From MUSIC to DANCE - in one easy lesson

Dance, from a partnership perspective, has been around for several hundred years, but we need to address approximately (timelines sometimes, are tenuous) as to exactly when the formation of the Social style of Latin dance, became part of the social dance mainstream.

It was in 1931, that the first Rumba was on show in the UK, so we may deduce from that, its origins precede that by any number of years. Rumba, also known as Danzon, combined with Bolero (30s show style) became the model for today’s version of Mambo and Salsa.

But before we continue this journey, lets back track… Danzon had become the nightclub dance of choice in Cuba in the 30s and 40s, and its “sister” the Guaracha, was a much faster version, both based upon the “Box” step. Also, around this time Mambo music was being played, and the first song recorded with Mambo as its title , was recorded by Orestes Lopez in 1938. However no formalised version had yet emerged on the international scene. Change was in the wind. The name mambo has several meanings and one is of Congolese origin and means “Lullaby” (hardly an apt description of today’s music!!). Another says it means “Chorus” and/or “Voices”. Literal translations often lose context in their conversion to English though.

Around 1945/46, the time signature of that genre had made a change from a 2/4 to a 4/4 rhythm, with poly-rhythm syncopation. As with all dance, changes in speed and rhythm many times brings changes in the construction of what and how we dance. In this instance, little did they know how monumental this change would become. It had adopted the name of Systemo Cubano and essentially (this is where Danzon and Bolero enter), they took the “Square” and opened it to this format. Forward, back, side and Back, side and Forward, with a QQS rhythm. This was the same basic structure of Bolero, but with a major difference in timing. Mambo on 2 for its breaks, and Bolero was, and is, on 3 of the bar. The rhythm stayed the same.

When the franchised dance schools of Arthur Murray took Mambo into their curriculum, they used this basic format with one major difference, they commenced the 1st bar (see above), and placed it as a side and backwards direction to commence. In so doing, they had complied with a) the rhythm, and b) the premise of the dance, which is known as the “Call and Response” theory, emanating from the folk type dances of Yambu and Orisha.

Mambo was now a formalized dance in places but lacking in variety (Cubans still are notorious, for limiting variety in their dancing).  This was resolved with the implementation of Bolero and Swing dances. I shan’t make a list perse, but I would like to credit the foundational dance patterns that still exist universally, which are The basic Mambo, Crossover Break, Backspot turn, Cross-body-lead, and all of the ”break” type figures et al.

Let’s now examine some of the “rhythms” that have become part of the genre, that affected the way we were able to change our interpretation of specific types of music. It’s arguable which has had the most influence and effect, but let us look at two of the most common.

“Son” Guajira was originally written in a 6/8  and 3/4 time sequence . The credit for changing the Guajira and refining to a Salon style, was a singer from Cuba , Guillermo Portables.

The Guajira rhythm can be defined musically as having a Syncop built “within” the bar as in 1,2, 3 and 4 . This was and is often played at faster as well as slower tempo, and from this, triple Mambo developed. In some cases, bands play a double syncope by following with a 1,2, 3 , 4 and 1 and thus “joining ” 2 bars together. It now becomes abundantly clear how Cha Cha was developed. The Guajira style is still danced by many Latinos, and many of my compradre, do not consider Cha Cha Latin. The individual given credit for Cha Cha music was Enrique Jorrin, who was a director of the famous band Orquesta America. He recorded a song in the early 50s  “La Enganadora” and transposed the Guajira rhythm to what we now use today. The name, incidentally,  again has several claimants, notably the sound made by the shuffling of the feet of the “front” singers in the bands.

Next….Mambo to Salsa Part I

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About the author

Terence is a Dual Fellow with the IDTA and the UKA , in Ballroom and Latin, and is a former Examiner with the NADTA.  He spent over 45 yrs in the States, developing his knowledge in the Latino culture.