Capoeira: The History of an Afro-Brazilian Martial Art

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THE CAPOEIRA SCENE IN BAHIA 95 Figure 4.1 Townships and parishes in the Recôncavo in the mid-nineteenth century. From Bert Barrickman, A Bahian Counterpoint: Sugar, Tobacco and Slavery in the Recôncavo. Copyright 1999 by the Board of Trustees of the Leland Stanford Jr. University. With the permission of the Stanford University Press, www.sup.org.
96 THE CAPOEIRA SCENE IN BAHIA institutions of colonial society, such as the Jesuit seminar. As a result, a tiny, white elite dominated the political and cultural life of what many observers perceived as being an almost African city. Although not the size of Rio de Janeiro, Salvador in the early nineteenth century was still one of the major Atlantic cities with an impressive slave population. Population figures prior to the first national census of 1872 are not entirely reliable, but João Reis estimated the population of the city at 65,500 for the year 1835. 4 The 27,500 slaves represented 42 per cent of that total. Less than a third of the city’s inhabitants, or 28.2 per cent, were considered white, whilst the free ‘coloured’ population amounted to 22.7 per cent and the free Africans to 7.1 per cent. Since Africans constituted the majority of the slave population (63 per cent), as much as one third of Salvador’s population was African during the first decades of the nineteenth century. The numerous African languages heard in the streets of the city invariably impressed foreign observers. Slave traders deported their human cargo from two major areas: West Africa and Kongo/ Angola. (In the older literature slaves from these areas are often referred to as ‘Sudanese’ and ‘Bantu’.) 5 Historians distinguish several cycles, during which slave imports from one particular region predominated: Senegambia in the late sixteenth century, Kongo/Angola in the seventeenth century and the Mina Coast and the Bight of Benin in the eighteenth and early nineteenth centuries. Yet even during the last cycle, Bantu slaves from Congo and Angola still constituted about a third of all Africans in Bahia. 6 Slave life in the city of Bahia was to a large extent similar to that in Rio de Janeiro already and discussed in Chapter 3. The urban condition implied a greater heterogeneity of individual situations. Some slaves held relatively comfortable positions as domestics in the smart residences of the upper town Vitória parish. Mucamas were in intimate contact with masters, and so were others whose job consisted in making their owner’s life as pleasant as possible. Skilled slaves executed qualified work for their artisan masters in workshops spread around the city. The large majority, however, slaved in harsher jobs. Slaves ‘for hire’ (escravos de ganho or ganhadores) were employed in all the menial tasks despised by slaveholders with contempt for manual labour, and most especially in porterage. Escravos de ganho and freedmen waited for customers at specific street corners, called cantos, often organized along ethnic lines (see Figure 4.2). 7 The example of the cantos reveals that slavery or freedom was not the only relevant polarity in the social construction of identity. The conditions of urban slavery and the concentration of so many Africans in a relatively small area made it possible for slaves and freedmen from similar ethnic backgrounds to gather together and reproduce some important aspects of their African heritage, regardless of their condition. This however did not occur without important adaptations and adjustments. If slave culture, in both its sacred and profane dimensions, was, to a large extent, segmented along ethnic lines, boundaries were far from rigid. As we have seen in Chapter 2, three major neo-African ‘nations’ emerged in Salvador, which amalgamated smaller groups sharing similar cultural or linguistic backgrounds: Angola, Jeje and Nagô. Some further subdivisions survived, which reflected original African provenance or political allegiances. Thus Ijexá, Ketu, and Ijebú—all identified as Nagô—initially related to specific Yoruba kingdoms. As the slave and free black population became increasingly creolized during the nineteenth century, these political and ethnic identities became primarily liturgical and cultural ones. Religion was the area of social life around which popular culture coalesced. The celebration of patron saints represented the most visible aspect of popular religion and culture in Salvador and the Recôncavo since at least the nineteenth century. Each festival took place in and around the parish church dedicated to a saint. In Salvador the annual cycle of festivities was opened on 4 December with the celebrations for Santa Barbara in the commercial Baixa dos Sapateiros, followed by those for Nossa Senhora da Conceição da Praia on 8 December and Santa Luzia do Pilar, on 13 December, both located near the waterfront in the port area. After the Christmas period, the festivals of Boa Viagem, on 1 January, and especially Bomfim, on the second Thursday in January, attracted a wide audience from all over the city. The celebrations in the fisher
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Capoeira First documented among Afr
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Sport in Australasian Society Past
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First published 2005 by Routledge,
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viii ‘Vagrancy’ in Bahia, c.189
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x 6.5 Performance by Mestre Pastinh
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xii If and when the possibly epheme
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xiv To a large extent the writing-u
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xvi
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2 INTRODUCTION ever since. 3 Capoei
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1 The competing master narratives o
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COMPETING MASTER NARRATIVES 7 that
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elaboration and the dissemination o
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popular classes—against capoeiras
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COMPETING MASTER NARRATIVES 13 mona
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COMPETING MASTER NARRATIVES 15 In t
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COMPETING MASTER NARRATIVES 17 Figu
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COMPETING MASTER NARRATIVES 19 Mari
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COMPETING MASTER NARRATIVES 21 Artu
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COMPETING MASTER NARRATIVES 23 In S
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COMPETING MASTER NARRATIVES 25 A mo
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[…] the diaspora experience as I
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COMPETING MASTER NARRATIVES 29 wome
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32 THE CONTEXT OF THE BLACK ATLANTI
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Page 61 and 62: 44 THE CONTEXT OF THE BLACK ATLANTI
Page 85 and 86: 68 CAPOEIRAGEM IN RIO DE JANEIRO 18
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Page 110 and 111: 4 Workers, vagrants and tough guys
Page 114 and 115: hamlet Rio Vermelho on 2 February,
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Page 120 and 121: THE CAPOEIRA SCENE IN BAHIA 103 Fig
Page 128 and 129: These three types of song and their
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Page 132 and 133: Uncle Pascoal rewarded him one day
Page 134 and 135: THE CAPOEIRA SCENE IN BAHIA 117 ban
Page 136 and 137: THE CAPOEIRA SCENE IN BAHIA 119 to
Page 140 and 141: THE CAPOEIRA SCENE IN BAHIA 123 ful
Page 142 and 143: 5 Mestre Bimba and the development
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Page 148 and 149: ultimately meant adapting his style
Page 156 and 157: Figure 5.5 M.Bimba teaching soldier
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BIMBA AND ‘REGIONAL’ STYLE 145
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6 Mestre Pastinha and the codificat
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Vicente Ferreira Pastiña: his earl
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PASTINHA AND ANGOLA STYLE 151 Figur
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PASTINHA AND ANGOLA STYLE 153 gener
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PASTINHA AND ANGOLA STYLE 155 Pasti
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PASTINHA AND ANGOLA STYLE 157 dogma
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PASTINHA AND ANGOLA STYLE 159 Figur
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PASTINHA AND ANGOLA STYLE 161 Dress
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The last years Soon another kind of
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PASTINHA AND ANGOLA STYLE 165 exper
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7 Contemporary capoeira, 1950-2004
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CONTEMPORARY CAPOEIRA 169 This navy
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CONTEMPORARY CAPOEIRA 171 Figure 7.
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CONTEMPORARY CAPOEIRA 173 Figure 7.
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CONTEMPORARY CAPOEIRA 175 became th
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significantly during the 1980s. Pro
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CONTEMPORARY CAPOEIRA 179 them are
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CONTEMPORARY CAPOEIRA 181 Capoeira
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CONTEMPORARY CAPOEIRA 183 indulge i
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e-invention of capoeira Angola. In
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state of the union. Many, if not mo
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grown to become another core capoei
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CONTEMPORARY CAPOEIRA 191 States te
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CONTEMPORARY CAPOEIRA 193 long run.
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CONTEMPORARY CAPOEIRA 195 ‘capoei
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CONTEMPORARY CAPOEIRA 197 technique
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CONTEMPORARY CAPOEIRA 199 recognize
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CONTEMPORARY CAPOEIRA 201 best tole
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CONTEMPORARY CAPOEIRA 203 leaders o
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Conclusion: the contemporary meanin
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CONCLUSION 207 lamented that Europe
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CONCLUSION 209 The impressive proli
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Glossary Abadá 1 Tunics used by Mu
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GLOSSARY 213 Maculelê Dance from S
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Notes Series editor’s foreword 1
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NOTES 217 29 Marta Abreu, O Impéri
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87 Desch-Obi, ‘Engolo’, pp. 212
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NOTES 221 27 J.J.Reis and E.Silva,
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NOTES 223 73 For the variety of com
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NOTES 225 128 R. and S.Price (eds),
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NOTES 227 28 A.P.D.G., Sketches of
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93 Abreu, Os capoeiras, p. 8. 94 Ab
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NOTES 231 31 Coutinho, O ABC, p. 25
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NOTES 233 79 Carneiro, Negros banto
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NOTES 235 14 It seems, however, tha
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NOTES 237 71 See Abreu (Bimba é ba
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NOTES 239 29 Estatuto do Centro Esp
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NOTES 241 7 Lopes, A volta do mundo
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NOTES 243 78 Praticando Capoeira, V
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152 Jornal Abadá-Capoeira, No. 30
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Bibliography References for archiva
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BIBLIOGRAPHY 249 Barthes, R., Mytho
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BIBLIOGRAPHY 251 Dossar, K., ‘Dan
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BIBLIOGRAPHY 253 Lesser, J., Negoti
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BIBLIOGRAPHY 255 Pastinha, V.Ferrei
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BIBLIOGRAPHY 257 Soares, C.E.Líban
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abadá 135, 172, 187, 209 Abadá Ga
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calinda 58, 209 Calmir, Mestre 183
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weapons 45; and withcraft 65; wrest
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Kongo 20, 22, 24 Kongo-Angola cultu
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and establishment of Angola style 1
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Training Centre for Army Officers i
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Capoeira: The History of an Afro-Brazilian Martial Art

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