Player’s Manual 2008/2009
“This publication is an integral part of the Project to mobilize youth from inner/outer city areas, through the 2008 Brazilian Basquete de Rua League (BBRL) with the financial aid from the Ministry of Justice, through PRONASCI.”
This edition conceived by CUFA — Central Única das Favelas and developed by Celso Athayde.
The easily understood language of this text brings for the first time to the pages of a publication the dialect and rules of Brazilian Basquete de Rua in Brazil.
All rights reserved by CUFA
Central Única das Favelas
Rua Carvalho de Souza – 137/111 Madureira
Rio de Janeiro – RJ - CEP 21350-180 Tel: 21-3015-5927
Concept and Project Coordination: CUFA- Central Única das Favelas
Project Development: Fernanda Borrelli
Support: Ministry of Justice
Editing: Fernanda Borrelli, Simone Basílio, Claudia Raphael, Ana Paula Sabbag, Gleice Ferreira, and Jane Carvalho
Cover and Graphics: Galdino and Leandro Fernandes
Photos: Fabiana Cruz and CUFA Photo Collection
Publisher: CUFA
Central Única das Favelas-CUFA
Player’s Manual 2008/2009
Thanks
For us to express our thanks to those involved in realizing this project, it would require a much larger space than just a few lines.
Nevertheless, we believe that all the pages of the publication would not be enough for all the names of those who helped us to further this project.
The Player’s Manual is the direct result of a few “crazies”, who one day met up at a Hip Hop show for a pickup game with a “garbage can” and an improvised basketball court.
It would be very unfair to list names here, it is better if CUFA thanks everyone who has CUFA in their hearts, this way we are certain not to leave anyone out.
Index
What is Basquete de Rua?
The First State Basquete de Rua Championship
The First City Championship
Brazilian Basquete de Rua Over the Years
Brazilian Basquete de Rua League
Regulations
Official Court Dimensions
The Game
The Ball and The Player
Ball Movement and Delay of Game
5 Second Clock / 20 Second Clock
Moves and Tricks
Basket Height
Point Scoring
Free Throws
Tie Score at the end of Regulation Play
Defensive Formations
Fouls
Personal Fouls
Individual Fouls
Team Fouls
Intentional Fouls/Unsportsmanlike Conduct
Fouled When Dunking
Team and Individual Fouls During Championship Tournament Play
Unsportsmanlike Conduct: Fighting
Penalty Cards
Yellow
Blue
Red
Referees
Scorer’s Table
Uniforms (Equipment and Apparel)
National Tournament Qualifications IBRL
Important Elements for Basquete de Rua
MC’s
DJ’s
Libbretes
Graffiti
Breaking
Skateboarding
The Youth and the Libbrinha
Honorary Presidents of LIIBRA
Official Anthem of LIIBRA
Street Slang
What is Basquete de Rua?
The court was Warehouse 5, on the wharf at the Port of Rio de Janeiro. The basket was a garbage can. At that time the youngsters played an improvised “poor man’s basketball” with an orange ball similar to a real basketball and, then, at the Hutúz Rap Festival (an annual festival of Hip Hop) in 2001 began the concept of National Basquete de Rua (a variation that bridges traditional basketball to Streetball).
The improvisation was immediately adopted e adapted by Central Única das Favelas (CUFA) leadership, the social institution responsible for organizing the event, and wound up creating, within the event itself, a place where this fun and highly competitive activity could be played.
Then, in 2002, CUFA — who always sees sports as a great tool to be utilized to promote self-esteem for people — created the first national Basquete de Rua Championship, Hutúz Basquete de Rua (HBR), that was held within the Hutúz Rap Festival, the largest Hip Hop event in Latin America. Thirteen teams from around Brazil competed in the tournament that was held over a three-day period.
Even though HBR continues to this day, HBR became too small, three days was not enough to hold a championship that was growing bigger with each year and attracting youth from all over the country. CUFA then created BBRL – Brazilian Basquete de Rua League became the only national reference for this type of cultural-sports activity. And in its first season, in 2005, the BBRL finals were held on one of the most notable stages in the carioca culture, The Sambadrome of Rio de Janeiro.
This spontaneous manifestation of love for basketball and Hip Hop, came together just like typical urban movement and became a link in the relation of sports, the Hip Hop culture and the social movement, giving a definitive validation to Basquete de Rua of which it came to be a fundamental part.
A sports gathering with a social and cultural commitment that offers young urban culture lovers, a relation that transforms the environment into a hub of communication for youth from urban areas all around Brazil.
Well-known as “basket-art”, highlighted by ingenious plays, exciting and dynamic differences in play, Basquete de Rua isn’t held to the conventional rules, but created their own. Within the boundary lines that define the basquete de rua court, the liberty to create new rules is what matters most.
In this, CUFA prides itself in helping society interact in the largest ALTERNATIVE spaces for those who love the integration of art and participation sports, be it through Hutúz Basquete de Rua, the State Tournament Basquete de Rua— SEBAR (which already is taking place in every state in the country) or the LIBBRA, the Central Única das Favelas will continue, as it has been doing form more than 10 years, providing assistance in every form possible to access and insertion by way of street culture.
The First Basquete de Rua State Championship of Brazil
With the success of the Brazilian Basquete de Rua League, CUFA felt obligated to encourage, since 2005, the creation of a State Tournament Basquete de Rua (SEBAR) in each participating state. The first to be created was SEBAR-RJ, an event that over two months brought together teams from many cities within the state in a battle for their place in BBRL, and thus a place amongst the best times in the country. Today, STBR became a natural step for the league, with the competitions in all the states that want a place amongst those teams being considered the most prepared in Brazil.
The First Municipal Championship
The first city Basquete de Rua Championship also happened in Rio in 2006. The objective of the competition was to create conditions for young people to participate in the citywide tournament. The Carioca Urban (LUC) League was then created under the Negão de Lima Viaduct in Madureira (Rio de Janeiro, RJ).
These two events spread throughout the country, sparking what would be the beginning of a new and different basketball, Basquete de Rua, and fortifing the process of social integration of all the urban areas of Brazil through this sport. AS OF 2009…
International Basquete de Rua League - IBRL (Formerly Brazilian Basquete de Rua League – BBRL)
Official Rules
As of 2009, the names “SEBAR” and “LUC” will no longer be used, the Brazilian Basquete de Rua League will be known as the International Basquete de Rua League, an international institution, governing Basquete de Rua the world over, and will be disputed in the following tournaments: City Tournaments; State Tournaments; National Tournaments; World and South American Tournaments. The World Tournament will be disputed during odd years, and the South American will be disputed during even years.
Below is the document created by the International Basquete de Rua League that governs the official rules for full court 4-on-4 basquete de rua games.
Official Rules of Basquete de Rua of Brazil
Game Regulations of LIBBRA (International Basquete de Rua League)
Art. 1º - The rules of the LIIBRA have the express objective to establish uniformity and standardize for Basquete de Rua competitions, used as an instrument for participation sports promoted/organized by CUFA, its state representatives and those in the Federal District.
Single Paragraph – The rules apply, indistinctly, to all the players/teams, men and women participants of the Basquete de Rua competitions organized under the responsibility of CUFA, nationally, or, its state representatives.
1. Official Court Dimensions
The Basquete de Rua court will consist of whatever measurements are possible, but, the official court dimensions suggested by LIBBRA are 12m x 22m, ideal for the number of players in action.
2. The Game
2.1 Basquete de Rua is disputed between two teams of up to 8 players (4 players on the court and up to 4 players on the bench), with the objective to “make”/convert a basket against the opposing team.
2.2 The game can be played anywhere, for example: in the street; improvised courts; gymnasiums; under freeways; outside in the open air; and so on, with its principal philosophy being to motivate participation, fun, social integration, and cultural insertion and recreation, building the competitive spirit.
2.3 Official LIIBRA games as well as state tournaments, except for championship finals, will be disputed in two (2) periods of eight 8 minutes and thirty (30) seconds each, with an interval of one minute between each period. Concerning championship tournament finals, there will be three (3) periods of ten (10) minutes each concurrently.
2.4 Choosing which goal to defend will be decided by odd/even. The winner of the odd/even will choose which side of the court to defend for the first period, for the second period the teams will switch sides. During the championship tournament finals which have three periods, in the third period teams will defend the same side of the court they defended in the first period.
2.5 A game can begin only after a minimum warm up period of five (5) minutes, and, at the end of the warm up period, the official will allow for all the players to greet one another before positioning themselves on the court, when all the players are in their positions including the two players that will participate in the jump ball, the official will begin the game.
2.6 The initial ball possession will be determined by a jump ball performed at center court. The two shortest players will participate in the dispute, with the other players remaining around the outer circle at center court. If there is no circle at center court, all the players involved in the jump ball must remain, at least, three (3) meters from the jump ball, and they will only be able to leave the ground after the ball is touched by the players disputing the jump ball.
2.7 A jump ball will also be used to determine possession of the ball in cases of held balls during the game, executing the jump ball in the exact location where the situation occurred and with the players involved. In the case of more than one player from the same team, the shortest of the two will dispute the jump ball with the opposing team member and, if there were two players from both teams, the shortest from both teams will dispute the jump ball, all the players must be on opposite sides of the court where the jump ball will be disputed. In the case when a held ball occurs and there is a distance inferior to three (3) meters from the centerline that divides the court, the players should keep a distance of three (3) meters from the jump ball and respect the restriction of their feet leaving the ground before the ball is touched by one of the players disputing the jump ball.
2.8 Each team is entitled to one (1) timeout of thirty (30) seconds to stop play during the game in regular competitions. In championship tournament finals the teams are entitled to two (2) timeouts of thirty (30) seconds to stop play during the entire game.
2.9 The game clock will only stop for free throws, or, when a team requests a technical timeout. These are the only two situations that the clock will stop or pause and no other, and the team that deliberately delays or stops game play will be charged a technical foul.
2.10 Players can walk with the ball as long as they dribble the ball on the ground with each step, when executing a trick move where everything is permitted, the player can also hide the ball under his jersey.
2.11 It is not permitted for any offensive player to remain inside the free throw lane of the opposing team for more than three (3) seconds.
2.12 It is not permitted for any player to keep the ball on the side of the court that his team is defending for more than eight (8) seconds.
2.13 The coach and the players on the bench, in no instance, can enter the court during game play, except when substituting another player. Any situation contrary to this, the team will be charged a technical foul and the opposing team will be awarded points equal to the of players and coaches on the court in violation of this rule. In cases where both teams enter the court, both teams will receive a penalty of minus/negative four points to be applied in the next game.
Use of the Feet: Being that Basquete de Rua is a sport played with the hands, use of the feet are prohibited, except when players are doing trick moves with the ball. However, use of the feet is prohibited to intercept plays of the opposing team.
2.14 Putting the Ball in Play
2.14.1 Should the ball go out of bounds along either sideline, play will begin with a throw-in at the point where the fact occurred.
2.14.2 Should the ball go out of bounds along the baseline, a throw-in will be taken on the baseline on the side of the goal closest to where the ball went out of bounds.
2.14.3 After a basket is converted, the ball will be put back in play by a player from the opposing team from outside the court baseline line of the defending team’s side of the court.
2.14.4 In most cases, the ball will be given to the player by the official, except when the team putting the ball in play suffers a basket by the opposing team, in which case one of the players can take the ball and immediately put it back in play.
2.15 Substitutions
2.15.1 Substitutions can be made at any moment and the players do not need to wait for authorization from an official to enter or leave the court for substitutions.
3. Ball Movement and Delay of Game
3.1 A player is not allow to go outside of the boundary line with the ball, and a player shall not be the first to touch a ball which he or a teammate caused to go from frontcourt to backcourt while his team was in control of the ball. When this happens, the official will award possession of the ball to the opposing team.
3.2 A player will be given a technical foul when it is clear to the official that the player is deliberately and purposefully delaying game play.
4. 5 Second Clock / 20-Second Clock / Coach’s Timeout
5 Second Rule: Each player shall not exceed five (5) seconds when putting the ball in play.
20-Second Clock: The maximum time of ball possession and taking a shot will be 20 seconds, should time expire without a shot from the team in possession of the ball, the official will award possession of the ball to the opposing team.
Coach’s Timeout: At any moment during the game, teams may call for a technical timeout, observing the express concession of rules in section 2.8 of this manual.
5. Moves and Tricks
5.1 Players are permitted to do any moves and tricks with the ball, these can be with their feet, their head or in any other way that the athlete uses to elude the defender, this is a way to stimulate versatility and creativity as inseparable elements of this sport. A player can walk or even run with the ball, only when it is being done to demonstrate his ability, and not, to score a basket. This exception, however, does not authorize the player “travel” or dribble the ball with two hands, simultaneously, nor double dribble (dribble, grab the ball with two hands, and restart his dribble).
5.2 In general, a player, in possession of the ball, cannot leave and return to the ground without passing or shooting the ball, unless his doing a trick.
6. Basket Height
6.1 The basket—the name given to the hoop/ring attached to the backboard—is the athletes’ main objective should be 3.07 meters from the ground, creating a higher degree of difficulty to slam dunk the ball, and is worth two (2) points instead of one (1), like a normal basket in Basquete de Rua.
7. Point Scoring
Scores are computed for the following teams:
1 point – Caneta (pen);
1 point – Lance Livre (free lance);
1 point - throw a front line of two points;
1 point – Apagão (blackout) (when the player in possession of the ball covering the head of
label with your opponent or the shirt of his own label);
2 points - buried;
2 points - pitch, behind the line of two points and the front line of three points;
3 points - buried with air bridge;
4 points - pitch behind the line of 3 points and the front line of the half-court;
4 points - pitch, behind the line of half-court, still in his court defense.
8. Free Throws
8.1 For each converted free throw one (1) point is awarded. There is no rebounding on free throws of one (1) point, and, the team shooting the free throw shall keep possession of the ball immediately after the free throw, if the free throw is converted or not.
*If a player is fouled in the act of shooting, the player will be allowed to shoot free throws equal to the points that would have been awarded should the shot have been converted.
8.2 Free throws and “canetinha”: Where a player dribbles the ball between the legs of his/her opponent and suffers a foul before completing the play, the player will be allowed to shoot a free throw and given possession of the ball. The free throw will only be awarded if the official deems the play would have resulted in a basket, to the contrary, only a foul will be charged to the opponent.
9. Tie Score at the end of Regulation Play
Games cannot end in a tie, and when this happens a “heart of three” will take place: 3 minute overtime. The winner will be the team with the most points scored during this overtime period or the team that takes a three point advantage against the opposing team, at even stage during the overtime, even before the three minutes expire.
10. Defensive Formations
10.1 Zone Defense is not permitted, only man-to-man, or woman-to-woman is permitted. In other words, in the men’s games, as well as the women’s games of the IBRL, teams are required to adopt the individual person-to-person defensive formation. Should a team use the zone defense the official will give a verbal warning. Should the team continue to use a zone defense the team will be charged with a technical foul by the official.
10.2 A player can only have possession of the ball for five (5) seconds when being defended man-to-man.
Tocos (Steals /interceptions): Tocos are plays in which the attacker goes for the basket and a defender makes a steals the ball (without committing a foul) and maintains possession of the ball, should he go out of bounds. If, however, the ball does not go out of bounds the game will continue without interruption.
11. Fouls
11.1 Fouls will be put back in play from the sidelines out the court, and, from the baseline of the court. But, the beginning (or beginning of the second period) of the game will always begin with a jump ball administered by the official.
11.2 When a player is executing a trick move, he can be fouled normally. But, if the foul committed is intentional (or violent), the opponent will receive:
Personal Fouls: The conventional rule says: “A foul involves contact with the opponent, and consists within the following parameters: Obstruction, Carry, Guard from behind, Restrain, Hold, Illegal use of the hands, Pushing”. In Basquete de Rua, more contact is permitted. Only when the game becomes tense, on the verge of getting out of control because of this special permission, the official will interrupt the game, bring the teams together and will inform them that he will be more rigorous in foul calling in the game, when before these types of occurrences were tolerated but from now on the players will be charged with a foul.
Individual Fouls: Every player who passes the limit of four (4) fouls in the same game will be obliged to be substituted and will not be allowed to return to play in the game.
In the tournament finals or championships, where there are three (3) periods of ten (10) minutes, the limit permitted of fouls is five (5), with the exclusion of the player when the sixth (6) foul is committed.
*When a foul is committed on a player who is not in the air for a shot, a penalty will be charged and the game will restart from the sideline of the court without free throws. However, if the team that commits the foul already has five (5) team fouls, then, the player who was fouled will be awarded free throws. In the case of the play being intercepted after the player passes the ball between the legs of his opponent, the player dribbling the ball will shoot one (1) free throw and remain with possession of the ball.
Team Fouls: Always, during each game, when a team passes five (5) team fouls, free throws will be awarded to their opponent. In championship finals, when the periods are longer, the limit will increase to six (6) team fouls.
Intentional Fouls/Unsportsmanlike Conduct: Is the punishment that the official will charge a player who is unsportsmanlike, holding his opponent so that the opponent cannot convert a basket, for example. And always when the player is involved in conflicts with the officials and the scorer’s table, even contesting defenses or making gestures to event participants, including the court MC and the cheerleaders and fans. The player will also be punished if he kicks any of the promotional placards around the court or any other equipment of the event.
* Players should always remember that in Basquete de Rua “demoralization”, trying to show up and show off without trying to “humiliate” your opponent, is part of the game. This is why when a player does not allow his opponent to complete a trick move and fouls him disproportionately—not to confuse normal fouls of the game with intentional/unsportsmanlike conduct—the official should punish the player and his team) with a suspension of one (1) minute of the game, without being substituted, and a point reduction for the team of one (1) point.
Enterrada Foul: If the official deems that a player was fouled while going up for a slam-dunk, the player will be given two (2) free throws, and if the basket was converted, the player will shoot only one (1) free throw.
* The following are considered violent play: elbowing, hard and/or aggressive pushing, especially, during a shot. Disputes for the ball are not considered in this case. An unsportsmanlike foul is considered for retaliating for a foul, especially, when the official already charged the foul to the player.
Fouls during Championship Games: In championship finals, when the periods are longer, the number of personal and team fouls are increased by one, consistent with the specifications already mentioned herein.
Penalty In Cases of Fighting: Players that provoke fights or bodily contact, use drugs at the event or enter the court drunk, in addition to being immediately expelled from the court, they will subject to a hearing by the organizing entity of the event, that, based of the facts, recorded material (video or the like), who will decide if the player will be banished from any and all IBRL competitions for a minimum of five (5) years. The victims, should they resolve to file a police report, should solicit all the personal information of the aggressor from the organizing entity, however, with Basquete de Rua, any type of aggression and/or similar behavior should not be misconstrued as emotional imbalance, but as an attack on the culture, the integration and integrity of the people participating, as players, directors or fans.
12. Penalty Cards
12.1 The officials will use cards to identify, for the public and communicate to the players the type of infraction committed.
Yellow: Used as a warning in cases of simple technical fouls (when the official deems the infraction of a unintentional and “light” nature), not respecting the regulations of distance, persistent infringing the rules of the game.
Blue: Used for players who commit intentional fouls, who do not accept the trick moves of the opponent, use aggressive behavior or language, or still, commit hard fouls or fouls with excessive use of force. A Blue card will be charged to any player who directs any aggressive behavior or language towards people of the event, scorer’s table or official.
Penalty: The player will sit on the bench for one (1) minute, without being substituted by another team member. The team will lose one (1) point and will lose possession of the ball.
Red: Used when a player is expelled from the game for aggressive unsportsmanlike conduct, fighting, repetition of intentional fouls, obscene gestures, spitting on an opponent, violent conduct or a suddenly rough play.
Penalty: The red card will require that the player be removed from the court completely, and, for one (1) minute and thirty (30) seconds his team will play without a substitution for his position playing with one less player, and, only after this time period may the team substitute and recompose the team. The team of the expelled player will lose two (2) points upon the presentation of the red card to the player being expelled who cannot return to the court while the round is in progress.
Philosophical Instructions on the Administration of Cards
Basquete de Rua has a commitment to health (mental and physical), never to violence or lack of respect. Thus, the application of penalty cards seeks to exclude any type of manifestation that is in contradiction to these fundamental principles that inspire Basquete de Rua as a participation sport. In addition, many of the expressions used by the players of this sport should not be considered as cussing or disrespect, but that of the urban culture’s own dialect and an integral part of the fun atmosphere and of the participation that it fosters.
13. Officials
13.1 Games should be officiated by three officials on court as the authority within its boundaries, imposing compliance and applying, in an impartial and rigorous way, all the regulations found in this rule book.
13.2 Each official has a specific and principle function, without interfering with the other, naming each one with the following names:
Cosme Official: has as his principle finality to assume responsibility for the more controversial rulings. He sets the tempo of the game and even stops it, if necessary. He also warns when players are too “heated”, he determines when to stop the music and advises how the game, from that moment on, shall go on. Also, he will fill out all the forms and reports about the game, point totals by the teams, as well as personal fouls, team fouls, technical fouls and others committed during the game.
São Official: The second official whose responsibility it is to not let “cera” during the game. He keeps the game time and imposes extra time, if it is necessary. In addition, the São Official maintains contact with the MC of the court. As he sees necessary, he asks the DJ to slow down the music if he deems that it is interfering with the game, he can, furthermore, determine if it is necessary to turn off the music so that the officials can meet with the players.
Damião Official: This auxiliary official, among other functions, is responsible for controlling the twenty (20) second ball possession time.
14. Scorer’s Table
14.1 Is responsible to inform the court officials when everything is ready to start the game, and is responsible for filing out the scorer’s card and controlling the game clock. In addition, the scorer’s table concedes timeouts to the teams, authorizes substitutions, and keeps track of these details, keeps game time and informs the officials of unsportsmanlike attitudes (or infractions/penalties outside the court of play, as long as it is communicated to the organizing entity).
15. Uniforms (Equipment and Apparel)
15.1 In official games, teams have the right to choose which uniforms they will play in. Before the game the teams submit to a verification by organizing entity who will certify that each player of each team is exactly alike and that differences between the teams is sufficient enough as to not cause confusion or errors for the officials or public.
15.2 The use of any object on a player’s uniform that may be dangerous to the player or other players is prohibited.
15.3 In cases where there are discrepancies in uniforms used by the same members of a team, that team will be required to use uniforms provided by the organizing entity. In all cases where a team does not have its own “sports material” the organizing entity will have to provided said “material” for the competition.
National Tournament Qualifications System for the BBRL
The teams that participate in IBRL’s national competition are the teams that qualified as the top 4 teams in their state tournament—this happens simultaneously in all 27 states of the Federation. 108 participating teams, plus the 12 best teams from the previous year, total 120, will be divided into 5 classification rounds. In the first five rounds 24 teams will be divided into 4 groups, with one group of 5 teams. A simple elimination round system will be implemented with one team having a bye, as it is described below:
In phase 1, made up of 5 rounds, the 4 best teams move on to round 2. These 20 teams play against each other, the 4 best teams automatically advance to round 4. The teams that do not classify will play in a Wild Card round which is round 3. In round 3, the 16 teams will dispute 4 places that remain in round 4. In round 4, the 8 teams from rounds 2 and 3 will compete in the quarter and semi finals to determine the finalists. Round 5 the winner will be awarded 1st place along with the other 15 places, totaling 16 places.
Important Elements of Basquete de Rua
MC’s
Well-known personality of urban culture, the MC (or Master of Ceremonies) is the voice heard during the games, because he is on the court doing the play-by-play. Sometimes he jokes with the athletes or fans with the overall intention to create more interaction.
On the court he is responsible to keeping the crowd in the game and strengthen the balance of the play, affirm the repertoire of the DJs, communicate game information and any other important information, call medical assistance for the athletes, etc. The LIIBRA works with three official MCs. They are: Max DMN, Cezinha, and Tony Boss.
DJ’s
Music sets the rhythm of the games and for this reason music on the court is so important. The DJ, also known as the disc jockey (or dee jay), selects and plays the music that plays at the Basquete de Rua events. Normally, the music is rap. The DJ is also in sync with the MC of the court, contributing to hype the crowd. Many DJs have already participated in the history of LIIBRA and others are making history with LIIBRA.
Here are some of the DJs that contribute helping to understand the concept better this story that continues to grow.
Liibretes (formerly Cufetes)
The LIIBRETES, formerly known as the CUFETES, are the cheerleaders that hype the crowd in just the right dosage. The LIIBRETES help during timeouts, halftime, interacting with the crowd leading songs and chants, additionally they perform choreographed dance routines and distribute freebees to the crowd.
Graffiti
Visual urban artists use public spaces to culturally “interfere” with the decoration of the city. Their work usually has a poetic-political edge and is made up of such simple doodles to large murals in specifically designated spaces. Graffiti is present in Basquete de Rua, with canvasses and panels all around the basketball court, during the game. This is just one more element that makes up the wide range of possibilities of the urban culture where Basquete de Rua is present.
Breaking
Dancers also known as breaker boy (or b-boy) and b-girl. They symbolically play out the role of the insufferable situations that affect poor people, be it wars, unemployment, drugs or social inequality. When breaking, these dancers demonstrate poor people’s desire to distance themselves culturally from the system of oppression and exploration, as well as their desire for a better world. It is through this outlet that breaking matches up with Basquete de Rua, in a historic dance directed to the urban culture.
Skateboarding
This radical street sport is practiced on the streets, sidewalks, parking lots, open court areas, and everywhere in between, it is very representative of the street culture. Skateboarding has fulfilled an important roll, not only in creating and bringing youths together at various events, but as a parallel competition wherever LIIBRA is held. The greatest benefit comes from the association of skateboarding with Basquete de Rua, it has given skateboarding new identity and has helped to establish these youths who until recently were seen as hopeless outcasts.
Liibrinha
In 2009, CUFA, will organize a 17 and under basketball championship, for both boys and girls. The youth that participate will be between the ages of 12 and 16 years old when the tournament begins.
Game duration and the rules and regulations are the same as those developed by LIIBRA, except for the height of the basket and backboard, which are at a height of 2 meters and 87cm.
Players can only participate with (written) permission from their parents, in addition to a physical and all documentation as deemed necessary by CUFA.
All athletes who are older than 17 must play in IBRL and cannot play in Libbrinha (Sub-17 IBRL).
Honorary President of IBRL
Nega Gizza is a rapper/founder of CUFA, she was born in Parque Esperança, (Baixada Fluminese). She became president of the LIIBRA for being the lead in all the institutional events.
Gizza was the first rapper to start her own record label, inspired by grass roots entrepreneurialism, she is the first rap radio announcer on FM radio in Brazil, and some of her functions include receiving the public, maintaining good public relations with the basketball players, graffiti artists, DJ’s, MC’s, B-boys and everyone else actively participating in the events.
Honorary Vice-President of LIIBRA
MV Bill has already had a successful career within the Hip Hop market, with access to various segments of society and movements, among them, social, the slums, the Black movement, youth. He has received numerous awards for his militancy; among his awards received most notable are: Orilaxé (Youth), UNESCO (Human Rights), UN (Citizen of the World, Barcelona), and recently establishing himself as a best-selling author and producer of films and documentaries.
But his real revolution is to be involved with the youth of CUFA, the entity that he helped found and has the title of honorary vice-president of LIIBRA. MV Bill also saw Basquete de Rua as a way to convert a lot more than just baskets, but the lives of many young people with beginnings similar to his in the poor community, Cidade de Deus his slum. To christen the relationship in style, MV Bill favored us with the anthem for LIIBRA that today helped construct the urban philosophy call Baquete de Rua in Brazil.
LIBBRA Anthem
MV Bill
Composer: MV Bill
(eu vou) vestir meu uniforme
(I’m) going to put on my uniform
O jogador não dorme campeão da rua
The player never sleeps champion of the streets
(eu vou) invadir a sua quadra
(I’m) going to invade your court
Desafiar seu time a escolha é sua
Challenge your team the choice is yours
(errou)
Your bad
Se não tiver coragem é só assistir
If you don’t have courage just watch
O time de gigantes invadir
The team of giants invading
Vê se não enrola
Be careful not to get caught up
Olha pra frente e passa a bola
Wake up and pass the ball
Jogada de rua que não se aprende na escola
Street moves you don’t learn in school
(fora)
Get out
Driblando na seqüela da favela
Dribbling the consequences of the slum
Mexo no placar com o auxílio da tabela
Up with the score with another assist
Dois pontos mais na casa do adversário
Two more points against the challenger’s house
Muito barulho que põe fogo no cenário
Lots of noise sets fire to the place
Liga Brasileira de Basquete (de Rua)
Brazilian Basquete (de Rua) League
Hip Hop com o esporte que diverte (e tumultua)
Hip Hop with sport that’s fun (and tumultuous)
Comanda o jogo com atitude de negão
Run the game with attitude of a big brutha
Voa alto faz a cesta com os pés fora do chão
Fly high make a basket with your feet off the ground
Dando uma enterrada na cara do pivô
Slam dunkin’ in the center’s face
Que joga por dinheiro enquanto a gente joga por amor
Why play for money when you can play for love
Quem for jogador não espera sua vez
The players don’t wait their turn
Arma a jogada e mete uma cesta de três
Set up a play and score from downtown 3
Se liga
Check it out
Se não tiver na liga observa
If you’re not in the league observe
Torcendo por alguém ou no banco de reserva
Rooting for someone or on the bench
Chorus 2x
(chegou) O bonde do basquete
(it’s here) the basketball gang
Que mistura com o rap e mexe com a torcida (chegou) O bonde do basquete
What a mix with rap and amps the crowd (it’s here) the basketball gang
Que mistura com o rap e vai mudando o clima (chegou) O bonde do basquete
What a mix with rap and gonna stir things up (it’s here) the basketball gang
Que mistura com o rap e mexe com a torcida (chegou) O bonde do basquete
What a mix with rap and amps the crowd (it’s here) the basketball gang
Que mistura com o rap e vai mudando o clima
What a mix with rap and gonna stir things up
Né não né não desse jeito não
Right no right no this way no
Não dá pra desistir e não subir no garrafão
Don’t quit and don’t go up in the key
Bate a bola no chão
Swat the ball to the ground
Deixa o rival do lado do avesso
Leave the rival turned inside out
Mostrando competência na hora do arremesso
Showing confidence when it’s time to shot
E se der aro
And if it hits the rim
Subo no rebote mas não paro
I go up on the rebound but I don’t stop
Basqueteiro que é ligeiro sente o jogo pelo faro
The agile basketball player senses the game by the smell
Hoje não é raro ver uma quadra de basquete (não) Com rap, grafite e a bola na mão do moleque
Today it’s not rare to see a basketball court (no) with rap, graffiti and a ball in a kid’s hand
É a Liga Brasileira de Basquete (de Rua)
Brazilian Basquete (de Rua) League
Hip Hop com o esporte que diverte (e tumultua)
Hip Hop with sport that’s fun (and tumultuous)
Jogada certa pra seguir da opção
Right play creates options
Que muda o destino com uma bola na mão
Change destiny with a ball in hand
Se sinta um campeão
Feel like a champion
Na hora da batalha
When it’s battle time
O time que chegar irá brigar pela medalha
The team that shows up will fight for the prize
Que ajuda a curar da dor interna
Help to cure the pain inside
Bate a bola por debaixo da perna
Dribble the ball between the legs
Pensando sempre no ataque como se fosse um combate
Always thinking attack like it’s combat
No jogo de contato
In the contact game
Só quem for louco
Only for the crazy
Sobe sem respeito na tabela e leva toco
Go up without showing respect and get blocked
Se acha pouco
Think it’s not enough
A partida continua
The game goes on
Guerreiros e guerreiras do basquete de rua
Warrior and Warrioresses of Basquete de Rua
Levanta a mão pro alto
Raise your hand high
Bate a bola no asfalto
Swat the ball to the asphalt
Na seqüência toma a quadra de assalto
Fastbreak take the court by assault
Ganha no rebote quem tiver o melhor salto
Grab the rebound who can get up higher
A gente faz barulho quando o time é lá de fora
We make noise when the team is outside
Nas ruas do Brasil o streetball que sempre rola
In the streets of Brazil streetball is always happening
A jogada é limpa quem tá sujo se embola
Play clean who doesn’t fights
Não enrola
Stop stalling
Passa a bola
Pass the ball
Libbra
Libbra
Só chegar na Libbra
Get closer to Libbra
Se liga
Check it out
E aí dj, cabou?
Hey there DJ, finished?
Não...
No…
Já é irmão da teu papo
OK brutha spit your game
Nós tá junto e misturado rapá
We’re tight and mixed together dude
Refrão 2x
FIM
Street Slang
Afrouxar: Dar moleza.
To be easy; without exerting oneself.
Água de salsicha: Jogo ruim.
To make a bad play.
Apagado: Jogador que não fez nada, foi muito marcado.
A player who doesn’t do anything, guarded very well.
Apagão: A jogada em que o atleta cobre a cabeça do outro com a camisa.
Player covers the head of another player with his jersey.
Apagar: Marcar muito um jogador, não deixá-lo evoluir em quadra.
Guard a player very well, dercease his chances to be involved in plays on the court.
Aqui não!!!: Toco.
To block a shot
Bagunçar: Esculachar, humilhar o adversário.
To make fun of the opponent.
Barulho: Aplausos da Torcida.
Applause of the crowd.
Bater a carteira: Roubar a bola do adversário.
To steal the ball from the opponent.
Bate-bola: Jogador que só dribla e não marca pontos.
Player who dribbles and doesn’t score.
Bebezão: Jogador que reclama de tudo.
Player who complains about everything.
Bicho: Jogador que ignora a marcação, nas enterradas.
Player who plows through opponents on dunks.
Chapa quente: Jogo muito disputado.
Controversial play.
Coca-Cola: Jogador ruim, que só tem pressão.
Bad player who runs his mouth a lot.
Coquinho: Quando o jogador bate com a bola na cabeça do seu adversário.
When a player bounces the ball off of the head of his opponent.
Cravada: Enterrada.
To slam dunk the ball.
Dançar: Ser envolvido pelas manobras do adversário.
To be fooled by the tricks of the opponent.
Entorta o Pé: Deixar o adversário no chão com um drible.
To leave your opponent on the ground after a dribble move.
Espinha: Quando o jogador esconde a bola nas costas do adversário.
To hide the ball on your opponent’s back.
Espremedor de laranja: Dar um toco e prensar a bola na tabela.
To block the ball against the backboard.
Estilizo: Jogador que tem swing no jogo, e as roupas caem bem nele.
Player with good ball and body movement and his clothes fit well; stylish.
Freestyle: Movimentos livres feitos pelos jogadores.
To freestyle.
Jogo de comadre: Jogo sem marcação, no qual todos fazem cesta.
Game where opponent’s defense is poor and the team scores at will.
Jogo de Futebol: Partida com poucos pontos.
Game with a low score.
Jump shot: Arremesso.
A jump shot.
Ligação direta: Quando o jogador passa a bola para outro que está muito distante dele.
A long or cross-court pass between teammates.
Mamão com açúcar: Quando o adversário é muito fraco.
A poor, weak opponent.
Mano a mano: Quando um jogador chama o outro pra "dançar", na intenção de desmoralizá-lo.
One player challenges his opponent to a one-on-one with the intention to demoralize him.
Marrento: Jogador com muita pose.
Player who is a poser.
Mascarado: Jogador metido a bonzão.
Player who thinks too highly of himself.
“Meu Deus": Expressões muito utilizadas pelo MC Max e que já é referência no Basquete de Rua.
Expression used by MC Max and already is a reference in Basquete de Rua.
Mr. M: Quando o atleta simula que passou a bola adiante e esconde-a entre as pernas.
Player fakes a pass and hides the ball between his legs.
Na Cabeça: Enterrada sobre marcação do adversário.
Slam dunk over defender.
Na Cara: Cesta feita com marcação do adversário.
Basket made with defender defending shooter.
Pancadão: Perder ou vencer por uma diferença muito grande de pontos.
Win or lose by a large margin.
Pedra: Quando o DJ solta um som muito bom.
When the DJ plays a good song.
Pega-pega: fazer marcação homem a homem (ou mulher a mulher).
Man or woman defense (man-on-man/woman-on-woman).
Ponte aérea: O jogador recebe um passe no alto quando está indo em direção a cesta e o completa com uma enterrada.
An alley-oop.
Se Liga: Quando o Jogador atira levemente a bola na testa do seu marcador.
Player lightly bounces the ball off the forehead of opponent.
Sem braço: Jogador muito ruim.
Very bad player.
Seu Boneco: Quando o jogador esconde a bola na camisa.
Player hides the ball under his shirt.
Sinistro: Jogador muito bom.
Very good player.
Socada: Enterrada.
A slum dunk.
Tomar um sprite: Errar a cravada, prensando a bola no aro.
Instead of a slam dunk, the ball gets stuck between the rim and backboard.
Traz o Troco: Quando o jogador finge que vai arremessar enganando o adversário fazendo-o pular.
A pump fake that fools the opponent.
Trombadinha: Jogador que rouba a bola do adversário.
Player steals the ball from opponent.
Varrer: Dar um chega pra lá no adversário, expulsá-lo da sua área.
Clear out, faking out opponent to create space.
This is the first publication of Basquete de Rua of Brazil
Developed by Celso Athayde (who produced “Falcon – Boys of Drug Trafficking” and “Falcon – Women of Drug Trafficking”) this work was produced under the supervision of CUFA with the objective to bring together all the rules and trickery of Basquete de Rua/urban basketball. Strengthening the practice of sports through the Hip Hop culture, to stimulate social inclusion, removing otioseness, for youth in the urban areas in the entire country. Celso Athayde saw in urban sports the opportunity and the challenge to reach more youth of the outskirts through a language they understood well, and with this, creates the tools to help keep them from being socially at-risk. CUFA today is the largest organizer of Basquete de Rua in Brazil, bringing more partners to help increase the number of youths being helped throughout Brazil’s national territory.
Thanks
Adriana Afonso, Alberto Kopittke, Alcino Rocha, Amaury Soares, Ana Zuffo, Anita Schuartz, Bianca Persici, Carolina Nascimento, Claudia Bonalume, Clécio Arruda, Cristina Oliveira, Daniela Neves, Minister of SEPPIR Edson Santos, Eduardo Gringo, Eloi Ferreira, Eni Fabre, Fábio Nunes, Fernando Decnop, Graça Santos, Hércules Pelles, Ivison Sá, Jair da Mata Coutinho, João Luiz, João Ghizoni, Jorge Damião, José Land, Jô Neves, José Luiz Bartolo, Júlio Cezar Batista, Lúcia Irene di Barros, Luciana Sá, Luciana Martins, Luis Erlanger, Manuela Pinho, Marcos Capitani, Marina Maggessi, Marina Soares Athayde, Mario Amaral, Mônica Pantoja, Octavio Florisbal, Minister of Sports Orlando Silva, Pedro Prata , Rafael Dragaud, Rafael Donato, Rafael Vandystadt, Reinaldo Gomes, Rejane Penna Rodrigues, Ricardo Macieira (Municipal Culture Secretary of Rio de Janeiro), Rizzo, Roberto Schmidt, Walter Feldman (Municipal Secretary of Sports and Leisure of the City of São Paulo), Minister of Justice Tarso Genro, Thadeus Kassabian, Valdir Orantes, Vinícius Wu, Zaqueu Teixeira, Zilma Ferreira e all our friends at the Ministry of Justice, Ministry of Sports, SEPPIR, Municipal Culture Secretary of Rio de Janeiro, Municipal Secretary of Sports and Leisure of São Paulo, Oi, Oi Futuro e Globo Network.
Thanks for Your Content Collaboration on this Project
Carlinhos – CUFA Basquete de Rua Team
Celso Athayde Jr.
Diskreto - GO
Ernando - CE
Freitas - SP
Galdino - RJ
Marção - CUFA Basquete de Rua Team
Karina - MT
Leandro Souza de Lima – Leandro
Leonardo Moreira de Lima - Léo
Linha Dura - MT
Manoel - RS
Marco Aurelio - CUFA Basquete de Rua Team
Max - DF
Pedro Ivo - CUFA Basquete de Rua Team
Preto Dicko - MA
Rogaciano Filho - RJ
Thales Pereira Athayde
Wanderson WG – CUFA Basquete de Rua Team
Brazilian Basquete de Rua League
Honorary President
Nega Gizza
Honorary Vice-President
MV Bill
Project Coordinator
Celso Athayde
Administrative Coordinator
Marilza P. Athayde
Legal Counsel
Alvaro Melo Filho
Technical Coordinator
Fernanda Borriello
Sports Coordinator
Rogaciano Filho
Production Coordinator
Claudia Rafael
Production
Gleice Ferreira, Lohana Monteiro, Vanessa Alves and Carol Brasil
Public Relations
Fernanda Nascimento – RJ
Marcelo Gusmão – SP
Editing and Proofeading
Fernanda Borriello, Simone Basílio, Claudia Raphael, Ana Sabbag, Gleice Ferreira, Jane Carvalho, Elaine Martins, Vinícius Zampieri
Layout
Galdino
Cover
Leandro Fernandes
Graphics
Galdino and Leandro Fernandes
Photos
Fabiana Cruz and CUFA Photo Collection
Research Team
CUFA Brasil
Photolithography and Printing
Daijo Gráfica editora
Technical Support
Thiago S. Pereira
English Translation
Ronald Knighten
Marketing Consultant
ONSPORTS — Oscar Neves
Realização:
CUFA – Central Única das Favelas
www.cufa.org.br
|
