Academic literature on the topic 'Capoeira (Dance)'

Capoeira is a Brazilian art, expressed by game, fight, and dance. Its movements comprise a wide range of possibilities, alternating planes, turns, balances, supports, and floor-work, pointing to its relevance for technical processes in dance. However, capoeira is also deeply marked by an aesthetic that goes beyond the movement itself. Values, beliefs, habits, and Brazilian customs are rooted in its practice. Authors such as Frigerio show characteristics such as theatricality and malice, noting that a certain ritual role of capoeira seems to be more important in practice than a combative efficiency. In the Unicamp Physical Education Faculty, a survey is being developed in which capoeira serves as contribution to the dancer's work. Besides the physical skills, we are identifying the formation of an aesthetic expression corresponding to this identity in the process of capoeira, which sent us to the concepts of “kinesthetic transit” and “resonance.” Our proposal for this conference is to present our practical research that understands capoeira, including its rituals, theatricality, and values, as an emerging possibility to decentering dance experiences, due to this traditional phenomenon as not being exclusively a local practice anymore, but also a possible source to contemporary dance in the current cultural interchange.

ResumoA prática social capoeira é permeada por diferentes histórias e interpretações de seu surgimento, incluindo a própria etimologia da palavra capoeira, que pode ter sua origem na língua portuguesa, bem como na língua indígena tupi. Outra comum recorrência é da capoeira ser tratada como algo que tem existência em si, separada de seu sujeito, o capoeirista ou o Capoeira. Esse ensaio tem como objetivo recuperar na literatura a origem do nome capoeira, possíveis significados e sua relação com o jogador-lutador-dançador do que denominamos jogo-de-luta-dançada, assim destacar o/a praticante, professor/a, mestre/a, ou seja, o Capoeira, ser que dá existência a capoeira.Palavras-chave: Capoeira. Capoeirista. Etimologia. From Capoeira player to Capoeira fight: etymological and existential reflections AbstractCapoeira social practice is permeated by different histories and interpretations of its emergence, including the etymology of the word capoeira, which can have its origins in the Portuguese language, as well as in the Tupi indigenous language. Another common recurrence is that capoeira is treated as something that has an existence in itself, separate from its subject, the capoeira player or the Capoeira. This essay aims to recover in the literature the origin of the name capoeira, possible meanings and its relationship with the player-fighter-dancer of what we call game-of-fight-dance, thus highlighting the practitioner, teacher, master, that is, the Capoeira, being that gives existence to capoeira.Keywords: Capoeira. Capoeira Player. Etymology. Del Capoeira para la Capoeira: reflexiones etimológicas e existenciales ResumenLa práctica social de la capoeira está impregnada de diferentes historias e interpretaciones de su surgimiento, incluida la etimología de la palabra capoeira, que puede tener sus orígenes en la lengua portuguesa, así como en la lengua indígena tupí. Otra recurrencia común es que la capoeira es tratada como algo que tiene una existencia en sí misma, separada de su sujeto, el jugador de capoeira el Capoeira. Este ensayo tiene como objetivo recuperar en la literatura el origen del nombre capoeira, los posibles significados y su relación con el jugador-luchador-danzador de lo que llamamos juego-de-lucha-danzada, destacando así al practicante, profesor, maestro, es decir, el Capoeira, ser que da existencia a la capoeira.Palabras clave: Capoeira. Jugador de Capoeira. Etimología.

Purpose of this article to know about a culture, which had ups and down, a culture of struggle and freedom for a community. Capoeira is the glimpse of Brazilian mixed culture transformed from local to global culture. It was a hidden weapon of slave society of Portuguese Brazil against of their masters that escaped them many times. It is a movement, a game, a song, and a dance. It is a motto for generations. It is a vast knowledge for audience worldwide. It is a history, a culture of civilization, a martial art, and a game of global development physically and mentally. This game works everywhere whether a peaceful area or a war devastated area, it brings peace to every community, youth and for their developmental activities, makes a developmental approach, a developmental thought. It is an art and a project literature. It is a festival for youth and generation. Capoeira can help development of education worldwide by accepting capoeira as a global cultural and educational lesson. Therefore, I write about capoeira.

The goal of this article is to contribute to the debate about identity and subjectivity constructions in contemporary migrations and the cultural flows resulting from them, by focusing on the process of transnationalization in the practice of capoeira in Europe. The process began in the 1970s and influenced the development of capoeira, thus engendering changes wherever this dance-fight was established. The paper centers on the capoeiristas’ life experiences, through which they reconstructed their own identities, as well as discourses about capoeira, while at the same time considering the hegemonic powers that impose “game rules”. For this purpose, the capoeira universe is understood as an interstitial space in-between local negotiations and global tendencies. Therefore, habits, customs, and practices from different contexts are put into friction, henceforth potentially creating conditions for a multiplicity of new forms of subjectivity.

Frevo is an energetic dance from Recife, the capital of Brazil's northeastern state of Pernambuco. Frevo is a dance of resistance because it narrates complex notions of identity that contribute to social empowerment through strategic processes of liberation for marginalized groups. The dance originates from the Brazilian martial art of capoeira and it is carnivalesque because it is performed in crowded, often violent streets during carnival, when power hierarchies are disrupted. Through this ethnographic research, I consider how frevo practitioners engage in cultural resistance using a practice that I call “carnivalesque improvisation.”

Devires entre performance negra e dança inclusiva para poéticas transatlânticas ResumoEste ensaio apresenta um recorte da Tese de doutorado intitulada “Poéticas transatlânticas: devires entre a performance negra e a dança inclusiva”, ainda em construção, deste modo abordaremos os conceitos norteadores da pesquisa e daremos ênfase à metodologia de criação em dança, que estamos chamando de Poéticas Transatlânticas, que pretende experimentar possibilidades criativas a partir de provocações dramatúrgicas da poesia de Beatriz Nascimento, por meio da improvisação em dança voltada a experimentações e processos criativos, motivadas por fragmentos de sua poesia e da Capoeira Angola, sobretudo os movimentos e canções que possuem relação com o mar. Almejamos questionar como a dança pode ser pensada e criada em uma perspectiva decolonial, em uma zona de interseccionalidade. A busca por essa dança, perpassa pela experiência vivida e dançada e pelo ato de olhar e perceber a existência de mulheres negras com deficiência na dança.Palavras-chave: Performance Negra. Dança Inclusiva. Poéticas Transatlânticas. Interseccionalidade. Becomings between black performance and inclusive dance for transatlantic poetics AbstractThis essay presents an excerpt from the doctoral thesis entitled Transatlantic Poetics: Becomings between black performance and inclusive dance, still under construction, in this way we will address the guiding concepts of the research and will emphasize the methodology of creation in dance, which we are calling Transatlantic Poetic, which aims to experiment with creative possibilities based on dramaturgical provocations from the poetry of Beatriz Nascimento, through dance improvisation aimed at experiments and creative processes, motivated by fragments of her poetry and Capoeira Angola, especially the movements and songs that are related with the sea. We aim to question how dance can be thought of and created from a decolonial perspective, in a zone of intersectionality. The search for this dance permeates the lived and danced experience and the act of looking and perceiving the existence of black women with disabilities in dance.Keywords: Black Performance. Inclusive Dance. Transatlantic Poetic. Intersectionality. Devires entre la performance negra y la danza inclusiva para poéticas transatlánticas ResumenEste ensayo presenta un extracto de la tesis doctoral titulada Poéticas transatlánticas: Devires entre la performance negra y la danza inclusiva, aún en construcción, de esta manera abordaremos los conceptos rectores de la investigación y enfatizaremos la metodología de creación en danza, que estamos llamando Poéticas Transatlánticas, que tiene como objetivo experimentar posibilidades creativas a partir de provocaciones dramatúrgicas a partir de la poesía de Beatriz Nascimento, a través de la improvisación en danza orientada a experimentos y procesos creativos, motivados por fragmentos de su poesía y la Capoeira Angola, especialmente los movimientos y canciones que se relacionan con el mar. Nuestro objetivo es cuestionar cómo se puede pensar y crear la danza desde una perspectiva decolonial, en una zona de interseccionalidad. La búsqueda de esta danza permea la experiencia vivida y bailada y el acto de mirar y percibir la existencia de mujeres negras con discapacidad en la danza.Palabras clave: Performance Negra. Danza Inclusiva. Poéticas Transatlânticas. Interseccionalidad.

Abstract Although the berimbau is widely acknowledged today as part of capoeira - in Brazil and around the world - only a 'minimal' history of this instrument exists concerning its evolution over the twentieth century. The sounds, songs and notes of the berimbau, as well as its circulation among capoeiristas, artists, athletes and intellectuals, played an important role in the historical shift from a 'poisonous' capoeira to the 'non-poisonous' styles. The latter were the same styles that became national with enough of a violent edge to maintain the ambivalence between martial art, game and dance, as exemplified and echoed by the capoeira movement between 1930 and 1960. This article approaches the berimbau as an object embodied with a specific kind of agency, useful to the national imagination, to the control of the body and to the promotion of hierarchies among its practitioners.

This article compares ethnographic experiences of two settings characterised by embodied learning: the African-Brazilian dance/martial-art/game capoeira, and swimming for fitness and leisure, both as practiced in the UK. We consider the ways in which participants in these scenes stage-manage the display of their learning environments, focusing on the rituals and routines of instruction and practice. Applying Scott’s (2018) sociology of nothing as an analytical framework, we identify an inverse relationship between two forms of social action. In capoeira, we notice primarily acts of commission (somebodies enacting somethingness), whereas in swimming, we observe more acts of omission (nobodies enacting nothingness), although the distinction is not absolute. In both contexts, we explore the role of space, community, and the body in the negotiation of omissive and commissive socially meaningful action. This relates to Delamont’s interests in capoeira, ethnography and learning physical practices outside the classroom.

This article provides a re-examination of the main Afrocentric narrative of capoeira origins, the engolo or ‘Zebra Dance’, in light of historical primary sources and new ethnographic evidence gathered during fieldwork in south-west Angola. By examining engolo’s bodily techniques, its socio-historical context and cultural meanings, the piece emphasises its insertion into a pastoral lifestyle and highlights the relatively narrow ethnic character of the practice in Angola. This analysis and the comparison with capoeira helps us to develop certain hypotheses about the formation, migration, and re-invention of diasporic combat games between southern Angola and coastal Brazil, and more broadly, to increase our understanding of how African cultures spread across the southern Atlantic.

This article will examine the notion of subversive discourse found in both the Brazilian dance-martial art known as capoeira and the recent urban phenomenon called parkour, looking in detail at the origins and influences of the two disciplines. With reference to capoeira, I will argue that the linguistic structure which underpins the game provides the space for each capoeirista to develop his or her own creative expression or ‘personality’ within the framework of the discipline. When looking at parkour, I will consider the ways in which it embodies both the notion of flesh in Merleau-Ponty's later writings and how through such an understanding of their bodies and the space around them, practitioners of parkour, known as traceurs, are able to engage in what Foucault refers to as ‘technologies of the self’.