Theory And Technique Of Latin-American Dancing

By Frank Borrows

This early work on dancing is a fascinating read for any dance enthusiast or historian, and contains much information that is still useful and practical today. Contents Include: Dedication; Author's Preface; Introduction; The History of Latin-American Dancing in this Country; List of Abbreviations Used; the Rumba; The Samba; The Paso Doble; The Jive (Swing); The Blues Jive; The Congo; Examination Work; Latin-American Dances for Class Teaching; The Training of Medallists in the Latin-American Dancers; Music for Latin-American Dances; The Character of the Latin-American Dances and How to Obtain It; Postscript; and Index. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

• Language: English
• Publisher: Read Books Ltd.
• Release date: Apr 18, 2013
• ISBN: 9781447498162

Book preview

THE RUMBA

CHAPTER II

THE RUMBA

THE RUMBA is the ‘Queen’ of the Latin dances. It originated in Cuba where it has probably been danced for a hundred years. It has been danced regularly in English ballrooms for about fifteen years. It received an early setback from the introduction of an ‘invented’ dance called the Carioca (really a type of Samba), but it survived this and has now become firmly established here.

The great characteristic of the music is its rhythm. Various unusual instruments produce many different rhythms which combine to make a terrifically ‘dance compelling’ whole. The Rumba music is in 2/4 time (occasionally 4/4), and the tempo may vary over a considerable range from about 30 to 50 bars per minute. The dominant rhythm to which the dancer moves is clearly discernible. Listen to good Rumba music and you will hear three distinct accented beats in each bar. These fall on the 1st, 4th and 7th semi-quavers of each bar. For the Rumba ‘teaching’ count, start counting on the second of these beats and count ‘ONE’. Count ‘TWO’ on the third accented beat and count ‘THREE’ on the first accented beat of the next bar of music. Continue to count in threes in this way and you will have the teaching count for the Rumba. Candidates for examination must be able to count in what is known as the ‘eight’ count as well as the ‘three’ count which is used for teaching. The correct understanding of the ‘eight’ count is essential to the correct rhythmic interpretation of the Rumba. Count a bar of music in semi-quavers, i.e. count 1.2.3.4.5.6.7.8 to the bar. Now continue to count accenting 1, 4, and 7. Alternatively you could count the eight counts of the bar as 1.2.3, 1.2.3, 1.2. The feet are actually placed on counts 1, 4 and 7 of the ‘eight’ count. The hip and knee movement must also be analysed to the ‘eight’ count. This analysis is given in detail for each figure, in the charts following.

A useful teaching device, originated, I believe, by Mr. Jack Dixon, is to count SLOW-RUM-BA, QUICK-RUM-BA, SAM-BA to one bar of music. The division of 3, 3 and 2 syllables defines the correct counting. I would add that if you do not know the Samba you can count SLOW-RUM-BA, QUIGK-RUM-BA, CON-GA. A very common fault is to take the side-step on 5 instead of 4 of the ‘eight’ count. The best check on the timing is to listen to the claves (wooden sticks that are beaten together). These play a two-bar rhythm of 1.4.7, 3.5 counted to the ‘eight’ count. This is called the ‘Cuban Cinquillo’. In effect we can say that the claves play one bar to keep the dancer in rhythm, followed by one bar to act as a metronome and keep the band in time. The first bar (1.4.7) concerns the dancer and the next bar must be ignored by the dancer.

The most logical basis for standardising the Rumba technique is to regard every figure as commencing with the SIDE STEP (ONE of the teaching count) and this method has been accepted by some societies. In demonstrating a figure for examination purposes, however, it is a common practice to precede the actual figure by a step forward or back on the opposite foot to that initially used (THREE of the teaching count).

The hold for the Rumba is high with the man’s left hand and the elbow may be held slightly forward, almost in contact with the lady’s right elbow. The dancers stand about a hand’s span apart (not too far). The right hand is placed as for the standard dances, but perhaps a little lower. The lady’s left must be placed on the man’s shoulder. The body above the waist must be held steady, all movement being below the waist and the shoulders must remain level at all times, i.e. the Rumba has no sways.

The hip movement is very important and must be from side to side only. It is described in detail in the charts.

The body should be held erect. Good carriage is very important.

The weight will be rather over the front of the feet and the hips may be pulled very slightly back from the rest of the body to assist their free movement. At all costs, however, any position at all suggestive of ‘being about to sit down’ must be avoided.

The correct use of the knees is fully explained in the charts following and this is most important as it creates the correct hip movement. Footwork is very simple. All steps are taken on the ball of the foot first and there are NO heel leads in the Rumba. The heels are only raised slightly. The steps are small, and the dance is mainly non-progressive.

In Cuba the name Rumba is usually applied to a rather quick exhibition version of the dance. It is danced in the ballroom at varying tempi, under different names, the Danzon (slow), the Son (slow to medium) and the Guaracha (medium to fast).

The Son and Danzon are danced rather close and the Guaracha in a more open position. Cubans rarely use the elbow-to-elbow hold that became popular here, but the man holds the left hand high.

In the following technical analyses of the figures of the Rumba, the counting is given first in the ‘three’ count, or ‘teaching’ count, and then in the ‘eight’ count.

THE RIGHT SQUARE

(Natural Square, Box, Rectangle)

MAN

No. of steps. 6

No. of bars. 2

Footwork. Every step is taken on the ball of the foot, then flat.

Alignment, turn and progression. May commence and end in any alignment. May not turn but usually turns to right (up to 1/3 turn on the 6 steps). No progression.

Details of movement (given to the ‘eight’ count).

THE RIGHT SQUARE

(Natural Square, Box, Rectangle)

LADY

No. of steps. 6.

No. of bars. 2.

Footwork. Every step is taken first on the ball of the foot, then flat.

Alignment, turn and progression. May commence and end in any alignment. May not turn, but usually turns to right (up to 1/3 turn on the 6 steps). No progression.

Details of movement (given to the ‘eight’ count).

MAN—continued

The hip movement should be soft and controlled. The shoulders must remain level and steady throughout.

Precede by. Another right square, first 3 steps of left square, left top, left Cuban walk, left progressive movement, Cuban salute, Cucaracha.

Follow by. Another right square, last 3 steps of left square, right top, right Cuban walk, right progressive movement, Cuban salute.

Notes. The steps are short. The forward and backward steps are not more than the length of the foot, the sidesteps not more than the width of the hips. The figure need not be danced in full. The first or second halves may be used separately. Cubans make little use of the right square. Some examiners expect the steps to be danced in the order 3.4.5.6.1.2.

THE LEFT SQUARE (Reverse square, Box, Rectangle)

MAN

No. of steps. 6.

No. of bars. 2.

Footwork. Every step is taken first on the ball of the foot, then flat.

Alignment, turn and progression. May commence or end in any alignment. May be danced without turn but usually turns to the left (up to 1/3 turn on the 6 steps). No progression.

LADY—continued

The hip movement should be soft and controlled. The shoulders must remain level and steady throughout.

Precede by. Another right square, first 3 steps of left square, left top, left Cuban walk, left progressive movement, Cuban salute, Cucaracha.

Follow by. Another right square, last 3 steps of left square, right top, right Cuban walk, right progressive movement, Cuban salute.

Notes. The steps are short. The forward and backward steps are not more than the length of the foot, the sidesteps not more than the width of the hips. The figure need not be danced in full. The first or second halves may be used separately. Cubans make little use of the right square. Some examiners expect the steps to be danced in the order 3.4.5.6.1.2.

THE LEFT SQUARE (Reverse square, Box, Rectangle)

LADY

No. of steps. 6.

No. of bars. 2.

Footwork. Every step is taken first on the ball of the foot, then flat.

Alignment, turn and progression. May commence or end in any alignment. May be danced without turn, but usually turns to the left (up to 1/3 turn on the 6 steps). No progression.

MAN—continued

Details of movement (given to the ‘eight’ count).

The hip movement must be soft and controlled. The shoulders must remain level and steady throughout.

Precede by. Another left square, first 3 steps of right square, right top, right Cuban walk, right progressive movement.

Follow by. Another left square, last 3 steps of right square, left top, left Cuban walk, left progressive movement.

Notes. The steps are short. The forward or backward steps are not more than the length of the foot and the side-steps not more than the width of the hips. The figure need not be danced in full. The first or second halves may be used separately. Cubans use the left square more than the right square. Some examiners expect the steps to be danced in the order 3.4.5.6.1.2.

LADY—continued

Details of movement (given to the ‘eight’ count).

The hip movement must be soft and controlled. The shoulders must remain level and steady throughout.

Precede by. Another left square, first 3 steps of right square, right top, right Cuban walk, right progressive movement.

Follow by. Another left square, last 3 steps of right square, left top, left Cuban walk, left progressive movement.

Notes. The steps are short. The forward and backward steps are not more than the length of the foot, the sidesteps not more than the width of the hips. The figure need not be danced in full. The first or second halves may be used separately. Cubans use the left square more than the right square. Some examiners expect the steps to be danced in the order