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591:, Pastinha formalized capoeira practice by establishing structured classes within a dedicated "academy". Students were required to wear uniforms during both training sessions and exhibitions. The uniform designs evolved over time, drawing clear inspiration from sports jerseys. From about 1950, Pastinha adopted the colors of his favorite soccer club,
611:. The capoeira Angola that I learned - I did not change it here in my school… When my students go on they go on to know about everything. They know; this is fight, this is cunning. We must be calm. It is not an offensive fight. capoeira waits (…). The good capoeirista must know how to sing, play capoeira and the instruments of capoeira.
775:) and students that define one's role in the community and shape a school's teachings. Styles evolve uniquely through various teachers who pass them on to their students. Pastinha's school in Pelourinho was influential in shaping Capoeira Angola. Many mestres in this tradition trace their lineage back to him.
568:
To my surprise, Mr. Amorzinho, the owner of that capoeira, extended his hand to me and remarked, "I've wanted to pass on this capoeira for you to teach for quite some time." I attempted to decline with an apology, but Mr. Antonio Maré intervened, asserting, "There's no escaping it, Pastinha, you are
289:
Pastinha's introduction to capoeira arouse from a need for self-defense. As a somewhat frail ten-year-old, he faced bullying from a larger boy in his Rua da
Laranjeira neighborhood. Witnessing his predicament, an elderly African neighbor named Benedito, native of Angola, offered to teach him
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For
Pastinha, capoeira Angola is more than a simple sport but a philosophy and a sacred legacy he ardently aimed to protect. His insistence on loving capoeira Angola mirrored a deep devotion akin to religious faith. As his friend, sculptor Mário Cravo, noted, "Pastinha was a
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Pastinha made a living through various jobs, including shoe cleaning, newspaper sales, carpentry, and working as a casino bouncer. According to his interview, Pastinha wanted to live through the sale of his oil paintings, though this endeavor did not entirely materialize.
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The good capoeirista never gets exalted, always tries to remain calm to be able to reflect with precision and rightness. He does not quarrel with his comrades or pupils, he does not play without it being his turn, in order not to anger his companions and create
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When in the past it was violent, many mestres, and others, drew our attention when out of rhythm. They explained decently and gave us the education within the sport of capoeira. This is the reason all those who come from the past possess body game and have
689:, was asked by the government to vacate his academy for renovations, but the space was never returned to him. Instead it became a restaurant and entertainment outlet. Pastinha was left abandoned in a city shelter (abrigo D. Pedro II - Salvador).
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Capoeira is only beautiful when playing and singing and only loses its beauty when people don’t sing. It is the duty of all capoeiristas. It is not a failing not to know how to sing, but it is a failing not to know how to reply, at least to the
42:
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In his memoirs, Noronha offered a slightly different version of the episode, suggesting that it was only after
Amorzinho's death that the other mestres decided to pass the leadership to Pastinha. However, in 1941 Pastinha founded the
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Pastinha was born on April 5, 1889, in
Salvador. Little is documented about his family background, except that his mother, Maria Eugenia Ferreira, was a black woman from Bahia, and his father, José Pastiña, was a Spanish pedlar.
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Accourding to
Pastinha's account, one of his top students, Aberrê, visited Gengibirra and impressed the mestres there with skills, so they ask him for teacher. Pastinha eventually visited them on 23 February 1941:
603:, which became the hallmarks of the Angola style he taught. His goal of imparting knowledge to the 'next generation' of mestres also led to the establishment of hierarchical structures within capoeira.
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He established his first capoeira school in a bicycle workshop located on the Campo da Pólvora. After 1910, he began teaching capoeira to artisans and students residing in shared accommodations (
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arise. However, despite his initial acclaim, Pastinha completely withdrew from the practice of capoeira in the following years. According to his own writings, he withdrew from 1912 until 1941.
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Pastinha was known as the "philosopher of capoeira" because of his use of many aphorisms. He made it his mission to clearly separate capoeira Angola from the violence.
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I practice the true capoeira Angola and in my school they learn to be sincere and just. That is the Angola law. I inherited it from my grandfather. It is the law of
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320:. His musical talents also flourished under the guidance of the renowned musician Anacleto Vidal da Cunha. It is likely that he played, perhaps the
552:. A group of old mestres held regular rodas in Gengibirra area, in black neighbourhood Liberdade, to preserve traditional style. Rodas was led by
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He chose not to introduce new kicks in order to preserve the original art. He wanted his students to improve the principal techniques (
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For him, capoeira Angola is not a fight for victory over an "opponent". Pastinha appealed to participants "not to aspire to fight our
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Well, there is one thing that nobody doubts: the ones to teach capoeira to us were the negro slaves that were brought from Angola.
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Without ambitions, without ill will, without disappointments, without pushing to the front to play before your turn.
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Pastinha participated with the
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Pastinha played his last game of capoeira on April 12, 1981. He died at the age of 92 on
November 13, 1981.
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According to
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He continued his training with
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because he lived capoeira with intensity and made his own interpretation of the mystic universe."
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capoeira. After several months of training with him, Pastinha successfully beat the bully.
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The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance
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to support himself financially so that he could do what he loved the most, to be an
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At the age of 12, Pastinha began his apprenticeship at the Navy School in Salvador.
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Pastinha stressed that a good capoeirista should always remain calm and decent:
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During the 1930s, traditional Bahian capoeira became known as
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During his time in the Navy, Pastinha received instruction in
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Capoeira: The Jogo de Angola from Luanda to Cyberspace
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Capoeira: The History of an Afro-Brazilian Martial Art
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1675:. Vol. 2. North Atlantic Books. p. 66.
269:Two principal Pastinha's disciples were mestres
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1789:. February 1967 – via velhosmestres.com.
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1922:Neves e Sousa's drawing of Pastinha's academy
327:At the age of 20, in 1910, he left the Navy.
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771:, lineage represents the chain of teachers (
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1783:"It's a fight, it's a dance, it's Capoeira"
122:Na Escola de Aprendiz Marinheiro da Bahia (
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386:Centro Esportivo de Capoeira Angola
1584:Assunção, Matthias Röhrig (2002).
695:Two of his most learned students,
195:and a codifier of the traditional
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147:, gold prospector, security guard
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206:whose game was characterized by
202:Mestre Pastinha was a brilliant
175:– November 13, 1981), known as
129:Liceu de Artes e Ofício school
1:
1866:. University of Texas Press.
365:that could be affixed to the
316:, jack-knife techniques, and
1860:Talmon-Chvaicer, M. (2010).
46:Mestre Pastinha playing the
2426:People from Salvador, Bahia
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623:(1966), bringing with him
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1605:Capoeira, Nestor (2007).
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257:), which allows a proper
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1607:The Little Capoeira Book
27:Brazilian martial artist
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1838:, by C. Daniel Dawson
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2359:Knocking and kicking
2212:Meia lua de compasso
1609:. Blue Snake Books.
1904:, pp. 154–155.
1807:, pp. 151–152.
1772:, pp. 149–150.
1669:Taylor, G. (2007).
658:Pastinha worked as
548:, opposing Bimba's
387:
331:Capoeira instructor
2318:In popular culture
2224:Meia lua de frente
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546:capoeira de Angola
318:Swedish gymnastics
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2089:Camafeu de Oxóssi
1597:978-0-7146-8086-6
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676:Porto de Salvador
637:Camafeu de Oxossi
580:, located at the
550:capoeira Regional
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462:Country of origin
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92:November 13, 1981
16:(Redirected from
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1024:Gildo Alfinete
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764:
761:
743:capoeira music
708:
705:
674:worker at the
644:
643:Twilight years
641:
629:Gildo Alfinete
627:, Gato Preto,
558:Mestre Noronha
534:
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260:jogo de dentro
232:rabo de arraia
187:Afro-Brazilian
160:
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152:Known for
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96:(aged 92)
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1902:Assunção 2002
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1729:Capoeira 2007
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1714:Assunção 2002
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1702:Assunção 2002
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1590:. Routledge.
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1063:Pessoa Bababá
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516:Practitioners
514:
510:
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498:Ancestor arts
496:
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486:
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478:
475:
464:
460:
456:
452:
448:
446:Also known as
444:
439:
389:
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355:
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337:
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304:
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297:, but only a
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183:
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158:
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146:
142:
139:
137:Occupation(s)
135:
130:
125:
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117:
113:
109:
106:
103:
99:
91:
87:
83:
78:April 5, 1889
70:
66:
61:
57:
53:
52:Pierre Verger
49:
43:
38:
31:
19:
2379:
2336:
2329:
2322:
2152:Pé de Chumbo
2137:Jelon Vieira
2099:João Pequeno
2053:
2028:
2011:
1994:Contemporary
1877:. Retrieved
1862:
1855:
1843:
1835:
1831:
1786:
1777:
1736:
1709:
1697:
1686:. Retrieved
1671:
1664:
1651:João Pequeno
1636:Mestre Bimba
1606:
1586:
1196:Pé de Chumbo
1182:Barba Branca
1015:João Pequeno
819:
772:
766:
753:
748:
740:
735:
731:
727:
721:
719:
714:
710:
701:João Pequeno
694:
691:
684:
679:
675:
672:construction
657:
614:
606:
586:
575:
572:
567:
562:
549:
545:
543:
531:
520:João Pequeno
454:Date founded
437:
375:street fight
356:
351:
349:
345:
335:
326:
311:
308:
292:
288:
284:
271:João Pequeno
268:
265:
258:
254:
248:
242:
236:
230:
224:
218:
216:
212:intelligence
201:
180:
176:
164:
163:
94:(1981-11-13)
2421:1981 deaths
2416:1889 births
2260:foundations
2142:Cobra Mansa
2117:João Grande
2104:Canjiquinha
1646:João Grande
1392:Cobra Mansa
1222:Canjiquinha
1031:João Grande
707:On capoeira
697:João Grande
625:João Grande
524:João Grande
488:Arts taught
305:Navy School
275:João Grande
204:capoeirista
190:martial art
101:Nationality
50:. Photo by
2395:Categories
2258:Groups and
2167:Techniques
2157:Amen Santo
2112:Leopoldina
2108:Gato Preto
2064:Sinhozinho
1879:2015-01-01
1688:2015-01-01
1657:References
1578:Literature
737:squabbles.
670:house and
660:shoeshiner
652:Pelourinho
582:Pelourinho
357:In street
352:repúblicas
141:shoeshiner
74:1889-04-05
2190:Aú batido
1787:Realidade
1240:Bola Sete
1038:Boca Rica
680:Angoleiro
373:should a
105:Brazilian
2381:Category
2354:Maculelê
2338:Batizado
2311:See also
2297:Candeias
2249:Headbutt
2244:Rasteira
2234:Queixada
2217:Scorpion
2180:Negativa
2127:Acordeon
2122:Suassuna
2094:Waldemar
2054:Pastinha
2024:Berimbau
2019:Atabaque
1989:Regional
1958:Capoeira
1625:See also
1564:Silvinho
1398:Jurandir
820:Pastinha
722:comrades
668:gambling
593:Ypiranga
535:—
367:berimbau
339:—
295:berimbau
250:meia lua
226:rasteira
220:cabeçada
193:capoeira
179:, was a
157:Capoeira
48:berimbau
18:Pastinha
2344:Batuque
2267:Senzala
2239:Martelo
2079:Noronha
2059:Besouro
2046:Mestres
2013:Bateria
1984:Carioca
1966:History
773:mestres
763:Lineage
750:chorus.
716:rhythm.
621:Senegal
609:loyalty
480:Founder
314:fencing
208:agility
199:style.
185:of the
155:Mestre
2229:Armada
2147:Barrão
2132:Moraes
2030:Toques
1979:Angola
1974:Engolo
1870:
1679:
1613:
1594:
1557:Valmir
1209:Moraes
1045:Aberrê
757:mystic
664:tailor
597:yellow
502:engolo
474:Brazil
471:
438:colors
371:weapon
363:sickle
182:mestre
173:Brazil
145:tailor
2364:Ladja
2349:Samba
2287:Abadá
2175:Ginga
2074:Bimba
2036:Songs
2004:Music
1404:Braga
1052:Curió
687:blind
617:Dakar
601:black
589:Bimba
587:Like
359:rodas
114:"110"
2324:Roda
2282:GCAP
2277:FICA
2069:Zuma
1868:ISBN
1677:ISBN
1611:ISBN
1592:ISBN
1411:Neco
699:and
635:and
599:and
457:1941
449:CECA
322:horn
299:drum
281:Life
273:and
253:and
124:Navy
89:Died
68:Born
60:1947
56:1946
2272:Axé
1417:Lua
767:In
2397::
2185:Aú
1888:^
1812:^
1795:^
1785:.
1748:^
1721:^
682:.
662:,
639:.
631:,
619:,
595:,
584:.
277:.
247:,
241:,
235:,
229:,
223:,
171:,
143:,
54:,
1950:e
1943:t
1936:v
1882:.
1691:.
1619:.
1600:.
126:)
76:)
72:(
62:.
58:–
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
