Urban Ritual Capoeira

No atabaque! That's how it was!

2011-10-12T05:20:00.000-07:00

Anyone that feels that Urban Ritual breaks tradition because it doesn't use an atabaque might not have had the chance to hear Mestre Waldemar talking in the few interviews that he did. Below- in darker print - is some text that I found that seems is a translation of one of those recordings and it might help understand why I chose to use no drum.

Twice at Urban Ritual important people just before starting the roda have said that I shouldn't do a roda without the atabaque. The reasons they gave were different one being that they really miss the energy that it brings and the other because they would get moaned at and complaints if a photo comes out with them associated with an Angola roda that has no drum. Both people came to me after and announced that during the roda they hadn't noticed it was missing!

I agree that when played well in a supportive role for the berimbaus the atabaque is missed this is greatly enhanced if the pandeiros are being played badly. I am pro pandeiro as since not using the drum much two or three people in my group have started to play the pandeiro better. Mestres Gato Preto and No both said to me that it's an important instrument to have near by because we could have samba or Maculele but in Capoeira it wasn't necessary. My point is after reading the text below are we quite sure about what traditions we are saving or loosing? If Bimba called Waldemar an angoleiro and he used no atabaque surely that tradition amongst "angoleiros" has been almost lost. Has the capoeira angola world been contaminated in some way that stops it seeing the evidence about it's roots we have?

Mestre Waldemar was born in 1916 and died in 1990, trapped in the same destiny of the old mestres of Bahian capoeira who live on the crossroads between fame and hunger. As in the case of other old mestres, Waldemar’s family couldn't afford his burial. The money for the coffin and other items was donated by students and public organizations. Mestre Pastinha also warned about this contradiction in 1981: "Bahian capoeira is at a high point in the 'market,' while the main mestres who maintain its tradition, such as myself, die in a state of severe poverty."

Waldemar began learning capoeira in Periperi in 1936 with Telabi, Ricardo da Ilha de Maré, Siri de Mangue, and Neco Canário Pardo. He would buy red wine for the mestres, who would drink it and say, "'Grab the mouth of my pants leg.' I used to get up to grab it and he would turn around in that amazing trick and do a rabo-de-arraia. When I would get up he would say: 'No, don't get up, here comes another!' His students played with us as if we were already good." Like Canjiquinha and others, Waldemar learned capoeira intuitively, in the old way of teaching/learning capoeira by observation and imitation as opposed to systemized teaching. The student had to learn how to handle himself quickly.

In 1940, Waldemar began teaching on the street of Pero Vaz in the neighborhood of Liberdade. He continued many of the traditions, keeping the roda as the main training/learning area with hints from the teacher. At first he held his roda in the shade of a large tree, and later in the 1940s built his hut on that site.

In those times (as well as today), bars and boutiques were gathering points for socialization in the working class neighborhoods, especially on the weekends – everyone would gather to drink, chat, play cards and dominoes. Sunday was a special day for "vadiação" – the term vilified by police reports, in which it had the connotation of loitering, bumming around and being up to no good, was adopted by sambistas and capoeiristas. The owners of the bars prepared special menus on Sundays and allowed the capoeira, samba, and serenades to happen (paying their participants with drinks) since the performances attracted more customers.

The famous writer Jorge Amado described the scene: "Famous capoeiristas gather in Waldemar's school: Traíra, Onça Preta, Cabelo Bom (a famous fighter), Curió. They play on Sunday afternoons. They arrive dressed in white pants and jacket, and some wear a hat (…) They fight the whole afternoon, performing the most difficult movements: they leap, they stretch out their bodies just inches above the dusty ground, and at the end of everything their clothes are just as impeccably clean as before. Every once in a while, the capoeiristas and the orchestra guzzle a beer to offset the heat." The white suit, although traditional, was not obligatory. Some of the capoeiristas wore shoes, and others were barefoot.

Waldemar trained his students in the use of and defense from weapons. The "dentinho de angola," a mortal blow that Waldemar invented, he did not teach to his students because he didn't want them "to kill anyone by accident." However, the police asked him to stop teaching weapons techniques to his students, so Waldemar stopped.

Waldemar's authority enabled him to maintain order in the hut. Although capoeiristas arrived at the roda armed, they went to the bar and asked the bartender to hold on to their weapons while they played. Waldemar didn't have to use authoritarianism to impose control, instead he dominated the environment as a great artist in the exercise of his art:
by seduction.

In Waldemar's roda, there was a referee with a whistle to control the violence of the games. Waldemar states that he never had problems or fights with anyone. "When there was a disobedient student, I got the rest of the group together and told them to beat him up, lightly (…) Once I asked the police chief of Liberdade to send an officer to my roda, since lots of people showed up there: old mestres, tough guys with wide-legged pants. The police chief said, 'You don't need a police officer. I'm not going to send anyone. Tell your students to beat up anyone who causes trouble and then bring the guy here.' I had all this respect."

When the money game was played in Waldemar's roda, the money was often divided in order to pay for the participants' bus fares or drinks. "Everything that I earned, I divided with my students. When I was drinking beer and someone tossed money into the roda, I would tell the referee to keep changing the pairs of players. 'Divide it amongst yourselves, drink, do whatever you want. I just don't want trouble.' Afterwards, I'd go to the movies with my wife."

Around the 1950s, the money game was considered demeaning, anti-hygienic, and humiliating, but Waldemar preserved this tradition because of the great skill required to play it. In order to solve the hygiene problem, the money was placed inside a clean handkerchief. If the audience on a particular day did not offer any money, the capoeiristas sang:

Quem pede, pede chorando Whoever asks, asks crying
Quem dá merece vontade Whoever gives merits good will
Ô triste quem pede It's sad for whoever asks
Com sua necessidade With their necessity
No céu vai quem merece Whoever merits it goes to heaven
Na terra vale quem tem On Earth, those who have money have value
Dedo de munheca é dedo Finger of a wrist is a finger
Dedo de munheca é mão Finger of a wrist is a hand
O sangue corre na veia The blood runs in the veins
Na palma da minha mão In the palm of my hand
É verdade meu amigo It's true, my friend
Nossa vida é um colosso Our life is a colossus
Mais vale nossa amizade Our friendship is worth more
Do que dinheiro no nosso bolso Than money in our pockets
Mestre Waldemar's bateria used three berimbaus, three pandeiros, a reco-reco, and agogô. "Later they put the atabaque in capoeira rodas," he says, "but we didn't used to have that." At 71 years old, Waldemar confessed, "I'm still proud of my voice, of singing my ladainhas. The slow, monotonous song of capoeira angola (…) Caiçara respects me. He says that when I sing, he gets goosebumps. When Bimba saw me playing berimbau, he said, 'today I have seen an angoleiro. I'm filled with enthusiasm because of you, your voice and your toque.'"

Most greatfull for any thoughts or comments.

London capoeira scene

2011-03-24T03:13:00.000-07:00

Samba de Roda @ Urban Ritual

"The capoeira scene in London is different from other city's". I have been told this by at least ten people that are visiting London and enjoying some capoeira at the same time. What are they talking about?

I can't judge what capoeira is like elsewhere but I can tell you some facts about what is going on in this great capital.

London capoeira has a few collaborative rodas that offer a place for students, masters, teachers and public to take part and help create a joint experience motivated by the wish to play capoeira with people from different groups. Most groups have open rodas and if you go you will be welcomed and treated well if you know how to behave when visiting. These rodas are great but I'm not talking about these. I'm talking about places that don't have a dominant number of participants from any one place; these other places have a mixture of people that represent a melting pot of similar thinking capoeiristas that join forces for a few hours to Vadiar!

I'm talking about summer street rodas, urban ritual, Friday axè and now the capoeira co-operative all of which take place in central London. Contributor's to Urban Ritual include Marrom Capoeira e Alunos, Amazonas, Filhos de Angola, Kabula, Senzala, Angoleiros do Mar, Cordão de Ouro, Marazul, Mestre Polako, Mestre Pedreiro, Muzenza,

Capoeira União, Capoeira Ceara, Capoeira Angola Palmares, Raizes de Rua, Aprendendo Angola, capoeira angola London and a host of individuals many of which come from outside of London. If you visit any one of the London rodas it's quite likely you will meet or play someone from the groups mentioned; it's the same people popping up in all three of the rodas mentioned above! (If I have forgot someone please let me know and I'll edit this post). The above list probably isn't complete and over the next few days I will try to include all the people that have attended UR.

On April the 9th a & 10th the London capoeira co-operative and urban ritual are starting to promote a monthly weekend of capoeira - a collaboration of a number of masters and teachers. It will start with Mestre Carlão giving classes and being present in both rodas and it will celebrate capoeira in London welcoming the summer and return of Kabula's leader.

Is this or something similar happening in other city's? I searched collaboration on google and the first thing I found was Wikipedia description with the first line saying "Collaboration is a recursive process where two or more people or organisations work together to realize shared goals, (this is more than the intersection of common goals seen in co-operative ventures, but a deep, collective, determination to reach an identical objective) Is that what the visitors are talking about?

Comments welcome.

Hackney Community Roda

2011-02-11T01:32:00.000-08:00

In 2009-10 I attended the School for Social Entrepreneurs on a recommendation by the chairman of the British Council! The idea was to improve my ability to reach more people and achieve greater impact with my teachings of capoeira. The teaching/learning methods used by the school were very simple - one of them being "we learn by doing" which is amazingly true and very uncomplicated.

So what did I do? Firstly I thought about what exactly could be the most interesting and important activity that would help create a great capoeira environment for the future. I come up with - Invest time in teaching children near to the place that I live. I presented my idea to the adults that I teach in Hackney and Projectgem with feedback that amazed me - we actually managed to form a kind of team and we have since developed a small group of young people that play capoeira.

It's now been a little over a year teaching young people and at the end of 2010 winter term East London Capoeira hosted an end of year roda; something normal in capoeira communities only this one had a different objective. We wanted to include the children that we had been teaching and give them a chance to watch, feel and play capoeira in a normal roda. Despite quite heavy snow fall 65 people attended the roda. The group was made up by capoeira players, masters, teachers, children, parents and some curious friends of the enthusiasts. Reflecting on the event I realized that it was an important day for the children and we will now repeat this type of roda in order to give the children and adults another focal point in their capoeira life.

The day will take place three times a year towards the end of each school term and include

1. Adult Master Class - 2 hours
2.Young peoples class - 1 hour
3.Roda - children and adults together one running into another
4.Food. The food will be a traditional Brazilian or Jamaican type food appropriate for a hungry capoeirista!

Cost
Adult class 12pm start £10 - Master Robaval - Filhos de Angola
Children Class 2pm start £5 or contribution
Food £5

Note - Soft drink will be available and you can bring your own wine, beer or coffee! Please announce your attendance and advise if you will want food. Masters and teachers that support the roda will get a food ticket free.

Urban Ritual Helsinki

2010-11-20T06:27:00.000-08:00

For the past three months Carcara from Marrom Capoeira & Alunos has promoted a monthly roda in a bar modeled on Urban Ritual London. I attended the third of these and become amazed with the parallels that I could see with Urban Ritual London.

Things like being in a bar open to the public, taking place only once a month and being called Urban Ritual are obvious resemblances but does this mean that the type of games and vibes will be similar to London's monthly ritual? And does being in a public place encourage collaboration with others that teach in the respective city’s?

I was very pleased to see Bom Cabelo, Cabeca, Mikko, students of Siri and of course Carcara all together playing and owning the roda. It’s as if everyone takes responsibility for what goes on and it seems to have a little bit of a “crazy” edge to the proceedings. These are special rodas slightly different than weekly rodas held in the spaces where we teach our classes.

I believe strongly in developing a collaborative roda that can involve teachers and students from any type of capoeira. This is something I’m sure always did and still does continue in Brazil with those that are in the lore of the art. And I now believe that having a free open roda where we can socialise, invite guests and feel a slightly different flavour in the games helps capoeira in subtle way. What do you think?

10 years Cordão de Ouro in London

2010-11-06T08:14:00.000-07:00

The Old Fulham Baths now turned into a dance school has been taken over by capoeiristas. Amongst the gathering are students from across London and further UK, Europe and of course Brazil. Three of the largest studios are full of very fit, keen and highly motivated capoeira enthusiasts. It is a celebration of 10 years of CDDO but it represents too how capoeira has grown across Europe.

I first remember Ponciano – the group leader - here without Casquinha and working at Euston station selling soup - we met a few times to do a little training somewhere. He was a young lad, very keen to train, knew my master/leader Mestre Marrom so we had things to talk about. He seemed to love the idea that capoeira was around and he could join in.

I was teaching capoeira in the same place as I am now – Hackney near old street. Ten years ago there weren’t that many people running groups in London. I remember one day very clearly that I think explains why the success story that has been created by Ponciano, Casquinha and their students unfolded– there are many reasons for success this is but one.

I had a job in Eton Collage and taught there for 3 years. When Project GEM- a UK registered charity - was launched Henry Franklin organised for me and my etonian students to do an assembly. As you can imagine it was a rather formal affair; we had 13 minutes and 30 seconds in total which we broke down 1 min getting everyone in, 30 seconds introduction, 2 mins explaining why Project Gem was important to us, 2 mins what is capoeira and the rest to demonstrate capoeira games. We were told that everything had to run to time as the boys need to be in class on time.

Being a traditionalist I wanted to play capoeira to the sound of the berimbau, pandeiro, song and the Axè we feel. I had a few students at the school but I wanted to have some impact – these guys could be future kings! I invited Ponciano, Pedreiro and a few London Hackney students to help things along. All of us except Ponciano went the night before and stayed at the school so we weren’t late. When I spoke to Ponciano he said “I’ve seen the train time and I have to leave early about five.” I thought he might not come.

He arrived on time so he could get the run down of what we wanted/had to do. I felt a lot of Axè in that grand hall the boys listened and watched in awe and gave a great round of applause. It was a success.

Someone once told me “any job he just says yes - paid or unpaid” they were talking about Ponciano who works hard, is reliable, very thoughtful and this is what has lead him to be lucky and successful. It seems to me that capoeira across the globe has grown from the passion, dedication and commitment of the masters, teachers, promoters and all involved. I wish the Cordão De Ouro great thanks for including me in there celebrations and I hope that the two classes I gave were of benefit to your trainings and vision development.

Obrigado todas

Fantasma – East London Capoeira

LESSONS LEARNT ALONG THE CAPOEIRA WAY

2010-09-08T16:55:00.000-07:00

Today in London we have many opportunities to learn capoeira. We can choose the group that takes our fancy as the main styles of contemporary, angola and regional are all being taught here. Capoeira masters, teachers and instructors across the board are passionate about passing on what they know so that their students become great players. Can they teach you everything? Students have to do a lot of learning in capoeira before they feel comfortable entering a roda. It is difficult to pass through many phases of learning that can contradict what we had already believed. And it is often at regular practice that we learn the moves, pair work, sequences and songs that makes our group different from another.

Mestre Acordeon writes “ learning techniques, physical conditioning and the acquisition of rituals, manners, and musical knowledge should not be considered capoeira, but only a training.”

So is capoeira only what we do in a roda? If it is and the roda is something that brings together people from different groups - friends and rivals alike - should one important lesson be visiting other groups and rodas? Last week I was at a street roda and a master turned up with two students; the roda continued for about 3 hours and everyone got the chance to play quite a lot. At the end I spoke with the master and he said “I’m taking them to another roda now as they are very keen and the most important thing for them is visiting and gaining expeirence”

Going to another roda can confront us with situations that aren’t what we are used to, songs we don’t know, games that are trickier or not tricky at all than those at home, rhythms that are slower or faster than normal, people that cant play on the floor or people that cant play standing up and many other differences from our way of doing things. I believe in taking any keen, loyal student to visit other groups for the roda; it can be a little confusing for a novice but I have seen it be very confusing for the older student that has never visited and seen the capoeira world that is out there.

Comments welcome

Urban Ritual with Saxaphone

2009-11-18T02:41:00.000-08:00

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

2009-05-30T14:36:00.000-07:00

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

2009-04-12T03:56:00.000-07:00

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

2008-12-06T12:31:00.000-08:00

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

2008-10-13T07:23:00.000-07:00

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

2007-10-06T19:40:00.001-07:00

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.