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Kizomba and the protagonism of the woman in dancing

Women in dancing

A society has a large number of art expressions that reveal how each one of its members is perceived in the cultural field. One of them is the dancing, which permits us to illustrate how men and women are seen by everybody. It is no coincidence that the man has always been the one to set the pace for his female counterpart to follow during any given social dance, so we can say that the woman was nothing more than a passive element who had to await her partner’s instructions.

After decades of intense struggle for women’s rights, a number of profound cultural changes were taking place that led to the biggest transformation we have ever had as a society. Music and the arts in general certainly could not escape this reality.

One of those changes came about with a greater role for women in social dances, who are no longer so dependent on their male partner as they used to be in the past. Now, both members of the dance couple are very important for the execution of any choreography.

What role did kizomba play in this change?

Role of women in kizomba and dancing in general — Two women dancing kizomba

We all know women are no longer seen in the same way as decades ago, but there is still limited understanding on how this situation changed in dance. Well, one of the events that marked the end of male hegemony at the dance was the emergence of kizomba. This was the first musical genre in which both the man and the woman could be the ones who direct the dance pace. That does not mean men cannot remain the guide of the steps, but it does not have to be this way all the time. Gender roles no longer play an important role during the dance.

Due to the ease with which kizomba is danced, the roles of the partners of the couple can change at any moment without any problem. In the same way, the two can learn to carry on and be carried away to decide when the best time is to change the role of each of them. The wonderful thing about it is that both the man and the woman have greater freedom to follow or change the performance of the dance.

Women and its role in dancing — Women dancing kizomba in pairs

After the birth of kizomba, there has been the emergence of many other musical styles that further take into account women and give them a much more active role when dancing. That has enabled them to be more confident and secure in their movements on the dance floor.

In view of the fact that more and more women are encouraged to take charge during the dance, it is possible that both she and her partner begin to experience new sensations and emotions that none of them knew, which may be extremely beneficial for both of them. Along with exercising certain areas of the brain that we do not even know, we can also explore new personalities and ways of looking at life, which very important in dancing.

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Tips for dancing salsa with style and elegance

Dance tips for salsa

Elegance and good taste are very personal aspects for each of us, since we all perceive the world in a very different way. We can have some rather general ideas of what to be regarded as elegant and what not, but we are never going to agree on everything. This can be applied very well any aspect of life, but today we are going to focus on music.

For several years, salsa was seen as a low-level and often vulgar musical rhythm, dancing it in certain circles of society was not well received by a number of people. Fortunately, all that has changed radically in the last decades. What is even more, this Latin genre has earned so much prestige that it is now present in those same social circles that rejected it before. However, dancing salsa with a lot of class is not as easy as it is believed.

If it is true that this type of music is no longer perceived as vulgar, there are certain aspects to take into account when dancing it with great style and subtlety.

Tips for dancing salsa with style and elegance

One of the most important details to be in mind is good coordination between the members of the couple and the memory of an elephant that allow those involved to learn all the steps in the best way possible. Additional to that, one has to adapt to certain rules so that everything turns out as planned during the dance.

Learn the most basic you need to dance salsa

Dancing salsa with elegance and style — Two young people dancing salsa

First thing that should be taken into account is the learning the most basic things and their execution in the best way possible. One of the best-known characteristics of salsa is that it consists of three basic steps of a short sequence that are danced in a 4/4 beat. After having mastered this structure, dancers are trained to add more complexity to their movements.

Hear and understand the rhythm and the time

If you want to dance salsa with style, you have to understand music and rhythms as much as possible. The rhythms, the times and speed are the aspects that help dancers to coordinate their movements in the right way. If there is some ne interested in learning to dance salsa that feels that he is completely lost, he can start listening to salsa a lot more often. This will help him immensely to better understand this music and the rhythms that make it up.

What you have to do during learning ballroom dances

Dance tips for salsa — Young couple dancing salsa

If there is something that should never be missing in salsa is the partner dance, which makes this musical genre a much more pleasant experience for the two members of the dance couple. If they both want to dance as well as possible, they must understand each other’s movements to perfection. In the same way, both the man and his partner must perfectly understand each other’s speed and movements in order to anticipate them. In this sense, the members of the dance will be able to achieve a good harmony, which is an essential detail to achieve success in this sensual dance.

After future dancers have followed these tips, they will be trained to demonstrate their dancing skills on the dance floor.

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Everything you need to know about tarraxa

Tarraxa in Europe

It is amazing the number of African genres that have gained strength at this time. This can be seen in this in the huge amount of events that include these rhythms in Europe, which speaks of an important evolution in the musical ear of those who often did not listen to these styles.

One of those many rhythms is tarraxa, which has begun to play a leading role in dance classes taught in the Old Continent. These classes have managed to gather a large public and very interested in learning to dance genres different from those that they tend to listen to.

What is tarraxa?

tarraxa and traditional kizomba — interracial couple dancing tarraxa

Many people define tarraxa as a very modern way of dancing kizomba, in which the corporal expressions and the rapport between the members of the couple are the two most important details in the dance. This dance is full of sensuality and feelings, something that is not seen very often in more traditional versions of kizomba.

One of the major complications of traditional kizomba is the excessive softness and slowness of many of its rhythms, so the dancers simply do not know how to proceed sometimes. This is also the reason why many would find this African genre a bit boring and choose to look for other styles that are a little more cheerful and lively. Here is where other slightly more intense modalities come to life, such as tarraxa or batida.

When listening to songs based on this dance, it is possible to realize that the rhythm is very marked, allowing the dancers to have more flow and security in their movements. This and other new versions of kizomba derived from the need to try something different, modern and much more intense. Not everyone tastes calm and tranquility in the same way!

Expension of tarraxa through Europe and other latitudes

Tarraxa in the Old Continent — Couple dancing tarraxa closely

As already mentioned, tarraxa is closely related to kizomba, while many have dared to say that the first is nothing more than a more modern version of the second. Well, kizomba originates in Angola with the mixture of a rhythm known as semba with another one called kilipanda. If we have already said that tarraxa was born as a consequence of the modernization of kizomba, that means that we can conclude that tarraxa is also of Angolan origin. This makes its voyage around the world even more interesting.

After kizomba arrived in Europe through Portugal and other countries, this well-known genre has been intermingled with other more local rhythms as a consequence of the adaptation of the rhythms to the ears of its new audience. This resulted in the creation of new variants such as tarraxa, passada, saida, ventoinha, and so on.

The specific case of tarraxa is not very different from that of other musical styles from Africa. It has simply undergone modifications of all kinds to the point at which it resulted in what is now. Nowadays, it is one of the most present genres in events held in Europe and other parts of the world.

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Villariny Salsa Project from Puerto Rico

Committed to continuing the legacy of the greats in Salsa

Villariny Salsa Project made its debut on July 25th, 2009, at an international event held in Puerto Rico called “Puerto Rico Salsa Congress” where it was presented twice in the same year, as a prelude to Roberto Rohena and later, to the Gran Combo de Puerto Rico.

In the summer of 2010, Oscar Villariny (founder of the group) after working as a professional musician with salsa artists such as Gilberto Santa Rosa, Jerry Rivera, Puerto Rican Power, Viti Ruiz, Rey Ruiz, Anthony Cruz, Jose Alberto “El Canario”, Luigi Texidor, Tito Nieves, Michael Stuart, David Pabon, Johnny Rivera among others; began recording the first musical production which was entitled “En tu tiempo”.

Before making the “relayase” of the musical production, Villariny Salsa Project recorded the Christmas song “Trulla Caliente” to the rhythm of full, being a total success occupying the first positions in the radio lists.

In 2011, the first musical production of the band comes out with 8 songs, which has the hits “Que bien me va”, “Estoy Enamorao”, “Bendita la luz (salsa version)”, “A punto de Caramelo” and “Amigo es un peso en el bolsillo”.

This musical production was in charge of Mr. Tommy Villariny (arranger, musical producer, and trumpet player) who is Oscar Villariny’s father.

Within this production, he had the vocal coaching of Gilberto Santa Rosa, Victor Manuelle, Tony Rivas, Jerry Rivas (singer of the Gran Combo).

Villariny Salsa Project debuted on July 25th 2009 at an international event held in Puerto Rico called "Puerto Rico Salsa Congress". — Music Producer: Tommy Villariny & Oscar Villariny

At the time, it had a great acceptance from salseros and managed to be present in massive concerts such as Luisito Carrión (Roberto Clemente Coliseum), José Alberto El Canario (Tito Puente Theater), and the 2012 National Salsa Day. In 2014, VSP presented its second musical production entitled “De tu mano”.

This production has 10 songs and includes guest artists such as: Manny Trinidad (four Puerto Rican), Prodigio Claudio (four Puerto Rican), Camilo Azuquita, Luisito Carrión, José Alberto “El Canario (We were born in Salsa) and Medina Carrión.

The songs “De tu mano”, “Color Esperanza”, “Nacimos en salsa “and “Con computadora no feat NG2”, occupied the first positions in the radio waves.

In the year 2019, Villariny Salsa Project released a new music single entitled “Homenaje”, in honor of his father’s career and some of his successes by bringing together the same singers who originally recorded them such as Andy Montañez, Eddie Santiago, Rey Ruiz, and Viti Ruiz. “Many artists in the salsa genre have been hand in hand with my father Tommy Villariny to create what are successes today,” said Oscar Villariny.

Villariny Salsa Project released a new musical single entitled "Homenaje", in honor of his father's — Tribute to his father’s career

Our vision at Villariny Salsa Project is to make way for the New Generation and offer new opportunities, which is why Oscar Villariny (Founder of Villariny Salsa Project) is recording his first album with talented young people from the patio, produced by veteran musician Tommy Villariny.

Recently Villariny Salsa Project launched “Agua” available on all digital platforms.

Villariny Salsa Project presenta "Agua" feat. Mari Picorelli — Villariny Salsa Project presenta “Agua” feat. Mari Picorelli

The Villariny Salsa Project orchestra is a group with a lot of projection and refreshing for the industry.

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Project Pentagram Agrupación Gaitera de Venezuela in the USA

At present, Pentagram has international recognition for being the group that has made more national tours in the USA

Agrupación “Gaitera” was born in 2008 in the city of Miami, participating in various events and festivals, in 2012, they began to produce themes for the Spectator, which were very accepted by the public.

In 2017, the group was established as a group since they began to accompany great artists of the genre, as Neguito Borjas, Ricardo Cepeda, Nelson Arrieta, Rafael “Pollo” Brito among others.

Agrupación "Gaitera" was born in 2008 in the city of Miami, participating in various events and festivals, in 2012 begin to produce themes for the Spectator, which were widely accepted by the public — Project Pentagram Agrupación Gaitera de Venezuela in the USA

At present, Pentagrama has international recognition for being the group that has made more national tours in the USA and international tours in Panama, Chile, Spain, Argentina, and Colombia.

Members

Robert Richards-Four and Soloist

Jesus “Chuchito” Ibarra-Solista

Fernando Mindeola-Solista

Avelino Romero-Solista

Luis “Chua” Urdaneta-Congas y Coros

José Rafael Querales-Bajo y Coros

Gilberto Ferrer-Teclados

Ronald Guerra-Pianos

Adelmo Gauna-Battery – Timbal

Alejandro Araujo (Timbal)

José “Pokemon” Ferrer-Tambora

Melvin W. Alvarez-Charrasca

Melvin Álvarez Sr. – Furro

Arnaldo Quintero (Contra Bass)

Daniel González (Drums)

At present, Pentagrama is internationally recognized for being the group that has made more national tours in the USA and international tours in Panama, Chile, Spain, Argentina and Colombia — Project Pentagrama Agrupación “Gaitera” born in 2008 in the city of Miami

The Gaita and its History

In the first forms of bagpipes, the chants of the Mass that the Catholic missionaries taught, the percussion of the drums, the characteristic guttural sound of the furro (a derivative of the Zambomba), the maracas and the charrasca were combined, and the cuatro, derived from the guitar, together with the Spanish chants, represented the Iberian contribution.

The performance of the natives contributed the definitive style to this new music.

The following is an extract that comments a little more on the origins of the Gaita:

The origins of the Zulian Gaita have not been established with precision, but it is assumed that it was born with the republican concerns of the people, perhaps in the first decades of the 19th century, as demonstrated by the patriotic Easter songs dedicated to Ana María Campos, the Altagratian patrician who was whipped by order of the fierce Morales when she refused to withdraw her lapidary phrase: “O capitula o monda”.

Traditionally, the Gaita has been linked to the devotion to Santa Lucía in the El Empedrado neighborhood, and in this sense it is recalled that when Father José Tomás Urdaneta was in charge of the parish, he took the noisy bagpipers out of the temple. It can be said that since then, the Gaita has lost the religious character that it had for many years in the cobblestone district, to become definitively an instrument of healthy Easter joy and the most effective means of criticism and protest of the humble people.

Our Gaita has always been characterized by the freshness of its music and the mental agility of its players.

The origin of the Gaita according to Rafael Molina Vilchez

“The Zulian Gaita, like many other manifestations of Latin American costumbrismo, is mestizo. It has a polyethnic genetic mosaic, but its root is Hispanic, although the Hispanic nature is preserved in very different progressions than the maracaibera bagpipe (also called the furro bagpipe), the song of the criollo citadinos, in which it survives with strength, in comparison with the tambora and perijanera bagpipes, in which the blackness leaves a more intense mark”.

This scholar of folklore points out that the gaita is Spanish, but that over time two divergent tendencies have emerged: The maracaibera Gaita and the black Gaita.

This opinion has generated controversy, but it is quite shared, since the term “gaita” has Galician-Portuguese roots: it comes from the Gothic word “gaits” which means “goat”, because the bellows of the Galician gaita are made from the leather of the goat. From Spain through the African Arab countries it reached Turkey, in whose language it is translated as “shepherd’s flute”, which would be in accordance with the drawing Agustín Pérez Piñango found with the Glorious San Sebastián Gaita, which dates from 1668, according to a document located in the old National College of Maracaibo, which brings the lyrics and music in Gregorian characters. It would be the oldest Gaita known.

However, other scholars, among them Juan de Dios Martinez, maintain that the Gaita began with the black slaves in the haciendas of the South of the Lake, as a protest and evoking their festivals in the African areas from which they came.

The Gaita and its History The first bagpipe forms combined the mass chants taught by the Catholic missionaries, the percussion of the drums, the characteristic guttural sound of the furro (a derivative of the Zambomba), the maracas and the charrasca. — Our gaita have always been characterized by the freshness of their music and the mental agility of their performers.

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