RHYTHM
Music suitable for dancing ranges from about 150 beats
per minute (bpm) to around 250 beats per minute (bpm), although most dancing is
done to music somewhere between 160-220 bpm. Every Salsa composition involves
complex African percussion based around the Clave Rhythm (which has 4 types),
though there can be moments when the clave is hidden for a while, often when
quoting Changüí or Bomba. The key instrument that provides the core
groove of a salsa song is the conga drum. The conga drummer slaps (high pitch)
on the 2nd beat of each measure and strikes twice with an open tone (often on a
2nd lower pitched conga) on the 4th beat (see salsa music).Every instrument in
a Salsa band is either playing with the clave (generally: congas, timbales,
piano, tres guitar, bongos, claves (instrument), strings) or playing
independent of the clave rhythm (generally: bass, maracas, güiro,
cowbell). Melodic components of the music and dancers can choose to be in clave
or out of clave at any point. However it is taboo to play or dance to the wrong
type of clave rhythm (see salsa music). While dancers can mark the clave rhythm
directly, it is more common to do so indirectly (with, for example, a shoulder
movement).
SALSA TIMING
Incorporating styling techniques into salsa has become
very common. For both men and women shines, leg work, arm work, body movement,
spins, body isolations, shoulder shimmies and rolls, and even hand styling have
become a huge trend in the salsa scene.
SALSA STYLES
Since salsa has its roots in so many dances and is
open to improvisation, salsa styles are very fluid. Dance styles are associated
with their original geographic area that developed that style. There are often
devotees of each of these styles outside of their home territory.
Characteristics that may identify a style include: foot patterns, body rolls
and movements, turns and figures, attitude, dance influences, and the way that
partners hold each other. The point in a musical bar music where a slightly
larger step is taken (the break step) and the direction the step moves can
often be used to identify a style.
NEW YORK STYLE
New York style emphasizes efficiency of movement,
elegance, and body isolations. By focusing on control, timing, and precision of
technique, dancers aim for smooth execution of tightly woven complex patterns.
In New York City this style is danced strictly On 2, although dancers around
the world often integrate elements and repertoire from New York into their
dancing On 1.[citation needed] On 2 timing emphasizes the conga drum's tumbao
pattern[citation needed], and encourages the dancer to listen to percussive
elements of the music. Advocates of New York Style consider this to more
accurately reflect the Afro-Caribbean ancestry of the music[citation needed].
Many also refer to this style as "Mambo" since it breaks on beat 2 of the
measure, though there are other dance forms with a more legitimate claim to
that name. See (Mambo.) Mambo has been taught in ballroom schools throughout
the world since the 1950s. For years ballroom competitions have featured Mambo
as a competition dance. N.Y. style salsa therefore, has dominated Mambo and
Salsa competitions over the years, although other styles are gaining respect
and are sometimes danced as alternate competition categories. The etiquette of
New York style is strict about remaining in the "slot" and avoiding traveling.
New York style tends to place a greater emphasis on performing "shines" where
dancers separate and dance solo for a time. New York style dancers are
typically very serious about the musicality and timing of their dancing. To
satisfy their tastes, "socials" are often held that cater to almost exclusively
playing "salsa dura" (lit. "Hard Salsa")
CUBAN CASINO STYLE
Danced in Cuba and Miami, but also popular in Europe
and China; there are many dedicated small communities all over the world often
organized to dance Rueda as well. Cuban-style salsa (also called Casino) can be
danced either on the down beat ("a tiempo") or the upbeat ("a contratiempo").
Beats 1, 3, 5 and 7 are downbeats and 2, 4, 6 and 8 are upbeats. An essential
element is the "Cuba step" (also known as Guapea), where the leader does a
backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat
is not counted. The follower does the same, thereby mirroring the leader's
movement. Another characteristic of this style is that in many patterns the
leader and follower circle around each other.
RUEDA STYLE
In the 1950s Salsa Rueda (Rueda de Casino) was
developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish),
with dance moves called out by one person. Many of the moves involve rapidly
swapping partners.
LA STYLE
In Cuban based rhythms, the strong beats are on 1 and
3. L.A. style is danced on 1, in a slot. It is strongly influenced by the
Mambo, Swing and Argentine Tango styles of dancing. L.A. style emphasizes
sensuousness, theatricality, aerobics, and most importantly, musicality. The
two essential elements of this dance are the forward/backward basic as
described above, and the cross-body lead. In this pattern, the leader steps
forward on 1, steps to the right on 2-3 while turning 90 degrees
counter-clockwise (facing to the left). The follower then steps forward on 5-6,
and turns on 7-8, while the leader makes another 90 degrees counter-clockwise.
After these 8 counts, the leader and follower have exchanged their positions.
The L.A. style as it is known today was pioneered by what many consider some of
the most famous and influential people in dance. Albert Torres, Laura Canellias
and Joe Cassini rightfully deserve much of the credit for the early development
and growth of L.A. Style |
