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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NOTES 231<br />
31 Coutinho, O ABC, p. 25. For neighbourhood rivalry see also Almeida, <strong>Capoeira</strong>, A Brazili<strong>an</strong> <strong>Art</strong> Form<br />
(Berkeley: North Atl<strong>an</strong>tic Books, 1986), p. 120.<br />
32 W.Rego, <strong>Capoeira</strong> Angola. Ensaio sócio-etnográfico (Salvador: Itapuâ, 1968), pp. 35–6; R.Almeida, ‘O<br />
brinquedo da capoeira’, Revista do Arquivo Municipal, Vol. 7, No. 84 (1942), pp. 155–62; L.R.ieira, O jogo de<br />
capoeira. Cultura popular no Brasil (Rio de J<strong>an</strong>eiro: Sprint, 1995), pp. 101–2.<br />
33 For a more detailed description see Vi<strong>an</strong>a, Quintal de Nagô, pp. 23–7.<br />
34 Tabaroa designates the large straw hat used by the market women, see footnote by F.Abreu in Coutinho, O ABC,<br />
p. 77.<br />
35 Mestre Noronha acknowledges the ch<strong>an</strong>ge <strong>of</strong> the venue from the Feira do 7 market to the quay, due to the former<br />
being a ‘very d<strong>an</strong>gerous’ area, e.g. prone to violence (Coutinho, O ABC, p. 19).<br />
36 Coutinho, O ABC, pp. 20–1.<br />
37 On gender roles in <strong>Afro</strong>-Bahi<strong>an</strong> culture, compare T.de Oliveira Pinto, <strong>Capoeira</strong>, Samba, C<strong>an</strong>domblé. <strong>Afro</strong>-<br />
Brasili<strong>an</strong>ische Musik im Recôncavo, Bahia (Berlin: Museum für Völkerkunde, 1991), pp. 34–6.<br />
38 M.Bola Sete mentions five other women that ‘became famous in capoeira’: Júlia Fogareira, Maria<br />
Pernambuc<strong>an</strong>a, Maria Cachoeira, Maria Pé no Mato, OdíZlia. See A <strong>Capoeira</strong> Angola na Bahia (Rio de J<strong>an</strong>eiro:<br />
Pallas, 1997), pp. 27–8.<br />
39 DiárioPopular, 16.11.1969.<br />
40 Jornal do Brasil, 5.3.1961.<br />
41 This at least is the version told by M.C<strong>an</strong>jiquinha in A.Moreira (ed.), C<strong>an</strong>jiquinha, alegria da capoeira<br />
(Salvador: A Rasteira, 1989), p. 29. C<strong>an</strong>jiquinha also mentions Maria Avestruz <strong>an</strong>d asserts that Palmeirão killed<br />
the famous troublemaker Pedro Porreta.<br />
42 A.L.Cardoso Simões Pires, ‘Escritos sobre a cultura afro-brasileira. A formação histórica da capoeira<br />
contemporânea, 1890–1950 (PhD thesis, <strong>History</strong>, UNICAMP, 2001), p. 117. This author also mentions the<br />
corrido ‘Dona Maria do Camboatá’ as further evidence <strong>of</strong> women in capoeira. <strong>The</strong> verses that explicitly make<br />
her a capoeirista seem, however, to be <strong>of</strong> recent origin. <strong>The</strong> ‘traditional’ verses do not clearly assert that she<br />
practised the art.<br />
43 Carneiro, Negros b<strong>an</strong>tos, p. 148; Almeida, ‘O brinquedo da capoeira’.<br />
44 <strong>The</strong>re is ample evidence for the use <strong>of</strong> balões in early twentieth-century vadiação. See Carneiro, Negros b<strong>an</strong>tos,<br />
p. 10; A.Vi<strong>an</strong>na, Quintal de Nagô e outras crônicas (Salvador: UFBa, 1979), p. 9; M. Pastinha, <strong>Capoeira</strong> Angola<br />
(Salvador: Fundação Cultural do Estado da Bahia, 1988), pp. 30, 69; M<strong>an</strong>uscritos e desenhos de Mestre Pastinha<br />
(edited by A.Dec<strong>an</strong>io, Salvador, n.d.), p. 12a. See also F.J. de Abreu, ‘Bimba e Bamba’. A capoeira no ringue<br />
(Salvador: Instituto Jair Moura, 1999) p. 71, footnote 12 <strong>an</strong>d the competent discussion in K.K.Bonates, Iú na<br />
M<strong>an</strong>dingueira, a ave símbolo da capoeira (M<strong>an</strong>aus: Fenix, 1999), p. 54. Evidence for the use <strong>of</strong> balões c<strong>an</strong> also<br />
be found in the photos accomp<strong>an</strong>ying C. Tavares, ‘<strong>Capoeira</strong> mata um!’ (O Cruzeiro, 10.1.1948), pp. 6–14, <strong>an</strong>d the<br />
movie Vadição. According to M.Sodré, Mestre Bimba, corpo de m<strong>an</strong>dinga (Rio de J<strong>an</strong>eiro: M<strong>an</strong>ati, 2002), p. 69,<br />
one type <strong>of</strong> balão was called alo<strong>an</strong>dê.<br />
45 For a relation <strong>of</strong> kicks <strong>an</strong>d other movements used by different mestres in the 1960s, see Rego, <strong>Capoeira</strong> Angola,<br />
pp. 65–9. See also A.Vi<strong>an</strong>na, Casos e coisas da Bahia (Salvador: Secretaria de Educação e Saúde, 1950),<br />
p. 153.<br />
46 E.Carneiro, ‘<strong>Capoeira</strong>’, Cadernos de Folclore, No. 1 (Rio de J<strong>an</strong>eiro: MEC, 1977), p. 20; E.L.Powe, <strong>Capoeira</strong> &<br />
Congo (Madison, WI: D<strong>an</strong> Aiki Publications, 2002) p. 30.<br />
47 See Carneiro, Negros b<strong>an</strong>tos, p. 149; R.L<strong>an</strong>des, City <strong>of</strong> Women (New York: Macmill<strong>an</strong>, 1947), p. 102, Tavares,<br />
‘<strong>Capoeira</strong> mata um!’, p. 14; Vi<strong>an</strong>na, Quintal de Nagô, p. 9. Rego, <strong>Capoeira</strong> Angola, p. 87 affirms categorically<br />
that he never saw a g<strong>an</strong>zá (reco-reco) been played in a capoeira roda. Written evidence on the use <strong>of</strong> these<br />
instruments <strong>an</strong>d the absence <strong>of</strong> the atabaque is confirmed by oral history: M.Ferreirinha, Interview, 5.9.1994;<br />
M.Waldemar, Interview by L.R.Vieira, 1989; <strong>an</strong>d recognized by capoeira scholars such as F.Abreu <strong>an</strong>d<br />
B.Almeida (Mestre Accordeon), Á gua de beber, camará! Um Bate-papo de <strong>Capoeira</strong> (Salvador: Empresa<br />
Gráfica da Bahia, 1999), p. 78.