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
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
114 THE CAPOEIRA SCENE IN BAHIA<br />
saint-<strong>of</strong>-the-snake in the c<strong>an</strong>domblés de caboclo’. 79 Most observers did relate capoeira to the more syncretic<br />
c<strong>an</strong>domblés, which are also <strong>of</strong>ten identified as belonging to the ‘Angola’ nation.<br />
<strong>The</strong>se are, however, comments from outsiders, which do not necessarily reflect the way practitioners <strong>of</strong><br />
capoeira <strong>an</strong>d <strong>Afro</strong>-Brazilia n religio ns saw t heir m utual relatio nship. C<strong>an</strong>domblé priestesses were <strong>of</strong>ten<br />
not that keen to have their shrine associated with the capoeiras. <strong>The</strong> <strong>an</strong>thropologist Ruth L<strong>an</strong>des was told by<br />
one <strong>of</strong> them: ’Well, they say it’s because the men <strong>of</strong> capoeira do not believe in God. <strong>The</strong>y drink a lot <strong>of</strong> rum,<br />
they are tough customers, sometimes they are lawbreakers—it’s <strong>an</strong>other world.’ 80 I believe that most<br />
‘mother <strong>of</strong> saints’ would have insisted on the fundamental differences between c<strong>an</strong>domblé <strong>an</strong>d capoeira,<br />
between the cult <strong>of</strong> the ‘saints’ (orixás) <strong>an</strong>d what was primarily regarded as a recreational activity, a game<br />
(jogo or brincadeira). As M.Cobrinha Verde said: ‘<strong>Capoeira</strong> for those old <strong>an</strong>goleiros had her magic.<br />
Nobody should confuse the magic <strong>of</strong> capoeira with the magic <strong>of</strong> c<strong>an</strong>domblé.’ 81 For that reason it c<strong>an</strong> be<br />
more fruitful to look not only at formal similarities with Afric<strong>an</strong> religions, but rather with Afric<strong>an</strong> combat<br />
games. E.Powe highlighted that <strong>Capoeira</strong> rituals conform to the requirements <strong>of</strong> the Afric<strong>an</strong> martial arts,<br />
namely: (1) invocation, (2) tr<strong>an</strong>sformation, <strong>an</strong>d (3) celebration. Thus the ladainha, chula, <strong>an</strong>d corrido from<br />
capoeira equate with each <strong>of</strong> the three divisions from Hausa combat games. 82<br />
Links between Catholicism or c<strong>an</strong>domblé <strong>an</strong>d capoeira did not exhaust the spiritual aspects pervading the<br />
art. Even though m<strong>an</strong>y capoeiras sought protection from <strong>an</strong> orixá, especially the warrior Ogun or the hunter<br />
Oshossi, 83 others requested protection elsewhere. It is very likely that some nineteenth-century capoeiras<br />
were Muslims. Islamic influence on capoeira are for inst<strong>an</strong>ce detectable in the use <strong>of</strong> the term abadá—<br />
denominating in contemporary capoeira the practitioners’ uniform. <strong>The</strong> term derives from the white tunics<br />
which Muslim slaves (malês) used during prayers. 84<br />
When M.Cobrinha Verde, in the quote above, distinguished the magic <strong>of</strong> capoeira from the magic <strong>of</strong><br />
c<strong>an</strong>domblé, he probably referred to what is known in Brazil as m<strong>an</strong>dinga. That term is best tr<strong>an</strong>slated into<br />
English as ‘sorcery’ <strong>an</strong>d is probably derived from the M<strong>an</strong>dinka people in West Africa, although there is <strong>an</strong><br />
alternative etymology. 85 M<strong>an</strong>dinka slaves were renowned for their knowledge <strong>of</strong> healing <strong>an</strong>d magical<br />
powers during times <strong>of</strong> slavery. <strong>The</strong> me<strong>an</strong>ing came to include <strong>an</strong>y practice regarded as ‘witchcraft’ by the<br />
white establishment, <strong>an</strong>d more particularly protective devices, such as prayers or the confection <strong>of</strong> amulets,<br />
usually worn around the neck. <strong>The</strong>se patuás, believed to ‘close the body’, that is, to protect its owner against<br />
<strong>an</strong>y bad spells <strong>an</strong>d even against bullets, were very popular among capoeiras. ‘Closing one’s body’ used by<br />
c<strong>an</strong>domblé practioners <strong>an</strong>d m<strong>an</strong>dingueiros (sorcerers) alike, also became paramount in Bahi<strong>an</strong> vadiação. In<br />
addition to spiritual protection it refers to the specific ways practitioners moved, striving to adopt postures<br />
that are less likely to expose them to sudden attacks. 86 <strong>The</strong> use <strong>of</strong> witchcraft by capoeiras also explains why<br />
m<strong>an</strong>dingueiro became <strong>an</strong>other synonym for the practitioners <strong>of</strong> the art.<br />
Although m<strong>an</strong>dinga predomin<strong>an</strong>tly derived from Afric<strong>an</strong> practices, some symbols <strong>of</strong> m<strong>an</strong>dinga also<br />
related to Western esoteric traditions. <strong>The</strong> five-pointed star <strong>of</strong> Solomon, for inst<strong>an</strong>ce, was <strong>of</strong> common use<br />
among slaves in Brazil, <strong>an</strong>d was also frequently employed by free workers, for inst<strong>an</strong>ce cart-drivers, <strong>an</strong>d<br />
capoeiras. 87 M.Noronha made extensive use <strong>of</strong> the star <strong>of</strong> Solomon, accomp<strong>an</strong>ied by the Catholic initials<br />
J.M.J. (for Jesus, Mary <strong>an</strong>d Joseph). He carried that m<strong>an</strong>dinga symbol in his patuá, painted it on the gourd<br />
<strong>of</strong> his music bow, <strong>an</strong>d drew it on the pages <strong>of</strong> his m<strong>an</strong>uscripts. 88<br />
<strong>The</strong> knowledge <strong>of</strong> strong prayers to ‘close the body’ was <strong>an</strong>other common practice among Bahi<strong>an</strong><br />
capoeiras. M Cobrinha Verde, ‘son’ <strong>of</strong> the orixás N<strong>an</strong>amburucu <strong>an</strong>d Oxalá , is a famous case in point.<br />
During years he used prayers to St Ignes, St Andrew, ‘seven capelaries’, <strong>an</strong>d ‘seven leaves’ from a<br />
scapulary (breve), guarded safely on a virgin plate on his table at home. His teacher in this syncretic,<br />
pragmatic way <strong>of</strong> combining different religious traditions was <strong>an</strong> Afric<strong>an</strong>, Uncle Pascoal, from S<strong>an</strong>to<br />
Amaro. Cobrinha Verde relates how he used to go <strong>an</strong>d cle<strong>an</strong> the old m<strong>an</strong>’s house on the other side <strong>of</strong> the river.