What is Capoeira?

Capoeira’s (or Capoeiragem, Malandragem or Vadicão) path has been traced through slave-quarters (Senzalas) of the plantations, to secret societies (Maltas) in Bahia. It survived under persecution as an oral tradition, living in the streets and open spaces in Brazil. It is now a flourishing cultural form of itself, and hailed as the National Sport.

From 1535 to 1885, millions of Africans were subjugated into slavery, including people from Angola, the Congo and Mozambique. Many of the important documents relating to slavery in Brazil were burned, to cleanse from history the traces of slavery, and this has taken from us valuable insights as to the development of the art. It is commonly believed that a form of Capoeira arrived in Brazil with the Africans and was developed by their descendants. However, some say Capoeira was created by Africans in Brazil, others rigidly hold that its roots in Africa, but it flourished and blossomed in Brazil. Capoeira is a tradition of fighting with the feet, perhaps directly descended from tribal dervishes of strength and ritual dance.

Capoeira was banned by Penal Decree from 1890 to 1930, and during that time, it was only street hoodlums (Malandros) and members of secret societies who practiced the art. Bandits used the steps of the dance as a weapon; sometimes with straight razors held between their toes.

Mestre Bimba opened the first academy for training in 1927. By 1937, Capoeira was finally officially recognized and brought in from the streets to thrive in academies and other venues. It was only through the dedication and unfaltering courage of but a few individuals, masters who are only one generation away from us.

Capoeira is a unique blend of movement, song and music. At first glance one sees a circle of clapping onlookers, singing choruses in Portuguese to traditional call and response songs. In the center of the circle two capoeiristas move in what resembles a competitive dance. There is an acrobatic and beautiful avoidance of physical contact. The players’ movements display ritual, trickery and grace. As one continues to look, one sees that the contributions of the encircling players and musicians play a large part in the game. Songs rich with oral traditions are sung to references what is occurring at that very moment in the game. This gathering of musicians and artist forms a community of expression.

The musical soul of Capoeira, the berimbau, leads an orchestra of drums, tambourines and bells. The rhythms govern the speed and type of games played. One rhythm calls for beautiful flourishes and graceful movements, another calls for close-quartered movements, and sneaky deception to trap the opponent. Many moves involve headstands, handstands, cartwheels and other improvised movements. There are small rituals and gestures that season the games. Everyone’s style of play is very individual, and evolves with their experience in the art.

In training, we often play competitively with our partner. Rather than block an oncoming blow, we evade it with a flight or a flourish, and trip them up as we leave. At its best expression, there is never any actual contact between players. Skill is cultivated to pull blows, and it is enough to show that a kick could have landed, without striking the other person. In class you learn all the physical elements of Capoeira, but this is only one facet of Capoeira. There is much more than physical training involved. You will learn to sing, to play musical instruments, possibly to speak a whole new language!

Capoeira is a living testament to the durability of the human spirit that is practiced in dance academies, cultural centers and universities. The evolution of capoeira continues under the influence of creativity and imagination.

THE BENEFITS OF PRACTICING CAPOEIRA

• Flexibility
• Mobility
• Rhythm
• Power
• Endurance
• Development of another language
• Gain a singing voice
• Cardio-vascular fitness
• Spatial awareness
• Provides a personal creative outlet
• Gain self-confidence
• Foster cultural identity

MACULÊLÊ

In Santo Amaro do Purificação o, Brazil, an old dance was revitalized to preserve the memory of those who toiled and had their bodies broken harvesting in the sugar-cane plantations. Historically, Maculêlê was performed both culturally, to traditional rhythms and songs, and recreationally. Maculêlê is known as the dance of the sugar cane.

Maculêlê is a fast and free form dance that is both a contest and play, as each player "shows their stuff". The dancers each use a pair of sticks called Grimas (cut from sugar-cane), which are sometimes replaced by machetes. It is performed to the beat of drums called Ingoma or Atabaque (amphora-shaped wooden barrels) to which the dancers carry a four beat pattern.

Much of the dance is improvised movement within a set choreography. The choreography usually tells a story within the action or the songs. Songs that glorify Zumbi the leader of the Palmares Quilombo or recount the abolition of slavery are sung in a fashion similar to a capoeira roda, as a leader calls and the dancers respond.