Each move has a name, which is called by the leader of the Rueda. Leaders execute the move and pass the follower around to the next leader in the circle. Calls come in quick succession, creating an exciting dynamic between the dancers. The names may vary somewhat, but those are pretty basic steps, and which are danced in Cuba, as well as in Santiago, Chile; Denver, Colorado and even Positano, Italy! What happens next is a result of dance in general being a fluid and ever-changing entity, not stagnant.
Moves are invented locally that reflect cultural reality. After all, what is dancing all about if not to have fun with it?! Colombian salsa is beautiful salsa for dancing and very popular among Wellington salsa dancers. Colombians dance salsa really really close,the bodies of the two dancers glued together — almost completely touching each other, from head to toe.
Whenever the DJ puts on an Africando track, the dance floor rocks!! Senegalese soldiers fighting for France in World War II brought home recordings of the latest cuban bands playing in Paris.
The West Africans recognized something familiar in the music. The majority of the slaves transported to Cuba came from West Africa. These infectious new dance beats had their roots in the rhythms the slaves took to the New World. Contemporary West African salsa is wild — spacey electric guitar solos, swooping saxophone lines and wicked percussion.
Vocals may be in spanish, but are more likely to be on local tribal languages such as Wolof or Mandinga. The band were playing a Wolof version of the cuban classic El Carretero. The tama player launched into a high energy afrobeat dance at one point, lifting his knees into the air. Then he hitched up his long flowing robe, crouched, gave the crowd a big smile, and rotated his hips provocatively down, down, down. Vocals are based on call and response chant.
In many Hispanic communities, it remains today the most popular style of dance music. Salsa represents a mix of Latin musical genres, but its primary component is Cuban dance music. There, Spanish and Afro-Cuban musical elements were combined, both in terms of rhythm and the instruments used. By mid-century, this music came to Havana where foreign influences were absorbed, particularly American jazz and popular music heard on the radio.
By the end of the ls, many Cuban and Puerto Rican people including musicians had settled in the U. This created the environment where salsa music completed its development. Many bands were formed; immigrants continued to make Afro-Caribbean music, but they adapted the sound to their new world. They were influenced especially by American jazz.
Gradually in the 50s and 60s, salsa as we know it today was emerging. The rise of salsa music is also tied closely to Fania Records which was founded in by the musician Johnny Pacheco and an Italian-American divorce lawyer named Jerry Masucci. The two met at a party in a NY hotel. Around this time, Latin musicians began to have an impact on mainstream U. Latin music was becoming trendy here and beginning to intrigue the rest of the world as well. Both types of salsa remain popular today and with the popularity of the music, came the popularity of the dance.
The key instrument that provides the core groove of a salsa song is the clave. It is often played with two wooden sticks called clave that are hit together. For salsa, there are four types of clave rhythms, the and Son claves being the most important, and the and Rumba claves. Most salsa music is played with one of the Son claves, though a Rumba clave is occasionally used, especially during Rumba sections of some songs.
There are other aspects outside of the Clave that help define Salsa rhythm: the cowbell, the Montuno rhythm and the Tumbao rhythm. The cowbell is played on the core beats of Salsa, 1, 3, 5 and 7. The basic Salsa rhythm is quick, quick, slow, quick, quick, slow, in other words, 1, 2, 3, 5, 6 and 7, which are very similar to the beats of the cowbell.
Recognizing the rhythm of the cowbell helps one stay on Salsa rhythm. In these two cities, more promotion and syncretism occurred and more commercial music was generated because there was more investment. New York created the term "Salsa", but it did not create the dance. Many of these have maintained their individuality and many were mixed creating "Salsa".
You will also hear some old Merengue, built-in the rhythm of different songs. You will hear many of the old styles somewhere within the modern beats. Salsa varies from site to site.
In New York, for example, new instrumentalization and extra percussion were added to some Colombian songs so that New Yorkers - that dance mambo "on the two" - can feel comfortable dancing to the rhythm and beat of the song, because the original arrangement is not one they easily recognize. This is called "finishing", to enter the local market. I say Post-Cuban, because the music of Cuba has evolved towards another new and equally flavorful sound. Then, as a tree, Salsa has many roots and many branches, but one trunk that unites us all.
The important thing is that Salsa is played throughout the Hispanic world and has received influences of many places within it. It is of all of us and it is a sample of our flexibility and evolution. In years following the Cuban war, Salsa became a fascination point with numerous American jazz musicians who incorporated Latin styles into their performances. By the end of the 1st decade of the 20th century, Cuban musicians and promoters started creating and distributing the first radio recordings of Salsa songs.
These songs quickly found their way to the U. Confronted with the new and exciting Latin music style, American record labels and radio promoters quickly coined the new term "salsa. During the s, an explosion of Latin music sounds started spreading all across Central and South America, leading to the development and popularization of modern forms of tango, mambo, flamenco , and several other kinds of music and dance styles.
During that time, nightclubs in never-sleeping Havana even more increased their focus on popular Salsa and provided an incredible variety of new sounds to the neighboring United States who were enforcing Prohibition. With an increased influx of American tourists in Cuba, Salsa quickly traveled back to the United States and several other countries of the western hemisphere. By the end of the s, Salsa and several different Latin music styles become widely popular on U.
The peak of salsa popularity in the United States happened during the s. Fueled by the influx of Dominican and Puerto Rican workers to the continental U. Salsa's early popularity in the United States is closely tied to one specific dancing venue - Palladium Ballroom.
Located on the corner of 53rd Street and Broadway in New York City, this second-floor dance hall became home to many Latin musicians and immigrants who practiced and popularized several dances from their homeland. Starting with , dance promoter Federico Pagani transformed Palladium Ballroom into a Latin dance hotspot of the city.
In addition to regular bands, Palladium Ballroom also regularly hosted musical artists and dancers who traveled to NYC from many Latin countries. Music and dance historians regard Federico Pagani and the Palladium Ballroom as the key ingredients of popularizing the Latin dance arts in the United States and paving the way for many other similar Latin dances and nightclubs in the Bronx and Manhattan. Palladium Ballroom closed its doors in
0コメント