UNION OF TWO STYLES
You may have wondered why I wanted to combine 2 apparently distinct styles:
the purpose here is not to teach a new style, because I leave it to the experience of the teachers involved to teach their disciplines independently: however, approaching both as a student, I developed my idea of how they can have a meaning together, finding a certain complementarity in physical exercise as well as in the execution of a choreography, that is, encouraging the study of the 2 disciplines both separately and together.
Good physical preparation is essential for every African dance.
The best for those people who come from the dance world is definitely pole-dancing: those who have danced a lifetime will never be able to go to the gym for the desire to do so, if not for a precise motivation: the desire to perform levers and stunts on the pole, which require great physical strength and flexibility.
Pole-dancing does not have well-defined origins, but it is interesting to observe how different cultures have placed attention, since ancient times, on the development of physical and spiritual strength, through very similar disciplines.
One of the possible ancestors of pole dance is the ancient art of 角抵戏 juédǐxì, which dates back to the Chinese Han dynasty (206 BC-220 AC). This is the ancient wrestling including stunts, martial arts, illusionism, musical performances, concerts and dances, taking up a show that simulated the fighting of the Warring States period (481-221 BC) as a martial rite.
Another possible origin is Mallakhamb, a sport practiced by young Indians dating back to the 12th century. Born as a complementary exercise for wrestling, it is now practiced as a sport itself. Athletes perform a variety of yoga and gymnastic poses while suspended on a rope or pole. In addition to a healthy and strong body, it is interesting the aim of fortifying the willpower and developing the mind.
Following a series of evolutions, pole-dancing then has arrived to us as we know it today and has been recognized as a sport in 2005, when the first World Championship took place in Amsterdam. From that moment it began to spread with great success both in western and in eastern countries, as an innovative and extremely motivating sport, given that physical endurance increases together with balance and self-esteem, toning the body and acquiring self-confidence also at the mental level.
So why combine it with kizomba?
This dance, in Kimbundu dialect, in addition to indicating the musical genre and dance style, it also means the festival of the people, and is the original name of the dance of black people who resisted slavery.
It was born in Angola in the early 80s as a fusion of semba and zouk: the first is a very fast rhythm dance, which already shows the characters of kizomba and provides particular attention to the movement of the pelvis, as well as a delicate touch between the two partners. The second, on the other hand, is a genre of a specific Caribbean music and the word zouk in Creole language takes on the meaning of “party” or “meeting”.
The traditional Angolan music from whic kizomba songs originate, talks about social themes such as the economic difficulty of the population under the Portuguese colonial regime, up to the suffering for love of the most famous current songs.
So pole-kiz has born as an elaboration of the disciplines studied: the acrobatic component of the pole-dancing is marked by the rhythm of kizomba and accompanied by the dancer who brings the pole-dancer back to a more human aspect, as a sort of transformation of the dancer who before was alone and then, with the sweetness of her partner, returns to be able to express herself by manifesting her identity in harmony with herself and with “the other”, stimulating the improvement of her personality. The peculiar feature of kizomba is in fact the search for “connection” with the partner, with the aim of achieving absolute harmony.