Eugene Curran “Gene” Kelly (August 23, 1912 – February 2, 1996) was an American dancer, actor, singer, film director and producer, and choreographer. Kelly was known for his energetic and athletic dancing style, his good looks and the likeable characters that he played on screen.

Although he is known today for his performances in Singin’ in the Rain and An American in Paris, he was a dominant force in Hollywood musical films from the mid 1940s until this art form fell out of fashion in the late 1950s. His many innovations transformed the Hollywoodmusical film, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.^[1]

Kelly was the recipient of an Academy Honorary Award in 1952 for his career achievements. He later received lifetime achievement awards in the Kennedy Center Honors, and from the Screen Actors Guild and American Film Institute; in 1999, the American Film Institute also numbered him 15th in their Greatest Male Stars of All Time list.

By: Jaime Andrés Pretell

It is not only Cuban; nevertheless we must give credit to Cuba for the origin and ancestry of creation. It is here where Contra-Danze (Country Dance) of England/France, later called Danzón, which was brought by the French who fled from Haiti, begins to mix itself with Rhumbas of African origin (Guaguanco, Colombia, Yambú). Add Són of the Cuban people, which was a mixture of the Spanish troubadour (sonero) and the African drumbeats and flavora and a partner dance flowered to the beat of the clave.

This syncretism also occurred in smaller degrees and with variations in other countries like the Dominican Republic, Colombia, Puerto Rico, among others. Bands of these countries took their music to Mexico City in the era of the famous films of that country (Perez Prado, most famous …). Shortly after, a similar movement to New York occurred. In these two cities, more promotion and syncretism occurred and more commercial music was generated because there was more investment.

New York created the term “Salsa”, but it did not create the dance. The term became popular as nickname to refer to a variety of different music, from several countries of Hispanic influence: Rhumba, Són Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue, among others. Many of these have maintained their individuality and many were mixed creating “Salsa”.

If you are listening to today’s Salsa, you are going to find the base of són, and you are going to hear Cumbia, and you are going to hear Guaracha. You will also hear some old Merengue, built-in the rhythm of different songs. You will hear many of the old styles somewhere within the modern beats. Salsa varies from site to site. In New York, for example, new instrumentalization and extra percussion were added to some Colombian songs so that New Yorkers – that dance mambo “on the two” – can feel comfortable dancing to the rhythm and beat of the song, because the original arrangement is not one they easily recognize.

This is called “finishing”, to enter the local market. This “finish” does not occur because the Colombian does not play Salsa, but it does not play to the rhythm of the Puerto Rican/Post-Cuban Salsa. I say Post-Cuban, because the music of Cuba has evolved towards another new and equally flavorful sound.

Then, as a tree, Salsa has many roots and many branches, but one trunk that unites us all. The important thing is that Salsa is played throughout the Hispanic world and has received influences of many places within it. It is of all of us and it is a sample of our flexibility and evolution. If you think that a single place can take the credit for the existence of Salsa, you are wrong. And if you think that one style of dance is better, imagine that the best dancer of a style, without his partner, goes to dance with whomever he can find, in a club where a different style predominates. He wouldn’t look as good as the locals. Each dancer is accustomed to dance his/her own style. None is better, only different. Viva la variedad, Viva la Salsa!

Just as gymnasts and divers need to fulfil certain criteria in order to achieve the best possible score, so do dancers. The better the feedback and information given to the dancer, the greater the opportunity for them to correct errors and demonstrate a higher level of performance.

Methods of appraisal

Dancers can be appraised by any or all of the following methods:

• observing
• analysing
• experiencing

For each dancer there is likely to be one type of appraisal that suits them best.

Observing involves having a judge or group of judges watch the performance and report back to the dancer at the end. The judges should highlight both positive and negative aspects of the performance; however, they need to show great care when providing feedback that is mostly negative. It is also advantageous for the performer to watch their own routine on video. This helps them to identify any errors they may be making.

Analysing involves examining the technical aspects of the performance. This is best done by an experienced judge or instructor who will look at the overall routine and the detailed body positions and movements. The feedback provided from analysis helps a dancer to compare their performance to others, which provides a measuring gauge for the dancer.

Experiencing is one of the most valuable methods of appraisal, which involves practising a routine and getting feedback at the same time. This type of appraisal can result in a faster rate of improvement.

The role of appraisers

Whether you are viewing a dance routine in the capacity of an appraiser, an evaluator or judge, there are a number of important considerations:

• appreciation of the movement
• providing support and feedback for the performer or performers
• being able to offer a critique of the performance.

Dance can have many different styles and themes. To be able to evaluate a dance performance effectively, the judge or appraiser must have a thorough knowledge of these styles, and an appreciation of the different levels at which they can be performed and the creativity involved.

The appraiser must be able to provide feedback on the performance in terms of space (direction, level, patterns), creativity, dynamics (force and flow) and relationships (parts of the body, equipment used). They must also be able to communicate this feedback in a positive manner that helps the dancer to improve on their performance.

This role of providing feedback and support for the performer is very important, especially when the dancer is being prepared for competition. The support aspect plays a key role in providing stability and a sense of security for the performer, which will assist in their preparation.

Designing and applying criteria

To evaluate dance performances in a consistent manner, appraisers or judges need to have a set of criteria to follow. This ensures that appraisals are fair across a competition. The criteria are decided beforehand and describe exactly what the judges must look for in the routine. Judges award or deduct points according to the criteria.

Dance coaches and instructors receive information and guidelines well in advance of a competition and prepare their dancers according to these guidelines. Judges will also have a prepared set of criteria detailing the requirements the performers need to satisfy. They may even be involved in meetings with a chief judge who will go through the criteria with all judges to ensure that the judging is fair and consistent.

Aspects that need to be considered include:

• the elements of the composition
• the level of creativity and innovation
• whether the performance achieves its purpose
• whether the dancer includes all compulsory elements.

Although judges follow a standard set of procedures when evaluating a performance, all competitions differ in the way they are judged. Judges need to make adjustments to cater for different events and levels of competition.

James Francis Cagney, Jr. (July 17, 1899 – March 30, 1986) was an American actor, first on stage, then in film, where he had his greatest impact. Although he won acclaim and major awards for a wide variety of performances, he is best remembered for playing “tough guys.” In 1999, the American Film Institute ranked him eighth among its 50 Greatest American Screen Legends.

In his first professional acting performance, he danced dressed as a woman in the chorus line of the 1919 revue Every Sailor. He spent several years in vaudeville as a hoofer and comedian, until he got his first major acting part in 1925. He secured several other roles, receiving good notices, before landing the lead in the 1929 play Penny Arcade. After rave reviews, Warner Bros. signed him for an initial $500-a-week, three-week contract to reprise his role; this was quickly extended to a seven-year contract.

Cagney’s seventh film, The Public Enemy, became one of the most influential gangster movies of the period. Notable for its famous grapefruit scene, the film thrust Cagney into the spotlight, making him one of Warners’ and Hollywood’s biggest stars. In 1938, he received his firstAcademy Award for Best Actor nomination, for Angels with Dirty Faces, before winning in 1942 for his portrayal of George M. Cohan inYankee Doodle Dandy. He was nominated a third time in 1955 for Love Me or Leave Me. Cagney retired for twenty years in 1961, spending time on his farm, before returning for a part in Ragtime, mainly to aid his recovery from a stroke.

Cagney walked out on Warners several times over the course of his career, each time coming back on better personal and artistic terms. In 1935, he sued Warners for breach of contract and won; this marked one of the first times an actor had beaten a studio over a contract issue. He worked for an independent film company for a year while the suit was being settled, and also established his own production company, Cagney Productions, in 1942, before returning to Warners again four years later. Jack Warner called him “The Professional Againster”, in reference to Cagney’s refusal to be pushed around. Cagney also made numerous morale-boosting troop tours before and during World War II, and was president of the Screen Actors Guild for two years.

Coverage Areas of Interest

Below is a condensed schedule highlighting various events and activities of most  interest to most media outlets.

Stage Rehearsals:
All performers will be present to run a technical rehearsal of their piece for the evening show later that night. This is a great “behind the scenes” opportunity.

Weekend Evening Events:
The Weekend evening events consist of first, a two hour theater style show featuring showcases by international dance companies. After a short intermission doors open to a 4,000 square foot dance floor for an all night dance party with the congress DJ team and live concert by the headlining artist of the night, later followed by the South Beach style after-party with open format dance music and live performers until 6AM.

Workshops:
45 minute workshops by some of the biggest names in Salsa featuring a wide variety of content including various styles of Salsa, some folkloric dances, YOGA, Cardio-Salsa, Bachata, Hip Hop, Technique, Lifts and Tricks and a 1 hour Q&A with an all-star panel of industry professionals.

Pool Parties:
Featuring the Congress DJ Team for an all-out summer Salsa party under the hot Miami sun,poolside at the Fontainebleau.

Choose your dance partner with care…

Whether you are new to ballroom dancing (or any other genre of dancing that consists of dancing with a partner) or a seasoned dancer who is looking for a new partner, here are some tips to keep in mind when choosing your “other half” to compliment you on the dance floor. While some traits of a prospective partner maybe visible from the start, others may take a while (or at least a few trials) for realization.

Sibling, friend or stranger, as a dance couple, you need to not only act the part but also look the part as keeping your audience entertained stretches way beyond perfect steps and choreography. When dancing, you are telling a story, expressing yourself, not with words but with every part of your body and inner being.

Confidence:

This is the first and one of the most important traits to look for in a dance partner.

As a female dancer, one must have confidence in herself to be led on the dance floor. Dancing is one of the few instances a lady requires the ability to guess which step the man is going to take before he actually takes it. It is the female’s duty to step with confidence and follow the partner with in each progressive step and in some cases like twists, turns, spins and lifts, be able to have enough faith to know that he would direct you properly and adequately and not let you down.

As a male dancer, confidence comes in the sense of being able to lead the lady on the dance floor, to convey to her (only with your body movement) what she needs to do. It is the male that decides what happens on the dance floor, where on the floor it happens and which figures and steps to dance, so having a confident male partner who has the capability to make on the spot dance decisions and maneuver the lady around other couples on the dance floor, is detrimental.

If you are a gentleman who had confidence to ask a lady to the dance floor for the first time, then you possess the pre-requisite to be a great dancer!

Physical Attraction:

Just as with regular couples, physical attraction is important with dance couples to build and maintain chemistry on the dance floor. Whether you’re a man or a woman, having an attractive partner will put some “fizz” in to your dancing. As a ballroom dancer, if there is no connection with your partner on the dance floor, you are as good as if you were to dance alone and the spectators would be the first to conclude that you are a “mismatch”.

Compatibility:

Compatibility goes in par with the second tip and I am using the term in a much broader sense that includes (but not limited to) physical compatibility (height, weight, built), age and interests. It is much easier to dance with and relate to a partner who is of the same age and share common interests as you. Physical compatibility is important to couples who dance standard/smooth and latin/rhythm styles to maintain form and posture, for easy leading/following and to look smooth on the dance floor. It is also important to make sure that the partner you choose has the same interest and goals for dancing as you in order to avoid any miscommunication and misinterpretation of intentions later on.

Comfortable to dance with:

In a great dance performance, there is no holding back. When you dance, one must be able to express and feel free to “let go”, disconnect from the everyday life and connect with a different realm. To achieve this, you need a partner whom you will be comfortable dancing in close proximity with and a partner who will make you want to shed away every bit of shyness and hesitation you may have.

You may not be able to address the issue of “comfort level” when dancing with a brand new partner initially, but with time, you may either be able to make a judgment on how “close” you can be without creating any awkward situations and moments or you will be able to get past whatever the discomfort you felt at the very beginning. Everything new takes time getting used/adjusted to, so don’t give up without at least a try.

Patience:

This is especially applicable to individuals whose prospective partners are above/below your standard and knowledge of dancing. One must ensure that the partner has enough patience to teach you and/or practice with you (without the fighting and the disagreements) until both of you are have caught up to the same level and have mastered the techniques of each step and variation. No one is perfect and no one can get it right every time, therefore having a supportive partner with steady perseverance and diligence can make your dancing experience that much more pleasant and enjoyable.

Dedication & Commitment:

To some, dancing is second in nature to walking, while others find it quite challenging to listen to and feel the music and to dance in sync to a beat, let alone a beat and a partner at the same time. In my years of dancing with many different partners (from beginners who have never taken a dance step in their life to people who feel the music in their body and have the spring in their feet) I have come to realize that no matter what your level and knowledge of dancing is, just like with every new venture in life, a little bit of dedication and hard work will make you look like you have been dancing for years. Dancing is a very competitive and challenging sport and comes with a lot of practice, sweat, falls, bruises and aching feet. But if you can find a partner who is as dedicated as you are to becoming a good dancer, you will most definitely be able to see past the pain and enjoy every moment you are on the dance floor.

Creativity and Imagination:

Just like any other form of art and expression, dancing requires a great deal of imagination and creativity. Performing a few basic routines and steps that you and your partner have learned in class is one thing, but choreography that keeps an audience and yourself (as the dancer) entertained and interested is a challenge. This is especially felt by beginners whose dancing is limited to a very few basic steps. In such instances, dancing can get quite boring and monotonous but if you had a creative partner who can build upon the basic steps and routines and come up with a new variation or two, I guarantee you will want to stay on the dance floor for the next dance.

Passion for Dancing:

This is the most important aspect to look for in a dance partner. Some people dance for exercise/fitness purposes, to some it’s a place to make new friends from the opposite sex while to a very handful, dancing is a hobby and a passion. It does not matter what age, color and knowledge your prospective partner has, how attractive he/she is, what physical capabilities and compatibilities your partner possess to dance or how good they may be at keeping to rhythm, the utmost important trait to look for in a dance partner should be his/her passion for dancing. Because without the passion, there is no desire to express, to let go and to let your body, feet, arms and facial expressions tell a story.

Choose a partner who can bring out the best in you, someone who can constantly motivate you to be better than you are, someone who gives you confidence to take the next step. Don’t let your (bad) choice of a partner prevent or limit you from dancing to the best of your ability.

The Nicholas Brothers were a famous African American team of dancing brothers, Fayard (1914–2006) and Harold (1921–2000). With their highly acrobatic technique (“flash dancing”), high level of artistry and daring innovations, they were considered by many the greatesttap dancers of their day. Growing up surrounded by Vaudeville acts as children, they became stars of the jazz circuit during the heyday of the Harlem Renaissance and went on to have successful careers performing on stage, film, and television well into the 1990s.

One of their signature moves was to dance down a huge flight of broad stairs, leapfrogging over each other and landing in a complete split on each step. This move was performed in the finale of their most famous performance, the movie Stormy Weather (see photo above). Fred Astaire once told the brothers that the “Jumpin’ Jive” dance number in Stormy Weather was the greatest movie musical sequence he had ever seen. In that famous routine, the Nicholas Brothers fearlessly and exuberantly leap across the music stands of the orchestra and dance on the top of a grand piano in a call and response act with the pianist.

One of their signature moves was a “no-hands” splits, where they went into the splits and returned to their feet without using their hands. Gregory Hines declared that if their biography was ever filmed, their dance numbers would have to be computer generated because no one could duplicate them. Ballet legend Mikhail Baryshnikov once called them the most amazing dancers he had ever seen in his life.

In the athletic world, you constantly hear a term known as VO2max. But DanceSport athletes rarely talk about this, and many don’t even know what it means. Let me enlighten you.

Simply put, VO2max refers to your body’s ability to consume oxygen. It’s a measurement of the Maximum (max) Velocity (V) at which your body can take in Oxygen (O2) during strenuous exercise. For the average non-athlete between 30 to 79 years old, VO2 max ranges from 28 to 48 ml/min/kg for men and 20 to 38 ml/min/kg for women. The range relates to age and fitness level. As you get older, the numbers drop. Full-out dancing at the championship level can require up to 25 ml/min/kg of oxygen. For an unfit male with a VO2 max of 28, this can represent 95% of maximum capacity! See more detailed info here.

Elite athletes are fanatical about measuring and optimizing VO2max, because they know that it’s a key part of competitive excellence. If you still have room to breathe harder and take in more oxygen, while your opponents are maxed out and hyperventilating, you’ll win the race. Cycling legend Lance Armstrong famously slept in an oxygen deprivation tent to prepare his lungs for the reduced oxygen levels of the high alps, so that he would be more prepared for the Tour de France than his opponents.

DanceSport is a rigorous, high-energy activity. Over several rounds of five dances each, athletes need all the oxygen they can take in. Those with better VO2max capability will still look and feel fresh at the end of their rounds, as opposed to those who are dying from the exertion.

As we move into the summer season, think about activities you can do to increase your VO2max. These can include cycling, running, trail running and the Grouse Grind.

WHAT IS THE ANNUAL MIAMI SALSA CONGRESS?

Five days of non-stop Salsa dancing, pool parties, dance workshops, DJ’s, live concerts, nightly parties until 6 AM, world class dance instructors and international dance showcases featuring some of the biggest names in Salsa.

Every summer, salseros and salseras in the thousands flock to the sandy shores of South Beach for an action packed weekend at the annual Miami Salsa Congress. Celebrating its 10 Year Anniversary at the world famous Fontainebleau Resort in Miami Beach, the 2011 edition of this stellar event is set to be an unforgettable experience.

LET’S BREAK IT DOWN

PRE-PARTIES

Starting on Wednesday night with the Congress Opening Party at a local Miami nightclub with the congress DJ team broadcasting live on EL ZOL 95.7 FM to let the city know, it’s Congress Weekend.

Thursday night, they officially kick-it-off and welcome featured artists and attendees at a hot South Beach nightclub and a hot local band to add some authentic Miami flavor.

POOL PARTIES

This summer the scenic pool-scape of the Fontainebleau Miami Beach will echo Salsa. With the congress DJ Team providing sounds and a full bar always within reach you can party under the sun or a breezy cabana, as you prefer.

Don’t miss the CasaBikini Salsera Fashion Show, poolside on Saturday at 1:00 P.M.

WORKSHOPS

From an early morning YOGA session to Cardio Salsa by the pool, to Cuban Rumba and body movement, to ladies styling, shines, lifts, dips and tricks. The Miami Salsa Congress offers a unique opportunity to experience a wide variety of styles and techniques taught by some of the most highly regarded and successful dancers in the industry today.

INTERNATIONAL DANCE SHOWCASES

The Miami Salsa Congress stage features some of the top names in the industry alongside some of the best up and coming artists for 3 nights of electrifying performances. Friday, Saturday, and Sunday evening, witness a unique compilation of more than 300 dancers light up the stage as they share their passion for Salsa with over 60 individual performances.

EVENING PARTIES & CONCERTS

After a short intermission following the evening showcases, the doors open to over 4,000 square feet of sparkling dance floor with the congress DJ team setting the pace for the night as the musicians gear up to give the crowd an unforgettable live performance.

And if you’re still not ready for bed, the party continues till 6:00 A.M with our South Beach style after parties featuring live entertainers and some of the best open format dance music DJ’s in the city.

The all new Hotlanta Dance Magazine is here. This years theme is modern vintage meets 1920′s glam. The magazine consists of 24 pages and all the info, ads, and special behind the scenes information you can imagine.