camisa furada
Ele meu professor
Please dont mistreat this negro

This negro taught me
This negro with torn pants and shirt
with holes
He is my teacher
This guy taught me
This guy with torn pants
and shirt with holes
He is my teacher
Pra Lavar Minha Roupa No
Tem Sabo

Pra lavar minha roupa no tem
sabo,
O no tem sabo, colega no
sabo,
sabo,
O no tem sabo, dinheiro no
sabo,
sabo,
sabo,
sabo,
I have no soap to wash my
clothes

I have no soap to wash my clothes

I dont have any soap, my friend


I have no soap nor money




45
Preta Calunga

Preta, preta, preta calunga*

Capoeira preta calunga
Preta, preta, preta calunga

Berimbau preta calunga
Preta, preta, preta calunga

Capoeira preta calunga

During the Afro-Brazilian festival dance of Maracatu,
a calunga, a doll representing tribal deities, is
often paraded. It is kept throughout the year in a
special place and is only carried by women. This
song reminds people of Capoeiras origin.

Its black, Calunga

Its black, its black, its black,
calunga
Capoeira is black, calunga
calunga
The berimbau is black, calunga
calunga
Capoeira is black, calunga

+Preta: Slang term used to refer to a black female
but as a compliment.
Princesa Isabel, Princesa
Isabel

Onde est a liberdade,
Se a algema no se quebrou,
O negro quer felicidade,
O negro tambm quer ser doutor

Princesa Isabel, Princesa Isabel,
Liberdade do negro s t no papel.


Onde est a liberdade,
Mas onde est a liberdade,
Se a algema no se quebrou,
O negro quer felicidade,
O negro tambm quer ser doutor



*About Princess Isabel. Princesa Isabel was the
princess that signed the Golden Law which
abolished slavery in 1888. In Brazil it is taught that
Princesa Isabel abolished slavery but many people
consider that a lie. That`s what this song is about.
Also see Guerreiro do Quilombo (mestre Barro)
and Dona Isabel (mestre Toni Vargas) on
www.capoeira4all.com.
Princess Isabel*, Princess
Isabel

Where is the freedom
If the cuff is not broken?
The black man wants happiness,
The black man also wants to be
doctor

Princess Isabel, Princess Isabel,
Freedom of the black is only on
paper.
paper.

Isabel Princess, Isabel Princess,
Where is the freedom,
Where is the freedom
If the cuff is not broken?
The Black man wants happiness,
The black man also wants to be a
doctor

paper.

paper.
46

Quebra Gereba

Oia quebra, Gereba
Quebra
Oia quebra, oia quebra
Quebra
Eu quero ver quebrar
Quebra
Oia quebra da
Quebra
Oia quebra de l
Quebra
Vou quebrar tudo hoje
Quebra
Amanh quem que quebra
Quebra
Oia quebra Gereba
Quebra

Gereba (jeh-DEH-bah)
This is the last name of a popular person whose
name children would call. It can also refer to
"melon," and slang for the male sex organ.

Break It Gereba*

Hey, break it Gereba
Break It
Hey break it, hey break it
Break It
I want to see it break
Break It
Hey it breaks from there
Break It
Hey it breaks over there
Break It
I will break everything today
Break It
Tomorrow who will break
Break It
Hey, break it Gereba
Break It

Quem Jogo

Quem jogo jogo
Quem nao jogo, nao jogo mais

Quem jogo jogo
Quem nao jogo, nao jogo mais

This song is sung towards the end of a roda to
remind people who havent played that this will be
their last chance

He who plays

He that plays, play
He that doesnt play, dont play
anymore
He that plays, play
He that doesnt play, wont play
anymore
47
Quem E Voce

Quem voc, quem vem de la,
Quem voc, quem vem de la
Sou da Bahia, vim me apresentar

Sou da Bahia, vim me apresentar

A mueda, um arame, a cabaa e um
pedao de pau

Meu berimbau s faz assim
Meu berimbau s toca assim
Tim tim tim dong dong, tim tim tim
dong dong
Tim tim dong, tim tim tim dong dong
Who are you?

Who are you, that goes there?
Who are you, that goes there?
I am from Bahia, I came to introduce
myself
I am from Bahia, I came to
introduce myself

A stone, a string, a gourd and a piece
of wood

My berimbau goes like this
My berimbau plays like this
Tim tim tim dong dong, tim tim tim
dong dong
Tim tim dong, tim tim tim dong dong
Quem Vem L Sou Eu

Quem vem l sou eu, quem vem l
sou eu

Berimbau bateu, capoeira sou eu

Quem vem l sou eu, Qem vem l
sou eu

Eu venho de longe, venho da Bahia

Jogo capoeira, Capoeira sou eu
Quem vem l sou eu, Qem vem l
sou eu

Sou eu, sou eu
Quem vem l
Eu sou brevenuto
Quem vem l
Montado a cavalo
Quem vem l
E fumando um charuto
Quem vem l
Who goes there? Its me

who goes there? it's me

The berimbau played, i am Capoeira

The berimbau played, i am
Capoeira

i come from far away, I come from
Bahia
I play Capoeira, I am Capoeira
The berimbau played, I am
capoeira
It's me, it's me
who goes there?
I am brave
who goes there?
riding a horse
who goes there?
smoking a cigar
who goes there?
48
Roda maravilhosa

Bem-te-vi* vou, vou
Bem-te-vi vou, vou
Deixa voar
L lau lau lau lau
L lau lau lau lau
Que som o que arte essa
de luta e brincadeira
Que roda maravilhosa essa
o Bantus Capoeira
Em cada som, em cada toque
em cada ginga, tem um estilo de jogo

Em cada som, em cada toque
em cada ginga, tem um estilo de
jogo
Lau lau l...
L lau lau lau lau

*This is the name of a Bird found in Northern Brazil.
Literally it means good to see as it is quite a pretty
bird. Apparently, In the heat of the day it will draw
your attention by calling its name constantly, KIS-
KAA-KEE (hence the name in English The Great
Kiskaakee sitting on a telephone wire or on a roof.
Most other birds will keep silent around that time.
They make their nest, also on a conspicious place,
from all kinds of plant-material, often with hay. The
kiskadee defends its nest vigorously and even if it
has no nest it wil be aggressive against other birds.
It is quite a common sight to see a kiskadee
chasing a much bigger bird of prey above the
houses. But then a hummingbird might chase away
a kiskadee.

Wonderful Roda

Bem-te-vi flew, flew
Bem-te-vi flew, flew
Let it fly
L lau lau lau lau
L lau lau lau lau
What a sound, what art is this
of fighting and playing
What a beautiful roda is this
it's Bantus Capoeira
In every sound, in every beat
in every ginga, there is a style of
playing
In every sound, in every beat
in every ginga, there is a style of
playing
Lau lau l...
L lau lau lau lau

Why this bird is referred to at the start of the song is
not clear my guess is simply that it conjurs up a
nice image and Capoeira is similar in that a
Capoeirista can play beautifully but simultaenously
defend himself .
49
Sai Sai Catarina

Sai sai Catarina
Saia do mar venha ver Idalina
Sai sai Catarina
Saia do mar venha ver venha ver

Sai sai Catarina
Oh Catarina, meu amor
Sai sai Catarina
Saia do mar, saia do mar
Sai sai Catarina

Salom, Salom

Capoeira pra homen tambem pra
mulher
Salom, Salom
Capoeira do povo no de
ninguem
Salom, Salom

Sai Sai Catarina

Leave, leave, Catarina
Leave the sea and come see Idalina
Leave, leave, Catarina
Leave the sea and come see, come
see
Leave, leave Catarina
Oh Catarina, my love
Leave the sea, leave from the sea

Salom, Salom

Capoeira is for men and also for
women
Salom, Salom
Capoeira belongs to the people and
does not belong to anyone
Salom, Salom

Santa Maria me de Deus

Santa Maria
me de Deus
eu fui na igreja
e me confessei
Santa Maria
Me De Deus
Hoje dia de festa,
dia de Oxal #
Santa Maria
Me De Deus
Vou rezar
p'ro meu santo
me abeno
Santa Maria
Me De Deus
Quem no pode
com mandinga
no carrega patu*
Santa Maria
Me De Deus
Eu fui na igreja
no me confessei
Santa Maria
Me De Deus

A seemingly Catholic song about Mary, Mother of
God, that nevertheless shows its African influences
in the celebration of the day of Oxal (see vocab at
right).

*"Quem no pode com mandinga, no carrega
patu" means: "those who cannot handle magic,
do not carry a magical charm." Mestre Acordeon
reminds us of the old saying: "if you can't stand the
heat, get out of the kitchen."

+ patu (pah-too-AH)
A small bag full of magical power, carried around
the neck to protect against evil eyes and bad
influences
Saint Mary Mother Of God

Saint Mary
Mother of God
I went to the church
to confess my sins
Saint Mary
Mother Of God
Today is a holiday,
day of Oxal
Saint Mary
Mother Of God
I'm going to pray
to my saint
to bless me
Saint Mary
Mother Of God
Who can not handle
mandinga
does not carry a patu
Saint Mary
Mother Of God
I went to the church
but I did not confess
Saint Mary
Mother Of God

#Oxal (oh-shah-LAH)
a male god in the candombl religion, associated
with procreation and harvest, often identified with
Jesus
50
Senhor Sao Bento

Valha me Deus senhor Sao Bento
Vou cantar meu barravento*
Buraco velho tem cobra Dentro

Saint Benedict founded the Benedictine order in the
6th century. According to Lewis (1992: 179) "he is
sometimes syncretized with Omolu in the Yoruba
pantheon, a god of health and nutrition (Henfrey
1981: 5860)." In capoeira, he is often associated
with snakes, just as St. Patrick is in Ireland. This
song is an incantation to St. Benedict as a
protection against snake bites.

The line "an old hole has a snake inside" is also a
warning not to underestimate an old capoeira
player, equivalent to saying "an old player may still
have tricks up the sleeve."

Sim sinha, Sim Sinho,

Salve a Bahia de So Salvador.
E Mestre Bimba de So Salvador

Mr Saint Benedict

Protect me, Saint Benedict
I will sing my barravento
Protect me, Saint Benedict
Old holes have snakes inside
Protect me Saint Benedict

barravento (bah-hhah-VENT-(oo))
Originally a nautical term referring to wind, it also
relates to bodily equilibrium and a particular
liturgical music of candombl. It is also associated
with the trance that occurs when this music is
played.

Valha me Deus this expression comes from the
North of Brazil and can mean protect/be with me/
bless or God free me.

Yes Mrs, Yes Mr

Yes Mrs, Yes Mr
Long live Bahia, So Salvador.
Yes Mrs, Yes Mr,
Long live Mestre Bimba of So
Salvador
Yes Mrs, Yes Mr
Sou Capoeira E Pego Na Viola

Sou Capoeira e pego na viola
Se essa roda ficar boa no vai
terminar agora
Se essa roda ficar boa no vai
terminar agora
No vai terminar agora

Toquei berimbau e cantei pr iai

Toquei berimbau e cantei pr iai

Na roda de Capoeira, quero
ver gunga falar
Na roda de Capoeira, quero ver
gunga falar

Quero ver gunga falar

Often sung towards the end of a roda, if the energy
has gone down.

I am Capoeira and I take the
viola

I am Capoeira and I take the viola
I am Capoeira and I take the viola
If this roda goes well, I won't stop it
now
If this roda goes well, I won't stop
it now
I won't stop it now
I won't stop it now
I won't stop it now
I won't stop it now

I played the berimbau and sang to
the slave masters daughter
I played the berimbau and sang to
the slave masters daughter
In the circle of Capoeira, I want to
see the gunga speak
In the circle of Capoeira, I want to
see the gunga speak

I want to see the gunga speak

51
Solta A Mandinga

Solta a mandinga *
Solta a mandinga
Solta a mandinga , Capoeira
Solta a mandinga
(Eu falei)
Solta a mandinga
Solta a mandinga
Solta a mandinga , Capoeira
Solta a mandinga

mandinga (mahn-d(j)EEN-gah)
A magical knowledge of rituals, tricks, and cunning.

Sou Angoleiro

Sou angoleiro e venho de Angola,
Jogo com Deus e com Nossa
Senhora.

Venho de angola, de Angola, de
Angola.

Toco um atabaque, um berimbau e
uma viola.

Jogo com voc a qualquer hora.
Unleash the Mandinga

Unleash the mandinga
Unleash the mandinga, Capoeira
(I said)
Unleash the mandinga, Capoeira

I am Angoleiro

I am an angoleiro and I come from
Angola
I play with God and our lady
Angola
I came from Angola, Angola, Angola

Angola
I play an atabaque, a berimbau and a
viola
Angola
Ill play you anytime
Angola
Tabareu Que Vem Do Sertao

Tabaru que vem do serto

Vendo quiabo, maxixe e limo

Ele vende quiabo, maxixe e limo

*Tabareu is a mans name.

Tava L Em Casa

Tava l em casa ia ia sem pensar
nem imaginar
Tava l em casa ia ia sem pensar
nem imaginar
Quando ouvi bater na porta
Quando ouvi bater na porta ia ia
Salomo mandou chamar
Era hora de lutar
Para ajudar a vencer
Para ajudar a vencer ia ia
A batalha liderar
Eu que nunca foi de lutar
Nem pretendia a lutar amigo velho
Botei a arma na mo
Era tempo de lutar
Era hora de lutar
Tempo de Lutar
Tabareu That Comes From The
Hinterland*

Tabaru who comes from the
hinterland
Selling okra, gherkins and limes
hinterland
He sells okra, gherkins and limes
hinterland

I was there in the house

I was there in the house without
thinking or imagining
I was there in the house without
thinking or imagining
When I heard a knock on the door
When I heard a knock on the door
Salomo ordered to call
It was time to fight
To help the victory
To help the victory
To lead the battle
I who had never faught
Nor wanted to fight an old friend
took a weapon in my hand
It was time to fight
It was the hour to fight
Time To fight
52
Tava l na beira do Mar

Tava l na beira do Mar, quando
Curio chegou
Tava l na beira do Cais, quando
Curio chegou
Com o pandeiro e atabaque,
berimbau e agog
Com o pandeiro e atabaque,
berimbau e agog
Vai rolar, vai rolar, Capoeira na beira
do mar
Vai rolar, vai rolar, Capoeira na
beira do mar

I was at the seashore

I was at the seashore when Curio
arrived
I was at the shore of Cais when
Curio arrived
with a pandeiro, atabaque, berimbau
and agog
with a pandeiro, atabaque,
berimbau and agog
Its going to roll, its going to roll,
Capoeira at the seashore
It's going to roll, Capoeira at the
seashore

Tem Dende, Tem Dende

Tem dend, tem dend
No jogo de Angola tem dend
Tem dend, tem dend
No jogo de baixo tem dend

dend (den-DAY)
A palm plant brought to Brazil by Africans. The oil
of the dend is used in Brazilian cooking. Dend
also connects to the orixas (gods) of candombl. If
a capoeira player has dend it indicates a deep
connection to the game and to the gods.

Tim, Tim Tim Aruand

Tim tim tim Aruand
Aruanda, Aruanda, aruand
Tim tim tim Aruand
Tim, Tim, Tim Aruande
Aruanda, Aruanda, Aruande
Aruanda, Aruanda e mandigueiro
Aruanda, Aruanda e Macunge

Has dend, Has dend

Has dend, has dend
The Angola roda has dend
Has dend, has dend
The low game has dend

A song relating a list of people, places, and things
that have a special magic called dend. Having
dend is a good thing (see vocab at right). This
song allows for a great deal of improvisation, and
just about anything can be called out if it deserves it.

Tim, Tim Tim Aruand

Tim tim tim Aruand
Tim tim tim Aruand
Aruanda, Aruanda e mandigueiro
Aruanda, Aruanda e Macunge

53
T dormindo t sonhando

T dormindo to sonhando,
to falando mal de mim

T Dormindo t Sonhando

no me deixam sossegar


Vou benzer meu patu

T DormindotT Sonhando

To falando mal de mim


Agora vou acordar


Quem falou no est longe
t dormindo t sonhando
Na roda de capoeira

The mestre will often make fun of a student who
plays badly, saying: "what, were you sleeping in the
roda?" An oft-told anecdote is of one mestre getting
a student to wake up by hitting him over the head
with a berimba.

I am sleeping i am dreaming

I am sleeping I am dreaming
they are talking badly about me


Oh, they don't let me rest


I'm going to bless my patu

i am sleeping i am dreaming

they are talking badly about me


now i'm going to wake up


Whoever spoke isn't far
In the roda of capoeira
Troca Mo Pelo P

Vieram tres pra bater no nego
Trosseram faca, chicote e facao,
Trabalha cara rasterar no cho
Trabalha cara rasterar no cho
Voce no sabe que poder fazer o
nego
Voce no sabe que poder fazer o
nego
Troca mo pelo p
Troca p pela mo
Troca mo pelo p
Troca p pela mo
Troca p pela mo
Troca mo pelo p
Exchange Hand For Foot

Three men came to beat the negro
With knife, whip and machete
Pushing his face into the dirt
Pushing his face into the dirt
You dont know what the negro can
do
You dont know what the negro can
do
Exchange hand for the foot
Exchange foot for the hand
54
Um pouquinho de dend

Eu vim aqui buscar
um pouquinho de dend
Eu vim aqui buscar
Pr passar do berimbau
Pr passar do berimbau
Pr passar do atabaque
Pr passar do atabaque
Pr passar do agog
Pr passar do agog
A little dend

I came here to seek
a little bit of dend
I came here to seek
To pass to the berimbau,
To pass to the berimbau, a little bit
of dend
To pass to the atabaque,
To pass to the atabaque, a little bit
of dend
To pass to the agog,
To pass to the agog,
Uma Volta S

Iaia Mandou D

Uma Volta S
Que Volta Danada
Uma Volta S
Me Leva, Me Volta
Uma Volta S
Que Volta Demorada
Uma Volta S
Mas Que Volta Ligeira
Uma Volta S

This song may call attention to a player's bad (or
good) turns in the game. Sometimes, all one has to
do to change the nature of a game is to turn.

Um, dois, tres

Um, dois, tres
Bate palma pra ele
Um, dois, tres
Bate palma pra ele

This song is often alternated with the song Menino
e bom.
Once Again

The slave masters daughter said to
give
One more round
Oh what a damned round
One more round
Oh it carries me, oh it turns me
One more round
Oh what a late round
One more round
But what a quick round
One more round

iaia (yah-YAH)
The slave master's daughter

One, two, three

One, two, three
Clap for him
One, two, three
Clap for him
55
Brincadeira Mandinga

Vamos comear a brincadeira
A brincadeira de capoeira
Eu dou armada, meia- lua e rasteira




Eu do martelo, cabeada e ponteira

Lets start a playful game

A playful game of Capoeira
I do an armada, meia-lua and rasteira




I do Martello, cabecada and ponteira

Vem Comeo A Roda Io Io

Vem comeo a roda io io
Comeo o canto ia ia
Comeo o canto ia ia
Comeo o canto ia ia
Comeo o canto ia ia
Berimbau ta tocando menino
Chamando voce pra jogar
Capoeira Arte e magia
E a coisa mais linda aqui
Comeo o canto ia ia
Comeo o canto ia ia
Comeo a roda io io
Comeo o canto ia ia
Comeo a roda io io
Comeo o canto ia ia
Comeo o canto ia ia
Comeo o canto ia ia

Im going to start the roda

Im going to start the roda io io
Im going to start singing ia ia
Come start the roda io io
I start singing
The berimbau is playing boy
Calling you to play
Capoeira Art and magic
It is the prettiest thing here
Im going to start singing
I start singing ia ia
Start the roda io io
Come start the roda io io

56
Vinha da Bahia pra lhe ver

Vinha da Bahia pra lhe ver, vinha
da da Bahia pra lhe ver
Vim da da Bahia pra lhe ver, pra
lhe ver pra lhe ver, pra lhe ver, pra
lhe ver

Coro

Tava la no alto da Ribeira
Na Bahia que terra de muito ax
Minha mae uma grande lavadeira
O meu pai nos appendera na colheita
do caf

Coro

Minha jangada~ vem pro Rio de
janeiro
Vem ate Salome e So Trop
Vem que eu so um bom jangadeiro

Tambem so um capoeira vim aqui so
pra lhe ver

Coro

Chegar ao Rio de Janeiro
Terra com clima genial
Trouxe de lembrana pra voc um
atabaque
Um pandeiro e tambem trouxe um
berimbau
I came from Bahia to see you

I came from Bahia to see you, I
came from Bahia to see you,
I came from Bahia to see you, to
see you to see you, to see you, to
see you

Chorus

I was there on the top of the ribeira
In Bahia, a land with lots of ax
My mother is a great laundrywoman
My father taught us how to harvest
coffee

Chorus

My boat arrives at Rio De Janeiro

It comes to Salome and Sao trop
I managed to get here because I am
a good rafter
Im a Capoeirista as well and I only
came here to see you

Chorus

I arrived in Rio De Janeiro
A Land with a great climate
I bring you a atabaque for memorie
(souvenir)
A pandeiro also brought a berimbau

Coro

Para na Baa de Guanabara
De frente ao faro Cristo Redentor Me
deu fome eu comei o Pao de aucar
Fui pra Barra da Tijuca so pra ver o
meu amor

~The Jangada is a fishing raft made of six
longitudinal logs from the Piuva tree (similar to
Balsa). It is held together with wooden pegs and
vegetable fibre and constructed using only the
simplest of tools. It is used off the beaches of north
east Brazil by the Janadeiros. Jangadas date
back thousands of years and are a strong iconic
feature of Brazilian folklore.
Chorus

I stopped in the Bay of Guanabara*
In front of Christ Redentor#
I was starving and ate the sugar loaf+
I was to Barra of the Tijuca only to
see my love

*This is the name of the whole bay inlet Rio de
Janeior is on the south-west shore.
#Big statue in Rio

+This is a joke with the fact that the famous hill in
Rio is called Sugar loaf
57
Voc Que Forte

Voc que forte
Que s pensa em pegar peso.

Quero ver entrar na roda
E mostrar que mandingeiro

Voc que forte

E mostrar que mandingeiro.

Seu jogo no tem mandinga
Seu jogo no tem molejo
Quando jogo bonito
Voc no faa nem um floreio
E quando o jogo aperta
Voc fica sem reao
Para logo pra agarrar
E jogar outro no cho

Voc que forte

E mostrar que mandingeiro.

E num jogo de Angola
Voc a negao

Todo esse corpo duro
No saber jogar no cho
Vou te dizer meu camarada Que eu
no sou bom de capoeira
Mas o que tu faa cansado
Eu fao na brincadeira
You Strong One

You Strong One
That only thinks about getting bigger
(muscles).
I want to see you enter the roda
And show you what a mandingueiro
is

You Strong One
That only thinks about getting
bigger (muscles).
And show you what a
mandingueiro is

Your play has no magic
Your play has no swing
When there is a beautiful game
You dont do a floreio
And when the game is challenging
You dont react
You stop early to grapple
And throw someone else on the
ground
You Strong One
That only thinks about getting
bigger (muscles).
And show you what a
mandingueiro is
And in an Angola game
You are the negation (of what the
game should be)
All this muscly body
You cant play on the ground
Im going to tell you friend
That I am not good at capoeira
But what you are doing while tired
I do while playing
Xarl, Xerer

Xarl, xerer
o peixe do mar
*fish from Bahia

X x meu canario

X x meu canario
Meu canario cantador
X x meu canario
Foi embora e me deixou
X x meu canario
Meu canario da alemanha
Xarl, Xerer*

Xarl, xerer
Are fish from the sea

Shoo, shoo my canary

My canary is a singer
It went away and left me
My German canary
58
Samba Songs

L L L Baiana

A baiana me pega
Me leva pro samba
Eu sou do samba
Eu vim samb
Le le le baiana
Minha baiana que deu o sinal
Le le le baiana
Pra' danar o carnaval
Le le le baiana
Tambem jogar capoiera
Le le le baiana
Angola e regional
Le le le baiana

O Levanta Saia Mulata

O levanta saia mulata*
nao deixa a saia molhar
pois a saia custou dinheiro
e dinheiro custou ganhar
O levanta saia mulata
nao deixa a saia molhar
pois a saia custou dinheiro
e dinheiro custou ganhar

A mulata is a mixed race girl

L L L Baiana

Bahian catches me
She takes me to the samba
I am from the samba
I came to dance samba
Le le le baiana
My Bahian who gave the signal
Le le le baiana
To dance at the carnival
Le le le baiana
And also to play capoeira
Le le le baiana
Angola and regional
Le le le baiana

Lift your skirt up girl

Lift your skirt up girl
Dont wet your skirt woman
because the skirt costs money
And money is hard to earn
Lift your skirt up Black girl
Dont wet your skirt woman
because the skirt costs money
And money is hard to earn
Praia Da Amaralina

Na praia da amaralina tem dois
camaro na areia
Camaro tava sentado falando da
vida alheia
camaro na areia
Camaro tava sentado falando da
vida alheia
camaro sentado
Falando da vida alheia e camaro
malvado
camaro sentado
Falando da vida alheia e camaro
malvado
Amaralina Beach

At the beach of Amaralina there are
two shrimps in the sand
Shrimp are talking about other
peoples lives
In amaralina* there are two
shrimps in the sand
Shrimp are talking about other
people
In amaralina there are two shrimps
in the sand
The mean shrimp are talking about
other people
In amaralina there are two
shrimps in the sand
The mean shrimp are talking about
other people

*Amaralina Beach is a famous beach in Bahia.
59
Sereia Sereia

Eu nunca vi tanta areia no mar
Sereia Sereia
Eu nunca vi tanta areia no mar
Sereia Sereia

Maculele Songs

Boa noite pra quem de boa
noite

Boa noite pra quem de boa noite

Bom dia pra quem de bom dia

A beno meu papai a beno
Maculel o rei da valentia
Boa noite pra quem de boa noite

Bom dia pra quem de bom dia

A beno meu papai a beno
Maculel o rei da valentia
Mermaid, Mermaid

Ive never been to the seaside
Mermaid, Mermaid*
Ive never been to the seaside
Mermaid, mermaid

*Also used by men as a term for woman, like
princess.

Good night for whoever is from
the good night

Good night for whoever is from the
good night
Good day for whoever is from the
good day
A blessing, my father, a blessing
Maculel is the king of the brave
Good night for whoever is from the
good night
Good day for whoever is from the
good day
A blessing, my father, a blessing
Maculel is the king of the brave
Cabana De Guerreiro

Certo dia na cabana um guerreiro
Foi atacado por uma tribo pra val
Pegou dois paus, saiu de salto mortal
E gritou pula menino, que eu sou
Maculel

Foi atacado por uma tribo pra val
Pegou dois paus, saiu de salto
mortal
E gritou pula menino, que eu sou
Maculel

pula l que eu pulo c
Que eu sou Maculel
pula l que eu quero v
Que eu sou Maculel
pula eu pula voc
Que eu sou Maculel
pula l que eu quero v
Que eu sou Maculel
Warriors hut

One day in the hut a warrior
Was seriously attacked by a tribe
He grabbed two sticks, did a backflip
And cried out jump boy, because I
am Maculel

Was seriously attacked by a tribe
He Grabbed two sticks, jumped a
backflip
And cried out jump boy, because I
am Maculel

Jump there, cause I jump here
Cause I am Maculel
Jump there, cause I want to see
Cause I am Maculel
I jump, you jump
Cause I am Maculel
Jump there, cause I want to see
Cause I am Maculel
60
E na hora

, mas E na hora , E na hora
E na hora , sou de Angola
E na hora , E na hora
E na hora , d licena pr' eu passar


This song can also be sung eu vim na hora , vim
na hora , which means I came at the right time.

Tindolel au Cauiza

Tindolel au Cauiza
Tindolel sangue real
Meu pai filho eu sou neto de
Aruanda
Tindolel au Cauiza
Cauiza, de onde que veio
Eu vim de Angola
Maculel, de onde que veio
Eu vim de Angola
Mestre Pop, de onde que veio

Eu vim de Angola
E o atabaque, de onde que veio

Eu vim de Angola
E o agog, de onde que veio

Eu vim de Angola
The hour is here

but its time, its time
And in the hour, I am from Angola
but in the hour, and in the hour
And in the hour, give permission for me
to pass

Tindolel au Cauiza

Tindolel au Cauiza
Tindolel is royal blood
My father is a son, I am a grandson
of Aruanda
Tindolel au Cauiza
Cauiza, where did it came from
I came from Angola
Maculel, where did it came from
I came from Angola
Mestre Pop, where did he come
from
I came from Angola
And the atabaque, where did it come
from
I came from Angola
And the agog, where did it come
from
I came from Angola

These are words used during Candomble rituals.
Tindolel means real/royal/pure/bloody
Maculele Jurou Vinganca

Maculele jurou vingana
Mas que a dana que ele dana
mortal
maculele j folclore
e j foi luta no canavial

Maculele jurou vingana
Mas que a dana que ele dana
mortal
maculele j folclore
e j foi luta no canavial

olele maculele,
o ns vamos vadiar
olele maculele,
l no canavial

Sou Eu Maculele

Sou eu, sou eu
sou eu, maculele, sou eu
sou eu, sou eu
sou eu, maculele, sou eu
Maculele Jurou Vinganca

Maculele swore revenge
And says that the dance that it
dances is deadly
maculele was already folklore
And was already a fight in the
sugarcane fields

Maculele swore revenge
And says that the dance that it
dances is deadly
maculele is already folklore
And was already fought in the
canival

olele maculele,
Lets play
olele maculele
there in the sugarcane fields

Its me, Maculele

Sou eu, sou eu
Its me, maculele, Its me
Sou eu, sou eu
Its me, maculele, Its me

61
Brazilian Portugese Pronunciation

Dipthongs (a double vowel sound)

e
This sounds like the an in lang: me ('mother').

o
This sounds like the ow in frown but nasalized: no ('no').

e
This is pronounced like the on in song but nasalized: limes ('lemons').

ou
This is pronounced like the ow in crow: mandou ('he sent').

ei
This is pronounced like the ay in day: dei ('I bought').

eu
This is pronounced like ayooh (the first part rhymes with hay): eu ('I').

ai
This is pronounced like the ie in pie: pai ('father').
ACCENT INDICATES
acute
the pronunciation is open as in caf (coffee), av
(grandmother).
^
circumflex
the pronunciation is closed as in voc (you), av
(grandfather).
` grave
a contraction of the preposition a (to) and the definite
article (to).
~ tilde
a nasal sound as in mo (hand).
.. two dots
the letter u is pronounced as in tranqilo (quiet).
Disappearing words in Brazilian Portugese
One key feature of Brazilian Portuguese pronunciation is that the non-
accented syllables are subjected to something called 'vocalic
reduction'
7
. . Here the post-tonic syllable (post means after and tonic
means where the main stress lies), is almost dropped completely
they are shorter and muted. So this means the vowel in those
syllables are not pronounced as they are written. There is an
exception to this phenomenon and that is when the word ends in 's'
otherwise people wouldnt know if a word was plural or not!!!
62
Vowels

a
If this is stressed, it is pronounced like the a in father but shorter: fado
(pronounced fahdoo). If it is unstressed, it is pronounced like the e in
rather: mesa (pronounced meza) ('table').

This is pronounced like the un in lung but nasalized: mac ('apple').

e
1 if this is stressed, it sounds either like the e in sell: perto (pronounced
perhtoo) ('near') or like the ey in prey: saber (pronounced sabeyr) ('to
know'). If it is unstressed, it sounds like the ey in prey: bebida
(pronounced beybeeda) ('drink').
2 At the end of a word e is pronounced like ee in peep: cidade
(pronounced seedahjee ('city'). In penisular Portugese, however, the final
e is not pronounced: tarde (pronounced tard) ('late/afternoon').
3 The word for 'and', e, is pronounced as ee in sweep.
e like in 'end'
like the 'a' in 'share'
like the 'a' in 'make'

i
This is pronounced like the e in evil: decidir ('to decide'). When it is
unstressed, it sounds like the i in pin: idade (pronounced idahjee) ('age').

o
If this is stressed or has an acute accent (), it is pronounced like the oin
opera, but closed before a nasal consonant: fome ('hunger'). When it is
unstressed, it is pronounced like the oo in book: gato ('cat'). The
commonest sound is similar to oh, like o in police: motorista ('driver').

u
This is usually pronounced like the oo in roof: rua ('street'). In the
following four groups however, it is not pronounced: gue, gui, que and
qui.
63
Consonants

b
As in bank: obrigado (pronounced obreegahdoo) ('thank you').

c
1 This can be soft, like the s in slow before an e or an i: cidade
(pronounced seedahjee) ('city'). If the c has a cedilla (), it is always soft.
2 Hard, as in card before an o, a or u: cabeada ('headbutt')

CH cheque check sounds like [sh] she

d
As in sad: tenda ('tent'). It is palatised before i or a final unstressed e to
sound like the ji in jinx: dificuldade (pronounced djeefeeculdahdjee
('difficulty').
dj like the 'j' in 'jeans'

f

As in fair: fado (pronounced fahdoo).

g
1 This is soft before an e or an i, as in the English s in pleasure: gente
(pronounced zhentjee) ('people').
2 Hard before an o, u or a, as in get: gato (pronounced gahto) ('cat').

gua water
gua/guo sounds like
[gw]
Nicaragua
portugus Portuguese gue/gui sounds like [g] get
GU
lingia sausage
ge/gi sounds like
[gw]
Nicaragua

h
This is never pronounced: homem (pronounced omaing) ('man').
1 When it appears as ch it is pronounced like sh in shore: chuva
(pronounced shoova) ('rain').
2 When it appears as nh it is pronounced like ni in onion: banho
(pronounced banyoo) ('bath').
3 When it appears as lh it is pronounced like lli in billion: mulher
(pronounced moolyair) (woman).

j
Soft, as in the English s in pleasure: jovem (pronounced zhovaing)
('young').

64
l
As in look: mala ('suitcase'). At the end of a word it sounds fainter, like ow
in cow: Brasil (pronounced brazeeow).

LH trabalho work sounds like [ll] million

m
Except at the end of the word, this is pronounced as in may: maio
(pronounced myyoo) ('May'). At the end of a word it causes the preceding
vowel to be nasalised: bem (pronounced beyng) ('well').

n
As in no: no ('no').

NH amanh tomorrow
sounds like [ng], similar to
the French words Avignon

p
As in put: pessoa ('person').

q
This always appears as qu and is pronounced as in quick: quatro
(pronounced kwahtroo) ('four').

r
recibo
receipt similar to [h] sound Holiday
honra honor
similar to [h] sound, if
preceded by n
Holiday
carta letter
sounds like [r], similar
to the English or French
r
morning or jour
caro expensive similar to [r] sound Mary
carro car similar to [h] sound Holiday

s
1 At the beginning of a word this is pronounced like the s in sun: socorro!
(pronounced sockohroo) ('help!').
2 Between two vowels it is pronounced like the s in present: casa
(pronounced caahzah) ('house').
3 At the end of the word it is pronouced like s in books: livros
(pronounced leevroos) ('books').
4 In certain parts of Brazil s at the end of the word is pronouced like sh in
push: livros (pronounced leevroosh) ('books').

t
This is pronounced as in teacher: tudo (pronounced toodooh)
('everything'). It is palatised before i or a final unstressed e to sound like
the ch in cheers: vestido (pronounced vestcheedoo) ('dress').
65
v
As in video: videocassete (pronounced veedjeeocassetjee) ('VCR').

x
1 At the beginning of a word this is pronounced like sh in push: xale
(pronounced shal) ('shawl').
2 In the prefix ex when followed by a vowel, it is pronounced like z in zoo:
executivo (pronounced ezekootcheevoo) ('executive').
3 Within a word and between two vowels, it can be pronoucned either like
like sh in push: roxo (pronounced hohshoo) ('purple'); or like the cks in
racks: txico (pronounced tokseekoo) ('toxic').
4 Followed by ce or ci, it is not pronounced: excelente (pronounced
eselentchee) ('excellent').

z
1 At the beginning and in the middle of a word, this is pronounced like z in
zoo: zanga ('anger'); dizer (pronounced djeezeyr) ('to say')
2 At the end of the word it is pronounced like the final English s: faz ('he
does'). In some parts of Brazil it is pronounced like the s in pleasure: faz
(pronounced fazh) ('he does').

Once again, if you find any mistakes either in terms of the above
explanations please contact me as I will update the file. Thanks!
Email me at gowithwhatisATyahooDOTcom
Acknowledgements:
The consonant, vowel and dipthong section were taken from
http://www.beribazu.co.uk/forum/index.php?showtopic=608. If
you are the writer of that forum post, please contact me so I
can credit you!
The various tables slotted into the pronunciation section are
taken from www.sonia-portuguese.com
66
Songs that reflect special roda moments

Camugere
Start of the Roda to welcome a new capoeirista, especially a Mestre.

A Bananeira Caiu
When someone in the roda falls after doing some kind of handstand, this
song is often sung, especially if he who fell is a tough guy.

Ai ai Aide
This song is frequently directed at players who are making mistakes or
generally playing sloppily in the roda. It can also be sung as a celebration
of a great game in progress.

This song reminds players to use their feet and "beaks" instead of hands.
It may also be used in the "money game," where a handkerchief full of
money is spread in the middle of the roda.

Devager, Devager
This is a reminder for players to slow the game down when an Angola
game is getting too fast or intense

Dona Alice
A song well suited to a game in which one capoeirista is getting a little too
"clingy" with the other. For historical informations, Dona Alice was one of
Mestre Bimba's mistresses! This song is about resisting temptation to fall
into another woman's arms. A parallel is easily made with the capoeira
game.

Gunga meu
This is a song intoning the importance of the berimbau gunga, or the bass
berimbau, which controls the game and sets the pace for the roda.

This song is a reminder to play "inside" (towards the opponent) as well as
"outside" (backing away). Frequently a beginner will back away most of
the time, but surprising things happen when one goes into an attack.
Usually played in Angola games.

Moleque E Tu
A playfully confrontational song accusing a player of being a moleque
("street urchin") deserving of punishment.

Nhem, Nhem, Nhem
This song may be sung when a player is being particularly "bratty."

ei
This song suggests a certain fighting spirit in the roda, expressed in the
joy of seeing the opponent fall.

Olha Pomba vou
This song may be sung at a crucial time during the roda. Perhaps a player
has frustrated an opponent so much that it's time to escape from the roda.
Or, perhaps the game escalates to a level of "fighting" where the dove
(perhaps signifying peace) has flown away.

Quem jogo
This song is sung towards the end of a roda to remind people who
havent played that this will be their last chance

Quebra Gereba
This is the last name of a popular person whose name children would call.
It can also refer to "melon," and slang for the male sex organ. Gereba
also means someone who is hard to take down.

Often sung towards the end of a roda, if the energy has gone down.

T dormindo T sonhando
The mestre will often make fun of a student who plays badly, saying:
"what, were you sleeping in the roda?" An oft-told anecdote is of one
mestre getting a student to wake up by hitting him over the head with a
berimbau (!).
67
Uma Volta S
This song may call attention to a player's bad (or good) turns in the game.
Sometimes, all one has to do to change the nature of a game is to turn.
Improvisation in songs

The lyrics to most of these songs have been compiled from various
sources, including websites, CDs, workshops, live performances, and
other sources. Every attempt has been made to provide a "definitive"
version averaged from these various sources.

However, in compiling these songs, it became clear that, while many may
tell a specific story or conjure a specific mood, most of can also be greatly
improvised.

Mestre Caboquinho once suggested that when the basic lines of a corrido
are known, students can just look in a Portuguese dictionary and sing
anything that makes sense (and, presumably, stays in the rhythm of the
music). So the lyrics listed here are to be used merely as suggestions.

Example:
The song Camunjer is often used as a greeting song, because it
includes lines such as Como vai, como t ("How's it going, how are you?").
This means that any and all similar types of greetings may be added:

Tanto tempo no te vejo ("It's been so long since I've seen you")
Eu tu bem de sade? ("Are you in good health?")
Eu vim s pra saber ("I came just to see")
Vim aqui pra lhe ver ("I came here to see you")

Other examples: if a song is about Senhor So Bento, it's a safe bet that
anything having to do with snakes is okay. If the song is about the sea (as
in E na Areia do Mar, Mar, Mar, or Saia do Mar,
Marinheiro), anything about the sea can be mentioned. Some lines, such
as Puxa puxa, leva leva ("Pull it pull it, take it take it") have a specific
function (in this case, to "push" the song onto another singer) but other
lines, such as anything having to do with capoeira (i.e. Eu quero jogar /
jogar de angola, etc.), can be used in almost any song.

68
Improvisation and melody

As if the challenge of improvising in a new language isn't enough, these
songs are often sung with different melodies! However, it must also be
said that many capoeira songs share very similar melodies (in fact some
are exactly the same), and many may be alternated with each other.
Below is just a partial list of possibilities.

Songs with the same melodies

Apanha a Laranja no Cho, Tico-tico
A Ona Morreu
Deus Que Me Deu, Deus Que Me D
Gunga Meu
Pomba Voou
Tem Dend
Valha me Deus, Senhor So Bento

Cad, Cad
Mar, Mar

Paran
Saia do Mar, Marinheiro

D, D, D no Ngo
Quebra, Quebra Gereba

Dona Maria do Camboat
Santo Antnio Protetor
Santa Maria Me de Deus
Ai, Ai, Aid
T Dormindo, t Sonhando

Devagar, Devagar
Dona Alice No Me Pegue No

Jogo de Dentro, Jogo de Fora
Eu Tenho que Ir-me Embora
Eu Vi a Cutia com Cco no Dente

Eh legal
Dona Maria Como Vai voce

Quem Joga
Eu ja vou beleza, eu ja vou membora

Pomba vou
Gunga meu

olha negro senhor
Uma Volta So
Chora Menino
Bate Palma pra ele
Moleque Tu
69
Senhor So Bento

Abalou Capoeira, Abalou
Santa Barbara que Relampu

Similar melodies

E de Manha, Idalina t me Chamando
Eu Sou Angoleiro
Joga na roda da bantus
Para roda capoeira

Dona Alice No Me Pegue No
Dona Maria, Vai Voce

abalou Capoeira

Pisa, Caboclo
Adeus, Santo Amaro
Vou Me Embora, Vou Me Embora

Interchangeable melodies

Tem Dend
Valha Me Deus, Senhor So Bento

D, D, D no Ngo may be sung as
Ai, Ai, Aid
70
Why Sing In Portuguese?

Menino eu estou dizendo
Kid, I'm telling you
Aprenda se quizer
Learn if you want to
Pastinha tem academia
Pastinha has an academy
Todos pode aprender
Everyone can learn
Homem, menino, e mulher
Man, child, and woman
FROM THE MANUSCRITOS DE PASTINHA

It was the Portuguese who first colonized the area now known as Brazil.
Slaves, taken from their African homeland, had to learn the language of
the masters in order to survive. At the same time, many African (and
some indigenous Tup) words were introduced into the lexicon of
Portuguese, adding an indelible African touch to the Brazilian Portuguese
spoken today.

So why must we sing in Portuguese if we are not Brazilian, or
Portuguese? What if we are learning capoeira in an English, or Spanish,
or French speaking country? Is it really essential to the art? If we sing in
Portuguese, aren't we limiting our audience? And aren't we just
perpetuating the imposition of a European language on Africans and
indigenous peoples anyway?
Obviously, there are no simple answers to these questions. But for some,
it is enough to say: "that's the way it's always been done."

Others may see it differently. They may argue that capoeira has changed
with the times, taken on new influences, and indeed become a global
phenomenon. So why not add other languages to the mix, to help
proliferate and celebrate the art? Besides, if capoeira is the universal
"fight hidden as a dance," then it shouldn't we be able to use it to
comment on our own "oppression," no matter where we are?

Well, I believe this is a very "postmodern" take on capoeira.

Because the fact is, that even as the outward expressions of capoeira
(the movements, the form of dress, styles of teaching, etc.) may have
appeared to change, its inner workings have changed far, far less.
Capoeira remains a unique mindset that is both universal in scope and
extremely local in its origins in Brazilian, and specifically Bahian, culture.

As such, it might perhaps be better for capoeiristas outside Brazil to
pretend these songs offer us access to a "secret cult" of sorts, much like
the secrets of candombl (an Afro-Brazilian religion) were originally
disguised as Catholicism.

For example, when a mestre sings "jogo de dentro, jogo de fora" ("game
of the inside, game of the outside") during the roda, outsiders may only
hear a pleasant tune, but internally, we know it reminds the players to
consider their game more carefully.

By shrouding ourselves in this "secret" knowledge (which is available to
anyone who comes to class), I believe we may better preserve the
"cultural integrity" of capoeira and let the very traditions and rituals tell us
about the present moment.

In other words, instead of changing capoeira to suit our needs, we may
ask how capoeira can change us to suit its needs.

[O] fim [da capoeira] inconcebvel ao mais sbio dos mestres.
[Capoeira's] end is inconceivable to the wisest of mestres.
MESTRE PASTINHA (18891981)
71
A Note On Oral Tradition

The songs available in this document have been painstakingly translated
and formatted to make them easier to learn and sing with confidence.

However, it must never be forgotten that capoeira was (and still is, in
many circles) an oral culture, based on passing down information through
aural memorization, not written.

Mestre Caboquinho once reminded me with some seriousness that, in the
first 300 years of capoeira's development, "slaves didn't have time to write
things down." Nor did they have the means. Even today, many of Brazil's
steet children face a similar lack of formal education and resources.

So please accept these songs as a gift, handed to you on a silver platter.
Many mestres might frown on the practice of making these songs so
"accessible," but we have found it to be an invaluable tool for those of us
who are not native speakers of Portuguese.

72
The different types of Capoeira songs

Ladainhas

The ladainha (lah-dah-EEN-yah), or "litany," is the opening incantation of
the roda. It is usually led by the mestre, or by a player about to enter the
roda, and is begun with the cry of I! (ee-EH).

In more traditional settings, the opening ladainha is sung with only five
instruments playing: three berimbaus and two pandeiros. This is done out
of respect for the roda, and to allow the soloist to be better heard by the
audience.

Ladainhas often celebrate places in Bahia, legends from capoeira history,
or lessons from Afro-Brazilian folk wisdom. They may also be improvised
in the moment.

So to be clear the Ladainhas are solo opening incantations.
Chulas

Chulas (SHOO-lahs, or "songs") are also variously called the cantos de
entrada (KAHN-tohs d(j)ee ehn-TRAH-dah, or "songs of entry"), and the
louvao (loo-vah-SAO(m), or "salutation").

They consist of a series of call and response chants that end the ladainha.
They call out various people, places, images, and philosophies of
capoeira. The singer begins each line with the call of I. The chorus then
repeats the line and adds the word camar (derived from "comrade") to
the end of each line:

LEAD: I, viva meu Mestre
CHORUS: I, viva meu Mestre, camar
LEAD: I, quem me ensinou
CHORUS: I, quem me ensinou, camar

With the beginning of the chulas, all the remaining instruments may begin
playing, and two capoeiristas may set up at the foot of the berimbau
gunga, awaiting permission to enter the roda.

You have almost definitely heard chulas being sung after the
Ladainhas at the start of a roda or a batizado.
Like many African song forms, the songs of capoeira are generally
"call and response." The song leader begins, followed by the response
by the chorus.

In the traditional roda de capoeira angola, (this also applies to
contempornea too especially during a batizado) there are four types
of songs: the ladainha, chula, corrido, and despedida.
73
Corridos

Corridos ("quick" songs) mark the beginning of the games. Corridos are
sung continually during the roda, commenting on the action or setting a
mood, unless another ladainha is begun, at which point the roda starts
over.

Corridos usually follow a call-and-response format. The song leader
begins with the chorus line, to remind all singers of the melody, and the
first line of the song. The rest of the song continues in a leader/chorus
fashion.

Just to make clear these are the catchy, common songs that
are sung in a roda all the time.

Examples of Corridos

Paran,
Ai, Ai, Aid
Dona Maria como vai voc?

Despedidas

Various kinds of despedidas (desh-speh-D(j)EE-dahs), or "goodbyes," are
sometimes sung to end the roda. Often, these are accompanied by a
ritualistic procession, begun by berimbau gunga.

Participants may stand and walk in a circle, at which time it is permitted to
comprar o jogo (or "buy into the game"). The procession may also leave
the space in a single file, passing the gunga player (usually the mestre)
as they exit. The only instrument that remains stationary is the atabaque.
At other times, a roda may end with the toque de samba, after which a
samba circle erupts.

Examples of famous Despedidas

Adeus Corina
Boa Viagem

Other songs

Various other kinds of songs exist in the context of capoeira. Of these, the
most important are the quadras, which begin like a ladainha,
but may happen in the middle of the roda, and do not have an
intermediary chula.

In Mestre Bimba's capoeira regional, quadras replace the ladainha
altogether. They are often four lines long, rhyme, and are (unlike the
angoleiro's quadra) followed by the chula (often called the saudao in
regional).

The martelo ("hammer") consists of ten-syllable lines and is infrequently
used.

Popular music continues to be an influence on capoeira songs. For
example, samba songs are often adapted for use in the samba de roda
that sometimes ends the roda de capoeira.

Numerous non-traditional songs are always being written, especially by
the younger generation of mestres, and more frequently in the
"contemporary" schools of capoeira.

74
Syncretic Religious Practice in Brazil

Brief History

When the Portuguese began shipping slaves to Brazil the country already
had an amalgamation of religions. Catholicism was desperately trying to
rid the area of the native Indian beliefs. The slaves brought their beliefs in
spirits and magic. While the slaves outwardly worshipped under the
Catholic faith, they covertly carried on their religious beliefs since slave
owners prohibited slaves from practicing their African form of worship. So
the slaves incorporated their beliefs into the spirits and the magic of the
native faiths. The two religions merged. The God, Ex, became St.
Anthony; Ians became St. Barbara; Iemanj became Our Lady of the
Glory; Naa became Our Lady of St. Anne; Oba became Joane of Arc;
Obaluay became St. Lazarus/St. Roque; Ogum became St. George;
Oxal became Jesus Christ; Oxossi became St. Sebastian; Oxum
became Our Lady of the Conception; Oxumar became St. Bartholomew;
and Xang became St. Geronimo.

What was evolving was syncretic religion (the merging of different belief
systems) and this very much characterises modern day religion in Brazil.
Millions of Catholics continue to worship these gods or Orixs privately
while maintaining their Catholicism publicly.

Today the umbrella term for this religion is know as Macumba (which
confusingly is also used by non-practising Brazilians in a pejorative way,
meaning black magic or any religion or religion of African origin) and it is
categorised as a polytheist (many Gods) religion.

Religion and samba connection

The practionners of Macumba in Brazil (brought over as slaves)
summoned their Gods with, amongst other things, their
drums. Brazilian slave owners, unlike owners in the United States,
allowed slaves to continue to use their drums. Thus began the
rhythm of the saints, the samba, and it explains why Brazilian
"batucadas" reign unequaled today. Brazil got the samba, and the
U.S. got "the blues."

The term Macumba also refers to the certain dancing and drumming
rituals that form part of the macumba religion, that are often seen at street
parties, carnivals and festivals in Brazil.

Macumba, Quimbanda and Umbanda Religions

Many initiatives, independent of hierarchical control, made possible a
rapport between elements of Catholicism, Kardecist Spiritualism and Afro-
Brazilian traditions. A new religious genealogy emerged from this
confusion, but showed that it was divided between the names "Umbanda"
and "Quimbanda" or, more popularly, "Macumba". Both involve worship
of multiple deities Orixs.

Although Umbanda and Quimbanda share the same set of beliefs, the
two names reflect a difference in emphasis. Umbanda supposedly works
"for good", while Quimbanda is distinguished by its intention to work "for
evil". This is a simplistic interpretation, however, because the
ambivalence between good and evil seems, in reality, to be characteristic
of the fundamental myths of these religions, which conceives of the
cosmos as divided between different factions, which relate to each other
through mystical attacks and defences. As in the struggles of love and
other competitive situations, what is good for one party may be bad for
the other, and vice versa.

Candombl

Candombl is perhaps more well known to many non-Brazilian
Capoeiristas as this was the form of religion that developed around
Salvador Brasil, which is also the home of Capoeira Angola. Candombl
is also a syncretic religion that evolves worship of the Orixs.

75
The Worship of the Orixs (the Gods)

Orixs
Orixs worship, is common in Brazil (with an estimated 30 million
practitioners). There is a calendar celebration for all the gods, which
generally coincide with the Catholic celebrations of Lent, Advent, Easter
and the days of Saints John, Peter, Paul, Lazarus, Cosmos and Damian,
Anthony, Sebastian, George, and All Souls' Day, and Immaculate
Conception. Curiously, nothing coincides with Christmas!

Here are just a few of the most important gods:

Exu (hAY-shoe)
is the messenger to Oldumare. He must be appeased before any
commemoration can begin. He is the only god to have a indefinite amount
of locations. His main place is any street crossing. (Dates festival: June
13)

Iemanj (ee-eh-mon-JAH)
The best known of the Afro-gods is the Queen of the Waters, especially
the sea. Identified with Our Lady of the Immaculate Conception, she
dresses in sky-blue satin and wears a string of pearls, a tiara, a richly
decorated fan and a long white veil with gold stars. Her statue, which is
the most common artifact of Candombl, has alabaster skin, large breasts
and is sometimes in the form of a mermaid.

On December 31, many millions of Brazilians and tourists with no other
connection to the Afro-Brazilian religions dress in white and go to the
nearest beach to honor her. Miniature boats painted silver and filled with a
bar of soap, a mirror, a bottle of perfume, a comb and white flowers are
ritually prepared with much dance and song. At midnight they are
launched, accompanied by a massive fireworks display. Copacabana
beach on New Year's Eve in Rio de Janeiro is a remarkable scene and
worth the visit. If the winds or tide return the boats, a bad year is
anticipated. (festival date: February 2) In Salvador, the Festa de Iemanj
is on August 15.

Ogum (oh-GOOM)
Associated with Saint George the dragon-slayer, he is the god of steel
and lives deep in the forest his colors vary but always include the red of
blood. His symbol is the sword and other wrought iron tools. Associated
with Wednesday, his food is red meat and palm wine, and his dance
imitates the march of a warrior. He is the most prevalent dominant god.
(festival date: April 23)

Oxal (oh-shah-LAH)
His colors are white, ivory, pearl and silver. His day is Friday and Sunday
and his nature tokens are the oceans, rivers, the sky, mountains and
peaks. His metals are silver and platinum, his amulet a necklace of white
beads. The great public celebration held in honor of Oxal takes place in
Salvador Bahia. It is the duty of the baianas (woman dressed in white
cloth who wear elaborate necklaces) to wash the front stairs of the
Church of Bonfin . The water used to wash the stairs is prepared in a
secret ritual. This washing is done at the beginning of the year to
symbolize the purification of sins. The baianas also sprinkle water on
those people present during the ceremony (festival date: December 25)

NB I would really appreciate feedback on this section. If you have
any suggestions for changes or additions that should be made please
email me at gowithwhatisATyahooDOTcom
Acknowledgements This article has been put together from a
number of sources -
http://religiousmovements.lib.virginia.edu/nrms/macu.html
http://www.meta-
religion.com/World_Religions/Other_religions/macumba.htm
http://en.wikipedia.org/wiki/Macumba
http://www.stirlinglaw.com/ea/macumba.htm
http://www.endangeredcoast.org/northeast%20culture.htm
76
Capoeira Glossary

Verbs Of Capoeira
Nouns And Frequent Words Of Capoeira
Places Of Capoeira
Instruments Of Capoeira
Rhythms Of Capoeira
Games Of Capoeira
Movements Of Capoeira
Portuguse Characters

VERBS OF CAPOEIRA

apanhar to be beaten
bater to hit
brincar to play eg. children's games
cantar to sing
chamar to call
chorar to cry
chutar to kick
comprar to buy, to enter the roda by cutting in on another player
entrar to enter, to enter the roda
estar to be
fazer to do, to make
fechar to close
ficar to stay
fugar to escape, to exit
gingar to swing
jogar to play eg. sport
lutar to fight
morrer to die
pisar to step
praticar to do, to practice
puxar to pull
queda to stumble, to fall
saber to know
77
sair to exit
tocar to play eg. music
trocar to change, to swap
vadiar to loiter, to be up to no good

NOUNS AND FREQUENT WORDS OF CAPOEIRA

abada white capoeira pants
academia gym or capoeira school
acaraj palm oil and prawn pastie pie
aluno student
Angoleiro practitioner of capoeira de Angola
apelido nick-name
arraia stingray
aula class
Ax positive energy

bamba a master of physical sparring and wordplay, a capoeira expert
bantu group of African tribes/peoples from the north west of Africa
batizado the capoeira initiation ceremony, baptism
besouro beetle
boca mouth, opening in the gourd of a berimbau
boi bull
brincadeira playful game

caiman small crocodile found in South America
camara comrades
capoeirista practioners of capoeira
candombl African mystic religion
chamada call used in the game of capoeira angola, berimbau rhythm to call attention
cintura desprezada acrobatic exercises to help capoeiristas land on their feet
cco coconut
contramestre one level below a master
coqueiro coconut tree
corao heart
78
corda colored belt awarded to mark advancement in some academies
costas back (anatomy)

danado smart
dend red palm nut to make palm oil
deus god
discpulo disciple, student of a capoeira master

ele/ela he/she
escravo slave
eu I, me

faca knife
faca de ponta the point of a knife
faco machete, large knife
fechado to be closed, bulletproof
filho/filha son/daughter
floreios acrobatic movements
forr partner dance from the interior of Brazil
folha seca dry leaves
fome hunger
fora strength
formatura graduation ceremony for a new capoeira master
formiga ant
forte strong
frente front
frio cold
fundamentos basics, used to describe the philisophical roots of capoeira

galo rooster
gente us, we, people

homen man
hora hour, time

iai, ioi terms used by slaves for daughters and sons of the master
irmo/irma brother/sister

79
jogador player of capoeira
jogo game, a game of capoeira
jacar alligator

leve lightweight
liao lesson
ligeiro nimble, agile, fast

macaco monkey
macaquinho little monkey
me mother
malandragem cunning
malandro crook or streetwise person
malcia sneaky, sly, deception, trickery, double-dealing
mandinga unique style
mandigueiro sorceror, healer, capoeira player
mangang medicine man
mo hand
mar sea
marinheiro sailor
mato jungle
menino/a boy/girl
mestre master
molejo smooth moves
moeda coin
morena dark skinned woman
mulher woman
muzenza force of the orixs

no no
navalha old fashioned cut-throat/straight razor
nego big strong black man
nego/a black man/woman

o the
ona jaguar
outro other
80
Orixs gods of candomble

pai father
patu amulet worn around the neck for protection against evil and injury
p foot
peixe fish
profesor teacher

quilombo fugitive slave community

rabo tail
raa race, breed

sabedoria knowledge
sangue blood
santo saint
so saint
sem without
senzala slave house
serto plains
seqncia series of movements learned by players in regional style
sim yes
sinal sign
sinh/ boss man/lady

terra land, earth

voc you

xarl type of fish from Bahia
xerer another type of fish from Bahia

81
PLACES OF CAPOEIRA

Angola former Portuguese colony in the south west of Africa
Bahia state in the north east of Brazil, traditional home of capoeira
Belo Horizonte capital of Minas Gerais
Guinea former Portuguese colony in the west of Africa
Itabuna city in Bahia
Itapo famous beach in Salvador
Luanda capital of Angola
Mercado Modelo famous market place in Salvador
Minas Gerais state in the east of Brazil where Grupo Bantus Capoeira was founded
Mozambique former Portuguese colony in the south east of Africa
Pelourinho the cross in the centre of Terreiro de Jesus, once used as a whipping post for slaves
Salvador capital of Bahia
Terreiro de Jesus historical centre of Salvador

INSTRUMENTS OF CAPOEIRA

agog two toned african bell
arame wire string used for the berimbau
atabaque large straight sided wooden drum
baqueta stick used to strike the wire of the berimbau
beriba type of wood to make the berimbau
berimbau bowed instrument that controls the roda
cabaa resonating gourd attached to the berimbau
caixix shaker or woven rattle played with the berimbau
dobro old Brazlian coin used to play a berimbau often substitued with a rock
gunga the deepest toned berimbau
medio medium sized berimbau
palmas hand claps
pandeiro Brazilian tambourine
reco-reco ribbed bamboo scraper
viola the highest toned berimbau
verga main shaft of the berimbau
vintm an old coin

82
RHYTHYMS OF CAPOEIRA

toques the various rhythms played by the berimbau, see below

Amazonas a rhythm rich in subtle melodic variations used at Batizados to welcome Mestres and
students from other groups
Angola slow rhythm played during the game of Angola
Banguela medium paced rhythm used for a calm game without physical contact, including floreios
Cavalaria developed to warn capoeiristas of arriving police, representing the sound of a galloping
horse
Idalina slow but strong rhythm used for a high, loose game that includes cintura desprezada or
use of the faca or faco
Iuna rhythm played for gradutated students allowing them to demonstrate capoeira skills, no
singing or palmas
So Bento Grande (de Angola) medium paced rhythm most often used in the roda
So Bento Grande de Regional/Bimba fast paced rhthym created by Mestre Bimba, based on So Bento Grande
Sao Bento Pequenho medium paced rhythm for a fast, agile game, also known as Angola Invertida
Santa Maria rhythm allowing students to demonstrate capoeira skills and reflexes, sometimes includes
the use of the navalha

Barravento trance like rhthym leading to spiritual possesion used in candombl ceremonies
Maracat rhythm and dance form from the north east of Brazil
Samba a lively Brazilian rhythm and dance often played after the roda of capoeira

Chula often sung or improvised before the ladainha or corrido, in praise of a specific person,
mestre or place
Corrido rapid call and response song
Ladainha narative song, sung at the start of the roda of capoeira angola
Quadra short ladainha composed of 4 - 6 lines sung in a call and response format
83
GAMES OF CAPOEIRA

Angola slow, playful game played low to the ground, including specific rituals and techniques
Apanha laranja no chao tico-tico game in which the players use only their mouth to pick up an object off the ground, often
a bank note
Batuque violent game that inspired Mestre Bimba, Mestre Bimba's father was a champion of this
game
Benguela calm game without physical contact, combining elements of angola and regional,
including floreios
Contemporanea the modern form of capoeira, a modified version of regional
Regional a fast, loose game invented by Mestre Bimba

Samba de Roda danced within the circle of people, often after a game of capoeira
Samba Dura a rougher version of samba de roda, where the dancers force out other players in order
to dance with a member of the opposite sex
Maculele the game and dance played with sticks, or the faca or faco

MOVEMENTS OF CAPOEIRA

BASIC MOVEMENTS

A cartwheel
Base a low, horse-ridding-like stance with hands in front to protect your face
Ginga basic movement of capoeira which through continous motion allows an easy entrance to
either offensive or defensive action

GROUND MOVEMENTS

Eu ia defensive movement, similar to a negativa (see below)
Esquiva escape movement
Cocorinha squatting movement used to evade high kicks
Negativa variations on the cocorinha, with the upper body moving to the front, side or back
Troca changing sides while in the negativa
Rol rotating from negativa to the base position

84
ROUND KICKS

Meia-lua de frente outside to inside front crescent kick (half moon kick)
Meia-lua de compasso spinning heel kick with one hand on the ground
Rabo-de-arraia spinning heel kick with both hands on the ground
Armada spinning crescent kick
Queixada inside to outside crescent kick

FRONT KICKS

Beno front heel kick
Ponteira front snap kick with the ball of the foot
Joelhada knee strike
Escoro side kick
Chapiado spinning back kick
Martelo roundhouse kick
Gancho reverse hook kick

FLOREIOS

Pio-de-mo hand spin
Pio-de-cabea head spin
Au Batido (Beija-flor) half cartwheel, with one hand on the ground
Queda-de-rins fall to ground, resting on one elbow into the kidneys
Macaco close to the ground back handspring
Xango back flip handspring
Mortal backwards somersault
Mortal de frente front somersault
Au sem mo cartwheel without hands
S-dobrado kicking from negativa into cartwheel
Martelo Cruzado armada going into a spinning martelo in the air
Parafuso similar to the martelo cruzado, landing on both feet
Armada Dupla (Envergado) similar to the parafuso, taking off and landing with both legs straight and parallel
Folha Seca similar to the mortal, with legs split
Relgio spinning on queda-de-rins like the hands of a clock
A Esquisito inverted a with an open chest
A Cortado forward walkover
Macaco em Pe backward walkover
Raiz side walkover
Raiz sem mo side walkover without hands
85

SWEEPS, TAKEDOWNS, GRAPPLING

Rasteira sweep
Banda hooking kick to the ankles. similar to rasteira
Vingativa shoulder tackle and hip throw takedown
Arrasto shoulder tackle and grapple takedown
Tesoura double leg scissor takedown
Tesoura de frente front scissor
Tesoura de costa back scissor
Montada mount position
Raspagem inverting the mount position using both legs
Guarda guard position on the floor
Tringulo triangle choke
Chave-de-brao arm lock

HAND STRIKES

Galopante open hand blow to the side of the head
Cotovelada elbow strike
Asfixciante/escala palm strike, similar to a jab
Dedo finger strike to the eyes
Direto hook
Gancho upper cut
Cruzado crossed hook
Mata-leo choking the opponent using both arms hooked into the opponent's head

HEAD STRIKE

Cabeada head butt

86

PORTUGUSE CHARACTERS FOR YOUR PC

In order to type in any of the various Portuguse characters, make sure that the Num Lock key is turned on. Press and hold the left Alt key, and type the
character code using the Numerical Pad, the number pad on the right side of the keyboard:

Alt+0224 = Alt+0192 = Alt+0237 = Alt+0205 =
Alt+0225 = Alt+0193 = Alt+0243 = Alt+0244 =
Alt+0226 = Alt+0194 = Alt+0244 = Alt+0212 =
Alt+0227 = Alt+0195 = Alt+0245 = Alt+0213 = '
Alt+0231 = Alt+0199 = Alt+0250 = Alt+0218 =
Alt+0233 = Alt+0201 = Alt+0252 = Alt+0220 =
Alt+0234 = Alt+0202 =

Acknowledgement: This section is based on an article entitled Portugese for Capoeiristas written by
Instructor Caapa (Marcello Pietrantonio).

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