Roda (formation)
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Through UNESCO
Part of the etiquette of the roda means that the people in it should try to keep the roda circular and fill in any "gaps" that may appear if someone leaves the roda; in other words, the people should be evenly distributed in the circumference of the roda, especially if there are not many people in it.
Capoeira circle
Inside the roda the social façades and civilized varnish fall to the ground. Educated people become violent and aggressive when facing a weaker opponent. Friends risk the physical integrity of their buddies in the heat of wanting to win.
— Nestor Capoeira
In the capoeira circle, roles are interchangeable: observers can become participants, contestants become spectators, and musicians rotate. The soloist leads, with observers responding collectively, and roles shift throughout the game—a tradition found in Bantu and Yoruba ethnic groups.
The people who form the roda will take turns (with or without predefined order) in going inside the circle. Some of the people in the roda may be mere spectators, in the sense that they will not go inside the circle, but they are usually expected to contribute to the roda by at least clapping and singing. This can be compared to other art forms, such as tap dancing, where participants will form a circle and take turns in performing inside the circle.
True learning in capoeira takes place within the player interaction during the roda, rather than in structured instruction sessions. In the roda, participants learn not only moves and kicks but also strategies applicable in the game itself and in the broader "game" of life.
In 2014 the capoeira circle was added to UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, the convention recognised that the "capoeira circle is a place where knowledge and skills are learned by observation and imitation" and that it "promotes social integration and the memory of resistance to historical oppression".
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Engolo circle
Within the Bantu culture, the circle carries profound symbolism. Village dwellings are frequently arranged in circular formations, and communal meals are enjoyed while seated in a circle. Dancing in a circle holds significance, representing protection and strength, symbolizing the bond with the spirit world, life, and the divine.
The practice of engolo, as documented by Neves e Sousa in the 1950s, involves a circle of singing participants and potential combatants. Sometimes, this circle is overseen by a kimbanda, a ritual specialist. The game starts with clapping and call-and-response songs, some of them featuring humming instead of lyrics. A practitioner enters the circle, dancing and shouting, and when another participant joins, they engage in a dance-off, assessing each other's skills. This interaction incorporates kicks and sweeps, with defenders using dodges and blending techniques to counterattack smoothly. This cycle continues until one participant concedes defeat, feels the match is complete, or the kimbanda overseeing the match calls for its conclusion.</ref>
In engolo games documented in the 2010s, players often initiate the engolo circle by challenging others. In such cases, they enthusiastically leap into the circle, showcasing agile movements and occasional shouts while awaiting someone to join and engage in the play. They can also select a specific individual to join them by using kicks or simulated kicks.
Literature
- Assunção, Matthias Röhrig (2002). Capoeira: The History of an Afro-Brazilian Martial Art. Routledge. ISBN 978-0-7146-8086-6.
- Capoeira, Nestor (2002). Capoeira: Roots of the Dance-Fight-Game. Blue Snake Books. ISBN 978-1-58394-637-4.
- Capoeira, Nestor (2007). The Little Capoeira Book. Blue Snake Books. ISBN 9781583941980.
- Talmon-Chvaicer, Maya (2008). The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. University of Texas Press. ISBN 978-0-292-71723-7.