Capoeira Mandinga Detroit
Capoeira: Brazil's Martial and Cultural Art Form
Copyright © 2011 by Shannon Roxborough
Slowly at first, arms swinging from side to side, body swaying as each leg gracefully sweeps backward in an arc, the practitioners size up the person opposite them. Guided by the hypnotic rhythm of the berimbau, a bow-shaped, single-stringed gourd instrument, along with a small percussion ensemble including drums and a tambourine-like pandero, gradually, they begin an interaction of simulated combat, kicking, twisting, turning and tumbling within a circle created by their classmates.
Now, with music echoing through the training hall and everyone singing and clapping in unison, they begin to pick up speed, throwing deceptive, rapid-fire kicks from unpredictable angles and deftly slipping and maneuvering just beyond their opponent's reach with skillful evasive action.
This is capoeira (pronounced capo-AIR-ah), a centuries-old Afro-Brazilian cultural art form with the explosiveness of karate, the agility of the kung-fu sport wushu and the grace of tai chi. A ritualistic martial art with roots as a war dance and survival philosophy, capoeira is marked by a blend of fighting and acrobatic movements: kicks, slaps, head butts, elbow strikes, throws, sweeps, takedowns, flips, handstands, backbends, cartwheels, hand spins.
Created in Brazil by West African slaves brought over by Portuguese invaders, capoeira was banned toward the end of the 1800s because of its ties to revolutionaries, guerilla fighters and criminal gangs. Practiced underground until being decriminalized, it was introduced into the mainstream by Mestre (master) Bimba in the Brazilian city of Salvador, in the state of Bahia (the birthplace of capoeira), in 1932. A few years later in 1937, Bimba performed for Brazil's president, Getúlio Vargas, who afterward declared capoeira a "genuine Brazilian martial art." The art was eventually brought to the United States by Bimba's top disciples, among others.
Popularized by Hollywood films such as Only the Strong, Catwoman and Ocean's Twelve, it is often confused with break-dancing, which borrows some of its movements. And despite being widely practiced throughout the world today, capoeira is still largely misunderstood by the uninitiated, according to Gary L. Williams, an instructor teaching capoeira in Ferndale, Michigan, a suburb of Detroit, whose Brazilian grandmaster, Mestre Suassuna, was a student of Bimba.
"Capoeira remains one of the more perplexing arts. Although it has been gaining popularity in recent years, most people still know little, if anything, about it," said Williams, who studied kenpo, ninjitsu and wing chun before beginning his capoeira training in 1996 under the direction of Mestre Marcelo "Caveirinha" Pereira , a San Francisco Bay Area practitioner whose capoeira was animated for the character Eddy Gordo in Tekken, the popular martial arts video game.
Indeed, ask the average martial artist about capoeira and you'll likely draw a quizzical look followed by an inquisitive "Capo what?" Such is the reality of an art that is at once famous and obscure. So, exactly what is capoeira? In a nutshell, is a physical, mental and spiritual discipline that is essentially a martial art cleverly disguised as dance.
History and Practice
Although the precise date of capoeira's conception is unclear, it is thought by
most to have been practiced in Brazil since the 16th century. One thing is for
certain: By the time traveling artists such as Englishman Augustus Earle and
German Johann Moritz Rugendas documented capoeira's "Dance of War" in paintings
in 1822 and 1825, respectively, capoeira had long been woven into the fabric of
Brazilian slave life.
During slavery, practicing capoeira was forbidden, and discovery often led to severe punishment, sometimes death. For many of the slaves who worked Brazil's sugarcane plantations, however, training capoeira in secret was not only an act of defiance to their captivity, but occasionally the means to secure freedom from it. Brazil was the last country in the Americas to abolish slavery (on May 13, 1888) and capoeira, because of the perceived threat it posed, was outlawed afterward and the ban stood for decades.
In the post-slavery decades of the late 19th and early 20th centuries—before capoeira was legalized—capoeiristas (capoeira practitioners) had to contend with the harsh reality of official brutality as much the threat of being confronted by a hostile thug with a hidden straight razor or stashed machete. Out of necessity, they kept a low profile, which allowed them to take advantage of the element of surprise.
Today, there are generally two major styles of capoeira—Angola, a form retaining older rituals that generally favors a slower pace and low-centered tactics; and Regional, a more modern and upright form conceived by Mestre Bimba, which he considered true to capoeira's fighting roots and more practical for real-world combat. (Contemporânea, a third form, combines elements of Angola and Regional with newer techniques that don't fall into either system.)
Capoeira, in each of its incarnations, hasn't strayed far from its deceptive roots. Malicia (malice) is a concept of using trickery, cunning and street smarts to gain an upper hand on your adversary. The art's lingering deception is all too apparent during the roda (HOA-da), or game, which is central to the practice capoeira. In this dynamic game of cat and mouse, played to live music and traditional call-and-response songs, two students or masters face off in the center of a circle formed by fellow capoeiristas and onlookers.
Opponents use stealthy kicks, gravity-defying surprise attacks and unorthodox ground fighting, while employing a gallery of skills and impressive feats of strength, balance and timing to evade the same when the tables turn quickly. After "playing" for a while, a third student cuts in for their chance, replacing one student, later followed by yet another, continuing the ever-revolving process.
In the roda, as in the capoeira academy itself, students of every age, race and background share day-to-day camaraderie that creates strong bonds and helps promote greater awareness, focus and calm, something practitioners view every bit as important as improving techniques, strength, speed, endurance and flexibility.
The Foundation of Capoeira
To participate in the roda, pupils must first be well acquainted with the art's
basic techniques. While there are a large number of methods the novice is
expected to perform competently, most schools insist on a firm grasp of the
following:
Ginga (JEAN-guh). The initially awkward-looking but eventually smooth side-to-side step from which all other capoeira movements originate.
Negative (nega-CHEE-va). This movement allows the practitioner to control body movement while on the floor or ground, allowing capoeristas to quickly recover after attacks or falls or to execute takedowns.
Aú (Ah-OOO). Capoeira's version of a cartwheel is can be used as an approach or retreat from an attack. Executed correctly, it can cause hesitation in opponents and leave them confused enough to let down their guard.
Cocorinha (coco-REEN-ya). A squatting position Used to evade close quarter circular kicks and horizontal strikes.
Esquiva (es-SKI-va). This defensive tactic—executed to the front, rear or side—is employed to dodge horizontal attacks by moving the head and torso out of the line of fire.
Macaco (MA-ka-co). A back handspring used as an evasive maneuver.
Martelo (MAR-tello). A thrusting straight kick similar to Tae Kwon Do's round house kick.
Mei Lua de Compasso (ME-a-LOU-uh-gee-cum-pa-so). A half-moon round kick. strike.
Mei Lua de Frente (ME-a-LOU-uh-gee-fren-che). The front half-moon kick.
Armada (ARE-mod-uh). Capoeira's signature aerial spinning double kick.
Parafuso (PEAR-a-foo-so). A corkscrew kick, which resembles kung-fu's tornado or whirlwind kick.
Rasteira (HAAS-stea-ruh). Any of three hooking sweeps or takedowns.
Tradition: The Heart and Soul
Capoeira, though not conceived in Africa, has undeniable ties to the Dark
Continent. The influences forged through three and a half centuries of slavery
are obvious, from the unmistakable African-inspired musical beats to the
similarities to ancient tribal dances; from the song lyrics providing a glimpse
into the lives of Brazilian slaves to the folklore, superstitions and symbolism
drawn from the religious traditions of candomblé, which was spawned in the
indigenous beliefs of Angola, Nigeria, Togo and Benin—just as the arts of China,
Japan and Korea are inextricably linked to Buddhism, Taoism and Confucianism.
Periodic batizados, or baptisms, are held to formally accept newer students into the capoeira community. During these events, initiates receive their first capoeira cord (the equivalent of belts, modeled after the ranking system used in Asian martial arts), and individuals are often given apelias (nicknames) based on their personality or physical traits—monikers they will carry from that point forward.
Williams, known as Trovoáda (thunder) by other capoeiristas, has met and trained with many capoeira masters over the years. His love of the art inspired him to learn Portuguese, and to immerse himself fully in its history, culture and subtle intricacies. For him, the study of capoeira has transcended mere physical practice. It has become a lifestyle.
That approach was shared by Bimba, says Williams, who "insisted that capoeira is about much more than simply dispatching your foes...it is a part of everyday life."
Like its Far Eastern counterparts, capoeira is the sum of many parts, encompassing combat, fitness, health and thought blended into a higher form of combined artistry that unifies the body, mind and spirit.
In Brazil, capoeira continues to flourish alongside colonial ghosts and the enduring scars of slavery. In the U.S. and elsewhere, the respect capoeira has for its connection with the past ensures the art's future, even in a world where appreciation for anything traditional fades with each passing day.
Bibliography
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– methodizada e
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mestre Bimba (The heritage of
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MERRELL, F. (2005). Capoeira and candomblé:
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UNKNOWN AUTHOR (an anonymous naval officer).
(1907). Guia do Capoeira du
Gymanstica Brazileira (The guide to Capoeira or Brazilian gymnastics). Rio de
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ABOUT THE AUTHOR
A Detroit native who lives in upstate New York,
Shannon Roxborough is a widely published freelance writer, editor and
international consultant. A longtime
researcher of the history and culture behind the martial arts, he has studied
kung-fu, qigong (chi kung), Taoist yoga, Chinese herbal medicine and Taoism
since 1980, including 2 years in China as the initiated apprentice of a Taoist
priest, Chinese doctor and kung-fu master. His Web site is
www.shannonrox.info.
Copies of the print issue of the Asian Journal of Martial Arts containing the original 18-page article, with all the accompanying illustrations, including photos depicting techniques demonstrated by Capoeira Mandinga Detroit students, can be purchased for $10 from Trovoada (capoeiradetroit12@gmail.com) or digital downloads and print copies are available at the Journal's Web site, www.goviamedia.com.
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