In the art form capoeira, it is widely believed that the first time carried out in Brazil by African slaves in the slave quarters of them (senzalas) and during the time allotted for the transfer of leisure. African slaves were classified based on differences in their origins. Namely, the African origins of the same stored separately to prevent mutual understanding and limiting the chance of rebellion. In one region will be understood that each of - music, religion and dance - which in the African context can not be separated.
This may go some way in explaining the syncretic nature of capoeira. Study the art of battle will naturally forbidden, proficiency in combat will be viewed as captive to doubt the quality of labor. Appropriate African origins of capoeira is not known because there is no capoeira has been found in the African sub-continent who have taken exception directly from Brazil in recent years. However, bearing a striking art form capoeira similar to those found in other parts of the new world, far from Brazil, but at the same time the slave trade routes - such as Martinique and Ladja of less Moringue from Reunion Islands. The tools (which atabaque, pandeiro, reco-reco, Agogo and berimbau) can be more eaily be traced to areas of the right and the actual style of physical interaction bears a structural resemblance to other Afro-Brazilian cultural manifestations such as Candomblé and samba.
Runaway slaves formed settlements called fugitive quilombos, the largest and most successful) is a network of individuals who called the village of Palmares, survived repeated attacks for more than seventy years until finally fell in 1695. Both the settlement itself and the most famous leader, Zumbi is an icon in the philosophy and history of capoeira. The following is said to have helped capoeira Palmares refused repeated invasions in the form of a guerrilla battle forest types. This theory helps to explain both the survival and Palmares further spread of capoeira in the country in subsequent years, as it comes from a central point where the format of the martial arts had been largely determined by demand. The quilombo / senzala theory is not based on material written history, but it was widely believed that many book reports as fact. This is important in how to think capoeira membership: at this moment we have the syncretic, pan-African, a practical manifestation of the culture used as a martial art. It is simply there in the Afro-Brazilian society as a kind of dance / game, what's more, the religious and spiritual tone of the celebration of the art itself and the society was bor