Do not dance Kizomba like Bachata
I don’t understand very much about sensual bachata, I don’t know how to dance it well, but what I can say is that visually it has nothing to do with kizomba.
In bachata the waves range from the head to the feet, sometimes they start in the shoulder, sometimes in the neck, sometimes in the chest… and end in the hip, knees or feet when they make them enormous. It is very nice, but that it is nice does not mean that you have to include it in all dances, because then there are no longer many dances with their differences and there is only one with a little of each thing.
In kizomba, the waves stay in the pelvis, at most from ribs to knees. I say ribs because there is a little residual movement, not because the ribs are an essential part of the movement, and I say knees because there is a slight flexion and extension during walking or tarraxa.
I have observed that in sensual bachata the movements are often indicated with the knees, and you will tell me….. “in kizomba it is also indicated with the legs”. And yes, it is indicated with the legs, but like everything else, there are many ways to indicate and to use the parts of the body. In bachata I usually see that the boys bend both knees and make tweezers catching the knee of the woman and from that position indicate pelvic movements to the woman. But in kizomba in spite of using the knees, the movement is not indicated the same, because we do not make clamp with the knees on the woman’s leg.
Kizomba is to walk, well, when we walk, the first thing we do is to bend and elevate the knee, and then we take the step, longer or shorter. We have also seen that in order to dance kizomba, I must have a clear change of weight from one leg to the other. Well, I change the weight to one leg and with the free leg I prepare to take a step, I bend my knee and elevate it and in that moment my partner, who I have made her change the weight and has also flexed her knee, comes into contact with me, knee to knee. At this moment I have the control to indicate the direction of his step, lateral, in front or behind, after moving the foot change the weight again and we have already taken a step, and we are ready for the next ……so easy (without entering clear body movement).
If what I want is to indicate tarraxinha movements, I don’t pinch the knees because I block the flexion movement and extend them, thus blocking the pelvic movement.
INDICATIONS WITH HANDS
In sensual Bachata many movements of women are made by men with their hands, waves from armpits, side waves, hip circles or chest ……., although on many other occasions accompany his body.
In kizomba the movement is suggested from the body of the man and hands only help by marking slight movements in the back of the woman, and sometimes not even used. That is to say, the dominion of the woman’s body and her movement comes from the movement of the man, not from the hands.
This is something important but I think that people do not get to understand. The energy of the dances……
Each dance has its peculiarities and the energy is super important, the direction and the amount of energy.
In bachata, in spite of being a sensual dance, there is a lot of energy, no matter the style, if it is Dominican bachata there is energy in its movements of fast feet, if it is bachata with figures there is energy in the turns, if it is sensual bachata there is energy in the movements, and it is an energy that goes out, because they are wide movements.
In kizomba the subtle, intimate energy remains in the couple because the movements are fluid but small. The person you dance with notices this energy, but from the outside, you don’t perceive it as much. Remember…. less is more
IN CONCLUSION…… please, there are many beautiful things in each dance, and that’s what makes them special and different from each other. Why take the beautiful from one dance and put it on to another, to transform it, is not necessary, do not dance kizomba like bachata