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If you want a speech about Capoeira Angola without touching on spirituality and ancestrality, you'd have to invite a professor of physical education, or of some other thing that isn't Capoeira Angola. My relationship with Capoeira Angola is one of pure subjectivity, and when I play, I externalize what I feel. If I don't feel anything, I'm in no condition to play Capoeira. This feeling not only affects me, but also reaches the Orixá, making him rise or fall through the toque. In the Capoeira Angola roda, we too invoke our ancestors by playing and singing. We invoke Mestre Bimba, Mestre Pastinha… they come back, they return… Mestre Waldemar, Mestre Bobó, Paulo dos Anjos, Caiçara… They come! But, just like the Orixás, they only come if their language is being spoken through the music or the lyrics. |
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When you crouch at the pé do berimbau to play, concentrate, relax the body, and, from the moment you enter the game, do not let your attention deviate from your partner. However, while you are playing, direct your gaze to the front or to the sides, appearing not to pay attention, without staring at your partner, because this will reveal your intentions. Your gaze must never fix itself on anything, although your field of vision should be the widest possible. |
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Most capoeiristas in Brazil and all over the world are construction workers, teachers, students, wives, husbands, doctors, lawyers, bums, bankers, administrators, unemployed, musician, artists etc. In brief, most capoeiristas, if not all, are part of that thing we call Society. Most capoeiristas live within that society and follow many and most of the practices that society has. We are unavoidably the basic element that constitutes that society; it exists because we are there. But at the same time we are not absorbed or assimilated by force by that society and I believe that this is where capoeiristas, like many other groups in society, make a difference. We do the things we must do as part of that society, however, there is another part of our lives that simply do not "fit" into that same society that we follow. |
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The mysterious and magical aspect is known in the capoeira universe as mandinga. It is, in a certain way, an important component in the learning of the art. The term "mandinga," according to Waldeloir Rego's 1968 study, may refer to the Mandinga region of western Africa, since the Africans brought to Brazil believed that this region was home to powerful sorcerers. |
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