Search Results for: Muzenza

Muzenza Group

Logos of the Muzenza Group in Curitiba led by Mestre Burguês, at the end of the 1970s (left) and 1980s (right).

The Muzenza Group was founded in 1972 by Paulo Sérgio da Silva, better known as Mestre Paulão of Muzenza. Later lead by Mestre Burguês, the group expanded significantly in the 1990s, creating affiliated centres in many states in Brazil and abroad. Today, Muzenza has established itself as one of the largest capoeira groups in the world.

Paulo Sérgio da Silva was the student of his older brother, Luiz Américo da Silva, otherwise known as Mestre Mintirinha, whom he considers to be his “first and only master”. It was Mintirinha, too, who got the idea of ​​the name for the group from a Candomblé de Angola practitioner. Muzenza is also the name of the first public dance of a newly initiated woman.

Before the creation of the group, Paulão was part of Mestre Mintirinha’s group – Obaluaiê. Paulão then felt the need to create a group of his own. Grupo Muzenza’s initial pitch was to be a capoeira school with a more traditional style. In the first years of its existence, it participated in important capoeira events in Rio, such as the 1st Individual Carioca Capoeira Championship in July 1975. In this event organized by the Brazilian Pugilist Confederation, Márcio de Freitas Matias, a member of the group, became runner-up in the average weight class of the yellow and blue belts. In addition to this event, the group also participated in the 1976 Capoeira Interclub Tournament.

Muzenza logo, 1990s.

M Paulão taught the group until 1978, when he decided to dedicate himself entirely to his military career. At that time, Burguês, who had been his student and was already developing his own work in the group, migrated to Curitiba and continued Muzenza Group’s journey there. Through the work of Mestre Burguês, the group and capoeira in Paraná grew, mainly from the end of the 1980s.

In the hands of Mestre Burguês, the technical aspect of capoeira at Muzenza tried to differentiate itself from the capoeira style that was prevalent in Rio de Janeiro, which favoured capoeira-fight. Seeking to improve their knowledge of the “fundaments” of capoeira, Mestre Burguês undertook various trips to Bahia and, thus began to develop his own methodology that linked capoeira-fight and capoeira-art. He consequently developed a choreographed method to better teach his students. This method uses 22 sequences.

According to Mestre Bourgeois one of the characteristics of “the Muzenza player is to know how to play going up and down [subindo e descendo = high and low game], to know the moves and the fundamental aspects of capoeira. There is no need for everyone to move or dance the same way because we do not force anyone to do this. Our strength is to work hard on speed and train with objectivity, to not give up and not give hits or kicks in vain ”. Grupo Muzenza’s game hence developed from lessons learned in capoeira schools in Bahia and Rio de Janeiro, resulting in “a modern and stylized style” (Sousa 2015). It looked for inspiration in both modern and traditional capoeira as well as respect for the individuality of each player, all these are important characteristics for the group. Many advanced students of Muzenza are proud to have developed their own style, since the older masters of the group insist that it is the style that has to fit the capoeirista, not the other way around.

Current Muzenza Group logo.

Since the end of the eighties, other groups in Brazil began to show interest in joining Muzenza. As a result, the Muzenza Group is now present in all Brazilian states and in 52 countries, thus becoming of the largest capoeira groups in the world (they reached 25,000 members in 2000). It has mestres, contra-mestres, teachers and instructors with decades of experience in capoeira, a total of 706 registered instructors teaching around the world with the Muzenza name (numbers from March 2020). With a uniform composed of trousers, a T-shirt and white shoes, the group uses an orchestra composed of atabaque, three berimbaus, tambourine, agogô and reco-reco. As for the toques (basic rhythms) there are six: Angola, São Bento Pequeno, São Bento Grande of Angola, Iúna, São Bento Grande of Regional and Banguela. Muzenza’s uniform and drums reflect this union between the traditional and contemporary. They incorporate elements of traditional capoeira in the percussion (bateria) and elements of contemporary regional capoeira in the white uniform, and the graduations.

Since 2013 Grupo Muzenza has conducted ENCAMUZENZA ‑ meetings of physical education teachers, pedagogues, psychologists, historians, and physiotherapists who work with capoeira. The results of these meetings are published in book form by the group with the title Textos de Capoeira.

Geisimara Matos and Matthias Röhrig Assunção
(Published 16/04/2020)



Interviews with Mestre Paulão da Muzenza, Mestre Burguês and students from Muzenza.

SOUSA, Joelson Silva de. What capoeira does Muzenza play? In: MENEZES, Antonio Carlos de (Mestre Burguês) (Org.). Capoeira Texts – Grupo Muzenza de Capoeira. Rio de Janeiro, 2015.

Mestre Paulão da Muzenza

Paulo Sérgio da Silva (Mestre Paulão da Muzenza) was introduced to capoeira in Rio de Janeiro by his brother Luiz Américo da Silva, Mestre Mintirinha, more than fifty years ago. A state school student, he owes capoeira his first degree in higher education ‑ Bachelor of Law- because he obtained a scholarship for his performance as a university athlete in a capoeira competition.

He joined the Brazilian Navy as a marine, and after 31 years of service he went into the reserve as a senior officer. During that time, he taught capoeira to everyone around him in state schools, in the Armed Forces, at universities and society at large. In the 1960s he founded the capoeira group Muzenza, which is one of the largest capoeira groups in the world today.

A member of Masters Council of Rio de Janeiro created by the Brazilian Institute for Historical and Artistic Heritage (IPHAN), he was awarded the Viva Meu Mestre Award, also by IPHAN, in 2010. M. Paulão currently fights for the formalisation of the profession of capoeira master and the safeguard of the art.


Por: Jorge Felipe Columá, PhD in Physical Education and Culture

Thiago de Paula dos Anjos de Souza, BA in Physical Education

Rômulo Reis, PhD in Sports Sciences


Zé Pedro and Paulinho Castro. Photo: Acervo André Lacé. 

Capoeira as a socio-cultural phenomenon had a singular shape in Rio de Janeiro and was normally linked to survival and malandragem (vagrancy or rogueness). Repressed by the government during the nineteenth century, the Cariocan capoeira resisted, adapted itself like a chameleon, obeying good sense and ramifying in many lineages of groups, masters and students. Among these, one capoeira master stands out, a Vale-Tudo (Mixed Martial Arts) fighter, and a jiu-jitsu black belt, who distinguished himself with ginga, kicks and hard game in the capoeira rodas and those of life: the grand master Zé Pedro, leader of the legendary roda in Bonsucesso in the 1970s.

We start our narrative with an interview with Mestre Zé Pedro in the afternoon heat of the Olaria suburb of Rio de Janeiro. Born in the city of Santa Rita, in the Northeastern state of Paraíba, Mestre Zé Pedro arrived in Rio de Janeiro aged six, after losing his father. Destitute, he still managed to become literate aged eight, and got on with his life without never abandoning his studies, and always guided by the strength of his will to follow his path forwards. He enlisted in the Brazilian Navy as a sailor, having to lie about his age to be accepted, a way he found to survive.

He passed an examination to enter the Military Police of Rio de Janeiro (PMERJ) where he served as a soldier. He took a degree in Law after he reached the age of thirty, and specialised in combat, including a course at the Jungle War Instruction Centre (CIG) in Manaus, Amazonas state. In his military career he ended up promoted to Commander (Major), and was one of the founders of the special unit BOPE (Batalhão de Operações Especiais) of the PMERJ, a unit that became legendary and a reference for many.

M Zé Pedro claims that he never received any help from others through patronage or clientelism during his entire career, but developed thanks to his own struggle and merit. He nevertheless had a great friend at his side in the rodas of capoeira and of life, Paulo Sérgio da Silva, Master Paulão Muzenza, who always told him “we are not born to be soldiers, we have to move upwards”.

Assisted by his training in other combat modalities, M Zé Pedro participated in some Vale Tudo (precursor to Mixed Martial Arts) contests.  The Brazilian Jiu-Jitsu (BJJ) master Hélio Gracie awarded him with a black belt and said that he considered him a “golden boy”. According to Zé Pedro’s own account, he remained unbeaten in these MMA contests: “I never lost a fight in Vale Tudo”.

His initial contact with capoeira happened when he saw a group of capoeiristas practice at Mestre Valdo Santana’s academy, the brother of the famous fighter from Bahia, Waldemar Santana, trained in boxing, luta livre (free-style), jiu-jitsu and capoeira. Waldemar helped to disseminate combat sports in Brazil and is known for the longest fight in the history of Vale Tudo, with his former teacher Hélio Gracie.

He started training capoeira kicks and movements, later entering the academy of Mestre Mário Buscapé (Mario dos Santos), with whom he trained for three years, and learned, according to his teacher, capoeira with great facility, given his interest in sports.

In the academy of Mario Buscapé he met various well-known masters, such as Mestres Paulão Muzenz and Mintirinha. In this breeding-ground of tough guys, M Zé Pedro developed his skills with the berimbau, an instrument he is proud to play ver well – and became a singer with a profound knowledge of chulas and other capoeira songs. Zé Pedro pursued this path further, until becoming one of the main exponents of the “hard style” capoeira in Rio de Janeiro.

“When a guy tried to provoke, we made him fall a little bit”.

Mestre Zé Pedro opened his first own academy in the Rua Cândido Benício, in the Jacarepaguá neighbourhood, a space which he shared for some time with Mestre Mintirinha. It is here that he founded his first school, the group Pequenos Libertadores (Little freedom fighters), a name that brought him some trouble, as he had, in this period of military dictatorship, to explain to Secret Service (in this case the DOI-CODI), if the name was linked to some opposition or “resistance” to the military regime.  His story in the Bonsucesso neighbourhood began in the early 1970s when he started to teach capoeira in a venue located at the first floor (sobreloja) of the Rua Uranos, nº 497.Teaching initially was for the group called Filhos de Amaralina,  and included the realisation of rodas and shows.

Paulão and Zé Pedro. Photo: M Paulão Muzenza.

The group changed his name to Guaiamus and Nagoas, in homage to two rival capoeira gangs that formerly existed in Rio de Janeiro. In this period Zé Pedro revealed that he enjoyed access to other capoeira groups, attended rodas all over the city, made friends, taught his students and supervised many rodas at this academy.

“I took over the academy, assuming all responsibilities, and organized the big rodas”.

And so the legendary roda of Mestre Zé Pedro in Bonsucesso was born. According to the master, the roda was attended by many good capoeiristas of the time and only tough guys managed to play. Asked about some game or special moment of the roda, the master replied: “The rodas, my friend, were excellent. I can’t enumerate them all. Like saying this one was best”.  However, he confirmed the attendance of capoeira masters such as Arthur Emídio, Leopoldina, Mintirinha, Paulão, Camisa (Camisa Roxa), Camisinha (Camisa), Touro, Dentinho, Gato, Paulinho Godoi, Celso, Peixinho, Itamar, Anzol, Silas, Corvinho, Amarelinho, and Garrinchinha.

“My academy became known because we had a contract with RioTour (official Tourism Board of Rio de Janeiro), so the name of my academy figured on the tourism events calendar  for the whole world”.

Hence the roda and academy of Zé Pedro became a core reference, and the capoeiristas from Brasília, São Paulo e Bahia came there to play. The venue at times also hosted them and became a reference for meeting friends.

The roda was usually led by one berimbau and happened on Sundas. The playing styles were very diverse, as the master always argued that “capoeira is capoeira”. There were games that were more flexible and malleable, or very quick, and those for kicking hard (“Pancada”), closer to his own style, the hard game, the close combat. The capoeiristas of the Bonsucesso roda played with malice and naturally rivalries emerged, for example, the one always mentioned between Mestres Paulão and Camisa. However, despite these hard games, M Zé Pedro points out, nobody became ennemy of the other, they were capoeiristas of the soul, and after the roda there always were the moments of confraternization.

M Zé Pedro had the capoeiristas Paulinho Guaiamum, Alfredo, Célio, Élcio, Valmir, Murilo and Luiz Peito Queimado as advanced students. In 1979, he followed a “call from life” and stopped teaching capoeira to study and pursue his career as a sergeant. But his legacy for capoeira remained in the annals of the history of Rio de Janeiro, and his contribution to capoeira is always remembered by the elder ones, who refer to his roda as a capoeira place of pure capoeira, technical, dexterity, agility, power and malice, a symbol of a generation of masters and practitioners from the Cariocan capoeira.


Based on an interview with M Zé Pedro by the authors and M Paulão Muzenza, 17 October 2018.

To see More


The Roda at Zé Pedro’s

Master Zé Pedro

One of the most famous capoeira events in Rio de Janeiro, during the 1970s, was the roda at Zé Pedro’s academy. José Pedro da Silva was, at the time, still a soldier in the Military Police of the Federal District, and from 1975 onwards, of the Rio de Janeiro State (PMERJ). He participated in freestyle fighting contests (luta livre) broadcasted by TV Continental (Canal 9, which existed until 1972). He learned capoeira from Mário Buscapé, the leader of the Capoeiras do Bonfim group. Yet he also was a good friend of another Bahian master, Artur Emídio, which whom he even shared the space of his academy, in rua Uranos, 497, in Bonsucesso.

Masters Paulão da Muzenza e Zé Pedro

According to Mestre Paulão Muzenza, who played in the roda at the time, “Mestre Zé Pedro was a freestyle combat and jiu-jitsu teacher, but his passion was capoeira. […] Mestre Zé Pedro played a highly bellicose capoeira.” At the same time, he was an excellent berimbau player and had, according to Mestre André Lacé, a strong personality. All these characteristics allowed him to lead this capoeira roda which took place every Sunday, starting at ten o’clock, and which quickly became a key reference in Rio de Janeiro’s capoeira. As Mestre Valdir Sales, another participant of the roda stated: “His roda only had bambas, tough guys.” The most famous capoeiristas of that time in Rio de Janeiro came to play in Zé Pedro’s roda: Artur Emídio, Paulo Gomes, Mintirinha, Khorvo, Luis Malhado, Macaco Preto, Nilson Arerê, Paulão Muzenza, Moraes, Gato, Camisa, Celso, Touro and some others. Games were hard, meaning that kicks and headbutts were carried out with full contact. To the point that rather unexperienced capoeiristas would go just to watch the bambas play, or as Mestre Cobra Mansa remembers, only enter the roda at the very beginning or the very end. We do not have, however, any news of real fights taking place because everybody respected the masters in attendance. Zé Pedro’s roda took place regularly between 1973 and 1979, when its organiser decided to dedicate himself entirely to his career in the PMERJ.

 André Lacé made a broadcast for Radio Roquette Pinto in 1975, where he not only documented the musicality of the roda, but also interviewed some of its participants. You can hear the original 1975 audio, after our interview with André Lacé, in this podcast.

Capoeiristas that played in Zé Pedro’s roda according to Mestre Paulão Muzenza:
Amarelinho, Altair, Artur Emídio, Baiano Anzol, Baiano do Colégio Santa Cruz, Burguês, Camisa, Canela, Celso, Corvinho, Crioulo Kapoarte, Denis, Dentinho, Djalma Bandeira, Eduardo de Celso, Gato, Gegê, Índio Aranha, Índia, Itamar, João de Celso, Julio César Figueiró, Khorvo, Luis Malhado, Macaco Preto, Medeiros, Mendonça, Mintirinha, Moraes, Mosquito, Mudinho, Nacional, Nilson Arerê, Nilton Kapoarte, Milton de Celso, Olímpio, Paulinho Godoí, Paulão Muzenza, Paulo Gomes, Peixinho da Senzala, Rui Henrique, Silas, Tabosa, Touro, Zé Maria, Ziza.

The Roda at Zé Pedro’s at the Bonsucesso academy.


Photos from M. Paulão Muzenza collection.

M. Paulão Muzenza (Interview, 2014);

M. Valdir Sales (Interview, 2019),

M. André Lacé (Interview, 2018).

Kapoarte Group

Masters Khorvo, Mentirinha e Paulão at an event in the old Cacique de Ramos space.

The capoeira group Kapoarte was founded 20 January 1965 by Mintirinha, Paulão, Piriquito, Khorvo and Silas. The original name of the group, when founded, was Capoeira Association Kapoarte Sons of Obaluaê. As Master Mintirinha explains today: “It was the first group I created. It later was called only Kapoarte. Why did I take away the Obaluaê [the name of a Yoruba deity]? Because capoeira is not religion. Capoeira is capoeira.” (Interview, 2019)

 According to Mestre Mintirinha, the group Kapoarte started its capoeira classes in the “academy”[e.g., the capoeira group training space] Milton Ribeiro, which was located in Rua Etelvina in the Olaria neighbourhood. During the 1970s, Kapoarte participated in various capoeira championships in Rio de Janeiro, such as the Torneiro Interclubes de Capoeira (Capoeira Inter-club Tournament). In the 1975 tournament, Kapoarte was among the academies which had the greatest number of winners in all categories combined. The next year Kapoarte had another good performance and took five trophies from the competition.

Mestre Silas jumping in a shot that became iconic, at the time, and is still used as group emblem.

Sometimes later the mestres Mintirinha, Paulão and Khorvo created other groups, and the group was lead only by Mestre Silas. The spelling of K in Kaporte is due, according to Mestre Silas, ao Kimbundu language. M Silas explains that “[…] there is ‘c’ in kimbundu. Hence I pt Kapoarte wit a k because kimbundu has no ‘c’. And no ‘que’ either. In this way concern with the issue of negritude and the Angolan roots contriguted to the particular spelling of the group name.

With this long journey, resisisting umtil today, Kapoarte is one of the oldest capoeira groups still in existence. Many teachers and masters were made by Kapoarte (see list below). The group is active in various neighbourhoods in Rio de Janeiro, and has most followers in the Maré shanty town. Master Silas, now aged 76, still leads the ‘Maroon community Kapoarte’, as he calls the family home and the adjacent headquarter of the group in Brás de Pina, a neighbourhood in the northern zone of Rio de Janeiro. The rodas at the Kaporte HQ are attended by many, from the oldest students to recent beginners.

 Geisimara Mattos e Matthias Röhrig Assunção (May 2020)

Official list of the Masters made by the grupo Kapoarte and M Silas:
Dejacir pastor; Dejair; Ivan Bicho; Jorge Alvarenga (falecido); Paulo Alvarenga (Mestre Godoi); Luis Aruanda; Milton Capeta; José Fernando (M. Zé); Fernando Capeta; Antonino (falecido); Jorge Coutinho (M Crioulo); Everaldo Lima; Zé Maria; Já Nielson (M Janinho); Chorão Tonho; Mirim; Valdeir; Valdecir; Neném; Galileu; Irã; Ivanito (M Mano); Galego; Paulinho Titica; Carlos Alberto (M Bahia); José Luis Ferreira (M Coxinha); Jones; Sansão; Murilo; Penninha; Teco; Armandinho (falecido); Nelson Capacete; Capitão Oswaldo; Marcio Negão (falecido); Dida; Neném Diniz; Tatu.


Interviews with Mestres Silas (2018) e Mintirinha (2019)
Newspapers of the Hemeroteca Digital, Brazilian National Library
Information and photos provided by Mestres Galileu e Paulão Muzenza.

Confraternization of the Kapoarte group and the Capoeira History team after the interview and roda in 2018.


grupo muzenza


Mestre Burguês

Antonio de Menezes was born on 09/06/1955, in Laranjeiras / SE (Sergipe), and soon after his family moved to Rio de Janeiro. At the age of twelve, he started practising capoeira with the book “Capoeira Sem Mestre”. A bit later he started to visit Mestre Mentirinha’s capoeira rodas in Ramos, where he met Mestre Paulão, founder of the Muzenza group. He then enrolled at Clube do Bolinha, where Mestre Paulão gave classes. The name Burguês (bourgeois) is from his time there, as he payed 3 months in advance for the monthly expense, which actually came working collecting bottles and pieces of lead in the streets to sell in the junkyard.

After a few years, Mestre Paulão, who was busy with his duties in the Brazilian Navy, transferred the group’s command to Burguês, who still supervises it today.

In 1975, after teaching in Madureira and Méier (RJ), he went to Curitiba. He transferred the headquarters of Muzenza to Paraná, starting work focused on the roots of capoeira and implementing this modality in clubs, schools, poor communities, universities and barracks.

Throughout his career he held several assemblies, national meetings, founded the Paranaense Federation of Capoeira, the Brazilian Capoeira Confederation and the Super Liga Brasileira de Capoeira, of which he is the president. In 2006 he returned to the city of Rio de Janeiro, going back to his roots, friends and family, replenishing his energy to continue the Muzenza Family saga.

Mestre Artur Emídio

M. Artur Emídio, in 1987. M. Soldado, personal collection.

Artur Emídio de Oliveira was born in 1930 and spent his childhood in Itabuna, Bahia, where he completed secondary school. According to his own testimony, he learned capoeira ‘in the street, on the pavement’, from the age of seven, with his ‘master’ (mestre) Teodoro Ramos, known as ‘Paizinho’. After the death of Paizinho in 1945, Emídio took over his capoeira academy, even though he was only fifteen at the time. Despite his youth, he started teaching Paizinho’s former students and soon became well known, even receiving a visit from capoeira students from Salvador.

Artur Emídio left Itabuna in the early 1950s, when he was around twenty years old. Roberto Pereira (2018, pp. 7–8) suggests that he was motivated to leave after reading in a magazine about fights between practitioners of capoeira and jiu-jitsu. He first went to São Paulo, where he challenged fighters of various combat sports. He stayed in São Paulo for about a year, and in 1953 moved to Rio de Janeiro (Lacé 2002, p. 226).

Artur Emídio’s trajectory in both São Paulo and Rio de Janeiro was shaped by his fights in the ring. In his first documented fight, on 29th June 1953, he confronted Rudolf Hermanny, a student of Sinhozinho, and lost by knock-out. Maybe for that reason he attended the Gracie academy in Rio, and learned some jiu-jitsu techniques. He thus became a practitioner of what was known at the time as luta livre, or free-style fighting. Neverthless, Artur always asserted the superiority of capoeira over other martial arts. Among the issues involved in these fights between different combat forms were the questions of dress, and of which attacks were or were not permitted. Artur refused to wear a kimono and demanded to fight in shorts and trainers; he also wanted to be able to use whatever attacks were allowed in capoeira.

Artur Emídio and Robson Gracie were the protagonists in one of the most famous fights in the ring, on 13th April 1957. That day, the Diário Carioca reported, Artur Emídio was ‘brought to the ground at the very beginning’ and subjected to ‘strangling from behind’. The fight only lasted four minutes. Such defeats motivated him to find other paths for his martial art and his career as a capoeirista; at the same time, however, the experience of the ring shaped his style – quick and objective. Mestre Burguês, who got to know him in the 1970s, described his style as follows: ‘I saw him teaching on several occasions: he had a great concern for objectivity and efficiency in capoeira. Capoeira is fighting, but the capoeirista needs to always seek to go to ground, dodge and avoid direct confrontation, like the guy kicking and wanting to block attacks.’ ‘Entries’ and velocity therefore came to characterise Artur Emídio’s style. As Mestre Silas recalls, ‘The symbol of Artur Emídio was the bolt, because he was so fast.’

M. Artur Emídio in the 1960s [M. Paulão, personal collection]

From the 1960s onwards, Artur Emídio abandoned the ring and dedicated himself exclusively to capoeira. He took great care of his school (academia), gave displays throughout the city, acted as judge in capoeira competitions (such as the Berimbau de Ouro) and got involved in the Cariocan Federation of Pugilism, which began the process of the institutionalisation of capoeira, formalising its practice and establishing rules. He also worked as a masseur. According to Mestre Gegê, Artur was proud to have treated Martha Rocha after she won the Miss Brazil contest in 1954.

He started to give classes in the free-style academy of Waldemar Santana, in the Higienópolis neighbourhood. This school was located above the Rio Novo pharmacy, at Democraticos Avenue 1313, where he also worked as a masseur. Shortly afterwards he established his own capoeira academy in Manuel Fontenele Street, just behind the pharmacy. At that time there were very few places in Rio de Janeiro where one could practise capoeira, and the Academia de Capoeira Artur Emídio was one of the first in the city. The Sunday roda in Artur’s academy played a crucial role in the development of Contemporary Capoeira in Rio de Janeiro, and in Brazil, because it was a meeting point for capoeiristas of various styles. As Mestre Paulão recalls, ‘Mestres from all over Brazil came to the roda of Artur Emídio, […] here the suburbs, the northern and the southern zones [of Rio] congregated, it was an eclectic capoeira’. Excellent berimbau players such as Mestres Paraná and Mucungê joined the orchestra of the roda.

Artur Emídio stood out as a mestre who disseminated capoeira in a wide range of public spaces and media, from classes and shows to TV programmes. ‘If the Brazilian government supports me’, he claimed in an interview given to the Revista do Esporte in 1959, ‘I will show that there is no other sport as beautiful or physical exercise as perfect for the human body as our capoeira.’

With Djalma Bandeira (one of his first ‘disciples’), he presented himself on stage in a folkloric show called ‘Skindô‘. The cultural entrepreneur Abraham Medina engaged them as part of a show featuring the romantic singer Nelson Gonçalves that toured in New York, Paris, Acapulco and Buenos Aires. Artur can also therefore be considered a pioneer of the globalisation of capoeira.

Artur Emídio had a number of students who became important mestres in their own right, such as Djalma Bandeira, Paulo Gomes, Mendonça, Leopoldina and Roberval Serejo. He thus managed to transmit to new generations his style and his agility, characteristics that shaped the emerging Contemporary Capoeira.

Artur Emídio de Oliveira, 1930-2011

Geisimara Soares Matos & Matthias Röhrig Assunção (June 2019)


Newspapers consulted at Hemeroteca Digital da Biblioteca Nacional;

Interviews with M Artur Emídio (2011), M Burguês (2018), M Paulão Muzenza (2016), M Silas (2014)

To learn more:

Ferreira, Izabel, A capoeira no Rio de Janeiro, 1890-1950. Rio de Janeiro: Novas idéias, 2007.

Lacé, André. A capoeiragem no Rio de Janeiro. Editora Europa. Rio de Janeiro, 2002.

Pereira, Roberto Augusto A., O mestre Artur Emídio de Oliveira e a defesa da capoeiraem enquanto “Luta Nacional”. Recorde, Rio de Janeiro, v. 11, n. 2, p. 1-24, jul./dez. 2018.

Pires, Antonio Liberac Cardoso Simões, Culturas Circulares. A formação histórica da Capoeira Contemporânea no Rio de Janeiro. Curitiba: Editora Progressiva, 2010.