FAQ

Frequently asked questions. Sorry, some texts  are available in estonian only.

Mis on salsa? * Kust on salsa pärit? * Miks tantsida? * Mis stiili bachatat eelistada? chachacha, kizomba jne. Siit loodetavasti leiad vastuseid küsimustele. Kui mitte veel, siis tulevikus. Saada oma küsimus pjsalsa [at] gmail,com

Salsaõpetajate muljeid TSF aastast 2008. Teksti tõlke kirjutas Kati Lumiste.

Jazzy:”Juba minu vanaisa ütles, et tantsides tuleb naine naeratama panna ja ta peaks vähemalt kaks korda tantsimise ajal punastama.”

DJ Weedska (27) avatud ja rõõmsameelne DJ Leedust.

Olen esimest korda  Eestis. Eestlased tunduvad esmapilgul reserveeritud, kuid vestluses avanevad ja tundub, et on soojad ja naljaarmastavad inimesed. Mind pani imestama see, et siin nii palju noori tantsib, Leedus on salsa poulaarne ikka üle 20-aastaste ja vanemate seas.

Ma kuulasin salsat teadlikult 1999.a. esimest korda ja see meeldis mulle nii väga, et hakkasin uurima, mis muusikat Ladina-Ameerikas tehakse. Hakkasin ka hispaana keelt õppima, et aru saada, millest laulutekstid räägivad.

Siinne festival on väike ja armas nagu perekonnapidu. Mulle meeldib, et sellel festivalil on oma stiil, eesmärk pole tohutu glamuur ja sära, vaid on näha, et kõik on siinsete korraldajate endi töö ja vaev. Lihtsus, alternatiivsus ja isegi natuke underground-õhkkond valitseb siin.

Miguel – Kuuba päritolu õpetaja, kes elab ja õpetab Soomes juba 16 aastat.

1994. aastaks oli mul asutatud salsakool Helsingis ja paar aastat hiljem tulin ka Eestisse Eeslitalli kuuba salsat õpetama.

Pean tunnistama, et eestlased on avatumad kui soomlased, kaks rahvust elavad küll lähestikku, kuid on ometi erinevad. Ilmselt iga toll lõuna poole muudab inimesi.

TSF on väike ja intiimne ning sellistel festivalidel tekib inimestega hoopis rohkem lähedasi kontakte. On tunda, et Pirje teeb festivali hinge ja tõsise sooviga. See on salsa arengu jaoks Eestis väga hea.

Salsa annab palju rõõmu, mida hing vajab!

Sabine – õrn, graatsiline balletitaustaga Saksa päritolu salsatreener Hollandist.

Eesti inimesed on väga avatud ja ma tunnen end siin väga teretulnuna. Workshopis oli tunda, et siinsed inimesed tahavad innuga õppida. Arenguruumi siin muidugi on, aga eesti naised tantsivad väga hästi. Olin ka enne juba Eesti kohta palju head kuulnud. Mulle meeldib selle festivali suurus, kuna praegu on ta personaalsem ja sotsiaalsem kui suured kongressid. Ma olen korraldajatele väga tänulik, sest tundsin, et minu eest hoolitsetakse väga hästi.

Omar – Curacaol sündinud hollandlane. (34)

Hollandi parimad salsatantsijad on enamasti kõik Curacaolt pärit, mis oli muide Hollandi koloonia. Hollandis on pea igas linnas oma salsakool. Mina olen tantsinud üle kümne aasta. Juba väikse poisina tantsisin oma isa jalgadel.

Kõige tähtsam tantsimise juures on unustada igasugused reeglid ja olla lõdvestunud. See aitab noorena püsida.

Suurtel salsakongressidel ei kohta mõnda sõpra üldse, siin on rohkem lõbu ja rõõmu.

Tahan tänada PJ hoolitsevat meeskonda – “warm heart and helping hands”.

Curacaol öeldakse “Baila malu, pasa bon.”( Papamiento k. Tantsi rohkem, lõbutsed hästi)

Piotr Romanov Salsa Librest, Poolast.

Olen Eestis juba teist korda ja olen taas vaimustunud nähes kui palju energiat on pandud selle festivali organiseerimisse. Siinne koduselt armas õhkkond on väikse festivali eeliseks. Nii pääsed inimestele lähemale ja pole rangeid piire. Võrreldees suurte kongressidega, kus pean tööd tegema, tunnen end siin nagu puhkusel.

Mulle meeldib siinsete organiseerijate suhtumine asjasse. Korraldajad on kogu aeg olemas ja ma ei tunne millestki puudust. Võrreldes eelmise aastaga oli seekord rohkem välismaalasi pidudel, mis näitab, et asi on kasvanud ja arenenud.

Ma ei pea ennast professionaalseks tantsijaks, ma õpin ikka veel. Lisaks külastan ka Ladina- Ameerika Kultuurikeskuse loenguid, et teoreetilist tausta omandada.

On selgeks saanud, et väga tihti on latiinod küll väga head tantsijad, kuna neil on loomulik tunnetus, aga õpetada ja selgitada on neil raskem.

Ma tunnen Eesti salsaõpetajatest vaid Pirjet. Seda, kuidas ta mehe osa õpetab ja naisi juhib, teeb ta tõesti hästi.

Tasub tantsida ja kirgi jagada. Ükskõik, kuhu sa maailmas ka ei satu ja kui keelt ei oska, siis tantsuga saab piire ületada. Tants toob talvesse päiksespaiste.

Alexis – Guatemala päritolu noor ja andekas särasilm, Jazzy vend.

Me õpime vennaga palju üksteiselt, meie stiilid on küll erinevad, aga samas on neis ka palju ühist.

Ma olen siin esimest korda, aga mulle meeldib eesti kutluur, inimesed ja siinne õhkkond. Eriti slogan- where funky salsa people meet!

Ma tunnen siin soojust ja seda, et see festival on fanaatikute poolt tehtud ja pole mingi äri. See meeldib neile tõesti ja nad töötavad õige energiaga. Ma tunnen end siin tõesti nagu kodus. Mulle meeldis väga Uue Maailma seltsimajas. Ladina-Ameerikas on samamoodi, et peale pidu minnakse kellegi juurde koju sööma, jooma, tantsima. Tahaks veel siia tulla.

Pole tähtis, mis keelt sa räägid, salsa loob sideme.

Pole tähtis, missugust stiili sa tantsid, iga stiil on unikaalne. Tuleb läheneda avatud mentaliteedi ja südamega ning tantsimist on vaja nautida. Kasuta salsat ära instrumendina maailma avamiseks!

Hamidine Prantsuse Guinealt

Olen esimest korda Eestis. Mulle tundub, et väga palju inimesi siin tahavad salsat õppida ja on tore, et salsat tantsitakse igal pool, isegi nii väikses riigis nagu Eesti. TSF on nagu üks suur pere – kõik tunnevad üksteist. Tüdrukud on siin üllatavlt head ja innukad tantsijad.

Keep on dancing! Jätkake tantsimist!

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HOW TO DRESS TO SALSA

The most important thing is to wear comfortable clothing, which do not restrain movement. For more upbeat classes, such as reggaeton and afro you need indoor sports clothing. For all classes it is important to wear (preferably natural, breathable fibre) clothing that allows you to move freely. For salsa classes women may wear skirts and heels, but also normal clothing (pants, shirt and indoor shoes) are perfectly suitable. Men can wear either jeans or sports clothing for salsa classes. The most important thing is that you feel comfortable dancing in your clothing. You can also dance in socks, shoes are not required. You do not need any special equipment or clothing to attend a dance class.

*****************ARGENTINIAN TANGO (in English)********************

What is Argentine Tango?

Argentine Tango consists of a variety of styles that developed in different regions and eras, and in response to the crowding of the venue and even the fashions in clothing. Even though they all developed in Argentina and Uruguay, they were also exposed to influences reimported from Europe and North America. Consequently there is a good deal of confusion and overlap between the styles as they are now danced – and fusions continue to evolve.

In sharp contrast to ballroom tango, Argentine Tango relies heavily on improvisation, and in theory, every tango is improvised. Although there are many steps and sequences of steps that a tango dancer learns, every dancer is free to modify them.

Argentine Tango is danced counterclockwise around the outside of the dance floor (the so-called “line of dance”); cutting across the middle of the floor is frowned on. It can be acceptable to stop briefly in the line of dance to perform stationary figures, as long as the other dancers are not unduly impeded. (There is a saying about this: “If you look down the line of dance and there is space for you — you are probably keeping everyone else waiting behind you.”) Dancers are expected to respect the other couples on the floor; colliding with, or stepping on the feet of another couple is to be strenuously avoided. There are two sides to this: on one hand it is bad etiquette towards the other dancers (and shows your “incompetence” from a strict honor based judgment) – but even more so the leader wants to protect his lady and give her a most memorable time while dancing with him, any collision would just disturb that.

Differences from Ballroom Tango

Argentine Tango is danced in a relatively close embrace, with many dancers choosing to remain in chest-to-chest (and sometimes head-to-head) contact, whereas the feet are apart. The couple therefore looks like a “V” on the reverse. The walk is one of the most important elements, and dancers prefer to keep their feet in close contact with the floor at nearly all times, the ankles and knees brushing as one leg passes the other. A striking difference between Argentine tango and ballroom tango is that the follower remains upright on her axis, or may even lean toward the leader (and in a close embrace dances “chest-to-chest” with the leader). In ballroom tango this posture is unheard of. In fact, in ballroom tango the follower shyly pulls her upper body away from the leader whenever he draws her toward him. But ballroom tango dancers dance close, too, only in a different way. In ballroom tango, experienced followers are not shy about thrusting their hips and upper thighs toward the leader.

Another interesting difference is that in Argentine tango, the leader may freely step with his left foot when the follower steps with her left foot. In English, this is sometimes referred to as a “crossed” or “uneven” walk or a “crossed system.” In ballroom tango this is unheard of and considered incorrect (unless the leader and follower are facing the same direction).

A third difference is that Argentine tango music is much more varied than ballroom tango music, allowing Argentine tango dancers to spend the whole night dancing only Argentine tango. There is a great variety of music. Tne tango orchestra of Francisco Canaro alone produced more than 4000 titles.

Unlike the social version of ballroom tango which has been standardized and thus been relatively fixed in style for many decades, Argentine tango is a constantly evolving dance (even on the social dance level) and musical form, with continual innovation in Argentina and in major tango centers elsewhere in the world.

These innovations may offend some traditionalists (there are quite many discussions about what still can be considered tango), but they make sure that it remains a relevant to contemporary culture and society. Some teachers trained in the ballroom style are now trying to standardize Argentine tango and even use ballroom terms like Gold, Silver, and Bronze when describing their course of study. This attempt at standardization is offensive to those who value the evolving nature of Argentine tango. So on one hand the traditionalists are offended that Argentine tango is evolving while others are offended that others are trying to standardize it.

Steps

While Argentine tango does not teach amalgamations of steps like swing, salsa, or ballroom dances do, there are some recurring figures that are taught. Here is a fairly typical order of steps that may be taught in a beginner to intermediate class.

  • Walks – a couple, in embrace, walks in unison
  • Cruzada – follower crosses her legs during a walk
  • Lapiz – “the pencil” – figures traced by the toe as an adornment
  • Salida Cruzada, or “eight-step basic” – salida as “the way out” onto the dance floor
  • Ocho – a figure-8 traced by the follower’s feet. There are front and back ochos.
  • Molinete – “pinwheel” a spinning figure from the follower’s grapevining around the leader
  • Giro – a left-hand turn. sometimes refers to the leader’s part of the molinete.
  • Sacada – the lead “blocks” the follower’s leg to force a transfer of weight
  • Gancho – one dancer hooks their leg around their partner’s leg

Related Dances

Argentine Tango dancers usually enjoy two other related dances: Vals (waltz) and Milonga.

Tango dancers dance the Vals much like they do tango only with a waltz rhythm that has one beat per measure. This produces a rather relaxed, smooth flowing dancing style in contrast to Viennese Waltz where the dancers often take 3 steps per measure and turn almost constantly.

Milonga is a fast dance with steps similar to tango, but somewhat simplified because of the constant movement of the feet and lack of pauses as in Argentine tango. Although Milonga uses the same basic elements as Tango, it is much nearer to the African roots, especially in that it requires a greater relaxation of legs and body. Movement is normally faster, and pauses are not made; as the beat goes on, dancers continue setting their feet. It is rather a kind of rhythmic walking without complicated figures, with a much more “rustic” style than Tango.

Milonga is also the name given to tango dance parties. This double meaning of the word milonga can be confusing unless one knows the context in which the word “milonga” is used. People who dance at milongas are known as milongueros.

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