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Salsa Under the Stars May 30
Chino Espinoza From Los Angeles, CA.
Friday nights at The Albuquerque Museum Amphitheater – 2000 Mountain Road NW, Old Town Albuquerque; 7:00 to 10:00 p.m.; Doors open at 6:30 p.m. All concerts occur rain or shine.
Families are welcome and Children Under 12 are Free. The Cooperage Restaurant offers a fine selection of grilled entrees, salads, desserts, and a full-service bar. A portion of the proceeds from their sales benefits The New Mexico Jazz Workshop Institute of Music.Tickets on sale for this evening's concert are: $15, $12 & $10
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Salsa star Willy Chirino strikes out on his own
By Leila Cobo
MIAMI (Billboard) - For many years, Willy Chirino was a musical artist with a defined regional base, signed to a major multinational label.
Now, the Cuban-born, Miami-based salsero hopes to expand his national and international reach with a fledgling independent outfit.
Chirino's new album, "Algarabia," is set for a May 20 release through a partnership between Chirino's own label, Latinum, and Eventus, the label launched in 2007 by Eventus Marketing. The album will be distributed by Sony BMG, Chirino's label for 15 years.
"Algarabia" is predominantly salsa, albeit with touches of reggaeton and rock guitars, as well as a couple of romantic boleros. The album features 13 tracks, and on top of that Chirino recorded two iTunes exclusives.
Chirino's distribution move sounds daring, but he's expanding a model he took up seven years ago when he left Sony and created his own label, which was distributed by indie Delanuca.
"I realized my records were in the hands of people that really didn't vibrate with the music," Chirino says. "So I decided to take the reins of my career. If you have the capacity to do that, it's the best possible move."
With Eventus, Chirino has found a partner he can lean on. The company produced and marketed Chirino's two 35th-anniversary concerts last year with such success that Chirino approached the company for management. Now Chirino, along with Eventus owner/president Nelson Albareda, is a partner in the company's label and management units. Omer Pardillo, Celia Cruz's former manager, is also a partner.
The Eventus test drive was a Chirino live CD/DVD set -- "En Vivo: 35 Aniversario" -- taped during the show and later sold as a PBS special.
The sales have been a meager 2,000 copies via independent distribution, according to Nielsen SoundScan, but the set could receive a substantial boost from "Algarabia" and its major-label support. Still, the success of the model is not so much in the label, Albareda says, but in shows and sponsorships.
Chirino's anniversary set, for example, will be sold during PBS pledge drives in New York and Florida cities Orlando, Tampa and Miami in June, when stations in those cities will air his special.
"Algarabia" features duets with a wide assortment of performers, including Brazilian singer Daniela Mercury and Venezuelan sonero Oscar D'Leon. The single "Pa'lante" is a duet with Chilean troubadour Alberto Plaza. This week, the track is No. 19 on Billboard's Tropical Airplay chart.
"My music is music to dance to," Chirino says. "Of course, I also have social commentary -- but it has to be danceable. And from that point on, creativity can be applied." Several songs are politically charged, and many deal with Cuba.
Chirino plans to perform in the United States, Mexico and Europe, finishing with a concert at the AmericanAirlines Arena in Miami in the fall, his first arena solo date in the city.
But as important as the tour is, Chirino says, his immediate concern is his album.
"I always, always have considered the album to be the single most important project in a career," he says. "It's what remains for other generations to listen to. The true purpose of an artist is to become immortal through his work."
Reuters/Billboard
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Salsa stepping delights
By Alyona Sokolova
vn.vladnews.ru / Issue #616 / Arts and Ideas
Sweeping across the world with its stepping and whirling, Salsa has spun to Vladivostok bringing a sizzling sensuous air into the city’s dancing style.
Salsa is a partner dance, danced in a handhold. Originating from Cuba, the name itself is the Spanish word for sauce, connoting a spicy flavor, also suggesting a "mixture" of ingredients. Salsa is danced on a core rhythm that lasts for two measures of four beats each.
The Latin dance made its way to Vladivostok due to the efforts of two dancing enthusiasts - Viktoria Tikhonova and Roman Poltarak – who by chance and fate took steps toward each other to have Salsa roll into the city.
Viktoria fell in love with Salsa in Beijing, China, while Roman Poltarak found his admiration for the dance in San Francisco, USA. The two met in Vladivostok and gave life to the first Salsa project in Vladivostok last September, starting to teach Cuban-style Salsa, or Salsa Casino.
“It is not a commercial project. We like to dance Salsa and we wanted to set up a place in Vladivostok where we and our friends can do it,” Viktoria reveals in an interview in the hall of ‘Africa’ café on April 18. The party ‘Caribe Salsa’ is to take the floor in 20 minutes.
“My goal is to introduce and spread the dancing spirit in our city. Salsa changes people – they become kinder, warmer and open to each other. Vladivostok is in big need of cultural life,” Viktoria shares. A graduate of Far Eastern National University, department of economics with a specialization in languages, she currently works in the Center of Multicultural Exchanges for the Maritime State University in Vladivostok. According to her, Salsa Casino is a club style of dancing most suitable for entertainment and socializing. It is not professional ballroom dancing, and people of all age groups from schoolchildren to retired men can receive much pleasure from salsa dancing.
A 10th grade schoolgirl Vika Dobrokhotova, who sits next to me at the party, eagerly reveals that Salsa dancing lessons and parties bring her much joy and many new friends. “It gives us a great deal of socializing and teaches us to move gracefully,” she assures me, her eyes beaming.
The party indeed is vivid and flashy – fascinating Latin music, dancing pairs mirroring the steps of each other in a rhythm which takes your breath away and an atmosphere of total joy and harmony.
“It is a combination of a man’s strength and a woman’s grace,” Vika tells me admiringly gazing at couples on the dance floor. In a few minutes she is gone to give a nice Salsa performance herself.
“Salsa is energetic and flirtatious, having sizzling character like all Latin dances. It is the dance which sweeps you away and no stimulating drinks are required to feel joyous and relaxed,” Viktoria Tikhonova shares her vision of the dance.
“It is a man’s dance in which the male partner dominates and makes his woman look like a queen and the whole dance is a true show,” concludes Roman Poltarak, an organizer, instructor and desired partner of all dancing women at the party. A graduate of Maritime State University, he threw his sea career to the dance floor at the age of 20.
A regular prize winner of Russian dancing contests, Roman, 26, dreams of creating a Salsa school in Vladivostok. “It actually can not be exactly a Salsa school but a school of partner dances,” he reveals in an interview.
According to him, with about 150 to 200 students enrolled in the school, it will be possible to organize Salsa master classes, festivals and open a Latin dance night club.
“Latin American culture is getting more and more popular all over the world. Nearby Japan and China are experiencing a Salsa boom with Latin clubs opening and attracting masses of people,” he elaborates. Salsa keeps rolling across Russia too, capturing Moscow and Saint Petersburg, Novosibirsk and Khabarovsk, Roman adds.
The idea of a Latin club culture in Vladivostok is very appealing but investment is needed. Why is the Salsa dancing culture moving slowly into the Far East of Russia? “It is because of the mentality – the seaport of Vladivostok is a city of grave seamen who are not in the habit of dancing,” Roman shrugs his shoulders and smiles.
It is indeed difficult to attract men to dances. When attending my first Salsa class I noticed that in a group of 12 people we had only two men for partners.
Compared to the party, the atmosphere at a lesson is different – short skirts, high heels and seductive looks give way to jeans, sneakers and sweating faces - step, step, step, pause, step step, step, whirl. Hard to keep breath and balance but the excitement is worth the pain. I feel welcome to the world of Salsa stepping where an intimate dialog between the partners is a must.
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Granma Cultural news
April 21
Pedrito Calvo: Icon of Cuban Popular Music
By OMAR VAZQUEZ
Pedrito Calvo was busy last week celebrating the release of his latest production, the CD and DVD 50 Years, released on the EGREM label. Calvo has marked his career with an authenticity and creativity nurtured by his search for the roots of his island and has helped keep the Cuban son and bolero genre alive: "My life is singing, and I have had the good fortune to share my life with my country."
Many songs performed by Pedrito in his 50 years as a singer have become classics including several composed by Juan Formell such as El negro no tiene ná and Marilú and his own composition Se acabó el querer. Pedrito continues his career with La Nueva Justicia after 27 years with Los Van Van.
During the album release, Pedrito Calvo looked back at his career that started in 1957 when, at an early age, he joined the band La Corte Suprema del Arte, followed by a stint with la Ritmo Oriental and Quelo Revé. On April 16, 1961, Calvo, dressed in military attire, raised his gun at the corner of 23 y 12 in Havana together with Fidel Castro in support of the country’s socialist proclamation and then sang a duet with Jacqueline Bell of Gonzalo Roig’s classic Quiéreme mucho.
Upon presenting Peditro Calvo’s latest disc, Cuban journalist Pedro de la Hoz said: "He is a charismatic man, for his honest cheerfulness, his genuine artistic delivery and his coherence between image and social role. To these qualities must be added his faithfulness to the roots of Cuban music and his sense of belonging to a tradition to which he has given a creative continuity."
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By Daily Granma, 18 April, 2008
Longing for US-Cuba Cultural Ties
Granma interview with Louis Head, one of the US promoters of a cultural exchange initiative between the United States and Cuba
PEDRO DE LA HOZ
When George W. Bush won the presidency in an electoral coup in 2000, Louis Head sensed that civic traditions in the US were in for hard times, but perhaps he couldn’t calculate then to what extent that would be the case after the government’s manipulation of the events of 9/11.
"The hostility towards Cuba is a living example of this political reaction. In the 1990s, despite Clinton signing the Helms-Burton Act and receiving the weight of the Torricelli Act from Bush Sr., exchanges with Cuban artists and scholars in my country were possible and many had a big impact. With Bush Jr., things have gone from bad to worse," Louis Head told Granma.
Head lives in Albuquerque, New Mexico where he is a radio producer at KUNM and a cultural promoter. He’s one of the most well known US experts on popular Cuban music.
"The denial of visas to Cubans living on the island and nominated to the Grammys was a very clear signal of the hardening of an aggressive policy," said Head. "Bill Martinez, a lawyer with a lot of experience in processing permits and visas for Cuban artists in the US and I spoke on the matter and we realized that the situation hit rock bottom after the performance of the group Audioslave in Havana. We are sure that the successful DVD of the concert at the Jose Marti Anti-imperialist Plaza upset some authorities. They closed the doors to all music coming from Cuba. And they shut the doors to us."
So concerned about the matter he decided, along with Bill and other friends, to promote starting in 2004 an initiative called the US-Cuba Cultural Exchange.
"One of the most exciting moments for us occurred last year when we received a message from the great dancer Alicia Alonso in which she urged her colleagues and other US scholars to make a pubic statement in favor of cultural ties between our two countries and to contribute to bringing an end to the restrictive White House policy. You know that we drafted an open letter to Bush, backed by thousands of signatures, many from prominent figures of the cultural industry. It was no small feat to have the support of people such as musicians Carlos Santana and Bonnie Raitt, actors like Sean Penn and Peter Coyote and top business people in the music and movie world," he said.
Head sees two things happening in the movement generated by US-Cuba Cultural Exchange: "On the one hand it’s interesting to see Cuban born artists and intellectuals radically distancing themselves from the anti-Cuban aggressiveness of the most rightwing circles in the south of Florida, identified with the hostility of our government. On the other, I see how this struggle to restore the freedom of exchange in art between Cuban and the US has gone beyond that objective to propose the total and unconditional elimination of the blockade and recovery of the civil rights severed by the current administration."
Personally, Louis would like to see Cuban artists such as Pancho Amat and the Muñequitos de Matanzas come and play live in his state as soon as possible. "When last December Afropop asked me to list the ten best discs of dance music by Latin artists in 2007, I included Tambor de fuego, by the Muñequitos de Matanzas, produced by an intelligent musicologist and friend, Cary Diez, for Bis Music, and Llegó el tresero, which Pancho Amat recorded for EGREM. On the list were the albums The Spanish Harlem Orchestra, the Melao group with its Panamanian singer Camilo Azuquita and Calle 13, a duo that plays a different type of Reggaeton. Could you imagine a concert of such a high level of talent?"
Louis knows that for now that’s a dream, although he also knows that when struggle is tireless dreams can become reality: "Looking in depth how the politics are going in my country, no one can predict a short term change in relations with Cuba. But we can’t cross our arms. We are a network and someday we’ll be a tide and they’ll have to concede we were right."
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Salsa India Festival: Outstanding performances!
April 16, 2008
The Salsa India Festival was concluded just a few days ago in Mumbai.
As a dance form, Salsa originates from Cuba and is a fusion of traditional Cuban dances like the Mambo and the Danzon; it is also inspired by traditional African and Caribbean movements.
It is primarily a couple's dance, although both solo and group performances are not uncommon, the latter including a frequent switching of partners.
The Salsa India Festival celebrated not only this dance form but also several others from across the globe. Check out these awe-inspiring dance performances at the event, by professional dancers from India and abroad!
To start off with we have dance duo Taiti and Crystel from Amsterdam, who have been performing together since 2005. Watch them set the stage on fire with their hot moves!
Dance school Salsa India hosts the India Salsa Festival each year and operates 19 studios in Delhi, Mumbai, Pune and Kolkata. Salsa India also hosts weekly parties at Blue Frog, Mumbai (bi-monthly on Wednesdays), Zenzi, Mumbai (on Sundays) and Tapas, New Delhi (on Saturdays), all of which are preceded by workshops. For more information log onto www.salsaindiafestival.com or www.salsa-india.com.
Also read: Salsa: A fusion of fun and fitness
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Juan Luis Guerra Dominates Latin Billboards With 3 Awards
By AP
HOLLYWOOD, Fla. — Juan Luis Guerra took home three Latin Billboard awards on Thursday night, including artist of the year and producer of the year, as the Dominican singer dominated the competition.
Guerra has been on a winning streak in the last year, claiming a Grammy and five Latin Grammys, among other awards.
He added to his accolades Thursday, also receiving with his group 4.40 the 2008 Latin Billboard award tropical album of the year by a duo or group for "La Llave de Mi Corazon." He was nominated in four other categories.
The Latin Billboard awards ceremony, held this year at the Hard Rock Hotel & Casino in Hollywood, honors performers with the best sales and airplay as determined by Nielsen SoundScan and Nielsen Broadcast Data Systems.
Colombia's Fanny Lu took home an award for the song "Y Si Te Digo," after receiving six nominations.
Other winners included the Dominican group Aventura, which snagged two awards, including song of the year for "Mi Corozoncito."
Mexican singer Vicente Fernandez took home a greatest hits album award for his "Historia de un Idolo, Vol. 1."
New York-born Jennifer Lopez won for pop album of the year for "Como Ama Una Mujer."
Colombian rocker Juanes took male pop album of the year honors for "La Vida Es Un Ratico."
Puerto Rican reggaeton stars Wisin & Yandel won the award for vocals duo or collaboration for "Pegao."
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Art Talk
2/26/2008 8:32 am
Art Talk: Should Madison send classical music to Cuba?
Jacob Stockinger —
NORTH_KOREA_NY_PHILHARMONIC_4012636.JPGThings are popping at the crossroads of culture and politics.
This week the New York Philharmonic, playing under the baton of outgoing Maestro Lorin Maazel, performed a concert in Pyongyang, capital of North Korea.
They played Dvorak's Symphony No. 9 "From the New World" and George Gershwin's "An American in Paris" as well as both countries' national anthems.
The works may be accessible war horses to some, but to me it seems like perfect programming for the occasion.
Maazel spoke to the Associated Press and said: "I think it would have been a great mistake not to accept their invitation. I am a musician and not a politician. Music has always traditionally been an arena, an area where people make contact. It's neutral, it's entertainment, it's person to person."
Maazel also said if the music moves the audience, "we will have made whatever contribution we can make to bringing our peoples just one tiny step closer."
So, what pieces would you have programmed if you were Maazel?
And what do you think of the program he and the NY Philharmonic, the nation's oldest symphony orchestra, performed and for which (as shown in the above Associated Press photo) they received a standing ovation?
Do you think the concert will make any difference in US-North Korea relations?
Closer to home, of course, this past week Cuban dictator Fidel Castro stepped down as president, ceding the post to his younger brother Raul who is allowing the citizenry to voice complaints.
Now you may know or may not know that Madison has for a long time had a sister city in Cuba: Camaguey.
Here's my question:
Should the Madison Symphony Orchestra under John DeMain (who last summer went to conduct and promote music education in Costa Rica) or the Wisconsin Chamber Orchestra under Andrew Sewell travel to Cuba as part of a cultural exchange and a possible opening up and democratization of the Caribbean nation?
What about the University of Wisconsin School of Music doing something similar? Should the Pro Arte String Quartet, the Wingra Woodwind Quintet or pianist Christopher Taylor go to Cuba to affirm both democracy and the arts as well as the Badger state?
I say yes, it couldn't hurt and it might help.
Such a move would probably make national and international headlines, and fit into Madison's generally progressive view of the world and promoting peace.
But what do you think about such a cultural exchange?
Let Art Talk know.
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The Canadian Press
Items owned by 'Queen of Salsa' bring Celia Cruz exhibit to life
SAN ANTONIO - When singer Celia Cruz died in 2003, curator Marvette Perez knew it was time to begin work on an exhibit chronicling the life of the woman who helped revolutionize Latin music.
Perez, who had met the flamboyant Cruz, also knew that the exhibit could not consist simply of photos and videos of the Cuban entertainer. It had to include objects from Cruz's life that showed her true persona.
Cruz's dresses, shoes and wildly coloured wigs were needed to fully illustrate who she was and how she developed as a performer.
"She was perhaps the most important Latino singer of her generation," Perez said. "When she died, we decided we should honour her because of how influential she was in world music."
Cruz, called the "Queen of Salsa," is celebrated in "Azucar! The Life and Music of Celia Cruz." The exhibit, which originated in Washington, D.C., in 2005 and has travelled to Los Angeles and Miami, is in San Antonio through April at the Museo Alameda, an affiliate of the Smithsonian Institution.
The title of the exhibit, azucar, is Spanish for "sugar." But Henry Munoz III, founding chairman of the Alameda, said it means more than that. He said the word meant Cruz's on-stage battle cry representing her vivid approach to life.
"It was the spirit of her life, the energy she personified," Munoz said.
Besides her life as a singer, Cruz also loved flamboyant clothes. While music videos, photographs, documents and timelines of the Cuban-born Grammy winner's expansive career abound, the exhibit's biggest attention-drawers are the vibrant, heavily ruffled mermaid-like dresses, called "bata cubanas," and pairs of gravity-defying shoes Cruz wore on stage.
Perez, who worked with the National Museum of American History on the show, said it needed to have "things she used, things that were important to her. The shoes are very unusual because I think they represent her originality." Some of the shoes feature heels that look like miniature silver swans. Others look like high heels, but amazingly have no heel for support and appear to have forced Cruz to put her weight almost exclusively on the ball of her foot.
Carol Wyrick, the Alameda's acting director, noted Cruz's influence on fashion, including some of today's sky-high shoe styles.
"If you follow people as they go through the exhibit, they are fascinated with seeing her dresses, her wigs, her shoes," Wyrick said.
Born in 1925, Cruz rose to stardom in the 1950s with Afro-Cuban group La Sonora Matancera but left Cuba after the 1959 revolution. She came to the United States in 1961. She never returned to her native country and spent much of her career in New York City, where she played a part in the groundbreaking salsa music movement in the 1970s. She recorded more than 80 albums and songs in her more than 60-year career.
Cruz died in 2003 of brain cancer, and massive, colourful funerals befitting her style were held in both Miami and New York.
Perez said she hopes the exhibit might eventually travel to New York. It's not clear yet where it will go after San Antonio.
Her favourite piece of the exhibit is a setup of Cruz's dressing room using original items. A dressing table holds makeup and wigs and religious figurines. Behind the table, a monitor shows actual video of Cruz getting made up before a performance. This area, Perez said, is where Cruz transformed into a goddess who wowed audiences with her powerful voice.
"I understood that to be a place where the persona of an artist is put together and comes out on stage," she said. "That whole space of where a person becomes a great singer, a performer. . . . She was a powerhouse on stage."
* Online exhibition: http://americanhistory.si.edu/celiacruz/
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Bad Dancers?
There aren't any BAD Dancers!!
Often times, I listen to people make comments such as, "he has no rhythm .... or she can't follow". Sometimes the comments are even more harmful, "what do they think they're trying to do - that looks simply awful", or "he can't dance at all, he's just bopping - maybe he should take some lessons"!!
Have you ever thought this? Ever voiced this to your friends? What's really important about dancing anyway?
I've attended many social dances and many competitions and must admit there is one dancer that I always enjoy watching on the floor. Have you ever seen the dancers that dance every dance (even if they can't Dance?) but they're always smiling - always having fun. I watch these dancers in fascination, they are actually having a great time.
When I watch people on the dance floor, I often wonder, Why are they dancing - they look like they're in pain? I am truly amazed that anyone would go out for an evening of torment and painstaking work -- there is a time and place for everything in life.
Social dancing is people moving together on the dance floor and enjoying themselves. We don't all have to dance the same way. Even if you just get up and sway to the music, that's your way of expressing pleasure in dancing. Did you ever think to yourself, "They're not bad dancers - JUST DIFFERENT".
A dance floor will always have people with different styles and knowledge levels about dancing: which doesn't mean they are good or bad dancers, just people enjoying themselves for an evening. Maybe if you take dancing so seriously that you're losing your ability to laugh at yourself over a mistake it's time to take a lesson or two from a social dancer that doesn't perform ballroom steps but actually moves to music for FUN!
By: Karen Kiefer
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Getting the Most from Your Dance Lessons
Dance students naturally want to get the most they can from their lessons, but often lack a clear understanding of how to do so. In fact, any student's progress depends mostly upon how they approach and use their lessons. Fast, complete and efficient progress will result only from a logical and structured approach to learning.
1: Set a Goal - Quite simply, unless both the instructor and the student have a clear understanding of the skills and abilities that are to be developed, then progress suffers. A frank discussion of goals and the formation of a solid teaching plan are essential.
2: Correct Frame of Mind - The student-teacher relationship is one of both physical and mental participation. Knowledge can only be gained through focused attention and a willingness to learn. Students should take care to apply themselves to the task at hand, and to do their best to perform the new elements according to their instructor's direction.
3: Concentration and Focus - Sometimes students, in a desire to "do everything right", will focus on one facet of dancing while the instructor is attempting to work on another. The experienced instructor will not expect their students to correctly perform all of their old skills while learning something new. The student should direct their attention only to the topic which the instructor has chosen, and the instructor will later amalgamate the new knowledge with the old.
4: Allow the Instructor to Teach - The student is wasting their instructor's skills if they do not allow the instructor to exercise their own judgment and abilities. Many students, who would not dream of telling their doctor what medicine to prescribe or their mechanic how to repair their car, will not hesitate to tell their instructor which part of their dancing most needs attention, and how they should be taught. Instead, the instructor should be given rein to teach as they see fit, so long as they are working to the best of their abilities towards the student's goals. If this path does not yield the desired results, then another instructor should be found.
Remember also that learning to dance is different from learning pure mental skills -- sometimes understanding comes only after correct performance, instead of the other way around. The student should always try to allow the instructor to complete a presentation, since quite often full understanding dawns only when the presentation is complete and a "feel" for the action is obtained. If at that point the student does not understand, then they should ask for clarification. Otherwise, they should try to allow the instructor to exercise their professional skills -- after all, that is what they were hired to do in the first place.
5: Practice - Practice is probably the most under-rated aspect of a student's learning. Those students who apply themselves to their practice invariably show more consistent progress than those who do not. Students of tennis, skiing, martial arts, music, golf, or most other physical pursuits consider practice an integral part of their learning, but all too often students of social dance do not. The human mind can consciously demand only so much of the body at one time, and is not capable of simultaneously monitoring or directing more than one or two aspects of the body's movement. In order to correctly perform several different dance elements, the body must be able to function independently of concentration -- in other words, good dancing skills must be habitual. Habits can only be formed through repetition. This can also be a pitfall, since a repeated action will become habit whether that action is desirable or not! Care must be taken to ensure that CORRECT performance is practiced AT LEAST 50% OF THE TIME, since the body will "remember" those actions which it has performed MOST OFTEN.
6: Regularity - Regularity also has a bearing on progress, since too much time between lessons breaks up the continuity of the learning progress, allows the student to forget too much of any lesson's instruction, and forces the instructor to unnecessarily repeat topics.
7: Variety:
A - Instructors - Just as a single sculpture may be described in different ways by observers with different points of view, so may many dancing elements be described or approached in many different ways, serving to develop a more complete and thorough understanding. However, one instructor should be chosen to be the main guide to a student's progress, serving as a "manager" for that student's overall learning. (Beware of instructors who advise you only to take lessons from themselves!)
B - Lesson Types - Smart students also participate in different types of lessons; private lessons, group classes, practice sessions, coaching lessons and workshops all serve to strengthen, reinforce, and diversify the student's learning.
C - Partners - A variety of partners serves to broaden dancing skills. Dependence upon a single partner can lead to the formation of weaknesses, since when a certain aspect of dancing is not challenged or used, it atrophies. A variety of partners tend to challenge a student's skills in a larger number of situations than most single partners can provide.
By: Dan Pittman
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The Beat
Most dance music is based on 2/4, 3/4, or 4/4 music time. In 2/4 and 3/4 time the first beat of a bar is emphasized and can be clearly heard in the bass = drum, bass or bass guitar. This is the beginning beat of the music and is the beginning step of the dance.
In 4/4 time the most emphasized beat is the first beat and there is then less emphasis on the 3rd beat. Again this can be clearly heard in the bass instruments. As always, the first beat is the beginning step of the dance. In some music the bass instruments will play every beat in the bar. Listen to the music - you can hear and feel the beginning beat of the bar and go from there.
The most important thing to remember is to move to the beat - listen for the bass instruments and they will show you the way. Remember there is nothing worse when dancing than to be "off the beat" -- so listen and enjoy!
By: Eldene Heikkila
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May 17
Son Como Son At The Cooperage
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Go,go,Go Calendar
"Escuche Salsa Sabrosa como de costumbre en KUNM 89.9 FM todos los Viernes.7:00 PM to 10:00 PM (MT)
www.KUNM.org (live)
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Recuerda Mi Mambo es tu Mambo
E-mail you events to; mimambo@mimambo.com ,
mi.mambo@yahoo.com
Nobody Knows Salsa
Like Mi Mambo in Albuquerque,
New Mexico. Simple.
Salsa Elevation: 5,220 feet And Hot..
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Wellington Guzman
MI MAMBO
EMAIL TO:
Email your comment, information or events to
mimambo@mimambo.com
mi.mambo@yahoo.com
Albuquerque, New Mexico
Salsa Elevation: 5,220 feet
Nobody Knows Salsa Like Mi Mambo.
Last update 5/12/2008
Copyright (c) 2008 Mi Mambo Latin Music Entertainment, Albuqueruque,NM From August 15 2003
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