Capoeira, I believe, is subject to an on-going conversation about its definition. To determine what capoeira is in a simple, encompassing way is not straightforward. Numerous schools of capoeira exist all over the world (Abadà, UCA, Longe do Mar, Capoeira Brasil, for example, are some groups of different sizes that I came across), the mestres leading these communities (Camisa, Acordeon, Cigano, Sabià are the main mestres of the groups above) usually stick to their own understanding of it, and varying sets of rules (whether strict or flexible) are used. However, in order to understand, even in broad terms, what I am talking about here, I think that to provide a definition of capoeira with my own words is important. Not that I pretend to be a mestre. I’m rather the opposite: a complete beginner. And, justly, as a beginner, I tend to think that drawing a line between capoeira and other sports or art forms is crucial.

As opposed to, let us say, karate (a martial art) and lindy hop (a dance form), capoeira can not be circumscribed to a single category without deforming my understanding of it. Capoeira is both and neither a martial art and/or a kind of dance. This art borrows codes from both sports. The body, indeed, is at the core of the practice of capoeira. But there is no prop, no boxing gloves, no shoes, no protection. However, capoeiristas generally wear white abadà that can be perceived as a sober, standardized uniform that usually features the logo of the group to which they belong.

On one hand, capoeiristas are asked to perform very precise movements that, when put together in a sequenzia, give a sense of choregraphy (and, believe me, when it is nicely executed, it really is beautiful). But capoeira is far from being some kind of freestyle dance. In fact, each movement is known or can be learnt. Movements are codified in a way that decomposes the action in smaller steps that can be achieved as fast or as slow as you want.

On the other hand, capoeiristas also are confronted–like in a fight–to someone else in the roda (or whenever the instructor decides to start a sequence of exercises in pairs). Nevertheless, the person that you face during these duets is not an opponent, an enemy, or anything like this, he or she is more like a partner who offers to play (joga) with you.

And, very important, you are supposed to never hit your partner. In this sense, capoeira conveys an impression that it is a “fake” martial art. However, the numerous kicks, rotating movements, fintas, and other acrobatics ought to be accomplished at full speed and strength. Therefore, if you hit your partner (or if you are hit by him or her), yes, it hurts for real. Unlike boxing, your aim is definitively not to angrily knock out the person you are confronting.

The goal of capoeira, in my opinion, is not violent: The idea, of course, is to have a nice time (and not spit your teeth at the end of a game), but also to respond to what your partner does (e.g., esquiva when he or she gives you a queixada), and perform a series of movement that are aesthetically pleasant (and everybody goes “whoa!”).

Furthermore, capoeira does not only offer to play with someone. Usually, a joga de capoeira also involves playing music with instruments such as the berimbau, the pandero, and the drum. You can also sing, whether you lead one of the songs chosen from the capoeira repertoire or just repeat the chorus with the rest of the group. There also are neighbouring art forms, like makulélé, a dance performed with sticks.