Capoeira is an Afro-Brazilian martial art that combines singing and percussion with dance, combat and street theatre. Two practitioners play a 'game' within a 'circle' formed by the musicians and other participants. Enslaved Africans and Creoles developed the practice in the port cities of late colonial and imperial Brazil. It survived initial harsh repression until being recognised as a national sport and tradition in the twentieth century. Two competing styles were responsible for its modernisation in the 1930s-50s. They merged during the following decades into the current mainstream 'Contemporary' style, now taught and played around the world. The capoeira circle and the knowledge of capoeira teachers ('masters') were recognised by the Brazilian government as integral to the nation's intangible cultural heritage in 2008, and by UNESCO in 2014. The project aims to better understand the emergence of this Contemporary Capoeira by gathering material from different sources. It will conduct interviews with 40 surviving capoeira masters from the first and second generations, responsible for the development and expansion of the new, modernised style of capoeira during the 1950s-70s in 'Greater Rio de Janeiro' - which includes not only the city centre, but also its poorer suburbs and its marginalised periphery. The project will also systematically collect further material from local sound, image and newspaper archives to complement and corroborate these testimonies. With the help of some well-known and respected capoeira masters, who will act as project consultants, it will furthermore encourage the local capoeira community to donate materials such as old interviews or photographs. The collected material will be organised and stored in digital format on servers in Essex and Rio de Janeiro, in close collaboration with our project partner, the Laboratory of Oral History and Image at the Federal Fluminense University. The advanced age of the masters to be interviewed, and the absence of a coherent plan to rescue these crucial testimonies for capoeira history in the current political and financial crisis in Rio make this project all the more urgent. Drawing on my previous experience, I will provide the intellectual leadership needed to bring together capoeira masters and practitioners, academics from various disciplines and digital specialists to deliver a range of accessible outputs, the most important being the creation of a long-lasting and sustainable database on capoeira. This raw material will be made available for registered users via the website, and will significantly facilitate further research by other academics and non-professional capoeira historians. An edited selection of the interviews, and complementary material with explanations will be made available on the website and in a virtual exhibition. Around 40 short clips will present an overview of the social and cultural backgrounds and life stories of these very diverse characters and careers. They will conjure the ambience of historic capoeira circles, and portray a culturally rich but also socially and racially divided city. A digital exhibition hosted by the Afro-Digital Museum will provide an appealing summary of the results for broader audiences, and will help schoolteachers to comply with recent Brazilian legislation that makes the teaching of Afro-Brazilian history compulsory in all secondary schools. Teaching will also be facilitated by an itinerary following the memory sites of capoeira in central Rio and its historical suburbs. This guided tour will be incorporated into a mobile phone app for easier access. A knowledge exchange between staff from the British Library, Essex University and Brazilian partners on data management, making digital history and achieving digital dissemination will help to optimise the project's research and its online accessibility, as well as contributing to the development of skills for the staff involved in a range of areas.