Urban Ritual with Saxaphone

Jimmy - on the right of the picture with saxaphone - attended Urban Ritual bringing axé to our roda with some improvised playing. Jimmy and I met at the SSE http://www.sse.org.uk you can see why I invited him to UR if you go to http://www.youtube.com/watch?v=u_t8RqmuPTM and see how we got a gang of non capoeiristas singing.

Jimmy fitted in perfectly and only improved the energy/spontaneity of the day. He listens to the song and then plays with that - maybe those old photos of people with viola's and guitars in the rodas were doing a similar thing.

Below is a short note from Jimmy that explains what he felt with his first capoeira expeirence.

Thanks Jimmy - looking forward to seeing you at school.
Simon

Hello Simon.

Hope all is well.

I have been digesting, the last monthly session of your capoiera family at the Charlie Wright pub. It was fantastic. The focus of players, and all was total. This reflects on their keen interest, and the nature of Capoiera being the engaging the engaging way of life that it is.
The athleticism of the players speaks for itself. The rhythm section, and the chant chorus were spontanious and organic.

I loved the flavour of it all. Being able to join in was a great treat. This first experience of a capoiera session was for me a solid grounding into a great bed of history and creativity , that is now an organised, and popular social activity.

Thank you for all the good work you are doing, keeping your part of the game healthy. I am very happy to be part of this. I also like the plan you have of having the music session continue, and hope that we can make this a reality.

Kind regards.

Jimmy Beckley.

O Berimbau

O Berimbau

The berimbau is said to be the most important instrument in the Capoeira orchestra, it sets the pace, calls, commands, transcends axè and attracts attention from a far! When played well people play, sing and feel different when in attendance at a roda.

In 1993 Master Marrom gave me advice that was simple, so simple and valuable that I will thank him forever. After realizing that I was interested in Capoeira and actually taught in London – we were in Rio-de-Janeiro at the time – he said “Simon if you teach you must learn to play the Berimbau well, you need to know how to tune it and start looking for good sounding instruments yourself because no one wants to sell a good one” how right he was and how lucky I was that I understood him and listened.

Since that day I started to pay more attention anytime I saw masters playing. Looking for the way they held the instrument, how it was strung up and what type of tone, resonance and timbre they liked. I started to notice certain similarities with some masters and sounds I preferred.

In the beginning I often practiced alone and always felt that I should play along to a popular cd to help me keep in time and improve my listening skills – I wasn’t gifted with either good time keeping or rhythm – it was a struggle. I couldn’t feel anything and thought that I should give up; then I started to notice that sometimes it felt right and the sound and swing was present this always happened when I wasn’t trying.

I have had a few influences along the way from some of the older masters including Gato Preto, João Grande, Boca Rica, Nò, Nenel and João Pequeno all of which taught me something important even though they played differently. I was always interested in the similarities they had.

One of the most interesting things that I ever saw and thought about in the Capoeira bataria is not about the berimbau it’s self but the instruments that support it; especially the pandeiro’s and atabaque’s role to improve the berimbau’s prominence. When I saw master Gato Preto take the atabaque out and then asked for the pandeiros to be played in a more interesting way - he also adjusted the berimbau’s so they weren’t clashing – I felt enlightened.

Some times I have been criticised or told “this instrument is in the wrong place” or “we cant play because there’s no atabaque” but I don’t feel this is incorrect. I believe that when the instruments are played well observing basic musical principles changing the order actually helps to create different energies that influence creative play in the roda. Archive footage and photos do also show us that the instruments are used in different arrangements and rarely the set-up that has now become the norm.

Personally I like all the instruments I’ve come across and think that spontaneity can be much more important than order. Nothing is written in stone and providing the instruments are being played well –listening and adjusting to what is going on – order becomes something not so relevant.

Photo Guy Roberts

Urban Ritual is back

Urban Ritual is back and we have found a very welcoming venue. After two months with no place to take the roda I stumbled upon Charlie Wrights - a popular venue that has recently been refurbished – and John, the owner said “lets give it a go” on the day he enjoyed watching the games and I noticed that he has Jogo de cintura - what a relief.

I have always been very sensitive to the spaces that we have our rodas and it is an important consideration when planning. When public onlookers and guests that don’t do capoeira feel comfortable to watch, or not, it brings a type of innocent axè to the ritual; one that might have more influence than we realise in the moment. I’m very happy that the space and its staff welcome us to play capoeira in the way we wish without compromise. And I’m left feeling a very positive energy for future rodas there. I also received encouraging feedback relating to the Sunday afternoon slot rather than the Friday night.

I would like to thank everyone for their positive thoughts, presence and participation.


The next two dates are 19th April then the 24th May 15:30 start
@ Charlie Wrights International Bar
45 Pitfield Street
London N1

Times are Changing

From the 13th – 16th November 2008 The Angoleiros do Mar Capoeira group hosted an international meeting in Paris. Present at the meeting were friends, colleagues and students from across the globe of Fubuia. Fubuia is 31 years old, born in Bahia, Ilha da Itaparica if I’m not mistaken; he has now lived in Paris for the past 5 years.

Marcelo Angola is master of the Angoleiros do Mar and when he told me that I was on the guest list it did encourage me to train a bit harder for the weeks running up to the event - I wanted to be able to stand my ground at least when entering the Rodas of the event. I had seen how Marcelo’s students play when they all get together in Exeter 2007 – it appears rough and ready and a little dangerous but it is also very strategic and technical. I have never seen them really injure each other but there are a few knocks and bruises incurred!

The training, rodas and social moments were all relaxed and enjoyable – some people wore t-shirts that represented their groups but over all the vibe was one of unity across the different groups. The main thing that struck me with Fubuia was his apparent and complete lack of bias towards lineage or style of play – it appeared to me that during this event Capoeira was Capoeira and I did not feel that anyone was suggesting that something was wrong.

The Angoleiros do Mar have been around Europe now for about five years and their presence is greatly appreciated by me – Marcelo has been my friend and colleague since arriving in the UK. I wish them luck, good fortune and Muito Axè in the development of their Capoeira Angola movement in Europe – it’s with this type of meeting that the stereotypical view of Capoeira Angola can be broken down.

Different rhythms = Different games

Capoeira music includes different berimbau rhythms; each rhythm could be used to dictate different types of games. Iúna - the rhythm introduced into Capoeira by Master Bimba - has a different musical feel and is easily recognised by beginners, graduates and general public. At Urban Ritual - a monthly Capoeira roda - you will find that the Iúna rhythm/game has been given a dedicated time slot of about 15 or 20 minutes.

The game played to Iúna is different from our other games. Normally at our Rodas we use the rhythms Angola, São Bento Pequeno and Sao bento Grande. The pace often changes but the game remains largely the same; players study each other in ground and upright play always looking for the right moment to place a well timed rasteira or cabaçada, chamadas can be used and songs often influence the players - it’s strategically challenging.

How is Iúna play different? Master Acordeon (former student of Master Bimba) in his book – Capoeira: A Brazilian Art Form – says that the Iúna rhythm called for a slower-paced, refined and elegant game. Graduated students were expected to use the acrobatic throws called cintura desprezada or Balão. He also says that Iúna gave them a time to show off. I myself have witnessed that when the berimbau plays Iúna the physical play changes; the rhythm it self changes the way you move. I see the game to Iúna as a time to relax, not forgetting the fight but also not constantly searching to trick the other; if you need to outdo the other player do it by performing your acrobatics in a stylish, spaciously aware elegant way; better still use this time to try and support the movement of the other.

Capoeira Angola is great and the Urban Ritual nights have all been exciting and unique. Adding a more acrobatic game using the Iúna rhythm hopes to encourage participation of all contemporary, regional and angola exponents in what could be thought of as part of the roda with common ground. It’s quite clear that in the past rodas had moments for different types of play so lets not forget what we know. We aren’t creating tradition just continuing what the masters have done before us.

Urban Ritual Capoeira London

Capoeira night out, down the pub for a game if I'm not to late. That's Urban Ritual, no uniform required, no cost and leave politics at home and that's the plan.


These rodas aim to assist development and growth of capoeira. I think that street rodas often feel quite different from the academy rodas, and the summer is to short here in London...so lets do a roda in a bar and try to get the feeling that it's a street roda. Why not? Where was Capoeira played before academy's existed?


Hi I'm Simon


I just want to write a bit about why I like the idea of a monthly Roda in London. Over the past 15 years I've watched capoeira grow and most students seem keen to visit other capoeira rodas so they can asses their own capoeira ability or style. If or when we go to a class often the main time is spent on the class, after all people have paid and are there to learn. Once a month gives it more focus, as we have weekly rodas in our respective groups. Monthly means to me that it is special, indeed it might be with the little %£ that is taken at the bar used to invite special guests. After the games no time is wasted with going to another venue to have a little chat about it, we can drink right there and then.


After 5 successful nights I'm inclined to believe I'm not alone in thinking that the time was right to start such a ritual. I have had great pleasure watching the games meeting the masters and feeling the axe. The next Urban Ritual is the 26th October with Master Cobra Mansa. Hope to see you there.