On ladainhasid/corridosid, mida lauldakse, aga mille autorit ei teata. Nii kuuluvad nad Dominio Públicosse ehk siis on rahva vara (rahvalaulud). Kes iganes selle loo kunagi kokku pani, arvas endast päris hästi..

Sou ligeiro igual corisco / Olen kiire nagu välk
Ai ai ai tenho força igual leão / Mul on lõvi jõud
Já dormi na mata virgem / Olen maganud noores metsas
Ai ai ai no meio da escuridão / Keset pimedust
Quando jogo treme terra / Kui mängin, väriseb maa
Até arrebenta ribeirão / Ja lainetab oja
Faço moinho rodar sem água / Panen veski pöörlema ilma veeta
Ai ai ai Monjolo tocar sem mão / Monjolo peksma ilma käeta*
Faço panela ferver / Ajan poti keema
Ai meu bem! Na palma da minha mão / Oma peopesas
Não acredito em mistério / Ei poolda müstikat
Ai ai ai Abuso, superstição / Väära, ebausku
Só creio no que vejo / Usun vaid sellesse, mida näen
E pego com a minha mão / Ja käega katsun
Camaradinha


* Monjolo paneb tööle vesi, siin on vast mõeldud pilãod, mis töötab lihasjõul. Mõlemaid kasutati maisi, riisi, kohvioa ja maapähkli "koorimiseks".

Parimad kodulehed on mõistagi tehtud Flashiga. Minu kummardused lähevad järgmistele:

I http://soluna.it/ > entra nel sito

II http://marromcapoeira.com/

III http://bocaricacapoeira.com.br/

Allpool on M Canjiquinha üks põnevamaid ladainhasid O macaco e o leão / Ahv ja lõvi. M Canjiquinha oli üks neid meistreid, kes väitis, et on ainult üks capoeira - see, kuidas sa mängid, sõltub sellest, mida mängib berimbau (igale rütmile vastab teatud sorti mäng).

O macaco e o leão / Ahv ja lõvi
Fizeram combinação / Leppisid kokku
O macaco na levada / Ahv veekanalis
Dois leão passou a mão / Kaks lõvi ulatas käppa
Mariposa não me prenda / Liblikas ära vangista mind
Dentro do teu coração / Oma südamesse
Você tem dente de ouro / Sul on kuldhammas
Foi eu que mandei botar / Mina lasin selle panna
Vou te rogar uma praga / Ma nean su ära
Pr’esse dente se quebrar / Et see hammas katki läheks
Ei aquinderreis / Aquinderreis!

Solidaarne Kool kirjutab:

"Näiteks Eestis on capoeiral veel üks huvitav nüanss. Eesti seisab silmitsi mõningate tõsiste integratsiooniprobleemidega kahe suurima ühiskonnagrupi – eestlaste ja venelaste – vahel. Kuid osade noorte seas on capoeirast kujunenud vahend, mis ühendab erineva taustaga noori. Äärmuslikult kauge ja eksootiline tegevus, mille lõid Brasiilia orjad, toimib tänapäeval nõukogudejärgse ühiskonna vastandpooli ületava sillana…"

Üks, mis kindel, on see, et lausvalet see jupp ei väida. Capoeira-treeningud võivad vabalt moodustada neutraalse pinnase, millel kohtuda ja erinevate inimestega tuttavaks saada. Aga ma ei usu, et capoeira on selles suhtes kuidagi edukam kui teised kunstid/hobid.

Keskeltläbi on minu trennides viimasel 3-4 aastal alati olnud 2 vene rahvusest noort. Ehkki see arv on püsiv, ei saa ma väita, et capoeira võiks olla eeskujuks integratsiooniprobleemide lahendamisel. Aastad tagasi Lasnamäe capoeira-entusiastide seas liikudes, kohtasin eestlasi samuti vähe.

Seevastu brasiillase juhitud trennides ei oleks tema keelebarjääri või mõningase inglise keele oskuse tõttu eelist kummalgi rahvusgrupil. Eksootika loob tõenäoliselt ladusa õhkkonna - nii müüb enamasti ka roheline banaan rohkem kui iduga kartul või sibul, kes iganes ostjaks. Sellisel juhul toimub integratsioon aga hoopis suunal kohalik > brasiilia kultuur, sest niipalju kui olen kogenud, on brasiillaste pagas väga elujõuline. Aga siinkohal on vaja ka õpilase poolt kõva pühendumist.

Eesti Asja capoeiraga igal juhul rohkem ei aeta kui taekwondo, aikido või eskrimaga, mille treenerid kindlasti samuti ootavad oma treeningutele igast rahvusest noori. Ja kui asi on arusaamises, milleks capoeiraga on vaja tegeleda, siis olen üsna veendunud, et see on isegi raskem kui levinumate alade puhul. See omakorda tähendab vähem õpilasi, ergo vähem integratsiooni.

Kui keegi viitsib, siis võiks uurida, millise kunsti/hobiga tegelejad on oma alast kirjutades kõige luulelisemad. Ennustan capoeirale poodiumikohta ;)


* Kõikvõimas Capoeira?

Bimba: Neil päevil toimub suur batizado
Pastinha: Lähed?
Bimba: Vist jah, eelmise ajal olin haige

his story is about a young boy who was walking in the woods and came across some ruins, where he encountered an Afro-Brazilian man with a berimbau. The man began to play, and the boy (who was named Leo) opened his eyes so wide it seemed as if he was listening through them. When the man stopped playing, he told Leo that the upper part of the bow pointed towards the sky. Leo looked up and saw himself growing into a man, and saw his sons, his grandchildren, and the future. The lower part of the bow pointed towards the ground, and Leo eventually saw all of his ancestors, including his grandmother, great-grandmother, and the past. When the image disappeared, the man handed the berimbau to Leo and said, "the upper part is the future, the lower part is the past, and in the middle, there's a young boy, who is a little distracted and full of
stories in his head...and that little boy is you.... The berimbau is my present to you. Every time you play it, remember me and these things I have told you"

ulo-do-gato or "cat's jump" refers to a story belonging to Brazilian folklore in which the onça (a sort of jaguar) flatters the domestic cat: "Cousin cat, you are so smart and beautiful, I wonder if you could teach me all those incredible jumps you do so masterfully."

Jätkame ladainhalainel. Paljudes regionali-koolides tuleb selleks, et oma esimene õpetajavöö välja teenida, osata vähemalt üht ladainhat laulda. Angolas on asi veelgi rangem - ladainha(de) oskamine on heaks capoeiristaks saamisel möödapääsmatu. Õnneks, nagu järgnevast CM Pererê tekstist loete, algavad lihtsamad ladainhad kõigest paarist reast.
CM Pererê (grupist Capoeira Angola Palmares) on M Nô ameeriklasest õpilane, kes muu seas suudab valmistada hiiglama ilusaid ja häid berimbausid. Piltidel nägid need tõesti head välja. Aga siin siis tema tarkust ka:
Here's some basic information about ladainhas.
A ladainha may be comprised of one to several (or many) stanzas. There are hundreds-and-hundreds of single-stanza ladainhas which have flowed down to us from the past through various means: orally, through recordings of old-guard mestres, and through various written records, etc'.
And these single stanzas, though they stand on their own quite well, are ALSO intended to be connected together in box-car fashion in order to express complex or elaborate sentiments or stories. So its not that all long ladainhas are individual songs, often enough they may also be complexes of multiple ladainhas grouped together. Either way they tend to, in the 'traditional vien' be composed in the same manor.
You can certainly sing a single-stanza ladainha at any point and then flow into the other ritual songforms and you are being righteous and appropriate, no doubt. But often enough, players/singers have a bunch to say, and they want to get it off their chest (Go figure). That, or perhaps they are just stuck repeating ladainhas they learned by rote, or perhaps are honoring what accounts for 'old standards' composed by previous generations in previous eras - lots of swell old ladainhas out there to chose from.
However, its ABSOLUTELY essential to understand, if its understanding you're after, that ladainhas are a living art form in themselves and are also meant to be composed 'on-the-spot' in order to express whatever sentiment needs expressing during the ritual as it unfolds. And so grasping the compositional formula becomes a little more important if you decide that you want to explore the art on that level. Though this is now far less commonly performed then in past eras do to time constraints, changing emphasis on ritual play, or skill level of the singer, and other factors.
The basic format for composing a ladainha in capoeira angola is this:
A stanza then is comprised of 2 verses, each verse in turn is comprised of 2 lines: making 4 lines total per stanza. Each line is then comprised of 7 syllables.
Just as an example: feel welcome to check out my group's website (listed below) where on the main page I am singing a "traditional standard" often referred to as "Sinhazinha que vende ai" and playing music along with a bunch of my students.
Here's another (simplified) example of an old "traditional standard" single-stanza ladainha' so that folks here can look at the compositional structure:
Ie!
1. Anum nao canta em gaiola (sung in 7 syll)
2. Nem bem dentro nem bem ‘fora (sung in 7 syll)
3. So’ canta no formiguero (sung in 7 syll)
4. Quando ve formiga ‘fora (sung 7 syll)*
Camaradinho…
Note: The lines in the above example look as if they are more than 7 syllables in length as they are read, but as they are sung in Bahian Portuguese some of the words are blended together, and ending vowels are often de-emphasised - and thus its all compressed to reduce the overall number to 7 per line. Enabling it to then fit snuggly with a musical measure in 4-4 time.
These are not, of course, hard and fast rules but more like guidelines for structuring poetic verse. You can sneak in (or extract) a syllable or add an extra verse here-and-there as you feel the need, and as long as it flows it works. Its all about, as I suggest above, fitting together with the compositional structure of the music as it is played on the berimbau. And therein lies a whole wonderful complex of inter-related factors to get into. Its all so awesome!
And yes, I'm also leaving a bunch of relevant stuff out in order to be both brief(ish - ha, joking!), to offer some fun-facts pertaining to the main question above without infinitly digressing , and also to draw out possible inquiries if anyone is interested to make any - Which is part of the game of posting on a capoeira forum - at least for me. And to pay homage from the 'traditionally minded perspective' - to learn much more about this than I've shared here, folks should go and study with a mestre, cuz its the right thing to do.
In any case, all this ladainha stuff is a shit-load of fun to explore, and very self-empowering once you figure it all out and can, for axample, compose your own ladainhas, or at least comprehend the compositional framework with ease and agility. I highly recommend this course of study for anyone interested in going deeper into the roots of capoeira.Cuz its deep.
enjoy,
Contrameste Pererê

Capoeira-muusika kohta loe juurde siit.


* Stroofi tõlge:
Anum ei laula puuris
Ei selle sees ega lähedal
Ta laulab vaid sipelgapesal
Kui näeb sellel sipelgat