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Search Results for: jazz

The place where salsa as we know it today was born

The role that the Cheetah Club played in the beginnings of salsa in New York

Young people's acceptance to salsa in New York
A group of young people dancing salsa in New York

As we all know, New York City has been instrumental in the birth of what is today known as salsa because this has been the place that has seen the birth and bloom of the greatest talents who have given life and added rhythm to this wonderful and fast-paced genre. That is why when we talk about the history of salsa, we cannot leave out the most populous metropolis in the United States. 

We all know how important the city that never sleeps is to the development of this musical genre, but where and how does this set of rhythms specifically born? Right, well this was a now-defunct nightclub called Cheetah, which met all the conditions for giving birth to salsa and making it a cultural phenomenon, which is now known worldwide. 

The establishment, located in an area full of theaters and nightclubs close to Times Square, witnessed a spectacular and historic evening in which, unexpectedly, brought together several of the biggest stars of Latin music, including Willie Colón, Ray Barreto, Bobby Valentín, among others. None of them could ever imagine that they would draw crowds eager to hear them. From that night on, the Latins finally had voices to make known to the rest of the planet their purest essence. 

As soon as the band started playing, those present started to dance no matter what. According to calculations by a pianist for Fania All Stars, they gathered as many as two thousand attendees who were lined up around the block to enjoy the talent of some of the considered greatest exponents of Latin music.  It should be noted that the artists from that night had never played together, but when they took the stage, everything went spontaneously and the audience fell madly in love with them. However, nothing was by chance. 

Poster in which you can see the logo of the Cheetah Club
A poster for the Cheetah Club at the time

How it all started 

After the Second World War, Latin music and dance began to be present in New York City during the 20th century. This was due to the arrival of Cubans, Puerto Ricans and other immigrants from the southern part of Latin America, who brought with them a number of rhythms that started playing in discos and nightclubs from various US cities. 

When these sounds arrived in the Big Apple, there was a very interesting mixture of these sounds with jazz and some instruments that were incorporated to have as a result what we know today as salsa. This is how some of the most popular genres began to be played and become famous in places near the Cheetah Club, so, as a logical consequence, the establishment would end up falling under the spell and rhythms of so cheerful melodies.

One of those places was the Palladium Ballroom, where artists such as Machito and Tito Puente performed. Of course, the public that gathered there was Latin in origin, but its privileged location in the heart of Manhattan made it very well known to the locals of any nationality. It got to the point where there were spectators from the five continents and of all religions, which was unthinkable with any other musical style. 

This is how the great concert at the Cheetah Club succeeded in bringing Latin music to places nobody thought it could reach and all thanks to American artists with a Latin background that was very awake in their being. 

Charlie and Eddi Palmieri at the Palladium Ballroom
Charlie and Eddi Palmieri performing at the Palladium Ballroom in 1964

How was the Cheetah club created and what became of its facilities? 

The Cheetah club was created by Olivier Coquelin and Border Stevenson in 1968 when it was formally opened to the public. From the beginning, it had two spaces specially designed for dancing: a dance floor of reduced size located on the top floor and a bigger one which could accommodate about two thousand people at the same time. Likewise, there was a stage on which no less than 20 musicians could perform in the same show. 

Although the club enjoyed a certain fame among the locals in the area, what really made it famous was the concert performed by the Fania All Stars on August 26, 1971. That was a day that will undoubtedly remain in many people’s mind forever, both attendees and musicians. This was the moment when the musical phenomenon initiated by Johnny Pacheco and Jerry Masucci would reach well beyond what its creators have never dreamed of. 

The idea of performing the show was conceived by Ralph Mercado, who would comment to Masucci on this. Given that the Cheetah Club had a large space and enviable acoustics, it was the place they finally selected for the historic concert. 

Anyone seeing the place in which would be the colorful establishment would never imagine what happened there 50 years ago. At present, the formerly nightclub is a residential condominium of more than 20 floors housing large apartments with wide windows. 

Although there is nothing left of the place that witnessed one of the greatest musical events in Latin music history, the memory of that special night will remain in the minds of those who witnessed such a waste of talent on that now-defunct platform in the 1970s.   

Announcement of the concert performed by the Fania All Stars
A poster announcing the concert performed by the Fania All Stars

For more information, you can read Génesis of Salsa, its essence, characteristics, rhythm, history and expansión and Where the idea of the name of the Fania Record label came from

 

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Quinteto D’Amore Cultivating traditional Cuban music worldwide

Quinteto D’Amore of Havana – Cuba

Quinteto D’Amore was founded in 2000 within an acoustical format; cultivating traditional Cuban music, although in its repertoire, you can find international songs; and made various presentations both domestic and international.

All these years, different musicians have integrated the group, but two years ago, it has been renewed and is now composed of Bass, Tres, Violin, bongo, minor percussion and soloist.

They are characterized for combining music, voices, and choreography in some of their songs, filling those who can enjoy their show with joy and energy.

Quinteto D'Amore Cultivating traditional Cuban music worldwide.
Quinteto D’Amore of Havana – Cuba

Yasney (violin): Graduated from Higher Institute of Art with a specialty in Violin (ISA). Member of the UNEAC, she joined the National Symphony Orchestra of Cuba, participated in recordings of leading groups and soundtracks, as well as in the CD “Mi Querido Pablo II” with Pablo Milanés and his guests: Milton Nacimiento, Lucecita Benítez,

Fito Páez, Joaquín Sabina, Alberto Cortes, and at the concert offered at the National Auditorium in Mexico City.

He has made numerous tours and concerts with the band “Mambo Así”, the group “Sol y Arena”, “Piel Morena”, among others, through various countries such as Moscow, Spain, Thailand, Hong Kong, Saint Martin Island and Guadeloupe, Italy, and Angola. Yasney joined D’Amore in May 2014.

Quinteto D’Amore

Yonel (three/four Cuban guitar) I began my career in music when I was six by learning to play the guitar. Since then, I used to sing some songs and to accompany others like my brother. AI was seven when I started at the school of arts in Santiago.

In Cuba, I studied violin for about three years and, in time, I started to learn about other instruments such as the piano and the percussion to reach the bass with which I played with the group Son Chévere de Matanzas for several years.

Then I came to Havana and started playing the tres until I made it into a CUATRO, adding a couple more strings and it is the instrument with which I currently work in Quinteto D’Amore.

Evelyn (soloist) began to study music since choildhood, taking piano and musical theory lessons. At the age of 11, she received her first award as a solo singer given by the pioneers’ organization and took dance lessons at the National Ballet School in Havana and contemporary dance workshops, integrating various dance companies and performing in the 2nd Tropicana Show. She is a mid-level graduate from micro operator. She studied at the School for Art Instructors.

As a singer, she started her professional career by joining several groups such as: Lady Salsa Mix, Cuban Salsa Orchestra, Las canelas, Ketlman Ferrer and his orchestra, etc. She is currently the lead singer of Quinteto D’Amore.

In all these years different musicians have integrated the group, currently two years ago the group has been renewed and is composed of Bass, Tres, Violin, bongo, minor percussion and soloist. They are characterized by combining music, voices and choreography in some of their songs, filling with joy and energy those who can enjoy their show.
Quinteto D’Amore was founded in 2000 with an acoustic format.

Orley (Bass): He studied bass and contrabass, he began his musical career in Ciego de Avila as part of different groups of small and great format such as: Eclipse Orchestra, Conjunto Campesino “Campo Lindo”, etc. Later on, he joined groups in Havana such as Septeto Tradición, the group of the singer Leyanis Lopez with whom he travelled to France (Paris) under the record label “Luz Africa”. From 2007 to 2011, he was on the Orchestra of Maykel Blanco Y Su Salsa Mayor with whom he made several international tours in Italy, Sweden, Denmark, Germany, Poland, Switzerland, Belgium, and Peru, and participated in the recording of his 2 albums. From 2011 to 2013, he joined the groups like “Amor y el Son”, Pepitín y su CumBachá”, and Habana Midic with whom performed in Egypt, Jordan, Tunisia and Lebanon. Orey joined D’Amore in May 2014.

Daymé (Director, tres and bongo): Graduated of Telecommunications and Electronics engineering at the “José Antonio Echeverría” Higher Polytechnic Institute and at the intermediate level in music in the specialty of “Tres”. She belonged to the amateur artistic movement for 14 years, participated in international festivals, integrated several groups of small format with which she performed in Cuba in the “Dos Gardenias” complex, La Bodeguita del Medio, the Floridita Restaurant and various hotels, Outside of Cuba, she has fulfilled several contracts in Jamaica, Qatar, Arab Emirates (Abu Dhabi, Dubai and Al Ain), Jordan, Egypt, Japan, Spain, Turkey and China. She is currently the bongo player and director of Quinteto D’Amore.

Maria Carla (2nd violin) began her music studies at the “Alejandro García Caturla Conservatory” where she acquited basic secondary education and the 7th year of violin.

In 2006, she entered the “Amadeo Roldán Conservatory” to continue his studies to reach the ipper secondary level of violin. During her time as a student, she was part of the orchestras of the respective schools and participated in meetings, competitions and concerts as both instrumentalist and vocalist in choirs.

Upon her graduation, she taught in the province of Pinar del Río and gave classes at the Vocational School of Art in the same city for two years.

Since 2010, she is part of the National Symphony Orchestra of Cuba by working simultaneously with various classical and popular music groups such as “La Camerata del Son”, “Ensemble Alternativo”, “Quinteto D Amore”, “Orquesta Panorama”, and “Quinteto Doble Sabor”.

María Carla has also participated in several events and festivals: Encuentro Nacional de Orquestas Sinfónica, Feria Internacional Cubadisco, Encuentro de Coros, Festival América Canta, Festival de Música Contemporánea, Festival de Jóvenes Pianista, Festival del Danzón, Feria Internacional del Libro de La Habana as well as in several recordings and phonograms with artists such as José María and Sergio Vitier, Toni Pinelli, Rafael Guedes, and Aldo López-Gavilán.

She has also accompanied renowned soloists such as pianists Lang Lang, Chucho Valdés, Frank Fernández, Aldo López Gavilán, singer Omara Portuondo, violinists Ryu Goto, Francesco Manara, clarinetist Keisuke Wakao, and guitarist Joaquín Clerch.

He has worked under the baton of conductors such as Yoshikazu Fukumura, Marin Alsop, Francesco Belli.

Quinteto D’Amore Repertoire

Latin/English Recent Hits

Havana – Camila Cabello

Someone Like You – Adele

Don’t You Remember – Adele

Unbreak My Heart – Tony Braxton

Rehab – Amy Winehouse

Whenever Whatever – Shakira

Dancing – Enrique Iglesias,

Lambada – Kapma,

Macarena – Los del Rio,

Mambo No 5 – Lou Bega,

Nossa Nossa – Miechl Telo

Yo Tengo Tu Love – Si7e

Solo Quiero Darte Un Beso – Prince Royce

Despacito – Luis Fonsi & Daddy Yankee

English Pop, Rock, Blues, Jazz, R&B

Stand By Me – Ben E. King

Yesterday – The Beatles

Only You (And You Alone) – The Platters

New York New York – Frank Sinatra, Liza Minelli

Misty – Errol Garner & Johnny Burke / Johnny Mathis

Girl From Ipanema – Pery Ribeiro, Frank Sinatra

Flying To The Moon – Frank Sinatra, Doris Day, Tony Bennett, Diana Krall

Summertime – Ella Fitzgerald, Janis Joplin, Billie Holiday …

Autum Leaves – Nat King Cole, Andrea Bocleli, Eric Clapton …

My Way – Jacques Revaux, Paul Anka / Claude Francois, Frank Sinatra, Elvis Presley

I Just Called To Say I love you – Stevie Wonder

Somewhere Over the Rainbown – Harold Arlen and Yip Harburg / Judy Garland, Israel

For Ever And Ever – Demis Roussos

Hotel California – Eagles …

Cuban/Latin Salsa, Son, Rumba, Cumbia, Bolero

El Yerbero Moderno – Celia Cruz,

Quimbara – Celia Cruz

Life is a Carnival – Celia Cruz

Idilio – Wilie Colon

El Carretero – Buena Vista Social Club

El Cuarto De Tula – Buena Vista Social Club

The Discreet Kisses – Compay Segundo

Chan chan – Compay Segundo

Hasta Siempre, Comandante – Carlos Puebla

Maridos Majaderos – Perdro Luis Ferrer

Yolanda – Pablo Milanés

Volveré – Diego Verdaguer

Montón de Estrellas – Polo Montañez

Cariñito – Los Hijos del Sol

Oye Como Va – Tito Puente / Carlos Santana

Nel blu dipinto di blu (Volare) – Dean Martin …

Capullo de Aleli – Cateano Veloso

Dos Gardenias – Daniel Santos, Buena Vista Social Club

La Flor Pálida – Polo Montanez / Marc Anthony

Perfidia – Alberto Domínguez / Los Panchos, Perez Prado, Nat King Cole, Ben E. King,

Luis Miguel

Guantanamera – Celia Cruz, Compay Segundo, Tito Puente, Joan Baez

Lágrimas Negras – Trio Matamorros, Omara Portuondo, Celia Cruz, Compay

Segundo/Cesária Évora

Moliendo Café – Jose Manzo Perroni / Mario Suárez, Xiomara Alfaro, Ricardo

Montaner

El Manisero – Rita Montaner, Antonio Machin, Mistinguett, Louis Armstrong

Historia de un amor – Carlos Eleta Almaran, Guadalupe Pineda

Besame Mucho – Consuelo Velasquez / Los Panchos, Pedro Infante, Louis Armstrong,

Andrea Bocelli

Quizás Quizás Quizás – Osvaldo Farres / Bobby Capo, Celia Cruz, Nat King Cole

El cumbanchero – Rafael Hernandez / Tito Puente

Que Será, Será – Jay Livingston and Ray Evans / Connie Francis, Natalie Cole

Pink Cherry – Los Tecolines

www.quintetodamore.com

www.facebook.com/QuintetoDAmore

Youtube Quinteto D’Amore

Contact us at [email protected]

Quinteto D'Amore Cultivating traditional Cuban music worldwide.
Quinteto D’Amore of Havana – Cuba

Sonora Ponceña and her 1982 álbum “Determination”

A production that placed “Yambeque” on its first song

Enrique Arsenio Lucca Quiñones (Ponce, Puerto Rico, April 10, 1946), known as Papo Lucca, is a pianist and multi-instrumentalist of salsa and Latin jazz.

An arranger and virtuoso of his instrument, he was co-founder with his father, Enrique “Quique” Lucca Caraballo, of La Sonora Ponceña. He has also performed and recorded with the Fania All-Stars, Willie Colón, Celia Cruz, Johnny Pacheco, Bobby Valentin, Ismael Quintana, Gloria Estefan, Adalberto Santiago, Andy Montañez, Pablo Milanés and Rubén Blades.

La Sonora Ponceña is a Puerto Rican orchestra of Afro-Caribbean music founded by “Quique” Lucca in 1954.

Directed by the son of “Quique”, Papo Lucca, it is one of the most important groups of the musical genre

This time we highlight the album “Determination” from 1982, a production that placed “Yambeque” on its first song

Sonora de Ponce, Papo Lucca, Los Gigantes del Sur, Determination
Sonora Ponceña and their 1982 album “Determination”.

A melody from Regla de Ocha to the orishas that brings a rumba within its particular style of salsa and excelling in a solo he “little” Johnny Rivero and the interpretation “Toñito” Ledee.

On the song “Soledad,” it was Yolanda Rivera‘s turn, along with Miguelito Ortiz and Toñito Ledee, where they sing about loneliness and its peculiarities and dangers.

In “Creo en ti,” the arrangement of the ninths and suspended chords on the trumpet harmonies stood out, very well complemented by Yolanda Rivera’s interpretation of this bolero.

The song “Herida cerrada en falso”, lyrics and interpretation provided by Toñito Ledee, where we enjoy the vocal style of this great singer.

The melody that followed on this album was “Date cuenta“: a call to young people who go around playing with hearts.

In “Si la ven”, where the piano solo turned the main line of the melody into a Classical Music Minuet and where we enjoyed the harmonies that were used in the trumpets and flute horn by Juancito Torres.

In “Joldo” Maestro Papo Lucca makes Jazz taking this melody to a more accentuated Latin plane.

In “Aunque te quiero” Songo with Salsa was employed for a sense of harmony and dance-driving, where this melody reflects the heart of the true and full romantic lover, who regrets the love that does not return to him.

In this production we have wanted specially to detail that we counted on Enrique Quique Lucca like Musical Director; to Enrique Papo Lucca like Producer, Arranger, choir and piano; vocalists to Yolanda Rivera, Miguelito Ortiz and Toñito Ledee; in the choir to Edwin Rosas and like guest also in choirs Mr. Adalberto Santiago.

We were fortunate and honored to have lyrics by Adalberto Alvarez, Jose A. Mendez, Toñito Ledee, Francisco Alvarado, Roberto Anglero, Joseito Gonzalez and one with DRA.

This album continued to mark the musical line that we brought and continued to have the privilege of the favor and acceptance of each of our fans, who to this day continue to fully enjoy each of the melodies present in this production.

We say goodbye to you and thank you for your attention, and we will return soon with another release for all of you.

Facebook: Sonora Ponceña

Yambeque

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El Nene de Ponce and El Malo del Bronx

Héctor Lavoe y Willie Colón

A finales de los sesenta, el mundo fue testigo de un interés por la música latina, y esta vez, el sonido se llevó a cabo en Nueva York con condimentos puertorriqueños y dominicanos y un condimento basado en los sabores culturales que se mueven en la Gran Manzana.

Fue una mezcla de sonoridades latinas aromatizadas por las calles de Nueva York, que resultó en una especie de guarnición musical que se llamó Salsa.

Concretamente en el año de 1967, que es cuando este sonido cobra vida de la mano de la combinación más letal concebida por nuestra música latina, Héctor Lavoe y Willie Colón.

El primero es oriundo de Ponce con un registro vocal envidiable que se fue a probar suerte a Estados Unidos con tan solo 17 años. El siguiente era un neoyorquino de ascendencia puertorriqueña con el oído más privilegiado de su generación, unido por Johnny Pacheco para iniciar el imperio de los primeros chicos malos de la música latina con el disco “El Malo”.

Concretamente, fue en el 67 cuando este sonido cobró vida de la mano de la combinación más letal que jamás haya concebido nuestra música latina, Héctor Lavoe y Willie Colón.
El Nene de Ponce y El Malo del Bronx

Esta es la primera producción de Willie Colón que realmente se empieza a grabar en el 66 desde Alegre Records. Sin embargo, el sello cerró y el proyecto se detuvo hasta que recibió la propuesta de Fania Records con la condición de buscar un nuevo vocalista, y es entonces cuando apareció Héctor para terminar el disco.

Cuando se estrenó en el 67, fue un bombazo en todos los sentidos, desde la estética hasta los sonidos sofisticados que Willie capturó como líder de orquesta al traer elementos de mambo-jazz, son montuno, timbales diabólicos por parte de Nicky Marrero, Guaguancó, blues. pianos y Boogaloo.

Todo el mundo hablaba de la trágica vida de Héctor Lavoe, pero Willie Colón vio más allá de eso, e hizo once álbumes de estudio, lo vio como un dulce chico de campo con buen sentido del humor. Lo vio como el mito antes de convertirse en tal.

Willie Colón & Héctor Lavoe, este dúo es considerado uno de los más importantes de la música salsa.

Willie Colón & Héctor Lavoe fue un dúo de salsa formado en Nueva York, Estados Unidos, con orígenes puertorriqueños en 1967 por Willie Colón (trombón, coros) y Héctor Lavoe (voz, maracas).
Héctor Lavoe y Willie Colón “El bueno y el malo”

Criado entre los “chicos malos” del Bronx, Nueva York, Willie Colón se ha hecho a sí mismo a pulso y ritmo, innovando y esforzándose siempre por ofrecer algo diferente. Y no fue fácil. Así que tuvo que inventar otro Willie con el que nadie se enredara.

Así nació “El Malo” con una niñez poco común, también es “El Malo” de Salsa, el que cambia las reglas en cada disco. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años.

Su abuela fue la que le regaló su primera trompeta, le enseñó a hablar español, también tocó música tradicional a cambio de que él le leyera el periódico.

Willie tocaba la trompeta y ese parecía ser su instrumento. Luego escuchó el solo de trombón de Barry Rogers quien tocó la pieza “Dolores la Pachanguera” con Joe Cotto y también descubrió lo que hacía Mon Rivera con el bombo y el trombón y nunca quiso volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No cualquiera celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística.

Así nació “El Malo”, con una niñez poco común, lo que también lo llevó a adoptar el nombre a su pasión por la música, pasando a ser conocido como El Malo de la salsa. Cambia las reglas introduciendo algo diferente con cada álbum. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años en ese momento. Su abuela le regaló su primera trompeta, le enseñó a hablar español y también le tocó música tradicional a cambio de que leyera el periódico.

Willie tocó la trompeta como su instrumento hasta que escuchó el solo de trombón de Barry Rogers a dúo con Joe Cotto en la pieza “Dolores la Pachanguera” desviando su interés por ese instrumento pero descubriendo lo que hacía Mon Rivera con el bombo y el trombón. lo llevó a no volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No todo el mundo celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística lo que lo convierte en un ícono de la salsa.

Héctor Juan Pérez Martínez, conocido como Héctor Lavoe y William Anthony Colón Román, más conocido como Willie Colón.
El Nene de Ponce y El Malo del Bronx “Héctor Lavoe y Willie Colón”

 

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Tips for the Latin dances “Salsa”, “Bachata”, “Merengue” and “Lambada”

To be able to socialize and have fun, many people learn different activities that can attract others either in their daily routine or during a rest time they have; among those activities is music and dance, where the person can interact with their neighbor and / or partner (a) either by practicing it or simply talking about the subject.

 

Dancing is simply the act of performing a dance, where a person uses his or her body to perform movements to the beat or to the rhythm of a music or melody, in order to express a message, by tradition or with the aim of entertaining oneself; of course, in order to practice it, body communication is very important because the couple or group needs to know certain signals that indicate the “when” or “how”, in order to perform the steps and as a result the success of this performance will test the quality, maturity and growth of the dancers; and to perfect the technique the best thing they could do is to look for an academy where they can orient them and thus achieve their equilibrium either as a couple or as an individual.

However the dance is not something monotonous, it has different musical genres and on this occasion we will talk about La Salsa, La Bachata, El Merengue and a little known but at the same time very interesting rhythm called Lambada.

 The tenses in these 4 musical genres are different, for example:

 

  • The Lambada is a dance that comes from Brazil although you still have doubts about its exact origin.  Another influence of its development came from Caribbean music adding metal drums, electric guitars making this a unique musical experience.  It has a degree of popularity in Europe because it is exotic and uncommon due to certain characteristics la Lambada that there are traces of flamenco and other ancient Spanish dances.  The Lambada uses a three (3) beats, where the first 2 are fast and the third (3rd) is slow, with simple steps dancing either in the same place or on the side, showing momentum and interest where the dancer is looser, flexible and docile, whereas the woman is full bodily movement and should be guided by her partner, as if the woman were clay in the hands of the potter.
Lambada dance
Photo of a Lambada dance contest
  • La Salsa is an Afro-Caribbean rhythm and dance fused with jazz and other styles.  Its birth has been much debated, but it is known that it comes from a fusion carried out by the inhabitants of the Caribbean when they listened to European music and then mixed it with their drums, it is a rhythm with flavor, joy and the force of life, a very common characteristic when it comes to party, which one can associate through the salsa songs. The Salsa handles a four (4) beat beat beat, either side to side or back and forth, it can also be crossed (as if you draw a “V” with the 2 and 3 in the middle) and the turns in both dancers can be from simple to complex as you progress level in (a dance academy), citing the textual words of Glenis is a rhythm where the woman It’s man-guided, so if you want to blame her for a misstep, you know who to blame.
Salsa Pose
Photo of a couple dancing Salsa
  • The Merengue is a dance from the Dominican Republic, becoming a Caribbean and Latin rhythm, it is one of the easiest rhythms to learn to dance even without experience, since it is not as fast or strict as the “Salsa” is, its movement can be back and forth, or side to side, always adding very noticeable hip movement with the rest of the body although not as exaggerated as bachata or kizomba; giving it a touch of flavor and flavor.  It is required to do this a close dance with your partner that when salsa is danced, facilitating the fluency of the couple at the time of moving and so be more synchronized, of course it is that not all the time is like this, the trick is the synchronization of the couple’s steps; usually it resembles the turns of the salsa with the merengue.
Meringue Competition
Photo of dancers dancing Merengue

There are many types of dances in each country and in its academies and-or dance venues, which have their own rules, tips, names and steps to follow, what matters is that you achieve the ultimate goal which is to “dance” by holding classes regularly, following the advice of your teachers, practicing your technique outside your classes, dedicating time to improve your dance skills specific, improve your postures, exercise without abusing it getting your rest time and above all observe outstanding dancers of different styles, this way you will be able to achieve your goals without staying on the path of learning.

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.