Bachata - An Innovative Approach

It's called innovation. Innovation in Latin Dance is really not a modern phenomenon. In fact, dance innovation did not begin and end with Eddie Torres or Francisco Vasquez. Although Eddie was one of our foremost contemporary dance innovators, innovation is as old as the Cuban Son or traditional Bachata themselves. In fact, all of the Latin Dance is a product of innovation. The annals are full of examples: Cuban Son, Rumba, Cha Cha Cha, Cumbia, Bolero, Merengue and Mambo are just but a few.

To define innovation, a device or process created by study and experimentation, the creation of something in the mind.

Since constant innovations of street dance such as bachata is not new, there is a very troublesome trend developing among many of today's bachata dancers. It is the tendency to launch cavalierly off to proclaim true style of bachata dancing, supposedly each better than the last. In fact, far too many of these so-called teachers and dancers are motivated for all the wrong reasons. Some seek ego gratification, money, or fame. Others simply lack the discipline to persevere in a particular dance style while some are just close minded, not to mention territorial, that they refuse to recognize (in a thinking term) other "colors' except black or white.

Many dance teachers are unaware of the inherent complexity, responsibility and sacrifice of valid dance innovation. They fail to realize that innovation is an evolutionary process of methodical modification and refinement, rather than a revolutionary product rendered out of whole cloth. It takes serious passion and countless experimentation. Motivation must come from deep within the soul, heart, and mind.

I hope to give my readers an unbiased look into my own search for and acquisition at dance innovation. I will try to provide a logical overview of a Dance Infrastructure, Dance Thesis, and Dance Research necessary for a logical dance style innovation. I will also share a brief history of how I came to dance the style I dance with bachata.

THE INFRASTRUCTURE OF A DANCE

It is ridiculous to think of developing a new style of dancing without an extensive infrastructure or background in body movements. By infrastructure, I am not referring to superficial excursions into various dance styles. I am speaking about the foundation, core knowledge, and a cornerstone. A knowledgeable foundation can be built only on consistent training, theory and practice. All great innovators were obsessed with experimenting and constant practice, and each had an extensive foundation in the art before even considering innovation.

International Latin Ballroom dancing has played a large part in my early dance history. During those years I have been perfecting the skills and techniques necessary for excellent dancing, and they have helped me understand the complexities of dancing in general. Prior to Ballroom, I've trained extensively in the Martial Arts, studied and familiarized myself with body dynamics and kinetics earning myself a 4th degree Black Belt and a certificate in Fitness Training. For many years, I have been teaching others these same techniques and principles, helping them reach their social or competitive goals. While I embarked myself to spread the bachata dance, I also specialize in other dances like salsa dance, I don't practice ballroom no longer, since I prefer to dance free rather than in a structured manner.

A strong foundation establishes the physical, mental, and creativity of a great dance style. Extensive dance training develops and refines the attributes of the dance (i.e., speed, power, timing, balance, accuracy, fluidity, grace, partner- ability, etc.). A broad intellectual grasp of various dance techniques are critical to any effort to modify and refine. Theoretical and conceptual analyses are touchstones of innovation.

Finally, a strong foundation will begin to open the dancer's inner self to the creative component of dancing. The innovator must become his art. Simply put, there are no shortcuts! Every dance innovator starts at the bottom and works his way up. The greatest were beginners. If you are unprepared to embrace the principles, forget rushing ahead to modify and create. A dance innovator can only succeed with a deep conception of the various movements, techniques, and related elements of dancing. Innovation requires that you learn to walk before you can run.

THE THESIS OF A DANCE

Innovation in every major field is based on a thesis. The thesis may be an aphorism, a concept, a rule, or any other valid reason to modify and go beyond that, which has already been established. Generally speaking, a valid thesis is the culmination of an analytical process. It is not something "thought up" or created on whim or fancy. Every foundational thesis for innovation has origination in what has gone before. For example, in science Einstein's theory of relativity would not have come about without Newtonian physics and the significant prior discoveries in electromagnetic physics. In art, the cubists and abstract expressionists owed much to the discoveries of traditional realists. Bruce Lee wouldn't have had developed his style, Jeet Kune Do, if he hadn't extensively trained in the art of Wing Chun first.

The same is true for dancing! Modifications and innovations in the sciences are based upon scientifically established thesis. Theses for dance innovation may be the result of cultural eccentricities or any number of other factors, including geography, culture and topography. For example, salsa historians attribute the development of mambo timing steps to the clave beat or tumbao. In the same manner, the rapid salsa shines are attributed to the bongos.

Given the important role of the thesis for innovation, it is disturbing that far too many so-called "innovators" set out to create and promote new dance styles without the background, study, and analysis necessary to formulate a valid reason for modifications. I know for a fact that some of these self-proclaimed experts are motivated for all the wrong reasons. For example, the "so called innovator" would discard the origin of the dance because his knowledge of history, tradition and culture is minimal. He develops a modified dance style according to his limited knowledge.

In my case, I have devoted more than 5 years to practicing, studying, researching, and analyzing bachata dance styles. I extensively studied the music, history and culture. My 13 years of experience in the Latin Dance (salsa on1, on2, timba, son, casino, merengue, paso doble, rumba, chachacha, samba, tango) helped a great deal since I came to know bachata dancing at a Dominican Restaurant in New York city. I have watched countless bachata dancers in the clubs and social parties. I have also carefully observed numerous Dominican dancers and even befriended some of them. These experiences led me to the awareness that many essential concepts, methods, and potential styles were NOT being taught or established in the so-called bachata dance classes and workshops. More and more it became alarmingly obvious to me that accurate information was being neglected. My primary concerns centered on the concept of hip movements, partner-ability and basic steps. Side steps became electric slides. Hip movements turned into grinding or humping. And dance partner-ability became stiffly robotic with no sensuality and passion.

Originally, the concept of the bachata dance was formulated based on simplicity, sensuality, sexuality, romance, heartaches and was danced at house parties, backyard celebration, whorehouses and bars. Of course, eventually, bachata music evolved to a more acceptable romantic and passionate music. Thanks to innovators such as Anthony Santos, Juan Luis Guerra, Aventura, Frank Reyes and others. They helped innovate bachata music to what it is today.

THE DANCE RESEARCH

Research is a continuous and painstaking process of observing, analyzing, testing, and documenting information relevant to the innovator's thesis. There are two broad categories of research that, in reality, overlap in very significant ways: academic and practical research.

Academic research is a process requiring dedication, patience, and an insatiable desire to learn. The innovator truly must want to know all there is! Once again, his thesis enters the picture in the all-important role of a beacon, directing him to information that has some relevance and bearing on his ultimate goal. Without this direction he is likely to waste time sorting and separating valuable data from a tremendous amount of junk and misinformation.

Research involves rapacious reading and observing all kinds of dancers. An important thing to note is that the body of printed materials on Latin dance, particularly; salsa dance has evolved geographically over the last 20 years. Instructional DVDs and the Internet have added a whole new and interesting database, and workshops are offered around the world. Bachata information on the Internet is catching up. But let me offer a word of caution: the innovator can't just expose himself passively to these sources. Literature must be dissected and noted. Videos must be viewed over and over again. Music must be listened to and understood. Strategically sound and weak points should be recorded and analyzed in personal journals. And finally, workshops and training programs should be attended with an open mind, balanced with healthy skepticism.

Realistic research thus begins. The innovator's information has been analyzed, cross-referenced, and refined to theoretical applications. It's time to break away from the black board and head for the lab. Obviously there are some difficulties in approaching simple and sound practical or experimental research. Somehow, somewhere, the innovator has to get it right. The dance club is the answer. The innovator will need innumerable social dancing, with all kinds of dancers to test the result of his new dance concept. This is the only way to test the innovator's hypotheses. The bottom line is - the innovator must have the on-hands experience of dancing in the clubs with all kinds of dancers, if he is going to preach it! He must walk the talk!

Finally, once the innovator's academic and practical research have been compatibly merged and his hypothesis adequately tested and proven, he will be in a position to crystallize and articulate a dance truth, in this case, his own style of dancing bachata. Over time this process and the resulting truths will build and evolve. Eventually, if successful, the innovator's research and experiments will lead to the structuring of a complex array of truths. This will be the innovator's dance style and teachings. This may sound easy to some, but I can tell you that it isn't. It didn't come easy for the Mambo King, Eddie Torres to develop Modern Mambo. It wasn't an overnight revelation for Frankie Martinez to develop Abakua style. And certainly, it didn't come easy for Francisco Vasquez with his electrifying LA style of dancing on 1. Of course, last important factors with your innovation; did people like it? Or to be more specific, did she like it?

Rodney "Rodchata" Aquino is the founder of http://www.Salsagang.com and the dance website called http://www.Rodchata.com, a one-stop resource for bachata and salsa. His new projects, http://www.iBachata.com & Dance2Success.com, are coming soon. He had been dancing Latin dance for 10 years. He holds a Masters Degree in Counseling Psychology, a certified Personal Fitness Trainer and holds 4th Degree Black Belt in the Martial Arts. You can contact him at Rodney@rodchata.com

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Italian Roast Coffee For An Authentic Espresso

One of the things people think of with Italy is it's coffee. In fact Italian roast coffee is perfect for bringing a touch of Europe to your home. Can 50 million plus Italians all be wrong? Well, with Italian roast you can't go wrong either.

Generally speaking, Italian Roast coffee is darker in colour than most roasted blends of coffee and consequently develops an intense, full-bodied flavour from the blend of Pacific and Latin American origins. It seems to be richer and fuller and has a bit of a bite to it. The aroma is balanced and complex.

Why the name Italian Roast when coffee comes from Brazil?

As is known, most of the coffee we drink today originates from Latin America or the Pacific, so where does the name Italian Roast come from?

Well, the name Italian Roast derives from the dark roasted blend style that is commonly used in Italy. And do the Italians know a thing or two about their coffee? I think they do. Naturally it goes without saying, if you grind your own, Italian roast coffee is perfect for making authentic espresso. If served in Illy Collection cups, for instance, you cant go wrong.

There is espresso coffee and espresso coffee, but with an Italian roast blend the difference is clear

In fact, most of today's household names, such as Gaggia, Lavazza and Illy are Italian family companies that have conquered the world with their particular blends of coffee, targeted marketing and wonderful coffee making machines. Gaggia, for instance started business in the 1940's, not so long ago, but they are recognised as a well respected coffee-company in most of the world.

Similar with Lavazza, started in Turin, not only famous for its coffee, but also a prestigious calendar, similar to that of Pirelli. And what espresso lover isn't familiar with the Illy Collection; neat espresso cups with exclusive designs produced in limited numbers.

Do you think all this could have been possible without a deep knowledge and respect for coffee? Italian roast must deserve some of the success of these companies.

Nicholas Webb is a successful author and publisher of http://www.allabout-coffee-beans.com Coffee is a passion to be shared. Info from coffee beans to coffee making machines can be found by clicking over to this great resource site.

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Violin Or Fiddle? The Differences Explained by a Player

“That’s a fine lookin’ fiddle ya got there, kid.”

I gritted my teeth into a forced smile and quietly thanked the old man at the bus stop. “Fiddle!?” I thought, gritting my teeth into a polite smile. “It’s a V-I-O-L-I-N, you old goat!”

Teenagers are sensitive and easily embarrassed, but this chickie had a bit too much pride in self-labeled “superiority as a classical musician,” which meant I was annoyingly arrogant and a general pain in the butt.

Humbled by merciless teasing in jazz college opened my eyes to the music outside my sanctioned little bubble.

I learned to fiddle.

For the most part “fiddle” is a style of music, such as Celtic, Bluegrass or Old Time. Nevertheless, there are a few differences and stereotypes between fiddle and violin.

We’ve all threatened Fluffy that she’ll be taking a trip to the string factory if she doesn’t stop scratching the couch. There’s the violin’s dark secret of winding silver around a stretched piece of animal tissue (run Fluffy, run!). This used to be the principal method of making violin strings.

Gut strings possessed a rich and full quality ideal for orchestral playing. They weren’t perfect for the bank account, however, and fiddlers resorted to the cheaper alternative: steel. Steel strings have a “bright” timbre (tone) and carry well in a solo situation.

Steel strings are very difficult to tune with the violin’s clumsy wooden pegs. Many steel strings were broken until the glorious invention of fine-tuners, the tiny little metal mechanisms on the tailpiece that makes tuning a piece of cake. Violinists adopted this technology for use on their steel “E” strings which is nearly impossible to tune with the peg.

When I was youth symphony many players removed their lower string fine tuners haughtily, like a child insisting training wheels are for babies. The use of fine tuners on all four strings unfortunately had become associated with less skilled musicians since fiddlers used them. There is also evidence that fine tuners alter the quality of harmonics (higher frequencies). This a ridiculous stereotype was invented: violinists use the pegs, fiddlers use fine tuners.

It is thought that fiddles are simply cheap violins. At one time this could have been true, as poorer or rural folks usually played home-made fiddles, not Strads. They were less likely to afford private lessons or attend the symphony, but learned traditional tunes at jams and ceilidhs (kay-lees). Since many fiddlers never had formal lessons, most couldn’t read music and played everything by ear, whereas violinists could read music usually could not improvise. Another stereotype was invented.

Holding a violin with one’s jaw makes it nearly impossible to talk and play simultaneously (similar to walking around with your pants around your ankles). Square dancing fiddlers dealt with this difficulty by holding the violin down on their arm rather than under the chin, freeing up their jaws to “call” the dance moves. This technique is a big no-no in classical playing and it created yet another rift between violin and fiddle.

Luckily it seems the violin/fiddle gap has narrowed considerably in the past few years. Most players use new hybrid strings that posses a full and rich, yet clear, tone and respond well to both classical and fiddle playing. Classical violinists aren’t so sticky about fine tuners anymore as they are seen as an advantage over using stubborn old pegs.

The resurgence of fiddle music in pop culture has created an opportunity for fiddlers to aspire to a higher level of playing ability and for violin students to branch out and try other genres of music. Hence fiddlers and violinists alike have finer instruments and a formal music education.

Fiddle technique is being abandoned by many fiddlers who have discovered the benefits, such as greater speed and fewer backaches, of the classical technique. New programs in music education in new programs has produced fiddlers who can read music and violinists who can improvise.

As more musicians branch out musically and develop new ways of playing there will be little difference between "violin” and “fiddle.” Musicians will feel much more comfortable playing with each other and the stereotypes will fade away, both violin and fiddle will be valid.

You’ll see the old man at the bus stop whistling to “Celtic Swing Baroque Techno” on his MP3 player. 

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She writes for two Canadian publications and Australia's "Music Teacher Magazine."

Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards and offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

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Barbie Puppets

Design a Puppet Theater

Start by making a puppet theater with your child. If you have a large cardboard box, you can use that or head to any office supply store for a project display board. Cut out a large rectangle near the top of the board or box and your basic theater is complete. If you are of the crafty sort, you can even design curtains and other ornamentations for your theater.

Your child will likely want to decorate the outside of the theater and you should encourage this. Provide markers or paint for this very purpose. Spending a bit of time and effort on the theater will allow your child hours of puppet fun even after this round of Barbie games.

Plan a Play

A child who is already practiced at creating stories will have a simple time coming up with a play idea. If your child is struggling to grasp the puppet show concept, help her learn by showing her how her puppet can sing and dance through the window you've created and then decide on a song for her Barbie puppet to sing.

Your puppet play can be as creative and long as your child likes, although first timers will likely appreciate a shorter version that is simple to remember. Playing a favorite song on the radio or CD and just having Barbie dance in the puppet theater might be a good way to warm up. Later, you can enjoy your child's imagination as it grows and expands into more complicated stories worthy of a junior Tony award.

Design the Costumes

Barbies games wouldn't be complete without a bit of dress up fun. Selecting the outfits Barbie wears during the performance is just as critical as the play or music. Again, if you are crafty, you might help your child design a new outfit worthy of her role in this production. This might be a good exercise in basic sewing, but if the existing wardrobe must do, you can rest assured Barbie never suffered from lack of outfits. Find the best one and get ready for the big performance.

Sit Back, Relax and Enjoy

No show is complete without the audience. Grab younger siblings and take a break to sit down and enjoy the show. Putting other chores aside while you sit through ten verses of Barbie singing and dancing might seem tedious, but your presence and enthusiastic applause is all the encouragement your child needs to build self confidence and pursue other creative venues.

One you've enjoyed your child's performance, you might see if she's willing to do a bit of role reversal. Have her take a break while you pull out an old dance favorite from high school or college and show that girl how to really rock a Barbie puppet. Better yet, give everyone a Barbie and make this puppet show a family affair.

My name is Aleksey Syrovatchenko. I specialize in interests of girls and online dress up teen communities. I am a dreamer who can visualize what kids want and try to find best content that will be safe and entertaining. Girls love Barbie games and I consider them best online barbie dress up games for kids.

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Popular Wedding Song Choices

When planning a wedding there are many details to consider. Part of the planning, especially for an evening wedding reception, will include music. Whether you choose to have a DJ or a live band, the music style as well as your first dance song will be part of your decision-making.

For this choice, there can be as many sources of inspiration as there are couples, but if you're looking for ideas, here are a few tips to help get the ball rolling...and the music playing!

- First Dance Romance: For your first dance wedding song, is there a song that is special to you and your spouse-to-be? Perhaps one which reminds you of when you first met, or was playing on your first date. The song need only be special to the two of you; for your first dance, no one else in the Universe matters.

- Ask your parents: Is there a type of music that was popular back when they met or got married? For example, many couples choose to pay tribute and thanks to their parents by choosing to include some music from their parents' era at their weddings. This can be very touching for members of the guestlist who are old enough to remember the music, and will enjoy the nostalgia.

- Culture: If there is a culture one or both of you come from and would like to honor, ask some relatives for their choice in songs which come from this unique background. Again, a few choices in this genre will be very much appreciated by guests to whom this music would be very special.

- DJ: For the most popular wedding song ideas, your DJ would be a great source for choosing your first dance song as well as current trends for wedding celebrations and parties. He or she is an expert and will be able to tell you what is popular currently.

This should help you get started. Have a wonderful time planning your special day, and an even more wonderful enjoying it!

This is brought to you by Create-the-perfect-wedding.com, where you will find tips, more articles and the Amazing Wedding Planning System that can help you save thousands on your wedding. Come visit us!

Shauna Arthurs is a writer/editor and Co-founder/owner of a network of web-based help sites, including Create-the-perfect-wedding.com, home of the Amazing Wedding Planning system that helps brides save up to 70% on all wedding expenses - Guaranteed!

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Spiritual Parenting - How to Affirm Your Child's Innate Sense of Truth

Spiritual Parenting helps your children to affirm their innate sense of truth.

The core of your child's being is his spirituality.

From here grows his sense of self esteem and the values and morals which bring his sense of belonging.

Spiritual Parenting allows you to nurture your child's spirituality by creating magic through dancing, music and nature, and through sharing feelings and imagination.

Music

Sing together often. Use music cd's, dvd's, instruments, pot lids, the sound of the wind, rain drumming on the roof, your voices, concerts, community events. Sing while you walk, bath, cook, clean and play. Make up songs, create nonsense rhymes and tunes, sing the words of favourite books instead of reading them.

Dance

Dance with your children often - through this glorious experience children learn about the joy of music and movement. Be a mirror to your child through your own sense of delighting in dance.

Imagination

Open your child up to beauty and wonder by endowing the daily routine with peace and magic. Reveal this through loving guidance, through imaginative play and through your words, actions, songs and joy.

Nature

Go out often into nature through the changing seasons. Let your child get wet in puddles, skip together instead of walking, stop often to notice a different smell, make sure that you yourself delight in the marvel of the great outdoors. Learn together the names of plants and trees and delight in each others knowledge. Set up a nature table at home where new discoveries can be invited and encouraged.

Feelings

Teach your children to name their feelings by acknowledging and naming your own. "I'm feeling sad right now. That makes me feel very happy. I feel upset. I feel surprised". "I feel" statements will encourage your children to come up with their own, thus creating a healthy and wholesome sense of self. Ask them often, "How does that make you feel?"

Listen to your child as well as talking with him. This validates not only his sense of self, but allows for the growth of his intuitive self. Really listen for what he is saying and show him that you hear.

Magic

Show your child that life is magical, enchanting, rich and astonishing by creating unexpected pockets of surprise for them. Spiritual parenting helps your child cope well with change in life by giving life a mystical quality instead of a fearful approach. This enables a sense of adventure.

Years later my two eldest children still talk about the time their father woke them up at midnight, and then took them in their pyjamas on a car ride to see the first lights on the village Christmas tree. By creating a magical adventure through his own infectious joy, their father gave them an opportunity to extend their own inner magic through his spiritual parenting approach.

Silence

Don't be afraid to teach them about the beauty of silence. Encourage your young children to enjoy undisturbed quiet moments in your company. Show them by enjoying moments of silence in their presence, sitting quietly with your eyes closed. Teach them the value of walking together without talking. This is how they learn to feel their own inner peace.

Cherishing

Cherish them with physical affection, with words of love, with little gifts of flowers, unusual finds in the garden, written notes and through reading, playing and singing together.

Give them your undivided time and attention when you are walking with them, encouraging them to talk about their day, their friends, their hopes and dreams and encourage, encourage, encourage.

Bedtime

Create bedtime rituals that focus on the special nature of each of your children. Settle them into sleep feeling nourished, cherished and special. Try telling them "I love you today because..." and add a new reason for every night. Spiritual parenting in this way is a calm, child centred approach.

Helen Williams

Editor Consistent Parenting Advice.com

http://www.consistent-parenting-advice.com/index.html

I believe that being a consistent parent is both vitally important and totally necessary to ensure a happy family life. However, becoming a consistent parent is rather like trying to push water uphill if we are not consistent within our selves. This website addresses HOW to adopt a firm, clear, consistent parenting approach, while enabling you to enhance and increase your emotional well-being.

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