Capoeira: The History of an Afro-Brazilian Martial Art

NOTES 237
71 See Abreu (Bimba é bamba, p. 36) for a reproduction of the original article. I quote here the English translation
made by M.Acordeon (Capoeira, p. 33). Decânio (A herança, pp. 64–6) maintains that the police sergeant Lúcio
Barra Preta had lost money betting on one of Bimba’s opponents in a previous pricing match and for that reason
was keen to have a go at the mestre.
72 Abreu, ‘Bimba é bamba’, pp. 22, 30.
73 Decânio, A herança, p. 151.
74 Acordeon, Capoeira, p. 71 and Água de beber, p. 55; see also Muniz, Mestre Bimba, p. 71.
75 Information provided by M.Itapoan and M.Nenel.
76 Interview with Jair Moura, Salvador, 14 February 2001.
77 O Momento (Salvador), 25.3.1946, p. 1. I am grateful to Frede Abreu for providing me with this reference.
78 Interview with Jair Moura, Salvador, 14.2.2001.
79 Decânio, A herança, p. 117; see also N.Capoeira, Capoeira. Os fundamentos da malícia (Rio de Janeiro: Record,
1992), pp. 77–9.
80 A Tarde, 23.3.1962.
81 Written accounts do not agree on how the emblem was designed. See Decânio, A herança, pp. 41–4; Itapoan, A
saga, p. 104; and Sodré, Mestre Bimba, p. 58.
82 According to Decânio, Falando, p. 26 it was Carlos Senna who suggested the ‘Salve’.
83 Rego, Capoeira, p. 283.
84 M.Itapoan (ed.), Mestre ‘Atenilo’: o ‘relâmpago’ da capoeira regional (Salvador: author’s edition, 1991),
pp. 40–2.
85 This account merges two different versions of the event. Interviews with Mestre Caiçara, Salvador, 9.8.1994 and
22.8.1994.
86 For more details on the last years of his life, see Pires, Escritos, pp. 154–8.
87 Both quoted in Rego, Capoeira angola, p. 269.
88 Incorporating Capoeira, p. 230–1. Abreu, ‘Bimba é bamba’, p. 23, writes in a similar vein: ‘Por ser um preto
inventor não contou com a simpatia de alguns influentes intelectuais baianos estudiosos da cultura negra, avessos
aos novos inventos culturais dos negros’.
89 Lopes, A volta do mundo, pp. 62, 109.
90 R. Ortiz, A morte branca do feitiçeiro negro (Rio de Janeiro: Vozes, 1978).
91 A.Frigério, ‘Capoeira: de arte negra a esporte branco’, Revista Brasileira de Ciências Sociais, Vol. 4, No. 10
(1989), pp. 85–98.
92 Pires, Escritos, p. 151.
93 Vieira, O jogo, pp. 131, 145, 158.
94 Reis, O mundo, pp. 27–8.
95 See in that respect the absolutely correct appreciation by M.Acordeon, Água de beber, p. 54 , and Downey,
‘Incorporating’, passim.
96 The names of some capoeira toques such as São Bento Grande ou Angola em Gêgy [Jeje] clearly reflect that
pattern. See LP Sílvio Acarajé, Capoeira primitiva. Toques inéditos (São Bernardo do Campo: Universal Comercial
Fonográfica/Caritas, 1993).
97 See Downey, ‘Incorporating’, pp. 242–4.
98 Abreu, Bimba é bamba, p. 39.
99 Itapoan, A saga, p. 65.
100 Vieira, O jogo, p. 145; see also p. 158.
101 Vieira, O jogo, pp. 162–7.
102 See M.Acordeon and Pires, ‘Escritos’, p. 151.
103 For a similar appreciation see M.Itapoan, A saga, p. 18.
104 Downey, ‘Incorporating’, p. 240.
105 Abreu, ‘Bimba é bamba’, p. 37; Sodré, Mestre Bimba, p. 100.
106 This convincing argument was first made by Abreu, ‘Bimba é bamba’, pp. 25, 41.