Luanda é meu boi,
Luanda é para
Tereza canta sentado
Oi Marina samba de pè
La no cais da Bahia
Na roda de Capoeira
Não tem lêlê não tem nada
Oi, não tem lêlê nem lala

Oi laê laê la
Oi lêlê
Oi lae lae la
Oi lêlê
Oi laê laê la
Oi lêlê
Oi lae lae la
Oi lêlê

Luanda is my ox
Luanda is for
Teresa sings while sitting
Marina samba with the foot
There at the banks of Bahia
In the roda of Capoeira
is no lêlê nor nothing
no lêlê and no lala

Oi laê laê la
Oi lêlê
Oi lae lae la
Oi lêlê
Oi laê laê la
Oi lêlê
Oi lae lae la
Oi lêlê

Did you know?

Bahia

Bahia, particularly its capital Salvador and the surrounding Recôncavo region, is the historical and cultural birthplace of capoeira in Brazil.
Salvador was founded in 1549 and served as a major port for the transatlantic slave trade, bringing millions of West and Central Africans to the region.


Luanda

  • Luanda is the capital of Angola and historically served as one of the most critical slave trade ports where Africans were shipped to Brazil as chattel.
  • In the Yoruba language, the name Luanda translates to the junction of the moon and the earth, while in Bantu dialects it evokes a peaceful, imaginary land.
  • In 1963, Mestre Eziquiel Martins honored this deep transatlantic connection by founding the historic Grupo Luanda de Capoeira in Salvador, Bahia.
  • The word Luanda is frequently sung in traditional songs to pay ancestral homage to the heavy grief of the slave ports where ancestors said their final goodbyes.
  • Today, capoeiristas from Brazil frequently travel back to Luanda, creating a historical return that helps local youth connect with their heritage and heal from past conflicts.

Samba

  • Samba is a vibrant Brazilian musical genre and dance form that shares deep West African roots, historical resistance, and an unbreakable cultural bond with capoeira.
  • In the context of the roda, samba functions as an essential companion art, most famously expressed through the high-energy samba de roda performed immediately after the martial matches conclude.
  • Enslaved Africans in Bahia developed both arts simultaneously as overlapping tools for community celebration, psychological release, and the survival of ancestral rhythms.
  • The music relies on identical percussion instruments found in capoeira, such as the pandeiro and atabaque, to drive the syncopated, polyrhythmic foundation of the dance.
  • Training in the dance directly benefits capoeiristas by sharpening their physical footwork, rhythm, agility, and the streetwise cunning known as malandragem.
  • Today, concluding a gathering with this dance serves to transform the combative tension of the martial art into pure collective joy, unity, and shared cultural pride.