Here you will find explanations and videos of the basic steps and figures of the Kizomba on the unique style of Isabelle and Felicién; this style is very different from the traditional kizomba, so we called it "Kizomba nueva".
Let's get started now! 😊 (this is the english version)
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(ignore the italian talking, just focus on the steps)
In this first part of the course we will see the Kizomba setting and its basic steps, performed in couple.
Or simply Roll: it's the basic movement backwards with lumbar and pelvis.
Video demonstrations (ignore the italian talking).
It is a closed position, very tight on the right side (seen from the man's perspective), a little more open on the left side.
The feet are obviously alternated, to avoid stepping on them.
The position is slightly "A", especially for the dancer: her weight will in fact be unbalanced towards the dancer; therefore the upper part will be in contact, while, taking advantage of an arched position of the pelvis, the lower part will be slightly detached.
The dancer's right arm completely wraps around the lady with the entire forearm in contact with her back.
Video Tutorial on Dance Position.
Premise: Kizomba, like tango, is improvised; you don't follow a fixed pattern of steps as can happen in the case of Caribbean and Latin American dances.
However, by convention we tend to use common combinations that we can call basic steps; use these basic steps especially at the beginning, then as you gain confidence with the dance you can freely break these fixed patterns and improvise using your creativity.
Let's see the most common basic steps..
The basic step in place; change weight every 2 beats.
The dancer transmits the change in weight to the woman by moving her axis.
Video demonstration (ignore the italian talking):
- Individual steps
- Steps as a couple (woman view)
- Steps as a couple (man view)
Practically it is the Basic 1, the steps in place, in which, however, you return several times to the same step.
A typical combination could therefore be:
- right, right
- left, left
With the slight shift of the man's axis, the woman will understand when to return to the same step too.
Video demonstration (ignore the italian talking):
- Individual steps
- Steps in couple (woman view)
- Steps in couple (man view)
There are mainly two alternatives ways to perform this step..
It is the lateral basic "open-close-open-close"; here too the woman must let the man carry her weight. He will then decide how much to move and whether to rotate this step.
Attention to an important detail: we distinguish the execution of this step from that of the bachata, they are two very different things. The step is an opening, to then return with all the center of gravity where the weight has stopped and then take a step on the spot; so the second step, the "close", doesn't actually close, but is moved to the new location and then executed in place.
Since what I have just written is incomprehensible, the advice is to basic yourself on the basic step "Repeated Basic 1 - fast" (see above).
Video demonstrations (ignore the italian talking):
- Individual steps
- Steps in couple (woman view)
- Steps in couple (man view)
The basic with:
- 2 steps forward
- Cha-cha
- 2 steps back
- Cha-cha
We call it "Cha-cha" (our coding) because it is performed with 3 steps on musical octaves, it is advisable to interpret it as a normal change of longitudinal direction , however driven at a double speed (the steps therefore last an eighth instead of a quarter) and emphasizing the change of weight from one foot to the other.
The speed change is decided and executed by the dancer; the dancer simply following the movements of the man's center of gravity evenly will not be able to do anything other than take this step at double speed.
Video demonstration (ignore the italian talking):
- Individual steps
- Steps in couple (woman view)
- Steps in couple (man view)
In Kizomba we don't dance "in line", so let's have fun rotating freely.
Let's try to execute basic 3, dissociating after the change of direction as we have just seen, and rotating counterclockwise (and then also clockwise).
As? go forward by turning left, go backward by turning right. And then try to do the opposite.
For the more fussy: when to change direction? Exactly on the first step (man's left) going forward and on the second step (man's right going backwards).
Video demonstration (ignore the italian talking):
- Music demonstration
- Detailed explanation
In this part of the course we will study the basic figures and practice short sequences using these figures and the basic steps we learned in the first lessons.
One of the main steps of the "Tarraxa" style Kizomba, because even the Kizomba has its styles. It is performed in 4 quarters.
You lower yourself a little on your knees, then..
1st quarter: Weight on one foot, throwing the pelvis out on the opposite side
2nd quarter: Weight on the other foot and swinging, I throw the pelvis out on the other side
3rd quarter: With a roll and a change of weight on the other foot it comes back up; the movement is slow, lasts 2 quarters.
MAN: You have to concentrate on driving, guiding the movement of the lady's pelvis with your arm.
Tarraxa can be performed in various ways; let's see them in order of importance.
The main variant of the Tarraxa has already been described above, and it consists of small steps with a lowered center of gravity and small hip rolls.
We call this other variant instead "tilting", in the sense that a lateral tilting movement of the pelvis is performed, instead of the small roll.
1st quarter: Weight on one foot, throwing hips out on the opposite side
2nd quarter: Weight on other foot and swinging, hips out on the other side
3rd quarter: With a roll and a change of weight on the other side foot you go back up; the movement can be slow, during two quarters.
MAN: You have to concentrate on driving, guiding the movement of the lady's pelvis with your arm. Her movement must be symmetrical to that of the woman,
WOMAN: Get those hips out! :D
In a short video we see 2 examples of tilting Tarraxa in its main variants: Video.
La Tarraxa performed with feet in line and steps in place.
This type of tarraxa is very useful when we want to do the rocking movement several times (therefore not just 2 steps, but 4, 6, 8, as many as you like) and when you want to do the tarraxa by turning on the spot or advancing slightly.
The man takes a step forward with his left foot, then his right in place, then returning with his feet in line he executes the Roll.
It is the most used type of Tarraxa.
We start from the principle that whatever is done with one side of the body can also be done with the opposite side; the only exceptions are all the figures linked with the position of the arms, obviously asymmetrical.
We will perform the Tarraxa in line and the Tarraxa forward, starting with the other foot, so for the man the right foot.
It is not performed very often, but give it a try and don't exclude it from your improvisations.
If you can go forward (man), then you can also go backwards. Try it backwards, both normal and mirrored (starting with the other foot).
In this sequence we will use the basic1 steps in place, the repeated step, then the Tarraxa.
Try it both by performing the Tarraxa in line and by performing the Tarraxa forward.
Here is the video demonstration (ignore the italian talking).
In this sequence we use the base2 pass, so you pass on the base1 spot and Tarraxa.
Here is the video demonstration (ignore the italian talking).
The Slide is an extended and sliding lateral step (the foot that slides is not the one that opens laterally but the weightless one that we drag behind us).
We can put it in basic 3, the basic we play forward, instead of the second step.
In this sequence we see a possible application; let's break the pattern of base3 for two reasons:
1) With a Slide in the middle it would be difficult and too frenetic to stay in the steps of basic 3, better to stop, take a few steps on the spot and then resume;
2) In this and in the other sequences that we propose you will notice that we try to stay on 8 fourths and multiples of 8, to dance to the music, which can initially be difficult given the massive presence of steps in odd tempos in the kizomba.
Here is the video tutorial for this sequence: Video.
The lateral step, typical of the base2, can be hinted at, complete with a slight shift of weight and then withdrawn. This will form a sort of feint.
The dancer will feel the man move sideways and will follow him, then the man will have to be precise in returning with his weight to where he was before and taking the woman with him.
Basically try to make sure that the man carries out his movements and takes the woman with him who will try as much as possible to accommodate them; and at least as possible try to see it as a "I move the woman here and there", in these close couple dances the woman and the man tend to be one and the same.
Execute a base2 and every now and then instead of lateral step you make a fake, even 2 or 3 in a row if you want.
Here is a sample video: Video.
In this sequence we will combine Slides and Side Feints, always keeping the search in time with the music; in fact it will last 4 quarters.
Watch out for one thing, we will do the Slide step this time at double speed, on musical half quarters.
- Simple sequence
- Sequence with 90° rotation
NB: the name "C" is our coding.
It is a tilting movement of the pelvis followed by a movement of the foot.
His "normal" speed of execution, the most used, will be on half-quarters, therefore very fast small steps.
The lead of this step is given partly with the man's right arm, but above all with the contact of the inner thigh of the right leg of both dancers; in fact it will be as if the dancer with his right leg moved the right leg (therefore the pelvis) of the lady.
Let's see the two main variants of this passage, its most common applications and some sequences.
The two main variants are:
- forward-backward
- online
Let's see them in the appropriate video demonstration (ignore the italian talking).
With the lunge foot you will go back and forth; it will be very similar to the usual cha-cha we do during the base3, in fact it can be considered an embellishment of this basic step, perhaps when the music calls for an execution of the more pronounced step. The boundary line between this variant of the C step and the cha-cha can also be considered non-existent.
However, there are 2 characteristics that distinguish it from the usual Cha-cha:
1) The lunge: the first step is sunk, i.e. you have to lower yourself with the center of gravity;
2) Exhaustion: you have to exhaust yourself to obtain the lateral tilting movement of the pelvis; especially the woman.
In the variant il linea we will have only the tilting movement of the pelvis accompanied by a lateral step; you will always tend to lower the center of gravity to make this movement of the pelvis possible.
In this case it will be very important to lead with the legs, with the inner thigh (or the knees, depending on the height difference between the dancers); the man in this case will move the woman's right leg by "grabbing" it with both legs.
We give you some small indications on driving and setting through this: Video demonstration (ignore the italian talking).
Let's see some preparatory exercises to learn how to insert the "C" step in dance.
- Step C forward-back instead of Cha-cha
- Step C double instead of Cha-cha
- Step C in line instead of Cha-cha
- Step C in line with grace note
- Combined step C forward -back and online
Let's see how to apply the step just learned; we have 3 main possible applications, let's see them all.
The most used.. and it is the one we have already used in the preparatory exercises. The dividing line between the cha-cha-substituting C-pace and cha-cha embellished with accentuated hip movements is almost non-existent.
So, we can use the "C" step instead of the Cha-cha in base3; be careful to dissociate well the first step you take backwards!
VARIANT: Repeated step, try to repeat the "C" a couple of times before starting again backwards; we saw it in the preparatory exercises.
Video demonstrations (ignore the italian talking).
This passage is often used to restart with the base3, in this case back, after a musical break, moments of the song in which there are no percussions.
Start again making a "C" that "throws" you back. Dissociate the bust!!! Always remember that..
Video demonstration (ignore the italian talking).
Finally, the "C" step can also be done alone, without anything else, by turning in place clockwise. To exit you will restart with a base3 back.
Video demonstrations (ignore the italian talking).
We practically combine all the last sequences studied in one large sequence of 8 quarter notes that encompasses everything.
- We will start on tempo 8 of the previous musical measure with the "C";
- Base3 back
- Cha-cha
- Forward - slide - fake
And we're off again.
Here is the Video demonstration (ignore the italian talking) and since the last part has been cut, here is a demonstration over the music.
The Pelvic Roll movement can be guided and performed not only in place, but also on the move, walking back and forth.
EXERCISES:
- Roll with feet in line
- Roll with weight shifting from one foot to the other
- Roll with one foot forward and one foot behind
- Roll with other foot forward and other foot back
Then...
- Roll walking forward over 2 quarters (slow)
- Roll walking backward over 2 quarters (slow)
- Roll walking forward over 1 quarter (fast)
- Roll walking backward over 1 quarter (fast)
Let's see this sequence where we take 2 normal steps forward, 2 slow ones with the roll, cha-cha and the same thing in the opposite direction.
Here is the: Video demonstrations (ignore the italian talking).
Let's put together the last topics covered in this sequence on 16 quarter notes.
Here is the: Video demonstrations (ignore the italian talking).
In this section other basic figures and sequences taken here and there; obviously taken mostly from the performances of Isabelle and Felicién whose style this page aims to decode.
The woman exits sideways, led by the man on her right; when she returns she makes a circular movement with her left foot.
Since she is a figure in 5 beats, we will have her followed by a 3 beat forward (3 beats) to stay within the musical framework (and not to move too far back in the track).
Video: Saida woman + Basic 3
At the end of the woman's exit, instead of doing the Cha-Cha, the woman is rotated 90 or 180 degrees to our left, we drive forward, so the woman will turn around us with a "U" step.
This combination can also be done on eighth notes ( example ); it is advisable to return to the quarterfinals at the beginning of the U.
The man exits to the left of the woman, going forward and returns at the 3rd and 4th step. Since it is a figure in 5 times we will have it followed by a Basic 3 backwards, to stay in music and... on the track! ;-)
Video: Saida man + Basic 3 (urban style)
It is a break in which, exploiting the dissociation of the torso, the man performs a sort of forward weightless teckle and the woman a complementary movement. It is performed instead of the normal Break and can be repeated as many times as desired (in which case it results in a sort of feint).
It can also be done with the other leg ( example ).
Steps back (man back), usually fast but with a quarter note pause between steps. During these steps the man guides the inclination of the woman's pelvis with his hands (in his right step one must lower the pelvis on the side of the right foot and raise it on the side of the left foot, and vice versa).
Here's an example: Videos.
Man's steps on eighths:
- back right
- forward left
- forward right and slight rotation to the left
It is done in the middle of the woman's exit (4-e-5), or simple steps backwards (starting from the right foot).
It can also be done back-place-forward-place-back, then a kind of little snake back and forth; here are some examples:
- quick steps back-place-forward on the woman exit
- quick steps on the back step (here it is followed by a side step)
- quick steps back-forward-back-forward
Here is the example: Video.
Example of Isabelle and Felicién: Video.
Here, too, the video example directly: Video.
Sorry for the name... here's the video: Video.
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