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 201<br />
best tolerated, since their mistakes threaten to ‘infect’ the purity <strong>of</strong> Angola. So, whereas Angola is<br />
considered the mother <strong>of</strong> Regional, Regional has become a kind <strong>of</strong> devil for m<strong>an</strong>y <strong>an</strong>goleiros, especially for<br />
weaker students who dislike ‘aggressive’ games or fear Regional ‘violence’. <strong>The</strong> Angola mestres invited to<br />
Regional events, on the contrary, rather tend to see every practitioner there as a potential recruit for their style.<br />
This reflects the shifting power relations between both styles: whereas up to the 1970s m<strong>an</strong>y <strong>an</strong>goleiros<br />
ch<strong>an</strong>ged to Regional, since the 1980s mainly the opposite seems to occur. After observing m<strong>an</strong>y <strong>an</strong>goleiros<br />
from Bahia play, ‘Regional’ mestres <strong>an</strong>d teachers such as Marrom from Senzala in Rio de J<strong>an</strong>eiro, Deraldo<br />
in Boston <strong>an</strong>d China in Barcelona have decided to become <strong>an</strong>goleiros.<br />
<strong>The</strong>re is also a marked contrast between style, political st<strong>an</strong>ce <strong>an</strong>d individual affinities. Conflicts over<br />
questions <strong>of</strong> style, the regulation <strong>of</strong> the pr<strong>of</strong>ession or the links with the state do not neatly divide <strong>an</strong>goleiros<br />
<strong>an</strong>d ‘regionalists’. On the contrary, long friendships unite mestres from different styles who pr<strong>of</strong>ess respect<br />
for each other, whereas conflicts divide Angola <strong>an</strong>d Regional federations (ABCA <strong>an</strong>d CBC). At the level <strong>of</strong><br />
students, though, one c<strong>an</strong> <strong>of</strong>ten see a broad <strong>an</strong>tipathy for ‘Regional’ or specific styles considered ‘violent’<br />
or ‘inefficient’. This reflects the different experience <strong>of</strong> teachers <strong>an</strong>d students: <strong>an</strong>goleiro mestres like to be<br />
invited to Regional events, whereas <strong>an</strong>goleiro students, especially beginners, fear to play in a Regional roda,<br />
because <strong>of</strong> ‘aggression’ or ‘violence’. Regional mestres <strong>of</strong>ten appreciate <strong>an</strong> Angola game, whereas m<strong>an</strong>y<br />
weaker mainstream practitioners do not always like to play in <strong>an</strong> <strong>an</strong>goleira roda because <strong>of</strong> the number <strong>of</strong><br />
rules with which they have to comply (<strong>an</strong>d which they <strong>of</strong>ten do not know).<br />
In fact a certain commonality <strong>of</strong> views prevails among the traditionalists—or purists—from both Angola<br />
<strong>an</strong>d Regional. Both agree that the rapid growth <strong>of</strong> capoeira (‘capoeira inchou!’) resulted in loss <strong>of</strong> tradition,<br />
the autograduation <strong>of</strong> mestres, the lack <strong>of</strong> preparation <strong>an</strong>d experience. From here a common agenda <strong>of</strong><br />
action against creeping comercialization or the tackling <strong>of</strong> other problems affecting the art seems possible.<br />
It is therefore difficult to establish clear-cut categories for contemporary styles, <strong>an</strong>d easier to appreciate<br />
substyles <strong>of</strong> specific groups. Over the last years some key references have emerged, based on the most<br />
prestigious groups such as Abadá, Cordão de Ouro, FICA, GCAP <strong>an</strong>d Senzala. Groups consciously support<br />
or even build up these identifications. Some practitioners, for inst<strong>an</strong>ce, might even say they practise<br />
‘Abadá’, or capoeira-Abadá instead <strong>of</strong> capoeira. <strong>The</strong> style <strong>of</strong> each group differs according to a wide r<strong>an</strong>ge<br />
<strong>of</strong> criteria, from formal aspects to cultural me<strong>an</strong>ings. For reasons <strong>of</strong> space I c<strong>an</strong> only indicate some<br />
elementary criteria, which might help beginners to find their way through contemporary capoeira groups<br />
<strong>an</strong>d events.<br />
Formal differences start with capoeira uniforms. Regional <strong>an</strong>d most mainstream groups train <strong>an</strong>d play<br />
barefoot <strong>an</strong>d use white clothes <strong>an</strong>d belts, whereas <strong>an</strong>goleiros always train with shoes. As we have seen in<br />
Chapter 4, all these dress codes refer to different aspects <strong>of</strong> earlier capoeira practice, <strong>an</strong>d thus they c<strong>an</strong> all<br />
claim to be derived from tradition. Some groups train without T-shirts, as this supposedly conveys <strong>an</strong> even<br />
stronger association with slaves’ bodies. However no absolute consistency exists within each style.<br />
Angoleiros, even Pastinha’s followers for inst<strong>an</strong>ce, use alternatively yellow <strong>an</strong>d black or white only<br />
uniforms—both linking to different traditions.<br />
<strong>The</strong> contrast between the low game <strong>an</strong>d the high game remains a key formal aspect that differentiates<br />
groups. Does a group train mainly in upright kicks or also insist students learn how to evolve closely to the<br />
ground <strong>an</strong>d use these skills in the roda? How ‘<strong>an</strong>tagonistic’ or playful are games? Is full contact <strong>an</strong>d<br />
grabbing allowed or even encouraged or are students expected to rather use rasteiras <strong>an</strong>d other resources?<br />
<strong>The</strong> didactics used for teaching are equally import<strong>an</strong>t to assess a group’s style. Training Bimba’s<br />
sequences, for inst<strong>an</strong>ce, is still considered a hallmark <strong>of</strong> Regional, even though every contemporary<br />
capoeira group trains some kind <strong>of</strong> choreographed movements to prepare students for the roda. Some<br />
groups insist on long warm ups based on contemporary gymnastics, <strong>an</strong>d only then have students rehearse