Capoeira Angola
FICA Moscou

The pictures are here: Фото | Семинары

It was an amazing workshop! Those, who have just started their way in our group and those who have been studying in FICA Moscou for quite some time already, plus all the guests from other capoeira schools and of other capoeira styles... Here is our story.

Inna 'GPS' (FICA Moscou): “It's the 6th time that Mestre Cobra Mansa comes to Moscow. He usually comes here at the time of so-called Russian 'green winter' – he really liked that joke. He teaches us something completely new every time, because, as I hope, understanding of Capoeira Angola and its traditions in Russia is getting deeper step by step.
As always it was like a real holiday!
The seminary lasted for a whole week for the angoleiros, the open part lasted three days, there was also a Roda for all the guests in the end. In the daytime we played the berimbau in parks, and we spent the evenings plus the whole weekend on music classes and physical trainings. We also had a lecture about mestre's trip to Angola, where he spent his time searching for the origins of capoeira, exploring the world of ethnic African dances, martial arts and music instruments.”

The seminary – the way it was. By eyewitnesses.

Lena 'Cutia' (FICA Moscou): “The week of the seminary started for me with meeting Mestre Cobra Mansa in the airport. To be honest, I thought that the idea of 'Let's meet him with all the music and make a Roda right there in the airport' was some kind of a joke. But I was totally mistaken. And we really did take all of the instruments (except for the atabaque, which I heard was 'too heavy in case we have to suddenly run away', huh, that was 'reeaaally comforting' to hear that!). Despite my fears about holding this event, I wasn't feeling uncomfortable. The atmosphere of the group destroys any possible negative emotions, it's really easy with them and somehow absolutely not scary, no matter what they're currently up to. This experience was something totally new for me. We were standing right in front of the airport, playing capoeira, playing the instruments, singing and we didn't care about all the attention from the passersby (though there actually were a lot of them!). From that moment I got the point of such thing as Roda de Rua. It must be a lot of fun for sure!
When Mestre came, he stepped into the circle straight away and played with each and every one of us. My first game with him was a total confusion for me as I didn't understand a thing what I should do next. I couldn't even approximately guess what his next move is. Sometimes it seemed like: look, there he is! But the next moment, he ended up in a totally different location or already moving in an opposite direction so I could not ever be more confused.
After that we went to grab a bite to eat and chat a little. There were people who were looking forward to this moment for like years. This event is something as special and long-awaited for them as it could ever be. As for me, well, I was the lucky one to have just joined the group and already taken part in such an incredible activity. I was really honored, happy and impressed with this acquaintance, but I probably didn't yet realize all of its significance unlike the others.”

In the daytime we played the music right on the streets, to astonishment of the passersby.

Dima 'Toupeira' (FICA Moscou): “We spent our first music class with Mestre in Park 'Kolomenskoe'. Even though I only slept for like 3 or 4 hours the night before, my desire to join the daytime cultural activities woke me up, packed my stuff and surprisingly brought me to 'Kolomenskoe' metro station. The weather was splendid that day! With our big band we took a walk round the park and then parked ourselves on a glade to start our music class.
I have to say, I'm not a good berimbau player so far... Well, I still play better than I sing. But I really do my best. As once remarked by mestre (though speaking about a completely different thing): “There are some people, who try to do absolutely everything right. But that's not the point!” It took me quite some time to learn to elicit clear music sounds. We started with Angola rhythm. Mestre listened carefully to each and every instrument and pointed out things that needed correction. As soon as the general rhythm sounded harmonious, we switched to the variations.
Mestre also commented on how you should always listen to the berimbau next to you and play your variations according to the harmony of your berimbau and the one next to you. It seemed like a totally obvious thing – as if something completely unimportant – after all such teeny-weeny things are still acceptable during our classes. Still letting those teeny-weeny things happen, we get used to them and when the moment comes we can't change and might totally spoil the whole thing.
Yes, right, I try hard to do everything right. Mestre totally hit the nail in the head with this comment. And I truly give credit for his attentiveness to people. Because of me trying to do everything correct, comes the extra attention to everything including my own actions. This extra attention transforms into muscle tension which in the end prevents me from doing things the way I want and making it right.
But being classic, he for sure could not just leave us without actually showing the direction for our further progress.
“When you play the berimbau, you need to relax. You and the instrument should be taken as a whole, that's why don't pressure the berimbau. The music lives not only inside the instrument, but inside you. The rhythm that you play comes from within your mind, not from without or anywhere else. If you keep the center inside you, you will always be able to come back to your rhythm from even a very long variation, because the foundation is located inside you. But if the center is outside, you'll lose the rhythm and you'll fall out of it.” - I remembered this phrase literally and the next day I wrote it down in my notebook to bear it in mind for sure.
It seems to me that this metaphor about the center inside us is much broader than just a comment on a berimbau technique. Don't you think?”

 

On the major part of the workshop Mestre asked everyone to get a notebook and write all the song lyrics by hand. He strictly recommended to not even think about coming to the classes without the notebook. We could still tear it to pieces and throw it away after the workshop (he even showed us how exactly to tear it). And we started working on those songs...

Dima 'Toupeira' (FICA Moscou): “On our classes mestre combined being merry with being serious, being strict with being kind. As if my grandad would suddenly come with a visit and ask: “Have you done your homework, son?” - and the lame excuse such as: “No, but then I've washed the dishes!” - wouldn't work.
We've all got our own home task on the music class. Not a common home task, but individual tasks for each student according to their skill level, if I got that right. Some were asked to learn 3 corridos, some were asked to learn 1 ladainha and 2 corridos, some were asked to learn 2 ladainhas and 3 corridos, or even 3 and 4 ladainhas.
I was surprisingly one of those who were told to learn 2 ladainhas and 3 corridos. It's either my music skills turned out to be better, than I thought or it was time to finally stop pretending being a total 'newborn'. It could be both, still – the songs were to be written down and learned by heart. I think some of us felt sort of like 'back to school'.
We were singing corridos the way there was no repeating within three people in a row. Mestre was conducting – he was telling us when to sing louder or lower, explaining how should the soloist sing to stand out against the background of a choir and how the soloist could show the choir when to start, if the song's unfamiliar. He also showed us, how should the choir go with the melody and what intonations to use, so that the beautiful and harmonic music dialogue between the soloist and the choir would be produced. He showed us what rhythms are played by each of the berimbau and how to play the variations to bring harmony and not put the whole bateria and the choir out with it.
Mestre checked our homework every day. I have to admit that he's got a truly phenomenal eye memory – nobody could slip away from his hawk-eye. By the end of the seminary my memory had started working in a completely different way – I could easily recall the songs I've heard only once and memorize the new songs at the first dash.”

 

Then the music segued into physical training. We split on two groups – the first group was playing in the 'doubled' bateria and the other did all the physical training with the accompaniment of live music that the first group played.

Dima 'Toupeira' (FICA Moscou): “I especially remembered the demonstrations of how mandinga works. What mandinga actually is. I think everybody has their own answer for that. In general words it's a 'magic ginga', that gives the jogador special opportunities. But if so it's only about the mandingueiro himself. Mestre showed us some mandinga that is done with the partner on one of our physical classes. And I saw it with my own eyes how mandinga actually affects your opponent. It seems like Mestre commented on this action only once. Maybe I was inattentive or he did it deliberately – to teach us to think. I'm not going to reveal my own observations on mandinga and something I've decided about it with what I haven't heard in words, but have seen by my eyes. I want to keep this grain for myself – especially as because this 'grain' of mine is sprouting already. Plus something that I'm now painting as such a huge secret is probably something absolutely simple and goes without saying for the experienced capoeiristas.
Generally all physical classes of ours were intended to teach us to think. Mestre even said that literally. When we were learning a set of movements, we actually ended up not just with a linear sequence of movements, but with a movement that developed in at least three other ways to move, each of which then developed in another two ways. The choice is ours anyway. Indeed, we can still learn all of those movements on our practices, that means there was something else that Mestre tried to pass on to us. This way even after he left Moscow we saved something inside that we could later on (e.g. on our trainings) transform into pure progress through the lenses of this... knowledge. Or feeling. Or whatever it was, that is so hard to express with words.”

Inna 'GPS' (FICA Moscou): ”It caught my attention on the workshops that Mestre works with us (or with foreigners in general) not on the content of those chains of movements or their complexity but more like on the style of the movements itself – on being relaxed, on freedom and on beauty of our movements. It seems to me that Capoeira Angola doesn't even have such a thing as 'technically correct' movements – everyone has their own 'correct' movements, depending on natural body motions. That's why you'll never know for sure, what a more experienced opponent of yours – or to be more precise, a partner of yours – will do next. And briefly the theoretical knowledge from Mestre: 3 things that indicate a real angoleiro – beauty, effectiveness, timeliness. Which, apropos, was demonstrated on horrified, but truly amazed volunteers.”

One by one the tasks were getting tougher and tougher.

Lena 'Cutia' (FICA Moscou): “Friday was the first day of the open workshop, definitely more people around including those who came from other cities (the major part of students came in already) and other groups. Classes were structured very well, we were alternating musical and physical activity. That helped us regain strength when we felt really exhausted. We also did some acrobatics and I have discovered a totally new and incredible ability of mine to ignore my fear when it's necessary. After doing a simple 'cartwheel' only facing your opponent, we were told to do almost the same move, but sort of bend your back and turn your body in the final phase of the move (what was the name of this move by the way? I haven't quite caught it). It was unusual and I somehow couldn't make myself make that move. Even though I didn't really feel any 'visible' and 'obvious' fear, my body flatly refused to make that move and no matter how much I tried, I still did the usual Au. On one or other of our classes we did the same kind of acrobatics but in pairs as a move-away from the Tesoura. As soon as I couldn't do any of that acrobatics we were shown so far, I've decided that I'm going to use the basic Au. But suddenly (a total shock for me!) I did turn my body and bend my back. When I finished I realized it was that move I couldn't make on our previous class. Considering my and my partner's positions or my direction this move actually turned out to be more appropriate and suitable for the situation and my body made it just naturally, ignoring all fears that I had. It was a real discovery for me.”

 

This time Mestre payed a lot of attention to the musical aspect and repeated once again that music is a very important part of capoeira.

Inna 'GPS' (FICA Moscou): ”After we learned our ladainhas and showed how we can sing those, Mestre asked us to pick one and explain its idea (not just translate). The ladainha was, as I remember, “Eu já vivo enjoado”...
As far as this ladainha's lyrics are about sun and moon, the explanation of it was very long and beautiful. But the funniest thing turned out just in the end: the moral of it was hidden in the line below:
Tudo isso é conversa pra comer sem trabalhar
Which means – 'that's just empty words'. So it was about the people, who talk a lot, but don't do anything after all. That's why throughout the whole explanation Mestre was sitting and trying his best to suppress his smile. :)
By the way, translating ladainhas, the sense of which to me usually hides so many secrets and mysteriousness, I suspect a very simple wordly kind of idea in it in the end. And it's either just a part, or the text was already changed, which is a common thing in folklore. So, without Mestre it's impossible to sort that stuff out.”

Christina 'Salsinha' (Grupo de Estudo da FICA Capoeira Angola Samara): “I recall how I and other 4 students were told to get a team of 8 on one of the practices to form a bateria. Each team one by one was supposed to play while others were training. I was very nervous because of this huge responsibility, but guys, which were in my team, were really great. They all did their best, the played and sang excellent, even though they were not less worried than I was.)) Thank you so much for your support, guys! All together we made a great bateria with incredible energy! I was really touched.”

Dasha 'Chorona' (Capoeira Camará, Moscow):  “I also thought about the baterias that played one by one. It was a very important task. You realize when you're singing or playing that you're carrying a huge responsibility and that you can't just blow it because that will let the whole team down. It was really very exciting, I think everybody was extremely nervous. I also remember very well when we had to play in pairs for like 20 minutes – 10 minutes with one person and then change. And when we were told to play only near the floor, we were told that if we get up, we'll be hit with a stick. Mestre was carrying the stick...) I was the lucky one to get whacked by Mestre :)”

And also there was the lecture about mestre's trip to Angola.

Lena 'Cutia' (FICA Moscou): “Even though there were only the photographs and the story itself, the lecture was so colorful, that it felt as if I traveled there myself – it was so easy to imagine the whole story. It was really interesting to see the 'ancestors' and relatives of the berimbau and other stuff that seemed really familiar – the stuff I would have never found out by myself.”

Inna 'GPS' (FICA Moscow): “Listeners took extra interest when I translated that capoeira came from the N'golo ritual – the dance of the zebra – for girls :). Mestre then had to explain that it was for sure not a ritual for girls, but the ritual to get married on those girls. And of course it's performed by men – they competed in strength and dexterity and the winner could choose his bride without paying the enormous ransom.
And at the end of the lecture there were photos of a dance where women were tossing men up (more precise men were performing a running jump). Mestre asked the participants why they were all laughing and they told him this game had a hidden sense. If a woman doesn't like a man, she can just drop him – let him fall down. And if she likes him she can carry him home like that.”

 

And now all the appreciations and impressions from the students who took part in the seminary

Ímã, o lider do grupo FICA Moscow, Salão do Sul:
I truly value, I respect, I love and I’m pure raptured by my master – mestre Cobrinha, for he is a magnificent angoleiro, for he is wise, for his soul and for he is my master.
 
There's not a thing to be ashamed of to be fair
Still... He always has a theme to talk, delightedly to share
To play, both dangerous, inspired. About politics can we talk
And even about ladies chatter when we walk
 
The whole week has he lived all by my side
As usual, in the household is he truly unpretentious
If he wanted he could always suddenly go cook, he might
But most the time he spent on work - for that he's anxious.
 
In front of the computer - such a tough work, not a toy
Because there are so many of us - students, friends and others
Some want support, some need advice or just an "Oi!"
Both day and night he takes his time to help and bother.
 
In business is he sure - what's planned is done!
On trainings is he especially exacting - there's so much he demands.
You'll never be ignored or left to be the only one
He will instruct or compliment or when it's needed - reprimand.
 
And to be added is he truly the Tame Serpent
In the game is he magnificent and perilous, but yet impartial.
Keep vigil in the Roda! But keep the efforts well-bent
He'll point his shot, if you were unprotected, partial.
 
You understand there are still thousands steps ahead
You know which way to go, which door to knock.
Who are you? Capoeirista? That's when of words instead
You understand there are still thousands steps to walk.”

Christina 'Salsinha' (Grupo de Estudo da FICA Capoeira Angola Samara): “I really-really liked the company that gathered on this seminary. I was so happy to see my old friends – guys from Moscow, my friends from Saint Petersburg, from Minsk, from Vladivostok). But I was also glad to meet new people. This seminary was emotionally very warm. Everybody was so friendly, harmonious, sincere and real fun. And of course, great capoeiristas! I was happy to meet you!)”

Asya (FICA Moscou): “I love you, angoleiros!” Hearts

Andorinha (Capoeira Camará, Moscou): “Adorei o evento muito. Adorei que o mestre combinou a aula da música e estudo dos movimentos na uma aula. Vc pode sentir que a capoeira não é só música ou só dança ou só luta... Isso é tudo junto! Muito obrigada pelo evento. Muito obrigada Mestre Cobra Mansa e FICA Moscou!”

Lena 'Cutia' (FICA Moscou): “Meeting Mestre Cobra Mansa was something absolutely special for me, even though I was after all probably the 'newest' and the least experienced girl in there. I didn't know this person and I saw him for the first time in my life, but he somehow created this incredibly friendly and family-like warm atmosphere. Communication wasn't of any discomfort (despite the language difference) – he makes in impression of a very kind and affable person. The whole seminary was fulfilled with jokes, laughter, friendly smiles. Mestre was very attentive to all of his students – he always asked us about our thoughts or how we feel, what we've learned, what we're thinking about and so on. And it was also very instructive that he never actually answered questions such as 'how to do this move' or 'which direction to take' and so on. When such questions appeared, he asked the person with the question come out in front of everyone and perform the move again and again until what he\she did was answer his\her question himself\herself. He always repeated: “I'm here not to make it any easier, it's just the opposite!” - and it was not the only thing I remembered. He actually shared lots of very smart thoughts, which were sometimes not even much connected with capoeira. These were ideas that could be easily transferred to anything else in our lives. He shared his experience. And for that I truly thank him. I will never forget this week and I'm already looking forward to the next seminary.”

Leo (FICA Moscou): “The experience I've received can't be put in words. And my impression can be expressed with the line from ladainha – Pequeno sou eu!”

Mowgli (Grupo de Estudo da FICA Capoeira Angola em S-Petersburgo): “Thank you FICA Moscow for this event! Unfortunately, I was absent for a whole part of the workshop, I really wish I could visit those classes that I've missed! This is a whole new stimulus for my further progress in Capoeira Angola. When I come home – I'll be recalling everything we had and I'll do my best to advance. I was also glad to know that the seminary was attended by almost everyone from my group.”

Andrew (Grupo de Estudo da FICA Capoeira Angola Samara): “Thank you sooo much for the seminary!!! Everything was awesome! You are the best! But should have had more time for the Roda!”

Alexey Frolov (Axé Capoeira, Moscou): “I bear in mind the talk about how we should escape our 'zone of comfort', how we should create ourselves difficulties to advance non-stop. And also a talk about 'listening' your partner in the game, to answer   logically so that all the movements are consonant like a persistent melody, that your motions should ensue your partners motions. When you learn the movements, the game, you should also learn from your partner, but not just care about you're own actions in stead. And also about how Mestre sometimes intentionally opens himself when he's playing with his students – to create a complication and see how he could get out of such a tough situation.”

Olya Ageeva (Grupo de Estudo da FICA Capoeira Angola Samara): “Hello, I'm writing to say thanks to everyone who helped organizing this workshop. I was truly grateful to be here and meet new and old friends. I wish you to repeat such a event again soon”

Anonymos: “Hello from CDO). We (heart) love you!”

Asya 'Feticeira' (FICA Moscou): “Thank you! This seminary discovered capoeira for me, it gave me answers to many questions. My heart from now on pumps with the capoeira beat. I live and breathe with it. I've started, I keep on moving and I'm not going to stop!”

Masha 'Cabeçada' (Grupo de Estudo da FICA Capoeira Angola em S-Petersburgo): “Thank you for the priceless lessons, for the stimulus, for the energy and for the fun!”

Chorona (Capoeira Camará, Moscow): “Thank you so much for the seminary. In Moscow you don't come across these every now and then - when everyone only has positive memories afterwards. In general, the groups here are the same and their workshops are also pretty much alike. As for this seminary – it was all different, I will remember each and every minute of it. Capoeira is so various – everyone finds something individual for themselves in it. I love what guys from FICA are doing. And I thank them and I thank Mestre Cobra Mansa so much as well. Especially for sharing his knowledge and experience with us.”

Carina 'Popozuda' (GCA Palmares, Moscow): “Obrigada! Muito axe!”

Dima 'Toupeira' (FICA Moscou): “When I first met Mestre he already amazed me with the depth of his views on what is going on. But the real amazement about his perception of the world, that he shared with us, was only in prospect for me.
The majority of questions did he answer with metaphors, the sense of which could be easily understood by a person who doesn't know Portuguese, English or Russian, because the idea of metaphors stands beyond the linguistics. An image always stands at the top and is always easier for understanding, than notions are, because images are something we learned to think with from the very childhood. If that's not forgotten of course...
Every great coach imparts some sort of world-view that he has to his students in a way. And all partakers - either intentionally or not - start holding the same views. This is the way the traditions are transferred and this is the way one school is different from another. Mestre Cobra Mansa was sharing his world-view with us. But the paradox is – the views were about how we should listen to ourselves, find inner freedom and take actions according to this freedom.
When I was talking to the students who took part in this workshop, I've discovered an interesting thing – seems so, everybody was in the same place at the same time, but everyone heard something on their own, something absolutely special and individual. Something that reflected in a particular person within the words of mestre. I want to finish my thoughts with small quotes. Of course I don't give literal quotations and somebody might say that these exact words were meant to carry a totally different sense, but here I'm only writing of what I think about these words – what they meant to me.
- Someone might brag about defeating mestre João Pequeno. Well, how old is mestre João Pequeno? 93. All right... The fact that you've defeated mestre, doesn't take away what he has done for capoeira world and won't make you more than he is. He is already the mestre João Pequeno
- There are people who try hard to do everything completely right.. E.g. sing the songs correct. But that's just not the point! Old mestres of capoeira sang the songs making mistakes, but it brought life to these songs. If you sing the song correct from the first till the last word – the song withers. It loses its soul.
- Don't rush too fast to the point of your destination, to your goal. Don't run to it. It might be so you'll get there – and nothing is in. But if it's just you, walking through the path, enjoying the view, the flowers, the scenery – that's just the beauty of it. If we enjoy not the destination point itself, but our trip to it, even if we see nothing, when we finally get to the point, we won't be disappointed, because we can just say: “Oh, well, but the trip was so beautiful!”
Someone might say these are just general truths, that are totally well-known to those who ever watched through the philosophical and psychological literature. That might be true. But believe me, it's one thing that you read it in a book and a totally different thing when you hear it from a person who's carrying an enormous supply of positive energy and inner warmth.
Muito obrigado, mestre!”

 

The full version of Cutia's text in Diary of FICA, LJ:
http://diary-of-fica.livejournal.com/14034.html

Cutia, LJ (eng): http://anny-roddick.livejournal.com/

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