By Sydney Hutchinson
Salsa Worldexamines the ways that our bodies relate to tradition in particular areas. The participants, a impressive staff of students and practitioners, learn dance practices within the united states, Japan, Spain, France, Colombia, Cuba, Puerto Rico, and the Dominican Republic. Writing from the disciplines of ethnomusicology, anthropology, sociology, and function stories, the members discover salsa’s kinetopias - locations outlined by way of flow, or vice versa- as they've got arisen in the course of the dance’s interplay with neighborhood histories, identities, and musical forms.
Contributors contain Bárbara Balbuena Gutiérrez, Katherine Borland, Joanna Bosse, Rossy Díaz, Saúl Escalona, Kengo Iwanaga, Isabel Llano, Jonathan S. Marion, Priscilla Renta, Alejandro Ulloa Sanmiguel, and the editor.
In the series experiences in Latin American and Caribbean song, edited through Peter Manuel
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Example text
Torres handpicked sixty of the best nightclub dancers and put them through four months of training. The show succeeded so well that Torres subsequently formed a permanent dance company of six couples, the Eddie Torres Dancers, and others were inspired to follow suit (Torres 2003). A get-together of the Mambo Society began around 1988 in what is now the East Village on Fourth Street at Second Avenue. Among others, Angel Rodríguez and his wife, Addie, taught there for about two years (Rodríguez 2003).
Mambo became more popular in New York than it had ever been in Cuba (Leymarie 2002: 161), prompting Downbeat magazine to announce, “Dance schools find these days that a mambo class is as essential as a credit payment plan” (October 6, 1954). Early mambo styles are described in a Dance Magazine article: The term Mambo is today used to designate two forms of Rumba which are quite dissimilar in appearance. As a foundation for either the smooth or the hectic style, however, the same or similar basic rhythm and step variations are taught.
Well-known dancer Katherine Dunham later hosted Prado at her Manhattan dance school and choreographed and performed in the 1954 film Mambo. Mambo became more popular in New York than it had ever been in Cuba (Leymarie 2002: 161), prompting Downbeat magazine to announce, “Dance schools find these days that a mambo class is as essential as a credit payment plan” (October 6, 1954). Early mambo styles are described in a Dance Magazine article: The term Mambo is today used to designate two forms of Rumba which are quite dissimilar in appearance.