Paper short abstract:

This paper intends to demonstrate some aspects of the musical bow (berimbau) which conduct and represent all corporal performances of Brazilian´s Capoeira.

Paper long abstract:

This paper intends to demonstrate some notions of plurality in expressive forms in the sphere of Brazilian Capoeira´s performance. Within this, we have focused, in particular, on the art of Mestre Gato Preto (Master José Gabriel Góes) to analyze the relationship between musical and corporal performances. From experimental fieldwork to contemporary concepts of Performance Studies such as play, flow and restored behavior we have analyzed the ritual performance of Roda de Capoeira (the event consisting of music, dance and audience).

Capoeira is an art forma that mixes dance, martial arts and music. The musical element is vital in all styles of capoeira. A range of instruments are utilized however the berimbau is the primary instrument, without which the ´Roda` is impossible. It is in fact the music which determains the nature of the performance in terms of temple, intensity and freedom to improvise.

We analyzed many ritmic patterns of berimbau playing (toques) and identified a strong correlation between sound patterns and physical movements. For this reason, we used some references of Tiago Oliveira Pinto, Kazadi Wa Mukuna and Kay Schaffer, whose previous research touched on this area of musicology, performance and capoeira, as well as Victor Turner and Richard Schechner who conducted the ground breaking research of Performance Studies. Finally, we wish to demonstrate these ideas using authentic instruments and performance.