Forró Universitário in Dance: What Kind of Dance Is It?
- Rafael Piccolotto de Lima
- May 3
- 9 min read
Updated: May 3
In dance, forró universitário can be understood as a way of organizing movement that emerges in urban contexts, maintaining the traditional foundation of forró while expanding its possibilities.
In many cases, it can be seen as an expansion of forró pé de serra, incorporating spins, position changes, traveling steps, and different forms of connection between partners, both in open and closed positions.
When someone asks what forró universitário is in dance, the natural assumption is that there must be a clearly defined style, with a specific set of movements that describe it.
But to better understand how it works in practice, it helps to look at where this dance comes from and what has been incorporated into it over time.
Forró universitário develops from forró pé de serra, that simpler structure often described as “two steps to one side, two steps to the other,” with a very direct rhythmic and physical foundation.
That base does not disappear. It remains the starting point. Over time, in many contexts, this structure adjusts in certain ways and begins to coexist with other forms of organizing movement.
The lateral displacement of the “two steps to each side,” for example, tends to be reduced in many approaches, while other bases begin to appear, such as forward-and-back stepping variations that, in some cases, resemble the logic of other partner dances like salsa, but with an execution and movement quality that remain distinctly forró.
From this expansion, the dance begins to organize itself in more varied ways, opening space for different dynamics and pathways of movement, without losing its original reference.
Over the years of teaching and observing different forró contexts, this process of transformation appears consistently.
This development is, to a large extent, connected to urban dynamics and the introduction of forró into dance schools. Gradually, what was once simpler expands in vocabulary, without losing its base.
If you want to understand how this process unfolded in a broader context - including music and social environments - you can explore this article:
The Foundation of Forró Universitário: Simplicity That Expands
Even with all these transformations, forró universitário maintains a relatively simple foundation. The three-step structure with a pause remains, in many contexts, an important organizing element, aligning dancers’ movement with the rhythmic base of the zabumba. This is what anchors the dance and maintains its connection to traditional forró.
From this base, the dance stops being just repetition and becomes a structure for building.
In some approaches, this expansion goes even further, with sequences that move beyond the traditional structure, incorporating patterns with five, seven, or more steps. This does not replace the base, but expands the vocabulary.
Spins, Transitions, and Circularity in Forró Universitário
One of the characteristics frequently associated with forró universitário is the incorporation of spins, especially in more open positions, which transforms the dynamics of the dance.
In the video below, these elements appear clearly in practice. Notice how spins are combined with moments in closed position, the fluidity of the body language, and the sense of circular movement.
This demonstration took place at the end of a beginner workshop in Philadelphia on Halloween, during a short tour in the United States alongside guest instructor Alice Rodrigues.
The video captures this moment - a connected, fluid, and comfortable dance, incorporating traveling movement and cycles of spins.
It is precisely this type of organization, based on spins, transitions, and continuous flow, that, in many contexts, shapes an important part of the identity of forró universitário in dance.
Body Movement in Forró Universitário: Trends and Variations
There is an element that helps identify an important tendency within forró universitário: body movement.
In general, the dance tends to organize itself with lighter arms, greater fluidity in movement, and a sense of lift in the body. The stepping tends to be softer, and the movement develops continuously, with fewer sharp accents.
The person being led, for example, often dances with a more elevated body, frequently on the balls of the feet, which creates a lighter and more elastic quality of movement.
But it is important to understand that this is not a universal characteristic.
Within forró universitário itself, there have always been different ways of working with the body. What we observe in practice is a tendency, not a rule.
Over the years, dancing and teaching in different contexts, this variation becomes very clear. In festivals, especially outside Brazil, where different teachers and approaches come together, it is possible to observe how these qualities appear with very different intensities.
Some approaches emphasize extremely light arms, with almost no counterbalance, creating a more relaxed movement. Others use more counterbalance, creating a different dynamic in connection.
Similarly, some approaches work with a more elongated and elevated body, while others maintain a closer relationship with the ground, with less lift and more stability.
All of these approaches coexist within what is called forró universitário.
This diversity does not weaken the style. On the contrary, it reinforces the idea that it is not a single way of dancing, but an open field where different body approaches develop from the same foundation.
If you’re looking for a broader understanding of how these elements fit within the overall structure of forró as a partner dance - beyond the specific context of universitário - I explore that in more detail here:
To observe how these qualities appear in practice, the video below shows a demonstration from a workshop on connection and creativity in dance in New York, alongside guest instructor Milena Morais, before the pandemic.
As you watch, it becomes clear how these elements integrate.
The alternation between moments in close embrace, with a comfortable and connected hold, and more open positions, using space and movement, happens fluidly throughout the dance.
The body tends to remain light, with a sense of lift and elasticity, opening space for creativity and dialogue between partners.
More than illustrating a single way of dancing, the video highlights this openness - one possibility among many within forró universitário.
Forró Universitário and Other Forró Styles: What Changes in Practice
Comparing forró universitário with other forró styles helps clarify its characteristics.
In forró eletrônico, the dance tends to involve less traveling across space and fewer position changes between partners. The focus is on body isolations, especially in the hips, with sharper accents and faster, more localized movement, creating a more concentrated energy.
In forró roots, the structure tends to organize more clearly around the closed position, with a focus on walking patterns, legwork, and a body movement more connected to the ground. The posture tends to be firmer and more structured, with influences from dances such as gafieira and tango.
This does not mean that roots is limited to closed position. There are also moments in open position and a variety of spins that develop within that context. The difference lies more in how frequently these elements appear and in their overall character within the dance.
Forró universitário tends to be characterized by greater mobility between these possibilities, alternating more frequently between open and closed positions within the same dance.
But this mobility does not mean that forró universitário is predominantly an open-position dance. On the contrary, a significant part of its language lies precisely in this alternation between open and close moments.
It is common to find close, connected dancing with a simple base, marked by comfort, flow, and quality of embrace. This “chamego” is as much a part of the experience as spins.
The difference lies in how the close embrace is used in each style. In roots, it often serves as a base for walking patterns, locks, shared spins, leg actions, and variations in stepping. In eletrônico, it connects more to groove and hip movement. In forró universitário, it often becomes a space for comfort, pause, and connection quality.
Conclusion: An Expansion of the Base, Not a Rupture
Forró universitário in dance does not represent a complete break, but rather a continuity in transformation. It maintains the foundation of traditional forró while expanding its organizational possibilities, incorporating new influences and movement ideas.
In a conversation I recorded for the Forró New York YouTube channel with instructor Vitinho Maia from Brasília - one of today’s leading educators in forró dance - an interesting perspective emerged. In his view, what we call forró universitário in dance can be understood as an updated version of forró pé de serra.
Perhaps it is precisely this continuity - more than a rupture - that helps explain why forró universitário is at the same time so recognizable and so open to different interpretations.
In the video below, we explore this idea further, discussing different forró styles in both music and dance.
If you would like to understand the broader context of forró - including its origins, musical structure, and cultural significance - you can explore this article:
Frequently Asked Questions About Forró Universitário in Dance
Is forró universitário a specific dance style?
Not exactly. Forró universitário is not a closed style with fixed rules, but a way of dancing that develops within a broader cultural movement tied to the expansion of forró in urban contexts.
In this process, the dance incorporates new possibilities of movement and body organization, influenced by contact with other styles, especially through spins and traveling movement. These influences are not direct copies, but adaptations within the logic of forró.
What is the difference between forró universitário and forró roots?
Forró roots is often associated with a development that, in many contexts, emerges from within the universe of forró universitário. Initially, dancers who were already practicing forró universitário begin to incorporate other elements and adjust their body language, creating a new way of organizing movement.
Over time, this approach becomes more defined, developing its own identity. Although they share a common base, forró universitário and roots can present quite distinct movement vocabularies and body organization.
This is not a matter of simplicity or complexity, but of emphasis and character.
In roots, the dance tends to organize more in closed position, focusing on walking patterns, legwork, and a more grounded body. In forró universitário, it is more common to see cycles of spins in open position, greater arm mobility, and a tendency toward a lighter, more fluid body.
If you want to explore this further, you can read:
What is the difference between forró pé de serra and forró universitário in dance?
The term “forró pé de serra” is usually used to refer to more traditional ways of playing and dancing forró, associated with the “two steps to each side” base and its variations.
Forró universitário emerges as a development within a specific cultural movement, where forró begins to circulate in new urban contexts and incorporate new influences.
In practice, this distinction is not always clear. Many people use “pé de serra” to refer to what is now danced as forró universitário, understanding it as a continuation or update of the style.
This highlights an important point: the term “forró universitário” makes more sense as a description of a cultural and musical movement than as a rigid dance style. The way of dancing can exist independently of the musical repertoire.
Is forró universitário always danced in open position?
No. Despite the presence of spins and traveling movement, a significant part of the dance happens in closed position. The alternation between open and close is one of its defining characteristics.
Do you need to know many steps to dance forró universitário?
No. The foundation remains simple. What changes is how that base can be expanded over time, allowing the vocabulary to grow gradually.
If you would like to understand this foundation more clearly and start building your dance step by step, you can explore my online course for beginners. It includes over 10 hours of structured content designed to help you practice from wherever you are.
My own foundation as a forró dancer was built within this movement. I learned and developed my dance during this period of transformation, which continues to shape how I teach and understand forró today.
And if you are in New York City, you can also join us in person. I teach weekly classes where we work on these same principles - from the base to more developed forms of movement, always with a focus on connection, musicality, and social dance.
What defines a good forró universitário dancer?
A good forró universitário dancer usually combines body control, fluid movement, and a vocabulary that moves between open and closed positions.
Beyond that, the style demands something more: the ability to use this language creatively and musically, building a dance that is comfortable, expressive, and adapted to the partner.
If you want to go deeper into one of these aspects - especially musicality, which is a central part of my work - you can read:
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.
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