Person
Tico
Julio dos Santos Menezes
1870s – ?
Born in Santo Amaro, Bahia, Brazil
Julio dos Santos Menezes, known as Tico, was a dock worker and capoeirista from Santo Amaro in the Recôncavo Baiano region who became part of the legendary community of capoeiristas at the Cais Dourado (Golden Wharf) in Salvador during the late 19th and early 20th centuries.
Tico worked as a carregador (porter) and frequented the Freguesia do Pilar, the parish that encompassed the waterfront district where dock workers, stevedores, and saveiristas congregated. The Cais Dourado was notorious as a stronghold of capoeira—a universe of maritime laborers who breathed the culture of sailors in their daily lives and practiced their art amid the bustle of commerce and cargo.
The historical record captures Tico through a violent incident: he was arrested following an armed confrontation in which he wielded a faca de sapateiro (shoemaker's knife) against "Martins' group." The fight left him with cuts to his arms, face, and hands. This documentation, likely from police records, is typical of how Layer Zero capoeiristas entered the historical record—not through celebrations of their art, but through encounters with authorities during the era of criminalization.
Tico's contemporaries at the Cais Dourado included some of the most storied names in early capoeira: the legendary Besouro Mangangá who arrived from Santo Amaro via saveiro, Pedro Porreta the fish seller who dominated the Baixa dos Sapateiros, Caboclinho the saveirista, and Antônio Corró the cart driver who would later teach Mestre Paraná. Together they formed a community of working-class practitioners who kept capoeira alive through the years of prohibition, meeting at the waterfront, at the Mercado Santa Bárbara, and during festivals like the Santa Luzia celebration documented by Mestre Noronha in 1922.
Like many of his generation, Tico's fate after the early 20th century is unknown. He remains one of the anonymous ancestors—African and Afro-Brazilian workers who preserved and transmitted the art during its most dangerous years.