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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CONTEMPORARY CAPOEIRA 171<br />
Figure 7.2 Itamar <strong>an</strong>d Mestre Gato from Senzala, Buzios (Rio de J<strong>an</strong>eiro), 1970s. Photo by Pimpa (Maria Beatriz<br />
Albuquerque).<br />
making the group known to wider audiences. Soon Senzala became a model for m<strong>an</strong>y teachers <strong>an</strong>d groups,<br />
who started to take over its training methods, graduation system, org<strong>an</strong>ization <strong>an</strong>d style (see Figure 7.2).<br />
Realizing that their enthusiasm for capoeira was not enough to make up for their ignor<strong>an</strong>ce <strong>of</strong> the<br />
‘foundations’ <strong>of</strong> the art as practised in Bahia, m<strong>an</strong>y <strong>of</strong> the committed Senzala members subsequently spent<br />
more time in Salvador, visiting <strong>an</strong>d training in different academies, <strong>an</strong>d even participating in the most<br />
traditional Angola rodas. As M.Gato emphasizes, back in Rio they then tried to pass on their experience to<br />
their younger students. During the early 1970s, visits from Bimba’s most renowned students to the Senzala<br />
rodas also became a regular feature. 18 Again a number <strong>of</strong> Bahi<strong>an</strong> capoeiristas ended up moving to Rio in<br />
the 1970s, attracted by the far greater possibilities the city seemed to <strong>of</strong>fer for the development <strong>of</strong> the art.<br />
Among them were Peito Pelado, Bai<strong>an</strong>inho da Massar<strong>an</strong>duba <strong>an</strong>d Dentinho, who all influenced the way<br />
younger Carioc<strong>an</strong>s played capoeira. 19 Camisa Roxa’s younger brother José Tadeu Cardoso (M. Camisa,<br />
then still called Camisinha) arrived in 1972 <strong>an</strong>d soon became a leading figure in the Senzala group (see<br />
Figure 7.3). 20<br />
Yet despite these multiple links to Bahia, <strong>an</strong>d in particular Bimba’s Regional, the capoeira from Senzala<br />
remained a somewhat distinct style. M.Gato highlights how unbal<strong>an</strong>cing techniques (rasteiras) <strong>an</strong>d throws—<br />
not much used in Rio at the time—were central to training in the Senzala academies. 21 According to André<br />
Lacé, one <strong>of</strong> its early critics, the hallmarks <strong>of</strong> the Senzala style were a ‘good-looking ginga (white<br />
aesthetics), but inclining towards a not very creative st<strong>an</strong>dardization, a high foot making the rasteira<br />
prohibitive, the game (maybe unconsciously) pl<strong>an</strong>ned in adv<strong>an</strong>ce, the elimination (prejudice) <strong>of</strong> the agogô…’.<br />
Lacé recognized that ‘they were looking for new paths’, but reprim<strong>an</strong>ded that<br />
the ginga continually over-emphasized (‘marcada’), the rhythm hurried <strong>an</strong>d samba-like. M<strong>an</strong>y <strong>of</strong> them<br />
think that to play capoeira Angola is to play the Regional slowly <strong>an</strong>d on the ground. It isn’t. 22<br />
Why was Senzala so immensely successful, even more th<strong>an</strong> some schools created by famous Bahi<strong>an</strong><br />
teachers who were at the time settling in the cities <strong>of</strong> the Southeast? Nestor <strong>Capoeira</strong> asserts that by being<br />
middle class Senzala was clearly favoured; for inst<strong>an</strong>ce, they had much easier access to the media th<strong>an</strong>