Forr贸 is the most popular type of dance in Brazil’s Northeast, usually being danced to various types of music. Traditionally, all of these music genres use only three instruments (accordion, “zabumba” and a metal triangle). The dance has gradually evolved as it passed from the Northeast into the Southeast of Brazil. Indeed, because it is now a part of Brazilian popular culture, it is in constant change. Nowadays, “forr贸 universitario” (college forr贸) is the most common style danced by the Southeastern middle-class university students- having been influenced by other dance styles such as salsa and samba-rock.

Luiz Gonzaga is considered as the founding father of the music used to dance forr贸, because he transformed the traditional Northeast “bai茫o” into the more sophisticated rhythm now found throughout the Southeast.

In later years, forr贸 achieved popularity all over Brazil, especially through a slower form of the genre known as “xote”. It is thought that “xote” has been influenced by pop-rock music in order to become more acceptable to the Brazilian youth of the Southeast, South, and Centre-West of Brazil.

Luiz Gonzaga and Jackson do Pandeiro are two of the most traditional forr贸 composers. Major forro musicians include Elba Ramalho, Geraldo Azevedo, Accioly Neto, Trio Nordestino, Dominguinhos, Eliane, Marin锚s, Falamansa, Trio Virgulino, Sivuca, Pert煤cio Amorim, Santanna, Rastap茅, Geraldinho Lins, Jo茫o do Vale, Fl谩vio Jos茅, Trio Forroz茫o, Jacinto Silva, Arlindo dos Oito Baixos, Santana, Vicente Nery, Jorge de Altinho, Arleno Farias, Nando Cordel, Aldem谩rio Coelho, Delmiro Barros, and others like Nelio Guerson & Carlos Guerson.

There are three rhythms of forr贸: xote (a slower-paced rhythm), bai茫o (the original forr贸), and arrasta-p茅 (the fastest of the three). Amongst these three rhythms coexist many styles of dancing, varying from region to region, and known by different name according to the location.

Forr贸 is usually danced with the couple staying very close together, the man’s left hand holding the woman’s right hand as in the Waltz, his right arm around her back, and her left arm around his neck. However, other styles may require partners to stay partially away, or at a considerable distance, only holding hands up at the level of the shoulders. Forr贸 has gained mobility through it being influenced by salsa and other Caribbean dances, leading the woman 鈥 and occasionally the man 鈥 to spin in various ways. It is not, however, mandatory to spin at all, especially since more complex movements may prove impossible to be executed in the usually crowded dancing areas.