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| HISTORY |
Other versions of Rumba are known as Beguine, Calypso and Guaracha. They estimate that the Rumba was brought to America by the African slaves. But arround 1928/1929 the actual steps and figures of this dance were not clear. Many people treated and danced it like a new type of foxtrot with additional hip actions. After the World War II The rumba was further developed into the "Cuban Rumba" by Pierre and Doris Lavell which had a school in the Regent street of London. But still the standardisation was a problem until Walter Laird started to write his Latin books. His work was accepted by many official dance Associations and the standardisation was a fact. The Rumba was originally a marriage dance. Many of its movements and actions which seem to have an erotic meaning are merely depictions of simple farm tasks. The shoeing of the mare, the climbing of a rope, the courtship of the rooster and the hen, etc. It was done for amusement on the farms by the black population of Cuba. However, it became a popular ballroom dance and was introduced in the United States around 1933. It was the Americanized version for the Cuban Son and Danzon. It is in 4/4 time. The characteristic feature is to take each step without initially placing the weight on that step. Steps are made with a slightly bent knee which, when straightened, causes the hips to sway from side to side in what has come to be known as "Cuban Motion." The word rumba comes from the spanish word «rumbear» which means to party. The rumba as we know it is more directly related to the bolero or even more directly to the Cuban danzon which was slow. If you see the movies of the '30s and '40s that featured rumba (I remember one with Carmen Miranda), you would be surprised to see how fast Rumba was. A Cuban musicologist once explained that there were actually 7 primary forms of rumba. Each one being not only different rhythmically but tempo wise. If memory serves me, Danzon, bolero, guajira, guaracha, son, rumba, and beguine. Many dance albums of the '50s and '60s list these rhythms after the song titles. Arthur Murray watered down the rumba for the masses. In his or his wife's autobiography I remember the story explained how Arthur didn't believe HONKYS would ever want to move their hips (or could) like latinos therefore the box version was created. (Which just happened to fit his interrelated system of teaching.) |
| HOW TO DANCE THE RUMBA |
| In this dance the emphasis is on the "Body" hip actions that are produced by controlling the transfer of weight from foot to foot. Each foot movement takes 1/2 beat of music, body action occurs on the second half of the beat. Great attention should be paid on the used "Dynamics" and the "Timing" aspects of them to create a continuously movement with the required contrasts and sensuality. The body never stops changing its shape. Arm movements are starting from the "Centre" of the body and are a result of body movement! Attention should be paid to foot presentation and foot articulation, feet slightly in contact "skimming" the floor continuously. Man need a sensual lead in hands, arms and mind. The message here is......... let the lady dance! It is important that the choreographic patterns allow the Woman to emphasise her hips trough movements. In the Woman's expression she must show her awareness of the impact that these hip movements have on the Man. The Man's hip movements are sensual, he is aware doing it, but this is not the most important action for the Man. He uses his total body to create physical domination to impress the Woman and he stays strongly focused on his partner. The man should express that he wants her...... Competitors should not travel around the floor, they should create the dance in their own space they fill as a couple. The walks are not invented to travel but to transfer weight, this combined with a sensual slight twisting body action and a natural usage of the hips define the true character of the Rumba. |
| BOLERO |
| Originally a Spanish dance in 3/4 time, it was changed in Cuba, initially into 2/4 time then eventually into 4/4. It is now present as a very slow type of Rumba rhythm. The music is frequently arranged with Spanish vocals and a subtle percussion effect, usually implemented with Conga or Bongos. I quote from the liner notes to Armando Garzon's "Boleros" CD on the Corason label: <>< Boleros took root in most of Latin America although with particular passion in Mexico and Puerto Rico where the most famous crooners became national heroes and demigods in Cuba too. Most notable were Rafael Hernandez from Puerto Rico, Agustin Lara and Alvaro Carrillo from Mexico.>>> Boleros became particularly famous in the era of the trios (Los Panchos, Los Tres Ases, Julito Rodriguez y su Trio, etc.). Other famous interpreters were Benny Mor'e, Olga Guillot, Jose Antonio Mendez, and more recently Elena Burke, Luis Miguel, and Pablo Milanes. A Brazilian singer, Nana Caymmi, and the Chilean group Inti-Illimani are also well-known for performing boleros. |
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