This is the workshop schedule of the Dias Cubanos - Gala Edition 2017

Workshop description

 

Salsa & Co.

Rueda de casino. Rueda de Casino was developed in Havana, Cuba in the late 1950s and early 1960s by the group Guaracheros de Regla and one of its main choreographers and creators was Jorge Alfaro from San Miguel del Padron, a soloist of a comparsa. Pairs of dancers form a circle, with dance moves called out by one person, a caller (or "cantante" in Spanish). Many moves have hand signs to complement the calls; these are useful in noisy venues, where spoken calls might not be easily heard. Most moves involve the swapping of partners.

Cubaton. Cubaton is a term used sometimes to denominate Cuban reggaeton and at other times, a uniquely Cuban fusion of reggaeton with other Cuban musical styles. A very dynamic dance with the influence of dancehall, salsa, bomba and Latin hip hop. Get a great start on the weekend warming up with an energetic cubatón class. Excellent body work out and lots of fun!

Nudos. Nudos in Spanish means knots. Applied to Cuban salsa means adding complex and challenging and tricky figures that will amaze you and the people watching.

Salsa con rumba. In this lesson(s) elements of afro Cuban and Cuban rumba will be harmonically blended to enrich your salsa stlye and bring a spicy touch to your salsa moves.

Rumba

Rumba - Guaguanco. Rumba Guaguanco is faster than yambu, with more complex rhythms, and involves flirtatious movements between a man and a woman. The woman may both entice and "protect herself" from the man, who tries to catch the woman offguard with a vacunao -- tagging her with the flip of a hankerchief or by throwing his arm, leg or pelvis in the direction of the woman, in a symbolic attempt at touching or sexually contacting her. When a man attempts to give a woman a vacunao, she uses her skirt to protect her pelvis and then whip the sexual energy away from her body.

Rumba - Columbia. In this fast and energetic style of rumba, solo male dancers provoke the drummers to play complex rhythms that they imitate through their creative and sometimes acrobatic movements. Men may also compete with other men to display their agility, strength, confidence and even sense of humor. Columbia incorporates many movements derived from Congo dances as well as Spanish flamenco, and more recently dancers have incorporated breakdancing and hip hop moves. Women are also beginning to dance Columbia, too.

Traditional dances

Son. The Son cubano is a style of music and dance that originated in Cuba and gained worldwide popularity in the 1930s. Son combines the structure and elements of Spanish canción and the Spanish guitar with African rhythms and percussion instruments of Bantu origin. The Cuban son is one of the most influential and widespread forms of Latin American music: its derivatives and fusions, especially salsa, have spread across the world. The word son (one of the words that translates to English 'rhythm' from Spanish) has also come to be used for other traditional rural musical styles of Spanish-speaking countries.

Afro Cuban

Orishas. Most of the sacred dances we perform are from the Afro-Cuban religion of Santeria, or Regla de Ocha. Santeria is based on the Orisha worship of the traditional religion of the Yoruba people from West Africa. Yorubas brought their religion to Cuba during slavery. Most enslaved Africans in Cuba were Yoruba, and thus had a significant cultural influence on the Africans of various ethnic backgrounds.

Elegguá. The Orisha Elegguá is one of the most respected deities of the tradition. He is the trickster Orisha, represented as a child or an old man, and the owner of all roads, which he can open - or block. As a messenger between humans and Orishas, he must always be honored first at ceremonies and religious events. He loves candy, toys, rum and cigars, and his colors are red, black and white.

Oyá.The fiery warrior Orisha Oyá guards the cemetary and rules over the egun or dead. She is also the ruler of the winds, tornados and hurricanes, and wears a skirt of nine different colors. She is a strong protectoress of women and an Orisha of change. Her colors are burgundy and purple, as well as the colors of the sparkle, which she represents as well.

Ogún.The Orisha of iron, war and labor, Ogún uses his machete to clear the pathways opened by his fellow warrior Elegguá. A blacksmith, he is a solitary fellow who lives in the forest with his friend Ochosi, the hunter Orisha. He gave humans our tools and technology, and is both destroyer and producer. He likes rum and his main colors are green and black.

Congo

Palo. Palo traditions come from the Bantú people of Central Africa (particularly from Congo). The Bantú represent the majority of African slaves coming into Cuba during the 17th and early 18th century; later the Yoruba (from Nigeria) became the primary group brought to Cuba as slaves. Drums and hand rattles are used in this music, which is based upon communication with ancestral spirits, the dead, as opposed to the Orishas. The songs and chants, often in a hybrid combination of Spanish and Bantú words, play a central role in the rituals of Palo. Music of this tradition has had a strong influence on popular music forms like Rumba, Son and Mambo.

Makuta. Makuta is a social dance of Congo origin. The makuta drums are a forebear of the conga drums. In Cuba, makuta refers to a festive gathering or a type of ritual staff, which is used at certain moments in Palo ceremonies to strike the ground in a rhythmic accompaniment to a song or dance.