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5th Annual Tricities Salsa Congress 2017

North America / USA / Washington

Come and enjoy the 5th Annual Tricities Salsa Congress at the Kennewick Red Lion, this September 22 – 24. This is one of the largest Latin events in eastern Washington with instructors from D.C., L.A. and Portland. Discounted passes are on sale now. Prices will be higher at the door. Friday and Saturday Nights Social passes will be sold at the door.

Dancing in 5th Annual Tricities Salsa Congress 2017- Photo 2

Don’t miss out on this spectacular event!!!!

2 full days of workshops on Saturday and Sunday.
2 workshop tracks to choose from each hour.
Social dancing Friday and Saturday night. 3 separate party rooms: a Salsa/Bachata ballroom, a Kizomba ballroom, and the Cumbia Party Room

Tickets: Full Pass $99.00 + $3.47 FEE (Including access to all workshop, performances and socials)

Hotel The Red Lion Hotel at Columbia Center is located within walking distance of Columbia Center Mall and numerous restaurants in Kennewick, WA Venue 1101 North Columbia Center Boulevard, Kennewick,WA 99336.

Instructors

Eddy vents (Portland, or):

Eddy Vents was born in Guinea – Bissau and raised in Portugal. Growing up part of the Palop Community, Eddy always felt electrified by Kizomba. In 1998, he began his career as a promoter in Lisbon which he continued after moving to London in October 2009.

Eddy Vents - 5° Congreso Anual de Salsa Tricities 2017 Flyer 2 — Eddy Vents – 5° Congreso Anual de Salsa Tricities 2017 Flyer 2

Eddy’s immense love, passion, and knowledge of Kizomba were recognized by respected Kizomba teacher Norma Facey and Eddy humbly credits her for starting his teaching career around March 2010.

Eddy is known for a teaching style submerged in history and musicality which he believes are fundamental in producing top quality dancers and he is condent the success of his method is demonstrated each time his students take the dance floor

Erica Saucillo (Los Angeles, CA):

Erika Saucillo was born and raised in Los Angeles, California. She started dancing at the young age of four. Throughout the years, she trained in various dances such as folkloric, jazz, and hip-hop.

Erica Saucillo (Los Ángeles, CA): - 5° Congreso Anual de Salsa Tricities 2017 Flyer 1 — Erica Saucillo (Los Ángeles, CA): – 5° Congreso Anual de Salsa Tricities 2017 Flyer 1

Erika began her Latin dance journey at the age of 21 when she first trained with “Alma Latina Los Angeles” directed by the world renown Sergio Jasso and Gaby Equiz. Erika quickly became the director of one of the largest Salsa/Bachata team in Los Angeles, “Quest Salchata Crew”. She is currently one of today’s top rising instructor & performer. Erika is a champion and top finalists at some of the world’s most important Latin dance competitions. She won the 3rd place in the World Latin Dance Cup Cha Cha Cha division, 2nd in the Top Female Bachata Social Dancer, and won first place at the 2016 LA top Female Salsa Social Dancer.

Oscar B.A. (Washington DC):

Oscar B.A is one of the pioneer ambassadors of Kizomba in the US. Currently based in the Washington, DC area, he has taught Kizomba workshops in some of the biggest Latin Dance festivals including The DC Bachata Festival, Flirt Seattle, and Reno Winter Bachata Festival. A sought after nonpareil dance instructor, he has been invited to run Kizomba boot camps by dance companies in Los Angeles, CA, Seattle, WA, Reno, NV and more.

Oscar currently teaches the longest running Kizomba dance classes in the DC, MD and VA Metropolitan area. Oscar’s career spans over 16 years of dancing, choreographing and instructing several dance disciplines. With roots in African dance, hip-hop, and Latin movement, Oscar founded the premier dance company Ollover!

Mario Vargas (Seattle, WA):

Mario was born in Nicaragua and raised in Miami. After moving to Seattle in 2012, Mario began dancing salsa and bachata and performed in various dance teams. After immersing himself in dance, Mario started teaching in 2013 and is currently teaching salsa and kizomba at the Salsa N Seattle studio. He has taught at numerous dance events including Vancouver (Canada), D.F. (Mexico), LA, and Washington DC. In addition to teaching, he hosts a weekly kizomba social on Wednesdays at the SNS studio. Mario will be teaching Kizomba at the 2016 Tri-Cities Salsa Congress with Shannon Urza.

And much more will be there…

DJS 5 Djs in scenes featuring during the weekend…

Mary Lyons (DJ Farenj) – Seattle, WA

Originally from the Boston area, Mary was exposed to “Kizomba” music by her Cape Verdean brother-in-law before it was popular in the United States dance community. Attending family gatherings in the 1990’s first introduced her to the music and culture of the Cape Verdean islands.

Not until 2011, did she discover the Angolan dances, kizomba, and Semba, which accompanied some of the beautiful music, she was already in love with. Further investigation and immersion into this music genre, extended her love and interest to the roots and culture of Angolan Kizomba and Semba. Mary regularly DJ’s at Century Ballroom in Seattle, as well as festivals including The White House Kizomba/Zouk Summit, Only Dance Seattle Festival, Seattle Salsa Congress, Seattle Bachata Kizomba Festival, and Tri-Cities Salsa Congress.

Dancing in 5th Annual Tricities Salsa Congress 2017- Photo 3

Sonido Marakero Tri-Cities, Wa

Sergio Luna Rocha aka Sonido Marakero is from Mexico City and lives currently in Pasco, WA with his family. Sonido Marakero loves to dance to cumbia, bachata and salsa music. He has enjoyed playing music since he was a young kid and has perfected his talent. He plays music around the area of Tri-Cities, Seattle, Yakima and Walla Walla. Sonido Marakero is a happy individual who loves to make other people dance on the dance floor. Come out and have a wonderful night and dance to the music played by Sonido Marakero. Look forward to seeing everyone having a wonderful time.

5th Annual Tricities Salsa Congress 2017 Flyer 3

To get more information about 5TH ANNUAL TRI-CITIES SALSA CONGRESS 2017 in Kennewick – Washington, visit: http://www.tricitiessalsacongress.com

Tito Nieves’ concert “50 Años, La Historia” made it clear that ‘Salsa Lives

On Saturday, May 17, 2025, Tito Nieves celebrated half a century of a successful musical career at the Coliseo de Puerto Rico (El Choliseo) with a massive concert titled “50 Años, La Historia,” part of his “Mi Último Tour” (My Last Tour) tour.

Tito Nieves smiles in front of a packed coliseum

Music started powerfully around 9:00 p.m. with “Señora Ley” (Lady Law), followed by “Mañana es Domingo” (Tomorrow is Sunday). This led into a medley of songs Tito popularized before going solo: “El Pregonero” (The Town Crier), “El Piragüero” (The Shaved Ice Vendor), and “Panadero” (Baker), all penned by Ramón Rodríguez. In this first segment, the honoree was joined by Rodríguez and Norberto Vélez, setting the theme for the show, where Nieves was accompanied by various guests.

Tito Nieves bid good evening shortly before asking the audience to record the concert, asserting it would be the first and last time he would perform solo at the Coliseo de Puerto Rico for a historic concert that the singer declared was “sold out.”

The soloist demonstrated the evolution of his career, moving to the next stage of his journey, which included the songs “Quiero Perderme Contigo” (I Want to Get Lost with You) and “El Amor Más Bonito” (The Most Beautiful Love). Before starting “Perdido en la Oscuridad” (Lost in the Darkness), Tito stated that during one of the most difficult stages of his life, he asked José José for permission to record it. “Un Tipo Común” (An Ordinary Guy) preceded Tito’s spoken interlude, during which he requested “a big round of applause for Ismael Miranda ‘the eternal handsome boy,’ who is with us tonight.”

For the next segment, Gilberto Santa Rosa and Gerardo Rivas joined Tito Nieves for the song “Soy” (I Am). Gilberto explained that he and Tito Nieves have been musical brothers for over forty years, shortly before saying, “Tito and I are family,” a phrase that led into the performance of “La Familia” (The Family).

The next stage featured a medley of hits including “Sueño” (Dream) and “Lo Que Son Las Cosas” (What Things Are Like). From this same solo period, “Manías” (Obsessions) and “No Me Queda Más” (I Have Nothing Left) stood out. Tito Nieves’ voice was recorded on several of the few salsa lyrics in English. For the concert, Tito brought to life “I’ll Always Love You,” “Celebration,” and “I Like It Like That,” with which he later bid farewell.

Tito paused during the concert to dedicate the song “Gracias Madrecita” (Thanks, Little Mother) to his late mother, Victoria Nieves.

The next guest, Rey Ruiz, “the salsa heartthrob,” performed “Almohada” (Pillow) with Tito, then sang “Mi Media Mitad” (My Other Half) to a bolero rhythm before transitioning to the same song in its usual salsa tempo, which is how it became popular. The turn of also invited Carlos García brought him to the stage to sing “No Me Vuelvo a Enamorar” (I Won’t Fall in Love Again) as a duet with Tito.

Shortly after, Tito Nieves continued singing his most notable hits, including “Déjame Vivir” (Let Me Live) and “Tuyo” (Yours). When it was José Alberto “El Canario”‘s turn, he sang “Le Gusta Que La Vean” (She Likes to Be Seen) with Tito Nieves and “Baila Que Baila” (Dance, Dance) solo. For this particular performance, dancers and choreographers Flavia Tamara Livolsi and Tito Ortos Gutiérrez were in charge of the dance that connected with the guest’s music, who also performed his characteristic “flute” solo, without a flute.

The super orchestra accompanying El Pavarotti de la Salsa

For the song “Fabricando Fantasías” (Manufacturing Fantasies), Tito Nieves took the stage accompanied by 9 child choristers; both the singer and the choristers were dressed in white. Tito sang alongside a hologram of his deceased son, whose passing preceded the song’s release; for the concert, this led into “Un Amor Así” (A Love Like That) and “Soy Cantante” (I Am a Singer).

Continuing with the idea of being accompanied by his guests, Tito Nieves welcomed Tony Vega to the stage to perform their duet and give voice to “Tú Por Aquí, Yo Por Allá” (You Here, Me There), shortly before Tony performed “Aparentemente” (Apparently). Once Tony’s participation concluded, Tito returned to the stage dressed in blue to perform “Te Amo” (I Love You) and “Más Que Tu Amigo” (More Than Your Friend).

Immediately after, Tito Nieves commented: “In salsa, we’ve had Celia, La Lupe, Graciela, India…”, as he welcomed one of the new salsa promises: Daniela Darcourt. With her, he sang “Si Tú Te Atreves” (If You Dare) shortly before suggesting his “musical daughter” perform the soloist’s new single, titled “La Sinvergüenza” (The Shameless Woman).

The concert’s peak was reached during the performance of “De Mí Enamórate” (Fall in Love with Me) and “Sonámbulo” (Sleepwalker), songs with which the artist demonstrated that the voice that earned him the title of “The Pavarotti of Salsa” remains intact.

Next, Tito and his wife—Janette Figueroa, the self-proclaimed “toxic one”—showcased their influencer skills, leading into a theatrical interlude of their interaction with the public during the COVID-19 lockdown: “Conversa con Tito” (Talk with Tito). For this, the couple was accompanied by the new talents Daniela Darcourt and Christian Alicea. Once the micro-theater segment concluded, the production celebrated the sold-out status by presenting a plaque indicating the exclusive status, after congratulatory greetings to Nieves from Víctor Manuelle, Rubén Blades, and Marco Antonio Solís were projected.

It was at this moment of various congratulations that it was demonstrated that ‘Salsa Lives’in the key of fierce salsa. For this, Christian Alicea joined Tito Nieves’ vocal and stage mastery, contributing with his voice and an energetic conga solo.

At 12:40 a.m. on May 18, the concert hosted by “The Pavarotti of Salsa,” accompanied by his super orchestra, concluded with the same power it began, though in English and to the beat of “I Like It Like That.” For the closing, the dance corps, made up of Tito Ortos, Tamara Livolsi, Christina Reyes, and Yadiel Carrasco, complemented the interpretive energy with which Humberto “Tito” Nieves once again demonstrated the connection he has maintained with the salsa audience, regardless of the language he sings in.

Photographs By: Francisco J. Rivera Rosado Photographs

Also Read: Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

Isadora Duncan, destined for a life of freedom and the avant-garde, of beauty and tragedy

Isadora Duncan was born in San Francisco in 1877. Her father, Joseph, abandoned the family shortly after her birth. Left in extreme poverty, her mother, Mary Isadora Gray, worked tirelessly to support her four children.

Nevertheless, she always told them, “We can do without bread, but never without Art,” and consistently encouraged her children’s artistic vocations.

From a very young age, her mother introduced her to the works of Beethoven, Schubert, Schumann, Mozart, and Chopin, and to the writings of Shakespeare, Shelley, Keats, and Whitman. She also taught her about classical Greek culture, paganism, and feminism.

The family lived like a small artistic troupe. Mary gave piano lessons, and Isadora taught dance while her mother played Mendelssohn on the piano.

Then her sister Elizabeth would recite poems by Theocritus, and their brother Raymond would conclude with a short talk about the Greeks or about dance and its effects on the society of the future.

Although she auditioned as a dancer in various theaters, she found no success. Isadora perceived dance very differently. She believed in improvisation, with movement like waves of a sea reflecting the very Soul, a concept almost mystical and spiritual, far removed from the formal technique of Classical Ballet.

As she recounted in her autobiography:

“I was born by the sea. My first idea of movement and dance surely came from the rhythm of the waves and also from nature; clouds carried by the wind, trembling trees, flying birds, whirling leaves…” This living nature is what she sought to express through dance.

Isadora Duncan was born in San Francisco in 1877.Her father, Joseph, soon after left the family. — Isadora Duncan was born in San Francisco in 1877.
Her father, Joseph, soon after left the family.

Early Struggles and European Dreams

Shortly after, a fire destroyed their home, leaving the family destitute again. Isadora secured a small role in a pantomime in New York: Madame Pygmalion. She had to borrow money for the train ticket and rehearsed unpaid for over a month. During lunchtime breaks, Isadora had no money for food and would hide in the facilities to sleep before continuing to rehearse.

Eventually, her family moved to New York, where in 1896, Isadora joined the company of playwright John Augustine Daly, taking ballet lessons with Marie Bonfanti. Due to her rejection of an academicism she considered limiting and unnatural, she managed to travel to Europe in 1898.

She arrived in England, where, always self-taught, she studied arts at the British Museum. There, she found great inspiration for her dances, which evoked ancient Greek movements and attire. She observed the movements of dancers on Greek vases, and from there adopted one of her characteristic postures: tilting her head back like the maenads. She then went to France, where she met Löis Fuller, who shared her ideas. Löis, like Isadora, was an alternative dancer whose performances incorporated elements of circus acts and variety shows.

Breakthrough and Artistic Vision

Together, they embarked on a tour of Munich and Vienna, creating new performances: “Dance Serpentine,” “Dance of Fire,” and “The Divine Shoe,” all embodying an absolutely modern concept. Finally, in Budapest, Isadora signed her first contract to dance solo on a large stage. She achieved great success, establishing herself on all European stages.

“Dance of Fire”, and ‘The Divine Shoe’, of an absolutely modern concept Isadora finally in Budapest.

After one of her shows, a great admirer came to greet hernone other than Konstantin Stanislavski, the creator of the famous acting method and one of the founders of Russian Theater. When he asked who had taught her to dance, Isadora replied, “Terpsichore.”

Nevertheless, her dance remained transgressive. She wanted to free dancers from pointe ballets, tutus, and corseted figures, to give expression to the soul through Art. The “costume” for her choreographies consisted of loose, transparent tunics, and bare feet to maintain direct contact with the earth.

A great admirer of Hellenic culture, she began constructing a Dance school in Greece, on the hill of Kopanos. Others followed in Germany and Paris. These schools often accepted girls from very humble backgrounds, charging them no fees. Over time, expenses became almost unsustainable, but Paris Singer, heir to the sewing machine empire, appeared offering financial assistance to allow them to continue.

Teaching, Tragedy, and Legacy

She embarked on tours across Europe, Russia (where she was invited by Lenin), and America, though what she loved most was teaching. She used to say, “First, we teach the children to breathe, to vibrate, to feel, and to become one with the general harmony and movement of nature. First, we are going to create a beautiful Human Being, a dancing child!”

After two marital breakups, in 1913, in a tragic accident, her children, Deirdre and Patrick, drowned in the Seine. The following year, a third child died shortly after birth. From then on, in all her choreographies, a long red scarf would appear over her white tunic, like a permanent, unclosed wound. In 1917, she adopted six of her students, “The Duncan Dancers.”

On International Dance Day, we remember the creator of the Isadora Duncan Contemporary Ballet.

While Isadora had many romantic liaisons, her most stable relationships were with Oscar Beregi, Gordon Craig, Paris Singer, and Sergei Esenin. But to maintain her Freedom, she never wanted to marry.

At the peak of her fame, on September 14, 1927, as she was about to give a concert in Nice, she greeted the public from her car: “Goodbye friends! I’m off to glory!” Shortly after, the very red scarf that never left her became entangled in the rear wheel, causing her death. Her legend began.

Ana and Irma, two of her adopted daughters, continued to disseminate the Duncan technique, which is still taught and danced today. A diva ante litteram, a rebel and pioneer of the dance revolution that erupted during the 20th century, an ultimate symbol of independence and purity: Isadora Duncan, in addition to being the mother of modern dance, is an anticipation of the free, ideal, nonconformist, and independent woman who would still have to wait decades to appear.

International Dance Day (April 29)

This date, proclaimed by UNESCO in 1982, commemorates the birth of Jean-Georges Noverre, an innovator and dance master considered the creator of modern ballet. On International Dance Day, we remember the creator of Contemporary Ballet.

Fania All Stars

Album: Crossover

Song: Isadora

Arranged By: Louie Ramirez

Arranged By: (All Strings) Vincent Montana, Jr.

Producer: Jerry Masucci

Written-By: C. Curet Alonso.

By:

Angel A. Padron Hernandez

Dj. Augusto Felibertt

Also Read: Yolanda Moreno “the People’s Dancer”

Tribute to Alberto Naranjo and his musicians

Latin America / Venezuela / Caracas

40 years of El Trabuco Venezolano A Deserved Tribute to Alberto Naranjo and his musicians

Teresa Carreno Theater. Caracas, Venezuela August 21 to 25, 2017

Collaboration and Photographs by Lysbeth Weffe

From August 21 to 25, at the Teresa Carreño Theater (TTC), in Caracas, the Tribute to maestro Alberto Naranjo was held for his 57 years of artistic life, and to the group of his creation El Trabuco Venezolano for its 40 years of founding . With a long time of preparation and a lot of love involved, as it said in the hand program and was perceived in the environment, the event had the general production of Franklin Rojas, the Grupo Madera Foundation and the Teresa Carreño Theater Foundation.

More than an orchestra, El Trabuco Venezolano has been an authentic Venezuelan salsa movement born from the initiative of Alberto Naranjo, a veteran drummer and arranger who has walked the trade through the most diverse tendencies and schools of popular music in the Caribbean, always counting with the direct support of the musical producer, Orlando Montiel(I).

It was at a recital conference given by César Miguel Rondón and Domingo “El Flaco” Álvarez at the Museum of Contemporary Art in Caracas, in August 1977, that El TrabucoVenezolano(2) made its public debut.It immediately became the most finished and interesting musical project known to the city of Caracas up to that time. Alberto Naranjo organized it under the concept of a big band with the idea of developing a particular proposal that would differ from its similar ones in the rest of the Caribbean, with a sound that bridges salsa, jazz, funk and Venezuelan.

With seven albums released, two of them live with the group Irakere from Cuba, and having passed more than a hundred performers through its ranks, El Trabuco, more than a group in conventional terms, has been a download and meeting space for local musicians, as well as the best of schools for many of them.

He also counts among his achievements, having motivated the Caracas salsa environment of the moment, imposing a high standard that influenced the formation of the best salsa orchestras, apart from creating, in short, his own Caracas sound brand(3).

The activities of this large tribute began on Monday 21 with the talks in the Protocol Plate of the TTC: “History in Venezuelan salsa” with Franklin Rojas and “Hera & Pablo, the Venezuelan salsa dance”; on Tuesday 22, Cheo Guevara’s discussion on “Alberto Naranjo, and his historical mark” and the forum “The production of salsa content in alternative radio” moderated by Zulay Millán. They continued like this throughout the week.

Several workshops were held, among them, “Percussion Tuning” dictated by Nicolás Monterola and “Latin Percussion” by Professor Frank Márquez. Also in the lobby on the ground floor of the TTC, the following concerts were presented: Caracas Legends Ensemble, with its tribute to Eddie Palmieri, the Salsarría Orchestra, Grupo Madera, Mundito and his Orchestra La Celestial, The Big Band of San Agustín and the Orquesta Carlin.

The highlight of this week of well-deserved recognition was the Trabuco Venezolano concerts at the Ríos Reyna venue on August 24 and 25, presented by Zulay Millán and José Gregorio Acero.

Although with a room not completely full and recalling other times of splendor of a TTC that received the stars of the show from all over the world, we enjoyed two nights of memorable, tasty, lively and educational concerts, with a stage full of great musicians. and a full Alberto Naranjo, going through it and playing around more than directing the members of the big band. With the best of the best-known musicians and singers of Venezuela in the genre, with some of the original members of this group and new talents, we were able to delight ourselves in an exquisite waste of salsa, jazz and funk, lasting three hours each day.

“The teacher was narrating the stories of the different themes that they interpreted…”

Alberto Naranjo at the Teresa Careño with his orchestra "Trabuco Venezolano" — Alberto Naranjo at the Teresa Careño with his orchestra “Trabuco Venezolano”

The member musicians of El Trabuco Venezolano 2017, present at the concerts on August 24 and 25, were: Alberto Lazo (piano), José “Mortadelo” Soto (bass), William Vásquez (three), William Mora (tumbadoras), Frank Márquez (timbale), Franklin Rojas (bongo), Hugo Olivero (sax), Eduardo “Mondy” Dávila (sax), Manuel Barrios (sax), Irvin Blanco (sax), Edwin Ruiz (sax), Adrián Suárez (trombone), Eliel Rivero (trombone), Pedro Carrero (trombone), Franklin Moreno (trombone), Oscar Mendoza (trombone), Vicente Freijeiro (trumpet), Rafael Rey (trumpet), Gustavo Aranguren (trumpet), José “Cheo” Rodríguez (trumpet) , Noel Mijares (trumpet), Edgar “Dolor” Quijada (voice), Troy Purroy (voice), José Luis Peña (voice), Yeci Ramos (voice), Arturo Guaramato (voice).

The teacher was narrating the stories of the different songs they performed, referring to the fact that his musicians were chosen by meritocracy, sharing with the audience and ordering someone to shut up on more than one occasion, in a humorous tone, yes. He reminded us that they are not only dedicated to salsa and in some pieces where they did not sing, he emphasized that they were instrumental and that they could help us soar our imagination and dream.

Yeci Ramos, Juan Jose Conde, Edgar "Dolor" Quijada, Jose Luis Peña, Troy Purroy — Yeci Ramos, Juan Jose Conde, Edgar “Dolor” Quijada, Jose Luis Peña, Troy Purroy

The great experience of this meeting of musicians that has been El Trabuco Venezolano was reflected in a repertoire of 13 songs, including originals, emblematic and premieres, which they gave us.

They began with the songs “Yo Soy La Rumba” (Marcelino Guerra) with the solo voice of Troy Purroy and a timpani solo by Frank Márquez, “Bravo Rumbero” (José “Cheo” Navarro) sung by Edgar “Dolor” Quijada, “ La Negra Tomasa” (Guillermo Rodríguez Fiffe) in the voice of Arturo Guaramato, “Tres Días”, an original theme by Chucho Valdés and ceded to El Trabuco, sung by José Luís Peña, with the participation of the dancers Hera and Pablo. At this point, the entire audience had warmed up, and there was even a couple from the public who danced in the hall from the beginning of the concert until the end, both days.

The night continued with the emblematic “Almendra” (Alberto Barroso). This theme arranged by Naranjo for Arturo Sandoval 46 years ago, featured the masterful participation of Noel Mijares -Venezuela Big Band Jazz, Desorden Público- on trumpet, interacting with great complicity with the maestro. It followed with a premiere, “Alna’s Mambo” an instrumental composition, subliminal as Naranjo described it.

Yeci Ramos, Juan Jose Conde, Edgar "Dolor" Quijada, Jose Luis Peña, Troy Purroy - Photo — Yeci Ramos, Juan Jose Conde, Edgar “Dolor” Quijada, Jose Luis Peña, Troy Purroy – Photo

The concert continued with “Gongo Blues” (Eduardo Cabrera), a theme in which the extraordinary solos of Eliel Rivero on the trombone, Gustavo Aranguren on the trumpet, Manuel Barrios on the saxophone and Alberto Naranjo pleased us playing the kettledrum. . He followed up with the instrumental “El Ojo del Huracán,” a Latin jazz combo, which was written in the early ’70s and still sounds weird, Maestro Naranjo said.

Then with the song “Oye como va” (Tito Puente) the rumba was lit up, the lights in the room were turned on and hardly anyone could keep up without stopping and dancing. In the song “El Hijo del Sonero” (Ricardo Quintero) Yeci Ramos sang, in “El Cumaco de San Juan” (Francisco Delfin Pacheco), Arturo Guaramato and in “Compañeros” (Ricardo Quintero), Juan José Conde, these three songs they were accompanied by the drums of Grupo Madera.

“Imágenes Latinas” (Bernardo Palombo – Andy González), was the theme chosen as the finale, a piece that has become a cult object among music lovers, the salsa audience and lovers of Latin jazz, according to the words of connoisseur José Orellán .

It featured the extraordinary participation of Adrián Suárez in the trombone and bodyguard solo, and the interpretation of the son player Edgar “Dolor” Quijada.

At the concert on Friday 25, El Trabuco Venezolano and its creator were declared CULTURAL HERITAGE OF THE NATION by the Institute of Cultural Heritage (IPC) and the Ministry of People’s Power of Culture of Venezuela.

With the hope that this experience can be repeated in other theaters in the country and the world, we congratulate the organizers, Alberto Naranjo and the musicians of El Trabuco Venezolano for having received such well-deserved recognition as Cultural Heritage of the Nation.

Notes: (1) and (2) The salsa book. Chronicle of urban Caribbean music. Cesar Miguel Rondon. Ediciones B Venezuela SA., 2007. (3) Taken from the Caracas Exhibition. Ciudad del Son, montage and texts by Alejandro Calzadilla, at the La Estancia Cultural Center, belonging to the company Petróleos de Venezuela (PDVSA La Estancia), September 2017.

Steps Dance Studio Inc.

North America / Canada /  Toronto

Steps Dance Studio

Steps offers a complete curriculum of Salsa, Bachata, Hustle and Latin Dance for all skill levels. Working from a comprehensive dance syllabus designed by Jennifer Aucoin and refined by 20 years of Salsa teaching experience, their professionally trained instructors are patient, dedicated and passionate about their craft. Want you to leave your class and the dancefloor feeling great. The program is designed to allow students to begin anytime! Start any week, even absolute beginners. And come as often as your schedule allows. Steps Dance Studio has classes every night and on weekends, and most levels are offered twice a week or more.

Located just a few minutes walk from Bloor & Wellesley subway stations. 819 Yonge St. 3rd floor. Toronto, ON M4W 2G9 SE corner of Yonge St. & Davenport, north of Bloor St.

Meet Jennifer Aucoin, Founder, Executive Director and Instructor.

A full-time salsa instructor, choreographer and event organizer. She is co-artistic director for Steps Dance Company & co-founder of the Women’s Salsa Retreat. As a trained adjudicator, Jennifer has judged competitions in Puerto Rico, Ecuador, New York, Las Vegas, Orlando, Miami, Detroit, Ottawa, Montreal and Toronto. She has also represented Canada on the judging panel for the World Salsa Championships televised on ESPN.

She is on the judging panel for the prestigious Global Salsa Championships at the World Salsa Summit. Jennifer was also the first instructor in Canada to be certified to teach Latin Hustle by the IHDA. Jennifer is the founder and organizer of the annual Canada Salsa & Bachata Congress, an international salsa festival that takes place in Toronto every October.

This 4-day extravaganza, now in its thirteenth year, is the largest salsa event in Canada and features nightly performances by over 60 dance companies from all over the world and daily salsa workshops given by worldrenowned instructors. The Canadian Salsa Championships, part of the Canada Salsa & Bachata Congress weekend, is the largest and most widely recognized Salsa & Bachata competition in Canada.

Classes offered in Steps Dance Studio

Salsa

Salsa Level 1: No previous dance (or salsa) experience required. Start this class at any time. Each class starts with an explanation and review of the basic Salsa step and the timing and rhythm of Salsa music, followed by a new beginner level turn.
Salsa Level 2: Geared to those who are comfortable with the basic Salsa step, basic right and left turns and Cross Body Lead. Build on Level 1 material and learn new turns and combinations, add footwork (i.e. Salsa shines) and reinforce your timing and partnering skills. Learn proper posture, frame, weight transfer and connection.
Salsa Level 3: Cross body lead patterns, traveling turns, back breaks, checks and different hand hold variations will be linked into fun turn pattern combinations. Start developing a flow of motion between the moves that will make you feel good and look good on the dancefloor.
Salsa Level 4: This course will focus on high intermediate level turns and turn pattern combinations, how to maintain balance and connection with your partner while incorporating directional changes & intricate moves, improving musicality, how to remember shines and turn patterns and use them in different combinations, tips on how to be a better leader and follower, adding styling to your dancing – in short, how to be a more complete dancer!
Salsa Level 5: This course focuses on taking your dancing to the next level. Advanced level turn patterns, technique and skill development. Execute double spins, multiple turns and variations, intricate choreography, advanced level syncopations and sexy styling. Adapt and combine your moves to suit the level of your partner.

Bachata

Bachata Level 1: Bachata is a seductive and flirtatious dance that originated in the Dominican Republic and is played in all Salsa nightclubs. Learn the basic Bachata footwork and how to lead and follow some fun and simple Bachata turns and turn pattern combinations.
Bachata Level 2: Learn new turns and turn pattern combinations while focusing on the correct connection, tension and movement of Bachata dancing. Learn body isolation exercises and drills to help make this dance look smooth and sexy.
Bachata Level 3: Learn more intricate and complex Bachata turn pattern combinations. Learn how to execute syncopated Dominican style footwork. Learn body isolation exercises and drills to help you to incorporate the sensuous Bachata body movement needed to make this dance look effortless.
Bachata Level 4: Learn more intricate and sexy Bachata turn patterns. Add syncopated Dominican style footwork into your partner dancing. Learn how to incorporate the sensuous Bachata body movement needed to make this dance look effortless. Refine your leading & following technique in order to build a connection with each dance partner. And much more… For more information about schedules, classes, lessons, workshops and contacts, visit

https://www.stepsdance studio.com/