This change has effected Capoeira greatly. The topic of danger became the primary subject of our next few conversations. Mestre No elaborated on the subject thoroughly and expressed very particular views about the unfortunate direction that Capoeira has been taken. Put briefly, the view he shared with me is that violence tends to harm the spirit, whereas danger can make it stronger. That an implied threat of violence merely makes one a predictable thug, but one who is courteous, gracious, and humble yet has unknown resources, and unpredictable responses, is a dangerous character.

Two of my professional lines of work have a great deal to do with the topic of danger. They are the related activities of stunt performance, and stunt performance instruction. As a stuntman and stunt instructor everything I do deals directly with the symbols of loss and gain. Anyone who goes to the movies knows exactly what I'm talking about. Nearly all action in the cinema or TV requires the element of risk be clearly perceivable. If we the audience fail to perceive the risk, the plausibility and energy of the scene can utterly flop. Risk sells tickets, and next to the promise of sex, is one of the major hooks that advertisement companies use to pull us into their products.

To be effective in either of these stunt professions I have had to deeply study the nature of danger, both to allow myself the ability to interact with danger (and the symbols of danger) directly, and to be a guide to others who want to learn how to do the same. It requires a tremendous amount of concentration, determination, and emotional equilibrium. If I am any good at these activities at all it is because of my continued study and exploration of the art of Capoeira Angola. For me the arts of Capoeira and stunt performance are synergistically interwoven. Why do I believe this? Because I have been taught to see Capoeira as a lyrical response to a world filled with possibilities. Potentials for loss, as well as gain.

Neither of these qualities can be even remotely understood without a proper appreciation of danger. And it is that quality of danger that makes both activities enjoyable to do, and watch. Danger is, and must remain a major element in the art of Capoeira Angola because, if it is approached in a controlled and respectful manor, danger can lead the Angoleiro to a deeper level of personal and social growth, giving the player of Capoeira Angola the means to explore perilous circumstances in a more or less controlled environment. To quote the author Michael Ventura: Danger makes for grace.

With a constant, regular exposure to moderated levels of danger the Angoleiro learns about himself (Please excuse the masculine designation of this text, it is not meant to be read as gender specific.), about his society, and the world in which he lives, and how to successfully navigate the perils inherent in all of these things. If anyone is interested in reading an excellent essay on this subject I recommend the essay titled 'White boys dancing'. This can be found in a book called 'Shadow dancing in the U.S.A.' by Michael Ventura. I also highly recommend reading the essay titled 'Hear that long snake moan' found in the same book. Hell, just read the whole book, it's great!

A circus in the circle

Why are flips and aerial acrobatics not found in Capoeira Angola? Primarily because to do them in the roda requires a collusion between both players, because if one of them does a flip, the other can intercept them before they reconnect with the ground, which is dangerous to the point of being lethal. In a flipping roda the two partners both agree beforehand to do circus tricks. Performing for spectators becomes the primary focus. The offering of spectacle. The only danger one is in comes from the possibility of falling on ones own head or some such through bumbling a flip.

Though I have also witnessed capoeiristas landing atop of each other, and onto people sitting on the edge of a circle (so I guess danger exists there too, just not the way that is intended). In the roda de Capoeira Angola there can be no collusion of this sort because it completely removes ones ability to be dangerous, and to be in danger. Flipping in the roda is a 'perceived' danger and spectacle done for the pleasure of an audience, and does little to demonstrate ones skills as a player.

Acrobatics are often held up as a lofty ideal in many Capoeira groups, an ideal that all should aspire to, but in reality, few are meant for, this however has little do with whether or not one will be a good player of Capoeira. I have had so many people over the years that have complained to me: "I just wish I could figure out how to do that darned... (add flip here), I keep trying to get it, it's really frustrating!". These folks have put a lot of psychic and emotional energy into trying to figure out a skill that will not make them a better player in the least. They are taught that they can only feel good about their game if they can toss themselves up and around like cats in a tumble dryer.

Most groups that espouse lots of flipping also teach their members that it is correct to throw attacks at a bewildering distance of four to eight feet away from their partner in the ring, and strangely enough, that they should also respond to these far away kicks with proper escapes and counterattacks. One guy kicks up in the sky and his opponent, ten feet away, hastily dives to the floor to avoid the attack. Please! This is not done (as is often explained) because the attacks are 'too dangerous' to be done in close range of ones partner, not at all. In my school we can throw attacks plenty fast and hard, but we do it within range of our partners, and at very specific targets on their bodies, however, we take time to warm up to this level, moving at slower speeds to warm up our senses, yet still on target. It is a remarkable sensation to be that awake.

The 'big gap' technique that is commonly used in many rodas was developed for performance arts, so that the people watching from afar can appreciate the action, I have years of participation in theatrical and cinematic mock combatives, and this technique of wide spacing is textbook for performing on a stage. Don't get me wrong, I'm sure it's a lot of fun as well, however, it does little to develop your nervous system and finer reflexes for playing against someone who will not agree with you beforehand to keep their distance just to make you look good and feel safe.

Often you will find that when these players do close with each other they throw aggressive punches, and try to kick the snot out of each other, possibly because everything else they do in the roda feels slightly off keel. Violence is not same as danger.

Relationships are risky

There are several relationships that Angoleiros endeavor to develop and explore. One of them is with gravity (of which I will make the topic of a future article, but will only touch on here), another is with their environment. Many of the legends, tails, myths, and songs of Capoeira speak directly and indirectly about the perils of one or the other (or both) of these relationships. To be sure, there are other important relations as well, but we'll explore them another time.

Many of the stories told by old mestres who have since passed on include aspects of falling (gravity), and the dangers that can lurk just around the corner (environment). One of the primary ways I have been taught to view the Roda de Capoeira Angola is as a model for successfully navigating potentially dangerous, and potentially beneficial social interactions with others. How to approach, engage, interact, and then disengage in a manor that respects perils and advantages that are inherent in all relationships. To view them as puzzles, or riddles to be solved.

Relating with other people in various social settings is risky business. If one fails to pay attention to ones own behavior and/or the behavior of others in ones environment, all sorts of potentially calamitous situations can ensue. If one looks closely at how the ritual space and game composition of the roda of Capoeira Angola is put together it becomes obvious that the roda is not so much made up of 'mysterious and obscure rituals, symbols, and traditions' that are only half-understood by most, but is in fact a highly functional and practical organization of social elements designed to develop specific skills and abilities in the players of Capoeira Angola.

The art of the Approach

I want to start my exploration of the Roda de Capoeira Angola here by offering a premise, and that premise is this: That approaches are dangerous. Do you follow me? Whether it is an airplane approaching a runway, or a person approaching a teller at a bank, there is danger inherent in this action. The runway could be icy and treacherous for the plane, or the person could be there to rob the bank, either way it is very difficult to tell the outcome of the interaction from appearances alone. That is why both airports and banks have such elaborate approach rituals for those that interact with them. It is the same for Capoeira Angola.

I like to jokingly refer to Capoeira Angola as something akin to the mating dance of the praying mantis, or at least from the viewpoint of the male praying mantis. The females are much bigger, and stronger, and faster, and if the male praying mantis makes a mess of things he is likely to have his head shorn-off and be eaten by the female. But see, the males are sly, they approach with caution and courage. They will most likely get eaten in the end anyway, and yet if they are crafty enough they will have accomplished their objectives beforehand through the more subtle powers of persuasion and guile rather than by brute force, where they don't stand a chance. The important thing to remember is that the male mantid's objective is not to ovoid being eaten by their mates, their objective is to accomplish mating before being eaten! A big distinction. Anyway...where was I...

In Capoeira Angola a single individual always leads or 'owns' the roda. This person is either the mestre of the group, someone designated as the ringleader by the mestre, or in the absence of a mestre, someone designated the owner by the group of players present. This owner controls the goings on within the roda and holds the authority for how the rituals of the roda will be developed. The owner sets up the 'house rules', commences and concludes the roda, and administrates what will happen within the confines of that ritual game space.

The owner has a lot of responsibility. Having to provide a safe environment for all the roda participants. The owner is also responsible for arbitrating everything that goes on inside the ring, and for everyone that approaches and then enters that ring. Why is it imperative that someone own the circle? Because a roda de Capoeira Angola contains many potentially volatile social and energetic elements that require a responsible and respected arbitrator. If no one has authority in the circle, the ritual can fall apart from lack of certainty of purpose. It is the same as in many forms of social ritual.

In the not so distant past of Brazil, as is commonly understood by modern players, Capoeira was illegal to practice in any form, and the members of Capoeira communities had to be very watchful so that they where not caught unawares during the Capoeira roda, to be caught could bring about extreme circumstances for the players, potentially leading to imprisonment, injury, or death. Other Capoeiristas also presented a potential danger when they approach a circle where they were unrecognized. They could be there merely to have a good time, or they could be headhunting.

And even though today Capoeira is no longer persecuted on sight by the authorities, and has largely moved indoors and is presented by many (erroneously) as an activity where everyone should come together in peace and love, strangers to a roda de Capoeira still represent a potential danger, and to ignore that potential danger is both foolish, careless, and potentially disastrous for all involved. This aspect of taking in strangers at face value is one of the biggest flaws I find in contemporary Capoeira Angola practice and instruction. It leads to all sorts of weird misinterpretations, assumptions, and confrontations by contemporary practitioners.

The Roda: The Angoleiros model for the social world...and more.

The roda serves as a social model for courteous, respectful, and even reverential behavior for the Angoleiro as well as providing them with a means to navigate social entrapments, potholes, and dead-ends that may lead to misunderstanding and confrontation between participants. How well they are able to do this is completely self determined and depends entirely on the abilities of the individual.

At most Capoeira events you will doubtless experience some master losing his head over some perceived blunder or disrespectful action perpetrated by some poor hapless student. It is unfortunate that this is the way that many mestres choose to educate people in public with regards to Capoeira, but aside from that, if you look at the topic of their rant with a cool head you will often find that it is based on how folks comport themselves socially within the framework of Capoeira society in general, and the roda in specific.

With all of these factors, there also comes into play the concept of 'loss and gain of advantage', a concept that is sadly lacking in the comprehension of many who play and study this game today. This is a subject of tremendous importance for the player of Capoeira Angola. If your teacher is not guiding you in the art of the advantage while you are studying Capoeira Angola with them, then you are merely passing your time practicing movements of Capoeira, and getting some sort of workout while your Instructor collects your money. If you as a student are not delving into the art of the advantage you have no business thinking that you are really learning this art.

The art of the advantage dictates that you are not resting on your heels in class, but are hungrily, if not ruthlessly going after every scrap of knowledge and skill that you can get out of your teacher without seeming to be too obvious about it. It means that your are their best student, developing patience, vigilance, and persistence, all the while learning how to be independent (independence = liberation). And always demonstrating graciousness to your teach for giving you the chance to study this art of Capoeira. An Angoleiro does not merely play capoeira while in the middle of the ring, always seeking the advantage, they play capoeira also with the entire ritual of the roda, (and by extension - the whole of Capoeira society) learning its subtleties, complexities, and the whims of the mestre in charge.

A warrior's skills are not only meant for the battlefield. It is a little like the intrigues of a royal court. Fumbling socially in the roda can lead one to humiliating circumstances, or to someone taking offense at your lack of comportment, all of which can be seen as a loss of the advantage as much as is being swept to the floor, whereas demonstrating your comportment and centeredness can give you access to greater levels of understanding, and reinforce positive impressions of you by others. This is common sense in a way. Diplomacy. And it is full to the gills with tactics.

Continued in The Art of the Approach part 2