Afro-Latino Dance DANC 119 F16 T/R 3:00-4:15
Jim Lepore PAB A300 (703) 993-1115
[email protected]
Office Hours: M-Th 2-2:30; & by appointment
General Catalogue Description
Develops knowledge, skills, and appreciation of popular dance forms through
presentation of fundamental techniques, music, and culture. Area of concentration varies to include as many idioms as possible. Meets general education fine
arts requirement. May be repeated for total 6 credits.
Specific Description
Afro-Latino Dance will survey and study selected popular culture dances of the
“Latin” Caribbean with an emphasis on studio practice (dancing) of these
dances. Our approach to this material will be bifurcated: we will investigate
“historical/cultural” (e.g., son, chachacha) idioms in chronological order, while
practicing “contemporary” (e.g., salsa, rueda) genres. By the end of the semester you will understand the cultural history and evolution of these dances AND
be in possession of a skill set that allows you to enjoy salsa dancing at numerous public venues. There is a vital “salsa” community (Azucar) on the GMU
campus and I highly encourage interacting with them!
The idioms we will investigate include Cuban son (and its manifestations as
rhumba, mambo, salsa, & rueda), danzon, chachacha,merengue and bachata
(briefly). The cultural context and history of these idioms is an important part of
the course work, since this background is embedded in the movement vocabulary and dance styles. Emphasis will be placed on the relationship between
music and movement, the distinguishing features of the movement vocabulary,
techniques of partner dancing. With practice, students can develop a comfort
level with this dance vocabulary that encourages a personal dance style. African diasporic traditions of the Caribbean, including African-derived belief systems of Cuba, will be briefly surveyed since they are important antecedents of
the above-mentioned social dance forms.
The impact of Afro-Latino dance traditions on global popular culture is pervasive
and profound. For nearly a century, “dance manias” generated by Caribbean
dance traditions have captured the imagination of populations all over the world.
The result is that Afro-Caribbean rhythms and movement styles have been disseminated throughout the globe. Salsa—a contemporary Afro-Latino idiom
rooted in 19th century Cuban son—is a good example. It is danced in most major metropolitan areas, and is arguably the most vital popular dance in the
world. With practice (including practice outside of class), students will become
versed in the vocabulary of an international dance language that migrates easily
across linguistic and geographic borders.
To excel in this class, you must commit yourselves to regular practice. I encourage you to allow the music available through Spotify playlist for this course
to serve a dual purpose. That list contains authentic samples of the song styles
and artists that we study, and it provides excellent musical accompaniment to
practice our dances. Take full advantage of this music! The track list will be
sent to you via email once our roster is set.
Finally, as mentioned above, there are abundant opportunities to apply dance
skills from this course in the DC area, in Northern Virginia, and right here on
the Mason campus. Azucar, the GMU salsa club is a very active organization
that offers free salsa classes multiple times a week. You can find them on Facebook or by talking to Azucar members in this class.
Student Outcomes
This course meets the General Education requirements in the Arts. Criteria for
meeting that requirement are written in quotes in the following statements. Students will:
-“Identify and analyze the formal elements of a particular art form using vocabulary
appropriate to that form.” They will be able to identify the signature elements of “latin
music,” understand the rhythmic symbiosis between music and dance, and comprehend elements of “latin dance” that reflect West African aesthetics
-Gain an awareness of the evolution and development of West African traditions
in North America and their pervasive impact on our popular culture
-Become familiar with principles of partner dancing as they apply to these idioms
-“Demonstrate an understanding of the relationship between artistic technique
and the expression of a work’s underlying concept.” They will develop a critical
ear for rhythmic accuracy and an eye for stylistic fluency in selected “latin
dance” idioms. Through their study and practice, and will be encouraged to
demonstrate personal expressivity within the parameters of the music/dance
symbiosis.
-Arrive at a comfort level with these idioms that will allow students to actively
participate in community events
-Engage in the artistic process, including conception, creation and ongoing critical analysis.” Improvisation in Latin dancing is based upon your familiarity with
a stylized movement vocabulary. With this in mind, students will be encouraged
to cultivate a personal expressive voice and reflective critical skills in these selected dance idioms.
Course Requirements
Attendance/quizzes:
There are no excused absences. Course participants can miss two classes
without having deductions from their earned grade. After one absence, earned
grades will be reduced by .5. Latecomers must notify me if they arrive after I’ve
taken roll. Lateness will be recorded and will affect final grades. If you must
leave class early, please notify me, and you will be given a “late” mark for leaving class early. Leaving class without notifying the instructor will result in an
“absence.” Please use the break between classes to visit the restroom. Water
bottles in the studio are encouraged!
If you miss a quiz, it may be made up, for reduced points, before the next
class meeting (email me right away to make an appointment to do so). Students
may opt to do this ONLY ONCE during the semester.
Mandatory Attendance of GMU Dance Company concert (written paper required, TBD)
Mason Dance Company Fall: New Dances
Thursday, Friday, and Saturday
November 10, 11, & 12 at 8:00 PM each evening
November 11 at 2:00 PM
Harris Theater
Tickets: $15, full; $10, students, staff & seniors; $7 groups of 10 or more
Limited free tickets available to students beginning 11/1/2016
Dance Clothing:
Proper sweat-friendly movement attire is required. Dance shoes, bare feet, or
socks (no sneakers or street shoes).
Texts:
Manuel, Peter. Carribean Currents: Caribbean Music from Rumba to Reggae,
Temple University Press, Philadelphia, 1995. Available at bookstore
Excerpts of Ned Sublette’s Cuba and its Music. On e-reserve
Music Tracks
Playlist with track notes is on this syllabus. Music can be accessed through
Spotify (via your free account).
Evaluation:
25% Focused attention, participation, effort (WARNING: This class is participatory, if you you linger on the sidelines after we start you are negatively impacting this portion of your grade)
25% Mastery of dance idioms (musicality, styling, and/or partnering as per
movement quizzes
25% Written quizzes (as per course schedule)
25% Written assignments (as per course schedule)
Any physical problems, past or current, should be discussed with the instructor.
See the website (http://dance.gmu.edu) for guidelines and additional information about succeeding in dance classes.
Mason Add/Drop Policy: The last day to drop this class with no tuition liability is
9/6/2016. The last day to drop this class without Dean’s permission is 9/30/2016, by
5pm. The elective withdrawal period for this class is from 10/3/2016 to 10/28/2016. It
is the student’s responsibility to check to verify that they are properly enrolled as no
credit will be awarded to students who are not.
Honor Code, Copyright, & Computing Policies: You are expected to adhere
to all University policies and guidelines during your participation in this course.
All work must be your own. Inappropriate use of the work of others is a George
Mason University Honor Code violation. Please review the University’s website
for information on the following: Honor Code and Judicial Procedures; Copyright/Fair Use; and Responsible Use of Computing.
Reasonable Accommodation: Students who have any type of disability that
may hinder demonstrating mastery of the course material should contact the instructor as soon as possible so that a plan for reasonable accommodation may
be made. Formal documentation should be presented.
SYLLABUS APPENDICES ARE AS FOLLOWS:
1) Course Schedule
2) Genealogy of Selected Afro-Caribbean Secular Dance Idioms
3) Extra Credit Field Trip Writing Guidelines
4) Dance 119 CD Track Lists
COURSE SCHEDULE
All papers (per assignments below) must be typewritten, double-spaced,
and turned in on due date. Electronic submissions have been troublesome in the past and will not be accepted.
WEEK 1
Introduction and practice of synchronicity between movement and music. Introduction of “Cuban motion.” Please bring a copy (paper or electronic) of the
course syllabus to class on Th 9/1.
WEEK 2
Continued practice of synchronicity between movement and music. Introduction and identification of Son clave and bongo martillo. Practice hearing and responding to basic rhythmic cues. Introduction and practice of basic partnering
concepts as they apply to Son, Rueda, and Merengue.
9/6
Discuss terms and concepts, vis-à-vis the text, from “Introduction: The Caribbean Crucible,” from Caribbean Currents (CC)
1) Taino; 2) maracas; 3) guiro 4) collective participation; 5) polyrhythm; 6) call
and response; 7) cabildo 8) creolization
*9/8
Fill-in-the-blank quiz
WEEK 3
Continued practice and refinement of Merengue, Son and Rueda. Discussion of
Son, Rumba, Danzon (the national dance of Cuba)
9/13
Read Be prepared to define the significance of these terms vis-à-vis the text,
from chapter “Cuba,” (CC pp17-36)
1) Santeria 2) orisha; 3) syncretism 4) rumba; 5) montuno; 6) conga 7) danzon;
8) charanga; 9) cinquillo 10) son; 11) bongo 12) tres; 13) clave 14) claves
Listen to samples from course cd!
*9/15
Fill-in-the-blank quiz
WEEK 4
Practice/refinement of basic partnering concepts as they apply to Son & Rueda.
Introduction and practice of Mambo and Mambo shines. Further practice/refinement of partnering concepts as they apply to Son, Mambo, & Rueda.
Listen to Spotify list!
WEEK 5
9/27
Read Sublette chapters (I will send a .pdf of these to your gmu email address
as per the official class roster) for in-class-discussion and music listening.
*9/29
One-page response paper due that comments on your response to reading of
“Tres and Bongo” and “The Son Boom,” while listening to tracks 1-11 (the track
list notes contain the pages, in parentheses, that correspond to Sublette’s text)
Please include personal insights and perspectives that emerge from information gleaned from the text. Please do not regurgitate what you have read.
Poor grammar will reduce your grade. If you are an ESL student, please seek
appropriate mentoring.
WEEK 6
Introduction of intermediate level partnering concepts as they apply to son,
mambo, and rueda. Video viewing, “Palladium, Where Mambo was King.”
10/4 Read, for short class discussion, the final selections of Sublette chapters:
“The Peanut Vendor,” “Mano a Mano,” and “Diablo!”
*10/6
One-page response paper due that summarizes, with personal commentary,
the most important ideas in “The Peanut Vendor,” “Mano a Mano,” and “Diablo!”
Sublette chapters. Include responses to the music on the course cd that these
articles address.
WEEK 7
Further practice and review of studio material. Video viewing, “Machito, A Latin
Jazz Legacy.” Last week before mid-term grades submitted.
WEEK 8
Review of semester’s movement material
WEEK 9
10/18 Be prepared to discuss, in class, these terms/artists vis-à-vis the text
(from “Cuba” in CC pp 37-50) 1) Arsenio Rodriguez; 2) conjunto; 3) Beny Moré
4) Machito; 5) Tito Puente; 6) Tito Rodríguez; 7) chachacha 8) Los Van Van
Listen to samples from course cd!
*10/20
Fill-in-the-blank quiz; music listening ID;
WEEK 10
Focus on salsa and rueda
10/25
Read “Salsa and Beyond” (CC) for class discussion . Be prepared to recognize
the contributions of Johnny Pacheco and Fania (add these terms to your vocabulary list)
*10/27
Short fill-in-the-blank quiz
WEEK 11
Further practice and review of studio material.
11/1
For class discussion, read “The Dominican Republic” (CC) Add new terms to
your vocabulary: Trujillo, Merengue, Bachata
*11/3
Short Written Quiz and Music listening:
WEEK 12
Classic son revival. Music and dance in contemporary Cuba
Extra credit option: Two-paragraph paper;
View Buena Vista Social Club (on reserve JC library) Address the following:
What are the most salient issues for you in this film? How has this course prepared you to better comprehend the issues discussed/revealed in this film?
WEEK 13
Focus on rueda
Extra credit option:
Read “Puerto Rico” (CC) Use youtube videos to cite (make reference to) examples to explain the difference between Bomba and Plena.
WEEK 14
Focus on rueda; review/discussion of Spotify list for music listening quiz
WEEK 15
Movement quiz, written quiz, and music identification exact dates TBA
A Genealogy of Selected Afro-Cuban Idioms
Rumba
Origin: mid-1800’s
Genres: Yambu*, Guaguanco*, Columbia*
Antecedents: West African diasporic traditions within Cuban cabildos (for rumba, primarily Congolese)
Danzon
Origin: mid/late-1800’s
Antecedent: Contra-Danza* (contredanse*)
Progeny: Chachacha; charanga orchestra
Son
Origin mid-1800’s
Antecedents: Changüi, Kiriba, Nengon
Progeny: Ballroom “Rhumba,” Mambo, Bachata, Salsa, Casino, Rueda
A Brief Chronology of Son Orchestration and Dance Styles
Orchestrations/format
Dance genres
1920’s
Sexteto
Early 1930’s
Septeto
1930/40’s
Conjunto
1940/50’s
Big band
1970’s-now
Conjunto/charanga
Mostly conjuntos
-son (Cuba)
-son (Cuba)
-rhumba (U.S.)
-son montuno (Cuba)
-mambo (U.S)
-son montuno; casino; rueda (Cuba)
-mambo (U.S.)
-casino; rueda; salsa (Cuba)
-salsa/rueda (U.S.)
DOMINICAN REPUBLIC
Merengue
Origin: mid-1800’s
Antecedent: Contra-Danza* (contredanse*)
Bachata
Antecedent influences: Cuban son, rock and roll.
FIELD TRIP GUIDELINES (for extra credit)
Possible field trips will be announced periodically throughout the semester. For
extra credit, the following guidelines must be followed:
Summarize your experience in one typewritten page. Include the following information:
1) Location/physical environment (be specific). What kind of event was it?
Was there a cover charge? Describe the ambience?
2) Music. What kind of music was being played? What was the name of the
band or bands? How do the musicians describe the music they play (ask
them!)? Was there recorded music between sets? If so, what kind of music
was it?
3) Dance. Was there a dance floor? Did people dance? How did they dance
(individuals, couples, partnering...)? What styles did they dance? (if you don't
know, ask them!) Did you dance? With whom? What "style" did your partner
dance?
4) Population. Who is attending this event? (age, gender, ethnicity...) Does
this differ from most typical social events that you attend? How?
5) Major impressions. What felt familiar, what felt unfamiliar? Was it accessible? In what ways did the dancing in the club relate to our studio course work?
How was it different, how was it similar? Were you able to apply what you
learned in class? What dances did you recognize? Can you describe those
that you did not recognize? Would you visit this club again? Would you go "salsa" dancing again?
DANC 119 PLAYLIST on Spotify (Page #’s accompany Sublette reading)
Lepore
SON (1-6)
1. Tres Lindas Cubanas; Sexteto Habanero (pp 336 & 363)
-sexteto format
2. Pensamiento; Familia Valera-Miranda (contemporary version)
-sexteto format
*this is a version of son played by a contemporary sexteto from Santiago de
Cuba. The martillo pattern of the bongo is fairly consistent throughout, as op
posed to the early improvisatory style
3. Son de la Loma; Trio Matamoros (pp 368-369)
-trio format
* evolved from “trovador” (troubador) tradition in Santiago
4. Mayeya, No Juegues Con Los Santos; Septeto Nacional (364-366)
-septeto format
* “Los santos” refers to Santeria deities
5. Echale Salsita; Septeto Nacional (364-366)
-septeto format
* contains early first reference to the word “salsa” associated with Cuban son
6. El Manicero; Don Azpiazu And His Havana Casino Orchestra (395-402)
-septeto format
*this song was introduced to North American audiences in 1931 and
spawned the international “rhumba” boom. It was not a rumba.
7. One, Two, Three Kick; Xavier Cugat (400)
-Big Band format; “Gringo Latin” genre
*Cugat’s name is referenced repeatedly in Sublette’s and Manuel’s texts as an
example of how Latin music was watered down and marketed to North American
audiences.
SON MONTUNO (8-11)
8. El Reloj de Pastora; Arsenio Rogriguez (442-445 & 478-484)
-conjunto
*Listen to how the band slams count 4 in certain sections. Be sure to dance this
one!
9. Dumdumbanza; Arsenio Rogriguez (442-445 & 478-484)
-conjunto
*you’ll hear Arsenio shouting out exclamations throughout this cut whose lyrics
imply a knowledge rooting in African spiritual practices
10. Hay Fuego en el 23; Arsenio Rogriguez (442-445 & 478-484)
-conjunto
*P. Manuel also discusses this tune in Caribbean Currents with respect to clave
“feel”
11. Melao de Caña; Sonora Matancera w/ Celia Cruz (482-484)
-conjunto
*Sublette refers to Sonora Matancera’s style as “square” (with a heavy accent on
first count). Other scholars have referred to it as a “white” sound compared to
Arsenio’s compositions
MAMBO (NYC 12-17) (Mexico City 18)
12. Mambo Inn; Machito and his Afro-Cuban Orchestra
-big band format
*Machito’s band essentially creates the sound that defines “mambo”
13. Mambo a la Savoy; Machito and his Afro-Cuban Orchestra
-big band format
14. Ay, Que Mate; Machito and his Afro-Cuban Orchestra
-big band format; lyrics reference underground drug culture of musicians
15. Ran Kan Kan; Tito Puente and his Orchestra,
-big band format
*Newyorican Tito Puente quickly became one of the most popular and prolific
composer/band leaders of the “mambo era.” You can hear the frenetic energy of
NYC in this cut
16. Cuando Te Vea; Tito Puente and his Orchestra
-big band format
17. Llego el Sonero; Tito Rodriguez y los Lobos del Mambo
-big band format
*One of “The Big Three”, Machito, Tito Puente, and Tito Rodriguez of the “mambo
era”
18. Pachito e che; Perez Prado and Benny More
-big band format
*Perez Prado is the bandleader who popularized mambo internationally, Benny
More sang with Prado’s band before returning to Cuba to form his own band
Son Montuno Cuba (18-20)
19. Que Bueno Baila Ud; Benny Moré
-big band format
20. Baila Mi Son; Benny Moré
-big band format
21. Francisco Guayabal; Benny Moré
-big band format
Danzon
* this song will be sent via email to you; it is not on Spotify
22. Para Elisabeth; Charanga Tipica Cubana
-charanga format; Danzon was recognized as Cuba’s National Music and Dance
in early 20th C; notice signature cinquillo rhythm, rondo structure, and chachacha
fell toward the end of the song (and conga drum?).
Chachacha
23. El Bodeguero, Orquesta Aragón
-charanga format
* The chachacha dance craze is spawned by music played by charanga bands
24. Oye Como Va; Tito Puente and Willie Colon
-big band format playing a chachacha; this composition by Tito Puente is perhaps the most famous chachacha of all time.
Salsa (NYC)
25. Ublabadu; Fania All Stars with Hector Lavoe
-this is the expanded conjunto format popularized by Fania
26. La Vita es un Carnaval; Celia Cruz
-expanded conjunto; one of Celia’s last great hits
Son Revival
27. El Cuarto de Tula; Buena Vista Social Club
-septeto format (modified)
Timba (contemporary Cuban “salsa”)
28. Temba, Tumba, Timba; Los Van Van
-expanded charanga; Los Van Van has been Cuba’s most popular band since the
1970s.
Merengue
29. Compadre Pedro Juan; Rafaelito Árias y Su Conjunto
-conjunto style
30. Abusadora; Wilfrido Vargas,
-conjunto style
31. Ojala que Llueva Cafe; Juan Luis Guerra & 4:40
-fusion
Bachata
32. La Avispa; Zacarias Ferreira
*Notice the martillo pattern in the bongo that is derivative of bachata’s
roots in Cuban son