Mestre Bimba e o Berimbau (Master Bimba and the berimbau)

Mestre Bimba foi considerado um dos maiores tocadores de Berimbau da história, e ele mesmo gostava de fabricar os seus, abaixo uma história:

Itapoan explica o processo artesanal de Bimba e lembra de curiosidades que definiam o berimbau construído por Bimba como o melhor:

a) Mestre Bimba era carpinteiro, um “carpina” como gostava de dizer;

b) a biriba era cortada, descascada e deixada para secar atrás da porta;

c) o arame era retirado de pneus velhos sem queimá-los;

d) a cabaça era aberta com faca amolada, tiradas as sementes, lixada e experimentada

no berimbau;

e) a verga era encerada com cera especial (pó da cabaça, açafrão e cola); e

f) por fim, era todo envernizado.

Vale ressaltar que o mestre não aceitava o berimbau pintado e tinha verdadeira desconfiança dos berimbaus vendidos no Mercado Modelo. Dizia que o berimbau pintado, todo colorido, perdia a voz. Era pra enganar turista.

Com a experiência de carpinteiro, o mestre também fazia os pandeiros com a madeira forte e flexível do jenipapo e o couro do bode. O pandeiro era afinado no fogo. Antes das apresentações, juntávamos jornal velho, ateávamos fogo, colocávamos o pandeiro, aos poucos, na quentura, experimentado até achar a afinação. Os atabaques eram utilizados no candomblé e nas apresentações, marcando o ritmo do maculelê e a dança dos orixás.

Fazia gosto ver Bimba tocar o berimbau, tocava com elegância, descontração, o som era limpo, podia-se ouvir cada nota que se amplificava junto com a emoção. Nós, alunos, éramos impelidos a entrar na roda para jogar capoeira, embalados pelo som mágico daquele arco musical. Os alunos ficavam embevecidos no toque da “Iúna” e não raros eram aqueles que se diziam estar arrepiados e emocionados. Até hoje isso acontece.

No atabaque, o mestre era divino, dava um show à parte. Quando tocava o maculelê com som forte, ritmado, preciso e alucinante, impulsionava a todos; assim, também, era no candomblé.

A orquestra da Capoeira Regional é composta por um berimbau e dois pandeiros.

Mestre Bimba justificava, dizendo que o berimbau é quem comanda o ritmo do jogo, e os jogadores precisam ouvir e sentir o seu som por inteiro para se encaixarem na roda e viverem o jogo na sua plenitude.

Master Bimba was considered one of the greatest players in history Berimbau, and he liked to make his own, a story below:
Itapoan explains the process of handmade curiosities Bimba and remember that defined the berimbau built by Bimba as the best:

a) Master Bimba was a carpenter, a "carpenter" as he liked to say;
b) biriba was cut, peeled and left to dry behind the door;
c) the wire was removed from old tires without burning them;
d) open the gourd was sharpened with a knife, taken from the seeds, ground and experienced the berimbau;
e) the rod was polished with special wax (bottle gourd powder, saffron and glue), and
f) finally, it was all varnished.

It is noteworthy that the master did not accept the berimbau painted and had a real distrust of berimbaus sold in the Market Model. She said the berimbau painted, all colorful, lost his voice. It was to fool tourists.

With experience as a carpenter, the master was also tambourines with the wood strong and flexible jenipapo and goat leather. The tambourine was refined in the fire. Before the presentations, juntávamos old newspaper, ateávamos fire, we put the tambourine slowly in the warmth, tried to find the pitch. The drums were used in Candomblé and presentations, marking the rhythm and dance maculelê of deities.

Bimba was a pleasure to see play the berimbau, played with elegance, relaxation, the sound was clean, you could hear every note that was amplified with emotion. We, the students were compelled to enter the roda to play capoeira, lulled by the magic sound of that musical bow. The students were rapt in touch "Iúna" not rare were those who said they were horrified and thrilled. Until now this happens.

In the drum, the Master was divine, gave a show. When played the sound maculelê strong, rhythmic, precise and hallucinatory, drove to all, so, too, was in Candomblé.

The orchestra of Capoeira Regional is composed by a berimbau and two tambourines.

Mestre Bimba justified, saying the berimbau is who controls the pace of the game, and players need to hear and feel your whole sound to fit the wheel and the game live in its fullness.