Body Awareness and Connection Tips Forró Dancers (with Juzinha)
- Rafael Piccolotto de Lima
- Apr 5
- 3 min read
Updated: Apr 28
“Corpo de dança.”
Here I bring a Portuguese expression that maybe doesn’t have a literal translation into English, but it captures very well the topic of this article.
It relates to body awareness, body movement, and body repertoire.
It’s an expression we use in Portuguese to talk about understanding your body while you dance: having control over how your body moves and how you use it.
This was the topic of a conversation I had with a great forró instructor from Belo Horizonte (Minas Gerais, Brazil), Juzinha, when she was in New York as a guest instructor for a series of activities, including the Forró New York Weekend.
In this conversation, we talked about several qualities that I really admire in her dancing and in the way she moves.
These are things that make me consider her one of the most comfortable dancers I’ve ever danced with, especially in terms of connection and embrace - even though we don’t have a similar height.
Based on this conversation, I want to share four key elements that can help you develop your own “corpo de dança” and improve your forró dance connection.
1. Look for Good Contact
Try to create the most comfortable embrace possible with your partner, looking for as much surface area as you can.
This means going beyond just the arms or shoulders and creating connection through your entire body - from your shoulders, through your torso, hips, and all the way to your thighs.
At the same time, think about shaping your body to your partner’s, in a way that feels comfortable for both of you.
Every partner is different, and your ability to adapt your body to theirs is what allows the connection to feel natural, stable, and responsive.
2. Be Active
Don’t wait for your partner to “dictate” every movement. Instead, use your body in a way that fits the dynamic of the dance and responds to the connection you are creating together.
This doesn’t mean trying to anticipate or guess what will happen next - that often leads to tension and makes the dance feel anxious, which actually makes it harder to lead and follow.
Rather, it means staying present and engaged, paying attention to subtle details, such as small changes in pressure, space, direction, and timing.
From there, your movement becomes a natural response to what is happening, creating a dance that feels fluid, grounded, and truly interactive.
3. Explore Movement and Build Your Body Repertoire
If you try to move your body in a way it has never moved before during a dance, it will be much harder to execute.
But when you take time to practice on your own, understand how your body moves, and experiment with different directions, shapes, speeds, and qualities of movement, you begin to build a repertoire.
This repertoire allows you to respond more quickly and with more nuance during the dance.
It also gives you the tools to adapt to your partner’s movement - which will always bring its own unique qualities.
4. Be flexible, Find the Balance Between Posture and Adaptability
Find the balance between posture and adaptability. Posture should not be something completely fixed. But at the same time, it shouldn’t be completely ignored in the name of connection.
If you focus only on contact, you may lose your balance, your structure, or your frame. So the key is to find a balance; maintaining an elegant, controlled posture, while allowing yourself to adapt as much as you can when necessary.
This adaptability is what helps you improve contact, stay responsive, and move freely within the dance.
Conclusion
Developing your “corpo de dança” is about combining awareness, adaptability, and experience (repertoire).
By focusing on contact, staying active in the dance, building your movement repertoire, and balancing posture with adaptability, you create the conditions for a dance that feels natural, connected, and fluid.
ABOUT THE AUTHOR
Rafael Piccolotto de Lima is the Founder and Educational Director of Forró New York, as well as a Latin Grammy-nominated composer, arranger, and music director.
Comments