Love the sound of the first beats of the claves and congas as you sink into your body. Takes me back to the place with the palm trees.
In rumba and other afrocuban dances, knee bends are your metronome. And they always bend down. Never straighten the knees.
The hip reacts to the bend of the knee in threes.
The front forearm is affirmatively placed across the body, out and in. Tossing the scarf out and bringing it back in. The crossing brings the arms out of the body to the side of it, as if opening to the side.
The two feet subtly open in the same direction, together, as one.
The shoulders circle vertically and from under in opposition to each other, especially in initiation of a step.
Before any step is taken, lengthen the neck, loosen the shoulders as the claves and congas sound. Feel the circularity in the shoulder girdle.
Do not run. Listen to the music.
Orishas today was San Lazaro featuring the clock-like bounce of the knees.
In rumba and other afrocuban dances, knee bends are your metronome. And they always bend down. Never straighten the knees.
The hip reacts to the bend of the knee in threes.
The front forearm is affirmatively placed across the body, out and in. Tossing the scarf out and bringing it back in. The crossing brings the arms out of the body to the side of it, as if opening to the side.
The two feet subtly open in the same direction, together, as one.
The shoulders circle vertically and from under in opposition to each other, especially in initiation of a step.
Before any step is taken, lengthen the neck, loosen the shoulders as the claves and congas sound. Feel the circularity in the shoulder girdle.
Do not run. Listen to the music.
Orishas today was San Lazaro featuring the clock-like bounce of the knees.
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