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
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
6 COMPETING MASTER NARRATIVES<br />
<strong>The</strong> Father José de Anchieta in the year 1595 published a book with the title: <strong>The</strong> Grammar <strong>of</strong> the<br />
most used L<strong>an</strong>guage on the Coast <strong>of</strong> Brazil, in which exists a quote that ‘the Tupí-Guar<strong>an</strong>í entertained<br />
themselves playing capoeira’ […] it is reported that Martim de Souza [Portuguese explorer <strong>an</strong>d first<br />
governor <strong>of</strong> Brazil, 1531–1533] also observed tribes playing capoeira. 2<br />
Since no precise reference is given, one c<strong>an</strong> but wonder about the nature <strong>of</strong> that supposed quote. In view <strong>of</strong><br />
the fact that the term Tupí-Guar<strong>an</strong>í was only coined by modern ethnologists long after the Tupí had been<br />
exterminated along the Brazili<strong>an</strong> coast, one has to conclude that the quote is a fake, even though s<strong>an</strong>ctioned<br />
by a respected academic institution. <strong>The</strong> absolute lack <strong>of</strong> evidence that native ‘Tupí-Guar<strong>an</strong>í’ played<br />
capoeira has, however, resulted in the weakening <strong>of</strong> this myth over the last decades, even though that now<br />
obsolete idea is still defended in some quarters in Brazil.<br />
A far greater number <strong>of</strong> practitioners claim that maroons (runaway slaves) invented capoeira. Almost<br />
every book on capoeira history contains <strong>an</strong> initial chapter on slave resist<strong>an</strong>ce, where the heroic quilombos<br />
(maroon settlements) are always singled out for their fierce opposition to slave society. 3 Although not all<br />
authors explicitly associate capoeira <strong>an</strong>d maroons, that connection is made plain by m<strong>an</strong>y, tr<strong>an</strong>sforming for<br />
inst<strong>an</strong>ce Zumbi, the famous icon <strong>of</strong> black resist<strong>an</strong>ce, into a capoeira fighter. 4 This story became so common<br />
place that the movie Quilombo, <strong>an</strong> <strong>of</strong>ficial choice for the C<strong>an</strong>nes Film Festival in 1984, featured maroons<br />
fighting slave-catchers using capoeira movements. Directed by Carlos Diegues, with music by Gilberto Gil<br />
<strong>an</strong>d starring singer Zezé Motta, it thus suggested that the art was already practised in the famous<br />
seventeenth-century ‘Black Republic’ <strong>of</strong> Palmares, a federation <strong>of</strong> maroon villages that resisted colonial<br />
authorities for almost a century in the mountains <strong>of</strong> Alagoas in North-Eastern Brazil.<br />
<strong>The</strong> rom<strong>an</strong>ticized image <strong>of</strong> maroons practising capoeira has dominated historical accounts <strong>of</strong> the art for<br />
the last half century. It circulates under two different vari<strong>an</strong>ts, one emphasizing the Afric<strong>an</strong> heritage <strong>of</strong> the<br />
maroons <strong>an</strong>d the other their proximity to nature. In the words <strong>of</strong> Almir Areias, capoeira mestre <strong>an</strong>d author<br />
<strong>of</strong> <strong>an</strong> influential introductory booklet about capoeira, ‘not possessing enough arms to defend themselves,<br />
almost none <strong>of</strong> the conventional weapons <strong>of</strong> the time, it became necessary for the [runaway] slaves to<br />
discover a way to confront the weapons <strong>of</strong> their adversaries’. Although the author acknowledges that<br />
Afric<strong>an</strong> ‘games, competitions, etc.’ might have contributed to its development, capoeira seems essentially to<br />
stem from the imitation <strong>of</strong> <strong>an</strong>imals which cohabited with the maroons in the wilderness: ‘In that m<strong>an</strong>ner,<br />
imitating cats, monkeys, horses, oxen, birds, snakes, etc., the slaves discovered the first kicks <strong>of</strong> that<br />
fight’. 5 To support his claim, he asserts that<br />
We have in some documents quotations <strong>of</strong> bush captains [slave catchers] <strong>an</strong>d comm<strong>an</strong>ders <strong>of</strong><br />
expeditions which, referring to the fights with the slaves, commented about ‘a str<strong>an</strong>ge game <strong>of</strong> the<br />
body’, which these used in the moment <strong>of</strong> fight, ‘as if they were truly untameable <strong>an</strong>imals’. 6<br />
That sounds rather impressive, were it not again for the embarrassing detail that no precise reference is<br />
given <strong>an</strong>d the quote de facto does not seem to exist—at least not in colonial documents. As we are going to<br />
see, however, this sentence was invented by a nationalist writer in the 1920s <strong>an</strong>d has been cited ever since.<br />
Through frequent repetition these fake quotes acquired the value <strong>of</strong> ‘truth’. One c<strong>an</strong> therefore hardly blame<br />
capoeira teachers like Areias, who only repeated in writing what everybody else had been reiterating for<br />
m<strong>an</strong>y years. Academics sometimes take on board that myth, assuming that it derives from some kind <strong>of</strong> oral<br />
tradition. 7 <strong>The</strong> attractiveness <strong>of</strong> the story is enh<strong>an</strong>ced by the fact that it is quite plausible: Some kind <strong>of</strong><br />
Afric<strong>an</strong> inspired martial games probably existed among greater maroon settlements. Not one single<br />
contemporary source, however, has been found to confirm this hypothesis. And, more import<strong>an</strong>t, it is unlikely