transgender

Transgender

Is a general term applied to a variety of individuals, behaviors, and groups involving tendencies to vary from culturally conventional gender roles.

Transgender is the state of one's "gender identity" (self-identification as woman, man, neither or both) not matching one's "assigned sex" (identification by others as male, female or intersex based on physical/genetic sex). "Transgender" does not imply any specific form of sexual orientation; transgender people may identify as heterosexual, homosexual, bisexual, pansexual, polysexual, or asexual; some may consider conventional sexual orientation labels inadequate or inapplicable to them. The precise definition for transgender remains in flux, but includes:

• "Of, relating to, or designating a person whose identity does not conform unambiguously to conventional notions of male or female gender roles, but combines or moves between these.
• "People who were assigned a sex, usually at birth and based on their genitals, but who feel that this is a false or incomplete description of themselves."
• "Non-identification with, or non-presentation as, the sex (and assumed gender) one was assigned at birth."

A transgender individual may have characteristics that are normally associated with a particular gender, identify elsewhere on the traditional gender continuum, or exist outside of it as "other", "agender", "Genderqueer", or "third gender". Transgender people may also identify as bigender, or along several places on either the traditional transgender continuum, or the more encompassing continuums which have been developed in response to the significantly more detailed studies done in recent years

Evolution of the term transgender

The term transgender (TG) was popularised in the 1970s (but implied in the 1960s) describing people who wanted to live cross-gender without sex reassignment surgery In the 1980s the term was expanded to an umbrella term, and became popular as a means of uniting all those whose gender identity did not mesh with their gender assigned at birth.

In the 1990s, the term took on a political dimension as an alliance covering all who have at some point not conformed to gender norms, and the term became used to question the validity of those norms or pursue equal rights and anti-discrimination legislation, leading to its widespread usage in the media, academic world and law The term continues to evolve.

Transgender vs. transsexual

Billy Tipton was born in 1914. He began living as a man full-time by 1940 at age 26, had a career as a jazz and swing pianist and entertainer, a common law marriage (unregistered but publicly accepted), and three sons by adoption. He was discovered to have been female-bodied after he died in 1989 due to a hemorrhaging ulcer (that he refused to have treated). Like many female-to-male transsexuals of his day he did not have genital surgery.

The word transsexual, unlike the word transgender, originated in the medical and psychological communities. It was defined by Harry Benjamin in his seminal book The Transsexual Phenomenon. In particular he defined transsexuals on a scale called the "Benjamin Scale", which defines a few different levels of intensity of transsexualism; these are listed as "Transsexual (nonsurgical)", "True Transsexual (moderate intensity)", and "True Transsexual (high intensity)" Many transsexuals believe that to be a true transsexual, a person needs to have a desire for surgery. However, it is notable that Benjamin's moderate intensity "true transsexual" needs either estrogen or testosterone medication as a "substitute for or preliminary to operation." There also exist people who have had sexual reassignment surgery (SRS), but do not meet the definition of a transsexual, such as Gregory Hemingway, while other people do not desire SRS, yet clearly meet Dr. Benjamin's definition of a "true transsexual", such as Miriam Rivera.

In addition to the larger categories of transgender and transsexual, there is a wide range of gender expressions and identities which are contrary to the mainstream male-female binary. These include Cross dressers, drag queens, drag kings, transvestites, genderqueer, etc.

Some transsexuals also take issue with the term because Charles "Virginia" Prince, the founder of the cross-dressing organization Tri-Ess and coiner of the term "transgender",^[22] took those actions because she wished to distinguish herself from transsexual people. In "Men Who Choose to Be Women," Prince wrote "I, at least, know the difference between sex and gender and have simply elected to change the latter and not the former".^[8] There is a substantial academic literature on the difference between sex and gender, but in pragmatic English, this distinction is often ignored, so that "gender" is used to describe the categorical male/female difference and "sex" is used to describe the physical act of sexual intercourse.

There is political tension between the identities that fall under the "transgender umbrella". For example, transsexual men and women who can pay for medical treatments (or who have institutional coverage for their treatment) are likely to be concerned with medical privacy and establishing a durable legal status as men and women later in life. Extending insurance coverage for medical care is a coherent issue in the intersection of transsexuality and economic class. Most of these issues can appeal even to conservatives, if framed in terms of an unusual sort of "maintenance" of traditional notions of gender for rare people who feel the need for medical treatments. Some trans people might express this by saying, "I don't challenge the gender binary. I just started out on the wrong side of it.”

Transgender identities

Albert Cashier, a trans man who served as a soldier in the US civil war.

While people self-identify as transgender, transgender identity includes many overlapping categories. These include cross-dresser (CD); transvestite (TV); androgynes; genderqueer; people who live cross-gender; drag kings; and drag queens; and, frequently, transsexual (TS). Usually not included are transvestic fetishists (because it is considered to be a paraphilia rather than gender identification). In an interview, artist RuPaul talked about society's ambivalence to the differences in the people who embody these terms. "A friend of mine recently did the Oprah show about transgender youth," said RuPaul. "It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender [person], yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar." These terms are explained below.

The current definitions of transgender include all transsexual people, although this has been criticized. (See below.) Intersex people have genitalia or other physical sexual characteristics that do not conform to strict definitions of male and/or female, but intersex people are not necessarily transgender, since they do not all disagree with their assigned sex at birth. Transgender and intersex issues often overlap, however, because they both challenge the notion of rigid definitions of sex and gender.

The term trans man refers to female-to-male (FtM or F2M) transgender people, and trans woman refers to male-to-female (MtF or M2F) transgender people. In the past, it was assumed that there were more trans women than trans men, but a Swedish study estimated a ratio of 1.4:1 in favour of trans women for those requesting sex reassignment surgery and a ratio of 1:1 for those who proceeded.

The term cisgender has been coined as an antonym referring to non-transgender people; i.e. those who identify with their gender assigned at birth.

When referring to a transgender person, it is respectful to always use that person's preferred name and pronoun regardless of their legal gender status (as not all transgender people can afford surgery or other body modifications). The word "transgender" should be used as an adjective rather than a noun — for example, "Max is transgender" or "Max is a transgender man" rather than "Max is a transgender."

Transvestite

Main article: Transvestism

A transvestite is somebody who cross-dressesThe term "transvestite" is used as a synonym for the term "cross-dresser", although "cross-dresser" is generally considered the preferred term. The term "transvestite" and the associated outdated term "transvestism" are conceptually different from the term "fetishistic transvestism" (a.k.a. "transvestic fetishism"), as "transvestic fetishist" describes those who intermittently use clothing of the opposite gender for fetishistic purposes. In medical terms, transvestic fetishism is differentiated from cross-dressing by use of the separate codes 302.3 in the DSM and F65.1in the ICD.

Drag kings and queens

See also: Drag king, Drag queen, and Faux queen

New York City drag king Murray Hill with drag queen Linda Simpson.

Drag is a term applied to clothing and make-up worn on special occasions for performing or entertaining as a hostess, stage artist or at an event (e.g. Lypsinka). This is in contrast to those who cross-dress for other reasons or who are transgender. Drag performance also includes overall presentation and behavior in addition to clothing and makeup. Drag can be theatrical, comedic, or grotesque, and female-identified drag has been considered a caricature of women by second-wave feminism. Within the genre of drag are gender illusionists who do try to pass as another gender. Drag artists explore gender issues and have a long tradition in LGBT culture. Generally the terms drag queen covers men doing female drag, drag king covers women doing male drag, and faux queen covers women doing female drag. Nevertheless, there are drag artists of all genders and sexualities who perform for various reasons.

Genderqueer

Genderqueer is a recent attempt to signify gender experiences that do not fit into binary concepts, and refers to a combination of gender identities and sexual orientations. One example could be a person whose gender presentation is sometimes perceived as male, sometimes female, but whose gender identity is female, gender expression is butch, and sexual orientation is lesbian. It suggests nonconformity or mixing of gender stereotypes, conjoining both gender and sexuality, and challenges existing constructions and identities In the binary sex/gender system, genderqueerness is unintelligible and abjected.

People who live cross-gender

People who live cross-gender live always or mostly as the gender other than that assigned at birth. If they want to be or identify as their gender assigned at birth, then the term "crossdresser" may be used. If they want to be or identify as the gender they always or mostly live in, then the term "transsexual" may be used. The term "transgender" or "transgenderist" has been applied to people who live cross-gender without sex reassignment surgery.

Androgyne

Main article: Androgyny

An androgyne is a person who does not fit cleanly into the typical gender roles of their society. It does not imply any specific form of sexual orientation. Androgynes may identify as beyond gender, between genders, moving across genders, entirely genderless, or any or all of these, exhbiting a variety of male, female, and other characteristics. Androgyne identities include pangender, ambigender, non-gendered, agender, Gender fluid or intergender. Androgyny can be either physical or psychological, and it does not depend on birth sex. Occasionally, people who do not define themselves as androgynes adapt their physical appearance to look androgynous. This outward androgyny has been used in fashion, and the milder forms of it (women wearing men's pants or men wearing two earrings, for example) are not seen as transgender behavior.

The term androgyne is also sometimes used as a medical synonym for an intersex individual.

Bigender

A bigender (sometimes rendered as bi-gender or bi+gender) individual is one who moves between masculine and feminine gender roles. Such individuals move between two distinct personalities fluidly depending on context. While an androgynous person retains the same gender-typed behaviour across situations, the bigendered person consciously or unconsciously changes their gender-role behaviour from primarily masculine to primarily feminine, or vice versa.

Transgender people and feminism

Main article: Transfeminism

Some feminists and feminist groups are supportive of transgender people. Others are not.

Though second-wave feminism argued for the sex and gender distinction, some feminists believed there was a conflict between transgender identity and the feminist cause. These feminists believed, for example, that male-to-female transition abandoned or devalued female identity, and that trangender people embraced traditional gender roles and stereotypes. Many transgender feminists, however, viewed themselves as contributing positively to feminism by questioning and subverting gender norms. Third wave and contemporary feminism have tended to be more accepting of transgender people.

Feminist writer Janice Raymond asserts that sex determines gender, and that there is no practical difference between the two. In her view, genitalia or "birth sex" or chromosomes deeply and permanently determine one's essential identity as a woman or man; trying to violate this divide is impossible, unnatural, and unhealthy. She argues that while transpeople may claim to feel like a certain gender, only a biological female can genuinely feel what it is to occupy a woman's body, including having experiences such as childbirth.

Transgender healthcare

Therapy is recommended by most mental health professionals for those who suffer from internal conflicts regarding their gender identity or those who feel discomfort in their assigned gender role, especially if they desire to transition. People who experience discord between their gender and the expectations of others or whose gender identity conflicts with their body may benefit by talking through their feelings in depth with someone who will listen attentively. However, research on gender identity is relatively new to psychology and scientific understanding of it and related issues is still in its infancy.

Transgender people may be eligible for diagnosis of gender identity disorder (GID) "only if [being transgender] causes distress or disability." This distress is referred to as gender dysphoria and may manifest as depression or inability to work and form healthy relationships with others. This diagnosis is often misinterpreted as implying that simply being transgender means a person suffers from GID, which is not the case. This has caused much confusion to transgender people and those who seek to either criticize or affirm them. Transgender people who are comfortable with their gender, whose gender does not directly cause inner frustration or impair their functioning, do not suffer from GID. Moreover, GID is not necessarily permanent, and is often resolved through therapy and/or transitioning. GID does not refer to people who feel oppressed by the negative attitudes and behaviors or others including legal entities in the same way that racist institutions do not create a "race disorder." Neither does GID imply an opinion of immorality; the psychological establishment holds the position that people with any kind of mental or emotional problem should not receive stigma. The solution for GID is whatever will alleviate suffering and restore functionality; this often, but not always, consists of undergoing a gender transition.

The terms "transsexualism", "dual-role transvestism", "gender identity disorder in adolescents or adults" and "gender identity disorder not otherwise specified" are listed as such in the International Statistical Classification of Diseases (ICD) or the American Diagnostic and Statistical Manual of Mental Disorders (DSM) under codes F64.0, F64.1, 302.85 and 302.6 respectively.

In February 2010, France became the first country in the world to remove transgender identity from the list of mental diseases.

The issues around psychological classifications and associated stigma (whether based in paraphilia or not) of cross dressers, transsexual men and women (and for that matter lesbian and gay children who may be difficult to tell apart from trans children early in life) have recently become more complex since it was announced that CAMH colleagues Kenneth Zucker and Ray Blanchard would serve on the DSM-V's Sexual and Gender Identity Disorders Work Group . CAMH aims to 'cure' transgender people of their 'disorder', especially in children. Within the trans community, this has mostly produced shock and outrage with attempts to organize other responses.

One of the reasons there is so much controversy about Kenneth Zucker and Ray Blanchard's work group is that many people believe that gender identity disorders/homosexuality are incurable as they are genetic and/or occur as a result of events occurring before birth (therefore already "solidified" by the time of birth). If this is the case, then trying to 'cure' said condition(s) could lead (and in some individuals already has led) to increased confusion, more intense dysphoria later in life, and perhaps even suicide (likely due to the fact that the younger the transgender individual, the greater the effect of hormones). While some cases of individuals partaking in these sessions seem to show success, the long term repercussions (if any) of some of these individuals being 'cured' have not yet been observed, due to an indefinite amount of time before negative reactions could possibly occur.

Transgender issues are both new in the scientific field and affect relatively few people, so many mental healthcare providers know little about transgender issues. People seeking help from these professionals often end up educating the professional rather than receiving help. Among those therapists who profess to know about transgender issues, many believe that transitioning from one sex to another – the standard transsexual model – is the best or only solution. This usually works well for those who are transsexual, but is not the solution for other transgender people, particularly genderqueer people who do not identify as exclusively male or female.

Physical healthcare

Medical and surgical procedures exist for transsexual and some transgender people. (Most categories of transgender people as described above are not known for seeking the following treatments.) Hormone replacement therapy for trans men induces beard growth and masculinises skin, hair, voice and fat distribution. Hormone replacement therapy for trans women feminises fat distribution and breasts. Laser hair removal or electrolysis removes excess hair for trans women. Surgical procedures for trans women feminise the voice, skin, face, adam's apple, breasts, waist, buttocks and genitals. Surgical procedures for trans men masculinise the chest and genitals and remove the womb and ovaries and fallopian tubes. The acronyms "GRS" and "SRS" refer to genital surgery. The term "sex reassignment therapy" (SRT) is used as an umbrella term for physical procedures required for transition. Use of the term "sex change" has been criticized for its emphasis on surgery, and the term "transition" is preferred Availability of these procedures depends on degree of gender dysphoria, presence or absence of gender identity disorder, and standards of care in the relevant jurisdiction.

Transgender people and the law

Dr. Camille Cabral, a transgender activist at a demonstration for transgender people in Paris, October 1, 2005

Main article: Legal aspects of transsexualism

Legal procedures exist in some jurisdictions allowing individuals to change their legal gender, or their name, to reflect their gender identity. Requirements for these procedures vary from an explicit formal diagnosis of transsexualism, to a diagnosis of gender identity disorder, to a letter from a physician attesting to the individual's gender transition, or the fact that one has established a different gender role. In 1994, the DSM IV entry was changed from "Transsexual" to "Gender Identity Disorder." In many places, transgender people are not legally protected from discrimination in the workplace or in public accommodations. A report released in February 2011 found that 90% of transgender people faced discrimination at work, and were unemployed at double the rate of the general population. Over half had been harassed or turned away when attempting to access public services. Members of the transgender community also encounter high levels of discrimination in health care on an everyday basis.

In Canada, a private members bill protecting the rights of freedom of gender expression and gender identity passed in the House of Commons on February 9, 2011. It amends the Canada Human Rights code to help protect gender-variant people from discrimination by including gender identity and expression in the list of prohibited grounds for discrimination, as well as including gender identity and expression in the description of identifiable group, so that offences deliberately against gender-variant people can be punished to a similar extent as a racial-based crime. It is uncertain whether the bill will be passed by the Senate.

In the U.S., a federal bill to protect workers from discrimination based on sexual orientation and gender identity – called the Employment Non-Discrimination Act – has stalled and failed several times over the past two decades Still, individual states and cities have begun passing their own non-discrimination ordinances. In New York, for example, Governor David Paterson passed the first legislation to include transgender protections in September 2010.

Transgender people and religion

The world's religions display great diversity and their interpretations of and reactions to transgender people demonstrate equal diversity. Even within one specific religion, Christianity, different groups have very different interpretations of gender identity and socio-cultural gender roles as well as very different attitudes toward and reactions to transgender people (see the main article on this topic). More generally the scriptures of Abrahamic religions include both texts sometimes interpreted as condemning transgender persons as well as texts sometimes interpreted as challenging conservative views of gender and of the possibilities open to transgender people, as well as offering them encouragement, support and hope.

Transgender people in non-Western cultures

Nong Tum, a Kathoey internationally recognized for her portrayal in the film Beautiful Boxer.

Asia

In Thailand and Laos, the term kathoey is used to refer to male-to-female transgender people and effeminate gay men. The cultures of the Indian subcontinent include a third gender, referred to as hijrain Hindi. Transgender people also have been documented in Iran, Japan, Nepal, Indonesia, Vietnam, South Korea, Singapore, and the greater Chinese region, including Hong Kong,^[138][139] Taiwan, and the People's Republic of China.

North America

In what is now the United States and Canada, many Native American and First Nations peoples recognised the existence of more than two genders, such as the Zuñi male-bodied Ła'mana, the Lakota male-bodied winkte and the Mohave male-bodied alyhaa and female-bodied hwamee. Such people were previously referred to as berdache but are now referred to as Two-Spirit, and their spouses would not necessarily have been regarded as gender-different. In Mexico, the Zapotec culture includes a third gender in the form of the Muxe.

Other

In early Medina, gender-variant male-to-female Islamic people were acknowledged in the form of the Mukhannathun. In Ancient Rome, the Gallae were castrated followers of the Phrygian goddess Cybele and can be regarded as transgender in today's terms.

Among the ancient Middle Eastern Akkadian people, a salzikrum was a person who appeared biologically female but had distinct male traits. Salzikrum is a compound word meaning male daughter. According to the Code of Hammurabi, salzikrūm had inheritance rights like that of priestesses; they inherited from their fathers, unlike regular daughters. A salzikrum's father could also stipulate that she inherit a certain amount.

Mahu is a traditional status in Polynesian cultures. Also, in Fa'asamoa traditions, the Samoan culture allows a specific role for male to female transgender individuals as Fa'afafine.

my community

At a meeting last week I presented the community that I will follow. The community is the capoira that is in the SWCU. Who participated in the community it is a friend of one of my boarders all join capoeira other than me. They always exercise each afternoon at 18.00-20.00 in the students center and track exercise capoeira in front of kodim every Thursday at 14.00-18.00 capoira is a dance which includes also do sports so each of my friends finished the exercise then they should drink milk to replace the energy lost when exercise capoeira.

Capoeira nowadays is not only a martial art or a small aspect of Brazilian society, but an active exporter of Brazilian culture all over the world. Since the 1970s masters of the art form began to emigrate and teach capoeira in other countries. Present in many countries in every continent, every year Capoeira attracts to Brazil thousands of foreign students and, often, foreign capoeiristas work hard to learn the official Brazilian language, Portuguese, in an effort to better understand and become part of the art. Renowned Capoeira Masters are often invited to teach abroad or even establish their own schools. Capoeira presentations, normally theatrical, acrobatic and with little martiality, are common sights in the whole world.

The martial art aspect is still present and, like old times, is still subtle and disguised, leading many non-practitioners to ignore its presence. Trickery is ever present and expert capoeiristas never take their sights off their opponents in a Capoeira game. An attack can be disguised even as a friendly gesture. Such trickery amongst a collection of others are all a form of malicia which is used by both Capoiera Regional and Angola.

Symbol of the Brazilian culture, symbol of the ethnic amalgam that characterizes Brazil, symbol of resistance to the oppression, Capoeira definitely changed its image and became a source of pride to Brazilian people. It is officially considered intangible cultural heritage of Brazil.

Martial Art

Capoeira is a fast and versatile martial art which is historically focused on fighting outnumbered or in technological disadvantage.

See also: List of capoeira techniques

Simple animation depicting part of the ginga

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira, important both for attack and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of constant motion, preventing her from being a still and easy target. The other, using also fakes and feints, is to mislead, fool, trick the opponent, leaving them open for an attack or a counter-attack.

The attacks in the Capoeira should be done when opportunity arises and must be decisive, like a direct kick in the face or a vital body part, or a strong takedown. Most Capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras (leg sweeps), tesouras or knee strikes. The head strike is a very important counter-attack move. Elbow strikes, punches and other forms of takedowns complete the main list.

The defense is based on the principle of non-resistance, meaning avoid an attack using evasive moves instead of blocking it. Avoids are called esquivas, which depend on the direction of the attack and intention of the defender, and can be done standing or with a hand leaning on the floor. A block should only be made when the esquiva is not possible. This fighting strategy allows quick and unpredictable counter attacks, the ability to focus on more than one adversary and to face empty-handed an armed adversary.

A Capoeira movement (Aú Fechado) (click for animation).

A series of rolls and acrobatics (like the Cartwheels called aú) allows the capoeirista to quickly overcome a takedown or a loss of balance, and to position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives Capoeira its perceived 'fluidity' and choreography-like style.

Capoeira game

Capoeiristas outside

Playing Capoeira is both a game and a method of practicing the application of Capoeira movements in dangerous situations. It can be played anywhere, but it's usually done in a roda. During the game most Capoeira moves are used, but capoeiristas usually avoid using punches or elbow strikes.

The game usually does not focus on knocking down or destroying the opponent, rather it emphasizes skill. Capoeiristas often prefer to rely on a takedown like a rasteira, then allowing the opponent to recover and get back into the game. It is also very common to slow down a kick inches before hitting the target, so a capoeirista can enforce superiority without the need of injuring the opponent. If an opponent clearly cannot dodge an attack, there is no reason to complete it. However, between two high-skilled capoeiristas, the game can get much more aggressive and dangerous, even though capoeiristas tend to avoid showing this kind of game in presentations or to the general public.

Roda

Capoeiristas in a roda (Porto Alegre, Brazil)

The Roda (pronounced HOH-dah) is a circle formed by capoeiristas and capoeira musical instruments, where every participant sings the typical songs and claps their hands following the music. Two capoeiristas enter the roda and play the game according to the style required by the musical instruments rhythm. The game finishes when one of the musicians holding a berimbau determine it, when one of the capoeiristas decide to leave or call the end of the game or when another capoeirista interrupts the game to start playing, either with one of the current players or with another capoeirista.

In a roda every cultural aspect of Capoeira is present, not only the martial side. Aerial acrobatics are common in a presentation roda, while not seen as often in a more serious one.

Batizado

The batizado (baptism) is a ceremonial roda where new students will get recognized as capoeiristas and earn their first graduation. Also more experienced students may go up in rank, depending on their skills and capoeira culture.

Students enter the roda against a high-ranked capoeirista (a teacher or master) and normally the game ends with the student being taken down. However, the more experienced capoeirista can judge the takedown unnecessary. Following this 'baptism' the new cord is given.

Apelido

Traditionally, the batizado is the moment when the new practitioner gets or formalizes his or her apelido (literally nickname). This tradition was created back when Capoeira practice was considered a crime. To avoid having problems with the law, capoeiristas would present themselves in the capoeira community only by their nicknames. So if a capoeirista was captured by the police, he would be unable to identify his fellow capoeiristas, even when tortured.

Apelidos can come from many different things. A physical characteristic (like being tall or big), a habit (like smiling or drinking too much), place of birth, a particular skill, an animal, trivial things, anything.

Nowadays, even though apelidos are not necessary anymore, the tradition is still very alive not only in Capoeira but in many aspects of Brazilian culture.

Chamada

Chamada means 'call' and can happen at any time during a roda where the rhythm angola is being played. It happens when one player, usually the more advanced one, calls his or her opponent to a dance-like ritual. The opponent then approaches the caller and meets him or her to walk side by side. After it both resume normal play.

While it may seem like a break time or a dance, the chamada is actually both a trap and a test, as the caller is just expecting to see if the opponent will let his guard down so she can perform a takedown or a strike. It is a critical situation, because both players are vulnerable due to the close proximity and potential for a surprise attack. It's also a tool for experienced practitioners and masters of the art to test a student's awareness and demonstrate when the student left herself open to attack.

The use of the chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's hidden intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

Volta ao mundo

Volta ao mundo means around the world.

The volta ao mundo takes place after an exchange of movements has reached a conclusion, or after there has been a disruption in the harmony of the game. In either of these situations, one player will begin walking around the perimeter of the circle counter-clockwise, and the other player will join the volta ao mundo before returning to the normal game.

Malandragem

Malandragem is a word that comes from malandro, which means a person who possesses cunning as well as malicia, which translates to "malice". This, however, is misleading as the meaning of malicia in Capoeira is the capacity to understand someone's intentions. In Brazil men who were marginalized from main stream society and possessed street smarts were called malandros.

In the Capoeira, malandragem is the ability to quickly understand an opponent's aggressive intentions, and during a fight or a game, fool, trick and deceive him.

Music

Main article: Capoeira music

Music is integral to Capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. Rhythm, controlled by a berimbau, differ from very slow to very fast, depending on the style of the roda.

Instruments

A capoeira bateria showing three berimbaus and a pandeiro.

Capoeira instruments are disposed in a row called bateria. It is traditionally formed by three berimbaus, two pandeiros, one atabaque, one agogô and one ganzá, but this format may vary depending on the Capoeira group's traditions or the roda style.

The berimbau is the leading instrument, determining the tempo and style of the music and game played. Two low pitch berimbaus (called berra-boi and médio) form the base and a high pitch berimbau (called viola) makes variations and improvisations. The other instruments may only follow the berimbaus or may be free to vary and improvise a little, depending upon the Capoeira group's musical style.

Capoeiristas change their playing style significantly, following the toque of the berimbau, which sets the game's speed, style and aggressiveness. So it is truly the music that drives a Capoeira game.

Songs

Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others have lighthearted and playful lyrics.

There are four basic kinds of songs in capoeira, the Ladaínha, Chula, Corrido and Quadra. The Ladaínha is a narrative solo sung only at the beginning of a roda, often by a mestre (master) or most respected capoeirista present. The solo is followed by a louvação, a call and response pattern that usually thanks God and one's mestre, among other things. Each call is usually repeated word-for-word by the responders. The Chula is a song where the singer part is much bigger than the chorus response, usually eight singer verses for one chorus response, but the proportion may vary. The Corrido is a song where the singer part and the chorus response are equal, normally two verses by two responses. Finally, the Quadra is a song where the same verse is repeated four times, either three singer verses followed by one chorus response, or one verse and one response.

Capoeira songs can talk about virtually anything, being it about a historical fact, a famous capoeirista, trivial life facts, hidden messages for players, anything. Improvisation is very important also, while singing a song the main singer can change the music's lyrics, telling something that's happening in or outside the Roda.

Rhythms or "Toques"

There are different rhythms or toques that are played by the berimbau inside the roda that will determine the mood and the game to be played. All of the different rhythms have a history behind them. Some were invented so the slaves could communicate with each other within the roda without having to say a word (ex. Cavalaria), while others were created to expand Capoeira (ex. Regional de Bimba). Below is a description of five different rhythms of Capoeira:

Angola: It is the true origin of Capoeira. It is traditionally the first rhythm to be played in a roda. Its rhythm requires Capoeiristas to have a game that is slower and closer to the ground. Capoeiristas usually play with their hands on the ground for most of the game, displaying strength and equilibrium.

SãoBento Grande: This rhythm is played in almost every roda. It calls for a lot of energy, acrobatic movements, take downs and leg sweeps.

Iúna: This rhythm is not played often in rodas. It is usually played in batizados for Mestres and students with higher belts to display all of their abilities. These abilities might include jumps, flips, hand stands, floreios, etc. Mestre Bimba is believed to have invented this rhythm and created a sequence of movements called “cintura-desprezada” or “balões cinturados” to go along with it.

Cavalaria: In Capoeira this rhythm carries the most anxiety and stress. It is the highest level of alert system in a roda. When Capoeira was still prohibited, this rhythm was played to alert the slaves that the police was coming. The rhythm imitates the sound of galloping horses. Today it can be played to warn players of the dangers, violence and disagreements inside a roda.

Idalina: A relaxed, dominant rhythm played with razors and knifes. Mestre Bimba also invented this rhythm. Not played in rodas very often.

Other known rhythms are: São Bento Grande de Bimba, São Bento Pequeño, Samango, Santa Maria, Amazonas, Regional de Bimba, Samba de Roda, Banguela and Miudinho.

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Styles of Capoeira

Determining styles in capoeira is a very tough task, since there was never a unity in the original capoeira, or a teaching method before the decade of 1920. However, a division between two styles and a sub-style is widely accepted.

Capoeira Angola

Main article: Capoeira Angola

Capoeira Angola refers to every capoeira that keeps the traditions held before the creation of the Regional style.

Existing in many parts of Brazil since colonial times, most notably in Rio de Janeiro, Salvador and Recife, it's impossible to tell where and when Capoeira Angola began taking its present form. The name "Angola" starts as early as the beginning of slavery in Brazil, when Africans, taken to Luanda to be shipped to Brazil, were called "black people from Angola" regardless of their nationality. In some places of Brazil people would call capoeira as playing Angola and, according to Mestre Noronha, the Centro de Capoeira Angola Conceição da Praia, created in Bahia, already used the name capoeira Angola illegally in the beginning of the 1920 decade.^[12]

The name Angola was finally immortalized by Mestre Pastinha at February 23, 1941, when he opened the Centro Esportivo de capoeira Angola (CECA). Pastinha was known as a great defender of the traditional Capoeira, much respected by recognized Capoeira masters. Soon many other masters would adopt the name Angola.

Capoeira Angola is the closest style to the way slaves used to fight or play Capoeira. Characterizes by being strategic, with sneaking movements executed standing or near the floor depending on the situation to face, it values the traditions of malícia, malandragem and unpredictability of the original Capoeira.

Typical music instrument formation in a roda of Capoeira Angola is three berimbaus, two pandeiros, an atabaque, an agogô e a ganzuá, and a reco-reco.

Capoeira Angola developed alongside Regional, but with a traditionalist and contrary dogma. Its primary representative, Mestre Pastinha, “found in the old tradition (of capoeira) some concepts which he made fundamental.” Unlike Bimba, he was against using physical movements foreign to capoeira. The ludic aspects of the game rather than the martial are emphasised along with the use of traditional movements, songs, philosophy and conduct of the ritual of capoeira, all done with respect to the fundamental concepts emphasised by Mestre Pastinha.

Capoeira Regional

Capoeira Regional began to take form in the 1920 decade, when Mestre Bimba met his future student, José Cisnando Lima. Both believed that Capoeira was losing its martial side and concluded there was a need to restructure it. Bimba created his sequências de ensino (teaching combinations) and created the first Capoeira's teaching method. Advised by Cisnando, Bimba decided to call his style Luta Regional Baiana, as Capoeira was still illegal at that time.

The base of Capoeira Regional is the original Capoeira without many of the aspects that were useless in a real fight, with less subterfuge and more objectivity. Training was mainly focused on attack and counter-attack, giving high importance to precision and discipline. Bimba also added a few moves from other martial-arts, notably the batuque, old street fight practiced by his father. Use of jumps or aerial acrobacies was kept to a minimum, since one of its foundations was always keeping at least one hand or foot firmly attached to the ground. Mestre Bimba often said, "'The floor is a friend to the capoeirista'".

Capoeira Regional also introduced the first ranking method in Capoeira. Regional had three levels: calouro (freshman), formado (graduated) and formado especializado (specialist). Ranking was determined by a scarf tied on the capoeirista's waist.

The traditions of roda and Capoeira game were kept, being used to put into use what was learned during training. Musical instruments disposition, however, was changed, being made by a single berimbau and two pandeiros.

The Luta Regional Baiana soon became popular, finally changing Capoeira's bad image. Mestre Bimba made a lot of presentations of his new style, but the most well known was the one made at 1953 to Brazilian president Getúlio Vargas, where the president would say: "Capoeira is the only truly national sport."

Capoeira Contemporânea

Contemporânea is a term for groups that train multiple styles of capoeira simultaneously. Very often students of Capoeira Contemporânea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This sub-style is seen by some as the natural evolution of Capoeira, by others as adulteration or even misinterpretation of Capoeira.

Nowadays the label Contemporânea applies to any Capoeira group who don't follow Regional or Angola styles, even the ones who mix Capoeira with other martial-arts.

Ranks

Because of its origin, Capoeira never had unity or a general agreement. Ranking or graduating system follows the same path, as there never existed a ranking system accepted by most of the masters. That means graduation style varies depending of the group's traditions.

The most common modern system uses colored cordas (cord or rope) tied around the waist (also called cordéis or cordões). Some masters use different systems, or even no system at all.^{[citation needed]}

There are many entities (leagues, federations and association) which have tried to unify the cord system. The most usual^{[citation needed]} is the system of the Confederação Brasileira de Capoeira (Brazilian Capoeira Confederation), which adopts strings using the colors of the Brazilian flag.^{[citation needed]}

Even though it's widely used, with many small variations, many big and influential groups still use different systems. Even the Confederação Brasileira de Capoeira is not widely accepted as the Capoeira's representative.^{[citation needed]}

Related activities

Even though those activities are strongly associated to the Capoeira, they have different meanings and origins.

Samba de roda

Main article: Samba

Performed by many capoeira groups, samba de roda is a traditional Afro-Brazilian dance & musical form that has been associated with capoeira for many years. The orchestra is composed by pandeiro (tambourine), atabaque (drum), berimbau-viola (berimbau with the smallest cabaça and the highest pitch), chocalho (rattle – a percussion instrument), accompanied by singing and clapping. Samba de roda is considered one of the primitive forms of modern Samba.

Maculelê

Main article: Maculelê (dance)

Originally the Maculelê was an indigenous armed fighting style, using two sticks or a machete. Nowadays it's a folkloric dance practiced with heavy afro-Brazilian percussion. Maculelê is a different type of game played in Capoeira that represents the celebration of the end of the sugar cane harvest. Capoeiristas used sugar cane sticks to play with an opponent by hitting them in rhythm with the music being played. Machete's are also used in a Maculelê game, since they were used to cut the sugar canes during the harvest.

Puxada de rede

Main article: Puxada de rede

Puxada de Rede is a Brazilian folkloric theatrical play, seen in many capoeira performances. It is based on a traditional Brazilian legend involving the loss of a fisherman in a sea-faring accident

Capoeira in fighting games

• Christie Monteiro and Eddy Gordo, two playable characters from the Tekken series, fight in the Capoeira style.
• Elena, a playable character from the Street Fighter series, fights in the Capoeira style.
• Richard Meyer and Bob Wilson from the Fatal Fury series fight in the Capoeira style, Richard Meyer was the first fighting game character to use Capoeira.^{[citation needed]}
• Trident from Eternal Champions Sega game was touted as a master of Capoeira, which is a bit of an anacronism as he was an Atlantian during the Roman Empire.