 The game is about to begin. A circle takes shape. Three musicians play a slow, distinct beat on the berimbau, a bow-like instruments made with a gourd. Their plinging sounds is soon accompanied by a deep bass drum called atabaque, by a tambourine like instrument named pandeiro, by a two headed bell, the agogo, and by a grating, called reco-reco. The pulsing music sets the stage for capoeira. An experienced player or ''mestre'' starts to sing. The lyrics of his song are often spiritual, praising God or the power of ancestors who have come before. The leader's voice is joined by others players in the circle. He calls the group responds. Two players, who have been crouching near the berimbaus, the bow like instrument, stand and shake hands to ignite this match of capoeira. They enter the center of the circle sometimes with a cartwheel like motion called au. They were loose pants called abadas so they can move freely and engage their entire bodies during the game. Without missing a beat of the song, the two players or capoeiristas as they are called in Brazil and other capoeira communities, move in a series of attacks and counterattacks against each other, with kicks and hits similar to those seem in martial arts. The strikes delivered during capoeira, however, rarely land upon one's opponent. Instead, the two capoeiristas flow seamlessly with and against each other in a graceful fighting dance that appears to be choreographed. It is important for capoeiristas to play upon their opponent's moves, sometimes just narrowly missing being struck or landing a strike. Capoeiristas will even stop a kick or a hit right in front of their opponents to show them what they could have done but decided to withhold. One of the main moves of capoeira is ginga, which consists of a rocking, side-to-side step. This is a foundation movement that leads into more elaborate steps. Acrobatics often accompany capoeira games, with player doing handstands, flipping in the air, or spinning themselves in just one hand. The competition comes from the capoeiristas trying to outdo each other with flourishes that show their skills and strength. While many games are playful or mocking, some are combative. The type of match depends on the dynamics between the capoeiristas. There is no official winner and loser of a game. The match ends when one of the players or the ''mestre'' decides it is time to finish. One of the berimbaus is lowered, and a single note is played over and over until the two capoeiristas shake hands and exit the circle. From there, a new set of players can enter and start a new match. While the roots of capoeira are somewhat mysterious, it is clear that the form as we know it today stems from the African people who were brought to Brazil during the slave trade. It isn't certain whether they adapted an existing dance or altered one of their own. But it is thought that the practice of capoeira was a form of concealed resistance. According to this theory, slaves were making it look like a dance, but they were actually practicing a form of combat that they could use against their slavers. After the Africans slaves were set free in Brazil, capoeira began to be practiced by groups of gangs. The dance/fight/game was then associated with outcasts of society, and it was outlawed during the 1890s. Penalties for continuing to practice capoeira included expatriation or even having the tendon on the back of the feet cut. As a result capoeiristas took to practicing under-ground. They developed a coded beat that could be used as a warning against law enforcers. capoeira wasn't legalized again in Brazil until 1937, with the help of President Getulio Vargas, who wanted to make the art form a national sport. Although capoeira has traditionally been performed by men, capoeiristas today include women and people of many different backgrounds, inside and outside Brazil. It is so popular, in fact, that capoeira performers have became a tourist attraction in big Brazilians cities, sometimes to the dismay of capoeiristas who would prefer their art to remain a traditional practice. | 