Capoeira: The History of an Afro-Brazilian Martial Art

The role of the mestres was therefore crucial; only they could transmit the ‘foundations’ of capoeira Angola
to the younger generations. Pastinha considered himself fortunate to have had a ‘good mestre’. He always
reminded the capoeiristas of his generation that they, too, had been under constant surveillance by older
mestres:

When in the past she [capoeira] was violent, many mestres, and others, drew our attention, when out

of rhythm, they explained decently, and gave us the education within the sport of capoeira, this is the

reason all those who come from the past possess body game and have rhythm. The mestres kept the

secrets, but never denied an explanation.^37

Capoeira Angola, Pastinha insisted, was subtler than a fight for victory over an ‘opponent’ and in that
respect his teachings resemble those of Japanese budo teachers. Pastinha appealed to his ‘comrades’ (a
common denomination among capoeiras at the time) ‘not to aspire to fight our companions’ or to seek
‘acclamations of triumph’ by defeating others. Rather capoeiristas should play,

without ambitions, without ill will, without disappointments, without pushing to the front to play

before your turn; if all companions understand [the need] to find these mistakes among themselves,

only then will we be happy.

Pastinha wanted capoeira to act as a means of self control and education:

The good capoeirista never gets exalted [but] always tries to remain calm in order to be able to reflect

with precision and rightness; he does not quarrel with his comrades or pupils, he does not play

without being his turn; in order not to anger his companions and create squabbles; he teaches his

pupils without trying to exhibit himself in an aggressive way or show bad manners [...]

In short, Pastinha wanted capoeiristas to abide by the rules and display what he called ‘sportive
gentlemanly manners’ (cavalheirismo esportivo).^38
In the understanding of M.Pastinha then, capoeira Angola was more encompassing than sports, even
though he often referred to capoeira Angola as a sport, or even as ‘my Swedish [gymnastics]’.^39 He
emphasized in particular the role of music—rhythms and lyrics—during tbe game: ‘Capoeira is only
beautiful when playing, and singing, and only lost its beauty when [people] don’t sing [any longer]’. He also
wrote

It is the duty of all capoeiristas, it is not a failing not to know how to sing; but it is a failing not to

know how to reply, at least the chorus. People who do not sing the chorus are forbidden to participate

in the orchestra.^40

Pastinha, together with the other icons of the Angola style such as Waldemar or Cobrinha Verde,
emphasized the role of music in controlling and giving meaning to the game, the need to learn the
‘foundations’ of capoeira, and the initiatory character of the art requiring a long process of apprenticeship in
order to be able to pass on the knowledge to younger generations. All this made capoeira Angola more than
a simple sport, but a philosophy and an elaborate ritual. That is why Pastinha, for instance, insisted in
maintaining the chamadas although they did not train fighting efficacy.

154 PASTINHA AND ANGOLA STYLE