‘I Can See it in the Nightclub’: Dance, Capoeira and Male Bodies

Abstract

This paper reports an ethnographic study of how Brazilians teaching capoeira in the UK use dance as a discursive and embodied pedagogic strategy both to change men's bodies and also to gauge the success of their instructional work. The theoretical framework is drawn from Herzfeld's neglected study of the poetics of manhood in Crete which is revisited in the light of his subsequent analysis of the embodiment of ethnographic practice. Ethnographic research is used to show how British men learning capoeira are enculturated into a different, Brazilian, embodiment in which dance is masculine, and dancing is one way to display a social self‐regard. Discourse about performance helps to define the appropriateness of the social self‐regard that the capoeira students acquire and display.

Acts of omission and commission in the embodied learning of diasporic capoeira and swimming

“…In 2009 Neil ceased training due to a persistent injury. Between then and the time of writing, Sara has continued to observe capoeira classes (mostly with the same instructor, although many other teachers have been observed, some with prolonged regularity) and continues to regularly discuss the data and produce publications with Neil (see Stephens and Delamont, 2006a on methods;Delamont et al, 2017, Stephens and Delamont 2006b, 2008, 2009, 2010a, 2010b, 2013a2013b, and Rosario et al, 2010 for reports on the findings).…”

‘Boxing Is Our Business’: The Embodiment of a Leftist Identity in Boxe Popolare

“…On the one hand, many scholars describe in detail the phenomenology of the embodied micro-processes occurring within the training groups that give shape to the interconnected set of dispositions-i.e., habitus-associated with MACS [31,39]. On the other hand, scholars put more emphasis on tacit knowledge of technical enculturation and habitus acquisition by showing, as Delamont and Stephens do in their study about diasporic capoeira in the U.K. [40][41][42], the symbolic significance attached to bodily postures; such a thing called by Bourdieu the "meaning of the game" [33]. Acquiring a habitus means embodying a state of body and a state of mind [34].…”

‘Pra homem, menino e mulher’? Problematizing the gender inclusivity discourse in capoeira

“…This includes the cultivation of a cintura solta (smooth or flexible waist) for the performance of sinuous dance movements in the samba de roda; increased flexibility for the performance of exotic, acrobatic and crowd pleasing floreios (flourishes); and the development of fighting prowess to unleash dangerous kicks and take-downs (De Campos et al, 2010;Delamont et al, 2017;Downey, 2005;Stephens and Delamont, 2013) . A s Delamont (2006: 167-168) observes, 'In capoeira …the most successfully masculine men are those who can fight and dance simultaneously, play with sinuous grace, attack and defend aggressively, and display comfort with both aspects of their bodies'.…”

“…A s Delamont (2006: 167-168) observes, 'In capoeira …the most successfully masculine men are those who can fight and dance simultaneously, play with sinuous grace, attack and defend aggressively, and display comfort with both aspects of their bodies'. In capoeira communities, the bodies and masculine performances of male capoeira teachers play an important role here, at least for male students, as an object of emulation (Delamont et al, 2017 Several capoeira authors (Delamont, 2006;Downey, 2005;Stephens and Delamont, 2013) have commented on how the embodied performance of such 'exotic' masculinity starkly challenges traditional forms masculinity in Europe and North America, where flexibility, dance and sensuality are viewed as 'entirely oppositional to sporting prowess' (Delamont, 2006: 167). These authors address how students view these forms of masculinity in capoeira as authoritative, idealized and transgressive, and thus enable a form of corporeal liberation for practitioners, regardless of gender (Delamont et al, 2017;Downey, 2005;Joseph, 2008aJoseph, , 2008b.…”