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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7<br />
Contemporary capoeira, 1950–2004<br />
Th<strong>an</strong>ks to the dedication <strong>of</strong> some mestres in Salvador, in particular Bimba <strong>an</strong>d Pastinha, capoeira was taught<br />
to a new generation <strong>of</strong> Bahi<strong>an</strong>s. <strong>The</strong>se mestres also rehabilitated the art’s public image <strong>an</strong>d made it known<br />
to a wider Brazili<strong>an</strong> public. Yet the practice <strong>of</strong> Regional <strong>an</strong>d Angola styles, with a berimbau, still remained<br />
largely restricted to Bahia in the 1950s. <strong>Capoeira</strong> exhibitions attracted audiences throughout the country,<br />
but its marketing as folklore could lead to a perception <strong>of</strong> the art as a residual form <strong>of</strong> popular culture, not<br />
something to be adopted by younger generations in the developed Southeast. Bimba’s <strong>an</strong>d Pastinha’s<br />
contributions therefore r<strong>an</strong> the risk <strong>of</strong> being constrained by the increasingly marginal position Bahia<br />
occupied within the Brazili<strong>an</strong> economy.<br />
From regional to national: the spread throughout Brazil, 1950s–1970s<br />
Despite these factors, from the 1950s onwards the practice <strong>of</strong> the Bahi<strong>an</strong> styles <strong>of</strong> capoeira exp<strong>an</strong>ded<br />
enormously throughout Brazil. M.Bimba, Pastinha, their respective students <strong>an</strong>d some other Bahi<strong>an</strong>s played<br />
a major role in this process. Yet Bahi<strong>an</strong> styles did not ‘conquer deserts’, but met with existing traditions <strong>of</strong><br />
capoeira, <strong>Afro</strong>-Brazili<strong>an</strong> music <strong>an</strong>d games in cities like Rio de J<strong>an</strong>eiro or Recife. <strong>The</strong> impact <strong>of</strong> these<br />
traditions is subject to heated debates, where regional perspectives tend to underline the import<strong>an</strong>ce <strong>of</strong> local<br />
input. Since capoeira spread through m<strong>an</strong>y ch<strong>an</strong>nels, no straightforward account is possible <strong>an</strong>d I apologize<br />
for inevitable omissions <strong>of</strong> people <strong>an</strong>d groups.<br />
Carioc<strong>an</strong> capoeira<br />
In Rio de J<strong>an</strong>eiro, for inst<strong>an</strong>ce, the capoeira that survived early Republic<strong>an</strong> repression could be found in<br />
several modalities <strong>an</strong>d contexts. First, there was the functional capoeira <strong>of</strong> Burlamaqui <strong>an</strong>d Sinhozinho,<br />
which consisted <strong>of</strong> a fighting technique used in ring contests (see Chapter 5). Second, a more playful<br />
vari<strong>an</strong>t associated with samba <strong>an</strong>d batuque was practised in sh<strong>an</strong>ty towns <strong>an</strong>d popular neighbourhoods (see<br />
Chapter 3). And finally some tough guys or mal<strong>an</strong>dros, the remn<strong>an</strong>ts <strong>of</strong> the old capoeira g<strong>an</strong>gs, still used<br />
capoeira as a tool in their everyday conflicts, especially in the red light district <strong>of</strong> Lapa. Prominent among<br />
them was Madame Satã, a tr<strong>an</strong>svestite reputed to have given beatings to three or more police <strong>of</strong>ficers at the<br />
same time, whose war name derived from his/her habit <strong>of</strong> parading in the costume <strong>of</strong> a female devil during<br />
carnival. This gay capoeira precursor died around 1968. 1<br />
<strong>The</strong> existence <strong>of</strong> these different modalities certainly made Carioc<strong>an</strong>s more receptive to the capoeira from<br />
Bahia. Thus, when Bimba’s group was pl<strong>an</strong>ning a visit to Rio in 1948, the Diários Associados published <strong>an</strong><br />
article under the title ‘João Mina w<strong>an</strong>ts to see the moleque Bimba playing good capoeira’, which reported<br />
extensively about the batuque <strong>an</strong>d the capoeira still practised in the Morro da Favela slum. 2 <strong>The</strong> Bahi<strong>an</strong>