Capoeira (IPA: [ka.pu.ˈej.ɾɐ]) is an Afro-Brazilian blend of martial art, game, and culture created by enslaved Africans in Brazil during the 16th Century.
History
The derivation of the word "Capoeira" is under dispute, as there are several possibilities:
A Capoeira "fight" is one that implies that the purpose is a pretend cockfight, whereby men participate to show off their skills rather than fighting to actually kill or harm an opponent. Though this gymnastic almost dance-like display can appear to be a fight, participants are expected to restrain themselves from inflicting grievous harm upon one another. Hence, all participants are reminded by the word Capoeira, that the intent of the "fight" should remain one with the restraint of the show-off, yet castrated, rooster called Capão. These showy cock like fights are mock fights of skill between performing "capão" in the mock cockfight pen known as the "Capoceira". Capoeira is an extreme display of a cockfight-like competition of one-up-man-ship between show-off cocky "roosters" absent deadly intent.
"Capoeira" has several meanings, including any kind of pen where poultry is kept, a fowl similar to a partridge, and a basket worn on the head by soldiers defending a stronghold. "Capoeira" is also what people used to call a black inlander who mugged travelers. Etymology
Main article: Capoeira music Music
The "roda" is the circle of people within which capoeira is played. People who make up the roda's circular shape clap and sing along to the music being played for the two partners engaged in a capoeira "game" ("jogo"). In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.
The minimum roda size is usually a circle of about 3 metres (10 feet) in diameter. They are often larger, up to 10 metres in diameter (30 feet). The rhythm being played on the berimbau sets the pace of the game being played in the roda. Slow music limits the game to slow yet complex ground moves and handstands.
Hits usually aren't made but feigned or just shown, although this depends directly on the rhythm played by the berimbaus. In some rhythms (e.g., Benguela) strikes are generally shown but not finished while in others (e.g., São Bentro Grande da Regional) the players have more freedom to strike each other. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum which is key to gaining "big air" in the roda. Note, however, that it is the specific toque played on the berimbau, regardless of its speed, which dictates the type of game to be played.
For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself. Philosophy plays a large part in capoeira and the best teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Malicia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).
Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its "playfulness" and dialogue, in the sense that many capoeiristas tend to focus more on impressive acrobatics or the martial elements than the playful interaction with the other player in the roda. Dominance in the roda is as much psychological and artistic as it is a question of who winds up tumbling to the floor.
Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.
The capoeira roda
See also: List of capoeira techniques
Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.
The Jogo
The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular 'step' on the ground. This movement is done to prepare the body for other movements.
The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.
Ginga
Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. Some scholars. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), hand-springs (gato), sitting movements, turns, jumps, flips (mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of "traps" or illusory movements are very common.
Attacks
Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "escape", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive player to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.
Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick.)
Defenses
There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, e.g., at an opponent's drop of guard. Two kicks called meia lua de compasso and armada are usually combined to create a double spinning kick.
Combinations
The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signalling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.
During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.
Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.
The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.
Chamada
Volta ao mundo means 'around the world'.
The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle, and the other player will join the 'around the world' before returning to the normal game.
Volta ao mundo
As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the arts.
Malandragem
Capoeira has two main classifications: traditional and modern. Angola refers to the traditional form of the game. This is the oldest form, approximately 500 years old. Modern forms of capoeira can be classified as Regional and Contemporanea.
Styles of capoeira
The "roda" is the circle of people within which capoeira is played. People who make up the roda's circular shape clap and sing along to the music being played for the two partners engaged in a capoeira "game" ("jogo"). In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.
The minimum roda size is usually a circle of about 3 metres (10 feet) in diameter. They are often larger, up to 10 metres in diameter (30 feet). The rhythm being played on the berimbau sets the pace of the game being played in the roda. Slow music limits the game to slow yet complex ground moves and handstands.
Hits usually aren't made but feigned or just shown, although this depends directly on the rhythm played by the berimbaus. In some rhythms (e.g., Benguela) strikes are generally shown but not finished while in others (e.g., São Bentro Grande da Regional) the players have more freedom to strike each other. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum which is key to gaining "big air" in the roda. Note, however, that it is the specific toque played on the berimbau, regardless of its speed, which dictates the type of game to be played.
For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself. Philosophy plays a large part in capoeira and the best teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Malicia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).
Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its "playfulness" and dialogue, in the sense that many capoeiristas tend to focus more on impressive acrobatics or the martial elements than the playful interaction with the other player in the roda. Dominance in the roda is as much psychological and artistic as it is a question of who winds up tumbling to the floor.
Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.
The capoeira roda
See also: List of capoeira techniques
Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.
The Jogo
The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and capoeira regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular 'step' on the ground. This movement is done to prepare the body for other movements.
The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.
Ginga
Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. Some scholars. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), hand-springs (gato), sitting movements, turns, jumps, flips (mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of "traps" or illusory movements are very common.
Attacks
Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "escape", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive player to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.
Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick.)
Defenses
There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, e.g., at an opponent's drop of guard. Two kicks called meia lua de compasso and armada are usually combined to create a double spinning kick.
Combinations
The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signalling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.
During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.
Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.
The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.
Chamada
Volta ao mundo means 'around the world'.
The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle, and the other player will join the 'around the world' before returning to the normal game.
Volta ao mundo
As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the arts.
Malandragem
Capoeira has two main classifications: traditional and modern. Angola refers to the traditional form of the game. This is the oldest form, approximately 500 years old. Modern forms of capoeira can be classified as Regional and Contemporanea.
Styles of capoeira
Main article: Capoeira Angola Capoeira Angola
Regional is a newer form of Capoeira. Regional was developed by Mestre Bimba to make capoeira more mainstream and accessible to the public, and less associated with the criminal elements of Brazil. The regional style is most often composed of fast and athletic play.
Later, so called modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.
Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice.
Capoeira Regional
Contemporânea is a term for groups that train multiple styles of capoeira simultaneously. Very often a students of Capoeira Contemporânea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This is controversial because many practitioners argue that a capoeirista should have a working knowledge of traditional and modern capoeira, and encourage training both forms simultaneously. This is an issue of great disagreement amongst capoeiristas.
The label contemporânea also applies to many groups who do not trace their lineage through Mestre Bimba or Mestre Pastinha and do not strongly associate with either tradition.
In recent years, the various philosophies of modern capoeira have been expressed by the formation of schools, particularly in North America, which focus on, and continue to develop their specific form of the modern art. This has become a defining characteristic of many schools, to the point that a seasoned student can sometimes tell what school a person trains from, based solely on the way they play the game. Some schools teach a blended version of the many different styles. Traditionally, rodas in these schools will begin with a period of Angola, in which the school's mestre, or an advanced student, will sing a ladainha, (a long, melancholy song, often heard at the start of an Angola game). After some time, the game will eventually increase in tempo, until, at the mestre's signal, the toque of the berimbaus changes to that of traditional Regional.
Each game, Regional and Angola stresses different strengths and abilities. Regional emphasizes speed and quick reflexes, whereas Angola underscores a great deal of thought given to each move, almost like a game of chess. Schools that teach a blend of these try to offer this mix as a way of using the strengths of both games to influence a player.
Capoeira Contemporânea
Regional is a newer form of Capoeira. Regional was developed by Mestre Bimba to make capoeira more mainstream and accessible to the public, and less associated with the criminal elements of Brazil. The regional style is most often composed of fast and athletic play.
Later, so called modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.
Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice.
Capoeira Regional
Contemporânea is a term for groups that train multiple styles of capoeira simultaneously. Very often a students of Capoeira Contemporânea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This is controversial because many practitioners argue that a capoeirista should have a working knowledge of traditional and modern capoeira, and encourage training both forms simultaneously. This is an issue of great disagreement amongst capoeiristas.
The label contemporânea also applies to many groups who do not trace their lineage through Mestre Bimba or Mestre Pastinha and do not strongly associate with either tradition.
In recent years, the various philosophies of modern capoeira have been expressed by the formation of schools, particularly in North America, which focus on, and continue to develop their specific form of the modern art. This has become a defining characteristic of many schools, to the point that a seasoned student can sometimes tell what school a person trains from, based solely on the way they play the game. Some schools teach a blended version of the many different styles. Traditionally, rodas in these schools will begin with a period of Angola, in which the school's mestre, or an advanced student, will sing a ladainha, (a long, melancholy song, often heard at the start of an Angola game). After some time, the game will eventually increase in tempo, until, at the mestre's signal, the toque of the berimbaus changes to that of traditional Regional.
Each game, Regional and Angola stresses different strengths and abilities. Regional emphasizes speed and quick reflexes, whereas Angola underscores a great deal of thought given to each move, almost like a game of chess. Schools that teach a blend of these try to offer this mix as a way of using the strengths of both games to influence a player.
Capoeira Contemporânea
Main article: Capoeira in popular culture
Capoeira in popular culture
The concept of "whitening", "embranquecimento", or "bleaching", was discussed widely beginning of the nineteenth century throughout Brazil. Even though this concept was intended to combat the racist view of Brazil by European theorists, this whitening theory — which was supported mainly by the Brazilian elites at the time — was founded on racist assumptions of white supremacy. Whitening influenced the art in at least two ways, demographically and aesthetically, and the practice of Capoeira Regional demonstrates the "embranquecimento" or "whitening" of values or style. For example, observers constantly describe Capoeira as "clean" in relation to whitening, and modern-day capoeira consist of flowing movements, uniforms, and accepted rules are required to be abided to.
Whitening
Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.
Batizados and Trocas de Corda do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.
Special events
Related activities
Capoeira in popular cultureThe concept of "whitening", "embranquecimento", or "bleaching", was discussed widely beginning of the nineteenth century throughout Brazil. Even though this concept was intended to combat the racist view of Brazil by European theorists, this whitening theory — which was supported mainly by the Brazilian elites at the time — was founded on racist assumptions of white supremacy. Whitening influenced the art in at least two ways, demographically and aesthetically, and the practice of Capoeira Regional demonstrates the "embranquecimento" or "whitening" of values or style. For example, observers constantly describe Capoeira as "clean" in relation to whitening, and modern-day capoeira consist of flowing movements, uniforms, and accepted rules are required to be abided to.
Whitening
Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.
Batizados and Trocas de Corda do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.
Special events
Related activities
Main article: Samba Samba de roda
Main article: Maculelê (dance) Puxada de rede
See also: Category:Capoeira Mestres
Manuel dos Reis Machado, A founder of the regional style, and one of the foremost authorities on capoeira.
Vicente Ferreira Pastinha, a founder of the first organized Angola academy Important Mestres
List of capoeira techniques
Capoeira music
Capoeira toques
Malicia Notes
Almeida B. (1986). Capoeira, a Brazilian Art Form: History, Philosophy, and Practice (2nd ed.). North Atlantic Books. ISBN 0-938190-29-6
Assunção, Matthias Röhrig (2005). Capoeira: A History of an Afro-Brazilian Martial Art, Sport in the Global Society. London: Routledge. ISBN 0714680869.
The Art of Capoeira- short BBC article on Capoeira
Chvaicer, Maya Talmon (2002), "The Criminalization of Capoeira in Nineteenth-Century Brazil," Hispanic American Historical Review 82.3: 525-547.
Downey, Greg (2002). "Listening to Capoeira: Phenomenology, Embodiment, and the Materiality of Music". Ethnomusicology 46 (3): 487-509. ISSN 00141836.
Downey, Greg (2005). Learning Capoeira: Lessons in Cunning from an Afro-Brazilian Art. Oxford: Oxford University Press. ISBN 0195176979.
Fryer, Peter. Rhythms of resistance: African musical heritage in Brazil. The University press of New England, 2000.
Gambrelle, Fabienne "Julien apprenti capoeira", Paris: Capoeira Paname Editions, 2005, ISBN 2-9523680-0-7
Grupo De Capoeira Angola Pelourinho, Capoeira Angola from Brazil, Smithsonian Folkways, 1996.
Grupo de Capoeira Angola Pelourinho, Capoeira Angola, Vol. 2 - Brincandoo Na Roda, Smithsonian Folkways, 2003.
Holloway, Thomas H. (November, 1989) "'A Healthy Terror': Police Repression of Capoeiras in Nineteenth-Century Rio de Janeiro," Hispanic American Historical Review 69.4: 637-676.
Lewis, J. Lowell (1992). Ring of Liberation: Deceptive Discourse in Brazilian Capoeira. Chicago: University of Chicago Press. ISBN 0226476839.
Mansouri, Arno (2005). Capoeira, Bahia. Editions Demi-Lune. ISBN 2-9525571-0-1 Bilingual (French and English)
Nestor Capoeira. (2002). Capoeira: Roots of the Dance-Fight-Game. North Atlantic Books. ISBN 1-55643-404-9
Röhrig Assunção, Matthias (2004) Capoeira: The History of Afro-Brazilian Martial Art. Routledge ISBN 0-7146-5031-5
Taylor, Gerard (2005). Capoeira: The Jogo de Angola from Luanda to Cyber Space. North Atlantic Books. ISBN 1-55643-601-7
See also: Category:Capoeira Mestres
Manuel dos Reis Machado, A founder of the regional style, and one of the foremost authorities on capoeira.
Vicente Ferreira Pastinha, a founder of the first organized Angola academy Important Mestres
List of capoeira techniques
Capoeira music
Capoeira toques
Malicia Notes
Almeida B. (1986). Capoeira, a Brazilian Art Form: History, Philosophy, and Practice (2nd ed.). North Atlantic Books. ISBN 0-938190-29-6
Assunção, Matthias Röhrig (2005). Capoeira: A History of an Afro-Brazilian Martial Art, Sport in the Global Society. London: Routledge. ISBN 0714680869.
The Art of Capoeira- short BBC article on Capoeira
Chvaicer, Maya Talmon (2002), "The Criminalization of Capoeira in Nineteenth-Century Brazil," Hispanic American Historical Review 82.3: 525-547.
Downey, Greg (2002). "Listening to Capoeira: Phenomenology, Embodiment, and the Materiality of Music". Ethnomusicology 46 (3): 487-509. ISSN 00141836.
Downey, Greg (2005). Learning Capoeira: Lessons in Cunning from an Afro-Brazilian Art. Oxford: Oxford University Press. ISBN 0195176979.
Fryer, Peter. Rhythms of resistance: African musical heritage in Brazil. The University press of New England, 2000.
Gambrelle, Fabienne "Julien apprenti capoeira", Paris: Capoeira Paname Editions, 2005, ISBN 2-9523680-0-7
Grupo De Capoeira Angola Pelourinho, Capoeira Angola from Brazil, Smithsonian Folkways, 1996.
Grupo de Capoeira Angola Pelourinho, Capoeira Angola, Vol. 2 - Brincandoo Na Roda, Smithsonian Folkways, 2003.
Holloway, Thomas H. (November, 1989) "'A Healthy Terror': Police Repression of Capoeiras in Nineteenth-Century Rio de Janeiro," Hispanic American Historical Review 69.4: 637-676.
Lewis, J. Lowell (1992). Ring of Liberation: Deceptive Discourse in Brazilian Capoeira. Chicago: University of Chicago Press. ISBN 0226476839.
Mansouri, Arno (2005). Capoeira, Bahia. Editions Demi-Lune. ISBN 2-9525571-0-1 Bilingual (French and English)
Nestor Capoeira. (2002). Capoeira: Roots of the Dance-Fight-Game. North Atlantic Books. ISBN 1-55643-404-9
Röhrig Assunção, Matthias (2004) Capoeira: The History of Afro-Brazilian Martial Art. Routledge ISBN 0-7146-5031-5
Taylor, Gerard (2005). Capoeira: The Jogo de Angola from Luanda to Cyber Space. North Atlantic Books. ISBN 1-55643-601-7
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