Jun
18
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Leyla Najma asked:
History shows us through paintings that the veil came to symbolize the untouchable and tantalizing appeal of women in the Middle East. To show just a little part of the body was alluring enough to cause men to pine for women’s affection. If we look at 19th Century paintings of various scenes of women dancing, the look of the belly dancer is quite refined. The distinctive folds in the belt or the accessories from the ankle all the way to the headpiece tell the individual story of each dancer. This is how dancers from the past to the present set themselves apart from their contemporaries.
I can remember seeing “Cleopatra” starring Elizabeth Taylor for the first time and thinking how beautiful the costumes were and how much fun they would be to dance in. “Samson and Delilah” with Hedy Lamarr is my all time favorite biblical movie and her costumes inspire me even to this day. Claudette Colberts costume in the 1934 “Cleopatra” looks like a costume of today. Hollywood had very unusual ideas about what the women from the Middle East wore. But if we look back through time the belly dance costume really hasn’t changed all that much. This really surprised me because as I was doing my research it became apparent to me that when you have a good design it’s hard to improve on it.
Recently I danced with a wonderful group of performers who were Asian dancers. Their costumes were amazing and I have to admit that I felt a little out of place in my cabaret costume. Their movements were very subtle and their gestures very soft and poetic. Which made me wonder what kind of poetry would belly dancing be? When it was time for me to perform I realized that our music really says a lot about our image. My costume was like magic because it made me feel free enough to dance and tell our story within my movements and gestures. In some ways I felt an obligation to relate to the audience that what I do as a dancer and performer is serious and respected. But I have to question why I even felt the need to defend my costume and dance form. The dancers with their movements almost seemed to speak to me teasingly asking me why I wasn’t covered more. Maybe I was just hearing my own voice questioning this. After I finished my dance the response I received overwhelmed me. It became apparent to me that because of the difference of my costume and dance the audience was able to appreciate the culture that I represented. Costuming really does make the difference for people. It’s almost as if the audience can see the story within our movements all the while watching our costumes accenting each word danced through our bodies.
Years ago when I was in Cairo I was able to see Zuhair Zaki dance live and as I look back I realize how lucky I was to have seen such a legend perform. Zuhair Zaki is the total sum of what the belly dance image is for me. Every movement told a story and helped me “hear” the music. I was taught a very good lesson that night because I saw what a masterful dancer can do with music. I also saw Zuhair Zaki become the essence of belly dance as she performed. It wouldn’t have mattered what she wore or where she was. The spirit of the dance was in her and you could see it and feel it. These are those spiritual moments that change you forever!
A few weeks later I saw Dina perform and was totally surprised at the sexual innuendos that emanated from her dance. The image of belly dance changed that night for me because I had assumed that provocative gestures were not allowed. Actually let me take it a step further, I didn’t think it was necessary. But somehow Dina made it work for her and as I watched her performance I saw that she did a wonderful job. Her sexuality never got in the way of her performance. It enhanced her movements and I understood at that moment that Dina chose to dance free of any inhibitions or restraints her world put on her.
As a modern woman I often wonder how close my image is to women back hundreds of years. Our evolution as women has never been more evident than in the belly dance world. If we look at the dance of the seven veils the removal of the veils represent seven earthly illusions that fall away with each veil. In order for us to become the total feminine archetype in myth these veils must fall from us so we can transcend into the Goddess. As with all myths I wondered what these seven veils of illusion were because I had a suspicion that we may still be portrayed within this myth today. It became apparent to me that each illusion had an opposite side to it. So here’s my version of the seven illusions.
1. The Virgin-Temptress
Many dancers have both abilities to enchant their audiences by offering the untouchable innocence of movement combined with eye contact that teases with a fleeting look.
2. Intrigue-deception
The ability to captivate our audience is a major part of our story telling but with all stories we must tell the audience that what intrigues them is only an illusion. This in itself can be perceived as a deception because we work so hard on the illusion that at moments it may become real.
3. Mother-Sex Goddess
Both of these describe the dilemma all women come across through out their careers. While we dance as women who understand what it means to carry and give life we are also expected to be proficient in the art of love. The illusion for most people is that we can be both but they want the two separate.
4. Wise woman-Childlike Innocence
The knowledge a dancer puts in her performing sets her apart from the average dancer. Knowledge is power and our movements speak volumes in regards to our history. The illusion here is that while we dance with experience our audiences to a certain degree want a virtuous dancer that will give them an unsullied look at our dance.
5. Wife-Mistress
In our dance we are compelled to perform from places of the heart. At least some of our music has this impassioned theme in certain songs. As women we feel the need to complete ourselves which is why we search for our mate. The mistress on the other hand is compelled to search outside of this completion which in itself is the wife’s mirror opposite. We distance ourselves from the mistress personification yet in the eyes of our admirers the hope is that they get a glimpse of her.
6. Muse-transmutation
Poetry and music speak of the dancer that takes her audience to places of sublime heights. As dancers we are the muses of our times. At the same time we experience the audience that doesn’t understand our dance and they try to alter it to fit their perception of the world. We than become a misunderstood version of our own poetry.
7. Diva-modest maid
A dancers self confidence has to come across to the audience or they will be sorely disappointed. Many fans expect a confident woman during and after shows. Yet I have found that dancers can almost believe too much in their personas that they create. We can get caught up in this illusion just as much as anybody. The catch here is to know when to turn your dance persona on and off.
As belly dancers we inspire so much in people and our allure isn’t just the pretty costume, it is what we signify as women.
My question is do we understand what it is that we represent for so many? I have worked with a few women who were disassociated from their body image. They had no clue how beautiful they were because they bought into mixed messages from the media and cultural attitudes. How comfortable are we in the position of the archetype for today’s women? If we can’t get past the door of self appreciation, than I don’t see us in the forefront of today’s feminine society. Let us not forget how immeasurable we are as women. Our dance helps us create our own personal myth in which we than can escape into our own feminine image.
I have often wondered that after creating our feminine image, do we than transform gradually into her? Isn’t this really what belly dance does? We heal and than become the women we are intended to be. This is how I believe the essence of belly dance lives and thrives through each generation of women. If we can understand our own image than we can be living examples of what belly dance is and the veils of illusion than become nothing more than invisible restraints that disappear through our own transformation. In this sense we than are reborn into women, who are comfortable in their own body, mind and spirit. And there is no better way to express our dance than by embracing who we are and dancing with veils of our choice.
SPENCER
History shows us through paintings that the veil came to symbolize the untouchable and tantalizing appeal of women in the Middle East. To show just a little part of the body was alluring enough to cause men to pine for women’s affection. If we look at 19th Century paintings of various scenes of women dancing, the look of the belly dancer is quite refined. The distinctive folds in the belt or the accessories from the ankle all the way to the headpiece tell the individual story of each dancer. This is how dancers from the past to the present set themselves apart from their contemporaries.
I can remember seeing “Cleopatra” starring Elizabeth Taylor for the first time and thinking how beautiful the costumes were and how much fun they would be to dance in. “Samson and Delilah” with Hedy Lamarr is my all time favorite biblical movie and her costumes inspire me even to this day. Claudette Colberts costume in the 1934 “Cleopatra” looks like a costume of today. Hollywood had very unusual ideas about what the women from the Middle East wore. But if we look back through time the belly dance costume really hasn’t changed all that much. This really surprised me because as I was doing my research it became apparent to me that when you have a good design it’s hard to improve on it.
Recently I danced with a wonderful group of performers who were Asian dancers. Their costumes were amazing and I have to admit that I felt a little out of place in my cabaret costume. Their movements were very subtle and their gestures very soft and poetic. Which made me wonder what kind of poetry would belly dancing be? When it was time for me to perform I realized that our music really says a lot about our image. My costume was like magic because it made me feel free enough to dance and tell our story within my movements and gestures. In some ways I felt an obligation to relate to the audience that what I do as a dancer and performer is serious and respected. But I have to question why I even felt the need to defend my costume and dance form. The dancers with their movements almost seemed to speak to me teasingly asking me why I wasn’t covered more. Maybe I was just hearing my own voice questioning this. After I finished my dance the response I received overwhelmed me. It became apparent to me that because of the difference of my costume and dance the audience was able to appreciate the culture that I represented. Costuming really does make the difference for people. It’s almost as if the audience can see the story within our movements all the while watching our costumes accenting each word danced through our bodies.
Years ago when I was in Cairo I was able to see Zuhair Zaki dance live and as I look back I realize how lucky I was to have seen such a legend perform. Zuhair Zaki is the total sum of what the belly dance image is for me. Every movement told a story and helped me “hear” the music. I was taught a very good lesson that night because I saw what a masterful dancer can do with music. I also saw Zuhair Zaki become the essence of belly dance as she performed. It wouldn’t have mattered what she wore or where she was. The spirit of the dance was in her and you could see it and feel it. These are those spiritual moments that change you forever!
A few weeks later I saw Dina perform and was totally surprised at the sexual innuendos that emanated from her dance. The image of belly dance changed that night for me because I had assumed that provocative gestures were not allowed. Actually let me take it a step further, I didn’t think it was necessary. But somehow Dina made it work for her and as I watched her performance I saw that she did a wonderful job. Her sexuality never got in the way of her performance. It enhanced her movements and I understood at that moment that Dina chose to dance free of any inhibitions or restraints her world put on her.
As a modern woman I often wonder how close my image is to women back hundreds of years. Our evolution as women has never been more evident than in the belly dance world. If we look at the dance of the seven veils the removal of the veils represent seven earthly illusions that fall away with each veil. In order for us to become the total feminine archetype in myth these veils must fall from us so we can transcend into the Goddess. As with all myths I wondered what these seven veils of illusion were because I had a suspicion that we may still be portrayed within this myth today. It became apparent to me that each illusion had an opposite side to it. So here’s my version of the seven illusions.
1. The Virgin-Temptress
Many dancers have both abilities to enchant their audiences by offering the untouchable innocence of movement combined with eye contact that teases with a fleeting look.
2. Intrigue-deception
The ability to captivate our audience is a major part of our story telling but with all stories we must tell the audience that what intrigues them is only an illusion. This in itself can be perceived as a deception because we work so hard on the illusion that at moments it may become real.
3. Mother-Sex Goddess
Both of these describe the dilemma all women come across through out their careers. While we dance as women who understand what it means to carry and give life we are also expected to be proficient in the art of love. The illusion for most people is that we can be both but they want the two separate.
4. Wise woman-Childlike Innocence
The knowledge a dancer puts in her performing sets her apart from the average dancer. Knowledge is power and our movements speak volumes in regards to our history. The illusion here is that while we dance with experience our audiences to a certain degree want a virtuous dancer that will give them an unsullied look at our dance.
5. Wife-Mistress
In our dance we are compelled to perform from places of the heart. At least some of our music has this impassioned theme in certain songs. As women we feel the need to complete ourselves which is why we search for our mate. The mistress on the other hand is compelled to search outside of this completion which in itself is the wife’s mirror opposite. We distance ourselves from the mistress personification yet in the eyes of our admirers the hope is that they get a glimpse of her.
6. Muse-transmutation
Poetry and music speak of the dancer that takes her audience to places of sublime heights. As dancers we are the muses of our times. At the same time we experience the audience that doesn’t understand our dance and they try to alter it to fit their perception of the world. We than become a misunderstood version of our own poetry.
7. Diva-modest maid
A dancers self confidence has to come across to the audience or they will be sorely disappointed. Many fans expect a confident woman during and after shows. Yet I have found that dancers can almost believe too much in their personas that they create. We can get caught up in this illusion just as much as anybody. The catch here is to know when to turn your dance persona on and off.
As belly dancers we inspire so much in people and our allure isn’t just the pretty costume, it is what we signify as women.
My question is do we understand what it is that we represent for so many? I have worked with a few women who were disassociated from their body image. They had no clue how beautiful they were because they bought into mixed messages from the media and cultural attitudes. How comfortable are we in the position of the archetype for today’s women? If we can’t get past the door of self appreciation, than I don’t see us in the forefront of today’s feminine society. Let us not forget how immeasurable we are as women. Our dance helps us create our own personal myth in which we than can escape into our own feminine image.
I have often wondered that after creating our feminine image, do we than transform gradually into her? Isn’t this really what belly dance does? We heal and than become the women we are intended to be. This is how I believe the essence of belly dance lives and thrives through each generation of women. If we can understand our own image than we can be living examples of what belly dance is and the veils of illusion than become nothing more than invisible restraints that disappear through our own transformation. In this sense we than are reborn into women, who are comfortable in their own body, mind and spirit. And there is no better way to express our dance than by embracing who we are and dancing with veils of our choice.
SPENCER
Jun
17
Filed Under Art And Entertainment | Leave a Comment
Rodney Rodchata Aquino asked:
Just like salsa, Bachata Dance is becoming progressively popular not only in the United States, but in the world. But there are some dancers out there that instead of rejoicing over bachata’s popularity, they have become prejudiced to whomever is dancing bachata dissimilar to the way they dance. Perhaps I can partly elucidate in this article on why bachata is where it is supposed to be going.
It’s called innovation. Innovation in Latin Dance is really not a modern phenomenon. In fact, dance innovation did not begin and end with Eddie Torres or Francisco Vasquez. Although Eddie was one of our foremost contemporary dance innovators, innovation is as old as the Cuban Son or traditional Bachata themselves. In fact, all of the Latin Dance is a product of innovation. The annals are full of examples: Cuban Son, Rumba, Cha Cha Cha, Cumbia, Bolero, Merengue and Mambo are just but a few.
To define innovation, a device or process created by study and experimentation, the creation of something in the mind.
Since constant innovations of street dance such as bachata is not new, there is a very troublesome trend developing among many of today’s bachata dancers. It is the tendency to launch cavalierly off to proclaim true style of bachata dancing, supposedly each better than the last. In fact, far too many of these so-called teachers and dancers are motivated for all the wrong reasons. Some seek ego gratification, money, or fame. Others simply lack the discipline to persevere in a particular dance style while some are just close minded, not to mention territorial, that they refuse to recognize (in a thinking term) other “colors’ except black or white.
Many dance teachers are unaware of the inherent complexity, responsibility and sacrifice of valid dance innovation. They fail to realize that innovation is an evolutionary process of methodical modification and refinement, rather than a revolutionary product rendered out of whole cloth. It takes serious passion and countless experimentation. Motivation must come from deep within the soul, heart, and mind.
I hope to give my readers an unbiased look into my own search for and acquisition at dance innovation. I will try to provide a logical overview of a Dance Infrastructure, Dance Thesis, and Dance Research necessary for a logical dance style innovation. I will also share a brief history of how I came to dance the style I dance with bachata.
THE INFRASTRUCTURE OF A DANCE
It is ridiculous to think of developing a new style of dancing without an extensive infrastructure or background in body movements. By infrastructure, I am not referring to superficial excursions into various dance styles. I am speaking about the foundation, core knowledge, and a cornerstone. A knowledgeable foundation can be built only on consistent training, theory and practice. All great innovators were obsessed with experimenting and constant practice, and each had an extensive foundation in the art before even considering innovation.
International Latin Ballroom dancing has played a large part in my early dance history. During those years I have been perfecting the skills and techniques necessary for excellent dancing, and they have helped me understand the complexities of dancing in general. Prior to Ballroom, I’ve trained extensively in the Martial Arts, studied and familiarized myself with body dynamics and kinetics earning myself a 4th degree Black Belt and a certificate in Fitness Training. For many years, I have been teaching others these same techniques and principles, helping them reach their social or competitive goals. While I embarked myself to spread the bachata dance, I also specialize in other dances like salsa dance, I don’t practice ballroom no longer, since I prefer to dance free rather than in a structured manner.
A strong foundation establishes the physical, mental, and creativity of a great dance style. Extensive dance training develops and refines the attributes of the dance (i.e., speed, power, timing, balance, accuracy, fluidity, grace, partner- ability, etc.). A broad intellectual grasp of various dance techniques are critical to any effort to modify and refine. Theoretical and conceptual analyses are touchstones of innovation.
Finally, a strong foundation will begin to open the dancer’s inner self to the creative component of dancing. The innovator must become his art. Simply put, there are no shortcuts! Every dance innovator starts at the bottom and works his way up. The greatest were beginners. If you are unprepared to embrace the principles, forget rushing ahead to modify and create. A dance innovator can only succeed with a deep conception of the various movements, techniques, and related elements of dancing. Innovation requires that you learn to walk before you can run.
THE THESIS OF A DANCE
Innovation in every major field is based on a thesis. The thesis may be an aphorism, a concept, a rule, or any other valid reason to modify and go beyond that, which has already been established. Generally speaking, a valid thesis is the culmination of an analytical process. It is not something “thought up” or created on whim or fancy. Every foundational thesis for innovation has origination in what has gone before. For example, in science Einstein’s theory of relativity would not have come about without Newtonian physics and the significant prior discoveries in electromagnetic physics. In art, the cubists and abstract expressionists owed much to the discoveries of traditional realists. Bruce Lee wouldn’t have had developed his style, Jeet Kune Do, if he hadn’t extensively trained in the art of Wing Chun first.
The same is true for dancing! Modifications and innovations in the sciences are based upon scientifically established thesis. Theses for dance innovation may be the result of cultural eccentricities or any number of other factors, including geography, culture and topography. For example, salsa historians attribute the development of mambo timing steps to the clave beat or tumbao. In the same manner, the rapid salsa shines are attributed to the bongos.
Given the important role of the thesis for innovation, it is disturbing that far too many so-called “innovators” set out to create and promote new dance styles without the background, study, and analysis necessary to formulate a valid reason for modifications. I know for a fact that some of these self-proclaimed experts are motivated for all the wrong reasons. For example, the “so called innovator” would discard the origin of the dance because his knowledge of history, tradition and culture is minimal. He develops a modified dance style according to his limited knowledge.
In my case, I have devoted more than 8 years to practicing, studying, researching, and analyzing bachata dance styles. I extensively studied the music, history and culture. My 15 years of experience in the Latin Dance (salsa on1, on2, timba, son, casino, merengue, paso doble, rumba, chachacha, samba, tango) helped a great deal since I came to know bachata dancing at a Dominican Restaurant in New York city. I have watched countless bachata dancers in the clubs and social parties. I have also carefully observed numerous Dominican dancers and even befriended some of them. These experiences led me to the awareness that many essential concepts, methods, and potential styles were NOT being taught or established in the so-called bachata dance classes and workshops. More and more it became alarmingly obvious to me that accurate information was being neglected. My primary concerns centered on the concept of hip movements, partner- ability and basic steps. Side steps became electric slides. Hip movements turned into grinding or humping. And dance partner-ability became stiffly robotic with no sensuality and passion.
Originally, the concept of the bachata dance was formulated based on simplicity, sensuality, sexuality, romance, heartaches and was danced at house parties, backyard celebration, whorehouses and bars. Of course, eventually, bachata music evolved to a more acceptable romantic and passionate music. Thanks to innovators such as Anthony Santos, Juan Luis Guerra, Aventura, Frank Reyes and others. They helped innovate bachata music to what it is today.
THE DANCE RESEARCH
Research is a continuous and painstaking process of observing, analyzing, testing, and documenting information relevant to the innovator’s thesis. There are two broad categories of research that, in reality, overlap in very significant ways: academic and practical research.
Academic research is a process requiring dedication, patience, and an insatiable desire to learn. The innovator truly must want to know all there is! Once again, his thesis enters the picture in the all-important role of a beacon, directing him to information that has some relevance and bearing on his ultimate goal. Without this direction he is likely to waste time sorting and separating valuable data from a tremendous amount of junk and misinformation.
Research involves rapacious reading and observing all kinds of dancers. An important thing to note is that the body of printed materials on Latin dance, particularly; salsa dance has evolved geographically over the last 20 years. Instructional DVDs and the Internet have added a whole new and interesting database, and workshops are offered around the world. Bachata information on the Internet is catching up. But let me offer a word of caution: the innovator can’t just expose himself passively to these sources. Literature must be dissected and noted. Videos must be viewed over and over again. Music must be listened to and understood. Strategically sound and weak points should be recorded and analyzed in personal journals. And finally, workshops and training programs should be attended with an open mind, balanced with healthy skepticism.
Realistic research thus begins. The innovator’s information has been analyzed, cross-referenced, and refined to theoretical applications. It’s time to break away from the black board and head for the lab. Obviously there are some difficulties in approaching simple and sound practical or experimental research. Somehow, somewhere, the innovator has to get it right. The dance club is the answer. The innovator will need innumerable social dancing, with all kinds of dancers to test the result of his new dance concept. This is the only way to test the innovator’s hypotheses. The bottom line is - the innovator must have the on-hands experience of dancing in the clubs with all kinds of dancers, if he is going to preach it! He must walk the talk!
Finally, once the innovator’s academic and practical research have been compatibly merged and his hypothesis adequately tested and proven, he will be in a position to crystallize and articulate a dance truth, in this case, his own style of dancing bachata. Over time this process and the resulting truths will build and evolve. Eventually, if successful, the innovator’s research and experiments will lead to the structuring of a complex array of truths. This will be the innovator’s dance style and teachings. This may sound easy to some, but I can tell you that it isn’t. It didn’t come easy for the Mambo King, Eddie Torres to develop Modern Mambo. It wasn’t an overnight revelation for Frankie Martinez to develop Abakua style. And certainly, it didn’t come easy for Francisco Vasquez with his electrifying LA style of dancing on 1. Of course, last important factors with your innovation; did people like it? Did you like it? Did it make sense? Or to be more specific, did your partner like it?
ABEL
Just like salsa, Bachata Dance is becoming progressively popular not only in the United States, but in the world. But there are some dancers out there that instead of rejoicing over bachata’s popularity, they have become prejudiced to whomever is dancing bachata dissimilar to the way they dance. Perhaps I can partly elucidate in this article on why bachata is where it is supposed to be going.
It’s called innovation. Innovation in Latin Dance is really not a modern phenomenon. In fact, dance innovation did not begin and end with Eddie Torres or Francisco Vasquez. Although Eddie was one of our foremost contemporary dance innovators, innovation is as old as the Cuban Son or traditional Bachata themselves. In fact, all of the Latin Dance is a product of innovation. The annals are full of examples: Cuban Son, Rumba, Cha Cha Cha, Cumbia, Bolero, Merengue and Mambo are just but a few.
To define innovation, a device or process created by study and experimentation, the creation of something in the mind.
Since constant innovations of street dance such as bachata is not new, there is a very troublesome trend developing among many of today’s bachata dancers. It is the tendency to launch cavalierly off to proclaim true style of bachata dancing, supposedly each better than the last. In fact, far too many of these so-called teachers and dancers are motivated for all the wrong reasons. Some seek ego gratification, money, or fame. Others simply lack the discipline to persevere in a particular dance style while some are just close minded, not to mention territorial, that they refuse to recognize (in a thinking term) other “colors’ except black or white.
Many dance teachers are unaware of the inherent complexity, responsibility and sacrifice of valid dance innovation. They fail to realize that innovation is an evolutionary process of methodical modification and refinement, rather than a revolutionary product rendered out of whole cloth. It takes serious passion and countless experimentation. Motivation must come from deep within the soul, heart, and mind.
I hope to give my readers an unbiased look into my own search for and acquisition at dance innovation. I will try to provide a logical overview of a Dance Infrastructure, Dance Thesis, and Dance Research necessary for a logical dance style innovation. I will also share a brief history of how I came to dance the style I dance with bachata.
THE INFRASTRUCTURE OF A DANCE
It is ridiculous to think of developing a new style of dancing without an extensive infrastructure or background in body movements. By infrastructure, I am not referring to superficial excursions into various dance styles. I am speaking about the foundation, core knowledge, and a cornerstone. A knowledgeable foundation can be built only on consistent training, theory and practice. All great innovators were obsessed with experimenting and constant practice, and each had an extensive foundation in the art before even considering innovation.
International Latin Ballroom dancing has played a large part in my early dance history. During those years I have been perfecting the skills and techniques necessary for excellent dancing, and they have helped me understand the complexities of dancing in general. Prior to Ballroom, I’ve trained extensively in the Martial Arts, studied and familiarized myself with body dynamics and kinetics earning myself a 4th degree Black Belt and a certificate in Fitness Training. For many years, I have been teaching others these same techniques and principles, helping them reach their social or competitive goals. While I embarked myself to spread the bachata dance, I also specialize in other dances like salsa dance, I don’t practice ballroom no longer, since I prefer to dance free rather than in a structured manner.
A strong foundation establishes the physical, mental, and creativity of a great dance style. Extensive dance training develops and refines the attributes of the dance (i.e., speed, power, timing, balance, accuracy, fluidity, grace, partner- ability, etc.). A broad intellectual grasp of various dance techniques are critical to any effort to modify and refine. Theoretical and conceptual analyses are touchstones of innovation.
Finally, a strong foundation will begin to open the dancer’s inner self to the creative component of dancing. The innovator must become his art. Simply put, there are no shortcuts! Every dance innovator starts at the bottom and works his way up. The greatest were beginners. If you are unprepared to embrace the principles, forget rushing ahead to modify and create. A dance innovator can only succeed with a deep conception of the various movements, techniques, and related elements of dancing. Innovation requires that you learn to walk before you can run.
THE THESIS OF A DANCE
Innovation in every major field is based on a thesis. The thesis may be an aphorism, a concept, a rule, or any other valid reason to modify and go beyond that, which has already been established. Generally speaking, a valid thesis is the culmination of an analytical process. It is not something “thought up” or created on whim or fancy. Every foundational thesis for innovation has origination in what has gone before. For example, in science Einstein’s theory of relativity would not have come about without Newtonian physics and the significant prior discoveries in electromagnetic physics. In art, the cubists and abstract expressionists owed much to the discoveries of traditional realists. Bruce Lee wouldn’t have had developed his style, Jeet Kune Do, if he hadn’t extensively trained in the art of Wing Chun first.
The same is true for dancing! Modifications and innovations in the sciences are based upon scientifically established thesis. Theses for dance innovation may be the result of cultural eccentricities or any number of other factors, including geography, culture and topography. For example, salsa historians attribute the development of mambo timing steps to the clave beat or tumbao. In the same manner, the rapid salsa shines are attributed to the bongos.
Given the important role of the thesis for innovation, it is disturbing that far too many so-called “innovators” set out to create and promote new dance styles without the background, study, and analysis necessary to formulate a valid reason for modifications. I know for a fact that some of these self-proclaimed experts are motivated for all the wrong reasons. For example, the “so called innovator” would discard the origin of the dance because his knowledge of history, tradition and culture is minimal. He develops a modified dance style according to his limited knowledge.
In my case, I have devoted more than 8 years to practicing, studying, researching, and analyzing bachata dance styles. I extensively studied the music, history and culture. My 15 years of experience in the Latin Dance (salsa on1, on2, timba, son, casino, merengue, paso doble, rumba, chachacha, samba, tango) helped a great deal since I came to know bachata dancing at a Dominican Restaurant in New York city. I have watched countless bachata dancers in the clubs and social parties. I have also carefully observed numerous Dominican dancers and even befriended some of them. These experiences led me to the awareness that many essential concepts, methods, and potential styles were NOT being taught or established in the so-called bachata dance classes and workshops. More and more it became alarmingly obvious to me that accurate information was being neglected. My primary concerns centered on the concept of hip movements, partner- ability and basic steps. Side steps became electric slides. Hip movements turned into grinding or humping. And dance partner-ability became stiffly robotic with no sensuality and passion.
Originally, the concept of the bachata dance was formulated based on simplicity, sensuality, sexuality, romance, heartaches and was danced at house parties, backyard celebration, whorehouses and bars. Of course, eventually, bachata music evolved to a more acceptable romantic and passionate music. Thanks to innovators such as Anthony Santos, Juan Luis Guerra, Aventura, Frank Reyes and others. They helped innovate bachata music to what it is today.
THE DANCE RESEARCH
Research is a continuous and painstaking process of observing, analyzing, testing, and documenting information relevant to the innovator’s thesis. There are two broad categories of research that, in reality, overlap in very significant ways: academic and practical research.
Academic research is a process requiring dedication, patience, and an insatiable desire to learn. The innovator truly must want to know all there is! Once again, his thesis enters the picture in the all-important role of a beacon, directing him to information that has some relevance and bearing on his ultimate goal. Without this direction he is likely to waste time sorting and separating valuable data from a tremendous amount of junk and misinformation.
Research involves rapacious reading and observing all kinds of dancers. An important thing to note is that the body of printed materials on Latin dance, particularly; salsa dance has evolved geographically over the last 20 years. Instructional DVDs and the Internet have added a whole new and interesting database, and workshops are offered around the world. Bachata information on the Internet is catching up. But let me offer a word of caution: the innovator can’t just expose himself passively to these sources. Literature must be dissected and noted. Videos must be viewed over and over again. Music must be listened to and understood. Strategically sound and weak points should be recorded and analyzed in personal journals. And finally, workshops and training programs should be attended with an open mind, balanced with healthy skepticism.
Realistic research thus begins. The innovator’s information has been analyzed, cross-referenced, and refined to theoretical applications. It’s time to break away from the black board and head for the lab. Obviously there are some difficulties in approaching simple and sound practical or experimental research. Somehow, somewhere, the innovator has to get it right. The dance club is the answer. The innovator will need innumerable social dancing, with all kinds of dancers to test the result of his new dance concept. This is the only way to test the innovator’s hypotheses. The bottom line is - the innovator must have the on-hands experience of dancing in the clubs with all kinds of dancers, if he is going to preach it! He must walk the talk!
Finally, once the innovator’s academic and practical research have been compatibly merged and his hypothesis adequately tested and proven, he will be in a position to crystallize and articulate a dance truth, in this case, his own style of dancing bachata. Over time this process and the resulting truths will build and evolve. Eventually, if successful, the innovator’s research and experiments will lead to the structuring of a complex array of truths. This will be the innovator’s dance style and teachings. This may sound easy to some, but I can tell you that it isn’t. It didn’t come easy for the Mambo King, Eddie Torres to develop Modern Mambo. It wasn’t an overnight revelation for Frankie Martinez to develop Abakua style. And certainly, it didn’t come easy for Francisco Vasquez with his electrifying LA style of dancing on 1. Of course, last important factors with your innovation; did people like it? Did you like it? Did it make sense? Or to be more specific, did your partner like it?
ABEL
Jun
14
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Joe Davidson asked:
About four weeks ago, while skimming through the paper at the breakfast table, a small add caught my eye and immediately grabbed my attention, it read : Private and group Brantford Swing Dance lessons.
Now, having thought about devoting some of my leisure time to a new hobby, this add for Brantford swing dance lessons seems like some ominous sign from above. I remember thinking, “ hmm, me in Brantford swing dance lessons? Could I really do it?” Let me tell you, I have never felt more alive than I do on Thursday nights at my Brantford swing dance class.
Swing dancing is amazing, period. I may be a slow learner, but my instructor Miguel ensures me that I am doing just fine.
Miguel is very positive and very patient. sometimes I feel bad after stepping on his feet, but I’m sure he’s gotten used to it by now. I opted for the private lessons at first, I am quite shy and embarrass easily, as soon as I have a few lessons under my belt, I will join the Brantford Swing Dance Group class.
It’s a goal I’m working my way toward. Brantford Swing Dance lessons have done more for me than just occupy my leisure time, as cliché as it sounds, I gain confidence with each step, and that helps me deal with issues in my everyday life.
I also managed to talk a few of my friends into taking some Brantford Swing dance Lessons, the three of them joined the group lessons, they cant wait till I’m there with them. They seem like they are having a lot of fun.
As for now, I’m having the time of my life in my one on one sessions with Miguel, he’s definitely a gentleman. Brantford Swing Dance lessons are a worthwhile investment for anyone interested. They are by far the two best hours of my day and I find myself looking foreword to Thursday all week.
MICHEAL
About four weeks ago, while skimming through the paper at the breakfast table, a small add caught my eye and immediately grabbed my attention, it read : Private and group Brantford Swing Dance lessons.
Now, having thought about devoting some of my leisure time to a new hobby, this add for Brantford swing dance lessons seems like some ominous sign from above. I remember thinking, “ hmm, me in Brantford swing dance lessons? Could I really do it?” Let me tell you, I have never felt more alive than I do on Thursday nights at my Brantford swing dance class.
Swing dancing is amazing, period. I may be a slow learner, but my instructor Miguel ensures me that I am doing just fine.
Miguel is very positive and very patient. sometimes I feel bad after stepping on his feet, but I’m sure he’s gotten used to it by now. I opted for the private lessons at first, I am quite shy and embarrass easily, as soon as I have a few lessons under my belt, I will join the Brantford Swing Dance Group class.
It’s a goal I’m working my way toward. Brantford Swing Dance lessons have done more for me than just occupy my leisure time, as cliché as it sounds, I gain confidence with each step, and that helps me deal with issues in my everyday life.
I also managed to talk a few of my friends into taking some Brantford Swing dance Lessons, the three of them joined the group lessons, they cant wait till I’m there with them. They seem like they are having a lot of fun.
As for now, I’m having the time of my life in my one on one sessions with Miguel, he’s definitely a gentleman. Brantford Swing Dance lessons are a worthwhile investment for anyone interested. They are by far the two best hours of my day and I find myself looking foreword to Thursday all week.
MICHEAL