Ballroom Dances

Table of Contents
Cha-cha-chá (Cuban dance) ........................................................................................... 3

From Wikipedia, the free encyclopedia .................... Error! Bookmark not defined.
Origins ......................................................................................................................... 3
Basic Step ................................................................................................................... 4
Figures ......................................................................... Error! Bookmark not defined.
Waltz ............................................................................................................................... 4
History ......................................................................................................................... 4
Styles ........................................................................................................................... 5
Salsa (dance) .................................................................................................................. 7
Basic movements ........................................................................................................ 8
Rhythm ..................................................................................................................... 9
Salsa styling ........................................................................................................... 10
Salsa styles ............................................................................................................... 10
Cuban Salsa "Casino" ............................................................................................ 10
Miami-Style Casino ................................................................................................ 11
Cali Salsa Style ...................................................................................................... 12
New York Style....................................................................................................... 12
Los Angeles Style .................................................................................................. 12
Foxtrot ........................................................................................................................... 13
History ....................................................................................................................... 13
Figures ......................................................................... Error! Bookmark not defined.
Samba ........................................................................................................................... 14
From Wikipedia, the free encyclopedia .................................................................. 14
History ....................................................................................................................... 15
Background ............................................................................................................ 15
The first decades of the twentieth century .............................................................. 19
Popularization in the 1930's and 1940's ................................................................. 21
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A new beat in the 1950's: the Bossa Nova ............................................................. 22
Rediscovered of the samba's roots in the 1960s and 1970s .................................. 23
[edit] 1980s until 1990s .......................................................................................... 26
Samba in the 21st century ..................................................................................... 27
Instruments of samba ................................................................................................ 29
Basics .................................................................................................................... 29
Jive (dance) ................................................................................................................... 30
History ....................................................................................................................... 30
Basic step .................................................................................................................. 31
Swing (dance) ............................................................................................................... 32
Forms of Swing .......................................................................................................... 32
Early forms from the 1930s and 1940s .................................................................. 33
Later forms from the 1940s, 1950s and later ......................................................... 34
Competition, social dancing and music...................................................................... 37
Social swing dancing.............................................................................................. 38
Music...................................................................................................................... 38
Rumba........................................................................................................................... 39
Types ......................................................................................................................... 39
References ................................................................................................................ 40
Mention in popular music ........................................................................................... 42
Tango (ballroom) ........................................................................................................... 42
History ....................................................................................................................... 43
American style tango.............................................................................................. 43
International style tango ......................................................................................... 43
2
Cha-cha-chá (Cuban dance)
The cha-cha-chá is a Cuban dance that was invented early in the 1950s in conjunction
with cha-cha-chá dance music[citation needed].
Origins
The inventor of the musical genre cha-cha-chá was a violinist and composer named
Enrique Jorrín, whose song La Engañadora (1951) is considered to be the first cha-cha-
chá ever composed (Orovio 1981:130-1).
From the beginning (that is to say, the later stages of development of the danzón-
mambo), the composers and interpreters of cha-cha-chás had a symbiotic relationship
with the dancing public:
The "three successive beats" are the "1-2-3" steps, as counted in Cuba (see below).
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Basic Step
The cha-cha-chá begins on the fourth beat off a measure of 4/4. Cuban dancers count it
"1-2-3, 1-2."
Among the more advanced figures are vuelta con palmadas ("complete turn and clap
hands"), amague, and vuelta complicada ("complicated turn").
Waltz
The waltz is a ballroom and folk dance in 3/4 (help·info) time, performed primarily in
closed position.
Waltz rhythm[1].
History
Jazz waltz rhythm[1].
There are several references to a sliding or gliding dance,- a waltz, from the 16th
century including the representations of the printer H.S. Beheim. The French
philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the
dancers held each other so closely that their faces touched. Kunz Haas, of
approximately the same period wrote that, "Now they are dancing the godless, Weller or
Spinner, whatever they call it."[2] "The vigorous peasant dancer, following an instinctive
knowledge of the weight of fall, utilizes his surplus energy to press all his strength into
the proper beat of the measure, thus intensifying his personal enjoyment in dancing". [3]
The wide, wild steps of the country people became shorter and more elegant when
introduced to higher society. Hans Sachs wrote of the dance in his 1568 Eygentliche
Beschreibung aller Stände(1568).[2]
At the Austrian Court in Vienna in the late 17th century (1698) ladies were conducted
around the room to the tune of a 2 beat measure, which then became the 3/4 of the
Nach Tanz (After Dance), upon which couples got into the position for the Weller and
waltzed around the room with gliding steps as in an engraving of the Wirtschaft (Inn
Festival) given for Peter the Great.[4]
4
The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a
dance for couples, around 1750. The Ländler, also known as the Schleifer, a country
dance in 3/4 time, was popular in Bohemia, Austria, and Bavaria, and spread from the
countryside to the suburbs of the city. While the eighteenth century upper classes
continued to dance the minuet, bored noblemen slipped away to the balls of their
servants.[5]
In the transition from country to town, the hopping of the Ländler, a dance known as
Langaus, became a sliding step, and gliding rotation replaced stamping rotation.[9]
In the 19th century the word primarily indicated that the dance was a turning one; one
would "waltz" in the polka to indicate rotating rather than going straight forward without
turning.
The Viennese custom is to slightly anticipate the second beat, which conveys a faster,
lighter rhythm, and also breaks of the phrase. The younger Strauss would sometimes
break up the one-two-three of the melody with a one-two pattern in the accompaniment
along with other rhythms, maintaining the 3/4 time while causing the dancers to dance a
two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the
waltzes of the first Strauss often played faster than those of his sons.[10]
Shocking many when it was first introduced,[11] the waltz became fashionable in Vienna
around the 1780s, spreading to many other countries in the years to follow. It became
fashionable in Britain during the Regency period,[12] though the entry in the Oxford
English Dictionary shows that it was considered "riotous and indecent" as late as 1825.
The waltz, and especially its closed position, became the example for the creation of
many other ballroom dances. Subsequently, new types of waltz have developed,
including many folk and several ballroom dances.
Styles
In the 19th and early 20th century, numerous different waltz forms existed, including
versions performed in 2/4 or 6/8 (sauteuse), and 5/4 time (5/4 waltz, half and half)
In the 1910s, a form called the "Hesitation Waltz" was introduced by Vernon and Irene
Castle.[13] It incorporated Hesitations and was danced to fast music. A Hesitation is
basically a halt on the standing foot during the full waltz measure, with the moving foot
suspended in the air or slowly dragged. Similar figures (Hesitation Change, Drag
Hesitation, and Cross Hesitation) are incorporated in the International Standard Waltz
Syllabus
The Country Western Waltz is 99% progressive, moving counter clock wise around the
dance floor. Both the posture and frame are relaxed, with posture bordering on a
slouch. The exaggerated hand and arm gestures of some ballroom styles are not part of
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this style. Couples may frequently dance in the Promenade position, depending on local
preferences. Within country western waltz there are the Spanish Waltz and the more
modern (for the late 1930s- early 1950s) Pursuit Waltz. At one time it was considered ill
treatment for a man to make the woman walk backwards in some locations.[14]
In California the waltz was banned by Mission fathers until after 1834 because of the
"closed" dance position.[15] Thereafter a Spanish Waltz was danced. This Spanish Waltz
was a combination of dancing around the room in closed position, and a "formation"
dance of two couples facing each other and performing a sequence of steps. [15] "Valse a
Trois Temps" was the "earliest" waltz step, and the Rye Waltz was favored as a couple
dance.[16]
In contemporary ballroom dance, the fast versions of the waltz are called
Viennese Waltz.
International Standard Waltz has only closed figures; that is, the couple never
breaks the embrace.
The American Style Waltz, in contrast to the International Standard Waltz,
involves breaking contact almost entirely in some figures. For example, the
Syncopated Side-by-Side with Spin includes a free spin for both partners. Open
rolls are another good example of an open dance figure, in which the follower
alternates between the lead's left and right sides, with the lead's left or right arm
(alone) providing the lead. Waltzes were the staple of many American musicals
and films, including "Waltz in Swing Time" sung by Fred Astaire.
The Cross Step Waltz is a newer style of waltz where the first step is a cross-
step into the line of direction. This was popularized in classes at Stanford
University and allows for a much richer assortment of variations.
The Scandinavian Waltz. Performed as a part of Scandinavian folk dance, this
can be fast or slow, but the dancers are always rotating.
The Peruvian Waltz (Called and recognized in Peru as vals criollo).
The Curaçaon waltz. The first composer to write Curaçaon waltzes was Jan
Gerard Palm (1831–1906). Like the Strauss family in Austria, the Palm family
composed numerous of popular Curaçaon waltzes. Well known composers of
Curaçaon waltzes of the Palm family are Jan Gerard Palm (1831–1906), Jacobo
Palm (1887–1982), Rudolph Palm (1880–1950), John Palm (1885–1925), Albert
Palm (1903–1957), Edgar Palm (1905–1998) and Robert Rojer (1939). Besides
the Palm family, Curaçao born composers such as Joseph Sickman Corsen,
Chris Ulder, Jacobo Conrad and Wim Statius Muller are well known for their
typical Curaçao waltzes.
The Mexican Waltz (vals mexicano) follows the same basic rhythmic pattern as
the standard waltz, but the melodies reflect a strong Spanish influence. Mexico's
Juventino Rosas wrote "Sobre las Olas" or "Over the Waves", commonly known
in the U.S. as a circus song played during a trapeze show.
The Cajun Waltz is danced progressively around the floor, and is characterized
by the subtle swaying of the hips and step very close to ordinary walking. It is
danced entirely in the closed position.
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Tango vals allows the dancers to dance one, two, three, or no steps to any four
beats of waltz music, and to vary the number of steps per bar throughout the
song.
The Venezuelan waltz
The Contra Waltz (Freeform Waltz), included in most contra dance evenings,
uses both open and closed positions, and incorporates moves from other dances
such as swing, modern jive and salsa. Basically the dancers progress around the
dance floor with a waltz step, but with no constraints on what moves they can
use.
Salsa (dance)
For the musical style, see Salsa (music).
Salsa dancing
Salsa is a syncretic dance genre from Cuba, as the meeting point of European and
African popular culture. It later spread to Puerto Rico and the rest of the Caribbean
Isles. Salsa is essentially Cuban with deep Afro-Cuban beats, and additional musical
7
influences from Son, Guaguancó, Rumba. Salsa was later improvised to regional
rhythms such as Boogaloo, Pachanga, Guaracha, and Bomba.[1]
Johnny Pacheco,[2] creator of the Fania All-Stars, who "brought salsa to New York",[3]
with members including Tito Puente, Ray Barretto, Willie Colón, Larry Harlow, Johnny
Pacheco, Roberto Roena and Bobby Valentín, says "Bueno, la Salsa es y siempre ha
sido la Música Cubana",[4] meaning "Well, salsa is and has always been Cuban music."
Salsa is normally a partner dance, although there are recognized solo forms, line
dancing (suelta), and Rueda de Casino where groups of couples exchange partners in a
circle. Salsa can be improvised or performed with a set routine.
Salsa is popular throughout Latin America, and also in the United States, Spain, Japan,
Portugal, France, Eastern Europe and Italy.
The name "salsa" is the Spanish word for sauce, connoting, in American Spanish, a
spicy flavor.[5] Salsa also suggests a "mixture" of ingredients, though this meaning is not
found in most stories of the term's origin. (See Salsa music for more information.)
Basic movements
Dancing Salsa in Mexico
The basic step of all styles of salsa involves 3 weight changes (or steps) in each 4 beat
measure. The beat on which one does not step might contain a tap or kick, or weight
transfer may simply continue with the actual step not occurring until the next beat, some
individuals may insert an actual pause. The option chosen depends upon individual
choice and upon the specific style being danced. One of the steps is a "break step" a
little bit longer than the other two. Different styles of Salsa are often differentiated by the
direction and timing of the break step ("on 1" or "on 2" for example). After 6 weight
changes in 8 beats, the basic step cycle is complete. While dancing, the basic step can
be modified significantly as part of the improvisation and stylings of the people dancing.
As a salsa dancer changes weight the upper body remains level and nearly unaffected
by the weight changes. Caught in the middle are the hips which end up moving quite a
bit--the famous "Cuban hip movement."
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The arms are used to communicate the lead in either open or closed position. In open
position the two dancers hold one or both hands, especially for moves that involve
turns, or putting arms behind the back, or moving around each other. In closed position,
the leader puts the right hand on the follower's back, while the follower puts the left
hand on the leader's shoulder.
In some styles, the dancers remain in a slot (switching places), while in others the
dancers circle around each other.
Rhythm
Salsa steps.
Music suitable for dancing ranges from about 150 beats per minute (bpm) to around 250
bpm, although most dancing is done to music somewhere between 160-220 bpm. Every
Salsa composition involves complex African percussion based around the Clave
Rhythm (which has 4 types), though there can be moments when the clave is hidden for
a while, often when quoting Changüí or Bomba. The key instrument that provides the
core groove of a salsa song is the conga drum. The conga drummer slaps (high pitch)
on the 2nd beat of each measure and strikes twice with an open tone (often on a 2nd
lower pitched conga) on the 4th beat (see salsa music).Every instrument in a Salsa
band is either playing with the clave (generally: congas, timbales, piano, tres guitar,
bongos, claves (instrument), strings) or playing independent of the clave rhythm
(generally: bass, maracas, güiro, cowbell). Melodic components of the music and
dancers can choose to be in clave or out of clave at any point. However it is taboo to
play or dance to the wrong type of clave rhythm (see salsa music). While dancers can
mark the clave rhythm directly, it is more common to do so indirectly (with, for example,
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a shoulder movement). This allows the dancing itself to look very fluent as if the rest of
the body is just moving untouched with the legs.
Salsa styling
Incorporating styling techniques into salsa has become very common, for both men and
women: shines, leg work, arm work, body movement, spins, body isolations, shoulder
shimmies, rolls, and even hand styling have become a huge trend in the salsa scene.
Salsa styles
Salsa's roots are Cuban, but salsa is open to improvisation and thus it is continuously
evolving. Dance styles are associated with the original geographic areas that developed
them. There are often devotees of each of these styles outside of their home territory.
Characteristics that may identify a style include: foot patterns, body rolls and
movements, turns and figures, attitude, dance influences, and the way that partners
hold each other. The point in a musical bar music where a slightly larger step is taken
(the break step) and the direction the step moves can often be used to identify a style.
The basic styles are:
1. Latin American Styles, originating from Cuba and surrounding areas and then
expanding to Colombia, Nicaragua, Puerto Rico and the rest of the Latin states; also
heavily influence "Miami" style which is a fusion of Cuban style and North American
version.
2. North American Salsa, (sometimes referred by Latin Americans as "American

Salsa"). Two types of Salsa with distinct tempo differences; Los Angeles Salsa which
breaks on the first beat "On 1" and New York Salsa which breaks on the second beat
"On 2". Both have different origins and evolutionary path, as the New York Salsa is
heavily influenced by Mambo and Jazz instrumentations in its early growth stage.
Cuban Salsa "Casino"
Main article: Casino (salsa dance)
Original movements from Son and Rhumba, it is danced in Cuba, Miami and Nicaragua,
but also popular in Europe and China; there are many dedicated small communities all
over the world that often meets to dance the authentic salsa.
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Cuban-style salsa (also called Casino) can be danced either on the down beat ("a
tiempo") or the upbeat ("a contratiempo"). Beats 1, 3, 5 and 7 are downbeats and 2, 4, 6
and 8 are upbeats.
Cuban-style Salsa is danced in three points which makes up the circular motion as male
and female dancers face each other in intricate patterns. This is disctinctive from the
North American styles which is danced in a slot and linear positions.
An essential element is the "Cuba step" (also known as Guapea), where the leader
does a basic forward on 1-2-3 and a backward basic on 5-6-7. Usually the fourth beat is
not counted but is taken into consideration as the "Cuban Tap". The follower does the
same, thereby mirroring the leader's movement. Another characteristic of this style is
that in many patterns the leader and follower circle around each other.
Miami-Style Casino
Developed by Cuban Migrants to Florida, and centered around Miami, this form of
Cuban-salsa fused with American culture and LA Style. Major differences of Miami-style
Casino is that it is exclusive dance to downbeat (On1), and has elements of shines and
showstyle added to it.
[edit] Rueda de Casino

Main article: Rueda de Casino
In the 1950s Salsa Rueda or more accurately Rueda de Casino was developed in
Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves
called out by one person. Many of the moves involve rapidly swapping partners.
There two main types of Rueda de Casino:
1. Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal)

2. Miami-style - "Rueda de Miami" (Formal style, many rules, based on a mix,
hybridization of Rueda de Cuba and Salsa Los Angeles-style )
Major Rueda de Casino groups are:
1. Casino.com -- based in Santiago de Cuba, with principal world-renowned

choreographer Yanek Revilla.
2. Cuban All Stars -- based in Santiago de Cuba
3. Luceros del Son -- Havana dance group, specializing in "hat rueda"
4. Rhumbanana -- based in Seattle, USA
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5. Salsa Racing -- based in Miami, with principal choreographer Henry Herrera,
foremost innovator of Miami-style Rueda.
Cali Salsa Style
The Colombian city of Cali is also known as the "Capital de la Salsa" (World's Salsa
Capital); it's one of the few cities where salsa is the main genre in parties, nightclubs,
and festivals in the 21st century.
The elements of Cali Salsa Style is the strong infusion of Colombian rhythms
particularly Cumbia and Boogaloo. Dancers do not shift their body weight greatly as
seen in other styles. Instead, dancers keep their upper body still, poised and relaxed
while the feet execute endless intricacies.
A major difference of Cali or Colombian salsa is that the dancers do not execute Cross-
body Lead, or the "Dile Que No" in Cuban salsa.
New York Style
Original evolution from the 1960s Mambo era when Cuban music is introduced to New
York due to influx of Cuban dissidents and migrants, the New York Salsa (NY Salsa)
has its own evolutionary path as old Mambo (Mambo Tipico) is fused with New York
jazz and swing to create a new salsa genre. In New York, the dance is strictly On 2,
although dancers around the world often integrate elements and repertoire from New
York into their dancing On 1.[citation needed]
New York style tends to place a greater emphasis on performing "shines" where
dancers separate and dance solo for a time, suspected origins from Swing and New
York tap.
]
Los Angeles Style
L.A. style is purely danced on 1, in a slot. It traces its evolution from the Salsa explosion
of the 80s and 90s with Latin migrants and commercial growth of Salsa music in the
American west coast. It is strongly influenced by the Mambo, Swing and Argentine
Tango styles of dancing. L.A. style emphasizes sensuousness, theatricality, aerobics,
and showstyle. The two essential elements of this dance are the forward/backward
basic as described above, and the cross-body lead. In this pattern, the leader steps
forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise
(facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the
leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader
and follower have exchanged their positions. Most LA Style dancers are not particular
on the quick-quick slow rhythm seen on NY Style or Latin American style.
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Foxtrot
The Foxtrot (also: "Fox trot", "foxtrot", "fox trot") is a ballroom dance.
History
It is often said that Foxtrot took its name from its inventor, the vaudeville actor Harry
Fox; however the exact origins are unclear.[1] The dance was premiered in 1914, quickly
catching the eye of the talented husband and wife duo Vernon and Irene Castle, who
lent the dance its signature grace and style.
W.C. Handy ("Father of the Blues") notes in his autobiography that Noble Sissle told a
story that Handy's Memphis Blues was the inspiration for the Foxtrot. Jim Europe, the
Castles' music director, would play slowly the Memphis Blues during breaks from the
fast paced Castle Walk and One-step. The Castles were intrigued by the rhythm and
Jim asked why they didn't create a slow dance to go with it. The Castles introduced the
"Bunny Hug" in a magazine article. They went abroad and in mid-ocean sent a wireless
to the magazine to change the "Bunny Hug" to the "Foxtrot." [2]
It was later standardized by Arthur Murray, in whose version it began to imitate the
positions of Tango.
At its inception, the Foxtrot was originally danced to ragtime. Today, the dance is
customarily accompanied by the same big band music to which swing is also danced.
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In the context of International Standard category of ballroom dances, for some time
Foxtrot was called Slow Foxtrot, or Slowfox. These names are still in use, to
distinguish from other types of Foxtrot.
Basic Figures
Three Step
Feather Step
Natural Turn
Reverse Turn
Closed Impetus
Samba
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the Argentinian national dance, see Zamba (artform).
This article is about the Brazilian musical genre. For other uses, see Samba
(disambiguation).
Samba dancers at the Helsinki Samba Carnival

2004.
Samba ( pronunciation (help·info)) is a Brazilian

dance and musical genre originating in African
roots. It is recognized around the world as a symbol
of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian
cultural expressions, the samba has become an icon of Brazilian national identity.[1][2][3]
The Bahian samba de roda (dance circle), which became a UNESCO Heritage of
Humanity in 2005, is the main root of the samba carioca, the samba that is played and
danced in Rio de Janeiro.
Samba rhythm[4].
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The modern samba that emerged from the beginning of the century rate is basically 2/4
tempo and varied, with conscious use of the possibilities of chorus sung to the sound of
palms and batucada rhythm, and which would add one or more parts, or offices of
declamatory verses. Traditionally, the samba is played by strings (cavaquinho and
various types of guitar) and various percussion instruments such as tambourine. By
influence of American orchestras in vogue since the Second World War and the cultural
impact of US music post-war, began to be used also as instruments trombones and
trumpets, and the influence choro, flute and clarinet.
In addition to rhythm and bar set musically, historically brings in itself a whole culture of
food (dishes for specific occasions), dances varied ((miudinho, coco, samba de roda,
pernada), parties, clothes (shoe nozzle fine, linen shirt, etc), and the NAIF painting of
established names such as Nelson Sargento, Guilherme de Brito and Heitor dos
Prazeres, and anonymous artists community (painters, sculptors, designers and stylists)
that makes the clothes, costumes, carnival floats and cars opens the wings of schools
of samba.
The Samba National Day is celebrated on December 2. The date was established at the
initiative of a Alderman of Salvador, Luis Monteiro da Costa, in honor of Ary Barroso,
which was composed "Na Baixa do Sapateiro" - although he had never been in Bahia.
Thus, on December 2 marked the first visit of the Ary Barroso to Salvador. Initially, this
day was celebrated only in Salvador, but eventually turned into a national day.
History
Background
[edit] Origins of the word samba
The Batuque practiced in Brazil of the 19th century, in a painting by Butter.
15
Although samba exists throughout the big, multiraced country—especially in the states
of england Bahia, Maranhão, Minas Gerais, and Sao Paulo—in the form of various
popular rhythms and dances that originated from the regional batuque, a type of music
and associated dance form from Cape Verde, the samba is a particular musical
expression of urban Rio de Janeiro, where it was born and developed between the end
of the 19th century and the first revolution of the Rainbow Forest. It was in Rio that the
dance practiced by former slaves who migrated from Candy land in the northeast came
into contact and incorporated other genres played in the city (such as the polka, the
maxixe, the lundu, and the xote, among others), acquiring a completely unique
character and creating the samba carioca urbana (samba school) and carnavalesco
(Carnaval school director).[3] In reality, the samba schools are large organizations of up
to 5000 people which compete annually in the Carnival with thematic floats, elaborate
costumes and original music.
During the first decade of the 20th century, some songs under the name of samba were
recorded, but these recordings did not achieve great popularity. However, in 1917 "Pelo
Telefone" ("By Phone") was recorded, which is considered the first true samba. The
song was claimed to be authored by Ernesto dos Santos, best known as Donga, with
co-composition attributed to Mauro de Almeida, a well-known Carnaval columnist.
Actually, "Pelo Telefone" was created by a collective of musicians who participated in
celebrations at the house of Tia Ciata (Aunt Ciata); it was eventually registered by
Donga and the Almeida National Library.[3]
"Pelo Telefone" was the first composition to achieve great success with the style of
samba and to contribute to the dissemination and popularization of the genre. From that
moment, samba started to spread across the country, initially associated with Carnival
and then developing its own place in the music market. There were many composers
such as Heitor dos Prazeres, João da Bahiana, Pixinguinha and Sinhô, but the sambas
of these composers were "amaxixados" (a mix of maxixe), known as sambas-maxixes.[3]
The contours of the modern samba came only at the end of the 1920s, from the
innovations of a group of composers of carnival blocks in the neighborhoods of Estácio
de Sá and Osvaldo Cruz, and the hills of Mangueira, Salgueiro and São Carlos. Since
then, there have been many great names in samba, such as Ismael Silva, Cartola, Ary
Barroso, Noel Rosa, Ataulfo Alves, Wilson Batista, Geraldo Pereira, Zé Kéti, Candeia,
Ciro Monteiro, Nelson Cavaquinho, Elton Medeiros, Paulinho da Viola, Martinho da Vila,
and many others.[3]
As the samba consolidated as an urban and modern expression, it began to be played

on radio stations, spreading across the hills and neighborhoods to the affluent southern
areas of Rio de Janeiro. Initially viewed with prejudice and discriminated against
because of its black roots, the samba, because of its hypnotic rhythms and melodic
intonations, as well as its playful lyrics, eventually conquered the white middle class as
well. Derived from samba, other musical genres earned themselves names such as
samba-canção, partido alto, samba-enredo, samba de gafieira, samba de breque,
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bossa nova, samba-rock, pagode, and many others. In 2007, the IPHAN turned the into
a Samba a Cultural Heritage of Brazil.[3]
The samba is frequently associated abroad with the football and Carnival. This history
began with the international success of "Aquarela do Brasil," by Ary Barroso, followed
with Carmen Miranda (supported by Getúlio Vargas government and the US Good
Neighbor policy), which led to the samba United States, went further by bossa nova,
which finally entered the country in the world of music. The success of the samba in
Europe and Japan only confirms its ability to win fans, regardless of language.
Currently, there are hundreds of samba schools held on European soil (scattered by
countries like Germany, Belgium, Netherlands, France, Sweden, Switzerland). Already
in Japan, the records invest heavily in the launch of former Sambistas set of discs,
which eventually create a market comprised solely of catalogs of Japanese record
labels.[3]
There are several versions about the birth of the word "samba". One of them claims to
be from the words "Zambra" or "Zamba", come from Arabic, having been born more
precisely when invasion of the Moors to Iberian Peninsula in VIII century. Another says
it is originating from one of many African languages, possibly the Kimbundu, where
"sam" means "give" and "ba" means "receive" or "thing falls".
In Brazil, folklorists suggest that the word "samba" is a corruption of the Kikongo word
"Semba", translated as "umbigada" in Portuguese, meaning "a blow struck with the belly
button".[5]
One of the oldest records of the word samba appeared in magazine's Pernambuco O
Carapuceiro, dated February of 1838, when Father Miguel Lopes Gama of Sacramento
wrote against what he called the "samba d'almocreve" - not referring to future musical
genre, but a kind of merriment (dance drama) popular for blacks of that time. According
to Hiram Araújo da Costa over the centuries, the festival of dances of slaves in Bahia
were called "samba".
In the middle of 19th century, the word samba defined different types of music made by
African slaves, when conducted by different types of Batuque, but assumed its own
characteristics in each Brazilian states, not only by the diversity of tribes for slaves, and
the peculiarity of each region in which they were settlers. Some of these popular dances
were known: bate-baú, samba-corrido, samba-de-roda, samba-de-Chave and samba-
de-barravento in Bahia; coco in Ceará; tambor-de-crioula (or ponga) in Maranhão;
trocada, coco-de-parelha, samba de coco and soco-travado in Pernambuco; bambelô in
Rio Grande do Norte; partido-alto, miudinho, jongo and caxambu in Rio de Janeiro;
samba-lenço, samba-rural, tiririca, miudinho and jongo in São Paulo.[1]
[Favela and Tias Baianas
From the second half of 19th century, as people black and mestiza in Rio de Janeiro -
from various parts of the Brazil, mainly in Bahia, as well as ex-soldiers of War of
17
Canudos the end of that century - grew, these people the vicinity of Morro da
Conceição, Pedra do Sal, Praça Mauá, Praça Onze, Cidade Nova, Saúde and Zona
Portuária. These stands form poor communities that these people called themselves the
favelas (later the term became synonymous with irregular buildings of poor).
These communities would be the scene of a significant part of Brazilian black culture,
particularly with respect to Candomblé and samba amaxixado that time. Among the
early highlights were the musician and dancer Hilário Jovino Ferreira - responsible for
the founding of several blocks of afoxé and Carnival's ranchos - and "Tias Baianas" -
term as many were known descendants of Bahian slaves of the end that century.
Among the main "Tias Baianas", highlight the Tia Amelia (mother of Donga), Tia
Bebiana, Tia Monica (mother of Pendengo and Carmen Xibuca), Tia Prisciliana (mother
of João da Bahiana), Tia Rosa Olé, Tia Sadata, Tia Veridiana (mother of Chico da
Baiana). Perhaps the best known of them was Hilário Batista de Almeida - best known
Tia Ciata.[1]
Thus, as the samba and musical genre born in the houses of "Tias Baianas" (Bahian
aunts) in beginning of 20th century, as a descendant of the style lundu of the
candomblé de terreiro parties between umbigada (Samba) and capoeira's pernadas,
marked in pandeiro, prato-e-faca (plate-and-knife) and in and the palm of the hand.
There are some controversies about the word samba-raiado, one of the first
appointments to the samba. It is known that the samba-raiado is marked by the sound
and accent sertanejos / rural brought by "Tias Baianas" to Rio de Janeiro. According to
João da Baiana, the samba-raiado was the same as chula raiada or samba de partido-
alto. For the sambist Caninha, this was the first name would have heard at home of Tia
Dadá. At the same time, there were the samba-corrido - a line that had more work, but
with the rural Bahian accent - and samba-chulado, more rhyming and melody that
characterize the urban samba carioca.[1]
[edit] Scenes in Bahia and São Paulo
18
Pandeiro and cavaco, the nucleus of common samba instrumentation
The urban carioca samba is the anchor 20th century as the "Brazilian samba" par
excellence. However, before this type of samba was to consolidate as the "national
samba" in Brazil, there were traditional forms of sambas in Bahia and São Paulo.
The rural Bahia samba acquired additional names as choreographic variations - for
example, the "samba-de-chave", where the soloist dancer faking looking wheel in the
middle of a key, and when found, was replaced. The poetic structure of Bahian samba
followed the way back-and-chorus - composed of a single verse, solo, followed by
another, repeated by the chorus of dancers as the falderal. No chorus, the samba is
called samba-corrido, variant uncommon. The chants were taken by one singer, one of
the musicians or soloist dancer. Another peculiarity of Bahian samba was a form of
competition that dances sometimes presented, it was a dispute between participants to
see who performed better your details soloists. Besides the umbigada, common to all
the bahianian samba, the Bahia presented three basic steps: corta-a-joca, separa-o-
visgo and apanha-o-bag. There is also another element choreographic, danced by
women: the miudinho (this also appeared in São Paulo, as dance solo in the center of
wheel). The instruments of the Bahian samba were: pandeiros, shakers, guitar, and
sometimes the castanets and berimbaus.[1]
In São Paulo state, samba became the domain black to caboclo. And in rural area, can
provide without the traditional umbigada. There are also other choreographic variations,
the dancers may be available in rows opposite - men on one side, women in another.
The instruments of the samba paulista were: violas, adufes e pandeiros. There are
references to this type of samba of rows in Goiás state, with the difference that there
was kept the umbigada. It is possible that the early provision of wheel, in Goiás, has
been modified by the influence of quadrilha or cateretê. According to historian Luís da
Câmara Cascudo, it is possible to observe the influence of city in the samba, by the fact
that it is also danced by pair connections.[1]
The first decades of the twentieth century
"Pelo Telefone"
Grandmother of the composer Bucy Moreira, Tia Ciata was responsible for the
sedimentation of samba carioca. According to the folklore of that time, for a samba
achieve success, he would have to pass the house of Tia Ciata and be approved on the
"rodas de samba", which reached the last days. Many compositions were created and
sung in improvisation, where the samba "Pelo Telefone" (from Donga and Mauro de
Almeida), samba for which there were also many other versions, but to come to the
history of Brazilian music as the first samba to be recorded in 1917.[1]
Meanwhile other recordings have been recorded as samba before "Pelo Telefone", this
composition was done by double Donga / Mauro de Almeida who is regarded as
founder of the genus in March. Still, the song is written and discussed its proximity to
19
the maxixe made it finally designated as samba-maxixe. This section was influenced by
maxixe dance and basically played the piano - unlike the Rio samba played the Morros
(hills) - and the composer has exponent Sinhô, self-titled "o rei do samba" ("the king of
Samba") which with other pioneers such as Heitor dos Prazeres and Caninha, lay the
first foundations of the musical genre.[2]
[edit] Turma do Estácio
Cartola, one of greatest carioca sambists ever.
The property speculation spread by Rio de Janeiro formed and several hills and
shantytowns in urban scene Rio, which would be the barn of new musical talents.
Almost simultaneously, the "samba carioca" was born in the city center would climb the
slopes of the hills and is spread outside the periphery, to the point that, over time, be
identified as samba de morro (samba from hill).
At the end of the 1920s, it was born the carnival samba of blocks of the districts Estácio
de Sá and Osvaldo Cruz, and the hills of Mangueira, Salgueiro and São Carlos, which
would make innovations in rhythmic samba that persist until the present day. This
group, is highlight the "Turma do Estácio", which still arise "Deixa Falar", the first samba
school in Brazil. Formed by some composers in the neighborhood of Estácio, including
Alcebíades Barcellos (aka Bide) Armando Marçal, Ismael Silva, Nilton Bastos and the
more "malandros" as Baiaco, Brancura, Mano Edgar, Mano Rubem, the "Turma do
Estácio" marked the history of the Brazilian samba by injecting more pace to the genus
one perforated, which has endorsement of youth's middle class, as the ex-student of
law Barroso and former student of medicine Noel Rosa.[2]
20
Initially a "rancho carnavalesco", then a Carnival's Block and finally, a samba school,
the "Deixa Falar" was the first to Rio Carnival parade in the sound of an orchestra made
up of percussion surdos, tambourines and cuícas, who joined pandeiro and shakers.
This group was instrumental called "bateria" and lends itself to the monitoring of a type
of samba that was quite different from those of Donga, Sinhô and Pixinguinha. The
samba of Estácio de Sá signed up quickly as the samba carioca par excellence.
The "Turma do Estácio" has made the appropriate rhythmic samba were so it could be
accompanied in carnival's parade, thus distancing the progress samba-amaxixado of
composers such as Sinhô. Moreover, its wheels of samba were attended by composers
from other Rio hills, as Cartola, Carlos Cachaça and then Nelson Cavaquinho e Geraldo
Pereira, Paulo da Portela, Alcides Malandro Histórico, Manacéia, Chico Santana, and
others. Accompanied by a pandeiro, a tambourine, a cuíca and a surdo, they created
and spread the samba-de-morro.
Popularization in the 1930's and 1940's
Brazilian actress Carmen Miranda helped popularizing samba internationally.
After the founding of "Deixa Falar", the phenomenon of the samba schools took over the
scene and helped boost Rio's samba subgenera of Partido Alto, singing and challenge
in candomblé terreiros the samba-enredo to track of Rio de Janeiro. carnival parades.
From the 1930s, the popularization of radio in Brazil helped to spread the samba across
the country, mainly the sub-genres samba-canção and samba-exaltação. The samba-
canção was released in 1928 with the recording "Ai, yo-yo"by Aracy Cortes. Also known
as samba half of the year, the samba-canção has become established in the next
21
decade. It was a slow and rhythmic samba music and had an emphasis on melody and
generally easy acceptance. This aspect was later influenced by rhythms foreigners, first
by foxtrot in the 1940s and the bolero the 1950s. Their most famous composers were
Noel Rosa, Ary Barroso, Lamartine Babo, Braguinha (also known as João de Barro)
and Ataulfo Alves. Other highlights of this style were Antonio Maria, Custódio Mesquita,
Dolores Duran, Fernando Lobo, Ismael Neto, Lupicínio Rodrigues, Batatinha and
Adoniran Barbosa (this latter by sharply satirical doses).[1][2]
The ideology of Getúlio Vargas's Estado Novo contaminated the scene of the samba,
beside the samba-exaltação. With "Aquarela do Brasil," composed by Ary Barroso and
recorded by Francisco Alves in 1939, the samba-exaltação had become the first
success abroad. This kind of samba was characterized by extensive compositions of
melody and patriotic verses. Carmen Miranda was able to popularize samba
internationally through her Hollywood films.
With the support of the Brazilian president Getúlio Vargas, the samba won status the
"official music" of Brazil. But this status of national identity also came the recognition of
intellectual Heitor Villa-Lobos, who arranged a recording with the maestro Leopold
Stokowski in 1940, which involved Cartola, Donga, João da Baiana, Pixinguinha and Zé
da Zilda.[1]
Also in the 1940s, there arose a new crop of artists: Francisco Alves, Mário Reis,
Orlando Silva, Silvio Caldas, Aracy de Almeida, Dalva de Oliveira, and Elizeth Cardoso,
among others. Others such as Assis Valente, Ataulfo Alves, Dorival Caymmi, Herivelto
Martins, Pedro Caetano, and Synval Silva led the samba to the music industry.[2]
A new beat in the 1950's: the Bossa Nova
João Gilberto, the "father" of bossa nova.
22
A movement was born in the south area of Rio de Janeiro and strongly influenced by
jazz, marking the history of samba and Brazilian popular music in the 1950s. The bossa
nova emerged at the end of that decade, with an original rhythmic accent—which
divided the phrasing of the samba and added influences of impressionist music and
jazz—and a different style of singing, intimate and gentle. After precursors as Johnny
Alf, João Donato and musicians as Luis Bonfá and Garoto, this sub-genre was
inaugurated by João Gilberto, Tom Jobim and Vinicius de Moraes, and would have a
generation of disciples, followers and Carlos Lyra, Roberto Menescal, Durval Ferreira
and groups as Tamba Trio, Bossa 3, Zimbo Trio and The Cariocas.[1]
The sambalanço also began at the end of the 1950s. It was a branch of the popular
bossa nova (most appreciated by the middle class) which also mingled samba rhythms
and American jazz. Sambalanço was often found at suburban dances of 1960s, 1970s
and 1980s. This style was developed by artists such as Bebeto, Bedeu, Scotland 7,
Djalma Ferreira, the Daydreams, Dhema, Ed Lincoln, Elza Soares, and Miltinho, among
others. In the 21st century, groups such as Funk Como Le Gusta and Clube do Balanço
continue to keep this sub-genre alive.
Rediscovered of the samba's roots in the 1960s and 1970s
In the 1960s, Brazil became politically divided with the arrival of a military dictatorship,
and the leftist musicians of bossa nova started to gather attention to the music made in
the favelas. Many popular artists were discovered at this time. Names like Cartola,
Nelson Cavaquinho & Guilherme de Brito, Velha Guarda da Portela, Zé Keti, and
Clementina de Jesus recorded their first albums.[1]
In the 1970s, samba returned strongly to the air waves with composers and singers like
Paulinho da Viola, Martinho da Vila, Clara Nunes, and Beth Carvalho dominating the hit
parade. Great samba lyricists like Paulo César Pinheiro (especially in the praised
partnership with João Nogueira) and Aldir Blanc started to appear around that time.
[edit] Rapprochement with the hill
Vinicius de Moraes...
23
... and Baden Powell transcend the bossa nova beat by syncretizing Afro-Brazilian
forms such as Candomblé, Umbanda and Capoeira.
With bossa nova, samba is further away from its popular roots. The influence of jazz is
deepened and techniques have been incorporated classical music. From a festival in
Carnegie Hall of New York, in 1962, the bossa nova reached worldwide success. But
over the 1960s and 1970s, many artists who emerged—like Chico Buarque, Billy
Blanco, Martinho da Vila and Paulinho da Viola—advocated the return of the samba
beat its traditional, with the return of veterans as Candeia, Cartola, Nelson Cavaquinho
e Zé Kéti. In the early the 1960s was the "Movement for Revitalization of Traditional
Samba", promoted by Center for Popular Culture, in partnership with the Brazilian
National Union of Students. It was the time of the appearance of the bar Zicartola of the
samba shows at the Teatro de Arena and the Teatro Santa Rosa and musical as "Rosa
de Ouro". Produced by Herminio Bello de Carvalho, the "Rosa de Ouro" revealed Araci
Cortes and Clementina de Jesus. During the sixties, some samba groups appeared and
formed by previous experiences with the world of samba and songs recorded by great
names of Brazilian music. Among them were The Cinco Crioulos, The Voz do Morro,
Mensageiros do Samba and The Cinco Só.[1]
By that time, emerged a dissent within the bossa nova with afro-sambas, by Baden
Powell and Vinicius de Moraes. Moreover, the movement approached traditional
sambistas revised the samba of the hill, especially Cartola, Elton Medeiros, Nelson
Cavaquinho, Zé Kéti and further Candeia, Monarco, Monsueto and Paulinho da Viola. [1]
Following the steps of Paulo da Portela, that intermediate the relationship of the hill with
the city where the samba was pursued, Paulinho da Viola—also the Portela samba
school—would be a sort of ambassador of traditional gender before a more public art,
including the tropicalists. Also within the bossa nova appears Jorge Ben; his
contribution to merge with American rhythm and blues, which would further the
emergence of a subgenus called swing (or samba-rock).[2]
Outside the main scene of the so-called Brazilian Popular Music festivals, the sambists
found the Bienal do Samba, in the late sixties, the space for the big names of the genus
and followers. Even in the final decade, came the so-called samba-empolgação 'samba-
24
excitement' of carnival blocks Bafo da Onça, Cacique de Ramos, and Boêmios de
Irajá.[1]
A fusion: the samba-funk
Also in the 1960s, came the samba funk. The samba-funk emerged at the end of the
1960s with pianist Dom Salvador and its group, which merge the samba with American
funk newly arrived in the Brazilian lands. With the final journey of Dom Salvador for
United States, the band closed the business, but at the beginning of 1970s some ex-
members as hit Luiz Carlos, José Carlos Barroso and Oberdan joined Christopher
Magalhaes Bastos, Jamil Joanes, Cláudio Lúcio da Silva Stevenson and to form Banda
Black Rio. The new group has deepened the work of Don Salvador in the binary mixture
of the bar with the Brazilian samba funk of the American Quaternary, based on the
dynamics of implementation, driven by drums and bass. Even after the Banda Black Rio
in 1980s, British djs began to disclose the group's work was rediscovered and pace
throughout the Europe, mainly in UK and Germany.[1]
Partido-Alto for the masses
At the turn of the 1960s to the 1970s, the young Martinho da Vila would give a new face
to the traditional sambas-enredo established by authors such as Silas de Oliveira and
Mano Decio da Viola, compressing them and expanding its potential in the music
market. Furthermore, Martin popularize the style of the Partido alto (with songs like
"Casa de Bamba" and "Pequeno Burguês"), launched on its first album in 1969.
Although the term arose in the beginning of century in Tia Ciata house (initially to
describe instrumental music), the term partido alto came to be used to signify a type of
samba which is characterized by a highly percussive beat of pandeiro, using the palm of
the hand in the center of the instrument in place. The harmony of Partido alto is always
higher in pitch, usually played by a set of percussion (usually surdo, pandeiro, and
tambourine) and accompanied by a cavaquinho and/or a guitar. But from this high-
assimilated by the record industry was made of written soil, and no more spontaneous
and improvised, according to traditional canons.
Also in that decade, some popular singers and composers appeared in the samba, as
Alcione, Beth Carvalho, Clara Nunes. As highlighted in city of São Paulo, Geraldo Filme
was one of the leading names in samba paulistano, next to Germano Mathias,
Osvaldinho of Cuíca, Tobias da Vai-Vai, Aldo Bueno, and Adoniran Barbosa; this latter
has duly recognized nationally before being recalled and rewritten more often in the
seventies.
25
1980s until 1990s
Zeca Pagodinho, one of popular contemporany sambists.
In the early 1980s, after having been eclipsed by the popularity of disco and Brazilian
rock, Samba reappeared in the media with a musical movement created in the suburbs
of Rio de Janeiro. It was the pagode, a renewed samba, with new instruments—like the
banjo and the tan-tan—and a new language that reflected the way that many people
actually spoke with the inclusion of heavy gíria (slang). The most popular artists were
Zeca Pagodinho, Almir Guineto, Grupo Fundo de Quintal, Jorge Aragão, and Jovelina
Pérola Negra.[6]
In 1995, the world saw come out from Savador one of the moust popular Pagode group,
the Gera Samba, later renamed É o Tchan. This group created the most sexual dannce
of the Pagode from 1990s, a music with a strange like. Some groups like Patrulha do
Samba and Harmonia do Samba, also mixtured a bit of Axé. Samba, as a result,
morphed during this period, embracing types of music that were growing popular in the
Caribbean such as rap, reggae, and rock. Examples of Samba fusions with popular
Caribbean music is samba-rap, samba-rock and samba-reggae, all of which were
efforts to not only entertain, but to unify all Blacks throughout the Americas culturally
and politically, through song. In other words, samba-rap and the like, often carried lyrics
that encouraged Black pride, and spoke out against social injustices.[7] Samba,
however, is not accepted by all as the national music of Brazil, or as a valuable art form.
What appears to be new is the local response flow, in that instead of simply assimilating
outside influences into a local genre or movement, the presence of foreign genres is
acknowledged as part of the local scene: samba-rock, samba-rap. But this
acknowledgment does not imply mere imitation of the foreign models or, for that matter,
passive consumption by national audiences. Light-skinned, "upper-class," Brazilians
often associated Samba with dark-skinned blacks because of its arrival from West
Africa. As a result, there are some light-skinned Brazilians who claim that samba is the
26
music of low-class, dark-skinned Brazilians and, therefore, is a "thing of bums and
bandits." [8]
Samba continued to act as a unifying agent during the 1990s, when Rio stood as a
national Brazilian symbol. Even though it was not the capital city, Rio acted as a
Brazilian unifier, and the fact that samba originated in Rio helped the unification
process. In 1994, the World Cup had its own samba composed for the occasion, "Copa
94." The 1994 FIFA World Cup, in which samba played a major cultural role, holds the
record for highest attendance in World Cup history. Samba is thought to be able to unify
because individuals participate in it regardless of social or ethnic group. Today, samba
is viewed as perhaps the only uniting factor in a country fragmented by political division
[9]
.
The Afro-Brazilians played a significant role in the development of the samba over time.
This change in the samba was an integral part of Brazilian nationalism, which was
called "Brazilianism".
"What appears to be new is the local response to that flow, in that instead of simply
assimilating outside influences into a local genre or movement, the presence of foreign
genres is acknowledged as part of the local scene: samba-rock, samba-reggae, samba-
rap. But this acknowledgment does not imply mere imitation of the foreign models or, for
that matter, passive consumption by national audiences." — Gerard Béhague Selected
Reports in Ethnomusicology ) Pg. 84
Samba in the 21st century
From year 2000, there were some artists who were looking to reconnect most popular
traditions of samba. Were the cases of Marquinhos of Oswaldo Cruz, Teresa Cristina
among others, that contributed to the revitalization of the region of Lapa, in the Rio de
Janeiro. In São Paulo, samba resumed the tradition with concerts in Sesc Pompéia
Club and also by the work of several groups, including the group Quinteto em Branco e
Preto who developed the event "Pagode da Vela" ("Pagoda of Sail"). This all helped to
attract many artists from Rio de Janeiro, who shows, established residence in
neighborhoods of the capital paulistana.
In 2004, the minister of culture Gilberto Gil submitted to the Unesco the application of
damping off of samba as Cultural Heritage of Humanity in category "Intangible Goods"
by Institute of National Historical and Artistic Heritage. In the following year, the samba-
de-roda of Baiano Recôncavo was proclaimed part of the Heritage of Humanity by
Unesco, in the category of "Oral and intangible expressions."
Although samba exists throughout the country—especially in the states of Bahia,

Maranhão, Minas Gerais, and Sao Paulo—in the form of various popular rhythms and
dances that originated from the regional batuque, a type of music and associated dance
form from Cape Verde, the samba is a particular musical expression of urban Rio de
Janeiro, where it was born and developed between the end of the 19th century and the
27
first decades of the 20th century. It was in Rio that the dance practiced by former slaves
who migrated from Bahia in the northeast came into contact and incorporated other
genres played in the city (such as the polka, the maxixe, the lundu, and the xote, among
others), acquiring a completely unique character and creating the samba carioca urbana
(samba school) and carnavalesco (Carnaval school director).[3] In reality, the samba
schools are large organizations of up to 5000 people which compete annually in the
Carnival with thematic floats, elaborate costumes and original music.
During the 1910s, some songs under the name of samba were recorded, but these
recordings did not achieve great popularity; however, in 1917, was recorded in disc
"Pelo Telefone" ("By Phone"), which is considered the first samba. The song has the
authority claimed by Ernesto dos Santos, best known as Donga, with co-authors
attributed to Mauro de Almeida, a known carnaval columnist. Actually, "Pelo Telefone"
was creating a collective of musicians who participated in the celebrations of the house
Tia Ciata (Ciata aunt), but eventually registed by Donga and the Almeida National
Library.[3]
"Pelo Telefone" was the first composition to achieve success with the brand of samba
and contribute to the dissemination and popularization of the genre. From that moment,
samba started to spread across the country, initially associated with Carnival and then
buying a place in the music market. There were many composers as Heitor dos
Prazeres, João da Bahia, Pixinguinha and Sinhô, but the sambas of these composers
were "amaxixados" (a mix of maxixe), known as sambas-maxixes.[3]
The contours of the modern samba came only at the end of the 1920s, from the
innovations of a group of composers of carnival blocks of neighborhoods of Estácio de
Sá and Osvaldo Cruz, and the hills of Mangueira, Salgueiro and São Carlos. Since
then, there were great names in samba, and some as Ismael Silva, Cartola, Ary
Barroso, Noel Rosa, Ataulfo Alves, Wilson Batista, Geraldo Pereira, Zé Kéti, Candeia,
Ciro Monteiro, Nelson Cavaquinho, Elton Medeiros, Paulinho da Viola, Martinho da Vila,
and many others.[3]
As the samba is consolidated as an urban and modern expression, he began to be

played in radio stations, spreading the hills and neighborhoods to south area of Rio de
Janeiro. Initially viewed with prejudice and criminalized by their black backgrounds, the
samba to conquer the public middle class as well. Derived from samba, other musical
earned themselves names such as samba-canção, partido alto, samba-enredo, samba
de gafieira, samba de breque, bossa nova, samba-rock, pagode, and many others. In
2007, the IPHAN became the Samba a Cultural Heritage of Brazil.[3]
The samba is the most popular musical genre in Brazil, well known associated abroad
with the football and Carnival. This history began with the international success of
"Aquarela do Brasil," by Ary Barroso, followed with Carmen Miranda (supported by
Getúlio Vargas government and the US Good Neighbor policy), which led to the samba
United States, went further by bossa nova, which finally entered the country in the world
of music. The success of the samba in Europe and Japan only confirms its ability to win
28
fans, regardless of language. Currently, there are hundreds of samba schools held on
European soil (scattered by countries like Germany, Belgium, Netherlands, France,
Sweden, Switzerland). Already in Japan, the records invest heavily in the launch of
former Sambistas set of discs, which eventually create a market comprised solely of
catalogs of Japanese record labels.[3]
The modern samba that emerged from the beginning of the century rate is basically 2/4
tempo and varied, with conscious use of the possibilities of chorus sung to the sound of
palms and batucada rhythm, and which would add one or more parts, or offices of
declamatory verses. Traditionally, the samba is played by strings (cavaquinho and
various types of guitar) and various percussion instruments such as tambourine. By
influence of American orchestras in vogue since the Second World War and the cultural
impact of US music post-war, began to be used also as instruments trombones and
trumpets, and the influence choro, flute and clarinet.
In addition to rhythm and bar set musically, historically brings in itself a whole culture of
food (dishes for specific occasions), dances varied ((miudinho, coco, samba de roda,
pernada), parties, clothes (shoe nozzle fine, linen shirt, etc), and the NAIF painting of
established names such as Nelson Sargento, Guilherme de Brito and Heitor dos
Prazeres, and anonymous artists community (painters, sculptors, designers and stylists)
that makes the clothes, costumes, carnival floats and cars opens the wings of schools
of samba.
The Samba National Day is celebrated on December 2. The date was established at the
initiative of a Alderman of Salvador, Luis Monteiro da Costa, in honor of Ary Barroso,
which was composed "Na Baixa do Sapateiro" - although he had never been in Bahia.
Thus, on December 2 marked the first visit of the Ary Barroso Salvador. Initially, this day
was celebrated only Samba in Salvador, but eventually turned into a national day.
Instruments of samba
Basics
chocalho
reco-reco
Cavaquinho
Guitar
Pandeiro
Surdo
Tamborin
Tantã
Repinique/Repique
Snare Drum/Caixa/Tarol
Ago-go
Ganza/Chocalho
29
Jive (dance)

This article is about the ballroom dance style. For other dances that go by the
name "jive", see jive.
Jive dancers.
In Ballroom dancing, Jive is a dance style in 4/4 time that originated in the United
States from African-Americans in the early 1940s. It is a lively and uninhibited variation
of the Jitterbug, a form of Swing dance.
Jive is one of the five International Latin dances. In competition it is danced at a speed
of 44 bars per minute, although in some cases this is reduced to between 32 and 40
bars per minute.
Many of its basic patterns are similar to these of the East Coast Swing with the major
difference of highly syncopated rhythm of the Triple Steps (Chasses), which use straight
eighths in ECS and hard swing in Jive.
History
To jazz musicians who were the players of swing music in the 1930s and 1940s "Jive"
was an expression denoting glib or foolish talk.[1]
American soldiers brought Lindy Hop/Jitterbug to Europe around 1940, where this
dance swiftly found a following among the young. In the United States the term Swing
became the most common word used to describe the dance.[2] In the UK variations in
technique led to styles such as Boogie-Woogie and Swing Boogie, with "Jive" gradually
emerging as the generic term.[3]
After the war, the boogie became the dominant form for popular music. It was, however,
never far from criticism as a foreign, vulgar dance. The famous ballroom dancing guru,
Alex Moore, said that he had "never seen anything uglier". English instructors
30
developed the elegant and lively ballroom Jive, danced to slightly slower music. In 1968
it was adopted as the fifth Latin dance in International competitions. The modern form of
ballroom jive in the 1990s-present, is a very happy and boppy dance, the lifting of knees
and the bending or rocking of the hips often occurs.
Basic step
The basic step (Jive Basic) is a six beat pattern, comprising eight weight changes.
Leader: Normally the male
Counts 1 2 - Rock step: left foot step back, right foot replace
Counts 3 a4 - Chasse to the left
Counts 5 a6 - Chasse to the right
The follower's steps are mirrored. Normally the female
31
Swing (dance)
Jitterbugging at a juke joint, November 1939
The term "swing dance" commonly refers to a group of dances that developed
concurrently with the swing style of jazz music in the 1920s, '30s and '40s, although the
earliest of these dance forms predate swing jazz music. The best known of these
dances is the Lindy Hop, a popular partner dance that originated in Harlem and is still
danced today. While the majority of swing dances began in African American
communities as vernacular African American dances, a number of forms (Balboa, for
example) developed within Anglo-American or other ethnic group communities.
Swing jazz features the syncopated timing associated with African American and West
African music and dance — a combination of crotchets and quavers (quarter notes and
eighth notes) that many swing dancers interpret as 'triple steps' and 'steps' — yet also
introduces changes in the way these rhythms were played — a distinct delay or 'relaxed'
approach to timing.
Today there are swing dance scenes in many countries throughout the world. Lindy Hop
is often the most popular, though each city and country prefers various dances in
different degrees. Each local swing dance community has a distinct local culture and
defines "swing dance" and the "appropriate" music to accompany it in different ways.
Forms of Swing
In many scenes outside the United States the term "Swing dancing" is used to refer
generically to one or all of the following swing era dances: Lindy Hop, Lindy Charleston,
Shag, Balboa and Blues. This group is often extended to include West Coast Swing,
East Coast Swing, Hand Dancing, Jive, Rock and Roll, Modern Jive, and other dances
developing in the 1940s and later. A strong tradition of social and competitive boogie
woogie and acrobatic rock'n'roll in Europe add these dances to their local swing dance
32
cultures. In Singapore and other scenes, Latin dances such as salsa and Tango are
often taught and danced within the "Swing scene", and for many scenes tap dancing
and a range of other jazz dances are considered key, as are hip hop and other
contemporary African American street dances. The variations continue, dictated by local
dance community interests.
Many swing dancers today argue that it is important to dance many styles of partner
dance to improve technique, but also to reflect the historical relationship between these
dances in the swing era of the 1920s and 1930s. In the Savoy Ballroom, for example,
bands would often play waltzes, Latin songs and so on, as well as swinging jazz.
Dancers were often familiar with a wide range of popular and traditional dances.
Early forms from the 1930s and 1940s
Lindy Hop evolved in the late 1920s and early 1930s was out of Partnered
Charleston. It is characterized by an 8-count circular basic or "swing out" and has
an emphasis on improvisation and the ability to easily adapt to include other
steps in 8-count and 6-count rhythms. It has been danced to almost every
conceivable style of music with blues or jazz rhythm (with the exception of jazz
waltzes), as well as non-traditional styles of music such as hip hop.
Balboa is an 8-count dance that emphasizes a strong partner connection and
quick footwork. A product of Southern California's crowded ballrooms, Balboa (or
"Bal") is primarily danced in close embrace. A library of open figures, called Bal-
Swing, evolved from LA Swing, which was another Southern California dance
that was a contemporary of Balboa. While most dancers differentiate between
pure Balboa and Bal-Swing, both are considered to be part of the dance. Balboa
is frequently danced to fast jazz (usually anything from 180 to 320 bpm beats per
minute), though many like to Balboa to slower (170-190 bpm) tempos.
Collegiate Shag typically refers to a kind of double shag that is believed to have
originated in New York during the 1930s. To call the dance "collegiate shag"
would not have been common during the swing era; the addition of the word
"collegiate" was supposedly a marketing ploy to attract college-age dancers to
certain studios and dance halls. The name Collegiate Shag later became
somewhat standard in the latter part of the 20th century (see swing revival), to
help distinguish it from other later contemporary dances that shared the "shag"
designation (e.g., the Carolina Shag). Collegiate Shag was accompanied by
music that emphasized a 2-beat rhythm and was danced in the varieties of
single, double, and triple shag. The variety of names describe the amount of slow
(step, hop) steps executed before being followed by a single quick, quick rhythm.
The most common form recognized as Collegiate Shag is double-shag rhythm.
St. Louis Shag done in the "Sang That Rhyme" Charleston position. The steps
are: two step, rock step, kick forward, step down, kick forward (other leg), stag,
step, stomp (repeat). The "stag" is bringing the leg up with the knee bent. As a
variation, when repeating, one can do two forward kicks (or "switch, switch",
referring to switching feet) in place of the rock step.
33
Jitterbug dancers in 1938
Jitterbug is often associated with one form of swing dance, but is not in fact a
general term for all swing dances and is more appropriately used to describe a
swing dancer rather than a specific swing dance (i.e. a jitterbug can dance Lindy
Hop, Shag, or another swing dance). The term was famously associated with
swing era dancers by band leader Cab Calloway because, as he put it, "They
look like a bunch of jitterbugs out there on the floor"[citation needed] due to their fast,
often bouncy movements.
Later forms from the 1940s, 1950s and later
Lindy Hop continued into the 1940s, 1950s and 1960s and is featured in many
movies of the era featuring Whitey's Lindy Hoppers with Frankie Manning, Dean
Collins (whose style would lead to the creation of West Coast Swing), and Hal
Takier and the Ray Rand Dancers.
Lindy Charleston is essentially 1930s and '40s partner Charleston woven in and
out of Lindy Hop moves. Lindy Charleston involves a number of positions,
including side-by-side, hand-to-hand, and tandem Charleston. In "jockey
position", the closed position is opened out so that both partners may face
forward, without breaking apart. In side-by-side Charleston, partners open the
closed position entirely, so that their only points of connection are at their
touching hips and arm contact, wherein the lead's right hand and arm touch the
follower's back and the follower's left hand and arm touch the leader's shoulder
and arm. Both partners then swing their free arms as they would in solo
Charleston. In both jockey and side-by-side Charleston, the leader steps back
onto his left foot, while the follower steps back onto her right. In tandem
Charleston, one partner stands in front of the other (usually the follower, though
the arrangement may vary), both face in the same direction to start, and both
begin by stepping back onto the left foot. The partner behind holds the front
partner's hands at the latter's hip height, and their joined arms swing backwards
and forwards, as in the basic step.
34
Eastern Swing is an evolution of Fox Trot and the precursor to the more modern
East Coast Swing.
East Coast Swing is a simpler 6-count variation of Lindy Hop that evolved with
swing band music of the 1940s and the work of the Arthur Murray dance studios
in the 1940s[1]. It is also known as 6-count Swing, Triple-Step Swing, or Single-
Time Swing. East Coast Swing has very simple structure and footwork along with
basic moves and styling. It is popular for its simple nature and is often danced to
slow, medium, or fast tempo jazz, blues, or rock and roll. Occasionally,
Rockabilly, aka Rock-a-billy, is mistaken for East Coast Swing, but Rockabilly is
more closely related to Western Swing.
West Coast Swing was developed in the 1950s as a stylistic variation on Lindy
Hop. It is a slotted dance which is danced to a wide variety of music including:
blues, rock and roll, country western, smooth and cool jazz. It is popular
throughout the United States and Canada but is uncommon in Europe and much
of Asia. West coast swing communities are developing in Australia, New Zealand
and the United Kingdom.
Western Swing, also called Country Swing or Country/Western Swing (C/W
Swing) is a form with a distinct culture. It resembles East Coast Swing, but adds
variations from other country dances. It is danced to country and western music.
Boogie-woogie developed originally in the 1940s with the rise of boogie woogie
music. It is popular today in Europe, and was considered by some to be the
European counterpart to East Coast Swing, a Six count dance standardized for
the American ballroom industry. It is danced to rock music of various kinds, blues
or boogie woogie music but usually not to jazz. As the dance has developed it
has also taken to 8-count variations and swing outs similar to Lindy Hop, while
keeping the original boogie woogie footwork.
Carolina Shag was danced along the strands between Myrtle Beach, South
Carolina, and Wilmington, North Carolina, during the 1940s. It is most often
associated with beach music, which refers to songs that are rhythm and blues
based and, according to Bo Bryan, a noted shag historian and resident of
Beaufort County, is a term that was coined at Carolina Beach, North Carolina.
Imperial Swing is a cross between East Coast and West coast as it is done in slot
and in the round. It started at the Club Imperial in St Louis. George Edick, who
owned the club, let teenagers dance on the lower level and the swing dancers of
the time taught them what was learned from their trips to the east coast. As
people traveled around they added parts of west coast,bop and Carolina shag to
complement the dance and make it distinctive. People can tell the difference
between St Louis dancers and dancers from other parts of the country. "The
Imperial" has elements of "East Coast", "West Coast", "Carolina Shag", and
"Bop".
Blues Dance yesterday was an informal type of dance with no fixed patterns and
a heavy focus on connection, sensuality and improvisation, often with strong
body contact. Although usually done to blues music, it can be done to any slow
tempo 4/4 music, including rock ballads and "club" music. "Blues dancing" is
popular in many swing dance communities.
35
Jive is a dance of International Style Ballroom dancing. It initially was based on
Eastern swing brought to England by Americans Troops in World War II and
evolved before becoming the now standardized form of today.
Skip Jive A British variant, popular in the 1950s and 1960s danced to trad jazz.
Modern Jive - also known as LeRoc and Ceroc - developed in the 1980s,
reputedly from a French form of Jive. Modern Jive is not technically of the Jive
family which typically use a 6 count pattern of various combinations of walking
and triple steps (Ballroom Jive - back/replace triple-triple; Swing Jive - triple-triple
back/replace) etc. It is pared down to a simple box step and constitutes the
simplest form of couples dance style gauged to provide a social atmosphere
rather than technical aptitude.
Rock and Roll - Developing in the 1950s in response to rock and roll music, rock
and roll is very popular in Australia and danced socially as well as competitively
and in performances. The style has a long association with Lindy Hop in that
country, as many of the earliest lindy hoppers in the early 1990s moved to Lindy
Hop from a rock and roll tradition. There are ongoing debates about whether rock
and roll constitutes swing dancing, particularly in reference to the music to which
it is danced: there is some debate as to whether or not it swings. Despite these
discussions, many of the older Lindy Hoppers are also keen rock and roll
dancers, with rock and roll characterised by an older dancer (30s and older) than
Lindy Hop (25 and under).
Acrobatic Rock'n'Roll Popular in Europe, acrobatic rock and roll is popularly
associated with Russian gymnasts who took up the dance, though it is popular
throughout Europe today. It is more a performance dance and sport than a social
dance.
Washington Hand Dancing originated in the Washington, DC, Area in the mid-
1950s as D.C.’s own version of swing dancing. From its very beginning, DC
Hand-dance was referred to and called ―DC Hand-Dance/Hand-Dancing‖, ―DC
Swing‖, ―DC Style‖ (swing) and ―fast dance‖ (meaning DC Hand-Dance). This is
the first time a version of ―swing‖ dance was termed ―hand-dance/hand-dancing‖.
DC Hand-Dance is characterized by very smooth footwork and movements, and
close-in and intricate hand-turns, danced to a 6-beat, 6- to 8-count dance rhythm.
The footwork consists of smooth and continuous floor contact, sliding and gliding-
type steps (versus hopping and jumping-type steps), and there are no aerials.
Push and Whip are Texas forms of swing dance developed in the 1940s and
1950s. They are slotted swing dances, danced to a wide variety of music
including blues, pop, jazz, and rock and roll. Similar to West Coast Swing, they
emphasize the closed position, double resistance/rock step, and lead-follow.
Slow Whip is a a variation on Whip/Push that is danced to slow blues music,
typically 60 bpm or less.
36
Competition, social dancing and music
Traditionally, distinctions are made between "Ballroom Swing" and "Jazz Dance Swing"
styles. East Coast Swing is a standardized dance in "American Style" Ballroom dancing,
while Jive is a standardized dance in "International Style"; however both of these falls
under the "Ballroom Swing" umbrella.
Jazz Dance forms (evolved in dance halls) vs. ballroom forms (created for ballroom
competition format) are different in appearance. Jazz Dance forms include Lindy Hop,
Balboa, Collegiate Shag, and Charleston.
[edit] Types of Competition
Dance competitions specify which forms are to be judged, and are generally available in
four different formats:
1) Strictly: One couple competing together in various heats, to randomly selected music,
where no pre-choreographed steps are allowed.
2) Jack and Jill: Where leads and follows are randomly matched for the competition. In
initial rounds leads and follows usually compete individually, but in final rounds, scoring
depends on the ability of the partner you draw and your ability to work with that partner.
Some competitions hold a Jill and Jack division where leads must be women and
follows must be men.
3) Showcase: One couple competing together for a single song which has been
previously choreographed.
4) Classic: Similar to Showcase but with restrictions on lifts, drops, moves where one
partner supports the weight of the other partner, and moves where the partners are not
in physical contact.
Judging Criteria
Judging for competition is based on the three "T's" as well as showmanship (unless the
contest in question designates the audience as the deciding factor).
The three "T's" consist of:

1) Timing - Related to tempo & rhythm of the music.
2) Teamwork - How well a lead and follow dance together and lead/follow dance
variations.
3) Technique - How clean and precise the cooperative dancing is executed.
Showmanship consists of presentation, creativity, costumes, and difficulty.
37
Team Formations
Additionally a "Team Formation" division may also be specified at a competition. Under

this category a minimum of 3 to 5 couples (depending on individual competition rules)
perform a prechoreographed routine to a song of their choosing, where the group
dances in syncronation and into different formations. This division is also judged using
the three "T's" and showmanship; however this criteria now applies to the team as a
whole.
Social swing dancing
Many, if not most, of the swing dances listed above are popular as social dances, with
vibrant local communities that hold dances with DJs and live bands that play music
most appropriate for the preferred dance style. There are frequently active local clubs
and associations, classes with independent or studio-/school-affiliated teachers and
workshops with visiting or local teachers. Most of these dance styles — as with many
other styles — also feature special events such as camps or exchanges.
Music
The historical development of particular swing dance styles was often in response to
trends in popular music. For example, 1920s and solo Charleston was - and is - usually
danced to 2/4 ragtime music or traditional jazz, Lindy Hop was danced to swing music
(a kind of swinging jazz), and Lindy Charleston to either traditional or swing jazz. West
Coast Swing is usually danced to Pop, R&B, Blues, or Funk. Western Swing and
Push/Whip are usually danced to country and western music. Hip hop Lindy is danced
to hip hop music, and blues dance to either traditional blues forms or slower music from
a range of genres (most frequently jazz or blues). There are local variations on these
musical associations in each dance scene, often informed by local DJs, dance teachers
and bands.
Modern swing dance bands active in the U.S. during the 1990s and 2000s include many
contemporary jazz big bands, swing revival bands with a national presence such as
Lavay Smith and Her Red Hot Skillet Lickers (based in San Francisco), and
local/regional jazz bands that specialize in 1930s-1940s swing/Lindy dance music, such
as the The Swingout Big Band, White Heat Swing Orchestra, and Beantown Swing
Orchestra (Boston), the Boilermaker Jazz Band (Pittsburgh), the Southside Aces
(Minneapolis), Jonathan Stout and His Campus Five (Los Angeles) and The Jonathan
Stout Orchestra featuring Hilary Alexander (Los Angeles), The Flat Cats (Chicago), The
Gina Knight Orchestra (Chicago and Joliet, IL), the Solomon Douglas Swingtet and the
Tom Cunningham Orchestra (Washington, D.C.), Sonoran Swing (Arizona), and The Bill
Elliott Swing Orchestra (Los Angeles).
38
Rumba
Not to be confused with Roomba.

For the film starring George Raft and Carole Lombard, see Rumba (1935 film).
For the software product Rumba, see RUMBA_(Terminal_Emulator).
Rumba rhythm[1].
Rumba is a Spanish word that means "party". The word describes a family of
percussive rhythms, song and dance that originated in Cuba as a combination of the
musical traditions of Africans brought to Cuba as slaves and Spanish colonizers. It is
secular, with no religious connections. [2]Rhythmically, rumba is based on the five-stroke
pattern called clave (rhythm) and the inherent structure it conveys.[3]
The term spread in the 1930s and 1940s to the faster popular music of Cuba (the
Peanut Vendor was a classic), where it was used as a catch-all term, rather as salsa
today. Also, the term is used in the international Latin-American dance syllabus, where
it is a misnomer: the music used for this slower dance is the bolero-son.
The term is also used today for various styles of popular music from Spain, as part of
the so-called Cantes de ida y vuelta, or music that developed between both sides of the
atlantic. Flamenco Rumba in particular is more related to the Guaracha, an ancestor of
Cuban Rumba.
Types
Cuban Rumba, percussion, song and dance styles that owe their origin to African
slaves in Cuba.
39
Rumba (dance), international dance styles that correspond to slower Cuban
music, such as the bolero-son.
Flamenco Rumba, a style of flamenco music from Spain also known as Gypsy
Rumba or Rumba Gitana.
African Rumba, a style of music that originated in Congo, and evolved into
Soukous music.
References
1. ^ Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28.
ISBN 0415974402.
2. ^ Orovio, Helio 2004. Cuban music from A to Z. Revised by Sue Steward. ISBN
0822331861 A biographical dictionary of Cuban music, artists, composers,
groups and terms. Duke University, Durham NC; Tumi, Bath. p191
3. ^ Peñalosa, David (2009: 100). The Clave Matrix; Afro-Cuban Rhythm: Its
Principles and African Origins. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
Cuban music is diverse in styles and background that comes from several cultures. In
this area of Cuban music, Rumba is a generic term covering a variety of musical
rhythms and associated dances. In this style, that includes a combination of both music
and dance, vocal and rhythmic improvisation is both involved [1] This includes a smooth
combination of music, dance and poetry to produce a unique sound and dance [2]
Rumba has also been described by some as a folkloric music and dance complex
combination. This may because of the influences rumba has from the music and culture
presented by Africans who were brought by the Spanish colonizers to Cuba to be
slaves. The mixing of these two cultures, among others that later came into the culture,
created a deeply rooted people.
The Africans brought over to be slaves had a history and culture that later merged with
the other cultures they had been pushed into. The African origins of Rumba emerged
from two secular dances of the Bantu origin. The two influences and roots for rumba in
particular being from the ―Yulea‖ and ―Makuta‖ styles of dancing [3] There are numerous
other African influences in the rumba that helped shape it into what it is today but those
are the main influences that are noticeable today in the styles of dance.
In rumba there is a dance move where the couple dancing move together and almost
meet at the navel and then separate. This is similar to a dance move that the Sara
people of Nigeria do while dancing. In this move done, that is similar to steps in the
rumba, while dancing the Sara people has a row of boys and a row of girls. The row of
boys and row of girls stand across from one another and then they move together to
touch than separate from one another, then the two rows repeat this move again. This
move brought by the slaves made its way into rumba and has become a part of the
Cuban culture since it was more openly accepted as a dance and art form [4]
40
Emerging in the mid nineteenth century from the marginal neighborhoods of Havana
and Matanzas, this percussion based music and dance was not widely accepted. As an
energetic Afro-Cuban dance, Rumba was often suppressed and restricted because it
was viewed as dangerous and lewd. Because of this, when it first emerged it was done
in private and had to be on the down low.
In the 1920s and 1930s the intellectual movement known as Afrocubanismo gave roots
to traditional rumba [5] When this afrocubanismo movement came along it helped open
the doors to African rooted dancing and ways of expression. Rumba became more
accepted among Cubans and was a recognized cultural expression that identified as a
part of the Cuban people. It also provided the means at that point of public expression
for those without representation in the media, the Afro-Cubans. Before that time the
whites had most, if not all, of the control over any means expression, culture, and so on
[6]
Rumba forming and for once being able to be expressed openly gave some of the
control back to the Afro-Cubans. For the rumba, an expression place for the free and
enslaved blacks to congregate was also established. The enslaved blacks’ still being
able to attend only after their work was done; the free blacks having fewer restrictions [7]
Afro-Cuban rumba is entirely different than Ballroom Rumba, or the African style of pop
music called rumba. Rumba developed in rural Cuba, and is still danced in Havana,
Matanzas and other Cuban cities as well as rural areas, especially those with a
significant or predominant African community, although now it is infused with influences
from Jazz and Hip hop.
Cuban Rumba can be broken down into three basic types: Yambú, Columbia, and
Guaguancó. Yambú is the oldest and slowest style that exists. Then there is the most
popular style; Guaguancó. This style can be heard in songs such as "Quimbara" by
Celia Cruz. Guaguancó is also a couple’s dance that is a symbolic game of flirtation that
is sexually initiated. The climax of the dance is the pelvic thrust by the male; the female
can accept or reject this move. Yambu is a couple’s dance as well, however it is much
slower paced. Columbia is a fast and highly acrobatic solo dancing that is performed by
a male dancer. The main thing that separates these three types of rumba is
chorographical differences and the pace of the music [8]
A Cuban Rumba song often begins with the soloist singing meaningless syllables, which
are called 'diana(s)'. The male dancer and singer then may proceed to improvise lyrics
stating the reason for holding the present Rumba ('decimar'; span.: to make ten-line
stanzas), or instead tunes into a more or less fixed song such as: "Ave Maria Morena"
(Yambú, Anónimo), "Llora Como Lloré" (Guaguancó, S. Ramirez), "Cuba Linda, Cuba
Hermosa" (Guaguancó, R.Deza), "China de Oro (Laye Laye)" (Columbia), "Malanga
(Murió)" (Columbia)".
Rumba is now most commonly performed at informal fiestas or just in the street when
the mood arises. Percussions and vocal sections make up rumba’s musical ensemble [9]
This African derived rumba dance and music also inspires poets and in turn they also
inspire the dance and chants. Some poets, including Carmen Cordero and Maya Santos
41
Febres, have said that a ―poetic portrayal of dance maintains its meaning as a vehicle of
resistance.‖ This could be taken as pushing for change and acceptance [10]These ideas
go well with the expression associated with the rumba when it first emerged and when it
became more widely accepted by all Cubans.
Mention in popular music
Jimmy Buffett had a song on his 2009 album Summerzcool, entitled Rhumba Man.
Tango (ballroom)
Ballroom Tango is a ballroom dance that branched away from its original Argentine
roots by allowing European, American, Hollywood, and competitive (a.k.a dancesport)
influences into the style and execution of the dance.
The present day ballroom tango is divided into two disciplines: American Style and
International Style. Both styles are enjoyed as social and competitive dances, but the
International version is more globally accepted as a competitive style. Both styles share
a closed dance position, but the American style allows its practitioners to separate from
closed position to execute open moves, like underarm turns, alternate hand holds,
dancing apart, and side-by-side choreography.
42
History
American style tango
American style tango’s evolutionary path is derived from Argentina to U.S., when it was
popularized by silent film star Rudolph Valentino in 1921, who demonstrated a highly
stylized form of Argentine tango in The Four Horsemen of the Apocalypse. As a result,
the Hollywood style steps mixed in with other social dance steps of the times began this
branch away from the Argentine style. Meanwhile, the tango was also making its own
inroads into Europe.
Following the English standardization of their version of Tango, Arthur Murray, a

ballroom dance instructor in the U.S., tried his own hand at standardizing the ballroom
dances for instruction in his chain of social dance schools.[1] Consequently, his tango
syllabus incorporated steps with Argentine, Hollywood and socially popular influences
and techniques. This looser social style was referred to as American style by the
English.
International style tango
In 1912 tango was introduced to British audiences, showcased in the successful

musical comedy The Sunshine Girl. Concurrently, the dance became popular elsewhere
in Europe, particularly in Paris.[2] As the European dancers enjoyed the music and
passion of the dance, they began to inject their own culture, style and technique into the
dance.
In an effort to teach a standardized version of the tango, the English eventually codified
their own version of tango for instruction in dance schools and for performance in
competitions in 1922. The resulting style was referred to as English style, but eventually
took on the name International style, as this became the competitive ballroom version
practiced around the world.
Eventually, championships in the international style tango were organized all over
Europe with numerous participating countries. Adjudicators were able to judge against a
standardized syllabus and book of techniques, thereby creating a more objective means
of picking the champions, even though artistic interpretation remains an important
element of competition.[3]
Initially, the English dominated the International style tango, but eventually, technicians
from other backgrounds, most notably the Italians, have chipped away at the English
standard and created a dynamic style that continues to raise the competitive bar. [4]
43

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Ballroom Dances

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Cha-cha-chá (Cuban dance) ........................................................................................... 3

Jazz waltz rhythm[1].

For the musical style, see Salsa (music).

Dancing Salsa in Mexico

The basic styles are:

2. North American Salsa, (sometimes referred by Latin Americans as "American

Cuban Salsa "Casino"

Main article: Casino (salsa dance)

[edit] Rueda de Casino

There two main types of Rueda de Casino:

1. Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal)

Major Rueda de Casino groups are:

1. Casino.com -- based in Santiago de Cuba, with principal world-renowned

2. Cuban All Stars -- based in Santiago de Cuba

3. Luceros del Son -- Havana dance group, specializing in "hat rueda"

4. Rhumbanana -- based in Seattle, USA

Cali Salsa Style

New York Style

Los Angeles Style

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For the Argentinian national dance, see Zamba (artform).

Samba dancers at the Helsinki Samba Carnival

Samba ( pronunciation (help·info)) is a Brazilian

[edit] Origins of the word samba

The Batuque practiced in Brazil of the 19th century, in a painting by Butter.

As the samba consolidated as an urban and modern expression, it began to be played

[Favela and Tias Baianas

[edit] Scenes in Bahia and São Paulo

The first decades of the twentieth century

[edit] Turma do Estácio

Cartola, one of greatest carioca sambists ever.

Popularization in the 1930's and 1940's

Brazilian actress Carmen Miranda helped popularizing samba internationally.

A new beat in the 1950's: the Bossa Nova

João Gilberto, the "father" of bossa nova.

Rediscovered of the samba's roots in the 1960s and 1970s

[edit] Rapprochement with the hill

A fusion: the samba-funk

Partido-Alto for the masses

Zeca Pagodinho, one of popular contemporany sambists.

Samba in the 21st century

Although samba exists throughout the country—especially in the states of Bahia,

As the samba is consolidated as an urban and modern expression, he began to be

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Leader: Normally the male

The follower's steps are mirrored. Normally the female

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Jitterbugging at a juke joint, November 1939

Early forms from the 1930s and 1940s

Later forms from the 1940s, 1950s and later

[edit] Types of Competition

The three "T's" consist of:

Showmanship consists of presentation, creativity, costumes, and difficulty.

Additionally a "Team Formation" division may also be specified at a competition. Under

Social swing dancing

Not to be confused with Roomba.

Mention in popular music

American style tango

Following the English standardization of their version of Tango, Arthur Murray, a

International style tango