Capoeira Angola
Players and watchers come together in a Roda. The person who plays the Berimbau is either of a high rank or the Mestre, and is in charge of regulating the game.The Berimbau begins the rhythm and the other instruments join in as the audience claps. Once everyone is adjusted to the rhythm the Berimbau player starts singing. The crowd echoes the end of every stanza.
Two people from the crowd enter the Roda and meet in front of the Berimbau. Once everyone is ready the leader lowers the top of his Berimbau signalling to the players that they may start the Jogo. The players shake hands and begin entering the Roda. Players must enter the game in a very cautious way, always aware of any possible counters from the partner. A slow Rolé, Queda de Rins, Headstand or closed Au are common entrances.
In Angola kicks aren’t as high as in Regional but rather at waist level or below. Angola puts much emphasis on the dancing elements, so express your Ginga. Don’t lose the rhythm, but feel the music and let your body respond any way you want. Swing your arms, stumble around, play with your balance, stagger and sway. It may look silly to the newcomer but when playing Angola it feels perfect. Angola games are always much slower than Regional so it is possible to stop in the middle of a movement and do it in the opposite direction. This adds uncertainty and opportunity and forces players to react in new and unusual ways, which is why Angola looks less like a fight but more like a dance.
A player during Angola can do a Chamada. The Chamada (call) is a playful and important ritual of Angola. The player who makes the call stops and takes a a certain posture, i.e. arms spread with head down or arms in front with one foot forward. The other player carefully closes in on the waiting player. He/she has too make sure that no sudden attacks will come when he/she works up into the dancing position (dependent on the kind of Chamada, there are over 15 different ones. Examples: Passo á Dois, the most common, where the player moves up the body of the one doing the chamada, they touch hands in the air and walk side by side facing each other. Or Chamada de Cocorinha, where the two meet hands in a cocorinha position and take small hops to the side). The other player can touch the feet, knees, legs, elbows, arms, head or whatever part of the body he/she doesn’t want the other person to hit with. If the person forgets to touch a part of the body, the one initiator can strike with it whenever he/she feels. When both players are ready they start to dance together taking some steps forward and back with hands touching. The player who initiated the Chamada leads the way, and its up to this Capoeirista to break up the ritual. He/she does so by taking the other's hands and leading them down, from where they continue their regular play. This final phase of the Chamada is very cautious because its likely both players have planned a trap for the other when they were dancing.
Unlike Regional, Capoeiristas cannot simply buy into a game of Angola. Players must wait their turn by the Berimbau. Also, it is strictly wrong to attempt buying into the game while a player is making a Chamada. But like Regional, players can walk around the inside the circle to recover.

A Great Amount Of Thanks Goes To Chimp for most of this, plus thanks to Bira Almeida (Mestre Acordeon) author of Capoeira: A Brazilian Art Form (I highly recommend this book to anyone who wants a complete and extensive history of Capoeira)