domingo, 11 de janeiro de 2015

Sir, you are showing these Maxixe steps with names of neighborhood of rio de janeiro (botafogo), and songs from the chiquinha gonzaga (corta jaca), all over again? Everyone know that ballroom samba is just Maxixe with a european aspect, which can be explained by the fact Europeans never had the body structure and the personality behavior to do the steps properly, so they distorted it and now teach their own version to naive students like you - that will childishly call the original one "ugly" (what amount to a epitome of the absurd).
 I see you are very confused and misleading, seeking strategies to conserve and justify your madness obsession. If insulting people, barking like a rabid dog and making me laugh already tired you, try to make a real study. If you want to learn more about international ballroom systemic misrepresentation of samba, you can also read the book "Glamour addictions: inside the American ballroom dance industry" by Juliet Mcmains. I will give you some quotations to start:

"After five to seven decades of revision at the hands of English, European, and American dancers, the DanceSport versions of latin dances bear little in commum with contemporary or historical practices in Latin America" (p. 110).

"Tango students in Europe were either unprepared to learn the complexities of the dance, ill-informed about the techinique, or uninterested in the movement style practiced in argentina."(p.113)

"This process of cultural imperialism and colonization was repeated, only with slight variation, with each new Latin dance that was admitted into the ballroom". (p.114) 

The tension and contrasts observed in the argentinian tango were overdone and misterpreted, and the result was a grotesque mismatching of qualities (Marta Savigliano)

Thought the reputed national identities of each of these dances in the new ballroom category are still touted in the publicity materials of every ballroom dancer school and society, the dances that were adopted by the British Ballroom dancers bore little resemblances to their counterparts in their reputed countries of origin even at the moment of their importation (p. 114)

The Ballroom versions of Latin dances are western appropriations with only limited similarity to forms practiced in Latin America and they rely extensively on European stereotypes of Latiness for their emotional and aesthetics appeal" (p. 114)

Who were Doris Lavelle and Pierre Zurcher Margolie? Pierre seemed aware of his public`s limited ability to grasp movement techniques too foreign to their own culture and spoke with respect uncommon in Westerns of his time of the skills possessed by Cuban Dancers: "The name rumba in cuba is used only for the very fast version seen on the stage or as exhibition, and is so super-rhythmic that it is quite beyond the reach of any European dancer" (Latin and American dances for students and teachers, London, 1948)

"A dance practice is much more than a list of footsteps and rhythm charts. The culture and values of its practitioners are embedded in the postures, gestures and dynamics of the dance"


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