Miudinho
For most contemporary capoeiristas, there are three main toques—or rhythms—of the berimbau to know. The gunga, in our group, plays each of these as written. Per the tradition of Mestre Pastinha, the médio plays some slight variation of the main toque, while the viola improvises.
Mestre Suassuna of Grupo Cordão de Ouro created a new toque called "miudinho"—which means very minute. In reference to this rhythm, he said,
The game of miudinho is generating controversy because it is being misinterpreted. People are thinking it's a new capoeira, and it's nothing like that. I simply rescued an older capoeira, modernized the manner of playing it, changed the sequences... the name miudinho arose because I was observing that capoeiristas were playing very distant from each other and in our time we played very close; thus, I said to people, 'I want the game more minute, closer, play very tiny.' Then, I created a toque on the berimbau. Miudinho is not a new capoeira, it's a different manner to display capoeira. Just like the games of Iuna and São Bento Grande exist, the game of miudinho exists.
I found this quote interesting, which is displayed on wikipedia.org. What's interesting to me, however, is that this quote doesn't address any of the criticisms I've heard about miudinho, and it completely avoids a problem that I occassionally preach about in class.
We have to take Mestre Suassuna's word for it that capoeiristas have recently started playing far away from one another, but it's clear to those who take capoeira seriously that it is meant to be played close—within at least kicking range. Otherwise, capoeira devolves into a traditional, Brazilian version of extreme martial arts (or XMA), which isn't really martial arts, just crazy, acrobatic air-dancing.
The first criticism I am familiar with about miudinho is that it isn't a "game" at all; it's choreography. Well, at least most prominent videos of miudinho on the internet show this. If it's choreography, then as an aspect of capoeira, it's lacking several of the most important components that make capoeira so unique and wonderful, like the self-expression and martial arts elements. Capoeira is usually practiced as choreographed sequences, but it is always played as a game unchoreographed. This makes miudinho the odd man out in capoeira games.
A more fundamental issue with Mestre Suassuna's quote, however, is this question I end with: If capoeristas are playing too far apart, why not ask them to play closer to all toques?
To subscribe to this post and others, you may register for a user account.
Well, coming from a Cordao de Ouro group, I'll obviously object to having Miudinho at the periphery! However, I would say something similar about Maneira. The main trick, though, is that many* groups have their specific style of play that their founder has made up. Essentially, the only times you'll ever see those styles are at events with those groups.
Have you ever seen a game called Maneira? I've experienced it once, about three years ago. I went to a workshop and the contra-mestre taught two or three of the sequences. The rhythm is different from Sao Bento, Iuna, Benguela, Sta. Maria, Miudinho... The toque is Maneira. The only time I'll ever experience it again is if that group invites their Contra-Mestre out there again for another workshop; or I go to a different Mandinga group for a visit.
It's the same thing with Miudinho, though. The only time you see it proper is if you come to a CDO event, or learn it at a CDO academy, which you never have to do if you are not CDO.
I do agree, though, that Miudinho is very stylistic and artistic. It's still a version of capoeira; but perhaps it's more for creating excitement in the audience to see a well-rehearsed (which means fast and close) series of sequences.
*I say "many" but I only know of Miudinho and Cordao de Ouro connection; and Maneira with Mandinga.
That's really interesting. I've never seen maneira, actually. Can you post a link to a youtube video?
Axé,
Juba
While my experience with miudinho is nearly as limited as yours, i have at attended some workshops and discussed the game with a few who teach it. Some thoughts:
1) the games are not entirely choreographed, although the entrada or the beginning of the game is well-rehearsed
2) there is very limited footage of this game on the internet
3) that quote is not recent ("today" could have been 15-20 years ago)
4) only those who travel to Sao Paulo to train with Mestre Suassuna can learn miudinho
Here is a translated interview (maybe 7-8 years old) that has a brief discussion of the game midway through: http://www.capoeira-connection.com/main/downloads/Interview_Suassuna.pdf It may or not change your point of view but at least has more insight than a wikipedia quote ;)
This video demonstrates what Juba's talking about: close and conversational games in the different toques.
I should have more clearly added a disclaimer about my limited knowledge of Miudinho. The only reason I decided to blog about it was because one of my students asked a question about it and its toque, specifically. The interview with Mestre Suassuna that you provided is very insightful.
One additional quote from the interview, however, reaffirms my own position on miudinho. Mestre Suassuna said,
This means that miudinho isn't a jogo like those that correspond to other toques, Angola, Benguela, and Regional. It seems, that Suassuna was trying to develop the non-martial side of capoeira. Without the martial arts aspect of capoeira, you can forget about a lot of other important components, like mandinga, malandragem, and strategy. To me, Suassuna is simply harnessing the impressive dance and acrobatic elements of capoeira to create a performance-only art. This seems a lot like what breakers may have done 35 years ago. Is miudinho, then, just a more capoeira-like, Brazilian breakdance?
This quote disturbs me. Suassuna also said the following in that interview:
I completely disagree. My original point of the post about miudinho was something similar that Suassuna said in the wikipedia quote. Suassuna clearly saw that there was a problem with how capoeira began to devolve into having two capoeiristas randomly flailing their legs about and playing too far away from one another—another reflection of a loss of the martial arts aspect of capoeira. Instead of changing how the players played São Bento Grande and Benguela, he created a new toque and a "new" way to play. My argument is exactly what I teach my students. São Bento Grande shouldn't be a game that you play far away from one another, it's a simply faster, a more aggressive, a more acrobatic, and a more dynamic jogo. As a result, the capoeira will utilize more space, so the roda needs to be larger. This doesn't mean that we need to play far apart as Suassuna was observing people doing.
My vote is that if something seems like it's evolving the wrong way, it's probably easier to revitalize it than to create something new. I think miudinho is neat to watch from having seen it on youtube and live once about 5 years ago, but it belongs in the capoeira periphery, much like samba and maculelê.
Axé,
Juba
Post new comment