Kenneth Hiew, a photographer who’s been spending some time taking photos of us has posted his thoughts on his blog, check it out:
I had only vague notions of what it was all about, but upon seeing the do (called a roda), and doing research and getting more into the topic, I saw that there was much depth in the stories to be told about the culture, anthropological aspects, ethnography, etc.
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Bantus Capoeira’s video archives:
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Video of Rafael’s second performance with Bantus in Malaysia for promoting Hotlink at a party in Zouk KL.
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Thank you all for showing up at all the recent public rodas! It was great to have you there and lending yourselves to the overall vibe for each one. Beginners who are new to capoeira and rodas may find the whole affair a bit of a daunting one—we understand this, and this article is aimed at addressing your roda FAQs. Seniors are encouraged to treat this as a reminder of sorts.
A lot of the following tips bank on you guys conditioning on the following traits in yourselves:
You’ll see what we mean as we progress down this article.
Contributing Axé Axé is the positive energy expressed by all roda participants through their clapping and singing. If this is done with much enthusiasm, the pool of axé grows, and the capoeiristas in the roda play with a lot more zeal and energy, making for a much more exciting game.
Try to learn the songs and sing along in the roda, so we won’t have to shout to make up for the lack of volume. (The effect is very similar to that of the Indonesian crowd cheering the home team during Thomas Cup finals, and axé could very well be the secret to the Brazilian dominance in football.)
Forming The Roda Always ensure that there are no gaps in the roda—the circle must be as tight as possible, but do be on the lookout for your those who are exiting the roda and need some space to fit into.
Be attentive to the drama within the roda and be ready to esquiva out of the way if you see a mortal or stray meia-lua heading in your general direction! After the action’s over, be quick to fix up the gaps in the roda again.
Entering The Roda Always enter the roda on either side of the bataria (the band). If you have to wait for your turn, always wait beside the bataria and not in front of them. Should you need to walk past the bataria to get to the other side, try to go around the roda or behind the bataria.
If you really must go in front of it, stay low as a mark of respect. Walking upright in front of a bataria is a blatant request to be whacked by a berimbau.
Playing in the Roda Bantus has a tradition where seniors look out for their junior students by playing with them, helping them develop their game and making them feel welcome in any roda. Patronizing other students in a roda is frowned upon, as it shows a lack of respect for an individual’s dignity.
You do not want to be on the receiving end of serious malandragem in the future when that person you put down turns out to be a great capoeirista. Play nice and avoid waking up with a knife on your back. 
Buying the Game Look for a suitable moment to buy into a game. A game may be bought when:
DO NOT buy a game when someone’s in the middle of a rolé, low on the ground, or in the middle of a kick. You may cut into the game by staying low and protecting your face—but always buy the game purposefully. Buying into a game helps to keep energy levels up by substituting each other, so don’t wait too long before doing so!
Being Bought Out of a Game Return to the roda using the shortest route possible, without turning your back to the ongoing game so you can avoid stray kicks. The roda will make room for you to slot in.
Exit Rituals Bantus rodas generally don’t have entry or exit rituals. However, if you really have to do an exit ritual (e.g. going to the bataria and touching the berimbau, atabaque, scratching Candomblé sigils on the ground etc.) make it fast and don’t obstruct traffic. Again, be watchful of the ongoing jogar.
Play the Music Instruments Be brave and swap out the bataria players. The only way to get better at the atabaque, pandeiro and berimbau is to pluck up the courage to walk up to the bataria and offer to play any one of the instruments, being attentive to visual and verbal cues from the more experienced players. We’ve noticed that more people are beginning to do this—keep it up!
It would be great if more of you would come forward like this, as members of the bataria would be grateful for the chance to also play in the roda instead of being stuck with an instrument throughout the game.
Epilogue That’s basically it. What’s important here is for you to always use your wits! The roda is a very dynamic and lively place, with the possibility of a lot of things happening both in and outside it. Stepping into a roda makes you an integral part of it, and you must be aware of what goes on there and react accordingly. How good or bad a roda turns out to be is entirely dependent on each one of you.
So do take this in as much as possible. Beginners, if you find yourselves feeling overwhelmed don’t fret over it—just talk to any of the seniors who would be more than happy to guide you through these ins and outs a step at a time. We hope that this will help everyone improve on our future rodas!
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Tartaruga previously gave a brief write-up about our Jakarta tour. I thought I’d do it justice by writing a proper editorial. That and it’s the CNY holidays and I want to stay up as late as I can.
It was a rather disappointing start to the journey. Azrina got her passport rejected at the ticket counter, just one month under the minimal 6 month expiry date requirement. (Capoeiristas please note: check and renew passports) I was kinda hoping An Nur and Azrina would come along to babysit Jamal, but alas meu deus thought it would be amusing if I would instead! Well at least the girls can redeem a holiday to Bali for themselves. Anyone up for that?
Jamal assured me however that this was a luxury compared to some airlines where you can actually bring your pet goat along with you.
When they said Air Asia was no frills. They really meant it. It was rather charming actually, being in an unairconditioned waiting lounge and airplane. Jamal assured me however that this was a luxury compared to some airlines where you can actually bring your pet goat along with you. Jamal didn’t trust the plane, so he got the lifejacket ready. Unfortunately we forgot to return it to the seat. Oh well.
The immigration was making a fuss about our place of residence in Jakarta. I told him I’d SMS him our whereabouts once we find out from our hosts, since he was so concerned. He wanted Malaysian Ringgit. Thank goodness we were obnoxious enough to get past.
Jakarta is a sprawling city of 70 plus million people. That’s three times (I think) the population of Malaysia in one city! The airport looked exactly like the old Subang Airport. Some of the senior citizens in class like Quecka, Tartargua and myself might remember.
We were greeted by Andrew–our host from Grupo Bahia, and an old friend of mine, Irfan. They brought us to the training centre to join everyone else at the workshop that they were conducting. There we were greeted by Mestres Cicatriz and Torpedo, and Instrutors Jensen and Luciano. We had a quick roda after the workshop, though we didn’t play much because of the 1-hour jetlag.
His house is like the Incredible Hulk. Big and green with lots and lots of rooms.
We adjourned for food soon after. McDonald’s never tasted better. Anyway, we were off to our new abode for the next few days, casa Andrew! His house is like the Incredible Hulk. Big and green with lots and lots of rooms. We were housed in the Hacienda (the rooms had names because it was a guest house).
The air must’ve been kicking up the allergen cells in our bodies. Thank goodness Pharmacia Coelho was open. So I prescribed Tartaruga some anti-histamines. Everyone was pretty tired after the day’s activities, but Jamal and I were determined to maximise our holiday. So we stayed up all night chatting with Andrew.
Which was a mistake as we had to get up pretty early for the Batizado the next day. Actually I can’t remember if it was early but I was pretty tired so it must’ve been not late. Anyway, we headed back to the Grupo Bahia Jakarta training centre, across to the basketball court where the Batizado was held.
The Batizado commenced with a really nice Angola game between Rafael and Luciano. It was slower, rather like chess compared to Regional, and twice as deadly.
There we met up with a few of the members, chit chatted, had some snacks, and warmed up for the Batizado. The Batizado commenced with a really nice Angola game between Rafael and Luciano. It was slower, rather like chess compared to Regional, and twice as deadly. But it was nice watching Rafa playing “drunken master”. that’s because Angola is very much about malandragem, not unlike the drunken fist which encourages the practitioner to be unpredictable. Jensen and Mestre Torpedo also opened the Batizado with a game of capoeira Angola.
Instructor Luciano was mischievious, Mestre Cicatriz purposeful, and Mestre Torpedo well… let’s just say we now know how he got his name.
There were a few grupos from around the area attending the Batizado and Mestre Cicatriz graciously invited all of them to play. The games were fast and furious. With all the mestres and instructors participating in the roda. It was very entertaining as well as enlightening to watch Mestre Cicatriz, Mestre Torpedo and intrutor Luciano’s games. Though brothers, their own brand of Grupo Bahia Capoeira was very diverse. Instructor Luciano was mischievious, Mestre Cicatriz purposeful, and Mestre Torpedo well… let’s just say we now know how he got his name. Jamal thought it was a very good time to put on the lifejacket.
Which was funny cause everyone thought Jamal was a visiting mestre. He’s just got this cool, Angoleiro mestre look about him. Mestre Torpedo took a special liking to him. He kept speaking in Portuguese and grinning at Jamal.
We helped out on the instruments, while the mestres and instructors conducted the Batizado. They do it a little differently from us. Batches of six students come to the front of the bataria and get their cordao. They proceed to play with each other in the roda before playing with the mestres.
We had a really nice post Batizado dinner at Menteng. Jakarta is big on avocado. They blend it and top it off with chocolate condensed milk. We loved it. We also loved the fact that Grupo Bahia wanted to partayyy! So we headed to the X-Lounge. It was big. It was bad. And it had really good music and some really expensive orange juice.
We got some well deserved rest today. We woke up late. Except for Tartaruga who had to catch his flight. The rest of us went to the nearby stall which sold Mee Bak So. This was where we had most of our meals and snacks from now on, especially Jamal. All of us had two helpings of the most excellent Mee Bak So. It’s a bit like wan tan mee, but with chicken mince and beef balls. We also had copious amounts of avocado juice. And Jamal topped it off by having Ais Campur which is their version of ABC. Only with real fruit.
I shall have to wait for some other time to get torpedoed then.
Some went for a swim. Some headed back into the Hacienda for some shut-eye. Later in the afternoon we headed to a mall for an open roda. Everyone was invited to the roda, the other grupos that were at the Batizado too. They didn’t show up however.
Funny. I would find it a privilege to get into the roda with Mestre Torpedo. Quecka and I maximised our time and played as many games as we could with every student. It was really really good fun! The mestres didn’t play though. I shall have to wait for some other time to get torpedoed then.
I wanted to soak in the diesel fumes, sit at dingy stalls and order some local cuisine.
They all went to this place called Chopstix for dinner. No way I am having mall food. Even more so when it was Chinese! I wanted to soak in the diesel fumes, sit at dingy stalls and order some local cuisine. So we headed back to Menteng because there was this burger stall with steak burger that looked really good. It wasn’t open. So we had a walkabout to check out the rest of the area. The food was just as good elsewhere. There’s this huge fried rice thingy called Nasi Goreng Gila because they put in mad amounts of like sausages and stuff.
We took a cab and he drove us to another part of town for some sightseeing. This lasted 15 minutes before we took another cab home. Jamal and I hung out the little stall in front of the house. The locals stayed up all night playing card games, guitars, drums and catching up. We all got along very well. They even gave Jamal a nickname–Tinggi. Jamal is well loved by Mestres and the locals. He is truly the man about town.
We decided to call it a night before realizing that the night has just begun inside the house. It was a Grupo Bahia house party! The rest of the night was a bit of a blur, but let’s just say we had ingenious amounts of fun with Vodka and yes, it was another late night. Made even more so by the fact that I was hooked to this drink called Teh Botol. It’s basically teh o’ ais in a bottle. But I think it had way too much caffeine in it.
It was a day of Mee Bak So again. We then hung out at the swimming pool. Jamal and I had a rather interesting toilet experience. Being stuck in one without water or paper. Let’s just say we had to vacate to the shower room next door. We are officially mattress (because we shared a mattress, genius) and toilet mates now. The pool was a great place to practice backflips and soak in the sun.
Quek had other plans for the day. Visiting some relatives-to-be (hehe) or something like that.
Feeling thirsty, Jamal and I headed back to the Mee Bak So stall for a well deserved Ais Campur. After telling the store owner that it was our last day, he gave us extra fruit in our Ais Campur. Everyone else joined us soon after. So we just hung out around the suburb. Jamal and I were playing basketball with some neighbourhood kids.
Rafa and the mestres chit chatted the night away as well. When Brazilians meet, they talk a lot.
The night was a rather mellow one. We had dinner at a nearby nasi goreng place that had MAD satay kambing and proceeded to our usual late night hang out at the stalls. We played music. We chit-chatted with the locals. We took photos with our new friends. Jamal’s got them. And we plan to send it to them as well. Rafa and the mestres chit chatted the night away as well. When Brazilians meet, they talk a lot.
We got up an hour early because we forgot about the time difference. But that only meant we could at least have some time to take a much needed shower (we did shower throughout the trip despite me not mentioning it up till now).
Diah who dropped by to visit us in KL gave us a ride to the airport. As always, the journey never feels as far as when you first came.
Other than an obnoxious air stewardess from Air Asia, and a pilot that nearly clipped the plane wings on landing, it was a safe return to Malaysia. Open burning never smelt better. But all in all, Jakarta was a fun trip. Thank goodness we had a week to recover.
For more tales, buy us a teh tarik at the mamaks after class people. This is as long winded as it can get. See you all at class!
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An insightful article written by Contra-Mestre Perere on Capoeira Angola and the art of approach:
Danger is everywhere. It exists for us all on so many levels as to boggle the mind. Danger (or if you prefer: peril) can exist for our lives, our health, our reputation, our material possessions, our pocketbook, etc’. Perilous situations can often be incredible difficult to perceive, and even harder to deal with, and can elicit extreme emotional responses from us, such as fear, sorrow, anxiety. Danger can also be very compelling. Activities, or actions that contain elements of peril (or at least perceived peril) are indeed risky things, but they are also a lot of fun. You could lose, ahhh, but you could also win! Danger, risk, the potential for loss, and of course gain, are a part of the nature of gambling. Any activity where we put ourselves in a position to gain, or to lose through risky (dangerous/perilous) circumstances is gambling. It is one of the major factors of material existence. In fact, it is difficult to find anything that does not apply to this. Falling in love, taking examinations, applying for a loan, or a job, running to catch a bus, getting out of bed in the morning. They may not all be potentially lethal or injurious, but they can all be considered activities that have a certain amount of risk, and payoff, as far as they apply to our goals. Learning how to deal with dangerous circumstances in a way that can give you an advantage, or at least leave you no worse for wear is a difficult endeavor.
One of my favorite topics of discussion in Capoeira is danger. By this I do not mean violence, but rather the existence of possible loss on some level. My Capoeira teacher, Mestre No once told me during one of our long conversations while walking along the beach near his home in the neighborhood of Boca do Rio, Salvador that: “Nowadays you find that many rodas lack real danger, which is very important in Capoeira. Many Capoeiristas are not dangerous in the roda, but merely violent, they do not know the one from the other. There is a big difference between these two things
In the past, Capoeiristas were not nearly so violent as today, but much more dangerous. However, today you find that many capoeiristas are not very dangerous, but instead are very violent. This has effected Capoeira greatly “.
The topic of danger became the primary subject of our next few conversations. Mestre No elaborated on the subject thoroughly and expressed very particular views about the unfortunate direction that Capoeira has been taken. Put briefly, the view he shared with me is that violence tends to harm the spirit, whereas danger can make it stronger. That an implied threat of violence merely makes one a predictable thug, but one who is courteous, gracious, and humble yet has unknown resources, and unpredictable responses, is a dangerous character.
Two of my professional lines of work have a great deal to do with the topic of danger. They are the related activities of stunt performance, and stunt performance instruction. As a stuntman and stunt instructor everything I do deals directly with the symbols of loss and gain. Anyone who goes to the movies knows exactly what I’m talking about. Nearly all action in the cinema or TV requires the element of risk be clearly perceivable. If we the audience fail to perceive the risk, the plausibility and energy of the scene can utterly flop. Risk sells tickets, and next to the promise of sex, is one of the major hooks that advertisement companies use to pull us into their products. To be effective in either of these stunt professions I have had to deeply study the nature of danger, both to allow myself the ability to interact with danger (and the symbols of danger) directly, and to be a guide to others who want to learn how to do the same. It requires a tremendous amount of concentration, determination, and emotional equilibrium. If I am any good at these activities at all it is because of my continued study and exploration of the art of Capoeira Angola. For me the arts of Capoeira and stunt performance are synergistically interwoven. Why do I believe this? Because I have been taught to see Capoeira as a lyrical response to a world filled with possibilities. Potentials for loss, as well as gain.
Neither of these qualities can be even remotely understood without a proper appreciation of danger. And it is that quality of danger that makes both activities enjoyable to do, and watch. Danger is, and must remain a major element in the art of Capoeira Angola because, if it is approached in a controlled and respectful manor, danger can lead the Angoleiro to a deeper level of personal and social growth, giving the player of Capoeira Angola the means to explore perilous circumstances in a more or less controlled environment. To quote the author Michael Ventura: ‘Danger makes for grace.’ With a constant, regular exposure to moderated levels of danger the Angoleiro learns about himself (Please excuse the masculine designation of this text, it is not meant to be read as gender specific.), about his society, and the world in which he lives, and how to successfully navigate the perils inherent in all of these things. If anyone is interested in reading an excellent essay on this subject I recommend the essay titled ‘White boys dancing’. This can be found in a book called ‘Shadow dancing in the U.S.A.’ by Michael Ventura. I also highly recommend reading the essay titled ‘Hear that long snake moan’ found in the same book. Hell, just read the whole book, it’s great!
Why are flips and aerial acrobatics not found in Capoeira Angola? Primarily because to do them in the roda requires a collusion between both players, because if one of them does a flip, the other can intercept them before they reconnect with the ground, which is dangerous to the point of being lethal. In a flipping roda the two partners both agree beforehand to do circus tricks. Performing for spectators becomes the primary focus. The offering of spectacle. The only danger one is in comes from the possibility of falling on ones own head or some such through bumbling a flip. Though I have also witnessed capoeiristas landing atop of each other, and onto people sitting on the edge of a circle (so I guess danger exists there too, just not the way that is intended). In the roda de Capoeira Angola there can be no collusion of this sort because it completely removes ones ability to be dangerous, and to be in danger. Flipping in the roda is a ‘perceived’ danger and spectacle done for the pleasure of an audience, and does little to demonstrate ones skills as a player. Acrobatics are often held up as a lofty ideal in many Capoeira groups, an ideal that all should aspire to, but in reality, few are meant for, this however has little do with whether or not one will be a good player of Capoeira, I have had so many people over the years that have complained to me: “I just wish I could figure out how to do that darned… (add flip here), I keep trying to get it, it’s really frustrating!”. These folks have put a lot of psychic and emotional energy into trying to figure out a skill that will not make them a better player in the least. They are taught that they can only feel good about their game if they can toss themselves up and around like cats in a tumble drier. Most groups that espouse lots of flipping also teach their members that it is correct to throw attacks at a bewildering distance of four to eight feet away from their partner in the ring, and strangely enough, that they should also respond to these far away kicks with proper escapes and counterattacks. One guy kicks up in the sky and his opponent, ten feet away, hastily dives to the floor to avoid the attack. Please! This is not done (as is often explained) because the attacks are ‘to dangerous’ to be done in close range of ones partner, in my school we can throw attacks plenty fast and hard, but we do it within range of our partners, and at very specific targets on their bodies, however, we take time to warm up to this level, moving at slower speeds to warm up our senses, yet still on target. It is a remarkable sensation to be that awake. The ‘big gap’ technique that is commonly used in many rodas was developed for performance arts, so that the people watching from afar can appreciate the action, I have years of participation in theatrical and cinematic mock combatives, and this technique of wide spacing is textbook for performing on a stage. Don’t get me wrong, I’m sure it’s a lot of fun as well, however, it does little to develop your nervous system and finer reflexes for playing against someone who will not agree with you beforehand to keep there distance just to make you look good and feel safe.
Often you will find that when these players do close with each other they throw aggressive punches, and try to kick the snot out of each other, possibly because everything else they do in the roda feels slightly off keel.
There are several relationships that Angoleiros endeavor to develop and explore. One of them is with gravity (of which I will make the topic of a future article, but will only touch on here), another is with their environment. Many of the legends, tails, myths, and songs of Capoeira speak directly and indirectly about the perils of one or the other (or both) of these relationships. To be sure, there are other important relations as well, but we’ll explore them another time. Many of the stories told by old mestres who have since passed on include aspects of falling (gravity), and the dangers that can lurk just around the corner (environment). One of the primary ways I have been taught to view the Roda de Capoeira Angola is as a model for successfully navigating potentially dangerous, and potentially beneficial social interactions with others. How to approach, engage, interact, and then disengage in a manor that respects perils and advantages that are inherent in all relationships. To view them as puzzles, or riddles to be solved. Relating with other people in various social settings is risky business. If one fails to pay attention to ones own behavior and/or the behavior of others in ones environment, all sorts of potentially calamitous situations can ensue. If one looks closely at how the ritual space and game composition of the roda of Capoeira Angola is put together it becomes obvious that the roda is not so much made up of ‘mysterious and obscure rituals, symbols, and traditions’ that are only half understood by most, but is in fact a highly functional and practical organization of social elements designed to develop specific skills and abilities in the players of Capoeira Angola.
I want to start my exploration of the Roda de Capoeira Angola here by offering a premise, and that premise is this: That approaches are dangerous. Do you follow me? Whether it is an airplane approaching a runway, or a person approaching a teller at a bank, there is danger inherent in this action. The runway could be icy and treacherous for the plane, or the person could be there to rob the bank, either way it is very difficult to tell the outcome of the interaction from appearances alone.
That is why both airports and banks have such elaborate approach rituals for those that interact with them. It is the same for Capoeira Angola. I like to jokingly refer to Capoeira Angola as something akin to the mating dance of the praying mantis, or at least from the viewpoint of the male praying mantis. The females are much bigger, and stronger, and faster, and if the male praying mantis makes a mess of things he is likely to have his head shorn off and be eaten by the female. But see, the males are sly, they approach with caution and courage. They will most likely get eaten in the end anyway, and yet if they are crafty enough they will have accomplished their objectives beforehand through the more subtle powers of persuasion and guile rather than by brute force, where they don’t stand a chance. The important thing to remember is that the male mantis’s objective is not to ovoid being eaten by their mates, their objective is to accomplish mating before being eaten! A big distinction. Anyway….where was I…..
In Capoeira Angola a single individual always leads or ‘owns’ the roda. This person is either the mestre of the group, someone designated as the ringleader by the mestre, or in the absence of a mestre, someone designated the owner by the group of players present. This owner controls the goings on within the roda and holds the authority for how the rituals of the roda will be developed. The owner sets up the ‘house rules’, commences and concludes the roda, and administrates what will happen within the confines of that ritual game space. The owner has a lot of responsibility. Having to provide a safe environment for all the roda participants. The owner is also responsible for arbitrating everything that goes on inside the ring, and for everyone that approaches and then enters that ring. Why is it imperative that someone ‘own’ the circle? Because a roda de Capoeira Angola contains many potentially volatile social and energetic elements that require a responsible and respected arbitrator. If no one has authority in the circle, the ritual can fall apart from lack of certainty of purpose. It is the same as in many forms of social ritual.
In the not so distant past of Brazil, as is commonly understood by modern players, Capoeira was illegal to practice in any form, and the members of Capoeira communities had to be very watchful so that they where not caught unawares during the Capoeira roda, to be caught could bring about extreme circumstances for the players, potentially leading to imprisonment, injury, or death. Other Capoeiristas also presented a potential danger when they approach a circle where they were unrecognized. They could be there merely to have a good time, or they could be headhunting. And even though today Capoeira is no longer persecuted on sight by the authorities, and has largely moved indoors and is presented by many (erroneously) as an activity where everyone should come together in peace and love, strangers to a roda de Capoeira still represent a potential danger, and to ignore that potential danger is both foolish, careless, and potentially disastrous for all involved.
This aspect of taking in strangers at face value is one of the biggest flaws I find in contemporary Capoeira Angola practice and instruction. It leads to all sorts of weird misinterpretations, assumptions, and confrontations by contemporary practitioners.
The roda serves as a social model for courteous, respectful, and even reverential behavior for the Angoleiro as well as providing them with a means to navigate social entrapments, potholes, and dead-ends that may lead to misunderstanding and confrontation between participants. How well they are able to do this is completely self determined and depends entirely on the abilities of the individual. At most Capoeira events you will doubtless experience some master losing his head over some perceived blunder, or disrespectful action, perpetrated by some poor hapless student. It is unfortunate that this is the way that many mestres choose to educate people in public with regards to Capoeira, but aside from that, if you look at the topic of their rant with a cool head you will often find that it is based on how folks comport themselves socially within the framework of Capoeira society in general, and the roda in specific. With all of these factors, there also comes into play the concept of ‘loss and gain of advantage’, a concept that is sadly lacking in the comprehension of many who play and study this game today. This is a subject of tremendous importance for the player of Capoeira Angola. If your teacher is not guiding you in the art of the advantage while you are studying Capoeira Angola with them, then you are merely passing your time practicing movements of Capoeira, and getting some sort of workout while your Instructor collects your money. If you as a student are not delving into the art of the advantage you have no business thinking that you are really learning this art. The art of the advantage dictates that you are not resting on your heels in class, but are hungrily, if not ruthlessly going after every scrap of knowledge and skill that you can get out of your teacher without seeming to be too obvious about it. It means that your are their best student, developing patience, vigilance, and persistence, all the while learning how to be independent (independence = liberation). And always demonstrating graciousness to your teach for giving you the chance to study this art of Capoeira. An Angoleiro does not merely play Capoeira while in the middle of the ring, always seeking the advantage, they play Capoeira also with the entire ritual of the roda, (and by extension - the whole of Capoeira society) learning its subtleties, complexities, and the whims of the mestre in charge. A warriors skills are not only meant for the battlefield. It is a little like the intrigues of a royal court. Fumbling socially in the roda can lead one to humiliating circumstances, or to someone taking offense at your lack of comportment, all of which can be seen as a loss of the advantage as much as is being swept to the floor, whereas demonstrating your comportment and centeredness can give you access to greater levels of understanding, and reinforce positive impressions of you by others. This is common sense in a way. Diplomacy. And it is full to the gills with tactics.
Yes, Capoeira Angola has about it an aspect of politics, but when players complain and gripe about this they have completely missed the point. Though I am not condoning any abuses that persons of influence perpetrate on their communities, any social activity includes politics. There is no escaping it if you wish to play the field. I was taught that the social obstacles in Capoeira are there by design, and though they may be often less than enjoyable or palatable, and seem insurmountable for the student of the art (especially for non-Brazilians), they serve an important function for the player: How to successfully negotiate the human world, with all its dangers and payoffs. In short, to find the advantage. In an environment where someone else has all the resources, authority, and power; and uses them as leverage against us, this being one of the primary motifs used to explain the development of Capoeira, then malicia (tactical intelligence) becomes a path to the advantage, and possibly to self- enlightenment. If we consider the social context with which the people who developed Capoeira lived in over the past centuries, we can see how an organized body of knowledge like those found in Capoeira might be in high demand, and short supply. The art of Capoeira was not in past ages merely prized by its adherents for its movements, music, and lyrical beauty, but also for its tactical and strategic concepts and application, pedagogy, and holistic curriculum. Politics not withstanding.
Keeping the above text in mind I wish to venture into the topic of how to approach a roda de Capoeira Angola (perhaps any roda), and how these skills are utilized by Angoleiros in the world at large. It is the use of these skills and perspectives that I have been taught to view as the major differences between Capoeira Angola and other interpretations of Capoeira, rather than whether or not one wears shoes or uses queixadas in the roda. It is how I both participate in Capoeira as a society, play the game, and teach my students.
Capoeira Angola is like having one eye on the parish, the other on the priest. - Mestre No
In days of yore when Capoeira was considered by the elites to be the root of a variety of ills in Brazilian society (rather than a response to those ills), and was, as we all know, an illegal activity with heavy penalties placed on its practitioners (if they were caught), Capoeira was played on the street in locations where one eye could be keep on the game, and the other on the surrounding environment. Rodas were held in places that afforded the participants a measure of time before an enemy could intercept them, with easy escape routes that could confound pursuers. That this strategy succeeded in some way is proven out by the fact that Capoeira is still around to be played at all. My teachers have made it plain to me that this vigilance is still a valid aspect to the art and can be seen often when Capoeira is played on the streets today in the city of Salvador. And to their credit, I found it to be true in every roda I have ever happened upon during all of my visits there. They have made it plain to me that to loose this aspect in Capoeira would effectively put an end to the art as they know it and have played it all their lives. Even indoors you will find that a roda is most often positioned in such a way that the bataria can keep an eye on the primary entryway to the room, so that anyone who comes in the room can immediately be seen and assessed, while also maintaining a fir control over the goings on within the ring. This strategy is used often by individual players as well. Capoeira Angola players know that unperceived approaches by others can lead to bad situations, so they make a habit of putting themselves in places that afford the best vantage and possible escape. For instance: In a restaurant an Angoleiro might put there back to the wall that allows them to keep an eye on the exits, both in front, and in back.
When approaching a roda, even one that is held by a group you are familiar with, always do so in clear sight of the bataria. You do this out of respect, and to allow the owner of the roda to assess you. If you try to sneak up on a roda, which is not impossible, you might be assessed as a threat, or at least a cheeky bastard, neither of which really work in your favor. Trust me, you will not impress anyone by sneaking around during roda. If you wish to join the circle, first take a moment and take in the energy of the roda, is it inspirational to you? Do you get a positive vibe from it? If not you may not wish to join in, its your call. Look for the conventions of the group, are they all wearing shoes, do they have players with both shoes and bare feet? Each group, each roda, is unique to some degree and deserves a moment of assessment. Once you’ve taken in the vibe, get the attention of the owner of the roda and intimate your desire to participate. If you are unsure who this is, catch someone’s eye who is nearby and ask them specifically who the mestre is. Often they will escort you directly to the owner of the circle, or explain to you how to best participate. If you come up to the edge of the circle and no one addresses you, you should always take the initiative to ASK someone if you can participate rather than barge right on in. It is considered rude, and very disrespectful to enter a roda without consent of the mestre of the circle. Remember, as a ritualist they are responsible for providing a safe environment for their roda, and you may not be immediately considered a safe element. Some might not mind it, but by and large do not assume. Be courteous, it costs you nothing.
Once (if) you have been given consent and have joined the circle, and have met any conventions of attire that may be in place, show your positive intent by joining in to sing (and clap hands if that is going on) with the rest of the chorus. Always first ask to play a musical instrument before asking to play in the circle, this demonstrates your willingness to give energy to the ritual and will give the mestre time to watch how you comport yourself. Tactically, it also affords you the opportunity to watch everyone else in the circle, to learn who can play well, who may be dangerous, who is inexperienced, etc’. I repeat, take the time to play in the bataria! While playing the music you also get to ground yourself in the energy of the roda, listening to the messages in the playing of the berimbaus. This is not psuedo-mysticism, but practical, tactical information. You will learn a lot about the mestre by their playing of the berimbau. Look for any correlations between berimbau toques and what type of action is going on in the circle between the players. The mestre may not wish you to play a berimbau at first, or at all because these instruments are the primary tools for communicating to the players in the circle, if you ask to play a bow and are turned down don’t take it personally, gesture to another instrument. If you are passed an instrument, take up that musicians place in the bataria and play conservatively, refrain from drawing attention to yourself by showing off. Humility can go a long way in the roda de Capoeira Angola, you will most likely impress the mestre more with your ability to fit in than anything else. If all goes well you will most often be asked to play in the circle after a short while. The roda de Capoeira Angola has two entrances, one on either side of the bataria. These are the only two exits for players. It may happen sometimes that a mestre exits the roda at another location for some reason, that is their prerogative as a master practitioner. They may be trying to teach something to someone, it is best to follow the basic convention of exiting from either side of the bataria.
It is important to realize that upon entering the circle to play a game you have already begun playing! Your ‘real’ jogo began the moment you approached the roda, and your game in the circle begins the very instant you enter the ring. It does not start at the pe de berimbau. That is the place were Angoleiros pay homage to their artistic ancestors, to their mestre, to the berimbau, and acknowledge their adversary. It is where the players come together in ritual, but it is not where their game begins! Once you have taken up a position at the pe de berimbau, have patience and wait for the mestre to acknowledge your ensuing bout by nodding to you, or dipping the top of the berimbau into the circle between you and your partner, but beware! You are playing already.
How you play, and what you do in the circle is beyond my small scope as a writer to advise, but if I can offer a few things:
After the roda has been completed, or if you need to leave beforehand, always come up to the owner of the roda and thank them for having you. The same as you would if you were a guest at their home. It is a mark of graciousness on your part, and a means of setting a good example to all. It demonstrate your comprehension and appreciation of what I have termed: Approach, Engagement, Interaction (participation), and Disengagement. All of which represent skills held in high regard by anyone who knows anything about Capoeira Angola. It also reflects very well on your teacher, who’s reputation you are responsible for, whether you believe it or not. Often you will find that mestres treat their classes with the same vigilant care that they do their rodas, perceiving the same potentials in both circumstances. Therefore you may find that these same skills are useful when coming to a Capoeira Angola academy, school, or group practice.
Malicia, often proposed as merely trickery, treachery, and slyness in the ring is often considered the most important skill for the Angoleiro to develop, but I beg to differ. In the world of Capoeira many things can be like sticking your hand in a dark hole where a snake may be coiled up napping, yet ever-ready to strike. Malicia must be soundly rooted in a foundation of respectful courtesy and honor towards our fellows, or we may all very well forget what it means when we shake hands at the beginning and end of our games in the circle. And that those too require skills worthy of mastering.
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In Portuguese, Capoeira is referred to as a “jogo”, or game. This fact is often mentioned and repeated, but do we ever stop and examine what this means? Or is it such a basic concept that we can grasp it immediately such that it needs no extra commentary? Would an examination of Capoeira as a game, or an area of play, give us deeper insights into Capoeira, into humanity, into ourselves?
Play is essential to most higher forms of life, and the higher you go up the evolutionary scale, the more it’s role becomes evident. All mammals engage in the activity, and the length and duration of play is correlated in some measure to what we would define as intelligence, at least as we recognize it. Play also is more associated with the learning stages of a given animals life, than when the animal matures. As animals age, play becomes less a part of life, until you get to the higher mammals, where play is an integral aspect of life from birth to death, although the depth of the play activity often becomes shallower. Cats, dogs, dolphins, whales, primates and humans engage in play activity of some sort throughout their lives. We know this is the case, so it almost goes without saying that play is somehow essential to these higher types of life. Nature is not wasteful, and would not have creatures engage in something that saps their energy with no reward. The brains of higher mammals are hardwired in some aspects to want to engage in play activity. Brains release endorphins during play activity which make it a rewarding and pleasurable thing to do.
So what’s with all the fun and games, why are they so important that nature makes us want to engage in them, and what does this have to do with Capoeira?
First question, how do we know that Capoeira is play? Does it meet certain defining criteria to call it such? Well, let’s take a look.
First, Capoeira is defined by certain spatial realities. Games are always played in a definite spot. In other words, space is carved out of reality - whether in space or time, that are designated as “play” areas. Board games are played on a board. Sports are played on various fields. Games can be defined by time even without a spatial dimension - children engage in “playtime”, which may or may not indicate what they are playing or even where they are playing, but we specify a period for it. All aspects of life, in fact, need a conceptual “space” carved out for it - think about it we have “dinner time”, we have “work areas”, we define events by time and place - weddings, funerals, and so on. Places of worship are considered “sacred spaces”, as are certain pieces of earth. And these spaces all have boundaries, some more porous than others, but boundaries nonetheless. And we all seem to get cranky or confused when people cross or blur these boundaries.
But back to the matter at hand - Capoeira is played in the “roda”. A definite place is carved out, separate from reality to engage in this activity. Within this space we engage in Capoeira. The space itself has certain rules. It is always a circle of fellow participants, it is accompanied by music created by certain instruments - the berimbau, the pandeiro, the atabaque. The music dictates the game play. Capoeira played in a square, or to no music, while by no means impossible, detracts from how seriously we would engage in the activity. Our engagement in play activity is in part dependant on how we recognize the “sacredness” of the play area. This is not to say Capoeira, or even play in general is a religious activity, but rather to say that the believability of the game is related to the space we use to define it. Capoeira played in a square of would make no sense, and would distract from our engagement in the activity itself. Just like playing Chess on a Monopoly board would make us take the game less “seriously”. So we see that space is necessary to play, and Capoeira has it’s own space. Capoeira play also exists in time, although there is no definite time for Capoeira. But there are times within the activity of Capoeira that dictate certain things - songs are sung, and responses need to follow. There are chamadas, which break the flow of time in a game and thus, change the rules by inserting a different timeline into the ongoing game.
This brings us to our second understanding of play - Rules. Games have rules. We have made a separate space away from reality, and within that space different rules apply. And to play the game, we have to all recognize these rules (agreeing on the rules is a different matter, but we’ll examine this in the next paragraph). Capoeira has rules. You are allowed to touch the ground with only your hands, head and feet. You enter and leave the field of play in certain specified ways.
We all argue with rules, and sometimes the games we consider most fun have this element built into it. Part of the appeal of popular game like “Monopoly” is arguing about the rules itself - Can I build houses after I have a hotel already on a property? Do I get my $200 if I land on “GO” and not pass over it? And what exactly happens on the “Free Parking” space anyway? I’m sure if you have played Monopoly at one point in your life, you have argued about these things during the game. It is even these discussions that are what we remember most about the game afterwards - not who won or lost. ( I am certain you recall the arguments vividly, without being able to recall how many times you have won the game). Capoeira has more than it’s fair share of arguments about rules - which way to do a Volta do mundo, and so forth, without even talking about the arguments about the traditions of Capoeira itself (are traditions unspoken rules? Something to ponder.)
I have been playing fast and loose with the terms “game” and “play” here, even though games are really a subset of the larger field of play. All games are play, but is all play games? And Where does Capoeira fit in? A game? Or does it more comfortably fit in the larger activity of play.
We know that Capoeira is a game, and in a broader context, some kind of play, because it meets the general criteria for those activities - spatial or time boundaries, it has a different set of rules than everyday life.
So we are playing the game. If we show up on time, follow all the rules, and then go home exhausted and happy for the enjoyable experience, well then we just had a nice game of some sort. But did we “play”? And was the “play” worth the investment that nature makes for it? If all we do is engage in an activity and follow all the rules, then there is not much “humanity” in the experience, is there? Where is the creativity? In fact, we would, and do, grow bored with games that allow us only to play by the rules used to define them - how excited do you get about playing Tic Tac Toe as an adult? Of course, children can be fascinated with a game of Tic Tac Toe, at least until they figure out all the possible outcomes that the rules allow. But once the space is explored, and the rules rule out any other exploration, then the game becomes practically an automated activity, and really can no longer be considered play in any meaningful way. More complex games, like chess, offer more freedom in the conceptual space the rules allow play within, sometime to such a degree that the type of play they offer is very deep and immersive. But does a game, even as deep as Chess, ever be more than what it is? In other words can the idea of Chess be played with itself?
When games transcend their rules and open into the larger field of play is when we slide from operating under a “statement of play” into the “question of play”. What did that sentence mean you are asking yourself. It is about introducing uncertainty of meaning into the context of a game.
If all the participants agree on the statement that “This is play.” during an activity, well then, you have a game going on. It means everyone shows up at the soccer game wearing their cleats, expecting to kick a ball around a field and into a goal. And everyone knows that when it is all over, well, it’s over and has no real meaning transcending the field of play. A soccer goal is a soccer goal is a soccer goal. A soccer goal is not anything more or less, or other than, a soccer goal. Why? Because we have all agreed on the statement that “This is Play.” beforehand. A soccer goal can mean nothing outside the field of rules that define it’s play.
Ah, but what happens when we add a question mark to the end of that statement, when we make “This is play” become “This is Play?”, or better yet, “Is this Play?”. That means that we are playing with the meaning of the activities within the game, and that playing with meanings make things confusing, engaging and ultimately lead to creativity of the highest order. It means that the activity of a game may not mean what it would mean in another context, and we play with and within that paradox.
This is where Capoeira transcends a game and enters into the larger and more meaningful area of play, and how it transcends the simple definition of a game. The game of Capoeira asks us to question and try to figure out how much of the activity is play itself, and where the boundaries end. Because we are engaged in the game with an opponent who is doing an activity that in another context would mean something else, and there are no rules telling him he can or cannot really mean what it is he is doing or not, means that we have to constantly check if the thing is what it really signifies, or is operating on another level of abstraction.
You want a concrete example, I know. In Capoeira your opponent is throwing all types attacks at you. If you remove the Capoeira roda, remove the music, and find yourself walking down a dark street alone at night, and someone come up to you and starts throwing kicks at you, that means something different to you then it does in a Capoeira game, right?
Now, back to our Capoeira game - the rules allow certain things, but there is enough elasticity in the rules of Capoeira that allows us to say that a kick is not a kick that is sometimes really a kick. Get it? Sometimes the other player is kicking just to engage in the rules and structure of the Capoeira game and have a good time, but maybe he is really ticked at you, or wants to assert himself, or is having a lousy day, or is just a plain old mean son of a bitch, and therefore the kick no longer becomes an abstraction of a kick, i.e. a kick that really isn’t a kick, but really becomes what it is - an attack against your body. There is nothing in the rules of the game that spells out beforehand what the intention of the action outlined by the rules will be. The intention of a soccer kick is known by the players to score a goal. Simple. The rules spell it out plainly, and everyone expects it because we know that “This is Play.”, and we have all agreed. However, There is no “goal” in Capoeira, nothing that the intention of a action as defined by the rules, is pointing towards or leading to. Someone could be actually trying to kick you…or not. Ambiguity is built in. Capoeira is an activity that constantly forces you to try to figure out how much is play, where play ends, and how to respond. It is entirely elastic, or at least good Capoeira should be. And great Capoeira puts us in a frame of mind where play blends into reality and back into play consistently. This paradox of meaning is what makes Capoeira so vital an activity to those people who take it up. It is this aspect that make it so “real” of an activity.
And it is real, at least in terms we understand as human beings, because this type of play, “deep play”, where our immersion becomes deep enough, is exactly how we learn. Learning is play. Forget all those theories of learning by repetition, by rote. True learning, true understanding, comes form the activity of Play. This is the payoff that Nature has for the higher mammals for spending all the time and energy on play activities - it gives us a deeper and broader understanding of the world and contests we operate in because it lets us explore certain things with limited harm.
Think about young lion cubs play fighting. They tussle about until one gets it’s jaws around the neck of the other. Now in a different setting, this would be the death blow, with the fangs biting deep into the neck. In a playful context, it is simply a friendly nip. But it does send a message and a lesson is learned, by both parties involved. But if you think about this for a second, somehow, both cubs had agreed before hand on the statement form of play, both knew that the bite that was given to the neck wasn’t a real bite, for if it was, death would occur. What Capoeira does, and what deep play also does is allow us to step up one level of abstraction when we play - to play not only within the context of a game, but to play with the contexts that the game is played in.
As stated before, all games are play, but not all play is games. While Capoeira has rules, and is even called a “jogo”, perhaps it fits into a broader and deeper context. Not only do you have to figure out the intent of the other person with each of his attacks and counterattacks, this play is then placed in a larger context - that of playing with the socially acceptable conventions of the game. If your opponent throws a blow that you perceive to be a real blow and respond in a like manner, but was not seen to the other participants as his intent was to harm you, then your actual reaction (say knocking him to the ground, or kicking back and striking him hard) puts your standing (in understanding and responding to the game) lower in everyone’s eyes. You could be seen as the aggressor even though you were attacked! Knowing this, a player might try to get you so riled up to make you respond hard to a fictitious attack on his side to actually gain stature and notoriety among the other participants. However, if you are on the receiving end of an obvious attack, and fail to respond, you get your lumps and have to deal with the perception that you got caught by his attack. So not only do you play with the concepts of the rules of the game, but also play with the changing perception of those rules as seen by others, and your opponent. We are far away from a simple game of Tic Tac Toe, or even the complexities of Chess.
In evolutionary biology, they are discovering that much of what is called intelligence comes from those species where there is complex and malleable social interaction. Primates have been observed to show actions and emotions that in humans we would call deception, misdirection and trickery. Such are tools of social interaction, morality aside. Capoeira is unique in that it is a game played by adults that let’s us explore this area of social interaction, which we all encounter everyday, but have little experience in playing with. As children, most are taught that lying and deceiving are bad, yet it is an essential tool of nature - from flowers and monarch butterflies to the highest level politician. True, there are serious consequences by those who choose to live by deception, but there is also much insight to be gained by learning how it is done to prevent it from happening to us. Capoeira is a method that allows us to explore these things in a “safe” context. We play not only with our own sense of intention, by that of the other players, and we even play with the conventions of the game. If we come up with a response to a situation that falls well outside the rules of the game, yet is perceived as a creative and imaginative response to the situation, well then it becomes a valid exception to already loose rules.
Children, to an adults perspective, are immersed in playtime without boundaries. The line between reality and play is often so blurred as to be indistinguishable, at least to the child’s perspective. The question is why? Because Play is learning, and children have much learning to do. Not only about how things operate, but when and how to do things that are acceptable. Adults lose this ability to play at this level, or are socially conditioned to leave it behind. But we often find the most successful adults are those that keep the realities of this deep form of play alive in their personal and professional lives. Certain professions even embrace deep play as the sole methodology of learning. Airline pilots, soldiers, police, emergency workers all engage in deep play every time they train. Certainly the awareness of real world consequences infringe on their total immersion in their training, but the immersion of the self and body into their activity is certainly play. Think of your own experiences with things you have learned through and through and you will certainly discover that you have learned them through the process of play, whether you design websites (you play with code and graphics), build cars (play with the mechanical parts), or deliver packages (play with locations, directions). Think of the learning in your life that you were NOT allowed or inclined to play with, and those are the things that I bet won’t have stuck with you. What year did the Hundred Years War end? What is the Capitol of Montana? What is the Square Root of 325? Silly examples, but think of all the facts and figures you were required to learn in school as a child, that you learned by memorization and rote, and now have forgotten. You never played with those ideas, and thus never became vital to you or your understanding of the world.
So to return to Capoeira. The initial question of this article was to examine what Capoeira means as a game, and what it means when we play it. As has been citied by Mestre Acordeon and Nestor Capoeira, the game was one method historically which slaves and the urban poor could invert social realities, thus playing with those concepts. It was a method to learn how to deceive and not be deceived, and how to keep from not deceiving oneself in the process.
Capoeira is a serious tool that uses deep play, if we let it and truly love it, to play with many concepts. That is what allows and fuels so much debate about Capoeira. Capoeira is a game, it is whatever the mouth eats, it is treachery, it is liberation, it is life. It is all these things because through Play we can make it all of them, or at least we can explore all these aspects of it and make it something that we know through and through. To play the “jogo de Capoeira” without understanding that we are learning on the most fundamental level about what makes us human, about ourselves, is to miss the most vital point of it all.
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I grew up in an environment where the term ‘being cultured’ immediately conjured images of stuffy people dressed up to the nines at some posh event in the evening. ‘Culture’ was something characteristic of the well-to-do, who would have an all-rounded education and be exposed to knowledge of the world at large. I thought I was learning to be cultured when I so religiously attended all those music, dance and art lessons.
surely culture isn’t something that’s reserved for the upper crust of society.
Only to realize that at the end of the day, I grew to be so used to being disciplined that I had lost touch with the very pillar of art—creativity. Using my mind to form something out of nothing, using influences from what I had learned as tools. It got me thinking—surely culture isn’t something that’s reserved for the upper crust of society.
Then I got into Capoeira. I found myself in a world that was an antithesis to what I was familiar with—no longer were classes done in cushy, air-conditioned, nicely floor boarded rooms. Instead, I had to get acquainted with bare concrete and sometimes suffocating humidity in a room full of sweaty bodies. Yet I feel liberation in these movements in an art form that was borne out of slavery. What is it about Capoeira that keeps some of us in pursuit of mastering even more complex moves with each passing week?
Capoeira showcases the human body as a creation that must be marveled at, respected, and maintained well.
Personally, I see such grace and beauty in what some people consider as something that belongs to the dusty streets of Brazil. Capoeira showcases the human body as a creation that must be marveled at, respected, and maintained well. Even when practiced by people in the lower rungs of society there, I’ve seen fine examples of how passionate they can still be about refining their skills in Capoeira. Is it that the lack of societal pressures to conform (that is so typical of the middle and upper class) frees Capoeiristas of that background to be so vibrant and of such high caliber in their art? I believe so.
In my mind, to be cultured is the opposite of being crass. One of the definitions of crass is to be ‘so unrefined as to be lacking in discrimination and sensibility’ (Wordnet, Princeton University). In the case of Capoeira, some would view it as being a past time for ruffians, but they obviously are not aware of the high level of discipline demanded in order to immerse and refine oneself in the art. Being cultured means making a conscious decision to do something because you are driven by a specific purpose, and this can only be discerned after some thinking.
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Muito obrigado to everyone who made the present situation we’re in possible! We began by planting the first seeds of capoeira in Malaysia with Seda, Coelho, Andrew and the other splinter capoeira groups doing their thing, showing off the art of capoeira through shows and classes.
Seda and Coelho impressed upon Mestre Pintor to consider sending over an instructor to Malaysia and establish an academy here.
We first established our Bantus link when I invited the then Grupo Capoeira Angola de Palmares over to the 2nd Bantus Batizado in Perth, Western Australia, in which Seda and Coelho impressed upon Mestre Pintor to consider sending over an instructor to Malaysia and establish an academy here.
Months passed as we discussed our plans, how we should go about doing this, making sure we have the financial capability to carry this through. Many an emails were exchanged before we finally took the plunge.
I’ve got a vibe that tonight’s the night to call the Bantus academy in Brazil…
We just finished a great session (one of many) at the Tranquil Room, and I told Seda, “I’ve got a vibe that tonight’s the night to call the Bantus academy in Brazil” and we did. We called and as luck would have it, the receptionist spoke English! But none of our primary contacts was there! Feeling a bit bummered… Seda took a long shot and asked if Rafael was there… 
I can come over tomorrow if you guys can get me the plane ticket tonight.
Our first conversation with Rafael was via a translator (I think her name was Chloe), Seda asked if he was still keen to come to teach capoeira in Malaysia, in which his reply was along the lines of, “I can come over tomorrow if you guys can get me the plane ticket tonight.”
Between the night of that phone call and the Saturday of Rafael’s arrival, many things were prepared on our end. Seda, Coelho and me, committed ourselves to form a partnership, the Capoeira Bantus Agency, in order to better facilitate the running of the capoeira classes and shows.
We have much to thank our lovely ladies, Jessica and Michelle for getting most if not all of the paperwork, research and accounting affairs done for us, Andrew for working on most of the copy and helping us do the publicity work, Terry and Athira and the rest of the senior alunos (students) for helping out with the class with your enthusiasm and dedication to the art and finally all the other capoeiristas who helped out by making the classes so successful, with song, games of beautiful capoeira, and giving their 100% in assisting us to perform amazing shows!
With the seeds in place, and the groundwork laid, our gardener has arrived in the form of Rafael Barbosa Rosario. In the coming months, Rafael will continue the work Seda, Coelho, Andrew and I have started. He will force us to learn Portuguese out of necessity. He will teach us Samba, Forro, Maculele. He will teach us many more capoeira songs. He will of course teach us the fundamentals and the acrobatics of capoeira. But most importantly he will nurture the culture and community of capoeira in Malaysia.
Rafael wishes to see “the best capoeira all over in Malaysia” and that “Bantus Capoeira be the best capoeira group in the region.
Last night, Rafael communicated to me via much dictionary flipping and “shit… man!” expletives, his aspirations and goals here in Malaysia. Rafael wishes to see “the best capoeira all over in Malaysia” and that “Bantus Capoeira be the best capoeira group in the region.” He expressed that “It’s Pintor’s, and naturally his philosophy that the Bantus group do many many shows so that we can attract many students, that’s how they do things in every other Bantus Academias in the world and we will be no different.”
Rafael’s plans for us tentatively is as follows, Mondays, Wednesdays and Fridays classes, Saturdays for music classes and open roda, Sundays is for training mortals and acrobatics. Bantus Capoeira Malaysia will hold its first Capoeira Festival and Batizado in September and he wants to have it at the KLCC park! (Good luck getting permit for that, I told him, but we’ll see…)
Such as the one about Sao Paolõ being flushed out of existence due to heavy waterfall-like rain storms…
I think I’ve conveyed the gist of what he was trying to tell me with what little (e.g. sort of like zero) competency in the Portuguese language, and for the record, I apologise if I mangled bits of his message or left out any portions of our “talk”. Such as the one about Sao Paolõ being flushed out of existence due to heavy waterfall-like rain storms, or the few dozen stories about how so and so did some acrobatic and shattered a knee or dislocated a shoulder under his care… Just kidding lah! For the record, Rafael’s great with kids, so if any of the single ladies in our group are looking for a such character in a man, please join the drooling queue over there).
With that said, I would like to convey muito muito obrigado again to everyone in the group for making all this possible. Let’s all work together and help Rafael realize his dreams for us and I hope you all have an amazing experience enriching your lives together with our group!
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