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
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
chiefs implemented that we know <strong>of</strong> the existence <strong>of</strong> a slave practice called capoeira. Even though police<br />
records unfortunately do not tell us everything we would like to know about it, they still allow us to infer<br />
some import<strong>an</strong>t aspects <strong>of</strong> early nineteenth-century capoeira.<br />
Slave capoeira, 1808–1850<br />
When I saw Vidigal<br />
My blood r<strong>an</strong> cold<br />
If I am not fast enough<br />
<strong>The</strong> quati rat will lick me<br />
(Popular verse about Major Vidigal,<br />
famous for his harsh treatment <strong>of</strong> capoeiras) 15<br />
CAPOEIRAGEM IN RIO DE JANEIRO 71<br />
Felipe, a slave from Angola, was taken into custody on 10 September 1810. He seems to have been the first<br />
individual arrested for ‘capoeira’ by the Royal Police Guard created two years earlier. Guard records list the<br />
individuals detained during subsequent years (1810–1821) <strong>an</strong>d reveal some import<strong>an</strong>t details about the<br />
earliest form <strong>of</strong> capoeira we know <strong>of</strong>. Leila Algr<strong>an</strong>ti, the first histori<strong>an</strong> to have made a systematic use <strong>of</strong> this<br />
source, found that capoeira accounted for 438 (9 per cent) <strong>of</strong> the 4,853 grounds given for arrests. It was<br />
second only to escapes <strong>of</strong> slaves. 16 Carlos Eugênio Soares looked more specifically at these first known<br />
victims <strong>of</strong> police repression in Rio. Out <strong>of</strong> the several hundred individuals arrested for capoeira during these<br />
years, as much as 91 per cent were slaves. 77 per cent <strong>of</strong> the detained were Afric<strong>an</strong>s <strong>an</strong>d 10.6 creoles (with<br />
the rest <strong>of</strong> unspecified origins). 17<br />
<strong>The</strong> proven<strong>an</strong>ce <strong>of</strong> these first capoeiras caught in the net <strong>of</strong> state repression is also crucial for the<br />
discussion <strong>of</strong> its Afric<strong>an</strong> origins. Eighty-four per cent came from West Central Africa, 9 per cent from East<br />
Africa (Mozambique) <strong>an</strong>d only 7 per cent from West Africa (mainly Minas <strong>an</strong>d Calabars). 18 <strong>The</strong> modest<br />
participation <strong>of</strong> West Afric<strong>an</strong>s could lead to the conclusion that their contribution to the development <strong>of</strong> the<br />
art was not import<strong>an</strong>t. One should however keep in mind that this percentage is consistent with their overall<br />
proportion among Afric<strong>an</strong>s in Rio, which never amounted to more th<strong>an</strong> 7 per cent before 1850. 19 <strong>The</strong>refore,<br />
their presence c<strong>an</strong> also me<strong>an</strong> that there was some kind <strong>of</strong> West Afric<strong>an</strong> input into capoeira from a very early<br />
stage.<br />
<strong>The</strong> breakdown <strong>of</strong> the West Central Afric<strong>an</strong> origins is even more revealing. Over 40 per cent <strong>of</strong> them<br />
came from northern Congo, including the Cabindas, Congos <strong>an</strong>d Monjolos, representing a higher<br />
percentage th<strong>an</strong> their share <strong>of</strong> the Afric<strong>an</strong> population in the city. Slaves from northern Angola (mainly<br />
Angolas, Rebolos, Cass<strong>an</strong>ges <strong>an</strong>d Cabundas) accounted for almost a third <strong>of</strong> all slaves from the Kongo/<br />
Angola region, which corresponds roughly to their overall proportion among Afric<strong>an</strong> slaves. <strong>The</strong> slaves<br />
from southern Angola (Benguelas <strong>an</strong>d G<strong>an</strong>guelas) are not quite as prominent among the arrested capoeiras<br />
in that early period as one would expect, since they already represented then the largest group <strong>of</strong> Afric<strong>an</strong>s in<br />
the city, <strong>an</strong>d supposedly brought the capoeira <strong>an</strong>cestor n’golo along with them. <strong>The</strong>y account for only 23<br />
per cent <strong>of</strong> the arrested West Central Afric<strong>an</strong>s. Soares rightfully points out that one should look more at the<br />
estuary <strong>of</strong> the Congo river <strong>an</strong>d northern Angola for possible Afric<strong>an</strong> origins <strong>of</strong> capoeira, <strong>an</strong>d that ‘diverse<br />
<strong>an</strong>cestral practices’ entered in its genesis. 20 Given the participation not only <strong>of</strong> Afric<strong>an</strong>s from different<br />
macro-regions but also <strong>of</strong> creoles in capoeira at that early phase, he concludes that ‘we c<strong>an</strong>not affirm that<br />
capoeira was <strong>an</strong> exclusively Afric<strong>an</strong> activity. In reality, it seems that it was the fruit <strong>of</strong> a combination <strong>of</strong><br />
dispersed Afric<strong>an</strong> traditions <strong>an</strong>d creole cultural “inventions”‘. 21 As we have seen in Chapter 2, the problem