Originating in Brazil, the samba is a folkloric dance, and there are many kinds of samba dances in the local carnivals from Bajao to Marcha. In order to bring out the characteristics of the samba, the dancers must be joyful, sensational and exciting. The samba has a characteristic rhythm and is known for its Brazilian instruments. Now many gyms have also emerged in a project called Latin aerobics, this way of movement is no longer some kind of simple Latin dance, but the use of a lot of Latin elements combined into a simplified and manipulated and formed a comprehensive and strong sports concept. For example, samba, cha-cha-cha, mambo are widely used in this kind of program, so that everyone can enjoy the physical and mental pleasure in the passionate music.
Movement breakdown: left and right sweeping steps.
1 Left foot left side step, hip from right to left row eight, left hand to the left side of the open straight, the right hand in an arc buckle elbow from the side of the face row down.
2Right foot back side pointing to the ground at the same time to release the hip downward pressure, the right hand to the back of the swing to open straight, the left hand row an arc buckle elbow from the side of the face down.
3 Same as 1 in the opposite direction.
4 Same as 2 in the opposite direction.
If you can't wait to get your fists in the air, you can go and experience for yourself the different feeling that Latin dance brings to your body. -Dance style: lively and intensely joyful.
-Dance style: progressive movement, fixed point, zigzag type steps, parade-like, around each other.
-The beat: 2/4 time.
-Bar per minute: 52 to 54 bars.
- Accent: on the second beat.
- Elevation: produced by the BOUNCE movement of the samba.
-Movement characteristics: very "heavy" center of gravity, instantaneous movement between two points, high flexibility. What does the samba bounce refer to? Samba originated in Brazil and Carnival dance is characterized by the compression and straightening of the knees, which produces a bounce because of the pelvic contraction or body depression, it is called a bouncing movement, it is not really bouncing up and down.
How is the bounce formed? Using the 1/2 beat to bring the knee down straighten the knee with the other 1/2 beat． We divide a beat into two parts - 1&, 1 being the first half-beat and & being the second half-beat. The question is: do we bend the knee on the 1, and straighten it on the &? Or something else, what seems more logical to me is to bend the knee on the 1 and straighten it on the &.
Quote the IDTA and ISTD books verbatim for a comparison.
IDTA (Laird): If bouncing is combined with rhythm and foot movement, the rhythm will be & 1 & a 2 & 1 & a 2. Straightening the knee is done on & with the next 1/4 of a 1. In other words, we straighten the knee on & and then we straighten the knee on & and then we straighten the knee on &. In other words, we do the knee straightening on the & beat so we must be doing the knee compression on the 1 beat.
ISTD: (New ISTD Samba Manual) : Normal bounce is a samba trait, briefly in the beginning 1/2 beat is slightly straightened and slightly bent on the second 1/2 beat, that is, counting the 1's on the beat straighten and then do the compression on the & beat.
I'm afraid that reading the information quoted above may be confusing for the reader, but for a professional coach, they all know what it's all about. They all know what it's all about, so they don't seem to pay much attention to what's written in the books, and therefore don't get caught up in the content of the books, which many people say put the books aside! This seems very difficult to me, so I apologize, but I just hope that we can all sort out what the confusion is about? Are we working with two different techniques or am I just confused, there is the same implication between the two, can anyone clarify?
Briefly: we all understand that the samba bounce is not a bopping up or down, it is a samba bounce created by the samba, a bounce created by the contraction of the pelvis and the straightening of the knees, the contraction force created, please study the foundations of the samba:
What is the contraction of the pelvis and the withdrawal of the dance, which is carried out on all beats with the counting of 1 a 2.
Mr. Walter Laird's book on the Samba has a precise and clear description of the Samba bounce, and its diagrams are very helpful for an in-depth understanding of it. Even though Reverse Basic steps are more common in the US, we should stay true to the book's description of the norms of 1 a 2 counting Natural Basic Movement. -Invented by Maxixe Dance in Paris, France in 1905.
-Brazilians called samba Maxixe before 1914.
-Samba was introduced in Europe in 1925, and samba competitions were held.
-Because of Fred Astaire's "Flying Down to Rio" movie in 1934, a form of Samba called Carioca was popularized in England.
-Carioca was introduced to the United States in 1938.
-The Portuguese word "Samba" appeared for the first time in 1938 in an article in the Brazilian newspaper "O Carapuceiro", written by Father Lopes Gama, meaning a rhythm, a dance.
-Samba amplifies its splendor during the 1939 Universal Exposition in New York.
-The samba was popularized in 1941 by Carman Miranda, a famous movie dancer, especially in the movie "The Night In Rio".
-Became popular in Europe in 1948.
-In the 1950s it became even more popular due to the influence of a leading British aristocrat, Princess Margaret.
-In 1956, it was officially popularized internationally by the Frenchman Pierre Lavelle.
Samba
Samba is known as the "national dance" of Brazil. In Latin America, the largest country, the popularity of samba, there is such a saying: people regardless of men and women, young and old, usually jump, more jump on holidays; jump on the stage, also jump in the street; daytime jump, all-night jump. Whenever the exciting music, people are always passionate, can not help but swinging legs and waist, jumping up, like a drunk, can not stop, want to rest. Samba originated in Africa. The word "samba" is said to have evolved from the second largest tribe in Africa, Angola's Kimbundu language "Samba". "Samba" was originally a kind of exciting belly dance. As the name suggests, the dance is characterized by the up-and-down shaking of the abdomen and the shaking of the hips. It was one of the most popular dance movements in Angola and began to spread with the rise of the slave trade. For more than 300 years, from the 1630s to the mid-1800s, Portuguese colonizers trafficked 12 million black slaves from Angola and other parts of Africa to Brazil. In cramming black slaves into the holds of ships bound for the newly discovered continent of Latin America, white slave traders feared that the long journey, with black slaves nestled in the holds for dozens of days at a time, would not fetch a good price when they arrived on shore with weak legs. Therefore, they rushed the black slaves who were crowded in the cabins to the deck every day, and let them dance a samba to the accompaniment of banging on the wine barrels and iron pots, so as to move their muscles. In this way, the colonizers' move, which was intended to enhance the bidding power of a special commodity like the Negro, inadvertently brought this dance, popular in Africa, to Latin America.
It has been established that samba was first popularized in Brazil around Salvador, the capital of Bahia state. This is where the Portuguese first landed to colonize Brazil. They ran a large number of plantations and mining sites here. The black slaves who were trafficked to the plantations and mines danced this hometown dance for fun after their heavy labor. In later centuries, black slaves and their descendants from Africa had more contact with whites from all over Europe and gradually integrated with indigenous Indians. As a result, their dances gradually absorbed some elements of the Bohemian polka from Europe, the Habanera from Cuba and the locally popular Brazilian Maxiche, gradually forming the modern samba. It is recorded that it was the women of Bahia who brought this dance to the then capital of Brazil, Rio de Janeiro, in the early 20th century. Since then, the dance has spread from the coast to the interior, from the slums to the upper class, from the blacks and mulattos to the whites. At the same time, the six-string guitar and ukulele that had been the main instruments of accompaniment in Spain were gradually replaced by percussion instruments such as brass drums, gongs and cymbals, which were used in the favelas of Rio de Janeiro, where the first samba school, "Let's Gossip", was established in 1928, and where the first samba parade, "Valentine's Day Samba Parade", was held in 1932. In 1932, Brazil held the first Valentine's Day Samba Parade Observation Competition, which was welcomed and praised by the people. From then on, modern samba dance soon became popular throughout Brazil. Samba is originally an African indigenous dance, originally a dance with religious rituals. Between the 16th and 18th centuries, the Portuguese imported a large number of black slaves from Africa, such as Angola and the Congo, to the colony of Brazil, in order to replace the Brazilians and the indigenous people who did not want to do the work, and the black slaves also brought their dance to Brazil. 19th century Brazilian black slaves' body rolling dance was added to the Brazilian indigenous dance of the Lundu's body shaking movements, and then added to the Carnival dance of the parade introduced by the Europeans. In the 19th century, the body rolling dance of the Brazilian slaves was mixed with Lundu, a Brazilian indigenous dance, and then with the Carnival dance of the European parade, which was introduced in Europe, and was called Zemba Quecu, and finally with the Brazilian dance of Maxixe.
The samba was introduced to the United States in the 1930s, because it is fun and lively. Later, after the American dance experts to refine and process, in the basic training, step specifications and choreography on the continuous research and improvement, it is one of the five Latin dance series, and officially designated as the international standard dance competition. Whenever there is a festival, Brazilian towns and cities are full of carnivals, and people will dance a bold and improvisational samba, because of its lively rhythm, a heavy and a light, and soon spread to Europe and the United States of America's major cities. ①Mass Samba: Dance movements are improvised by the dancers with the rhythm. Female dancers are mainly small and dexterous crotch-twisting movements, and male dancers, in addition to crotch movements, often show their dancing skills with various dexterous changes in foot movements. When performing, they can dance in a circle, or a man can invite a woman to perform in the circle, while the others are still in the same place to follow the dance, but also by a person in the lead, the others in the line behind, by the latter holding the waist of the former, the crowd in accordance with a variety of formations in unison to do the twisting movement.
②performance samba: female dancers twisted crotch action combined with a large amount of modeling dance and a variety of footwork changes, while the number of people according to the dance to create a variety of formations, male dancers holding a variety of percussion instruments while dancing. Surdo
In the Samba Reaggae style, there are five pitches of Surdo, while in Rio Samba, there are still three basic pitches of Surdo, and the soprano instrument, the repinique
In Samba Reaggae, the drum is usually struck at high speed and without interruption with two plastic drumsticks, while in Rio Samba, it is usually struck with one drumstick. In Samba, one mallet and one hand are usually used to match the strokes, and is the instrument most often used by the drum leader, who is responsible for calling out a number of matches and directing the start and finish of the entire drumline.
Caixa
Using a common drum kit and struck with wooden mallets, the caixa is the foundation of a drum group that maintains a steady tempo, and in Rio Samba, the caixa's pitch is usually pitched very high and is struck on the side with the spring band.
The Cavaquinho
Often referred to as the Brazilian guitar, it is much smaller than the guitar, as can be seen in this picture. The rhythmic and lively samba usually brings considerable excitement to the competition, and the focus is on good body balance and the correct distribution of steps between fixed and Z-shaped moves, which are generally progressive and mobile dances. In general, Samba is a progressive movement dance. The movement must be in a gradual circle like "Carnival Parade", while the fixed point dance must be interacted with the audience. The modified international standard Latin samba is different from the original Brazilian samba, which brought people into a state of ecstasy, but still retains the "carnival parade" and energetic character.
For competitors: a highly flexible and supple body is paramount, and the arms play a secondary role in balancing the body for such a strong rhythm. Advanced dancers use their body weight and gravity correctly to create a "heavy" center of gravity. Dancers must focus on the right amount of muscle relaxation and center of gravity. Physical and mental tension will not allow them to perform the lively, passionate samba well.
Special Contributors
Walter Laird and his partner, Lorraine, were the most important contributors to the transformation of the samba into an international standard dance. In the eyes of the world, samba is the national dance of Brazil, representing passion and artistic integration of multi-racial groups, and Carnival is the most important festival for Brazilians. However, Brazilians do not treat samba with the same reverence as foreigners do, and black dancers, who brought the prototype of samba to Brazil when the black slaves were introduced to the country in the 16th century, have been categorized as "unimpressive," "rude" and "crude" because of the friction that occurs when they dance. "In addition, the Brazilian government did not reward those who made outstanding contributions to the samba, nor did it pay much attention to the historical events and objects of the samba. Therefore, in the years before the beginning of the 20th century, Brazilians who danced samba were regarded as idlers and scoundrels, and were sometimes stopped by the police.
But on the other hand, the dance of the original blacks has a religious and cultural dimension, and because of the addition of indigenous Brazilian and European dance steps, it has evolved into a multi-ethnic **** with the dance, and its use of percussive instruments exudes a boldness that y touches the hearts of the people, and the dance's provocative and rhythmic, for the middle and lower classes, who make up the majority of the Brazilian population, it represents the dispersal of the discontent of the real society, and is a way of dispersing the discontent of the real society, and is a way of dispersing the discontent of the real society. For the middle and lower classes, who make up the majority of the Brazilian population, the dance represents a relief from social discontent, a medium for lovemaking, a means of passing the time, and an instrument of festive revelry, which has become a part of everyday life. It is only after the international acceptance of samba in the last 40 to 50 years that the status of samba has risen in Brazil, although it is still not included in the hall of noble arts. In May 2006, China's first samba percussion ensemble was founded in Beijing under the name Sambaia Beijing. Originally founded in San Francisco in September 2002 by artists Jimmy Biala and Leon Lee, the group is made up of mostly Asian people living in San Francisco, hence the name Sambaya.
Sambaya Beijing is a community-based, non-profit organization that provides educational programs and performances related to traditional Brazilian percussion and dance, and is the only active Brazilian percussion, dance, performance, and teaching organization in China. in May 2006, Jimmy Biala and Leon Lee founded Sambaya Beijing. Since then, Sambaia Beijing has expanded from a small group of 15 to a community group of nearly 40 students offering various levels of Brazilian percussion and dance classes. Founders Jimmy Biala and Leon Lee's original goal was to build bridges between communities in the San Francisco Bay Area by combining Brazilian drumming and Asian dance, and in late 2008, Sambaya Beijing was recognized as a member organization of the World Association of Samba Organizations (WASO).