From the Africanist standpoint, movement may emanate from
any part of the body, and two or more centers may operate
simultaneously. Polycentrism runs counter to academic
European aesthetics, where the ideal is to initiate movement
from one locus—the nobly lifted, upper center of the aligned
torso, well above the pelvis. Africanist movement is also
polyrhythmic. For example, the feet may maintain one rhythm
while the arms, head and torso dance to different drums.
The late June Laberta, a ballroom dance teacher, was Eddie’s
greatest influence. She taught every ballroom dance in the
book, but her greatest love was mambo. On occasions, June
accompanied Eddie to the Corso where the odd couple danced
up a storm. He was in his twenties, she was in her late fifties.
Creating kooky intricate little moves that come from jazz and
everything that she knew, the lean Laberta would spin like a
top. June’s mentoring was decisive in Eddie’s teaching career.
She said, ‘Eddie I can help you learn the language of teaching’.
She took him to ballrooms on Friday nights.... Thanks to June
Laberta, Eddie’s steps all have names. Today, Eddie’s class
syllabus documenting 180 steps bolsters the traditions of
those old scholars of dance at the ballrooms.
quinta-feira, 15 de janeiro de 2015
segunda-feira, 12 de janeiro de 2015
domingo, 11 de janeiro de 2015
Sir, you are showing these Maxixe steps with names of neighborhood of rio de janeiro (botafogo), and songs from the chiquinha gonzaga (corta jaca), all over again? Everyone know that ballroom samba is just Maxixe with a european aspect, which can be explained by the fact Europeans never had the body structure and the personality behavior to do the steps properly, so they distorted it and now teach their own version to naive students like you - that will childishly call the original one "ugly" (what amount to a epitome of the absurd).
I see you are very confused and misleading, seeking strategies to conserve and justify your madness obsession. If insulting people, barking like a rabid dog and making me laugh already tired you, try to make a real study. If you want to learn more about international ballroom systemic misrepresentation of samba, you can also read the book "Glamour addictions: inside the American ballroom dance industry" by Juliet Mcmains. I will give you some quotations to start:
"After five to seven decades of revision at the hands of English, European, and American dancers, the DanceSport versions of latin dances bear little in commum with contemporary or historical practices in Latin America" (p. 110).
"Tango students in Europe were either unprepared to learn the complexities of the dance, ill-informed about the techinique, or uninterested in the movement style practiced in argentina."(p.113)
"This process of cultural imperialism and colonization was repeated, only with slight variation, with each new Latin dance that was admitted into the ballroom". (p.114)
The tension and contrasts observed in the argentinian tango were overdone and misterpreted, and the result was a grotesque mismatching of qualities (Marta Savigliano)
Thought the reputed national identities of each of these dances in the new ballroom category are still touted in the publicity materials of every ballroom dancer school and society, the dances that were adopted by the British Ballroom dancers bore little resemblances to their counterparts in their reputed countries of origin even at the moment of their importation (p. 114)
The Ballroom versions of Latin dances are western appropriations with only limited similarity to forms practiced in Latin America and they rely extensively on European stereotypes of Latiness for their emotional and aesthetics appeal" (p. 114)
Who were Doris Lavelle and Pierre Zurcher Margolie? Pierre seemed aware of his public`s limited ability to grasp movement techniques too foreign to their own culture and spoke with respect uncommon in Westerns of his time of the skills possessed by Cuban Dancers: "The name rumba in cuba is used only for the very fast version seen on the stage or as exhibition, and is so super-rhythmic that it is quite beyond the reach of any European dancer" (Latin and American dances for students and teachers, London, 1948)
"A dance practice is much more than a list of footsteps and rhythm charts. The culture and values of its practitioners are embedded in the postures, gestures and dynamics of the dance"
"TECHINIQUE
I see you are very confused and misleading, seeking strategies to conserve and justify your madness obsession. If insulting people, barking like a rabid dog and making me laugh already tired you, try to make a real study. If you want to learn more about international ballroom systemic misrepresentation of samba, you can also read the book "Glamour addictions: inside the American ballroom dance industry" by Juliet Mcmains. I will give you some quotations to start:
"After five to seven decades of revision at the hands of English, European, and American dancers, the DanceSport versions of latin dances bear little in commum with contemporary or historical practices in Latin America" (p. 110).
"Tango students in Europe were either unprepared to learn the complexities of the dance, ill-informed about the techinique, or uninterested in the movement style practiced in argentina."(p.113)
"This process of cultural imperialism and colonization was repeated, only with slight variation, with each new Latin dance that was admitted into the ballroom". (p.114)
The tension and contrasts observed in the argentinian tango were overdone and misterpreted, and the result was a grotesque mismatching of qualities (Marta Savigliano)
Thought the reputed national identities of each of these dances in the new ballroom category are still touted in the publicity materials of every ballroom dancer school and society, the dances that were adopted by the British Ballroom dancers bore little resemblances to their counterparts in their reputed countries of origin even at the moment of their importation (p. 114)
The Ballroom versions of Latin dances are western appropriations with only limited similarity to forms practiced in Latin America and they rely extensively on European stereotypes of Latiness for their emotional and aesthetics appeal" (p. 114)
Who were Doris Lavelle and Pierre Zurcher Margolie? Pierre seemed aware of his public`s limited ability to grasp movement techniques too foreign to their own culture and spoke with respect uncommon in Westerns of his time of the skills possessed by Cuban Dancers: "The name rumba in cuba is used only for the very fast version seen on the stage or as exhibition, and is so super-rhythmic that it is quite beyond the reach of any European dancer" (Latin and American dances for students and teachers, London, 1948)
"A dance practice is much more than a list of footsteps and rhythm charts. The culture and values of its practitioners are embedded in the postures, gestures and dynamics of the dance"
"TECHINIQUE
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