thegoodfellas/blogset-br huggingface dataset:
it both resume normal play.While it may seem like a break time or a dance, the chamada is actually both a trap and a test, as the caller is just expecting to see if her opponent will let his guard down so that she can perform a takedown or a strike. It is a critical situation, because both players are vulnerable due to the close proximity and potential for a surprise attack. It's also a tool for experienced practitioners and masters of the art to test a student's awareness and demonstrate when the student left himself open to attack.The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's hidden intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments. Volta ao mundoVolta ao mundo means around the world.The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle counter-clockwise, and the other player will join the volta ao mundo before returning to the normal game. MalandragemMalandragem is a word that comes from malandro, which means a person who possesses cunning as well as malicia, which translates to malice. This, however, is misleading as the meaning of malicia in Capoeira is the capacity to understand someone's intentions. In Brazil men who were marginalized from main stream society and possessed street smarts were called malandros.In the Capoeira, malandragem is the ability to quickly understand an opponent's aggressive intentions, and during a fight or a game, fool, trick and deceive her. MusicMain article: Capoeira musicMusic is integral to Capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. Rhythm, controlled by a berimbau, differ from very slow to very fast, depending on the style of the roda. InstrumentsA capoeira bateria showing three berimbaus and a pandeiro.Capoeira instruments are disposed in a row called bateria. It is traditionally formed by three berimbaus, two pandeiros, one atabaque, one agogo and one ganzua, but this format may vary depending on the Capoeira group's traditions or the roda style.The berimbau is the leading instrument, determining the tempo and style of the music and game played. Two low pitch berimbaus (called berra-boi and medio) form the base and a high pitch berimbau (called viola) makes variations and improvisations. The other instruments may only follow the berimbaus or may be free to vary and improvise a little, depending upon the Capoeira group's musical style.Capoeiristas change their playing style significantly, following the toque of the berimbau, which sets the game's speed, style and aggressiveness. So it is truly the music that drives a Capoeira game. SongsMany of the songs are sung in a call and response format while others are
in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others have lighthearted and playful lyrics.There are four basic kinds of songs in capoeira, the Ladainha, Chula, Corrido and Quadra. The Ladainha is a narrative solo sung only at the beginning of a roda, often by a mestre (master) or most respected capoeirista present. The solo is followed by a louvacao, a call and response pattern that usually thanks God and one's mestre, among other things. Each call is usually repeated word-for-word by the responders. The Chula is a song where the singer part is much bigger than the chorus response, usually eight singer verses for one chorus response, but the proportion may vary. The Corrido is a song where the singer part and the chorus response are equal, normally two verses by two responses. Finally, the Quadra is a song where the same verse is repeated four times, either three singer verses followed by one chorus response, or one verse and one response.Capoeira songs can talk about virtually anything, being it about a historical fact, a famous capoeirista, trivial life facts, hidden messages for players, anything. Improvisation is very important also, while singing a song the main singer can change the music's lyrics, telling something that's happening in or outside the Roda. Styles of CapoeiraDetermining styles in capoeira is a very tough task, since there was never a unity in the original capoeira, or a teaching method before the decade of 1920. However, a division between two styles and a sub-style is widely accepted.[edit] Capoeira AngolaMain article: Capoeira AngolaCapoeira Angola refers to every capoeira that keeps the traditions held before the creation of the Regional style. In simple words, it's the original Capoeira.Existing in many parts of Brazil since colonial times, most notably in Rio de Janeiro, Salvador and Recife, it's impossible to tell where and when Capoeira Angola began taking its present form. The name "Angola" starts as early as the beginning of slavery in Brazil, when Africans, taken to Luanda to be shipped to Brazil, were called "black people from Angola" regardless of their nationality. In some places of Brazil people would call capoeira as playing Angola and, according to Mestre Noronha, the Centro de Capoeira Angola Conceicao da Praia, created in Bahia, already used the name capoeira Angola illegally in the beginning of the 1920 decade.[12]The name Angola was finally immortalized by Mestre Pastinha at February 23, 1941, when he opened the Centro Esportivo de capoeira Angola (CECA). Pastinha was known as a great defender of the traditional Capoeira, much respected by recognized Capoeira masters. Soon many other masters would adopt the name Angola.Capoeira Angola is the closest style to the way slaves used to fight or play Capoeira. Characterizes by being strategic, with sneaking movements executed standing or near the floor depending on the
common system is using cordas (strings) tied around the waist (also called cordeis or cordoes) using different colors. Some masters use different systems, or even no system at all.There are many entities (Leagues, Federations e Confederations) which try to unify the graduation system. The most usual is the system of the Confederacao Brasileira de Capoeira (Brazilian Capoeira Confederation), which adopts strings using the colors of the Brazilian flag.Even though it's widely used, with many small variations, many big and influential groups still use different systems. Even the Confederacao Brasileira de Capoeira is not widely accepted as the Capoeira's representative.Basic adult graduation (since 14 years old)Beginner: no stringBaptized: greenGraduated: yellowGraduated: blueIntermediate: green and yellowAdvanced: green and blueTrainee: yellow and blueAdvanced adult graduation - Teacher of CapoeiraFormed: green, yellow and blueMonitor: green and whiteTeacher: yellow and whiteContra-mestre: blue and whiteMestre: whiteChildren's graduation (until 14 years old) - the same as the basic graduation, but adding the grey color. After completing it, if the child is still under 14, he'll earn the green adult graduation.Initial cordas can be earned in less than a year. Advanced cordas, notably the ones for contra-mestre and mestre, take several years and a deep understanding of Capoeira techniques and culture to be earned. Related activitiesEven thought those activities are strongly associated to the Capoeira, they have different meanings and origins. Samba de rodaMain article: SambaPerformed by many capoeira groups, samba de roda is a traditional Afro-Brazilian dance & musical form that has been associated with capoeira for many years. The orchestra is composed by pandeiro (tambourine), atabaque (drum), berimbau-viola (berimbau with the smallest cabaca and the highest pitch), chocalho (rattle a percussion instrument), accompanied by singing and clapping. Samba de roda is considered one of the primitive forms of modern Samba. MaculeleMain article: Maculele (dance)Originally the Maculele was an indigenous armed fighting style, using two sticks or a machete. Nowadays it's a folkloric dance practiced with heavy afro-Brazilian percussion.Maculele's past is even more obscured than Capoeira's, so many people believe it either has native Brazilian's or African's origins. Puxada de redeMain article: Puxada de redePuxada de Rede is a Brazilian folkloric theatrical play, seen in many capoeira performances. It is based on a traditional Brazilian legend involving the loss of a fisherman in a sea-faring accident Important mestresSee also: Category:Capoeira mestresManuel dos Reis Machado (Mestre Bimba), founder of the Luta Regional Bahiana.Vicente Ferreira Pastinha (Mestre Pastinha), founder of the Centro Esportivo Capoeira Angola.
Como Aumentar a Forca e a Precisao dos Chutes de Tae Kwon DoE uma questao de treino. Praticar com as tecnicas corretas e equipamento adequado pode lhe ajudar muito.PassosTreine bastante, procure um instrutor qualificado.Aumente a forca treinando em um alvo resistente, como um saco de areia (saco de pancada) geralmente encontrados em academias ou a venda em lojas especializadas.Melhore a precisao (e tambem a velocidade) dos seus chutes, utilizando um alvo pequeno e macio, como uma raquete, por exemplo.Tambem e muito bom usar pesos para as pernas no seu dia-a-dia, comecando por 5 kilos e aumentando de 5 em 5 kilos sempre q estiver preparado, assim aumentara a forca e velocidade dos seus chutes incrivelmente. (mas cuidado! nao va exagerar e querer comecar de um peso muito elevado!) Carregando... HistoriaO Louva-a-Deus foi criado por Wang Lang no Templo Shaolin. Conta a historia que Wang Lang era mestre e conhecedor profundo do Kung Fu quando foi para o templo aprimorar seus conhecimentos. La ele sempre duelava amigavelmente com o Abade Feng e sempre perdia. Um dia o Abade disse a Lang que ia sair pela China em uma viagem que duraria tres anos em busca de conhecimento e quando voltasse gostaria de ver Lang mais forte. Nesse meio tempo Lang estava cansado e foi se refugiar em um bosque, la ele viu um fragil louva-deus abatendo uma cigarra de tamanho superior e gostou da forma com que o inseto se movimentava levando-o para o templo para estuda-lo e desenvolveu tecnicas baseando-se nele. Quando Feng retornou e eles lutaram ele perdeu e ficou surpreso com a qualidade do Kung Fu de Wang Lang e desde entao os dois passaram a desenvolver e aprimorar o estilo e entao passaram adiante o conhecimento desenvolvido.Quando os quatro discipulos de Wang Lang - criador original do estilo Louva-Deus - decidiram se dividir e realizar as proprias alteracoes no estilo, Wang Lang permitiu, mas com uma condicao: eles deveriam nomear seus estilos com referencia as marcas nas costas dos Louva-Deuses capturados.Uma das marcas era semelhante a aparencia do simbolo Yin Yang (Tai T'si), outro tinha a aparencia de uma flor de ameixa (Mei Hua), no outro houve um conjunto de marcas que tinham semelhanca a uma figura de sete estrelas (Tsi T'sing) e houve um Louva-Deus que nao tinha marca aparente, este estilo ficou conhecido como o estilo despido (estilo sem marca - Kwong P'an)Dessa forma surgiram quatro estilos, a partir do estilo original de Wang Lang. selecao de fotos sobre capoeira: As artes marciais mistas (frequentemente conhecidas sob seu acronimo em ingles: MMA - Mixed martial arts) sao artes marciais que incluem tanto golpes de luta em pe quanto tecnicas de luta no chao. As artes marciais mistas podem ser praticadas como o esporte de contato em uma maneira regular ou em um torneio em que dois concorrentes tentam derrotar um ao outro. Usam uma escala grande de tecnicas permitidas de artes marciais, como golpes utilizando os punhos, pes, cotovelos, joelhos, alem de tecnicas de imobilizacao, como lances e alavancas.Algumas organizacoes que organizam torneios de artes marciais misturadas
Esta e uma serie de fotos sobre tecnicas do wing chun.comentem.comentem sobre algum estilo que voces gostem que eu postarei uma materia completa sobre esse estilo.apenas para os cinco primeiros que comentarem.grato. Tiger Style Kung fu is another of the main five animals of Shaolin Kung fu. This particular style is more aggressive that some of the others like leopard kung fu.Tiger is primarily a close range style that focuses on striking quickly and grabs if necessary. There are long range attacks ofcourse, but that is more of a "back-up". The style resembles the Bear style in that it does focus on strength but unlike bear, tiger gets its strength from its versatility.The practitioner of this style is usually very powerful since Tiger Kung fu needs strength. Most of the strength comes from the solid stances and the circular movement. The circular movement combines both internal and external aspects and small parts can resemble other arts that use this form of movement such as BA GUA.Tiger strikes use mostly an open hand with curved fingers, resembling that of a claw, to rip or tear.FounderWang ZhenyuanAlthough Zhenyuan is really accredited to a specific style of tiger, Shaolin Shandong black tiger fist, he is the closest thing to a founder that can be found. The style started in the early 19th century, though the five animals claim to be around much longer, as early as 14th century. This, ofcourse, means tiger style was practiced hundreds of years before Wang. The belief is it developed in a Shaolin temple.More History...Most of the actual history has been word of mouth due to China wanting to control information hundreds of years ago. The system is thought to have started in Burma out of a Shaolin temple as stated above. The timeline is very broad. It was originally formed to maintain and improve the health of its practitioners, as well as self defense due to the violent nature of the country in those times. Tecnicas de chutesChute alto.Os chutes circulares e os chutes frontais sao os dois chutes mais comuns no muay thai. O chute circular do muay thai foi assimilado por diversas outras artes marciais como por exemplo o kickboxing japones. O chute circular usa um movimento rotatorio do corpo inteiro.Os lutadores de muay thai sao treinados para bater sempre com a canela. A canela e a parte mais forte da perna do lutador. O pe contem muitos ossos finos e e muito mais propenso a lesoes. Um lutador pode acabar se ferindo usando somente o pe como area de impacto. Os lutadores de muay thai condicionam cuidadosamente suas canelas em treinos no saco pesado e em sparring tambem, para melhor resistencia e forca na hora da luta, os lutadores praticam suas caneladas em superficies duras, como alguns tailandeses.Essa tecnica e conhecida como calejamento, que consiste em fragmentar ligeiramente o osso, para que uma camada extra de calcio se sobreponha a parte fragmentada(processo natural do corpo), criando pequenos "calos" no osso, tornando-o assim mais resistente. Entretanto esse e um processo lento, que exige bastante tempo de treinamento
para se alcancar resultados. Tecnicas com o cotoveloO cotovelo pode ser usado em sete maneiras: horizontal, diagonal-para cima, diagonal-para baixo, ascendentes, descendente, para tras-girando e aerea.A cotovelada lateral pode ser usado como um movimento do revestimento ou como uma maneira de cortar o rosto do seu oponente de modo que o sangue possa obstruir sua visao. Essa e a maneira mais comum de se usar o cotovelo;As cotoveladas diagonais sao mais rapidos do que os outros, mas sao menos poderosos;As cotoveladas ascendentes e a aerea sao as mais poderosas, mas sao mais lentas e mais faceis de evitar ou obstruir;A cotovelada descendente e usada geralmente quando o oponente abaixa-se.Ha tambem uma diferenca distinta entre uma cotovelada unica e uma cotovelada em sequencia. A cotovelada unica e um movimento de cotovelo independente de todos os outros movimentos, visto que uma cotovelada em sequencia e a segunda batida do mesmo braco, sendo um gancho primeiramente com uma continuacao do cotovelo. Tais cotoveladas, e a maioria das outras cotoveladas, sao usados quando a distancia entre lutadores se torna demasiado pequena e ha pouco espaco para jogar um gancho na cabeca dos oponentes. Tecnicas defensivasA defesa e uma coisa muito importante no muay thai e sao usados os ombros, os bracos e as pernas (canela) como um "escudo" para obstruir as tecnicas do oponente. Obstruir e um elemento importante no muay thai e combina-se com o nivel de condicionamento do praticante. Os chutes circulares baixos e circulares medios ao corpo sao obstruidos normalmente com a canela. Os golpes na parte superior do corpo sao obstruidas geralmente com o antebraco, ou se possivel com a canela. Os chutes circulares medios podem tambem ser segurados, travando o oponente, e assim permitindo um ataque para derruba-lo, ou jogar o oponente a distancia. O clinchO clinch e aplicado prendendo-se o oponente em torno do pescoco ou em torno do corpo, eles nao sao separados e a luta continua com troca de joelhadas e cotoveladas. Geralmente em clinch tambem sao usadas diversas tecnicas de arremessar o oponente ao chao.
line, including eyes, nose, throat, solar plexus and groin.Wing Chun techniques are generally "closed", with the limbs drawn in to protect the central area and also to maintain balance. In most circumstances, the hands do not move beyond the vertical circle that is described by swinging the arms in front, with the hands crossed at the wrists. To reach outside this area, footwork is used. A large emphasis and time investment in training Chi Sao exercise emphasises positioning to dominate this centerline. The stance and guard all point at or through the center to concentrate physical and mental intent of the entire body to the one target.Wing Chun practitioners attack within this central area to transmit force more effectively, since it targets the "core center" (or "mother line", another center defined in some lineages and referring to the vertical axis of the human body where the center of gravity lies). For example, striking an opponent's shoulder will twist the body, dispelling some of the force and weakening the strike, as well as compromising the striker's position. Striking closer to the center transmits more force directly into the body. PunchesBecause of the emphasis on the center line, the vertical fist straight punch is the most common strike in Wing Chun. However, the principle of simultaneous attack and defense (Lin Sil Die Dar) suggests that all movements in the Siu Nim Tau with a forward execution flow into a strike if no effective resistance is met, without need for recomposure. Other explicit examples of punches can be found in the Chum Kiu and Bil Jee forms, although these punches may appear to be superficially different they are simply the result of the punch beginning from a different origin position while following the same fundamental idea, to punch in a straight line following the shortest distance between the fist and the opponent.The vertical punch is the most basic and fundamental in Wing Chun and is usually thrown with the elbow down and in front of the body. Depending on the lineage, the fist is held anywhere from vertical to horizontal (palm side up). The contact points also vary from the top two knuckles, to the middle two knuckles, to the bottom three knuckles. In some lineages of Wing Chun, the fist is swivelled at the wrist on point of impact so that the bottom three knuckles are thrust forward adding power to the punch while it is at maximum extension.The punches may be thrown in quick succession in a "straight blast" or "chain punching". When executed correctly, it can be used as a disorienting finisher.However, it is often misunderstood and criticized for encouraging weaker punches that do not utilize the whole body. But in fact, the formal name of it in Chinese is translated as "The Sun-character Rushing Punch(or Hammer in Cantonese)", practitioner typically would rush forward with his full body weight "throwing" towards his opponent, with the fist as the "nail", and his full body weight as the "hammer". Also with each successive punch, practitioner would step in closer and closer to the opponent,
and hence maximize the so-called "power in an inch" without the need of big swings or big punches.Wing Chun favours the vertical punch for several reasons:Directness. The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are held in front of the chest).Protection. The elbow is kept low to cover the front midsection of the body. It is more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This aids in generating power by use of the entire body structure rather than only the arm to strike. Also with the elbow down, it offers less opening for the body to be attacked while the forearm and punch intercept space towards the head and upper body.Strength and Impact. Wing Chun practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire body rather than just a swinging fist, and therefore has more impact. A common analogy is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun punch), which would cause far more damage than a glancing hit and is not as easy to evade. Many skilled practitioners pride themselves on being able to generate "short power" or large amount of power in a short space. A common demonstration of this is the "one-inch punch", a punch that starts only an inch away from the target yet delivers an explosive amount of force.Alignment & Structure. Because of Wing Chun's usage of stance, the vertical punch is thus more suitable. The limb directly in front of the chest, elbow down, vertical nature of the punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. This is a desirable trait to a Wing Chun practitioner because it promotes use of the entire body structure to generate power. Whereas, the rebound of a horizontal punch uses only the arm to strike. In this elbow-out position the hinge-structure directs force outwards along the limb producing torque in the puncher's body. KicksKicks can be explicitly found in the Chum Kiu and Mook Jong forms, though some have made interpretations of small leg movements in the Siu Nim Tau and Bil Jee to contain information on kicking as well. Depending on lineage, a beginner is often introduced to basic kicking before learning the appropriate form. Traditionally, kicks are kept below the waist. This is characteristic of southern Chinese martial arts, in contrast to northern systems which utilise many high kicks.Variations on a front kick are performed striking with the heel. The body may be square and the knee and foot are vertical on contact (Chum Kiu), or a pivot may be involved with the foot and knee on a plane at an angle (Mook Jong). At short distances this can become a knee. A roundhouse kick is