Mestre Zumbi

Mestre Zumbi began training Capoeira at the age of nine in his native home of Rio de Janeiro, Brazil. He has participated in countless workshops, performances and exhibitions the world over. His journey brought him to the United States in 2000 where he has since taught in numerous schools and universities throughout New York and New Jersey. In 2002 Zumbi became the official Capoeira instructor at Princeton University, founding a program that has been met with a great deal of enthusiasm within the university community. Since that time he has continued his work in the states, founding programs in both Manhattan and Newark.

Community outreach and classes for children have long been an emphasis of Zumbi's work both in Brazil and now in the US. Working with local YMCA's, community centers and art coalitions he has worked to bring Capoeira to the local youth as a means for both mental and physical development as well as providing connections with African and Brazilian cultural heritage. With the help of local governments and community nonprofits, Zumbi will continue to expand the social mission of the group in the coming years.

The Group

Grupo Senzala was founded in the 1960s by a group of young capoeiristas who had been training with the brothers, Rafael and Paulo Flores Viana in the Laranjeiras neighborhood of Rio de Janeiro. This group developed its methodology though contact with the great Masters of the day. They drew on the teachings of Mestres Bimba and Pastinha from Salvador, Bahia as well as the mestres of Rio de Janeiro embodied in figures such as Mestre Leopoldina. These styles were brought together with new teaching styles and a fresh approach to Capoeira. This Senzala style would later form the basis for what would be later called "Capoeira Contemporanea" - a style that quickly gained popularity and is now a mainstay of Capoeira the world over.

In 1967, the group registered for the “Berimbau de Ouro” Capoeira tournament and to their surprise, won the tournament. In fact they came back to win the competition three years in a row. This created a great deal of attention for the members of the young group and provided a launching point for the development of their work. Grupo Senzala grew quickly and by 1974 the mestres of the group began to branch out to develop their own work separately. Each began to teach in different areas, academies, schools, and communities. Their academies flourished within Rio and soon to other cities and states of Brazil and beyond.

Currently Senzala has expanded throughout Brazil, and to numerous countries in Europe and the Americas. Among the founding members of Grupo Senzala still currently working with the group include Mestre Gato, Mestre Peixinho, Mestre Garrincha, Mestre Sorriso, Mestre Itamar and Mestre Gil Velho. In the years since, several members have reached the rank of Mestre: Mestre Beto, Mestre Samara, Mesre Toni Vargas, Mestre Elias, Mestre, Ramos, Mestre Feijao, Mestre Claudio, Mestre Amendoim, Mestre Azeite and Mestre Abutre. The Senzala community is immense, with thousands of students, and many talented teachers. This group is known for its rigorous demand for quality, technique, and attention to tradtion, which passes on the dedication to continue to help Capoeira grow in new places and also, to ensure that the tradition of the artform will always be maintained.

Centro Cultural Senzala

Centro Cultural Senzala is a vital part of the larger group and draws its roots from its founder, Mestre Peixinho. Together with Mestre Toni Vargas, Mestre Ramos and many other notable Mestres, Centro Cultural Senzala continues to develop its work in Rio de Janeiro within its headquarters which are currently located in the neighborhood of Leme. Centro Cultural Senzala continues to expand throughout Brazil and throughout the world.

10. Brown
(Contra-Mestre)

Capoeira: A Brief History and Overview

Capoeira is an Afro-Brazilian art form that dates back hundreds of years. It is neither a fight, nor a dance but rather it is both of these things and much more. Capoeira is a dialog through movement which can take on an endless number of shades of meaning. Capoeira stands out from other artforms in the way that it integrates elements of self-defense, acrobatics, rhythm, and music. The details of this form’s origins and early history are still a matter of debate, however it is clear that enslaved Africans played a crucial role in its development. Some historians claim that slaves used Capoeira's dance-like appearance as a way to hide their training of combat and self-defense.

Regardless of the details of Capoeira's origins and the specific role of African traditions in its developments, it is clear that the history of Capoeira became inextricably linked to the slaves' struggle for freedom. Capoeira became a symbol of their struggle under colonial oppression and as such was heavily persecuted for many years. This legacy followed Capoeira in the years after slavery as well; even after slavery was abolished in 1871, Capoeira remained outlawed and heavily persecuted for many years.

The law forbidding the practice of Capoeira was lifted in 1932, but the stigma associated with Capoeira persisted for some time. On July 9, 1937 Mestre Bimba was given permission to open the first Capoeira academy, ushering in the "academia" era of Capoeira and the formalization of the art form. The opening of Bimba's school and his development of the Regional style created a new movement within Capoeira. This was exemplified in the Brazilian government's official recognition of Mestre Bimba's work, which helped the art form to gain further legitimacty within civil society.

In parallel with Mestre Bimba's Capoeira Regional was the tradition of Capoeira Angola which sought to preserve the traditional Capoeira of Bahia. In contrast to Bimba's approach of blending traditions (e.g. incorporating the blows from Batuque into Capoeira) to creat a new style, Mestre Pastinha and other Angola Mestres sought to retain the elements of traditional Capoeira as it existed prior to the advent of Regional.

With time, the stigma attached to Capoeira began to fade. Capoeira quickly began to grow in popularity and spread throughout the country. With the first cultural shows demonstrating capoeira in the 50's and 60s, Capoeira began to be recognized as valuable piece of Brazil's cultural heritage. Its acceptance and popularity grew and soon it became one of the nation's most popular "sports". Soon, Capoeira grew outside of the borders of Brazil and from the 1970's until today the artform has spread to reach every corner of globe.