On Song Meaning and Importance
Understanding songs in capoeira is a good way to grasp and put into some historical context early Brazilian life and history. If one can identify with the music on a personal level, it goes a long way in adopting the heritage vital in the maintenance of capoeira as a cultural force. The songs of capoeira partly play the role of cultural guide and teacher.
The songs, whether ladainha, corrido, or quadra, can be placed in many categories for comparison. The following list is not exhaustive
| What | Examples | Song examples |
|---|---|---|
| Folk lessons | ||
| Acknowledging folkway | the corridos Bate Dendê, Marinheiro Sou | |
| Acknowledging Slavery | the corridos Návio Negreiro, a Manteiga Derramou, the interjections iaia and ioio (daughter and son of the slave master respectively) | |
| Acknowledging symbolic aspects of capoeira | vadiação, mandinga/mandingueiro, malandro/malandragem | |
| Acknowledging roots through place | Angola, Aruanda, Bahia, Pelourinho | |
| Acknowledging Religion/Spirituality/Religious Syncretism | references to Catholic saints, God(s), orixás, Candomblé, Nganga, etc... | |
| Biographical, Autobiographical, Mythological | references to Mestre Bimba, Mestre Pastinha, Mestre Waldemar, Besouro Mangangá, Lampião | |
| Songs that comment on the game metaphorically | the corridos a Bananeira Caiu, a Onça Morreu | |
| Songs that comment on the game directly | the corridos Devagar, Donalice Não Me Pegue Não | |
| Greeting and Farewell songs (Despedidas) | the corridos Camungerê, Boa Viagem | |
| Songs that welcome women into the roda to play | the corridos Dona Maria do Camboatá, Sai, Sai, Catarina, and the song Quem foi te disse Capoeira é só pra homem | |
| Meta-Capoeira songs, that is, those that directly reference/invoke Capoeira by name |
Many songs can be considered cross categorizational, as well.
Read more about this topic: Capoeira Music
Famous quotes containing the words song, meaning and/or importance:
“Who is at my window, who, who?
It’s the blind cuckoo, mulling
the old song over.
The old song is about fear, about
tomorrow and next year.
Timor mortis conturbat me, he sings....”
—Denise Levertov (b. 1923)
“Weapons are like money; no one knows the meaning of enough.”
—Martin Amis (b. 1949)
“More than ten million women march to work every morning side by side with the men. Steadily the importance of women is gaining not only in the routine tasks of industry but in executive responsibility. I include also the woman who stays at home as the guardian of the welfare of the family. She is a partner in the job and wages. Women constitute a part of our industrial achievement.”
—Herbert Hoover (1874–1964)