Lambada, often called the “forbidden dance,” is a captivating partner dance that originated in Brazil and swept across the globe in the late 1980s and early 1990s. Its story is one of vibrant cultural fusion, sensual rhythms, and a journey from local Brazilian clubs to international fame and evolution into new dance forms.
The Genesis of Lambada Music in Para, Brazil
The musical roots of Dance Lambada can be traced to Pará, a northeastern state in Brazil. Here, in the 1960s and 70s, musicians began experimenting with sounds brought by African populations and blended them with Caribbean and South American rhythms. Influences from Guadalupe, Martinique, and neighboring South American nations were particularly significant. Joaquim de Lima Vieira and Aurino Quirino/Master Pinduco are recognized as pioneers who combined these diverse musical elements. Aroldo Caraciolo, a radio broadcaster in Belém, Pará, is credited with popularizing the term “lambada,” meaning “whip” or “punch,” to describe this energetic, rhythmic music. These early “Lambadas,” combined with genres like cumbia, choro, merengue, and guitarrada, inspired a new style of dance in Belém and beyond.
Lambada’s Sensual Emergence in Porto Seguro
When this nascent lambada music reached Porto Seguro in Bahia, it took root in a unique and somewhat controversial environment. Porto Seguro’s clubs, some with reputations as brothels, became the first stages for dance lambada. Initially, the dance was characterized by a very sensual, close embrace, with partners moving in a grinding fashion and without structured steps. Despite its association with clandestine venues, the dance gained popularity, becoming a rival to the already popular Forró. At this stage, dance lambada was still informal, enjoyed in streets, bars, and beaches, defined by its close embrace and side-to-side steps. Its overtly sensual nature led to criticism and social unease in some circles.
However, the opening of Boca da Barra, a large beach cabana in Porto Seguro, marked a turning point. It provided a public space for dance lambada to develop and flourish. Small lambada bars and dance schools emerged around Porto Seguro, like Jacoba in Arrial d’Ajuda. The dance’s appeal grew rapidly, attracting tourists who came to watch, learn from, and even compete with the young lambadeiras. Competitions at this time still emphasized close proximity, and the dance remained relatively simple, focusing more on endurance, exemplified by lambada marathons lasting ten hours or more.
Formalizing the Dance: Steps and Structure
As dance lambada gained traction, it began to evolve beyond its informal origins. The Dos Santos brothers, Braz and Didi, became key figures in this formalization. Braz, a Champion of Champions winner, and Didi, a marathon champion, brought expertise and innovation to the dance. Working with Didi’s partner, Rebeca Ro Lang, they incorporated structured steps and movements, some newly created, others inspired by existing dances. Accidental moments even contributed to new steps; the “sitting cambre,” for example, arose from a dancer needing to tie her shoe and momentarily sitting on her partner’s knee. To enhance safety and prevent injuries, the Dos Santos brothers established rules, such as raising the follower’s arm during turns, a measure prompted after a woman accidentally broke Didi’s nose. Didi and Rebeca also introduced the boneca (rag doll) element, a visually striking and iconic step borrowed from Brazilian vaudeville, which became a signature movement of dance lambada. The brothers even drew inspiration from American dance movies to make their performances more dynamic.
From Brazil to the World: The KAOMA Era
Dance lambada’s growing popularity in Porto Seguro drew national attention across Brazil. People traveled to Porto Seguro to witness and learn this exciting new dance. Boca da Barra became a hub with designated seating for visitors to watch shows, competitions, and lessons. Dance teachers from major Brazilian cities like Belo Horizonte, Rio de Janeiro, and Sao Paulo flocked to Porto Seguro to learn lambada and then introduce it in their own dance schools back home. While a Brazilian craze, international fame arrived when French entrepreneur Olivier Lamotte d’Incamps formed KAOMA, a music and dance company dedicated to promoting Lambada globally. He enlisted the Dos Santos brothers, and they began touring the world, showcasing dance lambada. KAOMA’s first single, Chorando Se Foi (known internationally as ‘The Lambada Song’), sung by Loalwa Braz, became a massive hit, despite later copyright disputes. This song and KAOMA’s global promotion launched dance lambada into a worldwide phenomenon.
Backlash, Evolution, and Enduring Legacy
In Brazil, the overwhelming popularity of dance lambada led to a backlash. Clubs were saturated with Lambada music, and DJs were pressured to play nothing else. As quickly as it rose, the craze began to fade as the music industry moved on. In cities like Sao Paulo and Rio, symbolic “funerals” were even held for Lambada. Outside Porto Seguro, dance teachers struggled to maintain student interest. In the USA, two poorly received and competing movies, both claiming to feature Lambada and branding it “The Forbidden Dance,” further damaged its reputation. Even in Porto Seguro, opposition grew, with religious groups denouncing the dance’s perceived “immorality.” Tragically, Boca da Barra, the iconic lambada venue, was destroyed by arson.
Despite these setbacks and the stigma from its early associations, dance lambada persisted. Original Lambada music became less common, leading dancers to turn to Zouk music from the Caribbean. In Brazil, particularly in Sao Paulo and Rio, contemporary forms of Lambada emerged, eventually grouped under the name “Brazilian Zouk.” Brazilian Zouk evolved as a slower, more upright dance, often considered more accessible than classical Lambada with its intricate footwork and rapid movements. However, Brazilian Zouk retains many core steps and movements from its Lambada origins, albeit in modified forms, proving the lasting influence of dance lambada.
Global Lambada Communities Today
Following KAOMA’s disbandment, dance lambada communities continued to develop worldwide. Key figures and promoters emerged in various countries, including DansaBrasil in Spain, Lisa ? in Israel, Claudia de Vries in the Netherlands, Gilson Damasco in Argentina, and Berg Dias and Solange in the United Kingdom. In the USA, after KAOMA’s initial tours, teachers like Pablo Schmoller in New York and Shani Mayer in L.A. established local Lambada scenes. Veterans like Lena Thieme in Portland and Many Maldonado Thieges, along with Hisako, Ry’El, and Jessica Lamdon in New York, and Joel Beall, Devon Near-Hill, Nathalia Carbajal, and Irina Issakova in California have all contributed to the growth of dance lambada in the USA. Master Braz in Florida and numerous Brazilian instructors at congresses and festivals further enrich the US Lambada community.
Classical dance lambada continues to evolve. Innovators worldwide keep adding new steps and variations, ensuring that the dance’s complexity, athleticism, and captivating essence endure. From its humble beginnings on Brazilian beaches, dance lambada’s journey to global dance floors is a testament to its infectious rhythm and enduring appeal.
