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Tasleem: The majority of the dancers in Vancouver dance On1. There are a few dancers, however, who either have started dancing On2, or would like to learn On2. Why (or why not) do you think On1 dancers would benefit from learning the On2 style? Ismael: I learned On2 because most of the classes in New York were On2. There were many On1 dancers, but not many On1 schools. So I just went with what was danced most in the clubs that I went to. My preference is On2, but I also enjoy dancing On1. I really like that I get to choose a style whenever I want, so I don’t get bored. There are so many styles of salsa as far as music, so it makes sense that there would be many styles to dance to the music. My mother always told me that a real dancer can dance to anything and in any style, and I now see what she means. Most people don’t like what they are not used to, but if you just practice the basics On 1 and On2, your body can switch back and forth with ease. It’s all in the basic fundamentals. But it’s more than just On1 or On2. There is also “New Yorkian,” Puerto Rican style, Cuban style, Columbian Style… It’s just lots of fun doing it all. My understanding is that the On2 style is closer to what was done in the past.. the way salsa/mambo started many years ago. I know there are various views on this, but what do you think brought about the “change” to On1 in some cities, and how/why is it that some cities like New York are mainly On2? Well, before I even answer that question, you have to get out of your head that New York is only On2. All styles were danced in New York since day one. Some people, like Eddie Torres, just took the On2 style and made it popular. I’m going to try to keep this short but you can write a book just with the answers to this one question. Look at New York history. When the mambo craze hit New York, you had Latin music danced by Italians, Jewish people and African Americans. So everyone would move to how they felt the music should be danced. That’s why you have jazzy shines or footwork. Mambo music was influenced by the big band era and mixed with Cuban music. So you can see some jazz, some swing, etc. Then you have the hustle influence in the ‘80s and so on. Music traveled all over the world, so when people heard this music, they moved the way the music made them move. Some songs have that 1 2 3 4 flow, like the rhythm of the cow bell. This makes you move in more of the On1 style. In my opinion, and I don’t care what anyone else says, I feel it’s easier to learn how to dance On1. But since On2 came from the mambo, it had all the open footwork, when On1 didn’t. And now, On1 and On2 are so close that they have adopted and changed and rearranged each other’s styles. In my opinion, the only difference is what beat you break on. Basically, if there is a city that doesn’t have salsa clubs or teachers, whoever is there first will spread the style they teach. Like I said before, there is so much more information I can give you on this, but I would be up all night. What tips would you give to an On1 dancer who wants to learn On2 but is finding the change quite challenging? Seems to me that most people just don’t know how easy it is to switch from One to Two, and vice versa. You first have to understand that it’s your BODY that gets used to the rhythm. So when you hear the music, it makes your BODY move a certain way, just like when you play a hip hop song, a hip hop dancer will automatically bop his head. So when you dance On1 and then want to learn On2, you’re basically trying to do what you already do but a beat after. But your body is not yet used to it, so it seems hard. I’m going to give up the secret right now: for a 1 dancer to switch to 2, all he or she has to do is practice the basic step. Yes, the 123 567, and break on 2 and 6. Don’t do any turns or shines first, just the basic On2 step, over and over, and your body will adjust. And when you get comfortable with the On2 timing, then everything you do On1 will automatically be easy to do On2. It’s because your BODY, not you, your BODY, gets used to it. Like I always say basic is everything. Basic is everything. Basic is everything, and Everything is Basic. I have often heard that some On2 dancers in various cities will often reject On1 dancers. How do you feel about this or why do you think this happens? Why does the On2 style seem to be placed on a higher level than On1 in some areas or by some dancers? There are many reasons. You have to understand that people are people and some might feel threatened or insecure, or maybe they just don’t like the other style. But a REAL dancer supports all dances and does not try to make their preference seem better by putting others’ preferences down. Also, in one city, dancing On 2 could be the new fad and so it seems as if dancing On1 (in that city) is out of style. These days, at least in most places I go to, they accept all styles. You see couples on the dance floor and the leader puts up 1 or 2 fingers and dances whatever the follower wants. A good dancer is a good dancer no matter what style. If he or she gets proper training, then the style they choose makes no difference. And for the people still on this “On2 or On1 is better thing,” know that this topic was settled about 5 years ago, so get with the times. Open your mind and just dance, all styles. I love hip hop and RnB, so it brought a huge smile on my face when you mentioned (in part I of this interview) that you were more into hip hop and break-dancing than Latin dancing when you were younger. Has your interest in hip hop contributed to your own style in mambo? Most definitely. I was considered one of the first hip hop salseros in New York. The only other one that I had heard of who did the same was Steve Seda, but I didn’t know him at the time. The funny thing is that I couldn’t help but put my hip hop elements in my dancing because that was my style. At the time, most people didn’t like it. They would make comments like “He is a pretty good dancer, but there’s too much hip hop in his salsa.” Then, about 3 years later, it kind of became cool to blend hip hop elements into salsa. And the very same people who criticized me, asked me to help them put a salsa count on hip hop moves. I was even asked to put a salsa count on the butterfly step (laughs). Then groups like DLG (Dark, Latin Groove) made it easier to do my style. I learned to dance with timberlands and baggy jeans. One day, a lady asked me to come to her house and dance so that her son could see a cool, street guy dancing salsa. She wanted to make her son see that salsa was hip, and not just for old people. Are you still a big fan of hip hop, and who are your favourite hip hop artists, or tracks? Yes, I’m a huge hip hop and RnB fan and still listen to both a lot. Hip hop is also the reason why I don’t get tired of salsa. At the moment I like Notch and Tpain and Neyo. I’m also a huge fan of Akon, not only because I grew up with him in Jersey, but also because in the song remix Ghetto Story, Akon talks about the street we used to hang out on. Back then, we used to be called the Baldwin Posse. He also mentions a good friend who was shot and killed in a club a few blocks away from my house, so you can see that hip hop is a big part of my life. Most of my friends are hip hop producers like So Be It Records. But I must admit that I’m not as into it as I used to be. I rarely go to hip hop clubs because the clubs I used to go to always had fights, and I have enough scars, thank you very much (laughs). One of the best memories I have of the 2006 New York Salsa Congress was watching you and a bunch of other salseros freestyling to some of my favourite old school hip hop/RnB tracks out in the foyer of the Hilton Hotel. Is it common in New York for salsa dancers to be quite versatile in hip hop or other styles of dancing? Salsa and hip hop have a similar evolution when it comes to New York. It all started there, and if you listen to old school hip hop you will find a Latin influence. What most people don’t know about hip hop is that Puerto Ricans were there from the beginning, and the industry turned it into an African American-only thing. But if you listen to a lot of old school hip hop songs - like Just Begun by James Brown - you will find Latin rhythms and instruments like congas, timbales and cow bells. There’s also tumbao of the congas in Breakers Revenge, Just look at the movie Beat Street and you will see a big Puerto Rican influence. These days, most of us are ex- bboys, so it brings back memories of back in the days. We love to dance because we are dancers, not just salseros. You said that a real dancer can dance any style. Is there any style of dance that you haven’t tried that you’d like to? I dabbled a little bit in the quick, fast and sharp moves of Columbian style, but not too much. I’m now getting into hustle which is opening my eyes to more types of dances other than salsa. But I’m also doing it to make my salsa better. Hopefully, it will help my terrible arm styling (laughs). But whatever style you’re dancing, I do want to remind people to LISTEN, really listen, to the music, and dance to the music. Every dance should be different. Dance romantic to a salsa romantica, dance crazy to a crazy salsa, dance guaguanco when there is a guaguanco part in the song. For example, La Vida es un Carnival by Celia Cruz - it’s a cumbia! The mambo kicks in after the break! And salsa also incorporates other musical genres like bomba, rumba, flamenco, hip hop, etc., so please LISTEN and dance to the music. Listen, Listen, Listen. You were in Vancouver just a couple of years ago and we’d love you to come back. Do you have any plans of coming over to our side of the world again in the near future? Vancouver is a very beautiful place and of course, I would love to go. But basically, I haven’t been invited back, or they try to book me when I already have a commitment. So hurry up and book me now before it’s too late (laughs). We will do our best! (laughs) I wanted to mention that about three or four years ago, I went to New York for the first time. I didn't really do anything touristy, in the conventional sense. I took one of your workshops at the congress (when I hardly knew anything about salsa) and I went on a tour - The History of Hip Hop Tour. The tour guides took us to the Bronx and to Harlem, and showed us hip hop landmarks like the Graffiti Wall of Fame. I learned a lot about hip hop and loved every second of the tour. On the way back, Curtis Blow, a hip hop legend, took over the tour on the bus. I couldn't believe it. I thought it was the best thing that I did in New York at that time. But now I realize that going to your workshop was just as great, if not better. I may not have appreciated it back then, but at least a little spark, a reminder to come back to New York and take your classes, was planted in my mind because of your energy and charisma. And now I see that both the tour and your workshop (a workshop by one of the first hip hop salseros) were actually so connected. I'm so glad I got a chance to come back to New York and meet you recently. Thank you again, for continuing to be an inspiration, and for being so approachable and real. Your being real has encouraged me to realize my own dreams, whether they be dance related or not. Thank you. People like you inspire me to keep doing what I’m doing because I know that I’m reaching someone.
For more information about Ismael Otero, check him out on myspace or visit ismaelotero.com or sohodancestudio.com |
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