My Interviews - Salsa Dance Teachers

Super Mario - Million Moves Man.

The interview was conducted  at his base in London in October 2012.

I started dancing Salsa socially in 2000 and Mario was one of my first teacher’s.  Mario has a degree in Mathematics but decided to teach Salsa in 1998.  He has an impressive Biography, listing numerous awards to his contribution to promoting Salsa world wide, best UK teacher and more titles.  

Super Mario's web site Salsa 4 Fun

Bar Salsa teaching venue

Mario has taught in more than 70 countries and continues to travel abroad almost every weekend to teach Salsa. 
He teaches cross body style (New York) which is in a ballroom hold starting on beat 1 and 2.

What strikes me about his teaching is the ease in which he teaches the men's to lead.  He has an excellent grasp of the leading technique for social dancing. With no previous dancing or teaching background he is able to produce and execute so many imaginative moves and unique combinations. 

My observation as his assistant  dance partner confirms his affirmation to teach the basic fundamental steps of New York style Salsa.  His main objectives for teaching Salsa are;

• to promote and develop the social interaction through the fun element
• develop the practitioners style by encouraging them to experience and explore other Salsa dance styles, thus promoting fusion.

Mario constantly evaluates his own teaching.  He injects new found music into his club from his travels.

Mario is a seasoned interviewee and was a great respondent and we concluded the interview promptly. 

Mario the DJ, talks about what type of music he likes and plays and why,  the importance of the influence the music is to the dance in the London circuits, fusion in music, competition amongst the DJ’s and his concerns for the type of music that may be played in the future in connection with Salsa.

Mario has stated that a very small number of practitioners in the UK are not interested in knowing about the traditional dance but in his travels internationally there are Q & A sessions after every class where practitioners ask about the origins of the dance.

Marchant and Davina Birch -  Alchemy Dance Academy

The interview was conducted at their base in Winchester on 8th September 2012

Marchant is from CapeTown South Africa with a formal Ballroom dance background. 

Davina is from the UK with a dance background in ballet, jazz and tap and teaching qualifications from the ISTD.

Alchemy Dance Academy

Interview with Merchant & Davina in Salsa Mag

Together they have developed an almost unique jazz style of Salsa with a specific teaching programme at all levels from novices to performing style.  They have continued  in their endeavor to combine their individual styles. They each transfer and fuse one other’s style. Marchant is an expert in partner dancing and leading and Davina had to learn this methodology.

They are both experts and understand the history and culture with considerable knowledge of Latin Dance as well as their own dance backgrounds.  Some interesting points raised;

• ‘imitating’ one dance and another does not mean this is fusion.
• Marchant acquired the knowledge of the foundation Salsa steps known as Cape Jazz in Africa.  
• He grew up in Africa encompassing the rawness of the culture and music, plus his personality and dance expression produces a unique Alchemy Salsa dance style    
• Davina points out no one culture can claim ownership of salsa, it’s a sauce, a mixture. 
• It’s important to have absolute expertise and knowledge in the field to be able to fuse the dance styles 

They have both embraced this new style and they are focused on their objective and persist with the original foundation steps.  They are aware more trained dancers are getting involved in the Salsa scene and are diluting the traditional style by fusing their own background conditioning to a point that it has become a performance dance with more and more acrobatic moves and tricks. It has become evident in most cases these dancers lose the essence of Salsa as a social dance.  My observations in the UK show a broad split in Afro Cuban traditional dances compared to those in Cuba but with emerging professional dancers in Cuba fusing Afro Cuban 

I’ve become proficient at setting up the video equipment with ease and with preparations made the day before which include charging the battery, making sure of enough space on the SD storage card and a packed video tripod.

My interviews average three quarters of an hour because I was aware of the specialists teacher’s time.

The interviewee commented on enjoying the experience of my interview and found the questions interesting and enjoyed the discussion.  I have permission to quote them in my critical review. 

As I analysed my interviews I became aware that my interview technique could be much improved by;

• remembering the questions 
• remembering the order of the questions and looking less at my list of questions
• better articulation of questions
• not expressing my opinions 
• less fidgeting  

The interviews revealed teacher’s thoughts and expert knowledge.  Recording interviews for this project has been an important learning tool for me.  It has allowed me a deeper insight thus giving me a richer view of current expectations, participants likes and dislikes in various hub areas of the UK.

What has emerged from these two interviews is that both Salsa styles are contributing to a new style of dance and the original traditional style has been modernised with no evidence that the roots of Afro Cuban culture being offered as a subject of historical interest.
Both interviewees agree the effect of fusion today within their style of Salsa dance can be damaging to the traditional origins of Afro Cuban dance but they are adamant to keep the basic foundation step even though both interviewees express this to a different music style.

I have a further interview to analyse.

My Artefact idea and Campus session 3 (last session)

Campus Session 3 with Paula Nottingham

My light-hearted thoughts on the Campus sessions.

It has almost always been a relief to have attended the campus sessions offered to us.

Each time I've attended, a little more of what is expected from us becomes clearer.  I found this course challenging at most times to say the least.  Three reoccurring questions pop into my head;

1. what exactly does that mean  
2. how exactly am I supposed to do it
3. how do I start writing it

My mind could produce endless information all whizzing around or it could draw a complete blank thus  making me incoherent.
It's all very clearly defined by the structured processes laid out in the modules booklet and handbook.
But for me it has clearly been the campus sessions where the fog begins to lift for a short while as we come together for discussions, reassurance and group interactions. Is it only me that understands 50% of what was being explained?  I put it down to the 'Academics'.  Academia is another planet and I'm an Alien with hope of an accelerated integration into the system but with my unrefined, gung ho, brash approach to my answers,  have at times,  been halted and re directed me in my endeavours.  OK!  I know, they have the upper hand on psychology and theories.. But I ask you to be gentle with us as you break us down and then rebuild us.  On a serious note, I would have liked more campus sessions and I wish I had attended the sessions I missed...

Campus Session
Paula conducted the campus session on 21st November 2012.  Her presentation slide is now on her blog.  It is a very good guide, prompt, reminder and break down of what is required for this section of the inquiry.

Some of the points highlighted prompted me to think about;

1. Where are we in the time line. Apart from being at a certain point in the 5 stages we need to be aware that the 'Artefact' should be in our minds as well as our 'Oral presentation'. Date to be confirmed 23rd or 24th January 2013.  Paula mentioned that Your Oral presentation could be your Artefact.  This is an option I will consider.

2. Bibliography.  I have started to do this already, it seems a sensible thing to do rather than leaving it all till the very end and panicking because you can't find the web site or mislaid your literature especially if you had borrowed a book from a library.

3. Triangle. 
See slide 10 of presentation on Slide presentation 21st Nov'12 - campus session mod 3 - Paula
The main point for me was to write about my experience and understanding from the data collected as evidence and literature knowledge I gained from experts and specialists in the field and beyond.
This was also raised and discussed by Adesola in the morning campus session on 31st Oct'12

4. Analysis of surveys and interviews
Interviews
An example of how you can start to write; I interviewed seven people, two said............, four said.....etc.

Surveys
An example of how you can start to write; In five surveys I found people said......etc.
Talk about them individually.

5. Findings within the tools and Findings as a theme.
See slide 15 of presentation - I found this clearer to understand.

6. Analyse the interviews first and themes second

7. Self Critical Reflection
I will think about;

• How my mind set was at the beginning of the BAPP course
• How I managed the changes during the course
• What have I discovered about myself and how have I developed during the course
• What have I understood during my learning journey 
• How do I see myself now and how do my piers, professionals, family and others see me now as I approach my final stages of the BAPP course
• How am I going to use this acquired knowledge and has my personal development been enough to find the right job or continue my career in dance.

My Artefact idea

My inquiry is about Salsa Dance Fusion, the culture and history influencing the modern dance styles today.  Salsa is a word encompassing a variety of traditional dances from the Caribbean Islands and beyond.  My findings give reference to the different dance styles within Salsa and the music that influences modern Salsa.  My interviews are with the teachers of those dance styles and my line of questioning is based on their knowledge, experiences and teaching methods.  My surveys were completed by the dance practitioners and my questions based on their knowledge and understanding of the origins, culture and history of Salsa.
My very first idea about an Artefact was to video record the dances but at that time I didn't fully appreciate what was going to materialise through my analysis or exactly who my audience would be.
During a discussion at the campus session, Sarah Pearson made a point about how she would like to see these differing dance styles.  I then realised that I could go with my first idea.

I would like to video record the three different dance styles in a documentary format showing how they are taught.  The recordings should demonstrate how this social accessible dance style as accelerated some non trained dancers to professional level.

My audience would be dance practitioners and teachers.  Dancers could see how learning additional dance styles could be an advantage within their dance repertoire.  Teachers could see how by adding another dance style to their list of classes offered, could bring a wider range of dance practitioners to their business.
My reasons behind the idea for a video recording are;
1. My confirmed award title is; BA (Hons) Professional Practice in Dance 
2. My Salsa teaching experience can show, explain and compare the various dance and music styles
3. I want to continue developing my skills in presenting and editing

In addition,  I have also been researching Middle Eastern Dance and had intended to include this in my inquiry but then realised via comments decided not to as the subject became far too broad and ambiguous within the time frame given to complete this project.  I was encouraged by Paula and Kate to include some data in my analysis findings which I shall do.  If time permits,  I may consider adding some video footage of classical Egyptian dance and some dance fusion.

I am also considering the idea of using my Artefact for my Oral presentation.

I welcome ideas and comments.

Harvard Referencing examples

I came across Alicia's recent blog requesting the correct way of referencing quotes from  interviews conducted to include within our inquiry write up.

I have been using the Harvard Referencing examples by Staffordshire University simply because of the way it is clearly and simply laid out.  The contents are in alphabetical order and it seems to cover ALL articles from Journal articles, books by more than one author, conference papers, Dance (live performance), on line video, unpublished works to sound recordings.  It explains and shows the format, followed by an example,  plus an in-text example.

If this is incorrect can our Advisers advise of an alternative please....

Harvard Reference examples

Clarification, perceptions and discoveries.

My advisers have commented that the title of my inquiry could be misperceived and it requires further clarification.  Therefore, to be more thorough  I am giving more thought to a better suited title. 

The old title is ‘An exploration of fusion in Middle Eastern Dance (Egyptian Style) and Salsa Dance (Cuban style) today and its effect on the conservation of the historical & cultural origins of the Dance.

My objective was not to explore fusion of Middle Eastern Dance with Salsa jointly as the title may be perceived, but to examine each dance style separately from its roots to its current modern style.  In retrospect, I realise that exploring both Middle Eastern Dance and Salsa is too broad a subject therefore I have decided to concentrate purely on Salsa.

I recognise that there are two distinct groups of discussion regarding Salsa i.e the modern ballroom and the Afro Cuban.  Therefore, my new title will define my exploration of both these groups from the historical and the modern infusion of different styles.

Following discussions with my advisors they highlighted that the word ‘cultural’ within the title could be misperceived as a cultural sensitivity issue.   I acknowledge that this should be better defined within my inquiry.  

I believe the responsibility of a teacher is to uphold and convey the unique history of the particular dance, country, region and its culture.  It sets a precedent for how the dance has evolved.  

The video link below shows a trailer for a documentary called ‘The Black Roots of Salsa‘.  It portrays the Afro Cuban’s passion declaring the origins of the ‘Rumba’ dance moves and music. It shows the gradual and subtle changes to modernise the music.  It also shows the integration of a movement danced to a Deity of the Yoruba religion (1) effectively danced in Salsa today. 

video 1  Afro Cuban's claim to the Rumba (trailer)

I concur with one of the interviewees in the trailer saying ‘the more you know the more you can enrich your dance’.  I believe the Cuban culture of dance is passionately preserved and guarded by Cubans because it is deeply embedded in their identity today.  

My advisors and colleagues have suggested the following titles;

1 .An exploration into the extent to which modern fusion dance styles have effected the conservation of the traditional styles.

2. Fusion - modernising of traditional dancing

I believe a more appropriate title is;  An exploration of fusion in salsa dance.  The ballroom vs. Cuban style and its effect on the conservation, history & roots of the dance.

To aid this investigation,  I aim to produce a family tree of salsa dance styles and the outside influences that helped to define the emerging dance styles. 

The link below shows the ballroom style salsa

video 2   Top Ten Best Salsa Dancers  

(1) http://en.wikipedia.org/wiki/Yoruba_religion

 http://en.wikipedia.org/wiki/Salsa_(dance)

http://en.wikipedia.org/wiki/History_of_Cuban_Nationality

http://www.fusionexchange.org/about-fusion/what-is-fusion-dancing/organizer-definition/

Articles;

Beyond the Stereotype, Sensitivity begins with the teacher. on line Dance Magazine

Dance Studies/Cultural Studies, Gay Morris, Dance Research Journal 2009; 41, 1;International Index to Performing Arts Full Text pg. 82

Salsa, musical heartbeat of Latin America, Sue Steward, forward by Willie Colon. 1999, Thames & Hudson

Top Ten Best Salsa Dancers

 Salsa - a dance style included in my Professional Inquiry

I want to share with you my love and passion of Salsa Dance.  Salsa is under the dance umbrella of dance styles from the Caribbean Islands, with influences from Africa including Columbia,  Venezuela and connected to New York and Miami.   I have given a brief overview and taste of Salsa in this blog and some of the reasons for choosing to explore Fusion in Salsa and my interest in traditional dances.  Salsa literally translated means sauce in Spanish.  It is a cuisine term also used in Italy and is tomato based.  It can be spicy in Latin countries.  The dance is a reflection of it's meaning, hot, spicy, frenzied and sexy. 

Dance UK posted a video on Face Book of the 'Top Ten Best Salsa Dancer' asking for comments and your choice from the list.

It's worth watching this video link as you will appreciate how Salsa is danced today in clubs, classes, salsa congress etc.  All these dancers are based in the US but from my experience I see UK dancers in the London area on the par as the New York Dancers.
This video shows club dancers and some performers.

I posted a short, brief comment on Face Book that doesn't give a substantial and full explanation of what I refer to as 'mix of flavours' and full description of the basic Salsa dance step but merely touched on 'on2'.

'I'm not an expert, I'm from a dance teacher background trained in ballet with other various theatre dance styles. I have social dance experience of Salsa New York and Cuban style. Salsa is a mix of all flavours You bring to the dance floor your own individual style, (and knowledge of the basic foundations of Salsa) that's what makes it so exciting to watch. I've been privileged to have taken part in workshops with Eddie Torres during Salsa Congresses in the UK and a master class in New York. Eddie is known to have popularised 'on2', moving forward with a step on the 2nd beat (New York style). I think Eddie's footwork is ideal for the club dance floors, it's tight and compact with a smooth quality as opposed to using traveling steps and space for performances. I particularly love Nancy Ortiz styling, it's fiery and a little wild. Juan Matos oozes charisma, sexiness and is a real show man. He has girls queuing up to dance with him. I love watching Frankie Martinez's shines/mambo steps (individual footwork after breaking from partner hold), fab, fast and furious. It's a very personal and difficult choice, but I would pick Nancy Ortiz and Juan Matos.'

Top Ten Best Salsa Dancers 

Although since my interview with Super Mario from London (my first Salsa Teacher) and an international teacher, in his experience be believes there are more accomplished dancers in Europe.  I will be researching this further.

My preference is Cuban Salsa.  I feel a connection with the music and I love the earthy style of the dance.  This is achieved by dancing on the flat foot so the dance moves flow natural compared to New York style which has ballroom formalised partner dance hold and weight is forward on the balls of the feet giving a more impressive performance.  The couple move in parallel lines/ straight lines or swop places compared to Cuban style that is danced in the round.  There is more travel around the Cuban Dance floor compared to smaller, faster and neater moves in New York style. The NY style is accommodating to packed out clubs and venues where space is limited.
I remember being told to dance on a 50 pence piece and taught restricted moves if space is limited but still able to spin fast and dance furiously........

The link below shows Cuban Salsa with more traditional moves of African influence.  The African influence in the music can be heard with specific drum beats and rhythms.  This is a performance group dancing 'Rueda' which translated in dance term means wheel, round or rotating.  I've seen Rueda danced in Havana, Cuba.  It is a popular dance in the UK, it's great fun.  The fun part is the caller, calling out the next move or sequence of steps to execute.  It can increase in speed and the girls are almost lifted off the ground in places.

Cuban Rueda Dance Group

Maykel Fonts is one of the best Afro Cuban Mambo dancer's I've seen recently.   He clearly fuses a mix of traditional dance styles from Africa & Cuba.   Maykel is a powerful performer and is a regular guest at Cuban Salsa Congress in the UK.

Here is a link to Maykel giving a performance.

Maykel Fonts Afro Cuban dance performance.

This is a link to Maykel performing with a partner executing modern dance moves with traditional mix of salsa flavours.

Maykel Fonts with partner in modern Salsa Fusion dance with Cuban flavour

Salsa is a mix of styles that has become accessible to everyone.

What are your views and opinions on the preservation of traditional dances? Can they be a useful teaching aid in understanding the basic fundamentals of Salsa dance (basic rhythm and moves) including its history and culture? 

Do you think if Fusion continues to dilute traditional dances it could have a detrimental effect on it's identity?

What are your opinions, likes and dislikes on Salsa dance?

https://www.facebook.com/pages/Dance-UK/74671441371?fref=ts
http://www.danceuk.org
http://www.salsaclass.tv
http://www.londoncubancongress.com
Salsa, musical heartbeat of latin America, Sue Steward forward with Willie Colon, Thames Hudson-London.

Funding for re building a ballet school in Havana Cuba

Just announced

The Cuban Ballet Dancer Carlos Acosta is looking to raise funds to rebuild a ballet school. It would be a charitable dance foundation in Havana.   I like the shape of the building in it's unfinished form and hope the dream will become a reality for Mr. Acosta and Havana.

Since the start of my social Salsa Dancing over a decade ago,  I've encountered a number of Cuban trained ballet dancers now woking here in the UK and have built up a passionate interest in Salsa, the country Cuba and it's History and way of life.  I support the idea that it may restore Cuban culture.


Carlos Acosta asking for funds video