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59-463: Lambada is generally a partner dance . The dancers generally dance with arched legs, with the steps being from side to side, turning or even swaying, and in its original form never front to back, with a pronounced movement of the hips. At the time when the dance became popular, short skirts for women were in fashion and men wore long trousers, and the dance has become associated with such clothing, especially for women wearing short skirts that swirl up when

118-401: A connection with each other through a promenade handhold. The leader dances traditionally to the left of the follower. Some peoples have folk partner dances, where partners do not have any body contact at all, but there is still a kind of "call-response" interaction. A popular form of partner dancing is slow dance . Generally, partner dance has taken place between a man and a woman. Before

177-486: A dance rhythm, such as in 1984 with Cuarteto Continental, Sexteto Internacional, and Puerto Rican singer Wilkins . Argentine singer Juan "Corazón" Ramón in 1985 and Brazilian singer-songwriter Márcia Ferreira, who wrote the translation in Portuguese as "Chorando se foi", in 1986 were also widely successful with their covers. Other popular dance music groups, Tropicalisimo Apache from Mexico and Los Hermanos Rosario from

236-583: A middle ground between individuals dancing alone or individually in a non-coordinated manner, and groups of people dancing simultaneously in a coordinated manner. Prior to the 20th century, many ballroom dance and folk dances existed in America. As jazz music developed at the start of the 20th century, Black American communities in tandem developed the Charleston and eventually the Lindy Hop by

295-661: A number of folk dances that feature this arrangement. Among these are the Russian Troika and the Polish Trojak folk dances, where a man dances with two or more women. A Cajun dance with the name Troika is also known. Bahian Carnival Bahian Carnival ( Portuguese : Carnaval baiano ) is the annual carnival festival celebrated in the Brazilian state of Bahia , mainly in its capital, Salvador . The event officially lasts for six days, beginning on

354-456: A slow dignified manner in a circle, while farmers and lower classes danced in a lively fashion. The burgher middle class combined the dances with the processional as a "fore dance", and the turning as an "after dance". The Danse de Paysans' (Peasant's Dance) by Théodore de Bry shows a couple with a man lifting his partner off the ground, pulling her towards him while holding her closely with both arms. His Danse de Seigneurs et Dames (Dance of

413-442: A strong appeal and began to be associated with the new emerging face of an old dancing style. The word lambada means "strong slap" or "hit" in Portuguese. However, as a dance form, lambada is of obscure etymology. In Portuguese it may refer to the wave-like motion of a whip. This flowing wave motion is reproduced by the dancers' bodies, and is one of the main elements that distinguish Lambada from other Latin dances. Around 1983,

472-642: Is best known during times when a significant demographic disproportion happens between the two sexes. For example, this happens during wars: in the military, there is a lack of women, while among civilians, able dancers are mostly women. For example, during the Second World War, many advanced leaders learned to dance Lindy Hop with two followers. Since the 1980s, double partner dance is often performed in Ceroc , Hustle , Salsa and Swing dance communities, experienced leaders leading two followers. There are

531-658: Is credited to the Hermosa brothers (authors), Márcia Ferreira (translation), José Ari (translation), and Alberto Maraví (original producer). With world repercussion, the dance reached far distortions. Due to a lack of fine Lambada dancers to make films and shows, most professional dancers started changing the way it was danced. Rock spins and steps were added, like those from Jive and East Coast Swing . Also some acrobatic movements became more commonplace. In contrast, Lambada contests at "Lambateria UM" (a place of Lambada) eliminated contestants if ever they became separated during

590-456: Is four, Dianderl lifts up her skirt And shows me her knees", and in Bavaria one verse invites the girl to leave her bedroom window open to allow a visit from her partner. Dance partners stay together for the duration of the dance and, most often, dance independently of other couples dancing at the same time, if any. Although this kind of dancing can be seen, for instance, in ballet, this term

649-781: Is mainly because of its musical orphanage. Brazilian Zouk is a group of closely related dance styles based on or evolved from the lambada dance style and is typically danced to zouk music or other music containing the zouk beat. The name Brazilian Zouk is used to distinguish the dance from the Caribbean Zouk dance style, which is historically related to, but very different from the Lambada dance style. The three lines of Brazilian Zouk are LambaZouk, traditional (or Rio) Zouk and Zouk of different styles. Partner dance Partner dances are dances whose basic choreography involves coordinated dancing of two partners. As such it occupies

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708-635: Is similar to the trio elétrico street parades in Salvador, with a significant overlap in the performing acts. Morro de São Paulo is another popular site, where there is no official (governmental) organization, and most parties are private. Within one month after the official ending, some media groups host award gala events to recognize outstanding achievement in the carnival. The most traditional accolades are Dodô and Osmar Trophy (Grupo A Tarde), Band Folia Trophy ( Rede Bandeirantes ) and Troféu Bahia Folia (Rede Bahia de Televisão). Categories vary between

767-551: Is usually applied to various forms of social dance , ballroom dance , folk dance , and similar forms. Partner dance may be a basis of a formation dance , a round dance , a square dance or a sequence dance . These are kinds of group dance where the dancers form couples and dance either the same choreographed or called routines or routines within a common choreography—routines that control both how each couple dances together and how each couple moves in accord with other couples. In square dance one will often change partners during

826-510: The Dominican Republic covered the song in 1988. The song continues to be covered to this day; for example: Pastor López, Beto Barbosa, Manezinho do Sax, while others were increasing their careers, as was the case with Sidney Magal, Sandy e Júnior , Fafá de Belém and the group Trem da Alegria . In 1988, French entrepreneur, Olivier Lamotte d'Incamps (aka Olivier Lorsac), visited Porto Seguro , Brazil and discovered locals dancing

885-514: The puxada do ijexá (a rhythm played in honor of the orixás or Afro-Brazilian deities), the flourishing middle-class blocos mostly relied on carnaval music styled on Rio de Janeiro 's samba-enrredos. Then the Afro-blocos emerged with an aesthetical proposal extrapolated from the Indian blocos, introducing some fundamental innovations in the process: parades revolved around themes and music

944-498: The trio elétrico parades and Afro blocks presentations. It is estimated that approximately 2.5 million people (including 1.5 million tourists) participate in the festivities every year. Economic reports show that the festival has a large impact at Salvador’s local economy. In 1950, Adolfo Dodô Nascimento and Osmar Álvares Macêdo, better known as Dodô and Osmar created the Fobica , an open float adapted for musical presentations, and

1003-534: The trio elétrico was born. By 1952, the term trio elétrico had become generic, in reference to a truck or bus carrying musicians around during Bahian carnival. In 1969, Caetano Veloso 's song "Atrás do trio-elétrico" ("Behind the Trio-elétrico") popularized the trio elétrico sound nationwide. Today, the presence of trio elétrico trucks is one of the main attractions of the Carnaval da Bahia. No Carnival

1062-454: The "King of Carimbó" (as it is affectionately known) and he created rhythms, such as: Sirimbó, Lári-Lári, Lambada and Lamgode. In 1976, he launched a song entitled Lambada (Sambão) , track number 6 of the LP No embalo of carimbó and sirimbó vol. 5. It is the first Brazilian recording of a song under the label of Lambada . Some support the version that the guitarist and composer Master Vieira,

1121-504: The "Lambada" song is called "Chorando se foi", meaning In tears they went . In the music video, there were two young children, named Chico and Roberta , performing the lambada dance. They shortly thereafter started their own musical career. Other music videos featured Loalwa Braz, Braz Dos Santos, Didi Dos Santos, and other dancers from the Kaoma European Tour. These videos were broadcast extensively worldwide and, capturing

1180-580: The "Trio-eletricos" (big movable trucks covered with speakers, on top of which musicians would play during the Carnival in Bahia ), in 1988 the Lambada started to become popular in Bahia, and established itself in the city of Porto Seguro . Still, in this first boom of the Lambada, the economically developed south-east region of Brazil despised the various rhythms which came from Bahia on a regular basis, and which were believed to be only summer hits. Although it

1239-399: The "breakaway"). Another unique feature that was introduced in these early days were the first airsteps, also known today as aerials . These daring maneuvers were exciting for the audiences to watch, and when combined with live performances such as those by Ella Fitzgerald , became a staple of organized Lindy Hop performances. Other dances such as Collegiate shag and Balboa developed in

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1298-641: The 1950s, however, if there was not a sufficient number of partners of the opposite sex available, couples formed into pairs of the same sex. Sometimes this is also done as part of a dance tradition. In traditional partner dances done within certain conservative cultures, such as in traditional Uyghur partner dance, dancing is often done with the same sex as a matter of respect for the conservative culture. As learning both dance roles has become more common and social norms have changed, many events and competitions have removed restrictions. Typically, in ballroom competitions today, same-sex partnerships are allowed up to

1357-438: The 1990 movies Lambada and The Forbidden Dance , and the short skirts, typical to the Lambada dance, that were in fashion around 1988. Lambada has many links with Maxixe and also with Forro. They have many figures in common. For example: From the time that Brazil was a Portuguese colony, Carimbó was a common dance in the northern part of the country. Carimbó was a loose and very sensual dance which involved many spins by

1416-540: The Barra-Ondina track in backward direction (from Ondina, towards the Barra Lighthouse). There is no separation between the block and the audience. The carnival is officially over at Wednesday noon. Ressaca de Carnaval (English: Carnival Hangover ) are the celebrations following immediately after the carnival ending. Porto Seguro , in the south of Bahia, became prominent site for ressaca . Its format

1475-459: The Caribbean music like Soca , Merengue, Salsa, and Zouk were used to dance the Lambada. Finally the dance recovered most of its original way and style, with less acrobatic moves, smoother, intimate and closer contact. Some people like Adílio Porto, Israel Szerman and Luís Florião (Brazilian teachers) regret that nowadays the dance changed its name to Zouk-Lambada in most parts of Brazil. This

1534-466: The Carimbó dance started again to be danced in couples, in a 2-beat style, something very close to Merengue , but with more spins. Aurino Quirino Gonçalves , or simply Pinduca , is a Brazilian musician and singer in the state of Pará , Brazil, where it is strongly believed he is the true father of the lambada music. Pinduca is a musician and composer of mainly Carimbó. He is the singer and composer of

1593-472: The German poet Ruodlieb referred to a couple dance with a basic motif of a boy wooing a girl, and the girl rejecting his advances. Men and women dancing as couples, both holding one hand of their partner, and "embracing" each other, can be seen in illustrations from 15th-century Germany. At the end of the 13th century and during the 14th century, nobles and wealthy patricians danced as couples in procession in

1652-465: The Lords and Ladies) features one Lord with his arms around the waist of his Lady. Syncopated rhythms gained widespread popularity for dancing in the last two centuries, although usually less complex and more regular than previous music. An old couple dance which can be found all over Northern Europe is known as "Manchester" or "Lott is Dead". In Bavaria words to the music include "One, two, three and one

1711-615: The Peruvian group Cuarteto Continental and produced by Alberto Maravi. Kaoma's "Lambada" was also a direct cover of Márcia Ferreira 's legally authorized Portuguese-translated version of "Llorando se fue". Márcia Ferreira and José Ari wrote and adapted Los Kjarkas' song into Portuguese using an upbeat lambada rhythm as "Chorando se foi", which was released on Ferreira's third album in 1986. Due to Kaoma's clear act of plagiarism and release of their single without Los Kjarkas' permission, Los Kjarkas successfully sued Kaoma. Now Kaoma's "Lambada" song

1770-695: The Thursday before Ash Wednesday and concluding on Ash Wednesday at noon. The term may also be used to comprise related events that happen immediately before or after, extending the duration for up to twelve days. The festival happens simultaneously in many sites, the most famous being the Campo Grande track in the upper part of the city, the Barra-Ondina track by the shore, and Pelourinho (a historical neighborhood). It features performances by several music groups. The most traditional presentations are

1829-423: The Thursday immediately before Ash Wednesday . It happens one day before the traditional carnival calendar, which starts on Friday. This happens for commercial reasons only. The official opening follows the tradition as in the rest of Brazil: there is a ceremony where the city major gives a symbolic key of the city to King Momo, who declares that carnival celebrations are officially opened. Parades already happen in

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1888-652: The United States in the same time period but never saw the same international popularity as the Lindy Hop. Over the next few decades, popular music changed, moving away from the big band sound of swing to styles like rhythm and blues and then rock and roll . Due to this and other factors, the Lindy Hop evolved and mutated into a number of different styles. Dance styles such as West Coast Swing and Modern Jive integrated features of ballroom dances and new music to create distinctive but similar dances. In 1023,

1947-491: The brothers Braz and Didi Dos Santos and Rebeca Lang, who won many lambada competitions and created steps that are still danced today in all Lambada styles. This form of Lambada was danced with arched legs, with the steps being from one side to the other, and never from front to back. At the time short skirts for girls were in fashion and men wore long trousers, and the dance became especially associated with girls wearing short skirts. This association has continued until today, and

2006-418: The collective identity of Bahian Carnaval. By the start of a new decade, Bahia's Carnaval became an institutionalized talent factory. The success of precursors such as Luis Caldas, Chiclete com Banana, Ilê Aiyê, Margareth Menezes , and Olodum heralded the convergence of Carnaval and commercial music. Slowly the northeastern and national music markets began to open. Between 1992 and 1993 Bahian Carnaval became

2065-469: The course of a dance, in which case one distinguishes between the "original partner" and a "situational partner". In most partner dances, one is the leader and the other is the follower . As a rule, they maintain connection with each other. In some dances the connection is loose and called dance handhold . In other dances the connection involves body contact. In the latter case the connection imposes significant restrictions on relative body positions during

2124-439: The dance and hence it is often called dance frame . It is also said that each partner has their own dance frame . Although the handhold connection poses almost no restriction on body positions, it is quite helpful that the partners are aware of their dance frames, since this is instrumental in leading and following . In promenade-style partner dancing there is no leader or follower, and the couple dance side-by-side maintaining

2183-600: The dance. After 1994 the Brazilian music style (also called Lambada), which gave birth to the dance, started to fade away, and the dancers began to use other musical sources to continue practicing the Lambada dance. Among these rhythms were the Flamenco Rumba (such as from the Gipsy Kings ) and some Arabian music . Some very resistant dancers started to use other music styles to keep on dancing Lambada. Many of

2242-612: The dancers back to France and created the Kaoma band. They were part of lambada's worldwide known style, reaching all the way to Japan and Vietnam, where the dance is still popular. The French group Kaoma recorded a number one worldwide summer hit " Lambada ", sung in Portuguese by Loalwa Braz, which sold 5 million singles in 1989. The song peaked at #46 in the United States in 1990 on the Billboard Hot 100 chart. In Portuguese,

2301-545: The different blocks and VIP cabins. Scalpers are present in significant quantity and act freely. The two most common sites are the Aeroclube Mall and Shopping Barra. It became a tradition in 2000s that the last regular block to parade is Voa Voa , starting in the morning dawn of Wednesday. Arrastão (English: big trawler ) is the last official event before the carnival ending. It starts on Wednesday early morning, and finishes before noon. There trio-elétricos parade

2360-414: The early evening of Thursday. Parades and other events happen during the six official days of carnival, for an average of 16 hours a day. The municipality defines the ordering, starting and ending times for each carnival block to parade. Delays may result in fines. The components of a block have a predefined meeting time in the beginning of their track, called concentração (English: concentration ). After

2419-644: The end of the 1920s. Many cities had regular local competitions such as the Savoy Ballroom which accelerated the development and popularization of the dance. The dances were introduced to wider public through movies and regular performances such as those done at the Cotton Club in New York. An unusual (for the time) feature of the dance was the inclusion of sections where the dancers would move apart from each other and perform individual steps (known as

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2478-422: The events. Common ones include best artist , best new artist , best bloco and best song (considered the most prestigious). Meanwhile, the carnaval blocos began to evolve and branch out into various currents of aesthetic, musical, and even religious manifestations. While members of the afoxés brought their Afro-Brazilian religious cosmology to the Carnaval procession by maintaining their African roots with

2537-469: The evolution of Ilê Aiyê and the emergence of Olodum played a part in transforming Salvador’s Carnaval into the biggest, longest, most itinerant open-air show in the world. The upper and middle classes finally succumbed to the Carnaval–inspired ideal of racial harmony and by the end of the 1980s the pre- Lent celebration entered a process of irreversible debauchery. Street carnaval came to represent

2596-454: The female dancer, who typically wore a rounded skirt. The music was mainly to the beat of drums made of trunks of wood, thinned by fire. Carimbó involved only side to side movements and many spins and hip movement, which has influenced lambada movements. After a while, a local radio station from Belém ( Pará 's capital city) started to call this new type of music "the strong-beated rhythm" and "the rhythms of lambada ". The term "lambada" had

2655-477: The imagination of audiences who were attracted to the sight of beautiful young people dancing sensuously in the sun, greatly boosted music sales. The "Lambada" song was actually an unauthorized translation of the 1981 song " Llorando se fue " (meaning: In tears he/she left ), by the Bolivian group Los Kjarkas . Also, the dance arrangements were an identical cover from the version of "Llorando se fue" recorded by

2714-478: The inventor of the guitarrada , would also be the creator of the Lambada music. His first official disc, Lambada of Quebradas , was recorded in 1976 but officially launched two years later, in 1978. In the late 1980s, the fusion between the metallic and electronic music from Caribbean brought again a new face to the Carimbó. This style started to be played throughout north-eastern Brazil (a place well known for its tourist approach), although this new Carimbó went with

2773-505: The music reached Porto Seguro in Bahia. In Pará, people moved to what was then a new beat by adapting dance styles that were familiar at that time such as forró, cumbia, carimbó, maxixe and merengue. But it was in the Boca da Barra beach cabana that the dance of lambada began to acquire a specific form - first as a very simple stepping in place in a close partner embrace, and quickly becoming more and more complex. Leaders in that community included

2832-507: The name of Lambada . The Lambada spread along the coast until it reached Bahia (the elder Brazilian state) where it was influenced by the Forró , an old Brazilian style of dance which also had a strong beat. It became a four-beat dancing style, which was distinctive from the original Carimbó. Although the music of lambada began in Pará , the dance of Lambada did not gain a recognizable form until

2891-405: The official opening. The most traditional is the party for the nomination of the year's Carnival's Queen and King Momo . Moreover, the ensaios de carnaval (English: carnival rehearsals ) have become a tradition since the 1990s. Typically, these are private events with informal presentations from the artists that will perform in the carnival. The official carnival opening in Salvador happens on

2950-447: The parade concludes its official track, the trio elétricos go to a special place called dispersão (English: dispersion ), where there is no longer separation between members of blocks and the audience. It is not infrequently that artists that were playing in the parade extend their presentations at the dispersion area. Concurrently to the parades happen the informal "abadá" business. There, merrymakers sell, buy and exchange "abadás" for

3009-484: The silver level (the third level in competition, after newcomer and bronze). However, these are comparatively rare. It is thought that some partner dances actually developed with more relaxed gender roles. Prior to adoption by the mainstream, these dances did not actually normalize the man-lead/woman-follow paradigm. This kind of dance involves dancing of three persons together: usually one man with two women or one woman with two men. In social dancing , double partnering

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3068-525: The stage for the greatest success in Brazil's musical landscape yet: Daniela Mercury landed the number-one spot in radio stations throughout Brazil with her samba-reggae hit " O Canto da Cidade ". Her show broke public attendance records from Oiapoque to Chuí and she became the first exponent of the new Bahian sound to have a television special on her musical career transmitted on a national station, Rede Globo . Mercury's stunning success radically tore down

3127-544: The style and form of the dance). Most notable among these young dancers chosen for the Kaoma company was Braz Dos Santos, who has become the most celebrated lambada dancer in the world today (recipient of the 2015 Lifetime Achievement Award's "World’s Best LambaZouk Performer" at the Los Angeles Zouk Festival), and his brother Didi Dos Santos. After Olivier Lamotte d'Incamps bought the musical rights to over 400 lambada songs with Jean Georgakarakos , he took

3186-673: The tightly syncopated lambada to a melody that turned out to be Bolivian. D'Incamps became involved in the lambada dance craze , largely by promoting a European tour of Kaoma , a band formed with several musicians from the Senegalese group Touré Kunda . To display the dance in Europe, he chose a team of the best dancers at the Boca Da Barra (a dance cabana on the beach in Porto Seguro where lambada dancers refined and developed

3245-711: The tradition is common in some places, such as the Lambar night club of São Paulo . During the 1980s, the Carnival in Bahia was growing in popularity, and every summer a new kind of dance arose, only to disappear during the year after the tourists had left, with another dancing style and rhythm arising the following summer. A few years before the Lambada, there was the Fricote and the Ti-Ti-Ti among others dances, all of which disappeared never to be remembered again. Among with

3304-413: The woman spins around, typically revealing 90s-style thong underwear. The association of Lambada and the idea of 'dirty dancing' became quite extensive. The appellative "forbidden dance" was and is often ascribed to the Lambada. This was largely due to its links to Maxixe, a dance of the early 1920s, because of its spicy lyrics and close contact with the dance partner. This idea was further perpetuated by

3363-490: Was held in 2021. Starting from New Year's Eve , several events loosely related to the carnival happen in Salvador. The most traditional is Lavagem do Bonfim , which happens since 1745 on the second Thursday of January. A more recent event is the Salvador Summer Festival , a music festival which usually happens in late January. Some events that are closely related to carnival take place few days before

3422-462: Was recognized as a summer hit, the Lambada was not yet a true worldwide success. Many of the first lambaterias (a place to dance Lambada) which opened in 1988 couldn't survive the low tourism of the winter season, and closed a few months later. Prior to Kaoma's 1989 plagiarism of the Los Kjarkas song " Llorando se fue ", dozens of groups and several singers had already performed the song using

3481-486: Was tailored to fit the occasion. During this phase, Bahia’s street carnaval was infused with the glamour and elitism propagated by carnaval clubs, initiating a slight reversal of the egalitarian ideal. With the emergence of new Bahian talent who continued to popularize regional rhythms, Carnaval became more of an organized affair though it somehow retained its informality and contagious spontaneity. The success of Luiz Caldas , Sara Jane , and Chiclete com Banana , along with

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