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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CONCLUSION 207<br />
lamented that Europe<strong>an</strong>s had unlearned how to crouch <strong>an</strong>d considered it a gross mistake not to allow<br />
children using the squatting position they naturally adopt. 2 Since capoeira allows adepts to (re)learn how to<br />
crouch or walk on their h<strong>an</strong>ds it c<strong>an</strong> also be understood as a practice that compensates for some <strong>of</strong> the<br />
drawbacks <strong>of</strong> modernization.<br />
<strong>The</strong> me<strong>an</strong>ing <strong>of</strong> modern capoeira styles is not only a different emphasis on each aspect <strong>of</strong> the art (fight,<br />
d<strong>an</strong>ce, theatre, game), but also to provide adepts with different <strong>an</strong>swers to the same basic questions about<br />
the me<strong>an</strong>ings <strong>of</strong> past <strong>an</strong>d present, <strong>an</strong>d the right bal<strong>an</strong>ce between continuity <strong>an</strong>d ch<strong>an</strong>ge. <strong>Capoeira</strong> c<strong>an</strong> thus<br />
be viewed as a kind <strong>of</strong> discourse about fundamental philosophical issues, <strong>an</strong>d the roda, styles <strong>an</strong>d songs<br />
provide the place for adepts to take position <strong>an</strong>d engage in a dialogue with each other. Hence M.Camisa <strong>an</strong>d<br />
the Abadá group defend that innovation is necessary for the preservation <strong>of</strong> tradition. <strong>The</strong>ir m<strong>an</strong>ifesto<br />
asserts: ‘For capoeira <strong>an</strong>d the chameleon, ch<strong>an</strong>ge is only to preserve its essence.’ 3 Other mestres express<br />
very different views on the chameleon <strong>an</strong>d use it for other colour metaphors <strong>of</strong> ‘race’ <strong>an</strong>d nation. M.Moraes<br />
for inst<strong>an</strong>ce sings: ‘I am not a chameleon. But I c<strong>an</strong> be full <strong>of</strong> colour. <strong>The</strong> lizard is Brazili<strong>an</strong>. He walks in<br />
green <strong>an</strong>d yellow’. 4 <strong>The</strong> game between players in the roda is thus mirrored at <strong>an</strong>other level as a<br />
philosophical dialogue between different positions regarding the fundamental issue <strong>of</strong> continuity <strong>an</strong>d<br />
ch<strong>an</strong>ge. Adepts thus use the ladainha as a meta-discourse about capoeira, <strong>an</strong>d about the greater roda, or circle<br />
<strong>of</strong> life.<br />
One key reason why people today practise capoeira is simply that it is so much fun. Playing capoeira in a<br />
roda always brought pleasure to adepts. This is true not only in terms <strong>of</strong> the thrill that every game provides,<br />
but also in terms <strong>of</strong> <strong>an</strong> overall physical <strong>an</strong>d mental good feeling. Doctors still have to provide more details<br />
about how the ‘capoeira tr<strong>an</strong>ce’ (tr<strong>an</strong>se capoeir<strong>an</strong>o) stimulates the production <strong>of</strong> endorphines, but there is<br />
little doubt that it enh<strong>an</strong>ces practitioners’ well being. <strong>The</strong> more tr<strong>an</strong>scendental me<strong>an</strong>ings some adepts attach<br />
to capoeira c<strong>an</strong> equally help them to find to their own centre. Yet the kind <strong>of</strong> enjoyment practitioners look<br />
for has ch<strong>an</strong>ged over time. As a game (jogo or brincadeira) it traditionally expressed Afric<strong>an</strong> derived or<br />
<strong>Afro</strong>-Brazili<strong>an</strong> sociability, <strong>an</strong> incredibly efficient way to escape from the hardships <strong>of</strong> slavery or unskilled<br />
<strong>an</strong>d low paid ‘free’ labour. This Afric<strong>an</strong> <strong>an</strong>d slave derived way <strong>of</strong> playing has, to some extent, been<br />
maintained in contemporary practice; but modernization has also signific<strong>an</strong>tly altered the me<strong>an</strong>ing <strong>of</strong> the<br />
diversion <strong>an</strong>d the nature <strong>of</strong> the game.<br />
Today capoeira, especially in its globalized forms, embodies almost to perfection a cool attitude, <strong>an</strong>d that<br />
is why the art is used to advertise mobile phones (<strong>an</strong>other icon <strong>of</strong> coolness) or the BBC <strong>an</strong>d ‘cool<br />
Brit<strong>an</strong>nia’. A cool attitude clashes with what m<strong>an</strong>y mestres <strong>of</strong> the older generations teach, hence the<br />
conflicts over the appropriation <strong>of</strong> the art by new groups <strong>of</strong> capoeira consumers. <strong>The</strong>se generational<br />
conflicts do not exclude some form <strong>of</strong> agreement over basic rules <strong>an</strong>d the possibility to play together in a<br />
roda. Practitioners <strong>of</strong> different styles, religious <strong>an</strong>d political backgrounds will also agree that the roda helps<br />
to concentrate <strong>an</strong>d focus spiritual energy (axé). In that widest sense capoeira is—at least for the time being—<br />
still a martial art, different from aerobics or bodybuilding activities that merely develop mech<strong>an</strong>ical<br />
functions <strong>of</strong> the body.<br />
<strong>The</strong> consumer attitude clashes but also contradictorily combines with <strong>an</strong>other fundamental me<strong>an</strong>ing <strong>of</strong><br />
contemporary capoeira, the formation <strong>of</strong> identity. As we have seen throughout this book, identity politics<br />
have always played a core role in the discussion <strong>of</strong> what capoeira is all about <strong>an</strong>d in which direction it<br />
should evolve. For m<strong>an</strong>y Afric<strong>an</strong>-Americ<strong>an</strong>s (I use this term here in the wider me<strong>an</strong>ing <strong>of</strong> people <strong>of</strong> Afric<strong>an</strong><br />
<strong>an</strong>cestry in the Americas, not—as is the common usage—only in the United States), capoeira expresses the<br />
bodily memory <strong>of</strong> Afric<strong>an</strong>s <strong>an</strong>d their enslaved descend<strong>an</strong>ts. This view is also shared by m<strong>an</strong>y other people<br />
who do not consider themselves to be <strong>of</strong> Afric<strong>an</strong> <strong>an</strong>cestry. Thus capoeira simult<strong>an</strong>eously provides <strong>an</strong><br />
<strong>an</strong>swer to the search for their own roots for black Brazili<strong>an</strong>s, for Brazili<strong>an</strong>s in general <strong>an</strong>d for people <strong>of</strong>