Capoeira

Two Styles of Capoeira

There are two major known capoeira styles today. The first, capoeira Angola, purports, as its name indicates, to preserve the pure, authentic dance brought from Angola by enslaved Africans who practiced a rite of passage called “Zebra Dance,” the N'golo, in which the winner would get to marry his chosen bride without having to pay her dowry. The Angoleiros (those who practice capoeira Angola) believe that, due to the circumstances of Brazilian slavery, the ritualistic aspect of N'golo was lost while the combative elements gained prominence. Thus, capoeira emerged as a means of resistance and survival. The second, capoeira Regional, purports to be modern and innovative in that it incorporates elements from East Asian combat sports into the traditional movements. Fans of capoeira Regional believe that it was invented in the Reconcavo plantations in North-Eastern Brazil.

Capoeira's Origin

The origin of capoeira is still a principal subject of research and debate among scholars. Some trace its origins from West Central African combat games, while others emphasize that it came about as a result of creolization.

The earliest written sources found on capoeira are from the late 17th century, Rio de Janeiro, Brazil. At that time, studies and documents, were written mainly by whites and obviously reflect their outlook on life. Some of them viewed Africa as a backward continent, deprived of the developed European cultures. These attitudes—together with the needs of plantation owners—translated into policies designed to prevent and annihilate any black cultural expression, including capoeira.

From the white authorities' standpoint, capoeira had two aspects, both odious. On one hand, it was a game played by enslaved Africans, and that game might become aggressive and dangerous. On the other hand, it was a means capoeiras used to undermine the public peace and threaten the lives of peaceful citizens. In either case, capoeiras were severely punished when caught.

In the early 1800s, authorities and tourists described capoeira “as slaves' plays,” “dances,” and [Page 176]“battles.” The inconsistency in definitions was the result of their attempt to define an activity that was irreconcilable with their experience. Dancing does not go hand in hand with boxing—at least from the white man's point of view. Moreover, the movements of capoeira presented a specific kind of a martial art— without the physical contact—thereby lending the air of a game to the entire activity. The confusing definitions stem from the significant differences between the life experiences of the various cultures.

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