Capoeira Angola is the traditional style of Capoeira. It is usually, although not always, characterized by playful, ritualized games, which combine elements of dancing, combat, and music, while stressing interaction between the two players and the musicians and observers.

Capoeira has its roots in Central and West African cultures that were brought to Brazil through the Trans-Atlantic slave trade. There are diverse theories about the origins of the art form. One of the most popular was introduced by lbano Neves e Sousa in 1965. This theory was subsequently adopted and developed by Lus da Cmara Cascudo in his book Folclore do Brasil in 1967. The theory concerns a practice known as "N'golo," or the Dance of the Zebras. The movements of N'golo mimicked the movements of fighting zebras. The N'golo dance was practiced by young warriors competing for the hand of a young woman of marriagable age in a puberty rite known as efundula. Whoever had a more impressive performance won the bride and was excused from having to pay a dowry. The 'N'golo theory maintains that in the port of Benguela, and also once in Brasil, the dance developed into a foot-fighting style that was used by both bandits and slaves for defence and attack.

The game of o jogo de Capoeira Angola is a ritualized mock combat that is played with two players within a ring of people, known as a roda (pronounced "hoda"). The game is played to music, which is played by people who form one side of the roda. The musicians form the bateria which is normally composed of other players of the game, rather than specific band members. The objectives of the game are vague, and are largely dependent on the outcomes that are desired by the two players and the person who is in charge of the roda (usually the Mestre). In other words, there is no official winner or loser of the game.

Capoeira Angola contains rituals known as chamadas which translates literally to English as calls. This can be related to the idea of call and response that permeates the music of Capoeira and other African-derived musics such as samba de roda, jazz and blues. Chamadas (or calls) are initiated by one player signalling with a consistent ritual, such as holding one hand up, or holding both hands down near the feet while crouching over with the feet together and looking at the other player. These sequences of movements are done within the capoeira game and have strategic significance such as trying to change the pace of the game, or to indicate the dominance of one player over the other. However, like all things in Capoeira Angola, the sequences can be broken at any time if either person sense the opponent is open or vulnerable and they wish to take advantage of this opportunity. There are many chamadas, and some people rightly claim that every movement in Capoeira Angola is a chamada - that is, a call requiring a response.

Capoeira Angola is always played to music. It is not incidental, but rather a crucial element to the game. The reason for this is that during the game there is not only interaction between the players themselves, but also between the music and the players. Often subject matter of songs will describe a situation occurring within the roda, or will call players to change the quality of the game in some way. In an even more fundamental way, the rhythm being played calls for a certain kind of game between the players. For example, one rhythm known as Angola calls for slower games, and less aggressive interaction. Another known as Jogo de Dentro calls for players to play within close proximity to each other. Although these rhythms, or toques are well known to everyone, it is rare to observe a distinct change in the game based on a toque changing besides a pause to allow the musicians to settle into the new rhythm and a singer to sing an appropriate song.

There are different types of songs in Capoeira Angola, but generally they take the form of call and response; that is, a leader will sing something, and the chorus responds with some other line. One notable exception to this is a type of song known as a ladainha (which translates as litany, which is a solo sung at the beginning of the roda, and which leads into the more call and response style of music, called corridos, with an interlude called a chula or luvacao where certain characteristics of the game or the players or the roda or other circumstances are called out, usually from a varied but well-known set of possible choices to describe something that is present in the mind of the singer. Music is always in Portuguese, but there are influences of West African and Native American dialects from Brazil present in the lyrics. While subject matter of the music is varied, many songs are metaphorical in nature and tell stories that illustrate the worldview of the Angoleiro or practitioner of Capoeira Angola. Quality of music is not judged in the same way as western music. This can be noted by the fact that instruments are almost always out of tune with each other relative to well-known tonal systems, as are the singers. The most important thing in Capoeira Angola music is creating a good positive energy, which Angoleiros affectionately refer to as Ax or Energia. As well, the rhythm or tempo must be maintained at all times.

Today Capoeira Angola academies are present all over the world. Angoleiros cite different reasons for playing, the most important one seems to simply be enjoyment of the game. Added benefits are improved malicia or cunning, physical fitness, musical ability, singing, body awareness, and self-defense ability.

Source: http://en.wikipedia.org/wiki/Capoeira_Angola