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Rueda de Casino (Rueda) is a type of salsa round dance, born from the Cuban dance style known as "casino." Depending on the setting, the dance can be either choreographed or improvised.
Casino was developed in Havana, Cuba in the early 1950s. Casino traces its origin as a partner dance from Cuban Urban Son and Cuban Cha Cha Cha, fused with partner figures and turns adopted from the Cuban Mambo, Rumba Guaguancó and North American Jive. Casino is different from other types of Salsa dance styles because of its spontaneous use of the rich Afro-Cuban dance vocabulary within a Casino dance; a Casino dancer frequently improvises references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African-descended Cubans. Such improvisations might include extracts of rumba, dances for African deities (Orishas), the older popular dances such as Cha Cha Cha and Danzón as well as anything the dancer may feel.
Casino danced with multiple partners in a circular fashion emerged in the late 1950s under the name "Rueda del Casino". This dance was exclusively danced at the Club Casino Deportivo, but quickly spread to other clubs around the beachfronts and later to the capital. While the dance became popular, so did the phrases "vamos a hacer la rueda como en el Casino" (let's go dance "rueda" like in the Casino) and "vamos a hacer la rueda del Casino" (let's go dance "rueda" of the Casino). Given the popularity of the music and dance, numerous Rueda de Casino dance groups appeared on the island made up of friends, family members, and professional dancers. At the end of the 1970s, Rueda de Casino groups became well-known through the popular TV show "Para Bailar". [1]
As a result of the Castro regime, many Cubans emigrated to the US, many to the Miami area. They took their culture with them, including various dishes, music and dancing. Rueda de Casino began to slowly make its way into the Miami salsa community during the Mariel boatlift, [2] and in the late 1980s and early 1990s it experienced an enormous explosion of popularity. However, the style of Rueda de Casino that became popular was a style somewhat different from its original form. Rene Gueits, founder of "Salsa Lovers" in 1994, changed the Cuban-style Rueda de Casino and structured it. [3] Rene's style adapted the Rueda de Casino steps into a more "disco-like" style, where the Cuban Urban Son, Cuban Cha Cha Cha, and Rumba Guaguancó were completely removed. [4]
From Miami, Rueda de Casino spread first to major U.S. metropolitan centers with large Hispanic populations and eventually to other cities, becoming a popular dance around the United States and the world. [5] Although the majority of the Rueda de Casino dancers have learned from the Miami-style Rueda de Casino syllabus and repertoire, many dancers from Cuba have been able to share the original version of the dance throughout the world, and most recently in the United States.
In 2014, the first International Rueda de Casino Multi Flash Mob took place in which people from 67 countries, including 199 cities, danced Rueda de Casino simultaneously. [6] In 2017, the International Rueda de Casino Multi Flash Mob drew 230 unique groups dancing Rueda de Casino. The differences between the Miami-style Rueda de Casino and the Cuban-style Rueda de Casino are stark, and these differences can be seen throughout the performances of the 230 groups that participated in 2017.
The word "Rueda" is Spanish for a "wheel," referring to the typically circular format of the dance. Rueda dancing requires a minimum of two couples, but could be as large as the maximum number of couples who can create a circle in the dance venue. (If necessary, multiple concentric circles can even be formed.) Since the 1990s, the music most commonly used for Rueda de Casino is either Salsa music or a unique variation of Salsa known as "Timba."
After the initial couples (pairs of dancers) form a circle, dance moves are then called out by one person, a caller (or "líder" or "cantante" in Spanish). Although there are some similarities to square dancing, Rueda de Casino is distinguished by having a caller who is dancing along with the other participants, rather than simply standing on the outside to direct the moves. When danced socially, the order or sequence of the moves in a Rueda de Casino is completely improvised by the caller, so the dancers have to pay close attention.
Many Rueda moves have hand signs to complement the calls; these are useful in noisy venues, where spoken calls might not be easily heard. Many moves involve the swapping of partners, where the partners move around the circle to the next partner. The combination of elaborate dance combinations and constant movement of partners creates a visually spectacular effect. Also, it not uncommon for the Rueda dancers to have fun with coordinated noises such as shouts, stomps, or hand claps.
Traditionally, the names of the moves are called mostly in Spanish, regardless of the country where the dance occurs, although some words can be in English (or Spanglish; e.g., "un fly"). The names of most fundamental moves are similar across the board, but different towns in Cuba did begin to develop their own names for other moves. This is because some pioneers of Rueda de Casino wanted to be unique with their variations and/or simply keep others from participating in their Rueda. Many local versions of the calls (and/or changes to the steps) can now be found; indeed, the variations might change from town-to-town or even in the same town from teacher-to-teacher.
The Rueda dance will either start from "al Medio" (normal closed hold with all the couples stepping in and out of the circle) or from Guapea (stepping forward on the inside foot and backward on the outside foot, tangent to the circle). Some of the most common fundamental moves in Rueda include Dame, Enchufe/Enchufla, Vacila, and Sombrero. There are different hand motions that the caller can use to indicate a specific Rueda move, especially in case one's voice cannot be heard over loud music. For example, the hand signal for the Rueda move "Sombrero" (i.e., the Spanish word for "hat") is the caller tapping the top of his or her head.
Rueda de Casino scenes may be seen in the movie Dance with Me and in the music video clip No me dejes de querer by Gloria Estefan. Rueda de casino dance may also be seen in the documentary film "La Salsa Cubana".
Ballroom dance is a set of European partner dances, which are enjoyed both socially and competitively around the world, mostly because of its performance and entertainment aspects. Ballroom dancing is also widely enjoyed on stage, film, and television.
Mambo is a genre of Cuban dance music pioneered by the charanga Arcaño y sus Maravillas in the late 1930s and later popularized in the big band style by Pérez Prado. It originated as a syncopated form of the danzón, known as danzón-mambo, with a final, improvised section, which incorporated the guajeos typical of son cubano. These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzón and instead leaned towards swing and jazz. By the late 1940s and early 1950s, mambo had become a "dance craze" in Mexico and the United States as its associated dance took over the East Coast thanks to Pérez Prado, Tito Puente, Tito Rodríguez and others. In the mid-1950s, a slower ballroom style, also derived from the danzón, cha-cha-cha, replaced mambo as the most popular dance genre in North America. Nonetheless, mambo continued to enjoy some degree of popularity into the 1960s and new derivative styles appeared, such as dengue; by the 1970s it had been largely incorporated into salsa.
Salsa music is a style of Caribbean music, combining elements of Cuban, Puerto Rican, and American influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on son montuno and son cubano, with elements of guaracha, cha-cha-chá, danzón, descarga, bolero, guajira, rumba, mambo, jazz, funk, R&B, rock, bomba, and plena. All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.
The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in settings such as bufo theatre, is largely responsible for such worldwide polysemy of the term. In addition, "rumba" was the primary marketing term for Cuban music in North America, as well as West and Central Africa, during much of the 20th century, before the rise of mambo, pachanga and salsa.
Salsa is a Latin American dance, associated with salsa music. .It originated in the late Eastern Cuba. It gained popularity in New York in 1960.
The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.
The clave is a rhythmic pattern used as a tool for temporal organization in Brazilian and Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban music, and how it influences the mood of a piece is known as clave theory.
Latin dance is a general label, and a term in partner dance competition jargon. It refers to types of ballroom dance and folk dance that mainly originated in Latin America, though a few styles originated elsewhere.
This is a list of dance terms that are not names of dances or types of dances. See List of dances and List of dance style categories for those.
Merengue is a style of Dominican music and dance. Merengue is the national dance of the Dominican Republic and is also important to national identity in the country. It is a type of danced walk and is accessible to a large variety of people with or without dance experience. The music of merengue draws influence from European and Afro-Cuban styles and mainly uses instruments like guitars, drums, and a charrasca or metal scraper. The dance originated as a rural dance and later became a ballroom dance. Merengue has three distinct sections: the paseo, the merengue proper, and the closing jaleo which includes improvisation.
The conga, also known as tumbadora, is a tall, narrow, single-headed drum from Cuba. Congas are staved like barrels and classified into three types: quinto, tres dos or tres golpes (middle), and tumba or salidor (lowest). Congas were originally used in Afro-Cuban music genres such as conga and rumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums. Congas have become a popular instrument in many forms of Latin music such as son, descarga, Afro-Cuban jazz, salsa, songo, merengue and Latin rock.
Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Although taking its name from the latter, ballroom rumba differs completely from Cuban rumba in both its music and its dance. Hence, authors prefer the Americanized spelling of the word (rhumba) to distinguish between them.
Danzón is the official musical genre and dance of Cuba. It is also an active musical form in Mexico and Puerto Rico. Written in 2
4 time, the danzón is a slow, formal partner dance, requiring set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or típica ensemble.
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section are all rooted in traditions of Bantu origin.
In Cuba, a popular dance known as Casino was marketed abroad as Cuban-style salsa or Salsa Cubana to distinguish it from other salsa styles when the name was popularized in the 1970s. Dancing Casino is an expression of popular social culture in Cuba and many Cubans consider casino a part of their social and cultural activities centering on their popular music.
Guaguancó is a subgenre of Cuban rumba, combining percussion, voices, and dance. There are two main styles: Havana and Matanzas.
Cuban folk music includes a variety of traditional folk music of Cuba, and has been influenced by the Spanish and the African culture as well as the remaining indigenous population of the Caribbean.
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based coros de clave. According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba, as well as their contemporary derivatives and other minor styles.
Cuban culture encompasses a wide range of dance forms. The island's indigenous people performed rituals known as areíto, which included dancing, although little information is known about such ceremonies. After the colonization of Cuba by the Spanish Kingdom, European dance forms were introduced such as the French contredanse, which gave rise to the Cuban contradanza. Contradanza itself spawned a series of ballroom dances between the 19th and 20th centuries, including the danzón, mambo and cha-cha-cha. Rural dances of European origin, such as the zapateo and styles associated with punto guajiro also became established by the 19th century, and in the 20th century son became very popular. In addition, numerous dance traditions were brought by black slaves from West Africa and the Congo basin, giving rise to religious dances such as Santería, yuka and abakuá, as well as secular forms such as rumba. Many of these dance elements from European dance and religious dances were fused together to form the basis of la técnica cubana. Cuban music also contributed to the emergence of Latin dance styles in the United States, namely rhumba and salsa.
The quinto is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse and duple-pulse structures. In columbia, triple pulse is the primary structure and duple pulse is secondary. In yambú and guaguancó duple-pulse is primary and triple-pulse is secondary.
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