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Mestre Aberrê

From CapoeiraWiki

Mestre Aberrê, born Antônio Raimundo Argolo on August 6, 1895, in Salvador, Bahia, is a significant figure in the history of Capoeira Angola. His life and contributions to capoeira have left a lasting impact on the art form, influencing generations of capoeiristas, including well-known masters like Mestre Canjiquinha and Mestre Caiçara.

Early Life and Training

Antônio Raimundo Argolo was born in the same year as another famous capoeirista, Besouro. He was the son of Ângelo Argolo and Maria R. de Argolo. Growing up in Salvador, Mestre Aberrê was exposed to the vibrant culture of capoeira, which thrived in the city’s streets and lowlands.

Around 1910-1912, Aberrê began his capoeira journey, training under the tutelage of either Mestre Pastinha, the legendary figure often credited with formalizing Capoeira Angola, or Mestre Antônio de Noronha. Aberrê honed his skills in the lowlands of Matatu Preto, located in the Matatu neighborhood, a place known for its strong capoeira tradition.

Influence and Teaching

By the mid-1930s, Mestre Aberrê had become a respected figure in the capoeira community. In 1935, he started teaching capoeira to a young boy named Canjiquinha, who would later become one of the most celebrated masters of Capoeira Angola. Canjiquinha recalls how, as a 10-year-old, he would watch the capoeira games in Matatu Preto every Sunday. It was there that Mestre Aberrê took him under his wing, teaching him the art of capoeira through practical lessons and demonstrations.

Aberrê was known for his distinctive style, often wearing a blue and white shirt adorned with medals. He was also a formidable fighter, known for his strength and skill. His influence extended beyond his direct students, as he played a crucial role in keeping the tradition of Capoeira Angola alive during a time when the art form faced various challenges.

The Challenge with Mestre Bimba

One of the most notable events in Mestre Aberrê's life was his challenge against Mestre Bimba, the founder of Capoeira Regional. This challenge took place on March 25, 1936, at Parque Odeon in Salvador. It was a significant moment in the history of capoeira, as it symbolized the tension between the two styles—Capoeira Angola and Capoeira Regional. A few months later, on May 16, 1936, Aberrê faced another challenge, this time against Onça Preta (Cícero Navarro), another well-known capoeirista of the time.

Contributions to Capoeira Angola

Mestre Aberrê's contributions to Capoeira Angola go beyond his fighting skills and teaching. In 1941, he played a pivotal role in encouraging Mestre Pastinha to return to the practice of Capoeira Angola. At the time, Mestre Pastinha had distanced himself from capoeira, but Aberrê's persistent invitations eventually led Pastinha to reengage with the art form. This moment was crucial for the preservation and continuation of Capoeira Angola, as Mestre Pastinha would go on to become one of its most influential proponents.

Final Years and Legacy

Mestre Aberrê continued to practice and teach capoeira until his untimely death in September 1942. According to Mestre Pastinha's manuscripts, Aberrê died in Fuisco de Baixo, Jacaré. The circumstances of his death are vividly recalled by his contemporaries. Mestre Canjiquinha recounts that Aberrê choked on beans with fat during a meal, which was a common cause of death at the time due to the lack of refrigeration. After participating in a capoeira game, Aberrê collapsed and passed away before reaching medical assistance.

Mestre Onça Preta also remembered the day Aberrê died during a lively roda in the Lower City of Salvador. Aberrê was in control of the game when he suddenly fell and did not get up, later found to have suffered a heart attack. His death marked a significant loss for the capoeira community, and as a sign of respect, capoeira games were halted in Bahia for several weeks.

Mestre Aberrê's legacy lives on through his students and the broader capoeira community. His dedication to the art and his role in preserving Capoeira Angola have ensured that his name is remembered as one of the great masters of this Afro-Brazilian tradition.

References