Curriculum & Development Framework

Requirements

• 4 basic kicks
• 4 basic escapes
• A basic understanding of how to use them in the game

Development Focus

At this stage, the emphasis is restraint and clarity rather than volume. The limited number of techniques is intentional. The goal is not accumulation, but recognition and reaction.

The student begins to:

• Recognize attacks and respond appropriately
• Maintain basic rhythm and spatial awareness
• Understand the relationship between attack and escape

This is the Reaction stage. Movements are still discrete, and the game is largely responsive rather than intentional.

Requirements

• Sequência de Bimba (Regional)
• Sequência 1 (solitary) of Miudinho
• Ability to play at least one instrument
• A slightly more advanced understanding / exhibition of gameplay

Development Focus

The introduction of Mestre Bimba’s sequência marks the transition from isolated techniques to structured combinations.

Miudinho begins to introduce close-range sensitivity and rhythm-driven movement.

The student begins to:

• Link movements together in coherent patterns
• Understand timing within exchanges
• Participate in the roda musically, not just physically

This is the Application stage. The player is no longer only reacting, but beginning to apply learned structures in context.

Requirements

• Sequência de Bimba (Regional)
• Sequência 1 (solitary) of Miudinho
• Sequência 2 (solitary) of Miudinho
• Sequência passa ao frente of Miudinho
• Ability to play at least two instruments (one being the berimbau)
• A more advanced understanding / exhibition of gameplay including entradas for takedowns

Development Focus

At this stage, the player begins to act with intention rather than simply respond. Movement arises from inward direction, not only from the pressure of the exchange.

The addition of takedown entries (entradas) introduces:

• Timing disruption
• Distance manipulation
• The first layer of strategic intent

Musically, the berimbau becomes central, signaling a deeper responsibility to the roda.

This is the Intention stage. The student begins to shape the game, not just participate in it.

Requirements

• Sequência de Bimba (Regional)
• Sequência cintura desprezada
• Sequência 1–4 (solitary) of Miudinho
• Sequência passa ao frente of Miudinho
• Sequência cu com bunda of Miudinho
• Ability to play at least three instruments (including all types of berimbau)
• A more advanced understanding / exhibition of gameplay including takedown entries and basic strategic maneuvers that control the opponent’s movement

Development Focus

Here, the curriculum expands significantly, but the intention is not mere memorization. The emphasis shifts toward control.

The student begins to:

• Guide the opponent’s movement through positioning and timing
• Combine sequences fluidly rather than execute them rigidly
• Understand how rhythm influences the nature of the game

The influence of Mestre Suassuna’s Miudinho system becomes more pronounced, emphasizing proximity, deception, and rhythm.

This is the Control stage. The player begins to set the terms of the jogo.

Requirements

• Sequência de Bimba (Regional)
• Sequência cintura desprezada
• Sequência desequilibrante
• Sequência 1–4 (solitary) of Miudinho
• Sequência passa ao frente of Miudinho
• Sequência cu com bunda of Miudinho
• Sequência espelia of Miudinho
• Sequência corrupio of Miudinho
• Sequência pulo do gato of Miudinho
• Ability to play all instruments (including all types of berimbau) and all 11 basic rhythms:
  Angola, São Bento Pequeno, São Bento Grande de Angola, São Bento Grande de Regional, Iúna, Banguela, Santa Maria, Amazonas, Cavalaria, Idalina, Miudinho
• A more advanced understanding / exhibition of gameplay including takedown entries and a clear understanding of strategic maneuvers that control and anticipate the opponent’s movement

Development Focus

This level represents near-complete integration of the system.

The student is expected to:

• Transition fluidly between structured and improvised play
• Control tempo, distance, and intention within the roda
• Anticipate the opponent’s actions rather than react to them
• Lead musically and energetically

This is the Anticipation stage.

At this point, the capoeirista is no longer defined by technique, but by:

• Presence
• Timing
• Malícia
• Strategic awareness

The player is approaching readiness not just to play, but to sustain and guide the roda itself.

Closing Perspective

This curriculum is intentionally rigorous and layered. It draws from both structured Regional methodology and the nuanced, rhythm-driven intelligence of Miudinho.

Its purpose is not to produce fast progression, but to cultivate capoeiristas who are:

• Technically sound
• Musically responsible
• Strategically aware
• Mindfully present

The effectiveness of the system ultimately depends not on the checklist of requirements, but on how these elements are embodied within the living practice of the roda.

Lineage