Bolero – Introducing the “Cuban Dance of Love” Presented by TJ and Bruce Chadd We are assuming that you’re teaching a group of dancers that experienced in Round Dancing through Phase III Rumba/Cha. Because of that we have left out teaching about what Round Dancing is, how cues work, lead feet, directions of dancing, positions, posture, lead and follow, etc. The Origin of Bolero: There are 2 countries that take credit for the original Bolero. In Spain in about 1780, ballet dancer Sebastiano Carezo invented the Spanish version of the Bolero, using 3/4 time music (like our waltzes). Then it was danced by either a female soloist or by a couple during ballet performances to very structured music. The Cuban Bolero uses 2/4 timing and is credited to “Pepe” Sanchez, a traveling musician in Cuba during the late 1800’s to early 1900’s. Since he composed most of his music in his head and didn’t write it down, much of his music has been lost to us. The Bolero introduced into the American Ballroom in the mid 1930’s uses 4/4 timing and has become an American Rhythm Standard Dance. 1. Choosing Music for Hash Cueing/Practice Dancing a. Listen/Feel the beat of the music --Choose music with strong downbeats --Use several different pieces of music. Since Round Dances are choreographed to all kinds of different music, we like to ensure dancers get used to that when they’re learning. We use both instrumental and vocal music and use music with a variety of different tempi for Hash Cueing/Practice. We prefer to use instrumental music only for the first couple of weeks of teaching Bolero and when we’re teaching/practicing brand new figures. We start adding vocal music during week 3 for Hash Cue practice on figures dancers are already familiar with. b. Tempo for practice --For Bolero we’re looking for music that is 21-26 mpm. Each piece of music that we use has a different tempo. That helps dancers become familiar with the differing speeds in the music that we Round Dance to. 2. Footwork a. Latin Feet – toes pointed slightly out b. Ball-Flat footwork c. Rolling onto the foot from the inside edge of ball of the foot d. Start figures in a lowered position with knees soft, rising through the leg and body as weight is taken onto that first step, lower as step 2 is started (this step may have slipping action), step 3 will be a slightly progressive step where the lowering action is completed. 3. Bolero Timing a. Bolero music is usually in 4/4 timing...or 4 beats/counts of music per measure of music. We dance the standard timing of Bolero as Slow (counts #1 and #2), -, Quick (count #3), Quick (count #4); stepping on count #1, drawing our free foot to our standing foot during count #2, stepping on count #3 and #4. There are, of course, exceptions to this standard rhythm. We dance figures with 2 slow steps, with 4 quick steps and also with syncopated rhythm. b. Bolero music is the slowest music of all the rhythms that we dance. It’s very easy for dancers to “rush” the steps, particularly the “slow” steps. How do we slow down the “slows?” c. Bolero Timing Using 8 Counts – Our Bolero figures use a timing of “Slow, Quick, Quick.” We use 4 beats of music to accomplish this timing. The “Slow” step takes beats 1 and 2 and the 2 “Quicks” take the beats of 3 and 4. Let’s try thinking of this in “Double Time” where each single beat of music is converted into 2 counts – our 4 counts are now 8 counts and those 8 counts are twice as fast as our 4 counts. Now in our basic timing the “Slow” steps takes counts 1,2,3,4 and our “Quick” steps take counts 5,6 and 7,8. See **Notes for more detail on how this works. 4. Dance Positions a. Closed Position—very similar to the Closed Dance Position that we use for Waltz and Foxtrot. The joined lead hands may be held up in standard position or they may be held lower by the Man’s left front trouser pocket. We prefer the hands to be held up in standard position as lead and follow is easier for us there. Closed Position in Bolero can be looser, if preferred, leaving a small amount of space between partners. b. Other Bolero positions—Butterfly, Open Position, Half Open Position, Left Half Open Position, etc. are also used. c. Soft knees d. The “Scrunch”**See Notes below. You may not be able to introduce this technique on the very first class, but since the dancers you’re teaching have most likely been dancing for some time, you might be able to work it starting the second class. Our own experience tells us that the sooner we get dancers thinking about this, the better. 5. Teaching Progression – Here is the order we’ve taught our most recent Bolero class: Phase III & Unphased Figures Used Frequently Basic**see Notes below While teaching and learning the Basic, we cue it and practice it as the full figure for at least 3 weeks before we start breaking it up and using it as a ½ Basic and a Basic Ending with other figures in between. Shoulder to Shoulder New Yorker Fence Line Hand to Hand Time Step Hip Lift Spot Turn While teaching and learning the above figures we practice them in pairs for the first and second week after they’re introduced and then start cueing them in singles. Crab Walks (non standard in Bolero) Open Break Bolero Walks Break to designated position (non standard in Bolero) Underarm Turn Reverse Underarm Turn Forward Break Lunge Break Swivel to Face & Quick Spot Turn (non standard in Bolero) Phase IV Cross Body Hip Rock Turning Basic Slow Hip Rock (2 and 4) 6. Hash cueing without music and with music is instrumental in practice for dancers. Planned practice modules can be helpful if you’re working with a rhythm or figures that you’re not very comfortable cueing by sight. If you’re really having trouble putting things together, look at several dances that you have with the figure you’re working on. How was it choreographed in those dances? Those can be good starting points, if you need them, until you’re more comfortable. Now expand on them. Whether you’re sight cueing on using modules, ensure you’re putting together several different ways for your dancers to get into and out of the figures they’re practicing. That way they’ll be much more comfortable with any dance that’s put on for them. 7. Dancing Dances – the sooner dancers can dance a published dance, the sooner they will feel successful in their new rhythm. If you’re new to teaching Bolero, go through the dances that you already have to see where they might fit into your program. If you need to augment your repertoire, go to your favorite cue sheet web site (we like Cue Sheets From All Over at www.mixed-up.com), search Phase III Boleros and find a bunch of new ones. Here are some that we use: Adios Amigo Bolero / Ruth & Max Mandel Ginny Come Bolero / Brian & Pam Galbraith Valentine Bolero / John Donoughe Will You Still Love Me Tomorrow / Ron & Jan Betzelberger With A Kiss / Peg & John Kincaid Como Tu Quieres / Nancy & Dewayne Baldwin Always Bolero / Mike Seurer All Fall Down / Adrienne & Larry Nelson Forever Bolero / Mike & Michelle Seurer The Fool / Ron & Jan Betzelberger 8. Prepare, Prepare, Prepare – Practice, Practice, Practice! **Note: We spend a good amount of time with dancers on the following technique using the Bolero Basic for practice. Our goal is to help dancers learn and reinforce the proper technique and to make it easier for the Bolero to be slow and controlled. We introduce the “Scrunch” first, then the “Scrunch” with the side step added. Then we add the 8 count timing. We do this in layers...a little bit at a time, but we work on it every single class and encourage dancers to work on it at home. As dancers get more familiar with these techniques and with encouragement from you, they will start applying it to many of the figures they’re dancing. Closed Position: Move gently into Closed Position with the lead arm/hand either up like Waltz/Foxtrot CP or low with hands held beside Man’s front pocket, bringing feet together and relaxing into bent knees with your backside tucked and your lead feet free, leaving your feet together. “The Scrunch” - We’re going to help you use your core and trunk muscles to put a little Latin in your Bolero. Once you’ve taken the Bolero position described above, you need a bit of a “scrunch” in your side. Which side depends on which foot you have free. Your “scrunch” should to be on the opposite side of your free foot. If your left foot is free, then your “scrunch” is on your right side and vice versa. Use your core and trunk muscles, specifically those between your arm pit and your hip bone. Think of it as trying to bring your arm pit and hip bone together – WITHOUT tilting your shoulder down or lifting your hip up. Not an easy thing to do and it takes LOTS of practice. You need to engage the front and back muscles on your “scrunch” side to make your “scrunch” happen.