| It's called innovation. Innovation in Latin Dance is really | | | | attribute the development of mambo timing steps to |
| not a modern phenomenon. In fact, dance innovation | | | | the clave beat or tumbao. In the same manner, the |
| did not begin and end with Eddie Torres or Francisco | | | | rapid salsa shines are attributed to the bongos. |
| Vasquez. Although Eddie was one of our foremost | | | | Given the important role of the thesis for innovation, |
| contemporary dance innovators, innovation is as old | | | | it is disturbing that far too many so-called |
| as the Cuban Son or traditional Bachata themselves. | | | | "innovators" set out to create and promote new |
| In fact, all of the Latin Dance is a product of | | | | dance styles without the background, study, and |
| innovation. The annals are full of examples: Cuban | | | | analysis necessary to formulate a valid reason for |
| Son, Rumba, Cha Cha Cha, Cumbia, Bolero, Merengue | | | | modifications. I know for a fact that some of these |
| and Mambo are just but a few. | | | | self-proclaimed experts are motivated for all the |
| To define innovation, a device or process created by | | | | wrong reasons. For example, the "so called innovator" |
| study and experimentation, the creation of something | | | | would discard the origin of the dance because his |
| in the mind. | | | | knowledge of history, tradition and culture is minimal. |
| Since constant innovations of street dance such as | | | | He develops a modified dance style according to his |
| bachata is not new, there is a very troublesome | | | | limited knowledge. |
| trend developing among many of today's bachata | | | | In my case, I have devoted more than 5 years to |
| dancers. It is the tendency to launch cavalierly off to | | | | practicing, studying, researching, and analyzing |
| proclaim true style of bachata dancing, supposedly | | | | bachata dance styles. I extensively studied the music, |
| each better than the last. In fact, far too many of | | | | history and culture. My 15 years of experience in the |
| these so-called teachers and dancers are motivated | | | | Latin Dance (salsa on1, on2, timba, son, casino, |
| for all the wrong reasons. Some seek ego | | | | merengue, paso doble, rumba, chachacha, samba, |
| gratification, money, or fame. Others simply lack the | | | | tango) helped a great deal since I came to know |
| discipline to persevere in a particular dance style while | | | | bachata dancing at Dominican Restaurants in New |
| some are just close minded, not to mention territorial, | | | | York city. I have watched countless bachata dancers |
| that they refuse to recognize (in a thinking term) | | | | in the clubs and social parties. I have also carefully |
| other "colors' except black or white. | | | | observed numerous Dominican dancers and even |
| Many dance teachers are unaware of the inherent | | | | befriended some of them. These experiences led me |
| complexity, responsibility and sacrifice of valid dance | | | | to the awareness that many essential concepts, |
| innovation. They fail to realize that innovation is an | | | | methods, and potential styles were NOT being taught |
| evolutionary process of methodical modification and | | | | or established in the so-called bachata dance classes |
| refinement, rather than a revolutionary product | | | | and workshops. More and more it became alarmingly |
| rendered out of whole cloth. It takes serious passion | | | | obvious to me that accurate information was being |
| and countless experimentation. Motivation must come | | | | neglected. My primary concerns centered on the |
| from deep within the soul, heart, and mind. | | | | concept of hip movements, partner-ability and basic |
| I hope to give my readers an unbiased look into my | | | | steps. Side steps became electric slides. Hip |
| own search for and acquisition at dance innovation. I | | | | movements turned into grinding or humping. And |
| will try to provide a logical overview of a Dance | | | | dance partner-ability became stiffly robotic with no |
| Infrastructure, Dance Thesis, and Dance Research | | | | sensuality and passion. |
| necessary for a logical dance style innovation. I will | | | | Originally, the concept of the bachata dance was |
| also share a brief history of how I came to dance | | | | formulated based on simplicity, sensuality, sexuality, |
| the style I dance with bachata. | | | | romance, heartaches and was danced at house |
| THE INFRASTRUCTURE OF A DANCE | | | | parties, backyard celebration, whorehouses and bars. |
| It is ridiculous to think of developing a new style of | | | | Of course, eventually, bachata music evolved to a |
| dancing without an extensive infrastructure or | | | | more acceptable romantic and passionate music. |
| background in body movements. By infrastructure, I | | | | Thanks to innovators such as Anthony Santos, Juan |
| am not referring to superficial excursions into various | | | | Luis Guerra, Aventura, Frank Reyes and others. They |
| dance styles. I am speaking about the foundation, | | | | helped innovate bachata music to what it is today. |
| core knowledge, and a cornerstone. A knowledgeable | | | | THE DANCE RESEARCH |
| foundation can be built only on consistent training, | | | | Research is a continuous and painstaking process of |
| theory and practice. All great innovators were | | | | observing, analyzing, testing, and documenting |
| obsessed with experimenting and constant practice, | | | | information relevant to the innovator's thesis. There |
| and each had an extensive foundation in the art | | | | are two broad categories of research that, in reality, |
| before even considering innovation. | | | | overlap in very significant ways: academic and |
| International Latin Ballroom dancing has played a large | | | | practical research. |
| part in my early dance history. During those years I | | | | Academic research is a process requiring dedication, |
| have been perfecting the skills and techniques | | | | patience, and an insatiable desire to learn. The |
| necessary for excellent dancing, and they have | | | | innovator truly must want to know all there is! Once |
| helped me understand the complexities of dancing in | | | | again, his thesis enters the picture in the all-important |
| general. Prior to Ballroom, I've trained extensively in | | | | role of a beacon, directing him to information that |
| the Martial Arts, studied and familiarized myself with | | | | has some relevance and bearing on his ultimate goal. |
| body dynamics and kinetics earning myself a 4th | | | | Without this direction he is likely to waste time |
| degree Black Belt and a certificate in Fitness Training. | | | | sorting and separating valuable data from a |
| For many years, I have been teaching others these | | | | tremendous amount of junk and misinformation. |
| same techniques and principles, helping them reach | | | | Research involves rapacious reading and observing all |
| their social or competitive goals. While I embarked | | | | kinds of dancers. An important thing to note is that |
| myself to spread the bachata dance, I also specialize | | | | the body of printed materials on Latin dance, |
| in other dances like salsa dance, I don't practice | | | | particularly; salsa dance has evolved geographically |
| ballroom no longer, since I prefer to dance free | | | | over the last 20 years. Instructional DVDs and the |
| rather than in a structured manner. | | | | Internet have added a whole new and interesting |
| A strong foundation establishes the physical, mental, | | | | database, and workshops are offered around the |
| and creativity of a great dance style. Extensive | | | | world. Bachata information on the Internet is catching |
| dance training develops and refines the attributes of | | | | up. But let me offer a word of caution: the innovator |
| the dance (i.e., speed, power, timing, balance, | | | | can't just expose himself passively to these sources. |
| accuracy, fluidity, grace, partner- ability, etc.). A broad | | | | Literature must be dissected and noted. Videos must |
| intellectual grasp of various dance techniques are | | | | be viewed over and over again. Music must be |
| critical to any effort to modify and refine. Theoretical | | | | listened to and understood. Strategically sound and |
| and conceptual analyses are touchstones of | | | | weak points should be recorded and analyzed in |
| innovation. | | | | personal journals. And finally, workshops and training |
| Finally, a strong foundation will begin to open the | | | | programs should be attended with an open mind, |
| dancer's inner self to the creative component of | | | | balanced with healthy skepticism. |
| dancing. The innovator must become his art. Simply | | | | Realistic research thus begins. The innovator's |
| put, there are no shortcuts! Every dance innovator | | | | information has been analyzed, cross-referenced, and |
| starts at the bottom and works his way up. The | | | | refined to theoretical applications. It's time to break |
| greatest were beginners. If you are unprepared to | | | | away from the black board and head for the lab. |
| embrace the principles, forget rushing ahead to | | | | Obviously there are some difficulties in approaching |
| modify and create. A dance innovator can only | | | | simple and sound practical or experimental research. |
| succeed with a deep conception of the various | | | | Somehow, somewhere, the innovator has to get it |
| movements, techniques, and related elements of | | | | right. The dance club is the answer. The innovator will |
| dancing. Innovation requires that you learn to walk | | | | need innumerable social dancing, with all kinds of |
| before you can run. | | | | dancers to test the result of his new dance concept. |
| THE THESIS OF A DANCE | | | | This is the only way to test the innovator's |
| Innovation in every major field is based on a thesis. | | | | hypotheses. The bottom line is - the innovator must |
| The thesis may be an aphorism, a concept, a rule, or | | | | have the on-hands experience of dancing in the clubs |
| any other valid reason to modify and go beyond | | | | with all kinds of dancers, if he is going to preach it! |
| that, which has already been established. Generally | | | | He must walk the talk! |
| speaking, a valid thesis is the culmination of an | | | | Finally, once the innovator's academic and practical |
| analytical process. It is not something "thought up" or | | | | research have been compatibly merged and his |
| created on whim or fancy. Every foundational thesis | | | | hypothesis adequately tested and proven, he will be |
| for innovation has origination in what has gone | | | | in a position to crystallize and articulate a dance truth, |
| before. For example, in science Einstein's theory of | | | | in this case, his own style of dancing bachata. Over |
| relativity would not have come about without | | | | time this process and the resulting truths will build and |
| Newtonian physics and the significant prior discoveries | | | | evolve. Eventually, if successful, the innovator's |
| in electromagnetic physics. In art, the cubists and | | | | research and experiments will lead to the structuring |
| abstract expressionists owed much to the | | | | of a complex array of truths. This will be the |
| discoveries of traditional realists. Bruce Lee wouldn't | | | | innovator's dance style and teachings. This may |
| have had developed his style, Jeet Kune Do, if he | | | | sound easy to some, but I can tell you that it isn't. It |
| hadn't extensively trained in the art of Wing Chun | | | | didn't come easy for the Mambo King, Eddie Torres |
| first. | | | | to develop Modern Mambo. It wasn't an overnight |
| The same is true for dancing! Modifications and | | | | revelation for Frankie Martinez to develop Abakua |
| innovations in the sciences are based upon | | | | style. And certainly, it didn't come easy for Francisco |
| scientifically established thesis. Theses for dance | | | | Vasquez with his electrifying LA style of dancing on 1. |
| innovation may be the result of cultural eccentricities | | | | Of course, last important factors with your |
| or any number of other factors, including geography, | | | | innovation; did people like it? Or to be more specific, |
| culture and topography. For example, salsa historians | | | | did she like it? |