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Six Characteristics of African Dance 1. Afr. dance tends to modify + eliminate European styles like Jig + Clog (in which sound of shoe is of primary importance)— Afr style is often flat-flooted + favors gliding, dragging, shuffling steps. Tanzieta; Kongo ppl hand spin dance 1987 2. Afr dance frequently performed from crouch, knees flexed + body bent @ waist/ Euro style-hold body stiffly erect imitating man on horseback; Afr dancing to a hunter crouched 3. Afr dance generally imitates animals in realistic detail Twintisa North Kongo 1985; running finger across drum skin produces leopard growl 4. Afr dance places great importance upon improvisation, satirical and otherwise, allowing freedom for individual expression; this makes for flexibility + aids evolution + diffusion of other Afr characteristics Hubert Glenn; Anglo version of the bottle tree Mississippi 1970s 5. Afr dance centrifugal-exploding outward from hips-“ The leg moves from the hip instead of from the knee, the arm from the shoulder,” wrote musicologist Rose Brandel—often movement of head + shoulders “often appear as the end result of a motion beginning @ the hips,” writes John Martin.—starting w/ hips makes dancing looser—from sockets 6. Afr dance performed to propulsive rhythm, which gives it a swinging quality Ten Basic Jazz Steps 1. Shimmy—shaking shoulders—Gilda Grey stole it from black women +introduced it in Follies 2. Seven Year’s Itch—ancient + universal gesture that consists of scratching the body in rhythm 3. Snake Hips—pelvic moves in figure eights 4. Lindy later called Jitterbug—can be couple dance that incorporates a breakaway—basic step is syncopated two-step accenting the offbeat—then goes into breakaway which is creative part of dance—thus it acts like frame into which almost any movement can b inserted before the dancers return to each other 5. Cakewalk—prancing, high-kicking w/ back arched and toe pointed 6. Strut—precursor to cakewalk 7. Shuffle— 8. Grind—Mooche is a variation of grind--pelvic movements of congo surfaced in grind-hips come first, feet follow—a sort of shuffle, combining rubberlegs with rotating hips 9. Rolling Belly Dance (Tienga)—oldest Kongo dance—series of waves roling from pelvis to chest 10. Charleston—“LeRoi Jones says it comes from an Ashanti ancestor dance.”—1st time a step was taken over by men and distinction between poplar dances to watch + pop dances to dance was erased.—generic in character—“jazz step”—crossing and uncrossing the hands on knees as they fan back and forth. 1922 Running Wild—introduced Charleston to the world and all black cast Savoy -northeast corner was Cats’ Corner, only best dancers and regulars were allowed to sit and dance there -iron clad law—nobody permitted to copy anybody else’s steps -“king” Leon James ruled Savoy Lindy Caused a general revolution in pop dance of the US -opened up dancing for white ppl -Lindy dancers became professional dancers b/c of contests held in Savoy Rhythms of Resistance Angolan Heritage: Capoeira + Berimbau (training for resistance) “Capoeira is a martial art, providing a complete system of self defense.” It is also a sport, performance, ritual, + drama-accompanied by gourd resonated single-string musical bow (berimbau)—has been described as “theater of liberation”—it is means whereby young black men in Brazil could learn and practice fighting skills in preparation for insurrection or guerilla warfare against their oppressors—capoeira means ‘large chicken coop’ in Portuguese—another form to subvert slavery into a game as a means to demonstrate power over masters Berimbau—berimbau wasn’t incorporated into capoeira until after emancipation (1888) when “what had been a systematic training for possible insurrection…gradually became an acrobatic game.”—music essential to capoeira—during performance there is an intimate interplay between the musicians and the contestants in the ring, a relation of interdependence Angola Warble: Street Cries and Worksongs

‘….their own language (yoruba, kikongo, and kimbundu) served as a vehicle for lamentation and condolence, and for imprecations on their oppressor.” -the harder the work, the louder and more readily do they sing -sang in call + response w/ rattles -an attempt was once made to forbid negroes from singing—little work was accomplished -“Music has a powerful effect I exhilarating the spirits of the negro..” Fletcher and Kiddy (American clergymen)---made drawing of singing black coffee carriers—blacks demonstrating work doesn’t destroy them-subvert labor into a game—even have flag leader—flags and bells celebrate their strength---later incorporated into danzon worksongs often vehicles for social comment and songs of protest—esp true for jongos---worksongs inform of riddles Kongo Intro to Gestures (bimpanibula) Kongo music based on 3 drums + polyphony, hocketing (adopted from pygmy) Hands on hips—arrogance, athletic prowess Hands on knees—sign of spiritual readiness Hands on chest—allergic to lies, can’t get to me -slide Kongo People title: Tuluwa Ku Luumbu (building the royal enclosure around your chest) saying no to death, shock, provocation 1875-1900 Hands touching face=kyaadi=alas she is mourning—seen in statue with lines as tears, eyes partially closed on purpose to lose ability to distinguish -slide Kongo People sepulchural monument w/ woman shown in attitude of mourning w/ hands clasped against chin--1974 -slide Kongo Civilization--title: Ntandi (funerary tomb stone) w/ fumani pose symbolizing thought or yearning ---Kisilua village, Lower Kongo—before 1955 Vibrating shoulders—sign of ecstasy Kongo drum most obvious symbol of Kongo in modern America--“kebuka” turning face while drumming b/c meditating Visual equivalents of bimpangula—sacred gestures -slide calligraphy sign of the shell (tondwa kia kodya) Muangi Cave, Bas-Zaire Jan 1982—symbol for spirit continuity— seashells placed on tomb—tells dead that they will b back Rumba—from Kongo verb which means walk--blackest of all Afro-Am dances—only drums and singing—in rumba every art of body has iportanceb/c every part broadcasting something 1.Yambu—means probem-oldest rumba from 14th cen, gentle, moderate pace, couple dancing *no vacunao* 2.Guaguanco (you didn’t hear)—couple dance w/ game of sexual pursuit—vacunao3.Columbia—male solo dance, sometimes done / knives for daring—blades=issues 4.Girbilla—supersonic rumba Rumba comica—rumba of mimes -slide Eduardo Abela title: Triumph of the Rumba—the rumbera as mystic mermaid, rumbas out of the ocean, bringing blessings from the other world –1928—afro-painting Cuban -slide Eduardo Abela title:El Gallo Mistico—kongo red clothes @ neck + waist of priest rooster elevatd t cardinal pts—1928 -slide artist-Munequitos de matanzas title:Vacunao—kongo deried ritual—‘scorin’ in rumba 1995—woman places hand over thigh to build a barrier blocking sexual advances Essence of hip-hop choreography: horizontal b-boyin and vertical electric boogie -point of hip-hop is liberation -africanize vinyl by scratching it moves -headspins w/ Kongo pretzel legs -rumba break -freeze -P. Rican warm up step, swipes(compares to kongo circle dance-paseo from bomba gives momentum to swipe) ,spins (spin on one hand-exaggerated from capoeira), once on ground do Olympic style gymnastics---all moves very baroque b/c extensive in time and effort -tornillo from Cuban mambo -uprock (early step) playful boxing electric boogie seen be Charles Dickens in Almacks in NYC @ 1842 in from of black breakdown—Ta minswele to Texas Tommy to moonwalk moves-the wave by Benny Benitez 1985

tut moves, huevo (impact of ballet). Tony Droughon rhythmized wrists Elements that make up Tango 1. Candombe-kongo-argentine (creolized drumming plus singing) rhythmic expertise, syllabic dance steps 2. moorish gaucho-trills, arrastres, Moorish and flamenco like syncopation 3. Habanera beat-pure guitar music-afro-cuban beat (beat of reggaeton) 4. milonga-a sped up habanera—habanera beat taken to Buenos Aires in 1951 5. classic white-italian infa-deemphasized pelvic break-tango liso -slide Tango on the floor of Club Broadway (tangueros de NY) May 5, 1982 tango moves canyengue—melt into partner’s body/handing over of urself liso-straight back quebrada-break -slide Orestes Lopez playing the first mambo composed in 1939---taken in Havana 1988 -slide NYC P. Rican mambo—Anibal Vazquez ‘mambo perfecto’—which he invented summer 1959

Introduction Ch.1 Latin music at beg. of 20th century =tango Cuba is important to latin music due to its geographic location *from beginning stop off point for adventurers on way to Cortes mexico; intermingling btwn Arawak Indians and early Spanish settlers *17th century Cuba gov tolerated cabildos or houses created by freed slaves allowing some semblance of regional cultures to remain intact=santeria Toques-religious musical performances conforming to rhythmic patterns designed to call down specific orishas>secular tradition of rumbas Rumbas Guanganco-most popular form of rumba;primal form contains call and response and dance segment in which male and female couple surrounded by dancers; male gyrates imitating rooster tryin to impregnante hen(courting and mating ritual) yambu- tells story w/ 2 dancers enacting characters columbia- 6/8 time signature (found in classic mambo); single dancer. similar to capoeira Clave-Organizing principle of latin american music is 5 beat pattern Son clave has 3/2 pattern Rumba clave has 2/3 pattern (earlier form) Clave's pattern never changes and melody of teh song determines whether it's son or rumba clave forward (3/2) or reverse (2/3) Merengue- developed in DR; hip shaking dance in which partners rotate in place driven by the thudding beat of the tambora drum, has a quick 2/4 dance rhythm, related to Haitian meringue Cumbia-associated with African cumbe practiced in Guinea. rooted in indigenous tradition of northern colombia. derived from Taino-Caribe Indians traditions of areito, circle of dance, poetry, music practiced by indigenous ppl Samba-descended from the lundu (Bantu-Angolan style brought to Brazil during peak of slavery in 18th and 19th centuries); favelas (slave rundown neighborhoods)->candomble religion like santeria; tradition of batucadas and ritual performances wit religion=ecolas de samba Tango-Cangolese word tanga "festival" ch.2 Evolution of Salsa Salsa is the first Latin music genre founded in an Anglo metropolis migration of Afro-Cuban music to NY begat Growing popularity of Latin music in North America had ripple effect in Havana = tourism to Cuba Americanization of Latin music-> Mario Bauza arrived in NY in 30s with percussionist Chano Pozo collaborated w/trumpeter Dizzy Gillespie cemented jazz influence on Latin music=propeled mambo Mambo-word of Congolese origin=conversation or to speak with the gods *son and danzon w/urban story (percussion and brass sections interact like a jazz orchestra varying 4/4 and 6/8 time signatures always in a clave) *improvisational break at song's climax->various sections of orchestra to converse w/each other and dancers push dialogue further *mambo is less a formal pattern than a constellation of tendencies-the Afro-Cuban son and conjunto of the 30s, new influences from jazz, and internationalized NY version of Latin muic=diff incarnations of mambo 1.original version mambo was dance music evolved from son and guaracha; Arsenio Rodriguez added Conga drum cementing imp. of classic Cuban conjunto 2. 40s increased contact btwn Cuban musicians and American big band i.e. Mario Bauza and Dizzy Gillespie took mambo in 2nd direction 3. Last branch most pop. in North America; created by Perez Prado(Cuban bandleader) in trip to Mexico and his vocalist Beny More Arsenio Rodriguez his grandfather was a former slave; taught him secret rhythms of santeria. insisted on mambo's origins being the Congo region of Africa Mario Bauza inventor of Cubop jazz born in Havana in 1911 raised by wealthy godparents who enrolled him at the Havana Conservatory 1930 played wit Don Apiazu's band-until Machin left to make his own band in which Bauza convinced him

to get him a trumpet=hottest jazz trumpeter 1932 Bauza was made musical director of Chick Webb's orchestra in which he learned jazz phrasing 1940 Machito and his Afro-Cubans are born; a seminal moment in racial identification of this strand of cuban music in NY drilled Afro-cubans with jazz arrangements Bauza helped translate the worlds of North American jazz and Afro-Cuban music to each other 1st to incorporate 3 drum structure of congo, bongo, and timbales into NY Latin orchestras missing link btwn big band period and bebop Beny More (1919 born in Cuba) captured essence of vocal style that would capult Cuban music to US santeria devotee family of ex-slaves blend of folkloric nostalgia of Cuban guajiro music w/smooth texture of the bolero Perez Prado often credited w/bringing mambo to North American audiences 1944 formed his group and moved to Mexico because Cuba did not welcome his jazz inspired eccentrities "mass market mambo" appealed to west coast Palladium Machito's Afro-Cuban Orchestra Tito Rodriguez(PR) Tito Puente(PR) 1940s mass influx of PRs to NY replacing the Cubans *operation bootstrap (PR families were encouraged to move to NY as to not overcrowd the island's industrial urban centers Tito Rodriguez born in 1932 in PR 1946 creates his own band-Mambo Devils->Tito Rodriguez Orchestra Tito Puente born in 1923; Nuyorican played wit Machito and his Afro-Cubans credited wit being the 1st Latin drummer to kick big band figures w/ combo. of drums, timbales, cymbals spent WWII in navy "puente's music represented the final stage of teh modernization of Afro-Cuban music" Tito Puente vs Tito Rodriguez both tried to claim the middle ground btwn frenetic mambo of Perez Prado and the Machito sound which was devoted to serious big band jazz arrangements competition that exploded=great music Ch.4 Outside influences were welcomed in early yrs of rev. reflecting Fidel's idea of new cuban man (70s) Irakere-1st grp to mix older African diasporic styles wit more evolved Afro-Cuban styles->timba contemporary Cuban music + American R&B Timba-Cuban contemporary salsa; associated wit fast living as result of tourism in 90s NG La Banda returned funkiness to dance music; incorporated broader range of African diasporic styles i.e West Indian steel drums and soca while retaining strong connection to Havana Ch. 6 Latin Jazz Latin jazz is more African than African-American jazz; rhythms, and at times melodies and harmonies closer to the source tumbaos-bass patterns Piano acts as percussive instrument;rhythm is established w/one hand while other is free for improv. roots of LJ->DOn Azpiazu's El Manicero (1931 reintp. Duke Ellington) LJ created by Machito and Afro Cubans in 1940s 1960s Bossa Nova jazz influenced update of Brazilian samba Ch 9 Latinos in Hip Hop/Rock Latin influence on rock traced back to: 1.Africa(dialogue btwn rhythmic instruments and interaction btwn singer and guitar) 2.Islamic world (rhythmic strumming of guitar) 3.New World formed Afro-Cuban and Mexican traditions (bass and percussive patterns/Tex-Mex conjunto)...