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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192 CONTEMPORARY CAPOEIRA<br />
capoeira provides so much fun that people get almost addicted to it. Furthermore, as <strong>an</strong>ybody attending a<br />
capoeira event will testify, capoeiristas are usually very good at celebrating at <strong>an</strong>imated parties <strong>an</strong>d enjoy<br />
the good side <strong>of</strong> life to the extent that m<strong>an</strong>y find it hard to stop <strong>an</strong>d go back to daily tasks.<br />
If capoeira, as a creole art <strong>of</strong> the diaspora, thus seeming to embody coolness almost to perfection, the<br />
question is to what extent the growing popularity <strong>of</strong> that attitude c<strong>an</strong> still count as ‘resist<strong>an</strong>ce’. If it is true<br />
that coolness usurps the work ethics <strong>an</strong>d family values hitherto domin<strong>an</strong>t in the West, it is also bound to<br />
become the ‘domin<strong>an</strong>t mindset <strong>of</strong> adv<strong>an</strong>ced consumer capitalism’. 126 <strong>The</strong> dialectic <strong>of</strong> resist<strong>an</strong>ce <strong>an</strong>d cooptation<br />
also works for globalized capoeira—it rarely is exclusively one or the other. M.Jelon Vieira<br />
declared recently: ‘Globalization me<strong>an</strong>s Americ<strong>an</strong>izing the world, <strong>an</strong>d capoeira c<strong>an</strong> decolonize the body <strong>an</strong>d<br />
the mind’. 127 M<strong>an</strong>y practitioners around the world seem to subscribe to this view. Yet, without denying the<br />
‘decolonizing’ virtues <strong>of</strong> the art, it is also clear that capoeira is, at the same time, <strong>an</strong> import<strong>an</strong>t tool <strong>of</strong> the<br />
globalization process.<br />
Contemporary styles<br />
Ch<strong>an</strong>ges in capoeira style are due to a number <strong>of</strong> intertwined factors linked to societal ch<strong>an</strong>ge. Analysing<br />
postwar youth subcultures in Britain, Dick Hebdige suggested that they constituted mediated responses to<br />
the presence, in Britain, <strong>of</strong> a sizeable black community. Subcultures represent ‘symbolic challenges to a<br />
symbolic order’, <strong>an</strong>d this author interprets subculture as a ‘form <strong>of</strong> resist<strong>an</strong>ce in which experienced<br />
contradictions <strong>an</strong>d objections to this ruling ideology are obliquely represented in style’. 128<br />
In some ways, capoeira constitutes a youth subculture, since the great majority <strong>of</strong> its practitioners are under<br />
30, abide to specific codes <strong>of</strong> behaviour <strong>an</strong>d dress, <strong>an</strong>d identify their practice as a form <strong>of</strong> resist<strong>an</strong>ce against<br />
a hegemonic world order. At the same time the presence <strong>of</strong> older players, in particular the mestres who are<br />
responsible for maintaining tradition <strong>an</strong>d introducing innovation, likens capoeira to other forms <strong>of</strong> social<br />
org<strong>an</strong>izations <strong>an</strong>d identification. <strong>Martial</strong> arts org<strong>an</strong>izations, just like churches or political parties, tend to<br />
divide themselves into feuding factions, especially when they experience periods <strong>of</strong> sustained growth.<br />
Substyles might be the result <strong>of</strong> bricolage with tradition <strong>an</strong>d innovation, but they also express clear<br />
messages that make practitioners come together. Ch<strong>an</strong>ge in formal aspects <strong>of</strong> the art, <strong>an</strong>d the emergence <strong>of</strong><br />
new styles is thus always signific<strong>an</strong>t because it expresses ch<strong>an</strong>ges in social context <strong>an</strong>d cultural me<strong>an</strong>ings.<br />
Following the examples <strong>of</strong> Burlamaqui, Bimba <strong>an</strong>d Pastinha, other capoeira teachers have tried to<br />
establish styles <strong>of</strong> their own. Carlos Sena (sometimes spelled Senna) made one <strong>of</strong> the earliest attempts. Born<br />
in 1931 in Salvador, he started training with Bimba in 1949. He became one <strong>of</strong> the mestre ’s best students,<br />
partaking in the exhibition for President Vargas in 1953, <strong>an</strong>d became technical director <strong>of</strong> Bimba’s academy<br />
in 1954. Yet in 1955 he decided to open his own school called Senavox <strong>an</strong>d to teach a different, more<br />
stylized capoeira. What distinguished Sena was his critique <strong>of</strong> the ‘folklorizing cultural stagnation’ <strong>of</strong> capoeira<br />
exhibitions <strong>an</strong>d his eagerness to ‘sportify’ capoeira. He created <strong>an</strong> elaborate set <strong>of</strong> formal regulations<br />
supposed to rule over training <strong>an</strong>d rodas. 129 ‘Greatest order, rigid discipline, absolute respect <strong>an</strong>d<br />
uncorrupted morals’ were the basics to be kept ‘inside <strong>an</strong>d outside the temple <strong>of</strong> capoeira’. 130 Sena—among<br />
others—also claims to have invented the colour belt system <strong>an</strong>d systematically advocated the martial<br />
capoeira salute ‘Salve’. <strong>The</strong> rules he invented appealed to the armed forces <strong>an</strong>d sympathizers <strong>of</strong> the military<br />
regime. Sena brought capoeira to the elite clubs <strong>of</strong> Salvador <strong>an</strong>d its military secondary school (Colégio<br />
Militar). He also contributed to drafting the ‘Technical Rules <strong>of</strong> <strong>Capoeira</strong>’ that were adopted by the<br />
Brazili<strong>an</strong> Boxing Confederation in 1972. 131 During the 1960s Sena was <strong>of</strong>ten considered to represent a third<br />
style, different from Angola <strong>an</strong>d Regional, usually referred to as ‘stylized’ capoeira or just Senavox. 132 Yet,<br />
despite initial success <strong>an</strong>d his good connection with the military, Sena’s style did not break through in the