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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BIMBA AND ‘REGIONAL’ STYLE 143<br />
lifestyle, the imposition <strong>of</strong> fines on students <strong>an</strong>d other disciplinary measures were intended to impose new<br />
patterns <strong>of</strong> behaviour, which contrasted with the ideal <strong>of</strong> ‘vagr<strong>an</strong>cy’ so common among earlier<br />
capoeiras. 101 Discipline was supposed to maximize the perform<strong>an</strong>ce <strong>of</strong> his students. Given that at the same<br />
time the military <strong>an</strong>d the State attempted to instil a different pattern <strong>of</strong> behaviour among the lower classes,<br />
reputedly ‘indolent’ <strong>an</strong>d ‘uncontrolled’, there undoubtedly was a partial convergence <strong>of</strong> objectives with<br />
Bimba’s teaching. That made Regional so attractive for various groups who dreamed <strong>of</strong> a ‘stronger’ Brazil.<br />
Hence they tried to appropriate <strong>an</strong>d co-opt capoeira after 1938. This does not me<strong>an</strong> that the style developed<br />
by Bimba was inherently militaristic. In fact most teachers <strong>of</strong> other martial arts, in particular those from<br />
Jap<strong>an</strong>, also advocated similar ascetism.<br />
<strong>The</strong> introduction <strong>of</strong> a formalized hierarchy among students, their separation into beginners, graduates <strong>an</strong>d<br />
adv<strong>an</strong>ced, represented <strong>an</strong>other aspect <strong>of</strong> the modernization <strong>of</strong> capoeira. This was not necessarily a<br />
Westernization, since again hierarchy is also paramount in the Eastern martial arts, which were introduced<br />
to Brazil. A further crucial ch<strong>an</strong>ge that Bimba’s Regional introduced in capoeira practice was the shift <strong>of</strong><br />
emphasis from the roda to instruction. Whereas the roda represented the main activity in the older vadiação,<br />
in modernized capoeira training became the overall aim. This corresponded to the shift <strong>of</strong> emphasis towards<br />
the path (do) which occurred during the modernization <strong>of</strong> Jap<strong>an</strong>ese martial arts.<br />
<strong>The</strong> crucial difference between Regional <strong>an</strong>d the military-style gymnastics consisted in the aspects called<br />
‘folklore’ in the LP recording Bimba made to support <strong>an</strong>d publicize his teaching. This record juxtaposed the<br />
ascetic rules <strong>of</strong> his school, the precise instruction in the eight training ‘sequences’ <strong>an</strong>d the songs <strong>an</strong>d toques<br />
played in the roda, providing thus a bridge between the <strong>Afro</strong>-Brazili<strong>an</strong> past <strong>an</strong>d what was becoming a modern<br />
sport.<br />
<strong>The</strong> suppression <strong>of</strong> some rituals such as the chamadas has been—correctly in my opinion—interpreted as<br />
a loss <strong>of</strong> tradition. It seems undeniable that Bimba simplified the rituals <strong>of</strong> the game where he thought they<br />
were not adequate for his purpose. Yet on the other side, Bimba did integrate some new elements that<br />
originated from his deep immersion into <strong>Afro</strong>-Bahi<strong>an</strong> culture. He maintained, for inst<strong>an</strong>ce, the practice <strong>of</strong><br />
samba de roda as a complement to the rodas. More signific<strong>an</strong>t, however, was the creation <strong>of</strong> the new rituals<br />
which became hallmarks <strong>of</strong> Regional style. <strong>The</strong> ‘graduation’ (formatura) was at least partly inspired by the<br />
model <strong>of</strong> university graduations in Brazil, with all the formality <strong>of</strong> academic discourses <strong>an</strong>d the distribution<br />
<strong>of</strong> medals. Did Bimba think this would appeal more to his students with middle-class <strong>an</strong>d academic<br />
backgrounds or did he just w<strong>an</strong>ted to make the whole ceremony appear more respectable? Both <strong>an</strong>swers are<br />
likely to be correct. Yet the rituals Bimba invented were also rooted in his everyday experience <strong>of</strong><br />
c<strong>an</strong>domblé <strong>an</strong>d traditional capoeira, as evidenced for inst<strong>an</strong>ce in his requirement that students participate in<br />
the game <strong>of</strong> stealing the table <strong>of</strong> the daughter <strong>of</strong> the saints (mesa de yaô) or the attribution <strong>of</strong> silk<br />
scarves. 102 <strong>The</strong> introduction <strong>of</strong> colours to represent levels <strong>of</strong> hierarchy was rather a reproduction <strong>of</strong> Dr<br />
K<strong>an</strong>o’s judo grades, themselves the result <strong>of</strong> the Westernization <strong>of</strong> Jap<strong>an</strong>ese martial arts. In other words, the<br />
new rituals consisted in a complex fusion <strong>of</strong> elements from <strong>Afro</strong>-Bahi<strong>an</strong> culture with Brazili<strong>an</strong> academic<br />
rituals <strong>an</strong>d other ingredients coming from abroad. 103 That is why it is inaccurate to qualify Bimba’s<br />
Regional simply as a ‘whitened’ form <strong>of</strong> capoeira. It should rather be considered as <strong>an</strong> alternative, black<br />
modernization, which differed in m<strong>an</strong>y fundamental aspects from the ‘whitening’ or ‘westernized’ model<br />
proposed by Burlamaqui.<br />
<strong>The</strong> broadening <strong>of</strong> capoeira’s audience constitutes <strong>an</strong>other import<strong>an</strong>t aspect <strong>of</strong> the modernization brought<br />
about by the Regional style, since what distinguishes modern from <strong>an</strong>cient sports is that everyone c<strong>an</strong><br />
practise them. If Bimba’s role in the dissemination <strong>of</strong> capoeira is undisputed, the implications <strong>of</strong> that<br />
process are much less clear. One certainly c<strong>an</strong> claim—as Bimba’s students do—that capoeira ‘blackened’<br />
the middle classes in cultural terms, thus contributing to the revalorization <strong>of</strong> the <strong>Afro</strong>-Brazili<strong>an</strong> culture in