Before I go into this post, I want all of you out there to know that the topic of race and racism in brazil is a very loaded and confusing topic. Why? well, watch the vkideo below.
Synopsis of the video: Jessica says she’s black. Her cousin says she’s white. This difference in their self-identification highlights the complex tapestry of racial identity that exists in Brazil, a country notorious for its diverse population and the myriad shades of skin tones within it.
Stephanie Nolen spends time with one family to find out just how complicated race in Brazil can be, delving into the historical context and cultural nuances that shape these identities. Through her exploration, she uncovers stories of resilience and pride, as well as the ongoing challenges that individuals face in a society still grappling with its colonial past and the implications of colorism on personal and communal relationships. By engaging in candid conversations with family members across generations, Nolen reveals how the legacy of slavery continues to influence social dynamics, personal aspirations, and community ties.
Now the video below, heartbreaking as it can be to some of us, hits close to home for me.
In this touching video, a Brazilian social influencer tries to convince her black grandmother that she is beautiful, sharing heartfelt words and personal stories to uplift her spirit. The grandmother, however, remains skeptical and struggles to embrace this affirmation due to the deep-rooted beliefs shaped by all the racist things she’s heard and experienced as a black woman in Brazil throughout her life.
The influencer gently recounts moments of pride and resilience within their family’s history, drawing attention to the stories of her ancestors who overcame adversity and celebrated their unique identities throughout generations. By sharing these cherished memories, she hopes to spark a profound sense of self-love and appreciation in her grandmother’s heart, encouraging her to reflect on the legacy of strength that runs through their bloodline. This narrative emphasizes that beauty comes in many forms, whether it is through cultural practices, shared traditions, or personal triumphs, and is inherently tied to one’s identity and heritage. She passionately believes that recognizing this interconnectedness can foster a deeper understanding of oneself, allowing her grandmother—and others—to embrace their own worth and the rich tapestry of their background.
Now the reason this nits close to home for me is all the “Yo mama’s so black“jokes, and all the reminders that in the not so distant past, and even in our present, blackness equated to ugliness. The darker someone’s skin was, the worse they were treated, often subjected to cruel stereotypes and derogatory comments that permeated everyday life. These so-called jokes were not just harmless humor; they were deeply rooted in historical prejudice and societal norms that devalued the beauty and worth of those with darker complexions. It pains me to reflect on how these narratives have shaped perceptions, reinforcing a damaging hierarchy based on skin tone.
This experience highlights the urgent need for a broader understanding of beauty that celebrates diversity rather than diminishes it, urging society to challenge and dismantle these harmful stereotypes that continue to persist today.
Hi, I guess this is where I talk about my New Year’s resolutions, or at least where this website is concerned.
This blog is dedicated to the arts and culture of Africa and its diaspora, focusing on Capoeira Angola as both a physical art form and a deep cultural expression with a rich history. Within this vibrant realm, there are many issues and genres surrounding it, and I aim to explore every facet in detail. That means delving deep into the intricate dance movements, the powerful self-defense techniques, the soulful music, and the meaningful rituals that bring communities together, creating an environment of unity and shared identity. Each element not only serves a purpose but also tells a story, revealing the importance of oral traditions and the historical context that shapes these practices.
As I examine the evolution of Capoeira Angola, I will highlight its roots in African cultures and how they have intermingled with various influences throughout history. Each aspect reflects the diverse culture and historical significance of this extraordinary practice, showcasing how it allows individuals to connect with their roots and each other across generations, fostering a sense of belonging while celebrating the vibrancy of their heritage. Furthermore, I plan to look into contemporary adaptations and how younger generations are keeping this tradition alive, ensuring that the essence of Capoeira Angola continues to thrive and inspire future artists and cultural advocates around the world.
Right now, let’s start 2025 with Mestre Pastinha, the father of Capoeira Angola, whose legacy continues to inspire and shape the practice of this art form. His teachings not only emphasize the importance of physical prowess but also highlight the cultural roots of Capoeira, encompassing music, dance, and the historical struggles of the Afro-Brazilian community.
By revisiting his philosophy and techniques, we can deepen our understanding of Capoeira as a powerful tool for self-expression and social connection, fostering a sense of unity in our communities as we embrace the new year ahead.
As anyone who has studied Capoeira history knows, capoeira was banned in Btazil after the abolition of slavery in 1888.
But why?
I asked this question on a couple of Capoeira forums to get some different opinions, but I was only able to get 1, because I directed the question to him specifically. So I can only give you 3 pers[ectives.
First was what I got from Google.
Capoeira was banned in Brazil after the abolition of slavery in 1888 because the government feared its use as a means of resistance by newly freed slaves, associating it with criminal activity and potential rebellion, leading to the practice being outlawed and heavily persecuted by authorities; essentially, capoeira was seen as a threat to social order due to its potential for violent use by marginalized populations.
Key points about the ban
Origin as a resistance tool:Slaves developed capoeira as a way to secretly practice self-defense, disguised as dance, to fight back against their enslavers.
Post-slavery concerns: After emancipation, the Brazilian government feared that capoeira would be used by former slaves to incite unrest, leading to its criminalization.
Social stigma: Capoeira became associated with gangs and criminal elements, further contributing to its negative perception.
Mestre Bimba’s role: Later, Mestre Bimba played a key role in legitimizing capoeira by creating a structured teaching method and presenting it as a sport, which eventually led to the lifting of the ban. ;
Second, we have the perspective of Head coach Ras of Atacxgym:
The reason Kipura ( not Capoeira, as that term was created by Raphael Bluteau a racist sexist Catholic priest, as like the good racistfeudalist clergyman he was, he almost wholly mispronounced and almost wholly misunderstood both the word and every facet of practice of Kipura ) is because Kipura at once is:
1. A nigh invincible self defense system that is inexplicably, stridently culturally linguistically racially and blatantly Black Power centered of by and from Alkebulan. Meaning the racistfeudalists would be faced with the specter of a clearly Alkebulan warrior system, practiced by Alkebulans, unending their colonial dreams as well as the corrupted and altered Biblical scriptures ( which were not the original scriptures or interpretations which we see in the Ge’ez Scriptures ) as well as flat out lies of White superiority which propelled the ( recently civilized by Alkebulans ) Euro and Arab nobility and aristocracy false justifications hiding their real reasons ( they want ultimate power, fear we Alkebulans will prevent them from getting ultimate power because of our enormous mineral wealth and mindboggling achievements in every area ahows we can subjugate the world forever if we so chose ) to create and engage in race specific chattel slavery.
2. Kipura is every bit as powerful if not even more powerful as a whole human development system as it is a combat system. Kipura unfettered would produce intellectual and civilization al superiority because it already did so for over 890 years.
3. White elites wanted and still want now to dominate subjugation and control the world, and harness all components of the world to the machine of their own perpetually growing and exclusively their own power without consequences to be even possible by those whom they subjugate.
That means US.
Kipura warriors demolish those possibilities in every way.
Now, here’s my perspective:
The reason why I think Capoeira was banned and made illegal in 1888 was because of its potential to bring all social classes, races, and creeds of people together, uniting them in a shared practice that transcended societal barriers. This unique martial art form not only provided a means of physical expression but also fostered a sense of community and belonging among diverse groups. The rhythmic movements, music, and dance elements of Capoeira created an environment where participants could connect with one another, forging bonds that challenged the existing social hierarchies. As Capoeira gained popularity and recognition, it posed a significant threat to the established colonial system that the elites of Brazil had created, one that relied on division and dominance. The very existence of this cultural expression could inspire a collective identity and resistance among the oppressed, leading the ruling class to see it as a danger that needed to be suppressed for the sake of maintaining their power and control over the population.
Most Martial Arts originate from conflict, and Capoeira emerged from RESISTANCE in 16th century Brazil as a safe haven for enslaved people to gather, train, and share strategies. It represents a form of embodied resistance for the African diaspora, remaining a tool for social empowerment. Capoeira not only involves physical resistance against oppression but also fosters community solidarity and shared leadership. Its history reflects the struggle for freedom and self-expression, highlighting the resilience and creativity of marginalized communities, while its movements and songs celebrate the fight against injustice.
As practitioners engage in the art, they not only refine their skills through powerful kicks and agile dodges but also cultivate a profound sense of identity and belonging. The music that accompanies Capoeira, played on traditional instruments such as the berimbau and atabaque, creates an atmosphere of vibrancy and unity, encouraging participants to chant and sing as they move. This dynamic practice not only preserves the rich cultural heritage of African traditions but also serves as a living testament to the enduring spirit of those who fought against adversity. Furthermore, Capoeira’s emphasis on improvisation and creativity empowers individuals to express themselves freely, promoting personal growth and social cohesion, which further contributes to the ongoing dialogue surrounding equality and justice in contemporary society.
2 examples of this happened last weekend, and this weekend.
On December 14th & 15th, Mestre Themba Mashama gave a lecture and an amazing Capoeira Angola workshop, providing healing space for expansion and growth.
In these days, when so many things are shifting and changing, we find it an immense privilege to have access to living repositories of wisdom, alignment, and guidance—our elders. These are the individuals who have walked the paths before us, who have navigated the complexities of life and emerged with insights that are invaluable. The ones who guide us and teach us from their experience so that our experiences can be better, providing us not only with knowledge but also with the strength to face our own challenges. We can do and be better for the young ones when the old ones have our back, offering support and encouragement that inspires resilience. This bridge of information and light from source and back to the source inside all of us creates an enduring connection, reminding us of our shared humanity and interdependence, as we learn to weave our stories into the rich tapestry of life that encompasses all generations.
And yesterday, we at Capoeiristas for Change had our 4th Annual Essential Item & Toy Drive, an event that has become a staple in our commitment to giving back to the community.
This drive is designed to service not only our local El Sereno area but also the broader LA community, expanding our reach to touch the lives of many who are less fortunate. Additionally, we aim to support the migrants at the US/Mex border, a group that often faces immense challenges and hardships. Today, a dedicated team of our volunteers set out on a heartfelt mission, delivering some of the collected goods directly to the people in need there, ensuring that our efforts have a tangible impact on those who require assistance the most. It is inspiring to witness the generosity and kindness of our supporters, as each toy and essential item collected represents a beacon of hope for families during these trying times.
Well, you have 3 perspectives on why Capoeira was banned. I believe they are not only correct, but they complement each other, creating a comprehensive understanding of this complex issue. Each perspective sheds light on different cultural, social, and political factors that contributed to the prohibition, allowing us to see the multifaceted nature of the situation.
Additionally, these viewpoints underscore the historical context in which Capoeira developed, illustrating how its roots in resistance and community were perceived as threats by those in power. By examining these reasons collectively, we can appreciate not only the resilience of Capoeira but also the enduring spirit of those who practiced it in the face of oppression.
This Capoeira Angola documentary “O pulo do gato” explores the rich traditions and cultural significance of this captivating Afro-Brazilian martial art form, delving into its historical roots and the philosophies that underpin its practice.
Through the vibrant footage of authentic Capoeira performances, viewers are transported into the heart of the Capoeira community, gaining insight into the deep sense of identity and resilience that this art fosters among its students. As the rhythm of the music intertwines with the graceful movements of the practitioners, it becomes evident how deeply rooted Capoeira is in cultural heritage, allowing participants to not only express themselves physically but also to connect with their ancestry. The energy of the Capoeira circle, or “roda,” reveals a communal spirit where collaboration and respect are paramount, highlighting the shared journey of each individual. Furthermore, the intricate blend of martial arts, dance, and music not only serves as a form of self-defense but also as a powerful vehicle for personal growth and confidence-building, which transcends the barriers of language and geography, uniting practitioners from diverse backgrounds in a celebration of life and artistry.
Kobina Ackon, known as Wode Maya, is a notable Ghanaian Vlogger and YouTuber renowned for his engaging and insightful videos that showcase African culture and lifestyle. With a degree in Aeronautical Engineering from Shenyang Aerospace University, China, he successfully combines his technical knowledge with his passion for storytelling. Over the years, he has established a thriving niche in social media content creation, captivating audiences with his unique perspective and relatable content. His channel has experienced tremendous growth, amassing over a million subscribers in just a few years, a testament to his ability to connect with viewers and shed light on the beauty and vibrancy of the African continent. As an advocate for positive representation, Wode Maya aims to inspire the youth and foster a greater appreciation for African heritage through his work.
Click HERE to visit his YouTube channel for engaging videos that highlight his exceptional talents and provide valuable insights on various topics, from cultural experiences to personal growth. Through his unique storytelling and vibrant personality, he captivates viewers while fostering a deeper understanding of diverse perspectives, making the channel a must-visit for anyone eager to be inspired and entertained. Whether you’re looking for entertaining lifestyle content, educational discussions, or just a dose of positivity, Wode Maya’s videos consistently deliver an enriching experience that keeps audiences coming back for more.
So, why am I posting Wode Maya’s videos here?
The image of Africa has been distorted globally, leading to misconceptions that fail to capture the true essence of this vibrant continent. However, efforts are underway to change these narratives through engaging YouTube videos that provide authentic insights into the region’s diverse culture, rich history, and remarkable achievements. By highlighting local stories, traditions, and the unique lifestyles of various communities, these videos aim not only to dismantle stereotypes but also to enrich global perceptions of the African experience, showcasing the continent’s rich tapestry of languages, art forms, and culinary delights. Through this medium, viewers are invited to explore the continent’s natural beauty, from the breathtaking landscapes of the savannahs to the bustling markets steeped in cultural significance, all of which contribute to a more nuanced and appreciative understanding of Africa’s multifaceted identity. In doing so, these videos play a crucial role in fostering connections, sparking curiosity, and promoting a deeper conversation about the continent’s place in the global narrative.
These narratives ensure that African voices tell their own history, celebrating unsung heroes and fostering appreciation for diverse cultures that have often been overlooked. This reclamation process empowers future generations by instilling a sense of pride in their heritage and identity, while simultaneously encouraging a more nuanced understanding of Africa, emphasizing its resilience and innovation across various sectors, including technology, arts, and social movements. As these authentic representations circulate and gain traction, they contribute to a broader dialogue that challenges prevailing misconceptions and highlights the continent’s vibrant potential. Moreover, the promotion of these stories not only preserves the rich tapestry of Africa’s past but also paves the way for new narratives that showcase the continent’s dynamic present and promising future. By actively engaging young people in the storytelling process, we not only enrich their cultural education but also inspire them to become agents of change, capable of driving social progress. This interconnected approach fosters a deep appreciation for the continent’s diverse narratives, empowering individuals to take ownership of their stories and advocate for their communities on both local and global stages. Ultimately, these efforts create a more inclusive and accurate representation of Africa that resonates with audiences worldwide, encouraging a collective journey towards healing and understanding.
“There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. There are not more than five primary colours, yet in combination, they produce more hues than can ever been seen. There are not more than five cardinal tastes, yet combinations of them yield more flavours than can ever be tasted.” ― Sun Tzu, The Art of War“
Capoeira Angola is a defensive martial art that combines a rich cultural history with physical agility and mental discipline. It features 8 basic defenses, each designed with specific techniques that incorporate unique attacks and counters, empowering practitioners to effectively defend against various weapons. This dynamic art form not only emphasizes the importance of movement and rhythm but also teaches the value of strategy and adaptability in combat situations. By mastering these techniques, individuals can gain confidence in their ability to protect themselves while simultaneously enjoying the artistic expression that Capoeira Angola offers in its fluid and graceful movements.
And today, we’re gonna talk about the ROLE.
Rolê is a basic movement in the Roda, performed from Ginga or esquivas, where the capoeirista spins to the side, staying low and watchful of the opponent’s movements. During the rotation, he maintains eye contact with the adversary through his legs, which is crucial for anticipating their next actions and maintaining defensive readiness. This continuous visual connection not only enhances the capoeirista’s awareness of his surroundings but also establishes a psychological edge over the opponent.
The rolê can end in various positions such as roxana, Negativa, or other esquivas, each presenting unique defensive or offensive opportunities for countering or retreating, providing capoeiristas with a multitude of strategic options. Among its numerous variations, the Rolê de Cabeça stands out distinctly, as it involves placing the head on the ground, which not only enables smooth transitions into inverted techniques like the aú or even the macaco but also allows practitioners to execute dazzling aerial maneuvers that captivate audiences and instill fear in opponents. This versatility expands the repertoire of movements within the game, making it vital for practitioners to explore every facet of the rolê and its applications.
Moreover, mastery of the rolê and its various transitions is fundamental for any aspiring capoeirista, as it enhances agility and fluidity in their movements while simultaneously improving balance and spatial awareness. This foundational skill serves not only as a technical basis for performance but also as a gateway to deeper levels of expression within the art form. As practitioners become more skilled, the rolê allows them to experiment with different rhythms and styles, creating a unique signature in their practice. This expanded use of the rolê enables a dynamic and unpredictable style during combat, fostering an environment where creativity thrives and adaptability becomes key to overcoming challenges faced within the roda. Additionally, engaging in the rolê can cultivate a sense of camaraderie among capoeiristas, facilitating a shared journey of growth and mutual support as they explore the limitless possibilities inherent in capoeira.
TODAY, The Legendary Mestre Bimba would have been 124 years old today, a remarkable milestone that signifies not only his age but the profound impact he had on the world of capoeira. His innovative techniques and dedication to preserving the cultural heritage of this Brazilian martial art have influenced countless practitioners around the globe, ensuring that his legacy continues to inspire new generations. As we reflect on his contributions, we also recognize the importance of his teachings that emphasized not only the physical aspects of capoeira but also the values of respect, community, and resilience, which remain crucial to its practice today.
So we at Jogo de Corpo Fechado would like to celebrate by showing you this vintage video of his life and his school from the 1960’s, a period of rich development in the art form, presented by the CAPOEIRA MUSEUM OFFICIAL YouTube channel. This video, which captures the essence of Mestre Bimba’s innovative teaching methods and the vibrant culture of capoeira during that era, serves as a fantastic insight into how he shaped the contemporary practice of this martial art. Along with the video, we encourage you to read the detailed description below, which provides additional context and translations in both English and Portuguese for a deeper understanding of his legacy.
The Bimba group!! This historic video has undergone image and sound treatment, and as in many of our videos, we have added identification of the characters present and information about the material. Of course, it might require further additions, but we leave that to the comments on the videos, as that enriches each of our videos. The date is 1968 (finalization of editing), but the filming may have occurred in 1967; this is an excerpt from a documentary from the French TV INA.fr, which goes to Pelourinho to capture this historical gem for our study of capoeira. Master Bimba sits on the bench and begins to play the cavalaria while the camera captures the scenes of the graduating classes of Capoeira Regional, with photographs likely from performances and capoeira games. In addition to the famous, albeit inappropriate, posters normalized for the time, we can also see captured by the camera several painted berimbaus hanging on the wall. With only a single berimbau present, without accompaniment from pandeiros, the rhythm of the beginning of the roda is in São Bento Grande da Regional. It is noteworthy to observe the attire (clothing) worn by the capoeiristas, with or without shirts and wearing everyday trousers and shoes. We see the entrance of Atelino, the lightning of Capoeira (there is a book released by Master Itapoan featuring a long interview with him). Atelino enters the academy and crosses the roda, and we notice his significance when we see Master Saci promptly rising and conceding his place to him, who from that moment will stand next to Master Bimba (Do we notice hierarchy?). The chant “Oi sim, sim, sim, oi não, não, não” follows.
move to the foot of the Berimbau, Saci and Prada; I had heard today that in Regional, there was no squatting to enter the game, which is not what the video shows. However, we will wait for someone to explain this “contradiction” to us in the comments on the video. In the academy, we see two circles painted on the ground, a smaller one in the center and a larger one around it, both in the same colors. Sitting in the back to the right of the Master, we see Master Gigante wearing sunglasses and smoking. In the second round, we see a game accompanied only by the berimbau without the palmeado. The player is Baiano Anzol (wearing black pants, who takes a header) with…? – Master Baiano Anzol states: “In this recording, they gave a meia lua that hit the camera, and it took two months to bring another lens and continue the recording work” (Text from the Master on his YouTube). When the third round begins, Atelino enters with the “bode” (pandeiro) to accompany the berimbau, starting off-cross so that the Master can accompany him with the berimbau, resulting in only one berimbau and one pandeiro. Master Bimba begins his chant, “Oi, Sim, Sim, Sim, Oi Não, Não, Não”… now with participation in the chorus from his “pastoras,” including his wife Dona Alice. The palmeado happens in Ijexá’s rite (1, 2, 3) and in the palm of terreiro. The chant changes to “Vou dizer a meu senhor, que a manteiga derramô” and we see the third pair at the foot of the berimbau, Camisa Roxa and Saci. In the background, behind the Master, standing, we see Master Piloto, and nearby, sitting on the bench in a white shirt, is Dr. Decanio. I “believe” the source of research was Grupo de Estudo Regional Baiana (WhatsApp) – ADM – Leco/Laecio Souza.
A turma de Bimba!! Esse vídeo histórico recebeu tratamento de imagem e som e ainda acrescentamos como em muitos vídeos nossos a identificação dos personagens presentes e informações sobre o material, claro que pode carecer de mais acréscimos, mas isso deixamos por conta dos comentários aos vídeos, pois é o que deixa mais rico cada vídeo nosso. A data é 1968 (finalização da edição) porém as filmagens possam ter ocorrido em 1967, esse é um trecho de um documentário da TV francesa INA.fr e que vai até ao Pelourinho registrar essa preciosidade histórica para nosso estudo da capoeira. Mestre Bimba senta no banco e inicia o toque de cavalaria em quanto a Câmara registra os quadros das turmas de formados da Capoeira Regional, fotografias provavelmente de apresentações e jogos de capoeira, para além dos famosos cartazes menos próprios, mas normalizados para a época, podemos ver captados pela câmara ainda, alguns berimbaus pintados pendurados na parede. Com a presença apenas de um único berimbau, sem acompanhamento de pandeiros o ritmo do início da roda é em São bento Grande da Regional, é de se notar a indumentária (roupas) que os capoeira utilizam, com ou sem camisa e utilizando caças e calçados do dia a dia, notamos a entrada de Atelino, o relâmpago da Capoeira (Existe um livro lançado pelo Mestre Itapoan com uma longa entrevista com o mesmo), Atelino adentra a academia e atravessa a roda, nota-se seu grau de importância quando vemos o Mestre saci prontamente levantando-se e cedendo o lugar para ele, que desse momento em diante seguirá ao lado do Mestre Bimba (Notamos hierarquia? ) Segue-se o corrido “Oi sim, sim, sim, oi não, não, não”…
Seguem para o pé do Berimbau Saci e Prada, eu já havia ouvido nos dias de hoje, falarem que na Regional não existia agachamento para sair para o jogo, não é o que o vídeo mostra, no entretanto vamos esperar que alguém nos explique essa “contradição” aqui nos comentários ao vídeo. Na academia vemos dois círculos pintados no chão, um menor no centro e um maior em volta, os dois nas mesmas cores. Sentado ao fundo no lado direito do Mestre vemos o Mestre Gigante de óculos escuro e fumando. Na segunda volta vemos um jogo acompanhado somente pelo berimbau sem o palmeado. Quem está jogando é Baiano Anzol (calça preta, que leva uma cabeçada) com ..? – Mestre Baiano Anzol afirma que: ” Nessa gravação deram uma meia lua que acertou a câmara e levaram dois meses pra trazer outra lente e continuar o trabalho de gravação” (Texto do Mestre em seu Youtube). Quando começa a terceira volta, Atelino entra com o “bode” (pandeiro) para acompanhar o berimbau, começando atravessado fazendo com o que o Mestre o acompanhe com o berimbau, ficando unicamente um berimbau e um pandeiro. O Mestre Bimba começa seu corrido, “Oi, Sim, Sim, Sim, Oi Não, Não, Não”… e agora já com participação no coro, das suas “pastoras”, entre elas sua mulher Dona Alice. O palmeado se dar no rito Ijexá (1, 2, 3) e na palma de terreiro. O corrido muda para “Vou dizer a meu senhor, que a manteiga derramô” e vê a terceira dupla para o pé do berimbau, Camisa Roxa e Saci. Ao fundo, atrás do Mestre, em pé, vemos o Mestre Piloto, e próximo a eles sentado no banco com uma camisa branca o Dr. Decanio. “acredito” que a fonte de pesquisa foi Grupo de Estudo Regional Baiana (Whatsapp) – ADM – Leco/Laecio Souza.
Today commemorates the death of Zumbi, the last king of Palmares, a quilombo founded by escaped enslaved Africans in Brazil.
This extraordinary community, which thrived in the 17th century, was not just a refuge but a powerful symbol of resistance against the brutalities of slavery and colonialism. Palmares, known for its remarkable ability to withstand repeated Dutch and Portuguese invasions, stands as a testament to the strength and resilience of those who dared to fight for their freedom and dignity.
Zumbi’s leadership was instrumental in uniting diverse groups of enslaved people, immigrants, and indigenous individuals, creating a vibrant society that valued culture, knowledge, and autonomy. This coalition fostered a unique community where different traditions blended harmoniously, allowing members to share their stories and histories while celebrating their distinct identities. As a result, Zumbi became not only a symbol of resistance against oppression but also a beacon of hope for those seeking freedom. Through organized efforts, this society cultivated a sense of belonging and camaraderie, where education and mutual support were paramount. The gatherings held in the heart of this community became crucial for strategizing against their oppressors, empowering individuals and enhancing their collective resolve to fight for justice and dignity.
As a capoeirista, I see it as my duty to resist not only in honor of Zumbi and the legacy of Palmares but also to continue the fight against modern forms of oppression that still persist today, ensuring that their spirit lives on in our struggles for justice and equality. This commitment drives me to engage actively in community organizing and education, empowering others to recognize the injustices that permeate our society.
In every movement and every stroke of my craft, I channel the voices of those who fought before us, reminding us that our art is not merely a dance but a powerful weapon against inequality. I strive to foster a sense of unity and resilience among my peers, motivating us to carry forward the torch of liberation and to confront systemic challenges with courage and creativity. Together, we embody the hope for a future where freedom, respect, and dignity are not just ideals, but lived realities for all.
Rei Zumbi de Palmares
A história nos engana
Dizendo pelo contrário
Até diz que a abolição
Aconteceu no mês de maio
A prova dessa mentira
É que da miséria eu não saio
Viva 20 de novembro
Momento pra se lembrar
Não vejo em 13 de maio
Nada pra comemorar
Muitos tempos se passaram e o negro sempre a lutar
Zumbi é nosso herói Zumbi é nosso herói, colega velho
De plamares foi senor
Pela causa do homem negro
Foi ele quem mais lutou
Apesar de toda luta, colega velho
Negro não se libertou, camarada!
The history deceives us.
Saying otherwise
Even says abolition
It happened in the month of May.
The proof of this lie
I can’t get out of misery.
Viva November 20th
Moment to remember
I do not see on May 13th.
Nothing to celebrate.
Many times have passed and the black man has always fought.
Zumbi is our hero Zumbi is our hero, dear old friend
Este é um documentário abrangente sobre a vibrante cidade de Salvador, focando especificamente nas semanas animadas do Carnaval de 1974, uma época em que as ruas explodiam em música, cor e expressão cultural. O filme é inspirado no livro homônimo do renomado autor brasileiro Jorge Amado, mostrando a rica história e tradições da cidade durante este período festivo. Através de entrevistas com os moradores, filmes de arquivo e narrativas cativantes, o documentário busca capturar a essência de Salvador, destacando a importância do Carnaval não apenas como uma celebração, mas também como um reflexo da herança diversa e do espírito comunitário da cidade.
(This is a comprehensive documentary about the vibrant city of Salvador, focusing specifically on the lively weeks of the Carnival in 1974, a time when the streets burst with music, color, and cultural expression. The film draws inspiration from the eponymous book by the renowned Brazilian author Jorge Amado, showcasing the rich history and traditions of the city during this festive period. Through interviews with locals, archival footage, and captivating narratives, the documentary aims to capture the essence of Salvador, highlighting the significance of Carnival not only as a celebration but also as a reflection of the city’s diverse heritage and community spirit.)
(Synopsis: Written in 1944, Bahia de Todos os Santos is a narrative about the city of Salvador published the following year. A song of praise to the city of Bahia, the book avoids the picturesque nature of tourist guides. It reviews the beauty and qualities of the capital of Bahia and also addresses its missions and pains. Jorge Amado composes here a guide to the streets and the mysteries of São Salvador da Bahia de Todos os Santos, the city of Bahia, “black by excellence,” founded in 1549. The author describes the working-class and noble neighborhoods, the fairs and markets, the countless hills and streets of the city, and especially the mythical characters of the city of São Salvador. The adaptation of Jorge Amado’s work for the 1970s faced difficulty in finding the new characters from the candomblé rhythms, the masters of the saveiros, the Mães de Santo from the terreiros, the artisans of Mercado Modelo, and the tricksters from Baixa dos Sapateiros. The writer recommends that one should not try to decipher the secrets of the city, as its mysteries completely involve the body, soul, and heart of the Bahian people. But the characters were there! We found Mário Cravo, Gilberto Gil, Mestre Pastinha, Mestre Waldemar, and during Carnival, the Trio Elétrico of Dodô and Osmar, and even the captains of Areia from the new times.)
Bahia de todos os santos Bahia dos orixás Bahia de menininha Menininha do gantois
Bahia de todos os santos Bahia dos orixás Bahia de menininha Menininha do gantois
Bahia dos angoleiros Bahia dos regional Bahia dos angoleiros No mercado popular
Bahia dos angoleiros Bahia dos regional Bahia dos angoleiros No mercado popular
Bahia de João Pequeno Bahia de Curió Bahia de Boca Rica Mestre Lua de Bobó
Bahia de João Pequeno Bahia de Curió Bahia de Boca Rica Mestre Lua de Bobó
All Saint’s Bahia The Orixás Bahia Little girl’s Bahia Little girl of the gantois
All Saint’s Bahia The Orixás Bahia Little girl’s Bahia Little girl of the gantois
The angoleiros’ Bahia The regional’s Bahia The angoleiro’s Bahia At the public market
The angoleiros’ Bahia The regional’s Bahia The angoleiro’s Bahia At the public market
João Pequeno’s Bahia Curió’s Bahia Boca Rica’s Bahia Mestre Lua de Bobó’s Bahia
João Pequeno’s Bahia Curió’s Bahia Boca Rica’s Bahia Mestre Lua de Bobó’s Bahia
Just saw this short documentary and I had to post it… I might have posted it before, but in case I didn’t… well, here it is. In case I did, well.. Here it is again.
This is a small documentary excerpt from a workshop that Master Cobra Mansa held at Towson University in May 2012. This short film not only highlights the life of Master Cobra, a beloved figure in the Capoeira community, but it also delves into the rich history and cultural significance of Capoeira itself. Viewers will gain insight into the Black Resistance Movement, which forged pathways for empowerment and resilience among marginalized communities, as well as the foundational principles of Kilombo Tenode, a concept that embodies Pre-maculture practices within Capoeira Angola.
This captivating documentary skillfully captures the essence of interconnected themes through a series of engaging interviews, vibrant demonstrations, and rich storytelling, inviting audiences from all walks of life to reflect deeply on the remarkable and enduring legacy of Master Cobra’s teachings and their profound impact on individuals and communities alike. Through its meticulously curated visuals and narratives, the film not only highlights the transformative power of Master Cobra’s philosophy but also explores how these teachings have transcended generations, fostering a sense of unity and purpose. Audience members are encouraged to embark on a personal journey of introspection, as they witness firsthand the inspiring stories of those who have embraced these teachings, ultimately showcasing the universal truths that bind us together in our shared human experience.
Shout out to YouTube channel Movimento Popular Da Capoeira for uploading this informative and engaging video that showcases the beauty and richness of Capoeira, a Brazilian martial art that combines elements of dance, acrobatics, and music. Their dedication to promoting this cultural heritage is truly commendable. If you’re interested in exploring more about Capoeira and its vibrant community, you can click HERE to go to their channel, where you’ll find a treasure trove of content that not only highlights the techniques and history of the art but also features interviews with practitioners and learners alike, making it a fantastic resource for both enthusiasts and newcomers.
Jogo Corpo Fechado 