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Extra info for [Magazine] After The Battle. Number 88
Example text
At the very moment capoeira was being eradicated from the streets of Rio de Janeiro by ruthless repression, the absolute criminalization of its practice was increasingly questioned by a growing number of middle-class people. They adopted a more benevolent even if still highly ambivalent attitude towards the art, because they considered it a possible tool in the construction of Brazilian identity. Yet for capoeira to become a marker of Brazilian-ness, its slave origins had to be hidden and its mestiço character emphasized.
The author, a sportsman, practitioner of Swedish gymnastics, athletics and boxing, departed from earlier nationalist views insofar as he recognized the slave origins of capoeira. According to him, runaway slaves invented the art. They did not build on previous African traditions, but rather developed it in the intimate contact with nature and whilst resisting their capture: the maroons, ‘fraternizing with the animals’ in the wilderness, ‘jumping from one [tree] to the next like monkeys’, became ‘extraordinarily dexterous’.
A number of other discourses intersect with them thus contributing to complicate further the analysis of competing narratives. Conflicts regarding the history of capoeira also reflect struggles over regional pro-eminence with in Brazil. During the nineteenth century the Northeastern economy based on sugar cane performed less well than the coffee in the Southeast. The gap widened during the twentieth century and resulted in the region being perceived as backward and underdeveloped compared to the South and the Southeast.
[Magazine] After The Battle. Number 88
by Daniel
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