Capoeira translation meaning of the word. Capoeira is an amazing workout for strong people. CORDAO DE OURO in Tolyatti

There are dozens of martial arts and hundreds of dances in the world. And there are only isolated cases when the art of defense and the art of dancing are combined into one harmonious whole. Such an impressive symbiosis is Capoeira - dance-wrestling or martial arts, born in dance.

It must be admitted that the art of dance intersects with combat not only in capoeira. Ukrainian hopak, combat dance with checkers, Cossack dance have no less refined combat techniques and excellent choreography. These dances are impressive and colorful. However, they all remain within their national culture and are almost exotic. But capoeira has long transcended the boundaries of the Brazilian national martial art and has become very popular all over the world.
Capoeira is recognized as an official sport in its homeland and has more than half a million “players” registered by federations, not counting countless amateur adherents in many countries. And, at the same time, capoeira is a separate dance style, spectacular, attractive and very complex.

What is the secret of capoeira's popularity?
Use your imagination! This dance is one of those dances that are better to see once than to read its description a hundred times. But still, we will try to convey the philosophy of dance, its essence and emotions.

A capoeirista can hardly be called just a dancer. Rather, he is an athlete, a dexterous and calculating player. And capoeira itself is a meeting of two opponents, accompanied by rhythmic music, demonstrating the ability to control their body, defend and attack, avoid blows and calculate the opponent’s intention. The meeting of capoeirists, however, is not called a “battle”, not a “match”, not a “round” and, especially, not a dance, but a game (“burn”).

Capoeira has strong traditions. Capoeira music is the sounds of the pandeiro tambourine, the atabaque drum, the reco-reco rattles and the agogo bells. And the main “violin” in this exotic symphony is played by the berimbau, a plucked string instrument similar to a bow.

There can be as many participants in the dance-game as you like. Capoeiristas and the audience form a circle (Roda in Portuguese), at the head of which the musicians stand. To the rhythmic sounds of musical instruments (well, in a simplified version, just to a recording), the participants perform ladainya - a special refrain and clap their hands. The capoeirista code requires that everyone be able to sing songs in Portuguese. By the way, even in Russian capoeira schools, great attention is paid to this skill in order to maintain the traditions of the dance.

A pair of dancer-fighters enters the center of the circle using a special sign. Following the ritual, the players first squat down, touch the floor with their palms and, after shaking hands, simultaneously jump up, starting the “game.”
The movements of capoeira resemble the fight of “flying” ninjas. To the sound of the berimbau, players “cartwheel”, “spread” along the ground, stand on one palm, perform acrobatic somersaults, avoiding the enemy’s attacks or forcing him to fall. The fighters completely dissolve in capoeira, almost fall into a trance, obeying the thick music of the drums, guess each other’s intentions and thoughts and reduce the distance between body parts to a few millimeters.
For an ignorant viewer, it is obvious that two people are fighting, and seem to be throwing kicks at the opponent’s head or are about to crush his chin with their head. But... the heels “fly” a millimeter from the faces, and the crushing blows do not reach the target. This is the principle of the most spectacular style of capoeira "regional" - non-contact. Regional is distinguished by sharp amplitude movements, high stances, spectacular acrobatics, and the game itself takes place to a constantly accelerating musical rhythm.

Another style of capoeira, Angola, is completely different, with slow movements occurring to a leisurely drum beat. This is the bottom technique. There are three main elements of dance:

1. Low stand, in which the fighters’ legs are widely spaced and all movements are carried out in a pendulum step. The body weight is alternately shifted from one leg to the other, forming dance movements. From this position, the capoeirist often leans on his hands to strike with one or both legs, make a jump, somersault or sweep. And capoeira itself received the name “foot boxing” for the abundance of such movements.
2. In capoeira there are two attack zones: lower level (various blows to the opponent’s legs, hooks and sweeps) and upper zone – kicks to the opponent’s head.
3. The third element of dance is protection which consists of slopes, turns and somersaults. Capoeira is replete with acrobatic elements, where the blocks are not hard, and the enemy’s blow is deflected through sliding and rotating movements.

Another capoeira tradition is the clothing of the dancer-fighters. It is customary that capoeira is performed in white trousers and white T-shirts. Dancers whose muscles are well pumped up love to dance capoeira with a bare torso. A good fighter is considered to be the one who comes out of the fight “flawlessly white” and even when using the lower technique, has never touched the ground with his clothes.

Where did this miracle come from - capoeira (a little history).
Capoeira can be safely called a symbiosis of wrestling, play and dance.
The translation of the name "capoeira" is ambiguous. According to one version, “capoeira” comes from “capoeiras” - “jungle thickets”. Another meaning attributed to the word capoeira is “cut down forest”, “clearing” is the place where the fugitive slaves who founded this style hid. Still other sources translate the word “capoeira” as “low vegetation” – an area with low grass where it is convenient to practice martial arts.

The origins of capoeira are still controversial. But the most common and plausible version says that its history began as a war dance of black slaves brought by the Portuguese during the period of colonization to Brazil. They honed their capoeira skills in moments of rest and disguised them as dance. It is believed that black slaves who escaped from plantations borrowed some capoeira techniques from local Indians. The capoeira technique was perfected in the settlements of fugitive slaves for future battles with the colonialists. Since the 1820s, capoeiristas were brutally persecuted, with hard labor and 200 lashes imposed as severe punishment.

Decades later, capoeira did not disappear, but only “hardened”, becoming the main tool of street fighting in Rio de Janeiro. By the way, the first detailed descriptions capoeira has come down to us mostly from police reports. An effective and very dangerous martial art was used by gangs and clans of the city to fight “wall to wall.” They terrorized the townspeople and were virtually invulnerable to the police. They tried to “cool off” the capoeiristas and forcibly recruited them into the army. But this only contributed to the spread of capoeira in remote provinces, where recruits were sent.
Ultimately, the Brazilian Criminal Code in 1890 elevated capoeira to the rank of a criminal activity. Those who practiced capoeira were sentenced to six months in prison and deportation to a remote northeastern island; for crime lords, the sentence was doubled.

Capoeira owes its second birth to master Bimba.
The fight against capoeira turned out to be very effective, and by the beginning of the twentieth century this martial art was almost forgotten. The tradition of capoeira was revived by a legendary man nicknamed Bimba (official name - Manuel dos Reis Machado). They called him Bimba-Three Strikes - they say that’s exactly what he needed to kill any opponent. In a duel against him, no one could hold out for more than a minute and a half.
Bimba decided to prove that capoeira is undeservedly forgotten and is a national martial art that can serve its people. In 1932, he opened the first capoeira school and developed the technique that formed the basis of the non-contact regional style.
Potentially, almost half of capoeira’s blows are fatal, but the teacher-Bimba introduced the same humane principle that is now canonical for capoeirists - non-contact.

Shortly after Bimba, another master (mestre) of capoeira, Vicente Ferreira Pastinha, founded his school of capoeira "Angola" with an alternative philosophy. He believed that acrobatics was not the main thing in capoeira, but emphasized the ritual and playful elements in it. In 1941, Pastinha initiated a new “Angolan” style and united around him many opponents sporty style"regional".

The revival of capoeira in the 1930s coincided in Brazil with an active search for a national idea. The authorities considered capoeira a vibrant and worthy expression of the Brazilian character and turned a blind eye to its criminal past.
The final recognition of capoeira occurred after demonstration performances, which in 1953 Bimba demonstrated with the students of his school especially for the president of the country, Getulio Vargas. He was impressed and predicted a brilliant future for capoeira.

A real boom awaited capoeira in the 1970-1980s. Crowds of followers of both styles became interested in capoeira in the wake of the cult of physical health. In addition, capoeira performed by “mulattos in white pants” was a spectacular and, at the same time, non-aggressive art that entertained tourists. Brazilians proudly demonstrated capoeira and aroused interest in this beautiful sport-dance-game among fans all over the world.

Capoeira spread rapidly. Elements of capoeira can be clearly seen in hip-hop and breakdancing. Today, combat, sports, dance and fitness capoeira is very popular on all five continents. In particular, capoeira has existed in Russia for more than 10 years and is recognized as a full-fledged sport. The first serious interest in capoeira was stirred up in Russia by the film released in 1994 - “Only the Strongest”. The main role in it was played by Mark Dacascos, who made an indelible impression on the audience with this martial art and ignited in many enthusiasts a spark of love for capoeira and a great desire to learn.

As a result, capoeira has gained worldwide fame and continues to increase the number of its fans. Surprisingly, capoeira, unlike many martial arts, over the long period of its development has preserved almost all traditions in a pure, unchanged form. A truly unique case when, being so widespread, capoeira was not influenced by other combat systems.

Capoeira skills can be improved throughout your life, and the pinnacle of mastery is achieved by those who are especially persistent after ten years of intensive training. This is a complex art that requires good physical training, plasticity and coordination of movements. However, you just have to start practicing, and capoeira will gradually teach your body to be perfect.

Capoeira is a martial art school that visually resembles an amazing dance. Anyone can master this style, you just have to have the desire and put in a lot of effort. Today in our article we will talk about capoeira techniques, the origin of this trend, what benefits such training brings to the human body, and also what a person needs for each training to be as effective as possible.

What it is?

Capoeira is the national martial art of Brazil, which uniquely combines elements of wrestling, play, acrobatics and even dance. Each movement must be carried out to the accompaniment of fiery Brazilian music and in the end we get an excellent energetic mix!

It is worth noting that in capoeira strikes are reduced to nothing, despite the fact that elements of combat are still present. This is due to the fact that there is practically no contact between partners, since most occupy low positions simulating kicks, various sweeps and acrobatic techniques. While, when one dancer starts to attack, the second one tries in every possible way to dodge, in the end we get amazing beauty duel. But in order to achieve mastery in this matter, it is necessary, first of all, to bring each of your techniques to coordination and coherence.

History of origin

The history of the formation and development of this type of martial art dates back to the 18th century, but there are suggestions that it appeared much earlier. Today, there is a generally accepted version that says that this type of struggle arose in South America thanks to black slaves who were brought en masse to Portugal from their homelands: Angola, Mozambique, Congo and Guinea.

In those days, the treatment towards them was incredibly cruel and merciless, so they never lost the opportunity to escape. Fugitive slaves formed entire free cities, which were called quilombush, in which not only the original, but also incredibly vibrant African culture was combined with a calmer Indian one. To keep themselves in good physical shape and at the same time have fun, they danced. Based on this story, the concept of capoeira appeared..

Exist different versions about the origin of the first blows. Some believe that they belong to the subcultures of national dances African peoples. It is worth noting that initially this art form did not use fighting techniques. However, there is another version, which states that the fundamental basis of capoeira was the national fighting dance of Africa called ngolo, which was a mandatory component of the initiation rite in the southern regions of Angola.

The young people who fought each other portrayed zebras. In any case, the origins of the martial art of capoeira are always associated with the name of the hero Zumbi, who personified resistance for the Brazilian people.

As for the name, there are also several variations of its origin. One version says that in the Tupi Indian language, capoeira is translated as “a field that is overgrown with bushes and cleared by burning or cutting down.” It is quite possible that the interpretation is relevant, since large areas were needed for dancing and had to be cleared.

The second version relies on the translation of the word from Portuguese - "chicken cage". However, there is a third version, whose adherents are convinced that capoeira is the result of a distorted pronunciation of the words “kipura” and “kipula”, which translated from the African Kikong language mean “flutter from place to place” and “fight”. It is worth mentioning that for some time this type of martial art was prohibited, and therefore remained underground for a long time.

Styles

In 1930, a military coup took place in Brazil, which completely changed political situation of things. Since then, capoeira has been recognized by law and is actively developing. Since then, several branches have appeared, each of which positions itself as an independent direction.

Let's look at the main styles of capoeira:

It is worth paying special attention to the fact that it is incredibly difficult even for an experienced person to distinguish each of the types from each other, since some elements, impacts and movements are characteristic of all directions, and others are constantly changing and improving.

Beneficial properties of capoeira

What are the benefits of training in this art form? not only for an adult, but also for a child? It has been repeatedly noted in many sources that such training has many undeniable advantages:

As for the shortcomings, there are few of them. These include a small number of vocational schools, as well as the danger of certain impacts and movements!

What is needed to start classes?

First of all, one must decide for what purpose a person wants to master this type of martial art: to diversify his leisure time or to receive a belt and the title of master in order to engage in teaching in the future.

So, for each training session to be effective, you should find a suitable school and enroll in it. Unfortunately, There are very few professional trainers in Russia, which is why capoeira is taught in fitness centers as a fitness discipline.

For full training you will need a little:

• good mood;
• a fighting spirit that forces you to work and give your all;
• It is not necessary to purchase equipment; any loose and comfortable things are enough;
• It is recommended to practice without shoes, it is more comfortable.

Capoeira (capoeira) is one of the most beautiful and effective martial arts in the world. Whatever opinions may exist on this matter, behind the acrobatic and smooth movements of capoeira, which almost reach the opponent, lies deadly danger. Capoeira is fraught with many mysteries that cannot be understood by a person not initiated into capoeira. There is no exact answer to the question of what capoeira is. Capoeira intertwines the art of battle, the desire for freedom, music, dance, singing, spiritual unity with higher powers, and communication. Capoeira today has clear gradations of skill (in different schools in different ways), its own unique philosophy, traditions, characteristics, different directions and styles. But it all began with the desire of Brazilian slaves for freedom. They are credited with creating capoeira 5 centuries ago.

As a martial art, capoeira is full of various punches, kicks, and head strikes. Capoeira contains throwing elements, counterattacking actions, movements, and deviations. Acrobatic elements and power stances add to the beauty of capoeira.

The names of the basic elements are Portuguese, since Portuguese is the official language in Brazil. Translating many names into Russian will not give an idea of ​​how certain elements are performed. Capoeira originated from extreme poverty and slavery. Capoeira practitioners had no education, so they came up with names for the strikes and movements so that they could understand it themselves. For example, there are a lot of beats in the title meia lua (mia dua - "crescent"). They are actually performed like a crescent moon.

Basic technique is the first place to start learning capoeira. At the same time, impacts, movements and slopes begin to be studied only after mastering the basic movement ginga (Ginga). Ginga is a movement unique to capoeira. It allows you to change position during the game and leave the attack line. From the ginga all other blows grow. The movement in ging resembles a pendulum. Moving along three points, the capoerista changes his position, alternately placing each leg forward.

Jinga consists of two basic positions - primeira base (example base - "first base") And segunda base (segunda basi - "second base"). First base - stand on your feet shoulder-width apart, squatting on half-bent legs, feet fully on the floor. The back is straightened and the body is slightly tilted forward. Hands protect the face. The second base - one straight leg is laid back and stands on the toe, the second leg - bent at the knee at a right angle, stands in front on the full foot. One hand protects the face, and the other is pulled back and straightened. If the left leg is laid back, then the left hand protects the face. And vice versa.

The start of the movement does not matter. This can be either one or another base. Schematically, this movement is quite simple. But studying it sometimes takes many months. Having mastered ginga, the capoerista becomes unpredictable in battle.

In capoeira there are many positions, stances and movements upside down. If in other martial arts the main thing is to stay on your feet, and defeat is counted when you fall to the ground, then in capoeira - the closer to the ground, the more protected you are.

Thus, all the basic elements of capoeira can be divided into the following groups:

• Beats
• Slopes and protection
• Movements
• Acrobatics and flora

STROKES

The striking technique of capoeira is in many ways similar to that of other martial arts. The variety of strikes is not so great and it is very difficult to come up with something new. While developing capoeira, Mestre Bimba borrowed a lot from other martial disciplines. Thus, in capoeira, high strikes with support on one leg appeared (in Angola, all strikes are delivered with support on at least two or three points). Capoeira has also diversified with jumping kicks. The name of the same stroke may differ in different schools. Some strikes may have low and jump variations.

Capoeira has kicks, head kicks and punches. In capoeira, blows are thrown past the opponent or thrown over the opponent. But in a real fight, these strikes are quite effective. The blows are delivered to various parts of the body. High blows are thrown to the head and upper body.

Armada - (armada - "crowd") circular kick with a body turn. Apply to the upper body with the outside of the foot.

Bênção - (bensu - "blessing") push kick forward with the foot.

Сabecada - (cabezada - "headbutt") an attacking head blow to the opponent’s body or head.

Chapa - (shpa - "board") straight high kick to the head.

Escorpio - (iskorpiau - "scorpio") a sharp heel strike from behind the back with support on one leg and two arms.

Gancho - (ganchu - "hook") high lashing blow to the head with the heel from the side.

Joelhada - (juelada - "knee strike") is often used as a counterattack against cabezadas.

Martelo - (martelou - "hammer") straight high ankle strike to the head from the side.

Meia-lua de compasso - (mia lua di compassu - "crescent moon with compasses") a circular kick in a horizontal plane with the heel supported by the arms and one leg.

Meia-lua de frente - (mia lua di frenchie - "crescent forward") swing semicircular kick in the frontal plane. The blow is delivered from primeira base the inside of the foot.

Meia-lua queda - (mia lua keda - "crescent moon on the lower back") swing semicircular kick in the frontal plane with support on the lower back.

Ponteira - (ponteira - "mouthpiece") swing kick with a straight leg from bottom to top. Apply with the heel at head level.

Queixada - (queixada - "jaw") swing semicircular strike with the outside of the foot in the frontal plane. The blow is delivered from a backwards angle.

Rabo de arraia - (habu ji ahhaya - "stingray tail") a circular kick in a horizontal plane with the heel supported by one arm and leg.

SLOPS AND PROTECTION

In contrast to the striking technique, in capoeira there are dodging and avoiding blows, and defensive actions. In capoeira, the defensive technique is quite specific, since all movements and avoidance of blows are done quite low and quickly. In capoeira, blows are not blocked. The players’ task is to evade the incoming strike in time by changing position or moving into one of the defensive stances.

Slopes in capoeira are called esquivas (ishkivas - "slopes") and are divided into technical and intuitive. Intuitive deviations occur automatically and without reflection. This is a natural reaction to a blow - to dodge the blow. Technical slopes require the transition to a specific position that protects the impact areas. Technical deviations make it possible to carry out retaliatory and counterattack actions.

Slopes and defensive actions may vary from school to school. For Angola, regional and contemporary, the same names of slopes can mean completely different positions in the game.

Cocorinha - (cocorinha) squatting.

Escala - (I was looking for - "scale") a defensive action in which the player sits back on a bent leg while the other straight leg is extended slightly to the side. A non-static position from which responses can be made (e.g. martelo no chão).
Esquiva lateral - (ishkiva lateral - “slope to the side”) deviation to the side from a side kick, in which the player falls on a bent knee from primeira base and covers his head with his hand. The body seems to rest on the bent knee, and the second leg straightens and stands on the inner surface of the foot.

Negativa - (negachiva - "negation") position, sitting on a fully bent leg standing on the toe and a straight leg extended forward from the position cocorinha. One hand rests on the ground next to the straight leg, the other closes the den.
Primeira base - (example base - "first base") position in a standing position, shoulder-width apart, squatting on half-bent legs, feet fully on the floor. The back is straightened and the body is slightly tilted forward. Hands protect the face.
Queda de quatro - (keda di quattro - "fall by four") lowering onto four support points - arms and bent legs in a squat.
Queda de rim - (keda de gim - "fall on the kidneys") lowering the body onto the elbow and arms, the legs are above the body from the side.
Queda de três - (keda di tres - "fall by three") lowering onto three support points - a hand and two bent legs in a squat.
Segunda baixa - (Segunda Baixa - "second lowest") a defensive action in which the player lowers himself onto a straight arm and continues to cover his other head in segunda base.
Segunda base - (segunda basi - "second base") one straight leg is laid back and stands on the toe, the second leg, bent at the knee at a right angle, stands in front on the full foot. One hand protects the face, and the other is pulled back and straightened. If the left leg is laid back, then the left hand protects the face. And vice versa.
Tesoura - (chizora - "scissors") kick throw.
Vingativa - (Vingachiva - "revenge") a counterattacking action in which the player brings his back leg forward from segunda base and turns the body in primeira base. With your front foot you need to step under the opponent’s foot from the outside and perform a throw by lifting from bent legs and straightening your back. The opponent must fall on his back from the position segunda base.

MOVEMENTS

An experienced player knows that by constantly moving and changing position, he remains inaccessible to enemy attacks. Most movements are made with support from the hands. From any position in capoeira you can move to another. A variety of striking techniques, exits and slopes are connected together by movements. The basis of movement in capoeira is ginga, all other movements grow from jinga.

Movements serve to change position in the genus. At the same time, players try to occupy free space in the circle, avoid the attack, deceive or prevent the opponent from moving to make a strike. A lot of transitions and movements look impressive, so to increase the general mood and provoke the opponent to jogo bonito (jogu bonita - "beautiful game") movements are performed as beautifully and plastically as possible.

Aú aberto - (au abertu - "open au") wheel with straight legs.

Aú batido - (au batida - “beaten in au”) wheel supported by one hand without ending the movement. At the top point, the legs are spread apart in a split to the sides and returned to the starting position.
Aú fechado - (au feshadu - "au closed") wheel with bent legs.
Aú queda de rim - (au keda de gim - "au in the fall on the kidneys") wheel with transition through position queda de rim to the outside hand.
Ginga - (Ginga) movement characteristic only of capoeira. It allows you to change position during the game and leave the attack line. From the ginga all other blows grow. The movement in ging resembles a pendulum. Moving along three points, the capoerista changes his position, alternately placing each leg forward.
Giratoria - (giratorium - "rotating") rotation on one hand with changing hands.

Giro - (fat - "turnover") transition like role, but on straight legs and without support on the arms.

Rolê - (hole) transition from position negativa with rising to your feet. In this case, the player rolls out of negativa towards the straight leg into a standing position on four points and looking between the legs at the opponent. Then he moves in the same direction and rises to his feet.

Troca - (troka - "change") change of legs.

ACROBATICS AND FLOREA

Acrobatics are not part of the learning curve in capoeira. Acrobatics only add decoration to what is happening in the game. At moments when energy is pumped to high levels, players can use high jumps and acrobatic techniques to raise morale. Acrobatics are very spectacular, but difficult to learn. Practicing acrobatic techniques takes a long time and requires players to be strong, flexible and agility. Acrobatic techniques are performed by experienced capoeristas. When performing elements, it is necessary to monitor the safety of your opponent. A careless jump can injure or injure your opponent and the jumper.

Armada dupla - (armada dupla - "double armada") a high jumping kick, reminiscent of an armada, but done with two legs.

Aú confusado - (au confusado - "ay in confusion") ay without arms and with bent legs.

Aú sem mão - (au sem mao - "ay without hands") without support on hands.

Aú batido dupla - (au batidu dupla - "double au batidu") au batida with two legs in front.

Folha seca - (foglia seca - "dry leaf") jump back with a bend over the head. Performed with a step-by-step swing with one leg up and landing on the swing leg.

Macaco - (macaque - "monkey") throwing your legs over yourself from a sitting position in cocorinha. In this case, one hand is swung back and acts as a support behind the back, the other hand strives to stand next to the other as in a handstand, and the body, due to the swing of the arms and a springy jump with the legs, rolls from a sitting position to a handstand. You need to lower yourself from a handstand with both legs alternately to a standing position.

Macaco batido - (makaku batidu - "beating of makaku") combination aú batido And macaco in the final phase. Exit from handstand is done through aú batido.

Macaco reverção - (macacu reversao - "reverse macaque") macaque, which in the final phase is combined with a reverse movement into the macaque.

Manna - (manna) power rack with support on your hands behind your back. The legs are folded with the body and are above the ground in a horizontal plane.

Mariposa - (mariposa - "moth") a jump with a 360° rotation in a horizontal plane above the ground.

Parafuso - (parafuso - "screw" armada dupla. It is performed from a turn, the legs rise into the air alternately by the inertia of the spin, and the landing occurs on two legs folded together.

Raiz - (haiz - "root") a jumping element similar to parafuso, but the body is in flight in a horizontal plane and the legs do not fold together when landing.

Relogio - (helozhiu - "clock") turn in a stand on one arm, the body rests on the elbow. One leg swings, and the body follows the leg by inertia.

If you don't know, capoeira is the Brazilian national martial art. What fundamentally distinguishes capoeira from all other types of martial arts is that it is more like a dance or some kind of paired acrobatic exercise. An abundance of acrobatics, the predominant use of kicks and sweeps, as well as the unique flavor of national Brazilian music - this is what capoeira is at its core.
However, if you were looking for a dictionary of capoeira terms, then you probably have at least a general idea about it.

A
Abada - Associacao Brasileira de Apoio e Desenvolvimento da Arte-capoeira (Brazilian association for the support and development of the art of capoeira)
Agogo is a musical instrument, a double metal bell played by striking it with a stick.
Aluno - student, beginner, first levels of capoeiristas from gray to orange-blue belt
Amazonia is one of the capoeira playing styles; when playing in this style, capoeiristas imitate the movements of animals, while using predominantly the lower technique
Angola - see Capoeira Angola
Angoleiro - man playing capoeira Angola
Arame - Literally “wire”. Berimbau string. Arame connects both ends of a verga (wooden bow) to form a berimbau. To make aram, cord is usually taken from old tires. Previously, animal tendons were used for this.
Armada - roundhouse kick with the edge of the foot
Armada Dupla - a jumping spinner with two legs pushed together
Armada Pulada - armada in a jump
Armada com Martelu - side kick in a jump with a turn in the air (applied with the instep of the foot or the front of the shin)
Arrastau - throw using hands and head
Atabak(e,u) - drum for accompanying capoeirista style. Almost similar to conga drums
Au Abertu - wheel
Au Aguli - randat
Au Batido - strike, standing on one hand, in a split leg (parrot beak)
Au Dubrow - a wheel with an exit through a bridge
Au Zhiratoria - wheel with rotation
Au Cortado - a wheel broken halfway through movement
Au Ponte Sam Mau - a wheel without arms with a deflection in the back at the end of the movement
Au Sam Mau - wheel without hands
Au Feshadu - Au with legs bent in front of the chest
Au Floris - blanche
Au Chibata - transition to lower positions with a twist through the arms with a straight leg kick
Au Escusito - inverted au
Au di Costa - Au back, similar to a macaque
Ashe - a feeling of joy, euphoria; energy of capoeira, state of capoeiristas in the roda (see roda)

B
Baqueta - A wooden stick approximately 30 cm long. By striking the string they play the berimbau
Bananeira - kicking while standing on hands
Banda di Costa - cutting and knocking out a partner's leg
Gang di French - sweep
Bateria - capoeira orchestra
Batizado - ceremony for presenting the first belt, initiation, at the batizada ceremony the capoeirist can receive a nickname
Benguela is one of the playing styles of capoeira, in which the strikes are performed slower than ginga, and the movements are performed mainly based on three points.
Bensu - straight punch (delivered with the heel)
Bensu Pulada - straight jump kick
Berimbau - A bow-shaped musical string instrument that sets the tempo of the melody and, accordingly, the tempo of the capoeirista game. Consists of a flexible stick with a stretched metal string and a resonator made of dried gourd, considered the most ancient musical instrument of the famous. As a rule, there are three berimbau in the roda: gunga, medio and viola or violina, but master Bimba practiced using only one berimbau for the roda.
Bimba is a master, the founder of the Regional movement, thanks to him capoeira became widely known
Boca di calsa - a throw with a grip around the cuffs of your pants.

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IN
Verga - A stick about one and a half meters long, from which the arc for the berimbau is made. Typically, branches of the Brazilian biriba tree are used for this, but any resilient variety, such as walnut, will do.
Vingachiva - shoulder thrust through the hip
Vintem - Synonym - good. Old Brazilian or Portuguese coin. This is also the name of the object (heavy coin, puck or flat pebble) used to play the berimbau. Pressing it on the arame string produces a high sound, lifting it produces a low sound, lightly touching it produces a muffled rattling sound.
Viol, violina - Berimbau, which has the highest pitch in the orchestra, like a solo or lead guitar. Accompanied by gunga and medio, used for syncopation and improvisation
Vo do Morsego - kick-push with 2 legs in a jump
Volta au mundo is a break in the game in which the playing capoeiristas, without leaving the circle, make one or more rounds of the circle counterclockwise, after which they continue the game

G
Galopante - palm strike
Gange - kick with the sole
Graduado - capoeirista level corresponding to blue belt
Grimash - sticks for maculele
Gunga - Berimbau-bass. When played together with the berimbau, the medio and violina set the rhythm. Usually one of the basic themes is performed on it with minor variations. An instrument with a particularly deep sound is also called a berra boi (Portuguese for “roaring bull”).

D
Ginga - swaying, step, dance, the calling card of capoeira, "swinging" movement during a fight
Jogo - Translated as "game". Refers to everything that happens inside the circle (kind). Jogar - play capoeira. Jogador - capoeirista
Dobrow - a coin or stone with which the musician presses the berimbau string
Donu da roda - the person leading the roda
Dubrow - berimbau coin
Dedeira - punch in the eyes with fingers

AND
Zhogu (zhoga) - game, duel
Joelyada - knee strikes

AND
Iuna - a rhythm and style of play invented by Mestre Bimba, in which capoeiristas demonstrate complex techniques and acrobatic elements

TO
Kabasa - Dried pumpkin with a round hole made in it. Acts as a resonator in the berimbau, amplifying the sounds produced by the berimbau. Attached to the string with the same rope loop that tightens the aram string
Cabezada - Headbutt
Kalouru is a person who relatively recently began to practice capoeira
Kamara - \"friend\", \"comrade\" - this is how capoeiristas call each other
Kamaradinya - song of praise
Capoeira - Afro-Brazilian martial art
Capoeira Angola - After the opening of Capoeira Regional in 1930 by master Bimba, the traditional style of capoeira became known as Angola. Angola generally uses a slower rhythm and stays closer to the ground than Regional. Individual fights usually require more time, with special attention paid to physical dialogue, aesthetic qualities and performances
Capoeira Regional - A style of capoeira created in Bahia by master Bimba (Manoel dos Reis Machado) in the 30s of this century. Bimba modified many of the traditional capoeira strokes to create a more aggressive and less squat style. The region differs from Angola in the faster playing of the berimbau, which is mainly played by one of the rhythms composed by the master Bimba. Today, the pure Regional style practiced by Master Bimba and his students is quite rare. The most widespread is the hybrid school, which can be called Regional/Senzala (see Senzala)
Karibe - straight heel strike in Negachiwa
Kashishi - rattle, shaker, wicker basket with grains inside. holding her in right hand and shaking in time with the music, the berimbau player accentuates the rhythm
Quadros - see Corridos and quadros
Keda di Ginch - inverted position, standing on bent arms and head with elbow resting on the side of the body
Keda di Quatro - crawling, walking backwards on 4 limbs
Keda di Tres - defensive position sitting on toes
Keshada - outward straight leg kick (inflicted with the outer part of the foot)
Cocorinha - defensive position, half-squatting
Kordau - cord, belt, rope. The color of the cordão determines the level of the capoeirista
Corpo feshado - "closed body". A person who, with the help of special magical rituals allegedly became virtually invulnerable to all kinds of weapons
Corridos and quadros - Songs consisting of one or two verses, sung by a soloist and finished by a choir. These are the shortest of the three types of songs for the rod, present in both Capoeira Regional and Angola
Cruz - throw when attacking with Bensu, etc.
Cuadras - Dialogue quatrains performed by soloist and choir
Kutavelada - elbow strike

L
Ladainya - A song that serves as a typical introduction to a kind or game. Unlike other songs in capoeira, which are a kind of dialogue with the choir, the ladainha is performed by a soloist, usually sitting near the berimbau. At the end of the ladainha, the singer continues without stopping to the canto de entrada, in which he glorifies capoeira masters, famous players and places associated with the history of capoeira. Each of the toasts is, as it were, confirmed by a chorus of players repeating its words. For example, the soloist sings “Ie, viva Pastinha” (“Long live Pastinha”). The chorus responds, “Eh, viva pastinha, camara.” Ladaigni is an integral part of Capoeira Angola. Master Bimba replaced them with the singing of cuadras and corridos (see the corresponding terms)

M
Macacu - a movement similar to a flap through the hand
Makulele - dance with wooden sticks
Malandrazhi is a vile deception; first stage in capoeira
Malandro - Tramp, swindler, swindler. He is an integral part of capoeira legends and a popular character in the cultural tradition of the Brazilian nation. Malandragem capoeira is synonymous with an action that is difficult to perform and pursues difficult to predict goals.
Malicia - deceit, grace, cunning, anger
Malisya - cunning, tricks, deceptive movements in capoeira
Manjingeiro - sorcerer; person who wields manjinga
Mandinga - Magic or witchcraft. Knowledge of the basic natural elements and the ability to control them using magical rituals
Mandingeiro - A man skilled in Mandinga
Mariposa - rotation in a jump around an axis along the body in a horizontal plane
Martel Rotado - side thrust (delivered with the instep of the foot or the front of the shin)
Martelo di Giroud - side kick from the ginga with support on the hands (delivered with the instep of the foot)
Martelu di Chau - side kick from a negachiwa with support on the hands (applied with the instep of the foot)
Martel di Strau - side snap kick (delivered with the instep of the foot)
Mea Lua Solto - spinner without support on the hands (applied with part of the foot)
Mea Lua di Compasso - roundhouse heel kick supported by hands
Mea Lua di French - inward straight leg kick
Mea Lua na Ginch - Mea Lua with \"lowering\" in Kedah di Ginch
Media, medium, medio - Also just berimbau or berimbau de centro. In the orchestra, along with the gunga and violin, it plays the same role as the rhythm guitar: it plays the basic theme, periodically moving on to its traditional variations.
Mestrando - the level of capoeirista preceding Mestre, corresponding to the red belt
Mestre - Master of Capoeira. The highest level in capoeira corresponds to the red and white belt. The head of the school wears the honorary title of Grao Mestre and a white belt. In many modern schools the criterion of mastery is the satisfaction of certain formal requirements. Traditionally, this title was a symbol of recognition of the capoeirista’s merits by other players and the rest of society. One became a master after many years (usually at least ten) of practicing playing and teaching capoeira.
Mortal - somersault

N
Negachiva - lower position, sitting on the toe of one leg, with the other straightened
Negachiva Angola - Angolan version of Negachiva
Negachiva Derubau - throwing negachiva

P
Palma - straight punch
Pandeiro(u) - Brazilian tambourine
Passo a Duas - Linked steps - a ritualized movement found only in Capoeira Angola. Passo-a-duas begins with one of the players standing in the center of the circle with their hands raised. The other approaches him using any of the accepted methods of approach, together they take three steps forward and back, then carefully separate and continue the game. Like volta do mundo, it can be used to catch your breath or turn the tide of the game in your favor.
Patois - Magic amulet, usually worn around the neck to protect against injury and evil spirits
Pashtinha - maistre who founded the school of capoeira Angola
Piau di Cabeza - head spin
Ponteira - direct strike
Professor - capoeirista level corresponding to brown belt

R
Rise - Combination of Mea Lua di Compasso with Armada com Martelu
Rasteira - Trip, tackle. One of the most characteristic movements of capoeira
Regional(s) - see Capoeira Regional
Resistance - position on four supports with your back down
Reko-reko - rattle
Relogio - watch, rotation in a horizontal plane on the hand
Roda - Means "wheel" in Portuguese. The circle in which capoeira is played. Usually its boundaries are marked by standing players or spectators. Symbolizes the sun. Musicians lead the circle, players dance inside the circle
Roda di Rua - street roda
Role - change Negachivy through 4 supports, rotation

WITH
Salve - greeting
Sao bento - rhythm and style of play, fast play with quick strikes
Sequence - a sequence of movements, their combination
Senzala - A direction in capoeira, formed in Rio de Janeiro by a group of young capoeirists in the mid-sixties. In general, it is based on the methodology of master Bimba. Supplements it with several new training techniques, an extended warm-up and some techniques borrowed from martial arts.
Sintura depresada - A set of four acrobatic exercises created by master Bimba to train capoeiristas to land on their feet from all positions
Solo - a single performance by a capoeirista in which he shows a related sequence of movements and demonstrates technique
Solo Roda - Roda, within which solo performances of capoeiristas are carried out

T
Telephone - hit with 2 palms on the ears
Tizora Angola - sliding towards a partner with legs spread apart
Tizora di costa - rear scissoring
Tizora di French - front cutting with scissors
Toke - rhythm played on the berimbau
Troca di Cordas - \"change of belts\", ceremony for assigning a new belt

F
Feint - a deceptive movement, approaching a strike without executing a strike
Folha Seka - one leg somersault
Formado is a graduate of the capoeira school
Fundamentos - Literally "foundations" or "origins". Used to refer to the philosophical roots of capoeira

X
Hashteira di French - front sweep with support on hands

H
Chapa Baisa - low chapa
Chapa di Giroux - roundhouse chapa
Chapa di Costa - pushing kick with one or two legs supported by hands (Angolan version)
Chapa di French - pushing kick with the foot turned inward

Sh
Shamada - challenge
Shulas - Can be used to refer to both songs in general and songs middle length– less than ladainha, but more than corrido

E
Es Dobradu - a combination strike that includes Ashteira and Martelu di Chau
Esquiva diagonal - a wide diagonal step with support on the hand at the end of the step, dodging the blow
Esquiva lateral - wide step to the side, dodging the blow