Dancers showed off their vibrant costumes in a dramatic show of sequins, feathers and face paint on the day two of the five-day carnival in Brazil on Saturday. Dressed in intricate ensembles with matching headpieces, coordinating killer heels and outlandish hair and make-up to match, the carnival queens took to the streets of Rio de Janeiro and Sao Paulo to take part in the festivities. Alongside members of multiple parades representing different parts of the annual extravaganza, men and women could be seen partaking in an array of fascinating dances and performances. Hundreds of thousands of revelers descended on the city to witness the famous festival, which marks the start of lent. This year's event is the first such celebration since Jair Bolsonaro took office, and it is expected that the festival will target the far-right president known for offending the LGBT community and minorities.
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Samba Dancers - Los Angeles - Brazilian Dancers - The Dancing Fire Entertainment
Samba was created by African people in Brazil from the music and dance culture they brought from Africa. Samba music is very similar to and has been influenced by many music genres, as well as many other Latin American music genres and dances. The term "samba" originally referred to any of several Latin duet dances with origins from the Congo and Angola. Today Samba is the most prevalent dance form in Brazil, and reaches the height of its importance during the festival of Carnaval.
Paraiso School of Samba
Prins says she first realized she wanted to be a woman at a Carnival party at age 11, when, like the other boys, she was allowed to dress like a girl as part of the burlesque festivities. Now, in the final minutes of Saturday, she became the first transgender woman to lead the drum section of a top samba school in either of the renowned Carnival parades put in Sao Paulo and Rio de Janeiro. Brazil has more slayings of transvestites and transgender people than any country in the world.
The two performers start moving in unison, identical except for the fact one of them is wearing a grey top and skirt, while the other is totally starkers. In fact, it was more of an afterthought. The piece evolved in her Melbourne studio and the choreographer began to see the two dancers as representing two sides of the same person. She tried various ways of characterising them — one in a unitard, one in office clothes — then alighted on the idea of no clothes at all.