Conducted by Angel Ortiz on February 16, 1999 at Jimmy’s Bronx Café, Bronx NY.

Angel: Most people remember their first endeavor whether it’s their first dance class or performance. Could you tell us when and where your first performance was?

Eddie Torres (ET): In junior high school there was a dance contest and I remember rehearsing for this and I shocked everybody because I put something together and it blew everybody away. Not too many people at that time knew how to work with music and structure their routine but I felt I did. I won the contest and after that I went to the Hunts Point Palace and every Sunday they had a dance contest and afterwards they had a pie-eating contest! I won the dance contest 11 weeks straight. Every week I would choreograph a routine and I always had outfits and there was a theme. Dora and I would work week to week to prepare the routine with an outfit. The people loved it and we had a fan club. Every time we would get on the floor people would scream. At that time, I think the audience was the one that chose the winners. So junior high school was my first dance contest. I remember I won a trophy. I was so happy because I beat this guy named Louie George; I beat this guy named Louie Colon. I caught the Salsa fever and I wanted to dance more and compete.

Angel: As a youth, did you have an opportunity to take any dance classes? Maybe at the local boys club or any facilities such as that? Was that available to you back then?

ET: There was a guy named George Vascones. He was probably the first teacher that I know of that was doing on-site, on-location teaching. A lot of credit goes to George for being one of the first to do this. We were at the Hunts Point Palace (Bronx, NY) and every Sunday, while the dance was going on, George had a group of people in the corner and would give instruction right there on the spot. I would say, “George, start me off:” He was very helpful to everyone. I think that was the only instruction at that time. Back then since I was too young to go to the clubs, I would go to house parties and I remember seeing many the youth dancing whatever was in fashion at the time. Their parents who at the time used to go to The Palladium influenced the teenagers. Dancing Mambo was a hip thing to do because of the Palladium Era.

Angel: What were some of your thoughts about dance in the early years? Did you have a visualization of what and where you wanted to be?

ET: This is the strange thing. Once I got into this and I realized I found something that I felt I could be good at, well, for some reason I knew it. After I got the hang of it, I started picking up really quickly. I also saw that I had an instinct to put stuff together. I remember the guys used to call me and invite me to the Center (Robert Wagner Junior High School) and asked me to put stuff together so that I could show them. I would go in there and ask them to borrow the record player and grab a little corner. The guys would meet me there and we’d start jamming. One guy would show one step, another would show a step and I’d come along and share whatever I was working on. We were teaching each other. I would try and invent something new to bring to the center.

I did not just want to be good, I wanted to be the best. That was the spark that drove me. Everyone else was doing normal hours of rehearsal– maybe two hours. But I was doing five or more. It became an obsession, a driven obsession, like something was taking me there. Our dance needs to be recognized, to be developed to a professional level. So I see now that my purpose is to help make that happen. I’m not the message, but I’m the messenger.

The ABAKUÁ Afro-Latin Dance Company returns to the Tribeca Performing Arts Center for its second annual performance series after a historic performance at Lincoln Center.

Join us for the highly-anticipated WORLD PREMIERE of “The Life and Death of Suzy Q”, a new composition from choreographer and Artistic Director Frankie Martinez!

ABAKUÁ is poised to deliver this new production that will not only highlight ABAKUÁ’s signature dance style entitled “Afro-Latin Funk”, but also reflect the company’s acumen for innovation. Introduced will be new choreography, which reflects a symbolic as well as literal transcendence in the philosophy and practice of the entire genre as interpreted by ABAKUÁ.

With the BMCC Tribeca Performing Arts Center commitment to bringing high caliber culturally diverse arts to the greater New York Metropolitan area, this highly anticipated annual performance series will be a feast for the eyes, mind, body, and spirit!

Performance Dates:
Friday November 6, 2009 7:00 PM
Saturday November 7, 2009 7:00 PM

Tickets to the performances can be purchased ONLINE at the following links:
* http://www.smarttix.com/show.aspx?showcode=ABA2
* http://www.tribecapac.org/dance.htm#abaqua (click on the ‘BUY’ link)

Rhythmology believes in the promotion and support of events that bring social dancing to a new light. Whether it be through our approach of adding our technique to the world of social dancing, or whether it be our friends over at ABAKUÁ Afro-Latin Dance Company who are advancing the genre of Afro-Latin dance within the performing arts.

I am writing this blog to inform you of a rare and amazing FREE event coming up at Lincoln Center that I would love for all of us to make it out to and show our Rhythmology support, and to witness a bit of our modern day history!
 
Take a look at excerpts from ABAKUÁ’s recent press releases:
 
On Sunday August 9th, 2009 audiences will be in for a treat as Lincoln Center hosts the ABAKUÁ Afro-Latin Dance Company as it performs during Lincoln Center Out Of Doors.  The event will take place at the Damrosch Park Bandshell and the evening begins at 7:30 PM with Los Angeles-based company Contra-Tiempo. 

“We are excited to be able to introduce ABAKUÁ to Lincoln Center Out of Doors’ large and diverse audiences.  The company’s approach to modern dance deeply rooted in Afro-Latin popular and social dance, brings a fresh energy and kineticism that will connect deeply with our audience of long-time dance aficionados as well as those who are discovering concert dance perhaps for the first time.” said Bill Bragin, Director of Public Programming for Lincoln Center.
 
The one hour performance will feature two classic choreographies from ABAKUÁ’s distinguished repertoire, Island Fever and After Hour Funk.   The selections will reflect the versatility and innovative vision that has been the signature trademark of ABAKUÁ since its inception. 
 
Co-Founder and Artistic Director Frankie Martinez states, “We are excited beyond words to be presenting our work at Lincoln Center.  This is exactly the type of unique opportunity we are looking for to change the way people think about Latin dance and the possibilities for its presentation.”

Check them out at www.abakuadancers.com!

Looking forward to seeing you there!

According to a recent study, massage reduces a dancer’s stress, helps with range of motion, and lowers performance anxiety. According to Mike Alvarez, licensed massage therapist, massage can extend a dancer’s career by preventing injury. Massage decreases muscle tension and can help prevent the occurrence of acute and chronic injuries.

Repetitive dance movement causes the body to build up lactic acid. Also over a period of time adhesion between muscles can cause stress on the joints and possible injuries. Through a preventative course of massage treatments, this can be avoided, and will allow the dancer to always perform at his or her optimal capacity.

Massage also improves physical and mental performance. By increasing circulation, massage helps the body eliminate waste products and bring in fresh blood, supplying nutrients to muscles and other tissues. This allows for faster recovery after a strenuous class, rehearsal or performance. Massage helps to clear the mind, increasing focus and concentration before getting on stage.

Mike Alvarez, with 20 years of experience, specializes in sports and medical massage. He also provides relaxation and stress release through massage. Mike is known for deep tissue massage (helpful for dancers) and myofacial release technique. Over the years he has treated players on the New York Jets and Islanders. He also traveled with the US Taekwondo Cup Team. Presently, he treats triathletes and runners and is also my massage therapist. He deals with everyday massage for stress release, and injury treatment, whether it is from sports, trauma or dance. For Rhythmology members (show your VIP card!), he is running a special: a one-hour session for half price ($35). He is located at the Eastern Athletic Club (854 E. Jericho Tpke, Huntington, NY). For appointment call Mike at 516.982.0907 or email at papoMike@aim.com!

Dear Rhythmologist,

Well, it finally happened. Alfred Pena’s Rhythmology, LLC just got too big for its britches, and we have opened a new division to our business. So from now on, if you’re looking for the best salsa lounge (perhaps the only one) since the dawn of mankind, you can join us at:

Rhythmology Salsa Lounge
272 Post Ave
Westbury, NY 11581
(516) 368-0910

We will be at this location Thursdays, Saturday and Sundays. The schedule of lessons and events will be posted on our site. Our opening week starts tomorrow, and for the whole week we invite you to come join us for FREE. Starting tomorrow, Sunday June 21st, at 2pm until 6pm, Thursday 6pm to 8pm, and Saturday 6pm to 945pm, a total of 8 classes are ALL FREE.

Visit us, and we’d love to have you stop by to discuss your dancing needs. We will continue to offer you maximum quality dance education at very reasonable rates.

Hope to see you soon.

There are several exercises you can practice in order to improve your spotting and focus. Some are stationary exercises and others require traveling from one spot to another. Two have been chosen for this article. They are suggested exercises and by no means the last word in focus and spotting. I’m sure if you ask around, you’ll be referred to other exercises, equally or more advanced. You can try these at home but it is best to practice in a dance studio to prevent injury from bumping into the furniture. Obviously, the exercises require ample space and if done in the home, it is recommended you remove the furniture and any objects that may get in your way.

Let’s begin with a stationary exercise. We’ll start with turning left. While standing straight, turn your head toward the left shoulder. Follow by turning your shoulders in that same direction while simultaneously taking small steps. Keep this motion going until you find you can’t turn your head anymore without bringing your shoulders with you. At this point, bring your shoulders and the rest of your body to meet with your head for a complete turn (you should be at your starting point) This exercise will help you to “separate” the head from the body. This action should eventually help you reduce some of the dizziness that occurs during the learning stages. In addition, it should also ultimately create a “snap” in your turns. Visually, people will see the head whip around before the rest of the body catches up. Like most basic exercises, this stationary exercise is very helpful toward achieving your goal. This exercise is performed slowly so you won’t need the arms for balance yet. You can keep your arms at your sides while you work on isolating your shoulders, the steps, and your head.

The second exercise requires you to move in space. We’ll turn to the right this time. Your goal is to reach the other side of your space while traveling in a straight line. Pick a starting point, then turn your head to the right and focus on an object; a wall, a picture, a person, or a spot (hence spotting). Use this object as a focal point. Apply the same elements from the first exercise and remember to keep your arms raised and aligned with your ribs (I call it the mambo position) as you make your way across the floor. Your steps should be very small and tight while you travel on the balls of your feet. Keep your stomach in and use your inner thighs for assistance. Think of these turns as “Pencil” turns. The name comes from the way the body takes the shape of a pencil while you are turning. These so-called “pencil” turns are very similar to the kind that almost everyone does while dancing. There are exceptions, but for the most part, you should keep both feet on the ground while executing multiple turns (the other options are pirouettes as done in ballet or jazz - but this is not the norm for mambo dancing).

Whether you find yourself dancing in a social or professional environment, there are two key elements of dance that are applied constantly. They are known as “Spotting” and “Focus”. If you are in the beginning stages of your pursuit in dance, you should concentrate on developing these elements. If you are in the advanced stages of dance, this can serve as review material.

Every turn or spin requires the dancer to focus on keeping his/her balance. This is achieved through focus and spotting. Other elements also include body alignment and placement of the arms. For the purposes of dancing Salsa/Mambo, we borrow Focus and Spotting from other dances such as Jazz and Ballet. However, they can be incorporated in almost all types of dance. Remember that the art of dancing is evolutionary. Borrowing technique from other dances is a great way to experiment and create new forms and ideas.

As it relates to dancing the Mambo, turning once or twice within a measure of music is the norm. However, to enhance your dancing, you can expect to incorporate additional turns. Let’s look at it from a musical point of view. Most of the music salseros dance to is written in 4/4 timing. That means that there are four beats in each measure. We use two measures to complete a full basic step. Therefore, we count from one to eight.

In partner work or when dancing independently, you can begin the turns in either measure. However, most times it’s preferred to commit to spins or turns when going into the second measure of the 4/4 timing. This allows you (the person turning) the preparation needed to complete the turn/spin comfortably. Preparation is employed since it provides for application of technique, including correct placement of weight and positioning of the feet. (There is more to turning than you thought, huh?)

So how does one apply focus and spotting, you ask? Well, basically spotting is applied when you are turning solo or are caused to turn. Spotting is the act of causing your head and eyes to “start last” and “finish first” throughout the sequence of spins while keeping your body centered. What’s important about spotting is that you learn how to “separate” your head from your body as you turn. The effect of not spotting is dizziness. Also, since the head is heavy, it needs to be controlled as you cause your body to spin or turn. At first, you will feel the effect of dizziness. Since our eyes are like the lens on glasses and cameras, you will find yourself going out of focus and then back into focus. Eventually, you’ll become more accustomed to focusing your eyes and balancing your body to accomplish single or multiple turns.

This past memorial day weekend over 25 rhythmologist got together and went to the CT Salsa festival. While there, we took workshops, watched performances, danced and enjoyed dinner together. Overall, we felt inspired, and came back home ready to share our new gain knowledge. It inspired us all to continue this salsa congress attendance tradition.

Many of the people who stayed back home, told us they want to join us in our next road trip. Well, we are doing it again. We hope that the energy we felt at the CT Salsa Festival will continue into the NY Salsa Congress. We will be supplying passes at a fixed price of $260 (Almost 100$ lower than the price at the congress).

These passes for the NY Salsa Congress are full VIP passes for the whole weekend, including the qualifying competition on wednesday night at cache where I will be competing. We believed these tickets to be the best deal on the web right now. For full details of the benefits please visit, www.rhythmology.us/nysalsa.html

We hope to see you there!

In the previous article I wrote about  the forward walk.  Now, I will continue with the other direction  of the walk and discuss how that is used within the salsa basic.   I will describe the basic on2, as I feel most of my readers are confident  with their on1 basic, however the same concepts apply.  You will  see how incredibly alike they both are.

How are the forward and backward walks  different? The following quote sums it up, “Try to dance a backward  walk as though it would look like a forward walk if videotaped and played  in reverse.”  While I believe this to be true, it’s rather  hard to follow, so let me give you some practice advice on walking backwards.   Interestingly enough, my coach often said the mark of a good dancer  is one that can reverse all of his actions.  “Beauty in a dancer,”  he said, “is often seen in the symmetry of his forward and backward  movement.”  So while following these two practical steps, always  try to look for symmetry within your own dancing.

1. The backward rumba walk starts by  a sideways release of the standing hip, followed by a slightly back  movement during the lowering of the weight. The front leg remains straight  throughout all this and the knee rotates slightly inwards from its turned  out position prior to the movement.  The stepping foot leads ahead  of the body weight.  As the hip of the supporting foot starts to  settle, the moving leg starts to bend.  However, be careful not to exaggerate  this knee action.

2. The foot then travels back until  the knees are parallel.  At this point, the back foot starts receiving  weight. Make sure to not “pop up” during the weight transfer  but absorb the weight with the hips. The hip action of a backward walk  occurs at the same time as when your weight is being transferred. Therefore,  the backward walk hip action is instantaneous while the forward walk  hip action is delayed.

We then repeat this process with the  other leg to continue going backwards.  The footwork is always  on the inside edge of the ball of the foot. In both the forward and  back walks, avoid taking steps that are too big. The size of the step  should simply be enough to bring the foot under the body for the forward  walk and enough to bring the knees to a parallel position for the back  walks.

Below is a chart listing every beat  of the music split into two parts.  In each part, there is a certain  action that takes place for either a forward walk or a backward walk.   Take note that the chart starts with the “&” of the last beat  of the previous measure, and the “1″ is the downbeat.
Count         Movement
&                Bend your R knee
1                Step forwards to R F
&                Bend L F
2                Step forwards to L F
&                Bend R F; keep it back
3                Replace weight to R F
&               Bend L F while keeping weight on R F
4               Continue the bending movement
&                Start moving LF back
5                 Replace weight to L F
&                Bend the R knee
6                R F back with weight
&               Bend the L knee
7               Push (both sternum & pelvis) forwards with R F to L F
&               Continue pushing forwards to ball of the L F
8               Continue the same movement

Notes: Both legs are straight on 3  for half a count and on 7 for one count.
1. As a result the right hip goes back.
2. Keeping both leg straight

I hope you find this article helpful.   Please keep your feedback coming.  Let me know what you would like  to learn about next.  My next idea will be to discuss balance,  or perhaps describe how students should learn salsa, so that they can  determine what level they are at and what they need to learn.

The famed ‘Rumba walk’ is one of the most widely practiced basic steps in competitive studios.  I often use it to teach my students many different ideas about movement.  Although some can get carried away with the technique by practicing for hours (myself included), there is a great deal of learning to be done in mastering this technique. The Rumba walk is a basic action that you may use to train in Rumba, though it is also used in the Cha Cha and Salsa. Below are some guidelines on how to perform a basic Rumba walk and how successfully practice.

The concept of executing a rumba walk is actually quite simple. First, one must keep their body ahead of their feet.  The question then becomes, how does one go about doing that?  Please visit the attached YouTube video of two of the best Latin dancers, as they demonstrate the rumba walk.  Having a visual aid along with a written description enhances the understanding of this concept.

Things to notice:  Notice the front leg.  The moment each dancer’s weight arrives on it, it instantly straightens.  Also, notice how each dancer uses his/her back foot to push off the floor and yet maintains floor pressure the entire time.  This allows them to push their body weight forward all at once.  Once they have arrived to the foot, their bodies continue to move forward as if they are going to fall.  To avoid falling, the leg then must then be very fast to finally catch up with the body.  Also, in their backward walks, they still keep their body weight forwards.  In either forward or backward rumba walks, notice how the dancers’ feet never comes off the floor.  Below is a step-by-step process on how to get started for you to perform your own forward Rumba Walks.

1. Begin with your feet together and turn your feet outward 1/16 of a circle from forward.
2. Point your right foot in front* of you with the outside edge of the foot touching the ground. Your leg should be absolutely straight and “toned” (flexed).
*We are starting with the right foot forward, only to make it easier to push the body weight from the left foot. Eventually, you start with the right foot back.  Bend your right foot, and strike your leg at the same time that you push with your left foot.
3. Using your left leg, begin pushing* yourself forward onto your right leg. Make sure both your legs are constantly straight and do not bend during this time. Next is the most difficult part. Maintain your weight between both legs and on both balls of your feet.
*In dance, by pushing we mean rolling through the foot.  Begin with the heel on the floor, elevating to the ball of the foot, continuing to a point.
4. Finish by continuing your pushing forward and putting your weight entirely over your right foot. Your left foot should release in a pointed, straight line behind you.
5. Go back to the beginning and repeat the 3 positions starting with left foot forward.

Exercise
There’s an easy exercise for feeling the floor and applying foot pressure, one that I often use with my students. The goal is to maintain contact with the floor, never picking up your feet.  You can use two pieces of paper (any paper will do) and put them under each foot. Practice forward and backward rumba walks while keeping the paper under each foot. Try to keep the paper under your feet at all times.

Learning how to do rumba walks, and using this exercise, will make your dancing more grounded. By “grounded,” I mean that the center of your weight should be low.  When you step and transfer weight to a leg, your supporting leg should compress into the floor; constant foot pressure on to the floor is essential.

I hope this helps in improving your own personal dancing.  Stay tuned for the next newsletter as I write a bit more about the backward rumba walk and introduce a new topic in our conversation.

Thanks again,