Salsa Technicals : Playing with the music … Alex Lima

Well, got back from LA Congress (in one piece). However, more on that story (and its videos later on). However, I'd like to talk about playing with the music – since I finally found some video that someone took of Alex Lima one of my favorite solo dancers that really understand how to choreograph to the music. His solo choreography is amazingly fast, precise and fun to watch. I saw Alex Lima perform at Palm Springs several months ago, but at that time I was without a camera. Regardless, pay attention to the song that is being played as he dances to it. Notice how the footwork and body movements are nicely synchronized to the fluidness of the song. Of course, this is a video – but I remembered watching it live was an amazing experience.

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Salsa Technicals: Simplicity in Movement

Again, the master of movement. Now, this video was submitted in the videoclips section – and usually I don't post information about it here, unless its important. You can see how easily he moves through all the SIMPLE patterns. I had received an email 2 days ago about a guy just starting to learn salsa and wanting to do complicated patterns (Mayan style) in order to show people that he knew how to salsa. But the fact is – it is NOT about complicated patterns – it is about being a good dancer. What do I mean by a good dancer? Let me reiterate for the 1000 time:

- Be smooth in your motions. Better to do a simple pattern well, than a complicated one horribly.
- Take good care of your follow. She must get through the pattern before you do.
- Let your pattern have fun. The more the follow has fun, the more you will be looked at as a great dancer.
- Add flavor to your step. Adding simple body motions and arm styling helps show that you are comfortable with what you are doing and can really shake it (in a smooth way).
- Ladies love to spin. Be a good lead to help them perform double and triple turns. Spin, spin, spin – smoothly.

There is a lot more that goes into it but those are the biggest ones that I need to keep reiterating to everyone who is starting off. IT TOOK ME YEARS TO REALIZE THIS, so I'm helping cut the red-tape.

One last thing for the ladies that I'd like to point out in this video – this lady is an amazing spinner (and with Milton even more). At around time 55sec (or -2:10)  – she starts spinning. You might say 'whooptee-do'. But the amazing part is that she speeds up in the middle of her spinning. The fact in spinning is that your fastest spin is your first one because it provides you the momentum you need for the rest. It is hard to increase your speed in the middle of spinning – WITHOUT throwing you off balance and staying in control of your timing. Simply amazing!

 

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Salsa Technicals: The Masters of Body Movement [UPDATED]

Another great piece by Hacha y Machete. These are again some of my favorite dancers in the world salsa scene. They are Victor and Bruju (you've probably seen them in many videos that I post). They are here performing their famous salsa piece entitled "Silencio" which means 'Silence'. Now, its not completely salsa music, but it has a great beat to it – and just the control, precision and fluidity of body movement is amazing to watch. Sad thing is that the actual performance is much longer – and some how the poster of this video cut out some of the other great parts. Great way to feel a friday. Thanks, Patrick for the submission!

UPDATED: Not the full set of performers, but the longer version. Thanks Alina!

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Salsa Technicals : Solo Precussion in Music

Regardless of whether you understand whats going on (or even how this video of a DVD tries to show you how to perform good perscussion solos) – just listening to the solos are great! For those who dance On1 – , listen very carefully to the music here (because the clave and rhythm is isolated for you to hear). This is really what we (On2) dancers use in the music to dance to. You might say it sounds like cha-cha – well….you are correct, but you dance Cha-Cha On2, and the same instrumental fundamentals of clave apply to Salsa/Mambo. That's why, people who dance salsa on2 can easily dance cha-cha correctly (and vice-versa) because all you are doing is replacing the pause with a cha-cha-cha step. There is no cha-cha On1 – it doesn't make sense because the cha-cha-cha happens on 4-and-5 and 8-and-1 in the music (just listen to it) – meaning your break happens on 2-3 and 6-7… just like in…. Salsa on2 .

While the beat is really a cha-cha beat, its still just amazing to listen to – I can literally listen to this beat, rhythm and solo melody of 'guajira ' ALL DAY LONG! You can just feel and groove to it.

I added this next video in the set – more for completeness than for preference. It is more of a 'Tito Puente' style of latin ensemble, where you are mixing more new york jazz melodies with the traditional Cuban sound.

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Salsa Technicals : Salsa Sound Effects (and other explosions…)

Now for Anthony's negative side (I know some of you complain..). Regardless, I like watching performances of salsa songs. Its interesting to see the interpretation of music by my favorite dancers with some very good chosen songs. However, there are some performances where they might have great choregraphy, but they use remix various songs (which is not bad) but then they add the inevitable sound-effects of bombs and explosions that seem like it was put together by the Department of Homeland Security. of performances and choreography. Of course this is my opinion. I guess I feel that what they try and do is fit their desired choreography into the music – which then require them to change the salsa music. However, I believe a performance is about choosing the song and interpreting and use the accents ALREADY in the songs for your body movements (no need to add extra). The choregraphy should be created from the song, not the song chosen based on a choreography. Music should be first.

Now, in the following clips, I want to pay attention to the different. One uses sound effects for their accents and the other uses the accents already in the song for the choreography. I just want to make sure you understand – they are both great dancers! (So, send your "Anthony Complaint" mail somewhere else.. haha ). If you are wondering where the accents are in the second video – pay attention to the main instruments in the song. 

 

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Salsa Technicals : Flirting with the instrument with clean shines…

So, while I was researching the 'My Favorite Things' song from my previous post because I was thinking about using it in a new choreography, I found this video of the salsa girl dancing to it. I really like it (compared to other videos on YouTube using the same song) – this girl understands the song, plays with music. She shows that the best styling and shines come not from complexity but simplicity with the fact of flirting or 'making love' to a specific instrument in the song. Here, again is the "My Favorite Things" song by the New Swing Sextet using the Xylophone for the song, but look at how she plays with what the band gave her with that Xylo. They are some pretty good shines.

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Salsa Technicals : On1 vs On2. Spot the difference?

So, after looking to find the best way of showing how dancing On1 is different from On2, I think I got it. Below are two video clips – one On1 (left) and one On2 (right). The lady dancing with these gentlemen is the same (so I can keep 1 variable constant in our experiment). I can also keep the same type of music, the same event, the same dancefloor static as well. In addition, they are also both performing very similar hand-flicking patterns, – so I will consider that  not being different (or a changing variable). The only difference is that the guy on the left is dancing On1 with her, and the guy on the right is dancing On2. What you should be looking for is paying attention to the way the leads move in relation to the music. Look at their positioning, how much they travel, the smoothness, the speed and compactness. I will not say anything else except those variables to look for and hopefully you'll find the other ones. It will take a while for you to look at each video numerous times to start spotting the difference. Now, to be clear these are both amazing dancers – and it doesn't matter whether On1 or On2, they are practically doing the same advance moves and they all work out. The difference is that each of the moves will have a different feel to them, which is why On1 and On2 are different.

On1	On2

Discuss this in the forums

 

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Salsa Technicals : The Yin and Yang in Salsa

There is something to be said about social dancing. It is a different type of dancing compared to performing – (of course you'll say thats a given). But sometimes, some people forget that. In my case as a leader, its my job to 'entertain' and 'play' with the lady – as well as make her look good. However, what should I be expecting from the lady? Mainly to show me that she's having fun – that gives me the reward that all my hardwork (doing the combos, being smooth, keeping timing, footwork, smiling..etc) is paying off. However, for some dancers, I feel this simple concept is lost.

The Yin and The Yang in Salsa. Now, while I will be mentioning two different type of dancers and their circumstance – its not only prevalent when I dance with them, but with others who feel the same way about them. And because of this 'survey', I decided that it should be explained on "What goes on in the minds of men when they like when dancing with a lady". To help my example (and not mention names) I will use the Yin and Yang dichotomy: Yin is the darker element; it is serious, passive, dark, and corresponds to the night. Yang is the brighter element; it is happy, active, light, and corresponds to the day. 

I will take two different followers that I dance with most of the time. One that doesn't get it, and one that does. -  a Yin and Yang.

I will call the playful lady – Yang. She is a lot of fun to dance with – why? Well, she smiles when she dances. This helps me get feedback that she's having fun. She provides good eye contact – which means, we have a good connection. She also provides good dance chemistry…. hmm what does Anthony mean by this? Well, a dance is like a conversation between the both of you just using your body (hmm.. sounds like sex too). As an example, we might be doing footwork, and all of a sudden I may stop, do a body roll for her, and she might notice and possibly do another body roll in response or something else sexy. That is what I mean by playful chemistry. Maybe I perform a shoulder shake and she smiles and shakes her hips. Again, playful chemsitry. Who knows, she might not have the best styling, or be a professional, or can do 10 turns on a dime – but you feel like its only the two of you dancing, maybe being a little flirtatious, but you feel that you are in a perfect zone where both of you are having a blast. Does it sounds like salsa heaven? Trust me. It is.

Now, there is this other lady I 'have' to dance with every now and then. I will call her Yin. This dancer is an amazing dancer. She has great styling and can spin on a dime and if you see her dance (while you are in the crowd) you can pin-point her out of a crowded dance floor and be amazed at the dancing. Like a flare in the night sky. Yep, she's a professional and you most likely would like to take lessons from her. However, a lot of people are afraid to dance with her becuase she's so stylish and so 'performance'-ish and they are afraid they can't handle her (or are worried about screwing-up). She makes herself self-intimidating. The other folks who know how to control her movements and react to her styling, don't really like to dance with her (without the use of force) because she takes a lot of work to manage, she styles to much that affects the lead, and specifically, she is not playful – which makes dancing not fun. When you dance with her, you'll trully notice that she's more into pleasing/showing-off for the crowd around you, than showing-off for you – the person she is dancing with. She doesn't provide that much eye-contact, doesn't smile often, or play any show-response games as I mentioned above. This doesn't feel like a conversation, but more of a monologue. You work your heart out, do cool shines, smile, make her feel comfortable – but all you get is flat-lines because she is very solemn. Now, you give her credit that she might be hard in concentration in the dance – but no, we are talking about a professional. Does this sound boring? Dull? If you could do the dance over, would you have still asked to to dance, or would you have had better chances with someone else? Maybe have a second dance with Yang?

If it was a question about friendship, who would you find more interesting? If it was a question about dating, who would you rather date? If you had to take a one of them to a theme park – who would you rather take? Yin or Yang? I think you know the answer to the question. And I think an intersting addition to this story is the fact that Yin sometimes questions why some of her favorite dancers do not ask her to dance as often as she'd like – and she believes is because it is because she is not skilled enough. Again, its not a question about skill, but attitude.

Remember, salsa is about having fun on the dancefloor. No one needs to judge, judge your styling, or judge your technique. Its not a competition at the club. Its about chemistry, connection and about the two dancers that matter at that moment for those 3-4 minutes. You and you partner. Forget if you screw up, and forget that you have repeated the same combination like 3 times in a row. As long as you both are smiling – that is all that matters. There is no reason to dance salsa, if not to make yourselves happy.

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Salsa Technicals : Lessons do not trump learning at the club…

So I am going to the studio more often (almost on a daily basis).. and I've been noticing that a lot of the students that take either group lessons (and primarily) take private lessons – I never see them at the club. I found this very disturbing, so I asked one of the fellow students why I never saw him at the club and he stated that "well, I don't think I'm quite ready..".

Now other than the fact that it drove me nuts knowing that he intentionally decided not to go to the club because 'he was not ready', I started wondering how many other individuals (especially leads) do the same thing.

Going to the club is the MOST important thing. First of all going to the club should be main reason you are trying to learn salsa – to dance AT the actual club. There is no point in learning salsa if you are not really using it – keyword 'using' instead of 'will use' (future tense). It is like learning a language in class, but not using it in a daily basis – in the long run, you won't get good in the language or worse, you'll forget it.

Nothing beats being in the trenches taking grenades. TWhile taking private lessons will help you, it should not be a substitue of learning by yourself at the club. An analogy would be on how to drive a car by learning how to read a book. Now, don't get me wrong, it is useful to read a book, maybe a traffic manual, the car manual – but it does not SUBSTITUTE the fact that you will do most of your learning while you are behind the wheel. Now, some of you might say that "well, private lessons is like driving the car too",  – well that might be true, but its like driving a car on a closed course. What about traffic?  What about traffic lights? What about different types of terrain? What about drunk drivers? What if you have a baby in the car? Different types of cars, with different handling? .. I can go on and on.  Nothing beats real-world scenarios. So, you might be practicing with your instructor – but what do you personally do when the dancefloor is really crowded? What if your partner can't turn correctly or keep balance? What if the floor is sticky, or too slippery? What if you have uncomfortable shoes? What if the lights are dimmed or too bright in your face? What if you can't find the beat in the music? Or like David Stein likes to say: What if you've had a couple of drinks? What if your partner has had a couple of drinks … or what if all the people around have had too many drinks!

Mistakes are an essential part of learning. I will not sugarcoat anything, I am like to be blunt and truthful. When you go to the club, with a specific move in mind – you will make mistakes. Maybe during the first night – you don't get to perform that move correctly at all. But, you should not give up. The next time you go to the club and try that same move, maybe you'll only make 3 mistakes. Maybe the next time you go after that only make 1 mistake.. and so on. That is how you get better. Even for me, when I learn a new complicated move, it doesn't magically come out right the first time – I know that the on the 10th time I do something, it will be much better than the first time I did it – its a simple law of economics. 

The 3-1 rule. Very simple and specifically for PRIVATE lessons: for every 1 hour of private lessons you take, there should be at least 3 hours dedicated to social dancing and practicing what you've learned in that hour. Now, this might sound insane, but its not. If you take the fact that you go to a club at 9pm and possibly leave at 12am – thats already 3 hours! If you go out dancing twice a week, then you're more than done! It is the same idea from taken from college teaching – for every 1 credit class, spend 3 hours outside of class doing homework. (Thanks to Beverly for the analogy). This is very important. Because I see that some students take weekly private lessons – but here is the main problem. In a private lesson, if the instructor is very good, you'll learn a whole lot of things that you need to work on. Quick note: don't trust instructors who's private lessons last less than 1 hour! You need a full hour to get the most and really work your brain/body. Why do you think classes last 60 minutes in college?… I regress.. When you learn all the things you need in that private lesson, you need a good break inbetween private lessons so you can actually PUT INTO PRACTICE what you learned in that lesson. If not, you'll be either learning the same issues you had in the previous private lesson, or working on new ones – without previously fixing the old ones which (if fixed, or worked on) could help reduce the remaining ones. Thats why some people never see an improvement in their dancing – they take and take lessons, but never put into practice what they are learning. It is like going to a class in college, sitting and listening to the instructor – but never doing homework. Homework is the key in becoming great at the material (and how you pass tests in college). There is not a more fun homework that going to a salsa club and dancing!

If you do take private lessons, if he's a good instructor, the instructor will know that he/she should space them out for you – because again, you need time to soak the knowledge in, practice it on your own, and try it at the club. Because when you try it at the club, you'll potentially make mistakes and you will come back to him/her with questions. But, you will show progress! And thats the important part, because each time you come back, the questions become less and less.

Intimidation is a sin. Now, I'm not saying I'm a holy man, I still feel intimidated. But to be intimidated to the point that you don't even go to a salsa club – thats a Capital Sin with a capital S. So what do I do when I feel intimidated? Well, I'll ask to dance with person I'm comfortable with – maybe a dancer I know I have good chemistry with, a friend or a person on my dance team that is on a similar skill level as I. I do this because I know its harder for me to screw up my dancing and I know that whatever moves I do or how I screw up – they'll be entertained and we'll have fun. And thats the key fact – you are still dancing, still moving and more quickly becoming a better dancer just because you are out there.

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Salsa Technicals : Multiple spinning and fluid turning

Well, as you probably know, I'm more of a social dancer than a performer. Not that I don't like performing, but I think most of the 'magic' in salsa happens on the dancefloor when you are social dancing and playing with your partner. This is two dancers playing with the music and having fun in Melody Santorico. Now, I'd like you to pay attention at the spinners (and even the guys spinning) how they are very fluid and effortless. When dancing with a good spinner, they will handle their own balance and control. All the guy has to do is put in the extra little effort to 'continue' the momentum that was started in their first turn. When doing multiple spins with the lady, there are two main important things to make those spins work: the prep, and the first spin. If either of those is not done right, spinning multiple times will be a disaster (unless you have a magical follower or lead that can recover very well).

The interesting part about this is that it is a chain of events all linked together. When doing multiple spins, the guy becomes a support layer and a driving layer. He continues to give you the same momentum you require to continue spinning by making concentric circles around your head (or in your specific 'spinning zone'). But for this to happen, you first spin is very important. The first spin should be the fastest spin because it sets the initial power and carried momentum for the rest of the spins. Additionally, if you are off balance during your first spin, it is a high probability that the rest of your time spinning will be trying to recover from your first spin.

However, to perform that first spin correctly, you need a good prep. The prepping (setup) involves the lady knowing exactly where her center of balance is and having good core (having strong abs help). In addition having good frame and firmness in the arms is essential to keeping a good frame while spinning as well as using any free hands for stability and balance throughout the spins. Also, keeping the knees a little bent will help them with the balance throughout the spins as well. I think the prep is the most important thing – and the followers (ladies) should be practicing prepping as often as they practice spinning. You should practice prepping to the point where you don't even think about prepping. It should be an automatic position that when the guy leads a double or triple spin, you are already in place ready to go.

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Salsa Technicals : Playing with the music … Juan Matos

This is a favorite video of mine because it shows of some humor and some cool moves from Juan Matos at the Mardi Gras Mambo II (this is an old video). This is Juan Matos and Kimberli Flores dancing for the crowd…. by the way.. anyone know the name of this song?

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Salsa Technicals : Playing with the music … Magna

So, I talked about playing with the music (and the instruments not just the main down-beat). Here is a good example in video on how you can change some of your steps on different parts of the song. In this video, watch Magna as she does her body motions and footwork to the music. It some spots it is highly noticeable, and in other spots is very subtle. I say, the more noticeable ones are in times 0:25 and 1:20. In addition, I just have to say again, there is nothing probably more attractive than a salsa lady who can do multiple spins on dime… and this is carpet!

[If anyone knows the name of this song - let me know, I would appreciate it!]

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Salsa Technicals : Playing with the music … Frankie Martinez

Now, there are a lot of Frankie Martinez videos out there. Some of them are when he's doing a performance for a large group (and you can notice the…. interesting… outfits). However, I like this video because you can see him play with the beats of the song using his style of dance. No (interesting) outfits to distract you from the important part – which is the dance and footwork….

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