Today Capoeira is divided into three types: Capoeira de Angola (in the tradition of Mestre Pastinha), Capoeira Regional (in the tradition of Mestre Bimba) and nontraditional style Capoeira.
Many people think that Capoeira de Angola is an African fighting style or that it resembles some forms of African dance. In any event, the term Capoeira de Angola is not used to name the country of origin (Angola is a country situated in the southern part of West Africa), but rather to pay homage to the slaves and African descendants living in Brazil. The people of Angola, as those of Brazil, were colonized by the Portuguese. In fact, the term Capoeira de Angola did not precede that of Capoeira Regional, since no distinction was necessary at that time. The game was simply called Capoeira or “Vadiação”. It is an original and traditional game, referred to affectionately by several capoeiristas as mother-capoeira (Capoeira Mãe in Portuguese).
Capoeira Regional benefited from the pro-athletic mandate of the governing political party, fitting into the sports oriented perspective prevalent at that time. It was named Capoeira Regional da Bahia by Master Bimba. It was he who first introduced various teaching techniques, established sequences and predetermined movements into the practice of Capoeira.
And so Capoeira has evolved…
For some people, it has improved, for others it has been negatively transformed!
Capoeira instructor, Ajanã Nascimento, believes that it has now arrived exactly where it should be, reflecting our reality and stemming from the world in which we live.
“We must play according to the rules of the game! Only those who want to change will!”
“Today, several Capoeira Masters have adopted the principle of teaching Capoeira as a totality. The result is a capoeirista without divisions or preconceived notions, one who is able to adapt to different ways of functioning and the varied traditions of each place, in spite of the threat of contradictions. Capoeira is in a constant state of evolution, through the game of each capoeirista, each adapting to the comings and goings of life. Thus, rigidity yields its place to creativity and the natural movement of each capoeirista, without losing the philosophy of the jogo.”