A lot of casino classes use the rueda to introduce people to casino. This article asks whether there is the possibility to get away from a rueda-centered approach to teaching casino without completely eliminating the rueda.
I fiddled with this piece for a while. To publish, or not to publish. I wrote it in one sitting months ago, but when I read it, I did not like how it… Continue reading
This lecture is more geared toward music rather than dance. It explores the musical production in Cuba after 1959. I enjoyed writing it tremendously, and I do hope that you find it helpful and that it encourages you to find and listen to Cuban dance music from the period of 1960 to 2000. There are a lot of musical gems out there that do not get played at socials / congresses because they do not “fi” the sounds we are accustomed to dancing today. Yet I think you’ll find them as flavorful and as complex to dance to as any contemporary “timba” song.
School is not indefinite, and neither are casino dance classes. So when do we “graduate” from these classes? In this article, we explore what it means to become an autonomous casino dancer, and what it means for the budget you have allocated for your casino dance classes.
Es hora de cuestionar y crear conciencia con respecto a algunas prácticas/perspectivas que quizá estemos tomando por dadas como parte del baile de casino, pero que en realidad están contribuyendo a un ambiente de sexismo y masculinidad tóxica que terminan excluyendo y alejando a un buen número de personas.
