Orquesta Bakan LIVE at Mambo's Salsa Live, Oakland

Orquesta Bakan LIVE at Mambo's Salsa Live

Friday November 7th, 2008

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Salsa Lessons at 8:30pm

Band Plays at 10:00pm

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Mambo’s Salsa Live
474 Roland Way
Oakland, CA

About Orquesta Bakan:

This high-energy Orquesta consists of some of the finest musicians in Northern California.

A nice blend of experienced, and up and coming young talent is reflected in their showmanship.

On vocals are, Victor "Cafe" August and Fernando “Nando” Wilkins. On Trumpets, Tom Bertetta and John Ruff. On Bari Sax, Peter Cornell, and on Trombones Doug Beavers, and Mike Rinta. Christian Tumalan on Piano, and Carlos Ramirez on Electric Bass.

Eric Mendez on Timbales, Sean Zuniga on Congas, and Director Jose Guaman on Bongos/Vocals. Each member brings the flavor of his country ranging from Puerto Rico, Panama, Ecuador, El Salvador, Mexico, Chile, and the USA.

Berlin Salsa Congress Review, 2008

Berlin Salsa Congress 2008

Review by Sydney Hutchinson

If you needed any more proof of the salsa explosion that has been going on around the world for the past few years, you only needed to look as far as the flyer table at the Berlin Salsa Congress this year.

In just that one square meter of tabletop, I picked up flyers for salsa congresses and festivals in Poland, Switzerland, Morocco, Estonia, the UK, Slovenia, Greece, Turkey, Monaco, two cities in the Netherlands, and three cities in Germany. When I started performing in New York in 2000, salsa hadn’t yet been heard of in most of these places. Or maybe it was just that New York can still be so insular and cliquish as a scene. Whatever the case, this is one of the great attractions of being a salsera/o today: you never know who you’ll meet next, or where you’ll end up.

This year’s Berlin Salsa Congress was the eighth held in Germany’s capital under the leadership of Franco, from the Berlin dance company Pura Salsa. The international theme of this Congress was maintained throughout the weekend. The twenty-nine instructors hailed from a variety of countries, reflecting both the new realities of the EU as well as the organizers’ efforts to include greater diversity. The US, the UK, the Netherlands, Germany, Poland, Estonia, Italy, Switzerland, and even India were all represented in the classroom.

This year, organizers aimed to capitalize on the growing interest in both men’s and ladies’ styling classes. Tamambo and Neeraj both taught men’s movement to full houses. The concept of men’s styling hadn’t yet appeared on the scene back when I was teaching with Razz M’Tazz, and I found it inspiring to see a roomful of fearless men working together to learn how to better use their bodies. Surely this represents a step forward for both genders! (We ladies love to see a man who can really do a body roll.)

In a new twist this year, women had the option of purchasing a “Ladies’ Experience” pass instead of a traditional weekend pass. The idea was that this pass would allow women who wanted to work on improving their dancing without worrying about a partner to enjoy smaller class sizes taught by women, for women. From what I heard in the ladies’ styling classes I attended, students were bothered by the fact that passes weren’t controlled at the door, or the courses clearly marked, so that many women with regular passes were able to attend the “Ladies’ Experience” too. This small problem did not detract from my enjoyment of the classes taught by Susana Montero, Magna Gopal, Karima (Majusee, Paris), and Karel (Yamulee). Each woman had a different take on the concept of ladies’ styling. Together, Karima’s zest, Magna’s precise counts, Susana’s attention to detail, and Karel’s focus on body movement made for a well-rounded experience.

Dancers Prithviraj and Ree from Bangalore, India brought one of the most unusual choreographies to the conference, performing and teaching a number they called “Salsa Bollywood” that included sections in both of the named dance styles. Prithviraj has extensive experience choreographing popular dances for South Indian films, so it seemed natural for him to go on to salsa. He and partner Ree now teach the style in their Bangalore dance studio, “Rock Around the Clock.” Whenever salsa successfully moves to a new location, there is a temptation to try to create a local or national style of salsa by combining it with local dances. One successful example of such an effort can be found in Mexico City dancers Victor and Gaby’s creation of “salsa con quebradita.” The difficulty is in finding out how to combine the two types of movement into a unified whole. The next challenge for these two will be to find a single kind of music and movement that expresses a combined sensibility. Instead of separating the two styles into different sections, can one combine Bollywood moves with partner work and do them to salsa? What about vice versa? Ree and Prithviraj have taken a first step and seem to be well on their way to answering these questions in the future.

The evening shows at the Berlin Salsa Congress were well run and professional, although there was a bit too much talking between numbers for some tastes. On Saturday night, the roaring twenties theme went well with the neighborhood’s sense of history, as the event was held in Columbiahalle next to the old Tempelhof airport. The audience responded enthusiastically to all the acts, but there were several standout performances. For instance, the classic New York style on-2 mambo by Yamulee Dancers was technically flawless with impressive spins and footwork. Iris de Brito’s creative choreography used modern dance technique to fuse Cuban movement with the music and dancing of her native Angola. And Italy’s Marco B and his Flamboyán Dancers impressed twice with two equally innovative numbers. In one, the dancers evoked the experience of spirit possession, helped by tunics that were used to alternately cover or reveal their faces. The other combined the suggestion of mimes and puppetry with movements depicting the range of emotions all dancers experience through the processes of choreography and rehearsal, from frustration and anxiety to ultimate joy. The latter was surely the feeling most of the audience experienced upon watching Marco B’s exceptional performance.

Tired but happy, I left the congress on Sunday with the impression that, while salsa is still growing, it is far from having peaked. The number and quality of dancers from all over the world at this event reminded me of why salsa is so popular and so important in many of our lives. It brings together people who would never have the opportunity to meet and converse if it weren’t for the dance. It demonstrates that you don’t have to look a certain way or have a certain body type to be beautiful. Most of all, it lets you step outside of your day job and your everyday self, to just feel, just enjoy, just dance.

Do's and Dont's for Leaders on the Dance Floor

This is a great article from the Salsa Gang Forums. www.SalsaGang.com

Ok, guys, listen up – Here’s your chance to shine – I’m giving you a gift here, take it now and thank me later. Following is the result of my unscientific survey of what about leaders turn women off the most. Just stop doing all these things that these ladies don’t want you doing. All the ladies who participated in this study are above average dancers and most are advanced or pretty close to it.

I have grouped specific responses into several general categories (in no particular order of importance):

1) Narcissism – dancing for yourself, more interested in connecting with the mirror than with your partner, more interested in who (you think) is watching you than how your partner’s doing, dancing to make yourself and not her look good (which, paradoxically guys, makes you look really bad) or even using her in the dance to try to make yourself look good. No eye contact, acting aloof, looking around. See my first article on dance for more on the narcissist dancer. To be able to diagnose him on the dance floor, ladies, he’s the one that you feel isn’t dancing with YOU at all, that you’re really on your own out there, and that you’re just being used as a tool for him to “get himself off.” You know, like bad sex.

2) Grossness – This one shouldn’t even exist – Shame on you guys! Ok, the items that came up the most were bad breath, body odor and sweat: “When he wipes his sweat with his bare hands and then touches me with it.” And, some practical advice: “Nothing is more gross than having to touch someone’s hairy, wet, stinky hands/arms. If you know you’re a fountain of sweat while dancing, keep a beach towel handy to dry off in between every dance. Bring several shirts and a tub of Mitchum.” Do some people actually have to be told to bathe and brush your teeth before going out to hold women all night? And guys, have a brain, will you – No sleeveless! You may not smell yourself but I can assure you you stink on ice.

3) Sleaziness – Another one that shouldn’t even exist, and I must say I know many decent guys/leads who are appalled by this in other guys as well. This is distinct and separate from grossness, although there is obviously some overlap. One introductory quote in this category: “Not all of us followers are bold enough to tell a leader we don’t want to dance with him, or tell him when he’s hurting us, or is taking advantage of the dance to grope us. Consider, most leaders get more physical contact in a dance than they could expect on a first date. Most followers put up with more physical contact then they’d allow off the dance floor. That said, we all suspend the rules for the sake of the dance, with degrees of personal reservations.”

“Creeping hands” came out at the top of this list: “Placing grubby hands on the small of my back. Totally inappropriate. Hands should be kept in the shoulder blade area at all times.” How about this one: “Walking up to me or behind me and putting your mouth on my ear. WTF?” Dancing with drink in hand is another one mentioned. I won’t even start listing the things that that particular behavior indicates, but I really hope you don’t do that and call yourself a dancer at the same time. Because you’re not.

One more thing, guys – I want you to remember this – You know how you make those glances either directly at her breasts or peek down the front of her shirt? Well, I have news for you – No matter how good you think you are at doing this? She knows! That’s right, they know you’re doing it, and they always know – I don’t care how cool you are about it. They know. They know. They know! And most won’t say anything. They’ll just think you’re the sleazebag that you’re acting like, whether you really are or not, and like wildfire every girl on the scene is going to hear about it and think you’re a sleazebag, and like the ad says – “You never get a second chance to make a first impression.” So save it for the strip clubs, guys.

Cubans got high marks for inappropriate groping (Hey, socios, don’t shoot the messenger, ok?!): “When guys think just because they’re Cubans they can go around and grab your behinds or rub themselves on my ass.” This sentiment was echoed several times.

Groping as a general concept was scored real high in distaste, but I think it merits some qualification. There are circumstances when dancing real close, or “dirty dancing,” or ok, let’s just call it “measured groping,” is ok. When the two really know each other and have that kind of chemistry and a trusting relationship that that is ok. When the girl knows the guy and trusts him and that he “gropes” respectfully and safely. And then, of course, those who are dating or otherwise romantically involved can get real nasty out there. But, some of you may ask, why do they need to? Good question, but sorry, another topic, another time. General rule about dancing real close, guys, is: When in doubt, any doubt, DON’T.

4) Lack of Awareness and/or Consideration: Why do I find myself even having to say this? You are not the only ones on the dance floor. Pay attention to people around you, to spatial limitations, and respect other people’s space and their right to be in it. Many of the ladies complain that they are tired of having to apologize to others for stepping on them or getting in their space because the leader throws them there. This happens a lot with the narcissistic dancer who could care less who else is on the dance floor. And, says more than one respondent, you rueda dancers, do your thing, but give us a break, will ya? When the floor is crowded please do not take it up with a rueda – Do it in an area where there is more space. If there isn’t such an area at the time, learn the concept of delayed gratification, ok? Google it, you’ll get 355,000 responses.

I’m gonna break the rule here of ladies opinions only (it’s my piece, so I can) and add my own two cents to this category. How come you guys who think that the bigger and more complicated moves and turns you do makes you a better dancer are the same ones who knock over and step on the rest of us on the dance floor? You’re not only dancing poorly; you’re also being rude and inconsiderate. And this goes toward your partner too: One respondent sates that some leaders do “WAY too much – I’m not so impressed by arm-twisting shoulder-popping turns done to some beat that is not currently playing as much as I am with a basic, on-beat guapea.” Hard leads and “gratuitous spinning” and jerky forceful moves were high on the list of complaints. If any of you know or have seen Roberto Borell dance – Watch how he just dances in closed position, in a circle, and how he puts all you pretzel-makers to shame (and so say the women). One lady aptly put it: “When he chooses to do so many moves that we lose the meaning of the dance.”

Which brings us to: Have respect and consideration for your partner too. Respect her limitations and her strengths. Respect her skills, or lack of them. The purpose of this dance to this song is to make this woman feel good right now. Just remember that and you’ll do fine. Really. My teacher G (whom some of you may have heard of) tells me that the most important connections in any dance are the following, in this order: The partner, the music, and the floor.

5) Consideration (continued): Then there’s the whole issue of consideration before and after the dance. Here’s what some of the ladies said: “If you can’t catch a follower’s eye and hold it or get some other signal that she’s willing to dance with you then she probably doesn’t want to.” And “Grabbing her hand or pointing at her and then the dance floor without approaching her and asking politely.” Ok guys, do we really need to go over this? I guess so: Walk up to her, make eye contact. If she avoids your eye contact move on, she’s not interested, and if you push it she may say yes but she’ll just go through the motions and you’ll both have a lousy dance. If she does meet your eye contact, smile, extend your hand, and ask her to dance. Did you hear me? I said ASK her – do not come up from behind and tap her on the shoulder, TELL her or point to the floor, grab her hand, and pull her onto it. I can’t believe how often I see this. Even among friends, it’s disrespectful. Remember the primary rule of life, folks: Above all be kind. Respect.

And what if she asks you and you don’t want to dance with her? Do it anyway. She’s offering you her body and her time, guys. Use them both kindly. And if you must say no, do not, I repeat, do not turn around and dance with some hottie half her age who can’t dance half as good. You see, women really don’t like that.

Other comments from the ladies: During the dance smile, make eye contact, ENJOY yourself, do not be cool, and do not, ever, try to teach her something on the dance floor. It’s the wrong venue for that and she doesn’t want that and chances are you’re wrong anyway. If you see two ladies dancing let them be – They are doing just fine, thank you, and they don’t need YOU to “rescue” them.

After the dance, you guys who just roll over after having sex and go to sleep – you can’t do this on the dance floor, ok? While it has become uncustomary for us to escort the follower back to where you got her, at least make eye contact, smile, and say “Thank you!” Do not just turn around and walk away. Yes, even if it was not a great dance, you still owe someone a “thank you” for their time, which is the most valuable commodity any of us has to offer, simply because it is non-refundable.

What about when she rejects you? So? WTF about it? Maybe she’s tired, maybe she’s busy, and maybe, just maybe, she’s just not into you. BFD, guys, let it go, put your ego aside, leave her alone. Chances are there are plenty of others who would love to dance with you. And if there aren’t, just go back and re-read this article and maybe you’ll figure out why.

Dr. Bill

www.drbillsblog.com
drbillperry@comcast.net.

August 2008