Some scholars dispute the etymology of the word Capoeira. Some Brazilian writers claim it is from the Amerindian Tupi language group and means an area of bush that has been cleared by burning or cutting. In Portuguese, the language of Brazil , it also means a big chicken coop or a place where birds are fattened. Kongo scholar K. Kia Bunseki Fu-Kiau thinks that Capoeira is really a derivation of the Kikongo word kipura or kipula. According to Fu-Kiau "Both pura and pula mean to flutter, to flit from place to place; to struggle, to fight, to flog. Both terms are used to describe rooster's movements in a fight: back and forth, up and down as well as rotating movements. Kipura, in the Kongo cultural context, is an individual whose fighting style is based on a rooster's fighting techniques".

Capoeira roots can be traced to Africa though the art was born in Brazil. In the 1500's, led by the explorer Pedro Alvares Cabral , Portuguese settlers arrived in Brazil. They attempted to suppress Brazilian natives in order to use them as slaves. However, this did not go as planned since the natives either escaped or died in captivity. The Portuguese then imported slaves from Africa.

The African slaves mainly belonged to three different groups. The Sudanese group was composed largely of Yoruba and Dahomean peoples; the Islamic Guinea-Sudanese groups were Malesian and Hausa peoples, and the Bantu groups (among them the Kongos, Kimbundas, and Kasanjes) from Angola , Congo and Mozambique . Slaves from all these countries were held in captivity in Cape Verde Islands and several other countries along the ominously named Slave Coast before being shipped off to the New World. It is believed by some that it was the Bantu group from Angola, which formed what is now known as Capoeira. There is still some debate whether Capoeira existed in some form already in Africa and was transplanted to Brazil.

But because of the destruction of records during the abolition of slavery hundreds of years later, the answer is forever lost in the government's attempt to wipe away the stain of slavery from their history. All that is written on this subject is based largely on speculation. One thing that is certain is that Capoeira scholars disagree with each other more often than they agree.

One theory of origin points to Recife, Brazil where a group of forty slaves rebelled against their master, killed his employees, and burned the plantation house. Once freed, they fled and decided to seek a place where they could avoid recapture by the slave hunters. They headed to the mountains. Had it not been for the help they received from the natives, this long and arduous journey would have been practically impossible to accomplish. Eventually they reached what they thought was a safe place, which because of its abundance of palm trees they named Palmares . Here the first of many African communities was born; a community which lasted nearly a century. In the 17th century when the Dutch controlled certain parts of Brazil , and were in constant strife with the Portuguese, the slaves seized more chances to escape. They settled in small self-sufficient Quilombos (villages or enclaves) deep in the Brazilian forests where they could live in peace away from their oppressors. However, the quilimbos did not remain a secret for long, and the liberated Africans had to constantly defend themselves from attacks. It is believed that some form of Capoeira evolved from this and was used as a form of self-defense.

Over the course of years, more and more settlements were established in the mountains. The largest of these was the afore-mentioned Quilombo Palmares with more than 20,000 inhabitants, including quite a few natives and whites. The legendary Zumbi , a warrior of nearly mythical status, led them. Zumbi eventually met his fate and his execution and subsequent display of his severed head was meant to be an example for all those who dared defy colonial rule. It is a matter of speculation if Zumbi practiced Capoeira or not, what is known is that he was the property of a Jesuit, (whom he continued to visit in secret after having fled), who versed him in Latin, Greek and Portuguese.

In Palmares, as was the case in other quilombos, tribes that were strangers or enemies in Africa united to fight for a common goal. A new community was formed with a very rich cultural mixture. In this new environment, they shared and learned from each other their dances, rituals, religion, and games. One possible result of this rich cultural fusion was true Capoeira in its earliest form. Palmares was growing rapidly as more refugees arrived in this little African nation-in-exile. It started to worry the colonizers. People from Palmares would come down from the mountains to trade produce, fruit, and animal skins and would often raid plantations to free more slaves. In some parts, colonists developed positive trade relations with the people from the quilombos and were even opposed to their suppression believing that peace with them was the only way of achieving stability. But Palmares began to affect the life of the plantations as more and more of the slaves escaped. Some colonists suffered economically because of the diminishing labor force.

To make things worse for the Portuguese, Holland invaded Brazil in 1630. The Portuguese had to fight on two fronts: against the Dutch, and against the incursions from Palmares. The slaves took advantage of this situation and with assistance from Palmares left the plantations and some fought the Portuguese Army. There were, in truth, Africans fighting on all sides of the conflict each group either forced into service or were promised freedom. The Dutch won control over several productive areas of the country though the Portuguese would eventually win the war. During the Dutch dominion and the later Portuguese retaking of Pernambuco, (1654), there were occasional incursions into Palmares, without great success. Of special interest are the expeditions of Bartholomeus Lintz (1640), Roelox Baro (1643), and Johan Blaer and Jürgens Reijmbach (1645). Most of the information concerning Quilombo Palmares comes from the testimony and records of these raids.

It is important to point out that very experienced and well-armed soldiers formed these expeditions. But the freed slaves developed a system of jungle warfare or ambush. Capoeira, at whatever developmental stage it found itself at the time, was the key element in the unexpected attacks. With fast and tricky movements the former slaves caused considerable damage to their would-be captors. Capoeira, in whatever shape it existed at the time, became their weapon, their symbol of freedom. When an expedition was successful, the slaves who were returned to the plantations taught Capoeira to others there. Sunday was their only day of rest and that was when they practiced Capoeira. But there, in the slave quarters, the practice soon was altered. Music, singing, dance and ritual were added to Capoeira, disguising the fact that the slaves were practicing a deadly martial art. The slaves would sing and dance in these senzalas after work, a small freedom they had in their bondage. It was here the spirit of freedom was fostered and kept alive. It is disputed if whether music was introduced at this point or if it was already a part of Capoeira practice.

The people of Palmares, according to legend, were finally betrayed by one of their own. Portuguese rangers penetrated the outer defenses and slaughtered countless hundreds of escaped slaves, their new families as well as white and native sympathizers living there. The slaughter had the effect of dispersing the survivors, and Capoeira, throughout Brazil as they fled the murder. Capoeira continued to be practiced as a symbolic expression of liberation amongst the slaves. This is how it continued until the abolition of slavery.

King Dom Joao VI and his court fleeing Napoleon Bonaparte's invasion of Portugal arrived in Brazil in 1808. African culture amongst the slave population was persecuted and nominally banned under his rule, he thought that by destroying their cultural identity and taking away their sense of community, he could rule them more effectively. This effort to stamp out cultural expression by the Africans was, by default, detrimental to Capoeira. This attitude prevailed even after King Dom Joao left Brazil forever after Napoleon's defeat. Capoeira wasn't viewed upon favorably during the successive reigns of Pedro I (self-crowned Emperor of Brazil 1822) or Pedro II (crowned in 1831 after his father's abdication). African culture, and Capoeira along with it, was frowned upon and for the most part banned (though it is very possible that none of these regents had any knowledge or interest in what Capoeira was specifically). Some believe that it was at this time, in order to overcome this law; the slaves disguised their fighting style as a dance so that the plantation owners would be completely oblivious to the fact that the slaves were actually training for combat. It is difficult to say if that is the case since similar dances and martial arts were practiced in Africa at an earlier time. Also, it has been argued by some scholars that if all forms of cultural expressions by the Africans were outlawed, then why would the plantation owners tolerate the dancing that disguised Capoeira?

In twenty-five years the colonies suffered eleven rebellions that culminated with the abolition of slavery on May 13, 1888, (known as the Golden Law). After the abolition, some former slaves returned to Africa , but the majority stayed in Brazil . Since the planters were no longer interested in them as a work force, most headed to the cities to form slums and shantytowns. There was no employment in the cities either, and many organized into criminal gangs. Others, more fortunate because of their knowledge of Capoeira, were hired by politicians as bodyguards. After the transition from empire to republic in 1890, the government saw Capoeiristas (a term used to describe someone who practices the art) as a "plague." Former slaves were finally allowed to enter the society others had built on their backs and find jobs for themselves. But, as was the case all over the world, prejudice ensured that the former slaves remained second-class citizens. They were given menial jobs if at all and most remained poor. Capoeira now lived on the streets, homeless like many of its practitioners. Capoeira was seen as the derelict's sport and the hard conditions saw many of them resort to crime.

After the transition from empire to republic in 1890, the government saw Capoeiristas as a "plague". Capoeira had become the weapon of the criminal element in their muggings. This seriously damaged the reputation of Capoeira, instead of being the symbol of liberation it had been, it became synonymous with the word crime. This image of Capoeira became so entrenched in society that the very practice of Capoeira was outlawed once again. In reality, this was an exercise in public relations, to make it seem like something was being done against the rising crime rate in Brazil , though it was a double standard since many bodyguards were hired because of their Capoeira skill. Nevertheless, street games of Capoeira were banned and Capoeira became almost sect-like. But games were still played in the street in the spirit of freedom with many safe guards like the use of nick-names and songs that warned of the approach of police patrols (the rhythm known as cavaleria). So troublesome was Capoeira that, during a later period, a few penal colonies were constructed primarily for the imprisonment of Capoeiristas. The main activity of these Capoeiristas was to disrupt the political life of the country. During the time of governmental transition, Africans fought for both Imperialist and Republican factions. In the 1890's some very influential people in high levels of society, were practitioners of Capoeira. This was a threat to the government, and the president created a special police force to control the situation. When this effort was ineffective, a rigid penal code was initiated.

A tougher law was later added stating that any person who was a known Capoeirista would be expatriated. To enforce these laws, the president hired a man named Sampaio , who was reputed to be the most ruthless police chief in Brazil's history. He was determined to extinguish Capoeira. What is interesting about Sampaio was that he was an excellent Capoeirista. He was a terror to the gangs and was said to have faced many legendary fighters of the time, even some who were rumored to have corpo fechado (a condition magically rendering the fighter impervious to bodily injury). Sampaio's special police force learned Capoeira, so they were able to challenge their "enemy" on their own ground. Had it not been for the strong resistance by the Capoeiristas, as well as support by influential people, he may have succeeded in his mission.

One incident brought to an end Sampaio's relentless and draconian pursuit of Capoeiristas. He arrested a man named Juca , a member of the gentry, for practicing Capoeira and demanded that he be expatriated. This caused a crisis for the government. The members of the president's cabinet opposed this action because Juca's father was well known and favored by many politicians. The president called a special meeting of his cabinet, and after eighteen days, two important members of the cabinet resigned and Juca was expatriated. The expatriation of a prominent figure was supposed to send a message of zero-tolerance to Capoeiristas. After this event, the government expected the practice of Capoeira to diminish, but the event had been in their favor. The opposition to the government created a militia to disrupt the president's regime. This militia was formed exclusively of Capoeiristas and they spread fear in the capital. The police were ineffective against them and just as the situation was becoming desperate, Brazil went to war with Paraguay. The Capoeirista militia was sent to the front and suddenly the outlaws became national heroes and thusly Capoeira entered another phase in its history.

The law that prohibited the practice of Capoeira was still effect until 1920, and its practice was still disguised as a "folk dance". In their hidden places, Capoeiristas did their best to keep the tradition alive, and by presenting it as a folk art, they made the practice of Capoeira more acceptable to society.

In those years it was very common for a Capoeirista to have two or three nicknames. The police knew all the Capoeiristas by these names and not by their real identity, making it difficult to arrest them.

This tradition is continued today. Typically, when a person is "baptized" into the practice of capoeira, they are given a nickname; the ceremony is called a batizado. However, this honor may precede or follow this event, pending individual group traditions.

During the 1930's Capoeira was to under go several notable changes. In 1937, Mestre Bimba, one of the most important masters of Capoeira (see below), received an invitation from the president to demonstrate his art in the capital . It was then that the first Capoeira academy was set up in Salvador, where Capoeira Regional (pronounced 'heh-shon-al') was taught. Capoeira Regional was created in reaction to the street Capoeira of the twenties and is a style of capoeira that makes emphasis on the fighting aspects of the art. Mestre Bimba wanted to legitimize Capoeira as a form of self-defense and an athletic game, improving the technical quality of movements and creating training sequences, which were a lot faster and more aggressive than the Capoeira Angola style (see below). Angola had its developmental response to Regional as well and the two styles had clearly defined differences making them equally rich and complex.

By 1941 there were schools teaching either Angola or Regional, or even both, all over Brazil. Then in 1974, Capoeira had become so popular that Brazil claimed it as its national sport. The image of Capoeira was restored to the art of liberation because of the impressive professionalism of Mestre Bimba in showcasing his style of Capoeira Regional. Regional is a more upright and acrobatic version of Capoeira, which is very performative when compared to the more cunning and ground based traditional style of Angola. Capoeira Regional is symbolic to many as Capoeira rising over oppression, which kept it low to the ground. Others insist Angola is the true form of Capoeira and that Regional stems from it. Scholars are far from reaching a consensus, but it must be said that both Angola and Regional are beautiful and complex art forms unto themselves. Regardless of this debate, today Capoeira is all over the world. In Brazil , there is Capoeira everywhere: in elementary schools, universities, clubs, and in military academies.

Capoeira is an art form that involves movement, music, and elements of practical philosophy. One experiences the essence of Capoeira by "playing" a physical game called Jogo de Capoeira (game of capoeira) or simply jogo . During this ritualized combat, two Capoeiristas (players of Capoeira) exchange movements of attack and defense in a constant flow while observing the many rituals and proper etiquette of the art. Both players attempt to control the playing area by confusing the opponent with cunning feints and deceptive movements or what is known as malicia .

This attitude of playful deception and trickery comes from the need that the Africans had to outsmart their captors but today it is just what two camaradas (what fellow Capoeiristas call each other) use to try to strategically gain an upper hand without aggres- siveness or ill intent. Malicia keeps the jogo interesting, friendly and competitive while still being cooperative. It is also symbolic of how Capoeiristas approach life, since the roda and the jogo are symbolic of daily existence; outsmarting and outmaneuvering the adversities of life and so on.

During the jogo, the Capoeiristas explore their strengths and weaknesses, fears and fatigue in a sometimes frustrating, but nevertheless enjoyable, challenging and constant process of personal expression, self-reflection and growth. When two people do Capoeira together they do not "dance" or "fight", they are said to "play a game" of Capoeira. Capoeira is played in a roda (circle of people, pronounced ho-da, see above) headed by a group of musicians. Capoeira has many components including the physical, musical, and traditional. Any serious practitioner must study all these facets of the art.

The physical component consists of practitioners learning circular kicks interlaced seamlessly with acrobatic movements and contortion. Physical training of Capoeira includes an intense emphasis on fitness, flexibility, acrobatics, strength and combat. There are, broadly speaking, two styles of Capoeira: Capoeira Angola and Capoeira Regional.

Capoeira Angola is slower and done at closer quarters. It is a deceptive game of entrapment that relies on cunning and guile. Its movements are very close to the ground and rely on strong balance and positioning. Capoeira Regional is a newer and more energetic form relying on speed, acrobatics and precision. Its movements are flamboyant and often involve the player leaving the ground in aerial movements. Both forms are in constant development and evolution. .

The speed and character of the jogo are generally determined by the many different rhythms of the berimbau, a one-string muscollectiveical bow, which is considered to be the primary symbol of this art form. The berimbau is complemented by the pandeiro (tambourine), atabaque (single-headed standing drum), agogô (double bell), and reco-reco (grooved segment of bamboo scraped with a stick) to form a unique ensemble of instruments. Inspiring solos and singing in a call-and-response dialogue join the hypnotic percussion to complete the musical ambiance for the Capoeira session. The session is called roda de Capoeira, (literally "capoeira wheel"), or simply roda. The roda is the home of many traditions that permeate all stages of the game; unspoken rules and practices, which if observed, indicate to other experienced practitioners how much knowledge of Capoeira a player truly has, it is this factor that makes the learning of traditions and etiquette essential. Capoeira Angola and Capoeira Regional each have their own unique traditions and a player should be aware of both.

There is a certain etiquette that dictates how players enter the roda, how they leave, how they "buy into a game" (enter and substitute a player) or respond to a call or chamada from another player. There are many beliefs and superstitions that manifest themselves in the roda. There are also certain songs that tell the players how they should play and also certain actions that will reflect one's intentions. It is a code of etiquette and respect that should be learnt and preserved by all who learn Capoeira. The knowledge one exhibits of these traditions is an outward sign of one's true respect of the art.

Music is not incidental to the practice of Capoeira; it is one of the most important elements in the art. It creates the atmosphere in which Capoeira is most beautifully expressed. Music is used to inspire the players to more intense level of interaction, and it is used to calm them down when the game has become too heated. There is rarely Capoeira without music. The berimbau is the most important musical instrument. Attached to the bow of the berimbau is a hollowed out gourd called cabaça that acts as a resonator box. Tones are produced when the wire ( arame ) is struck by a thin stick ( vaqueta ). A small rattle ( caxixi ) is held in the hand that holds the vaqueta. With its hypnotic sound, the berimbau is considered "the soul of Capoeira". The music generally follows a pattern of call and answer with the person playing the berimbau singing a call and waiting for the rest of the roda to sing the reply. So rich is the musical tradition of Capoeira, that it can't be explained here in detail. There are a multitude of songs and rhythms each with its own purpose and history.

The music sets the pace for the game and indicates what style of game should be played. Some songs relate to very specific situations or events in the roda whereas others simply tell a story. Capoeira Angola and Capoeira Regional each have their own very distinctive songs and rhythms each tied in closely with their traditions. A serious student of Capoeira is expected to know how to play all of the instruments and sing the songs of both styles.

It is tempting to label Capoeira simply as a martial art. Indeed the movements and manner of teaching are very much reminiscent of a martial art. The techniques were developed for the purposes of self-defense and we must always be mindful that Capoeira was a martial art that in the past liberated many people from bondage. A serious Capoeirista, though peaceful and joyful, is a person who is fully able to defend his or herself. The music and the rhythms within the movements as well as the dynamic visual impact of Capoeira lead many to call it a dance. In some instances people have called it a folk-dance because of the traditions that are deeply tied to it. The performance side of Capoeira has lead many to call it simply an art form. For the idealist Capoeira is a symbol of the spirit of freedom. For many of its long-term and serious practitioners Capoeira is more than all of this, it is truly a way of life. It is important to realize that Capoeira is all of these things, and because it is all of these things it is not just one or the other. Capoeira is a unique piece of Brazilian and African culture unlike anything else in the world and sits almost aside from everything else. It is simply Capoeira.

Capoeira Angola has its roots in Bantu tradition and was used by the enslaved Africans of Brazil as a form of revolution. In keeping with African war strategies, Capoeiristas masked the art's effectiveness from plantation overseers. Needless to say, at the time when Capoeira was being used for defense against slavers, there didn't exist a distinction between Angola and Regional since the two had not yet diverged from each other.

Some beginners to Capoeira believe that Capoeira Angola is a slower version of Capoeira Regional, this is in no way correct, and in fact it is widely agreed that Capoeira Angola is much older than its Regional counterpart and is actually a separate form of Capoeira. Capoeira Angola is typically played slowly, although it can be played fast. Angola is played to the Toque de Angola , slowly and smoothly. It is filled with strikes, dodges and displays of skill. Anyone who plays Angola, as is the case with Regional, should play with great cunning; never forget that your opponent may be, at the same time, tricking you. Angola is particularly known for its complex and intricately deceptive maneuvering

The main methods of attack in Capoeira Angola are kicks and cabeçadas (head-butts). The legs are the most effective of the two with the rabo de arraia (ray's tail) being the most common offensive weapon. In Capoeira Angola kicks are usually no higher than the mid-section, where as in Regional the kicks are usually aimed at the head. The rasteira (sweep) is probably the most common form of defense, usually used when the opponent's kick is too high. One of the main elements of all Capoeira is the continual flow in the roda. A good Angoleiro (player of Capoeira Angola) is aware of his opponents' movement. Blocking attacks is not a fundamental part of Capoeira, body evasion is the form of defense most admired; if you are not there you can't be hit. Blocking is only used when all other options have failed.

In traditional Capoeira Angola schools, there is a specific location for each instrument in the ensemble. Facing the musicians one would see (from left to right): a ganza or reco-reco (a section of bamboo or gourd with notches cut in it played by scraping with a thin stick, also found at times in Regional); an agogô, (a double-headed bell that is struck with a stick or thin metal rod, also found at times in Regional); a pandeiro, (a tambourine); a berimbau-gunga, (the berimbau with the largest gourd and the one that maintains the rhythm); a berimbau-medio, (the berimbau with a mid-sized gourd and one that also maintains the rhythm); a berimbau-viola, (the smallest berimbau and the one that "speaks" i.e. improvises the rhythms), and an atabaque, (a drum that is played with the hands similar to a conga drum).

The dominant instruments are the three berimbaus; no other instrument should be played louder than these. There is also an order to the types and use of songs. The ritual of Capoeira begins when two players enter the circle and squat at the foot of the berimbau. One player will sing a ladainha, a ritual song of commencement. If his opponent doesn't respond with a song of his own, he will begin another song, a corrido a song for going out to play. The song is then passed on to one of the musicians as the jogo-de-Capoeira begins.

Such dynamic movements as cartwheels, handstands, spinning kicks and spontaneous acrobatics, characterize a Capoeira game. At its highest level of practice, Capoeira Angola , as is the case with all Capoeira, should be considered an improvisational conversation between two bodies. The operative sensibility is very similar to a jazz performance. Capoeira scholar Ken Dossar writes: "The object of the game is for the Capoeiristas to use finesse, guile, and technique to maneuver one another into a defenseless position, rendering them open to a blow, kick or sweep. Only one's hands, head and feet are allowed to touch the floor. Being swept and landing on one's bottom disqualifies a player. In general, there is no contact from strikes. An implied strike is more admired; particularly when the opponent has been clearly manipulated into an indefensible position. All strikes, evasions, and counterstrikes are woven together creatively as the game progresses. The freedom to improvise and create openings keeps Capoeira's action fluid and fresh."

It is interesting to note that there is little use of offensive hand techniques in Capoeira Angola . Some have attributed this to the belief that slaves had to fight with their hands immobilized by chains and therefore emphasized foot and leg techniques. It is more likely however that the apparent absence of hand techniques is based on an ancient Kongo tradition in which the hands should be used for good work, i.e., creative activities, while the feet should be used for bad work, i.e., punishment and destruction. Fu-Kiau explained one relevant proverb in Kikongo " Mooko mu tunga, malu mu diatikisa " (Hands are to build, feet are to destroy).

Mestre Bimba (Manuel dos Reis Machado ) founder of Capoeira Regional, was born in São Salvador, Bahia on 23rd November 1899. Throughout his childhood he trained with his father in a form of fighting called Batuque (different from Batuku - the CV Dance). (an African art some claim is a possible influence or precursor to Capoeira). At the age of twelve, Mestre Bimba was introduced to Capoeira, and it became a part of his life. His instructor was a captain of a ship that worked the coastal areas of Salvador . Bimba was taught the Angolan version of Capoeira and began teaching Capoeira de Angola in 1918.

After years of dedicated training and research he began to teach what some historians describe as a mixture of Capoeira Angola and Batuque. This new form of Capoeira involved systematic training methods through the invention of attack and defense sequences. These sequences became known as Sequencia de Bimba (Bimba Sequence) and the Cintura Desprezada (Unattached Waist). He also introduced a rank system into Capoeira. Bimba's original grading system involved the wearing of colored scarves around the neck instead of cords around the waist as it is today.

Mestre Bimba's form of Capoeira received it's name from his own academy, "The Regional Physical and Cultural Center," Capoeira Regional for short. In 1932, Mestre Bimba open his first Capoeira Regional Academy. Official recognition was given to Bimba's academy in July of 1937. From this point on the practice was restricted to registered clubs, gyms and academies but only with a special police license.

In 1936 Mestre Bimba issued a series of challenges in order to promote his new form of Capoeira. He agreed to accept challenges from any opponent in any style of fighting. Mestre Gato has said, "Mestre Bimba was a warrior with a warrior's mentality". Mestre Bimba was still undefeated at the time of his death.

Due to the publicity created for Capoeira, his Regional form began to spread throughout Brazil. In July of 1953 Mestre Bimba was invited to attend the Presidential Palace, where President Gertulio Vargas declared Capoeira as the national sport and fighting system of Brazil . Capoeira Regional is technically an adapted version of Capoeira Angola. Mestre Bimba adapted this style by introducing new techniques such as the galopante (a cupped hand strike). Mestre Bimba also added his own version of the kicks, such as the martelo (roundhouse kick), as Capoeira also became influenced by Eastern Martial Arts. Some of the Angolan techniques were adapted to the Regional form and the names of these techniques were also changed. For example the rabo de arraia of the Angolan school became the meia lua de compasso of the Regional school. As well changing the names, Mestre Bimba also added spinning and jumping variations.

Without the structured training methods introduced by Mestre Bimba, Capoeira may have died out just like the art of Batuque. Capoeira is now being taught and studied all over the world. The creation of Capoeira Regional has earned Mestre Bimba a place among the legendary figures of Capoeira. Mestre Bimba was not only the creator of Capoeira Regional, he was also an excellent singer and percussionist. He was the creator of a number of toques (rhythms) of the berimbau, such as Sao Bento Grande de Regional, Amazonas and Iuna... He was active in Capoeira until the very end; as a matter of fact he was planning on giving a demonstration the day he died. Here follows a tribute paid to him upon his death:"Mestre Bimba passed away on 4th February 1974 in Goias Brazil, far from his beloved Bahia. He passed across the Capoeira sky like a huge tropical storm, the aftermath of which is still being felt today."

The most important mestres of Capoeira Angola is undoubtedly Mestre Pastinha (Vicente Ferreira Pastinha). He opened his first school of Capoeira Angola in 1941 at the Largo do Pelourinho in Salvador, Bahia. Mestre Pastinha was determined to keep Capoeira Angola alive.

Mestre Pastinha was the first to write a book on the subject of Capoeira including its history, philosophy and techniques (3 rd edition 1988). He also went to Africa with his students to participate in FESTAC (Festival of African Arts and Culture) it was seen as a spiritual pilgrimage to the place of Capoeira's ancestry. He also made several albums of Capoeira music.

He became known as the "Philosopher of Capoeira" because of his many aphorisms. He taught openly until the government, under the pretext of reforming the Largo do Pelourinho confiscated his school. He was promised a new one but the government never came through. The final years of his life were sad. Blind and almost abandoned, he lived in a small room until his death in 1981 at the age of ninety-two. His humble and disciplined life is an example to all Capoeiristas. His sad death is a reminder to all Capoeristas today of the sacrifices made by those who came before us, so that we may cherish and enjoy the art we have been given. It is the legacy of the Mestres.

Literature:

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Websites:

Encyclopedia.com
Culturexplorers.com
Raízes do Brasil Capoeira. New York , New York .
Cordão de Ouro. Nottingham, UK.
Capoeira Samba De Roda Academy. Perth , Australia.
International Capoeira Angola Foundation. Washington D.C.
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Embassy of Brazil in Washington, Washington D.C.

Resource sites:

Capoeiragem.com
Capoeirista.com
Planetcapoeira.com
Brazil-Brasil.com
Sambaderoda.com
Historicaltextarchive.com
Encyclopedia.com
Culturexplorers.com

Acknowledgements:

Contra-mestre Silas Pinto "Tigri"
Richard Pokropski. "Furmiga"
Leighton D. Gage and Alana Gage
Armando de Melo "Armando Bote"
All the Capoeiristas and Instructors of Grupo Ondas Family (Warwick, Alexandria and Miami)