¿Le gusta y aprecia el contenido que provee Son y Casino? ¿Hay algún artículo en específico de este blog que quisiera estuviera disponible a lectores de habla hispana que no platican el inglés?… Continue reading
Are you having trouble trying to style when dancing casino? Given that most of the time your hands are being “held hostage” by the leader when doing turn patterns, finding the right time to do some styling might actually turn out to be pretty difficult. But it shouldn’t be. All you have to do is apply casino concepts to your styling. Read more to find out.
What is the point of starting this discussion about salsa and Cuban music? Most people in the Cuban dance community are not willing to dance to anything other than “timba” (or the occasional traditional son, but that’s mostly for performances).That’s a problem. A big one. At least I see it as one.
Casino classes generally follow this format: The instructors spend most of the class going over a new turn pattern. At the end, music plays, you all get with a partner, and the instructor calls out the move so that everybody does it at the same time. But should this be the way? By factoring in some aspects of human behavior and cognition, this post invites you to question this practice while at the same time suggesting ways to provide better lessons.
Dance classes exist because people want to learn, to receive instruction, to be taught, to advance together. If you sign up for dance classes, you are entering into an agreement with the teacher and other students in which you commit to learning. But if your prime reason for attending dance classes is another, you might just be a “dance class parasite”! In this (at times humorous) essay/rant, first-time contributor, Richard Lindsay, discusses the repercussions of those who attend dance classes for the wrong reasons.