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Casquinha Capoeira - Meu Patua Song Tutorial

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Batukiddos Joga-Thon 2026 (Youth Capoeira Batuque Batizado Fundraiser)

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Join me in supporting Brasil Brasil Cultural Center : https://go.rallyup.com/jogathon2026

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Que bom, estar com voces

aqui nessa roda

com esse conjunto

Bahia Axé, Axé Bahia

(coro) Bahia Axé, Axé Bahia

io, ioioioio, ioioioio, ioioioio io, ioioioio, ioioioio, ioioioio

(coro) io, ioioioio, ioioioio, ioioioio io, ioioioio, ioioioio, ioioioio

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Kids Show & Solos - Capoeira Karkara Batizado 2022

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A maré tá cheia ioio, a maré tá cheia iaia

A maré subiu Sobe maré A maré desceu Desce mare

Olha a maré de mare Fui pra ilha de maré

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[Capoeira Song] Mestra Jo - A Mare Ta Cheia - Lyric Video

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[Capoeira Song] Mestra Jo - Santo Antonio quero agua - Lyric Video

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Quem vem lá - sou eu Quem vem lá - sou eu Berimbau bateu Capoeira sou eu -- Sou eu, sou eu Quem vem lá

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We value your privacy. We use cookies and other technologies to keep the site reliable and secure, tailor your experience, measure site performance and present relevant offers and advertisements, as described in our Privacy Policy.

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Hello Families! We are so excited to spend the day celebrating the kiddosn and their hard work ... in nature and all together as a community! Sunday's Beach Day will be a potluck with a side of acrobatics, roda and a gratitude ceremony! Bring a beach blanket, some food to share, your own drinks ...

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For extra credit points:

Which word is different from the way we sing it?

What is different with their clap?

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Madeira de massaranduba LUA CAPOEIRA Ensenada México Calado 25jun14

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The video is unlisted so no one without the link should be able to see it ... if folks are uncomfortable with it being up, please let me know and I'll take it down.

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The video is unlisted so no one without the link should be able to see it ... if folks are uncomfortable with it being up, please let me know and I'll take it down.

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33rd Annual Youth Batizado/Graduation Registration! 

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33rd Annual Youth Batizado/Graduation Registration! 

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Dear Capoeira Families,

It is with great warmth & pleasure that we announce Capoeira Batuque's 33rd Annual Youth Graduation/Batizado and welcome our friends, family and community to celebrate with us on May 26-28.

This event gathers some of the greatest talents in Capoeira and ignites magical moments for us all to share.

The cost for the graduation is $125 until April 15 and $175 after April 15

Full event includes

-performances

-naming ceremony

-belt ceremony

-t-shirt

-rehearsals

-workshops

-belt making

-certificate

-beach gathering
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A Batizado (baptism) is a graduation ceremony where new students receive their first Capoeira Cordao (belt), Capoeira Apelido (nickname) and are “officially” welcomed into the art form of Capoeira. Each student plays with a Mestre (Master teacher) in order to be blessed and welcomed to the Capoeira world. The Mestre that plays against the student become their Godfather/Godmother, and the same Mestre gives the student their Capoeira name during the ceremony. Students who have already been through their first Batizado excel to receive their next belt. This is a very exciting time in a Capoeirista’s journey. We can’t wait to share it with you all!

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Some inspiration for the kiddos games and solos! 

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Some inspiration for the kiddos games and solos! 

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Kids Show & Solos - Capoeira Karkara Batizado 2022

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Bahia Axe! Lyrics:

Que bom, estar com voces aqui nessa roda com esse conjunto

Bahia Axé, Axé Bahia
Bahia Axé, Axé Bahia (coro)

io, ioioioio, ioioioio, ioioioio io, ioioioio, ioioioio, ioioioio (coro)

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Great way to get some basic training in! 

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Great way to get some basic training in! 

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Made by our own Mestre Muito Tempo

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Capoeira Art - as seen on the background of this page 

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Capoeira Art - as seen on the background of this page 

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By our own Fumi Katano

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Shop CAPOEIRA ART PRINTS & GIFTS by FumiMalaguetaArt located in LA, California.

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Written by our own Randal Henry (Author) and Manal Aboelata-Henry (Author) with Keef Aura (Illustrator)

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C is for Capoeira: The Basics of Capoeira from A to Z

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C is for Capoeira: The Basics of Capoeira from A to Z [Henry, Randal, Aboelata-Henry, Manal, Aura, Keef] on Amazon.com. *FREE* shipping on qualifying offers. C is for Capoeira: The Basics of Capoeira from A to Z

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Please post any questions, thoughts or ideas here! 

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Please post any questions, thoughts or ideas here! 

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Mestre Amen Santo - Founder of Capoeira Batuque 

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Mestre Amen Santo - Founder of Capoeira Batuque 

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Capoeira has a beginning, but no end - This was how Mestre Amén Santo began his workshop at our academy.

Founder of the group Capoeira Batuque, and artistic director for the Capoeira scenes in the cult film Only the Strong, Mestre Amén Santo is also renowned as a great musician and percussionist. In this interview he shares with us some highlights of his long history in the world of Capoeira.

The following is a lightly edited translation of the transcript of our interview with Mestre Amen Santo, which was featured in Episode 2 of the Papoeira Podcast.

How and When did you discover Capoeira?

I started Capoeira when I was 7 years old.

I lived in the Liberdade neighborhood of Salvador, and there in a shack there was the academy and berimbau factory of Mestre Waldemar da Paixão.

The first time I saw Capoeira I was 6 years old, I went to the supermarket called Mercado de Aguinelo, where there was a roda that Mestre Waldemar always did, right in front of the store.

I went to the supermarket with my mother, saw this roda, and out of curiosity I stopped to watch. Mestre Waldemar, for the first time, began to play Capoeira with me in the roda, and this was my introduction to Capoeira.

It was about six months later when I discovered that Master Waldemar had this berimbau factory that was practically behind my house. It was so close I could walk there. I started to go there with other boys who were there helping to make berimbaus, and from there came the informal teaching.

The Mestre showed something here, something there, but it was not really a Capoeira class, he just passed some movements.

Once I got the taste for Capoeira, I started looking for more, to train in other places.

I met Mestre Aguila and I trained a lot with him, but it was mainly training with the other capoeiristas that lived in the area, it was in the capoeira rodas... and so began my experience in capoeira.

Who do your consider your Mestre?

I'd say it was Mestre Waldemar who introduced me to Capoeira, but I also have a great deal of respect and admiration for Mestre Aguila.

Can you recount how it was training with these Grand Mestres?

The relationship with Mestre Waldemar was like that of grandfather and grandson, very affectionate, but also very tough.

It was a beautiful relationship that I do not think I fully appreciated at the time. I did not know the true value of this teaching back then... even if it was informal it was a life lesson for me.

With Mestre Aguila I trained with him there in the Duque de Caxias where he taught, and there we really trained hard, he was a very severe person.

I remember that I came to train one day and had a lot of chairs spread out across the room. He was stood talking in the middle of the chairs, and suddenly gave me a benção to the chest, and I flew backwards over the chairs, and everyone was laughing, but it was a way of inducting you to the academy. It was one of the tests they did to know if you really wanted to train capoeira, and to see if you would come back. And in the next class I was right back there.

How was the process of creating your own group?

My first group was called Ginga Bahia but later became Capoeira Batuque.

We are now celebrating 30 years of capoeira in the United States. Originally it was a collaboration with Mestre De Sola but as time went by Mestre De Sola followed another path to continue with his work, and I stayed with Capoeira Batuque.

I wanted to form a group that had a deep focus on research, as I like to research a lot, and I think a capoeirista is a teacher, he is a Mestre, but he is also a researcher who continues to learn.

There are many people who discovered Capoeira through the film "Only the Strong". You were involved in the making of the film, how did that come about, and what did you think of the result?

To begin with Mark Dacascos was training with me before the movie. When it came to the project of the 20th Century Fox movie, they came to my gym, which was very small, very humble, they saw the class, they did the class and they liked it very much.

They asked me to be the script assistant for the movie, to do the choreography of the movie and to work on the Capoeira part.

I started working on it and as Mark Dacascos was already an actor, he also auditioned and passed. They wanted only Mark Dacascos and I to play capoeira, to have only two people playing capoeira and I said,

"Folks, if you're going to make a Capoeira movie, you have to have a roda, you have to have a berimbau, that's what Capoiera is".

If you only film two people playing, it will not showy what Capoeira is. It took me about 3 months to convince the producers and the director until I had friends who lived in Florida, a great friend of Mestre Cesar from Alabama, Pele, Branca de Neve, a friend named Claudia, I called them and they came, we made a roda, and they loved it and they understood the context.

After this they worked a roda into the beginning and the end of the film. And then we worked with Mark the fight choreographies and Only the Strong became a reference in the world of Capoeira, where it really helped and transformed its visibility.

It has created great visibility, not only in Brazil, but throughout the world. And that's when capoeira really expanded a lot.

It was only an introduction because it really could not fully show Capoeira, it's a movie and film is illusion.

The film exaggerated some things, but it does not stray too far from reality.

You are a great percussionist as well as a capoeirista. Did you love for music come from capoeira or was it already there?

I was raised in a Terreiro de Candomblé. In this terreiro you have to play music. So I am Ogum in Candomblé, and we all played since childhood in the Batucada, boxes, bottles, plastics, anything you could get your hands on and make a sound, and all this developed my passion to play percussion. If you go to Salvador you will see children playing tin cans, this is something that is deep inside us.

And with all this I went practicing, having more experience. Working in the Olodum da Bahia group also helped me a lot because it gave me a more global, not only national or regional vision. Percussion has always been very close to me, I really like the music and so the music in Capoira for me is the secret of art.

How did you get your Apelido, Amén Santo?

My real name is Joselito do Espirito Santo. People used to say "Joselito do Espirito Santo, Amén" and the name stuck.

What would be your advice to someone just starting out in Capoeira?

I think Capoeira has many paths, and you have to see which path is right for you.

Each one has different tastes, so look at this. One thing I always tell beginners to never compare themselves with another person and want to do what another person does. You have to accept yourself as you are, understand that you have limits and also have things that you will do well that no one will be able to do. You have to accept yourself.

I think the biggest lesson is not wanting to copy and not wanting to be like another person, that happens a lot in capoeira. Ah, I like this movement, I want to be like him... it will never be the same.

Each one has their own personality, each has their own way of being.

I think the advice I would give is:

Look to see what works for you, what will make you happy, and get the best out of your capoeira.

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Interview with Mestre Amén Santo - English Translation - Papoeira.com

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A Capoeira tem começo mas não tem fim. Capoeira has a beginning, but no end - This was how Mestre Amén Santo began his workshop at our academy. Founder of the group Capoeira Batuque, and artistic director for the Capoeira scenes in the cult film Only the Strong, Mestre Amén Santo is also renowned as ...

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One of the few women in afro brazilian history who we have information about

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Long Hat House: indie game studio

A bit of History

(Esse conteúdo em português? Clique aqui.)

We are glad you're interested in knowing more about the historical Dandara! It can be difficult to find information about her, even more so in English - so we figured we'd include this text as a starting point.

If you got here from another context, we are Long Hat House and we created a game called Dandara. It is an exploration game - you can find more about it here. We let it be known through our interviews and articles about the game that the protagonist was inspired by a historical character, but the game itself does not try to tell the history behind her. That is why we felt it was important to write a bit about her somewhere -here!

This text was actually taken from the section "Dandara dos Palmares" in our guidebook, an item from the Super Rare Collector's Edition of the game. Even though it is quite short, we also think it should be available to all.

Dandara, the titular character, was inspired by the heroine who, centuries ago, faced some of the cruellest moments from the Brazilian past and became a symbol in the fight for freedom and dignity. Although the game setting is only loosely connected to reality, her name carries a lot of meaning to the story we tell. Hopefully, we can bring some of that meaning into your life, as well.

Slavery was legal in Brazil for over 300 years, bringing more than 5 million African people here through vile traffic. Estimates show that hundreds of thousands of people died while still in the ships, because of the conditions they were held in. However, those who stepped on Brazilian ground weren't rewarded with better circumstances, as they were forced to work until their death, dehumanized.

Where there is oppression, there will always be resistance; a continuous fight that only ever culminates with the end of such cruelty. Against slavery, much of that resistance was formed by those who managed to escape and established settlements called Mocambos, where they got together and fought against the attacks from whoever tried to recapture or destroy them. Sometimes many Mocambos formed a single entire community, structured along the lines of African societies. Those communities were called Quilombos.

Quilombo dos Palmares was the largest one to exist in Brazil, housing, at some point, an estimated population of 20,000 - its largest Mocambo was as populated as the city of Rio de Janeiro, which held over 6,000 inhabitants then. Its people were said to be experts in strategy and in a technique for combat and resistance that relates to contemporary Capoeira, through which they withstood almost a century of attacks from the much more heavily armed opponents. Palmares had notorious leaders who became generally known in Brazilian history - it was the case for Ganga-Zumba, Zumbi, and Dandara dos Palmares.

We don't know her face; we have found some other interpretations of Dandara's appearance on the internet, some of which without due credit (those whose original information are available were included here with links). As they were difficult to find, that shows the importance of keeping the legend alive. If you feel we got the credits wrong here, please contact us.

Dandara, differently from the others, was not documented in reports from that period. These were written by the enemy, minimizing Palmarino actions and always omitting the influence of women. This sparked some debate around her stories and even her existence, elevating her to the realm of a legend. However, even if she is to be considered a fictional character, she represents very real, and not few, women who have fought and still fight against centuries of oppression, whose names have been effaced by these oppressive forces. You can find people, social movements, and places named after her today. It is impossible to deny the strength of her symbolism in the continuous fight for black women's rights.

In Dandara's tales, she is described as an outstanding leader, fighter, and strategist alongside Zumbi; she was directly responsible for many of Quilombo's victories. It is said that, after the Quilombo fell, when ambushed on a cliff, she took her own life, refusing a life of subjugation.

Slavery legally ended in 1888, but the law didn't bring a solution for social segregation and the terribly difficult situation those people were forced into, today inherited by millions. A whole culture of racism built throughout those centuries was perpetuated as thoughts and habits that, more than a hundred years later, remain common. It left in Brazil more than a scar, but an open wound that is far from healing.

This text was written under supervision of Brazilian historian Felipe Santos Deveza.

Some more reading in case you are interested:

BLACKBURN, Robin. The Making of New World Slavery: From the Baroque to the Modern 1492-1800. New York: Verso. 1997. Pp. v. 602.

TOMICH, Dale W. Through the Prism of Slavery: Labor, Capital, and World Economy (World Social Change), Maryland: Rowman & Littlefield, 2004.

ARRAES, Jarid, As Lendas de Dandara. Editora Cultura.

ALENCASTRO, Luiz Felipe de, O trato dos viventes (The Trade of the Living): a formação do Brasil no Atlântico Sul. São Paulo: Cia. das Letras, 2000.

GOMES, Flávio dos Santos. A hidra e os pântanos: Mocambos, quilombos e comunidades de fugitivos no Brasil escravista (séculos XVII-XIX). São Paulo: Polis/Unesp, 2005.

LARA, Silvia Hunold. Quem eram os "negros do Palmar"?. in: RIBEIRO, Gladys Sabina; FREIRE, Jonis Freire; ABREU, Martha e CHALHOUB, Sidney (orgs.). Escravidão e cultura afro-brasileira: temas e problemas em torno da obra de Robert Slenes. Campinas, Editora da Unicamp, 2016, p. 57-85.

SCHWARCZ, Lilia e GOMES, Flávio (organizadores). Dicionário da escravidão e Liberdade - 50 textos críticos, São Paulo: Companhia das Letras, 2018.

SCHWARTZ, Stuart, Escravos, roceiros e rebeldes. Bauru, Edusc, 2001. (1992)

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Long Hat House: indie game studio A bit of History (Esse conteúdo em português? Clique aqui.) We are glad you're interested in knowing more about the historical Dandara! It can be difficult to find information about her, even more so in English - so we figured we'd include this text as a starting point.

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Note some of the pictures may bring up strong emotions.

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Capoeira at its roots is a complex and ever-evolving Afro-Brazilian cultural tradition of self-defense, music, movement, games, and ritual. It is most notably characterized by its acrobatic rhythmic martial art practice. Capoeira stems from the period of African enslavement in Brazil where Africans from various tribes were forced together, and developed ways of jointly preserving and expressing their cultural practices while also protecting themselves to resist the culture and reality forced upon them by their European captives.

Europeans initially saw Capoeira as cultural entertainment that posed no threat to them; the music and lack of physical contact between its participants disguised its true essence and purpose. The European's lack of awareness of the real nature of Capoeira allowed the enslaved Africans and practitioners of Capoeira to deceive them and utilize their ignorance to practice and hone a form of cultural and martial resistance.

Eventually, Capoeira became criminalized in Brazil and for years its practitioners were fatally reprimanded for practicing it. Since its legalization, however, Capoeira has become Brazil's national sport and an international phenomenon through its promotion of diversity, respect, fitness, and discipline. Across the globe it has become a way of life, liberation and resistance for people of all ages and backgrounds. In 2014, Capoeira was even added to the UNESCO List of the Intangible Cultural Heritage of Humanity.

Within the Portuguese language, Capoeira is often referred to as the jogo de Capoeira, literally meaning, "the game of Capoeira." Therefore, in the most literal sense of the art's definition, capoeiristas (practitioners of Capoeira) playCapoeira. The "game" of traditional Capoeira is practiced in a circle, called a roda, where two players fight one another, either with or without making contact, depending on the mood of the roda. The presence of music and dance-like rhythmic movements into the game are an echo of traditional African cultural and spiritual rituals.

A small band of instruments leads the roda and communicates the intensity and style of the game. Within Capoeira Regional, the berimbau, which looks like a bow with a gourd attached to the bottom, and two pandeiros (Afro-Brazilian tambourines) are the only instruments used inside of a roda.

During the 1930s, Capoeira was still a criminalized and outlawed practice. However, an Afro-Brazilian capoeirista, Manoel dos Reis Machado (1899-1974), also known as Mestre Bimba, developed his own style of Capoeira through emphasizing its practice as a martial art. Mestre Bimba changed traditional Capoeira by integrating movements from Batuque, an Afro-Brazilian martial art based on aggressive grappling and attacking techniques, and developing an institutionalized method of training. Mestre Bimba promoted his Capoeira as a sport, encouraged middle-class participation, and deemphasized its relationship to slavery and African customs in an effort to martialize, legitimize and legalize its practice. Mestre Bimba transformed traditional Capoeira into his, " Luta Regional Baiana," also known as Capoeira Regional. With the help of dictator Getulio Vargas, Capoeira Regional became legal in 1940 and Mestre Bimba founded the first legal Capoeira school as a school for physical education named, " Centro de Cultura Física e Luto."

Unlike Capoeira Angola, which was the most widely practiced version at the time, Capoeira Regional was less ritualistic and more streamlined, aggressive and fast-paced.

To counter Mestre Bimba's transformation of Capoeira, in 1941 Mestre Pastinha (Vicente Ferreira Pastinha, 1889-1981) founded the first Capoeira Angola school, Centro Esportivo de Capoeira Angola. Mestre Pastinha believed in preserving the 'pre-Bimba' roots of Capoeira and emphasized the cultural practices of Capoeira's enslaved ancestors. The most striking differences between Capoeira Angola and Capoeira Regional are the instruments and songs used in the rodas, the types of attacks executed, and the speed and height at which they are executed.

Capoeira Angola is widely referred to as the "mother" of Capoeira Regional.

Since it's spread to countries outside of Brazil, Capoeira has become a permanent fixture in pop-culture around the world, is slowly making a huge impact on the Mixed Martial Arts community, and has become a beloved alternative to traditional martial arts, dance, and fitness classes. While many practitioners today unfortunately consume Capoeira as a superficial fruit with no regards to its roots, Ginga Associação de Capoeira USA (Grupo Ginga) works diligently to uphold and teach the traditions of Capoeira Regional with the utmost respect for those who came before us.

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A Breif History of Capoeira - Ginga Capoeira Regional - Ginga Capoeira Regional

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Capoeira, an amalgamation of martial arts, music, movement and ritual, is a living, ever-evolving expression of the struggles, faith, and joy of the people of Brazil. It is a style of fighting whose origins date back five centuries to the beginnings of Brazil's slave trade.

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A documentary about Mestre Pastinha ... one of the fathers of capoeira 

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A documentary about Mestre Pastinha ... one of the fathers of capoeira 

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MASTER PASTINHA, THE KING OF CAPOEIRA | DOCUMENTARY (ENGLISH SUBTITLES)

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Kids Capoeira Class  #2: With Mestre Muito Tempo

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This page Capoeira Viva Net has tons of videos kids can watch for inspiration 

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This page Capoeira Viva Net has tons of videos kids can watch for inspiration 

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Primeira Roda de Capoeira de 2022 na Casa Mestre Ananias, fundador da Roda da Praça da República

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Written by our own Mestre Amen Santo, this video was made by our own Mestre Muito Tempo

Maré maré, maré cheia
A maré tá cheia cuidado menino pra não se afogar
Maré maré, maré cheia
A maré tá cheia cuidado menino pra não se afogar

O Mestre falou pra ser um bom Capoeira
Tem que ir na Bahia pedir a benção a Rainha do Mar
Maré maré, maré cheia
A maré tá cheia cuidado menino pra não se afogar

O Mestre falou pra ser um bom Capoeira Tem que ter fundamento, molejo e mandinga e saber vadiar
Maré maré, maré cheia A maré tá cheia cuidado menino pra não se afogar

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Educação Física - Prof. Leandro M. Wielecosseles

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Zumbi Day is Nov 20th ... we celebrate Zumbi as one of the most well know Afro-Brazilian Freedom Fighters.  Learn more here: https://www.lalaue.com/capoeira-music/zumbi-zumbi-olha-zumbi