The Way of Capoeira

Capoeira is a fast and versatile martial art that is historically focused on fighting when outnumbered or at a technological disadvantage. The style emphasizes using the lower body to kick, sweep and take down their aggressors, using the upper body to assist those movements and occasionally attack as well. It features a series of complex positions and body postures that are meant to get chained in an uninterrupted flow, to strike, dodge and move without breaking motion, conferring the style with a characteristic unpredictability and versatility.

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira, important both for attack and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of constant motion, preventing them from being a still and easy target. The other, using also fakes and feints, is to mislead, fool or trick the opponent, leaving them open for an attack or a counter-attack.

The attacks in the capoeira should be done when opportunity arises, and though they can be preceded by feints or pokes, they must be precise and decisive, like a direct kick to the head, face or a vital body part, or a strong takedown. Most capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras (leg sweeps), tesouras or knee strikes. Elbow strikes, punches and other forms of takedowns complete the main list. The head strike is a very important counter-attack move.

The defense is based on the principle of non-resistance, meaning avoiding an attack using evasive moves instead of blocking it. Avoids are called esquivas, which depend on the direction of the attack and intention of the defender, and can be done standing or with a hand leaning on the floor. A block should only be made when the esquiva is completely non-viable. This fighting strategy allows quick and unpredictable counterattacks, the ability to focus on more than one adversary and to face empty-handed an armed adversary.

A series of rolls and acrobatics (like the cartwheels called aú or the transitional position called negativa) allows the capoeirista to quickly overcome a takedown or a loss of balance, and to position themselves around the aggressor to lay up for an attack. It is this combination of attacks, defense and mobility that gives capoeira its perceived "fluidity" and choreography-like style.

Music

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. Typically the music is formed by instruments and singing. Rhythms (toques), controlled by a typical instrument called berimbau, differ from very slow to very fast, depending on the style of the roda.[48]

Instruments

A capoeira bateria showing three berimbaus a reco- reco and a pandeiro

Capoeira instruments are disposed of in a row called bateria. It is traditionally formed by three berimbaus, two pandeiros, three atabaques, one agogô and one ganzá, but this format may vary depending on the capoeira group's traditions or the roda style.[citation needed]

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 médio) form the base and a high-pitch berimbau (called viola) makes variations and improvisations. The other instruments must follow the berimbau's rhythm, free to vary and improvise a little, depending upon the capoeira group's musical style.[49]

As the capoeiristas change their playing style significantly following the toque of the berimbau, which sets the game's speed, style and aggressiveness, it is truly the music that drives a capoeira game.[50]

Songs

Many 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.[citation needed]

There are four basic kinds of songs in capoeira, the Ladaínha, Chula, Corrido and Quadra. The Ladaínha 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 louvação, a call and response pattern that usually thanks God and one's master, 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.[citation needed]

Capoeira songs can talk about virtually anything, be 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.

Optional - Weaponry

Through most of its history in Brazil, capoeira commonly featured weapons and weapon training, given its street fighting nature. Capoeiristas usually carried knives and bladed weapons with them, and the berimbau could be used to conceal those inside, or even to turn itself into a weapon by attaching a blade to its tip.[33] The knife or razor was used in street rodas and/or against openly hostile opponents, and would be drawn quickly to stab or slash. Other hiding places for the weapons included hats and umbrellas.[33]

Mestre Bimba included in his teachings a curso de especialização or "specialization course", in which the pupils would be taught defenses against knives and guns, as well as the usage of knife, straight razor, scythe, club, chanfolo (double-edged dagger), facão (facón or machete) and tira-teima (cane sword).[1] Upon graduating, pupils were given a red scarf which marked their specialty. This course was scarcely used, and ceased after some time. A more common custom practised by Bimba and his students, however, was furtively handing a weapon to a player before a jogo for them to use it to attack their opponent on Bimba's sign, with the other player's duty being to disarm them.

Subclass Advancement:

Monk Level	Feature	Ki Features
3rd	Bonus Proficiencies	2
3rd	Constant Movement	2
3rd	Full Body as a Weapon	2
3rd	Ki Features	2
6th	The Magic in Music	3
6th	Additional Ki Features Unlock	3
11th	Unwavering	4
11th	Additional Ki Features Unlock	4
17th	Killing Blow	5
17th	Additional Ki Features Unlock	5

 

Bonus Proficiencies - 3rd Level

When you choose this tradition at 3rd level, you gain proficiency in the Acrobatics and Performance skills if you don't already have it. Your martial arts technique mixes combat training with the precision and flowing movements of a dancer. You also gain expertise in the Acrobatics and Performance skills, which lets you double your proficiency bonus for any Acrobatics or Performance checks you make. You also gain proficiency in 3 instruments of your choice.

Optional: You gain proficiency in Daggers (Single and double sided), Scythes, Clubs and Rapiers (Cane Swords)

Constant Movement - 3rd Level

Starting at 3rd level, you learn to keep your body in a state of constant ebb and flow. This grants a bonus to your Unarmored Defense of 3. Additionally, you learn how to twist and turn quickly as part of your Flurry of Blows. Whenever you use Flurry of Blows, you gain the benefit of the Disengage action, and your walking speed increases by 10 feet until the end of the current turn.

Full Body as a Weapon - 3rd Level+

Starting at 3rd level, you begin to use your full body to strike at your enemies. This grants you the following:

 

• You can use Charisma or Dexterity instead of Strength for the attack and damage rolls of your unarmed strikes and monk weapons.
• For all monk abilities and features that use Wisdom you can now use Charisma if you would like this includes unarmored defense.
• Your Unarmed Strikes crit on 18, 19, and 20.
• You Martial Arts die table has been replace with the new one below:

 

Monk Level	Martial Arts Die
3rd	1d6
4th	1d6
5th	1d6
6th	1d6
7th	1d8
8th	1d8
9th	1d8
10th	1d8
11th	1d8
12th	1d10
13th	1d10
14th	1d10
15th	1d10
16th	1d10
17th	1d12
18th	1d12
19th	1d12
20th	1d12

Ki Features - 3rd - 17th Level

3rd Level Unlock:

• Headbutt - You spend 1 Ki point as you make an Unarmed Strike attack to strike with your head granting an additional 1d6 Bludgeoning Damage.

 Elbow Strike - You spend 1 Ki point as you make an Unarmed Strike attack to strike with your elbow granting an additional 1d6 Piercing Damage.

6th Level Unlock:

• Kip Up - When you're prone, you can stand up by spending 2 Ki points and your reaction to stand back up immediately after being knocked down, rather than half your speed.

Optional 6th Level Unlock:

• Feint Blade - You spend 2 Ki points as you make an Unarmed Strike attack to strike with a weapon you are proficient with dealing the weapon damage on top of the Unarmed Strike Damage.

11th Level Unlock:

• Knee Strike - You spend 4 Ki points as you make an Unarmed Strike attack to strike with your knee granting an additional 1d4 Bludgeoning Damage and the target must make a DC 15 Constitution saving throw or be stunned until the end of your next turn.

17th Level Unlock:

• Leg Sweep - You spend 5 Ki points as you make an Unarmed Strike attack to strike with your leg where you sweep the target's legs out from under them, granting an additional 1d4 Bludgeoning Damage and the target must make a DC 17 Dexterity saving throw or be knocked Prone and reduce their movement to 0 for the rest of the turn.

Elbow Strike

Elbow Strike - You spend 1 Ki point as you make an Unarmed Strike attack to strike with your elbow granting an additional 1d6 Piercing Damage.

Feint Blade

Feint Blade - You spend 2 Ki points as you make an Unarmed Strike attack to strike with a weapon you are proficient with dealing the weapon damage on top of the Unarmed Strike Damage.

Headbutt

Headbutt - You spend 1 Ki point as you make an Unarmed Strike attack to strike with your head granting an additional 1d6 Bludgeoning Damage.

Kip Up

Kip Up - When you're prone, you can stand up by spending 2 Ki points and your reaction to stand back up immediately after being knocked down, rather than half your speed.

Knee Strike

Knee Strike - You spend 4 Ki points as you make an Unarmed Strike attack to strike with your knee granting an additional 1d4 Bludgeoning Damage and the target must make a DC 15 Constitution saving throw or be stunned until the end of your next turn.

Leg Sweep

Leg Sweep - You spend 5 Ki points as you make an Unarmed Strike attack to strike with your leg where you sweep the target's legs out from under them, granting an additional 1d4 Bludgeoning Damage and the target must make a DC 17 Dexterity saving throw or be knocked Prone and reduce their movement to 0 for the rest of the turn.

The Magic in Music - 6th Level

Starting at 6th level, you learn to better combine music and combat. You gain the Magic Initiate feat and must choose Bard. Additionally, When you take a Bonus Action in combat to play one of your instruments your unarmed strikes are considered magical for the purpose of overcoming resistances and gaining a +2 to attacks and damage rolls.

Unwavering - 11th Level

By 11th level, you have learned to flow with hefty blows and stay moving and upright. You have advantage on saving throws against being Frightened, Grappled, Paralyzed, knocked Prone, Restrained, Shoved, or Stunned.

Killing Blow - 17th Level

Starting at 17th level, you have learned exactly where to strike to eliminate your foe. If you score a critical hit against a creature that has fewer than 100 hit points, it must succeed on a DC 15 Constitution saving throw or be slain instantly.