Cha-Cha vs Son Montuno vs Guajira vs Boogaloo? Musical Differences

What is good for you could be different than what is good for me. How people learn personally will differ. Some are visual learners and others are mechanical learners. Some do better with big pictures and dri down from there. Others like the details build up from details. I guess nothing I am saying is new anyone.

Good teaching in a group class will differ from private one on one lesson. Good instructors have to have an ability to read the room and adjust accordingly. Students both the slow learners and the fast learners have to feel at the end of the lesson that they got value or learned something useful. A good instructor will encourage students to go explore learning from others and also point out that sometimes they will hear contradictory things. It is good to give a quick (less than a minute) introduction to different styles of salsa dancing and explain which particular one is beging taught (for the first timers). There are many things I could write and give examples to back up. But it will take a book.

If I have to say in one line, a good teaching gives you both want you want but more importantly also what you need at right time and in right amount. A beginner is seldom in position to know or realise what they need. More importantly instructor takes effort to study and be knowledgeable about the dance. Rather than spewing out incorrect information.
Having taught multiple things, among them English as a foreign language and even dance for multiple years I have just one thing to say. In virtually every lesson a student has complained about my teaching method and equivalent or higher amount said it was amazing/awesome. You can never make everyone happy. And students don't really know what they need, only what they think they want. As an example:

My dance journey passed across many teachers to achieve my ultimate state of stagnant mediocrity. I learned a lot from each of them, including what not to do, and different dance styles also help with frame, connection, stepping, musicality etc. Just off the top of my head:

Kizomba's slow pace allows you to drill down into expressing the music, and focus on frame helped me distance myself from being a"hand leader" a bit. And allow myself to break out of rote 123 567 or 235 671 dancing on autopilot.

Sensual "Bachata" helped me by improving my body movement and improv for the start of songs.

Casino helped my linear dancing because I had decent leading skills before I began to learn linear, which is a harder dance to master.

Chachacha on2 helped me hammer down my on2 timing, I still dislike dancing chacha but my timing is pretty good.

Merengue helped me improve my stepping in Authentic Bachata, I dislike dancing Merengue but I can move my hips fairly well.

Line dancing helped me overcome my shyness about doing shines and rumba, I still suck at them and am self conscious but I do them when the music calls for it, and I absorbed the fact that you have to do them whole-heartedly to make it look at least somewhat good.

Dancing by myself helped me hammer down first timings and then body movement, footwork, and musicality.
 
Line dancing helped you with rumba?

1. Do you really mean line dancing, or are you referring to linear salsa?

2. Either way, wouldn't learning rumba be more beneficial?
 
Now that we're on different genres. What exactly constitutes a guaguancó de salón? And how to distinguish it from related music?

There's a long thread (or maybe a couple) were we went into this topic in depth, eventually coming to some sort of conclusions.
 
Do you really have to like Timba to become good Casino dancer? I thought Timba (80s) came very long after Casino dancing started (60s). So you will enjoy dancing to reggaeton or timbaton at Salsa or Timba parties? Or you meant you want to get good at reggaeton :p

Casino actually started in the late 1950s - the same time son-based music became far less popular in Cuba. I suspect casino didn't really become massive in Cuba until the rise of timba, which arguably began in 1990. Although prior to that, in the 1980s there were Oscar De León's historic concerts in Cuba in which, by all accounts, he got Cubans to realise that son music wasn't something that had died decades earlier, plus the start of tourists asking for salsa classes, both of which also had a strong impact on the popularity of casino.

Do you have to like timba to become a good casino dancer? it all depends on your definition of good. Do you have to like any form of music to become a good dancer? For me yes but others might say no. I know a few pretty good casino dancers who prefer to dance to S American salsa, some PR dura and romántica, but they're quite basic in their style e.g. no gears. All the advanced casino dancers I have seen online (who, incidentally, don't necessarily look better than the good but basic dancers I mentioned) prefer timba (or worse). For one thing, they want to do gears. But that's not the only reason. I'm sure casino has developed a lot from the 1990s onwards. 2 big influences on the development must have been: the desire of tourists and people outside Cuba to go to dance classes to learn new moves, and the music people were dancing to (timba and timbatón, particularly in Cuba).

I've never seen any casino dancers who want to dance to mambo or much NY salsa dura. Too jazzy.
 
Line dancing helped you with rumba?

1. Do you really mean line dancing, or are you referring to linear salsa?

2. Either way, wouldn't learning rumba be more beneficial?

I mean all the silly dances, many Brazilian, that people do in rows.

The difference is that you are all dancing together, there isn't the pressure of being analyzed like while dancing Rumba or shining. You do the movements quickly and on autopilot since that us the song choreo.
 
Dancing by myself helped me hammer down first timings and then body movement, footwork, and musicality.

Ditto. I don't know how or why, but dancing by myself completely changed the way I dance. Something that was once a chore and directionless became the lone beacon that led to many self-discoveries about dancing. I intuitively do a lot of things now I wouldn't have thought possible before dancing solo.

As a teacher, I know first hand that a teacher can only get you so far. The student needs to put in the work in order to break through limitation.
 
There's a hell of a lot of info on this thread. Some of it debateable and some of it definitely erroneous I'm sure, but also a lot of knowledge.
 
I stand corrected. Seems like a very talented and knowledgeable guy. Helpful too :)
To lead a band of that level and do all 3 percussion parts, yes that's a phenomenal level of talent and skill. His instructional videos for percussion are also pretty good.
 
Maybe I do t understand Chachacha, but to me it is pretty distinct from Son. Much easier than Chachachá vs Danzón-mambo.
 
Hello everyone
Just thought I would drop another video onto this thread.

This is a guitarist demonstrating how to play a basic Guajira pattern.
I think it's a great demo of the distinctive "& 4 & 1" hook described on page 1 of this thread.

Enjoy!
 
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