By Elton Cristiano Santos da Silva (1)

Automatically translated, thank you for understanding.

Summary

This article aims to present a brief reflection on the berimbaus rhythms present in the capoeira movement known as Luta Regional Baiana (2). We propose to present to readers, whether they are researchers, capoeiristas or simply admirers of the art, another way of understanding the capoeira "Toques" of Senhor Manoel dos Reis Machado, the late Mestre Bimba. To support our argument, we present several recordings, articles and parts of books that deal with this topic.

Keywords: Capoeira - Mestre Bimba – Regional fight from Bahia - Toques Berimbau

(1) Master of Capoeira by the Viola de Ouro Capoeira Association, Vice-president of the Liga Camaçariense de Capoeira, Municipal Culture Councilor, Graduated in Electrical Engineering. Postgraduate in Public Management. Email: eltoncristianoss@gmail.com

(2) Capoeira Regional. Completely created by Dr. Honoris Causa, Manoel dos Reis Machado in 1928. (ALMEIDA, 1994, p. 17).

INTRODUCTION

The objective of this research is to provide information about the "Toques" of/in Luta Regional Baiana, also known as Capoeira Regional, created by Dr. Manoel dos Reis Machado, and its variations that have occurred over the years.

To this end, we seek to present the best-known "Toques", but also those that spark discussions among fans of regional capoeira, generating, so we can say, a generational conflict over the understanding of these "Toques".

We had as a source of research publications in books, magazines, newspapers, audio testimonials, conversations presented in research groups, in short, in the universe that makes up the world of capoeira, whether in person or virtually.

In a bibliographical review, we bring to our writing historical facts spoken by Master Bimba, leader of the Regional Physical Culture Center (CCFR), in LP recordings, interviews with his disciples and researchers. Also through the studies and experiences of his disciples, followers, presented in literary and/or audio visual works.

It was not intended here to present the forms of play and/or application of each "Tap" catalogued, as that would be beyond the intent of this research. In this study, we were not concerned with whether they are for knife, razor, club, "Game Inside" (3), "Game Outside" (4). Nor is it used for freshmen (5) or veterans (6).

The main intention is to make a survey of the "Toques" mentioned, and used over the years by Master Bimba.

(3) Capoeira game at close range, hand-to-hand, characteristic of closed guard (DECÂNIO, 1997, p. 23 et seq.).

(4) For master Bola Sete (1997, p.190), it is a game on the high plane, or high guard, present most frequently in Capoeira Regional.

(5) According to Ângelo Decânio (1997 p.183), he was a beginner student, before playing to the sound of the berimbau, and becoming a baptized student.

(6) Dr Decânio reports in A Herança do Mestre Bimba (Ibid, p.184), that after 3 months, with no set date, the student was promoted to veteran. Can be knocked down with a kick. Thus approaching the degree of "Formed".

MESTRE BIMBA AND HIS PLAYERS

Mestre Bimba gives one of the most comprehensive explanations about the

theme, in the recording of an LP, which was released in 2020, on a CD entitled, "Mestre Bimba e Seu Tocadores". The result of research and publication by capoeirista Cristiano Cabeleira, whose production is a set of 5 78s, RPM records recorded in 1953.

In his interview, responding about the "Toques" of the Bahian Regional Struggle.

The master informs that there are 8 touches:

Interviewer - Oh Bimba, how many "Toques" does Regional have?

M. Bimba - The Regional is made up of 8 "Toques".

Interviewer – What are they?

M. Bimba - São Bento Grande, São Bento Pequeno, Cavalaria, Avemaria, Banguela, Banguelinha, Amazonas and the Anthem.

Given this excerpt from the interview, we can raise some questions, such as, for example, the master mentioning by name the 8 "Toques" ends up including Iúna, but wouldn't that be 9 instead of 8 "Toques"? Would it be because he separated Toothless from Banquelinha and counts both as a single "Toque" or that one is a variation of the other?

The other, most curious facts from this recording are:

The presence of São Bento Pequeno and Avemaria.

The cover contains the addition of "Liso", to "Toque" by São Bento Grande.

LORENZO TURNER RECORDINGS

Between the years 1940/41, a recording was made by the American linguist Lorenzo Turner (1890-1972), which was released by the author of the book Mestre Bimba: O "Sonho de Salomão", João Paulo de Araújo (João Pitoco). Banguelinha and Avemaria do not appear in this one. On the other hand, there is a record with the name, "Solomon's Dream", cataloged at the University of Indiana, USA (2020, p.305).

SAGA MAGAZINE

In 1944, Revista Saga published a report called Os Negros fights seu noites mysteriouses, written by Ramagem Badaró. In the aforementioned interview he pays a visit to Roça do Lobo (7).

According to Camille Adorno (1999, p.49), there was a dialogue regarding Berimbau's "Toques".

The berimbaus rehearsed a tune and one of the men asked: What is the tune? - São Bento Grande Repicado, Santa Maria, Ave Maria, Banguela, Cavalaria, Calambolô, Tira-de lá-bota-cá, Idalina, or Conceição da Praia? Bimba thought quickly and said: "Toque" by Amazonas and then Banguela.

This article presents 3 more new touches (Calambolô, Tira-de-lá-bota-cá and Conceição da Praia).

LP REGIONAL CAPOEIRA COURSE

In the 1960s, an LP was published that accompanied a booklet, entitled Curso de Capoeira Regional. It has 7 rings on its cover: São Bento Grande, Cavalaria, Banguela, Santa Maria, Idalina and Amazonas.

On this LP(s), there are recordings with different tempo (8) in some touches. As is the case with Idalina, Santa Maria and Banguela. Which some began to call years later, as “compassada”. (Case of the FUMEB CD (9)).

(7) Master Bimba's first Academy was in Roça do Lobo, Tororó, Rua Bananal, 4 (ALMEIDA, 1994, p. 18).

(8) Speed/rhythm of touches.

(9) CD entitled Curso de Capoeira Regional. It consists of Master Bimba's testimony and the berimbau playing of the two recordings from the 60s.

OSVALDO DE SOUZA RECORDING

In 1973, in an interview with his master disciple Osvaldo de Souza. Master Bimba, when asked about the "Toques" of Capoeira Regional, and in agreement with master Osvaldo's statement. He says that the Bahian regional struggle is made up of 7 "Toques":

First "Touch", "Cavalry". Second "Toque", "Santa Maria". The third, "Samango".

The fourth one could be Toothless.

The fifth, naturally, is Iúna[...]

[...] Just like Ave Maria is no longer played.

The Capoeira Anthem is still played. Often for fun. It's what's called "Pick up Oranges on the Tico-Tick Floor", "if my love goes away" I won't stay".

In this recording Master Bimba mentions only 6 of the "Toques", and in the fourth he says that it could be Banguela. Could it be someone else too? He mentions Avemaria, as a "Toque" that is no longer used, because, according to him, it slows the student down.

This curious fact can be answered by listening to the Admiral's Program on Rádio Nacional, from 1940. Where it is mentioned that there is a ritual during the execution of the "Toque".

According to the presenter, Avemaria is a slow "Toque" that asks the contestants to leave the yard and rest in a crouched position. And they make the sign of a cross on the floor with their fingers.

SAINT SOLOMON COLLECTION

Dr. Ângelo Decânio, in A Herança de Mestre Bimba (1997, p.183-184), lists the "Toques": Cavalaria, Iúna, Banguela, Banguelinha, idalina, São Bento Grande, São Bento Pequeno, Santa Maria and Amazonas. According to the author, Master Bimba, called the small São Bento “Sãu Bentu Grandi à Avessa”.

THE "TOQUES"

To help understand the "Ringtones" we will use the following notes:

Dan – Hitting the baguette with the doubloon away from the wire and with the gourd outside the abdomen. Called a clean note.

Din - Hitting the baguette with the doubloon pressed on the wire and with the gourd outside the abdomen. Also called a clean note.

Tchi - Hitting the baguette with the doubloon slightly touching the wire and with the gourd on the abdomen. The older masters called it dirtying the touch.

Dans - Hit the drumstick with the doubloon away from the wire and with the gourd on the abdomen, and taking advantage of the vibration, press the doubloon, and remove it from the abdomen and return the gourd.

Dun – Hitting the drumstick with the doubloon away from the wire, and with the gourd on the abdomen.

In – Take advantage of the vibration and press the doubloon onto the wire without beating the drumstick.

São Bento Grande:  Tich dan tich tich din tich dan dan din.

Taking into account the information presented above, and in order to make a comparison, with São Bento Pequeno, we will only consider the clean notes. It goes like this: Dan din dan dan din

São Bento Pequeno: Tich tich din tich dan tich din dan dan.

Now we do the same process of deleting dirty notes. And let's have the ringtone like this: Din dan din dan dan.

We then have a partial inversion of the touch. Which leads many to believe that it is the “Sãu Bentu Grandi in reverse”, mentioned by Dr Decânio.

Cavalaria: Tich dan tich dan tich dan din dan

Idalina: Tich dan dan din dan dan tich tich din – tich dan dan dan din dan din dan tich tich din.

Form that is performed in one of the recordings from the 60s.

Idalina Compassada: Dansh dan in dansh tich din - tich dan dan dan din dan din dansh dan din.

Another form of execution also present in one of the recordings from the 60s. The addition of the term compassada is a contribution from the Filhos de Bimba Capoeira School, present on the covers of the Regional Capoeira Course.

It should be noted that despite receiving the same name, in addition to the tempo, there are some different notes.

Amazon: Tich tich dun dan tich tich dan din tich tich dun dan dan din.

Iúna: Dansh dansh dansh dansh dan tich tich dun dun in dun in - dan dan dan dan dan in dan in dan.

Santa Maria: Tich dan din dan din.

Samango: According to Mestre Nenel (2018, p.64), he never heard his father play, but in conversation with Mestre Piloto, one of Mestre Bimba's disciples. He reported that he listened to it a few times, and talked about what the melody was like. Then master Nenel reproduced.

I preferred not to present the notes of this "Toque", since there is no recording of Mestre Bimba performing it.

Anthem: Tich dan dan dan dan dan dan dan din dan din -Tich din din din din din din din dan din dan - Tich dun dun dan dan dan dan dan din dan din - Tich din din din din din din din dan din dan - Tich dan tich dan tich dan din dan din - Tich din din din din tich din dan din dan.

Banguela: Tich dan din din

Form that is performed in one of the recordings from the 60s.

Banguelinha: Tich dan din

Another form of playing the Banguela also present in one of the recordings from the 60s. As master Bimba mentions the banguelinha in one of his recordings (1953). Like his disciple Dr Decânio (1997, p.193), we understand that there is "Toque", previously called Banguela Compassada by Escola Filhos de Bimba.

Sonho de Salomão: Released by the author of the book Mestre Bimba: O Sonho de Salomão, João Paulo de Araújo (João Pitoco), this ringtone has the same notes as Banguela. If there is any slight difference, it was not identified. In the recording available on the internet you can hear: Let's enjoy now, the teacher of Luta Regional Baiana, well-known master Bimba, plays the Sonho de Salomão rhythm, a well-known name, to the sound of the berimbau.

Ave Maria: We have mentions of the touch in recordings from 1953 and 1973. However, it was not possible to locate the performance of "Toque" by master Bimba. Therefore, I chose not to present the notes of the "Toques" called Ave Maria da Capoeiragem.

Calambolô: Mentioned only in the article in Saga Magazine. It is believed that the name "Toque" may have been given because of the accompanying music.

Tira-de-lá-bota-cá: Mentioned only in the article in Revista Saga. It is believed that the name "Toque" may have been given because of the accompanying music.

Conceição da Praia: Mentioned only in the article in Revista Saga. It may be a "Toque" that is out of use, or has changed its name.

FINAL CONSIDERATIONS

Through the data collected, referring to Luta Regional Baiana and Mestre Bimba, it was possible to catalog 16 different "Toques". Disregarding the variations mentioned throughout the text. Such as: "Compassado", "Repicado", "Smooth".

The "Toques" present in these records are: São Bento Grande, São Bento Pequeno, Cavalaria, Idalina, Amazonas, Iúna, Santa Maria, Samango, Hino, Sonho de Salomão, Banguela, Banguelinha, Ave Maria, Calambolô, Tira-de-lá -bota-cá and Conceição da Praia.

Some of these ringtones may have had their names changed, and/or understood as ringtone names by the songs and/or melodies that follow them. There are also cases where small changes, addition or deletion of notes can change the tone. Many records have yet to be found, and/or investigated regarding all of Dr. Manoel's work.

Regarding the "Toques"/rhythms, some of which were mentioned in this work, no audio records of the form of execution were found, by the hands of the creator of the Regional. Far from the intention of exhausting the topic, which by its nature is very controversial, the intention here is to present our perception of the records that have been made up to the present moment, not meaning at any time that they may contain errors or misinformation, but as the work by Mestre Bimba is vast and covers a long period of decades, we can consider that orality is being lost or being given new meaning in terms of understanding the names of the "Toques", their variations or even their regionalities.

We hope that this brief article can contribute to existing discussions among capoeiristas and that, who knows, it can serve as a starting point for new and future research, complementing it, refuting it or even correcting it in the face of new discoveries, because just as capoeira remains alive and undergoes new meanings over time, the history of the touches that accompany it also undergo, if not variations, at least new interpretations.

References

ADORNO, Camille. A Arte da Capoeira. 6ª ed. Goiânia: Kelps,1999. ALMEIDA, Raimundo Cesar Alves. A saga do mestre Bimba. Salvador, 1994. DECÂNIO FILHO, Ângelo A. A Herança de mestre Bimba. Salvador, 1997.

BOLA SETE, M. A Capoeira Angola na Bahia. 2ª ed. Rio de Janeiro: Pallas, 1997. MACHADO, Manoel dos Reis, Curso de Capoeira Regional. JS-Disco. Salvador, 1962/1963.

MACHADO, Manoel dos Reis, Curso de Capoeira Regional. RC-Disco. Salvador,1989.

MACHADO, Manoel dos Reis, Gravações para Lorenzo Turner. Universidade de Indiana. Salvador,1940/1941.

MESTRE NENEL. SFOGGIA, Lia (Organizadora). Bimba: Um século da Capoeira Regional. Salvador: UFBA, 2018.

PEREIRA, João Paulo de Araújo. Mestre Bimba: o Sonho de Salomão. Cajazeiras: Arribaçã, 2020.

CD documentário, entrevista mestre Bimba, 1973. Disponível em: https://www.youtube.com/watch?v=1wK9smQqUhQ. Acesso em 02 de junho de 2024 Curiosidades Musicais. Disponível em: https://goma-laca.com/afrobrasilidades-em- 78-rpm. Acesso em 02 de junho de 2024.

Sonho de Salomão - https://www.youtube.com/watch?v=sEeyYWTcnEU. Acesso em 02 de junho de 2024.

Mestre Bimba e seus tocadores. Disponível em: https://cristianocabeleira.bandcamp.com. Acesso em 02 de junho de 2024. Curso de Capoeira Regional - Filhos de Bimba Escola de Capoeira, FUMEB.

PDF Original aqui: https://www.capoeirashop.fr/img/cms/toques nas Regional revisado .pdf