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 195<br />
‘capoeira contemporânea’ is more widely used to designate all ‘hybrid’ styles. Since that expression c<strong>an</strong><br />
lead to some confusion—there also exists a contemporary Angola <strong>an</strong>d a contemporary Regional—I will<br />
refer to it as mainstream capoeira.<br />
Practitioners today still assess contemporary styles in terms <strong>of</strong> Angola <strong>an</strong>d Regional, although m<strong>an</strong>y<br />
recognize the inadequacy <strong>of</strong> such a bi-polar approach. To evaluate contemporary styles it is necessary to<br />
look again at social context, formal aspects <strong>an</strong>d cultural me<strong>an</strong>ings. Contemporary capoeira happens in<br />
several contexts <strong>an</strong>d for different purposes, which c<strong>an</strong> be summarized under four main headings, according<br />
to the emphasis: fighting, sport, show <strong>an</strong>d art. <strong>The</strong>se distinctions are far from absolute, <strong>an</strong>d the same<br />
individuals eventually practise several kinds.<br />
<strong>The</strong> capoeira modality that places the main—if not the only—emphasis on fighting occurs mainly in ring<br />
contests <strong>an</strong>d street rodas, even though graduation events in some groups are not exempt from games which<br />
also turn into fights. ‘Rough capoeira’ (capoeira dura) in a contemporary roda me<strong>an</strong>s full contact, <strong>an</strong>d not<br />
sparing the adversary when one c<strong>an</strong> place a kick. As one <strong>of</strong> its supporters, the boxer <strong>an</strong>d capoeira teacher<br />
N<strong>an</strong>ico, explains:<br />
I think beating (p<strong>an</strong>cadaria) is good. I learned capoeira being beaten up <strong>an</strong>d I like a rough game,<br />
heavy game. Sometimes, when I receive a kick that breaks my mouth, my nose, I even like it because<br />
I am learning. Beating (p<strong>an</strong>cadaria) is import<strong>an</strong>t in capoeira. P<strong>an</strong>cadaria is not violence […] 142<br />
He is representative <strong>of</strong> a new generation <strong>of</strong> fighters in the tradition <strong>of</strong> the former valentões who, confident<br />
in their combat skills, proudly challenge their peers: ‘In the capoeira roda I only fear God’. 143 Some <strong>of</strong> them<br />
have a nationwide reputation, such as M.King Kong from Salvador, M.Maurão from São Paulo, or King<br />
from Rio de J<strong>an</strong>eiro (formerly Abadá). For them, capoeiristas should be able to play rough games so that<br />
the art does not lose its efftciency in combat. M.Maurão, among others, calls this the search for ‘objectivity’<br />
in capoeira, <strong>an</strong>d insists this is not to be confused with violence or aggression. 144<br />
Rough games take place in street rodas, such as the Mercado Modelo, in Salvador or the Praça da<br />
República in São Paulo, <strong>an</strong>d c<strong>an</strong> also be seen in academies, especially in those which train in full contact (this<br />
does not me<strong>an</strong> that necessarily all games in those rodas are rough). Since they explore the boundaries<br />
between games <strong>an</strong>d fights, they sometimes turn into real fights, <strong>an</strong>d <strong>of</strong>ten result in injuries. On a number <strong>of</strong><br />
occasions they have even resulted in the death <strong>of</strong> capoeiristas, for inst<strong>an</strong>ce in Petrópolis in 1996. <strong>The</strong>se<br />
events are usually followed by a public outcry against ‘violence’ in the rodas. Since in general the mestre in<br />
charge <strong>of</strong> the roda is held responsible for <strong>an</strong>y incident, these comments are <strong>of</strong>ten accomp<strong>an</strong>ied by <strong>an</strong> appeal<br />
for state intervention, the necessity <strong>of</strong> regulating capoeira teaching <strong>an</strong>d eventually the appeal to boycott a<br />
specific group. 145 Although accidents c<strong>an</strong> never be totally avoided, these tragic events show that<br />
capoeiristas <strong>of</strong>ten enter a roda with diametrically opposed expectations: some w<strong>an</strong>t a game <strong>an</strong>d others a<br />
fight. In other words, disagreements over the basic rules c<strong>an</strong> explain why ‘objectivity’ for some players is<br />
‘violence’ for others. 146<br />
For that reason the ideal context for combat capoeira seems to be the ring, where fighting rules are clearly<br />
established in adv<strong>an</strong>ce. Continuing the tradition <strong>of</strong> Ciriaco, Sinhozinho, Bimba <strong>an</strong>d <strong>Art</strong>hur Emídio,<br />
contemporary capoeira fighters have been learning <strong>an</strong>d training in all kinds <strong>of</strong> martial arts, in particular jujitsu,<br />
boxing, <strong>an</strong>d taekwondo. <strong>The</strong> cross-fertilization between martial arts is encouraged by free-style<br />
competitions that are popular around the world. Brazil has champions in judo, ju-jitsu <strong>an</strong>d other martial<br />
arts, <strong>an</strong>d no wonder some <strong>of</strong> them have turned to capoeira to complement their skills. Brazili<strong>an</strong> free style<br />
champions such as Marcus Ruas have acknowledged the import<strong>an</strong>ce <strong>of</strong> capoeira in their training. 147 <strong>The</strong> use<br />
<strong>of</strong> capoeira techniques in free style competitions shows to what extent the art still provides essential fighting