Jailhouse rock is a name used to describe a collection of fighting styles that were practiced or developed within black urban communities in the 1960s and 1970s.
54-610: (Redirected from Jhr ) JHR may refer to: Jailhouse rock (fighting style) Jarisch-Herxheimer reaction Jhangira Road railway station , in Pakistan JHR Developments Jim Henson Records Jonkheer (Jhr.), a Dutch honorific of nobility Journal of Historical Review The Journal of Human Resources Journalists for Human Rights Jules Horowitz Reactor Juncos Hollinger Racing Topics referred to by
108-447: 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,
162-399: A combination of wariness, quick wit, savvy, unpredictability, opportunism, playfulness, viciousness, and a talent for deception. The ability to fool, distract, and deceive the opponent is the key to success. The basic movement in capoeira, the ginga, is a constant fluid movement backward and forward, and a good capoeirista will use malícia in the ginga to deceive his opponent. The ginga is
216-414: A dance, capoeira served not only as a form of self defense, but also as a way to maintain spirituality and culture. Capoeira has been practiced among Black Brazilians for centuries . The date of its creation is unknown, but it was first mentioned in a judicial document under the name C apoeiragem in 1789 , as "the gravest of crimes". In the 19th century, a street fighting style called capoeira carioca
270-405: A deceptive twist, bênção appears as a blessing but swiftly becomes an attack on the opponent's belly. Malandragem is a word that comes from malandro , a man who used street smarts to make a living. In the 19th century, capoeira was quite similar to the type of urban person who was a constant source of trouble — the malandro (punk). In the 19th century Rio de Janeiro , the capoeirista
324-513: 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
378-406: 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 in the opposite part of the roda, before returning to the normal game. Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. Typically the music
432-480: A great deal of prisoner life occurs in secret and necessarily in violation of the institutional rules. Tales of the pugilistic exploits of the infamous 1970s New York prison fighter "Mother Dear" (an alleged homosexual rapist) have also contributed to the extensive urban mythology surrounding this system. The 52 Hand Blocks aspect of JHR was first featured in Black Belt Magazine in the 1970s it
486-462: A mythological origin story of having originated in the US penal institutions back in the 1960s and 1970s. Some have cast doubt on this origin story, as the teaching of fighting systems by inmates is generally not allowed in jails and prisons. However, others point out that the experience of any given prisoner, as well as the enforcement of the rules, varies enormously from one institution to the next, and that
540-473: A practitioner being known as a "capoeira". Gradually, the art became known as capoeira with a practitioner being called a capoeirista. Capoeira first appeared among Africans in Brazil , during the early colonial period . According to the old capoeira mestres and tradition within the community, capoeira originates from Angola . Although the origin of capoeira is not entirely clear, many studies have supported
594-414: 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
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#1732771996256648-423: A system of signs and signals. It is as if you were casting a spell or a charm in order to build a specific reality, a seductive reality, during the game and also outside the roda in day-to-day life and in any type of struggle or combat. Gregory Downey explains: Malícia , not coincidentally, is the quality, or constellation of qualities, that the ideal capoeirista should most evidence in his or her everyday life:
702-423: 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 herself open to attack. The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn
756-417: A very aggressive game. The game does not focus on knocking down or defeating opponents, but rather on body dialogue and highlighting skills. The roda (pronounced [ˈʁodɐ] ) is a circle formed by capoeiristas and capoeira musical instruments, where every participant sings the typical songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to
810-648: Is malícia ( malice ). One aspect of malicia consists of deceiving the opponent into thinking that you are going to execute a certain move when in fact you are going to do something completely different. There is an example of malicia of Besouro who once fell to the ground during a game, crying like a woman and begging for mercy. Mestre João Pequeno claimed that he teaches his students how to play capoeira, but they should learn malícia for themselves since it cannot be taught. The meaning of malícia in capoeira has expanded over time to cunning, suspicion, alertness, readiness, flexibility, and adaptation. Basically, it
864-414: Is a Afro-Brazilian martial art and game that includes elements of dance, acrobatics , music and spirituality. It is known for its acrobatic and complex maneuvers, often involving hands on the ground and inverted kicks. It emphasizes flowing movements rather than fixed stances; the ginga , a rocking step, is usually the focal point of the technique. Though often said to be a martial art disguised as
918-543: Is different from Wikidata All article disambiguation pages All disambiguation pages Jailhouse rock (fighting style) The many different manifestations of JHR share a commonality in blending western boxing with other stylised martial arts techniques. The basic principle of these styles is constant improvisation, blocks and effectiveness in real-life situations. 52 Hand Blocks has been referenced numerous times by contemporary media including by journalist Douglas Century 's Street Kingdom: Five Years Inside
972-403: 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. Capoeira instruments are disposed 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
1026-409: Is given. Traditionally, the batizado is the moment when the new practitioner gets or formalizes their apelido (nickname). This tradition was created back when capoeira practice was considered a crime. To avoid having problems with the law, capoeiristas would present themselves in the capoeira community only by their nicknames. Chamada means 'call' and can happen at any time during a roda where
1080-457: 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 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 ,
1134-404: Is the capacity to understand someone's intentions and making use of this understanding to misdirect someone as to your next move. In the contemporary capoeira, this is done good-naturedly, contrary to what the word may suggest. Nestor Capoeira explicated malícia as follows: I think malícia is not only to feign, to pretend that you are going to deliver a certain blow and do something else, but
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#17327719962561188-407: 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
1242-528: The African diaspora similar to capoeira include knocking and kicking from the Sea Islands , and ladya from Martinique , both of which likely originate from Engolo . In the past, many participants used the name angola or the term brincar de angola ("playing angola") for this art. In police documents, capoeira was known as capoeiragem , with a practitioner being called capoeira . Gradually,
1296-464: 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
1350-430: The berimbau could be used to conceal those inside, or even to turn itself into a weapon by attaching a blade to its tip. 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 . Mestre Bimba included in his teachings a curso de especialização or "specialization course", in which
1404-630: The Afrikan Mind: the Role of Martial Arts in Contemporary African American Cultural Nationalism" by Professor Tom Green of Texas A&M University . This martial art style became more accessible and public at the beginning of the 21st century. JHR is divided into various regional styles. These include: Capoeira Capoeira ( Portuguese pronunciation: [kapuˈe(j)ɾɐ] )
1458-519: The Franklin Avenue Posse, as well as numerous Wu-Tang Clan songs and Ted Conover 's book Newjack. Recently, celebrities including actor Larenz Tate and rapper Ludacris have taken up the fighting system for film roles and self-defense, shining a brighter light on this previously underground martial art. The existence of this martial art was originally somewhat debated, but mainstream media exposure has contributed towards raising
1512-423: The ambivalence between these three elements is a fundamental aspect of the ancestral grammar shared by engolo and capoeira. Playing capoeira is both a game and a method of practicing the application of capoeira movements in simulated combat. It can be played anywhere, but it's usually done in a roda . During the game most capoeira moves are used, but capoeiristas usually avoid punches or elbow strikes unless it's
1566-462: The areas of low vegetation in the Brazilian interior where fugitive slaves would hide. Well, there is one thing that nobody doubts: the ones to teach capoeira to us were the negro slaves that were brought from Angola. In the past, some participants used the name angola or the term brincar de angola ("playing angola") for this art. In formal documents, capoeira was known as "capoeiragem", with
1620-452: The art became known as capoeira with a practitioner being called a capoeirista . In a narrower sense, capoeiragem meant a set of fighting skills. The term jogo de capoeira (capoeira game) is used to describe the art in the performative context. Although debated, the most widely accepted origin of the word capoeira comes from the Tupi words ka'a ("forest") paũ ("round"), referring to
1674-463: The awareness of the martial art. According to Dennis Newsome, a well-known JHR practitioner, JHR is an indigenous African American fighting art that has its origins in the 17th and 18th centuries, when slaves were first institutionalized and needed to defend themselves. Oral tradition has the skill evolving secretly within the U.S. penal system, with regional styles reflecting the physical realities of specific institutions. This theory relates JHR to
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1728-548: The capoeira group's musical style. 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. 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
1782-409: 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 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
1836-429: 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
1890-400: The first principle of capoeira and the embodiment of malice. The continuous, ceaseless bodily motion, known as gingar , is the principle that creates deception or trickery, catching the opponent off guard. The bênção kick, ironically named, reflects another form of malícia. Slave owners would gather slaves in the morning, often on Sundays, to offer blessings, despite their mistreatment. In
1944-489: The fusion of African and European/American bare-knuckle fist-fighting styles known as "cutting", which is said to have been practiced by champions such as Tom Molineaux , and also to the little-known African-American fighting skill known as " knocking and kicking ", which is said to be practiced clandestinely in parts of the Southern US and on the Sea Islands . Alternatively but unlikely and unfounded; it may be that JHR
1998-501: The martial side. Aerial acrobatics are common in a presentation roda , while not seen as often in a more serious one. Takedowns, on the other hand, are common in a serious roda but rarely seen in presentations. The batizado (lit. baptism) is a ceremonial roda where new students will get recognized as capoeiristas and earn their first graduation. Also more experienced students may go up in rank, depending on their skills and capoeira culture. In Mestre Bimba's Capoeira Regional, batizado
2052-458: The music's lyrics, telling something that's happening in or outside the roda. The capoeirista resorts to an endless number of tricks to confuse and distract his opponent. He pretends to step back but he returns quickly; jumps from side to side; lies down and gets up; advances and retreats; pretends not to see the opponent to deceive him; turns in all directions; and shrinks in a cunning and bewildering ginga . The basic term of capoeira philosophy
2106-520: The oral tradition, identifying engolo as an ancestral art and locating the Cunene region as its birthplace. Still, some authors believe there were more ancestors besides engolo. However, at the core of capoeira we find techniques developed in engolo, including crescent kicks , push kicks , sweeps , handstands , cartwheels , evasions and even the iconic Meia lua de compasso , scorpion kick and L-kick . The street capoeira in 19th-century Rio
2160-489: The overlapping meanings of game, dance, and tradition. This overlap is also found in Afro-Brazilian folklore, where many similar forms of expression are called brincadeiras (games). Some scholars have interpreted capoeira as a way of concealing martial arts within dance movements. However, research from Angola suggests that the relationship between game, fight, and dance may be even deeper. These scholars propose that
2214-435: 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 ). Upon graduating, pupils were given a red scarf which marked their specialty. This course was scarcely used, and was ceased after some time. A more common custom practised by Bimba and his students, however,
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2268-449: The rhythm angola is being played. It happens when one player, usually the more advanced one, calls their opponent to a dance-like ritual. The opponent then approaches the caller and meets them to walk side by side. After 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 watching to see if the opponent will let his guard down so she can perform
2322-403: The same term [REDACTED] This disambiguation page lists articles associated with the title JHR . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=JHR&oldid=1187817976 " Category : Disambiguation pages Hidden categories: Short description
2376-455: The street, instituted the academia , prescribed uniforms, started to teach women and presented capoeira to a broader audiences. 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
2430-404: The style required by the musical rhythm. The game finishes when one of the musicians holding a berimbau determines it, when one of the capoeiristas decides to leave or call the end of the game, or when another capoeirista interrupts the game to start playing, either with one of the current players or with another capoeirista . In a roda every cultural aspect of capoeira is present, not only
2484-419: 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 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
2538-480: The traditional capoeira Angola , distinguishing it from reformed capoeira as the Brazilians' national sport. In the late 1970s, trailblazers such as Mestre Acordeon started bringing capoeira to the US and Europe, helping the art become internationally recognized and practiced. On 26 November 2014, capoeira was granted a special protected status as intangible cultural heritage by UNESCO . Martial arts from
2592-524: 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. 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
2646-411: Was developed. It was repeatedly outlawed and its performers persecuted, and it was declared totally illegal and banned in 1890. In the early 1930s, Mestre Bimba reformed traditional capoeira and incorporated elements of jiujitsu , gymnastics, and sports. As a result, the government viewed capoeira as a socially acceptable sport. In 1941, Mestre Pastinha later founded his school where he cultivated
2700-456: 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. This weapon training is almost completely absent in current capoeira teachings, but some groups still practice the use of razors for ceremonial usage in the rodas . In Bantu culture, the Nkhumbi term ochimama encapsulates
2754-576: Was not a product of penal institutions, but rather an evolution of the many African martial arts or fighting games which were practiced by slaves, with different styles evolving separately in different penal institutions. According to this theory, some people believe Jailhouse Rock may be a modern American manifestation of the many African martial arts that were disseminated throughout the African diaspora, comparable to martial arts including Afro-Brazilian Capoeira , Cuban Mani and Martiniquese Ladja. It has
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#17327719962562808-403: Was the first time a new student would play capoeira following the sound of the berimbau. Students enter the roda against a high-ranked capoeirista (such as a teacher or master) and normally the game ends with the student being taken down. In some cases the more experienced capoeirista can judge the takedown unnecessary. Following the batizado the new graduation, generally in the form of a cord,
2862-494: Was then followed by a key reference in Douglas Century 's nonfiction book Street Kingdom . This book played a key role because it introduced one of 52 Blocks most senior living practitioners; Kawaun "Big K" Adon. Kawaun would unite with Martial Arts Historian Daniel Marks and Fitness Innovator Hassan Yasin (GIANT) to form the organisation Constellation. This organisation would motivate the authorship of essays like "Freeing
2916-614: Was very violent and far from the original art. This street-fighting capoeiragem was mix of five fighting techniques: foot kicks, head butts, hand blows, knife fight and stick-fighting , only the first of them arguably originates from Angolan art. That now extinct version of capoeira was called capoeira carioca (meaning of Rio de Janeiro). Modern capoeira comes from Bahia , and was codified by mestre Bimba and mestre Pastinha , in regional and angola style. Despite their significant differences, both mestres introduced major innovations — they moved training and rodas away from
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