Reggaeton

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Reggaeton (spelled also with the acute diacritic in English and known as Reguetón and Reggaetón in Spanish) is a form of dance music which became popular with Latin American (or Latino) youth during the early 1990s and spread to North American, European, Asian, and Australian audiences during the first few years of the 21st century. Reggaeton blends Jamaican music influences of reggae and dancehall with those of Latin America, such as bomba and plena, as well as that of hip hop. The music is also combined with rapping in Spanish, English or 'Spanglish'. Reggaeton has given the Hispanic youth, starting with those from Panama, a musical genre that they can consider their own. The influence of this genre has spread to the wider Latino communities in the United States, as well as the Latin American audience.
While it takes influences from hip hop and Jamaican dancehall, it would be wrong to define reggaeton as the ‘Hispanic’- or ‘Latino’- version of either of these genres; Reggaeton has its own specific beat and rhythm, whereas Latino hip hop is simply hip hop recorded by artists of Latino descent. The specific rhythm that characterizes reggaeton is referred to as “Dem Bow”.
The name is a reference to the title of the dancehall song by Shabba Ranks that first popularized the beat in the early 1990s.
Reggaeton's origins represents a hybrid of many different musical genres and influences from various countries in the Caribbean, Latin America and the United States. The genre of reggaeton however is most closely associated with Puerto Rico, as this is where the musical style later popularized and became most famous, and where the vast majority of its current stars originate from.
Reggaeton lyrics tend to be more derived from hip hop than dancehall. Like hip hop, reggaeton has caused some controversy, albeit much less, due to a few of the songs' explicit lyrics and alleged exploitation of women; supporters claim this criticism is misplaced due to most reggaeton songs having completely clean lyrics, as well as non-violent lyrics. Further controversy surrounds perreo, a dance with explicit sexual overtones which is associated with reggaeton music.

Tango

Tango History

Tango (the dance with the stop "Baille Con Carte") is one of the most fascinating of all dances. Originating in Spain or Morocco, the Tango was introduced to the New World by the Spanish settlers, eventually coming back to Spain with Black and Creole influences.
In the early 19th Century, the Tango was a solo dance performed by the woman. The Andalusian Tango was later done by one or two couples walking together using castanets. The dance was soon considered immoral with its flirting music!
Ballroom Tango originated in the lower class of Buenos Aires, especially in the "Bario de las Ranas". Clothing was dictated by full skirts for the woman and gauchos with high boots and spurs for the man.
The story of Tango as told is that it started with the gauchos of Argentina. They wore chaps that had hardened from the foam and sweat of the horses body. Hence to gauchos walked with knees flexed. They would go to the crowded night clubs and ask the local girls to dance. Since the gaucho hadn't showered, the lady would dance in the crook of the man's right arm, holding her head back. Her right hand was held low on his left hip, close to his pocket, looking for a payment for dancing with him. The man danced in a curving fashion because the floor was small with round tables, so he danced around and between them.
The dance spread throughout Europe in the 1900's. Originally popularized in New York in the winter of 1910 - 1911, Rudolph Valentino then made the Tango a hit in 1921.
As time elapsed and the music became more subdued, the dance was finally considered respectable even in Argentina.
Styles vary in Tango: Argentine, French, Gaucho and International. Still, Tango has become one of our American 'Standards' regardless of its origin. The Americanized version is a combination of the best parts of each. The principals involved are the same for any good dancing. First, the dance must fit the music. Second, it must contain the basic characteristic that sets it apart from other dances. Third, it must be comfortable and pleasing to do.
Phrasing is an important part of Tango. Most Tango music phrased to 16 or 32 beats of music. Tango music is like a story. It contains paragraphs (Major phrases); sentences (Minor phrases); and the period at the end of the sentence is the Tango close.
For exhibition dancing, a Tango dancer must develop a strong connection with the music, the dance and the audience. The audience can only feel this connection if the performer feels and projects this feeling. So it is when dancing for your own pleasure -- and your partner's!
"The Tango is the easiest dance. If you make a mistake and get tangled up, you just Tango on." (Al Pacino in "The Scent of a Woman.") Movies that featured Tango dancing include "The Scent of a Woman", Madonna's "Evita" and "True Lies" starring Arnold Schwarzenegger and Jamie Lee Curtis.

Tango Music

Some people see tango as primarily a dance - a connection between two people in a beautiful pas de deux. However most will say tango is the music, and the lyrics, and the dancers' interpretation of that music, and the sentiments it expresses. Getting to know the music is part of learning tango. Learning both the general style and the individual compositions and recordings enables you to dance with much more confidence and enjoyment.
The classic tango orchestra or 'orquesta típica' is made up of bandoneons, violins, piano, and bass. The guitar is also a common instrument, especially accompanying singers, notably Carlos Gardel. Other instruments are added viola, cello, saxophone, lute, flute electric guitar, drums in various styles. The Bandoneon, perhaps the key to the tango sound, is a large and fiendishly complicated concertina, originally developed in Germany for churches that could not afford organs.
In the first years of the century the first tangos were written e.g. El Choclo(Angel Villoldo)', Yo Soy La Morocha (Enrique Saborido, 1906), and were big hit and best sellers of piano scores. Recording came in in the 1910s and older songs, like La Cumparsita were arranged as tangos. Gardel recorded his first tango Mi Noche Triste in 1917, and became an enormous force in popularising tango.
Early orchestras (pre 1920s) include Firpo, Fresedo and Canaro. Firpo in particular helped define the new tango sound with arrangements of songs such as Alma de Bohemio (1914). They were influenced by the jazz sounds they encountered on tour in the US and Europe. In the 1920s two streams of music developed: the 'traditional', exemplified by Canaro, which concentrated on the rhythm and dancability, and the 'evolutionary', led by Julio de Caro and his brothers who explored harmony, melody, the fraseo, and created the modern sextet featuring innovative musicians such as Laurenz and Maffia. These two steams continued into the Golden Age of Tango in the 1940s and 50s The most popular bandleaders and composers in the traditional stream are Canaro, Ricardo Tanturi, Juan D'Arienzo (the 'King of Rhythm'), Rodolfo Biagi ("Manos Brujos") and Alfredo De Angelis. The evolutionary or 'decareano' school was developed by Troilo, one of the greatest composers and bandoneon players. In the deareano school we also find Carlos Di Sarli, Osvaldo Pugliese, Miguel Caló, Salgan, Gobbi, Maffia, Laurenz, Piazzola, Francini and Pontier.
As the music developed it became less rigidly rhythmic, more harmonic and melodic, and the hallmark tension and release was developed. The fraseo, phrasing, the soloist (or soli) bending the melody across the underlying rythmn, became a central part of tango. Many interwoven layers of music can be picked out and danced to each with their own rhythm and feeling. However the orchestras, who knew which side their bread was buttered generally kept the underlying time steady, except for maybe catching the dancers out sometimes with breaks and unexpected endings. The 'traditional' orchestras (e.g. Canaro, D'Arienzo) played it simple and pleased the dancers. Composers and players, in the Decareano school such as Pugliese, Salgan and Piazzola were more interested in the music, and played for listening, and from the 1960s the dancing audience disappeared anyway.Their music takes the tension and release further, the time changes, they introduce spectacular pauses and accelerations. Their music was originally shunned by dancers, who thought it impossible, and it is still extremely difficult to dance to. Other groups of this time include Sexteto Mayor, Color Tango and Quinteto Real. Of all modern tango musicians, Piazzola is the best known, and the person who tackled it musically, introducing new sounds and concepts. Born in New York, and trained classically, his music is often completely un-danceble in a salon, but he never intended it to be.
In the 21st Century a new generation of musicians are mixing tango with contemporary music styles, reimaginging what tango music can be, and creating new arrangments of classics. This has been branded 'Tango Nuevo'(although Piazzolla was called that in the 70s) or 'Neo-tango', or 'tango fusion'. Popularised by the highly popular Gotan Project based in Paris, a raft of new compositions and sounds is being heard not only by tango enthusiasts, but by 'dancemusic' and mainstream TV-advert-watching audiences. This type of music often makes up a considerable part of the music played for dancing in milongas. Other artists include Bajofondo Tango Club, Daniel Melingo and Carlos Libedinski (Narcotango). However some contemporary musicans are following other musical paths closer to tango's traditional sound, including groups such as Pablo Aslan's Avantango and El Arranque, often with a jazz influence. Tango dancers also explore other non-tango music (to the horror of tradiationalists), looking for tango-like feels, or finding ways of exploring tango movement though other rhythms.
Different tango music tends to suggest different styles of dance when we hear it. Although many of the dance styles that were original danced when it was compose are now lost, with our mixed and reinvented tango we are able to interpret it. Some music suggests the use of cortes 'cuts' that reflect its strong rhythm, others are most flowing, while still others are full of tensions and accelerations. In the end it is up to the couple how they dance, but it is important , and more interesting to really listen to the music, and not just dance the way same all the time.

Andean music

Andean music comes from the approximate area inhabited by the Incas prior to European contact. It includes the countries Chile, Peru, Argentina, Ecuador, Bolivia and Colombia.
Wind and percussion instruments are known to have existed even prior to the Incas, but musical evolution peaked with the Incan empire. The arrival of the Spaniards in the 16th century brought string instruments and new forms, spurring the invention of the distinctive charango, a stringed instrument similar to a lute.
Panpipes (Aymara: siku; Quechua: antara; Spanish: zampoña) are an ancient indigenous instrument that comes in multiple varieties. Some modern panpipes are capable of playing a full scale, and are used as solo instruments, while traditional panpipes were played in pairs; this is still commonplace with two performers sharing a melody. Quenas (notched-end flutes) remain popular, and are traditionally made out of bamboo, though PVC piping has become popular. Quenas are generally only played during the dry season, while vertical flutes called tarkas taking over in the wet. Marching bands dominated by drums and panpipes are commonplace, and are used to celebrate weddings and other holidays.
The 20th century has seen drastic changes in Andean society and culture. Bolivia, for example, saw a nationalistic revolution in 1952, leading to increased rights and social awareness for natives. The new government established a folklore department in the Bolivian Ministry of Education, and radio stations began broadcasting in Aymara and Quechua. By 1965, an influential group called Los Jairas formed in La Paz, Bolivia; the quartet fused native sounds into forms suitable for urban Europeans and the middle class. One member of Los Jairas, Gilbert Favre (a Swiss-French flautist) had previously been an acquaintance of the Parras (Angel, Isabel and their mother Violeta) in Paris. The Parras eventually began promoting indigenous music in Santiago, Chile. The late 1960s released native groups such as Ruphay, Grupo Aymara and the emblematic quechua singer Luzmila Carpio. Later Chilean groups like Inti-Illimani and Los Curacas took the fusion work of Los Jairas and the Parras to invent nueva canción, which returned to Bolivia in the 1980s in the form of canto nuevo artists like Emma Junaro and Matilde Casazola.

Salsa (dance)

Salsa dancing...
Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially Cuba), Latin America and North America. Salsa is danced to Salsa music. There is a strong African influence in the music and the dance.
Salsa is usually a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner. Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too.
The name "Salsa" is the Spanish word for sauce, connoting a spicy flavor. The Salsa aesthetic is more flirtatious and sensuous than its ancestor Cuban Son (See son (music)). Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin. (See Salsa music for more information)
Salsa is danced on a core rhythm that lasts for two measures of four beats each. The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. This is not to say that the steps are always on beats 1, 2 and 3 of the measure. (See Styles below.) It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars.
Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 120 beats per minute to its fastest at around 180 beats per minute. (See salsa music).
Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out, and is a necessary part of performance, but in a social setting it is bad etiquette to "take up" too much floor by traveling.

History
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The history of "Salsa" dance is peppered with hearsay and contradiction. Although few would disagree that the music and dance forms originate largely in Cuban Son, Most agree that Salsa as we know it today is a North American interpretation of the older forms. New York's Latino community had a vibrant musical and dancing scene throughout the '50s but found limited success with the 'Anglo' mainstream. In the 1970s, adoption of the term "Salsa" reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance[1].
The modernization of the Mambo in the 1950's was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba's influence in North America was diminished after Castro's revolution and the ensuing trade embargo. New York's Latino community was largely Puerto-Rican.
Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.
The late Celia Cruz, hailed by many as the queen of salsa, said that salsa does not exist as a rhythm, but that it is rather an exclamation for music such as guaracha, bolero, cha cha cha, danzon, son, rumba, etc[citation needed]. The famous Latin composer and band leader Tito Puente also argued that there is no such thing as salsa but only mambo, rumba, danzon and cha cha cha, etc. [2]
According to the late David Melendez [3], one of the first organizers of the East Coast Salsa Congress and a salsa dancer in New York since the 1970s, the word 'Salsa' first referred to the music. The term was coined in the 1970s by young musicians like Hector Lavoe, Larry Harlow, Ray Baretto, Willie Colon, who wanted a different name for the kind of music they were playing. The term 'salsa' was then popularized by Izzy Sanabria, owner of the Latin New York magazine, and Jerry Massuci, owner of Fania Records. Today, the term 'salsa' as we know it, has become synonymous with the dance, yet the dance suffers a "crisis of authenticity" whereby dancers are perpetually disagreeing over what qualifies and does not qualify as "salsa".
The dance steps currently being danced to salsa music come from the Cuban son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk, reggae, hip-hop and samba.
Foundations


A neck drop is a flashy, performance-oriented Salsa move.
Basic step
The basic movement common across most salsa styles is to step quick-quick-slow over the 4 beat measure. Typically the quick steps are on beats one and two, and the slow step is on three. Beat four may be used to transfer weight slowly, or in some styles a tap or kick is used. Notable exceptions to this timing are New York Mambo and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count.
Break step
The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles, generally "On One" from "On Two."
Basic Step On One
On counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.
The following variants of the Basic step may be used, often called breaks.
Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7
Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7
Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7

Basic Step on Two
If the break steps occur on count 2 and 6, it is called "On Two".
A popular style of dancing "On Two" is known as "New York Style" or "Eddie Torres Style":
The basic step starts on beat 1 with the lead stepping back on the left foot followed immediately with step further back on beat 2 with the right foot. On beat 3 the "replace step" occurs by fully shifting weight - returning it - to the left foot which is still in the same place it was from beat 1. Beat 4 consists of a pause, weight being maintained on the left foot while the lead prepares for beat 5 on which a step forward with the right foot takes place. On beat 6, the lead take the next break step going further forward on the left foot, replacing back on 7, and pausing on 8, and so on the pattern repeats.
Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style. In those videos, Eddie Torres himself calls this "Night Club Style"[4].
Dancing on 2 means that the break step synchronises with the accented slap of the tumbao pattern played on the conga drum. For this reason it is said to be more punchy and rhythmically oriented, whereas on 1 is more melodically oriented.
Note that commonly On 2 starts the basic pattern with the lead moving back and the follow moving forward, while On 1 the lead starts the basic step forward and follow steps back.
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Salsa styles
There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". The following are brief descriptions of major "recognizable" styles.

Cuban style

A salsa instructor trains youngsters in Camagüey, Cuba.
Cuban-style salsa can be danced either "on one" or "a contratiempo" – the latter is often referred to as "on two". An essential element is the "Cuba step" (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.
The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.

Los Angeles style

L.A. style is danced on 1, in a slot. It is highly influenced by Hollywood and by the swing & mambo dances. L.A. style emphasizes sensuousness, theatricality, and acrobatics.
The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions.
Francisco Vazquez, along with his two brothers, Luis and Johnny, are often credited with developing the LA style of salsa. Francisco taught both of his brothers how to dance and all of them went on to become famous worldwide through their unique style of dancing. Francisco Vazquez, along with his brother Johnny, founded "Los Rumberos" Dance Company at the start of their career, which is still the leading dance company in Los Angeles. Luis Vazquez, along with then Joby Vazquez (now Joby Martinez) founded Salsa Brava Dance Company, which was another leading dance company in Los Angeles for many years.
Other people who also helped create L.A. Style as we know it are, Rogelio Moreno, Alex Da Silva, Joby Martinez, Josie Neglia and many others. Tony Cordero and Robert Menache helped spread the influence of the LA style to Long Beach and Orange County.
The reasons why L.A. Style of salsa is so well-known around the world are widely disputed. One major factor has been the broadcast of competition video clips from the Mayan World Salsa Championships on the Club Mayan website. Every year, competitors from many parts of the United States and the world come together to challenge each other in this competition. Before moving to Europe, Johnny Vazquez was the reigning king of the Mayan competitions; he was practically unbeatable as he surpassed all other competitors with his skilled dancing and precise spins. Since then, however, the results of the competition have not been endorsed by many and the competition has lost validity, but it remains, nonetheless, one of the biggest competitions in the world.

New York style

New York style emphasises efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1.
On 2 timing emphasises the conga drum's tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music.
Many also refer to this style as "Mambo" since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name. (See Mambo.)
In a social setting, New York style is danced more compactly than LA style. The etiquette of New York style is strict about remaining in the "slot" and avoiding travelling.
New York style tends to place a greater emphasis on performing "shines" where dancers separate and dance solo for a time.
New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, "socials" are often held that cater to almost exclusively playing "salsa dura" (lit. "Hard Salsa". This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals.
The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month.
New York Style's first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol (a.k.a. Seaon Stylist), Amanda Estilo, Eric Baez, April Genovese de la Rosa and many more.
Other important figures in the On2 style are Frankie Martinez, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, and many others.
While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.

Colombian style

Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other's movements. In Colombian style, the break is on the three and the "spare beat" is always used for a tap or other embellishment.
Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs.
In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet.
This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa.
It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one's partner.

Power 2 / Palladium 2 / Ballroom Mambo
This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M'Tazz dance company of New York, whose director, Angel Rodriguez, coined the term "Power 2."
It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.
On Clave

Cuban Pete, a pioneer of Mambo in New York, advocates dropping the formalism of the count, and instead dancing "on clave". This involves breaking on 2 on the 2-side of the clave and breaking on the second clave beat, i.e. on the and-of 2 on the 3-side of the clave.[5]
Puerto Rican style
This style can be danced as "On One" or "On Two". When danced "On Two", the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats.
There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform.

Rueda style

Main article: Rueda de Casino. In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.[1]
Salsa styling
Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa stylin'. Hip hop, jazz, flamenco, belly dancing, ballroom, breakdancing/pop and rock, Afro Cuban styles, and bhangra have all been infused into the art of styling.

Shines

Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'.
Origins of Salsa the Puerto Rican Influenceby Paul F. Clifford
Salsa has origins in Cuban music but credit for it's worldwide popularity belongs to the Puerto Ricans of New York!
The popularity of Salsa throughout the world, is indirectly a consequence of American economic and social imperialism (MacDonalds, Coca Cola, TV, movies, music etc) but in this case, it is probably a good thing!

Musically, Salsa has its roots firmly based in the Afro-Spanish musical traditions of Cuba but its worldwide popularity should be attributed to the Puerto Ricans of New York. For Non-Latinos, our knowledge of Latin Culture and Music comes from American movies and in most cases that means Puerto Rican experience as depicted in them. Often, the first time we heard the music, it was in the backing track of a movie. It was probably even a movie that motivated us to go to a Latin nightclub for the first time!

Between 1915 and 1930 around 50,000 Puerto Ricans migrated to the USA. However, between 1940 and 1969 an additional 800,000 Puerto Ricans also migrated to the USA (especially to New York City). It can't be a coincidence that this is the same period that interest in Latino musical styles increased throughout the world. This is the period when Mambo, Cha Cha, Rock'n'Roll, Bomba, Boogaloo and other dances dominated the dance floor!

The dominance of Puerto Ricans over New York (North American) Latin culture can be attributed to the fact that Puerto Rico is a US protectorate. The Jones Act (1917) made Puerto Ricans citizens of the USA. Thus Puerto Ricans being able to move freely between the mainland and their island, have also been able to more freely introduce Latin culture into America while maintaining and staying in touch with their own identity and heritage. I would even suggest that America's attempt to Americanise Puerto Rico has just made the Puerto Ricans even more determined to cling to their identity and that for them, Salsa has become the unifying force that binds their homeland and its annex in New York. It is said that there are more Puerto Rican Salsa clubs in New York than there are in Puerto Rico.

When the Puerto Ricans migrated to New York, they often encountered a struggle for life in the ghettos. The only escape from the frustrations of their daily lives was through the traditional music of their homeland - the "Bomba y Plena". Plena is a uniquely Puerto Rican style that deals with contemporary events, it is often referred to as "el periodico cantado" (the sung newspaper). This Puerto Rican musical form, might account for the popularity, throughout the 1960s, of a style of salsa called "musica caliente". Popular artists used lyrics that told a story about the struggles experienced by an average Puerto Rican in New York. Other artists expressed more emotional feelings about their aspirations for the future, the patriotism towards their country, and romance. Many artists, who came from El Barrio (east Harlem and parts of the Bronx), used another uniquely Puerto Rican genre - "Bomba". Through this aggressive Afro-Caribbean beat they expressed their frustration with the conditions they were living in. These musical forms began the modernisation of the 1950s Mambo, which has led to the creation of the Salsa.
By the late 1970's, popular demand for Salsa Caliente dropped significantly. A new generation of listeners and artists started to emerge and salsa abandoned its portrayals of barrio reality in favor of sentimental love lyrics. This new sub-genre of salsa is known as "Salsa Romantica".

Salseros such as Eddie Santiago, Luis Enrique, and Lalo Rodriguez were amoung the first artists to begin this transition from musica caliente to musica romantica. Today, Salsa Romantica maintains its popularity with its new wave of stars such as Marc Anthony, La India, Jerry Rivera, and Victor Manuelle attracting old as well as young salsa fans around the world.
Izzy Sanabria (publisher of Latin NY Magazine 1973 to 1985) suggests that the Puerto Rican's appear to have combined Salsa and Mambo steps into one dance.
This blending of styles is particularly evident in what is popularly called Salsa Romantica. Take for instance Puerto Rican musician, Marc Anthony's, "Hasta Que Te Conoci", where the music starts slow (son-muntono/rumba), breaks into a faster tempo (salsa) building to a climax with the trumpets calling to the trombones and they answering (mambo), then the music falls, rebuilds, falls and ends. Well! Salsa might describe a unique component of a dance but it also describes a unique style of music that requires the dancer to mix and match the steps and moves they know to match the music. It is probably now closer to the Puerto Rican Bomba tradition than the Mambo/Rumba Tradition. Bomba is danced by a man and woman who take turns showing off their skills, competing with each other and with the music. I think that describes Salsa pretty well!

Since the early 1800’s, Puerto Rico has borrowed musical styles from Cuba while preserving its home grown musical genres like the seis, bomba, and plena. These and other Puerto Rican influences are evident in the Latin music that has come from New York since the 1940s.
During the 1930s and 1940s Cuban music (particularly the Rumba) had, through the movies, gained a following within America and Europe. However, this was nothing compared with the following Afro-American jazz gained in the 1940s. As the two styles confronted each other a fusion of the Latin and Jazz styles occurred.
Big band leaders, such as Puerto Rico's Tito Puente and Tito Rodriguez and Cuba's Machito, expanded the mambo section of the son, creating a new style of music and they can be credited with forming the musical foundation for the creation of Salsa.

Until the US severed diplomatic relations with Cuba in 1962, the New York and Cuban musicians continually interacted, forming parallel Latin music styles. After 1962, New York based music began incorporating the inspiration of the world around them, forming a distinctively New York Latin style that is dominated by influences from Puerto Rico.
From 1962, Puerto Rico became the only place in the world that (had access to and) was recognised by the American music market as having a connection with the music. Since the 1970s Puerto Rico has claimed the music as its own and dominates the Latin music market.

The term salsa, much like the term jazz, is simply a word used to describe a fusion of different rhythms. It was invented at the end of the 1960s to market Latino music and thanks to the New York Puerto Ricans has gained a following throughout the Latino and Non-Latino world. Cuba might own the musical heritage but the credit of taking it to the world should be given to the people of Puerto Rico who now preserve it and promote it as a globally popular tradition.

Flamenco

Flamenco is a Spanish musical genre. Flamenco embodies a complex musical and cultural tradition. Although considered part of the culture of Spain in general, flamenco actually originates from one region —Andalusia. However, other areas, mainly Extremadura and Murcia, have contributed to the development of several flamenco musical forms, and a great number of renowned flamenco artists have been born in other territories of the state. The roots of flamenco are not precisely known, but it is generally acknowledged that flamenco grew out of the unique interplay of native Andalusian, Islamic, Sephardic, and Gypsy cultures that existed in Andalusia prior to and after the Reconquest. Latin American and especially Cuban influences have also been important to shape several flamenco musical forms.
Once the seeds of flamenco were planted in Andalusia, it grew as a separate subculture, first centered in the provinces of Seville, Cádiz and part of Málaga —the area known as Baja Andalucía (Lower Andalusia) — but soon spreading to the rest of Andalusia, incorporating and transforming local folk music forms. As the popularity of flamenco extended to other areas, other local Spanish musical traditions (i.e. the Castilian traditional music) would also influence, and be influenced by, the traditional flamenco styles.
Hisrtory and origin
Although many of the details of the development of flamenco are lost in history, it is certain that first the 'Mores' (Arabs), and later the Gypsies had a lot to do with it. The Mores occupied Spain, and particularly the south, for about 800 years, in a relatively civilized manner. Because of this, science, economy and culture flourished. During this time the predecessor of the main instrument in flamenco, the flamenco guitar, was introduced and developed. It was not all civilized though, and in the end the original inhabitants, who in the mean time had taken on the religion of Catholicism, wanted the Mores out. It took several centuries before the last stronghold of the Mores, the city of Granada in the southern province Andalucía, fell. It was around that time that Columbus set out to reach the Indies via the west to discover America, and, more importantly, the Gypsies arrived in Spain.
Inside and outside of flamenco it is widely accepted that the Gypsies came from India, where they left a long time ago. Most likely there where several waves of migrants, for various reasons. Those known as Gypsies call themselves 'Rom', spoke 'Calo' and where usually craftsmen and herders of sheep, and had particular ideas about how music should be made. They where, and are, very much into embellishment, improvisation and virtuosity. There is no such thing as Gypsy-music, there is Gypsy-musicality: where ever they end up when they settle, they take the local music and make their own versions from it. In Andalucía they found a rich ground for their musicality, fertilized by hundreds of years of high culture, where not only Moorish, but also Juish, Catholic and local musical influences mixed.
But they arrived at a bad time: Catholicism and victory over the Mores had gone to the heads of the Spaniards, and they now wanted everybody to become a catholic, speak proper Spanish, and in general behave civilized. This applied in particular to the Gypsies, who had a bad name for having very noisy parties that often ended in fights where people got killed. They also didn't want to speak proper Spanish, so to give them a hard time, they were forbidden to hold their traditional jobs and to speak Calo. They worked and died in large numbers in the mines, lived in caves in the mountains, had parties in secret and where invited to parties of the rich, to perform their devious music. Often the songs where about the injustice done to them by the very same upper class, but they couldn't understand what the Gypsies where singing about anyway. As time passed, the Spaniards lightened up a little, the Gypsies sort of adapted, and some more people took an interest in their music. At some point, after good mixing of musical backgrounds, the locals adopted and interpreted some of this music, and it can be said that at the end of the 19th century, flamenco had largely settled in the form known and performed today.

Bachata is another form of music and dance that originated in the countryside and rural marginal neighborhoods of Dominican Republic. Its subjects are often romantic; especially prevalent are tales of heartbreak and sadness. In fact, the original term used to name the genre was "amargue" ("bitterness," or "bitter music"), until the rather ambiguous (and mood-neutral) term bachata became popular.
Bachata was created and primarily used by servants, who used to play it when they got off of work. They made the music out of ordinary objects like those commonly found in a backyard. In some rural areas of the Dominican Republic, bachata means trash, but most citizens agree that it means a party. Others say that bachata is derived from the Italian Ballata, which was a popular form of music in Italy centuries ago.
Bachata grew out of - and is still closely related to - the pan Latin-American romantic style called bolero. Over time, it has been influenced by merengue - a fast paced danceable music also native to the Dominican Republic - and by a variety of Latin American guitar styles.
The music itself is played in 4/4. The most recognizable aspect of bachata instrumentation is the use of an amplified guitar (either electric or acoustic) whose sound has been doctored with a flanger, reverb, echo, or a combination of the three. The use of arpeggiated chords as the basis for the melody is almost standard. An additional guitar, called the 'segunda' or rhythm guitar is usually mixed at a lower volume, and provides syncopation. An electric bass guitar and güira help anchor the rhythm - with the güira sounding a bit like a high-hat (in pre 1990s bachata, maracas were played instead of güira). The use of the bongo drum further solidifies the basic beat, and provides and percussive accents in transition points - for instance right before a chorus.
History
Derived from the Latin American tradition of guitar music, and originally named for the crude bars and clubs where guitarists and singers would perform, bachata emerged in the 1960s. According to a documentary,[1] the Beatles cover of Till There Was You (first performed in 1963) helped inspire the genre. Even though some set the origins of Bachata to the early 60s, Bachata songs were played in the brothels of the Dominican Republic in the early 50s. In 2002 a commemorative album was released celebrating the 50th anniversary of the Bachata music.[2] While popular radio filled the air waves with merengue and salsa, bachata musicians were forced to develop their own system of producing and distributing their music. As with most styles of Latin American music, bachata is predominantly performed by male singers. Early bachateros were Confesor González, Luis Segura, José Manuel Calderón, Inocencio Cruz, Rafael Encarnación, Rafael Alcántara, Avel Reyes, Rogelio Chaconetc.
The bachata played today uses electric guitar and has phrasing which is more rhythmic and groove-like than in earlier styles. The evolution to electric has perhaps helped make bachata more accessible.
Some associate Juan Luis Guerra's Grammy winning 1992 release, Bachata Rosa, with bachata's rise in legitimacy and international recognition. Others argue that Guerra had very little to do with bachata's rise, and that, although he used the word 'bachata' in an album title, he never actually even recorded a song in the bachata style.
At present 2006, the Dominican group Aventura is probably the best known bachata group worldwide with its single "Obsesion" having dominated for a long time radio play both in Latin America, US Latino markets, and countries as distant as Italy and Sweden. While he is superseded in the international audience by Aventura, for the Dominican audience, the most popular of the modern bachateros has undeniably been Antony Santos. Other artists of note include Luis Vargas, Raulin Rodriguez, Zacarias Ferreira, Frank Reyes, Monchy y Alexandra, Domenic Marte, Andy Andy, Leonardo Paniagua, Los Toros Band, and Joe Veras.

Ranchera

Mexican rancheras are felt as part and parcel of the local mestizo culture in Central America, people of African descent, wherever they may be, feel that Ranchera is an outgrowth of son jalescenses. A type of song that was literally sung on a Mexican ranch, ranchera originated in the mid-19th century, just before the Mexican revolution. The music concerned itself with traditional themes of love, patriotism and nature. Ranchera songs are not just one rhythm; the music is basically a waltz, polka or bolero. Their form is standardized with an instrumental introduction and conclusion, with verse and refrains in the middle.