The Capoeira world has grown substantially over the past two decades as it departed from Salvador da Bahia and spread to reach places as far as Singapore and Australia, and through its travels has adapted in ways some of its practitioners often fail to recognise. Matthias Röhrig Assunção's book provides a powerful contribution to the growing literature about Capoeira, dealing effectively with many of the myths and debates that surround its turbulent past. Debates both within academic and practitioner circles have raged for years about the exact origins of Capoeira. At one extreme, both practitioners and academics have claimed it arrived in Brazil as seen today, while at the other end it is believed to be a Brazilian manifestation of cultural production. The author maintains that no such evidence exists to guarantee either idea and, instead of engaging in supporting one thesis over the other, he exposes how two competing narratives were developed in conjunction with particular socio-political objectives.

In the case of Capoeira's African origins, he moves to disprove much of the evidence that is commonly relied upon to bolster its support, painting a more complex yet nuanced version of the development of its origins. He weaves into his analysis the effects socio-political movements in early post-abolition period had on those involved with investigating its origins. Surprisingly, he does not give much credence to oral traditions, maintaining that although numerous versions of Capoeira's origins have been transmitted in this way, because of lack of written evidence, they cannot be trusted as representative of actual historical fact. Indeed Capoeira's oral traditions illustrate fantastic stories that often defy logic. Yet such practices have been the bedrock of historical recordings across a variety of cultures for centuries and to not investigate them in a way that respects this form of ‘fact’ gathering helps to fuel the idea that written evidence is the most valuable form of knowledge. The counter debate regarding the African-derived origins of Capoeira often denies its connection with African combat games while the author illustrates a complex association with these African traditions and the evolution of Capoeira. Without Africans and their contributions, Capoeira would not exist in Brazil.

The author moves on to describe the evolution of Capoeira in Rio de Janeiro and then Bahia, considered its stronghold. He also describes the intricate but important role of its two most prominent figures; Mestre Pastinha and Mestre Bimba who were responsible for the resurgence of the Angola and the creation of the Regional styles, respectively. Assunção suggests their roles were often far more complex than is recognised. For Bimba, many criticise him for changing Capoeira from its original state – adding movements from Asian martial systems and catering to a white middle-class audience – which has largely been seen as cooption of the art form by a broader Brazilian society away from its poor, black and slave roots. Yet Assunção reveals that Bimba remained an integral figure in the revival and maintenance of the art form and without him Capoeira may have disappeared all together from the vast repertoire of cultural expressions of its Afro-Bahian practitioners. Practitioners of the Angola style of Capoeira often disregard the contributions of Bimba, claiming that instead of reviving the art form he bastardised it and ultimately conformed to outside pressures that condoned the art form as too black or too violent. Pastinha on the other hand is heralded as a true champion of the more ‘traditional’ form of Capoeira, yet despite his efforts Assunção argues that Bimba paved the way for a revival of the Angola style as well and allowed it to gain increased prominence as a legitimate form of expression of Afro-Bahian culture.

The struggle for space within society as a legitimate art form has always plagued Capoeira from its roots as a form of resistance against slavery, to the formation of Capoeira gangs to its association with vagrancy and violence, to its contemporary form of legitimate cultural expression. Assunção highlights the dynamic transformations Capoeira has undergone and ultimately proves that it is not a static entity which has somehow been frozen in time, exhibiting the same characteristics since its birth and subsequent evolution. The chapter on contemporary Capoeira maintains this thesis demonstrating clearly that with its subsequent globalisation it has undergone further adaptations. The author addresses some of the most controversial debates within the community while leaving out others, which diminishes slightly his ability to fully engage in a broad examination of the art. He explores debates that evolved in the United States as a consequence of its induction into Afrocentric/Black Diaspora communities where black Americans introduced the notion that only people of African descent should be permitted to practice Capoeira. He eludes to a debate that has long laid dormant about the nature and character of many of the mestres of Capoeira that are accustomed to what is commonly referred to in Brazil as the ‘vagabundo’ lifestyle (literally, vagabond, but associated with colloquial English term ‘hustling’). The sometimes manipulative manner with which some operate academies is a discussion reserved for Capoeira insiders because it is an aspect of the art that is only experienced by long-time practitioners and those who become involved in the day to day operations. He rightly explores the dichotomy between native Brazilian practitioners and foreigners who have yet to receive any formal indication of their dedication to its practice and the politics that serve to maintain the root of its power within Brazilian and more specifically Afro-Brazilian hands. Assunção renders a very complete picture despite veering away from some of Capoeira's most contentious debates. Capoeira remains an incredibly adaptable art form that has survived centuries of persecution and the author does well to explore the many ways in which adaptations have ensured its continued celebrity.