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31st May 2023 0
Dictatorship (1964-85), General, Groups, Other states, Pará

In the “hippie era”: the rediscovery of capoeira in Pará in the 1970s

In the “hippie era”: the rediscovery of capoeira in Pará in the 1970s
31st May 2023 0
Dictatorship (1964-85), General, Groups, Other states, Pará

By Luiz Augusto Pinheiro Leal and Fabio Araújo Fernandes.

The history of capoeira has for a long time been marred with myths. The most dangerous, in the academic field, asserts the non-existence of documents that might aid in the study of its practice in the past. It is still repeated today that Rui Barbosa burned all the documents relating to the shameful practice of slavery in Brazil. As capoeira is associated more with slavery than with black resistance, it would therefore be impossible to know its past. This myth has been shattered thanks to intensive research by historians since the late 1990s. If capoeira was initially still associated with slavery, as seen in Soares (1998), historians more recently have been able to show that capoeira did not disappear with the Abolition of slavery (1888). As noted in Leal (2008), even after the practice was criminalized in 1890, capoeira continued to exist in various parts of Brazil, including in Pará.

The history of capoeira is divided into two periods, generally treated as distinct. The first, between the 19th century and the first decades of the 20th century, was when the practice was known as “capoeiragem” (capoeiragem) and was criminalized by the Republic’s first penal code, in 1890. In the second period, studies on capoeira highlighted Bahia as a centre for the revitalization of capoeira (it would no longer be capoeiragem).

Capoeira in Pará

In the northern state of Pará, in the Amazon region, the violence of the Brazilian State was so intense that the existence of a native capoeira disappeared from the collective memory and even from that of the capoeiras. Some of the mestres, who arrived in the 1970s, presented themselves as the ones who brought capoeira to the North of Brazil. Historical capoeiragem and Bahian-inspired capoeira met in the 1970s, with the arrival of masters from Maranhão (Mestre Bezerra), Rio de Janeiro (Mestre Romão) and the reaffirmation of the identity of one of the last old capoeiras from Pará (Mestre Mundico).

In the absence of any research or collective memory, oral tradition, so important to the dissemination and development of capoeira, was used to disseminate a variety of details on the history of capoeira in Pará. Since the capoeira master is responsible for “living tradition,” that is, for the performative updating of the knowledge he possesses and of his own experience, the versions about capoeira’s past were restricted to only the moment lived by the storyteller. However, it was precisely this moment, known in the memory of the masters as the “hippie era,” that defined the re-invention of capoeira in Pará.

Mestre Mundico, Mestre Romão and Mestre Bezerra, each with their own experiences, built different versions for capoeira in Pará. These versions, based on territorial delimitation, were the first guidelines for the restructuring of capoeira in Pará. Capoeira in Pará, in the voice of the mestres, can be interpreted in its multiple cultural and historical perceptions.

The article we are summarising here deals with the encounter and the reorganisation of capoeira in Pará, in dialogue with other national experiences. Our approach is based on the relationship between history and memory. We engage with the personal memories of three mestres as a reflection of collective memory.

Enjoy and read the full text of this article published in Portuguese in Revista EntreRios - Journal of the Postgraduate Programme in Anthropology at the Federal University of Piauí.
Na “época dos hippies”: a redescoberta da capoeira paraense na década de 1970 Luiz Augusto Pinheiro Leal and Fabio Araújo Fernandes

The "hippie era"

The “hippie era” corresponds to a temporal cut-off, present in the oral history narratives of the capoeiras in Pará. This expression, used by some older capoeira mestres, refers to a period when a historical capoeira, peculiar to Pará, met with that of other Brazilian regional matrices of the art. The hippies were people connected to the North American counterculture movement, born in the 1960s. In the 70’s, sympathizers of the hippie scene were present in Belém, in places like Praça da República.

praça da republica
View of Republic Square, Belem, Para. Wikimedia Commons
The presence of foreigners in the city, often associated with hippies, even when they had no real allegiance to that movement, marked the collective memory of the capoeiras in Pará. It would be the encounter between distinct cultural worlds, an intermingling of regional cultural experiences with national and even transnational ones. Finally, the expression is more symbolic than real. It does not have a strong connection, except as part of an expression of a memory, with the practice of the capoeiras. The context was one of dictatorship and repression of popular expressions. The reference to the hippies merely referred to an image in the memory of the mestres, representing the beginning of the process of restructuring capoeira in Pará.

The three masters

Our analysis is based on the trajectories and memories of three capoeira mestres who stood out in this process: Mestres Mundico, Bezerra and Romão. The first, from the state of Pará, defined capoeira through self-taught training. The second, from Maranhão, disciple of Roberval Serejo, developed capoeira in its sportive aspects. The third, from Rio de Janeiro, disciple of Mestre Zé Pedro, emphasized the capoeira style from Rio de Janeiro and, towards the end of his life, turned towards capoeira angola. The experiences of these mestres, from the “hippie era,” were recounted from the memories of contemporary capoeiristas. In addition to these memories, we used other sources to provide a better contextualization of the historical actions of capoeiristas in the State of Pará. Newspapers, literature, memories, and statements by non-capoeiristas will help us understand the phenomenon of capoeira’s cultural rearticulation in the North of Brazil.
M. Mundico e Augusto Leal. Acervo Augusto Leal.
M. Mundico and Augusto Leal. Augusto Leal collection.
M. Bezerra durante apresentação em 28/02/2008. Acervo Augusto Leal.
M. Bezerra during a presentation on 02/28/2008. Augusto Leal collection.
M. Mundico no jogo com M. Ferro. M. Romão, ao centro, toca o viola. Acervo Augusto Leal. Belém, 23/10/2009.
M. Mundico in the game with M. Ferro. M. Romão, in the centre, plays the viola. Augusto Leal collection. Belém, 10/23/2009.
Mestre Bezerra, ao centro. Acervo Augusto Leal.
Mestre Bezerra, in the centre. Augusto Leal collection.
The principle we advocate in this paper is that capoeira was not “brought” to Pará, but rather “rediscovered” or politically “restructured” through the practice of capoeira on the Praça da República square and in the city’s neighbourhoods. This means that it is necessary to mention, however briefly, some aspects of the old capoeiragem in order to point out its links with the present time. As to the history of capoeira in Pará, we will discuss it with historians such as Leal (2008) and Salles (1988, 2004), as well as some Amazonian writers such as Bruno de Menezes (2006 [1939]) and Dalcídio Jurandir (1976), who reveal a vitally important capoeiragem amalgamated with popular events in the city of Belém since the 19th century. Our argument, then, is primarily concerned with the relationship between identity and territoriality. Capoeira’s definition of identities and territories thus has strong historical roots, so we must start from the assumption that if groups are the vectors of territorialization and identity formation, their histories, often confused with those of their own mestres, are a fundamental starting point for analysis. From here on, the elements of territorialization and identity are expressed by the history and practices of these capoeira groups. Capoeira in relation to regional cultural practices, with Mestre Mundico; capoeira as a narrative of ancestry, with Mestre Romão; and, finally, capoeira directly connected to sports institutions, with Mestre Bezerra. To put it another way, the practice and organization of capoeira contains, in its expressions, a system of territorial arrangements embracing the strategies and social practices of its members. In them, social order materializes through a process of social interaction and in a historically constituted context. In our case, the initial context of our approach was the “hippie era”. But, far from finding a primary landmark for the emergence of capoeira in Pará, we analysed the memorial reference as a transit point between the past and its continuity. It’s time for the rediscovery of capoeira in Pará.
Luiz Augusto Pinheiro Leal is a Doctor in Ethnic and African Studies, from the Federal University of Pará (UFPA), and Contramestre of Malungo Centro de Capoeira Angola. Take the opportunity to download your book Capoeira, identidade e gênero: ensaios sobre a história social da capoeira no Brasil, 2009.
Fabio Araújo Fernandes holds a PhD in Anthropology from the Federal University of Santa Catarina (UFSC), is a disciple of Mestre Umoi, from Grupo União na Capoeira, and Contramestre in Freising, Germany.
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