The video below is for the appeal for funding that they did some time ago - and it contains some amazing footage on its own, including Mestre Cobrinha playing some intense games against Mestre Moraes.
Monday, September 23, 2013
The roots of capoeira angola
Mestre Cobra Mansa has been working on a documentary on the african roots of capoeira.
The video below is for the appeal for funding that they did some time ago - and it contains some amazing footage on its own, including Mestre Cobrinha playing some intense games against Mestre Moraes.
The video below is for the appeal for funding that they did some time ago - and it contains some amazing footage on its own, including Mestre Cobrinha playing some intense games against Mestre Moraes.
Wednesday, August 21, 2013
A drumming event in September!
Mark your calendars!
September 20, 21 & 22, 2013 Workshop
West African Drumming with Sayon Camara
Bellingham WA
Register in Advance! Call 603-254-4493. Let us know if you need a djembe.
Workshop Schedule
Friday 9/20, 1 class: 6:00 pm – 8:30 pm
Saturday 9/21, 2 classes: 12noon – 2:30 pm AND 3:00 pm – 5:30 pm
Sunday 9/22, 1 class: 1:00 – 3:30 pm
Location
Presence Studio • 1412 Cornwall Ave • Bellingham WA • 2nd floor above Bellingham Bar & Grill
Cost
Get the full Sayon Camara experience: $150 • Save $30!
Friday and Saturday only OR Saturday and Sunday only: $130 Save $20!
Individual Classes: $45
West African Drumming with Sayon Camara
Bellingham WA
Register in Advance! Call 603-254-4493. Let us know if you need a djembe.
Workshop Schedule
Friday 9/20, 1 class: 6:00 pm – 8:30 pm
Saturday 9/21, 2 classes: 12noon – 2:30 pm AND 3:00 pm – 5:30 pm
Sunday 9/22, 1 class: 1:00 – 3:30 pm
Location
Presence Studio • 1412 Cornwall Ave • Bellingham WA • 2nd floor above Bellingham Bar & Grill
Cost
Get the full Sayon Camara experience: $150 • Save $30!
Friday and Saturday only OR Saturday and Sunday only: $130 Save $20!
Individual Classes: $45
A little bit of history, a little bit of Italy
In the picture, Mestre Joao Grande on Gunga (in the middle), Mestre Moraes on medio (on the left), Treinel Daniel (FICA-Oakland) on viola (on the right) and Matteo (FICA-Bellingham) on pandeiro.
Below is a picture from a roda in Grosseto, Italy, hosted by prof. Victor (from the group Meninos de Angola, wearing a white t-shirt and dreads, on the gunga) with people from various capoeira angola groups (including FICA-Pisa, Angola Dobrada, and Sao Bento Pequeno) participating.
Below is a picture from a roda in Grosseto, Italy, hosted by prof. Victor (from the group Meninos de Angola, wearing a white t-shirt and dreads, on the gunga) with people from various capoeira angola groups (including FICA-Pisa, Angola Dobrada, and Sao Bento Pequeno) participating.
Wednesday, August 7, 2013
Parabens! (Good wishes/congratulations!)
At the 19th annual FICA Conference (which was held in Belo Horizonte, Brasil in August of 2013), several people were recognized for their work in Capoeira Angola.
Rogerio Teber (FICA-Mexico), was recognized as a Mestre of Capoeira Angola - this joining the ranks of the other Mestres of the International Capoeira Angola Foundation: Cobra Mansa, Jurandir, Valmir and our own Mestre Silvinho.
Alder Oliva (FICA-Rio de Janeiro), Gunter Andrade (FICA-Manaus), Leninho Sá (FICA-Goias), Kamal (FICA Philly), Skher Brown (FICA-Baltimore) and Kojo X Johnson (FICA-DC) all were recognized with the title of Contra-Mestre.
Finally, Yuta Kazama (FICA-Japan), Eva Agbada (FICA-Philly), Medusa Angola (FICA-Italia), Joe (FICA-Hawaii), Chico Fedora (FICA-Brasilia), Huu (FICA-Chicago), Toca (FICA-London), Javier (FICA-Mexico), Puck (FICA-New York) and Gabriel (FICA-Belo Horizonte) became graduated students and received the title of Treinel!
Tuesday, June 4, 2013
winding down the school year
What better way to celebrate the end of the festival, and the winding down of the school year, than with a roda in the sun after practice?
Many thanks, again, to Ethan for all his work this year! and it was great to have Devin back for a couple of days.
Sunday, June 2, 2013
A great festival
Many thanks to Ethan for all the hard work!
And thanks to Dora Oliveira, Manimou Camara, Mestre Silvinho, and especially Contra Mestre Andrea!
And thanks to Dora Oliveira, Manimou Camara, Mestre Silvinho, and especially Contra Mestre Andrea!
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| A women's Bateria |
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| Contra-Mestre Andrea and Leika about to start playing |
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| Oxani doing a ponte. |
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| A group photo after the West African Dance class led by Maninou Camara |
a bit of history and perspective
The article below was written by Mestra Paulinha, of Grupo Nzinga. I found it in the archives of the blog hosted by FICA DC.
In the beginning of the 1980s, the creation of the Grupo de Capoeira Angola Pelourinho (GCAP) in Rio de Janeiro and later in Bahia marked a significant change in the situation. Founded by Mestre Pedro Moraes Trinidade (Mestre Moraes), GCAP implemented a series of actions promoting the re-valorization of Capoeira Angola and the recognition of the importance of old and famous mestres, such as Mestre Pastinha himself. With an ideology that affirmed capoeira’s African roots and denounced the injustices suffered by so many capoeiristas and Afro-descendents, this group was the precursor of a movement that became wide and diverse.
Through the realization of events in homage to Mestre Pastinha, GCAP managed to reunite old practitioners of Capoeira Angola and attract new admirers and people interested in learning the traditional game. The format of these events was innovative because it created bridges between the practitioners of Capoeira Angola and other segments of society such as: religious leaders, especially those linked to the Candomblés of Angola; anti-racist organizations of the “black movement”; organizations involved with other forms of black culture; intellectuals and scholars; and governmental organizations, especially in the cultural area. In some years, these events gained larger proportions, assuming a national and international character, and began to be held by other nascent groups of Capoeira Angola, mainly during the 1990s. Such events were established as an important part of a regular calendar activities that helped to construct the new community of “angoleiros”.
One important aspect of the ideology and actions implemented by the Capoeira Angola groups created in this period involves the denunciation of racism in Brazil. The events promoted in memory of Mestre Pastinha, carried out on the date of his death (November 13th), soon became part of the agenda of commemorations and reflections of the National Day of Black Consciousness (November 20th). More than a coincidence of dates, this approximation reveals a process of growing politicization in the universe of Capoeira Angola, synchronized with the general trend in the black cultural scene in Bahia...
... This community became very heterogeneous – including people of various ethnic and racial origins, social classes, nationalities, genders, ages, and sexual orientations- and this has been the backdrop for the construction of the angoleiro’s identity. Therefore, affirming oneself as an “angoleiro(a)” today implies dealing with diversity, rejecting any ideal of purity and homogeneity.
In the beginning of the 1980s, the creation of the Grupo de Capoeira Angola Pelourinho (GCAP) in Rio de Janeiro and later in Bahia marked a significant change in the situation. Founded by Mestre Pedro Moraes Trinidade (Mestre Moraes), GCAP implemented a series of actions promoting the re-valorization of Capoeira Angola and the recognition of the importance of old and famous mestres, such as Mestre Pastinha himself. With an ideology that affirmed capoeira’s African roots and denounced the injustices suffered by so many capoeiristas and Afro-descendents, this group was the precursor of a movement that became wide and diverse.
Through the realization of events in homage to Mestre Pastinha, GCAP managed to reunite old practitioners of Capoeira Angola and attract new admirers and people interested in learning the traditional game. The format of these events was innovative because it created bridges between the practitioners of Capoeira Angola and other segments of society such as: religious leaders, especially those linked to the Candomblés of Angola; anti-racist organizations of the “black movement”; organizations involved with other forms of black culture; intellectuals and scholars; and governmental organizations, especially in the cultural area. In some years, these events gained larger proportions, assuming a national and international character, and began to be held by other nascent groups of Capoeira Angola, mainly during the 1990s. Such events were established as an important part of a regular calendar activities that helped to construct the new community of “angoleiros”.
One important aspect of the ideology and actions implemented by the Capoeira Angola groups created in this period involves the denunciation of racism in Brazil. The events promoted in memory of Mestre Pastinha, carried out on the date of his death (November 13th), soon became part of the agenda of commemorations and reflections of the National Day of Black Consciousness (November 20th). More than a coincidence of dates, this approximation reveals a process of growing politicization in the universe of Capoeira Angola, synchronized with the general trend in the black cultural scene in Bahia...
... This community became very heterogeneous – including people of various ethnic and racial origins, social classes, nationalities, genders, ages, and sexual orientations- and this has been the backdrop for the construction of the angoleiro’s identity. Therefore, affirming oneself as an “angoleiro(a)” today implies dealing with diversity, rejecting any ideal of purity and homogeneity.
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