Відповіді

• 2008.10.07 | stryjko_bojko

  капоейра

  Новое слово: капоэйра
  
  Проезжая мимо ряда уличных рекламных щитов, я зацепился взглядом за незнакомое слово «капоэйра» на одном из них.
  
  
  Капоэйра — это квазиспортивное занятие, сочетающее в себе элементы танцев, боевых искусств и игры, родившееся в Бразилии несколько столетий назад. По-португальски оно называется capoeira (произносится [ка-пу-эй-рэ]). Считается, что капоэйра происходит от ритуальных боевых танцев африканцев, которых португальцы привозили в Бразилию в качестве рабов.
  
  Происхождение самого слова неясно и порождает споры. Самое интересное предположение, что слово образовано от искажённого слова kipura, на языке киконго означающего движения дерущихся петухов. Действительно, капоэйра отчасти напоминает петушиные бои: зрители становятся в круг, который называется «рода» (roda de capoeira), в котором дерутся, а точнее сказать, двигаются (главное — показать свои умения, а не избить противника) соперники. И всё это действо сопровождается ритмичной музыкой.
  
  В русском языке на данный момент слово зафиксировано в двух равнозначных нормах: капоэйра и капоэра. Первая ближе по произношению к оригиналу, вторую проще выговаривать. Каким словом воспользоваться, решайте сами.
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  • 2008.10.07 | stryjko_bojko

    What is Capoeira?

    What is Capoeira?
    
    Capoeira is an Afro- Brazilian martial art that blends elements of ritualistic fighting, music, cunning and playful creativity with precision attacks and defenses, break dance-type floor movements and stunning acrobatics, into what is considered by many to be the most unique and flexible art form in the world today. Capoeira involves the learning of the songs, instruments and philosophy of the art form as well as the acrobatic movements, attacks and defenses. Students first learn the traditions, rituals and morays of the game before moving onto the exciting flips, high kicks and acrobatics.
    
    
    
    History of Capoeira
    
    During the Middle Ages, Portugal suffered a drastic decrease in its labor force as a result of human loss in the war for independence from Castile, and from a series of epidemics of devastating proportions. Moreover, a huge deployment of people to Africa and India in Portugal's colonial endeavors intensified the crisis (Pinsky1988: 14). Gomes Eannes de Azurara was one of the first to register Portugal's incipient attempt to replace its productive hands, narrating how Antáo Gonçalves in 1441 captured and took the first Africans to the Infant D. Henrique, King of Portugal (in Rego 1968: 1-2). By the early 1500s, Portugal had begun extensive human trafficking from Africa to its South American colony of Brazil.
    
    Between the years of 1500 and 1888, almost four million souls crossed the Atlantic in the disease-ridden slave ships of the Portuguese Crown. The signing of the Queiroz Law prohibiting slave traffic in 1850 was not strong enough to empty the sails of the tumbadoras (slave ships) crossing the ocean. Many Africans were still forced to face the "middle passage" and were smuggled into Brazil. The ethnocultural contributions of this massive forced human migration, along with those of the Native inhabitants of the colony and those of the Europeans from Portugal, shaped the people and the culture of Brazil.
    
    From the Africans, we inherited the essential elements of capoeira. This is evident in the aesthetics of movement and musical structure of the art, in its rituals and philosophical principles, as well as in historical accounts of the ethnicity of those who practiced capoeira in the past.
    
    Most of the questions related to the formative period of the art still remain unanswered. When, how, and why did capoeira emerge in Brazil? From what specific cultural groups did it come, and from which original art forms did it derive? The difficulty in answering these questions resides in the lack of written registers of capoeira and in the absence of an oral tradition that reaches as far back as the pre-dawn of the art. Also, the unclear Europeans' notion of cultural and geographic boundaries of the African territories at the beginning of Portugal's colonial enterprises, as well as the mixing of Africans from different tribes in the same work areas in Brazil, increase our uncertainties.
    
    According to E. Bradford Burns, it is possible to identify three major African contributors to Brazilian society: the Yoruban and Dahomean Sudanese people originating from regions that later became Liberia, Nigeria, the Gold Coast, and the southern part of contemporary Benin (former Dahomey); the "Mohammedanized Guinea-Sudanese" Hausa; and the Bantu people from Angola, Congo and Mozambique (Burns 1970: 39).
    
    The importance of Yoruban influences in the state of Bahia has long been recognized. Recently, though, the weight of the Bantu contribution has been reevaluated, gaining more prominence as traces of this culture are identified in the way of life of the inhabitants of Bahia's old cities. Since the cadence in the ginga (the multi-funcional and characteristic movement of capoeira ), the music, and the rituals of today's capoeira seem to have radiated from the Reconcavo Baiano (coastal areas of the Bay of All Saints in Bahia), it is not a far stretch of the imagination to associate the formative elements of the art with cultural expressions embedded in the traditions of the sub-Saharan Bantu people from Angola.
    
    In reality, the historical journey of capoeira is as elusive to grasp as is the disconcerting typical movement of a good capoeirista. We know for sure that the largest cultural river that flooded Brazil ran from Africa, but the sources of its tributaries are still hidden, and the specifics of its murmurs are still like the riddles of an ancient sphinx yet to be deciphered.
    
    In short, Capoeira was born out of the struggle for freedom While training, they avoided injuries by keeping direct physical contact to a minimum. Songs, percussion instruments, and clapping completes the ritual. For the master, Capoeira was merely entertainment - for the slave, it was a fight for liberation.
    
    Capoeira as a martial art is clever and deceptive. Often appearing vulnerable, the good Capoeirista knows the right time to strike back with lethal power and grace. Musically, Capoeira is enchanting. Beautiful melodies, pulsating rhythms, and the cries and shouts of the crowd blend into one intensely charged atmosphere perfect for the game of Capoeira.
    
    http://www.miamicapoeira.com/index_files/Page463.htm

• 2008.10.07 | stryjko_bojko

  моветон і комільфо

  http://www2.maidan.org.ua/n/mova/1223340916