Mestre Canjiquinha (born Washington Bruno da Silva on 1925 in Salvador, Bahia – died 1994) was a significant figure in Capoeira Angola and one of the leading figures of contemporary Capoeira. Known for his profound impact on Capoeira, Mestre Canjiquinha was one of the few mestres who didn't emphasize the traditional division between Capoeira Angola and Capoeira Regional, instead viewing them as primarily different rhythms.

Mestre Canjiquinha began his Capoeira journey in 1935, at the age of 10, in the neighborhood of Baixa do Tubo, Salvador. His first teacher was the legendary Mestre Aberrê (Antônio Raimundo), and he learned Capoeira in the “bathroom of the late Octavian,” a public space where many capoeiristas practiced. Despite his humble beginnings, Canjiquinha eventually became an accomplished Capoeirista, not only mastering the art but also finding his own unique approach to it.

In his early years, Mestre Canjiquinha worked in various professions, including shoemaker, typist, and lunch box delivery man. He also had a stint as a goalkeeper for Ypiranga Futebol Clube and was known for singing boleros at Salvadoran nightspots. While he wasn't a direct student of Mestre Pastinha, he was a Contramestre at Pastinha's academy before going on to found his own academy.

Mestre Canjiquinha was deeply involved in the growth and transformation of Capoeira in Brazil. He played a pivotal role in shaping the mainstream Capoeira style that began emerging in São Paulo in the 1960s, which blended elements of both Capoeira Regional and Capoeira Angola. His vision extended beyond just playing Capoeira, and he believed that the art was for everyone, regardless of creed, color, or nationality. He famously told his students, “Capoeira has no creed, no color, no flag, it belongs to the people, it will travel the world.”

Mestre Canjiquinha was also known for his innovative approach to Capoeira demonstrations. He was the first to incorporate Maculelê, an Afro-Brazilian dance, into his Capoeira performances, blending the two art forms to create unique presentations that celebrated Afro-Brazilian culture. He was also recognized for his distinctive playing style, where he would hold the berimbau at chest height and play it with the vaqueta in his left hand, adding a personal touch to the instrument’s sound.

Beyond his demonstrations and teaching, Mestre Canjiquinha's legacy includes his contributions to the arts and culture through Brazilian films, where he showcased Capoeira and brought it to a wider audience. In 1984, he recorded a CD with Mestre Waldemar, another influential figure in Capoeira.

Despite his profound contributions to Capoeira, Mestre Canjiquinha faced poverty in his later years. He passed away in 1994, leaving behind a legacy that continued through influential figures such as Paulo dos Anjos, Mestre Brasilia, and Mestre Lua Rasta. Mestre Canjiquinha’s approach to Capoeira, which emphasized unity and cultural pride, remains an enduring part of Capoeira’s rich history.