This is part 2 of a Musicality series. 

Mulling over the topic of musicality brought back a memory of an incident that happened years ago during a salsa class that I taught On1.  While teaching a class, I informed the students that I was going to change the format and teach them On2.  The students became noticeably nervous and quit the class.  I explained that dancing On2 was going to help them become better salsa dancers and have the tools to dance with MORE people.

Regardless of what I told them, they ALL quit (except for 1 of them).

Today, that one student is perceived as one of the better if not the BEST female Salsa dancer in Kansas City. 

Most recently, I noticed a former student working on dancing On2 at the club.  We talked and he said, “Man, I have to dance On2.  The music dictates it.”  The question, then, becomes Does It Make YOU a Better Dancer if You Can Dance On2?

The answer is simple … Yes!  However, this has NOTHING to do with ego, arrogance or being a snob.  Please allow me to explain…

Dancers that dance On2 are better because they have developed their Musical & Physical Intelligence. 

Check out this video with GRISELLE PONCE and Jayson Molina … 

I first heard this explanation many years ago in NYC where I started my Salsa On2 experience.  Dancing On2 can be complicated because it REQUIRES us to listen to the music.  Much too often, people dance OFF BEAT and explain it as “I am just having fun” — Ever heard people say that?  I have!!!!  I, myself, am reminded of when I used to say that.  Wow!  That was a long time ago. 

 Now, I WAS just having fun but that fun got old because I ran out of “stuff” to do – my creativity just wasn’t there anymore.  My creativity was limited because my understanding was limited.  It all seemed the same and started to get boring.

Dancers that dance On2 have no choice but to understand music and develop an ear for it. They understand and thus interpret music better.  It doesn’t come easy but the benefits are totally enormous.  They must develop MUSICAL INTELLIGENCE to dance in sync with the musicians. Musical Intelligence is in essence having solid understanding of what each instrument is doing in a band and how these come together.  Steven Tirpak once said that he was “amazed at how many On1 dancers didn’t know where the 2^nd beat was in a musical phrase and yet, it was right next door.  Makes you wonder how well they (On1 dancers) understood dancing to the Montuno rhythms of the piano or the cow bell.”

 He makes a good point.  On1 dancers listen for the 1^st beat in the musical phrase.  The beginning is also the end of where the listening stops and so does the understanding and the creativity.

 On the physical side, dancers On2 are motivated to do more. It goes WAY BEYOND the turn pattern.  The development of MUSICAL intelligence becomes the driving force for PHYSICAL intelligence.  On2 dancers seek more footwork, body movement and improvisational tools for them to interpret the music when dancing solo or in a partnership.

 The combination of the two (Musical & Physical) develops the “CREATIVE” side of the dancer.  They hear music and want to dance to specific musical phrases by instruments beyond the TUMBAO rhythm.  They find that FUN to do.  And guess what?  IT NEVER GETS OLD!!! Why?

 When the Musical Intelligence and the Physical Intelligence are in sync, the creative juices begin to flow and a dancer finds that magical moment on the dance floor.  In other words, the creative side of the dancer has been unleashed and that force is powerful and unstoppable.  It is this that creates that motivation to work on their game; to dance better; to interpret better; to connect better with the band; to communicate in ‘code’ with the musicians; to explore more; to express more — to dance more.

I realize some folks might take this perspective as snobbish or an attack on dancers that just dance On1.  It is neither!!!  I teach On1.  I value On1 but realize that there is so much more out there.  I know because I have experience it and hope the same for others that ask, ‘Is there more out there?”

I also realize that some might try to be very “political” and say things like: “it doesn’t matter if you dance on blah, blah, blah.” Even so, I write this with the hope of sharing a different perspective that might resonate with those that seek a bit more in their dancing.

Hope this helps explain dancing On2 and look forward to seeing all of you on the dance floor.

Josh Hernandez | www.KCSalsa.com | 913.219.0500

DANCING TO — NOT THROUGH THE MUSIC: THE FLOW

I am writing a series of articles on “Dancing to the Music – NOT Through the Music “, in which I will share some thoughts, observations, concerns as well as etiquette pointers for beginning and seasoned dancers. I have collected these observations throughout my long dancing and teaching career and my conversations with other dance teachers, performers and dancers. More often than not, dancers lead or follow one who is at a different dance level.

Privately, we all wish for a dancer at our level or higher.  Beginning dancers, who overcome the initial apprehension of social dancing, always want to dance with Intermediate level dancers and intermediate dancers usually flock to more advanced dancers. Advanced dancers simply look for their own level or that unique dancer that visits their hometown that weekend.

Recently, a friend of mine was fired from a salsa dance program because she did not dance ‘enough’ with beginners. Apparently, some beginning students complained that she was not dancing with them and thus was referred to as a snob. In fact, one of them told her that directly (rude!!)  In a letter written to her by the lead instructor, he writes, “people think you are a snob and I don’t want that in my program.”

Is she really a snob?

Let’s explore this a bit further. In a conversation I had with her, she did explain that the students were not taught proper timing and thus were all over the place.  This problem created an uncomfortable “pull and push” experience that made her uncomfortable and even potentially injury-prone. Of course, she tried to address it in class but was quickly labeled as a “you think you know everything” girl who “hasn’t mastered her own technique” by the lead instructor. Not cool!

Part of the problem may have been TIMING.   Had timing been dealt with appropriately, maybe this awkward situation wouldn’t have occurred. What is timing? Why is it important? How does it impact dance etiquette?

Lets look at the Big Picture: The flow of the music. 

Salsa music has a flow that changes depending on the type of salsa music you prefer.  Overall, most songs build up to a climactic point and then end.  Usually we refer to that climax as the “Mambo”. The problem sometimes occurs when dancers dance to the music as if they are in the MAMBO in the beginning of the song. Bad idea!!!

The beginning of the song is the FLIRTING stage or the courtship stage. It is here that some dancers tend to “go all out” and try their “coolest moves” to impress their dance partner.  This usually happens with leaders seeking a date (jk)  That said, I have also had my share of ladies that just want to show me “what they have”(on the dance floor) in the first musical phrase of the song. Argh!!! The worst experience EVER!!!!  Ladies – how do you feel if a man said “Hey – you want to ‘Get Married’ or ‘Sleep with me’ and didn’t even know your name?  It is not the right time in the experience for this type of exchange!!! 

Well … for some out there it is

Seriously, how do we solve this problem?  Here is an approach that has always worked for me. (Take it, apply it, and test if it works for you!)

POSSIBLE SOLUTION:

Leaders that listen and adapt don’t make followers uncomfortable. I have always believed that you should dance at the level of your partner and never above them. Dancing at the same level will make for a better connection, a better flow and a magical experience. So, you might begin with simple patterns. Use moves that an average beginner salsa dancer has seen and will always see in every song. (YouTube.com has plenty of videos!!!) Maybe you don’t even use a ‘turn’ pattern!!!  Sometimes all it takes is connecting to that person and moving to the feel of the music.  Don’t believe me?  Watch Alfredo and Norma!!!  They dance to music and NEVER through music. They match the dancing to the feel of the music and slowly express more by using simple and creative dance patterns and embellishments.  He takes care of her and makes her comfortable — very enjoyable to watch! 

In the end, we all want to be comfortable in our dancing without being “pulled and pushed”. That type of experience creates discomfort and rejection. Understanding, listening and adapting to the flow of the music will get you closer to that magical experience in every dance. Regardless of your level, I always recommend you do what makes you feel comfortable – Even if you get called a ‘snob’!

Happy Dancing!

DJ Josh Bravo