Aruanda - Capoeira Apeldoorn

Musicality is not original to capoeira, but it became essential in the process of its ritualization and cultural legitimation. It functions as a messenger that teaches discipline, synchronization, and body expression, transforming fighting into a unique artistic and cultural manifestation.

Originally, it is believed that capoeira was practiced in secret within quilombos, plantations, or slave quarters, without musical accompaniment to avoid detection by colonial authorities.

There is no exact date for when music became part of capoeira, but it is known that instruments were forbidden or inaccessible to enslaved people. In this phase, simple rhythmic elements were incorporated, such as clapping, singing, and possibly body percussion, mainly used as communication in the fields.

The oldest records of the use of musical instruments date from 1610 in Bahia, describing bands formed by enslaved people who played European instruments for their masters.

Having enslaved musicians became a symbol of prestige for sugar mill owners. From the second half of the 18th century, renting enslaved musicians to play at parties and processions generated direct profit for the owner. It is believed that it was during this period that the atabaque was introduced into capoeira, as previously the Catholic Church prohibited syncretism.

According to organology, the berimbau only came into existence in the 19th century, initially being associated with street soloists and street vendors. Although it was probably inspired by the African hungu, the instrument was created in Brazil. Its acceptance in capoeira and its transition to the central instrument, instead of the atabaque, occurred naturally due to issues of mobility, safety, and camouflage.

It was only when the berimbau began to be used both as a weapon and as an alert instrument (cavalaria touch) that capoeira became known as the “dance of war”. Although considered lethal, it is a martial art against aggression, developed as a lifestyle and strategic game aimed at freedom.

Only two types of songs are accepted by all schools with the same definitions: ladainhas and corridos. Some schools also have chulas, quadras, and canções to more precisely define the function of music.

Ladainhas: A solo chant performed at the beginning of the Capoeira Angola or Contemporânea roda (depending on the school), followed by a louvação (Iê, viva meu Deus) or greeting (e.g., Iê, galo cantou). As its function is to tell stories, legends, or bring teachings, no one plays during the ladainha. For this reason, it is rarely used after the start of the roda.

Chulas: Their acceptance and concept vary according to the school. For some, it is considered a louvação, thus always performed after the ladainha and never repeated, having in this case a purely ritualistic function. For other schools, it is an improvisation that can be done at any moment by the singer, and its function depends on the improvisation.

Corridos: The most common and lively type during the roda, they are short and dynamic call-and-response songs. Their function is to give instructions to the roda and the players, thus controlling the energy, discipline, and intention of the game.

Quadras: They exist only in Capoeira Regional and in some Contemporary schools. They replace the ladainha at the beginning of the roda and can be sung at any moment. Their function is practically the same as corridos, but they must have stanzas of four or six verses, or multiples of four and/or six.

Canções: Longer songs, where the singer may or may not interact with the chorus. Their function is to be melodic and tell stories, but many also convey the message that capoeira is martial. For these reasons, they are ideal for use during training and inadvisable in the roda.

Except for the ladainha, all other types of songs, regardless of the toque used, serve to synchronize the berimbau rhythm with the movements of the capoeiristas in the center of the roda.

The term “toque” mainly refers to the rhythms (or rhythmic patterns) played on the gunga, the main instrument that dictates the type of game, speed, and intensity of the roda. In total, there are dozens of toques documented in traditional and modern sources, but most schools use only a few of the five most popular ones:

São Bento or Angola: The main toque of Capoeira Angola, characterized by being melodic and slow, often dragged. It commands the roda for a style of game full of malícia.

São Bento Pequeno: A toque that commands the roda for a martial style of game. For this reason, it is rarely played slowly or quickly, although both are possible.

São Bento Grande: Considered one of the fastest toques in capoeira, it commands the roda for a florid, acrobatic, or theatrical style of game.

Samba de Roda: It is not known whether Samba de Roda gave rise to traditional samba or the other way around, but this toque consists of the performance of samba music to the sound of the berimbau. It may happen that two people enter the roda to samba as if it were a challenge, but normally when played it allows one to several people to enter at a time, depending on the school.

Maculelê: Considered a warrior dance with sticks, it was initially created for training with bladed weapons, but due to the high cost of metal, replaced by wooden sticks. Over time, its martial nature was forgotten by many; today most schools use it in a folkloric way, with specific steps and using sticks.

These are the most traditional definitions for each toque, but each school has the freedom to interpret them in its own way.

Some schools adopt the rhythms of Capoeira Regional, while others adopt those of Capoeira Angola; however, both make use of the São Bento Pequeno and São Bento Grande rhythms. The execution of São Bento Pequeno in Capoeira Regional is exactly the same as that of São Bento Grande in Capoeira Angola. In Capoeira Regional, the characteristics described here are also reversed in relation to São Bento Grande and São Bento Pequeno, with the former being directed toward performances and the latter toward martial practice.