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Monday, April 5, 2004
aggieu
the mm
Brazilian martial art find
new fitness audience
By Richard Brand
KRT CAMPUS
The percussion rhythm slows to a crawling
beat, and two men playfully twirl their bodies,
reacting to one another’s moves as if dancing. The
beat quickens, the percussion becomes more
aggressive. And in a flash, a kick cracks the air
and knocks one of the men to the ground, gasping.
This is Brazilian capoeira, in which beauty
explodes into violence. But this scene isn’t being
played out on the wharfs of Bahia or the favelas
of Rio de Janeiro. Rather, it’s happening at
South Florida gymnasiums, where to the beat of
the berimbau drum, a growing number of men
and women are discovering the centuries-old
martial art.
Fueled by a growing Brazilian population and
by members of the fitness set who are finding
that sparring to music is a fun way to get buff,
capoeira is becoming popular in South Florida
and across the country.
“There’s a special energy in capoeira that you
can’t get in other places,” said Joe Marline, 32,
who practices at a gym in Pompano Beach, Fla.
“You have the infectious beat of the instruments.
It is a release. This is the only sexy martial art.”
“I have a lot of energy, and 1 wanted to get it
out of my system,” said John Mancuso, 25, a
mechanic.
Although capoeira has recently become popu
lar with non-Brazilians, the martial art has grown
in Florida along with the Brazilian population.
For many Brazilian immigrants, capoeira is a
way to maintain a connection to home. Patty
Silva, 40, of Coconut Creek, started capoeira
classes two years ago, after returning from a visit
to her family in Bahia, capoeira’s cultural home.
“I had always been exposed to it in Brazil,
and I never tried it,” she said. “When I went to
visit Brazil the last time, there was this whole
reawakening culture thing. I wanted something
that would keep me close to my roots and my
culture, speaking my language.”
Still. Silva, who works in a medical office,
said it’s the tough workout that keeps her com
ing back four nights a week to train.
“It’s like nothing I've ever done before. I’ve
done yoga, aerobics and jujitsu. But this is
something I really stuck with.” Silva said. “At
my age. with two children, nothing can stimulate
me more than this.”
Capoeira’s roots in Afro-Brazilian culture are
deep and rich.
Long practiced in Bahia, one of Brazil's
poorest yet culturally important states,
capoeira’s specific origins arc elusive. Some his
torians say it was transplanted from Angola by
slaves, dating back to pre-colonial times. Others
say capoeira is a more modern creation, the
product of a confluence of cultures in 18th-cen
tury Bahia.
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But in Brazil, popular folklore andaij
son on the street will tell you thatcapoein
developed by African slaves who, bam
having weapons, learned to disguise
kicks within the seemingly innocuous mu gVOi
of dance.
“Capoeira is an expression of freedom
Bira Almeida, a Brazilian capoeira masie
lives in California and is the autli
“Capoeira: A Brazilian Art Form.” “I
touched both runaway slaves and those win
secuted them, from unsophisticated peoflMjall te
intellectuals, from vagrants and those oj with a
the mainstream society to workers,studems,
politicians. It fulfills many people’squesis
It’s the romantic version of history,
many historians say is partly true, that i
so many to embrace the martial art.
South Beach capoeira
Carneiro, 34. a tall, muscular Brazilian
wears his hair in a bun above his head,
when he opened his school 10 years ago,It
a dozen students. Today, he has 250student
two gyms.
“It’s growing like crazy,” says Cameir
familiar face from fight movies such as
Quest,” in which he threw capoeiras*
opposite Jean-Claude Van Damme’s kickE
moves. Carneiro mixes the experts
beginners in his classes.
During a typical lesson last week, even
started by stretching out before they movedt
eardio and strength-building activities likep
ups and sit-ups. Then the group practiced si
capoeira moves like somersaults, high kicks
long sweeps.
“Be the best!” Carneiro shouts, coirectini
students as they go through the drills, wliici
progressively complicated.
The movement in the class never slops,
neither does the Brazilian folk music, win
turned up full blast. An hour into the session
most of the capoeiristas were drenchedins«
“You come in and have fun and work
two hours without even realizing it,” saidko IheUniv
Baquedano, 21. one of Cameiro’s studeni;
As a beginner, Baquedano’s moves are
cumbersome and deliberate, and when dies
ring begins, she sits out and watches theetpj
go at one another.
Indeed, beginners are not supposed
When they do spar, they are required todisj
the dance-like moves they’ve learned wii
hitting one another. Back flips are a
more
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moves are esquivas.
Carneiro said he’s happy to welcomethti
wave of fitness buffs into his gym,
them to train in the same room withthel'
belts. “Many of my students never fight,
don't have to,” Carneiro said.
For all those expecting Ludacris to rock Reed
Arena and enliven the College Station hip-hop
scene last Thursday, the performance was a sur
prising letdown.
Rumors ran rampant all week about the possible
“special guests” hinted at in the advertisements for
the show, but the guest performers concertgoers
were treated to were far less than special. That's
right: no Chingy, no Li'l John and no other high-
profile perfonners. Fans were lucky Ludacris even
showed up.
But it gets worse. Apparently unable to book any
sort of solid opening act, Ludacris was preceded by
two Bryan rap groups: Essential Shame and Players
By Choice. Of the two opening acts, only Players
By Choice was bearable; Essential Shame's per
formance was, well, shameful.
And as if that wasn't enough. Candy 95.1 DJ
“Tic-Tac” was the master of ceremonies for the
event, constantly making jokes no one laughed at
and at one point humping the stage floor in an
apparent attempt at dancing. Needless to say, this
did little to get the crowd excited, and audience
members were openly mocking him.
More than two hours into the three-hour show,
Ludacris finally showed up. His 50-minute perform
ance wasn't bad, but he had his backup music, com
plete with his own lyrics, playing in the background
during most of his songs. So at times it was hard to
hear or understand Ludacris because his own back
ground vocals were playing too loud. Thai
bined w ith the constant shrieks that pierced
Arena every time a perfomier walked tooclos
speaker with his microphone, was enoughtos
many concertgoers leave early. And they did
But the concert had its high points, too,Fc
rapper Shawna, of Ludacris’ Disturbing The ft
clique, stole the show, rapping dirty enough to*
Li’l Kim blush and fast enough to make te
down. 1-20, another member of DTP, alsoh
hard-edged rhymes laden with violence a
use. He even sported a T-shirt proclaiming
THE DEALER.”
And Ludacris, though going throusl
motions for most of his songs, wasn’t a let
disappointment, as he played mostly his radi
gles off all three of his albums, going all Ike
back to “What’s Your Fantasy,” from
“Back for the First Time.” So the concerts
complete loss.
All in all, this event will likely do little toea
age more hip-hop acts at Reed Arena, as
was hardly a sellout and many left 30 minuttf
Ludacris’ perfonnance. As one disgruntledi
said on his way out, “I can’t believe I paid 2d I
for this.”
- George Dc0
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The -
ush
chool
of Government & Public Service
Texas A&M University
Hie Ni
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The George Bush School of Government & Public Service
is accepting applications for the
CERTIFICATE IN ADVANCED INTERNATIONAL AFFAIRS PROGRA
Point. '
B ig 12)
^atche
fifth cc
jes
f^eir la:
Senio
Select from a menu of graduate seminars each semester to earn a 12 credit-hfl !° r H
• ^uren
certificate and a permanent addition to your Texas A&M transcript. Enhance yd ‘
knowledge and your career prospects.
For more information on this program visit our web site: http://bush.tamu.edii
contact Laura Posada at (979) 862-8841 or e-mail lposada@bushschool.tamui
The application deadline for summer enrollment is April 16.
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