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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208 CONCLUSION<br />
Afric<strong>an</strong> descent in the diaspora. It provides a link with <strong>an</strong>cestral practices. A capoeira roda allows one to<br />
log into the homepage <strong>of</strong> <strong>an</strong> epic past <strong>an</strong>d a glorious present. As such it is still apowerful marker <strong>of</strong> ethnic<br />
(black), regional (Bahi<strong>an</strong>) <strong>an</strong>d national (Brazili<strong>an</strong>) identities, despite its exp<strong>an</strong>sion to new constituencies<br />
that are none <strong>of</strong> these three. <strong>Capoeira</strong> therefore <strong>of</strong>fers not only health <strong>an</strong>d fun, but also spirituality in <strong>an</strong><br />
increasingly secularized world, just as it provides <strong>an</strong> <strong>an</strong>chor in a global context <strong>of</strong> dissolution <strong>an</strong>d crisis <strong>of</strong><br />
traditional identities <strong>of</strong> class, gender, ethnicity <strong>an</strong>d nation; hence its popularity in the multicultural<br />
metropolises <strong>of</strong> the twenty-first century. Identities are defined in terms <strong>of</strong> the whole art (to be a capoeirista),<br />
a specific style (for example to be <strong>an</strong> <strong>an</strong>goleiro), or a particular group. <strong>The</strong>y are expressed in m<strong>an</strong>y ways,<br />
from songs to T-shirts.<br />
Globalization produces the dislocation <strong>of</strong> peoples <strong>an</strong>d cultures. Growing fluxes <strong>of</strong> parcels <strong>an</strong>d passengers<br />
undermine the idea <strong>of</strong> culture being firmly rooted in a particular soil. Feeling <strong>of</strong> dist<strong>an</strong>ce from one’s<br />
‘original’ location <strong>of</strong> culture c<strong>an</strong> result in the search <strong>of</strong> one’s roots, but also fuel exoticism. That is why the<br />
development <strong>of</strong> capitalism in nineteenth-century Europe was accomp<strong>an</strong>ied by the growth <strong>of</strong> travel literature<br />
<strong>an</strong>d the interest in <strong>an</strong>thropological descriptions <strong>of</strong> ‘natives’ in dist<strong>an</strong>t continents. During the twentieth<br />
century, exoticism—although now to a large extent commodified by the tourist industry—remains a kind <strong>of</strong><br />
inverted pursuit from the search for one’s own ‘roots’, the search for <strong>an</strong> imaginary homel<strong>an</strong>d, where hum<strong>an</strong><br />
beings are still in a state <strong>of</strong> nature, unpolluted und without guilt, just like <strong>an</strong>imals. Maybe this is <strong>an</strong>other<br />
reason why <strong>an</strong>imal metaphors—chameleons, zebras, snakes, monkeys <strong>an</strong>d birds—continue to be so<br />
powerful in contemporary capoeira. <strong>The</strong>y also help to define one’s own posture in the debate over the wider<br />
me<strong>an</strong>ing <strong>of</strong> capoeira or the very concrete way in which a game evolves in a roda.<br />
<strong>The</strong> term globalization is commonly used to suggest that the process is a recent, late twentieth-century<br />
development. In fact, one c<strong>an</strong> hardly imagine a more momentous process <strong>of</strong> dislocation <strong>of</strong> peoples <strong>an</strong>d<br />
cultures th<strong>an</strong> the one produced by the slave trade for almost four centuries. <strong>The</strong> difference is that it<br />
happened outside Europe in dist<strong>an</strong>t colonies; metropolit<strong>an</strong> cultures only superficially acknowledged the<br />
social <strong>an</strong>d cultural impact <strong>of</strong> the slave trade. <strong>The</strong>y were not directly involved in the way they are now, when<br />
the metropolises themselves have become multicultural societies. That is why metropolit<strong>an</strong> cultures now<br />
need diasporic forms such as capoeira, which have accumulated a long experience <strong>of</strong> how to accommodate<br />
cultural diversity whilst still preserving a core identity.<br />
Outside Brazil, capoeira adepts <strong>of</strong>ten come from multicultural backgrounds <strong>an</strong>d they are the ones who<br />
seem to incorporate more rapidly the basic ginga th<strong>an</strong> mono-lingual students. Practitioners from<br />
monocultural background <strong>of</strong>ten struggle hard to grasp the me<strong>an</strong>ing <strong>of</strong> what they are doing, because they are<br />
not familiar with cultural tr<strong>an</strong>slation. Adepts with their own diasporic biography, in contrast, are typically<br />
forced to develop flexibility in terms <strong>of</strong> value-system, precisely what constitutes the ‘flexible waist’ (jogo<br />
de cintura) in capoeira or wider Brazili<strong>an</strong> popular culture.<br />
A creole, tr<strong>an</strong>satl<strong>an</strong>tic practice such as capoeira is therefore particularly apt to provide <strong>an</strong> overarching<br />
identity for diasporic people <strong>of</strong> <strong>an</strong>y descent. A diaspora presupposes the existence <strong>of</strong> a real or imaginary<br />
homel<strong>an</strong>d to which its members aspire to return. <strong>The</strong> more globalized capitalism destroys <strong>an</strong>d commodifies<br />
‘original cultures’, the more people feel uprooted, <strong>an</strong>d the more they start searching for ‘authenticity’. That<br />
is why the search for one’s ‘roots’ has become so import<strong>an</strong>t today, <strong>an</strong>d essentialists <strong>of</strong> all sorts enjoy<br />
growing sympathy in m<strong>an</strong>y audiences. Yet, to paraphrase a slog<strong>an</strong> from postcolonial studies, more import<strong>an</strong>t<br />
th<strong>an</strong> the supposed roots <strong>of</strong> are the routes through which capoeira developed. Given that capoeira has not<br />
only survived repression, conquered legality, <strong>an</strong>d grown so much ever since, one c<strong>an</strong> indeed say, that the<br />
golden age <strong>of</strong> capoeira lies not in a dist<strong>an</strong>t past when the art was more ‘authentic’, but, as Nestor <strong>Capoeira</strong><br />
rightly asserts, the golden age <strong>of</strong> capoeira is today! 5