To the casual observer, capoeira looks like a rich display of Brazilian culture, dance and music. Be careful, though, because there is cunning and skilled deception afoot.

Two centuries ago, Brazilian slaves from Africa used capoeira to deceive their masters into thinking that-far from honing their fighting skills for future confrontation or escape-they were in fact having an innocent celebration. Today, the deception continues as capoeiristas slide, sweep and roll in the hopes of manipulating an unwitting opponent's head onto the business end of an outstretched foot.

These are but a few of the lessons in the cunning art of capoeira that MESTRE COBRA MANSA brought to Notre Dame as part of his two-week visit sponsored by the Kellogg Institute and the Brazilian Ministry of Culture. Since Cobra Mansa began his travels in 1991 as an ambassador of capoeira, he has seen it flourish; it can now be found from the streets of Tokyo to Sesame Street.

In the following Q&A, Mestre Cobra Mansa (which means "Tamed Snake") reveals a few of the secrets of a capoeira master.

KI: What are the origins of the word ‘capoeira?' What is your view on the dispute over its origins?

MCM: The original capoeiristas did not call capoeira by that name. They called it brincadeira de angola, mandinga and jogo, for example. It is one of the two things we are most interested in researching. My theory is that the word came from the indigenous term that refers to the place where people cut down the natural vegetation to start a plantation. It could also be associated with a term that refers to the way roosters might. In Brazil, there is a lot of documentation on capoeira that has not been examined well.

KI: How does capoeira angola differ from the other capoeira styles?

MCM: The most important differences are on a philosophical level. The philosophy of capoeira angola is more closely linked to the capoeira roots, the tradition. Capoeira angola is how capoeira was in the beginning. Capoeira regional is a mix of capoeira angola with other manifestations, from Brazil and from outside the country, in the same way Umbanda is a mix of other religions-Catholicism, indigenous religions and others. In terms of movements, capoeira angola is mostly about counterattacking and attacking indirectly. There is more cunning in it. Capoeira regional has become a sport and is moving towards becoming an Olympic sport, while Capoeira angola is more cultural. The Brazilian Ministry of Sports wants capoeira under its jurisdiction, but we-angoleiros-want it to be part of the Ministry of Culture. As a capoeirista, I think when capoeira becomes a sport, it will lose a lot of its roots.

KI: Why was capoeira outlawed in the past?

MCM: In the 18th century, capoeira had two big groups, two big gangs. Some politicians hired one of the groups to attack other politicians, and the other politicians hired the other group for protection. A lot of people were using capoeiristas as contract killers. At one time, capoeiristas got organized and tried to invade the presidential palace in Brazil, and the Republic decided that capoeira had gone too far and should be outlawed. Capoeiristas had a bad reputation until the mid-'80s. There was a stigma for a long, long time.

KI: What prompted capoeira's recent resurgence?

MCM: That is something I am studying with

Greg Downey (Faculty Fellow and professor of anthropology at Notre Dame). First, capoeira is not a fight, and it is not a dance; it is a mix of both. Second, there is a social aspect of capoeira. There is no way one can practice capoeira alone. It is different from tai chi or karate, where people can exercise by themselves. In capoeira, you need a whole community. Third, psychologically, capoeira practitioners literally start seeing the world upside down, become more confident and feel like they can challenge themselves. Fourth, there is no age in capoeira. A little kid can practice capoeira with an old man. People are attracted to capoeira for different reasons. Some people like the music; others think it is fun to learn Portuguese through the songs and the Brazilian people who are involved in it; others want to do it because it is a dance.

KI: Do you think the resurgence of capoeira will affect the integrity of this art form?

MCM: We will see how much good and how much damage there is as we go. I feel somewhat responsible, as in 1991 my Mestre and I started to spread capoeira angola all over the world. Capoeira angola had almost disappeared. It had a few practicing groups in Brazil in 1981, and today we have lost count of how many groups there are around the world. On the other hand, the quality of teaching has decreased, and that makes me upset. We cannot control that. I don't know how good or bad the resurgence is. What I can say is that capoeira is almost all over the world now.