HISTORY
Capoeira is an Afro-Brazilian martial art developed initially by African slaves in Brazil, starting in the colonial period. It is marked by deft, tricky movements often played on the ground or completely inverted. It also has a strong acrobatic component in some versions and is always played with music. There are two main styles of capoeira that are clearly distinct. One is called Angola, which is characterized by slow, low play with particular attention to the rituals and tradition of capoeira. The other style is Regional (pronounced ‘heh-jeeh-oh-nahl’), known for its fluid acrobatic play, where technique and strategy are the key points. Both styles are marked by the use of feints and subterfuge, and use groundwork extensively, as well as sweeps, kicks, and headbutts.
The derivation of the word capoeira is under dispute. One possible meaning and the one people believe the most is that it refers to an area of forest or jungle that has been cleared by burning or cutting down. Alternatively, Kongo scholar K. Kia Bunseki Fu-Kiau thinks that capoeira could be a deformation of the Kikongo word kipura, which means to flutter, to flit from place to place; to struggle, to fight, to flog. In particular, the term is used to describe rooster’s movements in a fight.
After slavery was abolished, the slaves moved to the cities of Brazil, and with no employment to be found, many joined or formed criminal gangs. They continued to practice capoeira, and it became associated with anti-government or criminal activities. As a result, capoeira was outlawed in Brazil in 1892. The punishment for practicing it was extreme (practioners would have the tendons on the back of their feet cut, or would be sent to jail for up to 6 months), and the police were vicious in their attempt to stamp out the art. Capoeira continued to be practiced, but it moved further underground. Rodas were often held in areas with plenty of escape routes, and a special rhythm called cavalaria were added to the music to warn players that the police were coming. To avoid being persecuted, capoeira practitioners (capoeiristas) also gave themselves an apelido or nicknames, often more than one. This made it much harder for the police to discover their true identities. This tradition continues to this day. When a person is baptized into Capoeira at the batizado ceremony, they may be given their apelido.
In 1937, Mestre Bimba was invited to demonstrate his art in front of the president. After this performance, he was given permission to open the first capoeira school in Brazil. Since that time, capoeira has been officially recognized as a national sport, and has spread around the world. Mestre Bimba’s systematization and teaching of capoeira made a tremendous contribution to the capoeira community. In 1942, Mestre Pastinha opened the first Capoeira Angola school, the Centro Esportivo de Capoeira Angola, located in Bahia. He had his students wear black pants and yellow t-shirts, the same color of the “Ypiranga Futebol Clube,” his favorite soccer team. Most Angola schools since then follow in this tradition, having their students wear yellow capoeira t-shirts. Together, Mestre Bimba and Mestre Pastinha are generally seen as the fathers of modern Capoeira Regional and Capoeira Angola respectively.
Roda
The “roda” is the circle of people within which capoeira is played. People who make up the roda’s circular shape clap and sing along to the music being played for the two partners engaged in a capoeira match or rather a “game” (“jogo”). Depending on some capoeira schools an individual in the audience can jump in to engage one of the two players and begin another game. The minimum roda size is usually a circle where the radius is the length of a berimbau, or about 3 metres (10 feet) in diameter. They are often larger, up to 10 metres in diameter (30 feet). The rhythm being played on the berimbau sets the pace of the game being played in the roda. Slow music limits the game to slow yet complex ground moves and handstands. Hits usually aren’t made but feigned or just shown. The players often turn away from each other’s hits just to throw their own. Slow games are often seen as finesse games, less impressive for the casual viewer. Faster music allows for more circular momentum which is key to gaining “big air” in the roda. Capoeiristas can take up a lot of space while playing, so the roda is rarely small, especially if the players are playing quickly. In the fast game, acrobatics and big, circular kicks abound to the delight of onlookers. Sometimes actual hits are registered, but only between higher-level competing capoeiristas. The roda is a microcosm which reflects the macrocosm of life and the world around us. Most often in the roda, your greatest opponent is yourself. Philosophy plays a large part in capoeira and the best teachers strive to teach Respeito (Respect), Responsabilidade (Responsibility), Segurança (Safety/Security), Malícia (Cleverness/Street-smarts), and Liberdade (Liberty/Freedom).
Modern capoeira is often criticized by more traditional practioners of capoeira as being in the process of losing its “playfulness” in the sense that many capoeiristas tend to focus more on impressive acrobatics and not so much the playful interaction with the other player in the roda.
Ataque e Defensa
Capoeira primarily attacks with kicks and sweeps. Some hand strikes exist, but they are not as common. Common hand strikes are galopante, cutila, and arpão de mão. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels, handstands, head- and hand-spins, sitting movements, turns, jumps, flips, and large dodges are all very common in capoeira.
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Capoeira defenses consists of evasive moves and rolls. A series of ducks called ‘Negativas’, which literally means negations (of kicks) are also staple of a capoeiristas’ defensive vocabulary. There are typically different Negativas for every step of the Ginga, depending on the direction of the kick and intention of the defender. Another common defense is the ‘Role’, which is a rolling move that combines a duck and a low movement. This move allows the defensive player to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of Capoeira its perceived ‘fluidity’ and choreography. Other evasive moves allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick).
Apelido: Capoeira nicknames
Apelido in capoeira refers to a nickname, usually given in Portuguese, that capoeiristas receive during their first batizado or later in their training. These names often reflect a practitioner’s personality, physical traits, habits, or memorable events during training.
The tradition is commonly said to have originated during a time when capoeira was outlawed in Brazil. Practitioners, facing police persecution, allegedly used aliases to hide their true identities and protect their communities. This narrative, often repeated within capoeira circles, links apelidos to the maltas—street gangs of the 19th century. However, many scholars today consider this origin story to be more of a romanticized myth or "invented tradition."
In truth, the use of nicknames is a widespread cultural practice in Brazil. From politics—like President Lula—to sports legends such as Pelé and Hulk, nicknames are a familiar part of Brazilian life. Similar traditions can be found across Latin America (apodos in Mexico) and within the African diaspora, particularly in musical traditions like jazz and blues (e.g. Billie Holiday, Howlin’ Wolf). These parallels suggest that the use of apelidos in capoeira may be rooted in deeper Afro-Brazilian and diasporic customs, reinforcing identity, community, and playfulness within the art.
Famous capoeiristas like Mestre Pastinha (Vicente Ferreira Pastinha) and Mestre Bimba (Manuel dos Reis Machado) are remembered more by their apelidos than their given names—underscoring the lasting cultural significance of this naming tradition in capoeira.
Apelidos can hold deep personal meaning, helping practitioners cultivate a distinct identity within the capoeira community. For some, these nicknames become so meaningful that they extend beyond the roda, used in daily life and even professional settings. While not all experiences with apelidos are positive in every context, Kentucky Capoeira Academy is committed to ensuring that each apelido serves as a form of positive reinforcement—uplifting and empowering every member as part of their personal journey in capoeira.