I cannot get out to dance as much as I would like. (Really, can there really ever be too much dancing?) So I must optimize every opportunity and every social dance. Therefore, as much as I love big parties with live music (a la El Canario), a smaller party with adequate floor space allows me a a better dance fix. My ankle and shin bruises are still healing from the last crowded dance floor I was on. So I was happy that I did not add even one small bruise to my collection after Salsambo, another plus. And don’t forget the free yummy eats always at Salsambo. (Mike Andino gives high marks to the roast chicken.)

Salsambo’s social on May 7, 2010 was devoted to a celebration of Estilo Dance Studio’s 4 year anniversary. This was a fantastic party! There was a lot of good will in addition to a great night of dancing and great music.

I cannot believe this studio is only 4 years old. It’s an amazing accomplishment. Little known fact: Estilo Dance Studio started as a Zumba class (I had no idea Mike Andino was a Zumba instructor). Then Mike met Sherry Berger, Estilo’s business manager extraordinaire, who works the studios website and marketing…and rest is Philly salsa history. In only 4 years, what began as a Zumba class and expanded to a studio that has been associated with world class dance couples like Darlin Garcia and Kat Eccleston, as well as professionals Art in Motion. The studio has one of the best kids programs I have ever seen with Estilo Kids. Now we have the semi-pro team Artes Soneros and Estilo has just launched Estilo Dancers, who are available to perform at public and private events. Estilo has taught hundreds of students! The semi-annual student dance performances are in themselves a huge accomplishment. I first heard of Estilo in 2007 after I had just moved to Philadelphia and I had no idea it was only a year old at the time. It was already cooking…

The anniversary party was so great partly because so many of the salsa community came together to congratulate Mike Andino, Sherry Berger, and all the Estilo pro dancers and teachers whose work has done some much for the Philly salsa scene in just a few years.

Here’s to 4 more DECADES or more of Estilo in Philadelphia! Happy Anniversary Estilo Dance Studio Community!

And thanks to Big George for his support of his colleagues and friends at Estilo!

I have posted my cache of photos below. I am still learning how to use a camera, but I got some fairly decent pics this time! If anyone wants a copy of any of the pictures just e-mail me or Big George at mail@mambodelphia.com or mamboverse@gmail.com.

©Kathleen Aguilar 2010

© Mambodelphia 2010

The Salsambo social at Westville Square last Friday night was such a nice change for me. The Wednesday before that, I went to one of the smaller clubs. I had a great time dancing. For about an hour. If you have ever danced at a small club on a popular night, you know that by midnight you feel about the same as you do on a New York subway train at rush hour. It’s hard to relax, there is no place to stand, definitely no place to sit, people bump into you, and you start smelling things.  There is only one thing that I can learn on a tightly crowded floor and that is: how to dance on a rush hour subway train. My solution: go to a social.

Washington D.C. at Salsambo!

Last Friday night, Mambodelphia held its monthly social at Westville Square. It was a unique night. Earl Rush a/k/a “Go Go Earl”, the well-known D.C. salsa promoter and owner of the online mambo magazine, The Mambo Scene came up from D.C.  He brought along Pyson  Mauricio, the founder and director of Mezzlocutis Dance Company based in D.C.  Pyson, usually an On2 dancer, gave a workshop with On1 footwork (so flexible).  The workshop really stretched my thinking — almost every pattern had a unique twist. On moves where I usually expect to go left, Pyson had us going right and vice versa. This is excellent for learning to follow, because it helps me to stop anticipating so much, which usually sets me up for a following mistake.  You have to be ready for anything, as Big George says.

It also makes for some cool, interesting patterns.

Earl Rush took Mauricio's class too!

There was a lot more happening at Salsambo than workshops. We also celebrated Latin Dance Scene’s Newsletter 4 year anniversary with D.J. Sazaam.  And, of course there were performances! Christy Kam’s group, Musicaliente, performed a Bachata routine. And Salsa Georgia Dance Company was here from central Jersey.

A great aspect of this social is the venue.  It is more intimate than Stardust, but very spacious in comparison to the clubs. There is plenty of seating and you and your friends can enjoy a large, clean, table that seats at least 8 people. There is lots and lots of side space, with more seating, to take a break and watch the other dancers. The floor is slippery, so if that bothers you, wear “stickier” shoes. Mambodelphia always supplies a buffet dinner for free, and bottles of water are on sale for $1 (beats Brasils $3 bottles!).  For alcohol, you can bring your own. So for $12 (if you buy early) you get: free parking, free dinner, a free top quality workshop, and lots of space to dance nonstop-and-bump free for 5 hours. Altogether, a bargain and a relaxed, enjoyable, fun, night.

I got there early to take pics of this very nice venue!

Just because Salsambo is a Mambodelphia event does not mean that you must dance On2; or that only On2 dancers show up. I prefer dancing On2, but when I go to the Mambodelphia socials, I still end up dancing more than 50% On1. We had lots of great dancers show up last Friday. Check out some pics:

© Kathleen Aguilar 2010 – Check Out My Blog: Journey Through The Mamboverse

© Mambodelphia LLC 2010

]]> http://mambodelphia.com/blog/2010/04/05/salsambo-social-april-2-2010/feed/ 0 http://mambodelphia.com/blog/2010/03/16/on2-its-not-just-a-different-step-by-kathleen-aguilar/ http://mambodelphia.com/blog/2010/03/16/on2-its-not-just-a-different-step-by-kathleen-aguilar/#comments Tue, 16 Mar 2010 19:17:50 +0000 Administrator http://mambodelphia.com/blog/?p=62 I don’t really think On2 can be defined as much as felt. Yes, the break is on a different step than On1, but that is not really IT. There is no real dancing “On2” without a feeling of the kind of music — and the relationship to the music — that traditional, hard-core, born-and-raised New York, On2 dancers dance to. Years ago, when I was first learning to dance, I read what Steve Shaw and Manny Siviero at NewYorkSalsa.com had to say about dancing On2:

“On 2 mambo dancers usually prefer classic salsa music with a strong danceable rhythm. The word “classic” does not mean “old”; it refers to a certain classic style of salsa music. The rhythm structure is based on either the 2/3 or 3/2 son clave, and the sound is one very much associated with Puerto Rican or Newyorican bands, such as El Gran Combo & Tito Puente. This is not to say that bands with other backgrounds or from other locations do not play songs that fit our way of dancing. Some of our favorite dance songs come from bands whose roots are far from New York, but it is only when those songs have this “classic New York sound & rhythm” that they are compatible with our On 2 dance timing and style.”

I did not understand this at all. On2 timing and style????

I had a few On2 classes in New York. But what made me fall in love was when I saw Nelson Flores’ show “Latin Madness” at El Museo Del Barrio in 2001. All of the best New York companies and dancers were in the show. Descarga Latina, Santo Rico, Caribbean Soul, Abakua. It was magical. There was a soul to it that I could see, but I couldn’t dance to it. I wanted to learn more.

Then I stopped dancing for almost 7 years. I moved to Philadelphia and in 2007, found my first teacher here, Eli Torres. I had not yet been to a single Philadelphia dance venue. At my first lesson Eli aid, “Well, you came here from New York, do you want to learn On1 or On2?” So I said: “Well, what do most people in Philadelphia dance?” And he said: “On1”. So that’s what I learned. For awhile. I took a second break from dancing for another year and a-half. But, if I ever danced again at all, it looked like it was going to be On1 forever.

When I was learning On1 and switching back to On2 whenever I was visiting New York, I realized that I felt a difference. On2 sits a certain way with me. And then I thought that perhaps the difference in feeling was because my body was somehow relating differently to the music.

I also had read and heard about “clave.” And I didn’t get it. I mean, I knew what the clave rhythm sounded like. But I didn’t understand this New York business of dancing “on the clave.” Well, Steve Shaw and Manny Siviero have something to say about this, too:

“You may have heard the expression “Dancing en Clave” to describe New York On 2 mambo. This needs some clarification. Actually, this is a loose expression to mean that the clave contributes to the 8 beat rhythmic structure of salsa, and also affects how we feel and move to the music. But we do not literally step to ALL the beats that the clave instrument taps out. “

My musician sense told me that dancing On2 was somehow musical, but I did not really know why. So I started studying the music. I have begun to learn about different types of clave and different types of salsa music. I train myself by listening very carefully to the music and to what each instrument is doing. Then I learned about different kinds of music, and began to understand the stylistic difference between Salsa Dura and Salsa Romantica.

Along came Mambodelphia. Since 2007, when I first arrived in Philadelphia, and thought I was doomed to On1 for the rest of my life, George Dennis founded Mambodelphia. The Salsambo Socials were created so that On2 dancers (and On1) could get together. Mambodelphia has monthly On2 practice parties. The On2 Meet-up was formed so that On2 dancers could find each other at clubs and get together for On2 road trips. Now On2 is going to be offered in Pottstown. And George Vandeever, an expert On2 dancer formerly with the Cobo Brothers, has relocated here and offers On2 classes at Estilo Dance Studio and Brasils.

I also think that learning even a little On2 will make a person a better On1 dancer. Don’t fool yourself students, many of the major teachers in Philadelphia are fully competent dancing On2 even if they prefer On1 and even if they teach On1. And don’t think of On2 as “too hard.” It just takes a little practice and some getting used to. Well, challenge yourself! Learning both On1 and On2 with make you a better dancer in both styles. Philadelphia has come a long way from the beginning of the salsa scene here 10 years ago. I’d like to see Philadelphia put itself on the map over the next 10 years as a city that has fully competent student dancers – and even competition-winning superstars – in BOTH On1 and On2.

The Mambodelphia Medical Handbook of Common Salsa Ailments
By Will Pagán

INTRODUCTION
The road to developing yourself as a salsa dancer is undoubtedly one that takes dedication to adhere to.  Along the way, a dancer can easily become afflicted by some very common ailments that, if left untreated, can nullify even the most fervent attempts at greatness.  As such, here is a guide to these common ailments so that should you discover that you or someone close to you has contracted a salsa ailment, immediate help can be sought.  Alas, the struggle to avoid the chewy chunks of salsa mediocrity is an arduous one, but the struggle is necessary in order to obtain total salsa creaminess.  Armed with this handbook, however, you should be well equipped to identify the ailments that hinder your progress as a dancer.

COMMON AILMENTS
Uniturner Syndrome (Alwaysturnicus Leftorrightus)
Marionette Syndrome (Limpiticus Nontensionhavicus)
Stoicitis
Flying Salsero Disease (Salserus Acrobaticus)
Autobiographer Disease (Selfportricitis)
Compulsive Instruction Disorder (C.I.D. or Instructus Amateurus)
Androgenistic Decay Disorder (A.D.D. or Ambiguitous Sexualicus)
Salsa Mobility Disfunction (Rigidicus Rigamortus)

UNITURNER SYNDROME (ALWAYSTURNICUS LEFTORRIGHTICUS)
Uniturner syndrome (Alwaysturnicus Leftorrighticus) is an all-too common disease that develops when not enough practice is given to turning/spinning in both directions, resulting in lop-sided dancing. Unfortunately, the only way to correct this problem is through a regimen of spin drilling. If you are suffering from this affliction, please contact Mambodelphia and we will put you on regimen of corrective drills to restore you to ambiturner status.

MARIONETTE SYNDROME (LIMPITICUS NONTENSIONHAVICUS)
Marionette Syndrome (Limpiticus Nontensionhavicus) is an extraordinary problem that seems to be on the rise as of late, striking mostly women, everywhere across the country. Infection results in 80 and sometimes up to 90 percent loss in optimal arm and body tension. If, during your dancing, your wrist, arm and shoulder ever create a perfectly or almost perfectly straight line when connected to your partner, there is a good chance that you are already a victim of this terrible disease. With proper treatment, however, Limpiticus Nontensionhavicus is completely curable. Many patients have been completely restored to optimal tension levels. Please contact Mambodelphia immediately if you think that you may be suffering from this ailment. If my diagnosis returns a positive match for Marionette Syndrome, we will start you immediately on recuperative therapy composed of tension building exercises and drills.

STOICITIS
A common problem that begins affecting dancers as they approach the Intermediate level.  Stoicitis is usually to blame for dancers that perpetually concentrate so hard on their dancing that they temporarily forget how to operate their face. Unfortunately, this problem is only aggravated by many teaching methodologies that emphasize quantity over quality. If you or a loved one is suffering from Stoicitis, please contact Mambodelphia and we will begin a recuperation program that draws attention away from the 20-part turn pattern you are trying to recall and focuses more on your execution technique.

FLYING SALSERO DISEASE (SALSERUS ACROBATICUS)
This affliction is often picked up by dancers of Intermediate level and under that are not properly immunized against Salserus Acrobaticus and visit the West Coast of the United States. This disease causes hallucinogenic effects that cause the dancer to believe that a death drop into a neck drop into a leg lift into a back walkover into a triple gainer with a one and a half twist is an acceptable turn pattern in social dance settings. If you, or anyone you know, has been infected by Flying Salsero Disease, please contact Mambodelphia immediately and we will work to instill in the affected party a greater appreciation of the subtle differences between dancing and acrobatics, and between social dancing and performing, for example.

AUTOBIOGRAPHER’S DISEASE (SELFPORTRICITIS)
As dancers hit the Intermediate level and begin getting more confident in their dancing, they often become more preoccupied in showing that they have cleared the hurdle of mediocrity than in paying attention to the music, their partner, etc. Dancers with this syndrome attempt to tell the entire story of their training within the span of each dance. Unfortunately, the story is, at best, a poor and rushed portrayal only loosely tied to the music that is being played, resulting in dancing that looks and feels inappropriate. If you have contracted Selfportricitis, please contact Mambodelphia immediately and we will begin training you in how to vary your styling and move set to adapt to the environment of each dance, thereby making you a more complete dancer.

COMPULSIVE INSTRUCTION DISORDER (C.I.D. OR INSTRUCTUS AMATEURUS)
Compulsive Instruction Disorder (a.k.a. C.I.D. or Instructus Amateurus) is a particularly obnoxious one. It usually strikes dancers that have just had private, workshop or any other form of concentrated instruction. The result is that the dancer is transformed into Dr. Sal S. Amambo, an evil salsa scientist that bastardizes the teachings of qualified instructors by force feeding others with what they have learned in inappropriate social settings. The true victims of this syndrome are the unfortunate partners of these evil salseros as they are forced to relearn their cross body leads, wrap-arounds, etc. or are forcibly exposed to moves beyond their skill level in the middle of the dance floor at their favorite club. The only cure for this is rigorous instruction on proper salsa ettiquite, coupled with a slice of humble pie from a qualified instructor. If you, or someone you know, has contracted C.I.D., contact Mambodelphia immediately and we will begin you on ettiquitte-based coursework in conjunction with an immediate breakdown of where your technique needs work so that your focus returns to improving your own dancing and not the dancing of others.

ANDROGENISTIC DECAY DISORDER (A.D.D. or AMBIGUITOUS SEXUALICUS)
Androgenistic Decay Disorder (a.k.a. A.D.D. or Ambiguitous Sexualicus) is a dangerous affliction that will typically only begin to affect male dancers as they get to the high Intermediate levels and start flirting with the Advanced level. This syndrome seems to also be aggravated if the dancer is a performer. Studies have shown that the attention that one gets on stage often times leads dancers to seek flamboyancy in their social dancing in order to obtain that same level of attention socially. This flamboyancy can lead to femininity which can then, ultimately and unfortunately lead to androdgeny. Symptoms include a change in style of dress for tighter and flashier clothing, for example. While some would say that the best cure for this syndrome is a firm slap, depending on the severity of the disease’s progression this could actually result in worsening the problem. This affliction is not easy to cure. Often times, one has to merely settle for halting the progress of the disease rather than curing it. Contact Mambodelphia immediately if you require assistance in combating this problem. we can immediate begin the afflicted on style, form and technique training that will draw them away from progressing down this path. This disease often times requires a strong support system. Encouragement from friends, family and fellow dancers is invaluable. There is life after Ambiguitous Sexualicus…

SALSA MOBILITY DISFUNCTION – (RIGIDICUS RIGAMORTUS)
Salsa Mobility Disfunction is a common problem that typically affects dancers at an Intermediate or lower level and often times affects dancers that have been classically trained in other dance forms. Symptoms during dancing can include an overly rigid gait / frame / posture or the head being compulsively inclined above eye level resulting in eyes that excessively look down at their partners from the bottom half of their vision. If you or someone close to you has Rigidicus Rigamortus, please contact Mambodelphia and we will place the afflicted party on a recovery roadmap involving thorough form, posture and style education.

www.mambodelphia.com

Welcome to the New Mambodelphia Blog! If it’s on2 we are all about it! From classes, parties to roadtrips and special events; we will be keeping you up to date on everything happening with Mambodelphia. Check back often and add your comments.

Thanks,

George Dennis

Founder of  Mambodelphia

DJs United: DJ Jay Rockwell, DJ La Clave, DJ Jose Rodriguez, DJ Jose Maldoado; Salsa Lesson by: Vikki Woods & “Big” George Dennis; Also Featuring Great Raffles and Special Live Performances!

All DJ’s and Instructors have donated their time for this event and 100% of the proceeds will go to the relief effort on behalf of the Salsa community.

Admission: Requested $10 donation (The beneficiary chosen is the American Red Cross). YOUR DONATION DOUBLED!!! Jones New York has generously agreed to match any donations made from our fundraiser, so whatever you can give, it will be doubled!

Jeans & Shoe Donations Needed! We will also be accepting new and gently worn jeans and shoes for the people in Haiti the night of the fundraiser.

More info on Charity Organizations and their help with Haiti:
American Red Cross
Soles4Souls
Teens For Jeans
(Aéropostale Store will donate one brand new pair of jeans for every pair of donated jeans!)

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