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| Preface | |
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| Prelude | |
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| Playing Capoeira | |
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| Inside and Outside the Roda | |
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| The Development of Capoeira | |
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| Black Culture in Brazil | |
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| Mobilizing the Black Community | |
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| Resisting Sociology, Structures, and Symbols | |
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| A Phenomenological Turn in Ethnography | |
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| Plan of the Book | |
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| Learning | |
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| The Significance of Skills | |
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| A Capoeira Class | |
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| Skill and Sensitivity | |
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| Learning to Walk | |
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| The Body's Role in Experience | |
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| Learning to Fall | |
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| Following in a Mestre's Footsteps | |
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| The Advent of the Academy | |
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| Moving like a Mestre | |
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| Imitative Learning | |
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| Coaching the Bananeira | |
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| Coaching and Developing Skills | |
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| Apprenticeship as a Research Method | |
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| Remembering | |
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| History in Epic Registers | |
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| A Notorious History of Outlaws | |
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| The Bambas of Bahia | |
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| The Closing of the "Heroic Cycle" | |
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| The Long Struggle for Liberation | |
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| African Origins and Slave Resistance | |
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| The Tragic Life and Death of Mestre Pastinha | |
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| Alternative Histories | |
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| How Histories are Heard | |
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| Singing the Past into Play | |
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| The Song Cycle | |
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| Singing Commentary on the Game | |
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| Mortal Seriousness and Prayer | |
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| Shifting "I" Across Time | |
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| Ambiguous Times in Song | |
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| Playing in a Poetic Projection | |
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| Playing | |
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| Hearing the Berimbau | |
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| The Capoeira Orchestra | |
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| Musical Interactions | |
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| The Grain of the Berimbau | |
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| Listening with a Musician's Hands | |
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| Hearing with a Player's Body | |
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| The Social Ability of Hearing | |
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| Hearing as a Skill | |
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| Play with a Sinister Past | |
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| Reminders of the Past | |
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| The Importance of the Chamada | |
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| The Chamada's Dramatic Dynamic | |
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| Play and Implied Violence | |
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| The Sinister Gravity of Play | |
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| A Sense of Tradition | |
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| Habits | |
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| The Rogue's Swagger | |
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| The Ginga | |
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| Fundamentals of Cunning | |
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| The Despised Waist | |
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| A Swaying Stride | |
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| Posture and Self-Transformation | |
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| Crying at an Adversary's Feet | |
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| Closing the Body | |
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| Becoming Aware of One's Openness | |
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| The Impossibility of Closing | |
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| Opening an Adversary | |
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| Closing the Body in Candomble | |
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| Signing the Cross | |
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| Gesture, Posture, and Vulnerability | |
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| Walking in Evil | |
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| Hard Jokes and Cautionary Tales | |
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| Dissembling in a Treacherous World | |
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| The Sideways Glance | |
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| Seeing Through Shifty Eyes | |
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| A Cunning Comportment | |
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| Changes | |
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| The Limits of Whitening | |
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| The Emergence of Capoeira Regional | |
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| Critics of Capoeira Regional | |
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| Bimba's Students and "Whitening" | |
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| Whitening in Brazil | |
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| Changes in Movement Style | |
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| Capoeira from Middle-Class Bodies | |
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| Tearing Out the Shame | |
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| Hands, Head, and Legs | |
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| Working with Bodies | |
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| Reviving Capoeira Angola | |
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| Broken Movements, Softened Bodies | |
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| Shame and Its Removal | |
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| Moved to Change | |
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| Conclusion: Lessons from the Roda | |
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| Physical Education as Ethnographic Object | |
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| The Pragmatism of Practice | |
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| Embodiment and Experience | |
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| Notes | |
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| Bibliography | |
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| Index | |