The Capoeira Angola Libray | Discount Coupon for Udemy Course

Hey Tom Mandingueiro here,

I want to welcome you to the Capoeira Angola library. This is a product of hard work, research and years of training. My goal is to simplify capoeira and create a structure that will help beginners understand the game of capoeira Angola in a better and faster way.

The library is divided into 3 building floors. Each floor is characterized by the distance to the ground,
and has 2 sections; a game and a takedowns section.

When training, I recommend mixing the different floors. This way you can let different parts of your body rest while moving from one floor to the other, allowing you to maximize your training time.

most of the techniques in the library were thaught to me by Mestre Edan, Mestre Cueca, Mestre Cabello, Mestre Marcelo Finco.

Enjoy!

Key points

first technique - place your hand on the ground as a base for kicking your leg (try training only the first kick before putting it all together), remember the first 2 kicks are preferred by the same leg and the third kick will be with the other leg. when kicking the third kick you should be going up on the ball of your feet and finishing up with a role backward

second technique - during all of the ground movements remember to place your whole palm on the ground. when switching to the third kick remember to turn your feet so you will be leading using your heel.

recommended training: 6-8 times from side to side each move. resting for 1-3 minutes while ginga or second-floor kicks

Key points

first technique - when trying to understand the steps, try focusing your attention on the down and up motion. A higher level will be exhaling when going down and inhaling when going on up.

second technique - remember there's no static position in these moves keep flowing at all times

third technique - when going down into the last part of the move, the switch and backward roll, try using a metaphor of a balloon losing its air.

recommended training: 6-8 times from side to side each move. resting for 1-3 minutes while ginga or second-floor kicks

Key points

remember this is not choreography. The one who is kicking is leading and the partner should move in reaction to his kicks.

training recommendation: 4 times from side to side. If possible, switch parts without stopping

Key points

first technique - this is a falling down movement. try performing it with as much control as possible. this way, when you'll be taken down you will be safe to fall.

second technique - try matching the movement with your breathing. the hardest part of this drill is leaving your partner the right amount of weight on the leg his pulling, so it will be similar to the real play.

third technique - when the partner is assuming the position, standing up above the partner whos down, there should be a pause and an understanding that this move was a "checkmate" move. he offered you continuing the game by escaping in between his legs

recommended training: switching parts every time for 3 times each 2 minutes break

Key points
first technique - instead of faking the move try starting the kick and stopping. This will make it more realistic. before actually kicking your leg, place the foot diagonally and a little bit in front of you that will help execute to kick easily.

second technique - don't pass the base leg with the kicking leg so it won't take your long to kick the meia lua

third technique - before going for the cabecada, place your back leg on the floor. This way you'll have a better base and thus better balance

forth technique- before getting up make sure you are situated sideways to your partner and not backward

Key points

first technique - when trying to understand the steps, try focusing your attention on the down and up motion. A higher level will be exhaling when going down and inhaling when going on up.

second technique - remember there's no static position in these moves keep flowing at all times

third technique - when going down into the last part of the move, the switch and backward roll, try using a metaphor of a balloon losing its air.

recommended training: 6-8 times from side to side each move. resting for 1-3 minutes while ginga or second floor kicks

Key points

first technique - when escaping try to stay as close as you can to the partner. that way you won't get hit by his heel

second technique - when faking the first attack, don't give your back to the partner. you have to be sideways so that you can keep kicking without having to move a lot

third technique - after kicking the first kick, remember to stay sideways. again, for the same reason as the last technique

fourth technique - don't extend the second meia lua too much so you can hit the cabecada, the moment the partner touches the floor

Key points

watch out where you place your feet, so you won't bump into your partner's feet
keep both of your knees bent so you can divide the weight between them

keep a hand protecting the face from the kick

Key points

first technique - remember there is no moment when both of my feet are up in the air

second technique - when escaping, try to use as less effort as possible and wait for the last moment before the leg touches you

third technique - when trying to call the partner for au above your leg, lower your waist so it will seem comfortable

fourth technique (starts at 01:15) - try landing for the au and roll backward as soft as possible

Key points

first technique - you can use your hand to protect your face

second technique - the direction to the rasteira is where the partner's toes are pointing at the moment

Key points

first technique - this will only work if the partner whos kicking will kick normally without changes in speed

second technique- when stepping aside to your partner, try to do so in a way that will make him try to get away and then he will go straight into your last kick

third technique - don't get too close. aim to get your foot into the partner's face

Key points

first technique - try going down and getting up effortlessly

second technique - try getting to the sweep with as short line downwards as possible, instead of completing a whole circle

third technique - it is important to have a wide base so you can perform the legs sweep

Key points

first technique - put on capoeira music and train to the beat

second technique - synchronize to your partner when going back to base

third technique - try preforming this move without touching the partner at all

fourth technique - remember the hips must get out of the kicking the range. don't arch backward

fifth technique - at first, try going along with your partner as much as you can

sixth technique - work your arms and let them lose

Key points

first technique - lower your torso down. That will help you lift your leg higher

second technique - the same as the first technique

third technique - martelo should be with your feet pointed

fourth technique - if you are having difficulties, bring your leg up from the side. This should be a bit easier

fifth technique - let your hands lead the rest of the body and let the kicking leg lag behind like a tale

Key points

first technique - don't get out of the vingativa too soon. give your partner some weight to take off-balance

second technique - finish sideways to your partner, not behind, so he will get the vingativa easily

third technique - go as low as needed to get your partner into a negativa, always get up using role

fourth technique - when applying a takedown aim to get your partner's weight-center down to the ground and not up in the air

Key points

first technique - you should aim to get the coordination right so you can execute the position smoothly and automatically.

second technique - wait for the last moment, when the partner goes for the tesoura and than dive into the floor backward.

third technique - look for the partners' face when he rolls away. aim to be waiting for him, with your meia lua already in his face.

forth technique - wait for the last moment the partner goes for the tesoura and than switch back to parallel. make sure your knees are bent.

Key points

first technique - move with the partner as if you are going to get hit by his kick, and use your thigh to lift him, touching his thigh. use both of your arms to lift his weight off the ground so there will be less friction. put him on the ground safely.

second technique - step your leg into entreda but keep your weight on the back leg, so you can easily kick your front leg. when your leg passed the partner, lower your leg in a straight line down and flex your foot so you can hook both partners' legs

Key points

The idea is moving to the beat. we are aiming the be moving our weight from leg to leg directly on the beat. this is how I believe capoeira Angola should be played without getting out of the rhythm. in this video, the movements will be changing but we will always be working our relation to the beat

Key points

the purpose of this drill is to train to transition from any floor to another and practicing attentiveness to your partner.

don't move right away to the leading partners chosen floor get there as naturally as possible.

if the leading part isn't being obvious enough you can simply say out load what floor are you transitioning.

this drill takes several tries to understand how effective it is to developing the angola game.

try staying close to each other so your interaction will never stop.

never hit your partner.

don't use speed to get the upper hand.
ive added a berimbau recording for playing this game in the resources section

there's no ginga from stepping back from side to side but you can move freely using the parallela.

work on communicating not always trying to surprise your partner.

show your partner that you are about to kick that will get you better at faking too.
resources - using 2 kick at the same time, in the video we are using meia lua de compasso and meia lua de frente
keeping adding kicks one by the other and eventually you will play using all of the kicks

Key points

when kicking cross your legs and keep your knees bent to allow the kicking leg get out of the crossing position easily.

always kick towards your partner's face.

try to move as calmly as possible and try to conserve energy.

more varaitions of the drill in the resources section usingg meia lua/cabecada/tesoura to switch roles

Igreja do Bonfim
E Mercado Modelo
Ladeira do Pelourinho
E Baixa do Sapateiro
Falar na Cidade Alta
Eu me lembrei do Terreiro
Igreja de São Francisco
E Praça da Sé
A onde fica as baianas
Vendendo acarajé
Por falar em Itapoã
Lagoa do Abaeté
Camaradinho
Ê viva meu Mestre
Iê viva o meu mestre
Ei quem me ensinou
Ei volta do mundo
Ei que o mundo deu
Ei que o mundo dá

The church of Bonfim
And the Mercado Modelo
The slope of Pelourinho
Bellow of Sapateiro
Speaks about the high city
Makes me remember the Terreiro
The church of São Francisco
And the Sé (Cathedral) square
This is where the Baianas
selling acarajé (Typical food)
To speak of Itapoã
The lake of Abaeté
Freind
E long live my Master
Iê long live my master
Ei who taught me
Ei around the world
Ei what the world gave
Ei what the world gives
credit http://www.capoeira-music.net/

Dessa arte eu sei um pouco

O mestre que me ensinou

Depois passei para alguém

Eu tenho bons professor

Todos são bem educado

Eu vou provar para o senhor

Me orgulho dessa arte

Foi Deus quem me ajudou

Camaradinha é mandigueiro

In this art I know a bit

The master taught me

Then I taught someone

I have good teacher

Each of them is educated

I’ll prove to you sir

I’m proud of this art

It was God who helped me

My friend is mandigueiro

credit - http://www.capoeira-music.net/

O Brasil disse que sim
O Brasil disse que não
O Brasil disse que sim
Mas o Japão disse que não
Duas esquadra poderosa
Pra brigar com alemão
Dei meu nome, agora eu vou
Num sorteio militar
Quem não pode com mandinga
Não carrega patuá
Quem não pode não inventa
Deixa quem pode inventar
Ê, ai di lê lê
Ê, ai di lê lê, camará
Ê, que vai fazer
Ê, que vai fazer, camará

Brazil said yes
Brazil said no
Brazil said yes
But Japan said no
Two powerful fleet
To fight with German
I gave my name, now I’ll
In a draft lottery
Who can’t with mandinga
Not walk with patuá
Who can’t invent
Let who can invent

credit - http://www.capoeira-music.net/

Ô meu Deus o que é que eu faço
Ô meu Deus o que é que eu faço
Para viver nesse mundo
Se ando limpo sou malandro
Se ando sujo sou imundo
Ô que mundo velho grande, o iaiâ
Ô que mundo enganador
Se eu digo dessa maneira
Capoeira me ensinou
Camarada
Iê é hora é hora
Iê é hora é hora camara…

credit - http://www.capoeira-music.net/

O mundo de Deus é grande

Deus tá numa mão fechada

O pouco com Deus é muito

O muito sem Deus é nada

Noite de escuro não serve

Prá caçar de madrugada

Caçador dá muitos tiros

Ôiaiá, de manhã não acha nada

Veado corre é pulando

Cotia corre na trilha

Se eu fosse governador

Ah, Meu Deus, manobrasse a Bahia

Isso que tu tá fazendo

Comigo tu não fazia, camará

Iê, é hora é hora

Iê, é hora é hora, camará…

Iê, vamos embora

Iê, vamos embora, camará

credit -http://www.capoeira-music.net/

abre os olhos Siri de mangue
abre os olhos Siri de mangue

todo tempo não é um
maré do mês de março, é maré de Guaiamum
Entre grandes e pequenos
Hoje não me escape um
Siri est se vendo doido
Nas garras do Gaiamum

credit - http://www.capoeira-music.net/

Quando eu tinha meu dinheiro
Camarado me chama de parente
O dinheiro se acabou
Camarado me chama de valente
Haha

When I had my money
Freind called me relative
The money is gone
Freind calls me brave
Haha

Ee menino e bom
Ai viva meu mestre
Ai que me ensinou
ei a capoeira
Ai volta do mundo

credit - http://www.capoeira-music.net/

Dona Isabel que história é essa

De ter feito a abolição

De ser princesa boazinha

Que libertou a escravidão

To cansado de conversa

To cansado de ilusão

Abolição se fez com sangue

Que inundava esse país

Que o negro transformou em luta

Cansado de ser infeliz

Abolição se fez bem antes

E Ainda há por se fazer agora

Com a verdade da favela

Não com a mentira da escola

Dona Isabel chegou a hora

De se acabar com essa maldade

De se ensinar aos nossos filhos

O quanto custa a liberdade

Viva Zumbi, nosso gueirreiro

Que fez-se herói lá em Palmares

Viva a cultura desse povo

A liberdade verdadeira

Que já corria nos quilombos

E já jogava Capoeira
Iê, viva Zumbi
Iê, viva Zumbi, camará
Iê, viva Palmares
Iê, viva Palmares, camará
Iê, a Capoeira
Iê, a Capoeira, camará

Dona Isabel what is this history?
That you made the abolition
That you are a good princess
That freed slavery
I am tired of talking
I am tired of illusions
Abolition was made with blood
That flooded this country
Because the black decided to fight
Tired of being unhappy
Abolition was made well before
And still there to be done now
With the truth of the slum
Not with the lies of school
Dona Isabel the time has come
To end this evil
To teach our children
How much the freedom cost
Viva Zumbi, our warrior
That became hero in Palmares
Long live the culture of this people
The True freedom
Because I already ran theQuilombos
And already played Capoeira

credit - http://www.capoeira-music.net/

Bahia nossa Bahia
Bahia nossa Bahia
capital é Salvador
Quem não conhece essa Capoeira
não pode dar o seu valor
Capoeira veio da África
africano quem a trouxe
Todos podem aprender
general também doutor
Quem desejar aprender
venha aqui em Salvador
Procure o Mestre Pastinha
ele é o professor
iê viva meu Mestre

Bahia our Bahia
Bahia our Bahia
The capital is Salvador
Who doesn’t know this Capoeira
Can’t give his opinion on her value
Capoeira came from Africa
African who brought
Everyone can learn
Generals and also Doctors
Those who wish to learn
Come here to Salvador
Look for Mestre Pastinha
He is the teacher

credit - http://www.capoeira-music.net/

Iê! A filha da cobra é mansa

A cobra velha é malvada

A filha não tem veneno

A cobra velha é envenenada

Quando ela está dormindo

Ela está com o bote armado

O bote dela é ligeiro E a picada é pra matar

Camaradinho

The snake's daughter is tame

The old snake is mean

The daughter has no poison

The old snake has poison

When she is sleeping

She has the attack armed

Her attack is light And the sting is to kill

Camaradinho