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A Collision of Cultures in the Brazilian Battle Dance - Capoeira Music

A Collision of Cultures in the Brazilian Battle Dance - Capoeira Music

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Index<br />

pandeiros, 128<br />

paraguayan war, 51, 53, 55, 61–62, 65,<br />

69–70, 81<br />

past<strong>in</strong>ha, Vicente ferreira: on berimbaus,<br />

133; and <strong>Capoeira</strong> angola, 114,<br />

125–126, 127, 154, 177, 197n56; and<br />

chang<strong>in</strong>g role <strong>of</strong> music, 162–163;<br />

and dist<strong>in</strong>ction between martial art<br />

and game, 136; and drums, 132; and<br />

<strong>in</strong>troduction <strong>of</strong> capoeira <strong>in</strong> schools,<br />

116; on malícia, 166; and music as<br />

concealment, 30; performances <strong>of</strong>,<br />

126; songs about, 156; style <strong>of</strong>, 165<br />

pedestres, 54<br />

pedro i (k<strong>in</strong>g), 21, 22<br />

peels game, 13<br />

pentagrams, 109<br />

pereira, Manoel Henrique, 104<br />

physical education: <strong>in</strong>tegration <strong>of</strong> capoeira<br />

<strong>in</strong>to, 122, 123, 127, 128; and<br />

nazi <strong>the</strong>ories <strong>of</strong> race, 115<br />

pigafetta, filippo, 32–33, 41<br />

pilar, pedro Murat, 74<br />

p<strong>in</strong>ho, alexandre, 36<br />

p<strong>in</strong>to, francisco reis de Lima, 36<br />

pires, antônio Liberac, 2, 22, 114<br />

pires, francisco, 38<br />

play: classification <strong>of</strong>, 27, 29; and game<br />

<strong>of</strong> life, 61, 170–172; significance <strong>of</strong>, <strong>in</strong><br />

african culture, 4, 29, 61<br />

player <strong>in</strong> <strong>the</strong> Market, a (Chamberla<strong>in</strong>),<br />

0<br />

“‘play’ on dombi plantation” (Valkenburg),<br />

41,<br />

portela, Joaquim José, 36<br />

power: and arch, 102; <strong>in</strong> capoeira, 30–<br />

35; and hats, 41, 44; <strong>of</strong> k<strong>in</strong>gs, 41, 43;<br />

red as symbol <strong>of</strong>, 39. See also supernatural<br />

powers<br />

prado, eduardo, 86<br />

praia, Manduca da, 82–83, 99–101, 102<br />

prayers: and Bantu tradition, 128; and<br />

berimbaus, 145, 148, 149; lada<strong>in</strong>ha,<br />

127, 134, 139, 148; and songs, 161;<br />

spiritual elements <strong>in</strong>, 145–148<br />

programa nacional de <strong>Capoeira</strong>, 123<br />

public works projects, 8–9<br />

Queirós, nicolãu de, 22<br />

Quer<strong>in</strong>o, Manuel, 116, 117, 128, 132<br />

Quissama, 16<br />

race, nazi <strong>the</strong>ories <strong>of</strong>, 115<br />

racial relationships: <strong>in</strong> capoeira, 2; and<br />

equality, 153, 155; and new state, 177;<br />

and sociopolitical strife, 178–179;<br />

tensions between white foreigners<br />

and blacks, 23, 24; whites’ attitude<br />

to slaves’ social and cultural activities,<br />

12, 163; whites’ suppression <strong>of</strong><br />

african-<strong>Brazilian</strong> cultural expression,<br />

151, 175<br />

racial “scientific” <strong>the</strong>ories, 111, 176–177<br />

ramos, artur, 2, 116<br />

re-africanization processes, 151<br />

rebellions: and <strong>Capoeira</strong>s, 20–26; fear<br />

<strong>of</strong> slave rebellions, 20, 22, 24, 25; rebellion<br />

aga<strong>in</strong>st oligarchy, 70, 81–82;<br />

slave rebellions <strong>in</strong> salvador, 24, 119<br />

rebolo, 16,<br />

reco-reco, 128, 132<br />

red, as capoeira color, 38, 39, , 45, 89,<br />

90<br />

red<strong>in</strong>ha, José, 129<br />

Reforma, A, 82<br />

régio, tomas do, 87<br />

rego, Waldeloir, 30–31, 100, 120, 122<br />

reis, João, 119<br />

reis, José elísio dos, 74–75<br />

reis, Letícia, 2, 21, 115<br />

religious ceremonies: <strong>in</strong> Bahia, 96; and<br />

drums, 35, 145<br />

religious practices, african-<strong>Brazilian</strong><br />

religions, 119–120

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