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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COMPETING MASTER NARRATIVES 7<br />
that <strong>an</strong>y such m<strong>an</strong>ifestation would have found its way back into the Brazili<strong>an</strong> cities, where Afric<strong>an</strong>s <strong>an</strong>d<br />
their descend<strong>an</strong>ts were developing their own vibr<strong>an</strong>t cultures <strong>an</strong>d had no reason to adopt a game from dist<strong>an</strong>t<br />
backl<strong>an</strong>ds.<br />
<strong>The</strong> last version <strong>of</strong> the tale <strong>of</strong> the remote origins attributes <strong>an</strong> entirely Afric<strong>an</strong> origin to the art. In its most<br />
radical expression, it asserts rather bluntly that capoeira as such was practised in Angola. Tr<strong>an</strong>spl<strong>an</strong>ted to<br />
Brazil, it is supposed to have been performed without major alterations before spreading to the rest <strong>of</strong><br />
the world:<br />
It was more th<strong>an</strong> four hundred years ago that the warriors <strong>of</strong> N’dongo (today known as Angola) faced<br />
the invading Portuguese Armies. In a bloody <strong>an</strong>d bitter guerrilla war, the N’dongo warriors fought the<br />
Europe<strong>an</strong>s using their native martial art <strong>of</strong> ‘kapwera’—the B<strong>an</strong>tu verb me<strong>an</strong>ing ‘to fight’. 8<br />
As we are going to see in Chapter 2, recent research on possible <strong>an</strong>cestors <strong>of</strong> capoeira shows some amazing<br />
continuities between Central Afric<strong>an</strong> practices <strong>an</strong>d contemporary capoeira. Yet despite these perm<strong>an</strong>ences,<br />
capoeira ch<strong>an</strong>ged signific<strong>an</strong>tly over the last two centuries, <strong>an</strong>d these tr<strong>an</strong>sformations affected not only<br />
formal aspects <strong>an</strong>d social context but also its cultural me<strong>an</strong>ing. <strong>The</strong> myth <strong>of</strong> the unity <strong>of</strong> capoeira assumes<br />
that, on the contrary, that its ‘perennial essences’ <strong>an</strong>d ‘immutable characteristics’ have not been altered. As<br />
will be discussed subsequently, it is more likely that different vari<strong>an</strong>ts <strong>of</strong> capoeira developed in the various<br />
Portuguese colonies, <strong>an</strong>d that the ‘classical’ form played in the harbour areas around the Bay <strong>of</strong> all the<br />
Saints (the Bahi<strong>an</strong> Recôncavo) emerged only at a much later date, at the end <strong>of</strong> the nineteenth century.<br />
So great is the desire to ‘discover’ a capoeira as similar as possible to contemporary practice in the<br />
remote past, that some do not hesitate to m<strong>an</strong>ipulate historical records. Today the game is accomp<strong>an</strong>ied by a<br />
musical bow called berimbau. Unfortunately one <strong>of</strong> the earliest iconographic representations <strong>of</strong> capoeira,<br />
the famous engraving by the Bavari<strong>an</strong> painter Joh<strong>an</strong>n Moritz Rugendas (1802–1858), ‘Playing capoeira or<br />
war d<strong>an</strong>ce’ (1835, see Figure 3.1), displays only a little drum <strong>an</strong>d none <strong>of</strong> the ‘traditional’ instruments used<br />
in modern capoeira (berimbau, atabaque, agogô, p<strong>an</strong>deiro <strong>an</strong>d reco-reco). Since the berimbau is today<br />
considered the ‘soul’ <strong>of</strong> capoeira, one <strong>of</strong> its intrinsic <strong>an</strong>d constitutive parts, it c<strong>an</strong>not be lacking from <strong>an</strong>y<br />
historical representation. <strong>The</strong> instrument is thus sometimes added to the picture, tr<strong>an</strong>sforming a formerly<br />
passive spectator into <strong>an</strong> additional musici<strong>an</strong>. 9 Academics, again, are not exempt from this attempt to adapt<br />
sources to pre-conceived models. US scholar Robert Farris Thompson commented on the same engraving<br />
by Rugendas as follows:<br />
No later th<strong>an</strong> 1835 the berimbau, as the lungungu came to be called in Brazil, was being used to fuel<br />
the capoeira martial art. This we know because Rugendas in <strong>an</strong> illustration shows two men in a roda,<br />
one doing the basic step, the ginga, at left, <strong>an</strong>d the other, at right, apparently executing a step called<br />
queixada. <strong>The</strong>y are in combat. H<strong>an</strong>dclapping <strong>an</strong>d a drum accomp<strong>an</strong>y their battle. But close<br />
examination <strong>of</strong> a m<strong>an</strong> st<strong>an</strong>ding next to the drummer shows that he has a musical bow <strong>an</strong>d is pulling<br />
open his shirt, probably to place the calabash-resonator <strong>of</strong> his instrument against his naked stomach in<br />
Kongo Angol<strong>an</strong> m<strong>an</strong>ner. 10<br />
As the reader c<strong>an</strong> verify, nothing suggests that a berimbau is hidden in the picture. Moreover, the way in<br />
which such engravings were produced does not support the idea <strong>of</strong> the picture representing a moment prior<br />
to the full development <strong>of</strong> the game. Engravings were not photographs grasping <strong>an</strong> ephemeral/tr<strong>an</strong>sient<br />
inst<strong>an</strong>t, but the result <strong>of</strong> a longer period <strong>of</strong> study, carefully recomposing the artist’s observations, usually<br />
fixed in preliminary studies. If Rugendas had seen a berimbau , there is no reason why he would not have