Mambo to Salsa - Part II

The Mambo had a popular life span from the 50s but it waned dramatically as other dance ”fads” appeared. The barrios, of course, maintained their abiding interest primarily through the NYC enclaves.

The resurgence of a “new” sound began to emerge in the very late 60s and early 70s. The many Latino and jazz musicians in NYC began to change the direction of Mambo, musically speaking, and created a new paradigm in the form of Salsa. Its name origins are a little cloudy, but suffice it to say that the “new” music being played and recorded, awakened a whole new following .

The introduction of Bugaloo and Cumbia rhythms, to the already established poly-rhythms, among others, started to make an impact on the way we danced and interpreted the new sounds .

It became the time of experimentation in music and dance.  Orchestras from several countries began to get recognition, and their “style” impacted many changes in the way we danced and taught.

I won’t go into a lengthy discussion on the “correct” timing for Salsa in general, but it’s sufficient to say that the standard break timing of Mambo suddenly began to change to “1″  and “3″.  Many Cubans had used the “1″ for years and some still do. The music construction, although still driven by clave, had a distinctly different sound and feel. Cumbia rhythms and Bugaloo as well as Montuno became part of the new norm.

There are many musicians who played major roles in creating this “shift. As we previously noted, Hector Lavoe, along with Pacheco, were but two among many, who made significant contributions. Three major distinct forms emerged and were being thrust upon the public, namely Salsa Romantica, Salsa Dura and Descarga. They have all endured to this date.

These changes brought about changes in “dance styles”, which are now firmly embedded in the culture. from L.A and N.Y to Power 2 and Cuban, to name but a few .The origins are debatable, but I don’t find that unusual. What’s more importantly, it seems to have defined who we are by the way we  dance.

I’m a great believer in letting the music I hear define that issue, NOT a preset rule. Music changes frequently when we dance, and knowing and understanding those changes is the challenge we all face.

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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.