Khác biệt giữa bản sửa đổi của “Salsa”
Trang mới: '''Salsa''' là sự kết hợp của những điệu nhảy bắt nguồn từ khu vực Caribbean (đ8ạc việt là Cuba và Puerto Rico), Latin và Bắc Mỹ. Điệu... |
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Phiên bản lúc 19:10, ngày 16 tháng 8 năm 2008
Salsa là sự kết hợp của những điệu nhảy bắt nguồn từ khu vực Caribbean (đ8ạc việt là Cuba và Puerto Rico), Latin và Bắc Mỹ. Điệu nhảy này là sự pha trộn của điệuMambo, Danzón, Guaguancó, Cuban Son, và những điệu nhảy đặc trưng khác của Cuba. Salsa được nhảy với nhạc Salsa. Có thể dễ dàng nhận thấy ảnh hưởng rất rõ nét của Châu Phi trong cả điệu nhảy và âm nhạc Salsa.
Salsa thường được nhảy đôi; tuy nhiên, điệu nhảy này cũng có những bước nhảy solo và các bài nhảy của một nhóm nhiều đôi và khi đó giữa các đôi sẽ có sự trao đổi bạn nhảy mà thuật ngữ của Sal sa gọi là (Rueda de Casino). Sự ngẫu hứng và các bước nhảy cởi mở là những yếu tố quan trọng hàng đầu của Salsa những đồng thời Salsa cũng là một hình thức khiêu vũ trình diễn.
Tên gọi "Salsa" vốn có nghĩa là nước sốt trong tiếng Tây Ban Nha và được hiểu là nước sốt cay trong tiếng Tây Ban Nha ở Mỹ. Điệu nhảy này đam mê và cuốn hút hơn tiền thân của nó là điệu Son của Cuba. Bản thân từ salsa cũng được xem như mà một sự pha trộn của nhiều thứ gia vị tuy nhiên trong hầu hết các cách lý giải về nguồn gốc của tên gọi Salsa cho điệu nhảy lại không đề cập đến ý nghĩa này.
Nhịp và các bước nhảy
Điệu Salsa dựa trên một nhịp điệu gốc bao gồm 2 bước nhảy trong đó mỗi điệu có 4 nhịp nhỏ. Bước cơ bản thì có chỉ dùng 3 nhịp trong mỗi bước. Bước nhảy này có thể theo nhịp nhanh-nhanh-chậm, trong đó, 2 nhịp dùng để chuyển trọng tâm cơ thể; hoặc, nhanh-nhanh-nhanh cho phép người nhảy dậm nhẹ hay thêm thắt vào những ngẫu hứng của riêng mình trong nhịp bỏ trống. Cũng có những tranh cãi cho rằng trong Salsa, 2 bước nhảy nên được xem là một và theo đó thì nhịp nhảy sẽ được đếm từ 1 đến 8 kéo dài hai nhịp nhạc.
Thông thường, nhạc để nhảy Salsa là một phức hợp của những giai điệu từ bộ gõ Châu Phi dựa trên Son clave hay Rumba clave. Âm nhạc thích hợp để nhảy Salsa cũng rất phong phú: có thể là loại nhạc chậm khoảng 70 nhịp/phút hay loại nhạc nhanh khoảng 140 nhịp/phút. Thông thường thì nhạc Salsa sẽ ở vào khoảng 80-120 nhịp/phút.
Không gian nhảy
Salsa là một hình thức spot dance, có nghĩa là người nhảy không cần phải đi hết sàn nhảy mà thường nhảy xung quanh một khu vực cố định trên sàn, xoay quanh nhau và đổi chỗ cho nhau. Di chuyển quanh sàn cũng không bị cấm tuy nhiên hình thức này thường được dùng trong biễu diễn hơn. Trong một buổi nhảy salsa bình thường, nếu người nhảy chiếm quá nhiều không gian trên sàn nhảy bằng cách di chuyển quá rộng cũng không phải là một điều tốt.
Lịch sử
Lịch sử của điệu nhảy Salsa gắn liền với những tranh cãi và đồn đoán. Mặc dù vẫn có một số ít người không đồng tình rằng âm nhạc và các bước nhảy của Salsa bắt nguồn chủ yếu từ điệu Son của Cuba, phần lớn đều nhất trí cho rằng điệu Salsa mà chúng ta biết ngày nay là một biến thể của những điệu nhảy xưa. Cộng đồng Latin ở New York đã từng có một dạng khiêu vũ và âm nhạc rất sôi động trong thập niên 50 nhưng lại không mấy thành công với dòng chính là 'Anglo'. Và trong thập niên 70, khi cụm từ "Salsa" được chấp nhận đã rút ngắn khoảng cách về ngôn ngữ và văn hoá , dỡ bỏ những rào cản đối với sự công nhận và phổ biến của âm nhạc cũng như khiêu vũ xuất phát từ Mỹ Latin.
Những cách tân trong điệu nhảy Mambo vào những năm 1950 đã dần hình thành nên các gọi là salsa ngày hôm nay. Người ta vẫn bàn cãi xem là điệu Salsa bắt nguồn từ Cuba hay Puerto Rico. Những ảnh hưởng của Cuba đã bị hạn chế từ sau cuộc khởi nghĩa của Fidel Castro dẫn đến sự cấm vận về thương mại giữa hai nước. Cộng đồng Latin ở New York chủ yếu là người Puerto-Rico. Trong khi đó, Salsa lại là một trong những điệu nhảy chính của cả hai quốc gia và được phổ biến trên toàn thế giới.
Origin of the salsa steps
The dance steps currently being danced to salsa music come from the son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk reggae, hip-hop and samba
Foundations
Basic step
The basic movement common across most salsa styles is to step quick-quick-slow 2 times over two 4-beat measures (or 1 8-beat measure). Typically the quick steps are on beats one and two, and the slow step is actually a quick on beat three followed by pause or tap on beat four. That is you step left-right-left-pause/tap then right-left-right-pause/tap. Notable exceptions to this timing are Mambo, Power On2 and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count. New York Mambo is unique in starting on one and breaking on two - that is, instead of stepping forward on the first beat with your left, stepping in place with your right and then returning your left to where it started, you step in place with the left on the first beat, step back with your right and then return your weight to your left.
Break step
The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles.
Basic Step On One
On counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.
The following variants of the Basic step may be used, often called breaks.
- Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7
- Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7
- Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7
Basic Step On Two
Many ballroom chain schools' "mambo basic" has the leader commencing with a side left on 1 and a break backwards on 2, on the first bar.
If the break steps occurs on count 2 and 6, it is called "On Two". There are two main ways in North America of dancing On Two:
- Power-On2 breaks on 2 and 6, and holds on 1 and 5.
- Eddie-Torres-On2 breaks on beats 2 and 6, but holds on 4 and 8.
Eddie-Torres-On2
The lead steps slightly back on the left foot on 1, then takes a break step backwards on the right foot on 2. On 3 the left foot steps in-place and over 3 and 4 the weight is transferred to the left foot. On 5 the leader steps slightly forward on the right foot, and breaks forward with the left foot on 6. On 7 the leader steps in place with the right foot and over 7 and 8 the weight is transferred onto the right foot, ready to repeat on 1.
Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style. In those videos, Eddie Torres himself calls this "Night Club Style"[1].
On2 steps analyzed
Also note that most "Torres" On 2 dancers slightly rush the one and the five count. This means that they are stepping a moment before the one and the five are played by the music. It can be clearly seen when they dance and heard when they count [1]. While this might seem strange at first it really makes sense if you analyze the steps. The counted "one" falls between the musical eight and the musical one, while the counted "five" falls between the musical four and the musical five. This means that the distance between the (early) one and the two is the same as the one between the three and the (early) five, and it is a dotted quarter note. Because of this the quick-quick-slow "On 1" pattern becomes a slow-quick-slow one for "On 2" dancers, and the reduced difference between the quicks (one quarter note) and the slows (one and half quarter note) gives the "On 2" dance its typical flowing quality.
If we turn our attention to the steps we see how, in the basic step pattern, every step that requires a foot movement will fall on a "slow" count, while a simple weight transfer will be on a "quick", making this "On 2" feeling more natural and comfortable.
Dancing On1 and On2 compared
While in closed frame, two partnered dancers can not be simultaneously dancing On1 and On2 respectively without causing injury to one another since the break steps are taken at different times.
Dancing On2 means that the break step synchronizes with the accented slap of the tumbao, the pattern played on the conga drum(s), while the On1 break step synchronizes with the first beat of the measure. For this reason it is said On2 is more rhythmically oriented, whereas On1 is more melodically oriented.
Note that commonly On2 starts the basic pattern with the lead moving back and the follow moving forward, while On1 the lead starts the basic step forward and follow steps back.
Common turns
The following turns are used in almost all salsa dancing regardless of the basic used or style employed.
- Spot Turn – either, or often both, partners turn 360° remaining in the same spot
- Extension – partners break in opposing directions to build arm tension between them. Often leads into a spot turn or an in-and-out.
- In-and-Out (Copa) - From a cross-hand hold (left over right), leader creates an extension, then pulls the woman in with the right hand while leading the left hand over her head to the other side of her, causing her to turn 180° to her left. The follower is then pushed back out, and will do at least another half left turn to return her to facing the lead.
- Cross Body Lead – follower is led to opposite side of lead, causing them to swap positions in a counter-clockwise fashion. Exists in other Latin dances such as Cha-cha-cha.
- Reverse Cross Body Lead – same as Cross Body Lead, but couple exchanges positions in a clockwise fashion.
- Basket – A type of extension where the leader is behind the follower and holds the follower's arms wrapped around her shoulders while she breaks forward and the leader breaks backward.
Salsa styles
There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". Also Cha Cha Cha The following are brief descriptions of major "recognizable" styles.
Cuban style
Cuban-style salsa (also called Casino) can be danced either on the down beat ("a tiempo") or the upbeat ("a contratiempo"). Beats 1,3,5 and 7 are downbeats and 2,4,6 and 8 are upbeats.
An essential element is the "Cuba step" (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.
The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.
Los Angeles style
L.A. style is danced on 1, in a slot. It is highly influenced by both the Mambo and Swing style of dancing. L.A. style emphasizes sensuousness, theatricality, aerobics, and most importantly, musicality. The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions.
The L.A. style as it is known today was pioneered by what are now considered some of the most famous and successful people in Dance. Albert Torres, Laura Canellias and Joe Cassini rightfully deserve much of the credit for the early development and growth of L.A. Style Salsa. Later, such dancers as Alex Da Silva, Joby Martinez, Uri Man, Edie Lewis, Tomas Montero, Rogelio Moreno, Josie Neglia, Francisco Vazquez (along with his two brothers, Luis and Johnny), Jose Luis Gutierrez and Janette Valenzuela; are often credited with developing the LA style of Salsa Dancing as we know it today.
Today in the Los Angeles area. Live Salsa can be found every day of the week. Often, several different locations will feature live Salsa on the same nights.
New York style
New York style emphasises efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1.
On 2 timing emphasises the conga drum's tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music.
Many also refer to this style as "Mambo" since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name. (See Mambo.)
In a social setting, New York style is danced more compactly than LA style. The etiquette of New York style is strict about remaining in the "slot" and avoiding travelling.
New York style tends to place a greater emphasis on performing "shines" where dancers separate and dance solo for a time.
New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, "socials" are often held that cater to almost exclusively playing "salsa dura" (lit. "Hard Salsa". This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals.
The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month.
While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.
Famous On2 dancers
New York Style's first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol (a.k.a. Seaon Stylist), Amanda Estilo, Eric Baez, April Genovese de la Rosa, Jai Catalano and many more.
Other important figures in the On2 style are Frankie Martinez, Moshe Rasier, Gabriel Romero, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, Milo, Ana and Joel Masacote, Jimmy Anton, Jesse Yip, Joe Burgos and many others.
Venezolana (Dominicana) style
Venezolana Style Salsa is the style danced in Venezuela and Dominicana.
In this style are characteristic with the follow things:
Colombian style
Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other's movements. In Colombian style, the break is on the three and the "spare beat" is always used for a tap or other embellishment.
Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs.
In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet.
This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa.
It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one's partner.
Mambo
Dancing style (also called Palladium or Power-2) popular at the Palladium Ballroom in 1950 which eventually spread across the United States during the mambo craze.
This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M'Tazz dance company of New York, whose director, Angel Rodriguez, coined the term "Power 2."
It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.
Puerto Rican style
This style can be danced as "On One" or "On Two". When danced "On Two", the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats.
There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform. The first Salsa Congress in Puerto Rico was in 1997.
La Rueda
In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.
There two main types of Rueda de Casino:
- Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal)
- Miami-style - "Rueda de Miami" (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )
Salsa Disco
This is a version of salsa which actually is a discothec-version of social dancing. The difference from other versions is that it is, as they say, "a rattling mix ". In Salsa Disco there are moves from Salsa Los Angeles-style, Puerto-Rico style, Casino etc. It often includes the expressed tap which is characteristic of the Venezuela style and also tricks and acrobatic elements of rock-and-roll which are inadmissible in the original Salsa Cubana.
It is this kind of Salsa which you can see in discos of 80-90% of cities under the name salsa while only 10-20% really dance a pure salsa style which is quietly passionate, strongly pronounced and unforgettable. The good thing about Salsa Disco is that it is easy to learn to do well whereas learning pure Cuban or Los Angeles style to the same level of proficiency requires a lot more effort.
Salsa styling
Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa styling. Hip hop, jazz, flamenco, belly dancing, ballroom, break-dancing/pop and rock, Afro Cuban styles, and Bhangra have all been infused into the art of styling.
Shines
Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'.
See also
References
- ^ Torres, E: "Eddies Torres Teaches Salsa Nightclub Style", DvD 1995.
External links
| Wikimedia Commons có thêm hình ảnh và phương tiện truyền tải về Salsa. |