Rueda Hand Signs (Part 19) Medio Sombrero

It seems almost trivial to call this a move in its own right. For any advanced dancer, this move seems negligibly different from the move Pimienta Con La Mano Derecha and feels very much like an embellishment of this move. I.e. I have heard this being described as a “right-handed Pimienta with an alarde at the end”. That being said, for people who are just getting used to the general feel of Cuban salsa, the distinction between these two moves is fundamental to understanding some of the rudimentary structures that allow us to connect different elementary moves together to form longer combinations i.e. such as the move Suzanna which uses medio sombrero as a basis or the move Dedo which uses Pimienta Con La Mano Derecha as a basis.

Even though it seems like all we are doing is for leaders to move their right hand above the followers head at the end of Pimienta Con La Mano Derecha, it is the precise timing of this action that helps students get used to more complex moves. Additionally, at the end of Medio Sombrero the leader will slide their right hand across the follower’s neck, back to their left hand shoulder which is another common theme that can be observed in many more complicated moves so it is worthwhile practicing this move at an initial stage to get used to this hand motion.

Finally, when executing Pimienta Con La Mano Derecha, the leader will usually finish this move with a Dile Que No Con La Mano Derecha whereas for Medio Sombrero a hand switch occurs such that the leaders end up with a Dile Que No Con La Mano Izquierda at the end of the move.

All of these factors described above seem intuitive for more experienced dancers but they are important concepts to learn at an initial stage so it is helpful that Pimienta Con La Mano Derecha is seen as a different move to Medio Sombrero as it gives students the structure they need to distinguish between these subtle differences.

Furthermore, Medio Sombrero is at the basis of a plethora of different Cuban salsa moves such as the entire Bayamo series so it is essential to get used to how this works and feels.

The hand sign for Medio Sombrero consists of the sign for medio, which is the index finger drawing half a circle down like a minute hand on a clock signalling half, followed by the sign for Sombrero as described in an earlier post of this series.

To see a video of the move Medio Sombrero as well as the hand sign, please click on:
https://youtu.be/skDHDMzeFZg

Hi, my name is Naba and I'm a salsaholic...

I started learning Cuban salsa a year and a half ago, and for the last few months, I’ve been teaching it as well. When I read that sentence back, it sounds bizarre. Two years ago, I couldn’t have imagined myself doing this, and even now I can’t quite believe it. My ‘dance journey’ is probably slightly different to some of the other teachers: it’s exceedingly short. I’d never done any dance seriously before this. That isn’t to say I hadn’t tried it, only that my previous attempts ranged from ‘mildly disappointing’ to ‘calamitous’. I tried ballroom at university with friends and shuffled around uncomfortably for a few weeks before deciding it wasn’t my thing. Maybe it was just the wrong sort of dance? How about Argentinian tango, I thought. It was going to be great, milongas and Malbec, Piazzolla and passion. Well the passion turned out to be ‘walking around the room slowly and in silence’ and the milonga was a working men’s club in northern England. So that didn’t really take off. I did try a salsa class once. Actually, I thought it was going to be salsa, but it turned out to be bachata. I remember a sum total of zero steps from that afternoon, but the single memory that remains burned into my brain is of me standing awkwardly with my partner in very clearly not the correct configuration, with the instructor looking at me, one eyebrow raised, saying, “yeah… it’s obviously not her that’s the problem, mate.”

All this served only to entrench me further in the belief that dancing was not for me: I have two left feet and no rhythm, and so on. But one day my wife, a seasoned dancer and trier of all dances new, asked me if I wanted to try ‘Cuban salsa.’ And I thought, you know what, I’ll give it one more shot. It turned out to be the best decision I ever made. Sorry, the second best decision. (After marrying my wife, obviously).

I remember my first class with Ben like it was yesterday. Despite having studied anatomy at university, Ben turned out to the first person to convince me that I did not, in fact, have two left feet, but one of each kind – and that (with a little concentration), I could move one forwards and the other backwards. This alarming discovery is what set me off on the journey into the world of Cuban salsa.

One of the things I really appreciated about Aimi and Ben’s classes is the way we learned how to dance, not just how to do a dance routine. It feels a bit like learning a language. So far, I’d only done the dance equivalent of memorising a few stock phrases (Où est la plume de ma tante? Le chat est sur la chaise!) - or spending hours on Duolingo Spanish only to be able to communicate that ¡los elefantes beben agua! In these classes you learn the vocabulary, the grammar, the sentence structure. Eventually (and this is the best bit) – you can start to actually say something.

Let me proselytise about Cuban salsa for a bit – after all, this dance (also known as casino, for the purists) is now a huge part of my life. What’s so great about it? In that first lesson with Ben, I had no idea at all, having never heard of it before. I soon found out that it was not really like the sort of salsa I’d seen on TV. No gravity-defying heels, no waxed-chest-baring open-necked shirts, and definitely no sequins. I’ll say this without hesitation: it’s far cooler than that.

The first thing you notice that’s different is the rueda, the circular dance formation unique to Cuban salsa. Dancing in a rueda is, quite simply, immense fun. You’re simultaneously dancing with your partner and with everyone else in the room. You switch partners, you switch back, you do a formation move involving the whole group. All the time you’re playing this game with the rueda caller where he or she is trying to catch you out and make you mess up at some point – and everyone laughs – and it’s just fun. It’s a party, it’s a carnival, it’s a blast.

But this is a partner dance too, and one unlike anything I’d seen before. Watching casineros dance is like seeing an Escher drawing come to life: they continuously wind and unwind themselves in and out of knots with movements that appear, at times, physically impossible. But it’s not impossible – not at all. It’s totally possible, and when you get it, it feels amazing. Dancing casino, there’s this tremendous momentum, always moving forwards, always travelling. You have this really strong connection to your partner, often with both hands, and you’re constantly turning around each other and around the room, like a pair of binary planets. You can really get lost in it.

One of the things I’ve really loved about Cuban salsa has been learning about the dance as well as just the dance itself. There’s more to casino than just executing cool-looking turn patterns on the dance floor. There is a wealth of history, culture, language and music to explore. I can be a bit of a geek sometimes, and all this really appeals to the geeky side of my personality. (Ben if you’re reading, yes, I read your blog posts, and yes, even the maths ones). But for me, these things just add flavour to the whole experience.

As a teacher, all I want to do is to share this amazing dance that I love with as many people as possible. I want to show you that it’s fun, that it’s cool - and that you can do it. And if there are people out there who feel like I did a few years ago, then maybe, just maybe, you should give it one more shot.

I want to finish by talking a little about the music. For me, the music is a huge part of what I love about Cuban salsa. My favourite songs are those where you can hear the tribal and African influences, the complex beat patterns and polyrhythms. I’ve always loved drums and percussion - I played the drum kit as a teenager, I used to play tabla a little as well. The first rhythm pattern my drum teacher ever taught me was the basic 4/4 rock pattern: bass-snare-bass-snare, just as every kid with a guitar learns ‘Wonderwall.’ But the second? It was the son clave.

The sound of the clave is an invocation, one that lifts you out of your seat and on to your feet like your body’s possessed. When I hear the salsa music playing, I can’t not dance. One of the most popular Cuban bands, in one of their most popular songs, start with this call-and-response: salseros si llaman – yo vengo. If the salsa musicians call – I’m there. And that’s why I became a teacher – because I want you to be there, too.

Strictly Cuban Salsa

We are very proud to announce that our first community project “Strictly Cuban Salsa” will be starting on Wednesday 27th September from 10.30-11.30am at Monk Fryston and Hillam Community Centre. This is the first project we have been able to organise through our not for profit organisation Tiempo España Dance Academy C.I.C., thanks to the subsidy provided by the Western CEF.

We will be teaching 5 sets of Cuban salsa courses lasting 6 weeks in selected community halls within the Western Area of the CEF in 2017/2018 starting with our first course in Monk Fryston. The classes will be offered at a discounted rate of £3 for adults and £2 for students/young people > 20 years old with the aim being to offer the courses at different days of the week at the various locations to make it accessible to everyone.

All courses will follow a similar structure and will start at a beginner level to engage people in the community particularly those who have not tried similar activities before. The 5 courses offered will run in succession rather than simultaneously to allow interested people who missed a certain course to join one of the other courses instead.

Anyone can reserve a place on the course by getting in touch either via the contact form on our website or our email address tiempoespanadance@hotmail.com.

We are happy to run this course in partnership with the Western Area CEF (Community Engagement Forum) which supports local communities within Selby district in an area reaching from Tadcaster in the north, to Knottingley in the south, Hambleton in the east and Leeds in the West. This CEF was the first sponsor to collaborate with Tiempo España Dance Academy C.I.C. in an effort to help isolated people within the Western Area and make sports activities more accessible. If you want to find out more about the work they do you can visit their website at http://www.selby.gov.uk/western-area-cef.

While we are very much at the start of our journey in terms of the projects we aim to deliver through Tiempo España Dance Academy C.I.C. it is nice to have everything in place to start our first classes. If you would like to find out more information around our mission and sponsors you can visit our new website at https://tiempoespanacic.wixsite.com/tiempo-espanacic. We hope to increase the accessibility of Cuban salsa for everyone in the region through our C.I.C especially for anyone who finds it difficult to attend other dance classes and are very excited about starting this project towards that end.

Cuban Salsa History (Part 4) Taíno (Continued)

As mentioned in the last post, the greatest influence to salsa that came from the Taíno originates in musical aspects rather than the linguistic and cultural factors discussed previously. Maybe the most concrete example of this point is the fact that Maracas, an instrument used by the Taíno in much the same form as today, has survived on the island throughout history and continues to be used in Cuban music today.
The Taíno had in fact various music and dance forms which are collectively known as Areito (aka Areyto). These were used predominantly to accompany religious ceremonies or at general gatherings and festivals. In the Areito people were singing and dancing, with their arms intertwined, while being guided by a leader. The lyrics of these “bailar candanto” (sung dances) spoke both about past as well as present events so they acted as a history lesson as well as a newsletter for the Taíno recounting social, political and religious aspects.
It is not known exactly how much Areitos have influenced later Cuban dances and it is generally accepted that most Cuban dances had their origin predominantly in the mix between African and European cultures at a point where the Taíno had already been driven close to extinction. However, there is evidence that at least some of the aspects of modern Cuban dances were influenced by Areitos. Particularly Son Cubano is seen as the dance that has picked up more aspects of Areitos than other dances and Son music is often called the most outstanding sample of Cuban national music as it contains elements from the African, European and Latin American ancestors of Cuba. Son eventually further evolved into Casino and particularly when comparing Rueda de Casino to Areitos we can observe the following Areito elements that have similarities to aspects of Rueda:

• Areitos had a call-and-response structure. - They were danced in circles.
• One member of the people dancing in the circle guided the group.
• They used some instruments still being used today in some form i.e. drums, maracas.
• Their lyrics were stories of the past with political and religious influences

The only existing Areito known today is called Anacaona meaning “golden flower” in the Taíno language. It is dedicated to the Taíno cacica (chief) of the same name and was found in the National Archives of Cuba although most probably the areito did not belong to Cuban Taino because Anacaona was the princess of Santo Domingo.

Even though it is unknown how much the Taíno ultimately contributed to the way we dance Casino today it is nice to think that the true aborigines of Cuba who were driven close to extinction have had an impact on one of the islands most popular cultural exports and are thus remembered internationally.

Areyto_ceremony_of_the_Taíno.jpg by Marine 69-71. This image is in the public domain. 

 

Hi, my name is Eddy and I’m a salsaholic...

Hi my name is Eddy Khan and I’m a supercharged Salsaholic! My first ever Blog! I’m supposed to write about myself. OMG. I’m more accustomed to typing technical stuff which would put you to sleep in seconds… still awake?

So… me and dance. Oh boy. Well my friend, I find myself on an exciting path of growth, as a student I try to absorb all I can in a class, improving on my weakness and strengthening my ability as a dancer, constantly evolving, changing and adapting, trying new strategies, sequences and combinations. If you did the same steps in the same order every social with the same girls… you would be a damn right boring dancer! I find myself in a constant battle to understand rhythm, beats and musicality in general. As an educator in dance, I strive to instill and impart knowledge along with the syllabus but also the essence of my personal experience as a dancer. Often building up the confidence of dancers who have never been to a salsa social, taking them from the first steps to following complex combinations on a night out. For me it’s very important to put into practise the material from class which I do often on salsa socials.

Dance, music and martial arts is pretty much woven into the fabric of what makes me, these three also intertwine and share deep common concepts for example the core, your centre of mass & weight shifting applies to both dance and martial arts, and rhythm is just as important to music as it is to dance. It would be difficult to envisage a day when I’m not learning a new piece on the piano, playing a new groove on the drum kit or out dancing.

I’m the kinda guy who goes quiet in a group conversation about EastEnders, football or current affairs… one does not waste precious time on such futile pursuits! Outside these interests you can find me at the cinema, outdoors with a camera, wining and dining some vixen and generally hanging with my buddies!

Salsa. I was first introduced to salsa over a decade ago in Leeds within the very dance studios of where I now teach, back then a lovely lady called Ella imparted to me a rudimentary grasp of salsa, over a series of private lessons. I loved it. At that time Salsa was Salsa, I had no concept of the different styles. It so happened that I was also taking private lessons from a gentleman called Bobak in break dancing, it was hard work! Both are well known artists/performers in Leeds dance scene and they are 100% responsible for kindling in me the passion, love and appreciation for dance. I also enjoy music and martial arts. My parents were responsible for this having to study piano, tabla & harmonium from a young age. My father was a boxer, my sister was into her Karate, my niece Taekwondo, my nephew traditional Kung Fu and myself Wing Chun Kung Fu and Muay Thai… only my mum doesn’t fight… our family lounge fight scenes were hilarious and nephew and niece usually won, the nutters.

Anyway, so my new-found dance journey was literally about to become a journey… little did I know that my dancing in Leeds would be short lived as I was about to be introduced to freelance consultancy. After being head hunted by a defence contractor to do work that I can’t talk about in locations that don’t exist… don’t ask its classified. Suffice to say my ass was booted to Scottish land!

Scotland. Arriving in Scotland I took on a broader approach to dancing constantly moving like a nomad (due to work) I visited many dance floors and met many people doing ballroom dancing, waltz, foxtrot, quick step, tango & cha cha cha along with Wing Chun Kung Fu and Muay Thai Kickboxing. I loved it all and found in these regular pastimes immense needed escape from the high pressure, high risk and often controversial day job. I was lucky that I got to travel all over Scotland its Islands for work I took full advantage to explore the regions, local culture, food & drink! I even took part in folk dances like ceilidhs, and Irish line dancing (quite hilariously), and raised money for charities including a skydive. Not to mention falling in love every 10mins with some new Scottish huni who fluttered her eyelashes and enticed me with her alluring accent! It was an adventure to say the least. But ultimately it was in Glasgow where I would finally come across my true passion and now my primary style of dance. Cuban Salsa. It was a bit of an eye opener as I found this to be a way more “Spicer” version of salsa and I had never seen this before, I was hooked!

Cuban Salsa. My first few months of Cuban Salsa were private lessons from a lady called Shona and an excellent teacher she was, bringing me up to speed quickly, after this I joined her public classes and also joined classes at Dance4water and Academia De Salsa, studying Salsa, Bachata, Kizomba and Ballroom dances in Glasgow centre. Little did I know that at the same time Aimi & Ben had been dancing in the same circles/venues but obviously way higher salsa classes than myself! I found a solid grounding in dance and martial arts whilst in Scotland and thoroughly enjoyed my adventurous few years up there.

The return. When I eventually had enough of the Scots & moved back to Yorkshire Aimi & Ben conveniently moved to Yorkshire too albeit a few months ahead of me, of course to ensure the continuity of my Cuban Salsa!! Arriving back in Yorkshire I quickly felt the withdrawal symptoms. I knocked around a few different schools but that crossbody style wasn’t doing it for me… I needed the real deal authentic Cuban stuff! Finally, I came across Tiempo España and I realised immediately how lucky I was to have found them, it’s shocking how small the Cuban Salsa scene is in Yorkshire compared to how massive and taken for granted it is in Glasgow. It is my wish that the scene will grow over the coming years as more people discover this amazing style. Having lost months of practise in my relocation from Scotland I was lucky to attend extended classes in Eggborough (often 4hrs a night), York, Selby, Leeds, with a sprinkling of private lessons to quickly get back up to speed. Ultimately settling into the closest venue to me being Leeds.

So why do I enjoy Cuban Salsa over all the other styles? Well for me I find the freedom of movement on the dance floor is important whereas other styles are sometimes structured and rigid I enjoy the fact that I can experiment taking moves and chopping and changing them keeping my follower guessing. Cuban Salsa is also very versatile in that you can dance open hold, close hold, in a Rueda, two girls one guy, two guys one girl. On occasion, I have a laugh and joke dancing with my friends Ben or Naba doing suelto steps etc. its great fun! Picture this did you ever see two guys doing the Waltz together? Errrm. Naaaa. Now I’m going to get into trouble for saying this… but let’s be honest it wasn’t the music that got me into Cuban salsa lol! I prefer more Latin, Reggaetón and Bachata vibes to be perfectly honest! Now Bollywood music… well let’s just not go there today.

The present. Coming onto almost 2 years I now find myself teaching for the lovely Aimi & Ben (A&B), and what an absolute honour it is. I enjoy welcoming the new students into our school usually on a Wednesday these days at Leeds. It’s great fun showing the juniors their first steps and I thrive of watching them full of beans and all excited about this new dance, yet full of nerves! Seeing that fire in their eyes reminds me of young Eddy taking my first Cuban baby steps many years ago! Oh, I do envy every beginner, and endeavour to make it the best experience possible for them. It’s also satisfying to see my once L1’s now progressing to as high as L4 and often dancing alongside me on a night out. Hats off to you all well done! At Tiempo España I have me many special people and made solid friendships with teachers and students some of which are now an intrinsic part of my life whose friendships I value dearly. Keep up the hard work A&B, we all appreciate it!

Seriously you made it this far down the page?! Wow. Remind me to buy you a drink at the next salsa social! I hope this gives you an insight into my dancing background and what drives me. Currently along with the Cuban Salsa I’m also focusing on the Waltz & Cha Cha Cha with my dance partner Lucy and we are looking forward to revisiting the Tango over the coming weeks. I often only have the one night off a week from dance, music or teaching! So, whether you are a beginner or an established dancer, I would like to take this opportunity to wish you all the best on your own dance & musicality journey, make the most of it mi gente, sólo se vive una vez! If you put in the time and dedication you will reap guaranteed returns.

See you on the dance floor!

Peace & Love

Eddy Khan