Capoeira 20100204 Workshop with Mestre Ray

The below is intended to be review for those who attended class. It is NOT intended to be instructional. Corrected "Cocarinha" to "Cocorinha." Corrected "gelato" to "de lado."

Warm-Up 1:
>Ginga with a twist: when the right leg goes back, you twist your body counter-clockwise, when the left leg goes back, you twist your body clockwise.
>Ginga with a cocorinha in the middle: example, when heading to the left, when you are in the center you drop down, and then come up and finish as usual.
>Ginga and troca, hold it, then hold it with no hands
>Ginga and troca and immediately continue the ginga
>Ginga and esquiva lateral
>Ginga and esquiva lateral three times, alternating. Example, right leg back, right leg comes forward, center stance, esquiva to the right, esquiva to the left, esquiva to the right, finish by bringing left leg back
>Ginga and meia lua de frente
>Ginga and pseudo-meia lua de frente: keep your leg straight and bring your leg in a circular motion; the intention is to stretch out your leg, not as a kick
>In center stance, stretch to the left, to the right.

Down the floor:
>Swing your leg in front of you, alternating left and right.
>Swing your leg to the side. Don't twist your hip. Switch sides when you get halfway.
>Crab walk forward. When you get halfway, switch to crab walk backward. Crab walk is the one when your front faces the ceiling.
>Bear walk forward, you sort of go side to side. When you get halfway, bear walk backwards. Bear walk is the one when your front faces the floor.

Warm-Up 2 and some Main Sequence:
(I will only name sequences in one direction, you can switch the words left and right)
(Also, I can only remember bits and parts of the anything that wasn't a major sequence. These little parts are still useful in coming up with new sequences...)
>Stretch in the position of a rasteira
>Center stance, hands on knees, stretch to the left, stretch to the right
>Weight on your right leg, left leg back, left hand on the ground, turn and right hand to the back
>This one's a puzzle. I know at some point we enter esquiva de lado, say facing left, and then bringing the left hand forward, so almost like a troca, except instead of the right hand planted, the left hand is planted with left leg back. Then we step the left leg forward to center stance. Ending with a ginga. Did this one end with a slide? Did this one begin with a role as with sequence 1.1 mentioned below? Perhaps after 1.1, instead of ending the au (which below is mentioned going to the left) with your left leg landing (so the right foot already made contact), you come out and do rasteira. But I can't remember what would come between the rasteira and the esquiva de lado.
>Sequence 1.1: Right leg back. Right leg comes forward. You're on a line. L=0, R=1, where L is your left leg and R is your right leg. The left leg goes behind the right leg and now L=2. You should still be looking to the front. Then when you first do this, the right leg steps back. So R=3. And then you do an au. However, if I'm correct, then when you smooth the move out, your right leg can just swing, as if it wanted to go to 3, but you already begin your au, and the right leg provides added momentum.
>Ginga, small au to the right, small au to the left, ginga.
>Enter a negativa, say with the left leg in front. But at first, the foot is planted flat on the ground. Lean forward low, covering your head with your left hand, because the right leg is in front. Then when you role, you plant your left hand and twist your foot to the left. When playing a slower game, your role should be as follows. The right leg comes around to the left, parallel to the right. Keeping the body low. Then the right leg continues in the counter-clockwise motion, so that you're back in front of the person you're playing.
>Perhaps a step before this was, ginga, enter cocorinha. Then a leg comes out into negativa. Once that was done a couple times, we went straight to negativa.
>This move might have come before the above, but you go down into cocorinha. And the knees are forward and you are bent away from them. Say your right hand is planted on the ground. Then the left hand comes up and around, you're sort of creating an arch. And you might have to switch where for a moment you do not have any hands on the ground. But you're pretty stable, so nothing dramatic...
>This is continued and might be considered part of sequence 1. It would be 1.3: you begin your role, but instead of just going for a regular role, when the right hand comes down (the left is already planted), you want to keep the right foot planted and bring the left foot around the right foot (counter-clockwise) and stick it into the air. Around the same time bring your head to the ground. Then the right foot, which is planted, makes a small hop or swing across. Then you can bring the left foot/leg down
>Sequence 1.4: You can go into a regular role and end.
>Ginga, meia lua de compasso to the right. Your right hand comes off the ground, but the left hand slides back. As you do so, the left leg, currently in front, draws back and wraps around your left leg. Then you unravel and you can kick or sweep with the right leg.

I took some notes on the two major sequences, but it's too late to look at them now. There was so much to learn... I'll spend more time tomorrow thinking about other interesting motions.

One of the Main Sequences in Full:

>Right leg back.
>Right leg parallel.
>Left leg comes over parallel and behind the right leg.
>With your weight on your left leg, the right leg comes up and you go into an au, heading towards the left. In a less smooth transition, the right leg steps completely back before going into an au.
>You're gonna land on your right leg, and instead of finishing parallel by following with your left leg, the left leg comes forward. So now you are sideways, left leg in front of right. Esquiva de lado position. Right hand to the floor.
>That hand slides forward, you're in mid troca, right leg back, except with right hand planted on the ground.
>Bring the right foot up to the left foot, so your feet are crossed.
>Switch hands to begin a role. But instead of a regular role, you can do a little hop for a sort of kick.
>Finish the role by bring the second leg in the direction it came from. So that you are back playing with your partner.


One song:
Mandingueiro de Luanda
Mandingueiro de Angola
Eu sou
Mandingueiro Quilombola

Another Song:
Voce chama o feiton para me buscar
Mas eu sou ligeiro nao vai me pegar
Na mata fechada eu vou me esconder
Esperando anoite pra continuar

Rough Translation:
Call the overseer to come get me
I'm really fast you're not going to get me
In the closed jungle I'm going to hide myself
I'm waiting until night to continue

Lesson on Singing:

We were given some tips on improving our signing.
Step 1: Sing so that other people can detect more pitches. For example, when a part of a song requires raising your voice, do so.
Step 2: Enunciate, drop that jaw, this does various things of which I'm not entirely sure. It's slightly related to volume, but a sort of natural volume.
Step 3: At this part, is to actually increase the volume, which usually done with increased air flow.
Step 4: Add in vibratos and other flourishes to songs where appropriate.
Step 5: Sing in unison and with your heart. There are many voices, but one choir. Your goal is to be one choir with one voice.

I was advised to lean forward a bit more, approximately chest or head over the knee.
In general, everybody was advised to stretch the leg back more.
On one of the esquivas, Mestre Ray advised me to go lower. I'll mention what part of the sequence when I write it down. Of course Pescador is always reminding me to go lower, even though I have the advantage of already being able to get fairly low. I'll have to keep it a bit more conscious.

My thoughts on my game today:
While I wasn't sure how it looked, during one of the games I played in the roda, I went into a cocorinha, which I usually used as a setup to a macaco, but instead of planting one hand back and doing the macaco, I swung both hands back, into a sort of back handspring, that felt pretty straight, but was probably leaning to the side I normally lean on.
I guess I didn't drink enough water today, and so I couldn't play in the roda as much as I would have generally. I guess it was also my first hard capoeira workout since December.
But when I did play, there was a moment when I stopped myself from completing a take down, and a different time, when playing Sarah, I think we both went for a take down which sort of just became a mess. See the problem I find myself in is, taking it easy, but filling in the gaps with more movement and less ginga. Ideally, my goal is to only take one or two steps of ginga and at the same time be watchful, being able to respond to the other player. Sometimes, I accidentally throw out the wrong response.
Finally, I also au too closely. It hasn't been a big deal yet, but I know it's not the right thing to do. I just forget, because it's one of the movements that can get me around the roda.
As such, I think I'll try practicing in slow motion, on tempo, with mostly movement, little ginga, no au's. This will be valuable, as I know inevitably, I'll do au's in the roda. But at least if I train without them, then it's possible my gameplay will be more balanced. I should also create flash cards which contain movements my opponent might do. And either visualize or actually practice the response(s). Obviously a real partner would be good, but this would be a good exercise when there isn't one. Or perhaps I might not do this, but it's an idea I'm willing to throw out there...

I bought a berimbau! Yay! I'll have to take a picture of it and post it...

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