Capoeira Capoeira or the Dance of War by Johann Moritz Rugendas 1825 published in 1835 Focus Kicking Striking Leg Sweeps Acrobatics Slaps Punches Elbows Knees Headbutts Take-downs Country of origin Brazil Famous practitioners Manuel dos Reis Machado (Mestre Bimba) Vicente Ferreira Pastinha Joo Grande Joo Pereira dos Santos (Mestre Joo Pequeno) Reinaldo Ramos Suassuna Bira Almeida (Mestre Acordeon) Jos Tadeu Carneiro Cardoso (Mestre Camisa) Lateef Crowder Eddy Gordo (fictional character) Anderson Silva John Morrison

Capoeira (Portuguese pronunciation: kapuej) is a Brazilian art form that combines elements of martial arts sports and music. It was created in Brazil mainly by descendants of African slaves with Brazilian native influences probably beginning in the 16th century. It is known by quick and complex moves using mainly power kicks and quick leg sweeps with some ground and aerial acrobatics knee strikes take-downs elbow strikes punches and headbutts.

The word capoeira comes from Tupi referring to the areas of low vegetation in the Brazilian interior. Contents 1 History 1.1 Origins 1.2 Quilombos 1.3 Urbanization 1.4 The end of slavery and prohibition 1.5 Luta Regional Baiana 1.6 Capoeira today 2 Martial Art 3 Capoeira Game 3.1 Roda 3.1.1 Batizado 3.1.1.1 Apelido 3.2 Chamada 3.3 Volta ao mundo 3.4 Malandragem 4 Music 4.1 Instruments 4.2 Songs 5 Styles of Capoeira 5.1 Capoeira Angola 5.2 Capoeira regional 5.3 Capoeira Contempornea 6 Ranks 6.1 Confederao Brasileira de Capoeira's ranking system 7 Related activities 7.1 Samba de roda 7.2 Maculel 7.3 Puxada de rede 8 Important mestres 9 See also 10 Notes 10.1 Printed references 10.2 Further reading 11 External links History

Capoeira's history probably begins with the adoption of African slavery in Brazil. Since the 16th century Portugal extensively adopted slavery to man their colonies coming mainly from West and Central Africa. Brazil with its vast territory was the major destination of African slaves receiving 38.5% of all slaves sent by ships across the Atlantic Ocean.

Capoeira has a long and controversial history since historical documentation in Brazil was very scarce in its colonial times. Evidences studies and oral tradition leave little doubt about its Brazilian roots but it is impossible to precisely identify the exact location and time it began to take form. Origins

In the 16th century Portugal had one of the biggest colonial empires of the world but it lacked people to actually colonize it. In the Brazilian colony the Portuguese like many European colonists opted to use slavery to supply this shortage of workers. Colonists tried to enslave Brazilian natives in the beginning but this quickly proved too difficult for many reasons including the familiarity natives had with the land. The solution was importing slaves from Africa. 1

In its first century the main economic activity in the colony was the production and processing of sugarcane. Portuguese colonists used to create large sugarcane farms called engenhos farms which extensively used enslaved workers. Slaves living in inhumane and humiliating conditions were forced to work hard and often suffered physical punishment for any small misbehaviour 1. Even though slaves outnumbered the Portuguese colonists the lack of weapons the colonial law the disagreement between slaves coming from different African cultures and their complete lack of knowledge about the land and its surroundings would usually discourage the idea of a rebellion.

In this environment Capoeira began to develop. More than a fighting style it was created as a hope of survival a tool with which an escaped slave completely unequipped could survive in the hostile unknown land and face the hunt of the capites-do-mato colonial agents in charge of finding escapees always armed and mounted. Quilombos Antnio Parreiras picturing a quilombola

Soon several groups of African slaves would gather and establish Quilombos primitive settlements in far and hard to reach places. After its humble start some quilombos would develop attracting more runaway slaves Brazilian natives and even Europeans escaping the law or catholic extremism. Sometimes a quilombo would become a real independent multi-ethnic state.2

Everyday life in a quilombo would offer freedom and the opportunity to rescue traditional cultures lost due to colonial oppression.2 In this kind of multi-ethnic community constantly threatened by Portuguese colonial troops Capoeira evolved from a survival tool to a martial art focused on war. The biggest of the quilombos the Quilombo dos Palmares consisted of many villages mostly of African slaves though they also consisted of other ethnicities and lasted for more than a century resisting often outnumbered many colonial attacks. This quilombo resisted at least 24 small attacks and 18 great colonial invasions. Portuguese soldiers sometimes stated it took more than one dragoon to capture a quilombo warrior since they would defend themselves with a strangely moving fighting technique. The governor from that province declared "it is harder to defeat a quilombo than the dutch invaders".2 Urbanization Things in the colony began to change when the prince and future king Dom Joo VI along with the whole Portuguese court escaped to Brazil in 1808 due to Portugal being invaded by Napoleonic troops. The colony a mere source of natural resources would finally begin to develop as a nation.3 The Portuguese monopoly effectively came to an end when Brazilian ports opened for trade with foreign nations.4 Cities would grow in importance and Brazilian people could finally get the permission to manufacture common products once imported from Portugal like glass.3 Registries of Capoeira test practices existed since the 18th century in Rio de Janeiro Salvador and Recife but the huge increase of urban slaves and social life in Brazilian cities gave Capoeira a greater notoriety and diffusion capacity. In Rio the use of Capoeira was getting so problematic that the colonial government established severe physical punishments to its practice.5 In his book Matthias Rhrig Assuno provided ample data from police records dating back to the 1800s demonstrating that Capoeira was an important reason to detain slaves and free coloured individuals. "From 288 slaves that entered the Calabouo jail during the years 1857 and 1858 80 (31%) were arrested for Capoeira and only 28 (10.7%) for running away. Out of 4303 arrests in Rio police jail in 1862 404 detainees -- nearly 10% -- had been arrested for Capoeira." 6 The end of slavery and prohibition Original Lei urea document At the end of the 19th century slavery in the Brazilian Empire was already doomed for many reasons among them the ever increasing number of slave's escapes and the frequent raids by quilombo militias on properties which still adopted slavery. The Empire tried to soften the problems with laws that would restrict slavery but Brazil would inevitably recognize its end on May 13 1888 with a law called Lei urea sanctioned by imperial parliament and signed by princess Isabel. Free black people would soon find themselves abandoned. A vast majority had nowhere to live no job and were despised by Brazilian society which usually saw them as lazy workers.78 The increase of European and Asian workers of that time would diminish job opportunities even more and many black people would become marginalized. With them naturally the Capoeira.89 It was inevitable that Capoeira practitioners would start using their abilities in unconventional ways. Many began to use Capoeira as body guards mercenaries hitmen henchmen. Groups of Capoeira practitioners known as maltas used to terrorize Rio de Janeiro. In little time in 1890 the recently proclaimed Brazilian Republic decreed the prohibition of Capoeira in the whole country10 as things were pretty chaotic in the Brazilian capital and many police reports would demonstrate that Capoeira was an undesired advantage in a fight.9 After the prohibition any citizen caught practicing Capoeira in a fight or for any other reason would be arrested tortured and often mutilated by the police. The art of Capoeira after brief freedom was once again condemned and repressed. Cultural practices like the roda de Capoeira were conducted in far or hidden places and often practitioners would leave someone as sentry to warn if the police was approaching the area. Luta Regional Baiana In 1932 a time when Capoeira repression wasn't as strong as before Mestre Bimba a strong fighter both in legal and illegal fights founded in Salvador the first ever Capoeira school. Bimba analyzing the way many capoeiristas were using their abilities only to impress tourists believed that Capoeira was losing its efficiency as a martial art. Thus Bimba helped by his student Jos Cisnando Lima intent on returning Capoiera to a method similar how it was used by the Quilombos Mestre Bimba was intent on making it more combat-focused and added some moves from traditional fighting styles like Batuque and to a very limited extent wrestling. Bimba also developed the first Capoeira systematical training method. As the word Capoeira was still forbidden by Brazilian law Bimba called his new style Luta Regional Baiana (meaning regional fight from Bahia).11 In 1937 Bimba founded the school Centro de Cultura Fsica e Luta Regional with official permission of Salvadors Secretary of Education (Secretaria da Educao Sade e Assistncia de Salvador). His work is very well accepted in Salvador and Bimba gets the opportunity to teach Capoeira to the elite of the city.11 Finally in 1940 Capoeira leaves the Brazilian law code and definitely leaves illegality. Soon the notoriety of Bimba's Capoeira proved to be a problem to traditional capoeiristas who were gradually losing visibility and were still distrusted by society. This imbalance began to change with the founding of Centro Esportivo de Capoeira Angola (CECA) in 1941 by Vicente Ferreira Pastinha. Located in the neighbourhood of Pelourinho in Salvador this school attracted many traditional capoeiristas who would prefer to keep Capoeira as original as possible. CECA's notoriety immortalized the name Capoeira Angola as definition of the traditional Capoeira style. The term wasn't new as during the 19th century Capoeira was in some places referred as brincar de angola (meaning play Angola) and many other masters which did not use Pastinha's techniques adopted it.12 Capoeira today Capoeira nowadays is not only a martial art or a small aspect of Brazilian society but an active exporter of Brazilian culture all over the world. Since the 1970s masters of the art form began to emigrate and teach capoeira in the United States and other countries. Present in many countries in every continent every year Capoeira attracts to Brazil thousands of foreign students and often foreign capoeiristas work hard to learn the official Brazilian language Portuguese in an effort to better understand and become part of the art. Renowned Capoeira Masters are often invited to teach abroad or even establish their own schools. Capoeira presentations normally theatrical acrobatic and with little martiality are common sights in the whole world. The martial art aspect is still present and like old times is still subtle and disguised leading many non-practitioners to ignore its presence. Trickery is ever present and expert capoeiristas seldom take their sights off their opponents in a Capoeira game. An attack can be disguised even as a friendly gesture. Such trickery amongst a collection of others are all a form of malicia which is used by both Capoiera Regional and Angola. Symbol of the afro-Brazilian culture symbol of the ethnic amalgam that characterizes Brazil symbol of resistance to the oppression Capoeira definitely changed its image and became a source of pride to Brazilian people. It is officially considered intangible cultural heritage of Brazil. Martial Art Capoeira is a fast and versatile martial art which is historically focused on fighting outnumbered or in technological disadvantage. See also: List of capoeira techniques Simple animation depicting part of the ginga The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira important both for attack and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of constant motion preventing him from being a still and easy target. The other using also fakes and feints is to mislead fool trick the opponent letting her open for an attack or a counter-attack. The attacks in the Capoeira should be done when opportunity arises and must be decisive like a direct kick in the face or a vital body part or a strong takedown. Most Capoeira attacks are made with the legs like direct or swirling kicks rasteiras (leg sweeps) tesouras or knee strikes. The head strike is a very important counter-attack move. Elbow strikes punches and other forms of takedowns complete the main list. The defense is based on the principle of non-resistance meaning avoid an attack using evasive moves instead of blocking it. Avoids are called esquivas which depend on the direction of the attack and intention of the defender and can be done standing or with a hand leaning on the floor. A block should only be made when the esquiva is not possible. This fighting strategy allows quick and unpredictable counter attacks the ability to focus on more than one adversary and to face empty-handed an armed adversary. A Capoeira movement (A Fechado) (click for animation). A series of rolls and acrobatics (like the Cartwheels called a) allows the capoeirista to quickly overcome a takedown or a lost of balance and to position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives Capoeira its perceived 'fluidity' and choreography-like style. Capoeira Game Capoeiristas outside Playing Capoeira is both a game and a method of practicing the application of Capoeira movements in dangerous situations. It can be played anywhere but it's usually done in a roda. During the game most Capoeira moves are used but capoeiristas usually avoid using punches or elbow strikes. The game usually does not focus on knocking down or destroying the opponent rather it emphasizes skill. Capoeiristas often prefer to rely on a takedown like a rasteira then allowing the opponent to recover and get back into the game. It is also very common to slow down a kick inches before hitting the target so a capoeirista can enforce superiority without the need of injuring the opponent. If an opponent clearly cannot dodge an attack there is no reason to complete it. However between two high-skilled capoeiristas the game can get much more aggressive and dangerous even thought capoeiristas tend to avoid showing this kind of game in presentations or to the general public. Roda Capoeiristas in a roda (Porto Alegre Brazil) The Roda (pronounced HO-dah) is a circle formed by capoeiristas and capoeira musical instruments where every participant sings the typical songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to the style required by the musical instruments rhythm. The game finishes when one of the musicians holding a berimbau determine it when one of the capoeiristas decide to leave or call the end of the game or when another capoeirista interrupts the game to start playing either with one of the current players or with another capoeirista. In a roda every cultural aspect of Capoeira is present not only the martial side. Aerial acrobatics are common in a presentation roda while not seen as often in a more serious one. Batizado The batizado (baptism) is a ceremonial roda where new students will get recognized as capoeiristas and earn their first graduation. Also more experienced students may go up in rank depending on their skills and capoeira culture. Students enter the roda against a high-ranked capoeirista (a teacher or master) and normally the game ends with the student being taken down. However the more experienced capoeirista can judge the takedown unnecessary. Following this 'baptism' the new cord is given. Apelido Traditionally the batizado is the moment when the new practitioner gets or formalizes his or her apelido (literally nickname). This tradition was created back when Capoeira practice was considered a crime. To avoid having problems with the law capoeiristas would present themselves in the capoeira community only by their nicknames. So if a capoeirista was captured by the police he would be unable to identify his fellow capoeiristas even when tortured. Apelidos can come from many different things. A physical characteristic (like being tall or big) a habit (like smiling or drinking too much) place of birth a particular skill an animal trivial things anything. Nowadays even though apelidos are not necessary anymore the tradition is still very alive not only in Capoeira but in many aspects of Brazilian culture. Chamada Chamada means 'call' and can happen at any time during a roda where the rhythm angola is being played. It happens when one player usually the more advanced one calls his or her opponent to a dance-like ritual. The opponent then approaches the caller and meets him or her to walk side by side. After it both resume normal play. While it may seem like a break time or a dance the chamada is actually both a trap and a test as the caller is just expecting to see if her opponent will let his guard down so that she can perform a takedown or a strike. It is a critical situation because both players are vulnerable due to the close proximity and potential for a surprise attack. It's also a tool for experienced practitioners and masters of the art to test a student's awareness and demonstrate when the student left himself open to attack. The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's hidden 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. Volta ao mundo 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 counter-clockwise and the other player will join the volta ao mundo before returning to the normal game. Malandragem Malandragem is a word that comes from malandro which means a person who possesses cunning as well as malicia which translates to malice. This however is misleading as the meaning of malicia in Capoeira is the capacity to understand someone's intentions. In Brazil men who were marginalized from main stream society and possessed street smarts were called malandros. In the Capoeira malandragem is the ability to quickly understand an opponent's aggressive intentions and during a fight or a game fool trick and deceive her. Music Main article: Capoeira music Music is integral to Capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. Rhythm controlled by a berimbau differ from very slow to very fast depending on the style of the roda. Instruments A capoeira bateria showing three berimbaus and a pandeiro. Capoeira instruments are disposed in a row called bateria. It is traditionally formed by three berimbaus two pandeiros one atabaque one agog and one ganzu but this format may vary depending on the Capoeira group's traditions or the roda style. The berimbau is the leading instrument determining the tempo and style of the music and game played. Two low pitch berimbaus (called berra-boi and mdio) form the base and a high pitch berimbau (called viola) makes variations and improvisations. The other instruments may only follow the berimbaus or may be free to vary and improvise a little depending upon the Capoeira group's musical style. Capoeiristas change their playing style significantly following the toque of the berimbau which sets the game's speed style and aggressiveness. So it is truly the music that drives a Capoeira game. Songs Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others have lighthearted and playful lyrics. There are four basic kinds of songs in capoeira the Ladanha Chula Corrido and Quadra. The Ladanha is a narrative solo sung only at the beginning of a roda often by a mestre (master) or most respected capoeirista present. The solo is followed by a louvao a call and response pattern that usually thanks God and one's mestre among other things. Each call is usually repeated word-for-word by the responders. The Chula is a song where the singer part is much bigger than the chorus response usually eight singer verses for one chorus response but the proportion may vary. The Corrido is a song where the singer part and the chorus response are equal normally two verses by two responses. Finally the Quadra is a song where the same verse is repeated four times either three singer verses followed by one chorus response or one verse and one response. Capoeira songs can talk about virtually anything being it about a historical fact a famous capoeirista trivial life facts hidden messages for players anything. Improvisation is very important also while singing a song the main singer can change the music's lyrics telling something that's happening in or outside the Roda. Styles of Capoeira Determining styles in capoeira is a very tough task since there was never a unity in the original capoeira or a teaching method before the decade of 1920. However a division between two styles and a sub-style is widely accepted. Capoeira Angola Main article: Capoeira Angola Capoeira Angola refers to every capoeira that keeps the traditions held before the creation of the Regional style. In simple words it's the original Capoeira. Existing in many parts of Brazil since colonial times most notably in Rio de Janeiro Salvador and Recife it's impossible to tell where and when Capoeira Angola began taking its present form. The name "Angola" starts as early as the beginning of slavery in Brazil when Africans taken to Luanda to be shipped to Brazil were called "black people from Angola" regardless of their nationality. In some places of Brazil people would call capoeira as playing Angola and according to Mestre Noronha the Centro de Capoeira Angola Conceio da Praia created in Bahia already used the name capoeira Angola illegally in the beginning of the 1920 decade.12 The name Angola was finally immortalized by Mestre Pastinha at February 23 1941 when he opened the Centro Esportivo de capoeira Angola (CECA). Pastinha was known as a great defender of the traditional Capoeira much respected by recognized Capoeira masters. Soon many other masters would adopt the name Angola. Capoeira Angola is the closest style to the way slaves used to fight or play Capoeira. Characterizes by being strategic with sneaking movements executed standing or near the floor depending on the situation to face it values the traditions of malcia malandragem and unpredictability of the original Capoeira. Typical music instrument formation in a roda of Capoeira Angola is three berimbaus two pandeiros an atabaque an agog e a ganzu. Capoeira regional Regional is the more common form of Capoeira and it is often what Brazilians refer to when they speak of Capoeira. Capoeira Regional began to take form in the 1920 decade when Mestre Bimba met his future student Jos Cisnando Lima. Both believed that Capoeira was losing its martial side and concluded there was a need to restructure it. Bimba created his sequncias de ensino (teaching combinations) and created the first Capoeira's teaching method. Advised by Cisnando Bimba decided to call his style Luta Regional Baiana as Capoeira was still illegal at that time. The base of Capoeira Regional is the original Capoeira without many of the aspects that were useless in a real fight with less subterfuge and more objectivity. Training was mainly focused on attack and counter-attack giving high importance to precision and discipline. Bimba also added a few moves from other martial-arts notably the batuque old street fight practiced by his father. Use of jumps or aerial acrobacies was kept to a minimum since one of its foundations was always keeping at least one hand or foot firmly attached to the ground. Mestre Bimba often said "'The floor is a friend to the capoeirista'". Capoeira Regional also introducted the first ranking method in Capoeira. Regional had three levels: calouro (freshman) formado (graduated) and formado especializado (specialist). Ranking was determined by a scarf tied on the capoeirista's waist. The traditions of roda and Capoeira game were kept being used to put into use what was learned during training. Musical instruments disposition however was changed being made by a single berimbau and two pandeiros. The Luta Regional Baiana soon became popular finally changing Capoeira's bad image. Mestre Bimba made a lot of presentations of his new style but the most well known was the one made at 1953 to Brazilian president Getlio Vargas where the president would say: "Capoeira is the only truly national sport." Capoeira Contempornea Contempornea is a term for groups that train multiple styles of capoeira simultaneously. Very often students of Capoeira Contempornea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This sub-style is seen by some as the natural evolution of Capoeira by others as adulteration or even misinterpretation of Capoeira. Nowadays the label Contempornea applies to any Capoeira group who don't follow Regional or Angola styles even the ones who mix Capoeira with other martial-arts. Ranks Because of its origin Capoeira never had unity or a general agreement. Ranking or graduating system follows the same path as there never existed a ranking system accepted by most of the masters. That means graduation style changes a lot depending of the group's traditions. Mestre Bimba was the first to establish a graduation system in 1930. He used silk scalfs to separate his students based on their skill and experience. New students had no graduation. Nowadays the most common system is using cordas (strings) tied around the waist (also called cordis or cordes) using different colors. Some masters use different systems or even no system at all. There are many entities (Leagues Federations e Confederations) which try to unify the graduation system. The most usual is the system of the Confederao Brasileira de Capoeira (Brazilian Capoeira Confederation) which adopts strings using the colors of the Brazilian flag. Even though it's widely used with many small variations many big and influential groups still use different systems. Even the Confederao Brasileira de Capoeira is not widely accepted as the Capoeira's representative. Confederao Brasileira de Capoeira's ranking system Basic adult graduation (since 14 years old) Beginner: no string Baptized: green Graduated: yellow Graduated: blue Intermediate: green and yellow Advanced: green and blue Trainee: yellow and blue Advanced adult graduation - Teacher of Capoeira Formed: green yellow and blue Monitor: green and white Teacher: yellow and white Contra-mestre: blue and white Mestre: white Children's graduation (until 14 years old) - the same as the basic graduation but adding the grey color. After completing it if the child is still under 14 he'll earn the green adult graduation. Initial cordas can be earned in less than a year. Advanced cordas notably the ones for contra-mestre and mestre take several years and a deep understanding of Capoeira techniques and culture to be earned. Related activities Even thought those activities are strongly associated to the Capoeira they have different meanings and origins. Samba de roda Main article: Samba Performed by many capoeira groups samba de roda is a traditional Afro-Brazilian dance & musical form that has been associated with capoeira for many years. The orchestra is composed by pandeiro (tambourine) atabaque (drum) berimbau-viola (berimbau with the smallest cabaa and the highest pitch) chocalho (rattle a percussion instrument) accompanied by singing and clapping. Samba de roda is considered one of the primitive forms of modern Samba. Maculel Main article: Maculel (dance) Originally the Maculel was an indigenous armed fighting style using two sticks or a machete. Nowadays it's a folkloric dance practiced with heavy afro-Brazilian percussion. Maculel's past is even more obscured than Capoeira's so many people believe it either has native Brazilian's or African's origins. Puxada de rede Main article: Puxada de rede Puxada de Rede is a Brazilian folkloric theatrical play seen in many capoeira performances. It is based on a traditional Brazilian legend involving the loss of a fisherman in a sea-faring accident Important mestres See also: Category:Capoeira mestres Manuel dos Reis Machado (Mestre Bimba) founder of the Luta Regional Bahiana. Vicente Ferreira Pastinha (Mestre Pastinha) founder of the Centro Esportivo Capoeira Angola. See also List of capoeira techniques Capoeira in popular culture Capoeira music Capoeira toques Malicia Notes This article includes a list of references related reading or external links but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (July 2008) a b "O Brasil no quadro do Antigo Sistema Colonial (in Portuguese)". http://www.culturabrasil.pro.br/brasilcolonia.htm.  a b c GOMES Flvio Mocambos de Palmares; histrias e fontes (sculos XVI-XIX) (2010) Editora 7 Letras ISBN 978-85-7577-641-4 (in Portuguese) a b GOMES Laurentino 1808; Como uma rainha louca um prncipe medroso e uma corte corrupta enganaram Napoleo e mudaram a Histria de Portugal e do Brasil (2007) Editora Planeta ISBN 978-85-7665-320-2 (in Portuguese) "Abertura dos portos brasileiros (in Portuguese)". http://www.historiadobrasil.net/documentos/aberturadosportos.htm.  "Gangues do Rio: Capoeira era reprimida no Brasil (in Portuguese)". http://historia.abril.com.br/comportamento/gangues-rio-capoeira-era-reprimida-brasil-435027.shtml.  ASSUNO Matthias Rhrig - Capoeira: A History of an Afro-Brazilian Martial Art (2005) Routledge ISBN 0-7146-8086-9 "A abolio (in Portuguese)". http://www.brasil.gov.br/sobre/historia/abolicao.  a b CARDOSO Fernando Henrique Capitalismo e Escravido no Brasil Meridional (1962) Editora Civilizao Brasileira ISBN 8520006353 (in Portuguese) a b CAMPOS Andrelino Do Quilombo Favela: A Produo do "Espao Criminalizado" no Rio de Janeiro Editora Bertrand Brasil ISBN 8528611590 (in Portuguese) "Cdigo penal brasileiro - proibio da Capoeira 1890 (in Portuguese)". http://pt.wikisource.org/wiki/C%C3%B3digopenalbrasileiro-proibi%C3%A7%C3%A3odacapoeira-1890.  a b SODRE Muniz Mestre Bimba: Corpo de Mandiga (2002) Livraria da Travessa ISBN 8586218138 (in Portuguese) a b "Os Manuscritos do Mestre Noronha (in Portuguese)". http://portalcapoeira.com/Publicacoes-e-Artigos/o-abc-da-capoeira-angola-os-manuscritos-de-mestre-noronha.  Printed references Assuno Matthias Rhrig (2005). Capoeira : A History of an Afro-Brazilian Martial Art. New York: Routledge. ISBN 0-7146-8086-9. Capoeira Nestor (2003). The Little Capoeira Book. (Alex Ladd Trans.). Berkeley: North Atlantic. ISBN 1-55643-440-5. Talmon-Chvaicer Maya (2007). The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. ISBN 978-0-292-71723-7. Further reading Almeida Birra "Mestre Acordeon" (1986). Capoeira: A Brazilian Art Form. Berkeley: North Atlantic Books. ISBN 0-938190-30-X. Merrell Floyd (2005). Capoeira and Candombl: Conformity and Resistance in Brazil. Princeton: Markus Wiener. ISBN 1-55876-349-X. External links Wikimedia Commons has media related to: Capoeira Look up capoeira in Wiktionary the free dictionary. Capoeira Videos History and Information LiveCapoeira Portal Capoeira (in Portuguese) 1 Associao Brasileira de Capoeira Angola (in Portuguese) 2 International Capoeira Angola Federation 3 v d eCapoeira Basic topics Capoeira Angola  Music  Techniques  In popular culture  Toques  Malicia  Batizado  Practitioners Mestres Acordeon  Amen Santo  Barba Branca  Manuel dos Reis Machado  Cinzio Feliciano Peanha  Jelon Vieira  Joo Pereira dos Santos  Jogo de Dentro  Joo Grande  Mestre Barro  Pedro Moraes Trindade  Nestor Capoeira  Vicente Ferreira Pastinha  P de Chumbo  Rildo Cordeiro  Reinaldo Ramos Suassuna   Mestre Camisa  Mestre Virgilio Mestre Roxinho  Groups and foundations Ax Capoeira  Grupo Capoeira Brasil  International Capoeira Angola Foundation   ABAD-Capoeira   Grupo Candeias See also Brazil  Brazilian Jiu-Jitsu  Samba  Maculel  Puxada de rede  Bateria v d eMartial arts by focus Martial arts are listed by area of primary focus. Note that they may include training in the other areas. Striking Bjqun  Boxing  Capoeira  Dambe  Fistfight  Fujian White Crane  Japanese kickboxing  Karate  Kenp  Kickboxing  Lethwei  Muay Thai  Northern Praying Mantis  Pradal Serey  Savate   Silat  Subak  Taekwondo  Tang Soo Do  Wing Chun Grappling Brazilian Jiu-Jitsu  Catch Wrestling  Glima  Hapki yusul  Judo  Kinomichi  Luta livre esportiva  Lucha Libre  Malla-yuddha  Pehlwani  Puroresu  Sambo  Shoot wrestling  Shuai Jiao  Ssireum  Sumo  Varzesh-e Pahlavani  Wrestling Weaponry Arnis  Bataireacht  Battjutsu  Eskrima  Fencing  Gatka  Gungdo  Haidong Gumdo  Iaido  Iaijutsu  Jd  Kendo  Kenjutsu  Kyd  Kyjutsu  Okinawan kobud  Shurikenjutsu  Silambam  Sjutsu  Tahtib Mixed hybrid and multi-discipline Aikido  Baguazhang  Bando  Bartitsu  Daido Juku  Hapkido  Hung Ga  Hwa Rang Do  Jeet Kune Do  Kuk Sool Won  Kalarippayattu  Krav Maga  Keysi   Kajukenbo  Jujitsu   MCMAP  Nhat Nam  Ninjutsu  Oom Yung Doe  Pankration  Pencak Silat  Sanshou  Shaolin Kung Fu  Shippalgi  Shoot Boxing  Shootfighting  Shooto  Shorinji Kempo  Systema  Taekkyeon  Tai Chi Chuan  Toso Kune Do  Vale Tudo  Vajra Mushti  Vovinam  Wushu  Xingyiquan  Zen Ki Bo For a full list of articles see the List of martial arts v d eMartial arts by country of origin The Martial Arts Portal     Australia Zen Do Kai  Zen Ki Bo Armenia Kokh Azerbaijan Gulesh Brittany Gouren Brazil Brazilian Jiu-Jitsu  Capoeira  Luta livre esportiva Burma (Myanmar) Bando  Banshay  Lethwei  Naban  Pongyi thaing   Thaing Cambodia Bokator  Pradal Serey Canada Okichitaw  Defendo China Baguazhang  Bjqun  Changquan  Chin Na  Fanziquan  Hung Ga  Liuhebafa  Northern Praying Mantis  Southern Praying Mantis  Sanshou  Shaolin Kung Fu  Shuai Jiao  Tai chi chuan  Wing Chun  Wudang Kung Fu  Wushu  Xingyiquan  Zui Quan Egypt Tahtib France Canne de combat  French school of fencing  Kinomichi  Savate Germany German school of fencing  Universal Fight Georgia Khridoli Greece Ple  Pankration  Pygmachia Iceland Glima Indonesia Liu Seong Kuntao  Pencak Silat  Tarung Derajat India Adithada  Gatka  Inbuan wrestling  Kalarippayattu  Kabaddi  Kuttu varisai  Lathi  Malakhra  Malla-yuddha  Mukna  Musti yuddha  Pehlwani  Sarit Sarak  Silambam  Thang-Ta  Vajra-musti  Varma ati Iran Kung Fu To'a  Varzesh-e Pahlavani Israel Kapap  Krav Maga Italy Italian school of swordsmanship Japan Aikido  Battjutsu  Daido Juku  Hojjutsu  Iaido  Iaijutsu  Japanese kickboxing  Jd  Judo  Jujutsu  Jkend  Juttejutsu  Karate  Kendo  Kenp  Kenjutsu  Kyd  Kyjutsu  Naginatajutsu  Ninjutsu  Nippon Kempo  Puroresu  Shorinji Kempo  Shoot Boxing  Shooto  Shootfighting  Shoot wrestling  Shurikenjutsu  Sjutsu  Sumo  Taid Korea Haidong Gumdo  Hapkido  Hwa Rang Do  Kuk Sool Won  Soo Bahk Do  Ssireum  Subak  Taekkyeon  Taekwondo  Tang Soo Do Laos Muay Lao Malaysia Silat Melayu  Malaysian kickboxing Mongolia Mongolian wrestling New Zealand Mau rkau Nigeria Dambe Norway Stav Pakistan Pehlwani  Malakhra Philippines Eskrima  Modern Arnis  Sikaran  Yawyan  Panantukan   Kuntao Portugal Jogo do Pau Russia Fistfight  Sambo  Systema Ryky Kingdom Karate  Okinawan kobud Senegal Senegalese wrestling Serbia Narodno rvanje  Svebor  Real Aikido  Hapkikwan Singapore Lungwu Quan Sri Lanka Cheena di Switzerland Schwingen Somalia Istunka Spain Spanish school of swordsmanship  Lucha Canaria  Juego del Palo  Yawara-Jitsu Thailand Krabi krabong  Lerdrit  Muay Boran  Muay Thai  Silat Pattani Turkey Karakucak  Oil wrestling United Arab Emirates Yowla United Kingdom Bartitsu  Catch wrestling  Defendu  Singlestick  Spirit Combat United States of America Chun Kuk Do  Jeet Kune Do  Kajukenbo  Marine Corps Martial Arts Program  Modern Army Combatives  Toso Kune Do  Collegiate Wrestling Uzbekistan Kurash Vietnam Vovinam  Nhat Nam No single origin: Archery  Boxing  Fencing  Historical European Martial Arts  Kickboxing  Silat  Stick fighting  Wrestling