Book Overview: Capoeira. Roots of the Dance-Fight-Game

Capoeira: Roots of the Dance-Fight-Game by Nestor Capoeira is a renowned book that delves into the rich history, cultural significance, and philosophy of capoeira, a Brazilian art form that combines martial arts, dance, music, and acrobatics. Nestor Capoeira, a well-respected capoeira master and cultural ambassador, provides an in-depth exploration of the practice and its evolution.

Who are the Perfect Readers for Nestor Capoeira’s Work?

The book Capoeira: Roots of the Dance-Fight-Game is recommended for a wide range of audiences interested in the culture and history of martial arts. Firstly, it is highly recommended for capoeira practitioners of all levels. Beginners will find it invaluable for understanding the art form beyond its physical movements, gaining insights into its rich history and profound philosophy. For advanced students and teachers, the book offers an opportunity to deepen their knowledge of capoeira’s roots, exploring its cultural significance and its role as a symbol of resilience and identity. Secondly, martial artists from various disciplines will find valuable insights into the interconnections between different martial arts and fascinating discoveries about the shared foundations of these disciplines. Additionally, the book will appeal to researchers and students of Afro-Brazilian culture, colonial history, or diaspora studies, as well as anyone exploring the intersections of art, resistance, and cultural identity. Lastly, philosophy and spirituality seekers interested in themes of adaptability, cunning (malícia), and the pursuit of freedom through creative expression will find sections of the book particularly worthwhile.

Deeper dive: The Philosophy Behind Capoeira

Who is Nestor Capoeira?

Nestor Capoeira began his journey in capoeira under the guidance of Mestre Leopoldina, a legendary figure in the art. He later joined the renowned Senzala Group, earning its highest rank, the corda-vermelha, in 1969. By 1990, he embarked on an independent path, developing his own unique teaching methodology.

Over the past three decades, Nestor has played, taught, and conducted extensive research on capoeira both in Brazil and internationally. A true pioneer, he introduced capoeira to Europe, spending ten years teaching during various visits, starting with the London School of Contemporary Dance in 1971. He also created two one-hour television specials on capoeira for TVE in 1979 and 1984.

In 1978, Nestor starred as the protagonist in Cordão de Ouro, Brazil’s only capoeira-themed film produced by Embrafilmes, which is now available on video. His teaching and workshops have taken him across Brazil, Europe, and Canada, and in 2002, he brought his expertise to the United States for the first time.

In addition to his capoeira achievements, Nestor holds an engineering degree from the Federal University of Rio de Janeiro (UFRJ), though he practiced as an engineer for only two years. He also earned a master’s degree and a Ph.D. in Communication and Culture from UFRJ, both with a focus on the capoeira game.

Book Structure

The book Capoeira: Roots of the Dance-Fight-Game is part of trilogy, but it can be read just as well separately from the other two books. The trilogy, originally published in Brazil, is:

• Capoeira, pequeno manual do jogador (Sao Paulo: Ground, 1981) – name in English means “Capoeira, A Small Handbook for the Player” (book was translated to English, French, Danish, and German)
• Capoeira, galo ja cantou (Rio de Janeiro: Arte Hoje, 1985) –  name in English means “Capoeira, the Rooster Has Already Sung”
• Capoeira, os fundamentos da malicia (Rio de Janeiro: Record, 1992) – name in English means “Capoeira, the Fundamentals of Malícia”

One of the author’s major goals is to examine in depth the origins of capoeira.

“Another matter of importance in this book relates to the fact that capoeira has been taught in the United States and Europe since 1971, and recently some North American students of radical ideology have wanted to prove that capoeira was exclusively African, diminishing ab=nd even invalidating Brazil’s role in its history” – Nestop Capoeira, September 1991

Also, it seems another goal is to highlight that capoeira is more than just a combination of fighting and dance; it is a philosophy with deep roots. In the author's own words:

“More than a dance, a fighting technique, a game, a patrimony of Brazilian culture, capoeira is a form of “seeing” and living life”

Book consists of 4 parts.

Part One: The Roots of the game

First part of the book focuses on some metaphysical aspects of the game and sets a deeper understanding of capoeira not just as a physical practice, but as an art form with profound cultural and social significance. Author goes deep into the concept of Malicia, the making of a Mestre, and spiritual entities in the roda. Also author delved into India’s culture and the Ethics of Malandragem finding similarities in such geographically distant cultures.  The first part is completed with authors thoughts on capoeira’s place in society and its further transformation. Obviously, author desires to preserve capoeira's unique spirit and place in Brazilian society.

“As we saw, there are both favorable and unfavorable forces in place. And when we reached the 1980s it seemed the “conquered” state would definitely win the game, transforming capoeira into a “sport” in which there would be very little creativity, individuality, or poetry. …. Capoeira seemed. At least temporarily, to have won the quest”

Part Two: History

The history of capoeira is usually divided into three parts: the slavery, the underground, and the academy periods. This division gives in a few words a panoramic view accepted by most players.

The Slavery Period

Capoeira, a fighting technique, disguised itself as a dance in order to deceive a slace owners and their plantation foremen.

The Underground Period

After the abolishing of slavery (in 1888), capoeira players who had been slaves, did not find a place in society and became criminals, taking capoeira underground, resulting in capoeira’s prohibition by law in 1892.

The Academy Period

In the 1930s the prohibition law was abolished by Dictator Vargas. Mestre Bimba opened the first capoeira academy in the city of Salvador, in the state of Bahia. Capoeira left the streets and the underground and started to be taught and practiced in the academias (In the context of capoeira, academia often refers to a training center or school where capoeira is taught and practiced.)

Nestor Capoeira follows a similar structure for the History section but provides a deeper analysis, questioning some of the established ideas.

Part Three: Learning Capoeira

This part focuses on capoeira techniques. Anticipating potential questions, the author explains in the chapter's introduction that the book cannot replace actual practice or contact with experienced players but can serve as a map, helping practitioners navigate their journey more easily. Nestor Capoeira introduces deeper and more sophisticated concepts of warm-ups, improvisation exercises, and sequences than those described in The Little Capoeira Book. The techniques presented include ground movements for solo practice, defenses against ground attacks, sequential blows for one player, paired exercises, rapid kick execution, upside-down movements, the frontal Angola guard, and more—all accompanied by illustrations.

Part Four: Conferences and Debates of the 1990 World Samba Capoeira Meet

In this part author presents the short overview of speeches and questions and discussions that took place at the 1990 World Samba Capoeira Meet at Rio’s Circo Voador. The complete list as following:

1. “New Elements for a History of Capoeira” by Nestor Capoeira
2. “Tradition in the Body Context” by Muniz Sodre
3. “The World of Show” by Joaozinho Trinta
4. “Samba, Repression and Resistance” by Nei Lopez
5. “The Organization and Goals of a Federation” by Mestre Geraldo Santana
6. “Prevention of Accidents on the Major Joints of the Body during the Practice of Capoeira” by Dr. Maria Ines Pereira
7. “The Berimbau, Capoeira Toques, and Songs” by Mestre Moraes

The book ends with sincere thank you from Nestor:

“Thanks to all of you. In my name and also in my capoeira camarados’ names because, in fact, I have only been a sort of cavalo, a medium that tries to materialize the ideas and wisdom of my friends from the dance-fight-game”