Capoeira is an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves from Africa, sometime after the sixteenth century. It was developed in the region of Quilombo dos Palmares and has had great influence on Afro-Brazilian generations, with strong presence in the states of Bahia, Pernambuco, Rio de Janeiro and São Paulo. Participants form a roda, or circle, and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints, takedowns, and with extensive use of leg sweeps, kicks, and headbutts. Less frequently used techniques include elbow strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.

In spite of the ban, Manuel dos Reis Machado (Mestre Bimba) pioneered academic capoeira which became knowns as "Capoeira Regional." Reis Machado was finally successful in convincing the authorities of the cultural value of capoeira, thus ending the official ban in the 1930s. Reis Machado founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Reis Machado opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open today and supervised by his pupil, known as "Vermelho-27".
Having saved capoeira from illegality, Mestre Bimba began being challenged by other capoeira masters who possessed their own unique capoeira styles, such as capoeira angola. There were several prominent angola mestres at this time in Salvador and they held regular rodas together in an area called Gengibirra of Salvador.There were twenty-two mestres in all; among them were Mestre Amorzinho—who commanded the rodas--, Daniel Coutinho--"Mestre Noronha"--, Onça Preta, Geraldo Chapeleiro, Juvenal, and Livino Diogo.Together they founded a center for capoeira Angola. Around the time of Amorzinho's death in 1941-1942 Vicente Ferreira Pastinha, best known as "Mestre Pastinha", took over the center, called the Centro Esportivo de Capoeira Angola.Pastinha worked almost up to his death in 1981 to codify the more traditional Angola style of capoeira and he wrote endlessly on the sport. Because he preserved much of the traditional style of capoeira, in his practice, teachings, and writings, he too is important to modern capoeira.
Music

A capoeira bateria led by Cobra Mansa featuring three berimbaus and a pandeiro. Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (são bento regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others have lighthearted and playful lyrics. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau commands. In this manner, it is truly the music that drives capoeira.
There are three basic kinds of songs in capoeira[citation needed]. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the mestre (master). These ladainhas will often be famous songs previously written by a mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song.
The instruments are played in a row called the bateria. The rhythm of the bateria is set by the berimbaus (stringed percussion instruments that look like musical bows). Other instruments in the bateria are: two pandeiros (tambourines), a reco-reco (rasp), and an agogô (double gong bell). The atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.

Special events
Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited.
Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game.