Of all the phenomena attending the abolition of slavery in Brazil at the close of the 19th century, one of the most commented on - and least examined - has been the so-called "Black Guard."

The episode survives in the mind's eye as the story of a group of former slaves who - grateful for the imperial decree signed by Princess Isabel as acting regent, that ended slavery in brazil - squared off against the enemies of the throne, whom they accused of plotting to overthrow the monarchy in reaction to the Golden Law freeing the slaves.

One has no way of knowing precisely when the suppression of capoeira first came about. Here I approach the subject from the dawn of the nineteenth century, when controls on Negro festivities were tightened as Brazil's slaveholding society became increasingly vigilant.

This article endeavors to trace back and reconstruct the historical development of capoeira and identify decisive moments, turning points after which the roles of capoeira and its practitioners were changed in popular perception and in actual fact. Our investigation must, at the outset, clarify what is meant by capoeira. In other words, it should convey the content of the practice played today as "the art of capoeira."

Capoeira is engaged in in clubs, "schools," and on the streets, as a sport involving physical training in preparation for participation in a "capoeira circle," or roda. There are no hard and fast rules, yet it does follow a characteristic protocol, with its own music, in which the instrument that sets the tempo and drives the performance inside the circle is the musical bow or berimbau.

The music, of course, clearly shows the ludic value of the sport - perhaps its most enduring feature - but it also brings out a very large dance component, albeit subordinated to the business of eluding and outwitting one's partner/opponent. In this we see the martial component, which entails bodily contact, but not necessarily victor and vanquished. By bringing together these elements of sport, music, dance, martial skills and joyful camaraderie, capoeira comprises one of the most opulent manifestations of Brazil's popular culture.

I have here in my pocket a remedy against the capoeiristas. I have no doubt that it is a miraculous cure, perhaps even containing the secret to immortality. Now that the city guard has been disbanded, having turned in their rifles yesterday, some fear that there will be an explosion of capoeira, while others hope that the disbanding of the guard is enough to make the evil retreat. You’ll have to excuse me: I am on the side of the fear rather than the hope, not so much because I believe there will be an explosion of capoeira, but mainly because I want to sell my remedy.