The Musical Soul of Capoeira: Traditional Instruments and Their Significance

By Mestre Ligeirinho

Introduction: Music as the Soul of Capoeira

For those who know Capoeira only superficially, it might appear to be just an impressive martial art. But for those of us who have immersed ourselves in its depths, we know that the soul of Capoeira lies in its music. Capoeira is never played in silence. The music is not merely an accompaniment – it is an integral part of the art, guiding the game, conveying traditions, and connecting players with their history.

In today's article, we will explore Capoeira's traditional musical instruments, their history, their symbolic significance, and how they are used in theroda(the game circle). Through my years of teaching at Casa Capoeira, I have found that understanding the musical instruments significantly deepens a student's experience in Capoeira.

Berimbau: The Master of the Roda

Theberimbauis undoubtedly the most important and iconic instrument of Capoeira. It is a single-string bowed instrument of African origin, consisting of a wooden bow (verga, usually made ofbiribawood), a steel wire (arame), a gourd resonator (cabaça), and a stone or coin (dobrao) for tone variation.

In the traditional Capoeirabateria(musical ensemble), there are three different berimbaus:

1. Gunga: The berimbau with the largest gourd that produces the deepest sound. The Gunga plays the basic rhythm (toque) and guides the entirebateria. It is usually played by the Mestre or the most experienced player.

2. Médio: The middle berimbau, with medium-sized gourd and pitch. It plays variations of the basic mode, complementing the Gunga.

3. Viola: The berimbau with the smallest gourd and the highest pitch. The Viola player has the greatest freedom to improvise and create complex variations on the basic rhythm.

The berimbau is not just a musical instrument – it is the true master of theroda. It determines the rhythm and style of play: a slow toque likeAngolaprompts a slow, strategic, low-to-the-ground game, while a fast toque likeSão Bento Grande de Regionalleads to a faster, more acrobatic game.

Atabaque: The African Pulse

Theatabaqueis a tall, conical drum of African origin, similar to those used in Afro-Brazilian religious ceremonies of Candomblé. Made of wood with animal skin stretched over the top, the atabaque adds depth and power to Capoeira music.

The beats of the atabaque reinforce the pulse of therodaand create a sense of tension and energy. Various playing techniques derived from African traditions are often used, and experienced players can communicate with the capoeiristas in the circle through rhythmic patterns.

Pandeiro: The Brazilian Tambourine

Thepandeirois a type of hand frame drum with a membrane and jingles around its perimeter. Although similar instruments exist in many cultures, the Brazilian pandeiro has evolved into an extremely versatile instrument with immense expressive possibilities.

In Capoeira, the pandeiro adds rich rhythmic textures and a characteristic "chick-chick" sound that complements the deeper tones of the berimbau and atabaque. Traditionally, two pandeiros are used in a fullbateria, although this may vary depending on the Capoeira style and available resources.

Agogô: The Double Bells

Theagogôconsists of two conical bells of different sizes, connected by a curved metal stem. It originates from West Africa, where similar instruments are still used today.

With two different tones, the agogô provides a distinctive rhythmic line that helps maintain the tempo of theroda. It is struck with a metal or wooden rod and requires good coordination to play correctly in combination with the other instruments.

Reco-reco: The Scraper Instrument

Thereco-recois a traditional Brazilian friction percussion instrument. In its most traditional form, it consists of a hollow piece of bamboo with notches on the surface, on which a rod is rubbed to produce a rough, scraping sound.

In modern times, many reco-recos are made of metal or plastic, but the operating principle remains the same. Within the Capoeirabateria, the reco-reco adds an additional rhythmic dimension and helps fill out the overall sound.

Caxixi: The Berimbau's Small Companion

Thecaxixiis a small basket-rattle, made of woven plant material with a gourd base. It contains seeds or small pebbles that produce a rattling sound when shaken.

In Capoeira, the caxixi is held in the same hand as the berimbau stick (baqueta) and played simultaneously with it, adding an additional rhythmic dimension. The art of playing berimbau includes learning to synchronize the sounds of the caxixi with the strikes on the berimbau string.

The Composition of the Bateria: Collective Harmony

In a full traditional Capoeirabateria, all these instruments play together, creating a rich polyrhythmic texture. The typical arrangement is:

• Three berimbaus (gunga, médio, viola)
• One or two pandeiros
• One atabaque
• One agogô
• One reco-reco

Thebateriais not just a collection of instruments – it is a living, breathing entity that guides, inspires, and shapes the experience of theroda. Each musician must be in tune with the others, creating a harmony that reflects the ideal of community in Capoeira.

The Songs of Capoeira: The Voice of Tradition

Beyond the instruments, vocal music is an essential part of Capoeira. There are various types of songs:

• Ladainha: A solo song, usually sung by the leader of theroda(often the Mestre), that tells stories, expresses philosophical thoughts, or honors the masters of the past.

• Chula/Louvação: Short songs that typically follow the ladainha, where the soloist praises or greets various aspects of Capoeira, and the chorus responds.

• Corridos: Repetitive songs in a "call-and-response" form that accompany the main part of the game in theroda. The leader sings a line and the chorus (everyone else in theroda) responds.

The Importance of Music at Casa Capoeira

At Casa Capoeira , we place special emphasis on musical education. From the very first day, our students are exposed to the musical instruments, learn to sing, and gradually develop their musical skills alongside their movement skills.

I firmly believe that to truly understand Capoeira, one must understand its music. A capoeirista who cannot sing or play the basic instruments is like someone who knows only half a language – they can express certain things, but full communication is impossible.

Learning the Instruments: A Journey of Patience

Learning to play Capoeira instruments, especially the berimbau, requires time, patience, and dedication. It may initially seem difficult, especially for those without a musical background, but with consistent practice, everyone can develop at least a basic level of musicality.

I encourage my students to devote time to practicing the instruments outside of class. Particularly for the berimbau, the construction and maintenance of the instrument is as important as playing it – knowing how to choose the right wood, prepare the gourd, and adjust the wire are all part of the art.

Epilogue: The Eternal Melody

The music of Capoeira unites past and present, Africa and Brazil, tradition and innovation. Through the centuries, these sounds have accompanied capoeiristas in moments of joy, struggle, and resistance.

When I hear the distinctive sound of the berimbau, I don't just hear a musical instrument – I hear the voices of ancestors, the history of the slaves who created this art, and the continued survival of the Capoeira spirit through time.

I invite you to explore this musical tradition, either as an active participant in Capoeira or simply as someone who appreciates music and culture. In the hands of a capoeirista, these simple instruments don't just produce sounds – they create magic that has the power to transform souls and unite communities.

Mestre Ligeirinho (Dimitris Chionidis) is the founder of Casa Capoeira based in Komotini. He has been teaching all aspects of Capoeira, including music, since 2001, maintaining the authenticity of the art while making it accessible to contemporary audiences.