SAMBA-REPORT-PERFORMED-LAST-FEB-29-2020.pptx

Class

1. REPORTERS: RAMIL BATUAMPO ROCHIEL BAGARES KATERINA FANUGON BEAUTY ANTONIO JOHN PAUL FORTEZA DANIELLA BEATRICE PEREZ RICHARD LEDESMA

2. ORIGIN OF SAMBA SAMBA is both a style of music and a type of dance that hails from Brazil. Samba's origins lie in the intertwined history of colonialism and slavery. The word 'samba' is thought to possibly come from a West African word semba , meaning a navel thrust or kind of physical invitation, an intimate movement possibly connected to religious and community celebrations in an African homeland. In the 16th century, Portuguese traders brought West African enslaved men and women to the state of Bahia in Brazil. The slaves retained the customs of their homelands, including a tradition of drumming a nd dancing, despite attempts by the Europeans to forbid such displays, which they considered vulgar.

3. Through the 17th and 18th centuries, the music and dance survived in private celebrations held by slaves and former slaves in Bahia. In the mid-19th century, Brazil abolished slavery and descendants of the slaves moved south to Rio de Janeiro. They settled in the favelas , or poorer neighborhoods on the hills surrounding the city. They continued dancing to percussive music and developed samba out of a mix of styles, including Brazilian maxixe , a dance similar to tango. In 1914, the first phonograph recording of samba music brought wider recognition, and samba grew in popularity.

4. Before 1914 it was known under a Brazilian name " Maxixe ". As early as 1923 an international meeting of professors of dancing took note of the rise of the Samba's popularity, particularly in France. A French dance book published by Paul Boucher in 1928 included Samba instructions. The dance was introduced to United States movie audiences in 1933 when Fred Astaire and Dolores Del Rio danced the Carioca in Flying Down to Rio and several years later, Carmen Miranda danced the Samba in That Night in Rio. A Samba exhibition was given at the November 1938 meeting of the New York Society of Teachers of Dancing. General interest in the Samba was stimulated at the 1939 World's Fair in New York, where Samba music was played at the Brazilian Pavilion.

5. A few years later the Brazilian composer Ary Barroso wrote the classic Samba, " Brasil ," which quickly became a hit, and in 1944 he went to Hollywood to write the score for the musical Brazil.

6. SAMBA STYLES In Rio in the late 1920s, clubs dedicated to samba, especially a type of solo samba called samba no pé , where a single person (no partner needed) danced as rhythm moved them, began to develop. Samba no pé (literally, "samba in the foot") is a solo dance that is commonly danced impromptu when samba music is played. The dance simply follows the beat of the music and can go from average pace to very fast. Men dance with the whole foot on the ground while women, often wearing heels, dance just on the balls of the foot. Professionals may change the steps slightly, taking 4 steps per measure instead of 3, and often add various arm movements depending on the mood of the music.

7. Samba de Gafieira Samba de Gafieira is a partner dance considerably different from the Ballroom Samba . It appeared in the 1940s and it gets its name from the gafieira , popular urban nightclubs of Rio de Janeiro at that time. The dance derived from the Maxixe and followed the arrival of the Choro (another samba musical style). It left most of the Maxixe's Polka elements behind but maintained the entwined leg movements of the Argentine tango , although adopting a more relaxed posture than the latter. Many see this form of Samba as a combination of Waltz and Tango . Several Brazilian dance studios use elements and techniques from these two dances to teach Samba de Gafieira steps and dance routines.

8. Samba Pagode Samba Pagode is a Samba partner dance that resembles the Samba de Gafieira but tends to be more intimate. The literal meaning of the Portuguese word " pagode " translates to "fun" or "merrymaking". [4] The word is also utilized to refer to an infor mal gathering of samba dancers along with their accompanying music. The three instruments typically used in Samba Pagode performances. A key feature of Samba Pagode is its rhythmic texture created with a variety of beats. It became a dance style after the appearance of the Pagode style of music, which originated in the Brazilian city of São Paulo . The pagode style utilizes three specific percussion instruments: the tanta , the repique -de- mao , and the pandeiro . [4] All three instruments are played by hand, which lends to creating a softer, more intimate sound than the batucada Samba performed by many Samba schools in Brazil. [4] Pagode -like events have dated back to the late 19th and early 20th centuries, with the emergence of urban Samba in Rio de Janeiro.

9. Samba Axé Samba Axé is a solo dance that started in 1992 during the Brazilian Carnival season in Bahia when the Axé rhythm replaced the Lambada . For years it became the major type of dance for the North east of Brazil during the holiday months. The dance is completely choreographed and the movements tend to mimic the lyrics. It is very energetic and mixes elements of Samba no pé and aerobics and because of the lyrics, which are made for entertainment, the dance generally has some sort of ludic element. Several Axé music groups such as " É o Tchan " have as part of their marketing strategy to always release a choreography together with every one of their songs; therefore, Samba Axé is an ever-changing genre with no set of steps, routines or basic step.

10. Samba-reggae Samba-reggae is a mix of reggae beats created by Samba drums . It is found in popular songs by the artist Daniela Mercury , who introduced the rhythm to the world with songs like "Sol da Liberdade " "O Reggae E O Mar" and " Perola Negra ". Samba Reggae is a popular samba style in Bahia, with many followers in various parts of Brazil. Samba-reggae drummers performing during the Brazilian festival of Carnaval . The percussionists of samba-reggae often dance while playing their drums as well. The third- and fourth drummers, known as surdos perform short choreographies, utilizing mallets to emphasize sharp arm movements. The fundos (the first and second surdos at the lead) often times take center stage to showcase elaborate, deft mallet lifts and throws, and also toss their drums high overhead. [8]

11. Samba-rock Samba-rock is a playful form of the samba that originates from São Paulo . It is a form of Latin nightclub dance. One of Samba-rock's first dance instructors, Mestre Ataliba , describes the essence of the dance style. "Dance wise, samba rock is about relaxation and concentration, all at once... It blends the African ' ginga ' (body flow from Capoeira ), which is present at the feet and the hips, and the European reference of the ballroom etiquette. We can dance it to the sound of Rita Pavone , samba pagode , reggae , R&B . It really embraces every music culture". [9]

12. SAMBA DE RODA ("Samba of roda ") is a traditional Afro-Brazilian dance performed originally as informal fun after a Candomblé ceremony, using the same percussion instruments used during the religious ceremony. The typical drum is the atabaque ; drummers improvise variations and elaborations on common patterns, accompanied typically by singing and clapping as well as dancing. The Samba de Roda is a celebratory event incorporating music, choreography and poetry. The term "Samba" encompassed many different rhythms, tunes, drumming and dances of various periods and areas of the Brazilian territory. It appeared in the state of Bahia , more specifically in the region of Recôncavo in Brazil, during the 17th century. In the indigenous language, "samba" means roda de dança , or a circle to dance since the indigenous peoples danced in celebration on many occasions, such as the celebration of popular Catholic festivals, Amerindian or Afro-Brazilian religious ceremonies, but was also practiced at random.

13. SAMBA SCHOOL A dancer who becomes good at samba is known as a sambista . Today, the members of these clubs, which are known as escolas de samba or samba schools , gather to dance samba during Carnival season. The name 'school' is a bit of a misnomer, because these groups are more like fraternal organizations or associations. Members practice music and dance routines for months in advance, and perform in themed Carnival parades decked out in elaborate costumes. It's a colorful spectacle to behold!

14. SAMBA COSTUMES

15. SAMBA TEMPO — 50BPM TIMING-2/4 BASIC RHYTHM-THERE ARE THREE MAIN RHYTHM USED IN THE BASIC FIGURE 1,2 ( OR S,S), 1&2 (OR,SAS), AND SQQ. THE BEAT VALUES OF THE ABOVE COUNT ARE (IN 2/4 TIME) ’ 1,2 ” . 1 BEAT, ‘ 1&2 ’ ,3/4 ½ ,1 BEAT ‘ SQQ ’ - 1 BEAT, ½ ,1/2. ACCENTED BEATS — THE FIRST BEAT OF EACH BAR AND THE PERCUSSIVE ACCENT ON THE SECOND BEAT OF EACH BAR. PHRASING — AMALGAMATION ARE BEST PHRASE IN 8 BAR SEQUENCE BECAUSE YOU ARE CHANGING ON HIGHLIGHTS WITH THE MUSIC THAT ALSO CHANGES ON EVERY 8 BAR SEQUENCE IR IT IS A STRICT TEMPO RHYTHM. BASIC CONSTRUCTION---SAMBA CONSIST OF THE FOLLOWING ACTIONS SAMBA BOUNCE SAMBA WHISKS VOLTAS BOTA FOGO SAMBA WALK CRUZADO WALK

16. CHARACTERIZATION OF SAMBA A PROGRESSIVE DANCE IN AN ANTI-CLOCKWISE DIRECTION AROUND THE ROOM, WITH BASIC ACTIONS, KNEE AND PELVIC RHYTHMS THAT MOVE IN A VERTICAL, DIAGONAL AND CIRCULAR MOTIONS WITH OR WITHOUT RISE AND FALL; EASILY RECOGNIZED THROUGH THE BASIC CONSTRUCTED ACTIONS PRODUCED IN A 50 BAR PER MINUTE TEMPO. STYLING IN THE INTERPRETATION OF MARDIGRAS.

17. Step _ # Steps Turn Alignment Moving 1 RF fwd   Facing LOD LOD 2 LF closes to RF, part weight   Facing LOD Under Body 3 Replace weight to RF   Facing LOD Under Body 4 LF back   Backing Against LOD Against LOD 5 RF closes to LF, part weight   Backing Against LOD Under Body 6 Replace weight to LF   Backing Against LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2 a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Natural Basic ( PreBronze ) Man Commence in Closed Position with Closed Hold, Facing LOD. This figure uses Bounce Action 1) This figure may turn up to 1/8 to the R over 1-3, and another 1/8 over 4-6 2) When the Natural Basic is commenced OP following the Travelling Bota Fogos Forward , turn 1/8 to R over steps 2-3 to return to Closed Position

18. Step _ # Steps Turn Alignment Moving 1 LF back   Backing LOD LOD 2 RF closes to LF, part weight   Backing LOD Under Body 3 Replace weight to LF   Backing LOD Under Body 4 RF fwd   Facing against LOD Against LOD 5 LF closes to RF, part weight   Facing against LOD Under Body 6 Replace weight to RF   Facing against LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2  a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Lady Commence in Closed Position with Closed Hold, Backing LOD. This figure uses Bounce Action 1) This figure may turn up to 1/8 to the R over 1-3, and another 1/8 over 4-6 2) When the Natural Basic is commenced OP following the Travelling Bota Fogos Forward , turn 1/8 to R over steps 2-3 to return to Closed Position

19. Step _ # Steps Turn Alignment Moving 1 LF fwd   Facing LOD LOD 2 RF closes to LF, part weight   Facing LOD Under Body 3 Replace weight to LF   Facing LOD Under Body 4 RF back   Backing Against LOD Against LOD 5 LF closes to RF, part weight   Backing Against LOD Under Body 6 Replace weight to RF   Backing Against LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2 a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Reverse Basic ( PreBronze ) Man Commence in Closed Position with Closed Hold, Facing LOD. This figure uses Bounce Action 1) This figure may turn up to 1/8 to the L over 1-3, and another 1/8 over 4-6

20. Step _ # Steps Turn Alignment Moving 1 RF back   Backing LOD LOD 2 LF closes to RF, part weight   Backing LOD Under Body 3 Replace weight to RF   Backing LOD Under Body 4 LF fwd   Facing against LOD Against LOD 5 RF closes to LF, part weight   Facing against LOD Under Body 6 Replace weight to LF   Facing against LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2  a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Lady Commence in Closed Position with Closed Hold, Backing LOD. This figure uses Bounce Action 1) This figure may turn up to 1/8 to the L over 1-3, and another 1/8 over 4-6

21. Step _ # Steps Turn Alignment Moving 1 LF to side   Facing Wall Wall 2 RF closes to LF, part weight   Facing Wall Under Body 3 Replace weight to LF   Facing Wall Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2 a a Closed B 3 2 S Closed BF Side Basic ( PreBronze ) Side Basic to Left Side Basic to Right Man Commence in Closed Position, Facing Wall. This figure uses Bounce Action 1) This figure is mainly used to teach basic rhythm and action to beginners, otherwise the Whisk is usually danced 2) When the Side Basic to L is danced following 1-3 Natural Basic facing DW, this is called the Progressive Basic

22. Step _ # Steps Turn Alignment Moving 1 RF to side   Backing Wall Wall 2 LF closes to RF, part weight   Backing Wall Under Body 3 Replace weight to RF   Backing Wall Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2  a a Closed B 3 2 S Closed BF Lady Commence in Closed Position, Backing Wall. This figure uses Bounce Action 1) This figure is mainly used to teach basic rhythm and action to beginners, otherwise the Whisk is usually danced 2) When the Side Basic to L is danced following 1-3 Natural Basic backing DW, this is called the Progressive Basic

23. Step _ # Steps Turn Alignment Moving 1 RF fwd   Facing DW DW 2 LF closes to RF, part weight   Facing DW Under Body 3 Replace weight to RF   Facing DW Under Body 4 LF to side   Facing DW DC 5 RF closes to LF, part weight   Facing DW Under Body 6 Replace weight to LF   Facing DW Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2 a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Progressive Basic ( PreBronze ) Man Commence in Closed Position with Closed Hold, Facing DW. This figure uses Bounce Action 1) When repeated multiple times, this figure may be curved gradually to the L to round a corner 

24. Step _ # Steps Turn Alignment Moving 1 LF back   Backing DW DW 2 RF closes to LF, part weight   Backing DW Under Body 3 Replace weight to LF   Backing DW Under Body 4 RF to side   Backing DW DC 5 LF closes to RF, part weight   Backing DW Under Body 6 Replace weight to RF   Backing DW Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2  a a Closed B 3 2 S Closed BF 4 1 S Closed BF 5 a a Closed B 6 2 S Closed BF Lady Commence in Closed Position with Closed Hold, Backing DW This figure uses Bounce Action 1) When repeated multiple times, this figure may be curved gradually to the L to round a corner 

25. STEP NUMBER FOOT POSITION COUNT FOOT POSITION 1 LF SIDE 1 RF SIDE 2 RF BEHIND LF WITHOUT WEIGHT (CUBAN CROSS) A LF BEHIND RF WITHOUT WEIGHT (CUBAN CROSS) 3 TAKE MINIMAL WEIGHT TO NRF AND REPLACE WEIGHT TO LF 2 TAKE MINIMAL WEIGHT TO LF AND REPLACE WEIGHT TO RF WHISK TO LEFT AND RIGHT COMMENCE IN CLOSED POSITION. USE BOUNCE ACTION. MAN ’ s STEP LADY ’ s STEP

26. Step _ # Steps Turn Alignment Moving 1 LF fwd   Facing LOD LOD 2 RF back, part weight, toe turned out   Pointing Wall Against LOD 3 Draw LF slightly toward RF   Facing LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S PP BF 2 a a PP i/e of T 3 2 S PP Flat Samba Walks ( PreBronze ) LF Samba Walk RF Samba Walk LF Samba Walk Man Commence in Promenade Position, Facing LOD. This figure uses Bounce Action 1) The amount the foot moves on step 3 should be no more than half the length of the dancer's foot 2) When the LF and RF Samba Walks in PP are repeated multiple times, they may be curved gradually to the L to round a corner 3) This figure may also be danced in Shadow Position (Bronze), and if commenced facing DC or DW may be curved to face LOD 4) This figure may also be danced in RSP (Silver)

27. Step _ # Steps Turn Alignment Moving 1 RF fwd   Facing LOD LOD 2 LF back, part weight, toe turned out   Pointing Centre Against LOD 3 Draw RF slightly toward LF   Facing LOD Under Body Step _ # Timing Rhythm Position Footwork 1 1 S PP BF 2  a a PP i/e of T 3 2 S PP Flat Lady Commence in Promenade Position, Facing LOD This figure uses Bounce Action 1) The amount the foot moves on step 3 should be no more than half the length of the dancer's foot 2) When the LF and RF Samba Walks in PP are repeated multiple times, they may be curved gradually to the L to round a corner 3) This figure may also be danced in Shadow Position (Bronze), and if commenced facing DC or DW may be curved to face LOD 4) This figure may also be danced in RSP (Silver)

28. STEP NUMBER FOOT POSITION COUNT FOOT POSITION 1 CLOSE LF TO RF 1 CLOSE RF TO LF 2 RF BACK WITHOUT WEIGHT.TOE TURNED OUT A LF BACK WITHOUT WEIGHT.TOE TURNED OUT 3 TAKE MINIMAL WEIGHT TO RF AND DRAW LF BACK ABOUT 8 CMS (3 INCHES) 2 TAKE MINIMAL WEIGHT TO LF AND DRAW RF BACK ABOUT 8 CMS (3INCHES) 4 CLOSE RF TO LF 1 CLOSE LF TO RF SLIGHTLY FWD 5 LF BACK WITHOUT WEIGHT,TOE TURNED OUT A RF BACK WITHOUT WEIGHT.TOE TURNED OUT 6 TAKE MINIMAL WEIGHT TO LF AND DRAW RF BACK ABOUT 8CMS (3INCHES) 2 TAKE MINIMAL WEIGHT TO RF AND DRAW LF BACK ABOUT 8CMS (3INCHES) STATIONARY SAMBA WALK COMMENCE IN CLOSED POSITION.USE VERY SLIGHT BOUNCE IN ACTION. MAN ’ S STEP LADY ’ S STEP

29. STEP NUMBER FOOT POSITION COUNT FOOT POSITION 1 LF FORWARD IN CBMP, PASSING BEHIND LADY 1 R F FORWARD IN CBMP, PASSING IN FRONT OF MAN 2 RF SIDE WITH PARTIAL WEIGHT A LF SIDE WITH PARTIAL WEIGHT 3 REPLACE WEIGHT COMPLETELY TO LEFT FOOT 2 REPLACE WEIGHT COMPLETELY TO RIGHT FOOT 4 RF FORWARD IN CBMP, PASSING BEHIND LADY 1 LF FORWARD IN CBMP, PASSING IN FRONT OF MAN 5 LF SIDE WITH PARTIAL WEIGHT A RF SIDE WITH PARTIAL WEIGHT 6 REPLACE WEIGHT COMPLETELY TO RIGHT FOOT 2 REPLACE WEIGHT COMPLETELY TO LEFT FOOT MAN ’ S STEP LADY ’ S STEP CRISS CROSS BOTA FOGO OPEN PROMENADE POSITION, LH-RG HOLD, FACING DIAGONAL CENTER.

30. Step _ # Steps Turn Alignment Moving 1 LF fwd   Facing LOD LOD 2 RF to side, part weight, toe turned out   Pointing DW Wall 3 Replace weight to LF 1/8 to R Facing DC Under Body 4 RF fwd   Facing DC DC 5 LF to side, part weight, toe turned out   Pointing DC Centre 6 Replace weight to RF 1/4 to L over 5-6 Facing DW Under Body 7 LF fwd   Facing DW DW 8 RF to side, part weight, toe turned out   Pointing DW Wall 9 Replace weight to LF 1/4 to R over 8-9 Facing DC Under Body Travelling Bota Fogos Forward ( PreBronze ) Man Commence in Closed Position with Closed Hold, Facing LOD This figure uses Bounce Action 1 On steps 5 and 8 the L toe points DC, the R toe points DW, and the body faces LOD Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2 a a Closed i/e of T 3 2 S Closed BF 4 1 S OP BF 5 a a Closed i/e of T 6 2 S Closed BF 7 1 S OP on R BF 8 a a Closed i /e of T 9 2 S Closed BF

31. Step _ # Steps Turn Alignment Moving 1 RF back   Backing LOD LOD 2 LF to side, part weight, toe turned out   Pointing DW against LOD Wall 3 Replace weight to RF 1/8 to R Backing DC Under Body 4 LF back   Backing DC DC 5 RF to side, part weight, toe turned out   Pointing DC against LOD Centre 6 Replace weight to LF 1/4 to L over 5-6 Backing DW Under Body 7 RF back   Backing DW DW 8 LF to side, part weight, toe turned out   Pointing DW against LOD Wall 9 Replace weight to RF 1/4 to R over 8-9 Backing DC Under Body Step _ # Timing Rhythm Position Footwork 1 1 S Closed BF 2  a a Closed i/e of T 3 2 S Closed BF 4 1 S OP BF 5 a a Closed i/e of T 6 2 S Closed BF 7 1 S OP on R BF 8 a a Closed i /e of T 9 2 S Closed BF Lady Commence in Closed Position with Closed Hold, Backing LOD This figure uses Bounce Action 1) On steps 5 and 8 the L toe points DW against LOD, the R toe points DW against LOD, and the body backs LOD

32. THANK YOU