Since the emergence of the dance style Casino, also known as Cuban Salsa, in the late 1950s, and within the context of social ballroom dances in Cuba, this dance music genre has developed constantly in its expression and interpretation, with the creative contributions of dancers for over seven decades.
Throughout this long and complex creative process, different dance styles have influenced Casino, some foreign, but mostly Cuban.
The Cuban dance universe is very large and diverse, with a great range of possibilities to experiment with body movement. In addition to the specific context of its origins, out of a long chain of ballroom dances, other dances with different roots became part of this mix, and these were mainly Afro-Cuban.
Nationalizations and their importance for social life and social dance in Cuba
Beginning in the 1960s, important sociocultural changes took place in Cuba, and they influenced the development and diffusion of music and social ballroom dancing.
New projects were created for the recreation of young people and people in general. For instance, social clubs and dance halls were nationalized and most were transferred to workers’ trade unions. That’s how the Círculos Obreros Sociales (CSO in Spanish, or Workers’ Social Clubs) were created becoming the main recreation centers for youth all over the country.
Social and racial integration
Social and racial integration, which to a certain extent eliminated divisions among recreational clubs that had existed for white, black or mixed-race people, or for the high, middle or lower classes, also helped bring about an exchange of cultural knowledge and ways of feeling and expressing body movement with greater creative freedom.
Many young people lived near the CSOs, located along the coastal neighborhoods of the former municipality of Marianao in Havana, because most dormitory housing for students were in the area.
It was in the CSOs that activities known as matinées or “dancing teas” first took place on Saturdays and Sundays from late afternoon till the evening. Thousands of students went to these dances, which became a social phenomenon of special significance in the history of Cuban social dances, especially Casino.
Casino dancing boom
A new generation of casineros was born in these recreation centers, as independent couples’ dance reached a glorious peak and dancing in “Ruedas” (wheels) became more widespread.
These Ruedas de Casino comprised dancers from different social backgrounds, because they were made up of friends, family and most of all, people from the neighborhood.
Contrasts in dance style could be seen depending on the neighborhood, the community space, as a symbol of its inhabitants’ identity and roots.
For example, most of the dancers who were members of the famous “Rueda de los jimaguas de Regla” (or “Rueda of the Twins from Regla”) were part of the “Los Guaracheros de Regla” comparsa, which is why most of their gestures, arms movements and figures come from the contemporary Havana carnival.
Rumba
Around this time, body movements, gestures and steps from Rumba began to be used in Ruedas and by independent couples. Rumba is a traditional dance born in solares and cuarterías, or tenement houses, of urban and suburban Havana and Matanzas.
This authentic Cuban music and dance genre is proof of the Afro-Hispanic syncretism that defines the ethnos of the Cuban nation.
Culture and recreation accessible to all
The boom of Casino was a result of unlimited access to culture and recreation for all as a new path for development.
With the foundation of the National Council for Culture in 1961, whose main goals included the diffusion and rescue of traditions and the reformation of art education, new entities, institutions and cultural groups were created. Some of these were the Escuela Nacional de Arte (National Art School), Escuelas Formadoras de Instructores de Arte (Art Instructors Vocational Schools), Danza Nacional de Cuba (National Dance of Cuba) and the Conjunto Folklórico Nacional (National Folklore Group).
Folklore recognition
Artistic groups brought back national music and dance expressions, among them social ballroom dance and a whole range of African- and French-Haitian-based dances.
The Conjunto Folklórico Nacional (National Folklore Group) and the Conjunto Folkrlórico de Oriente (Eastern Folklore Group), followed by other companies of this type all over the island contributed to the recognition and spread of this part of our culture, which until then had been marginalized socially and professionally.
In other developments, the Escuela Nacional de Danza (National Dance School) added to its curriculum social ballroom dances (including Casino from the 1970s) and folk dances with campesino, or rural Cuban, and African and French-Haitian roots.
The Movimiento de Artistas Aficionados (Amateur Artists Movement) also contributed by sharing knowledge about and performances of these expressions with workers, farmers, students and the people in general through Casas de Cultura (Community Cultural Centers), in neighborhoods all over the country.
Traditional dances in the mass media
The TV show “Para Bailar” (“To Dance”) was broadcast from 1979 to 1985, and its main objective was to regain appreciation for and diffusion of Cuba’s traditional dances.
The show’s format was a competition, and included Rumba and other Afro-Cuban expressions, motivating dancers to learn the basic steps and reach a more diverse and creative level of performance.
Later, in the 90s, on the initiative of the outstanding Cuban musician Adalberto Alvarez, another TV show was produced: “Para Bailar Casino” (“To Dance Casino”), which was very successful and brought about the creation of many Ruedas de Casino at the municipal and national levels.
Rediscovery of religious rituals
The influence and inclusion of Afro-Cuban dances in Casino became more visible from the 1990s on, with the newly open practice of Cuban traditional religions, and a boom in those practices. This new prominence also shone a light on dance as an active, essential part of the festive and funereal rituals of these religions.
As a result, popular Salsa and Timba bands started producing songs with lyrics about everyday events related to religious practices, deities, prophecies and world views.
The introduction of the batá drums and other percussion instruments from different religious or secular practices into these dance bands’ format was an enriching element for the dancing public and its corporal experimentation.
Casino dancing incorporated a whole series of ritualistic gestures, such as blessing oneself, or greetings among santeros or abakuás. Some were of a more erotic character, such as the pelvis touch of the yuka dance, or the “vaccination” (of Rumba). Rotating movements of the torso, hip and shoulders are also inserted in total harmony with the actions of other parts of the body. The “despelote” and the “tembleque” also appear as part of the dance, and they prevailed as a style at the moment of musical climax known as Timba, in unison with the polyrhythmic intensification produced by the band’s percussion instruments.
Importance of teaching, methodology and knowledge
Nevertheless, it is important to acknowledge that the greater inclusion of Afro-Cuban dances in Rueda de Casino, independent couple dancing and the performance of so-called “loose steps” or “styling” is owed to professional dancers and dance teachers.
This phenomenon was first reproduced through international courses provided by the Sistema Nacional de Enseñanza Artística (National System of Art Education), particularly at the Escuela Nacional de Danza (National Dance School, END in Spanish) and the Facultad de Artes Escénicas (School of Performing Arts) of ISA, the National University of the Arts.).
Subsequently, greater creative development sprang from the foundation of the international event “Baila en Cuba” (“Dance in Cuba“) in 2006, where teachers from ISA and END worked together, as well as professional dancers from Cuba’s main folklore companies.
The event “Baila en Cuba” (Dance in Cuba)
The instructional program featured as part of that first “Baila en Cuba” event, had a strong component of Casino training, but with the intention of providing a panorama of Cuba’s dance world, it also included the whole range of social ballroom dances, Rumba, carnival dances, Afro-Cuban dances from the religions of Regla de Ocha, Arará and Palo Monte, and those of French-Haitian origin: Vodú, Gagá and Tumba Francesa.
The program’s main goals were achieving greater body movement and expressiveness for a better performance of Casino dancing, either in loose couples, in a Rueda or when “styling”.
Current figures and choreographies
Through many years of practicing Casino in academies and dance halls, countless new figures have been created, and their names are intertwined with those of Afro-Cuban dances and figures of the past, both basic and traditional. Some of today’s best-known examples are:
- Figures related to Rumba, a music and dance genre with three main styles: Yambú, Guagancó and Columbia. The steps include “Enchufa y vacúnala”, “Vacílala y dale Columbia”, “Enchufa doble y déjala con rumba”, “Saca a la vecina y llévala a tu vacilón”, “Sombrero con Columbia” and “Estocolmo la Rumba”.
- From Santería or Regla de Ocha, figures based on symbolic representation of the Orishas, deities worshipped in this religion of Yoruba origin from Western Nigeria: “Sombrero para Eleguá”, “Oní Oní”, “La topa de Eleguá”, “Dame una con Oyá”, “Los Guerreros”, “Trilogía”, “La flecha de Ochosi” and “Enchufa con aro de Yemayá”.
- Figures combined with dances from Regla Conga or Palo Monte, a popular Cuban religion of Bantú origin, whose main dances are Palo, Makuta and Yuka: “Enchufa con Palo”, “Enchufa doble con Palo”, “Vacílala con Makuta”, “Sombrero con Palo y Makuta”, “Sombrero doble con Palo y Makuta” and “Enchufa y sopla polvo”.
- Designs related to dances from Regla Arará, which are dedicated to and represent foddunes, deities of this Cuban religion with roots in the Dahomey region (Republic of Benin): “Entrega con Towé Towé”, “Gira con Já y castígala”, “70 y alayetoe”, “70 complicado con Towé Towé”, “Enchufe doble complicado con Afrekete” and “Enchufa con San Lázaro”.
- Figures that include French-Haitian dances, including voodoo (dedicated to Loas, deities of the voodoo religion), Gagá (comparsas whose dances are practiced during Holy Week in Cuban-Haitian communities), and the Tumba Francesa (ballroom dance that includes three styles: Masón, Yubá and Frenté): “Enchufa con Pingué”, “Enchufa con Vodú”, “Dame con Guedé” and “Tumba francesa”.
In the case of Casino dancing by independent couples, Afro-Cuban dance steps have been included in an improvised way, according to a particular song’s lyrics. Couples disengage and each partner performs basic traditional steps to the rhythm of Salsa or Timba, and then they come back to the social dance position from the figure “Dile que no” (Say no to her), while maintaining their rhythm and coordination.
Interaction between lyrics and steps
For the so-called “loose steps”, or “styling” which are choreographed phrases created by dancers and teachers, a song’s lyrics are always considered when including Afro-Cuban dance gestures and steps.
These lyrics are usually sequences that are sung repeatedly by a chorus following a leader, usually in an improvised way. This practice is commonly referred to as “Casino con Afro” (Casino with Afro).
Current status and future transformation
Today, the teaching of Casino has expanded to numerous dance academies all over the world, where well-trained teachers and dancers of different nationalities exhibit a high level of professionalism.
Unfortunately, some people who teach Casino do not have the appropriate training, and they have become real predators of this Cuban dance tradition.
Professionals fiercely compete to attain recognition and prestige, and in creating figures, turns and phrases, many have set as the goal of including Afro-Cuban dances. This means that dancing Casino has become increasingly complex as a social form of recreation and leisure, while also transforming into a style of ballroom dance that is sports-like and competitive with a projection of spectacle.
