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Latin Dance Names

Darrell's database of Latin dance names: chipanecas (chip) rumba milonga salsa ace tao conga jarabe macumbo xongo macarena cueca pachanga lindy tango cha-cha lambada samba mambo merengue waltz cumbia flamenco polka escondido watusi twostep jig bolero corrido danzon limbo guaracha bomba charanga maxixe alegrias bambuca beguine calypso carioca ALEGRIAS: The Alegrias is one of the oldest of Spanish Gypsy dances and = is often called the "Queen" of Flamenco dances. It is the purest and = more refined of the repertoire. It suggests the movements of the = bullfight and is usually danced by a woman alone.=20 BAION: A type of slow Samba rhythm from Brazil that became popular in = North America during the 50's. BAMBA: An old Mexican air from the province of Vera Cruz, Mexico, to = which a charming folk dance depicts two lovers who throwing a narrow = sash on the floor manage to tie in into a knot with their dancing feet. BAMBUCA: The national dance of Colombia, South America. It is = characterized by cross accents in the music. It was formerly danced only = by the natives but became a ballroom dance to be added to the gentle = Pasillo, a favorite with Colombian society. BATUQUE: Afro-Brazilian jam sessions. In the Batuque the dancers form a = circle around one performer. This solo dancer chooses his successor for = the exhibition spot while shouting the word "Sama."=20 BEGUINE: A type of Rumba in which the accent is on the second eighth = note of the first beat. Origins spring from Martinique and Cuba. BOLERO: Originally a Spanish dance in 3/4 time, it was changed in Cuba = initially into 2/4 time then eventually into 4/4. It is now present as a = very slow type of Rumba rhythm. The music is frequently arranged with = Spanish vocals and a subtle percussion effect, usually implemented with = Conga or Bongos. BOTECITA: The "Little Boat." It is Cuban dancing with a very exaggerated = swaying of the shoulders. BULERIAS: A Spanish Gypsy dance. Livelier and more spirited than most of = the repertoire. It's usually danced by a whole group and could be called = a Flamenco jam-session. CALYPSO: The music of the typical ballads in England sung by the natives = of Trinidad. There was no real dance but because of the extreme = popularity of the music, in 1956, possibly due to the singer Harry = Bellafonte, many steps were created. Most of them resemble the Cuban = Bolero or the Martinique Beguine or even Swing.=20 CARIOCA: A native of Rio de Janeiro. Also the abbreviation of the = Brazilian dance, the Samba Carioca. At the Carioca Carnival, from the = moment the music starts until it dies off, people get together in = cordoes (chains or cues). Holding hands in this fashion they sing and = sway their bodies to the Samba-Carioca and the Marchas.=20 CHA CHA: From the less inhibited night clubs and dance halls the Mambo = underwent subtle changes. It was triple mambo, and then peculiar = scraping and shuffling sounds during the "tripling" produced the = imitative sound of Cha Cha Cha. This then became a dance in itself. = Mambo or triple Mambo or Cha Cha as it is now called, is but an advanced = stage in interpretive social dancing born of the fusion of progressive = American and Latin music. CHIPANECAS: A Mexican Folk dance from the province of Chiapas. Its = popularity is due to the charming air plus the audience participation = during the time the dancers request the audience to clap hands with = them. It is in 3/4 time and based on Spanish patterns. CONGA: An African-Cuban dance characterized by the extreme violence of = accents on the strong beats in 2/4 time. The Conga beat thus used has a = rhythmic anticipation of the second beat in every other measure. The = Conga was very popular in the late thirties. It was performed in a = formation known as the Conga chain. The steps are simple, one, two, = three, kick at which time the partners move away from each other. CORRIDOS: The musical ballads called the Corridos play a very important = part in Latin American musical life. The words are often topical and = relate to political events. It has been suggested that the word Corrido = is derived from the word correr, to run, because the singer has to run = for his life when caught in the process of reciting a subversive ditty. = Corridos are particularly popular in Mexico. DANZON: A Cuban dance which starts slowly and gradually accelerates at = certain melodic intervals between chorus and verse: the dancers stop to = talk but remain on the floor until a certain beat tells them to resume = their dances. This dance, which might be called a Rumba variation is in = a 4/4 time. Its stately music is popular in the tropics because it is = not strenuous. It is know as the aristocrat of all Cuban dancing because = of its dignified and stately appearance.=20 DOMINICAN MERENGUE: The dance of the Dominican Republic is 2/4 time with = syncopation of the first beat interpreted by the dancers as a slight = limp. It became popular in 1957. ESCONDIDO: An Argentine dance called Escondido (literally hidden for in = it the female partner hides from the male) belongs to the Gato type = rhythmically and choreographically. FADO: Originally a Portuguese song and dance absorbed by Latin America = and especially by Brazil as a pattern for the Samba. The steps of the = Fado are based on a hop, a skip and a kick in 2/4 time. It makes a = charming exhibition folk dance. FANDANGO: Most important of the modern Spanish dances, for couples. The = dance begins slowly and tenderly, the rhythm marked by the clack of = castanets, snapping of fingers, and stomping of feet. The speed = gradually increases to a whirl of exhilaration. There is a sudden pause = in the music toward the end of each figure when the dancers stand rigid = in the attitude caught by the music. They move again only when the music = is resumed. This is also characteristic of Seguidillas, similar to Jota. FARANDOLE: A dance Haute from Provence, France. A typical variation was = a quick gallop step danced by a procession winding in and out in single = file, headed by a musician who played a drum and fife at the time = skipping along without losing a beat. 6/8 or 4/4 time. FARUCA: The dance of Spain most suited to a man. It is a pure Gypsy = dance in 2/4 time consisting of heel work, fast double turns and falls. = It is considered one of the most exciting of all the same Flamenco = dances. GATO: Argentine dance performed by two couples. In rhythm it resembles a = very fast Waltz in steady quarter notes. A very popular form is the Gato = con Pelaciones - that is Gato with stories. The stories are the = diversified content; amorous, philosophical or political. GUAJIRA: This dance was originally a Andalusian dance derived from = Sevillanos. This dance which was played in 3/4 or 6/8 time was a Cuban = Country dance as well, performed in Conga rhythm to the music marked Son = Guajira. In ballroom terminology a Rumba is slow to medium tempo, or = danced as a very slow Cha Cha, with subtle body movements. GUARACHA: This lively Cuban song and dance of Spanish origin is = performed in 2/4 time and danced by the more expert and agile dancers = only, as its speed is rather imposing. a) An old Spanish dance in two = sections. One is lively triple and the other in double. It originally = was played in 4/4 time. b) A modern Rumba usually played very fast. IBO: The Ibo rhythm belongs to the faster Haitian Merengue group of = dancers. It is colorful, native in style and can be classified as = "Caribbean dancing." A pronounced movement of hips and turning of the = head is typical. JARABE: The Jarabes are typical Mexican Folk dances. Usually done by a = couple, it depicts a flirtation and conquest. It is well known in = America by its other name, "The Mexican Hat Dance." The Mexican Jarabe = is a descendant of the Spanish Zapateado, and its rhythm resembles that = of a Mazurka. It is in 3/4 time. JARANA: Folk dance of Yucatan, Mexico. It is possibly closer to the = melo-rhythmic foundation of the ancient Mexican songs than any other = native air. The verses of the Jarana are often in the Mayan language. = The word Jarana means merry chatter. It is exciting in its rhythm based = on a combination of 6/8 and 3/4 time. As an exhibition ballroom dance it = can be placed alongside La Raspa and La Bamba, its cousins. KANKUKUS: Afro-Brazilian dances of the Mestiso Indians.=20 LA CUECA: La Cueca is a Chilian dance written in 6/8 time with the = accompaniment in 3/4 time. Originally it was danced with handkerchiefs = only, but during recent years it has enjoyed popularity on the ballroom = floor. LA RASPA: A Mexican dance from Vera Cruz, which reminds us of our own = square dancing except that it has a peculiar hopping step of its own. It = has enjoyed a well merited popularity for a number of years as a fun = dance. LAMBADA: This latest dance crazy has its roots from the Northeast Coast = of Brazil. The exciting look of this dance on European television took = the Continent by storm in the late 80's. Introduced to the U.S. by = Arthur Murray personnel, its lighthearted Brazilian/Caribbean beat = combines the flavor of the Samba with the sultry passion of the Rumba. MACUMBO: An African Brazilian ritual and like dances belonging to it. MAMBO: The fusion of Swing and Cuban music produced this fascinating = rhythm and in turn created a new sensational dance. The Mambo could not = have been conceived earlier since up until that time Cuba and the = American Jazz were still not wedded. The Victor records of Anselmo = Sacaras entitled "Mambo" in 1944 were probably the beginning and since = then other Latin American bandleaders such as Tito Rodriguez, Pupi = Campo, Tito Puente, Perez Prado, Machito and Xavier Cugat have achieved = styling of their own and furthered the Mambo craze. The Mambo was = originally played as any Rumba with a riff ending. It may be described = as a riff or a Rumba with emphasis on the fourth beat 4/4' time. = Originally played by some musicians in 2/4 time with a break or emphasis = on 2 and 4. Native Cubans or dancers, without any training would break = on any beat. MARCHA: Latin American counterpart of our One-Step. MARTINIQUE BEGUINE: Popular ballroom dance of the island of St. Lucia = and Martinique. It is characterized by the rocking back and forth of the = hips while the girl throws her arms around her partner's neck. His arms = loosely clasp her about the waist. The steps have been incorporated in = both the Haitian Merengue and Calypso. MAXIXE: A Brazilian dance first introduced in Paris in 1912. It is in = 2/4 time of rapid tempo with a slight syncopation. In this dance strict = attention must be paid to the carriage of the head and the posturing of = the arms. MENTO: The most popular native dance of Jamaica which resembles a Rumba = played in slow tempo. MILONGA: The Milonga is a Spanish dance first originated in Andalusia. = As the fascinating music traveled the world it assumed various aspects. = In Buenos Aires the Gauchos danced it in what is called a closed = position, in the lower class cafes. Here their interpretation of it = emerged into what today is our Tango. The Milonga enjoyed a popular = resurgence some years ago through the Juan Carlos Copes group who = performed it the world over. MINUET: It was a carefree and lively dance until presented by the French = court in 1650. There it developed into a slow and stately dance, elegant = in its simplicity. It consists of a salute to the partner, a high step = and a balance, and affords numerous opportunities for an exchange of = courtly gestures, bows and curtsies.=20 MODINHA: Among the Brazilian dances there is the Modinha which is the = diminutive of Moda (Mode or Style) and is directly derived from the = Portuguese songs and dances of that name. The early Modinhas were = greatly influenced by Italian music. The present day Modinhas are = sentimental in mood and similar to the Cuban Boleros.=20 PACHANGA: In 1955 Eduardo Davidson, a Cuban Colombian introduced the = Marencumbae, a Colombian dance in Cuba. The Original music was called La = Pachanga with Marencumbae underneath it. He made up patterns for this = dance by watching musicians keeping time on the band stand. It was then = introduced into the United States to play for the Cuban Embassy's annual = affair at the Waldorf. He was simultaneously booked at the Palladium. He = had with him two terrific boy dancers. These boys came out as part of = the show and did Cha Cha's with swiveling and trucking movements. People = had never seen this type of Cha Cha before and asked what it was. Since = Fajardo had a Charanga band and spoke no English, his reply was = Charanga. After a big conference of dancers in 1956 the Pachanga was = introduced, but they found out that the Charanga and the Pachanga were = interchangeable. So instead of some calling it Charanga and others = Pachanga, they decided that the music would be called Charanga and the = dance Pachanga. A Charanga band is the typical Spanish Danzon type band = that only played in salons, and theothers that played far out and wild = were called "orchestra typical." PASO DOBLE FLAMENCO: The same as the Paso Doble but it is not the = ballroom version. It is purely exhibition dancing and sometimes = castanets are used or Flamenco arm movements. PLENA: Several distinctive airs have originated in Puerto Rico. Among = them the Plena, which is a topical ballad similar to the Mexican = Corrido. When danced it resembles a Bolero. PORRO: A Colombian dance. It is similar to the Cuban Rumbas in that it = expresses various activities or tells stories set to a very syncopated = 2/4 meter. QUADRILLE: The Quadrille is a "Set" dance. It consists of a series of = dance figures, the most frequently used is called the "Flirtation" = figure, in which the man dances with each woman in turn.=20 RUMBA: The Rumba was originally a marriage dance. Many of its movements = and actions which seem to have an erotic meaning are merely depictions = of simple farm tasks. The shoeing of the mare, the climbing of a rope, = the courtship of the rooster and the hen, etc. It was done for amusement = on the farms by the black population of Cuba. However, it became a = popular ballroom dance and was introduced in the United States about = 1933. It was the Americanized version for the Cuban Son and Danzon. It = is in 4/4 time. The characteristic feature is to take each step without = initially placing the weight on that step. Steps are made with a = slightly bent knee which, when straightened, causes the hips to sway = from side to side in what has come to be known as "Cuban Motion." SALSA: This is a favored name for a type of Latin music which, for the = most part, has its roots in Cuban culture and is enhanced by jazz = textures. The word, Salsa, means sauce denoting a "hot" flavor and is = best distinguished from other Latin music styles by defining it as the = New York sound developed by Puerto Rican musicians in New York. The = dance structure is largely associated with mambo type patterns and has a = particular feeling that is associated mainly with the Clave and the = Montuno. SAMBA: This Brazilian dance was first introduced in 1917 but was finally = adopted by Brazilian society in 1930 as a ballroom dance. It is = sometimes referred to as a Samba, Carioca, a Baion or a Batucado. The = difference is mostly in the tempo played since the steps in all three = dance are very similar. The style is to bounce steadily and smoothly in = 2/4 meter. They say that the Samba was introduced in the United States = in 1939 by the late Carmen Miranda.=20 SON: A Cuban dance similar to the Bolero except that it is wilder in = rhythmic accent and more violent in step pattern. It is the Son which = first served as a basis for the Mambo which in turn became the triple = Mambo, now known as Cha Cha. This slow rhythmic dance was originally in = 2/4 time. It became Americanized and is usually played in 4/4 time. TANGO: Continental/English - See INTERNATIONAL TANGO There are = essentially three types of Tango - Argentine, American and International = Style. Argentine Tango: (arrabalero) A dance created by the Gauchos in = Buenos Aires. It was actually an attempt on their part to imitate the = Spanish dance except that they danced it in a closed ballroom position. = The Tango caused a sensation and was soon to be seen the world over in a = more subdued version. American Tango: Unlike the Argentine Tango, in = which the dancer interprets the music spontaneously without any = predetermined slows or quicks, the American Tango features a structure = which is correlated to the musical phrasing. The dance is executed both = in closed position and in various types of extravagant dance = relationships which incorporate a particular freedom of expression that = is not present in the International style. International Tango: This is = a highly disciplined and distinctively structured form of the Tango = which is accepted worldwide as the format for dancesport events. The = dancers remain in traditional closed position throughout and expresses = both legato and staccato aspects of the type of music appropriate to = this style. XONGO: (CHAN GO) A dance of the Macumba ritual in Brazil. It is in honor = of the jungle god Xango. XTOLES: (CHI TOL LES) The Mayan Warriors dance of Mexico.=20 ZAPATEADO: The Spanish and Flamenco dances of Spain in which rhythmic = patterns are made with the heel and ball of Filigrano. Also a man's = dance which consists purely of intricate stomping.