Seattle Rueda

Next session should be  5/27  -  are we doing Folklife ? Even if so – we can suelta.

Play list – heavy on Havana D’Primera and Alexander Abreu due to their US Tour:

1) Intro del Mayimbe, Mayimbe y Barbaro Fines, De La Habana a Peru

Introduced Quatro – very simple step on 1 /3 / 5/ 7  - basically marking half time.

We also did a cool twist on the base adelante ( basic forward):

LF1 RP2 LC3     RF5 LP6 RC7   –   to be read as : Left Forward, Right in Place,  Left Close……

Instead we do:

LP1 RP2 LF3    RP5 LC6 RF7   LP1 RC2 LF3…    -   we are still dancing on “1″ but it looks like we are not and it has a nice different feel to it that emphasizes the “3″ and the “7″.

2) Ella no Tiene, Tumbao Habana, Mambo Duro

Until not to long ago I would have trouble getting back to the basic step after a complex foot pattern. I would try hard to keep track of where I was in the count during the pattern. We did an exercise to help with this problem: They key is not to worry of where you are during the pattern as long as you know to hit the “1″  when you are done.

3) Carita_de_Pasaporte, Havana D’Primera, Demo

We did linea footwork – moving back and forth, added to our repitoire by doing quadradas (squares) both of 1 and 2 steps , clockwise and counter clockwise

4) Mi música, Havana D’Primera, Haciendo Historia

Scencillo / Sencillo complicado

5) Mis Dos Habana, Wil Campa, Todo Es Posible

Oscarito review – we looked quite good by the end.

6) Julito, Cesar ‘PUPY’ Pedroso, Siempre Pupy

7) Cha cha-Cha cha chá, Vission Latina, Sonando como un Cañón

8 ) Ni Te Lo Imaginas, Suave Tumbao, La Canonera

This song had opportunities to hit ponches and quatro (which we learned earlier) in the music.

9) Cuando el rio suena, Havana D’Primera, Haciendo Historia

We did some taps and kicks. We normally tap/kick during the pause on the foot we are about to step on i.e. on 4 and 8:  RT4 and LT8 (T for Tap, K for Kick).

so :  LT8  L1R2L3  RT4 R5L6R7……

Remember that in  ponche we delay the pause and switch between a step and pause and then get back on the normal track. Here we delay the step and instead kick (or tap):

L1R2L3   R5L6RK7R8  L1R2…

This idea can be developed further which we will do in the future.  We modified the above pattern further and added the normal kick/tap on beat 4 to get two kicks on the left side :

L1R2L3  RK4 R5L6RK7R8  L1R2…

10) La Familia (ft. Alexander Abreu), Tumbao Habana, Mambo Duro

11) Ella Dice, Maikel Blanco, Promo 2007

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Lazy me…taken me 3 weeks to post. Next suelta session, next week: 4/29

1) Music: Ya empezó la fiesta, Los Van Van, Ay Dios, Amparame

Warm up

2) Music: Adiós amor, Klimax, Solo Tú Y Yo

Con la Cruz, Taps

3) Music: El Carretero, Azúcar, Tabaco y Ron, Son de Mi Cuba

We reviewed what we did the previous week. Walked and danced following clave rhythm.

4) Music: No Mires a Los Ojos, Issac Delgado, Los Grandes Exitos De Isaac Delgado

5) Music: Tu Sabes Que Yo Se , TimbaLive, La Timba Pa’ To El Mundo

Turns, Camina con vuelta

6) Music: Cangrejo Fue A Estudiar , Sierra Maestra , !Dundunbanza!

Cha Cha Cha turns and switching to Son.

7) Music: Mi música ,  Havana D’Primera, Haciendo Historia

8 ) Music : Relámpago, Manolito Simonet Y Su Trabuco, Control

We reviewed Sencillo and Sencillo Complicado  and added Oscarito.

The move is in honor of Oscar D’Leon who would hop with his bass. I couldn’t find a video of him hopping, but watch him dancing with the bass while playing and singing:

See Felix’s video with oscarito below

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Oops, seems like I forgot to post the February summary….next time someone remind me…..anyway here is March.

I was asked how what we do in suelta practice can be used in a social dance. The answer is twofold:

1. We do a lot of footwork that you can incorporate  into your dance. We also play with the rhythm. Eventually that gives you a better feel for the rhythm while you dance to the music.
2. But also these are moves that can be danced in a club with a group together. “suelta” I believe means “letting loose”

Here’s what we did:

1) Music: La Bola, Manolin, Issac Delgado, Para Mi Gente

Warm up and going through our developing repetoire.  We combined Camina with a Vuelta for “Camina con Vuelta”. Sidney Weaverling made an insightful  comment when I showed her Camina:  the move is basically  a Dile Que No. You are pivoting  with your left shoulder – there is only really a small variation in the end orientation. In DLQ follows rotate 3/4 of a turn (270 degrees) in camina only 180 degrees.

La Bola is Manolin’s biggest hit ( I believe the longest song at #1 ever on cuba’s charts) – he sang it at the SF Festival.

2) Music: Andar Andando, Azucar Negra, Andar Andando

More warm up. I love this song so much….

3) Music: El Carretero, Azúcar, Tabaco y Ron, Son de Mi Cuba

We danced most of this classic son side to side, stepping to the rhythm of the clave. It’s quite difficult if you aren’t used to it. You alternate the starting foot for each instance of clave. I chose this and the next track  because  you can hear the clave well throughout the track.

4) Music: Tribilin Cantore, Supersones, Son del Pacifico  (free download from Supersones’ website)

We tried a different approach to dancing the beats of the clave. We‘ve been familiar with Ponche taught by Ryan Mead that lets us hit the 3rd beat of the three side of clave:

R1L2R3  P4  L5R6L7R8  P1L2R3……  (Leads – for follows reverse L/R)

We step on beat 8 and pause on 1. This pattern step on all beats of the the clave except the middle one of the three side – the Bombo which is the and of 6. we can do that by stepping L6.5 instead of L7 – we need to make a quick step after R6 and a longer pause after the L6.5:

R1L2R3  P4  L5R6L6.5R8  P1L2R3……

Now we can dance all beats of the Clave and still stay in salsa structure. To style this, lean back/sit into the Bombo step and step forward for the Ponche.

5) Music: Salsa, Timba Y Amor, Issac Delgado, SuperCubano

We learned Pare a simple yet cool syncopation which is a mirror to ponche:

R1L2R3L4   P5   R6L7    P8    R1L2R3…..

Watch the 1st video below @ 0:43   for styling. I love this dudes sueltas.

6) Music: Tu a Lo Tuyo, Yo a Lo Mio, Los Van Van, Arrasando

We reviewed Sencillo.

7) Music: Yo Vengo Suave Y Sabroso,  Ciso Guanche Y Sus Soneros, Levantando Presion

We learned Sencillo Complicado which is the same steps as Sencillo, only a turn is inserted.

I’ve reposted the video demonstration of Felix below. We’ll do Oscarito next.

8 ) Music: Una Mulata En La Habana, Adalberto Alvarez, Jugando Con Candela

Practice Sencillo and Sencillo Complicado to faster music.

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see you there I’M BACK…WATCH OUT !!!

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Afro-Cuban Folkloric Dance with Jose Carrion
Friday, February 17, 1:30 p.m.
Shift Movement and Healing Arts
3517 Stoneway N., Seattle

Contact: Janelle Campoverde Janelle@sambadance.com
206-547-0953

With live drumming, Jose will teach the folkloric manifestations of Afro-Franco-Haitian-Cuban origin found primarily in Cuba’s Eastern (Oriente) provinces. You will learn dances from Jose that are not often taught in the states from a dancer of extreme elegance.

José Alfredo Carrión, born in Santiago de Cuba, began his career as a professional dancer when he was invited to join the Ballet Folklórico Cutumba in 1980 at the age of 17. After only 3 years of hard work, José was recognized as a “primer bailarín.” The following year, in 1984, after an evaluation by a national panel of Cuba’s most distinguished specialists in music and dance, José was honored with the title of professor and specialist in Cuban dance. In 1999, after almost 20 years of being a soloist for the dance troupe, José became Cutumba’s principal dancer.

Over the years, multi-talented José has also contributed to Cutumba as a choreographer, percussionist and researcher. José’s choreographies include Guiro para Elegguá, Baile Campesino, Son Tradicional and Fin de Fiesta, which are currently performed together as Fiesta Cubana. He has played percussion in a number of Cutumba productions and can be heard on several recordings including Ritmos Cubafricanos Volumes 1 and 2, which he co-produced.

As a professor, José has trained generations of dancers, many of whom still perform with Cutumba, others who continue their work as dancers abroad. Besides teaching professionals, José has a tremendous amount of experience working with children and young adults. He has taught extensively in Cuba’s school system in the primary schools, high schools and universities. José has also brought the joy of music and dance to children with special needs.

José traveled extensively during his years with Cutumba. He has performed and given workshops in many different countries including England, Scotland, France, Spain, Portugal, Italy, Germany, Mexico, New Zealand, Guadeloupe & Martinique, Surinam, Canada and the US.

Invited by Chuck Davis to perform in the DanceAfrica festivals of 2002, José had the opportunity to teach in several schools and community centers in Chicago, Philadelphia and NY. In July 2004, as a guest of Groupe de Danse Mondial of Montreal, Quebec, José taught members of Philadelphia-based Kulu Mele African American Dance Ensemble in an intensive workshop which included an original choreography “Jugando with Elegguá.” José has given master dance classes at the Brooklyn Academy of Music (BAM), the Center for Creative Education in Stone Ridge, NY and Columbia College Chicago. In October, 2005, he was the artist-in-residency at Williams College in Massachusetts.

After 25 years of researching, collecting, conserving, revitalizing & presenting the folkloric manifestations of Afro-Franco-Haitian-Cuban origin found primarily in Cuba’s Eastern (Oriente) provinces, José has retired from Cutumba. In April 2005, he moved to Seattle where he and his wife Naomi currently co-direct the Academy of Cuban Folklore and Dance. Soon after his arrival in the US, José founded ¡Todo Folklore Cubano! This Seattle-based dance company performed at the opening ceremony of the World Rhythm Festival just a few weeks after it’s formation. ¡Todo Folklore Cubano! has continued to be extremely well-received at a variety of events including the most recent Northwest Folklife Festival where many deemed the performance to be “best of festival”.

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Next sessions are Feb 12 and Mar 11.

1) Music: Salsa, Timba Y Amor, Issac Delgado, SuperCubano (latest Delgado Album)

Warm up and going through our developing repetoire.  The song is  about a  couple from Puerto Rico and Cuba – He loves Salsa and she Timba.

2) Music: La Gorda, Wil Campa, Todo es Posible

Taps & crossovers.

3) Music: Que Tiene ese Guajiro, Los Van Van, La Maquinaria  (Latest Los Van Van)

Salsa Time to Son Time :

L1R2L3   P4   R5L6R7L8   P1   R2L3R4   P5   L6R7L8

Explanation :  L1R2L3   P4   -  Left step on 1 , Right on 2 and so on. P = Pause.  In Salsa we often tap on the pause. If you are dancing Son you typically won’t tap on the pause, if you are just dancing to Son time, you can do as you please.

So when switching to Son we step an extra step on 8 onto our left (just like in Ponche). In Son time  our anchors are beats 4 and 8 that correspond to a pluck on the Bass.

Son Time to Salsa Time :

R2L3R4   P5   L6R7TL8   L1LR2L3   P4   R5L6R7

When heading back to Salsa, we tap on 8 with our left and then immediately step back with same foot “1″.

4) Music: El Veterano, Maikel Blanco & Suprema Ley, Mi Olvidé Quien Era

Uno Y Cinco to match the hits in the song.   Practiced Salsa/son switching to a faster tempo.

5) Music: Fuga (Cha-cha-chá), Tiempo Libre, Bach in Havana

Cha-cha-cha – vuelta, izquierda, enchufla.   Song is based on Bach’s Sonata In D Minor – how cool is that ??

6) Music: El Año Que Viene, Issac Delgado, Los Grandes Exitos De Isaac Delgado

We studied a move taught by Duane Wren. Practiced it to our standard slow practice song.

Let call it “El Duane”.  See our own Maritza demonstrating it:

Let me know if you have any questions.

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Join Seattle based dancer and musician Mark Lilly for a 4 class series focusing on the songs and dances of the Orishas, taught with live bata drums.
Saturdays 12-1 p.m. January 21 through February 11
Union Cultural Center (International District)
803 King Street
$40 for the series or $15 per class drop in

About Mark:
-I use my art form to cultivate awareness of traditional arts already in the community (especially African and Latino).
- I bring clarity to the historical connections between American culture and the African diaspora.
-My purpose as a teaching artist is to transcend artistic expression and truly connect with students in the moment…art is a jumping off point for deeper human connection.
-I use my art for healing.

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We reviewed moves we had worked on in previous sessions.  Next sessions are Jan 29, Feb 12 and Mar 11.

1) Music: Se La Llevó,  Son 14, La Máquina Musical

base, al lado, enchufla, mambo.  We also worked some on exercises moving the rib cage and shoulders: the side that the foot steps expands (shoulder up) and the opposite side contracts (hip out and shoulder tries to meet it).

2) Music: El Temba,  David Calzado Y La Charanga Habanera, Pa’ Que Se Entere La Habana

Vuelta, izquierda, base viaje, camina, echevarria

3) Music: Lo Toma o lo Deja,  Manolito Simonet y Su Trabuco, Trabuco una vez más

Linea moves : 1+1 , 2+2 , 2+1 , “L” , “L” al reves.

4) Music: Pa’ que usted lo cante,  Michel Maza, Como gato de angora

Cha-cha-cha – vuelta, izquierda, enchufla

5) Music: Yo Vengo Suave Y Sabroso,  Ciso Guanche Y Sus Soneros, Levantando Presion

Misc Tapping and Kicking and some review of the Walter P. components

6) Music: Mi Chocolate,  Los Van Van, Llego Van Van

More Tapping

7) Music: Perdona, Issac Delgado, SuperCubano  (latest Delgado Album)

Revisit All

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hello all!  My boyfriend and I are visiting for the weekend from the 9 through the 12. We usually dance rueda de casino in Los Angeles and we wanted to take a good rueda class up here this weekend! Does anyone know of any good clubs or classes?

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Hey Seattle, this is last-minute, but thought some of you might be interested…
TONIGHT! LAST MINUTE SURPRISE!!!! Cuban instructor Wilfredo Guilbiac Rodriguez will be visiting our Rueda class (7:45-9pm) and teaching a bonus class in Cuban technique afterwards (9-10pm)! We were lucky to be able to book him on short notice after his recent appearance at the Seattle Salsa Congress (where Antonio took his classes). Read his bio here. Among his accomplishments, he was a solo dancer at the legendary Tropicana in Havana!

http://www.seattlesalsacongress.com/instructors.php

Wilfredo will share some of his favorite rueda moves with us and will help everyone with our Cuban technique. Don’t miss this opportunity! $5 for those who attend the rueda class beforehand, $10 for those who only attend Wilfredo’s class. (Rueda class is $10 per person.) Location: Bell Tower Studios

http://thebelltowerstudio.com/

Wilfredo will be available in the afternoon/evening for private classes, call Antonio to arrange (360-595-7369).
Hasta pronto!
Heather

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