Capoeira Angola: One of many cultural weapons used to break the chains of enslavement in Brazil. Music was played during Capoeira sessions to teach the rhythmic heart of the art and to mask its power. In front of the enslavers it looked like playfulness, acrobatic dancing, and joking around. Eventually the enslavers realized its power and outlawed Capoeira Angola. Death was the penalty paid if you were caught during the slavery years. For almost 400 years Capoeira Angola was taught and practiced in secret. Only in the 1930's did this African martial art become legal to teach and practice.

Grand Mestre Pastinha (1889-1982): Opened the first Capoeira Angola School, The Academia De Capoeira Angola, in 1941 in the city of Salvador, Bahia, Brazil. Mestre Pastinha dedicated his school to preserving and continuing the long tradition of this African martial art. He taught Capoeira Angola as a path of self knowledge and mastery.

Mestre Pastinha was the first Capoeira Mestre (master) to write a book on Capoeira's history, philosophy and practice: "Capoeira Angola" (3rd edition 1988). He went to Africa with his students to participate in the FESTAC (Festival of African Arts and Culture) activities during the 1970's and has made musical albums promoting the music of this martial art

Capoeira Angola: Fluid, dance like movements done close to the ground. With shifty rythmic movements, combined with the look of playfulness or vulnerability an adversary is brought to defeat. The basic technique through which the Capoeira Angola player develops the game is the Ginga, a shifty side to side movement.

At the heart of the art is the music lead by the Berimbau, a steel stringed bow instrument with a gourd resonator. When Capoeira Angola is played the Berimbau signals the beginning and the end of each game, and governs the style and speed of the play. The Berimbau is usually joined by the Pandeiro (Tambourine), the Agogo (African bell), and the Atabaque (a conga-like drum).

The jogo-de-capoeira (play of capoeira)takes place in a ritual activity and a circular area, both called roda (wheel, circle, social group) pronounced ho-da. The roda is a capoeira party in which capoeiristas gather and play capoeira. The players and onlookers form a circle, a roda. At the top of the circle is the bateria which is an ensemble of musicians and singers.

Music is not incidental to the practice of capoeira; it is one of the most important elements in the art. It creates the atmosphere in which capoeira is most beautifully expressed. Music is used to inspire the players to more intense level of interaction, and it is used to calm them down when the game has become too heated. There is rarely capoeira without music. The berimbau is the most important musical instrument. It is a musical bow with one string. Attached to the bow is a hollowed out gourd (cabaca) that acts as a resonator box. Tones are produced when the bowstring is struck by a thin flexible stick (vaqueta). A small rattle (caxixi) is held in the hand that holds the vaqueta. With its hypnotic sound, the berimbau is considered "the soul of capoeira". Listen to the music of capoeira.

In traditional Capoeira Angola schools, there is a specific location for each instrument in the ensemble. Facing the musicians one would see (from left to right): a ganza or reco-reco (a section of bamboo or gourd with notches cut in it played by scraping with a thin stick; an agogo, a double-headed bell that is struck with a stick or thin metal rod; a pandeiro, a tambourine; a berimbau-gunga, the berimbau with the largest gourd and the one that maintains the rhythm; a berimbau-centro, the berimbau with a mid-sized gourd and one that also maintains the rhythm; a berimbau-viola, the smallest berimbau and the one that "speaks" i.e. improvises the rhythms; a pandeiro, another tambourine; and an atabaque, a drum that is played with the hands similar to a conga drum. The dominant instruments are the three berimbaus; no other instrument should be played louder than them. There is also an order to the types and use of songs. In all, music is one of the most enriching aspects of capoeira.

The ritual of capoeira begins when two players enter the circle and squat at the foot of the berimbau. One player will sing a ladainha, a ritual song of commencement. If his opponent doesn't respond with a song of his own, he will begin another song, a corrido a song for going out to play. The song is then passed on to one of the musician as the jogo-de-capoeira begins.

A capoeira game is characterized by such dynamic movements as cartwheels, handstands, spinning kicks and spontaneous acrobatics. At its highest level of practice, capoeira is considered an improvisational conversation between two bodies. The operative sensibility is very similar to a jazz performance. Capoeira scholar Ken Dossar writes: The object of the game is for the capoeiristas to use finesse, guile, and technique to maneuver one another into a defenseless position, rendering them open to a blow, kick or sweep. Only ones hands, head and feet are allowed to touch the floor. Being swept and landing on ones bottom disqualifies a player. In general, there is no contact from strikes. An implied strike is more admired, particularly when the opponent has been clearly manipulated into an indefensible position...All strikes, evasions, and counterstrikes are woven together creatively as the game progresses. The freedom to improvise and create openings keep capoeira's action fluid and fresh.

It is interesting to note that there is little use of offensive hand techniques in capoeira. Some have attributed this to the belief that slaves had to fight with their hands immobilized by chains and therefore emphasized foot and leg techniques. It is more likely however that the absence of hand techniques is based on an ancient kongo tradition in which the hands should be used for good work, i.e, creative activities, while the feet should be used for bad work, i.e, punishment and destruction. Fu-Kiau explained one relevant proverb in kikongo "Mooko mu tunga, malu mu diatikisa" (Hands are to build, feet are to destroy).

The etymology of the word capoeira is disputed by some scholars. Some Brazilian writers claim it is from the Amerindian Tupi language group and means an area of bush that has been cleared by burning or cutting down. In Portuguese, the language of Brazil, it also means a big chicken coop or a place where birds are fattened. Kongo scholar K. Kia Bunseki Fu-Kiau thinks that capoeira is really a deformation of the kikongo word Kipura/kipula. According to Fu-Kiau "Both pura and pula means to flutter, to flit from place to place; to struggle, to fight, to flog. Both terms are used to describe rooster's movements in a fight: their back and forth, up and down as well as turning around moves. Kipura, in the kongo cultural context, is...an individual whose techniques of fight or struggle are based or developed on the ground of rooster fighting techniques.