How do you dance nortenas
Salsa Classes & Parties: 832.413.2623
Learn at Your Own Comfort and Pace. Create Your Schedule.
Private Lessons consist of focused, one-on-one training with a professional instructor in a private setting that will target your dancing learning needs. They are ideal for learning how to lead and follow turns, become a social dancer, or master a choreography for your special wedding dance, quinceanera, or special event.
They can be held at a studio location or in the privacy of your own home (additional travel fees apply).
We can teach you: Salsa, Bachata Moderna, Dominican and Sensual Style, Merengue, Cumbia, Tejano, Norteño, Kizomba, Semba, Tarraxinha, Urban-Kiz, Styling and Turns for Ladies, Footwork (Shines) for men and ladies. As well as Waltz (Weddings / Quince) and Surprice dance (Quince / Sweet Sixteen).
When you schedule your private lessons, you will dancing directly with the instructor for an hour time. The instructor will solely focus on you and give you feedback on how you are adopting the techniques for leading / following. He or she will notice little details that when corrected will make a huge difference in your dance style.
ONE ON ONE TRAINING
Personal-training course that will make a huge difference in your leading and following. Learn at your own pace.
Absolute Beginners to Advanced dancers welcome. We are only teaching couples. Ladies if you need a partner contact us. 832-413-2623
Create your schedule! Tailor the number of lessons to your availability.
Locations: We can teach you in Pearland or at your own place (travel fees applies. Depends on distance and availability).
Prices: $85/hour or $300 for 4 hours ($75/ea) Price is for one person or one couple.
Get a discount! Save $40 when you get a package of 4 lessons: $300 for 4 hours.
Schedule: Sunday to Thursday 11am to ending at 7pm. Friday and Saturday 11am to ending at 5pm.
Payment: You can pay via PayPal (links below) or via Venmo, CashApp, or Zelle. Just contact us by text to book your desired day and time.
PRIVATE LESSON. ONE HOUR (COUPLES)
$40 OFF PACKAGE OF 4 LESSONS (COUPLES)
DATE NIGHT FOR COUPLES
Spend a beautiful evening learning to dance with your sweetheart!
Wine, pictures, video included in your lesson. Want extras? Contact us to add flowers, balloons, champagne instead of wine. Extra fees apply.
For couples only! We accept up to 2 couples per event. Invite your friends and make it a double date.
Dress to Impress. Men wear dress shoes. Ladies wear heels (under 3'' recommended).
Price: Starts at $99/couple. Double Date at $180. Includes wine bottle, pictures, and video.
Extras: Add flower bouquet $20 | Champagne instead of wine $20
Schedule: Thursday, Friday, and Saturday by appointment only 6:00-8:00p. Do not walk-in as we need to set up for you and your date.
BOOK DATE NIGHT - $99/CPL
Contact us for day selection, wine selection, and add-ons you may like.
Look amazing! This is your special day and your time to shine!. Impress your guest with a breathtaking choreography.
Book a personalized FREE 30 min dance consultation today! We can talk about music options, dance moves, layout of the reception area, and more.
Pick up to 3 songs! We will cut them and arrange them to fit every dance move: Waltz and Latin mix.
Create your own schedule! Allow 4 to 6 weeks before your event.
Have you phone ready! You can record your session and keep the video for future reference and practice.
Price: $99/hour. Price is per one couple.
Music mix included! We will cut the songs of your choice.
Schedule: Sunday to Thursday 11am to ending at 8pm. Weekends 11am to ending at 6pm.
BOOK YOUR FREE CONSULT
You only turn 15 once! This is your special day and you deserve nothing but the best! Your Quinceañera or Sweet Sixteen can be a truly magical event with the right choreographer and instruction!
Book a personalized FREE 30 min dance consultation today! We will help you make your event unique and unforgettable. You will be the star of the show!
Pick up to 4 songs! The Waltz and 3 more for the Surprise dance. We will cut them and arrange them to fit every dance move.
Points of discussion: the Presentation / Entrance / Exit, venue layout, Father / Daugther dance.
Allow 6 to 10 weeks of practice before your Quince
No limit on number of court members
We can practice at our studio or at your home* and practice at the Main Hall (if available).
BOOK YOUR FREE CONSULT
Have questions? Contact us between 9am and 6pm. Text preferred. Se habla Español.
Private Lessons 11AM - 7PM by appoinment only.
Group Lessons and Socials Monday to Thursday 7:30p - 11:00p
Dance parties Friday and Saturday 8:30p - 2:00am
Sunday Funday lessons and boat parties 1:00p-8:00p
Locations vary. have put in place reasonable preventative measures to reduce the spread of Coronavirus/COVID-19 and other viruses and illnesses.
3. I / We further acknowledge and agree that Latin Dance Factory and the hosting venue cannot guarantee that I / we will not become exposed to or infected with Coronavirus/Covid-19 or any other virus or illness while attending the dance events.
4. I / We understand and agree that this risk may result from the actions, omissions, or negligence of myself and/or others, including, but not limited to, staff, members, clients, guests, and others attending, visiting, and / or dancing at Latin Dance Factory and the hosting venue.
5. On behalf of myself, my family members, my heirs, representatives, and successors, I hereby willfully and voluntarily acknowledge and accept the risks of attending and dancing at Latin Dance Factory and the hosting venue and being near others attending and dancing at Latin Dance Factory and the hosting venue, and to the maximum extent permitted by law release and agree to hold Latin Dance Factory and the hosting venue harmless from any and all causes of action, claims, demands, damages, costs, expenses, and compensation for injury, illness, damage or loss to myself and/or property that may be caused by any act or failure to act (including ordinary negligence) of Latin Dance Factory, or that may otherwise arise in any way in connection with any services received or my presence at any Latin Dance Factory and the hosting venue. Hosting venue: Location where the event will take place. Listed under location.
CONNECT WITH OUR DANCE FAMILY
We offer beginner, intermediate and advanced group dance classes, as well as private lessons, workshops, parties, and quality wedding and quince choreographies. Our dances of focus are Salsa, Dominican Bachata, Sensual Bachata, Cumbia, Tango, Kizomba, Semba, Urban Kiz, Merengue, Lady Styling, Mambo, Cha Cha, Waltz, Surprise dances, Tejano, and Norteño.
We proudly serve customers in Shadow Creek Ranch, Medical Center, Stafford, TX, Houston, TX, Galleria, Pearland, TX, Sienna Plantation, TX, Katy, TX, Sugar Land, TX, Webster, TX, Clear Lake, TX Alvin, TX, Greatwood, TX, Galveston, TX, Dickinson, TX, Humble, TX, Atascocita, TX, La Porte, TX, Lake Jackson, TX, Tomball, TX, Cinco Ranch, Angleton, TX, Friendswood, TX, League City, TX, South Houston, TX, The Bay Area, Manvel, TX, Texas City, TX, The Woodlands, TX, and Pasadena, TX.
We have also taught outside of Texas and Internationally: Dallas, TX, Austin, TX, Nashville, TN, West Palm Beach, FL, Atlanta, GA, Paris, France, Lisbon, Portugal, Warsaw, Poland, New York City, NY, New Jersey, NJ, Hanoi, Vietnam, Bangkok, Thailand, Taipei, Taiwan, Shanghai, China, Tokyo, Japan, Las Vegas, Nevada, and Tucson, AZ.
© 2007-2022 Latin Dance Factory, LLC. All Rights Reserved.
Latin American dance | History, Styles, & Facts
Aztec round dance
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Latin American dance, dance traditions of Mexico, Central America, and the portions of South America and the Caribbean colonized by the Spanish and the Portuguese. These traditions reflect the distinctive mixtures of indigenous (Amerindian), African, and European influences that have shifted throughout the region over time.
This article surveys selected genres of dance across the vast and diverse region of Latin America. After a brief consideration of dance in preconquest cultures (for further treatment, see Native American dance), the narrative turns to the profound influence on dance practice of the European-imposed Roman Catholic Church and its calendar of festivals and commemorations. At the same time, imported elite dance practices became part of the colonial cultures and were in turn infused with local and regional flavours. From the 19th century on, national variations have asserted themselves throughout dance practice in Latin America and in the Latino cultures of North America. (Latin American music shows a similar path of development; a great deal of the region’s nonclassical music, both vocal and instrumental, accompanies or shares a history with dance.)
Although the article discusses theatrical derivatives of traditional dance (which are often grouped under the name folklórico) because of their visibility and importance in the region, not included are international forms of concert dance, such as ballet and modern dance. After a chronological survey of broad trends, with examples, the article focuses on individual countries. Haiti, which was colonized by the French, is included in this article because it shares important African-derived ritual practices with Brazil and Cuba and because its history is entwined with that of the Dominican Republic. Perhaps needless to say, this article can only skim the surface of such a vast topic.
From encounter to independence
On their arrival in the Western Hemisphere in the late 15th and early 16th centuries, explorers from the Iberian kingdoms of Portugal and Castile (Spain) encountered peoples—even entire empires—previously unknown to Europeans. A few of the Europeans wrote about the music and dance practices they observed during ritual festivals among the local populations. The indigenous populations were decimated by disease, forced labour, and warfare, and their history was disrupted. In the Caribbean very few indigenous people survived, but on the mainland significant populations managed to preserve their communities.
Some early dance history can be inferred from the archives and from what seem to be continuous practices. For example, creation stories were a common aspect of indigenous spiritual practice, and their telling often incorporated dance as a vital element. Natural forces (i.e., gods and goddesses) and animal spirits were honoured or represented as dramatic actors; dance rituals were often meant to forestall or explain cataclysmic events. The great civilizations of the Aztec and Inca (like the Roman Catholic Church of their conquerors) organized time according to complex ritual calendars, and dance was essential in their communal ritual life.
The dances of the Aztec were precisely structured and executed. Priests trained young people in the movements of the ritual dances and organized the ceremonies into massive arrangements of dancers who moved in symbolic geometric patterns. Combat was a major theme that featured male dancers: weapons in hand, individuals or groups of dancers enacted struggles between gods or between military units such as eagle warriors and jaguar warriors. Dances could last more than a day to test the warrior-dancers’ endurance and commitment. In some ceremonies dancers moved in columns to represent revolving astral bodies in their annual and millennial circuits; in others they represented planters working in looping zurcos (furrows). In the danza de los voladores (“dance of the fliers”), one of the few surviving preconquest dances of Mesoamerica, traditionally four fliers (dancers) who are suspended upside down from the top of a tall pole make 13 revolutions for a combined total of 52; in the Nahuatl belief system of the Aztec and Toltec peoples, 52 years make a “year-binding,” or xiuhmolpilli.
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The institution of the Roman Catholic Church—with its rituals, doctrines, and ways of looking at the world—accompanied the Iberians to the New World and was integral to the functioning of the viceroyalties in New Spain (based in Mexico; 1535–1821) and Peru (1542–1824), which between them administered the colonial territories of the Spanish. After the military conquest, religious music, dance, processions, and festivals became tools of cultural transformation and social control. Catholic priests and monks—Jesuits, Franciscans, Dominicans, Carmelites, Augustinians—allowed, even encouraged, indigenous dancers to continue their rituals, modified to incorporate Catholic saints and ideas in place of their own. The indigenous peoples adapted their own rich calendar of public festivals to new uses and new places. Into the present day, ancient ritual dances echo in the yearly observances that take place in front of churches and at other sacred sites, especially as part of the patronal fiestas, the festivals in honour of a town’s (or country’s) patron saint.
In Roman Catholic countries around the world, nonliturgical Carnival celebrations mark the last-chance merrymaking that occurs during the weeks before Ash Wednesday, the day that begins the austere 40-day period of Lent; in many parts of Latin America, Carnival parades feature exuberant group dances. As in the religious pageants, fantasy and elaborate costuming allow the Carnival dancers to become the “other” and to use dance as a means of escaping the anxieties of everyday life.
Perhaps the most widespread dance ritual of Latin America derives from the dance of Moors and Christians (la danza de Moros y Cristianos), which was performed at major religious festivals in medieval Spain. The dance was based on an older form of religious street theatre, autos sacramentales (“mystery plays”), portrayals of the competition of forces of good and evil. In the 8th century Moors had brought Islam to Spain from North Africa, and Christians in Spain fought to regain ground until 1492, when the houses of Aragon and Castile expelled the remaining Muslims. (For more on that period, see Spain: Christian Spain from the Muslim invasion to about 1260.) After the dance-drama was imported to Mesoamerica and Peru in the 16th century, the oppositional forces in it were refashioned to cast the Spanish (good) against the Indians (bad). Although the danza de los Moros y Cristianos exists throughout Latin America, it is known by a variety of names, including danza de la conquista, danza de los Moros, marujada (in Brazil), and danza de Santiago.
Blended rituals such as la danza de la conquista became part of colonial religious festivals. Theatrical enactments of the conquest, or farsas de guerra (“war farces”), played a prominent role in entertaining and enculturating colonial populations. In Mexico the entertainments became known as mitotes (from the Nahuatl mitotia, “to make dances”). Mitotes drew upon both Spanish dramatic action, which featured lengthy sections of dialogue, and the Aztec and Chichimec Indian tradition of using divided bands of enemies to represent the central theme of battle.
The conquest dances were taken to Spain and performed for elite audiences. Although their popularity faded in Spain during the 17th century, these spectacles became models for further ritual dances in the New World. July 25 marks the feast day of St. James (Santiago, Spain’s patron saint) throughout Spanish-speaking Latin America. For this major festival, many local traditions included dances to commemorate ancient battles between opposing forces. Dances of los vejigantes in Puerto Rico and los tastoanes in Mexico are prominent examples. In both festivals there are representations of Spanish horsemen and masked figures representing African slaves or members of the indigenous resistance.
Upper-class immigrants from Europe brought with them their fashionable social dances (los bailes de salón). The aristocracy of the viceroyalties kept up with a succession of popular European dances. These included open-couple dances, in which couples generally did not touch—such as minuet, allemande, sarabande (zarabande in Spanish), chaconne, galliard, pavane, and volta. The interdependent-couple contredanse (contradanza in Spanish) and its variations (quadrille, lancer, and cotillion) were developing during the 17th century. Such choreographed dances of intricate geometries originated in Europe before sweeping quickly through Latin American ballrooms and dance salons during the 18th century. The fashion caught on across the social spectrum; for example, indigenous dancers in northeast Mexico adopted the contradanza into their ritual expression of the matlachines dance.
Contradanzas and quadrilles remained common throughout Latin America and the Caribbean in the early 21st century. Their characteristic interlacing lines, bridges, circles, and grand right-and-left patterns are easily recognized in hundreds of dances. In the Caribbean, contradanzas and quadrilles included the bélè, belair, and belén, as well as kadril and numerous other variants of quadrille. In northeastern Brazil they became quadrilhas, the traditional dances for the festival of St. John the Baptist (São João) on June 24; the dances remained popular in the Northeast, and into the 21st century quadrilha competitions occurred on the state and national level.
As struggles for independence roiled Latin America during the 19th century, closed-couple dances, specifically the waltz, schottische, and polka, became fashionable in elite society. In closed-couple dances the partners touch most of the time; as a result, these dances were considered rebellious acts of sexual immorality. In addition the new couple dances were distinctive because each couple could choose steps from a range of possibilities. With the passage of time, these social dances became commonplace and their intimacy more accepted. The dances migrated to the countryside, where most of the people of African heritage lived. African-influenced hip movements—which could be seen as sexually suggestive—were incorporated into the dances, and they again transgressed the Roman Catholic Church’s standards of morality.
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01. Brookly Bounce – The Theme [Of Progressive Attack] [Trip Mix Radio Edit]
02. Ganvest – Nicotine [MeeT Radio Remix] 9001 Talk1 03. Moderning A. Alimkhanov Night Is Yours – The Night Is Mine
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05. Jasper Forks – Awesome [Video Edit]
06. Kar-Man - Chio Chio San [Dima Danchenko & Vlad Kobra Radio Remix]
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29. Prezioso & Marvin – Survival [DJ Manian Vs. Tune up! Edit]
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31. Lost Frequencies – What Is Love [Regi & Lester Williams Remix]
32. Sergey Vasyuta & 'Freestyle' – The Cherry Orchard [Ural Dance Mix] ]
33. Robertino Loretti – Jamaica [DJ Konstantin Ozeroff & DJ Sky Radio Edit]
34. Vlad Bostan ft. TaYa - Grass By The House [coverEarthlings]
35. Pyramids In Paris & David Zowie FT. Esty Leone - Main Attraction [Radio Edit]
36. Fabrika Zvezd 5 & Alla Pugacheva - Head [Remix]
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44. DJ JEDY feat Lychee - Adrenaline [Total Deep Сover]
47. Chico & Tom FT. Lee - Where Do You Go [Bigroom Radio Edit]
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Lyrics containing the term: ice lolly
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Ice on Ice
Pat & Lolly Vegas
Lolly & Stan
knee And sock pon the ice lolly like she thirsty Swing pon me tree like a mama King Kong The gyal bend down wrong fi the long John Give her the Hong Kong
While They Run
online shop with ease And I sit back and smoke their stompies Sip the last dregs of their coffees Suck the last ice off their lollies stare at the sun In
ice cream We could come back and lick ice lollies Ayy, are you down for me? Take a look and you'll know that your right for me Can you look me in
there's not much that shocks us Father taught me how to be a sower Always been a grower not a shower Meaning It's never what it looks like Used to move ice
Death by Chocolate
Orange Ice lollies and pogo sticks Sports bags and tramps' eyes Space hoppers and plastic footballs and ?? ?? Mottled exercise books and ?? ?? Slices
always famous Say がなぶんじゃ, made 'em foods up Love it that place like 内海, ぺかさばにひっかき lolly , yeah Ice the M's わたし no かわいい, かわいい Ice , ice
Highway (feat. Ariariari) See me im killa everything nice, i swear i die underneath sunlight late night in a highway Baby boo
Lollypop Lady! Lollypop Lady! Pollywolly Lolly ! Pollywolly Lolly ! Lollypop Lady! Lollypop Lady! Pollywolly Lolly ! Pollywolly Lolly ! When I cross
Up & Down (feat. Tellaman & Mykyle)
Lastee & Crownedyung
I saw her in the lobby She wants to play with my lolly Gave her my card and said call me Only God is above me I saw her in the lobby She wants
that's why I'm cocky, yea Know I'm bout to pop I ain't talking bout a lolly Every time I drop I make hits like a volley Word to Makaveli I might get
I'm Not a Fan...But the Kids Like It!
Girl what you Thinking tonight. Let's drink some Whiskey on ice . We'll get Belligerent. Let's get retarded. We'll throw a party. Drink some
I don't need ice ( Ice ) 더가져와 (싹다) 난 빙산을 끌어야겠네 차라리 (후) 너자랑해봐도 (셋넷) Lolly pop (Pop pop) 더블지는 요이땅 (Gang gang) 녹일래차라리 (Flame) Gang gang hashtag I
Up & Down
I saw her in the lobby She wants to play with my lolly Gave her my card and said call me Only God is above me I saw her in the lobby She wants
make that pussy snap Suck it like a lolly , you gon' know how good that dick is like I got one, two, three, four Pussies on the waiting list Ain't not
grown up I love the smell of summer nights it reminds me of when I was nine having a crush on a kid at school when lolly cigarettes were cool not
I can be your ice cream man And you can be my paradise You can probably spend a night But if you lick my lolly right Przyszedłem sam, zabrałem
Wally (feat. PR!ME & Kidd Dannie)
Wally, Wally, Wally (Wally) Wally, Wally, Wally, Wally, Wally, Wally (Wally) Vibe eternal, yh we jolly, she wan' suck my lolly Kriss Kringle on his sledge
Vic Bold, AANG
e o pique Lamborghini bitch me liga afim ela nao enjoa de mim pede pra levar o do green ela quer meu lolly meu lean Diz que quer andar na nave
Ice on the neck
Starcev, St Trap
(me)(me)(me)(me) This ice on the neck I don't carry crystal in my purse I shoot shot And I hit the target (I) This ice on the neck I don't carry crystal in my purse I shoot shot And
figures run out of wax Jeeny you gulliver lolly like uni Every morning I'm with honors Wear Crocs on Jeeny Four Twenty Not a dentist but knocked out
Do It Again
Yo, marchin' around the world and met an old man That had ice like Frosty the Snowman And though my name Mase, what does it mean? Dolla
Can't Fit Her Limbs in the Fridge
Only Tools and Corpses
in the freezer I wouldn't let her leave me so she tried to strike out I hit her with a hammer she was dead with one swift clout I once used ice
Nagalli, Did Brock, Veigh, Hype Me Up
nessa lolly pop) Semper me chama quando quer ir no shopping É que ela é crítica com o cheiro desse base Ela so pede ice E ela chama uma best friend Pra
Baby jump into my pool And don't think about anything plump lips suck lolly This is Candy shop Wet curls cover the heart or mouth Dancing milly rock and at
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