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Modern dance school with an effective educational program for kids & adults in Dubai.

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You will work with professional dancers, winners of multiple dance championships.

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Whether you are a newbie, amateur or professional dancer, we will help you develop and improve your dancing skills! with three branches in the middle east

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We design a special customized program and schedule for every student to achieve their dancing dreams!

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Enroll at our dance center and benefit from being taught by highly experienced academy teachers. Classes are designed to encourage creativity, discipline and independent thinking. At Tempo Center there are lots of ways for you to learn and appreciate dance.


Our programs offers a wide range of classes, for young people aged three to adults, seven days a week. So whether you are already taking classes and want to develop your technique and skills further, or are new to dance and looking for a fun way to get fit, we have the class to suit your ability.


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Tempo Dance isn't simply a dance academy; it's where customers become pieces of our dance family. Recognized as the best dance academy in Dubai, we are the go-to dance studio that brings satisfaction, wellness, and fulfilment to our clients. With the best dance classes in Dubai, we guarantee that our clients experience the enchantment of dance in a friendly and stable environment. Visit our dance studio near me in Dubai, and set out on an excursion of dance, wellness, and fun!



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Are you looking for the best dance classes in Dubai? Tempo Dance Center stands apart as the chief dance academy in the core of the city. As the best dance school in Dubai, we offer a different scope of classes intended to take care of every age bunch, from children to grown-ups. Our accomplished instructors give a nurturing environment that empowers creativity, discipline, and independent thinking.


Comfort is essential, and our dance studio is decisively found, making it your go-to "
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Our Team

Zumba Instructor

Jed Latabi

Zumba Instructor

Salsa Instructor

Jhon Lucumi

Salsa Instructor

Belly Dance Instructor

Shayma

Belly Dance Instructor

Argentinian Tango Instructor

Waheed Al Masri

Argentinian Tango

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By sites 07 Feb, 2021
Burlesque dancing is all about putting on a show. Whether it’s for you or for your significant other, it’s both provocative and sensual. When people hear burlesque dance, they often assume it’s some form of strip tease. There’s definitely an element of teasing, but it’s so much more than that. It’s about bringing out your self confidence with moves like caressing your legs and arms or feeling sexy while wearing leg warmers. There are also a lot of benefits to trying a burlesque dance class that we’ll go through below not only physically, but also mentally and emotionally! A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.[1] The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla – a joke, ridicule or mockery.[2][3] Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era.[4] "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.[5] Contrasting examples of literary burlesque are Alexander Pope's The Rape of the Lock and Samuel Butler's Hudibras. An example of musical burlesque is Richard Strauss's 1890 Burleske for piano and orchestra. Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others. There has been a resurgence of interest in this format since the 1990s.[6][7] Traditionally, burlesque is a type of variety show that is both provocative and comedic. It features a female chorus and solo dances, plus bawdy, slapstick skits and songs. And yes, it may feature striptease acts, but not necessarily. Health Benefits It's a great cardio workout where you'll sweat and even build stamina and endurance for the next time. My favorite benefit from burlesque dance classes is the muscle toning. Working with props like a chair, helps strengthen your core and your arms. 1. Burlesque Dance Classes Are Inclusive One thing I love about burlesque dance is that any body type can do it. It encourages everyone to love their body and embrace it wholeheartedly. The moves are mostly low impact so any body type can do them. Pressing that play button might be the start to loving your body because you’re telling the world that you believe in your sexiness! 2. Feel Sexier Inside And Out If you’ve always struggled with feeling sexy, burlesque dance can help improve that part of your personality. Burlesque dance takes a lot of emotion and physicality that you HAVE to embrace your inner sex goddess. Even if the move is just to crawl back and forth, the way you attack that crawl will change the way you feel about yourself overall. 3. Learn Something New About Yourself Do you ever think you’re not the creative type? Maybe you didn’t know you had an inner sex goddess? Don’t worry, hunny, try a burlesque dance class and you’ll learn so much more about yourself. I learned that I can pull off a sexy hair flip and that I’m a little obsessed with leg warmers too. 4. Burlesque Dance Class Health Benefits Like other dance classes, burlesque dancing has a lot of health benefits. It’s a great cardio workout where you’ll sweat and even build stamina and endurance for the next time. My favorite benefit from burlesque dance classes is the muscle toning. Working with props like a chair, helps strengthen your core and your arms. Get strong while learning sexy dance moves? Yes please. 5. Improve Your Self Confidence We all could use a little confidence boost, right? So why not have a little fun with it too. Taking a burlesque dance class can do just that. Whether you take a class with heels or barefoot with leg warmers, there’s something about the moves that you learn that releases a pep to your step and make you feel like you can conquer the world.
By sites 07 Feb, 2021
Afrobeats (not to be confused with Afrobeat or Afroswing[1]), also known as Afro-pop, Afro-fusion (also styled as Afropop and Afrofusion), is an umbrella term to describe popular music from West Africa and the diaspora[2][3] that initially developed in Nigeria, Ghana, and the UK in the 2000s and 2010s. Afrobeats is less of a style per se, and more of a descriptor for the fusion of sounds flowing out of Ghana and Nigeria. Genres such as hiplife, jùjú music, highlife and naija beats, among others, were amalgamated under the 'afrobeats' umbrella.[4][5][6][7] Afrobeats is primarily produced in Lagos, Accra, and London. Paul Gilroy, of The Black Atlantic, reflects on the changing London music scene as a result of shifting demographics:[8] "We are moving towards an African majority which is diverse both in its cultural habits and in its relationship to colonial and postcolonial governance, so the shift away from Caribbean dominance needs to be placed in that setting. Most of the grime folks are African kids, either the children of migrants or migrants themselves. It's not clear what Africa might mean to them". Kuti used his music to discuss and criticise contemporary politics, afrobeats typically avoids such topics, thereby making it less politically charged than afrobeat Afrobeats is most identifiable by its signature driving drum beat rhythms, whether electronic or instrumental. These beats harken to the stylings of a variety of traditional African drum beats across West Africa as well as the precursory genre Afrobeat.[8] The beat in Afrobeats music is not just a base for the melody, but acts as a major character of the song, taking a lead role that is sometimes equal to or of greater importance than the lyrics and almost always more central than the other instrumentals. Afrobeats shares a similar momentum and tempo to house music. Usually using the 4/4 time signature common Western music, afrobeats commonly features a 3–2 or 2–3 rhythm called a clave.[3][5] Another distinction within Afrobeats is the notably West African, specifically Nigerian or Ghanaian, accented English[8] that is often blended with local slangs, pidgin English, as well as local Nigerian or Ghanaian languages depending on the backgrounds of the performers. Afro dance also known popularly as "Afro" refers mainly to the dance of Sub-Saharan Africa, and more appropriately African dances because of the many cultural differences in musical and movement styles. These dances must be viewed in close connection with Sub-Saharan African music traditions and Bantu cultivation of rhythm. African dance utilizes the concept of as well as total body articulation.[1] Dances teach social patterns and values and help people work, mature, praise or criticize members of the community while celebrating festivals and funerals, competing, reciting history, proverbs, and poetry; and to encounter gods.[2] African dances are largely participatory, with spectators being part of the performance. With the exception of some spiritual, religious, or initiation dances, there are traditionally no barriers between dancers and onlookers. Even ritual dances often have a time when spectators participate.[3] Traditional dance in Africa occurs collectively, expressing the life of the community more than that of individuals or couples. Early commentators consistently commented on the absence of close couple dancing: such dancing was thought immoral in many traditional African societies.[4] In all sub-Saharan African dance, there seems to be no evidence for sustained, one-to-one male-female partnering anywhere before the late colonial era when it was apparently considered in distinctly poor taste.[5] For the Yoruba, to give a specific example, touching while dancing is not common except in special circumstances.[6] The only partner dance associated with African dances would be the Bottle Dance of the Mankon People in the Northwest Region of Cameroon or the Assiko from the Douala people that involve an interaction of Man and Woman and the way that they charm each other. Emphasizing individual talent, Yoruba dancers and drummers, balss example, express communal desires, values, and collective creativity. Dances are usually segregated by sex, where gender roles in children and other community structures such as kinship, age, and political status are often reinforced.[7] Many dances are performed by only males or females, which is in part due to many dances having developed in association with occupational activities, and beliefs in gender roles and gender expressions.[8] Dances celebrate the passage from childhood to adulthood or spiritual worship.[9] Young girls of the Lunda of Zambia spend months practicing in seclusion for their coming of age ritual. Boys show off their stamina in highly energetic dances, providing a means of judging physical health.[7] Master dancers and drummers instruct children to learn dances exactly as taught without variation. Improvisation or a new variation comes only after one has mastered the dance, performed, and has received the appreciation of spectators and the sanction of village elders.[10] "Musical training" in African societies begins at birth with cradle songs, and continues on the backs of relatives both at work and at festivals and other social events. Throughout western and central Africa child's play typically includes games that develop skills in understanding rhythms.[11] Bodwich, an early European observer, observed that the musicians' maintained strict time (i.e. concern for the basic pulse or beat), noting that " children will move their heads and limbs, while on their mother's backs, in exact unison with the tune which is playing."[12] The sounding of three beats against two, known as a polyrhythm, is experienced in everyday life and helps develop a two-dimensional attitude to the rhythm. The most widely used musical instrument in Africa is the human voice.[13] Nomadic groups such as the Maasai do not traditionally use drums. In an African community, coming together in response to the beating of the drum is an opportunity to give one another a sense of belonging and of solidarity, a time to connect with each other and be part of a collective rhythm of the life in which young and old, rich and poor, men and women are all invited to contribute to the society.[14] Shoulders, chest, pelvis, arms, legs etc., may move with different rhythms in the music. Dancers in Nigeria commonly combine at least two rhythms in their movement, and the blending of three rhythms can be seen among highly skilled dancers. Articulation of as many as four distinct rhythms is rare.[4] They may also add rhythmic components independent of those in the music. Very complex movements are possible even though the body does not move through space.[15] Dancers are able to switch back and forth between rhythms without missing movements.[16] The drumming represents an underlying linguistic text that guides the dancing performance, with the most emotional meaning being derived from the actions and metalanguage of the dancer's performance. While the spontaneity of the dancer's performance creates an impression of improvisation, it is a rather strenuously rehearsed technique. The use of this style of dance is not to emphasize the individual's experience, but instead to mediate the interaction between the audience and the drummer's performance Health Benefits Dances teach social patterns and values and help people work, mature, praise or criticize members of the community while celebrating festivals and funerals, competing, reciting history, proverbs, and poetry; and to encounter gods. African dances are largely participatory, with spectators being part of the performance. It also helps meet new people, it can be a very social environment.” However, there were a number of health benefits that participants identified as unique to African Dance. These benefits included: Stress and anxiety relief, improvement in mood, and health promotion and disease prevention.
By sites 07 Feb, 2021
Zumba is an exercise fitness program created by Colombian dancer and choreographer Alberto "Beto" Pérez during the 1990s.[1] Zumba is a trademark owned by Zumba Fitness, LLC. The Brazilian pop singer Claudia Leitte has become the international ambassador to Zumba Fitness.[2] Zumba was founded in 1998 by Pérez in Cali, Colombia. Pérez, an aerobics instructor, forgot to bring his regular music to his aerobics class. He happened to have cassette tapes of Latin dance music—salsa and merengue—and danced to them instead, which Pérez later taught as "Rumbacize".[3][4] In 2001, Pérez partnered with Alberto Perlman and Alberto Aghion, and the trio released a series of fitness videos sold via infomercial.[5] Insight Venture Partners and the Raine Group made an investment in 2012.[6][7] The company expanded into class instruction and by 2015, according to Perlman, there were 14 million Zumba students in 186 countries.[8] Though the word "zumba" has several meanings in e.g. Castilian and Latin American Spanish,[9][10] it is stated by Zumba Fitness, LLC to be a neologism that was expressly created as a brand name.[11] The original name was "Rumbacize", a combination of rumba (a Spanish word for "party" and various dances) and Jazzercize. Choreography Zumba choreography is composed using all or some of the sixteen core steps. There are four basic rhythms: salsa, reggaeton, merengue and cumbia,[14] and each basic rhythm has four core steps.[15] Classes Zumba classes are typically about an hour long and are taught by instructors licensed by Zumba Fitness, LLC.[16] In one Zumba class, a person can burn up to 600 kcal, depending on the energy put forth.[17][18][19][20] The music comes from the following dance styles: cumbia, salsa, merengue, mambo, flamenco, chachacha, reggaeton, soca, samba, hip hop music, axé music and tango. There are ten types of classes, for different levels of age and exertion.[21][22] • Zumba Gold is a program designed for beginners and older people. • Zumba Step is a lower-body workout that incorporates Zumba routines and step aerobics with Latin dance rhythms. • Zumba Toning is for people who do their workouts with toning sticks. It targets the abs, thighs, arms, and other muscles throughout the body. This type of Zumba class provides participants with a cardio workout and strength training. • Aqua Zumba classes are held in a swimming pool. The instructor leads the class poolside while participants follow in shallow water. Moves have been specially adapted to combine the same dance movements used in a Zumba Fitness class with those used in aqua fitness classes. • Zumba in the Circuit combines dance with circuit training.[23] These classes usually last 30 minutes and feature strength exercises on various stations in timed intervals. • Zumbatomic, Zumba Kids[16] and Zumba Kids Jr. classes are designed for children between the ages of 7 and 11.[24] • Zumba Gold-Toning is a toning class for older participants with goals of improving muscle strength, posture, mobility, and coordination. • Zumba Sentao is a chair workout that focuses on using body weight to strengthen and tone the body.[25] • Strong Nation (Previously known as Strong by Zumba) was launched in 2016. This speciality combines high intensity interval training with Synced Music Motivation.[26] • Zumbini is a class for babies and children at the ages of 0–3 years old and their caregivers. Their live classes stream on BabyFirstTV.[27] • A Plate by Zumba is an e-learning program to learn about healthy eating habits.[28] Zumba instructors have the option to become ZIN™️ Members (Zumba Instructor Network members) to receive monthly music and bimonthly training DVDs to assist with the creation of music and choreography for their personal Zumba classes.[29] By 2019, there are more than 100,000 Zumba instructors around the world.[30]
By sites 07 Feb, 2021
Belly dance; also sometimes referred to as Raqs Sharqi (Arabic: رقص شرقي‎, lit. 'Raqs sharqi', literally: "oriental dancing") is an Arabic expressive and artistic dance that originated in Egypt[8] and that emphasizes complex movements of the torso.[9] It has evolved to take many different forms depending on the country and region, both in costume and dance style; with Egyptian style and its famous traditional rhymes being the most common worldwide having many schools around the globe practicing it. Names and terminology "Belly dance" is a translation of the French term danse du ventre, which was coined in 1864 as a snide nickname for the Orientalist painting The Dance of the Almeh by French artist Jean-Léon Gérôme The painting depicts a woman dancing before an audience of seated soldiers in a fantasy Middle Eastern setting. The dancer's costume, with its small vest and gauzy blouse, seems to have been inspired by contemporary Awalem (Egyptian slang for Dancers) women's clothing. Whereas the Awalem woman of the period would have worn an elbow-length blouse tucked in to her skirt at the waist, this dancer's sheer blouse is open over her bare breasts and her bare abdomen is thrust toward the viewer of the painting. Over time danse du ventre came to be used in French for all solo, torso-articulated dances of Middle Eastern origin. The English translation "belly dance" seems to have made its first appearance in 1889 in reference to the Egyptian dancers who performed at the Exposition Universelle that was held in Paris that year.[10][11] The informal, social form of the dance is known as Raqs Baladi ('Dance of the Country' or 'Folk Dance') in Egyptian Arabic and is considered an indigenous dance. Raqs Sharqi ('Eastern Dance') is a broad category of professional forms of the dance, including forms of belly dance as we[who?]know it today, such as Raqs Baladi, Sa'idi, Ghawazee and Awalim. Belly dance is primarily a torso-driven dance, with an emphasis on articulations of the hips.[12] Unlike many Western dance forms, the focus of the dance is on isolations of the torso muscles, rather than on movements of the limbs through space. Although some of these isolations appear similar to the isolations used in jazz ballet, they are sometimes driven differently and have a different feeling or emphasis. In common with most folk dances, there is no universal naming scheme for belly dance movements. Some dancers and dance schools have developed their own naming schemes, but none of these is universally recognized. One of the most common naming schemes is that of the Salimpour Format, introduced by Suhaila and Jamila Salimpour. Jamila Salimpour was the first to coin many now-popular names of belly dance moves,[13][14] including steps such as the Basic Egyptian, Choo Choo, Maya, and Turkish Drop. But these commonly-held terms are the exception, rather than the rule, in the belly dance world. Movements found in belly dance Many of the movements characteristic of belly dance can be grouped into the following categories:[15] • Percussive movements: Staccato movements, most commonly of the hips, used to punctuate the music or accent a beat. Typical movements in this group include hip drops, vertical hip rocks, outwards hip hits, hip lifts and hip twists. Percussive movements using other parts of the body can include lifts or drops of the ribcage and shoulder accents. • Fluid movements: Flowing, sinuous movements in which the body is in continuous motion, used to interpret melodic lines and lyrical sections in the music, or modulated to express complex instrumental improvisations. These movements require a great deal of abdominal muscle control. Typical movements include horizontal and vertical figures of 8 or infinity loops with the hips, horizontal or tilting hip circles, and undulations of the hips and abdomen. These basic shapes may be varied, combined and embellished to create an infinite variety of complex, textured movements. • Shimmies, shivers and vibrations: Small, fast, continuous movements of the hips or ribcage, which create an impression of texture and depth of movement. Shimmies are commonly layered over other movements, and are often used to interpret rolls on the tablah or riq or fast strumming of the oud or qanun (instrument). There are many types of shimmy, varying in size and method of generation. Some common shimmies include relaxed, up and down hip shimmies, straight-legged knee-driven shimmies, fast, tiny hip vibrations, twisting hip shimmies, bouncing 'earthquake' shimmies, and relaxed shoulder or ribcage shimmies. In addition to these torso movements, dancers in many styles will use level changes, travelling steps, turns and spins. The arms are used to frame and accentuate movements of the hips, for dramatic gestures, and to create beautiful lines and shapes with the body, particularly in the more balletic, Westernised styles. Other movements may be used as occasional accents, such as low kicks and arabesques, backbends and head tosses. In the Middle East Origins and history Belly dancing is believed to have had a long history in the Middle East. [9] Several Greek and Roman sources including Juvenal and Martial describe dancers from Asia Minor and Spain using undulating movements, playing castanets, and sinking to the floor with "quivering thighs", descriptions that are certainly suggestive of the movements that are today associated with belly dance.[16] Later, particularly in the 18th and 19th centuries, European travellers in the Middle East such as Edward Lane and Flaubert wrote extensively of the dancers they saw there, including the Awalim and Ghawazee of Egypt.[17] In the Ottoman Empire, belly dance was performed by both boys and women in the Sultan's palace.[18] Social context Belly dance in the Middle East has two distinct social contexts: as a folk or social dance, and as a performance art. As a social dance, belly dance (also called Raqs Baladi or Raqs Shaabi in this context) is performed at celebrations and social gatherings by ordinary people (male and female, young and old), in their ordinary clothes.[19] In more conservative or traditional societies, these events may be gender segregated, with separate parties where men and women dance separately.[20] Historically, professional dance performers were the Awalim (primarily musicians and poets), Ghawazi, and Köçekler. The Maazin sisters may have been the last authentic performers of Ghawazi dance in Egypt, with Khayreyya Maazin still teaching and performing as of 2009.[21] In the modern era, professional performers (including dancers, singers, and actors) are not considered to be respectable in more conservative Middle Eastern countries, and there is a strong social stigma attached to female performers in particular, since they display their bodies in public, which is considered haram in Islam. However, in Lebanon, Turkey, Morocco, Iraq and unofficially in Iran and Egypt the art is still celebrated and performed.[22] In Egypt Many belly dancers work in Cairo. The modern Egyptian belly dance style (and the modern costume) are said to have originated in Cairo's nightclubs. Many of the local dancers went on to appear in Egyptian films and had a great influence on the development of the Egyptian style and became famous, like Samia Gamal and Taheyya Kariokka, both of whom helped attract eyes to the Egyptian style worldwide. Professional belly dance in Cairo has not been exclusive to native Egyptians, although the country prohibited foreign-born dancers from obtaining licenses for solo work for much of 2004 out of concern that potentially inauthentic performances would dilute its culture. (Other genres of performing arts were not affected.) The ban was lifted in September 2004, but a culture of exclusivity and selectivity remained. The few non-native Egyptians permitted to perform in an authentic way invigorated the dance circuit and helped spread global awareness of the art form.[24] American-born Layla Taj is one example of a non-native Egyptian belly dancer who has performed extensively in Cairo and the Sinai resorts.[25] Egyptian belly dance is noted for its controlled, precise movements.[26] Although it's seen as a dance mainly for women, nowadays we see many men trying to defy these social norms.[27] In Iran (Persia) Iranian (Persian) Belly Dance looks like Arab (Iraqi) belly dance, and Persians refer to it as "Arabic dance". In Turkey Egyptian belly dance is referred to in Turkey as Oryantal Dans, or simply 'Oryantal'. Many professional dancers and musicians in Turkey continue to be of Romani heritage, and the Roma people of Turkey have had a strong influence on the Turkish style.[28] In Turkey the style of belly dance is lively and playful, with a greater outward projection of energy than the more contained and artistic Egyptian style.[citation needed] In Turkey dancers are known for their energetic, athletic (even gymnastic) style, and their adept use of finger cymbals, also known as zils, which are commonly used in Egyptian style and movies. Connoisseurs of Turkish style often say a dancer who cannot play the zils is not an accomplished dancer.[citation needed] Floorwork, which has been banned in Egypt since the mid-20th century, is still a part of Turkish belly dance.[citation needed] Another distinguishing element of Turkish style is the use of a 9 8 rhythm,[citation needed] divided as 2+2+2+3, often referred to as the Karsilama rhythm. Karşilama, in Turkish dance, is not a rhythm but a folk dance performed in a line, whereas a 9 8 (dokuz sekiz) rhythm defines the count of the rhythm and is used in both karşilama and Roman havasi. In Lebanon Lebanese style belly dance is somewhere between the Egyptian and Turkish styles.[citation needed] Lebanese dance takes from the classic oriental dance, but still incorporates a feisty, modern edge. There are large steps, backward leans to the torso, twisting hip rotations, large and busy arms and many shimmies. The types of techniques that are used in Lebanese style dance are quick layered shimmies and subtle internal movements. Lebanese dancers sometimes include kicks, splits, deep back bends, and Turkish drops.[29] Outside the Middle East In North America Although there were dancers of this type at the 1876 Centennial in Philadelphia, it was not until the 1893 Chicago World's Fair that it gained national attention. The term "belly dancing" is often credited to Sol Bloom, the Fair's entertainment director, but he referred to the dance as danse du ventre, the name used by the French in Algeria. In his memoirs, Bloom states, "when the public learned that the literal translation was "belly dance", they delightedly concluded that it must be salacious and immoral ... I had a gold mine." Authentic dancers from several Middle Eastern and North African countries performed at the Fair, including Syria, Turkey and Algeria—but it was the dancers in the Egyptian Theater of The Street in the Cairo exhibit who gained the most notoriety. The fact that the dancers were uncorseted and gyrated their hips was shocking to Victorian sensibilities. There were no soloists, but it is claimed that a dancer nicknamed Little Egypt stole the show. Some claim the dancer was Farida Mazar Spyropoulos, but this fact is disputed.[30] The popularity of these dancers subsequently spawned dozens of imitators, many of whom claimed to be from the original troupe. Victorian society continued to be affronted by the dance, and dancers were sometimes arrested and fined.[31] The dance was nicknamed the "hoochie coochie", or the shimmy and shake. A short film, "Fatima's Dance", was widely distributed in the Nickelodeon theaters. It drew criticism for its "immodest" dancing, and was eventually censored. Belly dance drew men in droves to burlesque theaters, and to carnival and circus lots. Thomas Edison made several films of dancers in the 1890s. These included a Turkish dance, and Crissie Sheridan in 1897,[32] and Princess Rajah from 1904,[33] which features a dancer playing zills, doing "floor work", and balancing a chair in her teeth. Ruth St. Denis also used Middle Eastern-inspired dance in D. W. Griffith's silent film Intolerance, her goal being to lift dance to a respectable art form at a time when dancers were considered to be women of loose morals. Hollywood began producing films such as The Sheik, Cleopatra, and Salomé, to capitalize on Western fantasies of the orient. When immigrants from Arab states began to arrive in New York in the 1930s, dancers started to perform in nightclubs and restaurants. In the late 1960s and early 1970s many dancers began teaching. Middle Eastern or Eastern bands took dancers with them on tour, which helped spark interest in the dance. Although using Turkish and Egyptian movements and music, American Cabaret ("AmCab") belly dancing has developed its own distinctive style, using props and encouraging audience interaction. In 1987, a distinctively American style of group improvisational dance, American Tribal Style Belly Dance, (ATS), was created. Although a unique and wholly modern style, its steps are based on existing dance techniques, including those from India, the Middle East, and Africa.[34] Many forms of "Tribal Fusion" belly dance have also developed, incorporating elements from many other dance and music styles including flamenco, ballet, burlesque, hula hoop and even hip hop. "Gothic Belly Dance" is a style which incorporates elements from Goth subculture. In Spain Belly dancers are thought to have come to Spain from Lebanon in the time of the Phoenicians (11th Century BC to 5th Century BC). When Arab family of the Umayyad came to Spain, they sent Basque singers and dancers to Damascus and Egypt for training in the Middle Eastern style. These dancers came to be known as Al-Andalus dancers. It is theorised that the fusion of the Al-Andalus style with the dances of the Gypsies led to the creation of flamenco. In Australia The first wave of interest in belly dancing in Australia was during the late 1970s to 1980s with the influx of migrants and refugees escaping troubles in the Middle East, including drummer Jamal Zraika. These immigrants created a social scene including numerous Lebanese and Turkish restaurants, providing employment for belly dancers. Rozeta Ahalyea is widely regarded as the "mother" of Australian belly dance,[35] training early dance pioneers such as Amera Eid and Terezka Drnzik. Belly dance has now spread across the country, with belly dance communities in every capital city and many regional centres. In the United Kingdom[edit] Belly dance has been in evidence in the UK since the early 1960s. During the 1970s and 1980s, there was a thriving Arabic club scene in London, with live Arabic music and belly dancing a regular feature,[36] but the last of these closed in the early 1990s.[37] Several prominent members of the British belly dance community began their dance careers working in these clubs. Today, there are fewer traditional venues for Arabic dance in the UK; however, there is a large amateur belly dance community. Several international belly dance festivals are now held in Britain such as The International Bellydance Congress, The London Belly Dance Festival and Majma Dance Festival.[38][39][40] In addition, there are a growing number of competitions, which have increased in popularity in recent years. The UK belly dance scene leans strongly towards the Egyptian/Arabic style, with little Turkish influence. American Tribal Style and Tribal Fusion belly dance are also popular. Costume "suit") style, which typically includes a fitted top or bra, a fitted hip belt, and a full-length skirt or harem pants. The bra and belt may be richly decorated with beads, sequins, crystals, coins, beaded fringe and embroidery. The belt may be a separate piece, or sewn into a skirt. Badia Masabni, a Cairo cabaret owner during the early 20th century, is credited with creating the modern bedlah style. It has been suggested that the bedlah was inspired by glamorous Hollywood costuming, or created to appeal to Western visitors.[41] Earlier costumes were made up of a full skirt, light chemise and tight cropped vest with heavy embellishments and jewelry. As well as the two-piece bedlah costume, full-length dresses are sometimes worn, especially when dancing more earthy baladi styles. Dresses range from closely fitting, highly decorated gowns, which often feature heavy embellishments and mesh-covered cutouts, to simpler designs which are often based on traditional clothing. Costume in Egypt In Egypt dancers wear a bedlah. Alternatively, they may wear a dress with mesh-filled cutouts. Egypt has laws in place regarding what dancers can and cannot wear, and according to Act No. 430 of the law on the censorship of literary works, dancers must cover their lower bodies, including the breast and stomach area.[43] Typically a sheer, skin-colored mesh fabric covering the stomach is enough. Many dancers in Cairo ignore these rules, as they are rarely enforced and the consequences for performing with a bare belly may simply be a fine. However, there have been multiple incidents of foreign belly dancers being arrested over their costumes. Costume in Lebanon As there is no prohibition on showing the abdomen in Lebanon, the bedlah style is more common. The skirts tend to be more sheer than Egyptian outfits, showing more of the dancer's body. The veil is more widely used than in Egypt. High heels are commonly worn. Lebanese dancers have more freedom than Egyptian style dancers in the type of costume they choose to wear.[citation needed] Costume in Turkey In Turkey costumes are usually in the bedlah style.[citation needed] Distinctive features of many Turkish costumes include a V-shaped or triangular belt which may be shaped or contoured around the top edge, and a great deal of embellishment and beaded fringing on both the bra and the belt.[ Skirts are often fuller than their Egyptian counterparts, and are likely to be made of chiffon or velvet rather than lycra. In the 1980s and '90s a very revealing costume style developed with skirts designed to display both legs up to the hip, and plunging bras or even pasties. [ Such styles still exist in some venues but there are also many belly dancers who wear more moderate costumes. Even so, many belly dance costumes reflect the playful, flirty style of belly dance Tribal style costumes Tribal belly dance costumes draw inspiration from traditional folkloric costumes across the globe and include circle skirts, pantaloons, and turbans or headdresses decked with feathers or flowers.[34] Health Belly dance is a non-impact, weight-bearing exercise and is thus suitable for all ages.[44][45] Many of the moves involve isolations, which improves flexibility of the torso. Belly dance moves are beneficial to the spine, as the full-body undulation moves lengthen (decompress) and strengthen the entire column of spinal and abdominal muscles in a gentle way. Dancing with a veil can help build strength in the upper body, arm and shoulders. Playing the zills trains fingers to work independently and builds strength. The legs and long muscles of the back are strengthened by hip movements
By sites 07 Feb, 2021
Tango is a partner dance, and social dance that originated in the 1880s along the Río de la Plata, the natural border between Argentina and Uruguay. It was born in the impoverished port areas of these countries, in neighborhoods which had predominantly African descendants.[2] The tango is the result of a combination of Rioplatense Candombe celebrations, Spanish-Cuban Habanera, and Argentinean Milonga.[3] The tango was frequently practiced in the brothels and bars of ports, where business owners employed bands to entertain their patrons with music.[4] The tango then spread to the rest of the world.[5] Many variations of this dance currently exist around the world. On August 31, 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists. History Tango is a dance that has influences from African, Native American and European culture.[8] Dances from the candombe ceremonies of former African slave peoples helped shape the modern day tango. The dance originated in lower-class districts of Buenos Aires and Montevideo. The music derived from the fusion of various forms of music from Europe.[9] The words "tango" and "tambo" around the River Plate basin were initially used to refer to musical gatherings of slaves, with written records of colonial authorities attempting to ban such gatherings as early as 1789.[10] Initially, it was just one of the many dances, but it soon[when?] became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants.[11] When the tango began to spread internationally around 1900, cultural norms were generally conservative, and so tango dancing was widely regarded as extremely sexual and inappropriate for public display. This led to a phenomenon of culture shock. Additionally, the combination of African, Native American and European cultural influences in tango was new and unusual to most of the Western world.[12] Many neighbourhoods of Buenos Aires have their particular tango histories: for example La Boca, San Telmo and Boedo. At Boedo Avenue, Cátulo Castillo, Homero Manzi and other singers and composers used to meet at the Japanese Cafe with the Boedo Group.[citation needed] In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Tango historian Nardo Zalko, a native of Buenos Aires who lived most of his life in Paris, investigated the mutual fertilization between the two cities in his work, Paris – Buenos Aires, Un Siècle de Tango ("A Century of Tango"). Towards the end of 1913, it hit New York City as well as Finland. In the U.S., around 1911, the word "tango" was often applied to dances in a 2 4 or 4 4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American tango", versus the so-called "Argentine Tango". The Tango was controversial because of its perceived sexual overtones and, by the end of 1913, the dance teachers who had introduced the dance to Paris were banished from the city.By 1914, more authentic tango stylings were soon developed, along with some variations like Albert Newman's "Minuet" tango. In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930, caused tango to decline. Its fortunes were reversed as tango became widely fashionable and a matter of national pride under the government of Juan Perón. Taquito Militar by Mariano Mores played a monumental part in the rise of the tango and a major effect on Argentinian culture as a whole. This song was premiered in 1952 during a governmental speech of President Juan D. Perón, which generated a strong political and cultural controversy between different views of the concepts of "cultured" music and "popular" music, as well as the links between both "cultures". Tango declined again in the 1950s, as a result of economic depression and the banning of public gatherings by the military dictatorships; male-only tango practice—the custom at the time—was considered "public gathering". That, indirectly, boosted the popularity of rock and roll because, unlike tango, it did not require such gatherings.[14] In 2009, the tango was added to the UNESCO Intangible Cultural Heritage Lists.[15] Etymology There are several theories regarding the origin of the word tango, none of which has been proven. An African culture is often credited as the creator of this word; in particular, it is theorized that the word derives from the Yoruba word shangó, which refers to Shango, the God of Thunder in traditional Yoruba religion.[16] This theory suggests that the word “shangó” was morphed through the dilution of the Nigerian language once it reached South America via slave trade. According to an alternative theory, tango is derived from the Spanish word for "drum", tambor.[16] This word was then mispronounced by Buenos Aires’ lower-class inhabitants to become tambo, ultimately resulting in the common tango. It is also sometimes theorized that the word is derived from the Portuguese word tanger, which means "to play a musical instrument". Another Portuguese word, tangomão, a combination of the verb tanger ("to touch") with the noun mão ("hand") meaning "to play a musical instrument with one's hands", has been suggested as the etymon of tango.[17] According to some authors, tango is derived from the Kongo word ntangu which means "sun", "hour", "space-time".[18][19][20] Styles The tango consists of a variety of styles that developed in different regions and eras of Argentina as well as in other locations around the world. The dance developed in response to many cultural elements, such as the crowding of the venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow have space between their bodies, or close embrace, where the lead and follow connect either chest-to-chest (Argentine tango) or in the upper thigh, hip area (American and International tango). Different styles of tango are: • Tango argentino • Tango canyengue • Tango Oriental Uruguayan tango • Tango liso • Tango salon • Tango orillero • Tango camacupense (Angola) • Tango milonguero (tango apilado) (see also "Milonguero") • Tango nuevo (new tango) • Tango vals • Milonga • Ballroom tango • Finnish tango These are danced to several types of music: • Tango • Electronic tango-inspired music • "Alternative tango", i.e. music that is an alternative to tango, or non-tango music employed for use in tango-inspired dance The milonguero style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is based on the petitero or caquero style of the crowded downtown clubs of the 1950s. In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to permit execution of the complex footwork. The complex figures of this style became the basis for a theatrical performance style of tango seen in the touring stage shows. For stage purposes, the embrace is often open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops. A newer style sometimes called tango nuevo or "new tango", has been popularized in recent years by a younger generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged "alternative tango" music, in addition to traditional tango compositions. Tango de salon (salon tango) Tango canyengue Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is still popular today. It is one of the original roots styles of tango and contains all fundamental elements of traditional Tango from the River Plate region (Uruguay and Argentina). In tango canyengue the dancers share one axis, dance in a closed embrace, and with the legs relaxed and slightly bent. Tango canyengue uses body dissociation for the leading, walking with firm ground contact, and a permanent combination of on- and off-beat rhythm. Its main characteristics are its musicality and playfulness. Its rhythm is described as "incisive, exciting, provocative". The complex figures of this style became the basis for a theatrical performance style of Tango seen in the touring stage shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops. Tango nuevo A newer style sometimes called tango nuevo or "new tango" was popularized after 1980 by a younger generation of musicians and dancers. Ástor Piazzolla, composer and virtuoso of the bandoneón (so-called "tango accordion") played a major role in the innovation of traditional tango music. The embrace is often quite open and very elastic, permitting the leader to initiate a great variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged, electronic and alternative music inspired in old tangos, in addition to traditional Tango compositions. Tango nuevo is largely fueled by a fusion between tango music and electronica (electrotango [es]), though the style can be adapted to traditional tango and even non-tango songs. Gotan Project released its first tango fusion album in 2000, quickly following with La Revancha del Tango in 2001. Bajofondo Tango Club, a Rioplatense music band consisting of seven musicians from Argentina and Uruguay, released their first album in 2002. Tanghetto's album Emigrante (electrotango) appeared in 2003 and was nominated for a Latin Grammy in 2004. These and other electronic tango fusion songs bring an element of revitalization to the tango dance, serving to attract a younger group of dancers. New tango songs In the second half of the 1990s, a movement of new tango songs was born in Buenos Aires. It was mainly influenced by the old orchestra style rather than by Piazzolla's renewal and experiments with electronic music. The novelty lies in the new songs, with today's lyrics and language, which find inspiration in a wide variety of contemporary styles. In the 2000s, the movement grew with prominent figures such as the Orquesta Típica Fernandez Fierro, whose creator, Julian Peralta,[21][22] would later start Astillero and the Orquesta Típica Julián Peralta. Other bands also have become part of the movement such as the Orquesta Rascacielos, Altertango, Ciudad Baigón, as well as singer and songwriters Alfredo "Tape" Rubín,[21] Victoria di Raimondo,[21] Juan Serén,[21] Natalí de Vicenzo[21] and Pacha González.[21] Ballroom tango Ballroom tango illustration, 1914 Ballroom tango, divided in recent decades into the "International" and "American" styles, has descended from the tango styles that developed when the tango first went abroad to Europe and North America. The dance was simplified, adapted to the preferences of conventional ballroom dancers, and incorporated into the repertoire used in International Ballroom dance competitions. English tango was first codified in October 1922, when it was proposed that it should only be danced to modern tunes, ideally at 30 bars per minute (i.e. 120 beats per minute – assuming a 4 4 measure). Subsequently, the English tango evolved mainly as a highly competitive dance, while the American tango evolved as an unjudged social dance with an emphasis on leading and following skills. This has led to some principal distinctions in basic technique and style. Nevertheless, there are quite a few competitions held in the American style, and of course mutual borrowing of technique and dance patterns happens all the time. Ballroom tangos use different music and styling from the tangos from the River Plata region (Uruguay and Argentina), with more staccato movements and the characteristic head snaps. The head snaps are totally foreign to Argentine and Uruguayan tango, and were introduced in 1934 under the influence of a similar movement in the legs and feet of the tango from the River Plate, and the theatrical movements of the pasodoble. This style became very popular in Germany and was soon introduced to England. The movements were very popular with spectators, but not with competition judges.[23] Finnish tango Tango arrived in Finland in 1913. The tango spread from the dominant urban dance form to become hugely popular across Finland in the 1950s after World War I and World War II. The melancholy tone of the music reflects the themes of Finnish folk poetry; Finnish tango is almost always in a minor key. The tango is danced in very close full thigh, pelvis and upper body contact in a wide and strong frame, and features smooth horizontal movements that are very strong and determined. Dancers are very low, allowing long steps without any up and down movement, although rises and falls are optional in some styles. Forward steps land heel first except when descending from a rise, and in backward steps dancers push from the heel. In basic steps, the passing leg moves quickly to rest for a moment close to the grounded leg. Dips and rotations are typical. There is no open position, and typically feet stay close to the floor, except in dips the follower might slightly raise the left leg. Unlike in some Latin American tango styles, in Finnish tango there is no kicking of any kind, and there are no aerials. The annual Finnish tango festival Tangomarkkinat draws over 100,000 tangophiles to the central Finnish town of Seinäjoki; the town also hosts the Tango Museum.. Comparison of techniques Argentine, Uruguayan, and Ballroom Tango use very different techniques. In Argentine and Uruguayan tango, the body's center moves first, then the feet reach to support it. In ballroom tango, the body is initially set in motion across the floor through the flexing of the lower joints (hip, knee, ankle) while the feet are delayed, then the feet move quickly to catch the body, resulting in snatching or striking action that reflects the staccato nature of this style's preferred music. In tango, the steps are typically more gliding, but can vary widely in timing, speed, and character, and follow no single specific rhythm. Because the dance is led and followed at the level of individual steps, these variations can occur from one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which often has both legato and/or staccato elements) and their mood. The Tango's frame, called an abrazo or "embrace", is not rigid, but flexibly adjusts to different steps, and may vary from being quite close, to offset in a "V" frame, to open. The flexibility is as important as is all movement in dance. The American Ballroom Tango's frame is flexible too, but experienced dancers frequently dance in closed position: higher in the elbows, tone in the arms and constant connection through the body. When dancing socially with beginners, however, it may be better to use a more open position because the close position is too intimate for them. In American Tango open position may result in open breaks, pivots, and turns which are quite foreign in Argentine tango and International (English) tango. There is a closed position as in other types of ballroom dance, but it differs significantly between types of tango. In Tango from the River Plata region, the "close embrace" involves continuous contact at the full upper body, but not the legs. In American Ballroom tango, the "close embrace" involves close contact in the pelvis or upper thighs, but not the upper body. Followers are instructed to thrust their hips forward, but pull their upper body away and shyly look over their left shoulder when they are led into a "corte". In tango from the River Plate region, the open position, the legs may be intertwined and hooked together, in the style of Pulpo (the Octopus). In Pulpo's style, these hooks are not sharp, but smooth ganchos. In Tango from the River Plata, Uruguay and Argentina, the ball or toe of the foot may be placed first. Alternatively, the dancer may take the floor with the entire foot in a cat-like manner. In the International style of Tango, "heel leads" (stepping first onto the heel, then the whole foot) are used for forward steps. Ballroom tango steps stay close to the floor, while the River Plata Tango (Uruguayan and Argentine) includes moves such as the boleo (allowing momentum to carry one's leg into the air) and gancho (hooking one's leg around one's partner's leg or body) in which the feet travel off the ground. Both Uruguayan and Argentine tango features other vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot against the follower's foot), the arrastre (in which the leader appears to drag or be dragged by the follower's foot), and several kinds of sacada (in which the leader displaces the follower's leg by stepping into her space). Tango influence Music and dance elements of tango are popular in activities related to gymnastics, figure skating, synchronized swimming, etc., because of its dramatic feeling and its cultural associations with romance. For the 1978 FIFA World Cup in Argentina, Adidas designed a ball and named it Tango, likely a tribute to the host country of the event.[26] This design was also used in 1982 FIFA World Cup in Spain as Tango Málaga,[27] and in 1984 and 1988 UEFA European Football Championships in France and West Germany. Tango in society Tango appears in different aspects of society: Regular milongas and special festivals. A very famous festival is the Tango Buenos Aires Festival y Mundial in Buenos Aires also known as World tango dance tournament. On a regional level there are also many festivals inside and outside of Argentina. One local festival outside Argentina is Buenos Aires in the Southern Highlands in Australia. Gender and Tango Typically the tango is performed between a man and a woman, however the two have very different aspirations within the tango. Woman often looked to the tango to help them gain confidence and to help them find a potential relationship.[28] Men however looked to the tango for intimate reasons, and were known to be flirty and sexually willing.[28] Women, however, were primarily focused on the dance itself and became wealthy.[28] As time went on and the tango culture changed, women and men often wanted to travel and compete and also teach tango classes and then both women and men are viewed as equals.[28] Gender roles also plays a big part in the mechanics of tango due to the tango needing a leader. But in more recent times this is being challenged due to woman not wanting to be dependent on the male for the dance.[29] In the early 1900s, there were often more male dancers than female so the dance was performed between two men. This allowed for both men to learn the leading and following roles of tango and adapt to both lead equally in the dance. This changed the mechanics of the dance to be closer to two equally leading roles between men and women or same sex pairs.[30] Health benefits It has been suggested that tango makes people feel more relaxed, sexier, and less depressed, and increases testosterone levels.[31] Dance targets six main areas considered to be important for high quality of life and successful aging: 1. physical exercise 2. social satisfaction 3. spirituality and mindfulness 4. cognition 5. meaningfulness 6. emotional and educational health While all types of dance confers some types of benefits, Argentine tango dancing, in particular, has documented evidence that these areas are improved in both healthy and disabled populations.[32] Tangolates is an exercise method that combines the core stability of Pilates with the concentration, coordination and fluid movement of tango, designed in 2004 by Tamara Di Tella. Utilizing a partner-method and incorporating the aerobic or cardio element of music, it started as a rehabilitation technique for patients with severe dysfunctions of the nervous system.
By sites 07 Feb, 2021
Bachata is a style of social dance from the Dominican Republic which is now danced all over the world. It is connected with bachata music. Description In partnering, the lead can decide whether to perform in open, semi-closed or closed position. Dance moves or step variety strongly depend on the music (such as the rhythms played by the different instruments), setting, mood, and interpretation. Unlike salsa, bachata dance does not usually include many turn patterns. Bachata is a social dance from the Dominican Republic in the Caribbean. The basic dance sequence is performed in a full 8-count moving within a square, consisting of three steps and then a tap or various forms of step syncopations (such as the "double step").[1][2] The tap is done on the opposite foot of the last step, while the next step is taken on the same foot as the tap. The dance direction may change after the tap or fourth step. Bachata can be danced on any beat of the musical phrase as long as the basic dance sequence (three steps and then a tap \ syncopation) is maintained (for example, one may start on the 1st beat of the musical phrase, with the tap landing on the 4th beat). From the late 1990s and onward, dancers in the Western world started creating novel dance forms inspired by bachata music. The most well known example of this is the made up basic step commonly referred to as the "side to side step", which is sometimes accompanied by an exaggerated "pop” of the hips during the tap. These novel western dance forms were mostly created copying dance moves from other partner dances of various origins, Latin and non Latin alike. Many such dances exist today, with the first of these often referred to as “Western side basic step”. Bachata Often referred to in the West as "authentic / Dominican" bachata, the original social dance was created in the Dominican Republic during the 1960s and was danced only in closed position, like the bolero, often in close embrace.[2] Bachata basic steps are performed by moving within a small square (side, side, forward and then tap with your toes, then side, side, back and tap). This step was inspired by the bolero basic step, but evolved over time to include a tap and syncopations (steps in between the beats), helping dancers express the more dynamic music being commonly played. The hand placement can vary according to the position of the dances, which can range from very close to open to completely open. Bachata is still danced today in the Caribbean and all over the world, and has been evolving for several decades. It is increasingly danced to faster music, adding more footwork, simple turns and rhythmic free-styling with alternation between close (romantic) and open position. Bachata is danced with soft hip movements and a tap or syncopation (1, 2, 3, tap/syncopation). It can also be danced with or without bouncing (moving the body up on the beats and down again in between the beats by adding slight spring to ones legs). Variants Western "traditional" At some point in the late 1990s, dancers and dance-schools in the Western world began using a side to side pattern instead of the box-steps. The basic steps of this pattern move side to side, changing direction after every tap. Characteristics of this "early" dance school dance is the close connection between partners, soft hip movements, tap with a small "pop" of the hip on the 4th step (1, 2, 3, tap/hip) and does not include many turns/figures. Most of the styling in this dance is from ballroom dance and show moves like dips are commonly used. This was the first novel dance to bachata music that was popularized by dance schools outside the Dominican Republic. Bachatango Another dance was developed shortly after the western "traditional" and was called Bachatango. This is a fusion dance from the West, consisting of short sequences taken from western "traditional" steps combined with different Tango steps and danced like tango. The "pop" count is used to add elaborated sensuality and varied Latin ballroom dance styles and also includes the characteristic kicks from tango. The turns are like in the "western traditional" dance. Although in the past this dance was danced exclusively to bachata music, it has recently been danced to tango music as well. Even though bachatango is unheard of in the Dominican Republic, bachata's country of origin, the dance enjoyed a period of popularity among foreign dance instructors outside the Caribbean. Still, nowadays the dance is not often seen on the social dance floors. Modern / Moderna A dance called modern or moderna was developed probably from around 2005 on the "western traditional" basic elements. The basics are the same as the "western traditional" dance, but with added dance elements and styling from Salsa, tango and Ballroom. In this dance, couples typically move their torsos more and greatly exaggerate the hip pop (especially the ladies). The most direct influence on the modern/moderna dance comes from the adoption of salsa turn patterns; these, together with dips became the core of the dance. Sensual The Sensual dance style was created in Cádiz, Andalusia, Spain, by Korke Escalona and Judith Cordero.[3][4][5][6] Korke learned the basics of western "traditional" in 1998, but with no more information than the basic step (four steps to the side) and inspired by bachata music, he started developing his own dance style inspired by contemporary and Brazilian zouk dances by understanding how the leader (traditionally a man) could lead the body of the follower (traditionally a lady) to interpret the music. The result is a novel, independent dance form with strict principles of leading and following, with mostly circular movements and body waves, but also body isolations and dips when the dancers feel the music calls for it.[7][8] Korke is the creator of the BachataStars competition, in which participants get a random song and show ability to improvise, while showing their dance skills and musicality.[citation needed] Ballroom style Ballroom style is yet another dance developed in the West, primarily for dance competitions rather than social dancing, with very extreme hip movements and much ballroom dance styling. The basic step is based on western "traditional" dance. Other styles There are other Western dances, pioneered and promoted by different teachers around the world, each with its own distinct flair. Whether these are considered completely different styles or simply variations of the main styles above is often argued by teachers and students alike.
By sites 07 Feb, 2021
Salsa is a Latin dance associated with the music genre of the same name which originated in the 1960s in New York City. Salsa is an amalgamation of Puerto Rican, Dominican and Cuban dances that were popular in the ballrooms and nightclubs of San Juan and la Havana by the end of the 1950s (e.g. "casino", mambo and Pechanga), as well as American jazz dances. It was primarily developed by Dominicans and Puerto Ricans living in New York in the late 1960s and early 1970s. Different regions of Latin America and the United States have distinct salsa styles of their own, such as Cuban, Dominican, Puerto Rican, Cali Colombia, L.A. and New York styles. Salsa dance socials are commonly held in nightclubs, bars, ballrooms, restaurants, and outside, especially when part of an outdoor festival. In many styles of salsa dancing, as a dancer shifts their weight by stepping into the middle to have 50/50 weight, the upper body remains level and nearly unaffected by the weight changes. the movement rotates in a figure of eight to cause the hips to move. Arm and shoulder movements are also incorporated. Salsa's tempo ranges from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160 and 220 bpm. The basic Salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the syncopation inherent to Salsa dancing and ensures that it takes eight beats of music to loop back to a new sequence of steps. Origin Johnny Pacheco founded Fania record label in the 1960s and gave the name "Salsa" to a blend of different influences, rhythms and styles of Latin music in New York City, especially in el Barrio, Spanish Harlem, and the Bronx. Salsa means sauce which represented son, guaguanco, son montuno, Jazz elements, Latin Jazz, Cuban influences. Prior to that time, each style was recognized in its pure original form and name. It evolved from forms such as Son, Son Montuno, cha cha cha, and Mambo which were popular in the Caribbean, Latin America and the Latino communities in New York since the 1940s. Salsa, like most music genres and dance styles, has diversified through the years and incorporated elements of other Afro-Caribbean dances such as Pachanga created by johnny pacheco as well. Different regions of Latin America and the United States have distinct salsa styles of their own, such as Cuban, Dominican, Puerto Rican, Cali Colombia. There is some controversy surrounding the origins of the word "salsa," which has been ascribed to the dance since the mid-1800s. Some claim that it was based on a cry shouted by musicians while they were playing their music. Others believe that the term was created by record labels to better market their music, who chose the word "salsa" because of its spicy and hot connotations. Still, others believe the term came about because salsa dancing and music is a mixture of different styles, just like salsa or "sauce" in Latin American countries is a mixture of different ingredients. Description In many styles of salsa dancing, as a dancer shifts their weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. The Cuban Casino style of salsa dancing involves significant movement above the waist, with up-and-down shoulder movements and shifting of the ribcage. The arms are used by the "lead" dancer to communicate or signal the "follower," either in "open" or "closed" position. The open position requires the two dancers to hold one or both hands, especially for moves that involve turns, putting arms behind the back, or moving around each other, to name a few examples. In the closed position, the leader puts the right hand on the follower's back, while the follower puts the left hand on the leader's shoulder. In the original Latin American form, the forward/backward motion of salsa is done in diagonal or sideways with the 3-step weight change intact. In some styles of salsa, such as the New York style, the dancers remain mostly in front of one another (switching places), while in Latin American styles, such as Cuban style, the dancers circle around each other, sometimes in 3 points. This circular style is inspired by Cuban Son, specifically to the beat of son montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. Modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside their home territory. Characteristics that may identify a style include: timing, basic steps, foot patterns, body movement, 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. Incorporating other dance styling techniques into salsa dancing has become very common for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts. Latin American styles originate from Puerto Rico, Cuba and surrounding Caribbean islands. Venues Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially if part of an outdoor festival. Salsa dancing is an international dance that can be found in most metropolitan cities in the world.[5] Festivals are held annually, often called a Salsa Congress, in various host cities aimed to attract variety of salsa dancers from other cities and countries. The events bring dancers together to share their passion for the dance, build community, and to share moves and tips with each other. These events usually include salsa dance performers, live salsa music, workshops, open dancing, and contests. Rhythm Salsa generally uses music suitable for dancing ranges from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160 and 220 bpm. Every salsa composition involves complex Afro-Cuban percussion based around the Clave Rhythm (which has four types), though there can be moments when the clave is hidden for a while, often when quoting Charanga, Changüí and Bomba. 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. 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). This allows the dancing itself to look very fluent as if the rest of the body is just moving untouched with the legs. For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 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. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8. There are other aspects outside the Clave that help define salsa rhythm: the cowbell, the Montuno rhythm and the Tumbao rhythm. The cowbell rhythm emphasizes the "on-beats" of salsa: 1, 3, 5 and 7 while the conga rhythm emphasizes the "off-beats" of the music: 2, 4, 6, and 8. Some dancers like to use the strong sound of the cowbell to stay on the Salsa rhythm. Alternatively, others use the conga rhythm to create a jazzier feel to their dance since strong "off-beats" are a jazz element. Tumbao is the name of the rhythm that is played with the conga drums. It sounds like: "cu, cum.. pa... cu, cum... pa". Its most basic pattern is played on the beats 2, 3, 4, 6, 7 and 8. Tumbao rhythm is helpful for learning to dance contra-tiempo ("On2"). The beats 2 and 6 are emphasized when dancing On2, and the Tumbao rhythm heavily emphasizes those beats as well. The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm loops over the 8 counts and is useful for finding the direction of the music. By listening to the same rhythm, that loops back to the beginning after eight counts, one can recognize which count is the first beat of the music. The basic salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the inherent syncopation to the Salsa dancing and ensures that it takes 8 beats of music to loop back to a new sequence of steps. Different styles employ this syncopation differently. For "On1" dancers this rhythm is described as "quick, quick, quick, pause, quick, quick, quick, pause". For "On2" dancers this rhythm is "quick, quick, slow, quick, quick, slow". In all cases, only three steps are taken in each 4-beat measure (or 6 total over 8 beats). Styles Salsa's roots are based on different Cuban genres such as Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside their home territory. Characteristics that may identify a style include: timing, basic steps, 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. Afro-Latino style The Afro-Latino style is a very popular kind of salsa originating from influences of Afro-Cuban dances. It pretty much involves the same dancing as most versions of the salsa but has a little bit of twist added to it. The thing that separates it and gives it its own identity is that some of the songs tie in an African language and certain African instruments that gives the songs different rhythms. Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts. Latin American styles originate from Puerto Rico, Cuba and surrounding Caribbean islands including the Dominican Republic, and then expanding to Venezuela, Colombia, and the rest of Latin America; Also, there exists the "Miami" style, which is a fusion of some Cuban style elements with elements of various North American dances from the USA. Colombian / Cali style Cali-Style Salsa, also known as Colombian Salsa and Salsa Caleña, is based on geographical location of the Colombian City of Cali. Cali is also known as the "Capital de la Salsa" (Salsa's Capital); due to salsa music being the main genre in parties, nightclubs and festivals in the 21st century. The elements of Cali-Style Salsa were strongly influenced by dances to Caribbean rhythms which preceded salsa, such as Pachanga and Boogaloo. Cali has the most salsa schools and salsa teams in the world. Many of the competitions are held in Colombia.[6] The central feature is the footwork which has quick rapid steps and skipping motions. Colombian style does not execute Cross-body Leads or the "Dile Que No" as seen in other styles, but rather step in place and displace in closed position. Their footwork is intricate and precise, helping several Colombian Style dancers win major world championships. Cali hosts many annual salsa events such as the World Salsa Cali Festival and the Encuentro de Melomanos y Coleccionistas. Cuban style / Casino In Cuba, a popular dance known as Casino was marketed as Cuban-style salsa or Salsa Cubana abroad to distinguish it from other salsa styles when the name was popularized in the 1970s. Casino is popular in many places around the world, including in Europe, Latin America, North America, and even in some countries in the Middle East such as Israel. Dancing Casino is an expression of popular social culture; Cubans consider casino as part of social and cultural activities centering on their popular music. The name Casino is derived from the Spanish term for the dance halls, "Casinos Deportivos" where much social dancing was done among the better-off, white Cubans during the mid-20th century and onward. Historically, Casino traces its origin as a partner dance from Cuban Son, Cha Cha Cha, Danzón and Guaracha. Traditionally, Casino is danced "a contratiempo". This means that, distinct from subsequent forms of salsa, no step is taken on the first and fifth beats in each clave pattern and the fourth and eighth beat are emphasised. In this way, rather than following a beat, the dancers themselves contribute in their movement, to the polyrythmic pattern of the music. At the same time, it is often danced "a tiempo", although both "on3" (originally) and "on1" (nowadays). What gives the dance its life, however, is not its mechanical technique, but understanding and spontaneous use of the rich Afro-Cuban dance vocabulary within a "Casino" dance. In the same way that a "sonero" (lead singer in Son and salsa bands) will "quote" other, older songs in their own, a "casino" dancer will frequently improvise references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities, the older popular dances such as Cha Cha Chá and Danzon as well as anything the dancer may feel. Miami-style Casino Developed by Cuban immigrants to Florida and centered on Miami, this dance style is a fusion of some elements from Casino with many elements from American culture and dances. The major difference of Miami-style from other North American styles is the "Atras" or "Diagonal", back breaking steps performed backwards diagonally instead of moving forwards and backwards as seen in the New York style. Dancers do not shift their body weight greatly as seen in other styles. Instead, dancers keep their upper body still, poised and relaxed while the feet execute endless intricacies. The dancer breaks mostly On1. A major difference between Cali Style and Miami-style is the latter is exclusively danced on the downbeat (On1) and has elements of shines and show-style added to it, following repertoires of North American styles. Miami-style has many adherents, particularly Cuban-Americans and other Latinos based in South Florida. Rueda de Casino In the 1950s Salsa Rueda or more accurately Rueda de Casino was developed in Havana, Cuba. Pairs of dancers form a circle ("Rueda" in Spanish means "Wheel"), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. "Rueda de Cuba" is original type of Rueda, originating from Cuba. It is not as formal as Rueda de Miami and consists of about 30 calls. It was codified in the 1970s. "Rueda de Miami" originated in the 1980s from Miami, is a formal style with many rules based on a mix, and is a hybridization of Rueda de Cuba & North American dance styles, with some routines reflecting American culture (e.g. Coca-Cola, Dedo, Adios) which is not found in the traditional Cuban-style Rueda. Los Angeles style[edit] The Los Angeles Salsa Style (LA style) is danced strictly on 1, in a slot \ line, using elements of various North American and stage dances. This helps prevent dancers from hitting other couples on a crowded dance floor. It is strongly influenced by the Latin Hustle, Swing, Argentine Tango, Mambo dancers from Mexico and Latin Ballroom dancing styles. LA style places strong emphasis on sensuousness, theatricality and acrobatics. The lifts, stunts and aerial works of today's salsa shows are derived mostly from LA style forms with origins in Latin Ballroom and Ballet lifts. The two essential elements of this dance are the forward–backward basic step 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), leaving the slot open. The follower then steps straight forward on 5-6 and turns on 7-8, while the leader makes another 90 degrees’ counter-clockwise and slightly forward, coming back into the slot. In total, the couple turned 180° while the follower moved a distance (about 2meters). Rogelio Moreno, Francisco and Luis Vazquez are credited for the early development and growth of LA Style as well as Albert Torres, Laura Canellias and Joe Cassiniare. Later dancers such as Alex Da Silva, Edie Lewis, Joby Martinez and Johnny Vazquez are often credited with developing the LA style of dancing as we know it today New York style New York style is danced in an ellipse or a "flat figure 8" on the floor, with the partners facing each other most of the time. Unlike other styles of salsa, New York style is danced on the second beat of the music ("on 2"), and the follower, not the leader, steps forward on the first measure of the music. The etiquette of New York Style is strict about remaining in the close dance space, and avoiding dancing in a sandbox area with many spins, turns and styling. There is greater emphasis on performing "shines" in which dancers separate themselves and dance solo with intricate footwork and styling for a time—a phenomenon that likely has origins from Swing and New York Tap. Though he did not create New York style salsa, Eddie Torres is credited with popularizing it, and for having the follower step forward on the first beat of the first measure, followed by another step forward on the second beat to change direction (the "break step"). There are two distinct developments of New York salsa as a music and dance genre: 1. Primary evolution from Mambo era was introduced to New York due to influx of migrating dissidents from all the Caribbean and other Latin migrants during Pre/Post Cuban Revolution in the 1950s and 1960s. This era is known as the "Palladium Era". At this time, the music and dance was called "Mambo"—connoting the general term without being specific. The most famous dancer during this era was Puerto-Rican descendant Pedro "Cuban Pete" Aguilar,[8] also known "The King of Latin Beat". 2. Secondary evolution during the late 1970s, Latin Puerto Rican migrants, contributed a lot to the New York salsa development during the "NuYorican" era of Héctor Lavoe which greatly popularized salsa and modern Latin music throughout the world. Puerto Rican salsa superstars were the most important musicians during the era, such as Ray Baretto ("The Godfather") and many others. There are also salsa artists that transcend both periods, notably the legendary Puerto Rican Tito Puente ("The Mambo King"). These two developments create a fusion of a new salsa music and dance genre, different from its Latin American and Caribbean counterparts. New York style salsa emphasizes harmony with the percussive instruments in salsa music, such as the congas, timbales, and clave, since many or all of those instruments often mark the second beat in the music.
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