If you’re looking for a “pro-women” capoeira song to sing in the roda (like maybe when the mestra and contra-mestra of your capoeira group are playing each other 🙂 ), or want to know about more “women-unfriendly” capoeira songs, then you’re in the right place! Below are two lists of both “pro” and “anti” women capoeira songs, with links to full lyrics and their translations. I’m not naive (or arrogant?) enough to label the “anti” list “Capoeira Songs You Shouldn’t Sing” or something like that, but they are there purely for informational purposes and your own awareness. Think of and bookmark this as a resource for the next time it’s your turn to lead the roda!
These lists will continually be updated as I discover more songs that fit under either heading. Please contact me if you would like to add a song to either list, or believe you see a song on the wrong list! Also, if I didn’t find a song already translated into English, then it was put at the mercy of Google Translation and my own non-Portuguese-speaking judgement, so feel free to suggest corrections there, as well. 🙂
To find out more about the representation of women in capoeira song lyrics, please read “Women in Capoeira Songs and the Roar on the Other Side of Silence“.
Update: You would be doing yourself a great disservice not to read Shayna’s suggestions and wisdom regarding singing capoeira songs in the roda (about women and in general)! Check out her advice in the Comments thread, here and here.
Capoeira Songs about Women (positive)
Deixa Menina Jogar
Dona Maria do Camboatá
Dona Maria, Como Vai Você
Ginga Menina
Ingazeira o Ingá
Lagoa do Abaete
Sai, Sai Caterina
Santa Barbara de Relampué
Misogynistic Capoeira Song Lyrics
Retracted (4 September 2009)
Mandingueira 
One thing I think we should be mindful of is how allot of the message witihin any song is lost in translation from one language to English. This is not limited to Portuguese/Brazillian culture. Folkloric songs often contain allot of poetic meanings and are not always translated well. What With this in mind I struggle to see how some of these songs are sexist? But then I’m a man and we often dont see whats in front of our noses!!!
Nice… I don’t have a ton of time to type out full lyrics right now, but here are some titles/corridos. A little later I might be able to provide fuller lyrics/backgrounds:
Positive:
– Santa Maria Mae de Deus
– Minha sereia, rainha do mar, nao deixa meu barco virar
– Rala o coco, Catarina
– Capoeira pra homem, menino e mulher
– Mamae me mandou dizer
Ambiguous:
These songs can be positive or negative, depending on the context and the way they’re sung. In capoeira angola, improvisation is very important – there aren’t specific verses that *have* to be sung – so the same corrido can often be used for good or for evil, so to speak.
Let me give an example: Once I was playing really, really well in a street roda. Mestre Ivan started to sing “Essa menina é uma cobra / É uma cobra coral” (This girl is a snake, a coral snake) – and in that context, it was a compliment. He sang verses giving positive aspects to the “cobra” – quick, cunning, beautiful.
However, that same corrido could be used in a more negative sense – say there’s a woman playing mean, taking cheap shots, giving ugly blows, etc. You could also describe her as a “snake” but with other adjectives – damned, traitorous, evil, etc.
So a few other “ambiguous” songs:
Pimenta madura que da semente (Ripe pepper that gives seeds)
Moça bonita que mexe com a gente (Beautiful woman who messes with us)
–> Could either be used in a complimentary sense, pointing out that a woman is beautiful and a mandingueira; or in a negative sense, suggesting that she uses her sexual appeal to be manipulative.
Dona Maria de Camboata
–> Can be used like “A menina e uma cobra” – either describing Dona Maria as a skilled, strong capoeirista… or else as a shrill, bossy, unappeasable woman who barks orders at others.
Eu vi dizer, amor, eu vi falar (2x)
A filha chamou a mae, cabelo de arapuã
–> It’s a shame that this one’s ambiguous, because it has one of the most beautiful melodies. It talks about a daughter calling her mother “cabelo de arapuã” which translates as “matted or messy hair.” In some circles this song is considered “neutral,” but in others, M. Jogo de Dentro for example, saw it as a put-down of African women’s hair.
Tira dali, bota aqui
Idalina
Tira de la, bota ca
Idalina
–> The lyrics are basically someone ordering a woman around – “Take it from here, put it over there / Take it from there, put it over here” etc. – however, this song is usually pretty “neutral.”
This is why learning Portuguese is essential, as is the ability to improvise. It’s beautiful when a woman takes misogynistic lyrics and applies a slight “twist” to totally change the meaning. An example (this song is from samba de roda, but sometimes sung in capoeira):
O Inacio, o Inacio
Mulher parida nao come / Farinha no mesmo dia
Se ela come, ela morre / E os filhos nao se criam
Mulher danada era Dona Maria
Trabalha de noite, so dorme de dia
Se nao fosse o homem, mulher nao paria
Translation:
Oh Inacio, oh Inacio
A woman who has just given birth doesn’t eat flour on the same day
If she eats, she’ll die, and no one will raise the children
Dona Maria was a damned woman
She works at night and just sleeps during the day
If it weren’t for men, women wouldn’t give birth
The women in my old group used to change those last lines to:
Mulher bonita era Dona Maria
Trabalha de noite, trabalha de dia
Se nao fosse a mulher, o homem nao vivia
Dona Maria was a beautiful woman
She works day and night
If it wasn’t for women, men wouldn’t survive
Well, that was way more than I intended to write – sorry! 😉 Song lyrics are a topic that’s near and dear to my heart, not just about women, but clever/poetic/cool lyrics in general.
Hey Algodao,
That’s a fair point, and it kind of goes along the lines of what Shayna was saying about improvisation as well, and having to really know the language and how it works. Having said that, I think if we have to look at something “poetically” to make it seem not misogynistic, there’s still something wrong! Most of the songs I put on the list though were taken straight from the study I linked to in the last post, Representation of Women in Capoeira (pdf), and in it the author breaks down the meaning of each song for you. Whether you’ve read it or not though, maybe you could tell me the specific songs you’re not sure about so I can either clarify or reconsider them?
Hey Shayna,
Don’t apologize, all of that is completely awesome and exactly what we’re looking for here!! Thank you, for taking the time to type out and explain everything! And even though I don’t know Portuguese, I completely understand what you mean about the lyrics…it’s a kind of poetry, isn’t it? And you all know by now how enthralled I am by words and what they can do 🙂
Actually though, I didn’t fully see this side of capoeira songs (not the misogynism, the improvisation and art of crafting lyrics while singing) until I read your article on Planet Capoeira!! I’m pretty sure it was what you said in there that made me realize there’s this complete other dimension of capoeira out there, and I really mean a dimension as in geometry or physics, that I’m *completely* missing out on and that would add so much more to the entire experience of practicing capoeira, and the only way to be able to access it is to learn Portuguese!!
I think in some other post you had asked me about Portuguese learning resources, and I’m not sure I answered. So, without further ado:
http://sonia-portuguese.com/ –> Excellent website run by a native Brazilian. Pronunciation guides, grammar stuff, common phrases, common mistakes… she also produces a book and CD. I haven’t seen these, but if they’re anywhere near the quality of her website, they should be excellent.
http://www.learn-portuguese-language-software.com/ –> I just found this one, looks like it has some neat stuff. There’s even a bit of free Portuguese learning software.
http://www.capsprings.com/Portuguese/Introduction.aspx –> Portuguese for Capoeiristas – I think you already knew about this one, but it’s definitely worth mentioning.
There’s also the capoeira dictionary on my site – where for every word I include an example of a lyric where it’s used – but my site is down at the moment due to server problems 😦 Grrr!
You actually just gave me two ideas for new articles. One has to do with the “evolution” of capoeira songs and how the recording industry (by which I mean the production of capoeira CDs) has changed the types of songs being written as well as the way they are sung.
The other has to do with learning the art of improvisation – because even when you do speak the language, it’s not like you just wake up one day and BAM you can improvise beautifully! Rather, there’s a process you can go through – starting out with some simple improvisations using vocabulary you already know, and working your way up to more complex stuff.
Another thought – often, better understanding of the lyrics and what is/is not good to sing at certain times (both as relates to women, and also in general) comes NOT from studying the lyrics as they are on paper, but rather from more experience in capoeira.
If you’re going to lots of rodas and paying attention to what gets sung when, what the mestres recommend, what they reprimand people for, etc., you eventually develop a “sense” of what is appropriate and when. Kind of like if you hang around any group of people for a while, you eventually get to know the “codes of conduct” so to speak that guide behavior within the group.
With that said, your sense of “song etiquette” will never be perfect, because there are always quirks – particular mestres who just have a thing against particular songs, or particular ways of singing certain songs. In fact, Janja called me out on one at the women’s conference. Alas, the only way to learn about the quirks is by experience and by trading stories with others 😉
Thanks for the resources, Shayna! Yes, I’ve actually mentioned really wanting to learn Portuguese a few times now, with corresponding responses…now the only question is where I’ll find the time to take advantage of them!!
As for your second comment, I think something similar was in your article, and I definitely get what you mean…it’s the same as how you can’t learn capoeira by reading about it, but you have to actually experience it. And especially with something as potentially complex and nuanced as capoeira songs, combined with equally complex and nuanced games…
Haha alright, expect a call/email/message as soon as I learn Portuguese and start leading songs in rodas! 😉
Hey Joaninha, I think learning the language is one element to help the capoeirista in the understanding of songs. However, to truely understand many of the songs sung is to learn the history, to adopt the culture and to truely emerse yourself in the Brasillian way of thought and attitude to life. Often subjects when translated to english completely lose their meaning. I couldn’t tell you the amount of times I’ve heard a Mestre say “This doesn’t translate well in English” A song talking about a tree falling doesn’s always mean a tree has fallen. As in old Pagan songs that talk of Mother, these often realate to Nature (Mother Nature). Anyway, I have another read through the songs mentioned. I’m probably missing something.
I think that Algodao really touched upon something important here. I think that language is a beautiful messenger of the meanings behind the words—and once a language is learned, you can appreciate and understand more of what is being said. But in order to truly understand the meanings of the songs, i think it really takes being immersed in the culture you are trying to learn—but even that may not be enough to understand everything completely.
I’ve come across various research which describes how the culture in which a person is raised dictates how a person views reality and life. I wish i had specific sources to give you, but i dont. All it may take is a simple search on the web…
But for example, where the Western view of life/reality is to separate things into categories and divide, there is an Eastern view of life/reality which sees everything as parts of a whole–ying and yang—opposites creating— balance.
And also—i’ve found that humor is the most difficult thing to learn from another culture…like for example, have you ever tried to explain the tone of American sarcasm to someone not raised in America?? I was raised by my Latino immigrant parents and although latino humor was hilarious to me—it took me many of my teenage years to truly understand American sarcasm.
Imagine all the humor we Americans miss in the amazing use of songs during the roda!! Perhaps it is impossible to say which songs are offensive or not, and more effective to learn Portuguese to improvise and add our own flavor/understanding to songs, as pointed out by Shayna.
Just a short note on improvisation, capoeira songs and understanding Portuguese: There is something really empowering when you’re playing in a roda and you realise that someone is singing a song about women in the roda or specifically about your jogo. It gives you this extra jolt of energy, some axe that you can transform and apply to your game (and of course you need to know Portuguese to pick up on this).
ps-Shayna, what’s your website?
My personal least favourite sexist capoeira song:
Marido de mulher feia
Nao gosta de feriado
Casa que a mulher manda
Homen nao e respeitado
Treina noite e treina dia
Pra poder se preparar
Mais na roda de capoeira
A mulher nao vai mandar
Lava, lava meu abada
Sexta-feira tem roda
Eu nao posso faltar
(coro) Lava, lava meu abada
Synopsis: This is the lament of “the husband of the ugly woman” (ouch) because in the home where the woman is in charge the man is not respected (and he should be because the poor man trains so hard day and night). BUT in the roda the woman is not in charge, does not give orders. So woman, wash my abada, because I can’t miss Friday’s roda!
Cigana – Ugh! I’ve never heard that one!
Hera made a great point about translation and humor. It’s true that some of the things that may seem offensive to us might be considered funny in Portuguese/Brazilian culture. However, just as there are tasteless jokes in English, there can also be tasteless/offensive humor in Portuguese. I guess that’s what makes it important to get a Brazilian woman’s perspective on it.
My website is back up, yay! It’s Capoeira-Connection.com, and you can find the dictionary in the top navigation bar.
Hey Algodao,
That’s true that things can be lost in translation, but speaking for the songs specifically on the list I posted, their content and meanings were broken down and analysed in the report I linked to show exactly how they were misogynistic, and the original essay was written all in Portuguese and by a Brazilian author.
Speaking generally though, I still think that if something seems/is misogynistic, there’s no excuse. You brought up two main points: 1) cultural relativity, and 2) using metaphors.
1) Cultural relativity – immersing yourself in Brazilian culture and way of life so you can see things their way. There are two angles to this. The first would be to “accept” the misogynistic concepts as just a cultural way of thinking. I don’t think cultural relativity is a good excuse at all for sexism and misogynism, and I talked about that in a post about my trip to Morocco, so if you’d like some elaboration please read “Lessons from Morocco, Part 2: Cultural Relativity and Other Issues“. Especially considering that capoeira is spreading more and more throughout the contemporary world, views like the ones in the songs, which are outdated and more importantly, harmful, are the last thing we want/need; as for “tradition”, that can still be preserved without requiring a large fraction of today’s practicing capoeiristas be put down through the very thing that’s supposed to empower them.
The second angle, which I think is the one you mostly meant, is not knowing their culture in order to consider the misogyny acceptable/normal, but knowing it in order to understand the metaphors and poetic meanings. (So now this gets into your other point as well, use of metaphor.) The examples you gave, a bananeira tree representing a capoeirista who fell over, and Mother Nature, are fine. There’s no problem with those songs. The problem just comes up when a song, in translation, appears to be misogynistic. So, what do you do then? You can strike it off and condemn it, or you can consider that it might be a metaphor for something. But then the only thing I’m trying to make people do, is ask: Why does this metaphor work? What assumptions is it based on? So in a way, we’re both saying you have to know the culture. The only problem is that Brazilian culture itself doesn’t exactly have the best track record when it comes to gender roles and stereotypes!
In the bananeira one, something was standing, then fell, in the metaphor and real life; no harm is done to the tree. Same with “mother” and “Mother Nature” (although one *could* argue how that relies on the stereotype of women being nurturing/in charge of childcare/morally superior to men). But you’ll find that many “metaphors” are based on negative or stereotypical assumptions of what women are or do. For instance, “Dona Alice” is based on the stereotype of women always being jealous and clingy—and moreover was apparently the name of one of Bimba’s “mistresses”.
And leaving alone metaphors, I don’t think the words themselves would lose so much in translation that one version would be misogynistic and the other would be completely not. Also, would anyone accept song lyrics even appearing to suggest, for example, infanticide or racism? If not, then why femicide and misogyny?
Anyway, that was kind of a mouthful, but thanks for hearing me out!!
Joaninha, you’re far more capable of putting your ideas to screen than one. Heres a thought for you, many songs are sungs as vehicles for calling someone out in the Roda. So, they relate to a presonal or general attribute one Capoeirista may have, being white, short, ulgy, big nose etc you get the point. Should we encourage people not to sing these as it could be offencive to the person. By the way, these relate to me and I wouldn’t be bothered either way. I know this slitley gets of the point but I’d be interested in your view.
Hi Hera,
You and Algodao made similar points, so you might want to read my reply to him, as well! Especially the part about cultural relativity…because you are EXACTLY right, and it doesn’t take research to know it, when you said, “the culture in which a person is raised dictates how a person views reality and life.” So scroll up for a bit, and then come back down here. 🙂
I agree with your example that Westerners tend to like categories and Easterners see things more holistically, but the only problem is…it’s not exactly the same thing to say North Americans view both genders as equal, empowered, and flexible (although that’s something I’m doubting more and more as US election coverage continues), and South Americans view each gender as unequal and rigidly tied to certain roles they believe gender defines, and that that’s okay. Like I basically said to Algodao, or wrote about in my Morocco post (link in my reply to him), cultural relativity can only be taken so far.
As for humour, Shayna already made the point about humour not always being good. Again as a comparison, there are tons of racist jokes out there, but who regularly tells and laughs at or sings about those? (As a quick aside, I COMPLETELY hear you on the trying to explain North American sarcasm part!!) The only thing I’d add is the same question I posed to Algodao: WHY is this line considered humorous? What is the cultural basis behind the belief that this idea is funny?
For example, I’m pretty sure the line “the jealous woman falls down the well” is supposed to be funny. But again, it’s based on the stereotype of women always being jealous (and unreasonably so, although the report mentions how jealousy would’ve been plenty legitimate considering the men’s—culturally learned—behaviour). And in the context of the song, they’re basically talking about killing or otherwise callously disposing of / discarding this woman.
I would definitely NOT say it’s impossible to say which songs are offensive or not! Just look at the song that Cigana posted, for example. That seems like an extremely general blanket statement, and potentially an extremely dangerous one as well, dismissing even the idea of bringing the lyrics or the attitudes behind them into question. Can you imagine? People could just say, “Well, if it’s impossible, then who’s to say? ‘tim tim tim, mulher matava homem!'”
Haha yes, I wouldn’t suggest to someone that they learn Portuguese for the sole purpose of identifying misogynistic lyrics in capoeira songs…that’d actually be kind of sad and depressing. Ultimately, I think it’s just important to be aware of what you’re learning/singing whether you know Portuguese or not, if not then by asking someone who would know, like a teacher or mestra or Brazilian or advanced capoeira student, for instance why a line is considered funny or what the meaning behind it is, then listen to them and judge for yourself! And then no matter what you decide to think of the song, at least it’ll have been an informed decision.
Cigana! WOW, my mouth pretty much fell open at that one.
And thanks for yet one more incentive for me to learn Portuguese! 😛
Algodao:
Wow, you are fast. I’d say that’s a different kind of offense than misogynistic lyrics are, because the latter are or are based on generalizations or stereotypes that usually have no foundation, whereas what you described refers to specific people and points out actual facts about them. In that case, I don’t think I’d support a general call to end that, because since it’s personal, it depends on the teacher and the specific student, and in this case, I’d say the culture of the class applies as well (e.g. some capoeira groups might want to toughen up their students or be more open to clowning around like that, and others might be more serious and sensitive to students’ feelings). Actually, this is really closely related to teachers and teasing students in class during training, and we had a discussion on that, as well! Here’s the post where it all happened (my thoughts and the discussion that followed): FICA Women’s Conference 2008 cont’d on Mandingueira 😀
Hi Joaninha!
You make really powerful points in your response. Looking back at my comment, i realize that it was very general for me to say it is “impossible to say which songs are offensive or not” and i could see how you might see this as dangerous.
I completely understand your efforts of identifying and sharing research regarding the misogynistic lyrics within songs—–and i definitely think that if you are to sing anything in the roda, you should know what you are pouring your energy into singing. And also, it is important to know what is being sung while you are playing.
I absolutely do not support the cultural roots which breed inequalities and inflexible gender roles—-but the reality is that they DO exist–and its important to be able to deal with them. Racism–Sexism–Elitism are wrong, but they are a reality.
Much of the jogo is a mental one. If a horriblyoffensive song like the one Cigana posted above was sung while i played in the roda– pointing me out as the ugly wife who should stay home and wash her husband’s pants— do i freak out, tense up, mentally get knocked off of my flow of calm?? or do i keep smiling and keep my game??
I’m just a beginner in Capoeira, and in reality–in life. But i know that it would be easy if everything in life, or the jogo, were empowering, supporting and fair. But it’s not really about that, is it? It is a journey about discovering what each of us can Create out of what things are.
My comment above was not to blanket everything as OK–or “oh, you know, that is just Brasilian humor.” It was to point out that yes—there are many things that other cultures find appropriate and humorous and that we may not understand WHY. Its just a fact that exists. But it doesn’t mean that i think it is OK or good.
So what do we do about it?? YES—we educate ourselves.
Learn Portuguese—be aware of what you are singing, of the message being said—-but then we should Act.
To balance the misogyny in Capoeira songs, there should be a movement to create empowering songs–specifically for Women. I think there is a great deal of this already going on—the lists provided above by yourself and Shayna.
Also, let us not forget that there is also the improvisation factor of twisting and turning a song that perhaps was misogynistic in the first place and transforming it into a song that empowers.
I love, love, love this post and all the comments! I didn’t realize this was an issue, but it makes sense now. And I’m pleased to say none of the bad songs are on my group’s regular playlist, thank goodness! I’ll keep an eye (and ear) out for these, though. Thank you!
I love, love, LOVE the lyrics to “Deixa Menina Jogar”…I really want to find a recording of it now! It makes me quite proud to be a capoeirista–sometimes, I take flak for not being “feminine” enough because I am athletic and loud and enjoy fighting and playing. But dammit, I’m BEAUTIFUL in the roda…and so are all of us mandingueiras!
Oh, p.s., I’m not moving YET…it’s just inevitably in the future, because my husband is Navy. I think we have another few years in San Diego…but we’ll see. =)
Hey Hera,
Thanks for listening/understanding, and I think we’ve basically ended up on the same page! I do get what you mean about having to face reality even if we don’t like it, but that doesn’t mean we can’t do what’s possible to change it. 🙂 And yes, I agree about creating capoeira songs to empower women…in fact, the recent women’s conference by Mandingueiros dos Palmeres in Rhode Island did exactly that!
Hey Jasmim, and Mree,
I’m so glad you guys liked this post/the lyrics, and find it/them useful!!
Jasmim, even if no one else replied to this post except for you, what you said alone would have made it worth it. =)
Mree, on one of the capoeira.com forum threads someone says that Deixa Menina Jogar can be found on one of Grupo Muzenza’s albums:
“Best of Muzenza Vol II – 25 Anos de Sucesso no sul: O sonho nao acabou”
Track 19 ( Capoeira e Bahia ) – It’s the third song on this track.”
Hi there,
I just read through the song lyrics, and have a quick comment to make. Admittedly I didn’t have enough time to read through all the responses, so I apologise if someone’s already made this comment. It about the song “O dende o dende… sou homem nao sou mulher”.
Last Easter (2008) we were lucky enough to have Contra-Mestra Daisy and Mestre Jogo de Dentro at our International Encounter here in NZ. We have a post encounter for our senior students and during this we had some amazing discussions with them about music and history and all sorts. One of the major things I took away from the discussion was what Mestre Jogo said about the song above. He said that originally it was not meant in the way it’s sung today. The lyrics were originally “Sou homem nao sou moleque”, illustrating that the narrator was not some little street rat, but now a man. This was misinterpreted at some point to become the more widely sung “sou homem nao sou mulher”. Our group really appreciated hearing this and we’ve changed the way we sing it for the most part. I personally sing moleque regardless of where I am, and it gives me a certain sense of satisfaction knowing I’m singing it in both a non-discriminatory AND more traditional way 🙂
He also told us that the correct lyrics are “Doralice nao me pegue nao” rather than Dona alice… Unfortunately I can’t quite remember what he described as being the difference in the significance right now, but I’d imagine that possibly it’s a bit better that he’s not calling her Ms. Alice or something.
Again, sorry if someone’s posted this already 🙂 I enjoy reading your blog. There will be an event in sydney, australia in november this year at Mestre Roxinho’s ECAMAR academy that will consist of a bunch of Mestras as guests, you should keep an eye on ECAMAR’s Website.
Also, if you really want to know what goes on in the mind of a New Zealand capoeirista when they think of capoeira, we have a cool event with Mestre Jogo and Mestre Marcelo (and our own Mestre Brabo) at Easter (april 10-13) this year. You can have a look at our groups website for more info on that: Capoeira Mandinga Aotearoa
Thanks for the useful insights your blog provides 😛
~Rastinha~
I have also heard that “O dende o dende… sou homem nao sou mulher” originated within a different context. The story i heard was that it was specific to a man by the name of Dende…
The problem i have with labeling songs as misogynistic is that often they *are* poetry, and thus open to interpretation. They may have historic significance lost to time–significance that is different than what is read into them by (may i say) the more sensitive people of today?
I don’t even get what’s wrong with the one about the ugly woman. i mean, if she’s a bitch (ugly) at home (where she dominates), he wants to reclaim his own space and head out to the roda. If it was the other way around (an ugly, dominating man) and the woman wanted to get out and do her thing would there be any complaints?
I’ve never had a problem being a woman in capoeira. Yes, i have noticed a difference, i have been treated differently and i have been intimidated. So what?
Sou mulher, nao sou homem. Eu nao tenho problem com isso, e se alguem tem, e problema dele.
Well…O Calado é Vencedor is very chav and also the one about the man holding the pandiero and the woman clapping…
But, for ex., Dona Alice; what’s even anti-feminist about that ?!
He’s telling a woman not to grab his hand…did i miss something ?
Being a newbie in capoeira, i’ll mind my words writing this in attempt to avoid a strong bencao in my nads LOL\
I support feminism in terms of its goals; things like inspiring women to work, to have their own life, to be respected as individuals and to respect themselves, first of all…
But you can’t change people; you can inspire them to change and it’s up to them what to do and how to respond or use that inspiration
It’s really irritating for me (a neutral guy) when i see so-called feminists dissatisfied with the milestones feminism achieved in actually having women’s rights recognized in terms of laws and regulations…and instead want other people to THINK differently and must absolutely argue everyone who disagrees with them into submission
That, and the fact that connotations are VERY, if not totally, discarded through translation due to cultural differences and there’s also intention involved; i mean seriously…someone playing capoeira has the capacity to criticize women ?.
Also, i can guess that, minimum, 70% of those who play capoeira don’t understand protuguese lol
Axe 😉
great discussion, very interesting.
fouda, it’s very interesting to me that you describe yourself as a *neutral guy*.
i guess by that you mean not a feminist? your post actually seems quite aggressive – not so neutral at all!
absolutely feminists want people to change the way they think, for any sort of social change that’s just the name of the game. it need not be too scary, even for men, one just needs to be willing to think things over and be open-minded.
also, here’s a song for you guys, which i think is beautiful:
AIDE
aide e uma negra africana que tinha magia no seu cantar
tinha os olhos esverdeados
e sabia como cozhinar
Sinhozinho ficou encantado e com aide ele quiz se casar
eu dice a aide nao se case
vai pro quilombo vai se libertar – aide
VOLTA PRA CAMUJERE, aide
VOLTA PRA CAMUJERE, aide
VOLTA PRA CAMUJERE, aide
VOLTA PRA CAMUJERE
chegando no camujere a liberdade aide encontrou
juntou-se a os negros irmaos
encontrou um grande amor
hoje aide canta sorrido
ela fala com muito lovou
a liberdade nao tem precio
o negro sabe quem nos libertou – aide
CORO
sinhozinho que disse entao
o quilombo eu vou a acabar
se aide nao se casa comigo
com ninguem ela vai se casar -aide
CORO
chegando no camujere
sinhozinho se soprendeu
o negro tinha uma arma
que na senzala se desenvolveu
o negro venceu a batalha
no quilombo sinhozinho morreu – aide
CORO
and translation:
aide is a black african woman
who had magic in her singing
she had green eyes [often a black woman with green eyes is thought to have magical powers]
and she knew how to cook [i change this line to “e sabia como vadiar” ie. she knew how to play, for obvious reasons]
sinhozinho became enchanted with her [sinhozinho means literally “little master, so probably the master’s son]
and he wanted to marry aide
i said to aide, don’t marry him [“i” is presumably another slave, a friend]
go to the quilombo, go to be free – aide
RETURN TO CAMUJERE, aide (four times) [camujere is the name of a quilombo, which it is very unlikely that aide has ever been to before, thus ‘return’ i guess refers to an idea that it is her rightful home as an african woman, an idea i find beautiful. kind of reminiscent of the rastafairan idea of ‘return’ to africa]
arriving in camujere, aide found freedom
she united herself with her black brothers and sisters
and found great love [i can’t tell if this refers to a specific relationship or just love between the people there]
today aide sings smiling
and she says with much reverence
liberty has no price
the black people know who freed us [ie. god], aide
CHORUS
then sinhozinho said
i’m going to finish that quilombo
if aide won’t marry me
she’s never going to marry anyone – aide
CHORUS
arriving in camujere
sinhozinho was surprised
the black people had a weapon
which in the senzala [slave-yard] was developed
the black people won the battle
and in the quilombo sinhozinho died – aide
CHORUS
hope you guys like it. my portuguese ain’t topnotch so please feel free to help me out with spelling grammar translation 🙂
If I had a penny for each time I came to mandingueira.com.. Incredible read.