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
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
ultimately me<strong>an</strong>t adapting his style to that particular type <strong>of</strong> contest. Grabbing <strong>an</strong>d wrestling was not part <strong>of</strong><br />
capoeira fighting tradition, <strong>an</strong>d if capoeira was to be successful against wrestling arts, it would have to<br />
incorporate these techniques. Furthermore, cunning, tricks <strong>an</strong>d malícia were unlikely to be <strong>of</strong> great use<br />
here, even though Bimba knew they were central to survival in the streets. <strong>The</strong> option was therefore either<br />
to adapt his Regional to the ring <strong>an</strong>d lose the connection with capoeira or to retreat from the ring <strong>an</strong>d find<br />
new spaces for his style, where fighting <strong>an</strong>d capoeira rituals could coexist. Fortunately for the survival <strong>of</strong><br />
capoeira as <strong>an</strong> independent art, he chose the latter solution. When ju-jitsu champions such as Jaime Ferreira<br />
provoked Bimba <strong>an</strong>d his students in 1945–1946 by claiming that they did not w<strong>an</strong>t to fight, that Regional<br />
was ‘not worth <strong>an</strong>ything’ <strong>an</strong>d could not compete with ju-jitsu or freestyle wrestling, Bimba declared that his<br />
Regional was not a fight for the ring, but for <strong>an</strong>y situation in real life. 34 Both he <strong>an</strong>d the <strong>an</strong>goleiros thus<br />
seemed to retreat from the ring, at least for the time being. That retreat was not absolute, since in 1949<br />
Bimba <strong>an</strong>d his students still participated in a series <strong>of</strong> matches in São Paulo <strong>an</strong>d Rio de J<strong>an</strong>eiro. Bimba<br />
himself did not enter the ring, but two <strong>of</strong> his pupils were defeated by Sinhôzinho’s students. 35<br />
<strong>The</strong> defeats in Rio <strong>an</strong>d the circumst<strong>an</strong>ces surrounding the match in São Paulo (during which accusations<br />
<strong>of</strong> corruption were raised) might have reinforced Bimba’s conviction that his Regional was definitively not<br />
suited for this type <strong>of</strong> contest. Yet the appeal <strong>of</strong> the ring, where capoeira fighting skills c<strong>an</strong> be measured<br />
with other martial arts, remained. Right up to the present day a number <strong>of</strong> capoeiristas train for other martial<br />
arts <strong>an</strong>d try their skills in freestyle contests. Despised by traditionalists, this type <strong>of</strong> ‘ring capoeira’ or<br />
‘capojutsu’ constitutes nonetheless one import<strong>an</strong>t trend within the contemporary capoeira universe.<br />
New movements <strong>an</strong>d teaching methods<br />
BIMBA AND ‘REGIONAL’ STYLE 131<br />
When Bimba developed the movements, characteristic teaching methods, rituals <strong>an</strong>d m<strong>an</strong>y other features <strong>of</strong><br />
his style is not entirely clear. Bimba himself made contradictory statements in this respect. In 1953 he<br />
claimed to have started the Regional in 1933. 36 Twenty years later, he asserted that he had created the entire<br />
Regional as early as 1928. 37 Accounts by his students or other mestres <strong>of</strong>ten tend to merge aspects from<br />
different periods into one homogeneous narrative, disregarding ch<strong>an</strong>ges, adaptations, <strong>an</strong>d rearr<strong>an</strong>gements. It<br />
is even more difficult to assess precisely to what extent Bimba’s students influenced this development, since<br />
the mestre not only adapted his teaching to a new, middle-class <strong>an</strong>d white constituency, but also because<br />
some <strong>of</strong> his best students had <strong>an</strong> import<strong>an</strong>t say in the codification <strong>of</strong> the style. <strong>The</strong>re is no doubt, however,<br />
that Regional was developed as a distinct style in opposition to both the traditional Babi<strong>an</strong> capoeira <strong>an</strong>d<br />
other combat sports.<br />
Bimba introduced a r<strong>an</strong>ge <strong>of</strong> new, <strong>of</strong>fensive movements into his capoeira. Punches using one or both<br />
h<strong>an</strong>ds (godeme, telefone, galop<strong>an</strong>te) struck the opponent into the face, <strong>an</strong>d unbal<strong>an</strong>cing techniques<br />
(desquilibr<strong>an</strong>tes) employed the arms or tbe upper body to take the opponent to the ground. <strong>The</strong><br />
desequilibr<strong>an</strong>tes, the ponteira <strong>an</strong>d the somersault (salto mortal) are <strong>of</strong>ten said to have originated in batuque<br />
moves. 38 <strong>The</strong> front kick queixada <strong>an</strong>d the sideward ‘hammer kick’ (martelo) in contrast resemble basic<br />
attacks in oriental martial arts. <strong>The</strong>y were executed from a more upright position. All these movements<br />
increased the <strong>of</strong>fensive potential <strong>of</strong> a capoeira player <strong>an</strong>d enh<strong>an</strong>ced his ch<strong>an</strong>ces in confrontations with<br />
traditional capoeiras or practitioners <strong>of</strong> other combat sports.<br />
<strong>The</strong> acrobatic movements using the ‘despised waist’ (cintura desprezada) constituted a further<br />
kinesthetic innovation <strong>of</strong> the Regional. <strong>The</strong> aim was to enable the capoeirista to react against <strong>an</strong>y attempts<br />
to grab him—precisely what practitioners <strong>of</strong> most other wrestling traditions would attempt to do in a free<br />
style contest. <strong>The</strong>se movements (most <strong>of</strong> them called balões, ‘balloons’) consisted in projections <strong>of</strong> one<br />
capoeirista, who had to l<strong>an</strong>d as s<strong>of</strong>tly as possible on his feet after performing <strong>an</strong> acrobatic escape where his