Salsa suelta. Salsa Suelta means "loose salsa" - salsa danced without a partner. Similar to rueda de casino, salsa suelta is initiated when people want to party and dance together as a larger group. But instead of dancing in a circle as in rueda, salsa suelta is danced in lines.
Salsa de la calle. Fun stuff. Not complicated salsa figures, but cuban rueda moves for street dancers who do not go to dance schools. The most authentic form as it is danced on the streets of Cuba.
Salsa con estilo. Add elegance to your salsa style with elegant moves with the influence of other syles such as cha cha cha, son, and rumba.
Salsa con rumba and/or afro. 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.
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 timba. Timba is a Cuban genre of music based on popular Cuban music along with salsa, American funk/R&B, and the strong influence of Afro-Cuban folkloric music. Think about Charanga Habanera, Manolito, Los Van Van and the power that comes with their music. Do you already know what to expect? Energy, fun and timba!
Salsa con pasitos. This is basically salsa with elements of salsa suelta and improvisation. Get off the schems and enjoy music!
Salsa con dos mujeres. If you think that dancing with one lady is not challenging enought, this is the workshop you had been looking for. You will learn some cool figures while the male lead two female partners simultaneously in each arm in intricate patterns. Expect lots of fun and challenges.
Salsa Two men/One lady. Guess what? There is no limit to fun and inspiration. Get ready for a great and fun workshop where two men will dance as one with one lady. Confused and wondering how? Join the workshop!
Solo Salsa & Co.
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 cubatÃ³n class. Excellent body work out and lots of fun!
Despelote y pasitos. A fusion of cubaton and salsa suelta. Fun, body movements and challenging footwork that take inspiration from many other dance styles.
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.
Cha-cha-cha. The cha-cha-cha is the name of a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique JorrÃn in 1953. This rhythm was developed from the danzon.
Bolero. Bolero is a genre of slow-tempo Latin music and its associated dance. There are Spanish and Cuban forms which are both significant and which have separate origins. In Cuba, the bolero is perhaps the first great Cuban musical and vocal synthesis to win universal recognition. The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century; it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar. Pepe Sanchez is known as the father of the trova style and the creator of the Cuban bolero.
Other Latin American, African and Spanish Styles
Kizomba. Popular dance and music, created in Angola. It is a genre of music with a romantic flow mixed with African rhythm, derived directly from Zouk music. A new entry at the Dias Cubanos we are looking forward to.
Bachata. Bachata is a style of dance that originated in the Dominican Republic. The basics to the dance are three-steps with a Cuban hip motion, followed by a tap which can include a hip movement also on the 4th beat. It is danced widely all over the world but not identically.Featuring at the Dias Cubanos also bachata rueda!!
Flamenco. Flamenco is a form of Spanish folk music and dance from the region of Andalusia in southern Spain. It includes cante (singing), toque (guitar playing), baile (dance) and palmas (handclaps). First mentioned in literature in 1774, the genre grew out of Andalusian and Romani music and dance styles. Flamenco is often associated with the Romani people of Spain (Gitanos) and a number of famous flamenco artists are of this ethnicity. Flamenco was first recorded in the late 18th century but the genre underwent a dramatic development in the late 19th century. Experience pure energy and passion.
Rueda de casino
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.
Rueda de casino - llanta. Regular rueda de casino consists of couples dancing in a circle. In Rueda llanta the rueda consists of small circles (ruedas) of two couples. This is quite an advanced structure. Switching partner may be done in the small circles, or within the two bigger circles. Confused? Advanced level only.
Rueda de casino - espejo. Espejo means mirror. Rueda is danced more or less like it would look in a mirror. Dile que no is not going from right to left, but from left to right, with the guy's left arm behind the womans back. A bit strange in the beginning, but a fun challenge.
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.
Yemayá. The older sister of Oshún, Yemayá is the mother of all, who rules over the ocean and is well-loved by sailors and fisherman. She is the maternal force of life and creation. Fish are sacred to her, and her colors are blue, white and silver.
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.
Palo. Palo traditions come from the BantÃº people of Central Africa (particularly from Congo). The BantÃº 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 BantÃº 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.
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.