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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16 COMPETING MASTER NARRATIVES<br />
a ‘Guide to <strong>Capoeira</strong> or the Brazili<strong>an</strong> gymnastics’, a first attempt to systematize capoeira movements,<br />
establishing the difference between the various types <strong>of</strong> postures, feints <strong>an</strong>d blows. 37 <strong>The</strong> federal deputy<br />
Henrique Coelho Neto (1864–1934) claimed to have discussed the same idea with two friends at the time.<br />
According to him, they even considered sending a project to the Brazili<strong>an</strong> parliament that would establish<br />
capoeiragem as a compulsory discipline in state owned institutions <strong>an</strong>d the barracks. <strong>The</strong>y ‘gave up that<br />
idea, however, because other people found it ludicrous, just because that game was…Brazili<strong>an</strong>.’ 38 Coelho<br />
Neto was <strong>an</strong> influential nationalist writer whose residence was a favourite meeting place for intellectuals. 39<br />
He also practised capoeira <strong>an</strong>d expressed his strong views about the matter in <strong>an</strong> article he entitled ‘Our<br />
game’, where he reiterated his view that capoeira should be taught in colleges, barracks <strong>an</strong>d battleships<br />
because it ‘harmoniously develops the body <strong>an</strong>d is a me<strong>an</strong>s <strong>of</strong> self-defence superior to all others which are<br />
praised by foreigners […]’. 40<br />
<strong>The</strong> idea that capoeira was ‘our game’ gained increasing popularity among nationalist, middle-class<br />
Brazili<strong>an</strong>s. <strong>The</strong> journalist Raul Pederneiras for inst<strong>an</strong>ce published <strong>an</strong> extensive article entitled ‘<strong>The</strong> National<br />
Defence’ (1921), in which he reiterated all the previous arguments to support the view that capoeira suited<br />
Brazil more th<strong>an</strong> <strong>an</strong>y imported sport. 41 Another journalist synthetized his strong view about the fighting art<br />
to which the Brazili<strong>an</strong>s should give preference in the suggestive appeal: ‘Let’s cultivate the capoeira game<br />
<strong>an</strong>d feel revulsion for boxing!’ M<strong>an</strong>y other writers, including Coelho Neto, picked up his slog<strong>an</strong>. One <strong>of</strong><br />
them complained that Brazili<strong>an</strong>s were unfortunately ashamed <strong>of</strong> capoeira, ‘but we get ape-likely,<br />
ridiculously carried away with that brutish, <strong>Afro</strong>-British thing called boxing’. Echoing da Cunha he<br />
recommended:<br />
If you w<strong>an</strong>t to cultivate <strong>an</strong> eleg<strong>an</strong>t game, adequate for self-defence, a game <strong>of</strong> noble dexterity which<br />
is not brutal <strong>an</strong>d deme<strong>an</strong>ing, there you have our unsurpassable <strong>an</strong>d invincible capoeira game, a game<br />
born from racial <strong>an</strong>d environmental factors which shaped our nascent race. 42<br />
Racial stereotypes concerning the ‘weakness’ <strong>of</strong> ‘mixed-bloods’ were sometimes associated with the cliché<br />
<strong>of</strong> the supposed physical inferiority <strong>of</strong> the ‘Negro’. Thus Adolfo Morales de los Ríos (1887–1973), <strong>an</strong><br />
Argentini<strong>an</strong> engineer <strong>an</strong>d writer residing in Rio, reiterated the idea that ‘the capoeiragem is a creation made<br />
by the weak—the Negro <strong>an</strong>d the mestiço—against the strong: the white. <strong>The</strong> vigour <strong>of</strong> the latter is<br />
challenged by the cunning <strong>of</strong> the others’. 43 More common though was to contrast the strong white <strong>an</strong>d black<br />
with the feeble mestiço, which ‘explained’ why capoeira was not primarily relying on physical strength, but<br />
rather on dexterity. Luis Edmundo (1878–1961) in his description <strong>of</strong> the archetypical mulatto capoeira,<br />
which he inaccurately tr<strong>an</strong>spl<strong>an</strong>ted back into the colonial period, clarifies that ‘the capoeira’ despite not<br />
having ‘the athletic complexion <strong>of</strong> the Negro <strong>an</strong>d not even the healthy <strong>an</strong>d vigorous look <strong>of</strong> the Portuguese’,<br />
still comm<strong>an</strong>ds respect. ‘All his strength resides in this amazing elastic dexterity, in front <strong>of</strong> which the<br />
Europe<strong>an</strong> tumbles, <strong>an</strong>d the Afric<strong>an</strong>, astonished, retreats’. 44 Like so m<strong>an</strong>y other authors, he identified both<br />
negative <strong>an</strong>d positive aspects (courteous, defender <strong>of</strong> the weak, deeply religious) <strong>of</strong> the capoeira <strong>an</strong>d<br />
admitted the possibility <strong>of</strong> his ultimate redemption: ‘Basically he is bad because he lives where there is<br />
trade in vice <strong>an</strong>d crime. Socially, he is a cyst, but he could be a flower’. 45<br />
Having identified qualities <strong>an</strong>d defects <strong>of</strong> both the Brazili<strong>an</strong> race <strong>an</strong>d character, one issue inevitably arose.<br />
If the racial type could be improved through ‘whitening’, could the national character also be enh<strong>an</strong>ced by<br />
eliminating its most negative aspects? In that respect eugenics were to race what hygienization was to the<br />
culture <strong>of</strong> the popular classes. Writers such as Mello Moraes <strong>an</strong>d Coelho Neto only deplored the<br />
‘degeneration’ <strong>of</strong> capoeira <strong>an</strong>d considered the possibility <strong>of</strong> redemption from its ‘vices’, but made no<br />
concrete pl<strong>an</strong>s how this was to be achieved. Only during the period <strong>of</strong> intense cultural renovation