Capoeira Angola Movements

Capoeira Angola 

Movements 

By CURTIS PIERRE

Copyright © 2012 Author Name 

All rights reserved. 

ISBN-‐13: 978-‐1512266870

DEDICATION 

I would like to dedicate this book to my family my wife without her I would not 

been able to have the complete life involving Capoeira the way I have without 

her and to my son for me being able to pass on the things that I have learned 

with Capoeira and in life. Also to my brother Kerry Pierre who first inspired me 

to learn martial arts and to my first martial arts teacher Johnny Williams.

CONTENTS 

1 Chapter 1 The Ginga Pg. 4 

2 Chapter 2 Basic Capoeira Kicks Pg. 17 

3 Chapter 3 Defensive Capoeira Angola Movements Pg. 76 

4 Chapter 4 Advance Attack Movements Pg. 102 

5 Chapter 5 Escape and Maneuvering Movements Pg. 122 

6 Chapter 6 Chamada The Call to a Trap Pg. 219 

7 Chapter 7 Capoeira Musical Instruments Pg. 250 

8 Chapter 8 About the Author Pg. 307 

9 Glossary Pg. 309

An Original African style Martial Art Form deeply rooted to 

African by way of Brasil.

ACKNOWLEDGMENTS 

First of all I would like to thank my wife Carol my son and student Bomani, 

Jorge Alabe, Marcio for all their individual support and all of the Capoeira 

teachers and all my students, the Mississippi group Ivory and Gimante the Baton 

Rouge group Donavon and Leo for everything we shared together and my New 

Orleans Students past - Duane and Ryan Simien, Vernon, Mbita, Ruben, Ivan, 

Monique and Rene, Dale Marcelin, and present - Lauren Lastrapes, Emily 

Schweninger, Deb Karhson Drew Mosby and especially Jonathan Terrell for all 

of his help. Also would like to personally thank Randy Banks introduced me to 

Capoeira, Cornel Corley, Cedric Adams, Bennie Duarte and Muneer. Thank 

Mestre Acordeon “Bira Alemeida” for my 1st capoeira class in U.S., Mestre Joao 

Pequeno for my 1st Capoeira Angola class in 1988, although I have never been a 

formal student of these Mestres I would like to thank Mestre Marcelo, Mestre 

Timba U.S, Mestre Lua Rasta, Mestre Morais and Mestre Joao Grande for their 

Capoeira knowledge, work in the community and as a being inspiration to all 

Capoeistas, Mestre Valmir and Mestre Jurandir, and most of all Mestre Cobra 

Mansa my Capoeira Angola for all his guidance, teachings, patience and taking 

down the path of the Capoeira road right where I wanted to culturally, 

holistically, mentally and spiritual

HOW TO USE THIS BOOK 

This book is about Capoeira Angola, an Afro Brazilian martial art form. This 

book is not intended, on its own, to teach Capoeira Angola. It is a reference for 

understanding how some of the basic movements of Capoeira are done when 

you are not able to attend classes. This book was created with children and 

beginners in mind. It can be a resource for kids who need help remembering the 

names of the different Capoeira movements. It can also be used as a study guide 

to help students of all ages remember the various movements and think about 

their potential uses. Learning Capoeira is like learning how to swim. You can 

read books about how to swim, but you must get in the water if you really want 

to understand how it’s done. Reading this book will help guide you, but you must 

go to a class to truly learn Capoeira Angola (or any type of Capoeira). I hope this 

book will help you develop an understanding of how Capoeira works. 

There are a couple of things you need to keep in mind when reading this book. 

The first thing is, when you are looking at the illustrations, you have to imagine 

that you are looking in a mirror. About 95% of the illustrations in this book are 

set up this way. So, when you’re looking in a mirror and you raise your left hand, 

your mirror image will be raising the right hand. 

This is how I teach the movements in my class, and it is the way I was taught 

Capoeira. Some people have a tendency to want to turn their backs and face the 

same direction as the instructor so as to mimic what they are seeing. However, 

the best way to learn these movements is by facing the illustrations as if they 

represent your opponent as a mirror image. This way, you learn to see what is 

happening from a defensive or offensive position. 

Please look at the example on the next page. Remember! Reading this book 

will not make you an expert in Capoeira. Capoeira takes years of practice and this 

book is meant only to help the process along. It is a tool comparable to using the 

right pair of athletic shoes to play basketball or the right pair of cleats to play 

football or baseball. Tools can be useful, but if used incorrectly, they can be quite 

destructive! Please support your local Capoeira family, institution, or 

organization! “Guidance is impossible without a guide.” Find a Capoeira 

teacher! 

1

Example: If I say your left foot is in the back position, you will notice that 

the man in the illustration has his right foot is the back position. This is where 

you have the mirror effect. Whenever it’s his left, it’s your right. This also applies 

for the hands, and it is true for the directions in which the whole body turns. Pay 

close attention to the beginning of each set of instructions as you use them to 

understand this technique. This is very important for you to understand as you 

use this book to study how the movements of Capoeira work and work together. 

2

Lets take a look at this Capoeira 

Vamos dar uma olhada neste Capoeira 

3

THE GINGA CHAPTER 1 

Section 1.01 The Ginga 

The Ginga is the movement that is considered the Capoeira moving stance. It is 

done with a smooth, flowing motion. Sometimes it is done fast, sometimes it is 

done slow. Sometimes it’s done high, and sometimes it’s done low. Ginga has an 

in-and-out plus a side-to-side motion. It is like a triangle. 

4


You have to think about your feet making a constant repetitive 

triangle each time you move. You will be simultaneously switching 

both feet in alternation from the front parts of the triangle to the single 

back point, while moving your body from side to side and from back to 

front. Although this triangle is movable and adjustable to start off, it is 

good to practice facing one direction when learning to do Ginga. The 

Ginga is the most important part of Capoeira. It sets up the basic 

movements of the form. 

The Ginga is a playful and spontaneous movement that can be fun 

to do and is considered the “dance” part of Capoeira. Within any dance, 

you are always allowed a little improvisation. This is true of Capoeira, 

too. With your feet separated, step back on the triangle with one foot 

and then bring your foot back in the same place you took it from. 

Repeat with the other foot, and then develop a rhythm while keeping 

the movement flowing. The arms follow the rhythm of the body. When 

one foot is back the same arm is up and across your body and the other 

foot is forward and the arm on that side is hanging slightly to the side. 

This is the basic movement. 

6


Note: as a mirror image 

This is the closed position of the Ginga. When you are here, you are “inside.” 

When you move to the next part, you are “outside.” Inside means you are in the 

reach of your opponent and outside means you’re outside of the reach of your 

opponent. 

8

In the outside position your left hand is up in front of you, right above your 

chest, and extended slightly away from your body. Your left foot is extended 

behind you in the Ginga position. Your right arm is extended along your side and 

your right foot remains forward. This is how we generally begin the Ginga 

movement. 

9


Inside 

This is the inside version of the Ginga from the side view. Your body moves in 

close to your opponent. 

10

Outside 

This is the outside version of the Ginga from the side view. Your body moves 

away from your opponent. 

11


Here is the basic format for the Ginga starting with your right foot in the rear. 

In the Ginga position, your upper body should be bent slightly forward as you 

bring your right foot up to the front. As your legs change position to join each 

other in the front of the triangle, you will close off your upper body by putting 

both forearms in front of your face and chest while assuming a semi-low crouch 

position. 

12

Maintain this position until your left foot goes to the back position of the 

Ginga. This motion should not be rigid. It should be a constant motion that does 

not stop at any particular point within the Ginga. The Ginga is what you would 

refer to, as a moving stance and executing it should remind you of pouring water. 

The flow of water never stops. It just goes around things. 

13


The Ginga is a playful movement. Here are a couple of protective positions 

to play around with, keeping in mind that your hands and arms always cover the 

upper part of your body, while your feet are constantly moving. Sometimes the 

Ginga can make you feel like a rooster walking, a little monkey, or even a little 

frog. 

14

CHATER 2). BASIC CAPOEIRA KICKS 

This chapter is about Capoeira kicks. I will demonstrate the rudiments of how 

to execute basic Capoeira Kicks. To give you an over view of how Capoeira 

movements work for the rest of the chapters. We will consider all the 

movements to be part a question and answer game. 

Each movement asks a question that has an answer. This is the idea: I asked 

the question and you answer me. Then, you can ask a question I should answer. I 

will then ask you another question. In this back-and-forth series, someone is 

going to forget the proper answer. This is what makes the opening for an attack. 

17

Meia-lua de Frente: 

Section 2.01 Meia-‐lua de Frente 

Meia-lua de Frente: Beginning from the Ginga, we will do this kick whose 

name translates into “half moon from the front.” Starting with your right foot to 

the back, 


18

Bring your right foot to the front position of the Ginga. Then opening your 

arms for balance you will be lifting your left leg to perform the half moon to the 

front kick (Meia-lua de Frente). 

19

Section 2.02 Meia-lua de Frente 

After lifting your left leg make sure it moves to the far side of your body and 

not directly to the front. 

20

At this point the left leg will make a Meia-lua de Frente or “half moon to the 

front” by making a haft-semicircle in front of the body. You do exactly what the 

name says and make half of a moon as you move the left leg from the left to the 

right side of the body in a gentle arc. This is considered a side attack. 

21

Section 2.03 Meia-lua de Frente 

With this kick and all other kicks, always stay close to your opponent with 

your kicking leg. If he is escaping your movement, you should have a maximum 

distance of 3 to 5 inches in between your opponent as he escapes from your 

movement. This helps give the reality that he is being kicked . 

22

Go all the way to the other side of your body coming as close as you can to the 

floor without touching it. Hold the movement for a couple of seconds, then 

continue moving your foot backwards (but without touching the floor) so that 

you put it back into the Ginga position. When returning your foot to the Ginga 

position, make sure your kicking leg passes between your other leg and your 

opponent returning to the Ginga position in a relaxed and balanced manner. 

23

Section 2.01 Meia-lua de Costas 

Meia-lua de Costas: Beginning from the Ginga, we will do this kick whose 

name translates into “half moon from the back.” Starting with your right foot to 

the back, 


24

Bring your right foot to the front position of the Ginga. Then opening your 

arms for balance you will be lifting your left leg to perform the half moon to the 

front kick (Meia-lua de Frente). 

25

Section 3.01 Meia-‐lua de Costas 

Meia-lua de Costas: Step across with your left foot with your toes facing the 

right side. Your focus is on your opponent while looking over your left shoulder. 


26

The next thing is to twist your body in a backwards motion towards your right. 

There is a specific way that you need to execute this movement: while you are 

turning you should leave your head focused on your opponent until you can no 

longer keep looking over your left shoulder. At this point you should turn and 

look over your right shoulder (following the same direction that your body is 

turning). Now, you should be looking at your opponent over your right shoulder. 

27


Now your right shoulder should be facing your opponent. 

28

Begin to lift your right foot to execute a half-moon kick that travels from 

one side to the other. 

29


1st point Left foot Feet position 2 Feet position 3 

Feet position 1 

1st point Right 

Left foot pivot on front ball 

part of foot 

Right foot pivot on back ball 

part of foot the heel 

The following diagram demonstrates the positions your feet should be in 

when turning. This is a pivot turn. When you turn from one side to the other, 

your legs will be in a slight twist. From the position we were in when we started 

the movement, your left foot should be facing your opponent as in the first 

point. When you start to pivot you should pivot on the front ball of your left 

foot. 

30

Feet position 4 Feet position 5 

Final feet position 6 

You will pivot on the ball or heel of your right foot. Do not exaggerate lifting 

your foot when pivoting. You want to have a smooth transition. Each position 

above is a breakdown of the total turning movement. Once you have learned 

how to execute this movement you should be able to do it in one complete turn 

maintaining eye contact with your opponent. This will probably be one of the 

most difficult movements presented in these illustrations of Capoeira. 

31


When you have completed the turn, you should start to lift your right foot in 

a manner similar to what we learned doing the Meia-lua de Frente (“half moon to 

the front”) kick. This kick also makes a half circle. The difference between the 

two is that now you’re kicking with the outside of your foot, whereas with the 

Meia-lua de Frente, you’re kicking with the inside of your foot. Lift your foot 

about waist high to make a good, safe, and efficient movement. 

32

When you have completed the half circle with your right foot, you should 

return to the Ginga position. 

33

Playing the Pandeiro 

Section 45.01 Playing the Pandeiro 

The tambourine is called the Pandiero this instrument is one of the most 

versatile instruments in Brazil it has a simple pattern that is similar to the 

Atabaque. This is how you hold the pandeiro make sure when you’re holding it 

that you are not holding it in a place where the jingles are. 

34

This is another view from the top on how it should look when held. The 

pandeiro is held with the weak hand and played with the dominant hand. 

35


The first tone on the pandeiro is the open tone it is executed by hitting the 

pandeiro on the skin with the bottom part or underside part of the thumb. When 

you hit the pandeiro head your thumb should not remain on the head it should 

bounce off to let the sound out. 

36

You need to have a twist of the hand, wrist and forearm to execute this 

technique. When striking the pandeiro with the thumb make sure not to muffle 

the sound by pressing on the head of the pandeiro with your thumb. 

37


The next sound is the slap or the slap. This technique is very simple to 

execute, you will be hitting the pandeiro in the center with your fingers spread 

wide as possible this gives a dry sort of sound. To achieve this sound when you 

do this technique your whole hand remains on the pandeiro for a second this 

cuts off the sound to make the slap sound, if you hit it and immediately take it 

off you will not get the same sound the key is leaving it on for about a second. 

38


The next technique is the fingertips and the heel of the Palm At first this 

movement can be a little challenging with your left hand you should be able to 

rock the Pandeiro back and forward as an illustration. Make sure you have the 

hand that’s holding the pandeiro with your wrist and forearm straight so you can 

get an even swing with the pandeiro. To understand how this works you must 

know the entire technique consist of six beats it can also be done in three beats 

which is the more simple one I will attempt to explain the more difficult one. 

39

Let’s identify the hand parts first to help you better understand how this pattern 

works the; 

Thumb: will be (boom) 

Slap: will be (pop) 

Fingertips: will be (key) 

Heel of the palm: will be (tic) 

The phonetic spelling of the sound should go like this 

boom-pop-boom-tic-key-tic, boom-pop-boom-tic-key - tic try to sing this 

pattern in a rhythmic manner if you are good with music and understand music 

division this is how the pattern would look. 

boom-pop - boom-key-tic-key, boom-pop-boom-key-tic-key 

1--- 2---3- - E 4 E 1 

40


The Berimbau is the main instrument of Capoeira this one string instrument 

along with two others that are set at three different pitches high medium and 

low. Many capoeira mestres have different opinions on which pitch the berimbau 

should be played at my opinion is that it should be played at the pitch where it 

sounds the best resonates the best open tone and the best buzz tones. The main 

berimbau’s major purpose is to control what goes on in the playing circle of 

Capoeira and is the most important instrument in the ensemble which is called 

the bateria. 

The wood it’s made mostly of is a special wood from Brazil called Biriba. Here 

in America I have found that the Hackberry tree and the crate myrtle tree are the 

best woods to use for making a berimbau. The sound comes from the gourd 

family that is called a Cabaça the wire that is strung on the berimbau comes from 

the lower rim wall of a car tire. To get to this wire it has to be exposed by carving 

the rubber with a knife or sheetrock knife and using a pair of pliers to extract the 

wire you must expose the wire from the rim of the tire entirely and clean it off to 

make the sound come out clear. To play the berimbau you need to use a small 

stick less than pencil size tapered and about 12 of 14 inches long also you need a 

dobrao which is called a coin or a rock this coin is made of brass and is about the 

size of a $.50 piece put together the stick is called the Baqueta and the basket 

shaker called the caxixi. With a lot of Practice and a good teacher you will be 

playing the berimbau. 

41

Capoeira Angola Movements 

By Curtis Pierre 

THE END 

42

ABOUT THE AUTHOR 

Curtis Pierre 

Has practiced martial arts for over 45 years. He began studying capoeira 35 

years ago. Starting in Los Angeles with American teachers Randy Banks (1981) 

and Cornell Corley (1983). He also studied in Los Angeles with Brazilian mestre 

(master), Bira Acordion. Since then, he has traveled often to Brazil to taken 

Classes with both Regional Capoeira and Angolan Capoeira. In Rio de Janeiro, 

he has taken classes with Mestre Bragga of the Academia de Mestre Bimba, 

Mestre Camisa. Mestre Canguru of the Academia de Abada Capoeira, and with 

the legend Mestre Joao Pequeno, of the Academia does Joao Pequeno in Bahia, 

Salvador. Most recently has taken classes with Grand Master of Capoeira Mestre 

Joao Grande. For the past 15 years he has been studying under Capoeira Angola 

exclusively with Mestre Cobrinha Mansa. Curtis has taught Capoeira through out 

the New Orleans area for the over 28 years has attended the Capoeira Angola 

Encounters held in Washington D.C. Hosted by Mestre Cobrinha. Curtis is 

leader of the Capoeira Angola group of New Orleans that is a former member of 

the International Federation of Capoeira Angola under the direction of Mestre 

Cobrinha Mansa, President. 

Percussionist who has studied with professional Brazilian artists in Brazilian 

dance, drum and percussion. In the past 45 years, have played with various 

Brazilian African dance companies, percussion ensembles, reggae and pop music 

groups; done video and movie spots; and done solo performances. Have studied 

with several professional percussionist such as, Airto Moreira world-renowned 

percussionist, Bill Summers percussionist for Herbie Hancok, Munyungo Jackson percussionist 

for Stevie Wonder and Ron Powell percussionist for Kenney G. Studied Brasiliana samba 

percussion at several Escolas de Samba in Rio de Janeiro, Brasil including 

Acadêmico de Salgueiro, Beija Flor, Estação Primeira de Mangueira, Acadêmico de Villa 

Isabel and Mocidade Independente de Padre Miguel. In Bahia he has taken classes from 

the Afro-Brazilian Blocos( samba schools) like Iye Aye and Olodun. 

Currently serves as the director and founder of first New Orleans based samba 

school, CASA SAMBA. Creates, composes and directs Brasilian musical 

arrangements; Brasilian choreographs dance routines, designs and constructs 

Brasilian costume and props for his (Escola de Samba) samba school band and 

43

dancers of a 30+ member (including a children's group) samba school. 

COMMUNITY PROJECTS- 

"Roots of Music" Currently work with a New Orleans citywide after school 

band teaching Samba 

Samba Kids at the New Orleans Recreation Department Commission 

N.O.R.D.C. for the past ten years. 

Works with Stage to Stage now at the N.O.R.D.C. Ty Tracy Theatre building 

with Director and Founder Julie Condy, Theatre Musicals for children for the 

past 15 years to present 

Young Audience Program, Board Consultant New Orleans, LA 

Curtis Pierre: The Samba Man 1988-Present 

Performances and workshops in New Orleans public school system & Southern 

Region; reaching over 1,000,000 children in 18 plus years. 

RECENT ACCOMPLISHMENTS: 

• Workshop for Ile Aye - Instructed a Workshop on Samba from Rio de Janeiro 

to one the most famous blocos (Samba School from Bahia Ile Aiye) 2009 

• Three months in Brasil culminating with earning a spot in the Bateria of 

Escola de Samba Salgueiro 2004 for his passionate work ethic, knowledge of 

Samba and its traditional instruments and recognition of his dedication to 

Brasilian culture. 

• Starting the first Samba Summer Camp in New Orleans based entirely around 

Brasilian culture, CASA SAMBA Brasil CAMP 2005. 

• Best Camp Summer Director of the Year 2005; Awarded by Charlene Braud, 

Director, New Orleans Recreation Department 

35 years of Study at HKU (Hard Knocks University) 

United States Navy Honorable Discharge June 1977 

Hahnville High School, Hahnville, LA, Class of 1975 

Orleans public school system. 

44

GLOSSARY 

The Agogô ah-go-go, is played with a small light stick. It is a very 

loud instrument when playing the Agogô you should muffle it some 

with your hand mainly if it’s made of metal. There are Agogôs made of 

wood the first Agogô was a hollow tree. 

* 

Arame ah-rom-me: Steel string. 

* 

Aranha - ah-ron-yuh, The spider this movement is used for close 

inside Capoeira games and used for small maneuvers. 

* 

Armada, are-mada This as a spinning circle kick from the rear. 

* 

The Atabaque - oot-ta-bok-key, is a tall, wooden, Afro-Brazilian 

hand drum. The shell is made traditionally of Jacaranda wood from 

Brazil. The head is traditionally made from calfskin. A system of ropes 

is intertwined around the body, connecting a metal ring near the base 

to the head. Because of this tuning mechanism the drum is sometimes 

known as 'Atabaque de Corda'. Wooden wedges are jammed between 

this ring and the body and a hammer is used to tighten or loosen the 

ropes, raising or lowering the pitch of the drum. 

* 

Aú, ah-ou, The Aú/cartwheel this is both an escape and attack 

movement. 

* 

Aú, ah-ou g ka-bay-sa, The cartwheel on the head, this is both an 

escape and attack movement. 

45

Aú, ah-ou fesh cha-do, The closed cartwheel on the hands, this is 

both an escape and attack movement. It is done with your feet and legs 

protecting your body your feet and legs also do not move below your 

waist, because I said below you have to remember that you are upside 

down. 

* 

Bananeira bon-na nade-ah, The banana tree this is being able to 

stand on your hands and have the similarity of the banana tree used for 

both defense and attacks. 

* 

Vaqueta - va-ket-ta, Small stick struck against the arame to 

produce the sound. 

* 

The Berimbau - beer-rim-bow consists of a wooden bow (verga – 

traditionally made from biribá wood, which grows in Brazil), about 4 to 

5 feet long (1.2 to 1.5 m), with a steel string (arame – often pulled from 

the inside of an automobile tire) tightly strung and secured from one 

end of the verga to the other. A gourd (cabaça), dried, opened and 

hollowed-out, attached to the lower portion of the Verga by a loop of 

tough string, acts as a resonator. 

* 

Cabaça - ka-bay-sa: Opened, dried and hollowed out gourd-like 

fruit secured to the lower portion of the berimbau, used to amplify and 

resonate the sound. 

* 

Cabeça en Pe e Chapa, ka-bay-sa in pah e shop-pa, or Planta 

Bananeira -This is one of the advance moves used with the headstand 

this can only be performed after you have obtained the skill of standing 

on your head and falling backwards and supporting yourself on your 

feet and your head. 

46

Cabecada ka-bay-sa This is a head but using various parts of your 

hit to strike your opponent. 

* 

Cabeçada ka-bay-sa-da, Head butt this movement is simple to 

learn but difficult to apply, but when set up properly is most effective. 

* 

Capoeira (Cop poe wade-da) a martial art form from Angola Africa 

redeveloped in Brazil. 

* 

Caranguejo - ka-ron-gay-shu, The crab or the crawfish this 

movement is used for defense, retreating and attacking. 

* 

Caxixí - ka-she-she, Small rattle that optionally accompanies the 

vaqueta in the same hand. 

* 

Chamada - chah-mod-da, The call this movement is in the same 

category as the scissors but much more sophisticated. When you are 

being called you must know that you are being called to a trap. And in 

order to enter this trap you must know the all of the different ways of 

protocol within this movement. This is a movement that you need to 

understand more than just execute because there is a lot. 

* 

Chapa de Costas, Shop-pa g cost-ta the sole of the foot. Back 

thrust kick. 

* 

Chapa de Frente, Shop-pa g french the sole of the foot. Chapa de 

frente - Front Thrust kick. 

47

Chapeu de Coro, The leather hat is a movement that comes from 

above the opponent in other words your leather shoe becomes his hat. 

* 

Cocorinha co-co reen nah Squatting defense is the simplest 

movement in Capoeira and it is also the one of the most powerful. It is 

mainly used for going under an attack and advancing inside of your 

opponent’s defense. 

* 

Cuto de Capain - cur-to g cop-peen, Cutting the grass this 

movement is used for distraction before an attack. You can attack from 

several different positions in the process of executing this movement. 

* 

Devagar de-va-gah slow and calm movements. 

* 

Direito - G-rate-to right, straight, upright, correct, erect, standing. 

* 

Dobrão - doe-brown, Small stone or coin pressed against the 

arame to change the tone of the berimbau. 

* 

Em Baixo - in-ba-shu, below, down, downstairs, at bottom, 

downward. 

* 

Em cima - in seem-ma up, above, atop, overhead, upstairs, on the 

top. 

* 

Esquerdo - iss-scade-do left, near, left-hand. 

* 

Frente (French), front, forefront. 

48

The Ginga - jing-gah, Going side to side, back and forth with a 

fluid motion) The Ginga is the movement that is considered the 

Capoeira, moving stance. Is the funda- mental footwork of capoeira. Its 

constant triangular footwork makes capoeira easily recognizable as well 

as confusing since it looks much more like a rhythmic dance step than 

an orthodox static fighting stance. 

The main purpose is not dancing but rather to prepare the body for 

any number of movements such as evading, feinting, or delivering 

attacks while continuously shifting stances all while providing 

confusion. The ginga places the capoeista in constant motion, making 

them a frustrating target for a forward-advancing opponent,. 

[1] The ginga also allows the capoeista to continuously maintain 

enough torque to use in a strike while providing a synchronization of 

arm movement to avoid and slip under attacks. The ginga is not static. 

* 

Girar - gee-rah, The spinning movement use for escaping and 

attacking. 

* 

Jacaré - joc ka-reah, The Alligator starting this movement the 

main use for this movement is to enter in and out of the scissors it is 

also used for maneuvering in small places 

* 

Lado - lad-do, side, behalf, flank, wall. 

* 

Macaco - mah-ka-cu, Backwards monkey jump this movement is 

the basis of learning a back flip although it is not necessary to know 

how to do a backflip to execute. This is a movement used to jump out of 

a situation or as you will learn and another part of this book you can 

use this movement for an attack. 

* 

49

Malandragem and Mandingo 

Malandragem is a word that comes from malandro, which means a 

person who possesses cunning as well as malícia (malice, in English). 

This, however, is misleading, as the meaning of malicia in capoeira is 

the capacity to understand someone's intentions. In Brazil men who 

used street smarts to make a living were called malandros. Later the 

meaning expanded, indicating a person who is a quick thinker in 

finding a solution for a problem. 

In capoeira, malandragem is the ability to quickly understand an 

opponent's aggressive intentions, and during a fight or a game, fool, 

trick and deceive him. 

Similarly capoeista use the concept of "mandinga". Mandinga can be 

translated into magic, or spell, but in capoeira a mandingueiro is a 

clever fighter, able to trick the opponent. Mandinga is a tricky and 

strategic quality of the game, and even a certain esthetic, where the 

game is expressive and at times theatrical, particularly in the Angola 

style. The roots of the term mandingueiro would be a person who had 

the magic ability to avoid harm due to protection from the Orixás. [20] 

Alternately Mandinga is a way of saying Mandinka (as in the 

Mandinka Nation) who are known as "musical hunters". 

* 

Martelo, mar-tel-lo Martelo that means hammer this is a basic 

snap kick. 

* 

Meia-lua de Costas, May-ah lu-ah g cost-ta An attack coming 

from back of your body to the side of your opponent. 

* 

Meia-lua de Frente, May-ah lu-ah g french half moon to the 

front kick an attack from the side. 

50

Negativa, neg-gah-chiva This movement is performed by starting 

from the Ginga position. To avoid a kick attack from the sides. 

* 

Negativa de Frente, neg-gah-chiva-g-french, This movement is 

used to defend against attack from the front. 

Negativa Pena Na Frente, neg-gah-chiva pan-na g-french, 

This movement is a different version of the Negativa. Its main purpose 

is to provide an immediate counterattack. Because once you are 

finished the movement is very easy execute a Rabo de Arrira. 

* 

The Pandeiro - pond-dead-o, is a type of hand frame drum 

popular in Brazil, and which has been described as an unofficial 

instrument of that nation. The drumhead is most of the times tunable, 

and the rim holds metal jingles (platinelas), which are cupped creating 

a crisper, drier and less sustained tone on the Pandeiro than on the 

tambourine. It is held in one hand, and struck on the head by the other 

hand to produce the sound. Typical pandeiro patterns are played by 

alternating the thumb, fingertips, heel, and palm of the hand. A 

Pandeiro can also be shaken to make sound, or one can run a finger 

along the head to produce a roll. 

* 

Pé da Cabeça, pah da Ka-bay-sa, The headstand, this is a 

defense trap many attacks can be done from this position. 

* 

Ponte pawn-chi, The bridge this is a movement. It is used for going 

under an attack and escaping. It requires flexibility within the 

shoulders and back. On the other hand if you are able to accomplish 

this movement it can increase your flexibility immensely. 

51

Queda de Rins - kad-da-g-hins, Fall on the kidneys. This 

movement is a traditional movement in Capoeira that is used to do a 

salutation or salute at the location of where the Capoeira master 

playing the lead instrument, the Berimbau called the Gunga. 

* 

Rabo de Arraia, haboo g higher kick. 

The tale of the Manta Ray Circular centrifugal 

* 

Rasteira, hos-stayed-da The sweep Where you sweep your 

opponents feet from the floor a second before are you doing this are 

not about to it touches the floor is a simple movement which is very 

difficult to execute. 

* 

The Reco Reco - heco-heco, This is a scraper instrument that’s 

made of bamboo tubing it can also be made out of a gourd and it is 

pronounced heco heco it’s held in the palm of the hand with the open 

and out so the sound can come out. 

* 

Rolê, hoe-lay, The roll is used for maneuvering and escaping can be 

done in a circle or a straight line. 

* 

Rolê de Banco, hoe-lay g bon-ko, The Bench Rolê this will would 

his call that because your body looks like a bench it is the third 

variation of the Rolê. It is mainly used for lateral movement. 

52

Rolê de costas, hoe-lay g cost-ta The Rolê to the back this 

movement is identical to the previous movement. The difference is that 

this movement is mostly used for escaping attacks from the front 

because it is designed to move you back out of the reach of your 

opponent. 

* 

Saida- sa-eed-da, leave, exit, get out, go out, get off, move out 

* 

Sapinho - sop-peen-yo, The little frog this movement is used for 

distracting your opponents’ intentions or attacks you can execute many 

movements from this movement. 

* 

Tesoura - chi-zor-dah, The scissors this is a movement that is a 

tradition and has a laid out format. This movement is a call to enter 

based on your Capoeira skills a trap that has many ways in and many 

ways out. 

* 

Troca De Pé trok-ka-g-pan-na, Switching the legs this is a very 

helpful maneuvering and direction change movement. 

* 

Verga: veg-ga, Wooden bow that makes up the main body of the 

Berimbau. 

* 

Voodoo Macego, Voodoo Mah-seg-gu The flying bat this 

movement is a mixture of the movement called the monkey and a 

double Chapa kick. 

53

Capoeira Angola Movements

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