tag:blogger.com,1999:blog-263782132024-02-24T02:02:40.456+00:00Salsa BlogAbout <a href="http://www.salsa-merengue.co.uk/revealit/musicsal.html">salsa music</a>, <a href="http://www.salsa-merengue.co.uk/revealit/dancesal.html">salsa dancing</a>, and the <a href="http://www.salsa-merengue.co.uk/">Salsa & Merengue</a> Website.<br><a href="http://salsadiary.blogspot.com/">Salsa blog</a> entries by <a href="http://www.salsa-merengue.co.uk/loo_yeo.html">Loo Yeo</a>.loo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.comBlogger265125tag:blogger.com,1999:blog-26378213.post-67555562194980052232017-09-19T23:39:00.000+00:002017-09-24T14:40:46.853+00:00Contratiempo Rueda: Breaking Open Basic Combinations<b>Warm Up</b><br />
Two-couple square formations. No partnership hold. '<i>Enchufla-Dame-Dile Que No</i>' stacked calls. Federated calling. To music. We began this double-session where we left off. This was a chance for me to assess the level of retention of last session's content. In general this was good, but a gentle reminder to emphasise availability in the 'pockets of synchronisation' was necessary.<br />
<br />
<b>Educator's Note</b><br />
Last session, I'd thought to introduce a mid-session contrasting activity in the form of an ethnomusicological briefing. Although all participants agreed that it was informative, I felt that it lacked flow, and caused bodies already warmed up to cool off. This made it more challenging to resume flow.<br />
<br />
I resolved to front-load the briefings as part of the warm-up, and use physical contrasting activities as necessary in the latter phases of the session.<br />
<br />
<b>Concept: Line of Dance</b><br />
Social ballroom dances of European origin which are progressive in nature proceed around the dance floor in an anti-clockwise manner. <i>Rueda de casino</i> is no different.<br />
<ol>
<li>Progressive movement anti-clockwise around the floor is described as moving "along the line of dance" and, its converse, clockwise around the floor is "against the line of dance".</li>
<li>Orientation along the anti-clockwise circle is "facing down or along the line of dance" and, its converse, clockwise around the floor is "facing up or against the line of dance".</li>
</ol>
Hence the '<i>arriba</i>' ['up'] call modifier in <i>rueda de casino</i>. I used the analogy of kayaking - moving or facing downstream or upstream - to drive the point home.<br />
<br />
<b>Exercise One: Line of Dance Orientation in <i>Contratiempo Rueda de Casino</i></b><br />
Two-couple square formations. No partnership hold. '<i>Enchufla-Dame-Dile Que No</i>' stacked calls. Federated calling. To music. This was identical to the warm up, except participants were asked to take note of their orientations and movement relative to the line of dance.<br />
<br />
<b>Concept: Relative Direction, Ensemble versus Individual</b><br />
I asked participants "On which side are you stepping on when you make the <i>¡Oye!</i> alert call?" They all came back with individual-relative directions: 'left' and 'right'. I introduced them to the idea of ensemble-relative directions: 'inside' and 'outside' of the <i>rueda de casino</i> circle.<br />
<br />
<b>Exercise Two: Ensemble-Relative Direction in <i>Contratiempo Rueda de Casino</i></b><br />
Two-couple square formations. No partnership hold. '<i>Enchufla-Dame-Dile Que No</i>' stacked calls. Federated calling. To music. This was identical to the warm up, except participants were asked to:<br />
<ol>
<li>take note of their orientations and movement relative to the line of dance; and,</li>
<li>pay attention to when they were alerting and issuing calls, in ensemble-relative terms.</li>
</ol>
At the end of the exercise, participants observed that:<br />
<ul>
<li>using individual-relative direction, calls issued <b>changed</b> between left and right when dance orientation reversed; whereas,</li>
<li>using ensemble-relative direction, calls issued remained the <b>same</b> - inside or outside - despite reversals in dance orientation.</li>
</ul>
This phenomenon of calls remaining <b>consistently unchanged</b> when using ensemble-relative direction is central to the meaning of the next exercise.<br />
<br />
<b>Exercise Three: Disassembled <i>Enchufla</i> Combination, Interleaved Elements</b><br />
Two-couple square formations. No partnership hold. '<i>Enchufla-Dame-Dile Que No</i>' un-stacked calls. Federated calling. To music. This exercise was identical to the previous ones except for one very important thing. Callers were asked to call each element individually, unconcatenated. This would give rise to:<br />
<blockquote class="tr_bq">
'<i>enchulfa</i>' - Caribbean Sway basic - '<i>dame</i>' - Caribbean Sway basic - '<i>dile que no</i>' - Caribbean Sway basic - (repeat)</blockquote>
The pedagogic objectives were two-fold:<br />
<ul>
<li><b>call-orientation flexibility</b> - calling on a different foot (individual-relative) yet same foot (ensemble-relative) direction; and,</li>
<li><b>clear feedback on movement quality</b> - providing clear definition between elements, thus rendering transparent the quality in execution of change-of-place elements.</li>
</ul>
The stringency made clear:<br />
<ul>
<li>any differences in call timings (in transpired that a participant was calling one beat too early);</li>
<li>the need for close and consistent partnership distance (to maintain connection and mirror neurone stimulus);</li>
<li>the levels of drive needed to get into a good position in the change-of-place; and,</li>
<li>began to establish connections between dancers of the same role <i>i.e.</i> follower-follower and leader-leader.</li>
</ul>
<br />
<b>Concluding Point: Redirecting the Stamp</b><br />
I'd observed that a habit had spread to all participants - they were all accenting with their feet (almost stamping) the 'tok' (beats 4&8). I understood that this was deployed as an overt means of inter-member synchronisation.<br />
<br />
The emphasis, while rhythmically correct, introduced a vibration perturbation to their lower body which prevented the hip from settling in the immediately following '-y'. Whatismore, it indicated that energy was being lost through sound and friction-generated heat on the floor - energy which would be better harnessed as mechanical leverage.<br />
<br />
I drew their attention to their accent, and asked them to redirect the accent:<br />
<blockquote class="tr_bq">
"Instead of stamping the sound on the 'tok', try redirecting the accent sideways through the hip."</blockquote>
It took a couple of tries, then an exclamation rang out: "there's so much power!"<br />
<br />
My work tonight was done.<br />
<br />
Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com1tag:blogger.com,1999:blog-26378213.post-31893926780906754772017-09-13T09:26:00.000+00:002017-09-23T12:33:49.482+00:00Contratiempo Rueda: Enchufla Is A CombinationKnowing in advance that this <i>Solares</i> was a double session, I chose to plan this as a substantial two plus hour masterclass; something I could afford to do based on the premise that all the attendees would have had significant prior experience.<br />
<br />
<b>Objectives</b><br />
There were two learning objectives, broad enough enough to be considered contexts:<br />
<ol>
<li>the continued performance of dance using <i>contratiempo</i> phrasing to the <i>bongó</i>'s <i>martillo</i> - this would serve to ingrain the phrasing to the same naturalised extent as <i>atiempo;</i> and,</li>
<li>to investigate, in both 'big picture' and fine detail, the structure of one of <i>rueda de casino</i>'s most basic pieces of vocabulary: the '<i>enchulfa</i>' - as a basis for identifying and executing essential dance skills.</li>
</ol>
<br />
<b>Rationale: Learning Group configuration</b><br />
The learning group was set up into:<br />
<ol>
<li>a membership of three: two leaders, one follower, and one virtual follower; and consequently,</li>
<li>into a <i>rueda de casino</i> square of two pairs; and,</li>
<li>partnerships without hold.</li>
</ol>
For leaders, the alternation between real and virtual followers would test, clarify and validate their spatial positioning. The square configuration of two pairs would create the most demanding angles in the performance of <i>rueda de casino</i>. If they could cope with this, every other configuration would be easy. The requirement for good visualisation would be laid bare through negating the use of the arms.<br />
<br />
<b>Concept: Revealing "<i>enchufla</i>" as a combination</b><br />
The group was shown how the "<i>enchulfa</i>" move comprises three sequential change-of-place components of <i>enchulfa</i>, <i>dame</i>, and <i>dile que no</i> where:<br />
<ol>
<li><i>enchufla</i> is a simple change of place clockwise, incorporating a follower's left turn;</li>
<li><i>dame</i> is a simple change of place clockwise, ending with a 90 degree change of orientation - followers to the right, leaders to the left - to acquire new partner;</li>
<li><i>dile que no</i> is a simple change of place anti-clockwise.</li>
</ol>
As a result of component 2 (<i>dame</i>), there is a net group rotation of 90 degrees clockwise.<br />
<br />
<b>Warm Up</b><br />
Partnered, without hold, to music. Calls used were "<i>dame</i>" and "<i>enchufla-dame-dile que no</i>". Calling was federated. The group was given time to get their bearings with the new orientation angles. It took two songs.<br />
<br />
<b>Exercise One: Pockets of Synchronisation</b><br />
Dancers were asked to focus on their 'pockets of synchronisation' - phases in their dance where they were most available for synchronisation - corresponding to their <i>martillo</i> vocalisation of "toc-y-tik-y". The application of this point was most easily observed in the leaders when with their virtual follower. When asked at the end of this exercise, all dancers responded that they positively felt more 'in tune' with each other.<br />
<br />
<b>Exercise Two: <i>Dame</i> Pocket of Synchronisation </b><br />
I drew participants' attention to their movement ensuing from the '<i>dame</i>' call, indicating that it lacked completion. Both followers and leaders, especially the latter, needed to end their movement not just oriented to their new partner, but finishing in a manner which made them available to be synchronised with. I called this the acquisition phase.<br />
<br />
This stimulated a useful discussion about the moment preceding acquisition, when there was a tapered ending with the current partner before a smooth beginning with the new partner. I likened it to the use of a clutch in a car when changing gears.<br />
<br />
<b>Concept: Change-of-Place</b><br />
Participants had exposed to the idea of change-of-place previously in our <i>merengue</i> sessions. The major difference between that then, compared to the change-of-place from the Caribbean Sway, is that the latter requires the places to be traded in two steps, not three. The first step of the Caribbean Sway is behind into close third position, which only leaves the second and third steps for movement.<br />
<br />
The first step into reverse close third position 'loads up' the body and prepares it for movement through stacked torque curves in an upward cascade through the joints. This provides the drive of the second step taken, not directly into, but slightly diagonal of the partner.<br />
<br />
Followers are led to trace a route of an asymmetrical "V": longer and shallower angled on the second step; shorter and more steeply angled on the third step. Leaders move themselves through the counterpart route around the partnership's axis of symmetry. Both routes together result in an oblique parallelogram, or offset diamond. The symmetry of the routes is indicative of the equal effort contributed by both partners to the movement.<br />
<br />
This still holds true if either partner is executing a turn.<br />
<br />
<b>Exercise Three: Change-of-Place</b><br />
The change-of-place movement was practised in partnership, first without music, then to <i>martillo</i>, then to music. The learning points provided were:<br />
<ul>
<li>"aim for your partner's shoulder" (on the passing side); and,</li>
<li>"skimming around/almost brushing the turning partner's back with your chest".</li>
</ul>
<br />
<b>Exercise Four: Caribbean Sway with Major Turn</b><br />
I introduced a variant of the Caribbean Sway incorporating a major turn - turn in the same direction as the stepping leg (<i>i.e.</i> if stepping onto the right leg, then a rightward turn, or a leftward turn if stepping onto the left leg) - commencing on the second step. The rotation continues through the third step during the 'tok-y-tik', completing on the final '-y'. The turn is distributed across two bearings, created by the balls of both feet on the floor, and thus changes from a major turn in step two, to a minor turn in step three.<br />
<br />
This is a common movement in <i>rueda de casino</i>, performed for example by the follower during <i>enchufla</i>.<br />
<br />
<b>Briefing: The Transnational <i>Martillo</i></b><br />
I was keen, with this being an extended session, to maintain participants' touch with music. And so, I took the opportunity to put my ethnomusicologist hat on, and provide some background to the existence, history, evolution and importance of the <i>martillo</i> rhythm in Caribbean music. I used 90 as the magic number, and began with two occurrences:<br />
<ul>
<li>1990 as the date of release of "<i>Bachata Rosa</i>" by Juan Luis Guerra, the album which brought <i>bachata</i> to international prominence; and,</li>
<li>1890 as the beginning of Cuba's struggle for independence, which resulted in Sindo Garay's flight from Cuba to Dominica.</li>
</ul>
The discussion touched on the turbulent history of Haiti and Dominican Republic, the whitening of the latter, and how it impacted the interpretation and performance of its music and dance. The emphasis was on the shared origins of itinerant Cuban <i>son</i> and Dominican <i>música de guitarra</i>.<br />
<br />
<b>The Main Practice Session</b><br />
All these elements were incorporated into <i>rueda de casino</i> practice, in square format, using only the elements of <i>enchufla</i>, <i>dame</i>, and <i>dile que no</i>, to federated calls. Music alternated between slow-tempo <i>son</i> and <i>bachata</i>, to up-tempo <i>son montuno</i> and <i>salsa</i>. Slower music emphasised control and primed movement, quicker music brought excitement and forced assimilation.<br />
<br />
By the session's end, all participants had reached learning saturation and were physically tired, but enough practice had been done for the major points to be assimilated - ready for another double-session next week.<br />
<br />
Loo Yen Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-79486410594379439222017-07-26T08:11:00.001+00:002017-07-27T10:13:08.940+00:00Contratiempo: First Walking StepsIt was time to resume the planned course of development after being side-tracked last week. The session started off with the recap warm up exercise; a practice which has become a mainstay not just to refresh participants' memory, but also to bring those who'd been previously absent a small chance to catch up.<br />
<br />
<b>Warm Up: The Sequence, <i>martillo</i> only, then to music</b><br />
<div>
Solo, to <i>bongó</i> <i>martillo</i> only, then to music. Vocalisation of <i>martillo</i>. <i>Maracas</i> interpreting <i>pregón</i>.</div>
<div>
<ol>
<li>Listen for the <i>martillo</i>, or super-impose it if not present;</li>
<li>Vocalise "tok-tik-tuk-tik" to the <i>martillo</i>;</li>
<li>Play the <i>pregón</i> using the <i>maracas</i>: "tok" (beat 4) with the <i>hembra</i>, and "tik" (beat 1) with the handles;</li>
<li>Perform the Caribbean sway side step only: initiating the side-step on "tok" and completing with relaxation after "tik"; and then,</li>
<li>Perform the full Caribbean sway.</li>
</ol>
</div>
<div>
Part-way through the warm up I noticed that one of the participants, after Stage 3 above, was performing the side step only, then the full Caribbean sway. Since was a logical intermediary stage which would further differentiate the <i>pregón</i> from the <i>coro</i>, I amended last week's sequence accordingly.</div>
<div>
<br /></div>
<div>
<b>Briefing: Assuming we can walk is an unsafe assumption</b></div>
<div>
Last week, we observed that while we were able to enact call-and-response phrasing in the Caribbean sway, this soon dissolved the moment we were asked to walk the embodiment rhythm. Why is that?<br />
<br />
What makes us expect that we would be able simply to fit <i>coro-pregón</i> phrasing onto our walk just like that? Without prior training?<br />
<br />
Some people are lucky, and they way they walk can be naturally phrased. Most are not, and our biomechanics make our walk repel phrasing attempts. Take, for example, individuals whom have indifferent floor relations, whom just throw their feet onto the floor: uncontrolled descents produce a staccato rhythm which limits the scope of phrasing.<br />
<blockquote class="tr_bq">
Phrasing is not an overlay veneered over our walk.<br />
Phrasing is the structure in which we learn to walk.</blockquote>
So how do we do it? We do so incrementally from a point where we already have phrasing: the Caribbean sway.<br />
<br />
<b>Exercise One: Side step on the forward diagonal</b></div>
<div>
Solo, to music. Vocalisation of full <i>martillo</i>. Full Caribbean sway, diagonally forward side step.<br />
Instead of taking a lateral side step, the side step is taken diagonally forward. The forward angle is small at first, and gradually increases as the body acclimatises. The objective is to achieve a forward walk while preserving call-and-response phrasing.<br />
<br />
Participants were cautioned that rushing the process would sacrifice phrasing over forward movement. They were asked to find the critical forward angle where they would have the most forward movement while still retaining phrasing. The learning mantra being: "phrasing is king!"</div>
<div>
<br />
The greatest challenge participants encountered was being able to get the weight fully transferred, with a straightened leg, over the foot at the end of the "slowandslow" ('tok-tik'). This difficulty presented itself as:<br />
<br />
<ul>
<li>a leading bent knee generating floor pressure, slow to straighten, and a lagging hip movement, with snatched relaxation phase; and,</li>
<li>a short "slowandslow" where there was insufficient drive to move the weight transfer on time at the onset, and a lack of hip deflection through relaxation after the 'tik'.</li>
</ul>
<br />
The former was caused by too much forward angle before drive geometry could be adapted. It was solved by reducing the forward angle, and emphasising the straightening of the knee to get the hip-weight over the foot.<br />
<br />
The latter was caused by too large a <i>pregón</i> step. It was solved by shortening the <i>pregón</i> step while emphasising a full "slowandslow" sway atcion.<br />
<b><br /></b>
<b>Exercise Two: Diagonally forward side step, playing <i>pregón</i> on <i>maracas</i></b></div>
<div>
Solo, to music. Vocalisation of full <i>martillo</i>. <i>Maracas</i> playing <i>pregón</i>. Full Caribbean sway, diagonally forward side step. This exercise is identical to that of Exercise One above, except with the addition of <i>pregón</i> interpreted on <i>maracas</i>, intended to reinforce the currently-less-dynamic diagonal step with more rhythmic energy. Two participants exhibited a great example of best practice. They began with the sequence in static position before engaging the walk.</div>
<div>
<br /></div>
<div>
<b>Exercise Three: Diagonally forward side step accenting <i>coro</i>, playing <i>pregón</i> on maracas</b></div>
<div>
Solo, to music. Vocalisation of full <i>martillo</i>. <i>Maracas</i> playing <i>pregón</i>. Full Caribbean sway, diagonally forward side step. This exercise is the same as the one above, with emphasis on the <i>coro</i> steps <i>i.e.</i> the back and replace steps on 'tuk' and 'tik' respectively.<br />
<br />
I encouraged participants to tidy up their walk by ensuring that their back step was made in third position, and their 'replace' step should be taken slightly forward. This was to develop their sense of register, and to add the rhythmic counterpoint of the <i>coro</i> to the <i>pregón</i>.<br />
<br />
As anticipated, participants' feedback was that they could better feel the call-and-response relationship. The call of the 'tok-tik' voiced by <i>maracas</i>, and the response of the 'tuk-tik' voiced by the pressure sensed through the heels of their feet on the floor.</div>
<div>
<br />
Pedagogically the quality of the <i>pregón</i> step was compromised to achieve this, since attention to execution had shifted to the <i>coro</i> steps. However, I'd determined that it was much more important to cultivate the rhythmic relationship between <i>pregón</i> and <i>coro</i> first. (I'll address the quality of <i>pregón</i> in upcoming sessions.)</div>
<div>
<br /></div>
<div>
<b>Rationale: Constructing the reverse walk</b></div>
<div>
Although we were close to session's end, I felt it important to show - in the interests of participants' empowerment - how the reverse walk could be derived using the same principles as the forward one. The encouragement participants would have if they left the session knowing how to perform both forward and reverse walks could not be underestimated.<br />
<br />
We began from the same point: the Caribbean sway.</div>
<div>
<br /></div>
<div>
<b>Exercise Four: Side step on the reverse diagonal</b></div>
<div>
Solo, to music. Vocalisation of full <i>martillo</i>. Full Caribbean sway, diagonally reverse side step.<br />
Instead of taking a lateral side step, the side step is taken diagonally backward. The reverse angle is small at first, and gradually increases as the body acclimatises. The objective is to achieve a reverse walk while preserving call-and-response phrasing. Participants were asked to place the first step of the <i>coro</i> ('tuk') in third position, and the second step ('tik') as a proper replace. This was to develop their register.</div>
<div>
<br /></div>
<div>
The derivation of the reverse walk proved easier than participants had anticipated. There was occasion for brief practice before I drew <i>Solares</i> to a close, with the promise of revisiting it next session.</div>
<div>
<br /></div>
<div>
Loo</div>
loo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-36478422040354898122017-07-19T10:15:00.000+00:002017-07-26T10:55:21.221+00:00Contratiempo Embodiment Rhythm: Pregón TroubleshootingThere are times when even the best lesson plans get deferred when unexpected-yet-important things pop up. Last night was such a time. I'd put the music on, and was playing <i>martillo</i> on <i>bongó </i>(I've been doing the latter for the past month to help participants acclimatise to the rhythm and how the instrument sounds) while participants warmed up using last week's exercise two as a recap...<br />
<div>
<br /></div>
<b>Warm Up: Switching between '<i>coro-pregón</i>' and '<i>pregón</i>' phrasing in Caribbean sway, <i>maracas</i>, and vocalisation</b><br />
<div>
Solo practice. Caribbean sway performed <i>contratiempo</i>. <i>Maracas</i> playing <i>pregón</i>: "tok" (beat 4) with the <i>hembra</i> and
"tik" with the handles. Full vocalisation "tok-tik-tuk-tik" on beats
4-1-2-3 respectively. Participants alternated between '<i>coro-pregón</i>' (<i>i.e.</i> full Caribbean sway) and '<i>pregón</i>' (<i>i.e.</i> side step only), switching at their own choosing.</div>
<div>
<br /></div>
<div>
I looked up and was initially dismayed to see that, although some participants where vocalising and playing <i>maracas</i> correctly, their embodiment rhythm had frame-shifted such that their <i>pregón</i> was where the <i>coro</i> should have been and vice versa! I signalled a correction, which was made, and while the rest of the warm-up continued I thought on how to make use of this opportunity.<br />
<br />
By the time the song ended, I'd decided that the best course was to adopt a masterclass approach and dissect the phenomenon.</div>
<div>
<br /></div>
<div>
<b>Briefing: "Why did the error occur?"</b></div>
<div>
The process began by asking participants, "why did the error occur?" to get them fully engaged. In typical form they freely chipped in, objectively, with their thoughts. It made me proud - there is no blame culture in <i>Solares</i>.<br />
<br />
Then I began slicing away at the phenomenon:</div>
<div>
<ul>
<li>Observation #1: the vocalisation was correct to the music and the <i>martillo</i> played by me.</li>
<li>Observation #2: the <i>maracas</i> <i>pregón</i> tones were correct to the vocalisation and hence to the music and <i>martillo</i> played by me.</li>
</ul>
</div>
<div>
Therefore, every participant's reference points of synchrony had to be correct.</div>
<div>
<ul>
<li>Observation #3: the embodiment rhythm was initially incorrectly frame-shifted relative to the percussion rhythm-stream.</li>
<li>Observation #4: the embodiment rhythm was correctable upon notification of error.</li>
</ul>
</div>
<div>
Therefore, there was nothing inherently wrong with the embodiment rhythm. It had to be that the embodiment rhythm was initiated independently, without taking its cues from the vocalisation and <i>pregón</i> tones. The logical course to overcome this was to set up a sequence of execution.<br />
<br />
<b>Exercise One: The Sequence, <i>martillo</i> only</b><br />
Solo, to <i>bongó</i> <i>martillo</i> only.</div>
<div>
<ol>
<li>Listen for the <i>martillo</i>, or super-impose it if not present;</li>
<li>Vocalise "tok-tik-tuk-tik" to the <i>martillo</i>;</li>
<li>Play the <i>pregón</i> using the <i>maracas</i>: "tok" (beat 4) with the <i>hembra</i> and "tik" (beat 1) with the handles; and,</li>
<li>Perform the Caribbean sway: initiating the side-step on "tok" and completing with relaxation after "tik".</li>
</ol>
</div>
<div>
Participants were asked to make each successive step of the sequence conditional upon the step preceding. They were encouraged to stop and start repeatedly until they were comfortable with the sequence.<br />
<br />
<b>Exercise Two: The Sequence, to music</b><br />
As Exercise One (above) but to music.<br />
<br />
<b>Discussion</b><br />
The error in the execution of the warm-up was used as a serendipitous event (crucial to building a collaborative, supportive culture). The frame-shift of the embodiment rhythm came about because it was not contingent upon the vocalisation nor the <i>maracas</i>.<br />
<br />
It made some participants realise that they had been using the dance rhythm (what they were most accustomed to using) as their entry-point to music, their vocals and instruments were entrained to it <i>i.e.</i> the dancing was their portal to the music, and the vocals+instruments followed. Their cognitive capacity was only sufficient for the maintenance of the vocalisation and <i>maracas</i>, which allowed their embodiment rhythm to drift. Customary behaviour was exposed as being susceptible to error.<br />
<br />
The solution was to establish vocalisation as the entry-point to music, and entrain the <i>maracas</i> <i>pregón</i>, then the embodiment rhythm, as conditional steps. At the close of the session, participants acknowledged a need for 're-programming' (as one put it) and how the new sequence made for a musically immersive experience.<br />
<br />
Loo</div>
loo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-35287164979995410342017-07-12T13:36:00.000+00:002017-07-23T10:14:18.641+00:00Contratiempo Embodiment Rhythm: PregónLast week we split open a dance basic and looked inside it. We explored the relationship between the two pieces based on the <i>martillo</i> synchronising timeline: <i>coro-pregón</i>; and began to define the properties of one of the pieces: the <i>pregón</i>.<br />
<br />
As is normal with new concepts, <i>solares</i> participants only fully appreciated the value of the early exercises after the fact. It made sense to repeat the content of last week's session since they now knew how better to approach the exercises. Slight modifications to exercise design were made to add variety and widen perceptual scope.<br />
<br />
<b>Briefing: Developing the <i>pregón</i> [call] through isolated practice</b><br />
Having come to appreciate the importance of the Caribbean sway's side step as the <i>contratiempo</i> embodiment of the <i>pregón</i>, the theme of this session was to give the <i>pregón</i> primacy in practice; to establish it as a tangible artefact in its right.<br />
<br />
<b>Exercise One: Caribbean sway, <i>maracas</i>, and vocalisation</b><br />
Solo practice. Caribbean sway performed <i>contratiempo</i>. <i>Maracas</i> playing <i>pregón</i>: "tok" (beat 4) with the <i>hembra</i> and "tik" with the handles. Full vocalisation "tok-tik-tuk-tik" on beats 4-1-2-3 respectively. The <i>maraca</i> accents are a proxy for the <i>bongó</i>'s <i>martillo</i> tones which voice the <i>contratiempo</i> embodiment timeline's <i>pregón</i>. Participants whom encountered difficulty where first asked to play the "tok" <i>hembra</i> tone (beat 4) only. Once they got in the groove, they were able to introduce the "tik" handle click tone (on beat 1).<br />
<br />
<b>Exercise Two: Switching between '<i>coro-pregón</i>' and '<i>pregón</i>' phrasing in Caribbean sway, <i>maracas</i>, and vocalisation</b><br />
Solo practice. Caribbean sway performed <i>contratiempo</i>. <i>Maracas</i> playing <i>pregón</i>: "tok" (beat 4) with the <i>hembra</i> and "tik" with the handles. Full vocalisation "tok-tik-tuk-tik" on beats 4-1-2-3 respectively. Participants alternated between '<i>coro-pregón</i>' (<i>i.e.</i> full Caribbean sway) and '<i>pregón</i>' (<i>i.e.</i> side step only), switching at their own choosing.<br />
<br />
This was a challenging evolution from the previous exercise, since it demands independence of the embodiment rhythm - switching between <i>coro-pregón</i> and <i>pregón</i> only - from the vocalisation and <i>maracas</i> timelines. Participants required a few songs to get into the swing of things, but their interpretation was still mechanical (to be expected). I then reminded them of the principle the exercise: the development of call-and-response phrasing in the embodiment timeline, focusing on the call.<br />
<div>
<br /></div>
<b>Briefing: What movements correspond to 'tok-tik'?</b><br />
The "tok" cues the commencement of sideways movement (<i>i.e.</i> weight transfer) in the side step. The "tik" coincides with the instance when the hip, knee and ankle are directly vertical, but movement is still continuing. The relaxation phase, which marks the completion of the side step, occurs after the "tik".<br />
<br />
Exercise Two (above) was repeated, this time with emphasis on the quality of the <i>pregón</i> in commencement, continuation, and completion.<br />
<br />
At session's end, participants remarked that paying attention to the call-and-response phrasing using a 'triple-lock' of vocalisation, <i>martillo</i>, and embodiment rhythm is a more immersive learning experience. It gives them direct access into the music.<br />
<br />
There might be plenty of room for improvement, but I've chalked that up as a win.<br />
<br />
Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-57611215267521986122017-07-05T10:38:00.000+00:002017-07-16T10:06:40.830+00:00Contratiempo Embodiment Rhythm: An Internal DynamicDance rhythms are about relationships between sets of sounds. A set might have only one or more than one tone, and it's how one set 'talks' to another which is important. That's why Cuban percussion instruments are in dialogue pairs: '<i>hembra</i>' [female] conversing with '<i>macho</i>' [male]. Take the <i>bongó</i>'s <i>martillo</i> rhythm as an example: "tok" talks to "tuk", and the "tik"s in-between could be interjections by either. And so if we're using the <i>martillo</i> as a reference timeline for the dancer's <i>contratiempo</i> embodiment rhythm, should the latter be imbued with conversation as well?<br />
<br />
That was the theme of last night's <i>Solares:</i> the basic embodiment rhythm can be interpreted as a call-and-response timeline, thus introducing a rich internal dynamic and powerful possibilities in phrasing.<br />
<br />
<b>Warm up: Caribbean sway, maracas, and vocalisation</b><br />
Solo practice. Caribbean sway performed <i>contratiempo</i>. <i>Maracas</i> playing "tok" (beat 4) with the <i>hembra</i> and "tuk" with the <i>macho</i>. Full vocalisation "tok-tik-tuk-tik" on beats 4-1-2-3 respectively.<br />
<br />
<b>Briefing: <i>Contratiempo</i> call-and-response embodiment to the <i>martillo</i></b><br />
Call-and-response is a common feature in Caribbean music derived from the African aesthetic. In Spanish, it is known as '<i>coro-pregón</i>' where the '<i>coro</i>' is the respondent and the '<i>pregón</i>' is the caller.<br />
<br />
With respect to the <i>bongó</i>'s <i>martillo</i>:<br />
<ul>
<li>the <i>pregón</i> or call spans "tok-tik" (beats 4 and 1)</li>
<li>the <i>coro</i> or response spans "tuk-tik" (beats 2 and 3)</li>
</ul>
This means that in the Caribbean sway:<br />
<ul>
<li>the <i>pregón</i> cues the side step with the "slowandslow" transfer of weight; and,</li>
<li>the <i>coro</i> cues the back step and replace step, both with "quick" transfers of weight.</li>
</ul>
<br />
<b>Exercise One: '<i>coro-pregón</i>' phrasing in Caribbean sway</b><br />
Solo practice. Caribbean sway performed <i>contratiempo</i>. Vocalisation phrased as "tok-tik" (beats 4-1) and "tuk-tik" (beats 2-3). This exercise is a light introduction to the idea that the embodiment rhythm and the basic step are fractionable. Participants begin to understand:<br />
<ol>
<li>the idea of <b>movement groups</b>, and</li>
<li>the <b>possible relationships</b> between them, in this case, call-and-response.</li>
</ol>
<br />
<b>Exercise Two: '<i>coro-pregón</i>' phrasing in Caribbean sway, partnered</b><br />
Partnered practice. Caribbean sway performed <i>contratiempo</i>. Vocalisation phrased as "tok-tik" (beats 4-1) and "tuk-tik" (beats 2-3). This exercise provided the opportunity for participants to compare and contrast their own call-and-response phrasing to that of someone else's. Participants noted the breadth of variation in articulation of phrasing, interpretation of rhythm, and quality of movement.<br />
<br />
This spurred a flurry of formative discussion, not on what was "right" (they were all doing it right), but what kind of "right" they preferred.<br />
<br />
<b>Briefing: <i>Contratiempo</i> call-without-response embodiment to the <i>martillo</i></b><br />
Call-without-response, or call-only, is a phenomenon where its judicious use as 'an insistent question unanswered' creates rhythmic tension.<br />
<br />
<b>Exercise Three: '<i>pregón</i>' phrasing in Caribbean sway</b><br />
Solo practice. Performed <i>contratiempo</i>. Vocalisation phrased as "tok-tik" (beats 4-1) and "tuk-tik" (beats 2-3). Caribbean sway side step only, executed 'slowandslow'. The vocalisation was necessary to provide the placeholder vocal response to the physical <i>pregón</i>. Without the vocalisation, participants found it difficult to maintain their place in the <i>contratiempo</i> timeline.<br />
<br />
<b>Exercise Four: Switching between </b><b>'<i>coro-pregón</i>' and </b><b>'<i>pregón</i>' phrasing in Caribbean sway</b><br />
Solo practice. Performed <i>contratiempo</i>. Vocalisation phrased as "tok-tik" (beats 4-1) and "tuk-tik" (beats 2-3). Participants alternated between '<i>coro-pregón</i>' (<i>i.e.</i> full Caribbean sway) and '<i>pregón</i>' (<i>i.e.</i> side step only), switching at their own choosing. This exercise was designed for two purposes:<br />
<ol>
<li>to make clearer the distinction between the '<i>pregón</i>' grouping and the '<i>coro</i>' grouping; and,</li>
<li>to demonstrate the necessity of the vocalised timeline as a stabilising component of the compound rhythm stream.</li>
</ol>
<br />
<b>Exercise Five: Switching between </b><b>'<i>coro-pregón</i>' and </b><b>'<i>pregón</i>', partnered</b><br />
Partnered practice. Performed <i>contratiempo</i>. Vocalisation phrased as "tok-tik" (beats 4-1) and "tuk-tik" (beats 2-3). Switching between call only and call-and-response states was left entirely to each participant's discretion, and neither partner was required to follow suit. Some participants expected anarchy, and were surprised when they didn't encounter it.<br />
<br />
This exercise highlighted the '<i>pregón</i>' as the crucial synchronising movement between partners; and that the better (smoother, better-controlled, stronger, granular) the quality of execution, the easier it was to achieve synchrony.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-23795731418303913532017-06-14T14:00:00.000+00:002017-07-27T10:12:59.325+00:00Contratiempo: A Bigger Picture With Rueda ContratiempoI was looking to mix things up a bit.<br />
<br />
The past few <i>solares</i> sessions had been dedicated to laying down the rhythmic foundations of: recognising tones, and vocalising/playing them; understanding what the sounds mean, and the movements they cue. It's been two-thirds individual and one-third partnered at a guess, and all based on the Caribbean sway.<br />
<br />
This session, I wanted to use it to regain touch with why we were all dancing - music, movement, laughter, people. Along the way, I wanted to give them a sense of what dancing <i>contratiempo</i> was about. Think of it as a session-long contrasting activity in the long arc of the <i>contratiempo</i> chapter.<br />
<br />
But first, because there was also a newly-joined participant, there was the recap warm up.<br />
<br />
<b>Warm Up: Caribbean sway, <i>maracas</i>, and vocalisation</b><br />
Solo practice. Caribbean sway performed <i>contratiempo</i>. <i>Maracas</i> playing "tok" (beat 4) with the <i>hembra</i> and "tuk" (beat 2) with the <i>macho</i>. Full vocalisation "tok-tik-tuk-tik" on beats 4-1-2-3 respectively. Participants whom encountered difficulty where first asked to play the "tok" <i>hembra</i> tone (beat 4) only. Once they got in the groove, they were to add the "tuk" <i>macho</i> tone (on beat 2).<br />
<br />
<b>Exercise One: <i>Contratiempo Rueda de Casino</i></b><br />
<i>Rueda de Casino</i>, to music. <i>Contratiempo</i> embodiment rhythm. Basic and '<i>dame</i>' call only. Federated calling. The <i>rueda de casino</i> group had an excess of one follower. I required all followers to maintain the correct partnership position and perform their steps relative to a virtual partner, NOT to face the centre and dance basic time as they were inclined to do. This was another objective: to encourage followers to take a more active role, to visualise their movements for each move called.<br />
<br />
As expected even the simple choreography proved challenging, although participants were able to work out their solutions after five tracks. Both the followers' spatial practice and the difficulties they encountered under the new <i>contratiempo</i> timing, caused them to reflect on whether or not they truly knew their choreography.<br />
<br />
<b>Discussion</b><br />
I asked them to note that dancing <i>contratiempo</i> is not the same as dancing <i>son cubano</i>. The <i>contratiempo</i> embodiment rhythm is a property common across genres of the <i>son</i> rhythm group (which includes: <i>son</i>, <i>changüi</i>, <i>bolero</i>, <i>chachachá</i> and <i>son montuno</i>). Put another way, the <i>contratiempo</i> embodiment rhythm is a defining characteristic of <i>son cubano</i>, but it is not the sole defining characteristic <i>i.e.</i> dancing <i>contratiempo</i> alone does not make it a <i>son cubano</i>.<br />
<br />
The final point was encouragement to take the opportunity, at party nights, to dance <i>contratiempo rueda</i> to <i>bachata</i> tracks. The rate-limiting step currently, for this chapter of <i>Solares</i>, is the amount of <i>contratiempo</i> partnered practice everyone has outside of the sessions.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-10858323268178306472017-05-10T09:27:00.000+00:002017-07-30T13:47:41.230+00:00The Way To ContratiempoWith my partner in crime away, I was regaled with a double session at <i>Solares</i> last night. I seized the opportunity with both paws, since we could get through more than twice the content (efficiencies of scale), to open up a new chapter: <i>contratiempo</i> [literally 'against time'] embodiment rhythm.<br />
<br />
<b>Warm Up: <i>Martillo</i> on <i>maracas</i></b><br />
Solo, to music. Vocalising 'tok-tik-tuk-tik'. Playing <i>martillo</i> on <i>maracas</i>. Full Caribbean sway, <i>atiempo</i>. Participants were asked to note that in the <i>atiempo</i> embodiment rhythm, their first and third steps coincided with the 'tik' vocalisation and click of <i>maracas</i> handles.<br />
<br />
<b>Briefing: The Way To <i>Contratiempo</i></b><br />
Just as with languages, <i>contratiempo</i> embodiment rhythm may be achieved either through acquisition (like our mother tongue) or learning (like subsequent languages). Whereas it is possible in <i>solares</i> to do so through acquisition, I'd opted for the learned mode. This is because nearly all <i>contratiempo</i> instruction delivered in the U.K is in the learned mode. By doing the same, I can outline the pitfalls which other instructions overlook, so that participants can still attend workshops by other instructors and be able to fill in the gaps.<br />
<br />
The learning mode (for those whom already dance salsa <i>atiempo</i>) comprises to phases:<br />
<ol>
<li><b>Translation</b><br />where the embodiment rhythm is 'frame-shifted' later by one beat. This generates the rhythm structure referred to as "dance on 2" or "power 2".</li>
<li><b>African-derived Phrasing</b><br />where instead of the count "2-3-4, 6-7-8", it is phrased to African cycle "8~1-2-3, 4~5-6-7". Phrasing is the most significant differentiator between "On2" styles and <i>contratiempo</i>, and this aspect is most overlooked by educators.</li>
</ol>
<br />
<b>Exercise One: The Frameshift, side step only</b><br />
Solo, to music. Vocalisations and Caribbean sway's side step. It began with the isolation of the Caribbean sway's side step during the 'tok-tik' part of the vocalisation. No movement occurred during 'tuk' nor 'tik'. Participants got used to initiation the side-ways movement on 'tik', hitting the 'tok' with the side of the hip, and relaxing shortly thereafter.<br />
<br />
<b>Exercise Two: The Frameshift, full Caribbean sway</b><br />
Solo, to music. Vocalisations and Caribbean sway. In between Caribbean sway's side step during the 'tok-tik' part of the vocalisation, the back step and replace was introduced during 'tuk' and 'tik' respectively.<br />
<br />
<b>Discussion</b><br />
Participants were left to practice the frameshift. I observed that approximately half of them gravitated towards 'on2' phrasing while the others did not demonstrate any clear phrasing. When asked for their feedback, they reported a solidity to their timing, as if they were rhythmically "on rails". I attributed this to the <i>martillo</i> reference timeline where every tone is clear, defined and on-beat when vocalised (as compared to the <i>tumbao</i> <i>moderno</i>'s every other).<br />
<br />
I drew participants' attention to the fact that a number of them were using the back step on 'tuk' as a starting point, and that this was 'dance on 2' phrasing. They were told that this was acceptable so that they would develop a feel for 'on2' phrasing, but that they would be progressing to <i>contratiempo</i> phrasing in the upcoming sessions.<br />
<br />
Participants' observations also extended to the physicalities of execution, centred especially on the performance of the side step. They noted the requirement for:<br />
<br />
<ul>
<li>hip flexibility - more than one of them were asymmetrical in their side step to either direction due to lower flexibility which, left unchecked, would result in a sideways 'ratchet';</li>
<li>pull-push - the smooth transfer of weight required a 'push' with the unloading leg as well as the customary 'pull' with the loading leg; and,</li>
<li>trailing contact with the floor of the unloaded leg as an indicator of gradual weight transfer <i>i.e.</i> if trailing contact was absent, the weight was being transferred too quickly.</li>
</ul>
<br />
Progress had been good, and the penetrating questions asked by participants told me their comprehension, assimilation and synthesis were on track. Although we'd addressed only the translation phase, I felt it best not to court cognitive saturation, and to finish on a high.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-40341161126392239172017-04-12T09:38:00.000+00:002017-07-24T12:41:38.347+00:00The Martillo<i>Solares</i> had been using the <i>conga</i>'s <i>tumbao moderno</i> as its reference rhythm for three years, since inception. Along the way the rhythm's near-ubiquity has served us well, being simple to understand, easy to pick out, and straight-forward to vocalise. We'd also added another string to our rhythmic bow: the regular <i>son montuno</i> rhythm interpreted on the <i>maracas</i>.<br />
<br />
To progress further, the time has come to introduce another older (relative to secular Cuban music) reference timeline: the '<i>martillo</i>' ['hammer'] as interpreted on the <i>bongó</i>. The rationale is that being able to reference the <i>martillo</i> allows gives participants:<br />
<ul>
<li><b>resoluteness</b> - the ability to synchronise to an alternative timeline should one (or more) disappear;</li>
<li><b>cultural depth</b> - the possibility of exploring salsa's antecedent genres;</li>
<li><b>rhythmic stability</b> - an additional component to the compound rhythm stream;</li>
<li><b>complementarity</b> - a sense of how layers of rhythm fit together; and,</li>
<li><b>freedom of expression</b> - a further choice of tonal cues for movement.</li>
</ul>
<br />
<b>Vocalisation</b><br />
I introduced participants to the basic <i>martillo</i> on <i>bongó</i> indicating the relevant tones and their vocalisations, using African perceptions of rhythmic cycles (not the European)<br />
<ul>
<li>African beat 1: open tone on <i>hembra</i> (large drum) vocalised as 'tok'. (European beat 4)</li>
<li>African beat 2: closed tone on <i>macho</i> (small drum) vocalised as 'tik'. (European beat 1)</li>
<li>African beat 3: open tone on <i>macho</i> (small drum) vocalised as 'tuk'. (European beat 2)</li>
<li>African beat 4: closed tone on <i>macho</i> (small drum) vocalised as 'tik'. (European beat 1)</li>
</ul>
Thus the full (dancer) vocalisation is: 'tok-tik-tuk-tik-'<br />
<br />
<b><i>Maracas</i> as proxy</b><br />
The next step was to show participants how to interpret the <i>martillo</i> using <i>maracas</i>. This would free up their vocals and allow them to dance while playing. The vocalisation tones were used as a mediator:<br />
<ul>
<li>'tok' - single shake, <i>hembra</i> (low pitched) <i>maraca</i>.</li>
<li>'tik' - single click, <i>maraca</i> handles.</li>
<li>'tuk' - single shake, <i>macho </i>(high pitched) <i>maraca</i>.</li>
<li>'tik' - single click, <i>maraca</i> handles.</li>
</ul>
<b><br /></b>
<b>Caribbean sway to <i>martillo</i></b><br />
Participants were already fluent with dancing the Caribbean sway <i>atiempo</i>, and playing the <i>maracas</i> as a proxy for <i>conga</i> and <i>cowbell</i>, as well as the <i>son montuno</i> <i>maraca</i> rhythm itself. With the solid foundation already laid, it proved a simple process to assemble the exercise through drawing on their previous experiences.<br />
<ol>
<li>Vocalise the <i>martillo</i>: 'tok-tik-tuk-tik-'</li>
<li>Add a single shake of the <i>hembra</i> <i>maraca</i> on 'tok'</li>
<li>Perform the Caribbean sway on 'tik-tuk-tik-' as a response to 'tok'</li>
<li>Add a single shake of the <i>macho maraca</i> on 'tuk', coincident with the second step of the Caribbean sway</li>
<li>Add the single clicks of the <i>maraca</i> handles on 'tik' </li>
</ol>
I'm looking forward to a brave new world.<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-40572768419194604392017-03-22T17:31:00.000+00:002017-03-26T14:08:25.813+00:00Ensemble Activity: Laid Back, a little bitTwo weeks ago I introduced the percussion concept of 'laid back', where an instrument sounds late to very late relative to the central the beat. In truth some participants had already achieved this, albeit inadvertently, last month (see: <a href="http://salsadiary.blogspot.co.uk/2017/02/ensemble-activity-strictly-in-pocket.html">http://salsadiary.blogspot.co.uk/2017/02/ensemble-activity-strictly-in-pocket.html</a> Exercise One, Result 2).<br />
<br />
Although they'd become comfortable with the practice format, the ability of play late on the beat as a synchronised ensemble still eluded them. Whenever the 'laid back' call was issued from a well-synchronised 'in the pocket', the unit dissolved quickly into a mish-mash of lates.<br />
<br />
I can only put that down to different individual offsets.<br />
<br />
<b>Offset: A physiological phenomenon</b><br />
If a motor signal is issued from the brain to the arms and legs at the same time, the arms will move before the legs will. This is because:<br />
<br />
<ol>
<li>the signal path lengths are shorter to arms than to legs; and,</li>
<li>arms have lower mass than legs and so can accelerate more quickly.</li>
</ol>
<br />
α-motorneurones have a <a href="https://en.wikipedia.org/wiki/Nerve_conduction_velocity" target="_blank">nerve conduction velocity</a> range of between 80-120 metres per second. That sounds really quick, but if there is a half-metre difference in signal path length between arms and legs, there would be a lag of at least 4/1,000s of a second (by simple calculation) and that's the best-case scenario. It might not sound like much, but that's the difference between an 'in the pocket' and a 'slightly late' attack. In practice, I see offsets in the order of tens of thousands.<br />
<br />
So, if two concurrently-timed signals are issued from the brain to the arms and legs, and the arms play the <i>maracas</i> very late on the beat, the legs will step off-time. This is the challenge of playing and dancing late: there has to be near-zero offset.<br />
<br />
Near-zero offset can only be achieved by sending impulses to the legs BEFORE impulses to the arms.<br />
<br />
<b>A mish-mash of lates</b><br />
The phenomenon of everyone playing different interpretations of 'late' is unsurprising given the factors stacked against them, different perceptions of beat; signal path lengths; limb masses; and conduction rates.<br />
<br />
The efforts where valiant, and occasionally successful. However at the third session of asking it was time to change tack. Instead of going the whole hog, as we did with the push, I started using the cues "slightly late of pocket" and "a little later". My scientific self wrinkled its nose at the arbitrary terms (how late is slightly late?) but the change worked. It got participants to play later synchronously.<br />
<br />
We'll have to inch our way to the back of the bus.<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-85704383753116034792017-03-15T14:24:00.000+00:002017-03-26T11:28:43.186+00:00Opening the Timba chapter"What is <i>timba</i>?" has become a recurring question in <i>Solares</i>. So much so that I knew the time had come to address it, because deflecting the matter further risked frustrating inquisitiveness (a damaging prospect) and allowing blurred narratives a chance to take root.<br />
<br />
The timing of it couldn't have been better, I've been scouting out different themes for use as a contrasting activity alongside to the chapter on percussive attack. But the challenge lay in how to address the question of <i>timba</i> through the experiences of a dancer. Conventional approaches tackle the topic through its layers of percussion - explained by drummers for drummers. How can <i>timba</i> be understood by a dancer with a limited base of percussion experience to draw upon?<br />
<br />
THAT's the sort of challenge I love to sink my teeth into.<br />
<br />
Given the misconception, here in the UK, that <i>rueda de casino</i> should ideally be danced to <i>timba</i>, I think it would be useful to use <i>rueda de casino</i> as a lens through which <i>timba</i> can be examined, to reveal 'truths' and misconceptions.<br />
<br />
<b>Exercise One: <i>Rueda de casino</i>, federated calling</b><br />
Partnered ensemble, to music. Vocabulary restricted to: '<i>dame</i>'; '<i>enchufla-dame</i>'; '<i>enchufla-dile que no</i>'; '<i>enchufla con mambo</i>'; and, the '<i>pa'rriba</i>' modifier. Calling was devolved to all members of the group, each call was preceded by the '<i>oyé</i>' aural cue with the simultaneous raise of the free arm as a corroborating visual cue. Conflicts where resolved by eye contact. This is the equivalent to co-operative musicianship observed in African music performance.<br />
<br />
Four iterations of this exercise were required until a good level of proficiency was attained. According to all participants, the dynamism of the <i>rueda</i> was elevated to a plane not experienced before. They where no longer passively engaged in the interpretation of one person's call. Instead, they had to open their eyes and ears for calls emanating from around the circle, and decide upon the next appropriate call and issue it.<br />
<br />
Participants also came to realise the importance of the timing of the '<i>oyé</i>' cue with its concomitant raised arm visual cue. The energy of discovery from the federated calling exercise was perfect, necessary even, for what was to follow.<br />
<br />
<b>Briefing: "What does <i>rueda</i> mean?"</b><br />
Gathering everyone into a circle, I asked, "what does <i>rueda</i> mean?" I received the well-intentioned published responses such as "it means 'a wheel'".<br />
<br />
"Yes, that's right on a literal level" I said, "but what does it mean when we're arranged in a circle?"<br />
Puzzled looks abounded. "The circle in this case, and also in <i>rumba</i>, represents the Circle of Creation; and that is what we're celebrating." You could have heard a pin drop. I launched into a short story on one of sub-Saharan Africa's many concepts of creation, <i>Oyá</i>, before and including its embodiment as a Yoruban Orisha.<br />
<br />
<b>Exercise Two: <i>Rueda de casino</i>, visualising the Circle of Creation</b><br />
Partnered ensemble, to music. Federated calling. Vocabulary restricted to: '<i>dame</i>'; '<i>enchufla-dame</i>'; '<i>enchufla-dile que no</i>'; '<i>enchufla con mambo</i>'; and, the '<i>pa'rriba</i>' modifier. Participants were asked to visualise the circle of creation while dancing <i>rueda</i>.<br />
<br />
The outcome of this exercise was not as I'd expected. Although it possessed energy, that energy came from the practice of federated calling, but it lacked the textural quality which combined visualisation achieves. It turned out to be the case. I'd made the mistake of assuming that participants were (a learning point for me) already familiar with the relevant imagery.<br />
<br />
<b>Briefing: <i>Oyá</i> as the storm of creation</b><br />
Participants encountered difficulty because they were visualising the Cycle of Creation - birth through death - and hence could not see its relevance in the exercise. I re-pitched the visualisation as the storm at the birth of Creation, immediately when the sky and sea where sundered.<br />
<br />
<b>Exercise Two (modified): <i>Rueda de casino</i>, visualising the Storm of Creation</b><br />
The outcome was as I'd hoped: and ensemble performance of dynamism with a quality of emotional depth. I decided to stack on another layer of skill to assess participants' levels of naturalisation.<br />
<br />
<b>Exercise Three: <i>Rueda de casino</i>, visualising the Storm of Creation, attack 'in the pocket'</b><br />
The refinement of an 'in the pocket' attack was introduced, intended: to create a powerful inexorability to the performance; and, to introduce a counterpointing element of restraint to the energy of federated calling. In this, no participants were successful.<br />
<br />
I decided not to prosecute the contextualisation of learned skills further. Instead, I decided to work with what was successful this session: the use of metaphor.<br />
<br />
<b>Exercise Four: <i>Rueda de casino</i>, visualising the self as an Agent of Creation</b><br />
In keeping with the concept of <i>Oyá</i> as a powerful event and the creation of the first land which followed, two sub-metaphors: 'drawing thunder' (with each arm-raise) and 'creating earth' (with each step) were introduced, helping participants visualise their equal roles as agents during the Act of Creation.<br />
<br />
<b>Conclusion</b><br />
Power, cohesion, emotional commitment. These were present in the <i>rueda</i> performance at unprecedented levels. Such is the potency of understanding dance as moving metaphors.<br />
<br />
"Will this session change the way I dance?" asked one participant before the session started.<br />
I thought for a while before answering, "yes."<br />
I heard another snort in disbelief. He wasn't sniggering now.<br />
<br />
Instead I got, "how does this fit with learning what <i>timba</i> is?"<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-78347832182763319022017-02-22T12:00:00.000+00:002017-02-25T17:56:49.459+00:00Ensemble Activity: Strictly in the Pocket, Musically in the Pocket<b>Briefing</b><br />
The phenomenon of participants being unable to return to their original preferred attack after 'pushing' is indicative of a lack of conscious control/determination: their preferred attack was subconsciously determined instead of consciously selected. This is not unusual; just like everyone has a natural cadence when they walk, everyone has a preferred attack when perform a rhythmic activity.<br />
<br />
The original intention was to explore the limits (early and late attacks) of the beat boundary to engender the realisation at the beat, instead of being a small slice of time, is actually expansive. However, having participants being able to return reliably to a central position is more valuable for developing their sensitivity to what different attack positions feels like - in this case, 'pushed' and 'in the pocket'.<br />
<br />
To help participants understand the 'in the pocket' attack without using a metronome (which can be a musical straight-jacket) I needed a metaphor...<br />
<br />
<b>Learning Metaphor</b><br />
"Imagine you're dancing with someone whose timing is all over the place: early, late; and (s)he is hopping around unpredictably. We've all been there right? (nods of agreement). Imagine that you wanted to provide strict time to your partner, 'command time' if you will, telling your partner exactly and clearly where the beat is."<br />
<br />
<b>Exercise One: Dancing and playing <i>maracas</i> with the learning metaphor</b><br />
Solo practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. The <i>maracas</i> where played with the learning metaphor in mind; in strict middle attack as if indicating to an imaginary partner where the precise centre of the beat was.<br />
<br />
<b>Results</b><br />
The outcome of the exercise could be divided into two groups:<br />
<ol>
<li>one group of participants interpreted the exercise correctly played their <i>maracas</i> 'in the pocket'; and,</li>
<li>the other group interpreted the learning metaphor as if they where to accommodate their less-proficient imaginary partner as much as possible. They adjusted their attack to 'late' in order to do so.</li>
</ol>
While the latter was interesting and will be useful in a few sessions' time, it was the former group which was chosen to provide the group activity bench-mark. The difference between the two, put bluntly, is "dictating to your partner what to do" and "accommodating your partner as much as possible".<br />
<br />
All participants, being socially-astute, observed that they would be disinclined to dictate timing to their dance partner in the former manner - it felt selfish and arrogant. I agreed, but indicated that there might be some conditions <i>e.g.</i> in <i>rueda de casino</i> performances when it would be appropriate.<br />
<br />
The session was fortunate to have two participants whom played two variations of 'in the pocket': 'strictly in the pocket' (rigidly metronomic) and 'musically in the pocket' (flexibly metronomic). Both of them where used as benchmark references during the ensemble activity.<br />
<br />
<b>Exercise Two</b><br />
Group practice in circle, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. Participants began in ensemble until they were synchronised. Three roles where specified, with responsibilities similar to those in the previous session with some minor changes (underlined):<br />
<ul>
<li>'Director'<br />cues the playing of <i>maracas</i> on or off while embodiment rhythm was maintained;</li>
<li>'Producer'<br />indicates the attack and its quality of implementation using the cues 'push' and <u>'in the pocket'</u>; and,</li>
<li>'Synchroniser'<br />cues the ensemble to 'synchronise', and to reduce the <u>'offset'</u> between <i>maracas</i> attack and embodiment attack.</li>
</ul>
The roles where made non-exclusive <i>i.e.</i> the selected participant had general responsibility for the allocated functions, but others could intervene when they felt appropriate. This was pitched as a maximisation of learning opportunities within the group.<br />
<div>
<br /></div>
<div>
<b>Observations</b></div>
The 'in the pocket' benchmarks succeeded in neutralising the forward creep of the middle attack when the ensemble moved between 'push' and 'in the pocket' attacks. (Observed last week.)<br />
<br />
Rendering the roles non-exclusive stimulated playful exploration, eliminating defensive behaviour and uncertainty. (Observed last week.) This aspect was hyper-corrected: all participants keenly engaged with the exploration, leaving none of them with a strong sense of what each role entailed. This will have to be addressed in a later session.<br />
<br />
Participants observed that the two flavours of 'in the pocket' was bench-marked as: tightly synchronous on the <i>maraca</i> tone marking the quarter beats (vocalised as 'chik'); and loosely synchronous on the <i>maraca</i> tone marking the eighth beats (vocalised as 'a').<br />
<br />
Most participants observed that the 'in the pocket' attack was marginally earlier than their preferred/default attack. This will be the focus of further exploration in an upcoming session.<br />
<br />
<b>Conclusion</b><br />
Issues noted in the previous session have been resolved. However, the roles have dissolved and will need to be coalesced for the sake of future activity. The number of roles will be increased, and the functions of each will be expanded in future workshops, to establish a broader palette of elements which participants may create from. In keeping with this trajectory, the 'late' attack will have to be addressed imminently.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0Sheffield, UK53.381128999999987 -1.4700850000000453.078144999999985 -2.11553200000004 53.684112999999989 -0.82463800000004006tag:blogger.com,1999:blog-26378213.post-76354457594253005972017-02-19T11:26:00.002+00:002017-02-19T16:39:58.755+00:00"This is the path creativity takes"Creativity is the hallmark of Mastery. Eminent educational psychologist <a href="https://en.wikipedia.org/wiki/Benjamin_Bloom" target="_blank">Benjamin Bloom</a> recognised it as such and manifested it in different guises at the pinnacle of his taxonomies.<br />
<br />
Another property of creativity is its ability, and requirement even, to disrupt. It's our curiosity to explore the side-streets off the main learning avenue which good teachers plan to accommodate, keeping learners in tune with their inventive minds. But in the realms of social dance (and the martial arts) a traditional lesson structure is commonly deployed; illuminating only the one main thoroughfare, leaving learners with the impression that only one route exists. And yet these learners are expected become creative at some juncture.<br />
<br />
When should learners be encouraged to be creative?<br />
Can educators tolerate, let alone accommodate, the kind of disruption creative expression causes?<br />
Worse yet, have Michelangelos and <a href="https://en.wikipedia.org/wiki/Artemisia_Gentileschi" target="_blank">Artemisia</a>s of dance been overlooked, because tradition has driven them elsewhere?<br />
<br />
These are the very questions driving the revision of my pedagogical system, structure and style:<br />
<ul>
<li>to preserve, stimulate, and develop creativity from the onset;</li>
<li>to provide a learning structure which can flex to accommodate creative disruption; and,</li>
<li>to establish a place where creativity and artistry can be recognised in oneself and in one another.</li>
</ul>
To that end I've adopted a two-pronged approach:<br />
<ol>
<li>The first is the 'sticking plaster' of illuminating the side-streets and accommodating their exploration. I consider this a sticking plaster because creativity is more accommodated than it is integrated - an adaptation of a conventional approach.</li>
<li>The second, still being articulated, brings creative decision-making into the core, where all routes are potentially valid - a paradigm shift. To provide the requisite structure (staving off learning anarchy), possibly two or more recommended routes will be explored as serving suggestions.</li>
</ol>
For the creative approach to succeed, the manner of delivery must be person-centred and it must stimulate artistic thought. The latter is the focus of current endeavour, and I am helped by a wonderful discovery: Will Gompertz's 'Think Like an Artist' (2015) (reviewed in a later post). There is one particularly apt observation:<br />
<blockquote class="tr_bq">
"Passion - enthusiasm if you prefer - is the spur that makes us want to know more. It provides the impulse for the thoughtful enquiry that generates the knowledge, which fires our imagination to come up with ideas. These lead to the experiments that eventually result in the production of a realized concept. This is the path creativity takes."</blockquote>
From that one simple paragraph a taxonomy in the creativity domain might be created:<br />
<ol>
<li>Passion,</li>
<li>Thoughtful enquiry,</li>
<li>Knowledge curation,</li>
<li>Imagination,</li>
<li>Realisation.</li>
</ol>
It might not be refined, but it already presents itself as a workable premise on which to hang principles and practices.<br />
<br />
Loo Yen Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-33555034262398740042017-02-14T23:55:00.000+00:002017-02-18T16:22:53.735+00:00Ensemble Activity: Early Attack, Middle AttackToday began the laying of the foundations for a true learning ensemble. Unlike previous group work where a participant might learning from oneself or one other per exercise, the group exercise (there was only one) was configured specifically for opportunities to learn from everyone simultaneously, accelerating the pace of development yet further.<br />
<br />
<b>Exercise One</b><br />
Group practice in circle, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. Participants began in ensemble until they were synchronised. Three roles where specified, the:<br />
<ol>
<li>'Director'<br />cues the playing of <i>maracas</i> on or off while embodiment rhythm was maintained;</li>
<li>'Producer'<br />indicates the attack and its quality of implementation using the cues 'push' and 'return'; and,</li>
<li>'Synchroniser'<br />assesses whether ensemble synchronisation is maintained or lost, and cues the group accordingly.</li>
</ol>
Multiple iterations were performed, with the roles being switched from person to person so that everyone had a go.<br />
<br />
<b>Discussion</b><br />
The exercise, for all its simplicity, proved highly successful. The ensemble underwent continuous improvement because participants: had to observe actively, and observe critically; experienced personal discovery through juxtaposition; and interacted constructively.<br />
<br />
The latter, constructive interaction, was less successful because each designated person had assumed that their role was exclusive - possibly a custom imported from <i>rueda de casino</i> calling. Others where reluctant to intrude even if it was for the greater good, and there was a small measure of defensiveness from the role-holder when there was an intrusion. This will have to be addressed during an upcoming session. An example of this was when a Producer thought that the ensemble was pushing at the limit of the beat, when in fact there was room to push earlier, and a non-Producer was aware of this, yet was not comfortable to say so.<br />
<br />
Some individuals had a better natural feel for one role over another. It leads me to think of potential talent being overlooked in <i>rueda de casino</i> where only one role - the caller - is prevalent.<br />
<br />
A participant astutely observed that the role of 'Producer', whose responsibility is quality of implementation, should be a federated role <i>i.e.</i> that all dancers of the ensemble should assume that responsibility. I agreed completely, noting that the first step to doing so was to render participants aware of this role before rolling it out.<br />
<br />
As for the attack itself, participants had improved since the last session. They understood the concept of 'push' and where able to mobilise themselves into the front part of the beat. However, that distorted their perception of where the 'return' (their original attack in the middle of the beat) was; their 'return' was earlier than when they began the exercise - and they where aware of this phenomenon. This will be addressed in an upcoming session.<br />
<br />
<b>Conclusion</b><br />
By distributing various simple responsibilities across the ensemble, a heightened engagement was realised. This has led to a more involving learning experience, improved performance, yielded a better sense of musical self, a clearer understanding of others' abilities, and endowed the group with independence and a new coalescence.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0Sheffield, UK53.381128999999987 -1.4700850000000453.078144999999985 -2.11553200000004 53.684112999999989 -0.82463800000004006tag:blogger.com,1999:blog-26378213.post-4426978709108966962017-02-09T23:26:00.000+00:002017-02-12T17:28:12.872+00:00Benchmarking The PushThe previous session had me questioning whether I'd pushed <i>solares</i> participants too hard. An instructor can tell when people are at their learning limits by observing the quality of inconsistency: the larger the swings, the closer the limit. Last week the percussionist-dancers at <i>Solares</i> where at cliff's edge.<br />
<br />
I was inclined to ease up on the development pace, but because we'd been working together for a long while, I felt it important that participants able to feed back their thoughts and experiences to me. So i consulted each of them in turn, in private conversation. They were all of similar mind:<br />
<ul>
<li>Yes, they found it hard at first to grasp the concepts. That made it difficult for them to know how to perform the exercises. But they all felt that, now they know what was required, continued reiterations of the exercises would improve them.</li>
<li>None of them wanted the pace to be slowed.</li>
<li>All of them wanted more exercises in ensemble.</li>
<li>Every one of them felt they understood the importance, relevance, and desirability of the skills being developed.</li>
<li>Each of them wanted me to stick with this theme and develop it to its fullest possible extent.</li>
</ul>
It seemed to me that the most appropriate solution was to concentrate on one attack position until consistent fluency was achieved, before moving on to the next - a process which I estimate will take more than a month per position. Ordered from easiest to most challenging, it would be 'pushed', 'laid back', then 'in the pocket'. I would provide the benchmark attack against pre-recorded studio tracks as reference.<br />
<br />
So that's how last night's session panned out. Just one exercise, reiterated:<br />
<br />
<b>Exercise One: Benchmarking to music, 'pushed' attack</b><br />
Group practice in circle, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. Participants began in ensemble until they were synchronised. I then joined the ensemble, providing the benchmark through playing the maracas in the early 'pushed' attack position.<br />
<br />
<b>Observations</b><br />
<br />
The ensemble's attack kept slipping towards a later position whenever the benchmark was absent.<br />
This was because the consciously-played <i>maracas</i> 'pushed' attack was being pulled back by the subconsciously-played embodiment 'in the pocket' attack. There are two possible solutions to this, either: fully-decouple one attack from the other (very challenging), or fully align the <i>maracas</i> and embodiment attacks (slightly less challenging). We went for the latter.<br />
<br />
Pushing the embodiment attack earlier resulted in <i>maracas</i> attack being too early. This is because each individual had grown accustomed to the interval-distance between the two attacks - the offset - and subconsciously preserved it as the embodiment attack was 'pushed' earlier <i>i.e.</i> the same offset was maintained as the embodiment attack was pushed earlier, making the <i>maracas</i> attack earlier still, to the point when it was off time. The solution is to decrease the offset.<br />
<br />
I anticipate that we will continue with the practice for a few more weeks, until participants gain a sense of: 'push' attack; how to adjust offset; and completely aligned attacks (<i>maracas</i> and embodiment). Along the way, we will be exploring parts of the beat which they have hitherto never explored before.<br />
<br />
Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0Sheffield, UK53.381128999999987 -1.4700850000000453.078144999999985 -2.11553200000004 53.684112999999989 -0.82463800000004006tag:blogger.com,1999:blog-26378213.post-812281152321563442017-02-01T17:14:00.000+00:002017-02-11T13:25:20.262+00:00Percussion Concept: Reference-setting And Benchmarking<b>Exercise One: Reference-setting, embodiment+<i>conga</i> compound timeline</b><br />
Group practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, <i>tumbao moderno</i> on <i>conga</i>. The introduction of the conga was to provide an external timeline to which participants could combine with their embodiment timeline (external synchrony) thereby creating a compound timeline as a reference.<br />
<br />
I called for changes in attack of the <i>maracas</i> timeline, moving from the extremes of 'pushed' and 'laid back' through an intermediate point labelled 'return'. 'Return' was used instead of 'in the pocket' because the inconsistency of <i>maracas</i> performance could not have allowed it to be located.<br />
<br />
The primary objective was to set up a reference timeline. This was successful.<br />
The secondary objective was to begin the performance of attack in ensemble. This was quantitatively successful in that everyone did move in the correct directions, but qualitatively needed improvement in synchrony and magnitude.<br />
<br />
<b>Exercise Two: Reference-setting, embodiment+<i>maracas</i> compound timeline</b><br />
Group practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, <i>tumbao moderno</i> on <i>conga</i>. This changed the reference timeline to an internal one; where the compound timeline is formed from the embodiment timeline and the <i>maracas</i> timeline (internal synchrony) autonomy, and external synchrony. They were to maintain this in ensemble at a steady pace, while I played the <i>tumbao moderno</i> in the three attack positions. Participants found this exercise:<br />
<ul>
<li>illuminating, because they where able to experience the extent to which a relative timeline could be 'pushed' or 'laid back', and complemented 'in the pocket' relative to their reference timeline; and,</li>
<li>challenging, because their lack of stability made it easy for the <i>conga</i>'s attack to pull their reference timeline around.</li>
</ul>
<b>Question</b><br />
"In light of the positions of attack, what is the importance of synchrony and autonomy?"<br />
<br />
<b>Exercise Two(a)</b><br />
Repeated as above, but this time the ensemble was arranged in a group facing inward to each other. This configuration (typical of ensemble playing) draws performers in together, promoting synchrony.<br />
<br />
<b>Exercise Three: Benchmarking to music</b><br />
Group practice in circle, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. Participants began in ensemble until they were synchronised. I then joined the ensemble, providing the benchmark through playing the <i>maracas</i> in the three attack positions. This gave participants a flavour of the extent by which attack affected perception of beat duration, providing with the scope of upcoming developments in <i>Solares</i>.<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-1390305793815946012017-01-25T22:11:00.000+00:002017-02-04T14:07:00.480+00:00Percussion Concept: The Positions Of Attack<b>Warm up</b><br />
Group practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, without music. This exercise was to assess how participants had developed over the week with respect to the 'second state of independence' - the ability to execute both rhythms without using music as a crutch. They were much better able to do so.<br />
<br />
However they displayed two typical traits of novices: they were not yet assessing the quality of execution from the perspective of musicality <i>i.e.</i> it was mechanically correct but sounded lifeless; and, the <i>maraca</i> rhythm relative to the embodiment rhythm was passive and languid.<br />
<br />
<b>Briefing: late or 'laid back' attack, early or 'pushed' attack, 'centre' or 'in the pocket' attack</b><br />
I asked them to maintain a steady embodiment rhythm without <i>maracas</i> (using it as the reference rhythm) and played the <i>maracas</i> as they had done defining it as a 'late' or 'laid back' attack. I then played the <i>maracas</i> in a brighter, more forward musical position defining it as an 'early' or pushed' attack. Finally, I played the <i>maracas</i> in the time-keeping central position defining it as a 'centre' or 'in the pocket' attack.<br />
<br />
<b>Exercise One: Synchronising to 'laid back' and 'pushed' attacks</b><br />
Group practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, without music. A steady embodiment rhythm (as reference) was maintained by all participants in ensemble. I provided the <i>maracas</i> rhythm moving between pushed, laid back, and centre attacks (as benchmark) to which they synchronised their <i>maracas</i> rhythms.<br />
<br />
<b>Exercise Two: Individual practice, 'laid back' and 'pushed' attacks</b><br />
Solo practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, without music. Having gained a taste for the three attack positions, participants were encouraged to replicate and manipulate attack using the <i>maracas</i> rhythm with their embodiment rhythm as reference. Their learning point was to play at the extremes of earliness and lateness whilst still being musical, returning to the centre as contrasting relief.<br />
<br />
<b>Exercise Three: Ensemble synchrony and autonomy, 'laid back' and 'pushed' attacks</b><br />
Group practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, without music. A steady embodiment rhythm (as reference) was maintained by all participants in ensemble. This time, each participant was empowered to explore attack position (using their <i>maracas</i>) while in ensemble. The only two caveats where that synchronicity and musicality be maintained.<br />
<br />
<b>Exercise Four: Effect of 'laid back' and 'pushed' attacks on relationship to music</b><br />
Solo practice, <i>son montuno</i> <i>maracas</i> rhythm, <i>atiempo</i> embodiment rhythm, to music. Participants were encouraged to discover if their relationship to instruments in a track changed when they adopted a different attack. For this exercise, a participant selected and played an attack position, then listened for which instruments (s)he had a clearer relationship with.<br />
<br />
They all came back with a "yes".<br />
<br />
<b><span style="font-size: large;">Discussion</span></b><br />
<br />
<b>1. The instruments you have a clear relationship with have a different attack</b><br />
Let's take as an example, if the piano was 'in the pocket' and the <i>congas</i> were 'laid back'.<br />
Playing <i>maracas</i> (or any other instrument):<br />
<ul>
<li>'in the pocket' would mask the piano, and one would experience the relationship the pianist has with the <i>conguero;</i></li>
<li>'laid back' would mask the <i>congas</i>, and one would experience the relationship the <i>conguero</i> has with the pianist; and,</li>
<li>'pushed' would cause one to experience a qualitatively different third-party relationship with both the pianist and the <i>conguero</i>.</li>
</ul>
<b>2. Percussion attack is affected by accustomed dance attack</b><br />
This is particularly so with novices whom have yet to achieve 'attack independence'. If a participant is accustomed to dancing 'laid back', then the <i>maracas</i> attack will tend to it as well. Even if the participant intends a 'pushed' attack on <i>maracas</i>, early attempts will tend for it to be later than intended <i>i.e.</i> somewhere between 'pushed' and 'in the pocket'.<br />
<br />
With novices. the attack of playing will be close to the attack of dancing, but it won't be identical. Both embodiment and instrument attack will have a close, comfortable relationship. Most people find the masking effect of identical attacks to be disconcerting.<br />
<br />
<b>3. Attack can be used as a diagnostic method</b><br />
If a participant where to play and dance at his/her accustomed attack, then his/her relationship to the instruments can be used to derive the position of his/her attack. For example if there where three instruments of different attack:<br />
<ul>
<li>lead vocals 'pushed'</li>
<li>piano 'in the pocket'</li>
<li><i>conga</i> 'laid back'</li>
</ul>
A strong music relationship with the <i>conga</i> and vocalist would indicate an attack closer to 'in the pocket'. Taking it one step further, if there where two participants, each having a strong relationship with the piano, but one with the lead vocals and the other with the <i>conga</i>; it would indicate a potential challenge in dancing together, especially if the leader was the former and the follower was the latter.<br />
<br />
Yeo Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0Sheffield, UK53.381128999999987 -1.4700850000000453.078144999999985 -2.11553200000004 53.684112999999989 -0.82463800000004006tag:blogger.com,1999:blog-26378213.post-2118399864329308062017-01-21T12:05:00.000+00:002017-01-22T12:21:41.527+00:00Synchronous Rhythm And Autonomous Rhythm In EquilibriumLast Tuesday's <i>solares</i> began not quite as well as I would have liked.<br />
<br />
It was supposed to start off with a simple warm-up of <i>son montuno</i> <i>maracas</i> rhythm, "slowandslow" embodiment rhythm variation, and infinity engine; and build from there. What I got instead was one out of three: the "slowandslow" embodiment rhythm variation. The infinity engine was a no-show. More disconcertingly the <i>maracas</i> strokes were played in direct correlation (1:1) with the embodiment rhythm instead of the proper twice the cycle speed.<br />
<br />
Evidently the participants had failed to invest in themselves with practice. But at least they were honest about it. There was nothing to be gained from anything other than turning the workshop into an extended practice session. So I shelved the intended content and designed the practice session on-the-fly. For the practice session to be useful, it could not be a dry punitive exercise in drudgery; that would hardly be an incentive for later self-practice. The session needed to be interesting and challenging and rewarding.<br />
<br />
A deeper evaluation of their proficiencies was needed, so I asked them to perform the embodiment rhythm and the <i>son montuno</i> <i>maracas</i> rhythm without music. It didn't take long to see that participants:<br />
<ul>
<li>were unaccustomed to playing on their own;</li>
<li>relied on music as a crutch; and</li>
<li>had never listened critically to the musicality of their playing <i>i.e.</i> it was purely mechanical in sound production.</li>
</ul>
These characteristics are not uncommon in developing percussionists. Therefore what had to be done next was principally well-established: to increase the quality of execution by improving musicality. The novelty was that I would use a balance of synchrony and autonomy exercises to achieve it. Synchronous practices would help diffuse my playing expertise through the group. Autonomous practices would promote the sense of individual ownership over their playing.<br />
<br />
<b><span style="font-size: large;">Synchronous Practices</span></b><br />
<br />
<b>Exercise 1: Side-by-side, facing the same direction</b><br />
Paired practice. No music. Caribbean sway. "quick, quick, slowandslow". <i>son montuno</i> <i>maracas</i> rhythm. Changing partners at each iteration.<br />
<br />
I deliberately didn't specify whether to execute this in phase or not, so participants freely experimented. Participants noted that their ability to synchronise with their partners improved with each iteration. When they partnered with me, their phrasing improved and their <i>maracas</i> began to sound less mechanical and more musical.<br />
<br />
<b>Exercise 2: Side-by-side, facing the same direction, "front" cue</b><br />
Paired practice. No music. Caribbean sway. "quick, quick, slowandslow". <i>Son montuno</i> <i>maracas</i> rhythm. Changing partners at each iteration. One partner designated static, the other moving.<br />
<br />
With the "front" cue, the designated participant moves from the side position to in front of and facing their partner.<br />
With the "side" cue, the designated participant returns to the side position.<br />
<br />
This exercise introduces perturbation by requiring movement and the suppression of mirror neuron stimulus in the face-to-face position. With respect to the latter: all participants were dextral, and as a result, a mirror image cannot be maintained between partners' hands when they faced each other.<br />
<br />
Participants were given the scope to explore the effect of phase under their own initiative. Again, each participant's ability to maintain synchrony with their partner improved iteration upon iteration as they 'toughened up' against the disturbances (<i>i.e.</i> became more autonomous).<br />
<br />
<b>Briefing: concordance and opposition positions</b><br />
Synchronous rhythmic activities are easier in the side-by-side 'concordance' position. There is less reliance on the visual sense and, consequently, proportionally more use of the aural and kinesthetic. Confusion due to mirror neuron activity due to asymmetry is also minimised. The converse holds when partners adopt the face-to-face 'opposing' position.<br />
<br />
<b><span style="font-size: large;">Autonomous Practices</span></b><br />
<br />
<b>Exercise 3: Side-by-side, facing the same direction, "turn" cue</b><br />
Paired practice. No music. Caribbean sway. "quick, quick, slowandslow". <i>Son montuno</i> <i>maracas</i> rhythm. Changing partners at each iteration. One partner designated static, the other moving.<br />
<br />
With the "turn" cue, the designated participant executes a half turn on the spot.<br />
<br />
Partners begin by establishing synchrony. Upon issuance of the "turn" cue, the moving partner executes a slow half turn away from the static partner. This has the effect of decreasing the sound volume of their <i>maracas</i> (<i>i.e.</i> increasing autonomy) over the first quarter turn; and then increasing the sound volume (<i>i.e.</i> decreasing autonomy) over the second quarter turn.<br />
<br />
Some participants experienced a sensation of 'tension synchrony' as if they were pulling against elastic when they turned away, and the elastic tension dissolved when they turned back to their starting position.<br />
<br />
<b>Briefing: "what's autonomous?"</b><br />
Participants where not clear on the property of autonomy. This was because the requirement for autonomy is fleeting with Exercise 3 when the designated partner turns away from the static partner, presenting her/his body as a sonic baffle. The presence of 'tension synchrony' may have masked the sense of autonomy. I had a more involved exercise which would clarify that...<br />
<br />
<b>Exercise 4: Side-by-side, facing the same direction, "turn-back-turn-front" cues</b><br />
Paired practice. No music. Caribbean sway. "quick, quick, slowandslow". <i>Son montuno</i> <i>maracas</i> rhythm. Changing partners at each iteration. One partner designated static, the other moving.<br />
<br />
With the "turn" cue, the designated participant executes a half turn on the spot, to face the opposite direction<br />
With the "back" cue, the designated participant moves diagonally-forward into a back-to-back position with the static partner.<br />
With the "turn" cue, the designated participant executes a half turn on the spot, to face the static partner's back.<br />
With the "front" cue, the designated participant moves diagonally-forward to their original start position.<br />
<br />
Autonomy is explored:<br />
<ul>
<li>symmetrically after the "back" cue when both partners are unable to hear each other; and,</li>
<li>asymmetrically after the second "turn" cue when the static partner can hear the moving partner but not <i>vice versa</i>.</li>
</ul>
<b><span style="font-size: large;">Conclusion</span></b><br />
<br />
At the end of the session, participants felt that they:<br />
<ol>
<li>were playing more musically;</li>
<li>understood each other's music-making personality better;</li>
<li>were more capable of synchronising to others; and</li>
<li>had greater autonomy and thus were less perturbable.</li>
</ol>
This session served as a taster in the delicate power possible when synchronous rhythm and autonomous rhythm are held in balance.<br />
<br />
Despite its inauspicious beginnings, the outcomes in synchrony, autonomy and self-realisation were encouraging. I foresee that <i>solares</i> will adopt this tack for the next few weeks, so that the good work done so far does not go to waste.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-90339331493117566742017-01-04T12:49:00.000+00:002017-01-21T12:03:45.102+00:00The Compression HoldA weakness of the basic <i>contredanse</i> hold without pelvic contact between partners is exposed when the follower is led to move directly backward.<br />
<br />
The only lead force in that direction comes from the picture arms (lead's left, follower's right) which, extended distally from the bodies, introduces a turning moment around the vertical axis of the spine.<br />
<br />
An equilibriating moment cannot be provided by the enclosing arms unless:<br />
<ul>
<li>the palms of both dancers are able to extend to the far side of their partner's spines;</li>
<li>the follower provides 'hand brake' resistance by pushing her left hand against the ventral face of the leader's right shoulder; or,</li>
<li>the partners to maintain contact along their embracing arms as a integrated member - follower's underside, leader's topside - using friction, and resolving the turning moment via core muscles of the abdomen.</li>
</ul>
These strategies are less than ideal because they rely on the follower's core muscles' ability to resist rotation. How much resistance is enough? How would the dancer distinguish between a turning moment as a by-product of the hold, or one actually intended as a lead-information, without prior knowledge of the intended choreography?<br />
<br />
<b>The Compression Hold</b><br />
places the follower between two gentle and equal opposing forces so that no turning moment is created when led to move backwards. This is achieved through simple modifications to the <i>contredanse</i> hold.<br />
<br />
From the lead's perspective:<br />
<ol>
<li>the palm and wrist of the picture (left) arm is oriented to the follower's spine on the vertical plane;</li>
<li>the wrist of the enclosing (right) arm is placed on the point of the follower's torso such that the lead's left palm, the follower's spine, and the lead's right wrist lie on a straight line; and,</li>
<li>a gentle force inward to the follower's spine (vertical turning axis) is applied from each wrist, thus placing the follower under compression.</li>
</ol>
From the follower's perspective:<br />
<ol>
<li>the palm and wrist of the picture (right) arm is toned to complete the compression frame, requiring a matched resistant force against the leader's inward-squeezing force.</li>
</ol>
The remainder of the session was spent assessing the effectiveness of compression hold in linear cardinal directions; and, in rotations of the partnered-frame where the vertical turning axis was located: mid-point between the partners, through the lead's spine, and through the follower's spine.<br />
<br />
Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-12316976989824186392017-01-04T11:45:00.000+00:002017-01-13T08:26:27.915+00:00The Infinity EngineIt's the first workshop of 2017 and <i>Solares</i> participants have officially surprised me.<br />
<br />
I've never had the luxury of laying down such a comprehensive foundation before (three years in March) and there had been hints, through questions asked and connections made, that we were on the cusp of a critical advance.<br />
<br />
Last night we began with a "slowandslow" warm-up; which functioned as a recap for those who had attended the week before, and a chance for me to bring those whom hadn't up to speed. By the third song, after some minor remediation of foot 'turnout' to free up the hips, everyone displayed a smooth rhythmic flowing joint cascade from ball of foot to hips.<br />
<br />
I thought I'd '<a href="http://www.urbandictionary.com/define.php?term=risk%20it%20to%20get%20the%20biscuit">risk it, biscuit</a>'<br />
<br />
<b>The Infinity Engine</b><br />
I paused the music and asked everyone to extend the joint cascade "upward to the floating ribs and across into the (solar) plexus".<br />
<br />
Although bio-mechanically inaccurate since the floating ribs can't be articulated in a manner in-line with the cascade, the learning point still manages to encourage lateral movement of the torso using the lower back. The 'floating rib-plexus' learning point:<br />
<ul>
<li>elevates the part of the body calibrated to the beat from the foot to the torso;</li>
<li>enables the torso's rhythmic articulation to function as the master clock, distributing timing to the extremities;</li>
<li>activates a kinaesthetic unit (<i>i.e.</i> torso) which is universal (<i>i.e.</i> involved in all movement activity) and congruent with the perceived seat of emotion (<i>i.e.</i> heart), laying the foundation for linking the feeling of movement with the feeling of emotion (<i>i.e.</i> how we move affects how we feel); and,</li>
<li>promotes earlier foot-placement in preparation for transfer of weight, subconsciously, rendering the dancer less perturbable to partner vibration due to the earlier traction event.</li>
</ul>
When the music resumed, I could see each and every one pulling the rhythm up from the floor like a long pair of socks, up to their ribs. A little learning intervention was involved where I performed the practice with each participant behind me, his/her palms pressed to either side of my rib cage.<br />
<br />
As their lateral torso movement came under improved control, the rounded hip action (due to torque from the joint cascade) began filtering through. The result was a lower-torso or 'floating rib' action which described on the horizontal plane a symmetrical infinity symbol ∞. This was how it was described by one of the participants, and I think it's a snazzy description (for those with a maths/physics background) for the Cuban <i>son</i> engine.<br />
<br />
At the end of the exercise, I asked for their feedback. It was seismic. Everyone felt a greater response to, and a heightened engagement with the music. Dancers whom considered themselves extremity-centric or internally silent discovered themselves transformed, alive with a new palpable feeling of rhythm at the centre of their being.<br />
<br />
The big leap for me was that, in the past, I would have to teach the infinity engine deliberately; which was not always the best solution - the results would look forced, and it would always take more work to make it look natural. This route, with the right building blocks in place, resulted in the natural generation of the infinity engine. "At last!" I thought to myself.<br />
<br />
The discussion bounced back and forth with passionate energy. One observed that the infinity engine was unforced compared to the rumba engine. Another wondered if her hips were moving too much. Then someone asked, "how do we translate Tuesdays (workshop material) into Saturdays (dance nights)?" There were nods of agreement.<br />
<br />
Giddy with success, I risked another biscuit... (see following post)<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0Sheffield, UK53.381128999999987 -1.4700850000000453.078144999999985 -2.11553200000004 53.684112999999989 -0.82463800000004006tag:blogger.com,1999:blog-26378213.post-17725136244636636962016-12-28T11:11:00.001+00:002016-12-28T14:23:38.895+00:00"slowandslow"Yesterday's <i>Solares</i> fell in that 'no man's land' between Christmas and New Year. With some regulars being away or unavailable during the festive season, I was presented with a double-length session; an opportunity which I was all to happy to take advantage of.<br />
<br />
The circumstances demanded a programme of content which was:<br />
<ul>
<li>varied or simple-but-challenging enough to avoid learner saturation;</li>
<li>non-core so as not to penalise those who couldn't attend; and yet,</li>
<li>of meaningful importance to benefit those who'd committed to attend.</li>
</ul>
Tricky. Very tricky.<br />
<br />
I briefed them that this workshop was going to be all about elevating the quality of what they already had.<br />
<br />
<b>Warm Up: Simple embodiment transitions, with <i>maracas</i></b><br />
Solo, to music. Playing <i>maraca</i> rhythm. Lower body moving between the Caribbean sway, marking rhythm on the spot, walking forward.<br />
<br />
Warming up with the <i>maracas</i> exercise was the cornerstone to the workshop's design because: it allowed me to assess the quality of participants' dance 'slows' as transited through Caribbean sway to walks; and, it opened up an alternative route in the workshop narrative - back to <i>maracas</i> development - should participants become learning saturated with the primary activity.<br />
<br />
<b>Briefing: The "slowandslow" vocalisation</b><br />
Even though the "quick, quick, slow" vocalisation (of last session) makes sense, there is a fundamental flaw in the vocalisation - the word "slow" is only one syllable long. Dancers using the vocalisation will time their movements to the rhythm of the vocalisation, instead of the logic of the vocalisation <i>i.e.</i> they will dance three quick movements instead of two quick and one slower.<br />
<br />
To achieve the desired slow movement, the vocalisation needs to be changed such that the 'slow' is rhythmically longer yet still logical. The ballroom adaptation is useful to know, and highly successful. The vocalisation is: "quick, quick, slowandslow".<br />
<br />
<b>Exercise One: "slowandslow" with long nails</b><br />
Solo, without music. Long nails practice synchronous with the "slowandslow" (beats 3&4) vocalisation.<br />
<br />
<b>Exercise Two: "quick, quick, slowandslow" with long nails</b><br />
Solo, without music. Complete embodiment rhythm, on the spot. Long nails practice synchronous with the "slowandslow" (beats 3&4) vocalisation. I danced with each participant to provide a movement archetype as reference.<br />
<br />
<b>Exercise Three: "quick, quick, slowandslow" with long nails</b><br />
Solo, to music. Complete embodiment rhythm, on the spot. Long nails practice synchronous with the "slowandslow" (beats 3&4) vocalisation.<br />
<br />
Participants reported feeling a deeper quality of relationship with the floor, almost adhesive and elastic. Once acquired they found it challenging to revert to their customary more superficial relationship with the floor. I introduced them to the concept of 'quality of movement' and labelled what they were experiencing as "deep movement" and "light movement" respectively.<br />
<br />
<b>Exercise Four: Relationship of qualities of movement with music</b><br />
As the participants became accustomed to the exercise, freeing up cognitive headroom, I asked them:<br />
<ol>
<li>"Does quality of movement affect your relationship with the music?"</li>
<li>"Which instruments do you have a stronger relationship with using light movement?"</li>
<li>"Which instruments do you have a stronger relationship with using deep movement?"</li>
<li>"Are there any instrument-relationships which do not change?"</li>
</ol>
The answer came back a resounding "yes". How you move affects how you listen. One song demonstrated this clearly: Los Hermanos Lebron's updated "<i>La Temperatura</i>" from their 40th Anniversary album, vol.2. (2009).<br />
<br />
At this point, after multiple iterations, participants were comfortable with individual practice. It seemed prudent to provide them with a broader more relevant context, and introduce an additional variable.<br />
<br />
<b>Exercise Five: "quick, quick, slowandslow" in the <i>rueda de casino</i> context</b><br />
Partnered, without music. <i>Rueda de casino</i> basic step, attenuated partner hold.<br />
<br />
The basic step involved a small back step on the circumference side and a small forward step on the axial side on the quicks, and a close step (not a <i>guapea</i> side step) in-between on the slows.<br />
<br />
I demonstrated how the basic step could be derived from the Caribbean sway by: contracting the width of the side step until a close step; and, converting the axial step from a small back step to a similarly-sized forward step.<br />
<br />
The attenuated hold avoided the overtly expansive arm-cycling on the circumference side, and maintained contact between palms on the axial side throughout.<br />
<br />
By silencing the consciously-induced noise from the arms, participants were able to feel how movement born of the upward joint cascade flowed into the partnership frame. Participants found this revelatory; how the torque built up from the floor manifested itself in articulations of the <i>contredanse</i> hold, as natural resultant movements - the same movements which are commonly overtly 'simulated' by dancers without those skills.<br />
<br />
This is the difference between derivative movement (former), and prescriptive movement (latter).<br />
<br />
At this point, the two hours where up. In the excitement of discovering the relevance of "slowandslow"-sponsored movement quality in the <i>rueda</i> basic, I think participants' overlooking of the 'big picture' difference between derived and prescribed movement can be forgiven. It gives me something to dedicate a <i>Solares</i> workshop to in the future.<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-3035538497516227242016-12-20T23:31:00.000+00:002016-12-27T13:22:30.311+00:00Dancing The SlowsSalsa's basic embodiment rhythm may be interpreted in two ways:<br />
<ol>
<li>three steps and a pause, all for of which are of equal duration, or</li>
<li>three steps of which two are 'quick' and one is 'slow' where a 'slow' equals two 'quicks'.</li>
</ol>
Previously in <i>Solares</i>, participants have been unconsciously using the former. This is a by-product of coming from a count-based convention "1,2,3;5.6.7".<br />
<br />
Execution of the 'slow' can be achieved via:<br />
<ol>
<li>increasing the distance the limb needs to travel by 100% while maintaining limb-joint speed, or</li>
<li>decreasing the limb-joint speed by 50% while maintaining distance to be travelled.</li>
</ol>
That <i>Solares</i> participants encountered difficulty in the transition from the Caribbean sway to on-the-spot movement last session indicated that they were reliant on travel distance as their rhythm-governor, and not proficient with control over their joint speed.<br />
<br />
<b>Why the slows?</b><br />
Control of 'joint-speed' or 'rate of flexion/extension' allows for the space in-between beats to be filled with movement according to the conscious will of the dancer. This is could be for partnership comfort and creative aims, for example. The skill facilitates the use of more complex rhythm structures, and effective execution of the 'Human Dance Recorder' practice.<br />
<br />
<b>The 'Long Nails' Practice</b><br />
Participants were asked to pretend that there was a long nail beneath the raised heel, and to imagine driving the nail into the floor by standing on it. The speed of descent could be slowed by imagining that the floor was made out of denser but still yielding material. Targeting the heel in the learning metaphor addresses control the knee, ball of foot and ankle.<br />
<br />
<b>Exercise One: Just the 'slows'</b><br />
Solo, without music, on the spot. Participants were asked to use the 'long nails' practice under each heel in alternation, moving only during the 'slow'. I provided the vocalisation of "quick (beat 1), quick (beat 2), slow (beats 3&4)", and participants were encouraged to vocalise as well.<br />
<br />
<b>Exercise Two: Just the 'slows', to music</b><br />
As Exercise One (above), to music.<br />
<br />
<b>Exercise Three: Complete embodiment rhythm, on-the-spot</b><br />
Solo, to music, Participants were asked to embody the full rhythm, in place, using the vocalisation "quick, quick, slow" with special attention to the long nails on the 'slows'.<br />
<br />
<b>Exercise Four: Caribbean sway and on-the-spot embodiment transitions</b><br />
Solo, to music, on the spot. Lower body moving between the Caribbean sway and keeping rhythm on the spot. This exercise was the 'acid test', to observe whether the participant could produce 'slows' based on increased travel distance and decreased joint-speed respectively.<br />
<br />
<b>Observations</b><br />
All participants made good attempts. Responses to the practice were within the standard range, with no positive nor negative outliers. I will have to make room for this practice in ensuing sessions until proficiency is attained.<br />
<br />
What was very welcome was the quality of personal observation-based feedback from the participants:<br />
<ul>
<li>One noted how his accustomed posture was inclined too much forward, which compromised his ability to apply smooth pressure on the 'nail', which he consequently remedied with a change to a more upright position.</li>
<li>One realised that his foot-placement was late, which curtailed the duration of his 'slows'. He'd spent a greater proportion of the exercise time, addressing foot placement (necessarily), instead of 'pressing on nails'.</li>
<li>One noticed that her pelvis was 'bobbing up' on the vertical plane, as she tried to get more weight on top of the imaginary nail. She observed this bobbing in her reflection in a night-time window, and corrected it by keeping her pelvis at the same vertical distance to the floor throughout the 'long nail' exercise. This 'bobbing up' is a common fault and can be remedied through observation of a reflection or, if one isn't available, a palm-to-palm practice with a stationary partner to provide the kinesthetic feedback.<br />
For more, see Item 2 under 'Learning Tips' in:<br />
<a href="http://wwww.salsa-merengue.co.uk/VidTutor/merengue/lbaction/det_lba.html">http://wwww.salsa-merengue.co.uk/VidTutor/merengue/lbaction/det_lba.html</a></li>
</ul>
It's a credit to them that they were not only able to observe issues with their movement, but to understand the cause, devise a solution, and implement it independently. Moreover, during our wrap-up discussion, they actively talked about how they saw the skill as being useful to them in their future dance development.<br />
<br />
I could not be more pleased.<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-68139607709404922262016-12-17T15:30:00.002+00:002016-12-17T15:31:45.606+00:00The Human Dance RecorderThis workshop attends to the aspects of physical communication in partnered dance. It takes a method developed by psychotherapist Carl Rogers in 1951 and applies it to dance. A relevant synopsis may be found in:<br />
<br />
"<a href="https://books.google.co.uk/books?id=kFezQjRaUOUC&pg=PA176&lpg=PA176&dq=%22human+voice+recorder%22+counselling&source=bl&ots=SHZ0WCmKqD&sig=NLuM579G7bhg2_Ob6yHUVybBEdI&hl=en&sa=X&ved=0ahUKEwjOkoGUj_vQAhXBrRoKHSczDJ8Q6AEIHDAA#v=onepage&q=%22human%20voice%20recorder%22%20counselling&f=false">A Rogerian Approach To Perfect Communications</a>" in "An Introduction to Organisational Behaviour for Managers and Engineers: A Group and Multicultural Approach" by Duncan Kitchin (2010) pp.176-177, UK: Routledge.<br />
<br />
The exercise described by Kitchin (a former colleague) is well-suited to translation into social partnered dance, and it stimulates each participant broadly to ask:<br />
<ul>
<li>Is that what I wanted my partner to feel?</li>
<li>Has my partner understood what I feel about <i>ritmo</i> (dance and music alike)?</li>
</ul>
<b>Exercise One: Building the rich picture</b><br />
Partnered, to music. Caribbean sway basic, to Caribbean partnered hold.<br />
<ol>
<li>"Pay attention to how your partner moves: the qualities of movement, the timing."</li>
<li>"Use what you're seeing and feeling to construct a mental image of your partner as you dance."</li>
<li>"You may find it useful to do this with your eyes open and shut."</li>
<li>"Build as rich a picture of your partner as you possibly can."</li>
</ol>
Note: <i>Solares</i> participants were able to perform this task easily because they had become accustomed to higher cognitive load; through dancing while playing <i>maracas</i>. Not having to play <i>maracas</i> gave them the greater <a href="http://www.educ.ualberta.ca/staff/olenka.bilash/best%20of%20bilash/cognitive%20capacity.html">cognitive capacity</a> to engage successfully with the exercise.<br />
<br />
<b>Exercise Two: Embodying the rich picture</b><br />
Partnered, to music. Caribbean sway basic, to Caribbean partnered hold.<br />
<ol>
<li>"Holding the rich picture firmly in you head, dance the rich picture."</li>
</ol>
This exercise is designed to cause each participant to change their quality of movement by simulating that of their partner: by the physical manifestation of the rich picture.<br />
<br />
<b>Exercise Three: Validating the rich picture</b><br />
New partners. Partnered, to music. Caribbean sway basic, to Caribbean partnered hold.<br />
<ol>
<li>"Holding the rich picture of your previous partner firmly in you head, embody the rich picture."</li>
</ol>
The accuracy of the rich picture embodiment was tested/validated with a different partner.<br />
Note: this could be done because the <i>solares</i> participants have become familiar with each others' <i>ritmo</i> over the years.<br />
<br />
<b><span style="font-size: large;">Observations</span></b><br />
<br />
The ability to characterise <i>i.e.</i> construct a rich picture, then embody it, varied between the participants; ranging from a lack (due to misconstruation) to accurate enough to elicit excited exclamations of "it feels like I'm dancing with *name of other participant*!"<br />
<br />
Where the point of the exercises were misconstrued, both partners, instead of constructing a rich image of the other, each created an identical rich image hybrid of the other and themselves. In other words, instead of:<br />
<ul>
<li>Partner A creating-and-embodying a rich picture of Partner B and <i>vice versa</i>,</li>
<li>Partner A created-and-embodied a rich picture hybrid of Partner A+B, as did Partner B.</li>
</ul>
This was a happy error, because it allowed the group the explore: the extremes of the range (characterisation of the self, or the other) and the mid-point (characterisation of the blended self plus other).<br />
<br />
As the exercises ran through several iterations, the delight led increasingly to a distortion of the rich image into caricature - an over-emphasis of the other's traits. I cautioned that while caricature was fun and would make certain traits more obvious, this might limit the usefulness of the 'Human Dance Recorder' practice as a means of personal reflexion. Exaggeration would make it difficult for the recipient to:<br />
<ol>
<li>evaluate the qualitative extent of a trait;</li>
<li>decide whether it should be modified; and</li>
<li>how to prioritise its correction relative to other traits in a heirarchy of correction.</li>
</ol>
I recommended that the rich picture be more photo-real than caricature.<br />
<br />
<span style="font-size: large;"><b>Closing</b></span><br />
<br />
The session ended with three questions for reflexion.<br />
"What is this 'Chapter: Characterisation' about?"<br />
"What skills are needed?"<br />
"Why is this useful?"<br />
<br />
Loo Yeoloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-68249569894929145422016-12-14T23:49:00.000+00:002016-12-24T13:28:12.696+00:00Phase Changes: Symmetry Versus AsymmetryLast night I had the participants all to myself, for a whole two hours, because my partner-in-teaching-crime had abandoned them to their fates, in favour of a blustery sojourn in England's North-East.<br />
<br />
It was a chance to build momentum and give them something to sink their teeth into. Based on the evidence of cognitive saturation witnessed last week, I knew that I would only be able to push them with <i>maracas</i>-embodied rhythm practices for 45 minutes; any more and they would tip over into super-saturation, impairing their learning ability. There had to be a contrasting activity for the remainder 75 minutes.<br />
<br />
So I decided to dedicate the first half of the double <i>Solares</i> session to <i>maracas</i>-embodiment activity, and the second half to a 'sneak peek' at an upcoming chapter for next year. The latter would contextualise more skills, allowing me to introduce them earlier than I'd planned.<br />
<br />
When the sun shines, it's time to make hay.<br />
<br />
<b>Warm Up: Complete <i>maraca</i> rhythm, <i>son montuno</i> version</b><br />
Solo, to music. Caribbean sway basic, <i>atiempo</i> embodiment rhythm. Playing the compete <i>maraca</i> rhythm.<br />
<br />
After three songs, it was time to make things more interesting:<br />
<br />
<b>Exercise One: Caribbean sway and on-the-spot embodiment transitions, with <i>maracas</i></b><br />
Solo, to music. Playing <i>maraca</i> rhythm. Lower body moving between the Caribbean sway and marking rhythm on the spot.<br />
<br />
Participants found it challenging to maintain steady <i>maracas</i> rhythm because of interference from the lower body rhythm. Once the long side-step of the Caribbean sway was denied to them (they'd been using the distance to absorb time during the 'slow'), participants were unable to absorb the time by slowing down the movement of their joints. This indicated an area of imminent attention.<br />
<br />
<b>Exercise Two: Simple embodiment transitions, with <i>maracas</i></b><br />
Solo, to music. Playing <i>maraca</i> rhythm. Lower body moving between the Caribbean sway, marking rhythm on the spot, walking forward.<br />
<br />
Playing the <i>maracas</i> rhythm while performing the salsa walk made the phase-change relationship between the instrument and the dance obvious.<br />
<ul>
<li>Salsa is a <i>symmetrical</i> dance <i>i.e</i>. a <i>different</i> leg is used at the beginning of each bar/measure of music</li>
<li><i>Maracas</i>-playing is an <i>asymmetrical</i> activity <i>i.e.</i> the <i>same</i> hand is used at the beginning of each bar/measure of music.</li>
</ul>
Put them both together and one bar will begin with the arm and leg of the same side, the next bar will begin the same arm with leg of the other side. For example:<br />
<blockquote class="tr_bq">
left arm-left leg; left arm-right leg; left arm-left leg; left arm-right leg...</blockquote>
This can be read as:<br />
<blockquote class="tr_bq">
in-phase; out-of-phase; in-phase; out-of-phase...</blockquote>
<div>
Correlating that with the brain's motor activity:</div>
<blockquote class="tr_bq">
right side fires; both sides fire; right side fires; both sides fire...</blockquote>
Hence the brain experiences a cyclical fluctuation in co-ordinative load during the performance of the <i>maraca</i>-embodiment rhythm.<br />
<br />
Based on their greater level of automation with the Caribbean sway, participants had worked out a progression for their practice: Caribbean sway > on the spot > salsa walk. When they became perturbed, they would return to the Caribbean sway instead of stopping. Likewise with their <i>maracas</i>: one set of double tones (4,4+); two sets of double tones (2,2+ and 4,4+); complete <i>maracas</i> rhythm.<br />
<br />
It was encouraging to see them all take charge of their own practice and to manage the levels of challenge in a scalar manner.<br />
<br />
By now, we were sailing close to the cliffs of cognitive saturation. It was time for a change. Time for '<a href="http://salsadiary.blogspot.co.uk/2016/12/the-human-dance-recorder.html">The Human Dance Recorder</a>'.<br />
<br />
Loo Yenloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0tag:blogger.com,1999:blog-26378213.post-45632321773157203712016-12-07T12:14:00.000+00:002016-12-24T13:25:31.936+00:00Complete Rhythm: Maracas, son montunoThere are two possible tracks of development in <i>Solares</i> after completing this chapter on the backbeat timeline. One is to proceed to a new chapter on backbeat applications, the other is to move to exploring the complementary downbeat timeline.<br />
<br />
Logically, it made sense to continue with the applications of the downbeat timeline, to climb as high up the Blooms Taxonomy pyramid as possible, until knowledge of the downbeat timeline became a rate-limiting requirement. And this was how it had been planned.<br />
<br />
However things changed when I asked myself, "if <i>Solares</i> stopped tomorrow, what would be my regrets for not having achieved?" I counter-weighted the answers by putting myself in <i>Solares</i> participants' shoes and asking, "what would be the earliest greatest boost to their morale?"<br />
<br />
The answer, loud and clear, was, "being able to play the full <i>maraca</i> rhythm."<br />
<br />
The confidence boost in becoming a fully-fledged instrumentalist-dancer is inestimable. And we were only one step away from achieving it, to reaching that First State of Independence - the learning sequence would require a little bit of juggling around, but the broad strokes of development would remain intact.<br />
<br />
So this is how it went.<br />
<br />
<b>Warm Up: Playing the <i>maraca</i> backbeat rhythm</b><br />
Solo, to music. Caribbean sway basic, <i>atiempo</i> embodiment rhythm. <i>Macho</i> in non-dominant hand, <i>hembra</i> in dominant hand. <i>Macho</i> tones on the backbeats (beats 4 and 2), <i>hembra</i> tones on the backbeat upbeats (beats 4+ and 2+); hence the basic <i>maraca</i> backbeat rhythm is played as <i>macho-hembra</i> couplets on beats 4,4+ and 2,2+.<br />
<br />
<b>Exercise One: <i>Maraca</i> backbeats call, downbeats respond</b><br />
Solo, to music. Caribbean sway basic, <i>atiempo</i> embodiment rhythm. As per 'Warm Up' above. In addition, I provided a single shaker tone on the downbeats (beats 1 and 3). Participants were encouraged to listen to the tones as a '<i>coro-pregón</i>' or 'call-and-response'; participants played the 'call', I played the 'response'.<br />
<br />
<b>Briefing: The complete <i>maraca</i> rhythm, <i>son montuno</i> version</b><br />
Backbeats: <i>macho-hembra</i> couplets on beats 4,4+ and 2,2+, played close to the body.<br />
Downbeats: <i>macho</i> single tones on beats 1 and 3, placed slightly further away from the body.<br />
The rhythm begins with the <i>macho-hembra</i> backbeat couplet on beats 4,4+<br />
<br />
Complete rhythm is: 4,4+; 1; 2,2+; 3; (repeat)<br />
Complete rhythm vocalisation is: "chik-a-chik / chik-a-chik" where:<br />
<ul>
<li>the first "chik" denotes the backbeats (beats 4 and 2)</li>
<li>the "a" denotes the backbeat upbeats (beats 4+ and 2+)</li>
<li>the second "chik" denotes the downbeats (beats 1 and 3)<br /> </li>
</ul>
<b>Exercise Two: Complete <i>maraca</i> rhythm, <i>son montuno</i> version</b><br />
Solo, to music. Caribbean sway basic, <i>atiempo</i> embodiment rhythm. Playing the compete <i>maraca</i> rhythm as per briefing (above).<br />
<br />
The past two month's work paid dividends. Every <i>solares</i> participant succeeded in this challenging task: each dancer was able to dance an <i>atiempo</i> rhythm on the embodiment timeline, simultaneously playing the <i>son montuno</i> <i>maraca</i> rhythm.<br />
<br />
There's always more to do. But for that moment, it was a pleasure to revel in the success.<br />
<br />
Looloo yeohttp://www.blogger.com/profile/01446058534850979293noreply@blogger.com0