What distinguished GCAP from other existing capoeira groups was not only its style, but also its political
posture. ‘Encouraged and informed in part by a small cadre of well-educated, politicized Afro-Brazilian
students, Mestre Moraes emerged as a spokesperson for a radically critical and politically eloquent wing of
the angoleiro renaissance’.^96 GCAP understood itself as part of the Black Movement, vehemently
denounced racism and sought to use capoeira as a means of fighting discrimination. The Fortress of Santo
Antônio, a former prison at the edge of the historical centre, had been falling into ruins when it was invaded
by squatters and a number of groups and transformed into a Centre for Popular Culture. It hosted not only
several capoeira Angola groups, but also the rehearsals of the bloco afro Ilê Ayê, and hence became a core
venue for the dissemination of Afro-Brazilian racial pride. Precisely for that reason the status of the venue has
been under permanent threat from city authorities, interested instead in transforming the fortress into a
profitable shopping mall.^97
The internal structure of GCAP reflected its emphasis on the political objectives of black emancipation.
Several Working Commissions (Pictures and Sound, Documentation and Archives, Maintenance,
Dissemination, Projects and Research, and Finances) were in charge of specific tasks. Commission co-
ordinators and the mestres integrated the Deliberative Council, which represented the group. They convoked
the General Assembly, to approve the annual agenda of activities. The Council of mestres was responsible
for teaching and maintaining the ‘foundations’ of the art. Finally, the Consultative Council, constituted by
representatives of other institutions linked to the black or other social movements, provided further
assistance to the group. As a consequence, GCAP was able to develop a wide range of activities, which went
beyond the usual scope of mainstream capoeira groups. The association with neighbourhood associations
and the Axe Project, for instance, allowed for capoeira Angola to be taught to street children. Members of
GCAP constituted a group of special students being instructed in Bantu culture and Kikongo language at the
Centro de Estudos Afro-Orientais, and participated in events organized by other sectors of the Black
Movement.^98
The success of GCAP, both in terms of shaping its own style and of getting its message across, has
somewhat cast a shadow over other groups that equally contributed to the ‘revitalization’ and the
Figure 7.6 Four generations of mestres: João Grande, Moraes and Cobra Mansa playing berimbau, and, standing next
to atabaque, Rosalvo (organizer of the event). International Summer School of Capoeira Angola group Vadiação,
Berlin, 2002. Photo by Alessandra Matteoni
184 CONTEMPORARY CAPOEIRA