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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PASTINHA AND ANGOLA STYLE 155<br />
Pastinha was not—unlike Bimba <strong>an</strong>d m<strong>an</strong>y other capoeiras <strong>of</strong> his time—<strong>an</strong> active practitioner <strong>of</strong><br />
c<strong>an</strong>domblé, although he always showed great respect for <strong>Afro</strong>-Bahi<strong>an</strong> religion. In some pages <strong>of</strong> his<br />
m<strong>an</strong>uscripts he refers to the ‘sacred Scripts’ <strong>an</strong>d Jesus, revealing his strong belief in a Christi<strong>an</strong> god. 41 In <strong>an</strong><br />
interview he declared to be ‘neither Catholic, nor <strong>of</strong> c<strong>an</strong>domblé. I believe in God, only one God’ <strong>an</strong>d<br />
asserted his respect for all religions. 42 For Pastinha, capoeira Angola constituted <strong>an</strong> equally ‘sacred<br />
patrimony’ which he passionately aspired to preserve. His <strong>of</strong>ten stated necessity to ‘love’ capoeira Angola<br />
probably was a sentiment akin to love in the Christi<strong>an</strong> faith. According to his friend the sculptor Mário<br />
Cravo ‘Pastinha was a mystic, because he lived capoeira with intensity <strong>an</strong>d made his own interpretation <strong>of</strong><br />
the mystic universe’. 43<br />
In accord<strong>an</strong>ce with his faith stood the duty to serve his community. Given the past <strong>an</strong>imosities among<br />
capoeiras, Pastinha considered it his responsibility to help org<strong>an</strong>izing the Angoleiro community through the<br />
CECA: ‘we should not remain isolated, because [then] there is nothing we c<strong>an</strong> do; the popular saying is<br />
more th<strong>an</strong> right which says: unity gives strength’. 44 M.Pastinha passionately defended this ideal during his<br />
entire life, because he believed capoeira Angola deserved much higher regards th<strong>an</strong> it was commonly given<br />
by society. He was convinced that ‘capoeira is trying to enter, <strong>an</strong>d live in society, [<strong>an</strong>d] the actual <strong>an</strong>d future<br />
capoeirista is respectful, <strong>an</strong>d decent’. 45 According to him, all mestres had the duty to teach capoeira Angola,<br />
<strong>an</strong>d he blamed those who ‘deserted’ from that obligation:<br />
A friend asked me that question: Pastinha, why does this comrade not play with skill? Yes, because<br />
they did not teach him to play within the rules; all mestres have to know the rules <strong>an</strong>d m<strong>an</strong>y do not. I<br />
know mestres who know as much as I do, but they do not teach; everybody knows that when the cat<br />
taught the jaguar, what happened? 46<br />
In other words, although be condemned the reluct<strong>an</strong>ce <strong>of</strong> m<strong>an</strong>y mestres to teach, he recognized the necessity<br />
for the teacher to always keep at least one secret resource. That is why the cat, when teaching the jaguar,<br />
omitted to teach one move, which helped him to escape when the jaguar decided to eat the cat. In Pastinha’s<br />
case this was said to be the movement called pulo da onça (‘the leap <strong>of</strong> the jaguar’). 47<br />
Why did Pastinha <strong>an</strong>d his comp<strong>an</strong>ions advocate so strongly for the traditional capoeira modality to be<br />
called <strong>an</strong>d identified with Angola? <strong>Afro</strong>-Americ<strong>an</strong> culture <strong>an</strong>d identity in Bahia, was, perhaps more th<strong>an</strong> in<br />
m<strong>an</strong>y other pl<strong>an</strong>tation regions, based on specific ‘nations’, that had reconstituted themselves under slavery.<br />
After the end <strong>of</strong> the slave trade <strong>an</strong>d even more so after abolition, religious communities became the<br />
‘principal repositories’ <strong>of</strong> Afric<strong>an</strong> derived cultural traditions. 48 <strong>The</strong> identification with a specific ‘nation’<br />
was crucial for the establishment <strong>of</strong> a concrete link with <strong>an</strong> Afric<strong>an</strong> homel<strong>an</strong>d. It was more appealing for<br />
Bahi<strong>an</strong>s <strong>of</strong> Afric<strong>an</strong> descent <strong>an</strong>d <strong>of</strong>fered a stronger symbolism th<strong>an</strong> ‘<strong>Afro</strong>-Brazili<strong>an</strong>’, a relatively recent term,<br />
which only started to be adopted <strong>an</strong>d propagated at the time, mostly by academics.<br />
More import<strong>an</strong>t th<strong>an</strong> a concrete biological <strong>an</strong>cestry, which in the end could not matter that much in a<br />
highly mixed population, it me<strong>an</strong>t the adoption <strong>of</strong> a specific, Afric<strong>an</strong> derived tradition. It certainly struck a<br />
chord with <strong>an</strong>ybody acquainted with the ‘nations’ in c<strong>an</strong>domblé. In 1937, 15 c<strong>an</strong>domblé shrines, out <strong>of</strong> the<br />
67 founding members <strong>of</strong> the ‘Union <strong>of</strong> <strong>Afro</strong>-Brazili<strong>an</strong> Sects’, declared to be <strong>of</strong> the Angola ‘nation’, <strong>an</strong>d<br />
<strong>an</strong>other seven claimed to belong to ‘nations’ also broadly identified with the Kongo/Angola region. 49 As we<br />
have seen in Chapter 4, Angola in this context represented a neo-Afric<strong>an</strong> identity <strong>of</strong> slaves <strong>an</strong>d their<br />
descend<strong>an</strong>ts in the Americ<strong>an</strong> diaspora rather th<strong>an</strong> <strong>an</strong> original Afric<strong>an</strong> ethnicity or the actual state with that<br />
name. Asserting that capoeira was the continuation <strong>of</strong> <strong>an</strong> Angol<strong>an</strong> m<strong>an</strong>ifestation constituted therefore a<br />
perfectly coherent practice in the context <strong>of</strong> <strong>Afro</strong>-Bahi<strong>an</strong> culture <strong>of</strong> the post-em<strong>an</strong>cipation period, even<br />
though Pastinha innovated in so far as he applied the concept <strong>of</strong> ‘nation’ to <strong>an</strong>other type <strong>of</strong> m<strong>an</strong>ifestation.