What do you think?
Rate this book
Capoeira: A Brazilian Art Form: History, Philosophy, and Practice
Capoeira weaves fighting, music, dance, prayer, and ritual into an urgent strategy by which people live, struggle, celebrate, and survive together. In this book Bira Almeida--or Mestre Acordeon as he is respectfully called in capoeira circles--documents his own tradition with both the panoramic eye of the historian and the passionate heart of the capoeirista. He transports the reader from the damn of New World history in Brazil to the streets of twentieth-century Bahia (the spiritual home of capoeira) to the giant urban centers of North America (wher capoeira is now spreading in new lineages from the old masters). This book is valuable for anyone interested in ethnocultural traditions, martial arts, and music, as well as for those who want to listen to the words of an actual mestre dedicated to preserving his Afro-Brazilian legacy.
192 pages, Paperback
First published January 1, 1981
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 12 of 12 reviews
October 5, 2022
Great depiction of the art, very engaging.
October 9, 2026
Capoeira
Unfortunately, I thought that the origins and history of Capoeira were kind of short in this book. Hard to have a history if the event took place in a place without a lot of literacy. Really all we are left with is the classic story or myth. At least for the most part. Its origins as a self defense is also very shaky and susceptible to logic. I liked the complicated study of the etymology of capoeira. More so than the origin of the jogo or game itself. One strong candidate is something in relation to chickens.
There isn’t really a structured and specific history as it was mostly outlawed and certainly had a bad reputation throughout history and was just associated with criminals or runaway slaves and then it morphed back into something to connect with the natives and also later a fun activity.
The most important figure in capoeira history is Mestre Bimba from Salvador. He elevated capoeira to a different level in the early to mid 1900s with his capoeira regional style. He is the first person to open up a school of capoeira and also the first person to present capoeira as a Brazilian cultural expression to foreigners. His biggest contribution to capoeira was also creating “cintura desprezada”. A set of of partner moves that help to promote the more acrobatic skills needed and also hire to land safely. I really liked how later in the book he describes learning some capoeira in the old masters school/gym/ house. It really seemed like a small and poor house where the students would answer the door and ask “ who are are and what do you want?”. The author remembers fondly the camaraderie with all the members of ask walks of life and the old master sitting on his wooden bench with his leg up. Waiting and getting in line for the shower at the end of training was itself part of training. As sort of last reps and last grievances. Interestingly, he died in 1974 and towards the end of his life he was bitter about the lack of recognition he got in Salvador so he moved away to Goiás and wished to remain there for the rest of his life, including after his life. His wishes were not met as his remains returned to Salvador. He didn’t seem to be a patient man and that could have been his downfall in some ways if not articulating or connecting with the correct people. Another massive figure in Capoeira in Salvador is Mestre Pastinha known for his dedication to capoeira Angola in pelourinho.
Not surprisingly, there are still massive divisions and disagreements within the capoeira community, like any art form or martial arts. A sort of belt system ( or cordão)was sort of attempted in the 1960s with the colours matching that of the Brazilian flag but that was controversial. Having some sort of union was also attempted after a gathering of the masters but that also didn’t go down well, especially with Mestre Bimba, as all masters were treated equally instead of there being some difference of respect or acknowledgment f for those more seasoned masters. I imagine this would have been particularly difficult in a sport/ art with very little realism or contact. There is also so much backlash and a constant worry among any martial art into becoming an official sport. Mainly because of the worry of forgetting or leaving out the traditional, cultural and philosophical aspect. I beg to differ as I believe multiple sports have done that well and also grown immensely by being open to it. Like sumo and Muay Thai. This is particularly important though in the relationship between the music of capoeira and the performers. Different songs or rhythms require different movements and speed from the performers. The tempo also increases gradually and then restarts again.
I’m about halfway through this book and the rules to capoeira still seem elusive. The inability for the author or people in general to articulate specific rules or what it’s about or goals, is infuriating and shows how it is no no wonder they can’t agree on anything. Way too much about the heart and energy of the roda, but how is that different from stating the importance of a collective rhythm and tempo that’s dictated by the instruments and songs. I also have come to the conclusion that those that overemphasise the importance of mind and soul over physical abilities in martial arts, cannot articulate properly what they mean. Thereby, don’t know what they are talking about. That pisses me off. For a non fiction book about the history, the philosophy and practice of capoeira, there were an awful lot of visions by the author included in this. Let alone detailed descriptions of his own life which I didn’t care to read about at all.
The author even says that the singing and playing the instruments is part of capoeira itself and not just background element. Every student should have their own berimbau. Very interesting. The berimbau or playing the berimbau plays a bigger role than I thought. Sort of the leader and conductor of the roda. Despite it being a somewhat primitive and simple instrument, the author does into detail of how to build one. There is an intensional rustic or vintage side to the instrument that gives it its character. One can also clearly see the connection between the hunting bow and the berimbau. It’s simplicity is also important for the capoeirista, as he much listen to the distinct sounds and rhythm of that instrument. This can be a problem with multiple instruments. So this is not necessarily something in relation to musical beauty. There are other various percussion instruments like the tambourine, the atabaque ( big thin drum), the Agogô( iron bell with a stick). It makes sense that there are a set number of “famous” or important songs that one must know. They aren’t just random.
Like often happens in Portuguese, the lyrics of capoeira are filled with rhymes and symbolism and slang. The language itself is almost a different dialect that’s intentionally distorted from proper Portuguese. The themes vary from superstitions, Catholic, African, historical and geographical. I really like the aspect of the “ bastizado” or baptism of the novice capoeira student after a month or two of training. Shows the clear mix of Catholic themes and a training aspect.
I like the contrast between capoeira and other traditional martial arts which normally have such a strong belief or desire to associate themselves with the values of warriors or leaders or protectors and philosophers even. And capoeira is definitely not that. The origins, or the myth of the origins play a major part in this and give a sort of outlaw philosophy to it. Instead of worshipping Buddha or the samurai, it seems to inhabit the values of Robin Hood and Captain Jack sparrow. And not by accident or by default but quite intentionally welcoming the bad boy aspect of a friend’s group that’s out and about in town.
Unfortunately, I thought that the origins and history of Capoeira were kind of short in this book. Hard to have a history if the event took place in a place without a lot of literacy. Really all we are left with is the classic story or myth. At least for the most part. Its origins as a self defense is also very shaky and susceptible to logic. I liked the complicated study of the etymology of capoeira. More so than the origin of the jogo or game itself. One strong candidate is something in relation to chickens.
There isn’t really a structured and specific history as it was mostly outlawed and certainly had a bad reputation throughout history and was just associated with criminals or runaway slaves and then it morphed back into something to connect with the natives and also later a fun activity.
The most important figure in capoeira history is Mestre Bimba from Salvador. He elevated capoeira to a different level in the early to mid 1900s with his capoeira regional style. He is the first person to open up a school of capoeira and also the first person to present capoeira as a Brazilian cultural expression to foreigners. His biggest contribution to capoeira was also creating “cintura desprezada”. A set of of partner moves that help to promote the more acrobatic skills needed and also hire to land safely. I really liked how later in the book he describes learning some capoeira in the old masters school/gym/ house. It really seemed like a small and poor house where the students would answer the door and ask “ who are are and what do you want?”. The author remembers fondly the camaraderie with all the members of ask walks of life and the old master sitting on his wooden bench with his leg up. Waiting and getting in line for the shower at the end of training was itself part of training. As sort of last reps and last grievances. Interestingly, he died in 1974 and towards the end of his life he was bitter about the lack of recognition he got in Salvador so he moved away to Goiás and wished to remain there for the rest of his life, including after his life. His wishes were not met as his remains returned to Salvador. He didn’t seem to be a patient man and that could have been his downfall in some ways if not articulating or connecting with the correct people. Another massive figure in Capoeira in Salvador is Mestre Pastinha known for his dedication to capoeira Angola in pelourinho.
Not surprisingly, there are still massive divisions and disagreements within the capoeira community, like any art form or martial arts. A sort of belt system ( or cordão)was sort of attempted in the 1960s with the colours matching that of the Brazilian flag but that was controversial. Having some sort of union was also attempted after a gathering of the masters but that also didn’t go down well, especially with Mestre Bimba, as all masters were treated equally instead of there being some difference of respect or acknowledgment f for those more seasoned masters. I imagine this would have been particularly difficult in a sport/ art with very little realism or contact. There is also so much backlash and a constant worry among any martial art into becoming an official sport. Mainly because of the worry of forgetting or leaving out the traditional, cultural and philosophical aspect. I beg to differ as I believe multiple sports have done that well and also grown immensely by being open to it. Like sumo and Muay Thai. This is particularly important though in the relationship between the music of capoeira and the performers. Different songs or rhythms require different movements and speed from the performers. The tempo also increases gradually and then restarts again.
I’m about halfway through this book and the rules to capoeira still seem elusive. The inability for the author or people in general to articulate specific rules or what it’s about or goals, is infuriating and shows how it is no no wonder they can’t agree on anything. Way too much about the heart and energy of the roda, but how is that different from stating the importance of a collective rhythm and tempo that’s dictated by the instruments and songs. I also have come to the conclusion that those that overemphasise the importance of mind and soul over physical abilities in martial arts, cannot articulate properly what they mean. Thereby, don’t know what they are talking about. That pisses me off. For a non fiction book about the history, the philosophy and practice of capoeira, there were an awful lot of visions by the author included in this. Let alone detailed descriptions of his own life which I didn’t care to read about at all.
The author even says that the singing and playing the instruments is part of capoeira itself and not just background element. Every student should have their own berimbau. Very interesting. The berimbau or playing the berimbau plays a bigger role than I thought. Sort of the leader and conductor of the roda. Despite it being a somewhat primitive and simple instrument, the author does into detail of how to build one. There is an intensional rustic or vintage side to the instrument that gives it its character. One can also clearly see the connection between the hunting bow and the berimbau. It’s simplicity is also important for the capoeirista, as he much listen to the distinct sounds and rhythm of that instrument. This can be a problem with multiple instruments. So this is not necessarily something in relation to musical beauty. There are other various percussion instruments like the tambourine, the atabaque ( big thin drum), the Agogô( iron bell with a stick). It makes sense that there are a set number of “famous” or important songs that one must know. They aren’t just random.
Like often happens in Portuguese, the lyrics of capoeira are filled with rhymes and symbolism and slang. The language itself is almost a different dialect that’s intentionally distorted from proper Portuguese. The themes vary from superstitions, Catholic, African, historical and geographical. I really like the aspect of the “ bastizado” or baptism of the novice capoeira student after a month or two of training. Shows the clear mix of Catholic themes and a training aspect.
I like the contrast between capoeira and other traditional martial arts which normally have such a strong belief or desire to associate themselves with the values of warriors or leaders or protectors and philosophers even. And capoeira is definitely not that. The origins, or the myth of the origins play a major part in this and give a sort of outlaw philosophy to it. Instead of worshipping Buddha or the samurai, it seems to inhabit the values of Robin Hood and Captain Jack sparrow. And not by accident or by default but quite intentionally welcoming the bad boy aspect of a friend’s group that’s out and about in town.
August 25, 2013
This is my favourite of all the books about capoeira I read in my capoeirista days. Mestre Accordeon not only instructs on the fascinating history and multi-faceted practice of capoeira in all its aspects; he weaves these lessons with poignant, poetic, beautifully written autobiographical story telling, which brings much light and life to his subject.
March 11, 2026
Firstly, an easy recommend for anyone interested or practicing capoeira.
Secondly, in itself it is a book that can be considered a mix of 3 main topics & styles:
1. The origins and history of capoeira.
2. What capoeira is, the (basics of) how and "why".
3. Various dramatized semi-autobiographical short stories by Mestre Acordeon in a magical realism style prose.
Lots of supplemental material such as photos, musical texts & charts are also provided, often as part of any on-going exposition.
Not all of these will be "fun" to read but all of these definitely share an intent to teach capoeira in all its forms and while at times a bit uneven, it's still a worthwhile read if you have any remote interest in capoeira.
Secondly, in itself it is a book that can be considered a mix of 3 main topics & styles:
1. The origins and history of capoeira.
2. What capoeira is, the (basics of) how and "why".
3. Various dramatized semi-autobiographical short stories by Mestre Acordeon in a magical realism style prose.
Lots of supplemental material such as photos, musical texts & charts are also provided, often as part of any on-going exposition.
Not all of these will be "fun" to read but all of these definitely share an intent to teach capoeira in all its forms and while at times a bit uneven, it's still a worthwhile read if you have any remote interest in capoeira.
October 12, 2026
I expected more of an in-depth look at capoeira as an art form and philosophy, but this was more like Almeida sharing his personal journey within the world of capoeira. He does kind of touch on the history of the art form, but not enough, imo. Instead he discusses how the practice has shaped his life, his experiences, and the lessons he’s taken from it. At its heart, it also reads like a love letter to his late master, which was probably the most touching part of the book.
.
.
April 16, 2010
Actual rating: 1 if reader does not play capoeira, 4 if they do.
This book is a bearded, kind-faced man who helped spread understanding and use of a Brazilian art form (a treacherous art form) into North America. Or rather, it's a guide book by that man about that art.
My review follows a re-reading after a long hiatus from playing or practicing. I find the text much more interesting now, returning to it in a new environment, for clearing-up some of the confusion created in this small culture where histories are passed orally, and styles passed by observation.
This book is a bearded, kind-faced man who helped spread understanding and use of a Brazilian art form (a treacherous art form) into North America. Or rather, it's a guide book by that man about that art.
My review follows a re-reading after a long hiatus from playing or practicing. I find the text much more interesting now, returning to it in a new environment, for clearing-up some of the confusion created in this small culture where histories are passed orally, and styles passed by observation.
November 8, 2014
since I am a practioner of this art, I could relate to some extent (I am just a beginner). There were some passages that were heart felt and I teared over and others insightful. It really opened up the mind set where my fellow capoeiristas are coming from and a better understanding of my Mestre. I loved that it's from a personal account and got to explore the authors view. Walking away from this book really encourages me to strenthen myself body and spirit. I would like to find another book like it and read it.
November 29, 2008
i like the personal accounts of the authors' encounters with two giants of afro-brazilian history such as mestre pastinha and mestre bimba. and it gives a little more grounding to my understanding of capoeira as an art of struggle.
August 22, 2010
Capoeira is a martial art introduced into the Americas by African people. Because of restrictions imposed during slavery and afterwards, Capoeira developed as a dance.
This book describes the history and practice behind the flighting system and art form.
This book describes the history and practice behind the flighting system and art form.
September 20, 2011
This is a classic for capoeirista's in the San Francisco Bay Area for sure, and internationally in its own right. A must read written by Mestre Acordeon, among the first to bring capoeira to North America.
June 4, 2011
It is an interesting book, but more along the lines of a biography than of "history, philosophy, and practice."
Read
October 25, 2012A must read for capoeiristas - great history of capoeira and Mestre Bimba.
Displaying 1 - 12 of 12 reviews