"The roots don't depend on the tree. The tree depends on the roots." / "As raizes não dependem da árvore. A árvore depende da raíz."

Thursday, November 1, 2012

AXÉ AFRICANO NA EUROPA

AXÉ AFRICANO NA EUROPA: Uma Redação Sobre um Video Clipe de uma Demostração e Jogo de Capoeira Angola. 

Por: Lucia Kudielela Fernandes - Co-Founder of Capoeira Africana

Preâmbulo: Capoeira African é a colectivização, documentação e representação da experiência Africana na roda de Capoeira e da vida. Nós experimentamos a Capoeira Africana reavaliando continuamente, revivendo, e reafirmando filosofias e valores Africanos, velhos e novos, dentro e fora da roda.



ENGLISH (Translation)

AFRICAN AXE IN EUROPE: A Review of a Video Clip of Capoeira Angola Game and Demo. 


By: Lucia Fernandes - Co-Founder of Capoeira Africana

Preamble: Capoeira Africana is the collectivization, documentation and representation of the African experience in the rodas of capoeira and life. We experience it by continually reassessing, reliving, and reaffirming African values and philosophies, both old and new, in and outside of the roda.





In the year of 2012, on the streets of London,the African energy through it’s art and culture. Streets where centuries ago, enslaved Africans used to walk. Today, people from various parts of the world congregate to enjoy the beauty of the African art and culture.

“It has rhythm and enough ingredients to contaminate all” – Master Ngola Nvunji

[Africa, with the rhythm of Africa, I go to Africa.]. Through the sound of batuque (drum), Hungu, reco-reco, chocalho (sheker), the nostalgic shout, I go to Africa. Through the dance, ginga, rolé, I go to Africa. I listened to the carnival of victory rhythm that I used to see pass on the streets of Luanda during my infancy; through it, I go to Angola.

Africans always used the body as a vehicle for expression. It is not new!

In a public roda (circle), in a global circle, movements are exhibited; mandinga is shown, magic of the dance and fight, and free expression. Origin, nationality, ownership, asset of these or those, in relation to Capoeira, does not matter in moments of creativity and communion with the creator. What matters is “the axe”, life, contamination, inspiration offered through the unique moment, so desired by the hungry hearts of vital energy, which is found there (in that moment) – the axe, the African axe.

Two persons dance and fight. One person alone dances and fights, also. Two people  communicate between themsleves, and one shows acrobacies to the public. The essence of the dance and fight, and of the art is lost in the attempt to convince others that beauty exists. The pure beauty is adulterated. Deep expression is distorted; nevertheless, the axe is felt.

There are no certainties of facts, but there are certainties of feelings, clearly brought to surface of a reality of the moment. This is Capoeira Angola, the Ngolo Dance, recreative, ceremonial, propitiatory, and commemorative. It was brought to Brazil to be transformed into a dance of struggle,  liberty, and expression of the enslaved negro. Today, the world enjoys the African heritage, globally - the African Axe.





ENGLISH (Translation)

In the year of 2012, on the streets of London,the African energy through it’s art and culture. Streets where centuries ago, enslaved Africans used to walk. Today, people from various parts of the world congregate to enjoy the beauty of the African art and culture.

“It has rhythm and enough ingredients to contaminate all” – Master Ngola Nvunji

[Africa, with the rhythm of Africa, I go to Africa.]. Through the sound of batuque (drum), Hungu, reco-reco, chocalho (sheker), the nostalgic shout, I go to Africa. Through the dance, ginga, rolé, I go to Africa. I listened to the carnival of victory rhythm that I used to see pass on the streets of Luanda during my infancy; through it, I go to Angola.

Africans always used the body as a vehicle for expression. It is not new!

In a public roda (circle), in a global circle, movements are exhibited; mandinga is shown, magic of the dance and fight, and free expression. Origin, nationality, ownership, asset of these or those, in relation to Capoeira, does not matter in moments of creativity and communion with the creator. What matters is “the axe”, life, contamination, inspiration offered through the unique moment, so desired by the hungry hearts of vital energy, which is found there (in that moment) – the axe, the African axe.

Two persons dance and fight. One person alone dances and fights, also. Two people  communicate between themsleves, and one shows acrobacies to the public. The essence of the dance and fight, and of the art is lost in the attempt to convince others that beauty exists. The pure beauty is adulterated. Deep expression is distorted; nevertheless, the axe is felt.

There are no certainties of facts, but there are certainties of feelings, clearly brought to surface of a reality of the moment. This is Capoeira Angola, the Ngolo Dance, recreative, ceremonial, propitiatory, and commemorative. It was brought to Brazil to be transformed into a dance of struggle,  liberty, and expression of the enslaved negro. Today, the world enjoys the African heritage, globally - the African Axe.



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