Capoeira is a blend of martial art and dance. Master Steen Møller tells us about the philosophy contained in the movements and the ways it influences the participants.

Article by Anne Rasmussen

The sportshall is shaking filled with energy and rythm. The participants are standing  in a circle clapping their hands and singing as a choir accompanied by tambourines, drums and a single stringed instrument, that leads the rythm with a deep almost hypnotizing clang. In the center of the circle two persons are dancing an occasional and improvised and at the first sight acrobatic dance. But if we look closer, it is clear that all the movements are well co-ordinated. It reminds of a contact duet improvisation where the dancers become parts of one whole and move according to the movements of the partner.

And still, it gives an impression that all the dance is not a co-ordinated movement, but more likely an approval of each other’s moving systems, or a discussion, conversation, when one dancer asks questions and  another answers them. Two new dancers enter the middle of the circle and show amazing acrobatic movements. The general mood becomes more and more intensive because of the excitement of the crowd standing in circle and the strong rythm of the song and music that sounds stronger and louder.

Slaves’ expression

Capoeira is a martial art originatig from the colonial Brasil, where dangerous fighting techniques were hidden in music, game and constant acrobatic movements. By these means  the slaves were creating forms of their own self-expression as well as definition of their cultural community, that gave a birth to fast and dangerous fighters.

Capoeira was forbidden in Brasil untill 1937. After that it spread really fast all over the world and today it is practiced by tousands of people of differend ages. It is entertainment for some of them, for the others it is lifestyle. Capoeira came to Denmark in 1960’s. In 1991 Steen Moeller opened a first Capoeira school called Senzala. Before that he had been training for half a year in Brasil.

"After graduating from a physical culture institute I travelled to Rio de Janeiro to train. I was sure that in half a year I would be a professional capoeira master. I have already teached dance and taekwondo, was good at playing drumms so I thought, I would combine everything together and it would turn into capoeira,”- says Steen with a smile. He had, though, a long way ahead to becomming a capoeira master. Anyway, staying in Brasil gave him something else, something more important than that.

"I came back full of impressions and experience : both physical and spiritual. I understud that capoeira was not only a martial art with music and songs, but something much bigger. It combines phylosophy, outlook and physical expression, by means of which people are able to show their everyday problems, happyness, abilities and individualiy.”

Since that time Steen has visited Brasil many times, he is deeply attached to Rio and his brasilian trainer Mestre Pexinho, who has taken part in creating capoeira group of Senzala in 1960’s.

Capoeira movements

It is allowed to touch the floor only with hand palms, feet and top of the head. These limitations give a lot of unique acrobatic movements. None of them are met in gymnastics or even in circus. Steen says that the movements are defined as circular with a low gravity point. Capoeira contains the same esthetics as dance but is not dependent on it, dadce is, probably, part of its identity.

"Capoeira movements are always co-ordinated with the movements of the oponent. It is not only assail and deffence, there are more rules: every movement has to be performed in a certain moment and precise position. Capoeira’s acrobatic style is used frequently in hiphop culture.

Basic part of breakdance originates from capoeira. Brasilian capoeira dancers visited New York in late 1970’ and teached some hiphop dancers certain movements, which were later used by them with their own music,”- tells Steen.

"Capoeira and hiphop were developing and spreading during 1980’s. After that hiphop almost disapeared but breakdance came back with new assets. Capoeira and hip-hop culture resemble each other a lot, but still they are very different: capoeira has a deeper and longer heritage.

Respect for older people is very important in capoeira,"- says Steen,- "It gives extreme depth, which is so far missing in hiphop culture- young culture with young assets. Capoeira uses experience of older generations, hiphop culture is not old enough for its members to follow and develop old traditions."

Presence and boundaries

How can capoeira be useful for ordinary people today?

"It is means of speechless communication. Communication happens due to the music, mood and spirit, created by the participants. If we compare it to modern society and ways of its development, capoeira is the opposit. Today’s most post popular means of communication are technical devices, but the idea of virtual communication containing all the details of face to face communication is wrong. In order to experience full responce, people need to show live presence.”

Thinking for a while Steen continues: ”Capoeira works with presence and details. Many people are afraid to enter the circle, show themselves and by these means to be present in the given moment of time. For some people it is a deep process leading to destroying barriers and learning to be themselves, surrounded by other people. Some peole, on the other hand, are not afraid to show off. If they do it a lot constraining the others, capoeira teaches them to keep their boundaries.”

Steen underlines that danish people are still following so-called Janteloven:”It is a barrier we have to ovecome, and capoeira helps to get rid of the unecesary limitations.”

Definition of yourself

Both capoeira and dance are used as a form of motion by ordinary people, but Steen concideres that both of them provide much more than just a healthy body. “Capoeira and dance are not only motion like other kinds of motion,”- explains Steen.”I saw advertisements of capoeira in many motion centres, but it doesn’t really belong there. The participants do capoeira in order to meet themselves, not other people. Their aim is external. In a struggle, as well as in a dance, there is a need to get to know yourself with the help the others. That is why capoeira has always been a way of self-definition. You can only define yourself while facing another person. It is just definition of your existence in present time, it cannot be defined as negative or positive. Human being raised by animals turns into animal. What is going to happen if I spend most of my time with mashines: computer or mobile phone? What will I turn into? I am surrounded by mashines, it means I am a …”- Steen poses a question.

In Senzala-school a lot of attention is paid to keeping old traditions and rituals. In this atmosphere, according to capoeira’s rules, fighting and acrobatic  techniques develop and become more perfect, new songs appear.

”Capoeira, as well as society, becomes faster in comparrison with what it was 10 years ago. But moments, when everything accelerates, contains risk to loose the most important. A tendensy to self-establishment and self-presentation may appear. That is why it is very important to concentrate on the primer aim and preserve traditions.”

Reaction on established issues

Capoeira is practiced all over the world. Dancers find it inspiring as a training technique as well as an aesthetical expression. Exercises on the floor have high value developed due to unique acrobatic movements.

”Japanese butoh-dance as well as capoeira was a reaction on something already established, but capoeira also shows some other aesthetics. What can be called a beautiful movement? A straightened or a bent knee? It is already obvious the way dance is stimulated by aesthetics. In every modern dance we can find many elements of capoeira.”

Steen also says: ”That is how struggle sets the limitations for capoeira development, that is why power is always there. Struggle represents a huge power and if a person is in contact with it he or she possesses physical and spiritual strenth.”

Original capoeira was used in the theatre Aveny-T’s version of “Nutcracker” and in Tivoli’s pantomime theatre. This game and acrobatic way of expression has inspired many choreographs, among them Tim Rushton and his show Kridt, who had premiere in January 2005. Anyway, this dance depicts a special philosophy. It is about being in present time with other people.

Steen Møller organized the Senzala-school in Copenhagen in 1991. He is a follower of Michael Aabye, Ana Pompeia and Master Peixinho from Rio de Janeiro. He is percussionist in the bossanova-orchestra called “Rio” and attends classes in the psychotherapy system L.E.P. (Life Energy Process).

Photo from Senzala's homepage: www.senzala.dk