The berimbau ; Brazilian Portuguese: [beɾĩˈbaw]) is a single-string percussion instrument, a musical bow. Originally from Africa where it receives different names, the berimbau was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira, the berimbau (the soul of capoeira) leads the capoeiristas movement in the roda—the faster the berimbau is playing the faster the capoeirista moves in the game. The instrument is known for being the subject matter of a popular song by Brazilian guitarist Baden Powell, with lyrics by Vinicius de Moraes. The instrument is also a part of Candomblé-de-caboclo tradition. – Wikipedia
There is a fact that enjoys some authority, and, when research on the African berimbau, is that it name, origin or size is, it is impossible to ignore that the female plays an extremely important role in relation to musical bows.
The popularity of the berimbau grew across the african-Brazilian art better known as Capoeira. Capoeira to some extent, was restricted to a male environment. Significantly, the doors were opened to the opposite sex and has already won plenty of room for the dedication and commitment means.
However, women in the sphere capoerística are still victims of discriminatory rules considered by the community as tradition.
The African women, despite living in constant and strict standards between them, and the matriarchs responsibilities in the last centenary was the most fortified presence, and the popularization of the African berimbau in continental and international audience.
Through melodic and mesmerizing sound of the instrument from a rope alone, proudly sings songs to hundreds of years ago, transmitted by their ancestors. Songs that tell stories of the glories of their people, about happiness, sadness, love, hate, passion, betrayal, the misadventures of child marriages and songs.
Not only women are traditionally considered the foundation of the family, but also composes, sings and build the instruments that play.
I cite two personalities of traditional music and Nguni Bantu-heirs of tocadoras tradition of musical arches, such as Zulu Princess Constance Magogo and Dona Madosini Mpahleni, which today boasts ninety years old. With this call, count on more recognition and consideration for women, not only in poultry but also in berimbau and other musical instruments.
Written by Aristotle Kandimba, Angola, researcher, columnist, filmmaker and teacher of capoeira Angola.
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