por Tether A. Campbell

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por Tether A. Campbell
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LATIN AMERICAN DANCES These are essentially
divided into two categories The authentic,
traditional dances that fall lately into the
domain of the folkloric, many of these
dances vary from region-to-region, and generally
involve a rhythmic character as opposed to a
set of choreographic distinctions. The
standardized expression of popular Latin dances
embraced by cultures other than Hispanic,
such as the Cha Cha, Samba, Rumba, Bolero, Mambo
and Paso Doble. These dances are danced both
on a social and competitive level. The
choreography of Latin America dances varies
greatly according to region and time.
However, it is possible to indicate the principal
types of choreographic figures described in
such terms as amorous dances, in which the
partners hold each other closely,
handkerchief dances, in which the partners
dancing apart from each other wave
handkerchiefs, and so on.
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Ten principal may thus be established 1.
Amorous dances such as Rumba, Merengue, Tango,
and Milonga. 2. Handkerchief dances, such as
Bailecito, Marinera, Sanjuanito and Zamacueca.
3. Finger snapping dances Gato, Chacarera,
Jarana. 4. Street dances Choros, Guajira,
Guaracha. 5. Pursuit dances Fimeza, Escondido,
Bambuco, Jarabe. 6. Square dances Perican,
Punto, Mejorana. 7. Rustic dances Ranchera,
Pasillo, Joropo. 8. Ritual dances Jongo,
Macumba. 9. Carnival dances Samba, Conga.
10. Topical ballads Corrido, Zandunga, Calypso.
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ALEGRIAS The Alegrias is one of the oldest of
Spanish Gypsy dances and is often called the
"Queen" of Flamenco dances. It is the purest and
more refined of the repertoire. It suggests the
movements of the bullfight and is usually danced
by a woman alone. https//www.flamenco-world.com/
tienda/shop.php?vshopferca8670054ee5956213a3b 61
66076944127op_shopshowid_prod1627id_cat96
ARGENTINIAN TANGO Originated in the West Indies
where it was danced only by the lowest classes.
The name is from the African Tanganya. The dance
found its way into Argentina and then to France
and finally into the United States in a
modified form about 1914.
BAION A type of slow Samba rhythm from Brazil
that became popular in North America during the
50's.
BAMBA An old Mexican air from the province of
Vera Cruz, Mexico, to which a charming folk dance
depicts two lovers who throwing a narrow sash on
the floor manage to tie in into a knot with their
dancing feet.
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Flamenco
https//www.flamenco-world.com/tienda/shop.php?op
_shopshowid_prod3293id_cat
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BAMBUCA The national dance of Colombia, South
America. It is characterized by cross accents in
the music. It was formerly danced only by the
Natives but became a ballroom dance to be added
to the gentle Pasillo, a favorite with Colombian
society.
BEGUINE A type of Rumba in which the accent is
on the second eighth note of the first beat.
Origins spring from Martinique and Cuba.
BOLERO Originally a Spanish dance, the pace was
changed in Cuba initially and later again. It is
now present as a very slow type of Rumba rhythm.
The music is frequently arranged with Spanish
vocals and a subtle percussion effect, usually
implemented with Conga or Bongos.
BOLERO SON Just what the name implies. It starts
as a Bolero and finished as a Son. The Son is
faster, with sharper percussion and is less
subtle than the Bolero.
BOTECITA The "Little Boat." It is Cuban dancing
with a very exaggerated swaying of the shoulders.
BULERIAS A Spanish Gypsy dance. Livelier and
more spirited than most of the repertoire. It's
usually danced by a whole group and could be
called a Flamenco jam-session.
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CARIOCA A native of Rio de Janeiro. Also the
abbreviation of the Brazilian dance, the Samba
Carioca. At the Carioca Carnival, from the moment
the music starts until it dies off, people get
together in cordoes (chains or cues). Holding
hands in this fashion they sing and sway their
bodies to the Samba-Carioca and the Marchas.
CHA CHA From the less inhibited night clubs and
dance halls the Mambo underwent subtle changes.
It was triple mambo, and then peculiar scraping
and shuffling sounds during the "tripling"
produced the imitative sound of Cha Cha Cha. This
then became a dance in itself. Mambo or triple
Mambo or Cha Cha as it is now called, is but an
advanced stage in interpretive social dancing
born of the fusion of progressive American
and Latin music.
CHAPANECAS A Mexican Folk dance from the
province of Chiapas. Its popularity is due to the
charming air plus the audience participation
during the time the dancers request the audience
to clap hands with them. It is based on Spanish
patterns.
COMPARSA Afro-Cuban dance play.
CONGA An African-Cuban dance characterized by
the extreme violence of accents on the strong
beats. The Conga beat thus used has a
rhythmic anticipation of the second beat in every
other measure. The Conga was very popular in the
late thirties. It was performed in a formation
known as the Conga chain. The steps are simple,
one, two, three, kick at which time the
partners move away from each other.
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CORRIDOS The musical ballads called the Corridos
play a very important part in Latin American
musical life. The words are often topical and
relate to political events. It has been suggested
that the word Corrido is derived from the word
correr, to run, because the singer has to run for
his life when caught in the process of reciting
a subversive ditty. Corridos are particularly
popular in Mexico.
CUMBIA slave dance, lively, origin black dance
music from coast of Colombia, now mestizo (blood
mixture), irresistible, compulsive backbeat. In
this, Cumbia resembles rocksteady forms from
Jamaica much more strongly than it does the fluid
subtleties of salsa and Afro-Cuban music. As a
dance the cumbia is characterized by the dancers'
feet remaining directly one in front of the other
practically all the time. But mostly in
clubs nowadays (as opposed to "folkloric"
settings) people perform salsa dance steps to the
music.
DANZON A Cuban dance which starts slowly and
gradually accelerates at certain melodic
intervals between chorus and verse the dancers
stop to talk but remain on the floor until a
certain beat tells them to resume their dances.
This dance, which might be called a Rumba
variation faster. Its stately music is popular in
the tropics because it is not strenuous. It is
know as the aristocrat of all Cuban Dancing
because of its dignified and stately appearance.
(A variation of the Spanish Danza which is a much
slower ballroom dance.)
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Cumbia
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DOMINICAN MERENGUE The dance of the Dominican
Republic is interpreted by the dancers as a
slight limp. It became popular in 1957. It was
popular throughout the Caribbean and South
America in the 1940s and 1950s. Also known in
Haiti, Puerto Rico, Colombia and Venezuela. It
has its origins in Afro-Cuban rhythms and dances.
There is a belief that the tumbao, two steps of
the merengue was caused by trying to dance
like the man who lost his leg in a battle and
danced with a stick leg.
ESCONDIDO An Argentine dance called Escondido
(literally hidden for in it the female partner
hides from the male) belongs to the Gato type
rhythmically and choreographically.
FADO Originally a Portuguese song and dance
absorbed by Latin America and especially by
Brazil as a pattern for the Samba. The steps of
the Fado are based on a hop, a skip and a kick.
It makes a charming exhibition folk dance.
FANDANGO Most important of the modern Spanish
dances, for couples. The dance begins slowly and
tenderly, the rhythm marked by the clack of
castanets, snapping of fingers, and stomping of
feet. The speed gradually increases to a whirl of
exhilaration. There is a sudden pause in the
music toward the end of each figure when the
dancers stand rigid in the attitude caught by the
music. They move again only when the music is
resumed. This is also characteristic of
Seguidillas, similar to Jota.
FARUCA The dance of Spain most suited to a man.
It is a pure Gypsy dance consisting of heel work,
fast double turns and falls. It is considered one
of the most exciting of all the same Flamenco
dances.
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GATO Argentine dance performed by two couples.
In rhythm it resembles a very fast Waltz in
steady quarter notes. A very popular form is the
Gato con Pelaciones - that is Gato with stories.
The stories are the diversified content amorous,
philosophical or political.
GUAJIRA This dance was originally a Andalusian
dance derived from Sevillanos. This dance which
was played fast was a Cuban Country dance as
well, performed in Conga rhythm to the music
marked Son Guajira. In ballroom terminology a
Rumba is slow to medium tempo, or danced as a
very slow Cha Cha, with subtle body movements.
GUARACHA This lively Cuban song and dance of
Spanish origin is performed and danced by the
more expert and agile dancers only, as its speed
is rather imposing. a) An old Spanish dance in
two sections. One is lively triple and the other
in double. b) A modern Rumba usually played very
fast.
HAITIAN MERENGUE Haitian music stems directly
from African rhythms. Divested of mysticisms, its
traditions and beliefs from the folkloric basis
from which the Haitian Merengue derived. It is
simple and smooth in its slow version and can be
colorful and exciting in its faster forms.
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Merengue
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HAUPANGO The Mexican Haupango is ultimately
traced to the Spanish Son, but its rhythm is
definitely of the New World. The Haupango creates
cross rhythms of great complexity. It makes a
most interestinglively dance.
IBO The Ibo rhythm belongs to the faster Haitian
Merengue group of dancers. It is colorful, native
in style and can be classified as "Caribbean
dancing." A pronounced movement of hips and
turning of the head is typical.
JARABE The Jarabes are typical Mexican Folk
dances. Usually done by a couple, it depicts a
flirtation and conquest. It is well known in
America by its other name, "The Mexican Hat
Dance." The Mexican Jarabe is a descendant of the
Spanish Zapateado, and its rhythm resembles that
of a Mazurka.
JARANA Folk dance of Yucatan, Mexico. It is
possibly closer to the melo-rhythmic foundation
of the ancient Mexican songs than any other
native air. The verses of the Jarana are often in
the Mayan language. The word Jarana means merry
chatter. As an exhibition ballroom dance it can
be placed alongside La Raspa and La Bamba, its
cousins.
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Jarabe
Mexican Hat Dance Song
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JOTA Native folk dance Aragon, Spain. Performed
usually by one or more couples and consisting of
hoppy steps.
KANKUKUS Afro-Brazilian dances of the Mestiso
Indians.
LA CUECA La Cueca is a Chilian dance. Originally
it was danced with handkerchiefs only, but during
recent year sit has enjoyed popularity on the
ballroom floor.
LA RASPA A Mexican dance from Vera Cruz, which
reminds us of our own square dancing except that
it has a peculiar hopping step of its own. It has
enjoyed a well merited popularity for a number of
years as a fun dance.
LAMBADA This latest dance crazy has its roots
from the Northeast Coast of Brazil. The exciting
look of this dance on European television took
the Continent by storm in the late 80's.
Introduced to the U.S. by Arthur Murray
personnel, its lighthearted Brazilian/Caribbean
beat combines the flavor of the Samba with the
sultry passion of the Rumba.
MACUMBO An African Brazilian ritual and like
dances belonging to it.
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MAMBO The fusion of Swing and Cuban music
produced this fascinating rhythm and in turn
created a new sensational dance. The Mambo could
not have been conceived earlier since up until
that time Cuba and the American Jazz were still
not wedded. The Victor records of Anselmo Sacaras
entitled "Mambo" in 1944 were probably the
beginning and since then other Latin American
bandleaders such as Tito Rodriguez, Pupi
Campo, Tito Puente, Perez Prado, Machito and
Xavier Cugat have achieved styling of their
own and furthered the Mambo craze. The Mambo was
originally played as any Rumba with a riff
ending. It may be described as a riff or a Rumba
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MAXIXE A Brazilian dance first introduced in
Paris in 1912. In this dance strict attention
must be paid to the carriage of the head and the
posturing of the arms.
MILONGA The Milonga is a Spanish dance first
originated in Andalusia. As the fascinating music
traveled the world it assumed various aspects. In
Buenos Aires the Gauchos danced it in what is
called a closed position, in the lower class
cafes. Here their interpretation of it emerged
into what today is our Tango. The Milonga enjoyed
a popular resurgence some years ago through the
Juan Carlos Copes group who performed it the
world over.
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http//www.imambo.tv/mambo/index.php?optioncom_zo
omItemid47pageviewcatid3key0hit1
Mambo
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MODINHA Among the Brazilian dances there is the
Modinha which is the diminutive of Moda (Mode or
Style) and is directly derived from the
Portuguese songs and dances of that name. The
early Modinhas were greatly influenced by Italian
music. The present day Modinhas are sentimental
in mood and similar to the Cuban Boleros.
PACHANGA In 1955 Eduardo Davidson, a Cuban
Colombian introduced the Marencumbae, a Colombian
dance in Cuba. The Original music was called La
Pachanga with Marencumbae underneath it. He made
up patterns for this dance by watching musicians
keeping time on the band stand. It was then
introduced into the United States to play for the
Cuban Embassy's annual affair at the Waldorf. He
was simultaneously booked at the Palladium. He
had with him two terrific boy dancers. These boys
came out as part of the show and did Cha Cha's
with swiveling and trucking movements. People had
never seen this type of Cha Cha before and asked
what it was. Since Fajardo had a Charanga band
and spoke no English, his reply was Charanga.
After a big conference of dancers in 1956 the
Pachanga was introduced, but they found out that
the Charanga and the Pachanga were
interchangeable. So instead of some calling it
Charanga and others Pachanga, they decided that
the music would be called Charanga and the
dance Pachanga. A Charanga band is the typical
Spanish Danzon type band that only played in
salons, and the others that played far out and
wild were called "orchestra typical."
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PASILLO COLOMBIANO A Colombian dance very
similar to the Cuban Bolero.
PASO DOBLE The Spanish March or One Step. It
makes an especially good exhibition routine when
the man styles his body movements to look like a
bullfighter's and leads his partner in and out of
the patterns as if she were a cape.
PASO DOBLE FLAMENCO The same as the Paso Doble
but it is not the ballroom version. It is purely
exhibition dancing and sometimes castanets are
used or flamenco arm movements.
PLENA Several distinctive airs have originated
in Puerto Rico. Among them the Plena, which is a
topical ballad similar to the Mexican Corrido.
When danced it resembles a Bolero.
PORRO A Colombian dance. It is similar to the
Cuban Rumbas in that it Expresses various
activities or tells stories.
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RUMBA The Rumba was originally a marriage dance.
Many of its movements and actions which seem to
have an erotic meaning are merely depictions of
simple farm tasks The shoeing of the mare, the
climbing of a rope, the courtship of the rooster
and the hen, etc. It was done for amusement on
the farms by the black population of
Cuba. However, it became a popular ballroom dance
and was introduced in the United States about
1933. It was the Americanized version for the
Cuban Son and Danzon. The characteristic feature
is to take each step without initially placing
the weight on that step. Steps are made with a
slightly bent knee which, when straightened,
causes the hips to sway from side to side in what
has come to be known as "Cuban Motion."
SALSA This is a favored name for a type of Latin
music which, for the most part, has its roots in
Cuban culture and is enhanced by jazz textures.
The word, Salsa, means sauce denoting a "hot"
flavor and is best distinguished from other Latin
music styles by defining it as the New York sound
developed by Puerto Rican musicians in New York.
The dance structure is largely associated with
mambo type patterns and has a particular
feeling that is associated mainly with the Clave
and the Montuno.
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Salsa
Rumba
Salsa clip
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SAMBA This Brazilian dance was first introduced
in 1917 but was finally adopted by Brazilian
society in 1930 as a ballroom dance. It is
sometimes referred to as a Samba, Carioca, a
Baion or a Batucado. The difference is mostly in
the tempo played since the steps in all three
dance are very similar. The style is to bounce
steadily and smoothly. They say that the Samba
was introduced in the United States in 1939 by
the late Carmen Miranda.
SEVILLANAS A Spanish folk dance consisting of
seven "Coplas." Each Copla is a little dance in
itself divided into three parts. Each part begins
with an "Entrada" and ends with a "Pasada". It is
performed by couples and furnished an excellent
foundation for all forms of Spanish dance.
SPANISH WALTZ A smoothly danced waltz in open
position using the arm movements of the classic
Spanish dance.
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TANGO Continental/English - See INTERNATIONAL
TANGO http//www.argentour.com/tango/hernansalinas
/indexing.html There are essentially three types
of Tango - Argentine, American and International
Style. Argentine Tango (arrabalero) A dance
created by the Gauchos in Buenos Aires. It
was actually an attempt on their part to imitate
the Spanish dance except that they danced it in a
closed ballroom position. The Tango caused a
sensation and was soon to be seen the world over
in a more subdued version. American Tango
Unlike the Argentine Tango, in which the dancer
interprets the music spontaneously without any
predetermined slows or quicks, the American Tango
features a structure which is correlated to the
musical phrasing. The dance is executed both
in closed position and in various types of
extravagant dance relationships which
incorporate a particular freedom of expression
that is not present in the International
style. International Tango This is a highly
disciplined and distinctively structured form of
the Tango which is accepted worldwide as the
format for dancesport events. The dancers remain
in traditional closed position throughout and
expresses both legato and staccato aspects of
the type of music appropriate to this style.
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EVOLUTION OF THE TANGO The history of the Tango
can be traced surprisingly enough to a country
dance of 17th Century England. The English
country dance became the CONTREDANSE in
France, and this in turn was called the
CONTRADANZA in Spain or later simply DANZA. When
imported by the Spaniards into Cuba, it became
the DANZAHABANERA. During the Spanish American
War, a popular dance called the Habanera del Cafe
appeared which was the prototype of the Tango.
The whole genealogy is presented in the
following chronological table Country Dance
England 1650 Contredanse France 1700
Contradanza Spain 1750 Danza Spain 1800
Danza Habanera Cuba 1825 Habanero 1850
Habanera del Cafe 1900 Tango 1910
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Tango
Tango Dance File http//www.angelfire.com/film/fil
oguitango/
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XONGO (CHAN GO) A dance of the Macumba ritual in
Brazil. It is in honor of the jungle god Xango.
XTOLES (CHI TOL LES) The Mayan Warriors dance of
Mexico.
YAQUI INDIAN DANCES Dances of the Indians of
Sonora, Mexico, among which El Venado is the most
popular. It depicts the fascination of a young
deer for a campfire. He finally loses his life by
jumping into it.
YURUPARI Ritual dance of the Indians of the
Amazon basin said to protect the young male
dancers against feminine seduction. The rites of
Yurupari are held by the Indians in the jungles
of Brazil. The African Brazilians practice their
fetishistic ritual of the macumba from which stem
many Brazilian dance patterns. The Spanish and
Portuguese contribute the rituals of their
Christian religion and all three now have
enriched the dances we learn and enjoy in the
ballroom.
ZAMBRA The Zambra has a definitely Moorish
origin. Prizes were given to the youth who could
dance the Best Zambra with his Moorish maiden
during the Caliphate of Cordoba. Today it is the
dance of the Gitano women of Spain.
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ZANDUNGA The songs and dances in Waltz time of
Southern Mexico. The lyrics tell a story and more
often funny situations between persons are rhymed
and danced.
ZAPATEADO The Spanish and Flamenco dances of
Spain in which rhythmic patterns are made with
the heel and ball of Filigrano. Also a man's
dance which consists purely of intricate
stomping. (See photo)
A distinctive type of footwork that originated in
Spain. When dancing the zapateado the performers
skillfully drive the heels of their shoes or
boots into the dance floor, pounding out swift,
often syncopated rhythms which complement the
different sounds of the musical instruments. The
zapateado can reduce even the most sturdy dance
floor to splinters because of the vigor with
which it is danced.
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Photos from Yahoo Images Most of the information
on the dances from http//www.ohiodanceinc.com/da
nce.html
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El Fin