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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136 BIMBA AND ‘REGIONAL’ STYLE<br />
choreographed game including the acrobatic balões. <strong>The</strong> final <strong>an</strong>d most difficult test consisted in playing<br />
with <strong>an</strong> adv<strong>an</strong>ced student, who tried to take the medal from the gradu<strong>an</strong>d’s chest with his kicks. If he<br />
succeeded, the student was not allowed to graduate (this allegedly happened only twice). 59 <strong>The</strong> graduate<br />
students were now allowed to play in <strong>an</strong>y Regional roda to the Iúna rhythm, but also exposed adv<strong>an</strong>ced<br />
students to hard play.<br />
<strong>The</strong> money collected through the fines was used to pay for the drinks consumed by the adv<strong>an</strong>ced students.<br />
Bimba did not permit consumption <strong>of</strong> strong liquors <strong>an</strong>d only allowed beer or mulher barbada (a special<br />
drink wbose recipe only the mestre knew) once the examination <strong>an</strong>d the roda were over. Students <strong>an</strong>d<br />
audience then consumed Bahi<strong>an</strong> food, <strong>an</strong>d all particip<strong>an</strong>ts, women included, could enjoy themselves in a<br />
samba de roda. <strong>The</strong> graduation party also included a samba duro. 60<br />
Group identity was further reinforced through the adoption <strong>of</strong> uniforms. Early types were clearly<br />
modelled on jerseys used in other sports. In subsequent years the uniform reproduced the style <strong>of</strong> port<br />
workers’ clothes, the abadá—collarless shirts <strong>an</strong>d trousers ending just below the knees. Bimba adopted<br />
white abadás, the colour <strong>of</strong> the traditional Sunday outfit in which adepts played capoeira during religious<br />
festivals. White is also the colour <strong>of</strong> the supreme orixã Oxalá worshipped during the Bomfim celebrations<br />
in J<strong>an</strong>uary (see Chapter 4). <strong>The</strong> emblem <strong>of</strong> the school—the Solomon star with <strong>an</strong> R inside, topped by a<br />
cross—was sewn onto the shirt. 61<br />
Maybe the most import<strong>an</strong>t innovation introduced by Mestre Bimba was that he taught his art to a much wider<br />
audience, <strong>an</strong>d thereby contributed to the spreading <strong>of</strong> capoeira to other social groups. This exp<strong>an</strong>sion<br />
without doubt facilitated the decriminalization <strong>of</strong> the art. According to the testimony <strong>of</strong> M.Decânio, it all<br />
started when Cisn<strong>an</strong>do Lima came from Ceará to study at the medical faculty in Salvador. Cisn<strong>an</strong>do had<br />
already practised weight-lifting since adolescence <strong>an</strong>d learned ju-jitsu from a Jap<strong>an</strong>ese teacher. In other<br />
words, he was already <strong>an</strong> accomplished sportsm<strong>an</strong> when he discovered capoeira in Salvador. An assiduous<br />
spectator at the different rodas, he was most impressed by Bimba’s style <strong>an</strong>d technique. He eventually<br />
convinced Bimba to teach him, successfully passing the famous entry test, <strong>an</strong>d thus became his first white,<br />
middle-class student in the early 1930s. 62 Soon other students showed up at Bimba’s academy, among<br />
which m<strong>an</strong>y future doctors, such as Angelo Decânio. Ever since the mestre registered signific<strong>an</strong>t numbers<br />
<strong>of</strong> students from a middle-class or even <strong>an</strong> elite background, among them a governor, a judge from the<br />
Court <strong>of</strong> Appeal, scientists, doctors <strong>an</strong>d m<strong>an</strong>y other academics. 63<br />
Bimba <strong>an</strong>d his ‘academy’, the Centro de Cultura Física Regional, or CCFR, became increasingly wellknown<br />
in the city <strong>of</strong> Salvador. His academy moved several times, from the Roça do Lobo during the 1940s<br />
to a central location near Pelourinho Square in the 1960s. He established friendships with a number <strong>of</strong><br />
intellectuals, among whom the US <strong>an</strong>thropologist Donald Pierson. 64 Through his teaching capoeira practice<br />
spread among the middle classes, most <strong>of</strong> which considered themselves ‘white’, <strong>an</strong>d even to the elite <strong>of</strong><br />
Salvador (see Figure 5.4). His contacts eventually led to the decriminalization <strong>of</strong> capoeira, at least as long as<br />
it was practised in academies. Through his friendship with students from Ceará such as Cisn<strong>an</strong>do Lima a<br />
ch<strong>an</strong>nel <strong>of</strong> communication was even opened to the highest authority in the state. Juracy Magalhães, the<br />
interventor (title given to the governor nominated by the central government after the Revolution <strong>of</strong> 1930)<br />
in Bahia, also came from Ceará. He invited Bimba into the governor’s palace for a private demonstration <strong>of</strong><br />
his Regional, somewhere around 1936. 65 One episode <strong>of</strong>ten told in relation to that event is that on receiving<br />
the request to go to the palace Bimba was afraid <strong>of</strong> being arrested, since capoeira still was illegal at the<br />
time. 66 Luiz Renato Vieira, among others, has cast doubt on that story, claiming that at this stage Bimba<br />
knew perfectly well that he had nothing to fear. 67 Reality or invention to dramatize the difficult path<br />
towards social recognition, the fact remains that this demonstration in the palace was one <strong>of</strong> the first times<br />
when capoeira was performed in a totally different social context.