"Hi Everyone! I just moved to Budapest after
many years of living abroad. If you are a woman of any age who loves dancing
and is interested in learning dances from all around the world at a basic level
to develop further and shape yourself, come to my classes Mondays at 6PM in Jam
Tàncmuhely, Budapest, Csanady utca 7 (few mins walk form Nyugati/Lehet metro
stop). Happy to help you learn to control your moves and become more feminine -
and look forward to seeing many of you!"
Teacher: Csányi Edina Price: 1500 HUF/occasion; 8500 HUF/8 occasion
Hearing the word ‘salsa’,
many associate it with the spicy sauce. That is exactly how the dance genre got
its name. Just like the sauce, the dance essence lies in the mixture and
harmony of ingredients i.e. the various dance forms.
It was the English and
the French who brought their country dance and African workers to the Caribbean.
The European dance form and the African
rhumbas (Guaguanco, Colombia, Yambú) influenced the local Cuban dance called Són,
and that is how Salsa was born.
The term Salsa was first
used to coin a group of dances from Hispanic influence such as Rhumba, Són
Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira,
Charanga, Cumbia, Plena, Bomba, Festejo, Merengue etc. Later, the individual
dances separated, while some fused into today’s Salsa.
As the dance spread
across the continent, different styles evolved in the different regions such as:
Los Angeles /L.A./ Style (danced on the first beat) incorporates elements of
Mambo, Swing, Tango and lifts from ballet.
New York Style is more elegant than the L.A. version and is danced on the second
count.
Casino Style was born in the Cuban dance halls of the mid-20th
century and this style is considered the “original” form.
Colombian/ Cali Style was influenced by Colombian dance rhythms. Its features
are quick steps and skipping motions.
The dance itself is
loaded with turns, so I advise you to practice them at home because it won’t be
easy to keep your balance when you have to turn immediately after a hip
movement or step forward after the turn. So, if you have a few minutes to
spare: Start from one end and whirl across the room on tiptoe. Your hands
should shape a huge circle and when you start a new turn you can gain dynamism
by opening the circle with your outer hand. Always locate your glance on one particular
point in the distance, and turn your head only last minute. Regarding the steps, whatever direction you leap always put a bit of hip
movement to it because that is how the performance becomes playful and more flexible.
I deliberately waited
with introducing Salsa until late-spring because how I imagine the best setting
for this dance would be: open-air dance floor, live music, cool breeze, and
cocktails.
Bachata developed
in the Dominican Republic around the 1960s. The name may refer to two things:
partying/having fun or trash. Although, one might consider that the calling a
dance trash has a negative connotation; actually, the roots for the denomination
is rather deductive. Arriving home after a long day, rural workers let the
steam out by dancing and playing music. On many occasions they utilized items found
around the house as musical instruments like cans or the fence. That is why the
music and the dance itself could have been labeled “trash”. However, this genre
was despised by higher society because its roots. Moreover, they considered it offensive
due to its intimacy. Later, with the deteriorating living situations of the
lower-classes, Bachata’s reputation decayed rapidly. It was only in the 1990s
that the middle-class became interested in the genre and that is how it started
it gained a better reputation and started to spread all over the world.
Coming from
a Latin American country, the fundamental musical instrument is the guitar: “Bachata musicians drew upon the Cuban bolero,
Mexican rancheros and corridos, Cuban son, guaracha and guajira,
Puerto Rican plena and jibaro music, and the Colombian-Ecuadorian
vals campesino and pasillo- as well as the Dominican merengue,
which was originally guitar-based” (2step2.net). On of the most well-known
musicians of the Bachata is José Manuel Calderón who is thought to be the first to record Bachata
in his singles “Borracho de amor” and “Condena”.
The position of the dancers is closer than in other dances.
So, I would advise you to choose a partner carefully. The right partner would
be someone who you emotionally confide in and who you let to lead. I observed
two problematic of partner choice: 1.) The female might be reserved and distant,
so the fusion of the couple in the dance cannot happen and the dance becomes
spasmodic. 2.) Sometimes the female gives in to the leading male and it looks
like the man is dragging his partner through the dance floor. You have to keep
in mind that you must be open to the man’s guiding, but you have to focus on
moving consciously without letting him dominate you.
The dance itself is really sensual and sexual as well due
to the hip movements, huddling, and leaning backs. As mentioned in an earlier
post on Rumba and Salsa, the eye-catching and erotic movement of the hips can
be achieved by shifting the balance from one leg to the other or by bending one
whole extending the other knee. Also, if you want to improve your hip’s mobility
you could exercise on the hula-hoop regularly, which, as a bonus, burns the
muffin top too.
The slogan of Bachata in my phrasing would be:
Want some hot nights with your partner? Try
Bachata!
Paso Doble, meaning “two
steps”, is the reenactment of bullfights in the form of a dance. The origins
lie in the Torero’s (bullfighter) ritualistic entrance to the ring and his
dramatic performance before the killing. Surprisingly, the dance was invented
in Southern France not in Spain. However, while the names of the steppes are
French; the music, the theme, and dance are highly influenced by the Spanish.
It was in the 1930s’ Paris that Pierre Zurcher-Margolle and Doris Lavelle popularized
Paso Doble among the upper classes (zimbio.com). The dance arrived to the US
and other English speaking countries in the same decade, but did not gain much
success because of its demand for experience.
In
the dance variant of the bullfight, the man personifies the torero, while the
woman may change her roles between the bullfighter’s cape, a flamenco dancer,
and the bull itself. The performers’ posture, movement, and attitude much
resemble that of the Flamenco dancers’. The man acts proud, frightful,
courageous, full of dignity, and undefeatable. On the other hand the woman is flexible,
playful, and provocative; the skirt following her wimpling like a real cape.
The music, the dresses,
the dancer’s way of looking at each other, and their movements all contribute
to the dramatic effect of the performance. The music is the typical music of
bullfights with the lofty and combative effect triggered by the sound of trumpets.
The opponents are looking deep into each other’s eyes with scrutiny like they
were trying to figure out the other’s next step and were preparing for the next
clash.Their movements are very grandiose.
All their muscles are tight throughout the performance not letting one moment
of rest because it could result in losing the battle.
The dresses are traditionally red and black symbolizing
war and blood.
The performers move in
long steps, penetrating every inch of the dance floor. Even the arm movements
are artistic and well-choreographed.
Paso Doble is the
intertwining of a national tradition, theatrical performance, and the art of
dance. Its complexity makes it so brilliant. One can enjoy it on three different
levels. This three equals four for those dancing it.
