Embark on a journey into the vibrant world of Afro-Brazilian Capoeira, a celebration of life that traces back over 500 years. This captivating art emerged from the heart of Africa in Brazil, weaving a rich tapestry of cultures and uniting diverse communities with its rhythmic pulse. Rooted in a blend of indigenous, African, and Portuguese influences, Capoeira has evolved from its ancient origins to become a spellbinding folkloric expression that now dances at the heart of Brazilian identity.

Capoeira is more than just movement; it’s a symphony of dance, music, song, acrobatics, and deep-rooted philosophy. The music itself weaves tales of the past and present, crafting an immersive ambiance that brings this art to life. Picture two individuals engaging in a mesmerizing dance within the “roda,” a symbolic circle that houses the art’s enchantment. Beyond the physicality, Capoeira imparts invaluable life skills like confidence, self-discipline, fitness, and self-respect, making it a philosophy as much as an art.

In the United States and beyond, Capoeira transcends boundaries, captivating hearts across communities just as fervently as the world’s beloved sport, soccer. So join us in celebrating a 500-year journey of rhythm, movement, and unity, where Afro-Brazilian Capoeira has transformed into a nationally recognized treasure that continues to enchant and inspire.

Capoeira Angola

Mestre Pastinha

The son of Jose Senor Pastinha and Eugenia Maria de Carvalho, Vicente Ferreira Pastinha was born on April 5, 1889, in Salvador-BA Brazil. Mestre Pastinha was exposed to Capoeira at the age of 8 by an African named Benedito. An older and stronger boy from Pastinha’s neighborhood would beat up Pastinha. One day Benedito saw the aggression then told Pastinha to stop by his house and he would teach him a few things. In the next encounter with the older boy, Pastinha defeated him so quickly that the boy became his admirer. Mestre Pastinha had a happy and modest childhood. In the mornings, he would take art classes at the Liceu de Artes e Oficio School where he learned to paint; during the afternoons he would play with kites and practice Capoeira. He continued his training with Benedito for three more years. Later he joined a sailor school by his father’s wish, which would not support his Capoeira practice. At the school, he would teach capoeira to his friends. At the age of 21, he left the sailor school to become a professional painter. During his spare time, he would practice Capoeira secretly since it was still illegal at that time.

In 1941, at Aberre (Pastinha’s ex-student) invitation, Pastinha went to a Sunday roda at “ladeira do Gengibirra” located at bairro da Liberdade, where the best masters would hang out. Aberre was already famous at these rodas, and after spending the afternoon at the roda, Mestre Amorzinho (one of the greatest masters of Bahia) asked Pastinha to take over Capoeira Angola. As a result, in 1942 Pastinha founded the first Capoeira Angola school “Centro Esportivo de Capoeira Angola” located in the Pelourinho. His students wore black pants and a yellow t-shirt, the same color as the Ypiranga Futebol Clube, his favorite soccer team. He participated with the Brazilian delegation of the “First International Festival de Artes Negras” in Dakar, Senegal (1966), bringing with him Mestre Joao Grande, Mestre Gato Preto, Mestre Gildo Alfinete, Mestre Roberto Santanas, and Camafeu de Oxossi.

Pastinha worked as a shoe shiner, tailor, gold prospector, security guard (leao de chacara) at a gambling house (casa de jogo), and construction worker at the “Porto de Salvador” to maintain himself financially so he could do what he loved the most, be an Angoleiro. Betrayed by local authorities, with false promises, and no support, Pastinha was left abandoned in a city shelter (Abrigo D. Pedro II – Salvador), blind, and very sick. He dedicated his entire life to Capoeira Angola, and on April 12th, 1981, he played his last Capoeira game. Mestre Pastinha, the father and protector of Capoeira Angola, died at the age of 92, on November 13, 1981.

Capoeira Regional

Mestre Bimba

On June 9, 1937, Bimba officially registered his capoeira school with the Secretary of Education, Health and Public Services – his became the first legitimate academy of capoeira in Brazil. Bimba eventually taught capoeira in the military, and then, in 1942, he opened his second academy.

It was on July 23, 1953, when President Getúlio Vargas watched a capoeira presentation at the Palace of Acclamation and declared it – “Brazil’s only true national sport” – and Bimba’s capoeira entered a new phase. Mestre Bimba’s capoeira quickly gained notoriety – he had his share of critics, many of them from the older practitioners of capoeira who criticized Bimba’s creative initiatives. He was denounced as having “whitened” the art of capoeira and thus betrayed its past. Ironically, Mestre Bimba was well-versed in Afro-Bahian culture, having drummed in the Afro-Brazilian Candomblé houses for many years and having married a mãe de santos, the head of a Terreiro. He revived many of the folkloric dances that were being left by the wayside, such as maculêlê, puxada de rede, and samba de roda, taking pride in the Afro-Bahian heritage and presenting them to a middle and upper-class public for the first time. Today, almost every academy practices one of these art forms, and presentations are common, thanks to Bimba’s efforts.

A gifted berimbau player – some say one of the best in Bahia – Bimba stressed the importance of music in capoeira, both in the creation of the roda and in the games themselves. The move away from music in modern-day capoeira (often referred to as Regional, but more accurately described as a Contemporary style) is a consequence of the changes brought about by some of Bimba’s students and their descendants and does not reflect his own philosophy.

Thanks to Mestre Bimba, capoeira took off in Bahia and eventually expanded to the rest of Brazil, where it had been erased through persecution. The old form of capoeira also benefited from Bimba’s work, as it forced its old adepts to come together and to attempt to redefine, organize, and modify their art form. The term “Capoeira Angola” began to be used, replacing the more common terms “Vadiacao,” “Brincadeira de Angola,” or simply “Capoeira.”

In 1973, Mestre Bimba moved with his entire family to the state of Goiás, a very controversial decision, and one which he took in bitterness, feeling that the authorities in the state of Bahia did not recognize the worth of his work. Sadly, his expectations in Goiás were not met and he and his family struggled with poverty. Mestre Bimba died of a stroke on February 5, 1974, undoubtedly brought on by his great sadness. He was buried in Goiânia. In 1978 his remains were transferred from Goiânia to Salvador where they currently reside in the church of Santo Antonio Alem do carmo.

Bimba managed to recover the original values within capoeira, which were used amongst the black slaves centuries before him. For Bimba, capoeira was a fight but “competition” should be permanently avoided since he believed it was a “cooperation” fight, where the stronger player was always responsible for the weaker player and helped him to excel in his own fighting techniques.

Drawing from his skills in the old capoeira and in Batuque (which he learned from his father), Bimba created his capoeira, believing strongly that it could become as respectable as the other martial arts that had come to Brazil from Asia. In 1932, Mestre Bimba founded the first-ever capoeira academy. He wanted to show it to all the segments of the society in Bahia; He was determined to rescue Capoeira from persecution and extinction. He decided to fight, challenging the most important fighters at the time and Bimba defeated them all!

Machado fought in favor of education, citizenship, and social inclusion, using the Capoeira Regional as the main tool to achieve his goals. After Bimba’s death in 1974 one of his sons, “Nenel” (Manoel Nascimento Machado) later moved back to Bahia and eventually took over his father’s capoeira legacy. Nenel is still responsible for the remarkable cultural and historical legacy his father left him and is president of Filhos de Bimba School of Capoeira.

Mestre Bimba Doctor Honoris Causa The Federal University of Bahia (UFBA) granted, on 12 June 1996, the title of Doctor Honorius Cause (post-mortem) to Manoel dos Reis Machado, Mestre Bimba, in recognition of his value as an educator, a personality from Bahia who by extrapolating the Capoeira, contributed significantly to expand the culture of Bahia in the national and international scenes.