The other day, I was asked to help balance out a Bachata Sensual class.
My answer: "I'm sorry, I can't, but thanks for asking..."
In my head:
My answer: "I'm sorry, I can't, but thanks for asking..."
In my head:
Salsa open diary
- Thread starter MacMoto
- Start date
I want to take some classes... but the instructors available have zero sabor. I do not trust instructors with no sabor - what if they start teaching body rolls and other weird stuff Europeans tend to do? Or like last time, told us to do some "rumba" in the middle of a montuno section
1derpalm
Son Montuno
I watched a video from Hunter houde and he said throw the rumba in whenever you feel like it.
I believe that once someone has learned the basic partnering techniques, then the diminishing returns of taking classes greatly accelerates.
Taking specialty classes make more sense, but I would look online since those can usually be done without a partner.
I've seen guys take the same level partnering class for 5+ years. I don't know why they do that, as if by continuing to take the same class will help them. If they haven't improved in 5 years, then taking more classes isn't the solution.
Most people have no idea how to incorporate Rumba into their dancing so it's easier to just tell students to do them whenever they feel like it. People won't really know until they acquire a greater understanding of the music. For me, it's not a travesty to use Rumba in non-Rumba parts of a song if it's a work in progress.
Hunter produces a layman's guide to learning Rumba. At the time, that's what I needed. I copied the movements but I was more interested in acquiring the motor skills to do it well. In time, I realized I learn better by watching the Master craftsman, not the apprentice.
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1derpalm
Son Montuno
I guess we could argue that using yambu any time makes sense since it's the same clave.
Not like I'm good at rumba (or any djinex lol) but o hate seeing a dance out of context (I was guilty in my late teens if thaT with bboying)
Tonight was an interesting night at my social. First follow was a beginner who didn't know the basics very well however was pretty good at adjusting on the fly. She was still very fun and playful so that wasn't bad at all.The second follower... It was "interesting." I thought it might be my leading but I watched 2 other leaders have the same issues... No connection. Kinda doing their own thing. It was very strange to lead them. Then I found I can only handle about 4 Dura a night before it all blends in with that "dura" feel and the melody kinda gets drowned out 
I have literally fallen asleep at festivals after four duras in a row.Tonight was an interesting night at my social. First follow was a beginner who didn't know the basics very well however was pretty good at adjusting on the fly. She was still very fun and playful so that wasn't bad at all.The second follower... It was "interesting." I thought it might be my leading but I watched 2 other leaders have the same issues... No connection. Kinda doing their own thing. It was very strange to lead them. Then I found I can only handle about 4 Dura a night before it all blends in with that "dura" feel and the melody kinda gets drowned out
What does no connection mean in this context? No smiling? No feeling of enjoyment from the follower side?
Low energy?
I've been thinking about how to properly salvage this type of dance. For me, it involves first raising my energy, but also I look less at my partner. Some leads may try to force a smile or even say it but I think the energy is being misdirected. Instead, I change my focus and listen to the music, trying to be as in sync with it as I can. If I do this, I intuitively smile more and it is genuine since it isn't meant to coax the other person into smiling, but it does seem to make them smile more. The follower is effectively riding on my high and I've noticed an increase in enjoyment on their side.
Btw, this is more about me not wanting to spend 4 minutes being miserable than it is about trying to please the other person.
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Yep. It was back to back. Even rotating back from bachata chacha, right to dura... No tempo media or romantica to break it up and feel the contrast..
She was a very nice and friendly person, laid back and easy going (even gave me a long tight hug but I never saw her before...). Her energy was present but the tension connection was not there (almost in her own world). The first follow l tested her responsiveness with the push-pull and she was very responsive and easy to adjust to; maintained consistent tension which was easy to adjust to. The second one felt as if she was a "native" with no classes. I noticed all three of us had to really lead with her shoulders as I couldn't get her to have the right tension (jello at some times/moves while stiff at other times including the same moves). Leading with her back was non existent. It was very odd due to how inconsistent her responsive was...
If the singer says 'guaguanco' during a section that doesn't scream guaguanco, should the dancer be banned from doing Rumba Guaguanco? Many songs don't use Rumba clave, so does that automatically exclude all Rumba movement from being used in Salsa?
Same goes for Orishas like Elegua. If I hear it in the vocals, it's like giving me permission to do it (or some other Rumba movement). So why should I feel bad about it?
It happens enough in Salsa music where the vocals don't match the rhythms (and that's where part of the confusion comes from identifying Guajira with Son Montuno for example) so as a dancer, I can only respond to what I hear.
You can, however, make an argument that doing arms waves (or pop & lock) is completely out of context with any Salsa song. To me, that's a much bigger infraction than doing Rumba.
I will eat my words if a Salsa song comes out with the vocalist singing 'now do the robot!'
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Ah, okay. I've found with some followers that don't give me tension, I can still lead with intent. Giving them a clear path by blocking others. Most moves can be done without being overtly physical. I only add more physical cues when a sudden stop is necessary like during a copa. I can also guide at the waist, which is a strong lead indicator. I've always wondered why the waist lead is so effective, but I think it's because it's closer to the hips, and you can sense their torso moving more with a waist connection. So between the arms, back and waist, there are enough connection points to establish a minimum level of connection.
4... really?! I have the same feeling about Romantica (but only if too overly melodic without vocals). I could dance all night to Salsa Dura.
But overall my tolerance for Salsa has gone up while my tolerance for non-Salsa has down way down. Also, my tolerance for people who leave the Salsa room to go to the Bachata room has gone down.
Romantica without vocals? That seems like the opposite of the genre. Do you have any examples?
I'm always staggered by how people can dance for six seven minutes straight to a dura song with no real tempo shifts and the same chorus every 30 seconds. Then do it again for the next song and the next. I know it is good for developing musicality and practicing shines but I find it mind-numbingly boring.
Better way to put it would be more melodic without much dynamic rhythms or breaks and flat vocals. Like DJ Ricky Campenelli's stuff. I find it incredibly boring myself. I am completely fine with songs like Tu Con El.
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If I can feel the richness of the percussion and bass lines, then I don't mind if the song is repetitive. What some people might just hear as noise I try to dissect in order to hear what's going underneath. Having slamming vocals on top would add even more richness.
To me the problem with romanticas is not the singing, nor that it is romantic. It is just the beat lacks rhythm compared to son, son montunos, or salsa duras. I need rhythm to dance. For romanticas I prefer south american romantic style without a lot of turns.
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