HISTORY
pao de acucar (sugar Loaf) - Rio de Janeiro
For those who like Lambada and zouk.
The words of Luis Floriao translated by Sarah Gibbons
Many believe that Lambada- the music and dance- are cultural products from the Caribbean. Whilst others believe that Lambada and Zouk are different names for the same rhythm and dance. But neither of these opinions is true. To understand how Lambada arose and to undo this confusion it is necessary to know a little more, in order to distinguish dances and music from within this giant caldron of rhythms.
The Caribbean and the Lambada
It started in the Caribbean, or more accurately the region which calls itself "the Caribbean" as it is important to take into account the fact that these islands have been dominated by various European nations each accounting for different characteristics.
This region was influenced by four nations, the Spanish, the French, The English and the Dutch. Each island has its own culture and in varying degrees, an influence from the native inhabitants, the colonials and the African people who settled there.
In the music this represented an enormous diversity but the important detail is that nearly all the islands principally used string instruments which came from Europe as well as African percussion (predominantly from the Yoruba people).
The words of Luis Floriao translated by Sarah Gibbons
Many believe that Lambada- the music and dance- are cultural products from the Caribbean. Whilst others believe that Lambada and Zouk are different names for the same rhythm and dance. But neither of these opinions is true. To understand how Lambada arose and to undo this confusion it is necessary to know a little more, in order to distinguish dances and music from within this giant caldron of rhythms.
The Caribbean and the Lambada
It started in the Caribbean, or more accurately the region which calls itself "the Caribbean" as it is important to take into account the fact that these islands have been dominated by various European nations each accounting for different characteristics.
This region was influenced by four nations, the Spanish, the French, The English and the Dutch. Each island has its own culture and in varying degrees, an influence from the native inhabitants, the colonials and the African people who settled there.
In the music this represented an enormous diversity but the important detail is that nearly all the islands principally used string instruments which came from Europe as well as African percussion (predominantly from the Yoruba people).
Central do Brasil - Rio de Janeiro
Zouk music
Caribbean music, which is also an ingredient in the diverse Brazilian rhythms, always had a big influence in the North of Brazil, especially in Maranhao. Zouk is one of these musical types. It had a strong influence where the French had colonized, in Martinica and Guadalupe, and was normally sung in Creole, a mixture of French and African languages.
Studies believe that its rhythmic base is derived from Arabic culture. This same base is also found in certain other countries such as Spain and Portugal, in the African continent and throughout all of America.
One of these versions about the appearance of zouk music claims that it was created to spread Martinica culture and to have, as in the example of Cuba, cultural influence in Latin America. The result wasn't fully achieved: although they succeeded in spreading the rhythm throughout the world starting from France, this meant that in various places including Brazil, many began to mistakenly believe that the music was in fact French.
Zouk the dance
The word zouk means party and is a dance very similar to the meringue which was danced in the Caribbean principally on the islands of Martinica and Guadalupe. It is basically danced by transferring the weight from one foot to another on each beat and the choreography is basic.
Caribbean music, which is also an ingredient in the diverse Brazilian rhythms, always had a big influence in the North of Brazil, especially in Maranhao. Zouk is one of these musical types. It had a strong influence where the French had colonized, in Martinica and Guadalupe, and was normally sung in Creole, a mixture of French and African languages.
Studies believe that its rhythmic base is derived from Arabic culture. This same base is also found in certain other countries such as Spain and Portugal, in the African continent and throughout all of America.
One of these versions about the appearance of zouk music claims that it was created to spread Martinica culture and to have, as in the example of Cuba, cultural influence in Latin America. The result wasn't fully achieved: although they succeeded in spreading the rhythm throughout the world starting from France, this meant that in various places including Brazil, many began to mistakenly believe that the music was in fact French.
Zouk the dance
The word zouk means party and is a dance very similar to the meringue which was danced in the Caribbean principally on the islands of Martinica and Guadalupe. It is basically danced by transferring the weight from one foot to another on each beat and the choreography is basic.
Lapa - Rio de Janeiro
The Lambada music
Lambada arose in Para with a base in Carimbo and guitar, influenced by various rhythms such as Cumbia, Meringue and Zouk.
Diverse accounts from the region of Para tell us that a local radio station called the most vibrant music "lambadas", transforming the use of this adjective lambada into the actual name of a rhythm whose paternity is credited to Punduca music. The new name and a mixture of Carimbo with electronic and metallic music from the Caribbean instantly became popular.
The great success meanwhile happened after the entrance of French business men who bought the authorship rights for hundreds of songs. Thanks to the following structured marketing and their own great music the group Kaoma successfully launched itself in Europe and other continents. Adapting this vibrant rhythm, the Bolivian music "Chorando se foi" (She went crying) then went on to become one of the biggest hits worldwide.
Following this came an intense influx of new Lambada music both within Brazilian and world markets. Many groups and singers took advantage of this new successful rhythm to boost their own careers, such as the cases of Sidney Magal, Sandy and Jr. Fafa of Belem and the group Balao Magico.
But, as is a reoccurring feature in Brazilian history, these products only gained value within Brazil after they had first done so in the rest of world.
After this initial phase of super exposure, as inevitably happens to all the good things of yesterday, the music faded away until it stopped being produced altogether.
The Carimbo Dance
Before talking about the dance Lambada let us remember one of its roots: the Carimbo, an indigenous dance belonging to Amazonian folklore and danced there for centuries. A direct descendant of the Lambada which in its traditional form is accompanied by drums of tree trunks tuned by the use of fire and has as its principal characteristics, movements where the woman tries to cover the man with her skirt, many spins and head rotations.
Lambada arose in Para with a base in Carimbo and guitar, influenced by various rhythms such as Cumbia, Meringue and Zouk.
Diverse accounts from the region of Para tell us that a local radio station called the most vibrant music "lambadas", transforming the use of this adjective lambada into the actual name of a rhythm whose paternity is credited to Punduca music. The new name and a mixture of Carimbo with electronic and metallic music from the Caribbean instantly became popular.
The great success meanwhile happened after the entrance of French business men who bought the authorship rights for hundreds of songs. Thanks to the following structured marketing and their own great music the group Kaoma successfully launched itself in Europe and other continents. Adapting this vibrant rhythm, the Bolivian music "Chorando se foi" (She went crying) then went on to become one of the biggest hits worldwide.
Following this came an intense influx of new Lambada music both within Brazilian and world markets. Many groups and singers took advantage of this new successful rhythm to boost their own careers, such as the cases of Sidney Magal, Sandy and Jr. Fafa of Belem and the group Balao Magico.
But, as is a reoccurring feature in Brazilian history, these products only gained value within Brazil after they had first done so in the rest of world.
After this initial phase of super exposure, as inevitably happens to all the good things of yesterday, the music faded away until it stopped being produced altogether.
The Carimbo Dance
Before talking about the dance Lambada let us remember one of its roots: the Carimbo, an indigenous dance belonging to Amazonian folklore and danced there for centuries. A direct descendant of the Lambada which in its traditional form is accompanied by drums of tree trunks tuned by the use of fire and has as its principal characteristics, movements where the woman tries to cover the man with her skirt, many spins and head rotations.
Central do Brasil - Rio de Janeiro
The dance Lambada
The dance Lambada originated in the North East of Brazil, beginning with a mixture of the dance Carimbo with dances from the N.E incorporating movements such as "balao apagada" (burst balloon). In its 1st phase it arrived in the N.E but didn't actually root itself to this region. At this point, the closeness of one partner to another was the principal characteristic of Lambada. Next, the dance arrived in Porto Seguro and began to develop. A variety of music including Rumbas Flamencos (then called Spanish Lambada) and Zouks (then called French Lambada) helped to thrill dancers.
At the end of the 80's came world wide success, thanks to the band Kaoma which relied on Brazilian dancers to perform in its shows. Both within and outside Brazil Lambada music and the dance became a phenomenal seller even featuring in soap operas, films, variety shows, competitions and performances. It thus became necessary for dancers to create complex, daring choreographies with many spins and acrobatics.
The appearance of a new style, Carioca Lambada
(Carioca being the name for people from Rio de Janeiro)
After various years of success world wide, Lambada music entered a crisis and stopped being recorded. In the clubs DJs stopped playing the old records contributing to the burial of this musical style. The dance left the spotlight but survived because dancers were already used to other musical styles containing the essential Lambada beat. For example the band gypsy Kings whose sales were significantly increased thanks to the dance. Also music from France, Spain, Arabic countries, America, the Carribean etc. guaranteed the continuity of the dance. Of all the music, Zouk fitted itself most perfectly, becoming the preferred music to dance Lambada to.
The fact that the dance was being danced with music which was slower, with more pauses and changes in rhythm which hadn't existed in Lambada music allowed the dance to evolve, becoming more sensual, fluid and beautiful. The movements are gentler with visual influences from other dances and music. The interpersonal relationship returned to be of great value and acrobatics have become reserved more for the stages. There continues to be diverse research, even outside partner dance interest groups, regarding for example the tempo and improvisation.
Recognition
Every day more Brazilians and foreigners give Brazilian culture the recognition and value it deserves. The dance Lambada is also showing great professional growth and in 2006/07 there were about 10 different world wide events with this dance as the main attraction- competitions, meetings, talks and congresses. It is now considered to be most well known of the Brazilian partner dances world-wide.
The dance Lambada originated in the North East of Brazil, beginning with a mixture of the dance Carimbo with dances from the N.E incorporating movements such as "balao apagada" (burst balloon). In its 1st phase it arrived in the N.E but didn't actually root itself to this region. At this point, the closeness of one partner to another was the principal characteristic of Lambada. Next, the dance arrived in Porto Seguro and began to develop. A variety of music including Rumbas Flamencos (then called Spanish Lambada) and Zouks (then called French Lambada) helped to thrill dancers.
At the end of the 80's came world wide success, thanks to the band Kaoma which relied on Brazilian dancers to perform in its shows. Both within and outside Brazil Lambada music and the dance became a phenomenal seller even featuring in soap operas, films, variety shows, competitions and performances. It thus became necessary for dancers to create complex, daring choreographies with many spins and acrobatics.
The appearance of a new style, Carioca Lambada
(Carioca being the name for people from Rio de Janeiro)
After various years of success world wide, Lambada music entered a crisis and stopped being recorded. In the clubs DJs stopped playing the old records contributing to the burial of this musical style. The dance left the spotlight but survived because dancers were already used to other musical styles containing the essential Lambada beat. For example the band gypsy Kings whose sales were significantly increased thanks to the dance. Also music from France, Spain, Arabic countries, America, the Carribean etc. guaranteed the continuity of the dance. Of all the music, Zouk fitted itself most perfectly, becoming the preferred music to dance Lambada to.
The fact that the dance was being danced with music which was slower, with more pauses and changes in rhythm which hadn't existed in Lambada music allowed the dance to evolve, becoming more sensual, fluid and beautiful. The movements are gentler with visual influences from other dances and music. The interpersonal relationship returned to be of great value and acrobatics have become reserved more for the stages. There continues to be diverse research, even outside partner dance interest groups, regarding for example the tempo and improvisation.
Recognition
Every day more Brazilians and foreigners give Brazilian culture the recognition and value it deserves. The dance Lambada is also showing great professional growth and in 2006/07 there were about 10 different world wide events with this dance as the main attraction- competitions, meetings, talks and congresses. It is now considered to be most well known of the Brazilian partner dances world-wide.