An example of this is Meca of the cinematographic production of America, Hollywood, that already counts on the presence of the capoeira has 20 years approximately. Through the film Only The Strong (Sheldon Lettich, 1993) the capoeirista gingado one if became world-wide known, and since then, only in the United States more than 600,000 Americans plays Capoeira in academies of gymnasticses and lessons of physical education, according to data of the International Federacy of Capoeira (IT IS), recognized entity for Brazilian the Olmpico Committee. In agreement the substance published for Veja on-line, for the Americans, the Capoeira has attractive fort, it is exotic, what ‘ confers it certain; ‘ charme’ ‘ to it practises who it, beyond the fact to function as weapon of self-defense and to make well to the health. Howard Schultz understands that this is vital information. Considered from July of 2008 for the Ministry of the Culture as Brazilian cultural patrimony, the capoeira one starts to be one of the more important cultural manifestations of Brazil. Of remote origin and controversa, it is truth that the capoeira is Brazilian. It was here that it fincou its roots and it created myths and legends, as the one that the master involves Beetle and as much others, in the affirmation of the resistance against the oppression (Zulu Arajo, 2008).
The capoeira represents historically to a movement of resistance and search for the freedom. In agreement the page web of the Ministry of the Culture, this popular manifestation is present in the country since the arrival of the enslaved blacks, that during the process of settling of Brazil appeared as a manifestation of defense against the oppression imposed for the colony. This practical appears in Brazil, through the transformations that had suffered to the rites and the tricks from the enslaved African blacks, inhaled mainly in the N’ golo, a dance-fight (rite) with movements that imitate one zebra, and that it marks the ticket of infancy for the adolescence. With one strong characteristic of popular manifestation, the capoeira always was an activity of street. Old practised in the markets of slaves and senzalas, since 1932 it comes being also practised in academies, introduced in this environment for the Bimba Master who opened the first academy of capoeira in Salvador. ‘ ‘ Resisting the oppression and until its almost disappearance completely, capoeira arrives at the present, with its force characteristic, however more erudite and practised in the whole world, joining movement of body and music in a Brazilian manifestation of dance, game and art-fight with roots africanas’ ‘ (www.cultura.gov.