As the word Capoeira was still forbidden by Brazilian law, Bimba called his new style Luta Regional Baiana ( meaning regional fight from Bahia ).

In Mestre Bimba's Capoeira Regional, batizado was the first time a new student would play capoeira following the sound of the berimbau.

Iúna: A toque created by Mestre Bimba and used in Capoeira Regional.

Capoeira Angola refers to every capoeira that keeps the traditions held before the creation of the Regional style.

Capoeira Regional began to take form in the 1920 decade, when Mestre Bimba met his future student, José Cisnando Lima.

Advised by Cisnando, Bimba decided to call his style Luta Regional Baiana, as Capoeira was still illegal at that time.

The base of Capoeira Regional is the original Capoeira without many of the aspects that were impractical in a real fight, with less subterfuge and more objectivity.

Nowadays the label Contemporânea applies to any Capoeira group who don't follow Regional or Angola styles, even the ones who mix Capoeira with other martial-arts.

Bimba also developed the first Capoeira systematical training method.

The Street Fighter 2 game manual states that Blanka is also a Capoeira fighter, differing from current character description.

His analytical skills also help him in battle from time to time ; for example, in " Time Bomb ", he identifies Illyria's fighting style as a Tae Kwon Do / Brazilian Capoeira / Ninjitsu hybrid.

The Vale Tudo subculture was mainly based in Rio de Janeiro, but many fights also took place in the northern region, as well as the southern region and the Bahia state, where Capoeira is prevalent.

He has also trained as a student of Capoeira under Mestre Jelon Vieira and in a number of other disciplines including kung fu at the USA Shaolin Temple and Brazilian Jiu Jitsu.

Oxumaré is also a Capoeira association at Košice, Slovakia.

Into his 90's, Joao Pequeno continued to teach and practice capoeira at his academy in Forte de Santo Antônio Além do Carmo which has, through the work of Mestre João and GCAP, come to be called the Forte da Capoeira which is off to the north side of the historical center of Salvador, Bahia which is also called Pelourinho.

His father was also a Capoeirista, or practitioner of Capoeira Angola, the traditional style of Capoeira in Bahia, Brazil.

Alejandro Tómas Valdés was a Cellist who joined the band in the 1960s and was also a great Dancer of his own right with him creating the onda-cha as a dance which included Brazil ’ s Capoeira, when the music that he also created was to feature heavy Afro Percussion with the traditional sounds of Cha-cha-cha.

In 1932, a time when Capoeira repression wasn't as strong as before, Mestre Bimba, a strong fighter both in legal and illegal fights, founded in Salvador the first ever Capoeira school.

Richard Meyer was the first fighting game character to use Capoeira.

The first capoeira academy in Newark, New Jersey Capoeira Arts Center, was founded by Mestre Cigano of Grupo Liberdade de Capoeira in 1996.

He began his life in Capoeira as a student of Mestre Gilvenson ( C. Daniel Dawson's book " Capoeira Angola and Mestre João Grande " cites Mestre Barbosa as João Pequeno's first teacher, see Mestre João Grande ) and later became a disciple of Mestre Pastinha-the father of contemporary Capoeira Angola.

As a result, in 1942 Pastinha founded the first Angola school, the Centro Esportivo de Capoeira Angola, located at the Pelourinho.

Playing Capoeira is both a game and a method of practicing the application of Capoeira movements in simulated combat.

Capoeira (; ) is a Brazilian martial art that combines elements of dance and music.

Capoeira has a long and controversial history, since historical documentation in Brazil was very scarce in its colonial times.

Bimba, analyzing the way many capoeiristas were using their abilities only to impress tourists, believed that Capoeira was losing its efficiency as a martial art.

Thus Bimba, helped by his student José Cisnando Lima, intended to return Capoeira to its martial roots.

His work was very well accepted in Salvador and Bimba got the unique opportunity to teach Capoeira to the cultural elite of the city.

Finally in 1940 Capoeira left the Brazilian penal code and definitely left illegality.

Soon the notoriety of Bimba's Capoeira proved to be a problem to traditional capoeiristas, who were gradually losing visibility and were still distrusted by society.

This imbalance began to change with the founding of Centro Esportivo de Capoeira Angola ( CECA ), in 1941, by Vicente Ferreira Pastinha.

Located in the neighbourhood of Pelourinho, in Salvador, this school attracted many traditional capoeiristas who would prefer to keep Capoeira as original as possible.

CECA's notoriety immortalized the name Capoeira Angola as definition of the traditional Capoeira style.

The term wasn't new, as during the 19th century Capoeira was in some places referred to as brincar de angola ( meaning playing Angola ) and many other masters, which did not use Pastinha's techniques, adopted it.

Capoeira nowadays is not only a martial art, but an active exporter of Brazilian culture all over the world.

Since the 1970s Capoeira masters began to emigrate and teach it in other countries.

Present in many countries in every continent, every year Capoeira attracts to Brazil thousands of foreign students and, often, foreign capoeiristas work hard to learn the official Brazilian language, Portuguese, in an effort to better understand and become part of the art.

Renowned Capoeira Masters are often invited to teach abroad or even establish their own schools.

Capoeira presentations, normally theatrical, acrobatic and with little martiality, are common sights in the whole world.

Trickery is ever present and expert capoeiristas never take their sights off their opponents in a Capoeira game.

Symbol of the Brazilian culture, symbol of the ethnic amalgam that characterizes Brazil, symbol of resistance to the oppression, Capoeira definitely changed its image and became a source of pride to Brazilian people.

Capoeira is a fast and versatile martial art which is historically focused on fighting outnumbered or in technological disadvantage.

The attacks in the Capoeira should be done when opportunity arises and must be decisive, like a direct kick in the face or a vital body part, or a strong takedown.

Most Capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras ( leg sweeps ), tesouras or knee strikes.