•  A good capoeira doesn't fall 
    19th September 1964
    O Diário

    M Gildo Alfinete: «The first trip of the group with my participation was in 61 [probably in 1964 as we show below - velhosmestres.com], when we traveled to Belo Horizonte invited by the Catholic University, the entourage being: Mestre Pastinha, me (Gildo Alfinete), Roberto Satanás, João Grande, Albertino da Hora and Toinho.»

    M Zoião, 1999

    • Phys. Education teacher of Belo Horizonte (BH),
      M Pastinha,
      Gildo Alfinete,
      Roberto Satanás,
      Toinho,
      João Grande,
      Moreno (Albertino da Hora)
      Belo Horizonte, 1964

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      On the photo bateria:
      Toinho,
      M Pastinha,
      João Grande,
      Moreno (Albertino da Hora),
      Playing:
      Gildo Alfinete and Roberto Satanás
      BH, 1964

    • Bateria:
      Toinho,
      M Pastinha,
      Roberto Satanás,
      Gildo Alfinete
      Jogando:
      Moreno (Albertino da Hora) and João Grande
      BH, 1964

    • Read below

    • Read below

    O Diário, BH, 1964

    Text

    • page 1

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      A good capoeirista doesn't fall.

      A good capoeirista doesn't fall. But if he does one day: he does it well. Who says alot that he's going: doesn't go. As he doesn't go: won't come either. Who doesn't open himself: will die without loving anybody. The money who doesn't give is the work of who doesn't have it.

      Capoeira already told that he came. Came to fight. Berimbau confirmed: there will be fight for love. Sadness, man.*

      *BERIMBAU - Baden Powell and Vinicius de Moraes, 1964

      REGINA BEKER

      Photos antonio hernandez

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      page 4

      SADNESS MAN

      Capoeira exists in these parts, coreographical attraction of Sunday parties of humble and creole people, making the markets beutiful with their movements and colorful sambas. And as in football, the mixed-race and fast, it gets the mythological wings to beat the strong opponents.

      Art and good humor, black and popular, get together to entertain the tourists' eyes, it has the favourable rhythms to form the roda of the sons of the people. The fans with white eyes rolling in the black faces sing with red gums to the glory of the fighting boys. And they keep in order the capoeira roda to block noisy interruptions and the weakening of the gymnasts with their stimulating copies.

      The thing ends only when the weakest apeals for the retiring strategy, or the exhaustion and the sweat catch the capoeiras, to show that there will be no losers or winners. And the music, that was made agitatedly or violently, or slowly or rhythmnically - accompaning the movements of the capoeiras, slows down and dies in the smooth scratching of the caxixis. Except, when the fight is for love.

      [coming soon]

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      page 5

      FIGHT FOR LOVE

      [coming soon]


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