
Rumba
History:
The Rumba mostly
evolved in Cuba in the 16th century with great influence from the African
slaves. Although this Spanish/African mix is considered to be cuban,
versions of this dance were common on other Caribbean islands and in Latin
America generally. In the late 1920s, the Rumba was introduced to the United
States and in the 1930s the dance became popular in London. The Rumba is
built around the famous "Cuban Box", and features "Cuban Motion".
Musicality:
Danced in 4/4
timing, the music has 4 even beats with the accent on the first beat of the
bar. Slow sensual melodies are used, often with vocals.
Characteristics:
Using "Cuban
Motion", this dance should display a sensuous movement of the hips and a
sense of flirtation between the man and lady. The various rhythms and body
expressions make this a very popular dance to watch and participate in.
Normal Hold and Poise:
Stand with feet
apart, facing partner about 6 inches apart, with the head erect, the body
naturally upright and the shoulders down.
The Man's right
hand is placed on the Lady's left shoulder blade and the Lady's arm rests
lightly on his right arm following the curve of his arm to the shoulder. The
Man's left hand is raised in a gentle curve to the level of the eyes. The
Lady's right hand is placed in the Man's left hand with her fingers between
his thumb and first finger. The hands are lightly clasped.
Use of Arms:
The arms are held
in a natural and unaffected way. In many figures the partner is held with
only one hand and in some cases there is no hold. The free arms are never
static.
Movement of the
arms is subtle and rhythmically coordinated with the movement of the body
allowing for personal expression.
Hip Movement:
Every step
commences to move with a slightly flexed knee. On steps taking a full
beat of music the knee straightens just before it reaches its
position. As weight is taken fully on the step the hips move naturally
in the direction of the leg receiving the weight. The action used on
counts "4 and" is described in the Cha Cha Cha Chasse section.
Settling -
The body weight is settled over a straight standing leg which
commences the hip movement. (Used to commence movement of the body
weight).
Lateral -
The hips move to left or right with minimal rotation (As step 2 of
chasse to Left or Right).
Rotational -
The hips rotate around the vertical line of the spinal column. (Occurs
in varying degrees throughout).
Twisting -
An action where the turn commences in the hips only. (Example Lady's
Hip Twists).
Rhythmical Expression:
Musical expression
is achieved by varying the speed of the body weight change. The time taken
for the weight change may differ, depending on how many beats of music are
used. Normally a 1/2 beat of music is taken to achieve the desired foot
position, and the "settling" of weight is completed over the remaining 1./2
or 1 1/2 beats.
Although the first
step of each figure is taken on the second beat of music (count 2) the dance
is commenced with the hips already moving on a preceding beats 4 1. This is
normally achieved by taking a preliminary step to the side or by changing
the weight to the opposite foot on beats 4 1.
Forward Walks:
First commence,
for example, with RF forward , LF held back with pressure on the inside edge
of the toe. Then using the "settling" hip movement commence to move body
weight forward. Move LF forward with the knee slightly flexed, first onto
the toe, then on the ball of the foot. Lower the heel and straighten the leg
just before the extent of the stride. Release the right heel. With a smooth
action take your weight over LF at a rate depending on the beat value of the
step. Allow RF to turn out, completing the rotation of the hip movement.
Retain tone in the right leg with pressure on the inside edge of the tow.
Both legs should now be straight. Continue with a RF walk in the same
manner. Because of the turn out of the RF the toe will end in line with the
heel of the LF.
When a forward
walk is followed by a weight transference back the following differences
occur (example, step 1 of Man's Closed Basic Movement). The toe of the front
foot is turned out and the body is not committed to continue to move forward
after the step is placed. The back knee will flex and veer towards the front
knee causing no turn out of the back foot. End with pressure on the ball of
the back foot.
Backward Walks:
First commence,
for example, with LF back, RF held forward with heel released and pressure
on toe and both legs straight. Using the "settling" hip movement commence to
move RF back on the ball of the foot, knee slightly flexed, until it passes
under the body then extend back to the toe. With a smooth action take weight
over RF. Straighten the right knee. Lower right heel, at a rate depending on
the beat value of the step. A natural turn out of RF occurs, completing the
"rotational" hip action. During the weight change release left heel without
bending the knee, allowing a slight straightening of the LF. Retain tone in
the left leg, with pressure on the left toe. Both legs should now be
straight. Continue with a LF walk in the same manner. Because of the turn
out of the RF the toe will end in line with the heel of the LF.
Pressed Forward Walk:
Place foot forward
on the ball of the foot with part weight, small step. Keep the knee flexed.
Take full weight onto the foot, lowering the heel and straightening the knee
during the last 1/2 beat of music (example, third step of Lady's Closed Hip
Twist).
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Pressed Backward Walk:
Place the foot
back on the ball of the foot with part weight. The knee stays flexed. Take
full weight onto the foot, lowering the heel and straightening the knee
during the last 1/2 beat of music (example, Cuban Cross position on step one
of the Man's Natural Top).
Extended Forward Walk:
Point the foot
forward with slight pressure on the outside edge of the toe. Keep the knee
straight. Transfer weight onto the foot, lowering the heel during the last
1/2 beat of music (example, step 4 of Lady's Alemana when alternative method
is used).
Turn Out:
There is a natural
turn out of the foot on backward and side steps. The amount of turn out will
be approximately 1/16th to 1/8t depending on the dancer's own physique. This
turn out also occurs on a forward step when the forward movement is checked
and followed by a weight change to the back foot, for example step 1 of
Closed Basic Movement. On other forward steps the tracking of the moving
foot is straighter, and as the weight is taken onto the front foot the back
foot is allowed to turn out naturally.
Leads:
The leads can be
divided into four categories as follows:
Weight changes -
Lady will follow the Man's change of weight.
Physical - Man
conveys the lead by increasing the tone in his arm(s) resulting in pressure
felt through the hands. Lady responds with matching tone and will continue
to move in the direction indicated, until the Man's hand restricts her
movement, then she will turn to a different direction.
Shaping - Man
conveys the position required by "shaping" his body and arms. For example,
on steps 4-6 of an Alemana, the Lady accepts the direction of movement
indicated by the Man's left hand. Man must ensure that the Lady's right hand
is over her own right shoulder, above head level, so that her balance
remains undisturbed. He will then circle his hand in a clockwise direction
when turning the Lady to the right and in an anti-clockwise direction when
turning the Lady to her left.
Visual - When
dancing without hold Lady may copy the Man's steps.
Rumba Closed Syllabus
Newcomer:
1. Basic Movements
(Closed, Open, & In Place)
2.
New York
3. Cucarachas (LF
and RF)
4.
Shoulder to Shoulder
5. Hand to Hand
6. Progressive
Walks Forward or Back
7.
Side Steps (LF and RF)
8. Cuban Rocks
9. Spot Turns Left
and Right
Bronze:
1. Fan
2. Alemana
3. Hockey Stick
4. Natural Top
5. Opening Out to
Right and Left
6. Natural Opening
Out Movement
7. Closed Hip
Twist
Silver:
1. Open Hip Twist
2. Reverse Top
3. Opening Out
from Reverse Top
4. Aida
5. Spiral Turns
(Spiral, Curl, & Rope Spinning)
Gold:
1. Sliding Doors
2. Fencing
3. Three Threes
4. Three Alemana
5. Hip Twists
(Advanced, Continuous and Circular)
Bronze Class Choreography
1. Cucaracha LF &
RF
(2341, 2341)
2. Closed Basic
1/4 Turn L (2341, 2341)
3. New York LSP
(2341)
4. Hand to Hand
LSP (2341)
5. Hand to Hand
RSP (2341)
6. Progressive
Walks Forward in RSP (2341, 2341)
7. RF Cuban Rock
(2341)
8. Spot Turn R
(2341)
9. Under Arm Turn
(2341)
10. Closed Hip
Twist (2341)
11. 4-6 Fan (2341)
12. Hockey Stick
(2341, 2341)
13. Shoulder to
Shoulder x2 (2341, 2341)
14. Side Steps RF
(2341, 2341, 2341)
15. Cucaracha RF
(2341)
16. Fan (2341,
2341)
17. Alemana (2341,
2341)
18. Opening Outs
to Right then Left (2341, 2341)
19. Closed Hip
Twist (2341)
20. Open Basic
(2341)
21. Progressive
Walks Back (2341, 2341)
22. Natural Top
(2341, 2341)
23. Natural
Opening Out (2341, 2341)
CONTINUE WITH #1
Silver Class Choreography
1. Open Basic (Man
starts back on 2) (234 hold 1)
2. Curl from Open Position into Fan Position (2341, 234 hold 1)
3. Hockey Stick
(234 hold 1, 234 hold 1)
4. Cuban Rock Back; Man LF Back; Lady RF Fwd (234 hold 1)
5. Cuban Rock Back; Man RF Back; Lady LF Fwd (234 hold 1)
6. Cucaracha Man Left, Lady Right
(2341)
7. Aida
w/ending #2 - Double Spot Turn (234 hold 1) x3
8. Rope Spinning (&234 hold 1, 234 hold1)
9. Closed Hip
Twist (2341)
10. Reverse Top (234 hold 1, 234 hold 1)
11. Opening Out from Reverse Top (234 hold 1)
12. Alemana (234 hold 1, 234 hold 1)
13. Opening Outs from L to R (234 hold1)
14. Opening Outs from R to L (234 hold1)
15. Opening Outs from L to R (234 hold 1)
16. Alemana with Open Finish (234 hold 1)
17. Open Hip Twist into Fan Position (234 hold 1, 234 hold 1)
18. Alemana (234 hold1)
19. Closed Spiral (234 hold 1)
20. Reverse Top (234 hold 1, 234 hold 1)
21. Spiral into Aida and w/ending #2 - Cuban Rock Fwd with Spot Turn (& 234 hold 1, 234 hold 1)
22. Hand to Hand in RSP (234 hold 1)
23. Progressive Walks in RSP (234 hold 1, 234 hold 1)
24. Hand to Hand in LSP (234 hold 1)
25. Under Arm Turn to the Lady's Left (234 hold 1)
26. Open Basic (234 hold 1)
CONTINUE WITH #2
Rumba Choreography Demonstrations
Silver Rumba:
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