Loremil Machado | |
---|---|
Born | 1953 or 1954 |
Died | March 11, 1994 (aged 40) |
Nationality | Brazilian |
Occupation(s) | Dancer, choreographer, percussionist |
Known for | Mestre Capoeira |
Loremil Machado (born 1953 or 1954; died March 11, 1994) was a teacher and performer of Afro-Brazilian dance. He and fellow dancer, Jelon Vieira, are considered to be responsible for the introduction of capoeira to the United States. [1]
Machado and Vieira, both natives of Bahia, Brazil, came to New York City in 1975, to perform in a production of the play Parto by Brazilian playwright Gilda Grillo and Maria Isabel Barreno. [2] Having decided to stay, they began to teach and perform in venues around the city. Notably, Machado and Vieira performed capoeira demonstrations at public schools in the Bronx. [3] Master capoeira teacher Mestre Acordeon has said "[These] demonstrations by Mestre Jelon [Vieira] and Loremil Machado are considered by many to be responsible for the incorporation of capoeira movements into breakdancing". [4] And author Matthias Röhrig Assunção says "many people believe [their] performances inspired the break dance craze of the 1980s." [5]
The pair also taught at the Clark Center for the Performing Arts and for "four of five years" performed a weekly show of capoeira set to jazz music at the Cachaça nightclub on East 62nd Street. [6] [7] Machado formed his own group, the Loremil Machado Afro-Brazilian Dance Company, and was a featured dancer in Vieira's Capoeiras of Bahia, later renamed DanceBrazil .
Award-winning playwright and poet Ntozake Shange was one of his students, recalling "Where else to be on New Year's Eve? In a lover's arms, you say. Or, maybe at a fabulous champagne New Year's Eve party. No, the place for me was Loremil Machado's class for the end of the year. It was as important as a midnight mass. The class was full to the corners and we were all ready for our athletic, jumping, twirling, kicking, giving much quick knees and feet..." [8]
Pioneering Black filmmaker Warrington Hudlin produced and directed a 1980 documentary short, Capoeira of Brazil, featuring Vieira, Machado, Eusebio da Silva, and their students. [9]
When Machado died in 1994, the New York Times said of him: "Mr. Machado was known for the intensity of his dancing even in styles like the Brazilian martial arts form Capoeira, which calls as much for reckless daring as for skill and training." His longtime friend, writer and dancer Barbara Browning, said that the cause of death was AIDS. [10]
Capoeira is an Afro-Brazilian martial art and game that includes elements of dance, acrobatics, music and spirituality.
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Manuel dos Reis Machado, commonly called Mestre Bimba, was a Brazilian capoeira mestre and the founder of the capoeira regional style. Bimba was one of the best capoeiristas of his time, undefeated in numerous public challenges against fighters from various martial arts.
Vicente Ferreira Pastinha, known as Mestre Pastinha, was a mestre of the Afro-Brazilian martial art capoeira and a codifier of the traditional capoeira Angola style.
Pedro Moraes Trindade, commonly known as Mestre Moraes, is a master of capoeira.
Jelon Vieira is a Brazilian choreographer and teacher who, in 2000, achieved recognition by New York City's Brazilian Cultural Center as a pioneer in presenting to American audiences the Afro-Brazilian art and dance form, Capoeira.
Capoeira de Angola or simply angola is the traditional style of capoeira, the Afro-Brazilian martial art. A newer style, based on the reform of capoeira Angola, is called regional.
João Oliveira dos Santos, better known as Mestre João Grande, is a Grão-Mestre of the Afro-Brazilian martial art of capoeira angola who has contributed to the spread of this art throughout the world. He was a student of the "father of Angola", Mestre Pastinha, and has an academy in New York City.
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The Brazilian martial art of capoeira, noted for its acrobatic movements and kicks, has often been featured in and influenced popular culture.
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Capoeira Regional is a style of capoeira created by Bimba's reform of traditional capoeira in the 1930s. Capoeira regional is presented as a Brazilian product and as a legitimate and effective martial art.
José Tadeu Carneiro Cardoso, also known as Mestre Camisa, is a Capoeira master, most known for creating the organization ABADÁ-Capoeira. ABADÁ-Capoeira was founded in 1988, and ever since, Camisa has been at the head of many important philanthropy and martial arts movements all over the world.
Capoeira: The History of an Afro-Brazilian Martial Art is a book by Matthias Röhrig Assunção published by Routledge in 2005. The book is known for its insight into the far-reaching history of the Brazilian martial art known as Capoeira, and its complex cultural significance to Brazilian identity. It provides a series of in-depth debates on Capoeira, including what it actually is, where its true origins lie, and what it exemplifies. Additionally, it describes the evolution of Capoeira from its roots as it spread to different regions of Brazil in the 19th and 20th Centuries, and the rest of the world in the 21st Century, accepting a multitude of beliefs into a single divers culture. Throughout the book, Capoeira is also seen as a mechanism for racial desegregation.
The history of capoeira explores the origins and development of capoeira, the Brazilian martial art, that combines elements of dance, acrobatics, and music.
Anníbal Burlamaqui (1898-1965), known as Mestre Zuma, was a Brazilian customs officer, poet, boxer and a prominent advocate for the sport of capoeira during its prohibition. He was one of the main proponents of the fighting-oriented capoeira carioca, without dance, music, and rituals.
Washington Bruno da Silva (1925–1994), known as Mestre Canjiquinha, was a Brazilian capoeira Angola mestre and a prominent figure in contemporary capoeira.
In the Brazilian martial art capoeira, the title mestre designates the master practitioner. Manuel dos Reis Machado, also known as Mestre Bimba, is credited with transforming capoeira from a street activity to a sport.
Jogo de dentro or jogo de baixo is style of playing capoeira on the ground, involving low movements, with capoeiristas supporting themselves with their feet and hands only. The body should not touch the ground in this modality.