48 Bola Sete, Capoeira Angola, p. 69; Pires, Escritos, Chapter IV, p. 129, and Chapter V, footnote 118; M. Sodré
Santugri. Histórias de mandinga e capoeiragem (Rio de Janeiro: José Olympio, 1988), p. 16.
49 M.João Pequeno, Interview, 7.2.1995.
50 CD Pastinha (Re-edition Praticando Capoeira), track 4, 3:27.
51 Vianna, Quintal de Nagô, pp. 8–9.
52 Ott, Formação, p. 153, for instance affirms ‘Seldom did the game become a physical fight, and when it happened,
they used wooden machetes’.
53 Idem, and J.Amado, Bahia de todos os santos (27th edn, Rio de Janeiro: Record, 1977), pp. 239–40.
54 For a complete list of toques played by eight different mestres, see Rego, Capoeira Angola, pp. 59–62.
55 When Kay Shaffer, in the 1970s, asked the same old mestres to play the rhythms from the list each of them had
provided to Waldeloir Rego in the 1960s, he discovered that some of them had since changed their mind, and
provided him with different lists or played them differently. See K.Shaffer, O Berimbau-de barriga e seus
toques (Rio de Janeiro: FUNARTE, 1977), pp. 41–2, and also Rego, Capoeira Angola, pp. 62–4.
56 Coutinho, O ABC, p. 48. The literal translation of these games is, in the same order, ‘Inner Game’, ‘Great’ and
‘Small Saint Benedict’, ‘Break me with people, monkey’, ‘Samba from Angola’, ‘Pick up the orange from the
ground’, ‘This black is the devil’.
57 Carneiro, Negros bantos, p. 149.
58 Coutinho, O ABC, p. 46.
59 The first known recording was made by Lorento D.Turner in 1940. Other available early recordings are the LPs
by M.Bimba, Caiçara, Canjiquinha, Cobrinha Verde, Pastinha, Traíra, and Waldemar.
60 Rego, Capoeira Angola, p. 89.
61 For a more detailed discussion of each genre, see G.Downey, ‘Incorporating Capoeira: Phenomenology of a
Movement Discipline’ (PhD Thesis, University of Chicago, 1998), pp. 123–35; J.L.Lewis, Ring of Liberation.
Deceptive Discourse in Brazilian Capoeira (Chicago, IL: University of Chicago Press, 1992), pp. 162–87.
62 Downey, ‘Incorporating Capoeira’, p. 124.
63 See CD Essência. O berimbau e a voz do eterno Bimba (Salvador: Fundação Mestre Bimba, 2001), tracks 1–2.
64 Lewis, Ring of Liberation, pp. 169–72.
65 Lewis, Ring of Liberation, p. 217.
66 Idem, pp. 12, 120–7, 195–202.
67 Idem, p. 217.
68 M.Thompson Drewal, Yoruba Ritual. Performers, Play, Agency (Bloomington: Indiana University Press, 1992),
pp. xv, 7–10.
69 T.J.Desch-Obi, ‘Combat and the Crossing of the Kalunga’, in L.M.Haywood (ed.), Central Africans and
Cultural Transformations in the American Diaspora (Cambridge: Cambridge University Press, 2002), pp. 358,
364.
70 L.R.Vieira, O jogo de capoeira. Cultura popular no Brasil (Rio de Janeiro: Sprint, 1995), pp. 104, 121–4.
71 Coutinho, O ABC, p. 78, Note 8; Rego, Capoeira Angola, pp. 38–42.
72 R.Lody, Tem dendê, tem axê. Etnografia do dendezeiro (Rio de Janeiro: Pallas, 1992). As with many other
‘traditional’ capoeira songs, it is difficult to date this song and it might be of more recent origins.
73 Pinto, Capoeira, pp. 189–90; C.T.Tavares, ‘Capoeira mata um!’; E.L.Powe, Capoeira & Congo, pp. 12, 30.
74 Compare the discussion in Rego, Capoeira Angola, p. 74, who relies for this point mainly on the work of the
Cuban anthropologist Fernando Ortiz.
75 See the description by O.da C.Eduardo, The Negro in Northern Brazil. A Study in Acculturation (2nd edn, Seattle
and London: University of Washington Press, 1966), p. 61.
76 Lewis, Ring of Liberation, p. 232; Rego, Capoeira Angola, p. 148. For a discussion of the ‘transe capoeirano’
from a medical point of view, see A.Decanio, ‘Transe Capoeirano. Estado de consciência modificado na
Capoeira’, Revista da Bahia, 33 (July 2001), special issue ‘Capoeira. Ginástica da resistência’, pp. 42–65.
77 Ott, Formação, p. 157.
78 C.T.Tavares, ‘Capoeira mata um!’, p. 14.232 NOTES