We began warming up by traveling diagonally from the back left corner of the studio to the front right with a partner. As we moved across the floor, we incorporated simple warm-up exercises such as rolling our heads while walking to loosen our bodies.
Next, we practiced another across-the-floor combination. We traveled forward, then performed a step-step sequence where one leg extended straight while the other remained bent. At the same time, our arms curled upward and downward in a rounded, bent shape. Although the movement appeared simple, coordinating the arms, legs, and rhythm required a surprising amount of control.
We repeated a similar exercise traveling from the upper left side of the room to the lower right. This time, after the first four traveling steps, we added two steps to the left followed by two steps to the right before continuing. The added directional changes challenged my coordination and made me pay closer attention to timing and weight shifts.
Much of today's class focused on across-the-floor combinations. What stood out to me was how Afro-Cuban dance often looks effortless, yet the technique and footwork are incredibly detailed. Every step required precision, groundedness, and rhythmic accuracy. By the end of class, I was sweating far more than I expected from movements that initially seemed so simple.
Today's class reinforced that Afro-Cuban dance is not about flashy choreography but about mastering foundational movement, rhythm, and body control. Even the warm-up combinations demanded intention and focus, giving me a greater appreciation for the technical depth behind the style.
From the NY Public Library for the Performing Arts Archives
Books important for my research include:
- Bascom, William. The Religious System of the Yoruba. Indiana University Press, 1969.
- Cabrera, Lydia. El Monte. Havana, 1954.
- Murphy, Joseph M. Santería: African Spirits in America. Beacon Press, 1988.