Capoeira: The History of an Afro-Brazilian Martial Art
Capoeira: The History of an Afro-Brazilian Martial Art
Capoeira: The History of an Afro-Brazilian Martial Art
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THE CAPOEIRA SCENE IN BAHIA 107<br />
Figure 4.7 <strong>Capoeira</strong> roda (left) <strong>an</strong>d students <strong>of</strong> Mestre Juvenal (right) near Mercado Modelo in the port area. Photos<br />
by Pierre Verger, 1946–7. By kind permission <strong>of</strong> the Pierre Verger Foundation.<br />
Most movements require good bal<strong>an</strong>ce <strong>an</strong>d flexibility, as well as strength, since players <strong>of</strong>ten equilibrate<br />
themselves on their arms or their head while executing a kick (see Figure 4.7).<br />
<strong>The</strong>re is also some controversy regarding the instruments used in the former rodas, in particular regarding<br />
the berimbau <strong>an</strong>d the drum. E.Carneiro suggested that the berimbau might only have been incorporated into<br />
capoeira at the beginning <strong>of</strong> the century. This is consistent with all the nineteenth-century sources already<br />
examined. E.L.Powe even reports that M.Pastinha told him that when he learned capoeira only a drum was<br />
used. 46 Yet in contrast to contemporary capoeira, all early twentieth-century sources seem to agree that no<br />
drum (atabaque) was employed, but only berimbaus <strong>an</strong>d tambourines (p<strong>an</strong>deiros). <strong>The</strong>y were eventually<br />
complemented by some other percussion instruments, such as the chocalho (metal rattle), the reco-reco<br />
(scraper, also called g<strong>an</strong>zá in Bahia) <strong>an</strong>d the agogô (metal bell). 47<br />
According to some sources even small guitars (violas, cavaquinhos) were sometimes played in capoeira<br />
rodas, a further indication that at this stage, capoeira was still not <strong>an</strong> entirely formalized art. 48 Moreover, the<br />
berimbaus were not necessarily restricted to three. M.João Pequeno remembers when four or five berimbau<br />
players came along with their instrument, they would all play together. 49 Early photographs <strong>an</strong>d drawings <strong>of</strong><br />
capoeira orchestras confirm this flexibility <strong>of</strong> the number <strong>of</strong> berimbaus <strong>an</strong>d tambourines. One might argue<br />
that in times <strong>of</strong> police repression, it was difficult to run away with a heavy drum, <strong>an</strong>d thus the introduction<br />
<strong>of</strong> the berimbau. This, however, would not explain the absence <strong>of</strong> the atabaque in more permissive<br />
environments, such as the square festivals.<br />
Whilst capoeira in all three contexts shared common features, greater informality characterized the<br />
practice at the workplace or even in the neighbourhoods. In the latter capoeira was played in everyday<br />
clothes, <strong>of</strong>ten in shorts, without a shirt <strong>an</strong>d even barefooted. On the docks <strong>an</strong>d g<strong>an</strong>gways players wore<br />
working clothes, in general as informal as the everyday attire used in the neighbourhoods. Only during the<br />
square exhibitions did players wear more elaborate <strong>an</strong>d formal Sunday dresses. Good players took pride in<br />
joining a roda with their white linen suit <strong>an</strong>d not have it stained during the game or lose their hat. Despite<br />
the acrobatic movements executed close to the ground only h<strong>an</strong>ds, feet <strong>an</strong>d head were supposed to touch the