The Street Man's Definition of Noun, Adjective, and Verb

I heard these the other day and thought I would pass them on as these working definitions are easy for people to apply. 

Noun - any word that you can put "the" in front of

Adjective - any word that you can put "am" or "is" in front of

Verb - any word you can put "to" in front of

Try these out for yourself and see.

Time

It seems only yesterday,


but why should it be?

Time is merely a mortal invention,

a constraint on souls struggling to be eternally free.

Latin Song Philosophy from a Dj/Instructor

So, what goes into choosing songs? There are songs that are popular that are easy to pick for dancing, and that is a trap that many instructors and djs fall into. Hey! You play it as a dj and everyone dances to it, so why not use it? As an instructor it is easy to pick a cha cha cha and use it instead of searching for a slow enough song, or manipulate a song to slow/increase the tempo for class instead of leaving it at the tempo that the artist/band.

I refuse to fall into that trap. As a dj and instructor I realize that some familiarity with what is played helps a lot of people who come out, but that doesn't mean that 70-90% of the songs I use are used over and over again.

I am passionate about the Latin dance and music universe that is so vast (wide and deep) that we often only carve a small portion of that for ourselves and stick to what is easy to familiar. As a dj and instructor I seek to expose those who already participate in this community to what is beyond our "home town" - the wide blue yonder. And I also wish to increase the strength and vitality of the Latin dance/music community by increasing membership. One way I do this is through what songs I play.

One example: La Matricula by Giraldo Piloto and Klimax.  A timba song that can be heard on youtube at http://www.youtube.com/watch?v=hA0QkSmIKFI

This song has a steady and clear beat that can be used in class, either for salsa or casino de rueda. In terms of timba, it isn't a hardcore song, and so is accessible to those more comfortable with cuban salsa/salsa. Those who do Argentine tango like this, so it has a broader cross-genre appeal to attract those who may be more comfortable with something other than salsa, which brings up something else. The song has an interesting twist to it, that some people either connect with unknowingly, or by recognizing it.

La Matricula seems to have a backbeat referring to "Peter and the Wolf", a Russion children's story, played by an orchestra, and written by Sergei Prokofiev in 1936. Each animal is played by a different instrument. It is a classic.

Wikipedia article: http://en.wikipedia.org/wiki/Peter_and_the_Wolf

One youtube link to get you started: http://www.youtube.com/watch?v=ILI3s7Wonvg 

Giraldo Piloto of Klimax is also a pivotal figure in the Cuban salsa music scene, starting with the band NG La Banda, and to find out more about him and Klimax check out http://www.timba.com/artists/klimax and 
http://www.timba.com/artist_pages/466

As you can see one song can bring a wealth of opportunities if chosen well.  Some other quick songs to throw out there are Nganga Kisi by Ricardo Lemvo from the Sao Salvador album, Tras Tormenta by Arnaldo Y Su Talisman, Chin Chon Chow from Snowboy AfroCuban Kaleidoscope.  Perhaps, I'll explore these and other songs in more detail another day?

So, when choosing a song I look to find something that hasn't been played often in my area, or that is unknown yet still is accessible, broadening the community's knowledge of the Latin dance/music universe.  I also search for something that can appeal beyond just the core group of Latin dancers.

Some advice from Yanek Revilla - One of the World's Best Cuban Dancers

I do quite a bit of reading and when I came across this article I thought that it was one of those that I should share.  I think that everyone who does Cuban salsa and/or rueda will get something out of reading the article at http://planettimba.com/entertainment/yanek-revilla-worlds-most-cuban-dancer/

I copied some points from it below in case you just wish to get some of the highlights.

Yanek says" I think there are basic rules for being a good dancer. I call them “The 5 Golden Rules” in salsa cubana – doesn’t matter what level you are, if something doesn’t work it’s always [because you are] breaking one of the following rules:
 
1.Never grab the hands, just a touch which I call full contact and always re-accommodate the hands before any change with the arms, in order to be more comfortable, faster and avoid injuries.
 
2. Turning around each other clockwise. The Cuban combinations are created to be danced in [a] circle and it makes [dancing] easier.
 
3. Distance. Dancing too far away from the partner is one of the biggest problems (in my European experience) due to cultural taboos, so the dance is too strong with a lot of tension in the arms.
 
4. The timing with the arms. All the moves with the arms end in 3 and 7 – defining this [detail will make] the dance be more fluid and clear. 70 (setenta) is the classic example for this rule.
 
5. Naturalness. Every unnatural or uncomfortable move must be fixed, natural small steps, not jumping. It’s more comfortable to dance the same way we walk.

Followers, he had the following suggestions: "[Learn to] improvise before and during “dile que no”, after “vacílala” and during the figures."

Yanek compared salsa casino with “Bruce Lee’s Jet Kune Do. You have basic rules but then you adapt your dance to your possibilities, body work and feelings – that’s why all the people look different even if they all dance Cuban style. It’s freer because there is no choreography in the teaching process. You have to lead and improvise-doesn’t matter who you dance with. I think salsa cubana is very free and different from the other styles.”

What Yanek thinks about rueda choreography: "There is a problem with Rueda nowadays, the choreographers are including moves for couple dance into the Rueda and it’s a huge mistake. They stay too long with the same partner, and turn the choreography less dynamic. Besides that they create new long moves in which they change partners only once and I think that in a good figure you change at least twice. Good rueda choreography should include (in my opinion):
1. A figure in which you do lots of changes
2. A figure in which you mix salsa with other rhythms (Rumba, Afro or other traditional Cuban dances)
3. A figure with the hands joined
4. And a figure with lots of changes of directions or formations"

Timbaton - Tras La Tormenta - After the Storm

Tras La Tormenta, meaning after the storm, by Arnaldo Y Su Talisman is one of my current top songs.  It is a timbaton song. Timbaton = timba + reggaeton


All too often people will find out about a genre and then sort of get stuck on a particular sound.  I, on the other hand, like to keep the sound that makes the genre what it is, but at the same time sample the spectrum that it covers.  In the case of timbaton I have provided some of the songs that I like below to try and give you a flavor of what timbaton covers:

Timbalive - Zorra, El Dinero

Paulito FG - Te Bote from Un Poquite De To album

Maraca - Castigala - more of a timba/reggaeton/rap fusion

Dayron Y El Boom - Chocolo from Mi Tumbao CD - has the timbaton feel, not strictly timbaton?
http://www.youtube.com/watch?v=zDbqKMiGSJ0


Alain Daniel - La Miki
http://www.youtube.com/watch?v=HGKtpvkVJ7w


Arnaldo Y Su Talisman - Tras La Tormenta - a bachata like syn? - a timba/bachata/reggaeton song
http://www.youtube.com/watch?v=UDHqi0mheMU

Note that I have not tried to provide a sampling of bands per se, but rather a sampling of the sound spectrum of timbaton via songs that I like.  I welcome suggestions if anyone feels that they can see a gap, or gaps, in my timbaton sampling spectrum.   

The Nights Of Nights - A Connected Dance!

The pleasure,
the fun,
the excitement rolled into one.
A look,
a glance,
a flick -
we act as one.
She loses it,
I do too.
What's the beat?
It's the trinity guiding us through.
Me, her, the music!
Flash bulbs go off
'n I don't care!!
Let them do what they dare!
Shameless flirt
Smile stretched out!
Will it burst?

Unbridled restraint 'n all that.

Salsango - Salsa and Tango

So I am decent at salsa and have dabbled a little in Argentine tango, and what better way to combine my love for two of my favorite dances than to combine them together when I dance. This month I start my salsango journey. 

Chick Peas in a Spicy Tamarind Sauce

To a hot pot with oil add 2 small chopped onions, and after frying for a while add spices.  Add a tsp of cumin powder, a pinch of turmeric, half a tsp of black pepper, two tsp of chopped garlic in water, a pinch of crushed ginger, a tsp of chili powder, and 1/4 tsp of cinnamon powder.  Mix and let fry for 5 or so minutes before adding a large chopped tomato.  Then add 1 cup of chick peas (otherwise known as garbanzo beans), a tablespoon of Maggi tamarind sauce, two hot peppers, and a handful of chopped cilantro. Let simmer for 15/20 minutes so that the peas absorb the flavors.  Voila! You have spicy chick peas in a tamarind sauce.  

Spicy Mini-Burger Patties

So, one thing that I like to do is make up big quantities and freeze portions, and this process is ideal for mini-burgers.  Once you have it prepared the mixture you can use it to make normal size burger patties, make meat balls..dip in batter and then breadcrumbs before frying/baking to make it a little different...let your creativity run free! I have deliberately written this in a free flowing format rather than using a typical recipe style as this is how I make it, and if I haven't made it in a long time I need to experiment a little, as I ask you to do.

I take 1 lb of ground meat, a large finely chopped onion, a finely chopped hot pepper, chili powder, cumin seed powder, black pepper, chili powder, turmeric powder, cinnamon powder, 4 crushed garlic cloves, half a tsp of ginger, a couple pinches of salt, two eggs, bread crumbs, a tablespoon of lime juice, chopped cilantro and mix well.  Spices are to taste.  Add a little first and then if you fry and it needs more add some more.  Quarter teaspoon of each spice powder with half teaspoon of cumin, 1/8 tsp of turmeric should be a safe bet to start out with. I add enough bread crumbs so that the meat does not fall apart and liquid does not come out when frying.  Trial and error.

The cilantro really adds a nice piquancy to the mixture.  Now that it is prepared you can make portions of the final mixture and freeze to take out and make fresh when you want to use it.  This helps speed up making meals.  Alternatively you can make the entire lot and freeze.  That works pretty well, too, but it isn't as good as freshly made.

Note that some people put the entire mixture through a food processor so that you don't see/feel pieces of onion etc...That is an extra step that you can add.  To make the patties you can fry or bake.  I've done both and they come out fine.

In terms of ground meat I have used chicken, fish, turkey...the outline that I have given is for ground beef.  For fish, for example, I would definitely use ginger and garlic more sparingly.

The egg is used as a binding agent.  The yolk makes it richer, but if you worried about cholesterol etc you can skip the yolks and add more whites.         

Salsa Almost From Scratch - The 1 hour Beginner Lesson with Breaking On 1

Let me know what you think. I also have seen some really unique lessons, such as teaching the son timing and then the salsa on1 timing using the clave as a tool. So if you have something unique that has worked well, or do things a bit differently and are willing to share I would be interested. It is great to do things in different ways and learn from each other.


So, back to my lesson outline. You get a bunch of people who have sort of done a little salsa, but really haven't. For example, they may have taken a few classes some time ago, or have taken a survival dance lesson before a Latin night event, moved a bit to the music and got some help from friends... You get the idea, hopefully.  Basically, salsa  almost from scratch!


BASICO

First - Salsa Aerobics / Salsa Suelta 1

Note - Emphasize small steps throughout.  Show exaggerated and then get people to take smaller steps.  Looking at each other is another important point.


Basic - Forward half, first doing the first two steps and showing how you lift your feet.  Step 1 step forward on your left foot while lifting your right, then on step two you place back your right foot.  (This is important as a  common mistake/problem for beginners is that second step of stepping in place). Then, add the third step to complete the first half.
         - Add back  half, saying it is the same, as first, but you step back instead.
   
Dance to music, adding side to side, forward/back breaks, front/back crosses, rotating clockwise and anti-clockwise while in place.

Partner Work 1 - Get people in couples.  Show basic frame with leader's right hand on follower's shoulder blade, and followers left hand resting on leader.  Couple's other hands should be halfway between them.  Point out that followers now start going back as leaders will be starting forward, but it is the same basic step. Count and start them going.   Go around helping them for one song.

Refining 1 - Ask how followers can tell what a leader wants to do.  Demonstrate the collection that a leader does, for example when switching from front/back basic to side-to-side and back.  In open hand hold the leader can slightly raise his hands at the end of a 8 count, just before switching movement.  This indicates to a follower that something is going to happen.  In closed position the leader uses his/her connection with the follower's shoulder blade.

Dance to another song.

RIGHT HAND TURN

Salsa Suelta 2 - Add right hand turn to repertoire

Partner Work 2 -  Show how right hand turn is done as couples, and break it down.  Hand goes up on 3, indicating that the follower can turn.

Dance to another song.

Leader's right turn - Tell leaders that they can do a right hand turn as well, showing, and then letting them dance another song.

Refining 2 - How can one tell if it is leader or follower who is to turn?  If Leader's hand is close to him/her he/she will be turning, and if follower hand is close to him/her she can turn as there is space to do so.

CROSS BODY LEAD

Partner Work 3 - Cross Body Lead
Show the cross body lead and separate to show leaders and followers their footwork.  If teaching solo do the leader's footwork and tell followers to just do the basic stepping and follow.  Often, followers at this stage of their dancing put way too much into their footwork/styling and destroy this move in my experience. They are not ready.

Leaders step forward, in place and to the side, then side, in place and forward in the other direction.  You do two quarter turns.  Then show what hands need to do. Remember small steps. 

Dance to a song.

ADDING PIZAZZ

Partner Work 4 - Adding Pizazz

Right hand turn?  Show how one can do the right hand turn in multiple ways for both leader and follower..  Left-right, handshake i.e. right to right, both hands.  This makes the dance look a lot more than it is.

Show veils: Make a window, as if you are a waiter and are holding a tray of dishes when in a left-right, right-left normal open hand hold.

Refining 3 -  How can a person tell what is happening?  Remember, that hand close to leader means he/she is going to do something.  Hand close to follower means that he/she is going to have something happen.
Now with veils....For veils hands are in front of nose, in middle, so followers don't do anything.  If a hand is to the left or right means something is going to happen. 


LEFT HAND TURN?
It is natural that if you do a right hand turn to want to turn the other way.  I personally prefer not to teach that for a first lesson.  I am open to showing it, but for most people it isn't as easy to learn and from observation it really isn't done much on the dance floor.  In fact I make a point of doing it with a couple people as they got excited when I did it and said they love doing it and that people just don't do it. 


What is your opinion?  Do you think the left hand turn should be included?  If you think it should be taught how would you modify the lesson plan as what I have described takes about an hour.  Do you teach the lesson differently?






 





     

Ox Tail

Yup, you read it, ox tail, or otherwise knows as cow's tail.  Skin this, and pressure cook it and you get some of the richest tasting meat that melts in your mouth.  This weekend I made some.  After pressure cooking with garlic,ginger,black pepper and a little salt I take off the liquid and let it cool down, removing the fat that collects at the top.  Then I make a base of fried chopped onions, chopped tomatoes, cumin, black pepper, chili powder, and a hot pepper.  To the base I add the oxtail, the cooled liquid and let it simmer for half an hour.  Le voila!  It is ready!

The oxtail is also great as a soup base.  I have fond childhood memories of oxtail soup.  Yum.

Another great childhood treat is the other extremity of the cow - the tongue.  But that is for another day. 

A Teaching Tuesday or a Salsa Tuesday?

Every Tuesday I co-teach salsa/rueda classes at the Oasis dance club, in Ithaca, NY.  This week it went really well.  For the salsa class I started out with a new person who showed up. Nancy, my co-teacher, came later around the same time as a couple who usually show up late, and so she worked with them.  After that was the intermediate rueda class where people were kept on task and the class moved along at a good pace. As usual I called and we had fun just doing rueda.  I also got the class to take turns calling two moves each for a song or two. We reviewed part of the setenta family and made their execution a little cleaner: setenta, setenta cubano, setenta, con alma, and setenta por abajo.   This time I showed one guy, who was ahead of the rest, setenta moderno, and at the end of class Nancy worked with another who is obsessed with ponle sabor.

The Latin night that followed, however, was the polar opposite.  The typical Latin night with the same old tired music being played. This time it was saved by the people who showed up.  There were a couple people whom I hadn't seen in months - one who remembered I taught her bachata - plus a new Architecture professor with her friend.  It was a friend's birthday, and she really loved the dance that I did with her

So, was it a teaching or a salsa Tuesday, or a bit of both?  Well, let's see.  The lessons were good, the socializing was great...the music par for the course, tasting like week old food. A teaching Tuesday, for sure.  Unless the music is inspirational it never is a salsa Tuesday.