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

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

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

It is this combination of attacks, defense and mobility which gives Capoeira its perceived ' fluidity ' and choreography-like style.

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

In a roda every cultural aspect of Capoeira is present, not only the martial side.

Nowadays, even though apelidos are not necessary anymore, the tradition is still very alive not only in Capoeira but in many aspects of Brazilian culture.

This, however, is misleading as the meaning of malicia in Capoeira is the capacity to understand someone's intentions.

In Capoeira, malandragem is the ability to quickly understand an opponent's aggressive intentions, and during a fight or a game, fool, trick and deceive him.

Music is integral to Capoeira.

It is traditionally formed by three berimbaus, two pandeiros, one atabaque, one agogô and one ganzá, but this format may vary depending on the Capoeira group's traditions or the roda style.

As the capoeiristas change their playing style significantly following the toque of the berimbau, which sets the game's speed, style and aggressiveness, it is truly the music that drives a Capoeira game.

Since the end of Capoeira prohibition, knifes or razors are unlikely to come around the roda, so usually this toque is played only in some presentations.

The ideal of Capoeira Angola is to maintain Capoeira as close to its roots as possible.

Typical music bateria formation in a roda of Capoeira Angola is three berimbaus, two pandeiros, one atabaque, one agogô and one ganzuá.

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.

Mestre Bimba made a lot of presentations of his new style, but the most well known was the one made at 1953 to Brazilian president Getúlio Vargas, where the president would say: " A Capoeira é o único esporte verdadeiramente nacional " ( Capoeira is the only truly national sport ).

Notably more acrobatic, this sub-style is seen by some as the natural evolution of Capoeira, by others as adulteration or even misinterpretation of Capoeira.

The customized art consisted of dance-like maneuvers flourished with fast and powerful strikes, much like Capoeira or as seen by actor Daniel O ' Neill in Bangkok Adrenaline.

* Aú, a cartwheel in the Brazilian martial art of Capoeira

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.

Pastinha preferred the ludic aspects of the game rather than the martial side, and was much respected by recognized Capoeira masters.

Both believed that Capoeira was losing its martial side and concluded there was a need to restructure it.

* El Juego de Maní, an Afro-Cuban martial art / dance similar to Capoeira.

Some martial arts, such as T ' ai chi ch ' uan and Capoeira, reject blocking techniques completely as they consider them too inefficient.

Kicks play a significant role in many forms of martial arts, such as Taekwondo, Karate, Kung fu, Vovinam, Kickboxing, Muay Thai, Capoeira, Silat, and Kalarippayattu.

Instinctive punching, boxing, along with most martial arts uses this type of punching aside from Wing Chun and Capoeira who favor adding slightly more speed at the cost of moderate power loss.

His breakout role was in the 1993 film Only the Strong, in which he played Louis, a Capoeira master who takes a high school's potential failures and turns their lives around by teaching them the Brazilian martial art based on the West African martial art brought by slaves.

In addition, Ted is credited for being an expert at several other martial arts, including Krav Maga, Hapkido, Muay Thai, and Capoeira, though he prefers to trade punches as part of his brawling style.

* Armada ( Capoeira ), a move in the Brazilian martial art capoeira

Vicente Joaquim Ferreira Pastinha ( commonly called Mestre Pastinha ) ( April 5, 1889, Salvador, Bahia, Brazil – November 13, 1981 ) was a mestre ( a master practitioner ) of the Afro-Brazilian martial art Capoeira.

It is an ode to Capoeira, the martial art of Brazilian slaves ; the ' circle of fire ' is the sacred space in which this martial art is performed.

* Capoeira ( Brazilian martial art ) from Kikongo kipura ( cf.

Capoeira is an Afro-Brazilian martial art marked by deft, tricky movements often played on the ground or completely inverted.

According to this theory, Jailhouse Rock may be a modern American manifestation of the many African martial arts that were disseminated throughout the African diaspora, comparable to martial arts including Afro-Brazilian Capoeira, Cuban Mani, Martiniquese Ladja, and Eritrean Testa.

The choreography incorporates several types of acrobatics and martial arts, including fight scenes using the Wushu style of martial arts, Chinese opera, Poi for manipulating staves and batons, Brazilian Capoeira dance, bungees, aerial straps, swing poles, and a wheel of death.

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.

* in the 2011 Marvel Studios film Thor, Tom Hiddleston practiced the art of Capoeira for his role as Loki.

During the recession of the late 70s ( See Oil Crisis of 1973 ), Capoeira Mestres and dedicated practitioners amongst the populace faced great hardships to continue the practice of their beloved art.

In the mornings he would take art classes at the Liceu de Artes e Ofício school where he learned to paint ; afternoons were spent playing with kites and practicing Capoeira.

Jelon Vieira is a Brazilian choreographer and teacher who, in 2000, achieved recognition by New York City's Brazilian Cultural Center as a pioneer in presenting to American audiences the Afro-Brazilian art and dance form, Capoeira.

Upon returning to Brazil, in his home community of Boca do Rio, a bairro of the nation's third-largest city, Salvador, Vieira continues to teach children and young adults the art of Capoeira to build self-esteem, instill self-discipline and raise social consciousness while at the same time becoming a vital part of their own community.

Among other things, there he described the art of varying the rhythms in subtle ways and seamlessly flowing from one rhythmic form to the next without any break in the forms as “ can be observed in the most forms of dance of the people of the African Diaspora as well as sports like boxing, basketball, football, Capoeira, etc.

The move is commonly employed in the Afro-Brazilian martial art Capoeira and in breakdancing.