![]() This article aims to examine the hegemonic representations of what is said "to be Brazilian". We discuss hypotheses for the emergence of these traces and how the interaction between music and dance could support cues of dance and music styles. The results show relevant traces of idiomatic differences in different degrees of significance. From this map we used data visualization methods (MDS) in order to test how the classes of gender, origin and musical metrical structure were discriminated. ![]() The information from the shape of the gesture was used to trace comparisons and generate a dissimilarity map. We collected the trajectories of 30 samba dances using motion-tracking technologies and analyzed the periodic structure of the gesture’ trajectories. In this paper we study idiomatic expressions of style by mapping them into a universe of Afro-Brazilian dances and music styles. The styles reflect gender roles, socio-economic (and geographic) differences, but they also reflect aspects of the bodies that express the movements, and aspects of the musical structures that support their functioning in the social context. How are dancers and musicians dealing with style? How do they perform music and dance styles that are so associated with their culture, community and time? Music and dance cultures evolved from entangled transformation vectors into styles that mark a culture. More research is needed in order better understand the involvement of cultural factors in the structure of dances and music forms. However, characteristic models of samba dances and music are beyond invariant properties of repetitive gestures or rhythm motives. The research shows that the sounding structure of samba cannot be fully understood without taking into consideration the role of the human body and the structure of dances. In addition, we argue that the metric signature of samba music may actually be dependent on the metric structure of dance. The applications of these methods to data-sets of motion capture recordings of samba dances show that the musical meter is indeed strongly represented in the gestures and in the dance space. From motion capture and video recordings of dance, we developed methods that allow the description of gestures in terms of shapes and spatiotemporal reference frames. Starting from commercial audio excerpts and field recordings, we demonstrated that samba is characterized by particular micro-timing deviations, as well as an unclear configuration of periodicities in the metrical structure of music. In this study, we investigate how this gesture is modeled through sound and movement and how the interdependence between these modalities has influenced samba music and samba dances. Together, these experiences convey a sort of unified gesture, or cross-modal gesture, which is acquired and performed through sound, movement and other modalities. Music and dance cannot be easily dissociated in the culture of Afro-Brazilian samba.
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