Capoeira Angola: A Traditional Afro-Brazilian Martial Art

Capoeira Angola is a traditional style of the Afro-Brazilian martial art capoeira. It emerged in the 16th century with the arrival of African slaves in Brazil, particularly from the regions of Congo and Angola. The art form blends elements of dance, acrobatics, music and spirituality, with ritualistic, low-to-the-ground movements. Capoeira Angola is slower and more spiritual than the other main style, Capoeira Regional, and includes more instruments. It is characterised by strategic, sneaking movements, executed standing or near the floor, and values the traditions of malícia (cunning), malandragem (street smarts) and unpredictability.

Capoeira Angola is a traditional style of capoeira

The roots of capoeira can be traced back to the 16th century and the arrival of African slaves in Brazil, particularly from the regions of Congo and Angola. The slaves practised capoeira in small huts called senzalas, using it as a fighting technique to rebel against their oppressors and obtain their freedom. Over time, small illegal communities (quilombos) were created, where spiritual liberty was reached.

Capoeira Angola continued to evolve as a mixture of art, dance, fight, culture, education, and philosophy. It is a strategic style of capoeira, with sneaking movements executed standing or near the floor. It values the traditions of malícia, malandragem, and unpredictability. Unlike other capoeira groups, angoleiros always train with shoes. There is no uniformity in the colour of their uniforms.

In the 1920s, Mestre Bimba and his student, José Cisnando Lima, believed that capoeira was losing its martial side and concluded that there was a need to re-strengthen and structure it. They created Capoeira Regional, which focused more on attack, dodging, and counter-attack, giving high importance to precision and discipline. This style also introduced the first ranking method in capoeira.

Despite their significant differences, both Mestre Bimba and Mestre Pastinha, the founder of the first Capoeira Angola school, made major innovations to the art form. They moved training off the streets and into academia, prescribed uniforms, started teaching women, and presented capoeira to broader audiences.

It is a blend of art, dance, fight, culture, education, and philosophy and way of life

Capoeira Angola is a blend of art, dance, fight, culture, education, and philosophy and way of life. It is a traditional style of capoeira, with roots in the 16th century, when African slaves, particularly from the regions of Congo and Angola, were brought to Brazil through Portuguese colonisation.

The slaves practised capoeira in small huts called senzalas, located inside the haciendas where they worked. It was a way to maintain their culture and spirituality, as well as a form of self-defence and rebellion against their oppressors. Over time, capoeira evolved into a complex martial art form, incorporating acrobatic and dance-like movements, often performed to music.

The name Capoeira Angola itself refers to the origins of the art form, which is believed to have emerged from an African ritual called N'golo or Engolo. In this ritual, two African warriors fight, mimicking the movements of fighting zebras, to win the right to marry a virgin woman. The dance-like quality of capoeira was used to disguise the fact that the slaves were practising deadly fighting techniques.

Capoeira Angola is characterised by strategic and sneaky movements, performed either standing or close to the floor, depending on the situation. It values the traditions of malícia (cunning), malandragem (street smarts), and unpredictability. The focus is on using the lower body to kick, sweep, and take down opponents, with the upper body assisting these movements and occasionally attacking as well. The fundamental movement in capoeira is the "ginga", a rocking step that keeps the practitioner in a state of constant motion, preventing them from becoming an easy target.

Music and singing are integral to capoeira, with instruments like the berimbau, atabaque (drum), agogô (bells), and pandeiro (tambourine) accompanying the ritual. The music sets the tempo and style of the game, with rhythms ranging from very slow to very fast. Capoeira songs cover a wide range of topics, from history and stories of famous capoeiristas to inspiration for players and life outside the roda (the circle formed by capoeiristas during the ritual).

Capoeira Angola is more than just a martial art; it is a way of life and a means to connect with one's culture and history. It has evolved over centuries, blending art, dance, and fight into a complex and captivating ritual that continues to be practised and celebrated worldwide.

It is slower and more spiritual than Capoeira Regional

Capoeira Angola is a traditional style of capoeira that emerged in the 16th century with the arrival of African slaves in Brazil, particularly from the regions of Congo and Angola. It is known for its slower pace and spiritual nature, distinguishing it from the dominant and faster-paced Capoeira Regional.

The music in Capoeira Angola is slower than in Capoeira Regional, and the movements are predominantly low to the ground, with a focus on precision and ritualistic feel. The inclusion of more instruments, such as agogô (bells), atabaque (drum), and berimbau (bowed instrument), contributes to the spiritual and ritualistic atmosphere.

Capoeira Angola values the traditions of malícia, malandragem, and unpredictability. It is characterised by strategic and sneaking movements, executed standing or near the floor, depending on the situation. The anthropologist Alejandro Frigerio defines Capoeira Angola as an art form, in contrast to Capoeira Regional, which he considers a sport.

The slower pace of Capoeira Angola allows for more flowing and dance-like movements, emphasising the spiritual and cultural aspects of the practice. This style of capoeira is often associated with the preservation of traditions and a deeper connection to its African roots.

Practitioners of Capoeira Angola, such as Lucio Ngungi, believe that it is essential to reconnect with the heritage and history of capoeira that preceded slavery. Ngungi's mission is to make Capoeira Angola more popular and accessible, providing a means for people to discover their cultural heritage and take pride in their past.

It is played in a circle or 'roda' and accompanied by music and singing

Capoeira Angola is played in a circle or roda and accompanied by music and singing. The roda is a circle formed by capoeiristas and capoeira musical instruments. During the game, most capoeira moves are used, but capoeiristas usually avoid punches or elbow strikes unless it's a very aggressive game. The game does not focus on knocking down or defeating opponents but rather on body dialogue and highlighting skills.

Music is integral to capoeira. It sets the tempo and style of the game that is to be played within the roda. Typically, the music is formed by instruments and singing. Rhythms (toques), controlled by a typical instrument called berimbau, differ from very slow to very fast, depending on the style of the roda. The berimbau is the leading instrument, determining the tempo and style of the music and game played. Two low-pitch berimbaus (called berra-boi and médio) form the base, and a high-pitch berimbau (called viola) makes variations and improvisations. The other instruments must follow the berimbau's rhythm, free to vary and improvise a little, depending upon the capoeira group's musical style.

Many of the songs are sung in a call-and-response format, while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects, including history, stories of famous capoeiristas, inspiration for players, what is going on within the roda, life or love lost, or playful lyrics. There are four basic kinds of songs in capoeira: the Ladaínha, Chula, Corrido, and Quadra. The Ladaínha is a narrative solo sung only at the beginning of a roda, often by a mestre (master) or most respected capoeirista present. The Chula is a song where the singer part is much bigger than the chorus response, usually eight singer verses for one chorus response. The Corrido is a song where the singer part and the chorus response are equal, normally two verses by two responses. Finally, the Quadra is a song where the same verse is repeated four times, either three singer verses followed by one chorus response or one verse and one response.

It originated from an African ritual called N'golo or Engolo

Capoeira Angola is a version of the Brazilian martial art that is rarely practised in Brazil or Angola. Its name speaks to the origins of the art, which reach back centuries before people were enslaved and transported from the southern African coast to South America.

Capoeira Angola has its roots in an African ritual called Ngolo or Engolo, a traditional Bantu martial art and game from Angola that combines elements of combat and dance. It is known as the forerunner of capoeira.

Ngolo or Engolo has been played for centuries in Africa, specifically along the Cunene River in the Cunene Province of Angola. It is inspired by nature, involving the imitation of animal behaviours such as mimicking a zebra's kicking motion or emulating the swaying of trees. This warrior dance is not just ritualistic; serious injuries have been known to occur during its practice.

The combat style of Ngolo/Engolo encompasses a variety of techniques, including different types of kicks, dodges, and takedowns, with a particular emphasis on inverted positions. Many of the iconic capoeira techniques, such as meia lua de compasso, the scorpion kick, and the L-kick, were originally developed within Ngolo/Engolo.

As enslaved Africans were transported to Brazil, they brought Ngolo/Engolo with them, and over the centuries, it evolved into capoeira. The art has been maintained for centuries and its traces have survived among the African diaspora.

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