In a land where the sun dipped its golden fingers into the sparkling ocean, a dance was born that would echo through generations. This dance, known as Corridinho, was a symphony of movement and music that originated in the heart of Portugal’s southern gem, the Algarve.

Legend whispered that the name Corridinho was born from the word “corrido”, a word that evoked images of swift, carefree movement. Its exact beginning was shrouded in the mists of time, for folk traditions are like whispers carried by the wind, their origins woven into the tapestry of ages.

It was said that in the waning light of the 19th century, when the sun dipped below the horizon, a traveler arrived in a sleepy village named Loulé. This traveler was Lourenzo Alvarez Garcia, a Spanish dancer and musician with a heart and soul full with melodies and rhythm. His travels had taken him far and wide, but it was in this quaint corner of the world that he would discover a love that would inspire a dance for the ages. 

Loulé, a hidden gem nestled within the heartlands  of the Algarve, was a village that seemed to have sprung from the very canvas of a painter’s dreams. Bougainvillea vines adorned whitewashed walls, their vibrant blossoms adding splashes of color to the village’s timeless charm. The air was redolent with the scent of orange blossoms. The heart of Loulé beat in its bustling market square, with vibrant sights, sounds, and scents. Colorful stalls exhibited produce, textiles and artisan crafts. The vendors’ calls mingled with the laughter of villagers and the melodies of local musicians, creating the village’s vivacious spirit. Quaint cafés, with their weathered wooden tables and chairs, spilled out onto  the cobblestones, inviting villagers to linger and share stories over cups of strong coffee. Each sip was a taste of community, a sip that echoed the bonds that wove the villagers together.

One evening, as the sun dipped below the horizon, casting a warm glow across the village square, the night began to weave its spell. Lorenzo’s eyes fell upon Maria da Conceição, a vision of grace and beauty that seemed to belong to another world. She was a young woman with a quiet charm that resonated throughout the village. Her appearance was unassuming yet carried a natural beauty that drew attention. Her eyes, a warm shade of brown, held a mix of curiosity and kindness. Dressed in the traditional attire of Loulé, Maria’s clothing showcased the local craftsmanship and heritage.

Lourenzo’s heart, like a captive bird, finally set free. Captivated by her beauty, he sought a way to express his admiration and all the words he dared not speak. With nimble feet and a heart brimming with emotion, he dedicated her a polka, La Azucena, a dance he had seen during his travels in the Czech Republic and Poland. Maria watched, her heart beating in time with the rhythm of the dance. The village square transformed into a stage, and the moon and stars witnessed the tale of love that unfolded before them. As Lourenzo’s dance reached its crescendo, Maria found herself drawn into his embrace, and they danced as if the world around them had faded into oblivion. As the dance concluded, the square erupted in applause and cheers, a  celebration of the beauty that had been created through their shared movements. Lorenzo and Maria exchanged a smile, their eyes meeting in a silent acknowledgement of the connection they had forged through the dance. It was a moment that needed no words, as their hearts spoke a language understood only by them.

Word of Lourenzo’s dance soon spread throughout the Algarve like wildfire, igniting the hearts of the villagers. Clapping hands, spinning bodies, joyful circles, moving to the infectious rhythm of La Azucena became the heartbeat of the Algarve. As the years passed, the legend of Lorenzo and Maria’s dance remained alive, intertwining with the history of the Algarve itself, becoming a melody that echoed through generations. Dances have a way of evolving, adapting to the changing melodies of life. The dance La Azucena transformed, becoming something uniquely its own. Corridinho, they called it, a dance that bore the energetic rhythms of the polka, the vibrant threads of Spanish flamenco, the beats of North African drums and the melodies of the Middle East. Corridinho reflected the diverse cultural tapestry of the region.

With the accordion in hand and guitarra portuguesa (Portuguese guitar) by their side, the dancers painted the air with music. The cavaquinho added its bright strums, the tambourine’s jingles were like laughter in the wind, and the triangle chimed like stars twinkling in the night sky. In villages bathed in sunlight, couples joined hands and hearts, forming circles that mirrored the unity of their community. They danced, their steps as light as dandelion seeds on the  breeze. Spins, claps and laughter intermingling with the music’s infectious energy. A celebration of life’s beauty, the essence of Corridinho.

And so, Corridinho transcended the Algarve’s borders. In far-off lands, in former Portuguese colonies, its influence touched souls and found new forms. In Sri Lanka, it transformed into Baila. In Malaysia, it morphed into Branyo.

Through time and space, Corridinho lived on, a dance that transcended mere movement. It was a celebration of unity, a testament to the power of music and dance to bridge cultures and generations and carry the essence of Portugal to every  corner of the world.


  • The traditional clothing worn by the dancers reflects the cultural heritage and traditions of the Algarve and may also depend on the specific occasion, with more elaborate outfits reserved for special events or performances. Women often wear a colorful and intricately embroidered blouse. The blouses are usually loose-fitting and may feature decorative elements such as lace, ruffles or ribbons. The skirt is typically full and ankle-length. It can be plain or adorned with colorful patterns or embroidery. Over the skirt, women may wear an apron, which is often embroidered or embellished with lace. They may also choose to drape a shawl over their shoulders for added elegance. Some accessories are also included, such as traditional jewelry and headscarves. Men wear a plain or striped shirt with long sleeves and a vest made of a complementary color or pattern may be worn over the shirt.They wear simple trousers, usually in a dark color. A traditional wide brimmed-hat, known as a chapéu algarvio, is a common accessory for men.
  • Due to the growing interest in preserving Portugal’s rich cultural heritage in music, dance and costumes that were in danger of being lost, in the early 20th century the Grupos Folclóricos, or Folk Groups emerged from different regions of Portugal to promote traditional values and unity among the population. Nowadays, Corridinho and other folk dances are performed in folk groups in festivals throughout Portugal.
  • In 2015, Corridinho was included in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity as a significant and traditional cultural expression of the Algarve region.
  • Baila originated in Sri Lanka, particularly among Sinhalese community. It has strong Portuguese and African influences, as the dance emerged during the period of Portuguese colonization. It’s known for fast-paced movements, often performed as a couple’s dance to upbeat music with catchy melodies and percussion instruments. The lyrics are about love and everyday life. They are usually sung in a creole language known as “Sri Lankan Portuguese Creole”. The dancers wear colorful attire and it’s often performed at celebrations, festivals and social gatherings.

Branyo is a lively dance from Malaysia traditionally danced by the Portuguese colonists of Malacca and their present-day descendants in Malaysia. It is a social dance associated with courtship , in which couples advance and retreat without touching each other. The costumes reflect the traditional folk dancing Portuguese costumes. Some songs are sung in old Portuguese, others are sung in Kristang- the local creole language derived from old Portuguese mixed with Maly words and grammatical structure.The four main rhythms of branyo are jingkli nona, kanji-pape, sarampeh and chorte forte. Being a central element of weddings and other celebrations in the community, it is the favorite dance of residents, both young and old.

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