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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236 NOTES<br />
40 See the film ‘Vadiação’, director Alex<strong>an</strong>dre Robatto, 1952; <strong>an</strong>d the discussion in K.K.Bonates, Iúna<br />
M<strong>an</strong>dingueira, a ave símbolo da capoeira (M<strong>an</strong>aus: Fenix, 1999), p. 54.<br />
41 Abreu, Bimba é Bamba, p. 40.<br />
42 Itapo<strong>an</strong>, A saga, pp. 61–2, M.Acordeon, <strong>Capoeira</strong>, p. 113.<br />
43 For a good description, see Acordeon, <strong>Capoeira</strong>, p. 118.<br />
44 This comparison is explicitly made by B.Almeida (M.Acordeon), Água de beber, Camará. Um bate- papo de<br />
capoeira (Salvador: UCA, 1996), p. 50, <strong>an</strong>d M.Itapo<strong>an</strong>, A saga, p. 84.<br />
45 Downey, ‘Incorporating’, p. 227; Itapo<strong>an</strong>, A saga, pp. 83–5.<br />
46 Itapo<strong>an</strong>, A saga, pp. 73–7; Vieira, O jogo, pp. 156.<br />
47 Vieira, O jogo, pp. 144–71.<br />
48 Rego, <strong>Capoeira</strong> <strong>an</strong>gola, p. 59; also listen to Bimba’s LP.<br />
49 See the extensive discussion in Bonates, Iúna M<strong>an</strong>dingueira, pp. 51–6.<br />
50 In 1936, for inst<strong>an</strong>ce, Bimba’s group performed on the Municipal Square with 2 berimbaus, 3 p<strong>an</strong>deiros <strong>an</strong>d 1<br />
g<strong>an</strong>zá. Abreu, Bimba é bamba, pp. 30–1.<br />
51 Decânio, A her<strong>an</strong>ça, pp. 169–70.<br />
52 See the verses reproduced in Moura, Mestre Bimba, pp. 72–7, <strong>an</strong>d comments by Downey, ‘Incorporating’,<br />
pp. 137–8.<br />
53 Itapo<strong>an</strong>, A saga, pp. 79–80; 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. 78.<br />
Acordeon, Á gua de beber, p. 50 explains that the toque ‘P<strong>an</strong>ha Lar<strong>an</strong>ja no Chão, Tico-Tico’ was only played to<br />
<strong>an</strong>nounce the end <strong>of</strong> the sequences training <strong>an</strong>d the beginning <strong>of</strong> the game within the academy.<br />
54 <strong>The</strong> best information on this aspect <strong>of</strong> Bimba’s life is given by Sodre, Mestre Bimba, pp. 92–7.<br />
55 See the samba-de-roda recordings on the LP by Mestre Bimba e coro, Le-le ô a turma de Bimba chegou.<br />
(Salvador: Liceu de <strong>Art</strong>es e Ofícios da Bahia, 1991).<br />
56 Itapo<strong>an</strong>, A saga, p. 63.<br />
57 Vieira, O jogo, p. 161.<br />
58 Silk scarves were traditionally used to protect the shirt from dirt <strong>an</strong>d sweat in the neck area.<br />
59 M.Camisa Roxa asserts that Bimba abolished the ‘take away the medal’ test (arr<strong>an</strong>ca-medalha) because it <strong>of</strong>ten<br />
had resulted in accidents. Interview in Roda de <strong>Capoeira</strong>. A revista do capoeuropa, No. 1 (July 1998), p. 7.<br />
60 For the graduation ceremony, see Rego, <strong>Capoeira</strong> Angola, pp. 286–7, Itapo<strong>an</strong>, A saga, pp. 67–72, Decânio, A<br />
her<strong>an</strong>ça, pp. 166–7, Vieira, O jogo, pp. 159–61.<br />
61 For a reproduction <strong>of</strong> the symbol see Itapo<strong>an</strong>, A saga, p. 104 or the CD Essência. O berimbau e a voz do eterno Bimba<br />
(Salvador, Fundação Mestre Bimba, 2001).<br />
62 Decânio, A her<strong>an</strong>ça, pp. 105–7.<br />
63 For a list <strong>of</strong> names see Moura, Mestre Bimba, pp. 26, 29.<br />
64 Abreu, Bimba é bamba, p. 25.<br />
65 I have not been able to find solid evidence for the date <strong>of</strong> that meeting. <strong>The</strong>re is also some divergence regarding<br />
the whole episode. According to Decânio, A her<strong>an</strong>ça, p. 107, Cisn<strong>an</strong>do Lima, a personal friend <strong>of</strong> Magalhães,<br />
made the initial contact. M.Sodré, Mestre Bimba, p. 93, suggests that links were established through the world <strong>of</strong><br />
c<strong>an</strong>domblé (Magalhães used to consult <strong>an</strong>d protect the priest Bernardino from the Bate-Folha shrine). M.Itapo<strong>an</strong>,<br />
however, told me that this rather happened through one <strong>of</strong> the Interventor’s body guards, also from Ceará<br />
(interview with M.Itapo<strong>an</strong>, 27.1.1997).<br />
66 Rego, who knew Bimba well <strong>an</strong>d <strong>of</strong>ten interviewed him, gives a full account in <strong>Capoeira</strong> <strong>an</strong>gola, p. 315 <strong>an</strong>d<br />
includes the text <strong>of</strong> a letter by Magalhães confirming the exhibition at the palace.<br />
67 Vieira, O jogo, p. 171.<br />
68 Rego, <strong>Capoeira</strong>, pp. 282–3.<br />
69 Itapo<strong>an</strong>, A saga, p. 44. M<strong>an</strong>y books or journals reproduce pictures <strong>of</strong> that meeting. See for inst<strong>an</strong>ce the photo <strong>of</strong><br />
Bimba with Vargas, the governor <strong>of</strong> Bahia <strong>an</strong>d the mayor <strong>of</strong> Salvador in Revista Grupo Muzenza 01, n.d., p. 5; or<br />
C.Barbieri, Um jeito brasileiro de aprender a ser (Brasilia: DEFER/GDF, 1993), p. 136.<br />
70 Decânio, A her<strong>an</strong>ça, p. 106.