The Brazilian martial arts-dance form of Capoeira is inherently African in its underlying philosophies. These philosophies are taught through song/text performed in the practice of Capoeira; through the mythological histories of the developmental roots of the art form; through lessons and stories that address the Afro-Brazilian experience both historically and in the present; and through lessons and stories that celebrate the tenacity and cleverness of the Afro-Brazilian to endure in spite of slavery, poverty, and racism. In the mid-1970s, when the practice of Capoeira began to attract students outside of Brazil and in particular in New York City, it broadened its practitioners to a multicultural, multiracial base. The hypothesis of this study is that through the practice of Capoeira and through exposure to Capoeira's underlying afrocentric philosophies, students have altered their perspectives of race, acquiring afrocentric philosophies themselves. In this study student's participate in a written survey to discern the alterations in their perspectives on race as result of their study of Capoeira.
Origin-Problem Statement:
The first group of African slaves arrived in Brasil in 1537. These slaves were brought from Africa by the Portuguese explorers to work on the Brazilian's sugar cane plantations! The main ethnic group of slaves brought to Brasil were the "bantos" - from Angola, Golfo da Guin� and Congo; "sudaneses" - from Golfo da Guin� and Sud�o; and "maleses" - from Angola and Costa da Mina. However, the origin of the Brazilian martial arts-dance form known as Capoeira is the subject of heated debate. There are those who adhere to the belief that Capoeira originated in Africa and was transported along with the slaves when they were brought to Brazil. There are others who say that the art form originated amongst the Afro-Brazilians in the "Senzalas", the living quarters for the slaves on Brazilian plantations. Others believe that Capoeira was practiced and used to fend off attacks by Portuguese slavers in Palmares, Brazil's most infamous "Quilombo" maroon colony of escaped slaves. There is no historical evidence to support any of these claims; many written documents regarding slavery in Brasil were burned when the first government of the new Republic was established. Ruy Barbosa, the Finance Minister, signed an act intending to clean all traces of slavery from the history of Brasil. By his own words, "...the lamentable institution which paralyzed for many years the development of the society..." ! There is, however, evidence and agreement that Capoeira is aesthetically and philosophically an Afro-Brazilian art form. The most acceptable claim is that basing themselves on traditional African dances and rituals, these slaves developed the art in the work free hours left to them, thus training both mind and body for combat situations. As the slave-masters forbade any kind of martial art, it was cloaked in the guise of an innocent-looking recreational dance. In the 16th century, escaped-slaves founded a number of "Quilombos" , in which the art of Capoeira was further perfected. Many escaped-slaves, before they could reach the Quilombos, were captured by the "Capit�o-do-mato" that ironically were sometimes African decedents or mulatos themselves. The "Capit�o-do-mato" were hired by the Portuguese slavers and usually worked on their own. The inhabitants of Palmares, the largest of the Quilombos, lasted 65 years. The "Quilombo dos Palmares" was located in what is today's state of Alagoas, northeast Brazil. Its population was composed not only of escaped African slaves but also of native Brazilian Indians and other mixed races(Mesti�os). It had an organized government system similar to an African Kingdom with a King and his Assembly. The best warriors on battles were chosen King; "Zumbi" was the most known King of all. The "Quilombo dos Palmares" fought for many years and was finally destroyed in 1694 by Domingos Jorge Velho and his troops. "Zumbi" managed to escape and many believed that he was immortal. Wanted by the authorities, he was captured on November 20th, 1695. He was killed and beheaded on the spot. His head was brought to a public Plaza at the "vila do Recife". "Zumbi" was considered a national hero and warrior, a symbol of liberty ; his name became a Capoeira legend. Capoeira was used not only in direct combat, it also inspired the battle strategy itself; feigning retreat, thus luring the over-confident enemy into remote territories only to strike back at an unsuspecting place and time. During the "Paraguai War" (1864 to 1870), many capoeiristas were sent to battle in the front line. The official prohibition of Capoeira remained even after slavery was abolished in May 13th, 1888. In 1890, Brazilian president "Marechal Deodoro da Fonseca" signed an act that prohibited the practice of capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours and similar occasions. Riots, caused also by police interference, were common. Persecution and punishment were almost successful in eradicating Capoeira from the "streets" of Brasil by the 1920's. In spite of the ban, Master Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). He incorporated new moves and techniques from "Batuque", a martial art that he learned form his father (the unified champion); The "Capoeira Regional" or "Luta Regional Baiana" was than a more effective and efficient style of capoeira. Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930's. Mestre Bimba founded the first Capoeira school in 1932, the "Academia-escola de Capoeira Regional", at the Engenho de Brotas in Salvador-Bahia. He was than considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the "Terreiro de Jesus - rua das Laranjeiras"; today rua Francisco Muniz Barreto, #1. The school is open until today and supervised by his ex student, "Vermelho-27". He also taught capoeira to the army and at the police academy. Mestre Bimba was born on November 23rd, 1900, at the "bairro do Engenho Velho" in Salvador-BA. The son of Luiz C�ndido Machado and Maria Martinha do Bonfim, Mestre Bimba started capoeira at the age of 12. He was taught by "Bentinho", an African that used to be the "capit�o da Companhia Baiana de Navega��o". Master Bimba was a coalman, carpenter, warehouse man, longshoreman, horsecoach conductor, but mainly capoeirista; a giant with strong personality! He died on February 15th, 1974 at the "Hospital das Cl�nicas de Goi�nia", due to a stroke. Capoeira progressed from an illegal art to become a national sport in Brasil. It is also growing its popularity worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and Capoeira. Both were practiced and developed by Afro-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of afrocentric pride especially amongst poorer and darker skinned Blacks. In the mid-1970s, when masters of the art form - mestre capoeiristas, began to emigrate and teach Capoeira in the United States, it was still primarily practiced amongst the poorest and Blackest of Brazilians. With its emigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. In New York City particularly, Capoeira schools have attracted a representative array of students from the following: White (European and American), Asian, Caribbean, Hispanic and Black North American segments of New York's diverse population. While the present demographics of Capoeira students in New York has developed into a multicultural, multiracial base, the demographics of masters has largely remained Brazilian and the philosophy of capoeira has retained its afrocentric focus. This research will consist of a set of questions, directed at the varied base of multiethnic Capoeira students in New York City to find out to what degree students have acquired afrocentric philosophies inherent to the study of Capoeira.
http://www.capoeiranyc.com/study.htmlCapoeira (IPA: [kapu'ej??]) is a Brazilian martial art developed initially by African slaves in Brazil, starting in the colonial period. It is marked by deft, tricky movements often played on the ground or completely inverted. It also has a strong acrobatic component in some versions and is always played with music.
There are two main styles of Capoeira that are clearly distinct. Angola is characterized by slower, lower play with particular attention to the rituals and tradition of Capoeira. The other style, Regional (IPA: [he?iu'naw]), is known for its fluid acrobatic play, where technique and strategy are the key points. Regional was created by Mestre Bimba. Both styles are marked by the use of feints and subterfuge, and use groundwork extensively, as well as sweeps, kicks, and headbutts.
Recently, the art has been popularized by the addition of Capoeira performed in various computer games and movies, and Capoeira music has featured in modern pop music (see Capoeira in popular culture).
http://en.wikipedia.org/wiki/Capoeira 
Reply
