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Malandragem

From Wikipedia, the free encyclopedia
Portuguese term for a lifestyle of lawlessness

"Malandro" redirects here. For other uses, seeMalandro (disambiguation).
Statue ofZé Pilintra, an entity inUmbanda that traditionally personifies malandros.[1]

Malandragem (Portuguese pronunciation:[malɐ̃ˈdɾaʒẽj],lit.'roguishness' inPortuguese) is a lifestyle of idleness, fast living and petty crime. It is traditionally celebrated insamba lyrics, especially those ofNoel Rosa andBezerra da Silva. The concept is common inBrazilian literature,Brazilian cinema andBrazilian music.[2]

The exponent of this lifestyle, themalandro (a masculine adjective), or "bad boy" (rogue, hustler, rascal, scoundrel, gangster), has become significant toBrazilian national identity as afolk hero or, rather, ananti-hero.Themalandros are a classiccarioca archetype. The well-dressed, work-shirking wise guy who sidesteps society’s rules to live as he pleases.[3]

Definition

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Malandragem is a strategic approach used to gain an advantage in various situations, often of an illicit nature. It involves savoir faire and subtlety, demanding aptitude, charisma, and cunning to manipulate people or institutions for the best outcome with minimal effort.

Disregarding logic, labor, and honesty, themalandro assumes that such methods are incapable of achieving a favorable outcome. Those who practice malandragem act in the spirit of the Brazilian adage, immortalized by former Brazilian soccer playerGérson de Oliveira Nunes in a cigarette TV commercial (hence the name "Gérson's law"): "I like to gain the advantage in everything."

Malandragem is often seen as a tool for individual justice in the face of oppressive forces. The individualistmalandro survives by manipulating people, fooling authorities, and sidestepping laws to ensure their well-being. In this way, themalandro is a typical Brazilian hero, with literary examples includingPedro Malasartes andJoão Grilo.

Malandragem is employed by individuals of various social positions to gain illicit advantages in gambling, business, and social interactions. Amalandro may deceive others, but this doesn't necessarily make them selfish. Their use ofmalandragem often aims to escape unfair situations, even if it means resorting to illegal means. In fiction,malandragem is a device used to introduce wit, a characteristic of an antihero.

In capoeira

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Caricature of capoeira malandros, 1885

Incapoeira,malandragem is the ability to quickly understand an opponent's intentions, and during a fight or a game, fool, trick and deceive him.[4] This malandragem is one of the basic tenets in the philosophy of capoeira and is similar to the cunning of the Hunter deity,Oxóssi.[5]

Some of the popular proverbs among capoeiristas embodying the philosophy of malandragem include:[6]

  • "Quem não pode com mandinga não carrega patuá" (He who can't handle mandinga doesn't wear a patuá). In other words, everyone should be aware of their limitations.
  • "Urubu para cantar demora" (A vulture takes a long time to sing), or its alternative version: "Bater papo com otário é jogar conversa fora" (Talking to a fool is a waste of words).
  • "Valente não existe" (There's no such thing as a tough guy). It means capoeiristas should not be misled by the appearance of "tough guys" and should acknowledge that everyone experiences fear and insecurity to varying extents. They should see the person beneath the physical strength facade, whether in themselves or others.[6]

Literature

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  • Capoeira, Nestor (2007).The Little Capoeira Book. Blue Snake Books.ISBN 9781583941980.
  • Capoeira, Nestor (2002).Capoeira: Roots of the Dance-Fight-Game. Blue Snake Books.ISBN 978-1-58394-637-4.

See also

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References

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  1. ^www.genuinaumbanda.com.br."Zé Pelintra". Archived fromthe original on 2019-03-23. Retrieved3 November 2018.
  2. ^"Popular cinema in Brazil, 1930–2001", by Stephanie Dennison, Lisa Shaw, 2004,ISBN 0-7190-6499-6,section "Malandragem and jeitinho"
  3. ^Malandros – A New DramaSystem Game
  4. ^Diaz, J. D. (2017). Between repetition and variation: A musical performance of malícia in capoeira.Ethnomusicology Forum, 26(1), 46–68. doi:10.1080/17411912.2017.1309297
  5. ^Capoeira 2002, pp. 63.
  6. ^abCapoeira 2007, pp. 59.
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