The performance of Samba is primarily done by Samba schools in which there is a band (bateria) and the entourage of dancers which constitutes different sections (alas). In Rio, there is a preference for sapatinho and samba no pe, as the afrosamba is more popular in the North of Brazil. There are three styles of samba: sapatinho (which is ‘small samba’ characterised by little steps on the ball of the foot danced by passistas (dancers) at high speed in high heels) samba no pe (‘samba on the foot’ danced by both male and female dancers and it differentiates from the above in the more prominent role of the heel in the rotation of the hip and afrosamba (which is characterised by the protagonism of the whole foot (not the ball of the foot or the heel). Through the middle of the 20th century this new Rio-style samba spread throughout Brazil. By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio Carnival. It is believed that Samba was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). Important bands of the style are Ile Aiye, Olodum and Timbalada. The performance of Samba reggae evolves around the idea of the afro bloco, a group of drummers and dancers, which was aimed to recreate and strengthen the community feel through their music. Some of the most represented figures are Exu (the trickster, who opens the paths), Oxum (goddess of beauty and fresh water), Iansa (goddess of winds and storms), Iemanja (mother of gods and the sea), Oxossi (hunter), Xango (god of thunder and lightning), Ogum (blacksmith and warrior). Samba reggae routines evolve around upbeat and energetic steps which draw from the stories and imagery of the Orixa (gods and goddesses from the African ancestors- they relate to the environment and tasks associated with an agricultural society). Bahia's population has a large proportion of dark-skinned Brazilians who are descendants of African slaves who were brought to Brazil by the Portuguese in the 17th and 18th centuries. Samba-reggae is a music and dance style that arose in the context of the black pride movement that occurred in the city of Salvador de Bahia, around 1969, and it still carries connotations of ethnic identity and pride for Afro-Brazilians today. Music is essential, and the movement responds to rhythms, breaks and melody so that to create an integrated performance. Relationship between movement and accompaniment: Ability to interpret the “fire/air” quality of samba with the “fire/ earth” quality of afro-Brazilian. For both, ability to mix the fluidity of the dance with the precision in the movement. Use of space straight lines formations of 8 alternate lines position circle formations and diagonalsįocus in the isolation between the different parts of the body fluidity at the change of the movements so there is not staccato break when there is a transition in the sequences seamless transition from one movement to the next and the same is applicable to the formations.ĭynamic range: ability to combine the sensuality and energy of the samba with the raw features of afro-Brazilian without mixing them. Isolation of the upper body more upright than Afro-Brazilian. Maracatu: strong hands as an extension of the arm. Afro-Brazilian: middle ground positioning with isolation of the upper body. Samba: big angles with the arms and straight posture of the upper body with strong isolation of the lower part. Use of individual body parts: limbs are an extension of the main body and the action comes from the centre of the body. Use of torso: isolation and using of the core. Posture: stylised and upright for Samba earthy for Afro-Brazilian Wear comfortable clothes and trainers or barefoot. Afro Brazilian and Samba stylistic qualities:
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