How to dance sapatiado

zapateado | dance step and cadence

In Latin American dance: Folk and popular dances

…to the measure), called the zapateado (rhythmic stamping). The flexed hips and knees of the asentado body position made zapateado easier to do. The dance opened with a brief promenade around the dance floor. Then couples faced, with partners acknowledging each other as they waited for the music to signal…

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Zapateado Definition & Meaning - Merriam-Webster

za·pa·te·ado ˌzä-pə-tā-ˈä-(ˌ)dō

ˌsä-pə-tā-ˈau̇

: a Latin American dance marked by rhythmic stamping or tapping of the feet

Example Sentences

Recent Examples on the Web The Chicano band is known for its eclectic blend of folk and spoken word with traditional Son Jarocho — the music style from Veracruz, Mexico — along with zapateado dancing and Afro-Mexican music. Samantha Davenport, Anchorage Daily News, 23 Jan. 2020 Women and girls wearing the typical dress of Mexico’s Veracruz state perform the traditional, percussive zapateado dancing in hard-soled shoes on a makeshift wooden stage during the fiesta of St. James the Apostle in Chacalapa, Veracruz. Robbie Whelan, WSJ, 8 Aug. 2018

These example sentences are selected automatically from various online news sources to reflect current usage of the word 'zapateado.' Views expressed in the examples do not represent the opinion of Merriam-Webster or its editors. Send us feedback.

Word History

Etymology

Spanish, from zapatear to strike or tap with the shoe, from zapato shoe

First Known Use

1845, in the meaning defined above

Time Traveler

The first known use of zapateado was in 1845

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zapateado

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zapateado

zapateo

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“Zapateado.” Merriam-Webster. com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/zapateado. Accessed 12 Dec. 2022.

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Presentation on the topic: "Varieties of dances In the modern world of Flamenco" Zapateado is traditionally considered a characteristic feature of flamenco dance

one

3 Varieties of dance in the modern world

four Flamenco A characteristic feature of flamenco dance is traditionally considered "zapateado" - beating the rhythm with heels, the rhythmic drum sound of hitting the heel and the sole of the boot on the floor.

5 Flamenco is a relatively young dance and musical art, originating in Andalusia. In a relatively short historical period of time, it has developed from the songs of Andalusian gypsies into an art that influences many world trends in music and dance. Flamenco dance, flamenco guitar, incomparable singing cante jondo are the clearest example of a rare originality of style.

6 Sports dances One of the types of sports dances is acrobatic rock and roll. Rock and roll is a dance with elements of acrobatics. Rock-n-roll (eng. - sway and spin) - a pair of household impromptu dance of American origin, which became widely known in the mid-50s of the twentieth century, is distinguished by extreme expressiveness, choreographic support and deliberate negligence in relation to the partner.

7 Dizzying acrobatics combined with a frantic pace and the most difficult dance - that's what modern rock and roll is all about. Tricks in rock and roll

eight Acrobatic elements in rock'n'roll are seen as an adornment of the dance, its emotional peaks. In rock'n'roll, tricks are valuable not in themselves, but in connection with the dance.

9 Lezginka

ten Belly dance Belly dance is an exotic oriental dance, very beautiful and erotic. It is extremely useful for healing and strengthening the female body. Learning belly dance you will know yourself, strengthen your health, become free and self-confident!

eleven Ballroom dancing Ballroom dance is a dance that serves for mass entertainment and is performed by a couple or a large number of participants at dance parties (balls). It is often also called household dance.

12 Latin American dances These include: Cha cha cha Salsa Rumba Mambo Bachata Merente and others.

13 Cha-cha-cha! The chacha dance, derived from rumba and mambo, quickly became popular due to its simplicity and originality. This dance is relatively young. Cha-cha comes from the religious ritual dances of West Africa and Cuban slow dances. Cha-cha is now danced at the rhythm of 120 beats per minute. Steps are made for each strike, with a strong movement of the hips, the knees are straightened with each step. During the dance, couples should convey a cheerful, carefree and cheeky character, as opposed to a lyrical rumba.

fourteen RUMBA Rumba is a dance of African blacks brought to Cuba at the end of the last century. The dance emphasizes the movement of the body, not the legs. Complex, overlapping rhythms, tapped by pots, spoons, bottles... were more important to the dance than the melody. Initially, rumba is a pantomime performed in a fast rhythm with exaggerated movements of the hips in the nature of sexual aggressive harassment by a man and protective movements by a woman. Accompanying musical instruments are maracas, claves, marimbola, and drums. Now Rumba is the soul of Latin American music and dance, its rhythm allows the dancer to show her grace and femininity, and the dancer to help her with this. Rumba, as performed in most countries, is an original rhythmic dance that can be learned without much difficulty.

fifteen SALSA Salsa is a Spanish word that literally translates as "sauce". Hot, spicy and full of exotic Latin flavor. Salsa includes elements of many Latin American and Afro-Caribbean dances such as Cumbia, Bachata, Rueda and many more. The main feature, the dominant feature of this dance is the idea of flirting, flirting with each other, demonstrating one's virtues to the opposite sex, which fundamentally distinguishes Salsa from its closest relative, the Mambo dance.

16 Waltz The appearance of the waltz dates back to the 70s of the 18th century, the waltz was born and flourished at the beginning of the 19th century in Vienna, and then throughout the world. No dance can compete with it in such a long and constant popularity. The most common figure in the waltz is a full turn in two measures with three steps in each. Waltz, especially with closed positions, has become a model for the creation of many other ballroom dances. Later, many varieties of the waltz were created.

17 Modern dances There is a huge number of youth dances: Freestyle Step Club dance Slide man(moonwalk) Robot(robot) Electric boogie Top break dance, break dance Hip-hop RnB

eighteen

19 Club dances This is a collection of different dance styles, united by one direction and application, they are danced in nightclubs, discos and parties. The advantage of club dancing is that you can dance and improvise, both alone and in a large company. R´n´B is a mix of hip-hop, funk, jazz, street. Simply put, 50% of all music programs in the world are now occupied by R´n´B. R´n´b stands for "rhythm and blues" and is a characteristic of music. A clear rhythm alternates, connects with the lyrical component. It reflects the dance. Breakdance - originated in the United States in the late 60s. Even then there were people who moved in a peculiar way to the music and rotated on the ground, calling their dance “good foot”.

twenty Dance is an excellent emotional and physical relaxation and active rest, it gives psychological liberation, therefore it is considered an ideal stress reliever. This is a real way to help your figure find ideal proportions, and dance ligaments improve coordination of movements, a sense of rhythm. You can learn to dance any dance at the age of 20 and 60. True, you still need a partner to master the elements of the waltz, and modern dances imply individuality. In general, dance provides an excellent opportunity for self-expression. There are no limits and restrictions for club dances. It can be danced at any age to any music. Mastering dance will give you not only self-confidence, but also a lot of fun!

22 The project was prepared by: Goryacheva Natalia, Shuvalova Alexandra.

23 Materials used:

Fitness club and dance school Chocolad, Chelyabinsk

Cante jondo is the most ancient core of flamenco, its fundamental principle. "The essence of the difference between cante hondo and cante flamenco lies in the fact that cante hondo goes back to the ancient musical systems of India, the prototypes of singing, and flamenco, its later echo, was defined and finally formed in the eighteenth century. Cante hondo is a mysterious reflection of the first times, cante flamenco - art is almost modern and much inferior in depth of feeling. Spiritual color and local color - that is their fundamental difference. " (Federico García Lorca) Cante jondo is the most versatile and ancient voice of Andalusia. A voice that is able to express both personal drama and the drama of an entire nation.

"Cante jondo" is translated as "deep", "deep" singing. As the word itself indicates, cante jondo is something so deep and ancient that it already existed at a time when everything Andalusian, gypsy and what we call flamenco was just emerging, and, perhaps, did not exist yet. .

The fuller name of flamenco is "cante flamenco" (cante flamenco). Despite the fact that in literal translation from Spanish "cante" means "singing", this name includes singing, dancing, and playing the guitar and covers all particular manifestations of the flamenco style.

Flamenco dance - features and costumes

A characteristic feature of flamenco dance is traditionally considered "zapateado" - beating the rhythm with heels, the rhythmic drum sound of hitting the heel and the sole of the boot on the floor. However, in the early days of flamenco dance, the zapateado was performed only by male dancers. Since such a performance technique requires considerable physical strength, zapateado has long been associated with masculinity. The women's dance was more characterized by smooth movements of the arms, wrists and shoulders.

Now the difference between women's and men's dance is not so clear, although the movements of the hands, flexibility and fluidity still distinguish the dance of a woman. The movements of the dancer's hands are undulating, "caressing" and even sensual. The lines of the arms are soft, neither the elbows nor the shoulders break the smooth curve. It is even hard to believe how much the smoothness and flexibility of the lines of the hands subconsciously affects the general perception of the bailora dance. The movements of the brushes are unusually mobile, they are compared with an opening and closing fan. The movements of the male dancer's hands are more geometric, restrained and strict, they can rather be compared "with two swords cutting the air".

In addition to zapateado, dancers use "pitos" (finger snapping), "palmas" (rhythmic clapping with crossed palms), which often sound at twice the main rhythm of the song. In traditional flamenco, the hands should not be occupied by any object and should be free to move during the dance. Considered traditional, castanets were first used only in Spanish classical dance and traditional Andalusian dances performed by several dancers at once. However, due to audience approval, castanets are now an integral part of any "flamenco show".

An important element of the bailaora look is the traditional dress called "bata de cola" - a typical flamenco dress, usually floor-length, often made of multicolored polka-dotted material, decorated with frills and flounces. The prototype of this dress was the traditional attire of gypsies. An integral part of the dance is the graceful play with the hem of the dress.

The traditional dress of a male dancer is dark trousers, a wide belt and a white shirt with wide sleeves. Sometimes the edges of the shirt are tied in front at the waist. A short bolero vest, called a chaleco, is sometimes worn over a shirt. When a woman performs a traditionally masculine dance, the zapateado or farruca, she also wears such a costume.

Duende - The Mystical Spirit of Flamenco

Duende is the soul of flamenco performance, without which this art becomes impossible. This word is of Spanish origin, literally it is translated as "spirit", "invisible", "brownie", but in relation to art it has acquired a different meaning, and could be translated rather as "feeling", "fire" or "magic" . We say "There is no fire in it", in Spain "No tiene duende".

Flamenco artists know well that their art will not reach the soul if it does not have this fire in it. Anyone who has seen true flamenco will never confuse it with a fake. The performer must be inspired, must have a special state of mind, it depends on his emotional state whether the song will reach the soul of the listeners. In addition, flamenco is an improvisational genre, and improvisation is impossible without inspiration. That is why many recordings made in the studio lose this "feeling" because it cannot be repeated or imitated. One flamenco cantor, Jose de los Reyes El Negro, spoke of the need to feel the moment when it is possible to sing at your best, giving the best part of yourself to the song. He once admitted that being in the studio during the recording of his album, he could not "get into the situation" in any way, which means he could not sing "at his own pleasure" just because he was warned: "When the red light bulb, start singing!" Another outstanding cantaor of the "old school" Antonio Mairena, said that his "no valen na" recordings are worth nothing, because they are "morning recordings", and special inspiration came to him only at night.

The great cantaor Manuel Torres once said to a singer: "You have a voice, you can sing, but you won't achieve anything because you don't have a duende. "

If flamenco cante is an expression of what can be felt but cannot be explained, then duende is the force that helps bring this art to the listeners. This concept can apply not only to flamenco, but also to any other art. Goethe defined the duende in this way, speaking of Paganini: "The mysterious power that everyone feels and no philosopher can explain." The Spanish poet Federico Garcia Lorca creates a whole theory of the duende, personifying it and endowing it with demonic features. He says that duende is possible in any art, but "it is more spacious in music, dance and oral poetry, which need to be embodied in a living human body."

The concept of duende has long existed in Spain. Duende is a demon who turns song into magic and dance into shamanism. This is the soul of flamenco, without which it does not exist. Lorca says that Spanish art is "originally ruled by the tart duende, unbridled and lonely."

"Once an Andalusian singer, Pastora Pavón, a girl with combs, a gloomy Spanish spirit with a fantasy to match Goya or Rafael El Gallo, sang in one of the taverns of Cadiz. She played with her dark voice, mossy, shimmering, melting like tin, wrapped him strands of hair, bathed in a manzanilla, led her into distant, deaf jungles, and all in vain.0003

...Only a sly little man, like those springy imps that jump out of a bottle, said in an undertone: "Long live Paris!" - and this sounded: "We do not need any inclinations or training. We need something else." And then the Girl with the Combs jumped up, wild as an ancient mourner, drank a glass of fiery casaglia in one gulp and sang, with a scorched throat, without breath, without a voice, without anything, but ... with duende. She knocked out all the supports of the song in order to give way to the violent, burning duende, the brother of the Samum, and he forced the audience to tear their clothes, as Antilles negroes tear them in a trance in front of the image of St. Barbara.0003

Lorca distinguishes three principles in art, personifying them in the images of "angel", "muse" and "duende". An angel illuminates, overshadows with grace, and a person creates without effort. Muse dictates, inspires. Duende is not just an inspiration, it is a force with which one must fight. The muse and the angel descend, the duende must be awakened by himself. "The approach of duende marks the breaking of the canon and an unprecedented, unthinkable freshness - it is like a blossoming rose, like a miracle and awakens almost religious delight. Duende sweeps away cozy, hardened geometry, breaks style; it was he who made Goya, the master of silver, gray and pink modulations of the English school , with knees and fists to rub black var into canvases ... "

Comparing flamenco with ballet, the Spanish dancer Susana said that, unlike ballet, no one finishes dancing early in flamenco, there is no age limit in this art. And people dance in flamenco not because the curtain has been raised or a number has been announced, but because "I want it now!", because an inner need arises.

Duende turns the dance more into shamanism, into magic, there is something primitive in this, coming from ancient ritual dances.