Capoeira is everything the mouth can eat

Capoeira é tudo que a boca come

Capoeira is the past. Capoeira is a play space haunted by an epic history. Capoeira is an easy assumption about the meaning of resistance. Capoeira is a mantra of resistance. Capoeira is myth and its practitioner hunger for history. Capoeira is What is Capoeira? leaflet. Capoeira is oral tradition. Capoeira is entirely Brazilian. Capoeira is entirely African. Capoeira is a creole art form. Capoeira is a hybrid. Capoeira is a shackled history. Capoeira is the complexity of its insertion into a wider context. Capoeira is the dialectics of resistance and betrayal that were so important in slave and post emancipation societies. Capoeira is simplified contradictory statements. Capoeira is a subaltern viewpoint. Capoeira is eradicated subaltern viewpoints. Capoeira is for middle class intellectuals. Capoeira is a history of ideologies. Capoeira is condemned. Capoeira is condemned in the colonial period as an offence against the public order. Capoeira is not outlawed until the proclamation of the Republic in 1889. Capoeira is oulawed in the last three articles of the Criminal Code of 1890. Capoeira is a symbol of Brazil. Capoeira is manipulated as a symbol of Brazil whenever deemed apropriate by the governing and cultural elite. Capoeira is mulato which comes from mule. Capoeira is associated with the mesti ç o by Plácido de Abreu. Capoeira is constructed in a golden age of Capoeira which is considered to be the first half of the nineteenth century by Alexandro Mello Moraes. Capoeira is a slave practice misrepresented as a mesti ç o art. Capoeira is practive whose criminalisation was being questioned by a number of middle class people. Capoeira is considered to be a possible tool in the construction of Brazillian identity. Capoeira is a marker of Brazilian-ness. Capoeira is characterised by its mesti ç o caracter and its slave origins are hidden. Capoeira is part of the search for a Brazillian gymnastics. Capoeira is not attack but defence this is its essential merit and this differentiates it from boxing, Portuguese stick-fighting and Ju-jitsu. Capoeira is recognised to have slave origins in a pamphlet in 1928 by Anibal Burlamaqui. Capoeira is a myth about runaway slaves (maroons) creating it. Capoeira is mentioned in Gilberto Freyre´s classic study on the genesis of Brazilian society The Masters and slaves. Capoeira is a servant to cultural nationalism which reigned during the 1930´s. Capoeira is more than a by-product of colonial exploitation and is built on earlier African traditions. Capoeira is the subject of Inezil Penna Marinho´s Capoeira prayer which erases any reference to slavery. Capoeira is written about by Inezil Penna Marinho who was a sympathizer of European fascism. Capoeira is a result of syncretism and incorporates adaptations of originally religous meanings. Capoeira is fortified by a visit to Brazil by Angolan artist Àlbano Neves e Souza in 1965. Capoeia is similair to the Angolan dance N`golo, according to Neves e Souza. Capoeira is not mentioned as being similair to N`golo by any mestre prior to this visit. Capoeira is rarely challenged as a Brazillian art during times of harsh repression of non-Brazilian ideas in the military regime. Capoeira is linked by its rhythms to rhythmic patterns in Angolean music by an ethnomusicologist whose name i omitted to note down. Capoeira is a big player in the re-emergence of black movement in Brazil in the 1980´s. Capoeira is the recipent of it´s first academic thesis in Brazil in 1984. Capoeira is an expression of socio-cultural resistance. Capoeira is a counter power to the dominant logic universe of slave society. Capoeira is a bodily-gestured channel of communication. Capoeira is a gesticulated bricolage. Capoeira is the condensation of a bodily knowledge from an African matrix. Capoeira is something under these big words. Capoeira is deserving of these big words. Capoeira is transformed by contacts and linksmade between Brazilian and North American black power movements. Capoeira is at the centre of the Grupo de capoeira Angola de Pelourinho´s role in this process. Capoeira is associated with the zebra. Capoeira is one of the ways of living African tradition in the Americas. Capoeira is the receiver of unrigorous academic research. Capoeira is the beneficiary of afrocentricism. Capoeira is lessened by a tendency to essentialise history into binary categories. Capoeira is perceived in terms of biological analogies and fixed geografical locations. Capoeira is restricted by the reproduction of the same underlying grammar of the colonialist discource. Capoeira is the risk of fallinginto racial essentialisms that fuelled elitist discource. Capoeira is defined in one sentence. Capoeira is stunted by a dependence and uprootedness. Capoeira is a conception of identity which lives with and through, not despite diffrence. Capoeira is heterogeneity. Capoeira is hybridity. Capoeira is conflict. Capoeira is economic underperformance.Capoeira is the loss of regional autonomy. Capoeira is moderninisation. Capoeira is transmitted through the traditionla relationship between mestre and diciple. Capoeira is conering the traditional mestres into a defensive position. Capoeira is symbolic capital. Capoeira is so named thanks to the Bantu language. Capoeira is so named thanks to the Portuguese language. Capoeira is so named thanks to the Tupi language. Capoeira is a receipt of a creational myth as are other emerging movements, even those of resistance. Capoeira is a struggle against social exclusion in a world dominated by cultural imperialism and coporate interests. Capoeira is waiting for social evidence to be tested by historical methods to better understand the development of Capoeira. Capoeira is in the academy. Capoeira is (in) the methods of the historian. Capoeira is (in) the words of the writer. Capoeira is one page of writing.