An extract on #carswithoutlimits
Capoeira nowadays is not only a martial art, but an active exporter of Brazilian culture all over the world. Since the 1970s, capoeira mastres began to emigrate and teach it in other countries. Present in many countries on every continent, every year capoeira attracts thousands of foreign students and tourists to Brazil. Foreign capoeiristas work hard to learn Portuguese to better understand and become part of the art. Renowned capoeira mestres often teach abroad and establish their own schools. Capoeira presentations, normally theatrical, acrobatic and with little martiality, are common sights around the world.
The martial art aspect is still present and still disguised, leading many non-practitioners to ignore its presence. Trickery is ever present and expert capoeiristas can even disguise an attack as a friendly gesture.
Symbol of the 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. Capoeira is officially considered intangible cultural heritage of Brazil.
pt:Capoeira de Angola refers to every capoeira that keeps the traditions held before the creation of the Regional style.
Existing in many parts of Brazil since colonial times, most notably in the cities of 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 the Americas, were called in Brazil "black people from Angola", regardless of their nationality. In some places of Brazil people would refer to capoeira as "playing Angola" and, according to Mestre Noronha, the capoeira school Centro de Capoeira Angola Conceio da Praia, created in Bahia, already used the name Capoeira Angola illegally in the beginning of the 1920 decade.
The name Angola was finally immortalized by Mestre Pastinha at February 23, 1941, when he opened the Centro Esportivo de capoeira Angola (CECA). Pastinha preferred the ludic aspects of the game rather than the martial side, and was much respected by recognized capoeira masters. Soon many other masters would adopt the name Angola, even those who would not follow Pastinha's style.
The ideal of Capoeira Angola is to maintain capoeira as close to its roots as possible. Characterized 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 bateria formation in a roda of Capoeira Angola is three berimbaus, two pandeiros, one atabaque, one agog and one ganzu.