So, before we look back, shall we look forward? Forward as always to a tip-top programme of weekly and monthly stuff – enough stuff to make any salsero who lives a bit too far away to have ready access to this stuff, green with envy.

Firstly, Caro's last Friday of the month Argentine Tango class has really taken off – packed with aspiring Flavias and Vincents and brooding, closet Gauchos, Marconi is uncharacteristically quiet, with people concentrating very, very hard at being very, very sultry. Leg decorations have recently been added to the repertoire, on top of the basic steps, so by the time the up-coming series of Strictly Come Dancing finishes, we'll be dancing the Argentine Tango IN FRONT of the TV, rather than watching it. All I need is some leg extensions and a wig and I'll be the absolutely spit of Flavia.

Then, continuing their quest to bring to you the Big Guns of Salsa, Terry and Yolande have secured Iris de Brito and her dance partner Miguel Monteiro on Saturday 20 th September at Marconi in Chelmsford .. Having been blown away by her last performance at Marconi with Osbanis Tejeda, and likewise by the musical El Barrio, I guarantee a top class night with one of the most influential teachers and performers on the salsa scene today.

Now, before we go to Nikki Parker's big interview, continuing my sporadic (because I forgot to do it last month), guide to salsa and Latin Dance.

This month: Rumba!!!

The rumba is a slow, sensuous, romantic dance, where the basic steps reflect the woman flirting and rejecting her partner. It can be very intense and steamy and is regarded as the most sensual of the Latin dances.

flirtation and sexual overtones. In the 1890's in Havana the forerunner of the modern rumba developed but was suppressed as it was regarded as lewd – although Cuba was not the only place where this movement took place – similar dances were being performed around the Caribbean and Latin America.

American Rumba developed from the Son – a slower version of the Rumba – and was first introduced in 1913. Interest grew in the last 1920's when Xavier Cugat formed an orchestra that specialised in Latin American music which appeared in many popular films of the day.

In Europe, Monsieur Pierre and his partner Doris Lavelle popularised Latin dancing and introduced Cuban Rumba to the UK in the 1930's,

So, then, next time you incorporate some of those sultry rumba moves into your dancing, remember you could have been BANNED in Cuba at the turn of the last century. All the more reason for doing it then, I think…..

And now, many thanks to Nikki Parker, aka Salsa Chick, for taking control of my special reporter's gold plated biro for August's star interview. Over to you Nikki Parker:

Michael Mandrel Interview

By Salsa Chick (Nikki Parker)

Well, I've been worrying about this interview for a couple of weeks. Why? Because I'm the mere ‘relief' interviewer for the fabulous SK, otherwise known as Chris Penhall – she's on holiday AGAIN! You'll have to ask Chris what ‘SK' stands for…

So, after two HUGE La Rueda classes taken by Michael and his team, Terry pinned him down to do an interview. I shuffled him out into the quiet-ish lobby of the Marconi Club where he kindly took the nasty looking plastic chair and I perched on the end of the sofa.

Michael started Salsa in 1991. Initially socialising in the Columbian community and then moving into New York (& Cross Body) with Robert Charlemagne. Born in the UK his origins are from Jamaica and beyond.

Asked about the Tropicana title, Michael looked pensive and then said “it was hard work but fantastic”. They were on such a high because even before putting a foot in the competition there were rumours that they had to be the winners. What a nice position to be in!

October 2006 saw Michael forming the group Michael Y Los Mandrelles through inviting students from his Rueda Class making up about 6 couples in total.

I asked Michael what makes a good leader & follower? He said that his best tips would probably be much the same as anyone else's i.e. First and foremost both lead and follower must execute the basics steps so well that they can do it in their sleep with good posture, poise and rhythm. Secondly both must have a good sense of musicality. The lead must be decisively strong but gentle with an uncomplicated repertoire of moves for a follower whose objective is to simply dance cohesively with the lead.

So what makes a good caller? Musicality!!! It helps to have some knowledge of the music one dances to. Otherwise good timing, rhythm, passion and spirit for the music are essential. Prepare and call on 5 in rueda!

Whilst Michael does all of the choreography himself, he is keen not to repeat the same routine at show after show after show. Therefore Michael said he chooses to do a select number of appearances, all of which are presently in the UK . Each year he tends to look at doing a couple of shows in London and the occasional show in other UK cities and Counties. His aim is to excite with the element of surprise and leave his audiences gasping with expectation for more. Hopefully people will go away saying “that's brilliant”. Apart from the shows for the Salsa community, dance companies and other organisations, Michael and the group perform for charities such as Help the Aged and UNICEF.

Asked why Michael chose Salsa Chillout for his Essex debut he said “Terry (Lewis) and Yolande are beautiful people whom I have known for years. I have a tendency to associate myself with good spirited people and it was a pleasure to take the opportunity to venture eastward and touch the hearts of the Essex community.”

Copyright Chris Penhall and Nikki Parker 2008
www.chrispenhall.co.uk

 
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Nikki Parker
Salsa writer / instructor