"Partner dances (or couple dances)" is a field I have not concentrated on very much, I admit. I love dancing, and soon in my life I concluded that moving your body rhythmically to music, "dancing" was natural and in fact required to enjoy much music. You had "listening" music and "dance" music, but to dance music and "in-between" (danceable and content) music, I tended to dance. At home, alone in my room and later house, and in time at concerts and in clubs too. Whereas some people I knew preferred to sit on the venue's balconies, I preferred the floor in front of the stage: I wanted to dance.
I danced, however, alone, in my own space. I saw and see it as a personal and, well, spiritual connection to the music. I developed my sense of rhythm, soon feeding into my musical activities, as I played more and more percussion instruments. This was a personal trajectory.
Dancing, thus, had no "mating" or "social" function for me. Not primarily anyway. To be honest, I considered it unnatural when I "had" to dance in pairs, even if with a nice lady. I could see the joy of that (when in love?), but when I took some Salsa lessons in Cuba (good place to learn it, that is true), I liked it a bit on the one hand, but found the "stylized" rules and proscribed steps too "rigid" and conservative. Added to this were old-fashioned gender roles of a "leading man", of course as a form of theatre, but still.. I preferred my own free, rythmical dancing.
JAMAICAN DANCE
As a Reggae fan since my early teens, my dancing became loosely based on Jamaican dancehall dances since the Rocksteady era. it was with Rocksteady and Reggae that staying on one spot ("rent-a-tile" was an expression in Jamaican dances), and moving your whole body while on that same spot, frontways and/or sideways, became more socially accepted. A bit more theatrical but natural dances were at times popular in Jamaica (1970s and 1980s), like "water pumpee" or "cool and deadly", and these had a few (loose) "rules". A more moderate, but similar individual "skanking" variant became a norm at Reggae dances, both with Roots Reggae and Early Dancehall.
On more "dynamic" later, also digital Dancehall in Jamaica, becoming more influential since the late 1980s, some "sensual" partner dances were more common, including "whining" , "dutty whine", and "daggering". All dances that leave little to guess about eventual sexual meanings. Actual sexual attraction (or arrousal) might change my attitude, but under normal circumstances I neither liked these dances very much. I preferred to dance in my own way - and alone - if I liked the Dancehall songs- , just following the rhythm.
Yet, also in modern Danchehall era in Jamaica, a lot of new individual dances - fitting specific songs and their lyrics - appeared, and became commonly practised, sometimes temporarily, in the dancehalls in Jamaica and abroad.
OTHER DANCES
Some Jamaican (Reggae) dances I know a bit (Water Pumpee a.o.), I even like some of those new Dancehall ones (Bogle Move a.o.). I am intrigued further by some (solitary) folk/spiritual dances in parts of Africa I saw, and also by elements of other dances like Break Dance. I like moves in some forms of Flamenco and Spanish folk dances. Mostly, though, I just move loosely and freely to the music, following the rhythm, in my own way, albeit thus influenced.
I also wonder, despite all this, that there might be more interesting aspects of "partner dances" that I do not know. Partner/couple dances that maybe even inspires a solitary dancer like me.
Being interested in African and Afro-American cultures, the cultural dimension of dances can be interesting. Some of the globally best-known, almost cliché, partner dances developed in Latin America: the Tango, the Salsa, the Rumba, while other known ones were originally (largely) European, such as the "ballroom dances" the Waltz, the Foxtrot, the Quadrille, Paso Doble, Flamenco, etcetera. Names many people know, or what it looks like, but do not really know how to dance themselves..
The waltz has the most "stiff" image, and is indeed regulated and proscribed, while the loose improvisational Flamenco and Bolero from South Spain have a different, a bit more African "vibe", even if danced with partner. Some of these European dances seem to confirm the idea that in European/"white" dances more often are independent from the actual music heard. Flamenco, and some other folk dances in Europe, being exceptions (music-dance interaction).
Dances in the Caribbean and South America, though, while influenced by these European models from their colonizers, added interesting African and native aspects to the cultural mix, in cases even dominantly African ones.
I like Salsa music - and its roots in Cuban Son - better than the dance of the same name: nice to try, but too rigid and limiting for my taste. The same applies to Cuban Salsa-derived dances, elsewhere (Merengue, Bachata). I have seen the Tango, and found it a bit more appealing, though not so convincing or life-changing to take me away from my "good old" solitary dancing.
LAMBADA
The same applies to Lambada. I have seen that Brazilian, sensual dance through the media and the well-known world hit(s) by Kaoma (1989) - like many people- and a few times in real life by experienced dancers. Kaoma actually had two relative "hits": one simply titled Lambada, but melodically based on a Peruvian folk song (Llorando Se Fue), translated to Portuguese, and one called "Dançando Lambada", also helping to internationalize the Lambada craze.
I could understand the appeal of the Lambada dance a bit. Mainly because of the "hip swaying" which was a bit less present in Salsa, and almost absent in the stiff European dances like the Waltz..
That hip movement could work nicely when the dance partner was "in sync", I imagined. Of course, the macho "male leader" role also here, but this "gender division" is best to be taken playful, with humour. As are the sensual aspects of it, making Lambada being called "the forbidden dance", earlier in Brazilian history. Others speak of a unique "flowing wave" motion, the Lambada dancers' reproduce, that even I - as couple dance sceptic - find intriguing.
Lambada originated in part in the northern Brazilian state of Pará (with many mixed/Amerindian influences), and spread eastwards to the strongly Afro-Brazilian state of Bahia, adding influences from the Forró genre..
It went accompanied by an own music genre, that I found quite groovy and lively. Music that was quite rhythmical, showing African and some slight Amerindian influences. It - the music form that is - faded in popularity over time in Brazil, however.
ZOUK
Lambada as music genre became less common or mainstream by the 1990s, and other music genres became more popular in its place in Brazil, even foreign ones. Notably Zouk music from the French Caribbean (Martinique, Guadeloupe) - with the band Kassav' being its best known representative - reached the north of Brazil and dances there. Kassav' might be what Bob Marley is to Reggae: the best known name.
Zouk itself developed in the Caribbean from a combination of influences, including the Gwo Ka and Biguine from Martinique and Guadeloupe, Haitian Compa, and Calypso. I discussed Haitian music in another blog post by me, and its influence on smaller French Caribbean islands Guadeloupe and Martinique.
Like Compa, Zouk has a distinct rhythm or groove that I would like to call "swaying", characterzining its relatively fluid, gentle nature. This differs from other rhythmic Afro-Caribbean, more "metronomic", "staccato" or "pumping" music genres, such as in Cuba. An interesting difference that might relate to different colonizers or to specific African origins of the enslaved population in the French Caribbean. Or both.
Relevant to this post. I think that "partner dances" fit better with such "fluid" and "swaying" music than with "straight up, groovy" music of whatever character (James Brown's Funk, much Reggae, Ska, Rocksteady, Dancehall, Salsa). Relatively "slower" music too, but it is - I think - not just in the tempo, but rather the type of rhythmic flow. The Lambada's flowing "hip swaying" could be nice with a partner and not just alone, as an interesting symbiosis/synthesis, even if not deeply in love with that person, which would make it even nicer and more magical. That is what I felt: sensual swaying.
In other genres it is just my own body and the rhythm/drum, that is satisfying and inspiring enough for me.
BRAZILIAN ZOUK DANCE
The interesting thing is that while the more dominant music genre in Northern Brazil changed to Zouk and Zouk-like rhythms, the way that people danced to them remained strongly influenced by the preceding Lambada dance, the moves and hip swaying, and flowing.
This was helped by the fact that there were some similarities between Lambada as music, and Zouk as music, although also differences. Lambada - while distinct - also had some musical similarities with Colombian Cumbia, by the way (which has a quite different dance). Of course, there is a shared African heritage, but besides this, there are similarities in "rhythmic flow". The Lambada as dance thus could be easily adapted to Zouk rhythms.
Thus developed in the 1990s what was called Brazilian Zouk, a partner/couple dance. Some find that the Brazilian Zouk seems even more sensual than its precursor the Lambada.
Where in Salsa, hands are used to lead the dance and moves of it, in Brazilian Zouk this is done (also) be other body parts, notably the hips. It includes a lot of "swirls", especialy by the woman. Some see this dance as more sensual - since it is a partner dance - , but it also can be seen as "fuller" (physically). This fuller, whole-body approach to dancing is what I like, seeming to me more complete and loose than hands-led partner/couple dances like the Waltz, Foxtrot, or the Salsa.
SENSUAL?
The phenomenon of "partner dance" seems by its very nature sensual. The historical male-female partners in the older dances represented or referred to hetrosexual intimate relationships. they were not just good friends (as portrayed in the dance). Of course it is theatre, performance, and over time dancers began to only pretend to be lovers with the partner for the dance.
RUMBA
One variant of Afro-Cuban Rumba music and dance, Guaguancó, offers another dimension. In Guaguancó in the dance a "pursuing battle" - or nicer: flirtatious game -is performed/danced between a man and a woman. The woman keeps refusing his advances while both dance: she dances away from him, but also keeps flirting to attract him. Dancers follow the basic rhythm pattern of guaguancó, mostly conga- and clave-led. I studied that nice pattern as a percussionist - for congas. A bit later saw the link with the "suspenseful" drum/rhythm pattern of guaguancó: a man pursues, a woman resists, playfully.
Again, conservative gender roles are confirmed, as in other (European and African) partner dances, but of course it is playful theatre, and, well, some men argue that men are indeed more desparately pursing women, as women get men more easily and do not need to. In that sense, the Rumba Guaguancó is somewhat realistic. Moreoever, guaguancó represents a flirting game, with the willingness of also the woman implied. In reality, it can be seen as a "fertility ritual", known historically in several cultures.
It has similarities with the Salsa, and is in fact a Cuban precursor to it. The Salsa dance as such is based on Cuban models, just like the music genre of the same name, Salsa, is based mostly on Afro-Cuban music. Both developed outside of Cuba though, in the New York area, among many Puerto Ricans, Dominicans, and others, besides Cubans.
Rumba Guaguancó now is a precursor dance to Salsa (feeding into it historically), along with another Rumba style, the Yambu (also mostly for couples). Interestingly, the other, faster style of Rumba, called Columbia, is meant for a solo male dancer.
Actual moves and patterns of Guaguancó are consequently echoed in later salsa dance, including hip movements, and steps.
Crucially, the dancers in Guaguancó do not or hardly touch each other, and some authors such as Robert Farris Thompson and Nathaniel Hamilton Crowell, Jr., regard this a heritage of African dances from the Congo region. Hamilton Crowell discusses this in his article 'What is Congolese in Caribbean dance' in the collective volume ' Caribbean dance from Abakuá to Zouk' (2002), edited by Susanna Sloat. Hamilton Crowell also mentions in it a recent dance arising in Angola, Africa, called Kizomba, as related though more original to Zouk and other dances.. He also points out in the article how " hip rolling and hip swinging (that) distinguishes Congolese dance".
This can be found to differing degrees in several dances, including partner/couple ones throughout the Americas, Salsa, Rumba, Zouk, Samba, Cumbia, and others. Indeed, among the enslaved Africans in Cuba, relatively many were from the Congo (Bantu) region in Central Africa. Estimates say about 40% of the Africans in Cuba, with a similar percentage of Congo/Angola origins of Africans in Brazil, by the way. The secular Bantu dance called Yuká is seen as a precursor to Rumba. This influence is there, with even stronger Congo influences in Eastern parts of Cuba, around Santiago de Cuba (where Son originated).
Allow me a small digression, to return later to the theme.
CORONA CRISIS
As I write this in October 2020, the world is quite dominated by what is deemed a pandemic of a coronavirus/covid 19. this started in march 2020 and led to continuous "lockdown" policies on national levels, with differing degrees of intensity, to stop the infection spread of the new coronavirus/covid 19, first described as a "lung virus", with further similarities with the influenza, but - some asserted - worse.
This general lockdown - all over the world - including of healthy people, to limit infection and spread seemed to point at an unprecedented danger and risk, requiring such draconian measures. Public and social life was shot down during weeks, then partially opened, depending on supposed infections ("supposed", because testing for infection is not secure with current pcr-tests)..
Meanwhile more facts came out about this new "lung virus" Covid 19, and it became clear even from official sources that the mortality rate did not rise much above the (severe) flu levels of earlier years.
PROTESTS
People started then wondering: worthy of attention, yes, like influenza before, but national and regional "lockdowns"? Isn't that disproportionate (in light of data and figures), especially as it hurts the economy, limits cultural life, complicates normal human gatherings and events? Even worse: it increased the inequality and poverty in the world, including hunger, due to distribution stops.
These questions and objections are in my opinion legitimate, and some intellectuals and activists made this protest manifest openly in several countries. Large demonstrations followed in several cities: Berlin, London, Madrid, and lockdown-related riots also occurred (in Mexico and elsewhere).
The response by political leaders, and the uncritical media, was in my opinion odd and troubling. Forms of ridicule and even censorship that should have no place in a democracy returned. The danger of corona/covid 19 was absurdly emphasized and exaggerated by media, thus increasing fear, while figures pointed in another direction. This was almost "Goebbelsian" (repeating lies until people start believing them) in dimension. With the virtual "ignoring" of mass demonstrations (including one in Berlin, visited by a known US politician Robert Kennedy jr.), and the trend toward more strictness among international politicians, referring to a "second wave" of the virus.
This is based on more PCR-tests, which - as I said - do not even give secure results (to know for sure if someone is infected with Covid 19 several tests are needed), and an error margin of about 30 %. Dubious, to say the least.
UNDEMOCRATIC
On top of it, some governments attacked or by-passed democratic structures, thereby effectively acting as dictator in formal democracies. De Spoedwet/Noodwet in the Netherlands (Emergency Law) was proposed last Month this year. This would authorize ministers or prime-ministers to by-pass the chosen parliament. Undemocratic in essence, but after negotiations made - let's say - a bit more democratic, with added required parliamentary input.
Still absurd, and relating to the global hysteria we are in - that it could have been proposed and - at first - accepted by most politicians and citizens. This is especially troublesome, because of the similarity - especially in its first concept - to the Law passed in 1933 by the Nazi's in Germany, making Hitler effectively dictator.
The same fear and hysteria (put) in people's heads made it acceptable - to many people at least - that Spanish prime-minister Pedro Sánchez in Early September 2020 ignored a legal decision forbidding a new lockdown of parts of Madrid (in this case poorer parts) for various reasons, yet ordered it nonetheless, overruling law. This is against the Trias Politica, and simply undemocratic and dictatorial. A relatively "young" democracy like Spain should have known better.
Since the virus seemed not that mortal/severe and the "pressure" on health systems could be handled well, more anti-lockdown spokespersons stood up to oppose the strict measures.
SPOKESPERSONS
Even more, anti-corona policy spokespersons gained prominence, despite mass media censorship efforts. They objected against the damage of lockdowns on poor people world wide,and specifically businesses, cultural organizations, musicians, bars, and on wider economy, as well as to the social "behavioural" change this whole crisis apparently had to include: keeping 1,5 meter (6 feet) distance between people, obligatory masks, forbidding free gatherings, number of people together, etcetera,.. not showing nice, happy times ahead. In addition, they trample personal rights of free movement, choice, and even physical integrity.
I agree with most of these objections at this point, because I know the real figures of Covid 19, and find these policies disproportionate. Better to protect and (humanely) isolate vulnerable groups (like older people) to this virus, than to shut down whole countries, which is as absurd as it sounds.
This post is not really about that, but this digression has a point to it, however. It is not just an "off-topic rant", haha.
The reason why I bring it up here, is that one of those anti-corona policy activists/spokesperson here in the Netherlands is Willem Engel. He studied Biochemistry, so has relevant knowledge, seemingly knows how to organize and find experts (legally and otherwise), so he seemed a good spokesperson for that cause. I personally like his relaxed, humourous approach too. Some see his focus on "love" and compassion as soft, or hippy-like, but he talks little or no nonsense, in my opinion, and mostly factual.
DANCE TEACHER
This Willem Engel, often criticized in the Dutch pro-corona measures-mainstream media, became - after his time in biochemistry and science - a Rotterdam-based dance teacher, mainly specialized in Brazilian Zouk, knowing some other Latin American dances too.
In these absurd, difficult times, this has a symbolic appeal: a "dance teacher" against a threatening Covid 19-based "dictatorship", or at least undemocratic political repression of human rights and freedoms- with a sanitary excuse. I opine that these harken in aspects even back to Fascist times, forgotten in current normalized "democracies" in Europe, like the Netherlands, and Spain since 1975.. Suddenly, the political elite speaks of a "new normal" (why is that needed?).
Conspiracy theories abound, but besides people with still just "well worked-out speculations", there are some with more information and plain facts. Still.. the existential fact remains that "evil" or immoral intents are hidden, even from conspiracy investigations. If there is a wicked plot behind it, it is hard to find out, let alone prove. This is however not needed to be against this policy, just the current, unbiased facts are immoral and wrong enough. Of course, this is my opinion, based on neutral facts I found. Others may not care about these, or have other more alarming facts and figures, that seem so difficult to find.
All that is known, and mistrusted by many, is that a "vaccine" is promoted as only secure answer (and end) to the lockdowns. A gloomy perspective of a changed, colder, "soul- and cultureless", and restricted world. If not, no concerts, parties, closeness, hugging... Too absurd for words, what is happening now, almost impossible - I find - to conceive all at once.
A man promoting this - his - vaccine/vaccination is Bill Gates: not an elected politician, but a wealthy merchant, but also "philantropical". Promoting his vaccine, unashamedly, apparently having struck a deal with many governments world wide. This whole crisis to sell those vaccines for profit? In light of the proven influence of the pharmaceutical industry on science (not just a conspiracy theory), this is one of those conspiracy theories that might end up being true.
Willem Engel, a now dance (Zouk) teacher, former biochemical scientist, is an activist in the Netherlands against this whole policy: it has a nice poetic, even humourous touch to it, so welcome in these worrying times.
Engel teaches and dances a dance with certainly some African characteristics - the Brazilian Zouk -, like the Lambada with important hip movements, but with overall "sensual" yet playful dimensions, with room for artistic improvisation. I saw it performed a few times, and liked it at least aesthetically, and the couple in question seemed to have some sense of rhythm, so followed the music well enough. Also images of Willem Engel when dancing on YouTube show this.
VACUNAO
Quite sensual, and with body touching, with hip on side or belly a.o.., on mostly mellow, swaying music (Brazilian Zouk dance). That is the difference with the Rumba Guaguancó, I mentioned before, showing mostly Congo African influences, but with similarly important hip movements and swirling and likewise a partner dance, but without the touching, though the man tries to do this. The woman - flirtatiously/playfully - refuses his efforts while dancing. That is the game.
The accompanying music, including conga drums, other drums, shakers (chequere's), clave sticks (beating the characteristic Rumba 2-3 pattern), blocks, and often vocals, similarly shows retentions from the Congo region, as of some other parts of Africa (Yorubaland, Efik/Calabar area, a.o.), as musicologists noted.
An added move performed in the Guaguancó dance is a kind of "victory" moment for the man, when the man imitates a "penetration" motion toward the woman, and succeeds in "conquering" the woman in the end. This is a "touching" that the woman dancing before kept both attracting and refusing, as part of the playful "flirting game".
Again conservative gender roles, with the "macho" man dominating the woman with his penetration of her, thus conquering her, making her his. All symbolic, of course.
Well now, this (theatrical/metaphorical) penetration move within the Guaguancó dance by the male dancer "conquering" the first refusing woman, is called in Cuba el "vacunao", Spanish for "vaccine" or "vaccinated". Done mostly via the upper leg.
Some even go so far to replace the name of the dance Guaguancó with the less correct term "Vacunao" dance.. Not me..
Can we see the Guaguancó dance as an allusion to this corona crisis now?
Some differences: this is real, and by rich white men. Another difference: the woman in Guaguancó, is in reality willing but "plays around": people of this world are made afraid of hyped-up Covid 19, but not really willing (I would say: confused).
The similarity with the (inevitable?) vaccine is there, at least metaphorically in the case of Guaguancó: and all to real with this crisis.
So one could say, that this corona crisis is like a cynical, fake, "white-man" Guaguancó dance. The man representing the powers that be (or "Babylon" as Rasta people say), and the woman the common citizens of the world: pursued.
Other main - and depressing! - differences are the the actual leaders/elite forces in this crisis: they cannot dance, have no rhythm, they include no good music, unlike with Guaguancó, and they are not playful.. Plus: the other party they do not seduce/convince, but intimidate.. No rhythm, no music, no "soul", no love.. Toward a loveless "vacunao"?
CONCLUSION
I can conclude from all this, that there is quite a variety among the so-called "partner dances", looking only at some examples, as here. Salsa I knew already, so I looked at other dances here more in detail (Lambada, Zouk, and Guaguancó). Some are seduction/flirting games without initial touching, others are perhaps a "lovey dovey" stage further, when the flirting has gone over into an intimate, sensual relationship, embraces and touching. I liked some of the moves, and the magical "flowing" of bodies, when good in the rhythm and music.
I myself am hesitant, though, of too much mixture of sexual relationships and music, seeing music as a valuable art form of itself. Using it for one's own sexual needs seems to me egotistical and, well, degrading and downplaying the art that is music. Even sacrilege and corruptive, in some cases.
On the other hand, I am neither too tight or prudish about this, knowing very well it is part of life and natural human relations. Such "fertility" dances moreover have existed in many cultures. I can enjoy it on occasion too. I just personally prefer, overall, individual, free dancing to the music and rhythm.
Anyway, in whatever form: more music and dance is what the world needs now, along with love, understanding, and humble curiosity. Not the sinister and "cold" world of 6 feet/1,5 meter distance from other humans. They call this "social distancing", which is a misnomer: it is "physical distancing".
Added to this were dictatorial "orders" ("emergency" laws) impeding too much people gathering. Closing down bars/clubs, and even "befehlen" (orders) to "stay home", many out of fear even accepted. Locking (mostly free and healthy) own citizens up in their own home, basically.
When concerts or gatherings were hesitantly allowed, here in the Netherlands, the authorities even had oddly specific mandates, with instructions to remain seated and not dance (let that sink in..), personnel in clubs/venues ordered to control whether visitors stayed seated. In some strict places, one standing up and dancing by him/herself (on one spot) - not approaching other persons - was even forbidden. In the Netherlands in 2020! To adult, free, and healthy persons!
I am not making this up. I see no link with a virus, of such absurd rules, perhaps only explained by a very "White"/ European interpretation of "dancing". People who know how to dance with their body need not move about. Moreover, in African and other cultures there is an intricate relationship between music and dancing, these obvious "white man" laws, ignore and restrict.
The governments clearly interfer with our privacy, rights, and freedoms, and attack our physical integrity. In an absurd way, with a sanitary excuse. Only accepted because they exaggerated ("hyped up") the danger of the Covid 19-virus, even after more facts came out.
Irrational belief in its extreme danger and mortality -against all known facts - took such forms, and was so massive, that I sometimes feel I ended up in a "twilight zone", an absurd reality or dystopia. A "bad horror film", I called it a few months ago, especially after I saw so many signs with photos of the virus throughout Amsterdam.. Absurd.
Instead of this, let us go to world of love, dancing, music, releasing stress, partying, gathering: all healthy for our immune systems, and yes: also hugging and touching when wanted by all parties. That is natural and human, and always have been. Just as natural and human as wanting to help the weak, when infected and a weakened immune system, when necessary.
We do not need to change our natural humanity and natural social behaviour for that.
Unless you want to control and oppress people, make the rich richer, and sell your vaccines. Or the virus is man-made, etcetera etcetera..
Yet - like I said before - this corona crisis in 2020 is so wrong and absurd, affecting the already poor disproportionately, that it does not even need (hard to prove) "conspiracy theories", however plausible or realistic, to oppose it. The facts are enough. Still many don't rebel, and just go along..
"Fear is a state of nervousness fit for children and not men. When man fears a creature like himself he offends God, in whose image and likeness he is created. Man being created equal fears not man but God. To fear is to lose control of one's nerves; one's will, to flutter, like a dying fowl, losing consciousness, yet alive".
~ Marcus Garvey
