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
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
signific<strong>an</strong>tly during the 1980s. Prominent among them was M.Miguel, who after training with thous<strong>an</strong>ds <strong>of</strong><br />
consecutive kicks in his youth, started to realize that ‘in capoeira there is no direct confrontation’. 50<br />
<strong>The</strong> founders <strong>of</strong> Cativeiro shared with the Captains <strong>of</strong> the S<strong>an</strong>d the critical assessment <strong>of</strong> the ‘martial’<br />
capoeira <strong>of</strong> the Federation, <strong>an</strong>d equally refused to become <strong>an</strong> ‘academy’. Yet instead <strong>of</strong> class they racialized<br />
their discourse: ‘<strong>Capoeira</strong> has to be understood as a form <strong>of</strong> expression <strong>of</strong> a race’. <strong>The</strong>y w<strong>an</strong>ted to reaffirm<br />
the black origins <strong>of</strong> capoeira, which was, according to them, being lost in the process <strong>of</strong> ‘sportification’.<br />
<strong>The</strong>y considered the art to be intimately linked to c<strong>an</strong>domblé <strong>an</strong>d as a consequence adopted a graduation<br />
system where the colour <strong>of</strong> each belt stood for specific orixás: green for Oxóssi, brown for Omulu, yellow<br />
for Oxum, purple for X<strong>an</strong>gô, blue for Iem<strong>an</strong>já, red for Ogum, <strong>an</strong>d the highest graduation, white, for Oxalá.<br />
This attempt to sacralize <strong>an</strong>d re-afric<strong>an</strong>ize capoeira occurred in parallel to the development <strong>of</strong> a new<br />
black movement in São Paulo <strong>an</strong>d other cities. <strong>The</strong> Unified Black Movement (Movimento Negro<br />
Unificado—MNU), for inst<strong>an</strong>ce, was founded in 1978, the same year as Cativeiro. Cativeiro’s overall<br />
philosophy thus fitted into that new trend which re-asserted not only the import<strong>an</strong>ce <strong>of</strong> the <strong>Afro</strong>-Brazili<strong>an</strong><br />
heritage but also attempted to re-afric<strong>an</strong>ize popular practices, from carnival groups such as the blocos afro<br />
to <strong>Afro</strong>-Brazili<strong>an</strong> cults. Umb<strong>an</strong>da, the most syncretic <strong>an</strong>d popular <strong>of</strong> <strong>Afro</strong>-Brazili<strong>an</strong> religions, also went<br />
through a process <strong>of</strong> ‘re-afric<strong>an</strong>ization’ during the 1980s.<br />
Letícia Reis asserts that Cativeiro insisted more on the individual struggle to raise consciousness th<strong>an</strong><br />
advocate collective social <strong>an</strong>d political tr<strong>an</strong>sformations. She also drew attention to the fact that most <strong>of</strong> the<br />
colours adopted by Cativeiro coincided with the belts <strong>of</strong> the Federation, even though they were supposed to<br />
carry a different me<strong>an</strong>ing, <strong>an</strong>d that this led to confusion among practitioners. In 1985 M.Miguel moved to<br />
Salvador in order to learn more about the traditions <strong>of</strong> capoeira from the old mestres, <strong>an</strong>d to pass on those<br />
teachings to the different Cativeiro nuclei in São Paulo. Since Bahia still represented, for capoeira as well as<br />
for c<strong>an</strong>domblé, the recognized source <strong>of</strong> authentic tradition, this experience provided him with a new source<br />
<strong>of</strong> legitimacy, both in São Paulo <strong>an</strong>d beyond. 51 <strong>The</strong> style <strong>of</strong> the group ch<strong>an</strong>ged accordingly, reafric<strong>an</strong>ization<br />
me<strong>an</strong>ing, as in most other cases, a re-introduction <strong>of</strong> aspects identified with the Angola style,<br />
which were considered more authentic <strong>an</strong>d nearer to Afric<strong>an</strong> traditions. This matched the ch<strong>an</strong>ge <strong>of</strong><br />
attitudes in the greatest Brazili<strong>an</strong> city <strong>an</strong>d contributed, among other reasons, to the growth <strong>of</strong> the group. By<br />
the end <strong>of</strong> the 1990s, Cativeiro had more th<strong>an</strong> 100 teachers <strong>an</strong>d mestres spread over seven states <strong>an</strong>d nine<br />
countries. 52 It also joined the Brazili<strong>an</strong> Confederation <strong>of</strong> <strong>Capoeira</strong> (CBC).<br />
Other states <strong>an</strong>d new constituencies<br />
CONTEMPORARY CAPOEIRA 177<br />
<strong>Capoeira</strong> practice spread throughout Brazil during the 1970s <strong>an</strong>d 1980s, reaching all the states <strong>of</strong> the union,<br />
<strong>an</strong>d conquering the vast interior. Today capoeira is taught in every Brazili<strong>an</strong> city, as well as in smaller<br />
towns <strong>an</strong>d hamlets. <strong>The</strong> history <strong>of</strong> this exp<strong>an</strong>sion still remains to be written, <strong>an</strong>d what follows is no more<br />
th<strong>an</strong> a cursory attempt to provide readers with <strong>an</strong> idea <strong>of</strong> the dynamics. In every state or city contemporary<br />
teachers usually trace their genealogy to the pioneers who have introduced the art. <strong>The</strong> latter might not have<br />
necessarily been the first to practise capoeira or to perform in public, but they were the ones who opened<br />
academies <strong>an</strong>d taught a first generation <strong>of</strong> students until they became teachers or mestres themselves. Thus<br />
capoeira in Brasília, for example, owes much to Hélio Tabosa, who started teaching there in the 1960s,<br />
M.Zulu (Antonio Batista Pinto), Adilson, Barto, Pombo de Ouro <strong>an</strong>d Chibata. 53<br />
In other states where local traditions <strong>of</strong> capoeira existed, such as Pará, Mar<strong>an</strong>hão <strong>an</strong>d Pernambuco, it is<br />
still unclear how m<strong>an</strong>y <strong>of</strong> these previous practices were incorporated into contemporary styles. 54 In São<br />
Luís, for example, some form <strong>of</strong> rough street capoeira seems to have survived well into the twentieth<br />
century. Oral history records not much more th<strong>an</strong> the names <strong>of</strong> ‘tough guys’ such as Luciel or Car<strong>an</strong>guejo