Trailer: Mandinga in Colombia

Event in honour of Mestre Pastinha

Em homenagem à Vicente Joaquim Ferreira Pastinha, o Portal Capoeira exalta o Mestre, propondo a toda comunidade capoeirística o "VIVA PASTINHA".

Um mês dedicado a Vida e Obra deste Grande Homem e Mestre de Capoeira.

Dia 05 de Abril, Mestre Pastinha teria completado 120 anos, se estivesse "fisicamente vivo"...

Vicente Joaquim Ferreira Pastinha, era uma pessoa bem-humorada, descontraída, bastante receptivo, rico em conhecimento, seu saber transcendia as rodas de capoeira.

Mestre Pastinha, era o guardião da capoeira Angola, a Capoeira Mãe... Imortalizou o seu legado e o seu amor incondicional pela Capoeira... Deixou discípulos e seguidores espalhados pelo Mundo...

João Grande, João Pequeno, Gildo Alfinete, Curió, Moraes, Bola Sete, Cobra Mansa, Jogo de Dentro, Janja... e tantos outros grandes Mestres...

A Capoeira Angola, a capoeira tradicional, continua forte, mágica, lúdica, maliciosa...continua encantando e contagiando...

Salve Mestre Pastinha, Salve a Capoeira Angola!!!

Durante o mês de Abril, vamos todos formar uma grande roda de Angola... Vadiar em homenagem ao Mestre e celebrar os 120 anos de sua "Vida pela Capoeira"

Iêêê

... VIVA PASTINHA...

É assim que devemos ver... apesar de não estar neste plano, ele continua vivo, na essência da própria Capoeira!!!

Dica de leitura (Artigos, Matérias e Documentos): "VIVA PASTINHA"

o Manuscritos de Mestre Pastinha.
o Mestre Pastinha (Salvador – 1971) Homenagem de Reyson Gracie
o Pastinha... da Bahia à África - 1966
o A Fascinante Angola... De Pastinha a Moraes
o Ética de Pastinha
o A Herança de Mestre Pastinha
o Cartão Postal "VIVA PASTINHA"
o Capoeira na televisão francesa em 1963
o Documento Histórico: “Capoeira, Brazilian Karate

Novos Downloads

o Olhar Branco em Balaio Negro (24)
o Guia Prático da Nova Ortografia Brasileira - 2009 (206)
o Revista Textos do Brasil - Edição nº 14 - Capoeira (314)
o A Capoeira na Sociedade do Capital (215)

Próximos Eventos

Abril
o I Fórum de Pesquisa e Prática de Culturas Afrodescedentes -
Abril 08, 2009 (08:00) - Abril 14, 2009
o Festa do Nascimento do Boi Morro do Querosene -
Abril 11, 2009 (08:00)
o 6 Open Brasileiro de Capoeira do Df -
Abril 17, 2009 (Todo dia)
o 6º Open Brasileiro de Capoeira do Distrito Federal -
Abril 18, 2009 (08:00) - Abril 21, 2009
o Curso: Patrocínio Cultural -
Abril 18, 2009 (08:00)
Ver Agenda de Eventos
Adicionar Evento

Um grande abraço a todos,
Luciano Milani

Mestre Joao Grande Workshop in NYC

Time: April 4, 2009 at 10pm to April 5, 2009 at 8pm
Location: Capoeira Angola Center of Mestre Joao Grande
Organized By: Mestre Joao Grande

Event Description:
Workshop "120 Years of Mestre Pastinha!"

Date: April 4th - 5th, 2009
Time: 10:00 AM - 5:00 PM
Where: Capoeira Angola Center of Mestre Joao Grande - 104 W 14th St. - 3rd Flr - New York, NY
Cost: $25 for the workshop - $20 for the Roda.

Please join us to celebrate "120 Years of Mestre Pastinha!", the workshop taught by the legendary MESTRE JOAO GRANDE at his academy in NYC!
Mestre Joao Grande will be honoring his Mestre, Vicente Ferreira Pastinha, the Mestre Pastinha! Mestre Pastinha was born on the 5th of April, 1889. He would be 120 Years old if he was alive. We will be celebrating the spirit of Mestre Pastinha, which still alive on us!

Mestre Joao Grande will be teaching the music of Capoeira Angola, Movements and sequence of movements of the old Mestres, talking about Mestre Pastinha and his importance for Capoeira Angola, as well as show old pictures of his collection, and to finalize the Saturday's Workshop, Mestre Joao Grande will answer your questions as well.

On Sunday, April 5th, Mestre Joao Grande will have a big Roda of Capoeira Angola to celebrate "120 Years of Mestre Pastinha!" It starts at 2:30 PM, and goes till 8:00 PM.

Program:
10::00 - 12 Noon: Movimentos & Sequencias de Movimentos (Mestre Joao Grande will be teaching movements and sequences of movements of the Old Mestres)
12:00 - 1:00 PM: Lunch break
1:00 - 3:00 PM: Music Workshop (Mestre Joao Grande will be teaching Toques do Berimbau, Ladainhas & Corridos)
3:00 - 5:00 PM: Questions & Answers (Mestre Joao Grande will be answering your Capoeira Angola questions, as well as talking about his experiences and History of Capoeira Angola)

Come to participate with Mestre Joao Grande to support Capoeira Angola Center of Mestre Joao Grande.

Please bring your instruments, Axe', and desire to learn directly from a legend!

Feel free to bring Flowers, Fruits, and Juices to share with our Capoeira Angola family.

All Capoeira styles and levels welcome!

Thanks for your support!

Health, Energy, Peace & Blessings,
and Axe' to whom is from Axe' !

Mestre Joao Grande

http://joaogrande.org


"CAPOEIRA ANGOLA IS A DANCE, AN ART,
A PROFESSION, AND A CULTURE"
MESTRE JOÃO GRANDE

"A aranha vive da teia que tece..."
("The spider nourishes from the net it weaves...")
Mestre Bimba

"Livrai-nos de todo o mal. Amem!"

The Black Power of Capoeira

(Photo from the Black Belt archive)

By D. David Dreis
Published in Black Belt magazine in the early 1970s

http://www.blackbeltmag.com/the_black_power_of_capoeira/archives/541

The nation of Brazil is taking a long, hard look at its checkered past. Some of what it sees is in need of a whitewash, cleaned up and scrubbed so that it makes good reading in history books. Slave uprisings, the likes of which were steeped in bloodshed, are part of its folklore. And Brazil is finally accepting capoeira as the true black power of its nation.

For several years now, Brazil has skirted its heritage with capoeira. It has been overlooked, disregarded and dismissed. Historians battled against bureaucratic red tape to find the clearing, some gaps in history had to be filled in. A few years ago an 81-year-old Portuguese man, an eyewitness to the open gaps in history, told his story; the story was about capoeira.

Vicente Ferreira Pastinha was the man who did the filling. What he talked about at length were the slave uprisings against the cruelty of persecution and the tool of self-defense employed by the slaves, created by the blacks.

Now that Brazil is taking its reluctant look, it is learning about capoeira and wincing at what it has learned. Descriptions aptly outlined by the old man attest to fast-moving arms and legs battling the onslaught of intemperate slave owners, fighting against the huge organization of oppression only to be pressed down in bloody defeat. Capoeira had its most terrifying results in the slave uprisings against the plunderers of human dignity, the landowners who were in operation since the colonization of Brazil by the Portuguese. With each suppression came more and more restrictions until at last, weary and beaten, the insurgent African natives, the slaves, were defeated. As the white populous worked on the ledgers of history, they erased the black marks of capoeira, pretending it never happened. Pastinha remained alive and brought the reality of the past into full focus.

Kept alive in the secrecy of hardened souls, the martial art continued to be taught and learned, and if movements were displayed, they were said to be a harmless native dance. This was the way capoeira survived the torture of time.

Pastinha revealed how the cultural aspects of the art seemed to vanish and how desperate students used the art to break down the statutes that were placed in their way. That they used capoeira for damage and destruction without rhyme or reason is also part of the haggard history. Without the culture and the heritage, much as that taught in the world of the martial arts, there was nothing save destruction and demolition. Again and again, insurgent blacks were put down in one after another bloody encounters. Capoeira’s heritage seemed to vanish for good.

Now, 81 years old and blind, destitute save for the income that has been secured from devoted followers of the art, Pastinha is cared for with the respect of students who look at him with the same dedication that Japanese karate and judo students look toward their sensei. He lives in Salvador, Brazil, and still partakes in the martial art, although the years and the disregard have taken their toll on his prowess.

But as Pastinha has revealed the past, a 68-year-old instructor known only as “Master Bimba” is advancing it to the future with his instruction in the martial art. Since he has been teaching capoeira, many practitioners have passed through his hands and are advancing the art further still.

Five years ago, a group headed by Benjamin Muniz started to make a true and schematic study of the “kata” of capoeira, transferring what Pastinha related into viable and teachable terms. Reluctantly, the nation began to recognize capoeira and accept it for what it was although they have staunchly refused to accept it as a national sport, knowing all too well that capoeira is not a sport at all. Today, it has been “washed down” as a cultural, native dance. In this manner capoeira is, to the Brazilian hierarchy, “acceptable.”

International Prestige

Muniz and his group, the Olodum, are performing demonstrations wherever they can find an audience. Their efforts at folklore festivals have garnered them international prestige, despite the backhanded help given them by national officials.


In 1968, the Olodum represented Brazil at the Third Latin American Folkloric Festival staged in Argentina and took second place after finding themselves winners of three gold medals and one silver. This year, they garnered a first place win at the Latin American Festival held in Peru. So commanding was their performance, supported by musical instruments, which are part of its clean-scrubbed look, that the Brazilian Ministry is paying homage to the art with the inclusion of capoeira demonstrations on its “official” schedule of national demonstrations.

But its homage is to the development of the black man in the martial arts. Although the students today are members of all races, much like many of those studying Oriental martial arts are Caucasians, the Negroes are paid the most homage through their development of capoeira.

Nothing is making the black man walk tall more than his tie in the culture of the martial arts. This heritage has become entrenched in the folklore of the martial arts history. And there’s nary a tinge of the Oriental in its makeup.

How strange it was for the heritage to start in Brazil and seemingly end there, because slaves were traded and deposited all over the world. Quite possibly, had there been instructors in the martial art in the United States, capoeira might have changed the face of history in North America.

This is not a treatise on civil rights; it is a testimony to an austere and legitimate martial art that identifies with all of the traditions of the other martial arts forms. As the Japanese warlords oppressed the Okinawan populace, causing them to seek an effective means of self-defense, so it is with capoeira, developed from the black African who was trained to fight the elements in his homeland but turned to use his training to fight against the tormentors of human dignity in Brazil.

Representatives of Brazil, those who wish to look with pleasure on the history of their nation, would like the demonstrations of the dance to continue and be treated as a dance. Indeed, capoeira, because of its potentially dangerous aspects, must be practiced as a dance, as a “kata,” but there cannot be a “kumite.” The practitioners know the law and are forced to accept it, but they earnestly believe that the art could be a dynamic sport if the reigns of government myopia were removed.

Admittedly, there have been many practitioners of the art who are working out with no punches or kicks pulled. It has resulted in some damaging effects, and even they recognize that the unleashed power of the art must be tempered somewhat for a sport in which the nation could take pride. As Gichin Funakoshi tempered karate and Jigaro Kano tempered judo, the leaders of capoeira, perhaps Master Bimba, are looking for that combination of sport-art.

The emphasis on capoeira is on muscular strength, joint flexibility and rapid movements. All of these are calculated to subdue, and subdue fast, any threat, any battle.

Quick Body Movements

Capoeira makes much of quick body movements as most of the martial arts do. But it places a greater emphasis on the power of the legs, strong weaponry in the employ of trained fighters. A capoeira man may meet a fighter face to face, but in a fraction of a second he can flip to the ground, shooting a strongly placed foot into a vital attacking area. It has been said that the capoeira fighter, trained to put punch-power in his foot, can effectively destroy a man mortally with a well-placed kick!

That it whets the interest of those who see it has been fairly well documented. In Los Angeles to attend a folklore festival, the members of Olodum were besieged with requests from students to demonstrate at local colleges and universities. At every demonstration, there was much interest in bringing the martial art instruction to the United States. Many of those people making the requests were, to no one's surprise, from the black community.

In Sao Paulo, Brazil, Waldemar Dos Santos is the man in charge of making capoeira popular. His is a mission that has seen the face of determination muddied by blockades to his perseverance.

Dos Santos, a short, strong man with scarred hands and forehead, learned his capoeira on the streets. But he is the foremost teacher in this city where study in judo and karate have reached a new high in interest and attendance. At 37, the man is determined to have capoeira become even more important than these other martial arts. “This is Brazilian,” he says with assuredness. “This fighting art is in the blood.”

So pronounced is Dos Santos about capoeira and its nationalistic ties that more than 100 students are studying with him. He learned the martial art in the beaten-earth clearings, which were to become “academies” for capoeira in Rio de Janeiro, Brazil, but having now returned to Sao Paulo, the young man is determined to make the art “official.”

He, too, has suffered from the oppression of red-tape authority. He has titled his “course” a Brazilian folklore movement. His students practice in what was once the parlor of a townhouse, its walls now smeared with dirty palms and feet. After six months of “dance” movements, which in reality is the “kata,” Dos Santos instructs his students into the violent phase of the art. “I admit,” he says, not too proud of the statement, “that Brazilian capoeira is one of the dirtiest, formalized fighting styles known.”

How “dirty” has capoeira been or become? The history books are not clear on this point, either. There are many legends surrounding the martial art and explaining how it was used by Brazilian sailors who picked it up and “adapted it” from the slaves before them. According to some sources who reluctantly admit it, the sailors used capoeira to “fight for keeps,” taping knives and razor blades to their bare feet and hands before entering a fight. Dos Santos shrugs his shoulders on this facet. Perhaps that was how the art was “bastardized” by the Brazilian sailors, but he has enough confidence in “empty hand” and “empty foot” facets of the art to bypass that addition.

Recent Police Records

Recent police records in Rio show what happens when capoeira gets out of hand. Military police tried to arrest a drunken capoeira (the term is used for the fighter as well as the art) nicknamed “Master Satan.” Satan took on a 24-man platoon and fought them to a draw. Seven policemen were hospitalized, two with broken arms and two with split livers. When Satan still stood defiant after a battering by 24 billy clubs, police had to decide whether to shoot him or let him sleep it off. They decided to try the latter.

“The feet are man’s most deadly weapon,” says Paulo Romero, a Rio capoeira practitioner. “The head is the weakest. Capoeira aims at bringing the strongest weapon to the point of weakness.”

Master Bimba has defined the modern sport-art and outlined 72 separate movements that have colorful names, similar to those given in tai chi chuan, such as “Daddy’s Scissors,” “Banana Plant” and “Tail of the Dragon Fish.”

“Before World War II,” Master Bimba says, “capoeira was illegal.”

Police were called wherever it was practiced. Now, at long last, it is being appreciated for the thing of physical beauty that it really is. Speed, agility and multiplication of force is the key.

Master Bimba knows that this definition is in conflict with the view taken by the fighters in the art. “Capoeira is as graceful as a ballet, but it was invented to kill,” he admits. “In a street fight in old Colonial Brazil, capoeira was a fight to the finish. A knife, a razor, a broken bottle made a capoeira the equal of 20 men.”

Pastinha, however, shirks the contempt against the art. Historically, it belongs to Brazil and it should be recognized, in his opinion. “As a Brazilian,” he says, “I am proud of this friendly country. The capoeira meeting his adversary has the possibility by means of lightness and quickness of the art to disarm any opponent, either taking the weapon from him or vanquishing him by throwing the armed adversary to the ground.”

Pastinha is still the prime authority on the art, and he has seen it develop to a point of respectability. Master Bimba is the foremost practitioner and teacher in Brazil, and his students are as enthusiastic over the techniques as students anywhere. There are some who are unhappy that it is locked into the demonstration aspect, colorful though it may be with its musical accompaniment and bright costumes, ofttimes striped trousers that give off a garish and more “carnival” appearance than most. At least the art is being nurtured and someday perhaps, if it continues to live and gain in popularity, capoeira may grow into a full-fledged martial art and a national endeavor.

Right now, one university accepts it as part of its curriculum within its folklore program. Moving it over to physical education may be a tricky accomplishment, but until that day does arrive, the followers of the art will continue to demonstrate it, allowing people to forget it is really an example of black power.

Celebrating Yemanjá Day

I've taken part in this festival - on February 2nd - every year since 1987

Spreading the word about Capoeira and its roots

Dancer Frances Santana teaching samba-de-roda

Mestres João Grande and Cobrinha

You can hear Moraes singing in the background - this was probably shot shortly before I joined GCAP.

My last roda?

João Grande invited me to play in his roda when I visited his school in New York in February 2007. I've just realised that, for health reasons, that might be the last time I'll ever play Capoeira, so I've decided to post it. I started out a bit rusty - I hadn't played in over 10 years - but limbered up towards the end (I'm the one in the blue jeans).

João Grande on Berimbau

When I first met João Grande in 1987, this legendary Capoeira master was performing for tourists at restaurant (A Moenda), playing berimbau and wearing a giant floppy Mexican hat. Now he has an honorary PhD and his own school in NYC. There is justice in this world, pre- and post-Obama.

João Grande - one of Capoeira's greatest "jazz stylists"

I filmed this in February 2007 and am publishing it as a respectful tribute to a great friend and talented Capoeirista who happens to be - in my humble opinion - one of the great unknown jazz stylists of our time - "Capoeira jazz." Enjoy.

Mestre Cobra Mansa (Cobrinha) & Jamaica

Back to 1987 - Jumping ship (part 2)

Continuing where I left off a while back

Back then, Ilê Axé Opô Afonjá had a shop at the Hotel Pelourinho in the historic district of Salvador, which sold beads and all the other items that Orisha worshippers require. I went there straight after my first meeting with Mãe Stella and asked for Oshun beads. They asked me, which kind? I had no idea. Was my Oshun young or old? I didn't have a clue. So I decided to go for the colour that "spoke" to me. I have always liked yellow and yellow-brown stones - cat's eyes, brown and yellow topaz and amber, so I chose the dark amber beads and later had them "washed" with herbs to make them sacred. Otherwise, they'd just be a necklace. I found out soon afterwards that I'd made the right choice.

At some point during my wanderings that day, I stopped by the fort (now the Capoeira Fort) in Santo Antonio Além do Carmo. GCAP was closed for the day, but João Pequeno was sitting alone in his school right below it, on the ground floor. I walked through the door that gave onto the courtyard and greeted him, telling him of my decision to stay. I don't remember his exact words, but the idea behind them was clear - I had to stay in Bahia and help develop Capoeira, for myself and others.

So I stayed on, training three times a week, with "rodas" on Saturdays and Sundays. I've been asked about those training sessions, so I'll try to describe them - we formed rows and did certain moves over and over and over again, individually at first, then in pairs. Practicing the negativa that way was good for me because it built up my upper arm strength - something that is generally a challenge for women in Capoeira. It's the move that allows you to keep low to the ground while someone's foot or leg sweeps over you. Your arms take your weight as you lower your entire body to the ground, so you can spring up and smoothly move into a counterattack.

Training at GCAP was very different from learning the Regional style, which generally involves set sequences of defensive and offensive moves. We learned our Angola moves one at a time and only put them together in the "roda." We also practiced handstands, backbends and aus (cartwheels) - but the slow low style, not the high flashy Regional "star".

I'll never forget that, when I met up with Paris in São Paulo that year - the last time I'd see him, as it turned out - he asked if I'd finally learned the au. It was the one thing I thought would be easy and turned out to be impossible - at least, in LA. He was impressed when I said I finally had - but unfortunately I couldn't show him because we were in a busy bus station at the time. So the method worked. I also learned to walk on my hands and do front flips (but never back flips) and continued to play in the "roda" until I was seven months pregnant in 1988. (To be continued...)

Nice to be included

...though I'm no "mestre" - just a grasshopper

http://www.capoeira-connection.com/main/content/view/192/1/

Photos of Dembe - traditional boxing in Nigeria

See slideshow here:

http://news.bbc.co.uk/2/shared/spl/hi/picture_gallery/08/africa_traditional_boxing_in_nigeria/html/1.stm

Nas on Colbert Report re Racism on Fox

Fox petition delivered

On Wednesday, Fox got a taste of what can happen when folks who care about racial justice come together and push back. The seconds you took to sign the Fox petition helped create a major story in the mainstream media. Here's how it unfolded on Wednesday:

1:00 p.m. Your signature was printed off at a New York City Kinko's along with 620,126 others--filling 19 big boxes.

2:00 p.m. The signatures were piled in front of Fox's national headquarters at 6th Avenue and 48th Street.

3:15 p.m. Hip hop star Nas (whose new album had just risen to #1 on the Billboard charts hours earlier) joined over 100 ColorOfChange.org members and delivered the petitions to Fox on behalf of ColorOfChange, MoveOn, and Brave New Films.

3:30 p.m. Fox refused to accept the petitions. (Sometimes, the truth hurts.)

4:00 p.m.-9:00 p.m. News of Fox's racism and the star-studded petition delivery made its way around the world--with stories in Vibe, Rolling Stone, Billboard, USA Today, Associated Press, Reuters, Bossip, Huffington Post, MTV, OpenLeft, and over 200 other places.

11:30 p.m. Stephen Colbert welcomed Nas as his guest on the Colbert Report and dedicated over half of his show to Fox's racism. The boxes containing our signatures were stacked prominently on Colbert's set in place of his normal interview table and chairs--and he conducted the entire interview surrounded by petitions! Then, Nas performed his new song "Sly Fox," which is all about Fox's racism.

Since then, our poweful message to Fox keeps spreading, and they're sounding desperate. True to form, Fox responded with a racially insensitive statement comparing our partner MoveOn to the Klan -- yes, the KKK! It's outrageous -- comparing an organization that works everyday to engage citizens in politcs to a hate group that hunted and murdered Black people in a reign of terror. It's another example of how far Fox will go, but it also shows that they can't address the real issue -- their racist attacks -- because they have no defense.

But the fight's not over. This week, we changed the conversation about Fox and we'll keep bringing the heat -- watch for a message for us in about a week for next steps. But for now, enjoy the video of Wednesday's petition delivery and the video of Colbert. Both videos are at this link:

https://secure.colorofchange.org/fox_delivery/?id=2473-605038

Thanks and Peace,

-- James, Gabriel, Clarissa, Andre, Kai, and the rest of the ColorOfChange.org team
July 26th, 2008

P.S. You can listen to Nas's new single "Sly Fox" on the Colbert video at the link above. If you like it and want to buy the full album, it's available here:

http://colorofchange.org/nas/?id=2473-605038

Help support our work. ColorOfChange.org is powered by YOU--your energy and dollars. We take no money from lobbyists or corporations and our tiny staff ensures your contributions go a long way. You can contribute here:

https://secure.colorofchange.org/contribute/?id=2473-605038

Capoeira joins Brazilian heritage list

15/07/2008 - 9h50m

*Da Redação, com informações do Jornal da Manhã e do G1 redacao@portalibahia.com.br Iphan vai votar nesta terça-feira (15) pedido de registro. (Foto: oglobo.com) A capoeira pode se tornar patrimônio cultural brasileiro. Nesta terça-feira (15), o Conselho do Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) vai se reunir, em Salvador, para votar o pedido de registro da capoeira como próxima manifestação brasileira candidata a patrimônio cultural. Cerca de vinte grupos baianos de capoeira, junto com outros do Rio de Janeiro e do Recife, devem se apresentar em frente ao Palácio Rio Branco, onde acontece a reunião. À noite, haverá uma festa no Teatro Castro Alves. Na ocasião, será inaugurada a exposição 'Na Roda da Capoeira', com pinturas, esculturas em barro, instrumentos musicais, xilogravuras e folhetos de cordel que retratam o universo da dança.

Exhibition - VEM JOGAR MAIS EU, CAMARÁ

Vem jogar mais eu, camará é uma exposição que conta a história da
capoeira baiana entre 1940 e 1980. Estará aberta a visitação de 3 de
julho a 3 de agosto no espaço da Caixa Cultural. A entrada é gratuita.
Busca atrair um público bastante diversificado, capoeiristas, mestres
de capoeira professores, estudantes, e amantes da arte da vadiação.
Escolas com agendamento prévio terão visitas monitoradas. A mostra é
fruto de uma pesquisa realizada pelo Instituto Jair Moura, o mais
completo acervo sobre capoeira do mundo.

Documentary on Mestre Russo

O Zelador (12A)
Directed by Daren Bartlett
Brazil, 2007, 83m documentary

Special screening to celebrate the UK DVD release

The film explores the life of Meste Russo who lives with his family in the intimidating Baixada Fluminense neighbourhood. At an early age Russo discovered the value of capoeira. The music, physical agility, self-defence and philosophy of this Afro-Brazilian cultural manifestation help him endure a life fraught with poverty and danger.

Date Thu 3 Jul
Venue Riverside Studios, Crisp Rd, Hammersmith, W6 9RL
Time 8.50pm
Tickets £7.50 (£6.50 concs.) for double bill

Bookings 020 8237 1111
http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1213282108


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