Salsa Manzana

1” Festival activity, which has always been a significant part of Pacific culture, has provided a vehicle for expressing contemporary indigenous identities. The Festival of Pacific Arts, founded in 1972, has become a major venue for the perpetuation of the region’s arts, music, and dance. With the goal of reviving what was in danger of being lost, the festival is held every four years, each time hosted by a different country.” It almost seems to be a Polynesian “Olympics”, but for partying. The Hula dance is very popular within the islands. The Hula dance is so popular that it has its own festival: the annual Merrie Monarch Hula Competition. The Tiki culture became popular due to the Pacific themed bars. Decorators and bar owners used the Pacific mentality to reel in consumers. 3 “Tiki carving is one of the oldest art forms known to man, and all original Tiki carvings are unique. Each island culture introduced another variation to the carving technique. In most Tiki cultures, Tiki statues carved by high-ranking tribesmen were considered sacred and powerful, and these were used in special religious ceremonies. Tiki statues carved by anyone other than a high-ranking tribesman were used simply as

We were the center of attention. This was our moment—our time—to make a statement on the raging political events. It was evident from the speechless, astonished faces of the audience that we were successful. I smiled as I watched my activism and dance group, Bailamos, dance with pride on the stage. After all the countless hours of organizing dance routines and spreading the Hispanic-Latino culture throughout school, I was finally able to witness the outcome for myself.

One of America’s historic strengths have been our ability to incorporate aspects from many different cultures to create a stronger whole. Our music, art, literature, language, architecture, food, fashion and more have all benefitted. I have chosen three key principles (to do them all would be a dissertation for me) and combined them with an art focus so as to show the importance and powerful role the arts can have in effective leadership and empowering the body of an organization. Again, in a world that has become increasingly Global, we can no longer deny the presence of ‘the other’ and their importance in our communities. Especially those within and around our faith communities.

Given that this “visit” was more like a virtual experience, I was still able to access a couple of my senses, just as if I was at the actual exhibition. Through the use of anecdotes and detailed images, I am able to see all of the personal experiences an individual had while practicing a particular dance and what it meant to them. In this exhibition, there are ten different dances displayed, including the: Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance, Yakama Girl’s Fancy Shawl Dance, Cubeo Óyne Dance, Yoreme Pajko’ora Dance, Mapuche Mütrüm Purun, Tlingit Ku.éex ' Entrance Dance, Lakota Men’s Northern Traditional Dance, Seminole Stomp Dance, Hopi Butterfly Dance, and finally, Quechua Danza de Tijeras (Scissor Dance). All parts of the exhibit were insightful, but the two that sparked my interest the most were the Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance and the Quechua Danza de Tijeras (Scissor Dance).

The 1970s saw several new innovation incorporated into Salsa music. For example, Willie Colon introduced the Cuatro from Puerto Rico which is a stringed instrument to add flavor to this music. Songs backed with Jazz, Rock tunes from Brazil and Panama. Celia Cruz one the most celebrated icon of Salsa was able to incorporate an electric piano making Salsa move with the changing times. Jazz elements were also added to Salsa music by Eddie Palmieri. He brought in Manny a renowned percussionist. The 1980s was also a year of transformation in Salsa music. The Puerto Ricans developed a more smooth type of Salsa: Romantic Salsa which has lyrics dwelling on love and romance. They also developed a more explicit type of Salsa: the erotic Salsa. The

On November 20, 2015 I attended the Brazos Valley World Fest located at, Wolf Pen Creek Amphitheater in College Station, TX. Although the festival had events from many cultures, it was the “Latin” events that really stood out to me. As a proud Hispanic woman, the activity that I was most excited about was, the salsa performance. The name of the performance was called “salsa fusion”, which was accompanied by the live performance of the twelve piece band La Orquesta Salmerum form Houston, Texas. Salsa music is a very fast up beat genre of music, it’s a style I find very closely related to urban-jazz. After the performance, it was evident that one of the main and most dominating instruments of the genre, is the Conga drums. When focusing on

Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially in Cuba and North America). The dance originated through the mixture of Mambo, Danzón, Guaguancó, Cuban Son, and other typical Cuban dance forms. Salsa is danced to Salsa music. There is a strong African influence in the music as well as the dance.

In the mid-1970s the New York Media warned the public to a Latin Boom in New York City. Back then it was the Salsa Craze, the coming into view of a new wave of politicians and (people who use action and strong words to support or argue (against) something), and the going past of the one million (dividing lines/points where things begin or change) in the Latino population. Since then, each passing ten years has brought on new statements of an (exciting and new) moment.

For our cultural event we decided to take pride in our Latin roots and hosted a dancing workshop, a Salsa Night. On this night we were accompanied by some of the ladies of Lambda Theta Phi and Lambda Sigma Gamma, as well as some friends. The plan for this workshop was to have a dance instructor teach all of us how to dance Salsa, as well as some other Latin dance styles. We reached out to the brothers and asked for help, thanks to that we were able to get an Alumni Brother name Netzahualcoyotl Romero to teach our workshop. Netza took us step by step on the basics of Salsa dancing, and little by little we were able to learn that…. we are terrible dancers, despite our two left feet we did not give up and kept on trying. Thanks to the encouragement

This lesson will introduce students to the Native American culture. This lesson will also introduce students to different types of Native American music. Students will have the opportunity to use musical instruments to explore music through interruptive body movements. Students will mimic traditional Native American jingle dancing. Students will perform a jingle dance to a given piece of Native American music using shaker instruments. Students will be expected to participate in the dance as a class. Student’s improvised dance is expected to correlate with the music and students should use shakers. Alternative musical instruments and/or considerations will be available for students with learning and/or special needs.

Salsa dance socials ar usually command in night clubs, bars, ballrooms, restaurants, and outdoors, particularly if a part of an out of doors pageant. condiment saltation is a global dance that may be found in most metropolitan cities within the world.[5] Festivals ar command annually, typically known as a condiment Congress, in varied host cities aimed to draw in kind of condiment dancers from alternative cities and countries. The events bring dancers along to share their passion for the dance, build community, and to share moves and tips with one another. These events sometimes embrace condiment dance performers, live condiment music, workshops, open saltation, and

The Raging Asian Women (RAW) is a Taiko group consists of only Asian women. They will hold a concert “Crooked Lines” in March 13th. This is the event that I will attend. Taiko is a type of tradition Japanese drum, existed since the ancient Japan. Taiko was originally a tool for communication among the ancient Japanese villages. It used to signal danger and encourage warriors in battles. Later with the influence of Chinese and Korean culture, Taiko became more musical and utilized more in ritual and performance contexts.

It was interesting seems people come together and dance different music. I heard playing salsa and tango music. I have watched movies about tango, but watching normal people dancing tango was shocking. I was very impressed with an older couple dancing tango. They were dancing and at the same time they were connecting with each other. They looked like a regular boring couple, but dancing tango they look like they were intimate with each other. They did the basic steps, but they were swinging around together at the same time. It was really good. In my part, I wanted to dance salsa because I was raised dancing salsa, but for some reason I could not dance salsa because I was thinking about the steps. My theory was to enjoy the music and dance to

Something that I noticed during the class was that no matter if it was your first time taking a salsa class or your 10th time everyone was so supportive. It reminded me of how everyone treats each other in the dance department. So, it was very refreshing, to see how supportive everyone was no matter the number of classes you took or your age. It was just refreshing to see how fun the class was and I personally never wanted to stop dancing.

Unmasked was a performance involving a collection of works that delved into the Caribbean Carnival culture. The show took place on October 19th and 20th and involved dancers from a variety of backgrounds – students, dance company members, and established dancers/choreographers, many of which have roots in Jamaican and African culture and dance performance. Chris Walker, an associate professor of dance at UW-Madison, was the choreographer and artistic director and presented the show in conjunction with the UW-Madison Dance Department. The work included 9 separate and very unique pieces, some of which debuted in Unmasked, that provided glimpses into different aspects of Carnival Culture. The collection provided insight on the way Jamaican culture views gender neutrality and gender roles. The wide variety of pieces offered different lenses through which the gender neutrality concept could be viewed, specifically in a solo piece performed by Chris Walker, Obàtálá. This piece explored this concept through displaying gender on a spectrum by defying typical gender roles and utilization of a cannon.