Capoeira

List of capoeira techniques

This is a list of techniques used in capoeira. Capoeira has a variety of different techniques that
make use of the hands, feet, legs, arms and head. Both kicks, punches and takedowns are among
the offensive movements, but the emphasis is normally on kicking. Because of the appearance of
many techniques, they are often mistaken for dancing or acrobatic maneuvers. However, while
capoeira has some quite impressive, acrobatic signature moves, many of the basic techniques in
capoeira are similar to those found in other martial arts.
Please be aware that different groups may use different names for the same techniques, or use
the same name for different techniques.

Movement
Ginga
Animation of ginga movement
The ginga pronounced jinga! literally" rocking back and forth! to swing# is the fundamental
movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of this
movement. $n Angola, ginga is a very free and individualistic, while in regional is very
structured but own style is still allowed.
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Both are accomplished by maintaining both feet
appro(imately shoulder)width apart and then moving one foot backwards and then back to the
base, describing a triangular *step* on the ground.
+inga movement is done to prepare the body for other movements" hiding, dodging, feinting and
attacking. $t puts a capoeiristas in constant motion, making them a frustrating target for an
opponent.
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The rest of the body is also involved in the ginga" coordination of the arms in such a way as to
prevent the body from being kicked#, torso many core muscles may be engaged depending on
the player*s style#, and the leaning of the body forward and back in relation to the position of the
feet! the body leans back to avoid kicks, and forward to create opportunities to show attacks#.
The overall movement should match the rhythm being played by the bateria.
Cadeira
The cadeira is the position in the ginga when both legs are squared off. This makes it the actual
base of the ginga. ,epending on how the capoeira academy teaches it, it is usually a low position
similar to one that a shortstop has right before stopping a ground ball. -ne arm is protecting the
face while the other is e(tended out protecting the other side. .ince it is essentially a low squat
with the torso slightly bent at the waist, most of the core muscles are engaged to keep balance.
All attack, movements, and esquivas can flow seamlessly from this position including balan/a,
au, queda de rins, martelo, resist0ncia, and many others. $t can also be called *parlelo*.
A
An a is the capoeira term for what is more generally called a cartwheel. $t differs a bit from the
traditional cartwheel or aerial cartwheel. An a1, in its base form, is performed, sometimes very
slowly, with arms and legs bent in order to keep a low target profile. Also the back can be curved
in order to perform a kicking maneuver. .ince a capoeira player always risks being kicked while
upside down, capoeira players also make sure to watch their opponent rather than look at the
ground. Capoeira players can incorporate attacks from the cartwheel, including a kick known as
an A Malandro or A Batido. They sometimes free2e halfway through the cartwheel to get into
the handstand position, from which they can e(ecute a wide variety of moves. The a1 variants
are"
A Aberto34rom esquiva, the free arm reaches in an arc over the head in the direction
of motion. The leg e(tended furthest from the body leaves the ground first, kicking off
and providing momentum. Then the reaching hand is placed on the far side of the body.
Bending the arms at the elbows supports weight as both legs pass over the body fully
e(tended. 5hile inverted, the body should be opened and entirely e(tended. -ne foot
touches the ground then the other. The arms must be lifted for protection as soon as they
are no longer supporting weight.
A Batido3The a batido is an a1 variation where a practitioner does a handstand,
followed by a twist with the hips and a split, performing a downward martelo. ,uring the
kick, one arm is protecting the face while the other one is obviously supporting the body.
A1 batido literally means 6broken cartwheel6. This movement is a defensive move, used
when attempting to perform a cartwheel and the opponent attacks, generally with a
cabe/ada, a headbutt, the a1 batido takes place, attacking the opponent by surprise before
the attack is e(ecuted. The a1 batido is sometimes also used in doubt or simply as a trick
move. This move is also performed in tricking, and for quality, it is also used often in
breakdancing where it is known as the 7)kick. 8ames used in different schools may also
include Beija Flor Humming Bird, literally 4lower 9isser##, Leque 4an#, A Qubrado
also 6broken cartwheel6#, A Malandrowily cartwheel#, A Amazonas Ama2on
cartwheel# or Amazonica#.
o A Batendo)A similar technique, e(cept that the hands generally stay on the
ground and the cartwheel is not stopped during the kick, but rather continues over.
A Fechado34rom esquiva or negativa, the free arm reaches in an arc over the head in
the direction of motion. The leg e(tended furthest from the body leaves the ground first,
kicking off and providing momentum. Then the reaching hand is placed on the far side of
the body. Bending the arms at the elbows supports weight as both legs pass bent in front
of and slightly over the body. 5hile inverted, the body should be closed and ma(imally
protected. -ne foot touches the ground and then the other. The last step is return to
esquiva.
A sem Mo3An a1 performed without hands in the same manner as the aerial
cartwheel. Can be used to stylishly avoid sweeps such as a rasteira or banda.
A1 variants
A1 Aberto open a1#
A1 4echado closed a1#
A1 Batido broken a1#
Balana
A series of side to side feints done with the torso to deceive the opponent, throw off their timing,
and make it harder for them to track the centerline. $n a similar manner as a speedskater, the
bodyweight is shifted from one leg to the other in a slight lateral hopping:sliding motion while
the arms move in a similar fashion as they do during the ginga. The balan/a is usually done from
the forward ginga and is also known as the a!alo. As with other movements in capoeira, all
types of kicks, handstrikes, or headbutts can be e(ecuted une(pectedly from the balan/a.
Bananeira
The bananeira is a handstand in capoeira that derives its name from the banana trees of Bra2il.
The hands are spread at least shoulder)width apart and the legs are usually together over the
capoerista*s head. -ther variations include having the legs split apart to the side or front. -ne
outlying difference the bananeira has in capoeira is that the face and eyes of the capoeirista are
towards the other player! not the ground. 5hile in Bananeira, the feet can be used to defend as
well as attack. The bananeira*s other uses can be to take a quick break and observe the other
player, draw an opponent in to a trap, or in the case of contemporary regional schools, show off
balance and strength as a floreio. The bananeira is thought to have originated from the use of the
handstand by an 8ganga Bantu healers and spiritual leaders# by showing their spiritual
connection to the ancestors who walk on their hands in the spirit world.
Macaco
The macaco is similar to a back handspring with the e(ception of starting with one hand planted
behind you and the movement beginning from a low squat. The macaco starts by lowering the
body down into a crouch and placing one hand on the floor directly behind you. The other hand
is thrown over your body while ;umping off with both feet to launch your hips straight over your
head. As you pass into a handstand position, you may place the second hand onto the ground
before bringing your feet back to the ground. $t shares visual similarities with the valde2.
<ariations can include landing with both feet simultaneously. The move is commonly called the
;ump of the monkey as the word Macaco literally translates to monkey.
Macaquinho
This movement is very similar to the macaco with the e(ception being that it is lower and less
e(plosive. The knees are in a more forward bent position while one arm is placed directly behind
the balls of the feet. $nstead of ;umping as with the macaco, the capoeirista lowers himself onto
his elbow and brings his other arm and legs over. The macaquinho, which means little monkey,
is a combination of a macaco and queda de rins.
Macaco em !
This is a macaco that is done without a hop or crouch. The macaco em " resembles the mi(ed
movements of a back walkover and cartwheel. $nstead of crouching and ;umping, the capoeirista
falls backwards onto one arm while bending his back and allowing his hips to go over while
moving into a standard macaco position.
Macaco Lateral
This is also known as a #ango. $t is a standard back handspring. $nstead of placing one hand on
the ground and flipping, an abrubt leap is made backwards while e(tending the hands over the
head.
"egativa
=eaning 6negative,6 the negativa is used to negate an attack by going low to the ground on one*s
side, with the leg closest to the ground tucked to the chest, the other e(tended, supporting one*s
body weight with the hand , with the upper arm in a location to protect the face. 8egativa can
also be performed in a lower stance with the stomach parallel to the ground. The negativa is also
used as a sweep. $f the other capoeirista is doing a kick where they only have one leg on the
ground, the e(tended leg can be used to hook behind the leg on the ground and pulled towards
you.
#abo$de$Arraia
students of the havana group of capoeira Angola performing the >abo de Arraia.
7iterally translates to 6stingray*s tail.6 This is a popular name given to different capoeira
movements at different times and capoeira schools. There are more than ? techniques that were
at some point of time called 6>abo de Arraia6. Today, it mostly refers to the 6Meia$lua de
om"asso6 in Angola schools.
#ol%
>ol0" This *rolling* motion is ) together with the +inga and the Au ) the basic method of moving
around in the >oda. This move can be performed from +inga or from most of the esquivas. $t is
essentially a spin to one side while remaining low to the ground and always watching your
opponent. -ne of the hallmarks of the move is that during the part where your back is facing the
opponent, you are looking between your legs to watch for an attack. The rol0 can end easily in
+inga, 8egativa, or various esquivas. The >ol0 de Cabe/a is performed by placing the head on
the ground in the middle of the rol0 so as to be able to transition into various headstand
techniques.
&roca 'e !
7iterally hange of Foot% 4rom a 8egativa position with the leg e(tended, a slight hop during
which the e(tended leg becomes the support leg and the guard arm becomes the support arm and
vice versa.
onte
The ponte bridge# is a backbend with the stomach facing upward and the hands and feet pushing
to keep the back arched and off the floor. =ost learn to roll into a ponte by turning their legs and
hips around first and then inverting into a backbend. The capoeirista can then roll out into a
cocorinha or queda de rins for a stylish entrance into a roda. The ponte also doubles as a last
resort esquiva although that depends on the player*s skill level, style, and speed of the game.
Another interesting fact is that =estre Bimba would give a potential student aluno# a series of
test before actually teaching them his style of capoeira. -ne of the test would be the student*s
natural ability to hold a backbend.
(ueda de #ins
The queda de rins fall on the kidneys# can be used as an esquiva or a launching point for a
technique. $t involves supporting the torso with the inside elbow and the head, often with the
knees resting on the supporting elbow. The head is usually the lowest with the feet and at the
highest in a rough @AB angle. The legs themselves may be together, tuck, split depending on the
position.
'efensive movements
Cocorinha
-ne of the simplest defense movements. 5ith the feet flat on the ground the player squats with
the knees to the chest so as to close the body and covers the side of the torso and head with one
hand while the other is flat and to the side for support.
Another variation of this involves squatting with the balls of the feet on the ground and arms
crossed in front and above the face.
)squiva
7iterally esca"e or dodge. =any forms e(ist but all involve moving the head and torso out of the
way of an attack. Csquivas distinguish capoeira from many other martial arts for the simple of
fact of going along with flow of the attack and releasing an equal or more devastating attack.
=any of the attacks in capoeira are fully committed kicks that would cause more in;ury blocking
them instead of dodging them. Blocking can upset and imbalance to flow of the game making
esquivas more common and blocks rare.
)squiva de Bai*a
Also known as Csquiva de 4rente.67ow dodge6, this looks like an e(tremely low ginga. The back
foot is e(aggerated and placed even farther back to bring the body closer to the ground. $f the left
foot is back then the right hand is placed on the floor! the left hand will be guarding your face.
)squiva Lateral
6.ide escape6 or side dodge. $t is e(ecuted while the feet are in a parallel position. The escape is
simply bringing the torso down and to the left or right depending on where your opponents kick
is coming from# and reaching your hand over your head or placed in front of your face for
protection. .ome schools will place the hand not guarding on the floor to get even lower.
)squiva 'iagonal
This is a dodge that simultaneously dodges and advances forward. $nstead of going straight down
under an attack or off to the side like in the esquiva lateral or esquiva de frente, the capoeirista
steps diagonally of to the left or right of the attack. He:she places his front foot in a
perpendicular position to his back foot and crouches down at the knees in a low lunge. The left
or right arm comes up to protect the face depending on the direction of the attack while the other
arm maintains the bodyDs balance. This is a quite useful esquiva because many counterattacks are
available to the player from this position which can include martelos, ganchos, or vingativas
saving valuable time.
(ueda de (uatro
a queda de quatro under a meia lua de compasso
7iterally fall of four& .imply fall backwards into a crab)walk position, often followed by
scurrying backwards and away from the opponent.
(ueda de &res
4alling back onto the wrists and one leg. The other leg is up because this position is often
6forced6 when the player is taken down from being supported on a single leg. 4or e(ample"
sweeping the base leg of armada leads the fallen player to, hopefully, end in this position.
#esist%ncia
a resist0ncia into role
This is very similar to its sister, the negativa. However, instead of resting on the entire sole of
the foot, the ball of the foot supports a ma;ority of the weight with the arm on the opposing side
helping. The fingers on the supporting hand should be flat to protect the wrist. The other arm is
raised slightly to protect the face while the other leg is e(tended outward with a slight bend to it.
This slight bend is very important as it protects the leg from any trauma that a straight leg would
fracture under. Because the knee is e(tended farther past the supporting foot, stretching of the
quadriceps and gastrosoleus muscles are a necessity for this position because of the added stress
it places on the knee after prolonged use. .ince most beginners tend to look down at the floor in
while in resist0ncia, it is highly advised to always look up and keep your eyes on the other
player. As some capoeira groups each have different names for movements, the resist0ncia is
sometimes known as the negativa.
+ic,s
Armada
An armada can be either a >abo)de)Arraia without the hands supporting on the floor the head
falls below the waist and the kick is e(ecuted with the heel#, or a =eia lua de Costas halfmoon
from the back#, a spinning kick with the body upright. However the general meaning of this
technique is a spinning inside to outside crescent kick.
The striking surface is usually the outside blade of the kicking foot. A quei(ada and armada are
e(ecuted in the e(act same way with the e(ception of the armada beginning with a step to the
right or left before releasing the kick. The power of the armada actually comes from the torque
placed on the hips from the spin.
After stepping across the body to the right or left# at around @A degrees, the hips are spun while
the arms are up to protect from punches or other kicks. -nce there is enough torque, the kicking
leg is 6released6 rather than kicked. This leg goes around in the same motion as a quei(ada until
the kicking leg has finished its arc all the way back or parallel to the other foot.
Armada ulada
An Armada that is released after a ;ump. The armada pulada begins the same way as the regular
armada with the capoeirista turing to the left or right. -nce the head, neck and shoulders rotate
towards the front, he:she ;umps during the release of the armada making it a spinning aerial kick.
Armada 'upla
Also known as an Envergado. A +rupo Capoeira Brasil player coincidentally known as
Cnvergado is said to have invented this very move. The distinguishing feature of this move is the
fact that both legs remain together during the take off, e(ecution, and landing. $ts name, Armada
dupla, is derived from this feature and also literally means 6double armada6. After the take off,
the torso stays upright and vertical, but will begin to quickly torque in order to swing the legs
around and upwards. At the peak of this move, the body is in the shape of a 6<6. The legs
continue to swing over as the body straightens out for the landing. $n tricking, this move is called
a ,ouble 7eg. Along with the =eia 7ua Compasso and Au =alandro:Batida, the armada dupla
one of the trademark kicks unique to the art capoeira.
Armada com Martelo
The armada com martelo is a spinning double kick beginning with an armada pulada and
finishing with a martelo. The capoeirista begins with the same motion of the Armada. 5hile the
first leg is raised up, he:she ;umps off their back leg. -nce the first leg completes its arc, the leg
that was ;umped off of comes around in the form of a ;umping martelo rotado.
Beno
An esquiva under a Ben/ao
A 6blessing6 in disguise. $t is a straight forward frontal push kick. $t is commonly aimed at the
abdominal or chest area, and the capoeirista hits with either the whole sole of the foot or with the
heel. The level of impact varies with its range and intent from a soft tap to an inward ;umping
stomp to the head, or torso.
Chapa
Chapa, the sole of the foot, is a generic term for various straight kicks with the sole or heel of the
foot. This kick can be used in a roda to push away the other player for distance. These include"
Chapa$de$Costas
$t resembles a kick from a horse or mule in which both hands are usually on the ground while
one of the legs is pushed outward towards the other player. $t is a clever attack that can be
delivered out of a role towards the groin or knee of the other player.
Chapa$de$Frente
A straight kick facing the opponent sometimes performed from a Eueda de Euatro, pushing with
the hips to gain greater e(tension. $t has the look of a Ben/ao given from a Eueda de Euatro.
is-o
Another variation being a side kick. 4irst the player begins by lifting the knee of the kicking leg
and hip level of the support leg. The capoeirista turns his supporting foot &FG degrees to the rear
while thrusting the kicking foot towards the other player*s body.
Chapa Bai*a
This is a side kick to the lower areas including the thigh, knee, or instep. $mpact is usually made
with the heel or sole of the foot. As with the pisHo, the chapa bai(a begins with a forward knee
raise. However, instead of rising upwards towards the usual kicking targets capoeirahead, chest,
stomach#, the kick is driven downward towards the other player*s lower e(tremities. $t
incorporates the malacia in capoeira appearing as a high kick but ending in an unpredictable
painful kick to the knee or thigh. $n most rodas this is shown rather than completed to full
e(tension.
Chapa Giratoria
CapoeiraDs answer for the reverse side kick. $t is done is the same way as ban dae yeop chagi in
T9, with the capoeirista stepping forward or diagonally while turning his torso. At the same
time he raises his back leg up, unleashing it at the ape( of the turn in a straight path.
Chap!u$de$Couro
67eather hat6 is a squatting planted roundhouse kick. The arch of the foot taps the partner*s
e(posed head in the spirit of a 6tag, you*re it6 or 6watch your head6 move.
Gancho
The gancho lit. hook, is a hook kick. $t is a deceptive attack that starts off in the same way as a
martelo or roundhouse kick. The knee and thigh of the kicking leg is brought up and across the
body in a diagonal direction. $nstead of thrusting in and out like a chapa, the leg is e(tended
toward the body and thrust out in a hooking motion striking with the heel or sole. The path of the
heel ends near the buttocks and hamstring as it is brought down. There are other ways of using it
such as fake martelos into in or from fake chapas. Because of its deceptiveness, the name gancho
is perfect for it since it can sometimes act as the hook for a bait attack that is seen far too late.
Gancho Giratoria
A spinning version of the gancho. $t starts out like a spinning chapa but deceptively lashes out
and hooks around in the same manner as the gancho.
Martelo
A Martelo is a type of kick as practiced in Capoeira. The martelo, which literally means
6hammer6 can be described as a sort of roundhouse kick. $n generic terms, it is a strike with the
instep or ball the opponents body! the most common being the temple of the head. The most
common forms of the =artelo include"
Martelo$em$!
This is the most common martelo seen in 'egional:ontem"or(nea rodas. There are many ways
of beginning the kick. Capoeira*s emphasis on utili2ing a kick from anywhere at anytime can
have the martelo begin with rear leg rising up as the knee is driven up and forward. -ther ways
can be from the ginga or ;umping from the rear leg and turning the front leg into the kicking one.
The martelo em pI has the kicking leg rising with the knee and turning inward toward the
kicking surface. The leg is this snapped towards the head and returned back to the knee returning
to the ground. Cmphasis is placed on speed and deception rather than knockout. Cven with this
precaution knockouts can and will occur due to the weight and sheer force of the leg.
Martelo$do$Cho
a martelo)do)chJo
=artelo from the 4loor. $t can be delivered upward from a lower position usually right before a
rolI while in esquiva bai(a or downward going into a queda de rins. 5ith one hand on the
ground the capoeirista lifts his kicking leg up spinning it towards the other player. Has the look
of a meia lua de compasso in reverse.
Martelo #otado
A spinning martelo. $t resembles the Teh Tud of =uay Thai more because it is usually delivered
from the back leg with the thigh and foot facing inward before they are fully e(tended. Control is
sacrificed for power and speed as the leg does not stop, but follows through in a full rotation of
the hips.
Meia Lua de Compasso
A Meia$Lua de com"asso lit) half moon com"ass# is an attack that embodies the true element of
Capoeira since it combines an evasive maneuver with a spinning kick. The player while in a
semi)crouched stance, swings his forward arm in a downward slanting motion towards the
ground. 5hile stepping around, he also bends his non)kicking leg while keeping the kicking one
straight. After gathering enough torque from the sudden pivot in his core, he unleashes the kick
all the way around until his kicking leg is behind him in the ginga movement.
The power of the kick derives its energy from the same motion as the swing of a golf club or
base ball bat. The transfer of power begins with the spin of the hand slamming into the ground
and ending with the spin of the kicking heel $t has earned its place in capoeira as being called the
6king of kicks6. There is even a saying among mestres and other teachers about how a
capoeirista*s skill can be determined on how well and fast he delivers a =eia lua de compasso. $t
is still called a rabo do arria by some groups today.
There is even a lore from around the &K&Gs of a capoeirista named Ciriaco, defeating a ;iu);itsu
champion named .ada =ako with this kick. 5hile this has been debated, there is one true
account of this occurring. The win was awarded to <aldemar .antana after his defeat of Helio
+racie. =ost would attribute this win to the fact that .antana was also student of Helio for over
twelve years.
Meia Lua ulada
This is a spinning kick done without either leg in contact with the ground. The kick can be done
at roughly a @A)degree angle with both legs together or one straight while the other is bent. -ne
or two arms are the only thing keeping the kicker LrootedM to the ground. 5ith at least one hand
on the ground, the capoeirista hops off with both legs and delivers a spinning kick with both legs
in the air and finally landing on one or two of their feet. $t is rarely seen because of the core
muscles that it engages requires a high level of balance and strength. The meia lua pulada has the
same motion as a diagonal front handspring and a meia lua compasso using only the hands# to
complete the spin.
Meia Lua .olta
A meia lua solta is e(actly the opposite of the meia lua pulada. 5hereas in the pulada the arms
are solely used, in the solta the pivoting leg and foot are used. $t is said to be much faster than the
=eia 7ua de Compasso but also more trickier. Taking a foot sweep while performing this can be
dangerous because of the lack of a supporting arm to spot the kick. .ome groups refer to this as a
chibata.
Meia Lua #eversao
A kick that begins as a meia lua de compasso but ends like a front walkover. The capoeirista
releases the kick but instead of bring the kicking leg around completing the motion, he follows
the kick with his entire body. He will usually land on the kicking leg and rotate &FG degrees to
face the other player again. As with the pulada, this can be done with one or both hands on the
ground.
Meia Lua (ueda de #ins
Eueda de >ins means falling on the kidneys. This move is a combination of a meia lua de
compasso and the E,>. 5hile turning to release the kick, the capoeirista lowers himself unto his
supporting elbow. He:she can complete the movement in a number of ways with the most
common one being the transition into the resisten/ia.
Meia$lua de Frente
=eia 7ua de 4rente 4ront Half =oon# is an outside)inside crescent kick seen in other martial
arts. This kick involves using the arms and hips to generate enough force to bring the foot of the
kicking leg across the face of the player. 5hile it can be used as an attack itself, it mainly is used
as a poke or trap for another attack. -ther uses for it can be as a combination with cartwheels and
other acrobatic moves therefore working as an escape.
onteira
Nonteira is the simple front snap)kick with the ball of the foot. $t is performed by lifting the knee
and quickly e(tending the leg with toes pulled back while tilting the torso slightly backwards to
strike the opponent in the abdomen, chest or face. Contrary to the Ben/Jo this is intended as a
hard and fast striking kick.
(uei*ada
Nronounced 6kay)shah)dah6, this move is one of the most commonly used of the basic kicks in
contemporary regional. To e(ecute with the right leg, one begins in mid)ginga stance, with the
left leg back and the right forward. 4rom this position, step slightly to the left with the right leg,
shifting body weight onto the forward right# leg while the body faces left. $mmediately bring the
left leg forward, crossing it behind the right while beginning to throw body weight forward to
gain momentum. 5hen the body weight is fully resting on the left leg, release the right leg,
kicking it in a large, sweeping arc to the right, keeping the leg straight throughout. 5hen the kick
has been completed, the capoeirista is now in mid)ginga stance, e(cept now with the right leg
back and the left forward.
Throughout this move one must always remember to guard his or her face using the thick part of
the forearms as is done in all capoeira moves#. >everse all directions left)right and vice versa#
in order to e(ecute a quei(ada with the left leg.
#ai/
A rai2 is a type of kick used in contemporary regional. $t could be described as a sideswipe with
less rotation, so the practitioner lands on the rear leg from the take off instead of the kicking leg.
However, in terms of tricking, the rai2 is not a kick, but rather an evasive move aimed to avoid
an attack toward the legs. The set)up for the rai2 is e(actly like the A@G kick, but the technique
required for a successful rai2 is similar to a ,ouble 7eg. $n starting this move, the practitioner
turns slightly sideways at the waist with the arm)swing motion. -nce the set)up is accomplished,
the first leg is thrown straight up while having the head thrown back.. This motion causes the
practitioner*s back to become parallel to the ground. The first leg travels around like a ,ouble
7eg and the second leg trails behind it. The first leg lands first on the ground and the second leg
lags behind. The second leg should not be rushed, but rather be rela(ed and let it fall by itself.
.$'obrado
The .),obrado is the generic name for a series of motions that takes a capoeirista from a low
position to whip one leg across the floor in a half circle, then kick up his legs and invert on to his
hands and then land back on his feet and stand. The . refers to shape traced by the motion of the
leg which leads the move. $t is used as a transitional move and there*s many variations of the .)
,obrado. A basic .),obrado can start from a 8egativa, whip the straight leg around in a half
circle to face the other direction, kick up into a =acaco. Another variation involves going from
Corta Capim, then kicking up into =acaco. 5hile inverted, the capoeirista can Au, or stop and
do a Bananeira, or even sink down into a Eueda ,e >ins. $t is a very versatile technique for a
capoeirista.
01o$do$Morcego
7iterally translated as the 64light of the bat6. This is a flying kick done sideways with both legs.
$t is e(ecuted virtually in the same manner as a dropkick! however, the knees are drawn back in
after making contact and one lands on their feet. $t would be ridiculous to perform this in the
same way as pro wrestlers since landing on the ground would in;ure the capoeirista more than the
kick. .ince it is an aerial attack, balance and control are sacrificed for raw power. As with any
attack, the effectiveness of this attack depends on the timing, weight, and body mass. $t was a
very popular attack in past times, but it is rarely seen in rodas today. $n the anime series Afro
.amurai, Afro utili2es this kick against his opponents in season O although it*s not specified
where he learned this kick.
2and and arm stri,es
*ogo de Bra+os or 6the game of the arm and hand6. Traditionally, hand strikes were rarely used
in capoeira, the mythological reasoning behind this being that the shackles and chains of the
slaves prevented this. Cven if this is so, punches, elbows, and slaps have always e(isted in street
rodas all around Bra2il. Today, this game of the arm and hand is seen more in the Capoeira
Angola rodas. .ome players attempt to distract or fascinate their opponent by waving their arms
and hands in a spellcasting like way. This jogo or game represents a swinging and waving of
hands to diminish any perception of an attack and lower the other player*s guard.
%O'
Asfi*iante
5hile the literal translation of this is based on suffocation or rather an act of it, it is really ;ust a
punch. Based on its name, the target may have originally been the throat instead of the face.
Cutelo
The Cutelo is a knife hand attack. $t is applied in the same way as the generic karate chop usually
to the face or temple. This is also a very 6old school6 attack done by older mestres.
Cotovelada
The cotovelada is an elbow strike usually from outside to inside. $n all forms of martial arts,
range plays a very important role. 5hen two capoeristas are playing a close aggressive game it
would be foolish to throw a kick or punch at such a close range. The cotovelada is a quick
surprise attack when things get too close.
'edeira
An attack to the eyes that reveals the streetfighting origins of capoeira. $t is rarely e(ecuted in
rodas today because the harm it can cause. $t is an eyepoke with the inde( and middle finger of
the hand. This attack was usually done to disorientate the target for a quick escape.
Galopante
The galopante is more of a slap than a punch. The capoeirista strikes the side of the opponents
face with his open hand in a swinging motion. $n most cases the galopante is not meant to cause
much damage to the opponent. $t is instead used as a distraction or to tell the opponent that his
guard is too open. However, it is a handslap that follows the same tra;ectory and principles of a
hook punch using the body*s core making it ;ust as damaging in the right 6hands6.
Godeme
Backhand strike, normally to the face. The hand can made into a fist making it a backfist or done
openhanded as a slap. 5hen swinging, the arms are rela(ed making the strike faster and the sting
more painful. The godeme is obviously an aggressive attack. According to Capoeira lore, the
move was named when =estre Bimba was sparring with some Americans. He was establishing
the names they had for various techniques when performed this strike to the head to his partner,
who responded with a hearty 6+od damnP6 which =estre Bimba assumed was their name for it.
5hile the error was e(plained to him afterwards, he liked the name enough to retain it.
&elefone
An attack with both hands slapping the opponent*s ears at the same time. This attack is used
rarely in the roda as it is considered too aggressive. The telefone is very painful and disorienting
because of the sudden burst of air entering the ear canal. $t is very possible for this attack, if done
in a malicious way, to cause permanent damage to the eardrum. $ts name is a use of wordplay
based on a telephone call.
2ead butts
Arpo de Cabea
This is a headbutt that involved the capoeirista throwing his full body into the headbutt. 5hile
the cabe+da can be seen as playful, this is its more violent cousin. By usually ducking under a
kick or punch, the player will spring forward with full force tageting the head, stomach, or groin.
Cabeada
C(ecution of a Cabe/ada attacking a cartwheeling opponent
The abe+ada pronounced" ka)be).A)da, lit&) head butt# is an offensive movement of Capoeira
in which the attacker pushes the opponent with his head or forehead. +enerally a cabe/ada is
performed when the opponent is e(ecuting an open au cartwheel# but can be performed against
any move where the belly of an opponent is e(posed.
)scorumelo
This is a less playful headbutt that moves in an upward direction. The head goes under the attack
and comes up hitting the bottom of the chin. This gives it the same application as an uppercut
combined with the weight of the entire body rising along with the head.
&a,edo3ns
Takedowns are normally considered a bit aggressive in capoeira, and attempting a takedown
might be seen as a test of one*s skills. However, the frequency of takedowns in the roda varies
from group to group and type of game. -ne situation where takedowns are common, is during
the Bati2ado ceremony. This is when the =estre =aster# gives the new students their first
cordHo, or the senior students their ne(t cord according to their progression in capoeira. $n such a
ceremony, the mestres# will try to take his students down, sometimes several times during a
game.
,ue to the strong emphasis on kicking, the most common takedowns in capoeira are sweeps!
however, there are also other takedowns utili2ing the hands, arms, legs or shoulders to push, lift
or throw the opponent to the ground.
Aoite$de$Brao
This throw is rarely seen. $ts use was a more designed for self)defense. $f an attacker was
approaching the capoeirista from behind using a club or cheap punch, the capoeirista would duck
under the attack simultaneously scooping the leg of the attacker up. He would continue the
motion, the attacker off of his shoulders and slamming him to the ground. The closest throw to
this is the 9ata +uruma also seen in Qudo.
The above version is found in the books by 8estor Capoeira! however, in the original >egional
style of =estre Bimba, Acoite de Braco lit. arm whip# is a shoulder throw similar to .eioi nage
in Qudo ) capoeirista grasps one arm of his opponent with both hands, turns around and throws
him over the back.
Arrasto
Classic double leg takedown. The capoeirista grabs the opponent behind the knees and pulls:lifts
while pushing the opponent backwards with their shoulder, driving him to the ground. 5hile
seen as a double leg takedown, in many situations it will change to a single leg takedown.
$ronically in the evolution of things, this move is usually countered with a sprawl or even a
guillotine choke depending on the school or academy. =any times this move opens the eyes of
those who see capoeira as only a recreational 6dance6.
Banda
Banda is a sweep kick, the ob;ective of which is to pull one of the opponent*s feet making him
lose his balance and fall. $t usually is performed from a standing position. 5hat separates the
banda from the rasteria is that the sweep is mostly done with the heel of the foot instead of the
instep.
Banda de Costa
A defensive counter)attack performed against a kick. This is usually reserved for circular kicks
such as the armada or quei,ada. By following the motion of the kick, the capoeirista steps to the
outside left or right of the kicker and uses one hand to push them forward while the closest leg
reaps the supporting leg of the kicker. $t looks identical to the -soto guruma in Qudo.
Banda de 'entro
The banda de dentro or "assa "e is a similar sweep as the rasteira em pe. 5hile the banda de
costa focuses on sweeping the kicking leg from the inside instead. 5hile one capoeirista is
delivering a kick such as a martelo, the other player steps inside and sweeps the supporting leg in
an inside to outside motion.
Boca de Cala
A takedown e(ecuted by grabbing the opponent*s pant legs or ankles and pulling.
Boca de Cala de Costas
An version of the Boca de Cal/a that involves turning your back, reaching between your legs,
and pulling the other player down by his ankles or cuffs. $t is usually done crouching under a
kick and pulling the supporting ankle of the leg not e(tended through the capoeirista*s leg. This is
not as easy as it sounds because of the timing involved. =any who see this coming would go for
a rear naked choke by hopping onto the capoeirista*s back. A dangerous counter to this is a ;ump
backwards ensuring the person applying the choke receives the blunt force of the ground.
Cru/
This is another e(ample of a takedown in capoeira that uses the attack against the attacker. 5hen
a straight kick such as a chapa or bencJo is thrown towards the capoeirista, he simply ducks
under the attack. After ducking under the kick, he catches and traps the kicking leg with his
back Trape2ius muscle and shoulders# and outstretched arms forming a cross. By standing up
or in some cases ;umping# with the kicking leg trapped along the blades of his shoulder, he
provides the leverage necessary to knock his attacker to the ground.
"egativa 'errubando
5hen going down into the negativa, put your forward foot behind the foot of your opponent.
5hen coming up from the negativa, your foot should catch theirs and knock them off their
balance.
#asteira
A >asteira is a movement used to sweep or pull an opponent*s leg in response to a kick. The
capoeirista ducks under the kick, hooks the opponent*s standing foot with his instep and pulls in a
straight motion. The rasteira allows the capoeirista to use the muscles in the torso as well as his
body weight, making it a much more powerful move than a banda. >asteiras are usually used
when medium)high kicks are in motion and done in the same direction as the kick. e.g. -pponent
uses armada, a well placed rasteira to the inside leg turn will make him:her lose their balance and
fall. According to many teachers, the rasteira is a defining source of what capoeira really is.
$nstead of meeting the kick with a block, the capoeirista goes along with the force of the kick
using his opponent*s force and confidence against him.
#asteira em !
=uch like the rasteira above, this movement is virtually the same with a few differences. 5hile
the rasteira is used more for circular attacks such as meia lua de compasso or quei(da, the
rasteira em pI seems designed for quicker attacks such as the martelo. The capoeirista does not
go down as low when hooking his foot around the supporting leg of the other kicker. This
version of the rasteira is quicker to e(ecute because it avoids going down to the floor to do the
same motion.
#asteira de Costas
A rasteira de costa is a spinning sweep that follows the motion of a meia lua de compasso with
the sweeping leg maintaining contact with the floor. The capoeirista will turn his leg around in a
half circle and sweep the supporting leg of the kicker with his lower leg or heel..
#asteira de Mao
This sweep involves the hand. $n a close game when using the leg requires to much time and
energy, this is used instead. 5hile going along with the motion of the kick, the capoeirista ducks
under the kick, grabs the non)kicking leg, and pulls it leg with his:her hand in the same manner
as a rasteira.
&esoura
Tesoura literally means 6scissors6, usually involving wrapping one leg over the front of the
opponent*s body near the stomach, and the other behind the legs at knee level, and then twisting
one*s own body applying pressure on the other person*s vulnerable point so as to make them fall
over. $t is performed from the floor, usually using two hands, but one hand can be used for
support while the other can be used to further destabilise the other person and push their upper
body backwards. This is also called a -esoura de costa
&esoura$de$Frente
A variation of the Tesoura scissors# that targets the legs instead of the torso. =any times after
faking a high attack, the capoeirista will move in low, hooking his outside leg to the calf of his
and his other leg to the inner thigh trapping the leg at the knee. 5ith a small amount of effort, the
capoeirista turns his torso away from his opponent using the trapped knee as a lever, knocking
the opponent off balance. The end result is the capoeirista on all fours with his feet and hands
touching the ground in a resting Adho =ukha .vanasana position staring down at the person on
the ground he:she ;ust swept. He has many options of either attacking with a knee strike to the
face or an au to escape. This move requires a high level finesse and timing.
&esoura Angola
Commonly performed from negativa or queda)de)rins, the capoeirist goes to a prone position,
legs facing the opponent and scissored out, hips twisted to protect the groin, supporting
themselves on their hands and toes. They then advance upon the opponent by pushing
themselves along with their hands, watching by craning their neck over one shoulder, threatening
a tesoura)de)frente. The opponent is e(pected to escape, traditionally via an aR or by diving over
the attacking capoeirist, possibly going into their own Tesoura Angola upon landing. A more
daring escape can be performed by travelling under the attacking capoeirist, optionally striking
them as you pass beneath them.
&ombo$de$Ladeira
=eaning the Tumbling 7adder, A9A, QoJo Nequeno named for =estre QoJo Nequeno who is
known for making the move popular#. $n Capoeira Angola it is a kick from out of an au when
one of the legs comes down as an a(e kick. The Tombo de 7adeira can also be performed from
>ol0 position Eueda de Tr0s#. $t is most effective when the opponent*s head is low to the
ground.
0ingativa
A low takedown that involves stepping forward and trapping the back legs of an opponent that is
in a side stance. The capoeirista also protects his face with his elbow. -nce the lead leg of the
capoeirista has trapped the leg of the opponent, he shifts the weight in his hips forward and up. $f
the contact is maintained with the legs the other player then he should be thrown up and away. $t
should be noted that although this move originally came from batuque, it has similar appearances
as some throws:sweeps in Bagua2hang.
Floreios
4loreios can refer to two things" a# The comple( movements in the ginga of capoeira Angola
used as feints, stylistic variations, etc... b# Acrobatic movements in contemporary regional,
sometimes in capoeira Angola, that aren*t generally considered offensive or defensive in a game.
These include"
Folha .eca
A Folha .eca lit.dr/ leaf is very similar to a 4lash 9ick. $t is a more lateral kick with the
capoeirista kicking with more of a slant in his body during the rotation. After turning at least KG
degrees to the left or right, the capoerista raises his kicking leg up while ;umping off of his
support leg. He brings his arms up while hollowing out his back. He continues the kick until he
lands on his kicking leg.
Chute na lua
A hute na lua lit.kick to the moon is a combination of a 4lash 9ick and gainer. 5hile it can
commonly be linked to an .)dobrado, it can also be performed out of nowhere. After pivoting on
the non kicking leg, the kicking leg is swung straight through and up. Both arm are raised and the
back is hallowed out. The kicking legs is kept straight while the non kicking leg is bent. The
kicking leg continues all the way around until the capoeirista lands on it.
#elogio
The relogio has simimlar mechanics as the hand glide in B)boying. The main e(ception to the
rule is that the body is resting on the kidneys in a more lateral manner with the body facing to the
side. The entry into a relogio usually begins in the same way as a rolI. The body turns as both
hands touch the ground. -ne hand is lifted as the body is rested on the elbow of the arm in
contact with the ground. The spin point is the small portion of the carpus same as the &KKG or
piao de mao#, so that there is a minimal amount of friction between the hand and the ground.
io de Mo
A Hand spin that is done in a very similar way as the &KKG in breakdancing. The capoeirista
begins by turning his body in the same manner as a meia lua de compasso. By generating enough
torque, he raises his leg which is the opposite the hand he places down. 9eeping the weight of
the entire body focused on the outer lower portion of his palm, the capoeirista can keep the
circular momentum spin going by lowering the amount of friction between his hand and the
surface simultaneously alternating hands during the spins. The variations and ending positions
for this move are virtually limitless.
io de Cabea
$t is a headspin in capoeira. There are numerous ways of e(ecuting this technique. -ne of them
being, after going down into a queda de rins, the capoeirista brings his legs and hip over until all
of his weight is on his head and shoulders. By twisting his hips and legs around in a counter
clockwise:clockwise fashion, the body*s core develops torque. After releasing his:her hands from
the ground, the capoeirista will spin for &FG up to ?OG degrees around depending on his:skill
level and balance#. -ne rule of thumb being that the capoeirista begins this move facing the other
player. This particular move has been a sub;ect of debate in the ongoing argument of capoeira
influencing being the direct predecessor of breakdancing.
Mortal
This is one of the many movements that separates Capoeira >egional from its grounded sister,
Capoeira Angola. Capoeira is known for its acrobatics and the mortal is one of its many
indicators. Always depending on the toque of the game and sometimes group, a mortal can be
done at almost anytime during the game. .ince many capoeiristas see the game of capoeira as an
interacting physical dialogue between two bodies, the mortalDs place in capoeira is well received
depending on its timing. =ost mortals are done during the entrance into a roda with a fast paced
game. 5ith so many dynamic movements in capoeira, a mortal is done from almost any spinning
kick or au. 5ith all things in capoeira, there is some debate over the 6overuse6 of mortals and
other flips as some see them as only shallow movements that take away from the effectiveness of
the martial art.
.alto
This is a generic term for a back somersault. Ssually, but not limited to, entering into rodas and
solos during performances. After e(ecuting a round off and back handspring ,ango#, the player
;umps up while raising both his arms and knees. He:she continues over until landing on both feet.
The variation that capoeira is known for is the landing on one foot.
Mariposa
The mariposa is not a butterfly kick, but rather a Butterfly twist. 5hile there are many entrances
into the spin, it is commonly seen as a complete TUG spin of the body while it is hori2ontal in the
air. ,ebate has surfaced on when this first appeared. $n the final fight scene in -nly the .trong,
kung)fu artist =arc ,acascos e(ecutes this as his finishing move against the other fighter. .ince
then, the mariposa has been spotted in rodas all over the world.
2elicoptero
A helicoptero is an A1 with a circular movement of the legs, like a helicopter. The technique
starts off as a regular au, but when the body is inverted both legs are off the ground#, a twist of
the legs is done so that the leg that left the ground seconds lands on the ground first.
This technique can be combined with the 6master swipe6 from tricking to add more spin and
make the move more aesthetic. The master swipe is a cartwheel where the inside leg leaves the
ground first in contrast to the outside leg from a regular cartwheel