This article is from the newspaper Jornal Correio Paulistano in São Paulo. It was originally published on 16 November 1957, and reprinted in the book O Barracão do Mestre Waldemar by Frederico Abreu. Translation into English by Shayna McHugh.

Salvador. Mestre Waldemar’s capoeira is found on Pero Vaz Street in the neighborhood of Liberdade. Capoeira has been played in Brazil since the last century. Its roots are African and it was introduced in Brazil by the Bantu slaves from Angola. Its effectiveness as a "real fight" has already been sufficiently proved.

"This must have been the main reason for the repression that capoeira suffered in the times of the slave masters, of the imperial police, and of the republic, but the blacks didn't take long to find a solution: in the same way that they camouflaged their religion using the religion of the slave masters, they camouflaged the fight of capoeira with pantomimes, charades, and dances accompanied by music," says Carybé in a documentary.

And it was thus that the violent martial art known as capoeira became transformed in a "ballet" of men, danced to the sound of the berimbau, caxixi, reco-reco, and pandeiro. In the old days, the berimbau-de-boca [mouth-berimbau or Jew's-harp] was used; today it's the berimbau-de-barriga [belly-berimbau].

Importance of the Berimbau

The game accompanies the rhythm of the berimbau. There are a series of well-known rhythms, according to Carybé: Cavalaria, São Bento Pequeno (the samba of capoeira), Banguela (an inside game with knives), Santa Maria (slow game), Ave Maria (hymn of capoeira), Amazonas (medium game), and Iúna (low game).

When our reporters arrived at Waldemar's hut, the capoeira had already started. The orchestra was formed by three berimbau players and four or five pandeiro players. The roof of the hut is covered with palm leaves. The floor is made of cement, and the audience is separated from the capoeira players by a small fence. Outside, some Bahian women sell coconut candy, while others fry well-known Bahian snacks.

The neighborhood is poor and overpopulated. It's Sunday. Except for the tourists and some fans of capoeira, no one else in the neighborhood pays attention. Capoeira in Liberdade must be routine and commonplace.

They sing to the rhythm of the music:

The capoeiristas continue performing their movements. Touching the adversary with one's hands is not permitted. Only the feet and hands may touch the ground.

The pairs of capoeiristas play one after another: Vanildo and Moisés, Vanildo and Manuel, Vanildo and Cabelo Bom. Bugalho on the berimbau commands the orchestra. Old Cláudio plays pandeiro. But when mestre Waldemar arrives, he plays berimbau and assumes the leadership. Pau Brasil and Nelson are also good berimbau players. João de Deus and Valdomiro work magic on the pandeiro. The contra-mestre is Traíra. He is also good on the berimbau.

The exhibitions continue. Rabo de arraia, rasteira, cabeçada, are some of the many attacks used. To each attack, there is a corresponding dodge of the adversary, so that capoeira evolves in a masculine "ballet." This game has the potential to attract lots of attention in the big southern cities and even outside Brazil.

The painter and sculptor Mario Cravo explains to our reporter, "Capoeira is suffering some modifications that affect its former purity. Mestre Bimba, according to some folklorists, did a great disservice to capoeira when he added various blows foreign to the art." In compensation, capoeira owes much to Carybé and Mario Cravo, two painters and sculptors, who absolutely love Bahian things.

In Carybé's texts we find these capoeira verses:

And the chorus responds to the mestre,

And the capoeiristas continue moving like two snakes, which dance without touching each other. A handkerchief is placed in the center of the circle. One of the two capoeiristas – the more skilled one – must grab it with his mouth, while his adversary will do everything to prevent this. The steps of the savage "ballet" continue. Cabelo Bom snatches the handkerchief with his teeth, to the applause of the audience. A few bills are thrown into the ring to reward him for his effort.