Having played Capoeira in many public places, such as parks, streets and a yearly street-roda at the Notting Hill Carnival, I have observed that audiences react to the game of Capoeira in a similar hypnotic way as one might whilst watching fire. However, this hypnotic quality is often broken by excited reaction to a particularly agile or complicated movement of the players. There is currently a public interest and fashionable appreciation of all things Brazilian, and Capoeira already has a certain caché. I think that the potential public audience for this piece of work will be of a diverse nature; children love Capoeira as it is so playful, young people like the speed, agility and spontaneity (and they can understand a cultural resonance of Hip-Hop and Breakdancing in the Capoeira movements), whereas older people are interested in the novelty and exotic qualities of the music and movement. Culturally, Capoeira crosses many boundaries and brings diverse groups of people together, a good example being my Capoeira group, which consists of people of a very varied age, nationality and culture. Through the marriage of the game of Capoeira with the painting of the forces that influence it, I hope to bring an even wider reach of audience closer to the art of Capoeira in order to create greater accessibility. I am keen to develop the project into community workshops for school children and other social programmes designed to develop and inspire especially disenfranchised social groups. As each performance will provide a record of itself in the form of the paintings, I will be cutting up some the paintings and giving these fragments of the Capoeira painting to the workshop participants, almost like a certificate, something to remember the event with.