Discussion in 'Just Dance' started by granrey, Nov 12, 2017.
Good for you..It is almost impossible to stop my imagination.
That you do not just "tell" a story while dancing, but create it together while playing the characters.
Cuban Salsa already has elements like that from the Afro- and Orisha settings, where you for example can play the roll of one of the Orishas or present yourself as a drunk guy who is molesting his female slaves (or a rooster hunting the hen - for the US citizens here ...)
Of course everything is hidden in symbolism - some things more, some things less.
A constant problem is that few people (me neither) understand the lyrics here - with English songs it is much easier to find a story. (The Salsa-remix of "Shape of you" is popular here. That is a great one for role playing.)
Spanish songs I usually simply treat like instrumentals, taking the mood of the music and the singer simply is another instrument.
A very popular theme is that the woman is a beautiful girl and the guy plays all the guys who are trying to get her attention, while she plays with them as she likes. (This I have actually been taught!)
Ever wondered why the cross body lead in Cuban Salsa is called "dile que no" - "tell him no" ? The guy is trying to approach the woman and she is rejecting him and passing by. Try to treat it not as a pattern, that has to be performed correctly, but for example as a hot Latina (cliché), who is at the same time rejecting a guy and intentionally driving him crazy.
And of course the guy is crazy for that girl ...
A couple moving home at night, drunken and still in the act of finding out, where each one will head.
The couple reached home together ...
Smoother linear dances: (I do not dance NY style, but this probably would be closest)
A couple on a romantic walk in the public, not able to let go of each other, not allowed to really let anything happen.
NY Style as it is taught here:
The story of a spaghetti ...
If you approach the dance like that and the moves get meanings - not to your teacher but to you - the dance get's a much higher level of communication and playfulness from both sides. Even a simple every day element like DQN or vacilala becomes intense and meaningful.
P.S.: While writing that the videos of Diego Avendano were auto running on the second screen. In some of the dances he is doing role-playing elements too.
Anyone who posits one style of dance as superior to the other immediately reveals their ignorance. Tell that to this “instructor”.
Sensual bachata is definitely inferior and I have no problems shouting it from the rooftops
I got it. We have several dancers as you described. They are very popular, a lot of ladies want to dance with them.
Sensual Bachata is different, because it is a show dance which people extracted to emulate a social dance.
So no wonder it is inferior as a social dance, as it isn't one.
In on1, where is the the break step relative to the pause? In on2 the break step is where relative to the hold? What does that mean for the perceived smoothness of each style?
I don't understand your question but as a rule, anything happening on On2 happens on On1 as well. It's the same sequence but separated by bits. AS long as the On1 dancer does not dance with feet together on beats 4 and 8.
If you have two couples one dancing On1 and the other dancing On2 and these couples are using earphones per couple. If you start the song on the On2 couple and 6 bits later you start the song on the On1 couple. They should be doing the basic step identically and nobody would know what they are dancing. However, in music they are separated by 6 bits.
This is incorrect. On2 and on1 are not the same.
There is a subtle difference in the "stride" of On2 vs On1 - if we are talking about an experienced On2 dancer.
Generally experienced On2 dancers dance to the conga and will use the cun-cun to prep for the 2 and 6, which creates a subtly different dynamic to On1.
Having said that, it's a myth that On2 is somehow "superior" to On1.
In all honesty I don't understand a word of that. You have subsequently explained the role playing comment (although even then I'm still mystified), but the rest? Could you post video(s) to show what you mean please. The best option would be of you, but otherwise of someone you're trying to emulate/who is illustrating what you're referring to above.
I think this myth might stem from the fact that in many Western cities, on1 is the default timing that's taught to beginners. Migrating to on2 takes effort, and most people aren't interested in taking 3-6 months (or whatever) to do the conversion for apparently little reward - so only the dedicated do so. And thus the myth of on2 being for advanced dancers was born.
Salsa remix of Shape of You, an already awful sound (seriously, **** Ed Sheraan) sounds like a special type of hell. lol Germany I guess.
I assume it was an elaborate troll post using http://watchout4snakes.com/wo4snakes/Random/RandomParagraph or the like
Here's a thread especially for you: http://salsaforums.com/threads/salsa-remixes-of-popular-songs.31897/. You even get to see someone dancing to the Ed Sheeran remix.
When I am in places, where creativity is welcome, it is a paradise.
Sadly it by far isn't like that everywhere. See the reactions - naming a "wrong" song and the protectors of "how it shall be" run mad.
I do not need to travel far to find follows, who react like that when you bring in a Cuban style move into a linear dance or do a pattern they simply do not know. They are the majority in our local core scene.
It's a myth that On2 is better than On1, but it's not a myth that more of the really good dancers dance primarily On2. This is due to as LarsM said: most beginners are taught On1, then migrate to On2 and spend a considerable amount of time learning the intricacies of both timings. I know of one school which teaches absolute beginners On2, and their students are no better than absolute beginners learning On1. The best dancers learn every timing, but I'm pretty certain their preference will be On2.
There are 4 main timings: on 1; old school on 2 aka contratiempo aka P2; contemporary on 2 aka ET 2; and on 3. How many dancers do you know/know of who know more than 2 of those to the extent that they can actually dance them? And of those who can't, is it really a weakness?
(Within the 2 types of on 2 there are at least 5 variations.)
And what you stated is a "myth ". I could quote you numerous locations ( States ) that has a preponderance of latino's who by and large, dance only on "1" .But I'm guessing your reference is slanted towards European's (?) .
The above refers to leaders. Re. followers: being able to dance to different timings is definitely a strength and a necessity.
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