Hierarchy of Advancement Workshop Thirteen

Section I - Rumba Guaguancó

Exercise: Guaguancó basic walk, accenting with a 'drop'
Revision of this practice from Workshop Ten and Eleven. Additional refinements: the reaction force of the 'drop' on the floor is used to reinforce the up-stroke of the engine; the stroke size of the engine is varied according to prevailing conditions e.g. partnership strength and musical characteristics.

Exercise: Guaguancó static basic, vocalising the basic drum rhythm
Solo. This exercise articulates the relationship between the dance rhythm and guaguancó's a capella music. It also establishes a two-component time-code. The Havana variant is used and vocalised as 'gung-ging-ging-gung'.

Exercise: Guaguancó basic walk, vocalising the basic drum rhythm
Solo. Basic walk with 'drop' accent. The walks are initially side to side, then forward and backward, then with changes in orientation.

Exercise: Guaguancó basic walk, vocalising the basic drum rhythm
Partnered. Basic walk in pursuit-and-capture mode.Without and then with music.

Exercise: Rumba torso engine development
Solo. Static practice, feet shoulder-width apart. Shifting weight every torso cycle: centre-right-centre-left-(repeat). Ensure that shoulders remain level, and that weight is fully transferred to each leg when cycling to the right and the left. Add vocalisation of drum rhythm.

Section II - Contratiempo

Concept: Synthesising a time-code to musical forms
Rhythmic timelines exist in all forms of popular music. In Cuban-derived music, a dancer:

1. recognises at least one existing auditory timeline;
2. creates a dance rhythm timeline
3. synchronises the dance rhythm timeline to the auditory timeline; and 
4. synthesises a time-code of two (or more) timelines.

He or she might optionally add physical interpretations of other timelines e.g. torso synchronised to the pulse. Time-code stability is enhanced with successful incorporation of each rhythmic timeline. 
 
Briefing: Importance of the tumbao moderno's slap stroke
The slap stroke is a dry sharp sound which though distinct, can be masked by other sharp sounds like the wood-block or bell. In the basic tumbao moderno, it is located on the second African downbeat or first European backbeat (European beat 2). Locating the position of the slap stroke is important because one step of the dance rhythm is synchronised to it.

Practice: Drumming the African downbeats/European backbeats
Solo. Playing the double-open tones and slap strokes. Without music, and then to music.

Exercise: Vocalising the African downbeats/European backbeats
Solo. Playing the double-open tones and slap strokes, then vocalise "gung-gung" and "pak" synchronously, respectively. Without music, and then to music.

Practice: Converting a count to non-verbal cues of action
Solo. Contratiempo example, to music.

1. Initiate a four-beat count: "one–two–three–four–"
2. substitute 'pak' and 'gung-gung' accents: "one–pak–three–gung-gung–"
3. substitute a ghost syllable 'um': "um–pak–um–gung-gung–"
4. synchronise dance rhythm to the vocal accents, where the first beat/step of the dance rhythm coincides with 'pak', and the third beat/step of the dance rhythm coincides with the first 'gung'
5. subvocalise the cues.

Exercise: Comparing the synchronisation of movement to verbal and non-verbal cues
Solo, to music. Assessing the qualitative nature of verbal and event-led (non-verbal) cues to movement.

Exercise: "Is the difference between the use of verbal and non-verbal cues externally discernible?"
Partnered, to music. As the exercise immediately above. Can your dance partner tell the difference?

looyenyeo