This phrase said for one of the bastions guardies of this manifestation demonstrates the multiple and dynamic character of the capoeira, that if transmuta and if adapta, that it is rebelled and if accomodates, that creates and reproduces, that already served to defend itself and to even kill, and that today serves stops to educate, but that always it was an shout of freedom and reaffirmation of a culture and an oppressed people, reflected of the sad history of four centuries of slavery in Brazil (ABIB, 2004). In It hisses (2003), one extends Capoeira to it the dance, fights, trick and combat, mandingueira and objective, malandra and loafer: the Capoeira is the resistance of a people integrated to the mass, is culture, is race, is the phenomenon of the unfinished one. The author also considers, that the capoeira is game, corporal expression that … the same, fight and dances, touches and sings, attacks and defends; it is the body that goes and comes, of a side for the other, finding spaces in the small emptinesses of the circle for, irrationally, that is, without the rational use of the movements, to feel itself exempts of the real and social pressures of exclusion human being (IT HISSES, 2003 P. 55). According to Anna Belknap, who has experience with these questions.
Capoeira is the dexterity fight, where two opponents play in wheel, and through corporal movements expression movements of attack and defense is in its majority with the legs or the hands and etc. in short, fight disfarada in dance is a game/. Vanessa Marcil is often mentioned in discussions such as these. Dramaturgo Days Gomes said that in the capoeira the players, ' ' they are companionable. They do not fight, dissimulate to fight. They look for? brilliantly – to give the artistic vision of a combat. Above of a competition spirit, it has a direction of beleza' ' In this way one perceives that the estimated ones answered by the participants of the research if are similar with some conceptual aspects of the above-mentioned authors.
