aprill 03, 2009

Iê! aga edasi?

Jätkame ladainhalainel. Paljudes regionali-koolides tuleb selleks, et oma esimene õpetajavöö välja teenida, osata vähemalt üht ladainhat laulda. Angolas on asi veelgi rangem - ladainha(de) oskamine on heaks capoeiristaks saamisel möödapääsmatu. Õnneks, nagu järgnevast CM Pererê tekstist loete, algavad lihtsamad ladainhad kõigest paarist reast.
CM Pererê (grupist Capoeira Angola Palmares) on M Nô ameeriklasest õpilane, kes muu seas suudab valmistada hiiglama ilusaid ja häid berimbausid. Piltidel nägid need tõesti head välja. Aga siin siis tema tarkust ka:
Here's some basic information about ladainhas.
A ladainha may be comprised of one to several (or many) stanzas. There are hundreds-and-hundreds of single-stanza ladainhas which have flowed down to us from the past through various means: orally, through recordings of old-guard mestres, and through various written records, etc'.
And these single stanzas, though they stand on their own quite well, are ALSO intended to be connected together in box-car fashion in order to express complex or elaborate sentiments or stories. So its not that all long ladainhas are individual songs, often enough they may also be complexes of multiple ladainhas grouped together. Either way they tend to, in the 'traditional vien' be composed in the same manor.
You can certainly sing a single-stanza ladainha at any point and then flow into the other ritual songforms and you are being righteous and appropriate, no doubt. But often enough, players/singers have a bunch to say, and they want to get it off their chest (Go figure). That, or perhaps they are just stuck repeating ladainhas they learned by rote, or perhaps are honoring what accounts for 'old standards' composed by previous generations in previous eras - lots of swell old ladainhas out there to chose from.
However, its ABSOLUTELY essential to understand, if its understanding you're after, that ladainhas are a living art form in themselves and are also meant to be composed 'on-the-spot' in order to express whatever sentiment needs expressing during the ritual as it unfolds. And so grasping the compositional formula becomes a little more important if you decide that you want to explore the art on that level. Though this is now far less commonly performed then in past eras do to time constraints, changing emphasis on ritual play, or skill level of the singer, and other factors.
The basic format for composing a ladainha in capoeira angola is this:
A stanza then is comprised of 2 verses, each verse in turn is comprised of 2 lines: making 4 lines total per stanza. Each line is then comprised of 7 syllables.
Just as an example: feel welcome to check out my group's website (listed below) where on the main page I am singing a "traditional standard" often referred to as "Sinhazinha que vende ai" and playing music along with a bunch of my students.
Here's another (simplified) example of an old "traditional standard" single-stanza ladainha' so that folks here can look at the compositional structure:
1. Anum nao canta em gaiola (sung in 7 syll)
2. Nem bem dentro nem bem ‘fora (sung in 7 syll)
3. So’ canta no formiguero (sung in 7 syll)
4. Quando ve formiga ‘fora (sung 7 syll)*

Note: The lines in the above example look as if they are more than 7 syllables in length as they are read, but as they are sung in Bahian Portuguese some of the words are blended together, and ending vowels are often de-emphasised - and thus its all compressed to reduce the overall number to 7 per line. Enabling it to then fit snuggly with a musical measure in 4-4 time.
These are not, of course, hard and fast rules but more like guidelines for structuring poetic verse. You can sneak in (or extract) a syllable or add an extra verse here-and-there as you feel the need, and as long as it flows it works. Its all about, as I suggest above, fitting together with the compositional structure of the music as it is played on the berimbau. And therein lies a whole wonderful complex of inter-related factors to get into. Its all so awesome!
And yes, I'm also leaving a bunch of relevant stuff out in order to be both brief(ish - ha, joking!), to offer some fun-facts pertaining to the main question above without infinitly digressing , and also to draw out possible inquiries if anyone is interested to make any - Which is part of the game of posting on a capoeira forum - at least for me. And to pay homage from the 'traditionally minded perspective' - to learn much more about this than I've shared here, folks should go and study with a mestre, cuz its the right thing to do.
In any case, all this ladainha stuff is a shit-load of fun to explore, and very self-empowering once you figure it all out and can, for axample, compose your own ladainhas, or at least comprehend the compositional framework with ease and agility. I highly recommend this course of study for anyone interested in going deeper into the roots of capoeira.Cuz its deep.
Contrameste Pererê

Capoeira-muusika kohta loe juurde siit.

* Stroofi tõlge:
Anum ei laula puuris
Ei selle sees ega lähedal
Ta laulab vaid sipelgapesal
Kui näeb sellel sipelgat

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