Now this was a real SLOW foxtrot at 28 BPM, all the couples showed elegant, long steps, soft rise and fall while rotating in the third dimension. Really sporty, elegant, powerful but soft in touch. Great performance. 😃😄😉😎
His feet !! Evgeny Nikitin !! Dancing with Anastasia. So soft, so excellent. The musicality is superb. Gives the hidden feeling of the slow fox trot. This couple, Evgeny and Anastasia, in all dances, definitely is ready to carry the world, also in Blackpool and WDC events. Much like Bill and Bobbie Irvine.
Is this fox trot? It's form seem to be the polar opposite of tango. The songs seem very soft and sometimes romantic even, but the heads of the dancers seemed to suggest they had great cerymony into touching each other. I couldn't feel how the hug is like for the ladies specially, I can't imagine preciselly how this form originated from fox trot. The impression I had with this video, which is the only fox trot dancing video I've found on youtube so far, and maybe for no coincidence, anyways the impression I had is that the guy was forcing the girl to hug him and she didn't feel like it, but was being polite into not dropping him in the middle of the dance floor and making him look like a fool. The expressions on some ladies faces seemed to suggest they were minimally enjoying the songs, so that is probably related to how this form originated. Russian dance events I've seem are of really high level ones, so I might be repeating unecessary information talking about tango, but I can never know who will read me or possibly answer my comment, so I'll give the benefit of the doubt to whoever reads this and decides to answer it and help me write further. I heard tango started at whorehouses, and danced between men, as some kind of fight in argentina and as a way of waiting for the few ladies that were there to dance with them or do whatever people do to each other at whorehouses. Anyways their hips were originally separated because of them not feeling very atracted to each other and the songs were kinda dramatic and combative because of that too. This form continued afterwards because of the great focus in tango of leg movements, and this form allows for those movements to happen without having to hug the other person too distantly and mantaining another point of contact with the partner's body. Advanced samba de gafieira dancers use that too, even though at samba de gafieira the form is not as solidly stablished and the neck of the lady and the gentleman can be more relaxed at times, according to the songs and the interpretation dancers want to give it. Samba de gafieira had a less explicit influence of european erudite music, don't know the exact general term for that in english, and that is probably why its songs at least received less finacial incentive from the state or private companies or wealthy people. Samba de gafieira survived and grew as a bastard son of tango. Tango's dacer's clothes are practically copied from european traditional formal clothes. It is not that unfitting because Argentina's wheater is colder than Brasil's. Brasilian male gafieira dancers deived their traditional clothes from that. It probably started with a white smoking, or whatever it is called the full or semi full set of european traditional formal clothes. After that white pants remained because of the weather and other shirts were introduced, probaly cotton ones with a striped pattern and a white hat. a pattern of blue stripes alternating with white ones really impressed me in one of the paintings or performances that reached me through youtube. First 3 pages of google search had no match for an article dedicated to traditional samba de gafieira clothes, which only comes to confirm the bastar nature of this dance stile and songs, but I did find some pictures that helped me a little though.Female samba dancers' traditional clothes have probably always been more compatible with brasilian wheather. Sambas danced alone already involved skirts probably, longer ones for the modalities danced alone and moveable ones that made an effect when the dancer danced. The influence of those skirts probably came partly from gypsies. In carnaval not everyone wears a lot of clothing, specially women, and the influence of the indians is stronger into painting the body and the modern popular variation of it that is to use glitter. Peolpe are rumored to become more lgbt frinedly in carnival too, but my experience with samba was always much more guided by learning evironments and classrooms, partly because of my nature, so I say that not based on experimental verifications. Anyways in samba de gafieira, which is danced in couples the ladies normally use shorter skirts, sometimes they are less tight and sometimes they are more tight, when they are tighter they have details that move according to the ladies hip movements while dancing. That was probably influenced by blacks too, because many of the female dancers of samba de gafieira were blacks and some of them somewhat proudly value the genetic inheritance from the bundos, which a teacher of mine at high school said were an african etnic group linked to big asses. the word for ass in portuguese is bunda, as a reference to them, my teacher at high school said. Could find no matches for that in brasilian or english wikipedia. Guys from hip hop talk a lot about asses too and they are predominatly an culture heavily influenced by blacks. there are some very traumatic stories involving racims and an or some african woman in particular and european experimental investigations. that is probably the reason for the absence of easily reacheble information on that. Well that is not the main topic regarding dancing and garments and stuff, so I'll rely on whoever is reading this to provide more accurate information on that and just say that samba de gafiera and samba in general is strongly connected to racism against blacks in Brasil. Anyways sometimes women traditionally used a tank top or whatever it is called as a complement for the skirt. Sometimes them both would be a dress. Often the kinder ladies would wear dresses or clothing with a clevage? in the back? No fabric covering the part where the gentleman's hand would be in order to make them able to dance better. I don't know where this started and which other styles of dancing traditionally used that, but I would be interested to know. Some of the ladies in this video performance wore clothes minimally like that, but I don't know if this is traditionally related to fox trot. It would be surprising if it were. in fox trot the gentleman's hand seemed to be fixed at a lower place comparing to the lady's exposed back. A dancer of zouk once wore a dress that practically left her whole back exposed to be touched while dancing. I was greatly impressed by that, but few times was I lucky enough to be able to dance with a lady like that in a ball or in a dance class. I guess that is a more contemporary phenomenon. at zouk, samba de gafieira, bolero and probably many other dance styles there are 3 mais ponts of reference for the gentleman to position his hand and structure his hug. The closer shoulder bade, the one that is farther and the end of the ribs of the lady. To be far it was much more reflected and worked pedagogically by my teacher of bolero and zouk mainly. It aplies to samba de gafieira, but there are political divisions in samba de gafieira. The samba de gafieira of Rio de Janeiro is much less focused on the ideal of providing a pleasurable experience to the lady and is more focused on the performative aspect of dancing for an audience. I'm from São Paulo so put what I said into perspective. The Rio de Janeiro samba de gafieira teachers I had contact with were not nearly as great as the ones of São Paulo's samba de gafieira. That seems to be enough for an atempt to star a conversation, sources on samba and dancing are relativelly rare for me to continue writing or for me to make a stronger effort to start a conversation.
@@StudioMargalima It is much more effective to rely on others to point me to keywords at least to lead my studies. Hiding inconsistencies or vulnerabilities is not a trait of my culture, and working while privileging learning instead of reputation is the path I chose to follow as a dancer. I don't see dancing as a sport, but as a form of art. Maybe this is one of the sources of our disagreements.
@@brunoalvescoelho4476 Not rudely meant, and your vision is one way to look at it. Dance and dancesport is art. As well as sport, but that is in itself a chapter of hot debates. To be able to asess the world of our dancesport, there is much more than meets the eye. It requires, no it demands thorough training, dedication, practice, dancing competitions, understanding fundamentals, technique, preparation and written and unwritten rules. And actually history of dancesport as well. By then maybe one more or less fully comprehense the decisions made by couples, individual or by their coaches.
@@StudioMargalima I'm slightly interested in your institution now because you talked to me. I don't remeber ever researching institutions, even the ones I studied at or worked under. I always prioritise other topics of study. I'm reading about tantra now. You didn't mention energy circulation and oriental philosophy in the topics you suggested to eb able to fully admire the performances of your institution. Maybe You would agree to add reference to that, now I'm feeling colder.
What a dead atmosphere. It's so dead, that even Nikitin, i'd guess he win, had an a bit uninspiring performance. Look at his face when he turns Ana and thank the public. To be fair, this atmosphere even let the sparks vanish of of every couple. How come? Where is the public????
@@brunoalvescoelho4476 It would be nice to reply to the content, not posing rethoric questions. And do not make assumptions about ones gender, and take note of my name.
@@StudioMargalima Fine, if you went through the trouble of answering to me at least I guess I can try to treat you more formally and less naturally if that is how you prefer it. It is hard because I fell much more inclined to talk to you in a more affectionate way considering how much you claim to have studied dancing and art. You sound much like an institution talking, so as far as gender assumptions go I guess you would be gender neutral. I refrain from jokes from now on. Couldn't resist this one.
The hall must have been almost empty as there was probably no real public at all apart from the fellow competitors and their families plus just a few members of the audience because of the tight coronavirus-related restrictions.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Now this was a real SLOW foxtrot at 28 BPM, all the couples showed elegant, long steps, soft rise and fall while rotating in the third dimension. Really sporty, elegant, powerful but soft in touch. Great performance. 😃😄😉😎
His feet !! Evgeny Nikitin !! Dancing with Anastasia.
So soft, so excellent. The musicality is superb. Gives the hidden feeling of the slow fox trot.
This couple, Evgeny and Anastasia, in all dances, definitely is ready to carry the world, also in Blackpool and WDC events. Much like Bill and Bobbie Irvine.
Kremlin Cup 2020 was held in Kazan...and they are dancing the elegant Slow Foxtrot...!
Stylish, compact and gorgeous movements inspire , touching the mind and soul..
They are interpreting the music not just doing steps mechanically.
Wonderful and inspiring music and dance
Молодцы
Inspiring g music...is it played live?
И кого выбрали? они все прекрасны
Результаты турнира в описании к видео.
슬로우 폭스 매우 아름다워요 최고입니다
Caralho, muito foda
Is this fox trot? It's form seem to be the polar opposite of tango. The songs seem very soft and sometimes romantic even, but the heads of the dancers seemed to suggest they had great cerymony into touching each other. I couldn't feel how the hug is like for the ladies specially, I can't imagine preciselly how this form originated from fox trot. The impression I had with this video, which is the only fox trot dancing video I've found on youtube so far, and maybe for no coincidence, anyways the impression I had is that the guy was forcing the girl to hug him and she didn't feel like it, but was being polite into not dropping him in the middle of the dance floor and making him look like a fool. The expressions on some ladies faces seemed to suggest they were minimally enjoying the songs, so that is probably related to how this form originated. Russian dance events I've seem are of really high level ones, so I might be repeating unecessary information talking about tango, but I can never know who will read me or possibly answer my comment, so I'll give the benefit of the doubt to whoever reads this and decides to answer it and help me write further. I heard tango started at whorehouses, and danced between men, as some kind of fight in argentina and as a way of waiting for the few ladies that were there to dance with them or do whatever people do to each other at whorehouses. Anyways their hips were originally separated because of them not feeling very atracted to each other and the songs were kinda dramatic and combative because of that too. This form continued afterwards because of the great focus in tango of leg movements, and this form allows for those movements to happen without having to hug the other person too distantly and mantaining another point of contact with the partner's body. Advanced samba de gafieira dancers use that too, even though at samba de gafieira the form is not as solidly stablished and the neck of the lady and the gentleman can be more relaxed at times, according to the songs and the interpretation dancers want to give it. Samba de gafieira had a less explicit influence of european erudite music, don't know the exact general term for that in english, and that is probably why its songs at least received less finacial incentive from the state or private companies or wealthy people. Samba de gafieira survived and grew as a bastard son of tango. Tango's dacer's clothes are practically copied from european traditional formal clothes. It is not that unfitting because Argentina's wheater is colder than Brasil's. Brasilian male gafieira dancers deived their traditional clothes from that. It probably started with a white smoking, or whatever it is called the full or semi full set of european traditional formal clothes. After that white pants remained because of the weather and other shirts were introduced, probaly cotton ones with a striped pattern and a white hat. a pattern of blue stripes alternating with white ones really impressed me in one of the paintings or performances that reached me through youtube. First 3 pages of google search had no match for an article dedicated to traditional samba de gafieira clothes, which only comes to confirm the bastar nature of this dance stile and songs, but I did find some pictures that helped me a little though.Female samba dancers' traditional clothes have probably always been more compatible with brasilian wheather. Sambas danced alone already involved skirts probably, longer ones for the modalities danced alone and moveable ones that made an effect when the dancer danced. The influence of those skirts probably came partly from gypsies. In carnaval not everyone wears a lot of clothing, specially women, and the influence of the indians is stronger into painting the body and the modern popular variation of it that is to use glitter. Peolpe are rumored to become more lgbt frinedly in carnival too, but my experience with samba was always much more guided by learning evironments and classrooms, partly because of my nature, so I say that not based on experimental verifications. Anyways in samba de gafieira, which is danced in couples the ladies normally use shorter skirts, sometimes they are less tight and sometimes they are more tight, when they are tighter they have details that move according to the ladies hip movements while dancing. That was probably influenced by blacks too, because many of the female dancers of samba de gafieira were blacks and some of them somewhat proudly value the genetic inheritance from the bundos, which a teacher of mine at high school said were an african etnic group linked to big asses. the word for ass in portuguese is bunda, as a reference to them, my teacher at high school said. Could find no matches for that in brasilian or english wikipedia. Guys from hip hop talk a lot about asses too and they are predominatly an culture heavily influenced by blacks. there are some very traumatic stories involving racims and an or some african woman in particular and european experimental investigations. that is probably the reason for the absence of easily reacheble information on that. Well that is not the main topic regarding dancing and garments and stuff, so I'll rely on whoever is reading this to provide more accurate information on that and just say that samba de gafiera and samba in general is strongly connected to racism against blacks in Brasil. Anyways sometimes women traditionally used a tank top or whatever it is called as a complement for the skirt. Sometimes them both would be a dress. Often the kinder ladies would wear dresses or clothing with a clevage? in the back? No fabric covering the part where the gentleman's hand would be in order to make them able to dance better. I don't know where this started and which other styles of dancing traditionally used that, but I would be interested to know. Some of the ladies in this video performance wore clothes minimally like that, but I don't know if this is traditionally related to fox trot. It would be surprising if it were. in fox trot the gentleman's hand seemed to be fixed at a lower place comparing to the lady's exposed back. A dancer of zouk once wore a dress that practically left her whole back exposed to be touched while dancing. I was greatly impressed by that, but few times was I lucky enough to be able to dance with a lady like that in a ball or in a dance class. I guess that is a more contemporary phenomenon. at zouk, samba de gafieira, bolero and probably many other dance styles there are 3 mais ponts of reference for the gentleman to position his hand and structure his hug. The closer shoulder bade, the one that is farther and the end of the ribs of the lady. To be far it was much more reflected and worked pedagogically by my teacher of bolero and zouk mainly. It aplies to samba de gafieira, but there are political divisions in samba de gafieira. The samba de gafieira of Rio de Janeiro is much less focused on the ideal of providing a pleasurable experience to the lady and is more focused on the performative aspect of dancing for an audience. I'm from São Paulo so put what I said into perspective. The Rio de Janeiro samba de gafieira teachers I had contact with were not nearly as great as the ones of São Paulo's samba de gafieira. That seems to be enough for an atempt to star a conversation, sources on samba and dancing are relativelly rare for me to continue writing or for me to make a stronger effort to start a conversation.
I thought i was longwinding...
Try to study dancesport better before commenting. And compress your comment.
@@StudioMargalima It is much more effective to rely on others to point me to keywords at least to lead my studies. Hiding inconsistencies or vulnerabilities is not a trait of my culture, and working while privileging learning instead of reputation is the path I chose to follow as a dancer. I don't see dancing as a sport, but as a form of art. Maybe this is one of the sources of our disagreements.
@@brunoalvescoelho4476
Not rudely meant, and your vision is one way to look at it. Dance and dancesport is art. As well as sport, but that is in itself a chapter of hot debates.
To be able to asess the world of our dancesport, there is much more than meets the eye. It requires, no it demands thorough training, dedication, practice, dancing competitions, understanding fundamentals, technique, preparation and written and unwritten rules. And actually history of dancesport as well. By then maybe one more or less fully comprehense the decisions made by couples, individual or by their coaches.
@@StudioMargalima I'm slightly interested in your institution now because you talked to me. I don't remeber ever researching institutions, even the ones I studied at or worked under. I always prioritise other topics of study. I'm reading about tantra now. You didn't mention energy circulation and oriental philosophy in the topics you suggested to eb able to fully admire the performances of your institution. Maybe You would agree to add reference to that, now I'm feeling colder.
Thanks for your input, had injoyed show and lecture
What a dead atmosphere. It's so dead, that even Nikitin, i'd guess he win, had an a bit uninspiring performance. Look at his face when he turns Ana and thank the public. To be fair, this atmosphere even let the sparks vanish of of every couple. How come? Where is the public????
Oh, how come Misses Maligna?
@@brunoalvescoelho4476
It would be nice to reply to the content, not posing rethoric questions. And do not make assumptions about ones gender, and take note of my name.
@@StudioMargalima Fine, if you went through the trouble of answering to me at least I guess I can try to treat you more formally and less naturally if that is how you prefer it. It is hard because I fell much more inclined to talk to you in a more affectionate way considering how much you claim to have studied dancing and art. You sound much like an institution talking, so as far as gender assumptions go I guess you would be gender neutral. I refrain from jokes from now on. Couldn't resist this one.
The hall must have been almost empty as there was probably no real public at all apart from the fellow competitors and their families plus just a few members of the audience because of the tight coronavirus-related restrictions.