128 R. and S.Price (eds), Stedman’s Surinam. Life in an Eighteenth-Century Slave Society (Baltimore: Johns Hopkins
University Press, 1992), p. 277.
129 Desch-Obi, ‘Engolo’, pp. 146–8; E.D.Genovese, Roll, Jordan Roll. The World the Slaves Made (New York:
Pantheon Books, 1974), p. 569.
130 M.L.E.Moreau de Saint-Méry, Description topographique, physique, civile, politique e historique de la partie
française de l’Isle Saint-Domingue (Paris: Société de l’Histoire des Colonies Françaises, 1958), Vol. I, pp. 70–1
[1st edn, 1797].
131 Moreau de Saint-Méry, Description, Vol. I, p. 71.
132 Idem.
133 On the Venezuelan garrote, see E.Sanoja, Juego de Garrote Larense. El método venezolano de defensa personal
(Caracas: Federación Nacional de la Cultura Popular, 1984); M.Röhrig Assunção, ‘Juegos de Palo en Lara.
Elementos para la historia social de un arte marcial venezolano’, Revista de Índias, Vol. LIX, No. 215 (1999),
pp. 55–89.
134 P.Mason, Bacchanal! The Carnival Culture of Trinidad (London: Latin American Bureau, 1998), p. 148.
135 P.van Koningsbruggen, Trinidad Carnival. A Quest for National Identity (London: Macmillan, 1997), p. 17.
136 B.Brereton, Race Relations in Colonial Trinidad, 1870–1900 (Cambridge: Cambridge University Press, 1979),
p. 168.
137 P.Mason, Bacchanal!, pp. 148–50.
138 The following summary is entirely based on Fernando Ortiz, Los bailes y el teatro de los negros en el folklore de
Cuba (La Habana: Letras Cubanas, 1993), pp. 298–329. All subsequent quotes on maní are taken from his
description.
139 Archivo Nacional de Cuba, Miscelánea de Expedientes, Legajo 570, Expediente S, Contra 17 esclavos de Don
José Maria Peñalver. I am grateful to Manuel Barcía Paz (La Habana/Essex) for providing me with this valuable
reference.
140 ‘A Negro’s Fight’, Harper’s Weekly, 15 August 1874. I am grateful to Frede Abreu for providing me with this
reference.
141 J.M.Rugendas, Voyage pittoresque dans le Brésil (Paris, 1835), p. 26.
142 Desch-Obi, ‘Engolo’, pp. 137–87.
143 J.Gerstin and Dominique Cyrille, ‘Martinique: Cane Fields and City Streets’, CD Caribbean Voyage. The Alan
Lomax Collextion. The 1962 Field Recordings (Cambridge, MA: Rounder Records, 2001), comment to tracks 5
and 6.
144 Desch-Obi, ‘Engolo’, p. 195.
145 K.Dunn (Katherine Dunham). ‘L’Ag’ya of Martinique’. Esquire, Vol. 12, No. 5 (1939), pp. 84–5, 126.
146 Dunn, ‘L’Ag’ya’, p. 126.
147 J.Michalon, Le ladjia. Origine et pratiques (Paris: Éditions Caribéennes, 1987), pp. 66–7.
148 R.F. Thompson, ‘Black Martial Arts of the Caribbean’, Latin AmericanLiterature and Arts, 37 (1987), p. 47.
149 Michelon, Le ladjia, p. 60.
150 Desch-Obi, ‘Combat’, p. 363 and Desch-Obi, ‘Engolo’, p. 203.
151 J.L.Lewis, Ring of Liberation. Deceptive Discourse in Brazilian Capoeira (Chicago, IL: University of Chicago
Press, 1992), pp. 208, 219.
152 Muniz Sodré has already suggested a parallel between capoeira styles and soft and hard forms in other martial
arts. See A verdade seduzida. Por um conceito de cultura no Brasil (Rio de Janeiro: CODECRI, 1983),
pp. 203–11.
153 Rugendas, Voyage, p. 26.
154 E.Carneiro, Negros bantus. Notas de ethnographia religiosa e de folk-lore (Rio de Janeiro: Civilização
Brasileira, 1937), p. 165.
155 For the use of candomblé chants in capoeira, see Carneiro, Negros bantus, pp. 153–6. For the use of capoeira
songs in samba, see CD A.Simon (ed.), Capoeira, Samba, Candomblé-Bahia, Brazil (Berlin: Preußischer
NOTES 225