Capoeira

In the past, many participants used the name angola or the term brincar de angola ("playing angola") for this art. In a narrower sense, capoeiragem meant a set of fighting skills. The term jogo de capoeira (capoeira game) is used to describe the art in the performative context. Although debated, the most widely accepted origin of the word capoeira comes from the Tupi words ''ka'a ("forest") paũ'' ("round"), referring to small forested areas in the Brazilian interior where fugitive slaves would hide. ==History==

, . Watercolor painting depicting an illegal capoeira-like game in Rio de Janeiro.|border , by Rugendas. "The scene is set in a clearing surrounded by tropical vegetation and palm trees, corresponding precisely to the space called capoeira in Brazil." In the past, some participants used the name angola or the term brincar de angola ("playing angola") for this art. In formal documents, capoeira was known as "capoeiragem", with a practitioner being known as a "capoeira". Gradually, the art became known as capoeira with a practitioner being called a capoeirista. Still, some authors believe there were more ancestors besides engolo. However, at the core of capoeira we find techniques developed in engolo, including crescent kicks, push kicks, sweeps, handstands, cartwheels, evasions and even the iconic Meia lua de compasso, scorpion kick and L-kick. Modern capoeira comes from Bahia, and was codified by mestre Bimba and mestre Pastinha, in regional and angola style. Despite their significant differences, both mestres introduced major innovations — they moved training and rodas away from the street, instituted the academia, prescribed uniforms, started to teach women and presented capoeira to a broader audiences. ==Contemporary global popularity==

Artur Emídio is likely the first capoeirista to perform abroad, traveling to Americas and Europe during the 1950s and early 1960s. Nestor Capoeira likely became the first to teach capoeira in Europe. After receiving his red belt, he ventured abroad, teaching in London in 1971 and touring European cities for three years. Since the 1970s, Mestre Lucídio taught capoeira in Japan. Jelon Vieira began teaching capoeira in New York City in 1975. He founded the Capoeira Foundation in the U.S. in 1976. Demonstrations by Vieira may have inspired the incorporation of some capoeira movements into breakdancing. Bira Almeida, Mestre Bimba's student, settled on the West Coast of the United States in 1979. Afterward, numerous Brazilian groups toured Europe, the United States, and other countries, showcasing capoeira alongside other Brazilian rhythms and dances. Almeida reported that in 1984 there were about 300 capoeira students in California, 60 in New York, and about 100 scattered elsewhere. In 1987 Senzala teachers Mestre Peixinho, Sorriso, Garrincha, and Toni Vargas spent six months in Europe, organizing workshops and the first European Capoeira Encounter. In 1992, João Grande, a highly respected capoeira mestre, established his academy in New York. Since 1988, Mestre Paulo Siqueira has organized the annual summer meeting in Hamburg, which became one of Europe's largest capoeira events. In 1994, capoeira appeared in an American martial arts film, Only the Strong. In 2001, Europe saw its first native mestre, Edgardo Sananiello. In April 2002 the First International Capoeira Championship of Asia and the Pacific took place in Sydney, featuring 60 groups. In 2002, a Brazilian capoeira group also traveled to Angola to connect with the roots of the art form. In 2004, capoeira appeared in a variety of American movies, TV shows, and video games and became a fitness trend. Anthropologist Katya Wesolowski notes that "capoeira had become an 'exotic' dance-fitness fad stripped of contextual signifiers and packaged for global consumption." As of 2006, Nestor Capoeira estimated about 7,000 capoeira students in the United States. Capoeira today is an active exporter of Afro-Brazilian culture all over the world. Present on every continent, every year capoeira attracts thousands of foreign students and tourists to Brazil. Foreign capoeiristas learn Portuguese to better understand and become part of the form. Capoeira mestres often teach abroad and establish their own schools. Capoeira presentations are common sights around the world. Generally, globalized capoeira tends to be highly inclusive. The capoeira school has become a space where "class, ethnic, gender and cultural differences are played out and renegotiated". Moreover, Wesolowski suggests that it has become increasingly globalized: "Early capoeira migration from the 1970s to 1990s was predominantly to North America, Europe, Australia, and Japan--places where Brazilian instructors hoped to improve their quality of life. Starting in the early 2000s, capoeira groups were popping up in African, South American, and Caribbean locales." In 2014 the capoeira circle was added to UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, the convention recognised that the "capoeira circle is a place where knowledge and skills are learned by observation and imitation" and that it "promotes social integration and the memory of resistance to historical oppression". ==Techniques==

Capoeira is a fast and versatile martial art that is historically focused on fighting when outnumbered or at a technological disadvantage. The style emphasizes using the lower body to kick, sweep and take down their aggressors, using the upper body to assist those movements and occasionally attack as well. It features a series of complex positions and body postures that are meant to get chained in an uninterrupted flow, to strike, dodge and move without breaking motion, conferring the style with a characteristic unpredictability and versatility. The fluidity of the movements requires mobility and flexibility, making stretching integral to capoeira. It promotes joint heath, helping with range and ease of use, as well as helps prevent injuries. The ginga (literally "rocking back and forth"; "to swing") is the fundamental movement in capoeira, important both for attacking and defending oneself. It has two main objectives: one is to keep the capoeirista in a state of constant motion, preventing them from being a still and easy target; and the other, using also fakes and feints, is to mislead, fool or trick the opponent, leaving them open to attack. The attacks in the capoeira should be done when opportunity arises, and though they can be preceded by feints or pokes, they must be precise and decisive, like a direct kick to the head, face or a vital body part, or a strong takedown. Most capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras (leg sweeps), tesouras or knee strikes. Elbow strikes, punches and other forms of takedowns complete the main list. The head strike is a very important counter-attack move. The defense is based on the principle of non-resistance, meaning avoiding an attack using evasive moves instead of blocking it. Avoids are called esquivas, which depend on the direction of the attack and intention of the defender, and can be done standing or with a hand leaning on the floor. Many esquivas also include an arm in a cross block position as a second line of defense against an attack. A block should only be used when the esquiva is completely non-viable. This fighting strategy allows quick and unpredictable counterattacks, the ability to focus on more than one adversary and to face empty-handed an armed adversary. A series of rolls and acrobatics (like the cartwheels called aú or the transitional position called negativa) allows the capoeirista to quickly overcome a takedown or a loss of balance, and to position themselves around the aggressor to lay up for an attack. They use their momentum to shift around their weight around, making these acrobatic movements into something that flows, called floreios. This combination of attacks, defense and mobility is what gives capoeira its perceived "fluidity" and choreography-like style. ==Weapons==

Through most of its history in Brazil, capoeira commonly featured weapons and weapon training, given its street fighting nature. Capoeiristas usually carried knives and bladed weapons with them, and the berimbau could be used to conceal those inside, or even to turn itself into a weapon by attaching a blade to its tip. The knife or razor was used in street rodas and/or against openly hostile opponents, and would be drawn quickly to stab or slash. Other hiding places for the weapons included hats and umbrellas. Mestre Bimba included in his teachings a curso de especialização or "specialization course", in which the pupils would be taught defenses against knives and guns, as well as the usage of knife, straight razor, scythe, club, chanfolo (double-edged dagger), facão (facón or machete) and tira-teima (cane sword). This weapon training is almost completely absent in current capoeira teachings, but some groups still practice the use of razors for ceremonial usage in the rodas. ==As a game==

In Bantu culture, the Nkhumbi term ochimama encapsulates the overlapping meanings of game, dance, and tradition. This overlap is also found in Afro-Brazilian folklore, where many similar forms of expression are called brincadeiras (games). The game does not focus on knocking down or defeating opponents, but rather on body dialogue and highlighting skills. Roda , Brazil) The roda (pronounced ) is a circle formed by capoeiristas and capoeira musical instruments, where every participant sings the typical songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to the style required by the musical rhythm. The game finishes when one of the musicians holding a berimbau determines it, when one of the capoeiristas decides to leave or call the end of the game, or when another capoeirista interrupts the game to start playing, either with one of the current players or with another capoeirista. In a roda every cultural aspect of capoeira is present, not only the martial side. Aerial acrobatics are common in a presentation roda, while not seen as often in a more serious one. Takedowns, on the other hand, are common in a serious roda but rarely seen in presentations. Batizado The batizado (lit. baptism) is a ceremonial roda where new students will get recognized as capoeiristas and earn their first graduation. Also more experienced students may go up in rank, depending on their skills and capoeira culture. In Mestre Bimba's Capoeira Regional, batizado was the first time a new student would play capoeira following the sound of the berimbau. Students enter the roda against a high-ranked capoeirista (such as a teacher or master) and normally the game ends with the student being taken down. In some cases the more experienced capoeirista can judge the takedown unnecessary. Following the batizado the new graduation, generally in the form of a cord, is given. Traditionally, the batizado is the moment when the new practitioner gets or formalizes their apelido (nickname). This tradition was created back when capoeira practice was considered a crime. To avoid having problems with the law, capoeiristas would present themselves in the capoeira community only by their nicknames. Chamada Chamada means 'call' and can happen at any time during a roda where the rhythm angola is being played. It happens when one player, usually the more advanced one, calls their opponent to a dance-like ritual. The opponent then approaches the caller and meets them to walk side by side. After it both resume normal play. While it may seem like a break time or a dance, the chamada is actually both a trap and a test, as the caller is just watching to see if the opponent will let his guard down so she can perform a takedown or a strike. It is a critical situation, because both players are vulnerable due to the close proximity and potential for a surprise attack. It's also a tool for experienced practitioners and masters of the art to test a student's awareness and demonstrate when the student left themselves open to attack. The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's hidden intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments. ==Music==

Music is integral to capoeira. It sets the tempo and style of 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. Instruments s a reco- reco and a pandeiro Capoeira instruments are disposed in a row called bateria. It is traditionally formed by three berimbaus, two pandeiros, three atabaques, one agogô and one ganzá, but this format may vary depending on the capoeira group's traditions or the roda style. (https://draculinho.wordpress.com/tag/brazil/) 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. As the capoeiristas change their playing style significantly following the toque of the berimbau, which sets the game's speed, style and aggressiveness, it is the music that drives a capoeira game. Songs Many of the songs are sung in a call and response format while others are in the form of a narrative. The lyrics that capoeiristas sing are stories about the beautiful history of capoeira, mythic legends, and other fun playful tales. The songs are sung in Portuguese and have a poetic melody to them, while showcasing the true intensity and power of the art/game. There are four basic kinds of songs in capoeira, the Ladaínha, Louvação, 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. While being sung, this is what everyone has their attention on, as it is a prayer. The solo is followed by a Louvação, a call and response pattern sung in unison that usually thanks God and one's master, among other things. Each call is usually repeated word-for-word by the responders. The term chula is often given to the Louvação, however it traditionally is a song where the singer part is much bigger than the chorus response, usually eight singer verses for one chorus response, but the proportion may vary. The Corrido is a song where the singer part and the chorus response are equal, normally two verses by two responses. This is when the capoeiristas start their game. 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. The Quadra are songs that were edited by Mestre Bimba, a founding capoeiristas. == Philosophy ==

Malícia (malice) The basic term of capoeira philosophy is malícia (malice). One aspect of malicia consists of deceiving the opponent into thinking that you are going to execute a certain move when in fact you are going to do something completely different,which can let a less powerful opponent get the upper hand in combat. There is an example of malícia of Besouro who once fell to the ground during a game, crying like a woman and begging for mercy. Mestre João Pequeno claimed that he teaches his students how to play capoeira, but they should learn malícia for themselves since it cannot be taught. The meaning of malícia in capoeira has expanded over time to cunning, suspicion, alertness, readiness, flexibility, and adaptation. Basically, it is the capacity to understand someone's intentions and making use of this understanding to misdirect someone as to your next move. In the contemporary capoeira, this is done good-naturedly, contrary to what the word may suggest. A popular Brazilian saying, "Malandro demais se atrapalha" means that when one tries to be too clever or smart, instead of confusing his opponent, he confuses himself. == Personal Skills Developed ==

Body The full-body engagement used in capoeira builds muscular strength. As capoeiristas move through esquivas (avoids), kicks, acrobatics, rolls, and ginga, they engage muscles throughout the body. When capoeiristas move around, they develop balance as they shift their weight. They also develop flexibility by bending and twisting in the acrobatic moves. Mind Capoeiristas develop persistence when they master the martial art, as learning capoeira is difficult physically and mentally. They also develop the skill of adaptiveness, as they learn to respond quickly to their opponent's moves during combat. ==Spirituality==

Spirituality in capoeira is shaped under the influence of various African beliefs. Some important concepts of candomblé, such as dendé and axé, which refer to different conceptions of energy, have become common among capoeiristas. Bantu culture , 1630. Dr Maya Talmon-Chvaicer suggests that capoeira should be explained in Bantu terms. For the African slaves, capoeira was a social expression that incorporated all the basic African elements: circle, dance, music, rituals and symbols. It also contains all the ingredients of a game from the Kongolese perspective: a means to train and prepare for life, providing the experience needed to strengthen the body and the soul. Within the Bantu culture, the circle carries profound symbolism. A major means of communication with the ancestors is music. Musical instruments play a pivotal role in bridging the realms of the living, the deceased, and the gods. This explains why African dances customarily commence by paying homage to the primary instrument, often through kneeling or bowing before it. This practice of appeasement and seeking divine assistance from the gods is mirrored in the capoeira tradition of kneeling before the berimbau during the ladainha. One of the capoeira ritual is performing the "au" at the beginning of the game. This act symbolizes a profound transition in Kongolese religion, where touching the ground with hands while feet are up in the air signifies the player crosses over to other worlds. Capoeira has been additionally shaped by the cosmic worldview of candomblé, an Afro-Brazilian religion that has engaged with various manifestations of natural energies. The capoeira player in past usually had his orixá or santo (patron saint) as Ogum (the Warrior) or Oxóssi (the Hunter). Mandinga (magic) Capoeira holds a core of mandinga, which can be translated as a magic, sorcery, witchcraft. Mandinga suggests an understanding of fundamental natural forces and their utilization through magic rituals to some extent. In the past, capoeiristas used protective amulets and performed specific rituals to ensure their safety. Same players "do their mandinga" before the game by drawing magical symbols on the ground with their fingers. Some magic elements in capoeira are clear and familiar, while others have become obscure over time. Folklorist Edison Carneiro noted that the ladainha, sung before entering the capoeira circle, invokes the gods, adding a touch of mysticism to the ritual. Actions like touching the ground symbolize drawing signs in the dust, and gestures such as kissing hands, crossing oneself, and prayer are reminders of long-forgotten traditions, the Bantus' prayer for divine blessings, aid, and bravery in battle. Mandinga is also a certain esthetic, where the game is expressive and sometimes theatrical, especially in the Angola style. An advanced capoeira player is sometimes referred to as a mandingueiro, someone who embodies mandinga. The roots of the term mandingueiro would be a person who had the magic ability to avoid harm due to protection from the Orixás. Alternately the word mandinga originates from the name of Mandinka people. == Styles ==

Determining styles in capoeira is difficult, since there was never a unity in the original capoeira, or a teaching method before the decade of 1920. However, a division between two styles and a sub-style is widely accepted. The base of capoeira regional is the original capoeira without many of the aspects that were impractical in a real fight, with less subterfuge and more objectivity. Training focuses mainly on attack, dodging and counter-attack, giving high importance to precision and discipline. Bimba also added a few moves from other arts, notably the batuque, an old street fight game invented by his father. Use of jumps or aerial acrobatics stay to a minimum, since one of its foundations is always keeping at least one hand or foot firmly attached to the ground. Capoeira Regional also introduced the first ranking method in capoeira. Regional had three levels: calouro (freshman), formado (graduated) and formado especializado (specialist). After 1964, when a student completed a course, a special celebration ceremony occurred, ending with the teacher tying a silk scarf around the capoeirista's neck. The traditions of roda and capoeira game were kept, being used to put into use what was learned during training. The disposition of musical instruments, however, was changed, being made by a single berimbau and two pandeiros. The Luta Regional Baiana soon became popular, finally changing capoeira's bad image. Mestre Bimba made many presentations of his new style, but the best known was the one made at 1953 to Brazilian president Getúlio Vargas, where the president would say: "A Capoeira é o único esporte verdadeiramente nacional" (Capoeira is the only truly national sport). Capoeira carioca Capoeira carioca was a street fighting version of capoeira that existed in Rio de Janeiro during the 19th century, used by gangs. In capoeira carioca, all available means were used, including various types of weapons, such as knives, straight razors, clubs and machetes. Capoeira from this period is also known as capoeiragem. The widespread violent capoeira practice in Rio led to a nationwide ban on capoeira. After the ban in 1890 and the subsequent mass arrests of capoeira gang members, this version of capoeira is generally extinct. The main reformators and proponents of this fighting-oriented capoeira were Mestre Sinhozinho and Mestre Zuma. Capoeira Contemporânea Capoeira flourished in the city of São Paulo since the 1960s. Mestre Suassuna was prominent figure throughout this period. Mestre Canjiquinha played important role in shaping the capoeira style that began to emerge in São Paulo during the 1960s. This evolving style, which emerged in the 1960s and 1970s, drew from both Regional and Angola styles while maintaining its distinct characteristics. The majority of modern practitioners affirm to be neither Angola nor Regional, emphasizing that "there is only one capoeira". This new capoeira incorporated not only berimbaus and pandeiros but also atabaque and agogô into its musical ensemble. In contrast to Bimba's preference for quadras, these modern rodas typically commenced with ladainhas. The games in these rodas often featured a fast and upright style, even though they might start with an Angola toque and a slower game. Nowadays the label Contemporânea applies to any capoeira group who don't follow Regional or Angola styles, even the ones who mix capoeira with other martial arts. Some notable groups whose style cannot be described as either Angola or Regional but rather "a style of their own", include Senzala de Santos, Cordão de Ouro and Abada. In the case of Cordão de Ouro, the style may be described as "Miudinho", a low and fast-paced game, while in Senzala de Santos the style may described simply as "Senzala de Santos", an elegant, playful combination of Angola and Regional. == Ranks ==

Because of its origin, capoeira never had unity or a general agreement. Ranking or graduating system follows the same path, as there never existed a ranking system accepted by most of the masters. That means graduation style varies depending on the group's traditions. The most common modern system uses colored ropes, called corda or cordão, tied around the waist. Some masters use different systems, or even no system at all. In a substantial number of groups (mainly of the Angola school) there is no visible ranking system. There can still be several ranks: student, treinel, professor, contra-mestre and mestre, but often no cordas (belts). There are many entities (leagues, federations and association) with their own graduation system. The most usual is the system of the Confederação Brasileira de Capoeira (Brazilian Capoeira Confederation), which adopts ropes using the colors of the Brazilian flag, green, yellow, blue and white. However, the Confederação Brasileira de Capoeira is not widely accepted as the capoeira's main representative. Brazilian Capoeira Confederation system Source: Children's system (3 to 14 years) • 1st stage: Iniciante (Beginner) - No color • 2nd stage: Batizado (Baptized) - Green/Light Grey • 3rd stage: Graduado (Graduated) - Yellow/Light Grey • 4th stage: Adaptado (Adept) - Blue/Light Grey • 5th stage: Intermediário (Intermediary) - Green/YellowLight Grey • 6th stage: Avançado (Advanced) - Green/Blue/Light Grey • 7th stage: Estagiário (Trainee) - Yellow/Green/Blue/Light Grey Adult system (above 15) • 8th stage: Iniciante (Beginner) - No color • 9th stage: Batizado (Baptized) - Green • 10th stage: Graduado (Graduated) - Yellow • 11th stage: Adaptado (Adept) - Blue • 12th stage: Intermediário (Intermediary) - Green/Yellow • 13th stage: Avançado (Advanced) - Green/Blue • 14th stage: Estagiário (Trainee) - Yellow/Blue Instructors' system • 15th stage: Formado (Graduated) - Yellow/Green/Blue • 16th stage: Monitor (Monitor) - White/Green • 17th stage: Instrutor (Instructor) - White/Yellow • 18th stage: Contramestre (Foreman) - White/Blue • 19th stage: Mestre (Master) - White ABADÁ - Capoeira system Many Capoeira schools use a system taken from Abadá-Capoeira. ABADÁ has a graduated cord system using colors that refer symbolically to nature and reflect the level of practice. The cord system does not so much reflect the practitioner's level of skill as much as their progress on their individual path as a member of the ABADÁ community. The cord system as outlined by Arte Capoeira Center – ABADÁ Capoeira is as follows. Adult Graduation System == Women in Capoeira ==

Prior to 1970s There is not much written documentation of early capoeira, so it is hard to say exactly how many female capoeiristas there were at the time. While women did not often participate in the roda, they often were present as bystanders around the roda, although they would not participate. In Rio de Janeiro, capoeiristas would form rodas around quitandeiras (women who sold foods and desserts). When street capoeira was illegal in Brazil, capoeiristas and other outlawed groups like female prostitutes, street vendors, and Candomblé priestesses would benefit each other by setting up their rodas and stands near each other. Inequality in Capoeira, pre-1970s Capoeira was seen as a masculine sport, so female capoeiristas were seen as less feminine. Capoeira was also seen as violent and informal, so there was a stigma associating female capoeiristas with poverty and a lack of education. Often families would not support their daughters' capoeira training and wishes, thinking that they would become less feminine with practice., it is unlikely that they participated in rodas. • Francisca Albino dos Santos, "“Chicão" • Maria Doze Homens ("Maria Twelve Men") • Angélica Endiabrada (“Devilish Angélica”) • Cândida Rosa de Jesus (Rosa Palmeirão) Culture Changes post-1970s The global Women's liberation movement brought feminist thinking to Brazil, which brought acceptance to women in previously male-dominated fields like capoeira. Legal and social changes encouraged more women to practice capoeira. See also Sexual revolution. The traditional view of the Brazilian family changed. This encouraged parents to divide household roles more evenly, giving women the opportunity for pursuits like capoeira. Parents also supported their daughters' interests without fearing a loss of femininity. Several capoeira academies opened up in Brazil, the United States of America, and Europe as mestres travelled, bringing capoeira to the middle class. This lessened the stigma associating capoeira the lower class. Capoeira was also brought to private institutions and schools. As capoeira spread, women had more opportunities to join rodas. Scholars from Brazil and around the world began writing about capoeira, legitimizing it and further lessening its negative associations. As "roots tourism" increased, especially in the Bahia region, capoeira and other pieces of African culture became popular to tourists, making Brazil value the pieces of culture more and increasing positive opinion of them. == Related activities ==

Even though those activities are strongly associated with capoeira, they have different meanings and origins. Samba de roda Performed by many capoeira groups, samba de roda is a traditional Brazilian dance and musical form that has been associated with capoeira for many decades. The orchestra is composed by pandeiro, atabaque, berimbau-viola (high pitch berimbau), chocalho, accompanied by singing and clapping. Samba de roda is considered one of the primitive forms of modern Samba. Maculelê Originally the Maculelê is believed to have been an indigenous armed fighting style, using two sticks or a machete. Nowadays it's a folkloric dance practiced with heavy Brazilian percussion. Many capoeira groups include Maculelê in their presentations. Puxada de rede Puxada de Rede is a Brazilian folkloric theatrical play, seen in many capoeira performances. It is based on a traditional Brazilian legend involving the loss of a fisherman in a seafaring accident. == Combat capoeira and MMA ==

by Alfredo Storni featuring capoeirista Ciríaco defeating jujitsu fighter Sada Miyako with a rabo de arraia kick, O Malho, 1909. In 1909, capoeirista Ciríaco Francisco da Silva defeated Japanese jiu-jitsu fighter Sada Miyako in one of the first documented examples of Vale Tudo, showing the pivotal role Capoeira played in the birth of mixed martial arts prior to Brazilian Jiu Jitsu. Though the Vale Tudo subculture was based in Rio de Janeiro, many fights took place in the highly black Bahia state, where Capoeira is prevalent. A few months before the first UFC on August 29, 1993 the event Capoeira vs Chute Boxe took place in Curitiba with capoeiristas against Thai boxers from the Chute Boxe Academy. It was the introduction of several future MMA fighters such as Rafael Cordeiro, Jose 'Pelé' Landi-Jons (who has defeated Chute fighter and fellow capoeirista Anderson Silva) along with Nilson de Castro, and was the first MMA event in Curitiba, a future center of the sport. '' against Keegan Marshall. Combat capoeira, often referred to as rough capoeira (capoeira dura), places a primary emphasis on combat. It is commonly observed in ring competitions and street rodas, and sometimes even in graduations within certain groups. Several capoeira fighters have gained national reputation, including Mestre King Kong from Salvador, Mestre Maurão from São Paulo, and King from Rio de Janeiro (formerly associated with Abadá). They advocate for capoeiristas to be skilled in playing intense games to ensure that the art retains its combat effectiveness. Capoeira fights have, on occasion, resulted in severe injuries and even fatalities, as seen in Petrópolis in 1996. The most suitable context for combat-focused capoeira appears to be the ring, where predetermined fighting rules provide clarity. In the tradition of Ciriaco, Sinhozinho, Bimba, and Arthur Emídio, contemporary capoeira fighters have expanded their training by incorporating various martial arts disciplines, including ju-jitsu, boxing, and taekwondo. Even Brazilian mixed martial arts champions like Marco Ruas acknowledge the significance of capoeira in their training. The use of capoeira techniques in free-style competitions shows to what extent the art still provides essential fighting skills. == Notable practitioners ==

• Besouro Mangangá • Anibal Burlamaqui • Mestre Sinhozinho • Mestre Bimba • Mestre Pastinha • Mestre Waldemar • Mestre Gato Preto • Mestre Cobrinha Verde • Mestre João Grande • Mestre João Pereira dos Santos • Mestre Norival Moreira de Oliveira • Mestre Moraes • Mestre Cobra Mansa • Junior dos Santos • Wesley Snipes • Mark Dacascos • Tulsi Gabbard • Anderson Silva • Lateef Crowder dos Santos • Jose Aldo ==In popular media==

Capoeira is frequently depicted in most mainstream media, due to its theatrical aspect and acrobatic techniques. Many martial arts movies and fighting games feature characters who practice capoeira, often played by real-life capoeira martial artists. ==See also==