par fraza iz knjige sa one stranice koju je mađingero stavio, boldano su pastinhine misli, ispod je objasnjenje:
... “comrades, do not breathe a fight against our companions who are wrong or overambitious.”
Understanding “to breathe” as to aspire, to long for, the advice becomes very clear. We must
engage in “play” <cooperate>, not “fight” <against companions> driven by ambition or egoism;
avoiding physical or moral injuries caused by an erroneous and dangerous conduct: “wrong or
over-ambitious.” The experienced and knowledgeable person must draw attention to the
importance of cooperation, mutual respect, and loyalty among the participants of the capoeira
game for safety and personal improvement during capoeira. We must not practice movements that
could bring injuries or humiliations in order to satisfy our vanity, ambition, or predominance.
Capoeira should be considered and practiced as the integration of two beings, protagonists in
opposite but complementary roles, in which one cannot do his part without the cooperation of
the other!
“... all those who want to dedicate themselves to this sport as capoeiristas; who do they want
as a referee? They must seek to learn thoroughly the rules of capoeira of angola so that they
can speak or decide with authority. Unfortunately a large part of our capoeiristas have very
incomplete knowledge of the rules of capoeira, because it is the control of the game that
protects those who practice capoeira, so that it does not tilt towards the excess of freefighting,”...
Pastinha wisely reiterates the fact that the code of honor must be obeyed by capoeiristas. “It is
control of the game” by a referee, by the rules, regulations, and by the rhythm of the
orchestra, “that avoids violence and accidents” …it is worth the repetition!
“Friends, why don’t you sing? Capoeira is only beautiful playing, singing, and it only lost its
beauty because there was no singing. And the old man gave to the Center mestre of the
field, mestre of the orchestra, mestres of archives, fiscal mestres, supervisors,”...
The old mestre in his simplicity highlights the importance of the chorus in the integration of the
participants in the capoeira roda, in a unique field of energy, the song functioning as a true
mantra! To appreciate the beauty it is necessary to have calm, concentration, the calm, slow
rhythm adopted by the old capoeiristas, conserved in the style of Pastinha, playing, not fighting!
“it is a duty of all capoeiristas, it is not a defect not to know how to sing; but it is a defect
not to know how to respond, at least the chorus. People who do not respond in the chorus
are forbidden in the bateria.” “The use of hits, or tricks, is prohibited in the game and mainly in the low game. Do not
use them, it is an infraction. The hits that cannot be applied in Demonstrations: hits of the
neck, fingers in the eyes, violent cabeçada, low meia lua, whipping throws, rabo de arraia,
closed tesoura, chibata with the heel, chibata with the sole of the foot, turning meia lua, two
meia luas in one place, back flip, turn of the body with a blow of the heel, blow of the waist,
throws by the hem of the pants, hits of the knee, or tricks.” This is a list of prohibited hits, especially in demonstrations or public games, because of the risk
of the enthusiasm of the opponents, or because of tradition.
“note well, friend... capoeira is divided in three parts: the first is the common part; it is that
which the public sees. The second and the third parts are kept inside the self of whoever
learned, and are kept with secrecy, and depend on time to learn. The proof is in the
knowledge of the capoeira of the past and of the present: that of the past was violent,
because of malandragem, and that of today is as everyone sees, we praise excellence,
because of Democracy, we want enjoyment. And everything else depends on the race of who
learns capoeira; and my race has already grown old, I am also traditional, I live in the
History of capoeira; and I love it,” The three phases of capoeira referenced here are the exterior manifestation – apparent, exposed
to all present, the game, visible in trainings, the same in the secret callings, in the exhibitions, in
the demonstrations, the physical part, corporeal. Yin, as the Orientals would say. The remaining
two are invisible, subtle, subjective, hidden “in the self of whoever learned.” Yang in Oriental
terminology, the unconscious and subconscious capoeira, “instinct” in the words of Bimba, the
secret parts, are “reserved” in Pastinha’s words, and thus should be preserved! One is more
superficial, psychomotor, the reflexes of defense, the cleverness, malícia. The second is deeper,
philosophical, mystical, the modification of the way of living. The Ialorixá Bebé would say the
Axé of Capoeira! Lao Tsé would call it Taoist!
“I seek to know if capoeira is science. If it is, vast and deep, it provides me with knowledge
about spiritual man but also physical man, and the teachings of moral or intellectual
order,”... This is a perfect description of the thought of the true capoeira master, concerned with the
profound knowledge of his art, with the effects on the body, mind, and spirit… without ceasing to
simultaneously sow the moral and intellectual teachings.
“Today capoeira is common; it is a sport and art of the people, and even today no one can
define it. Capoeira is full of malícia, it is art and skill, it has the potential for everything that
is thought to be good in life.” The whole cannot be defined by the part. Just as water takes the form of a vase, the multiple
aspects of capoeira manifest themselves according to the context. In training it is aerobics, in
festivals it is a dance, in art it is choreography, in tradition it is folklore, in battle it is a martial art,
in the danger of life it is self-defense, in life it is philosophy, in medicine it is therapy, in
education it is pedagogy, in childhood it is playfulness, in old age it is wisdom, in the army it is
military art, in stress it is relief, for neuroses it is balance… what else?
