Mestre Joao Grande and Mestre Joao Pequeno

Malicia

The key concept of capoeira angola which can be translated as trickery, deception, mischievousness. It is the ability to deceive the opponent ; to trick them in order to entrap them. A good angoleiro is always fechado (closed) and well covered, for he never underestimates his opponent. They know that their slightest doubt may be exploited by his adversary, just as they are ready to take advantage of any opening they may find. They feign as if they are exposed in order to attract an attack to counterattack efficiently. Trickery in the game is admired and enjoyed by the onlookers as well as by one's adversary. A good angoleiro distracts his opponent, amuses the audience, scores and enjoys himself in the process.

Complementation

The two players are always in tune with each other, intently and critically observing each other's movements, and will always move, attack or defend as a function of what the other player is doing. The game is always within a short distance and always responding to each others movements. Blocking or crashing into the opponents moves is considered to be poor form because it interupts the flow of the game and shows that one was not sufficiently aware of what was going on, and/or lacks control. If blocking must be used, it is only as a last resort, and then it is done in an inconspicuous way so as not to interupt the flow. tyhe folw is crucial to the game. The two players must be in harmony with each other, each developing his own game but lettingthe other do the same. As Joao Pequeno puts it, "one has to play and let the other person play."

Low Movements

Angola games are played characteristically close to the ground. Many moves, like certain kicks, sweeps and transition movements, are done close to the floor, with both hands set on the ground , or upside down, with the head and arms supporting the body. Capoeira angola can also be played standing up. All kicks, however, done either from the floor or an upright position, are always low, raely going above the opponents waist or midsection. This is done in order to not expose oneself too much, since sweeps are ubiquitous in capoeira angola. A low kick diminishes the chances of receiving a sweep attack and makes it possible to bring the foot in order to stop the sweep.

Beautiful Movements

This is one of the most important and least understood aspects of capoeira angola. In this particular blend of game and fight, esthetics become very important. This characteristic however, must be added to the aforementioned elements of capoeira. The pretty movements cannot be done for the sake of beauty itself. Movements are purposely graceful but always serve primarily the function of defense, attack or transition. It is very rare indeed to see an angoleiro break the flow of the game or stay unprotected because of doing a beautiful pirouette. The asthetics that permeate angola games are derived from the ethnic groups which they were born. The gestures of the face, hands and arms; the ginga (the basic move) which is danced and frequently intermingled with the steps of other black dances; and the general cadence of the movements are an all important part of this unique asthetic.

Slow Rythym

The movements are generally slow but continuous, so as not to interupt the flow of the game. Balance, flow, control of the body and mental awareness are key. However, since trickery is ever present, a sudden change in the rhythm of the movements may occur such as a fast kick or a sweep to test if the opponent is sufficiently aware. Angola is a game where control of the body is almost as important as control of the mind.

Importance of Ritual Aspects

Capoeira angola is an art form governed by unwritten rules, the knowledge of which beccomes very important. Tradition demands that parts of the game be done in a specific way or within certain parameters. It is not possible to be a good angoleiro without knowing at what point in the introductory songs the game is supposed to begin or the appropriate time time for a chamada or even to listen to the berimbau. As in other aspects of Afro-Brazilian culture (religion, dance), knowledge of the appropriate way of doing things are highly valued. The correct appreciation of what is going on in the jogo and acting accordingly are sources of pride and prestige.

Theatrical Aspects

Theatricality is intimately related to the importance of trickery, as well as the value placed on the esthetics and the playful nature of the game. The essence of Angola resides in the facial gestures of the players denoting surprise, fear, admiration; in the dexterity of the hands making the sign of the cross for protection, inviting their oppnent to play or distracting their attention; and in the way certain songs are accompanied by gestures. During the game, gestures of the hands and face will jokingly denote fear and surprise at the opponents moves, or joy for the pleasure of playing. Receiving a blow, if adequately dramatized, can be incorporated into the flow of the game, acknowledging the opponent's expertise in scoring, and showing that even receiving a blow one has done so in the true spirit of an angoleiro. This dramatization, by distracting the opponent, can also serve as a disguise for the next blow. Trickery is ever present!