How much is a lap dance in nyc
Best strip clubs NYC has to offer are classy, not skanky
Photograph: ShutterstockLooking for strip clubs? NYC has plenty of places where you can enjoy a lap dance or throw a bachelor party.
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The next time you plan a bachelor or bachelorette party, you have to go to strip clubs. NYC has plenty of options that offer various levels of illicit fun that’s well-justified on special occasions...or when you’re in the mood for something different. It’ll give you inspiration if you want to upgrade boring date nights at romantic restaurants and add in some gear from the city’s best sex shops. Here are the best strip clubs in NYC with bottle service, lap dances and burlesque shows to treat yourself (and maybe some lucky friends) to on your next night out.
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Best strip clubs in NYC
1. Penthouse Executive Club
- Sex and dating
- Hell's Kitchen
This club is remarkably refined and caters to bonus-laden financial types with well-padded expense accounts...though they do offer special discounts, such as complimentary admission with ticket stubs from same-day sporting events and packages for groups of five to 10 people ($350-$750). The city's most sought-after entertainers—veterans of the New York/Las Vegas/Miami megaclub scenes—perform here on the small stage that sits dead center, with two single-occupancy go-go platforms accommodating additional pole dancers upstairs.
If your bonus hasn’t arrived yet, not to worry: A Jackson is all you need.
2. Sapphire
- Sex and dating
- Lenox Hill
This 10,000-square-foot club took over the old Scores space, but it’s a much classier affair: Inside, you'll find VIP cabana lounges, a private Scarlet Room complete with mirrors, flat-screen TVs and leather upholstery ($400 gets you 30 minutes of alone time) and gorgeous dancers who are talented and courteous, whether you’re there by yourself or with a group of friends. There are also plentiful VIP packages for bachelor and bachelorette parties, birthdays and even corporate events.
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3. Rick’s Cabaret
- Restaurants
- Midtown West
With three floors spanning 10,000 feet, privacy is no problem at Rick’s, which boasts a 40-foot neon bar, four stages and plentiful VIP suites. Bonus: If you show up between 11am and 3pm on a weekday, the club offers a surprisingly tasty $10 prix-fixe lunch (steak frites, salmon with asparagus and pistachio) plus $8 drinks—which is a steal even if you weren’t at a strip club.
Expect to be treated well here, no matter how much cash you come in with.
4. Head Quarters
- Sex and dating
- Hell's Kitchen
There’s no stage at HQ, but the black leather and plush red banquettes make getting comfortable easy, and the hospitable staff has a genuine appreciation for repeat customers, doling out birthday phone calls, promotional freebies like baseball tickets and discounted dinner packages at the upstairs restaurant. On a weeknight, it’s quiet enough that you can spend time chatting with an entertainer after you've paid for your lap dance.
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5. Hunk-O-Mania
- Nightlife
- Strip bars and clubs
- Hell's Kitchen
It’s true that ladies are welcome at strip clubs where female dancers are the ones gyrating. However, there’s a reason Magic Mike is so popular, and Hunk-O-Mania exists to bring it to life.
Don’t worry if you’re shy or happily committed: Plenty of women enjoy the show without getting harassed for tips. While shows run Thursday to Sunday nights and single tickets are $25 if purchased in advance, it’s worth upgrading to VIP admission, which guarantees you a seat ($45-$65; $500 for groups of up to six). Up for anything? Get in the hot seat—a chair onstage—for a lap dance from one of the best performers.
6. PUMPS
- Nightlife
- East Williamsburg
Pumps isn’t your traditional strip club—it’s a no-cover dive bar with topless dancers—but it’s every bit as fun and easier on your wallet, too. Beers are as cheap as $7 a pop ($4 if it’s happy hour), so you’ll have more cash to spend on the bikini-wearing beauties on poles atop the bar-length stage. There’s no real VIP room, but you can get lap dances in a private room in the back for about what you’d pay at a “real” strip club.
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7.
Flashdancers NYC- Sex and dating
- Upper West Side
This basement-level space fills up on Friday and Saturday nights, but by day it's still a popular destination for tourists and businessmen looking for a thrill. Neither skanky dive or executive club, Flashdancers is a clean, reliable place to appreciate beautiful women. Lap dances are $20, but you can opt for a back massage if you’re in need of some extra relief.
8. Hustler
- Nightlife
- Strip bars and clubs
- Hell's Kitchen
With 13 club locations worldwide, Larry Flynt’s Hustler Club empire aims to be classy and approachable, and it succeeds by featuring topless women who want to show you a good time without the intimidation factor. The NYC location features private skyboxes, a cigar lounge and a roof deck—a welcome change of scenery if you want a view of the city along with your entertainment. Lap dance prices are equivalent to other clubs in the city; massages will run you about $100.
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9. The VIP Club New York
- Sex and dating
- Flatiron
While there’s only one stage at this venue, regularly there are at least 50 ladies. And open-minded women who come here with male friends needn’t worry about the lack of attention: The dancers aren’t shy about offering dances to female patrons. A platinum VIP card will get you free entry, which runs you $20 otherwise.
10. Cheetahs Club & Restaurant
- Sex and dating
- Midtown West
Save your appetite before visiting Cheetah’s: While it’s a strip club through and through, the real draw is nyotaimori: All-you-can-eat sushi served on a naked woman in its private Kabuki room ($250 per person). After you’re done eating your fill, lap dances will run you $20 each. You can also watch the game and the dancing from their bikini sports bar, if you’re in the mood for something a little less interactive.
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11. Lace
- Sex and dating
- Hell's Kitchen
While it has two locations in the city and an innocent name, Lace is a no-frills establishment: Both spaces are small, slightly cramped and boast only one lonely stripper pole for performers. The good news: Like most other places, lap dances are only $20, and they offer frequent drink specials (two for one bottle service on Monday nights; the same deal on drinks during lunchtime).
Looking for more sex & dating?
Check out the best hookup bars in NYC
- Sex and dating
Hooking up is hard to do—unless you know where to go. These are the best hookup bars in NYC, so read on, Casanova!
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$1,000 Lap Dance Defies the Market Slide
As markets have precipitously declined, business in upscale Manhattan gentlemen’s clubs has jumped. (Photo: Michelle V. Agins/The New York Times)
The implosion of the financial markets seems to mark the twilight of the second gilded age. History may look back with scorn at $30,000 couches, $600-an-hour therapists, $25,000 hot chocolates and super Sweet 16 parties.
The Wall Street folks, you’d think, seem to be saying goodbye to all that.
Except, apparently, in one area: strip clubs (or “gentlemen’s clubs,” as they like to brand themselves).
“Since the market has been going down, our business has been going up — it’s unbelievable,” said Sam Zherka, the owner of the V.I.P. Club in Chelsea, who estimates that about 80 percent of his clients are Wall Street types. (You’d think the lawsuits would have dampened that, but it seems fine as long as they’re not entertaining clients on their work-related expense accounts.)
Mr. Zherka added, “A lot of guys are losing their shirts in the market, and they are coming in droves.”
Business is up around 20 percent, he estimated, even though he does not advertise atop taxicabs.
“We’re an upscale gentleman’s club,” he said disdainfully.
In a moment of shrewd business, perhaps, Mr. Zherka and the club decided to introduce a premium product: the $1,000 lap dance package.
The package will buy a 20-minute lap dance, a bottle of Dom Pérignon and a private Champagne room. Not to mention, as Mr. Zherka did, they also “get to keep the girl’s G-strings.”
That raised eyebrows. Does she take off the G-string there (seems illegal), and if not, how does the customer know it’s really the G-string she was wearing?
Mr. Zherka replied: “She can’t take off the G-string in the room with the guy. She has to go out to the locker room and take it off.”
But management, he assured, was going to reinforce the G-string distribution. (Apparently, the G-string is even going to be autographed, as amNewYork noted this morning.
)
What is the normal rate for a lap dance at V.I.P. Club?
It’s $20 for a song, or about three minutes of lap dancing, Mr. Zherka said.
A quick calculation showed that the lap “dancee” could get more than 20 minutes of lap dancing for only $140.
Mr. Zherka responded: “Yeah, right. But you are not getting the G-string, you are not getting the bottle of Dom Pérignon and you are not getting the Champagne room.”
Still, is there really a market for this? Why not just start with the $100 or $500 lap dance?
That is where the market seemed to be heading. “A lot of people are coming in and spending $2,000 and $5,000 and $10,000,” Mr. Zherka said. “They are spending like they are making millions and millions of dollars. I don’t know if they are depressed or what.”
As one former dancer observed, if a stripper is doing her job right, the patron’s bald spot, his mortgage (and maybe even his huge portfolio losses) cease to exist.
He enters an adolescent fantasy of sexual prowess, temporarily transformed into James Bond, Han Solo and Hugh Hefner rolled into one. The dancer makes believe she is the prom queen who ignored them in high school.
The business is recession-proof, Mr. Zherka argued. “If you want a hamburger and you want to cut back on spending, you can always make the dinner at home.”
In contrast, he argued, you couldn’t get the dancing almost-nude women at home.
Well, couldn’t a man get your girlfriend or wife to do it? After all, pole dancing has been making its way into the book club set.
“Yeah, you can get a woman, but you can’t get women,” Mr. Zherka said.
Not that the hamburger analogy should imply women are meat, or anything.
Empire of Passion - Articles
Note to newbie
- Group (5-10 people) and individual (1-2 people) classes are held.
- Dress code is comfortable for you.
- Classes are built from simple to complex.
- Lesson time 55 min.
- Closed-type groups, when a group is formed, no one else is taken into it, which increases the speed and level of training.
- Everything we learn, we apply at dance parties.
- Basic course 5 months, payment is made every month.
- After completing the basic course, those who wish to go to the middle group.
- Age: 17 and over...
- Without dance training (it may not be) - only your desire;)
- A couple teaches, which increases the level and speed of students' learning.
Phones for information:
PDNT Province: 298-10-82 and 8(902)472-10-82 (from 13-00)
In the curriculum (styles and directions)
Salsa - pair direction, the man leads, and the partner is the follower. Refers to Latin American dances.
Bachata - is a pair dance, which is distinguished by its intimacy, romance, and sensuality.
Eurodance - dancing to the music of the 90s 2000s in pairs, solo, as well as a fun company. They will be used in clubs, dance restaurants, cafes, corporate parties...
Argentine tango - pair dance. Close contact (the dance is danced chest to chest), emotion, dialogue between partners and the play of the feet (they are very strong, keep close to the floor, often the knees of the partners touch each other) - this is what distinguishes Argentine tango.
Oriental dances - include elements of movements that allow you to develop the natural plasticity of the body, become even more feminine and lighter.
Solo mix - the lesson program includes elements of dance styles: salsa - bachata - cha-cha-cha - modern dance - oriental dance - plastique.
Salsa Rueda - Rueda de Casino is a national Cuban dance, which is a variation of salsa. Translated from Spanish, "Rueda" means "wheel, circle", and this is what determines its features. Salsa rueda is performed by several couples moving in a circle, while the movements of the dancers are striking in their synchronicity. Sparkling energy, fun and excitement are what rueda dance is associated with.
Social dance etiquette
Following a simple list of rules will help make our dancing life even more enjoyable.
1) HOW TO DRESS
for classes:
- comfortable clothes.
- replaceable t-shirt, you can inadequately assess your level of perspiration and the effect it has on others. wash more often.
- change or wash clothes for classes, if they are used only for them.
- clothes that are too loose or too restrictive - bad. for example, a miniskirt and high heels or a jacket with a lot of loose fabric
- evening dresses and provocative (translucent) outfits in the classroom, as a rule, are not the place
- remove long hair, and do not whip your partner with it when turning
- remove rings from hands, if they interfere with leading-following, wristwatches can also be easily scratched.
- cut your nails, or at least not use them.
- for ladies with open legs, remember that the skirt in the dance can behave unpredictably (= choose the right underwear)
for parties:
- all the same as for classes, but the clothes should be more elegant. makeup and hairstyles for ladies, trousers and shirts for gentlemen are welcome.
- not sneakers, but boots and shoes. however, it should be comfortable for you and with you to dance, not forgetting the aesthetic component.
2) INVITATIONS
at parties:
In salsa, you can and should be invited to dance! As gentlemen (usually the initiative comes from them), and ladies.
However, there are a lot of details:
- you need to invite to the dance politely and in a friendly manner, the mood for the dance largely depends on the manner of the invitation
- it should be obvious who exactly you are inviting to dance. It's not a sin to look into your eyes.
- if you do not want to accept the invitation, give a good reason not to do so (fatigue, dislike music, injury, other reasons not related to the inviter)
- if you were refused, do not stand over the soul of the one who refused.
- if you refused, do not accept the invitation of other partners during the same song.
- the rule of good manners is to invite the person you just turned down to the next song.
- do not invite if it seems to you that the invitation is not very desirable (partner (sha) is resting, talking with friends, avoiding glances, left / left the dance hall)
- dance more often with good partners, but do not hunt them. especially for teachers.
- if you want to be invited more often, communicate more with those with whom you want to dance. but don't do it solely for the sake of dancing.
- if you invite a stranger and he refuses, do not insist
- if for some reason you don’t feel like dancing, it’s better not to dance. the courtesy dance is rarely interesting for either party.
- if the person who invited you makes you uncomfortable during the dance, gently tell him about it, if you can. if all else fails, refuse his further invitations. exits from the hall from the middle of the dance are extremely rare, there must be a really good reason.
- if both partners do not mind, you can dance one more dance. if both are not enthusiastic, more than two dances are not worth asking for.
- after the dance, return the lady to the place where you invited her from.
- however, it happens differently - if it is clear that the girl is not interested in a long send-off (for example, she wants to quickly invite the next partner), do not insist: thank you and leave yourself
in class:
- you don’t have to invite anyone here , but it has its own characteristics.
- in the classroom it is customary to change in pairs. if for some reason you do not change, do not stand in the general circle. and get ready for the whole lesson without irritation to explain to colleagues that you are not participating in the rotation.
- greet the next partner with a smile after the shift
- if you absolutely do not want to dance with some partner (anything happens), find a reason to leave the circle before the next shift (go drink water).
- if a partner causes or can cause you physical pain, tell him about it. If it doesn't work, ask your teacher for help.
3) WALKING IN ANOTHER GROUPS (regular classes)
In groups of a higher level:
Everything has its time. It is useful only if you regularly visit your group of your level without missing. Jumping immediately to a higher level group without parallel visiting your group will not lead to anything good, even if in your group you do everything better and faster than others, you will miss the development of the base, as a result your progress will stop, because it is impossible to learn the whole without learning exactly what the whole is made of. If you decide that for some reason you really need to participate, find a mate and don't change. If the couple is not found, then talk to the teacher, perhaps he will meet you halfway. I will debunk a common misconception: you do not improve the balance by your presence! It is better for your partner(s) to rest or think over the material of the lesson than to explain to someone what and how to do, this is the task of the teacher.
Which, in turn, has no reason to waste the time of the group on explaining material that has long been covered.
Going to groups of your level (and below):
Make sure that all conditions are met
- you do not worsen the balance
- you are sure that your level is sufficient in relation to the average level of the group
- you received permission from the teacher to participate in class
As you can easily see, in any case, you should first talk about the possibility of your participation in the class, if you are not a regular visitor.
Whatever your reason for coming to class, you should refrain from making negative comments, public or private, about the class, teachers, or partners during the class itself. Any questions and claims that are not related to the lesson material should be addressed to the teacher personally.
4) LESSON BEHAVIOR
Interaction with the teacher:
By coming to class, you declare your trust in the experience and knowledge of the teacher.
Perform all exercises with the greatest possible degree of accuracy. Don't make noise in class. Do not interrupt, including colleagues. If you have any questions, ask your teacher when he is ready to answer them. Questions not related to the material of the lesson and some claims are better discussed after the lesson.
Attention requirement:
You should not leave the class with uncomprehending material, but you should not waste the group's time with a series of questions that are of interest only to you.
"Dance with me":
The teacher should give equal attention to all the students in the group, so you should not often ask him to dance only with you and explain all your mistakes. Arrange for a private lesson. Listen carefully to what the teacher says to the whole group. It almost certainly applies to you as well.
Relations with partners:
One should not express complaints to a partner in an offensive way or make an appropriate dissatisfied look. Believe me, he is trying and will grow with time.
If he deliberately came (came) not to his group, then tell the teacher about it.
Any other conflicts with a partner (not related to dancing) are best discussed after the lesson in person or with the participation of the teacher.
5) SPACE CONTROL
at parties:
If you hurt someone while dancing, apologize immediately.
If you have caused an injury, show participation and by all means try to make amends. Then come and ask how he/she is feeling.
On a dance floor where there are couples besides you (almost always), don't make too wide movements without looking.
Especially sweeping back steps and steps back. Dance shoes often have massive heels.
Even if there was no one behind a second ago, the situation could change.
Avoid inevitable collisions, safety is more important than finishing the figure.
Girls should also not fly at full speed to where their partner led, if she is not sure that she will not encounter obstacles on her way.
It will hurt you too!
Particularly responsible girls and their partners periodically save them from collisions with other couples, warning them.
Careful with supports.
Avoid tricks, especially with strangers.
Don't clear space with your partner :D
And don't clear space at all. Learn to dance compactly.
Oh, and also, don't dance completely drunk. In this case, it becomes very difficult to control the space. Not to mention other delights such as the spreading aura of fumes. Dropping a partner on the floor is also not as funny as it seems.
in class:
The rules are the same. But since the movements are more predictable, try to position yourself so as not to interfere with the surrounding couples, and do not move from there as the dance progresses.
6) QUESTIONS AND ANSWERS: Salsa party etiquette: RULES OF CONDUCT.
Suitable for dancers of all directions Social Dancing
Q. I saw a guy on the salsatec, he bent girls this way and that, and he has support, and acrobatics, and it's all so cool! Why don't we do that? / I want that too!
A.
Most likely you have seen a person who can't dance salsa and banged a hustle to salsa music. Among the people, such dancers are called "nagibator". We don't do that because in our opinion it has nothing to do with social salsa. It might look great on stage or in a hustle, but salsa is something else. For us and hundreds of thousands of salseros around the world, salsa is about communication, about kneading, about music.
And a couple of words about music: in salsa, this is really important. In the music video, Mick and Errel are "dancing the piano". So, unfortunately, not everyone can. But everyone can listen to the music that is playing now and dance exactly it: dance salsa to salsa, bachata to bachata, cha-chu to cha-chu and not cross.
Q. We dance and he/she talked so much about my dancing! I will never go to a disco again, I'm worthless!
A. Yes, there are such people in salsa parties, and not as rare as we would like. There are two types of them: poor teachers who lure students like that (everything is clear with them), and average dancers with very low self-esteem, which they are trying to increase at your expense.
The recipe is simple: do not listen to anyone at the party. Do not think at the party about learning at all, we are all relaxing here. If someone tells you something about your dance, your technique, your whatever, just smile back. If there are flaws in the technique, the teacher will talk about them in class, where you can also ask him to look at your dance and say what exactly was wrong. It also helps a lot to ask the partners in the class to report those places where they are uncomfortable with you, and then ask the teacher to look. You need to learn from teachers, and everyone else should smile! ;)
Q. I kept giving up, messing up, turning the wrong way, AAAAAAAAA!!!!!!!
A. There is an unspoken rule: we work at classes, we relax at parties. Yes, you are not the best dancer on Earth yet, and the men do not line up for you, as for Magna Gopal. But everyone came to the party to relax. All that is required of you here is to be beautiful and smile. The worst thing I hear at parties is "I'm sorry.
" Relax, be beautiful and classy, and your partner will make sure that both of you are also safe for others. Everything! Not a single tense thought! Promise? ;)
Q. There was no one to dance with...
What is Clave and how do you dance to it? (to rhythm)
What is Clave (hereinafter referred to as clave) and how is it danced?
The clave is traditionally a wooden instrument consisting of 2 sticks that are tapped against each other to produce a clicking or dull sound. A modern clave can be a plastic hollow rectangular “box” that is held in the hand or attached to a rack with drums, which includes: timbales (timbales), cowbell (cowbell), cymbals (cymbal), woodblock (woodblock - a hollow tree used as a percussion instrument), etc.
Sometimes the rhythm of the clave is created by other performers: a drummer by tapping on the body of the drum, a musician playing congas or bongos; even a singer, piano or other instrument can set the rhythm of the clave. In Spanish, the word “Clave” means “key”, something like “keyword” or “key to a cipher”. In salsa music, the clave rhythm is the leading one, setting the tone or structure of the song. It is the rhythm of the clave that guides all the other instruments in the ensemble and the song performer. And although this may not be heard in some salsa melodies, the rhythmic structure of any salsa is always based on the clave rhythm. There are several types (patterns) of claves, and among them is the Son Clave. It is used in the classic, mainstream salsa New York Caribbean style, and it is also preferred by the “New Yorkers” for dancing “on 2″.
This is a two-bar pattern, in 4/4 time (four quarters) (played over 2 musical bars, each with 4 beats (counts), i.e. 8 counts).
But the sound (tap) of the clave itself is extracted only to a certain score. So, the sleep of the clave is divided, in turn, into 2 more patterns: 3/2 and 2/3. In the first case (clave 3/2), the beats fall on the count 1, 21/2, 4, 6, 7. And the clave 2/3 is tapped on the count 2, 3, 5, 61/2, 8 (See Appendix 1) . The clave gives a complex, syncopated unevenness in the rhythmic structure: first, tension is created in a group of 3 taps, and then this tension is resolved in a group of 2 taps, once in each of the two musical measures. This happens because first the clave is tapped between, and then in unison with the main 8 beats; as if two instruments were playing at the same time, one at 4/4 and the other at 3/4. This syncopation captivates experienced "2" dancers who can hear the music exceptionally well and can really "dance the music" and gives their dance, feelings, movements a different quality.
You may have heard the expression "dance to the clave" used to describe the "2" New York mambo.
Clarity is required. What this really means is that the clave rhythm is added to the 8 rhythmic beats that form the structure of salsa, and thus adds something to the way we feel and dance the music. But we do not dance literally, i.e. we do not take steps for all the beats that the clave instrument gives out. For example, the 2/3 clave sounds on 2, 3, 5, 61/2, 8, and we take steps on 1, 2, 3, 5, 6, 7, thus matching only on the count of 2, 3 and 5 s tool. And the 3/2 clave taps on 1, 21/2, 4, 6, 7, while we take steps on 1, 2, 3, 5, 6, 7 - i.e. at the expense of 1, 6 and 7 we coincide with the instrument. As an example of how Clave makes us feel and move, we break on 2 and 6, but break on 6 is more expressive than break on 2 when we dance to 3/2 clave music, because break 6 falls “on the clave”, at least when it is clearly audible in the music. Conversely, when the tune we are dancing to has a 2/3 kdave structure, the 2 break is stronger than the 6 break.
The clave always delivers two beats in one measure, and three beats in another.
Clave 2/3: two beats in the first measure, three beats in the second. Clave 3/2: three beats in the first measure, two beats in the second. It is typical for the rhythmic structure of the clave that two beats always sound more expressive, stronger than three beats. This is partly because 2 hits resolve the syncopated unevenness or tension that three hits create.
When we break on 2 and 6, we are actually changing the direction of the body along with the strongest rhythmic stress. So while we're not stepping on every clave hit, we're doing a basic body movement (change of direction) to the main clave hit that resolves the tension. In this sense, we are “dancing to the clave”. And this style of dancing implies that we emphasize the main blow, the emphasis of the clave on 2, strengthen it with the movement of the body. Dancing to a different count, such as a break on 1 or 3, does not imply an emphasis on hitting the clave on 2.
You may have heard that the word "clave" is used in other senses.
First, "find the clave": when we take the first step, on count 1, "find the clave" means "find the first beat of the eight beats of the measure." Secondly, when describing the work of a DJ, one can say “mixing songs on the clave”. This means that the transition from one salsa to another occurs at a pace of eight beats. Both of these expressions use exactly the clave count - eight regular beats, and not the rhythm itself created by the
instrument. happens, the dancer falls out of rhythm as we dance to 8 counts. More experienced dancers who feel this "clave change" make the appropriate "transition" so that the beginning of the count coincides with the beginning of the musical phrase.
Downbeat.
An important hallmark of the New York mambo “on 2″ is that we start most of the movements, turns and “decorations” (shines) on beats 1 and 5 of the measure, i.e. downbeats. Manny Siverio’s Article, his review of Mike Bello’s Practice & Counting CD and Jai & Candy’s Timing & Speed Instructional CD will help you learn to recognize 1 and other beats in music, understand how to count in salsa.
For example, CBL (Cross-Body-Lead) starts on count 1 when the lady has already taken a step forward with her right foot. Ladies' turns usually start on 1, and men's turns often start on 5. Shines also usually start on 1.
Count 1 is the beginning of eight salsa time signatures (as mentioned above, it's actually 2 musical measures, each with four beats). In music, and salsa is no exception, as a rule, at the expense of 1 there is a special “emphasis”, amplification, emphasis - downbeat. This is the strongest beat of the measure, and is best heard. Accordingly, the dancer feels it as a kind of blow, the “strength” of the rhythm. Then there is another downbeat, a little less strong, on the count 5 (the beginning of the second musical bar - the second four beats), which often turns. Counts 1 and 5 are the strongest rhythmic points in salsa, which is why when dancing “on 2”, we start most of the movements on beats 1 and 5 of the measure.
Tumbao.
Tumbao refers to the rhythms played by the conga drummer in mainstream classical salsa.
More precisely, it consists of 8 strokes. “Palm-finger-slap-finger-palm-finger-open-open” - in classical fingering. Sometimes it is heard in both musical measures, sometimes only in the first four. 2 quick hits (open-open) go to “8 and…” (actually 8 and 81/2), as well as to “4 and…” (4 and 41/2). These two fast beats serve as an introduction to beats 1 and 5 of the measure, to the same downbeats that we start on when we dance “on 2”. In fact, when these two fast beats of tumbao are clearly audible in the music, it seems to have an effect on the dancer - they “push” us to take a step on 1 and 5, dance them more expressively, and sometimes a little earlier than the music, which gives it style originality, a certain visual “discreteness”.
Sometimes the “slap”, or slap, tumbao is not heard clearly. But when it can be heard, it is often the stronger and heavier sound that the conga drum makes. This sound is produced on beat 2 of the measure. This means that if the sound of tumbao is heard on each of the 4 beats of two measures (thus getting 8 counts to which we dance), then the strongest beats fall on the 2nd and 6th count, where we make a break, or a change in the direction of body movement when we dance “on 2″.
We start on the main downbeat and we break under the clave or tumbao
When Eddie Torres said that the counting and the very style of mambo dancing “on 2″ “…logically falls on the rhythm of salsa music,” he meant that the strongest beats, strong beats, 1 and 5, account for the beginning of movements - whether we start the basic step, CBL, turns or shines. In other words, it is the beats with the most pronounced rhythmic stress (1 and 5) that “force” the dancer to start moving “on 2″”. A strong “push” in music initiates movement, gives expressiveness to the movements of the dancer. In addition, as mentioned above, we do the 2 most expressive movements - break on 2 and 6 (change of body direction) - to the main rhythmic beats of the clave and the strongest beats of the conga drum, 2 and 6. Thus, no matter what we taken as a musical basis (strong downbeats, claves or tumbao), our score and style of dancing mambo means expressing with the body what is expressed in the structure of a salsa melody by strong beats of rhythms.
These strong beats of the music should account for the most expressive, basic body movements. We start on 1, break on 2. This is what distinguishes the standard New York style “on 2” from others where they break on 1, 3, etc. ., and do not start moving on 1 count. Where dancers take steps on 2, 3, 4 and 6, 7, 8, such as the Razz M' Tazz style, as well as some styles of Palladium, ballroom and international salsa. Cuban Pete, one of the greatest dancers of the Palladium era, once explained: “Dancing“ on 1 ″ means dancing to the music. To dance “on 2″ is to dance MUSIC”. And during a panel discussion at the World Salsa Congress, he put it this way: “When we dance “on 1”, we dance to the melody, while dancing on 2 allows us to dance the rhythm.” Perhaps it would be more accurate to say “dancing “on 2″” allows you to dance the rhythm of the dominant, strong, stress-resolving 2 Clave beats. While this statement is just a personal opinion, it reflects the opinion of many "2" dancers, especially those who have danced in a different style before, at a different score.
They all feel that the "2" style connects them more with the rhythmic percussive elements of salsa music.
History of tango
The history of tango
The word "tango" is said to come from Africa. There is an area in Tanzania - "tanga", and there is Lake Tanganyika. Whether this has anything to do with music is unclear. The word "tango" is believed to be of African origin and means "meeting place" or "special place". It is said that the word "tango" or "tambo" Afro-South Americans denoted a kind of drum, under which ritual dances were performed. "Tang", which in one of the African dialects means "to touch, touch, approach." "Tango", with an emphasis on "o", were also called the unrestrained dances of the Negro colonists who lived on the banks of the La Plata River.
With the same success, one can suspect the authorship of the Chinese Tang dynasty and the French verb tangier, which means “to touch”. It is believed that it comes from the Latin tango (I touch), the first person of the present tense of the verb tangere - to touch, touch, feel. In Spanish, taner - from the same Latin tango - means to play some kind of instrument.
Spaniards, Hispanics, Gypsies, European immigrants, Creoles (local population) and descendants of African slaves.
The birthplace of tango
Despite the fact that we call tango "Argentine", Uruguay also claims parental rights to it, where tango is also folklore. The dispute between Argentina and Uruguay over who actually invented tango is very reminiscent of the dispute between the Irish and Scots over the authorship of whiskey. The parties will never come to a common opinion, because this opinion simply cannot exist. In fact, there is no right in this dispute, and the truth, as always, is somewhere in the middle.
Neither Argentina nor Uruguay, speaking seriously and with all responsibility, have any right to claim exclusive "paternity" in relation to tango. But both countries, located on the banks of the Rio de la Plata, for exactly the same reasons, can consider themselves the common homeland of tango.
Rio de la Plata
First, of course, it is a big river, the widest river in the world, connecting two other big rivers - Parana and Uruguay. Secondly, it is a geographical space covering the territory of Uruguay and Argentine provinces such as Buenos Aires, Santa Fe, Entre Rios. And, finally, it is also a cultural space that unites two peoples who have common roots - immigrant, mostly - speak the same language, albeit with some differences in pronunciation and accents, and who cultivate the same values, regardless of political and historical trajectory of their countries. Two port cities on the banks of a river like the sea contributed to the birth of tango. There, in the port area, in the suburbs of Buenos Aires and Montevideo, tango was born.
Regrettably for the Argentines, it is believed that the first tango "La Morocha" ("Unfading") was created by the Uruguayan Enrique Saborido. The most famous tango of all time, La Cumparsita, was also composed by the Uruguayan Gerardo Rodriguez. But, if there was no Buenos Aires, the world most likely would never have known this incendiary erotic dance. It was in the Argentine capital that tango turned into a cult object for the lower strata of society, and it was from here that it spilled over from the port areas to Europe. The Old World was struck by the energy and defiant frankness of the fantastic Latin American dance.
The language of tango
Tango is also a separate language. Initially, tango texts were written exclusively in a special language - lyumfardo (lunfardo). This is, so to speak, "thieves" language. Moreover, turns on Lumfardo are very widespread in colloquial speech. These are songs in which, first of all, meaning is valued, and small vocal flaws are easily forgiven for the performer if he sings from the heart, with understanding, incendiary.
Beau monde speaks Lumfardo, and the last tramp sings along to these songs by heart.
Beginning
Argentine tango first appeared on the stage of Buenos Aires in zarzuela (Spanish stage music genre close to operetta) by composer Soria (1897). From those ancient times, we have left the stereotype of a dancing couple: a partner barely restraining her passion in a tight dress with a slit and a partner whose outfit is complemented by high-heeled shoes and a narrow-brimmed hat. In the 90s of the XX century, tango captured the capital of Argentina. The streets of the city were full of tango melodies. The musicians played them by ear, from memory. The first tangos were not recorded, and the street musicians did not even know musical notation. They simply improvised... This is how verses arose, sharp, topical, as a rule, associated with specific incidents and persons... They were played by organ grinders, the conductors whistled them on their horns, in the homes of the intelligentsia, young people stealthily learned new songs on the piano.
.. But soon the time came when tango parted ways with satire, preferring love to everything, and most often unhappy. The Argentine poet Enrique Santos Discepolo said of tango seriously: "a sad thought that is danced."
Emigrants
In the last years of the nineteenth century, hunger and devastation beset Europe. Young people, deprived of work, deprived of hope for a better life, leave their homes and move in search of happiness across the ocean, to South America. Thousands of such destitute people disembark from ships on the piers of Buenos Aires, the new capital of Argentina, or disembark on the dirty marina of the Rio de la Plata. And although in those years life in Argentina was easier than in Europe, the young people who arrived here found themselves in the position of strangers and settled in impoverished, dirty outlying neighborhoods. Despite everything, the number of immigrants was constantly growing and by 1914 has already outnumbered Buenos Aires natives by three to one.
Approximately half of those who arrived were from Italy. About a third of the immigrants came from Spain. New arrivals settled in slums on the outskirts of Buenos Aires and Montevideo. There they mixed with representatives of the Argentinean bottom, including compadritos, later glorified in the texts of the tango - pimps and petty criminals, heroes of local legends. These poor suburbs were called "arrabals" (quarters of stabbing, brothels and sleepless nights, then, at the end of 19centuries, it was a boiling brew of emigrants of all stripes: there were Italians, Galicians, Chinese, neighbors of Argentines - Uruguayans, Peruvians, Brazilians). This is where the fusion of several musical and dance forms took place. The port blocks and outlying areas of Buenos Aires at that time were more like slums. But it was they who created the atmosphere in which the emergence of tango became possible. Bars and brothels, restaurants and taverns, sailors and soldiers tired of a seventy-year civil war, descendants of African slaves and ruined farmers, impoverished poets and artists, fugitive convicts, musicians, adventurers from all over the world - they all brought their culture to Buenos Aires, emotions, a dream of a better life, longing for the homeland and lost love.
All this mixes with each other, and the result is the so-called "orilla", the poorest part of Buenos Aires, which in everything opposes itself to prosperous quarters.
Where?
The Riachuelo River marks the southern border of Buenos Aires. The most picturesque quarter of the Argentine capital is located right at the mouth of this muddy river. La Boca - mouth, mouth. The La Boca quarter was once a haven for all European rabble, mostly Genoese, Ligurians. In brothels, taverns, in the street music played - violin, piano, harmonica, flute. Creoles mixed with the crowd of immigrants from Europe. This is where tango was born. From there it went all over the world. On the south bank of the Riachuelo, opposite La Boca, is Avejaneda. Slaughterhouses, meat-packing plants, quarters that gradually go into the pampa - the endless Argentinean steppe. From the pampa, Creole pastoralists - gauchos - drove cattle for slaughter - herds of thousands of heads. The stench fills the air, spreads through the surrounding neighborhoods and all the way to the pampas.
So the Creoles - kriozhos - spread - like this stench - through the southern quarters of Buenos Aires, huddled in brothels in La Boca, mixing with European rabble. With each - a facon - an Argentine dagger - sometimes a guitar. They brought with them from the pampas a song called milonga. With the help of the facon, the compadritos—the gauchos who had become city dwellers—dominated the southern quarters of Buenos Aires. Here their songs began to merge with music from Europe. The contact of Creole culture with the outcasts of the Old World gave rise to tango. It has its own language, customs, clothing and, of course, a dance that evokes nothing but the contemptuous grin of the haughty bourgeois.
Who?
Initially, this dance, in the words of its creators - macho from Buenos Aires, "was a man's affair", women did not participate in it. Therefore, there was no love background here - the machos showed each other their articles, dancing on street corners to impress. No wonder Borges said that in the tango the duelists seem to try on: who is who and in the air the Navaja invisibly flashes.
Although tango, in the words of the French researcher Daniel Vidar, "is first and foremost a dance and only a dance," a simple text began to accompany him pretty soon. Later, Italian musicians introduced the accordion, and the music learned to sob and sob.
Then prostitutes began to be involved in the dance, thanks to which the classic Argentine tango outfit of a woman retained some of the details typical of representatives of this profession. Namely: a tight dress with a breathtaking slit, mesh stockings, a defiantly low-cut blouse and stilettos. The partner looks much more modest: a loose-fitting suit, sleek and oiled hair, patent leather boots and a gangster-style felt hat. So part of the tango owes its spread to the numerous brothels of the working suburbs, where at the end of 19For centuries, porten'os (residents of the port - this is how the townspeople call themselves) came, among other things, to have a glass of alcohol, chat and listen, as we now say, to live music. The songs of the paiadores (a local variety of itinerant minstrels) also contributed and gave rise to a song style and later a dance called the milonga.
Recordings of the milonga performed by the paiadores that have come down to us are extremely imperfect, but at that time the milonga was very popular among the inhabitants of the outskirts of Buenos Aires. At first, tango was played on the guitar, flute and violin. However, the bandoneon (a small harmonica named after its inventor, the German Heinrich Band) soon became the leading instrument. It is often said that the bandoneon is the soul of Tango, and tango itself owes its birth to this "devil's instrument". The Universal Suffrage Act passed in 1912, not only brought the long-awaited freedom to people, but also gave a new impetus to the development of Argentine tango. Very soon, tango ceased to be a dance of the poor from the outskirts and began to conquer the high society. In all the fashionable districts of Buenos Aires, Tango parlors sprang up like mushrooms after the rain. Then the dance conquered North America and reached Europe. Tango sounded in New York, and in London, and in Paris.
Tango dancers quickly became fashionable.
Appearance in Europe
Since 1900, some amateurs have tried to introduce the dance from Argentina to Paris, but without much success. Robert Pris put a lot of effort into popularizing tango. Uruguayan Alfredo Gobbi, originally from Paysandu, who, together with Ángel Villoldo (whom some also consider Uruguayan) at 19In 07 he introduced Paris to tango. It was from there that tango began to conquer the world ... The first peak of popularity began with the performance of the French music hall star Mistinette in 1910. By the beginning of the First World War, the craze for the new dance swept across Europe. And after the performance of the tango by Rudolph Valentino and Beatriz Dominguez in 1921 in the film "The Four Horsemen of the Apocalypse", this fun of the regulars of the salons began to take on the character of an epidemic. "Tangomania", which began in Paris, spread to London and New York and practically did not subside during the First World War.
In Paris, for example, smoking parlors have opened under the sign "tango".
English + Dance in New York, USA
Do you want to learn English and dance with the best dancers in New York?
Then the English + Dance program is for you! After all, you can combine two important skills, as one of our participants in program 9 did0283 "English + Steps on Broadway Dance" , you can read her review here.
Program English + Steps on Broadway Dance consists of 20 hours of English and 5 dance lessons per week - this course is intended for those who cannot imagine their life without dancing))
On the first day of training, students are tested for knowledge English and divided into groups. After that, English lessons await you in the mornings, and in the afternoon your time will be devoted to exploring the sights of New York and DANCE under the guidance of professional teachers from the famous New York School Steps on Bradway.
Rennert offers a wide variety of dance styles and at the end of the program students receive not only an English language certificate but also a Steps on Bradway certificate. In the evenings, students can attend jazz clubs, operas, and various dance shows. The minimum duration of the program is 2 weeks. The level of knowledge of the English language does not matter.
Specially designed dance program and mix of different styles consists of 5 lessons per week - dances at all levels ballet, pointe, floor barre, partnership, jazz, musical theatre, crap, hip hop/street, ethnic, stretch and tone, gyrokinesis , pilates and yoga, as well as workshops, workshops, educational activities, performances (depending on the schedule) and, of course, a certificate of completion of the course.
Approximate cost of the program for 4 weeks $ 4.500 - with the study of English (20 lessons per week) + daily dance lessons Steps on Broadway Dance + accommodation in a residence in Manhattan + extra.
fees: insurance, materials, transfers, registration fees. Details can be found in the company "SVT-Center". Call 560-065
Rennert is located in the heart of Manhattan, close to the subway station and the city's main attractions. Rennert is one of the world leaders in international language training.
Rennert has a variety of English language courses and programs to suit any need in any area of linguistics: reading and writing, listening and speaking, speaking.
TRAINING PROGRAMS
Rennert offers a wide variety of courses and programs to suit all tastes: English courses from beginner to advanced, English for specific purposes such as Business English, elective courses, American Culture - and many others.
- Standard English course - 20 hours per week;
- Preparation for TOEFL/ IELTS exams;
- Business English;
- English + dancing.
- Spanish courses on request;
STANDARD COURSE
Training program - 20 hours per week.
Exclusive Intensive English Program (IEP) The exclusive IEP offers language instruction based on a holistic approach that focuses on the development of the four skills: speaking, listening, reading and writing. The individual courses that make up these programs contain pronunciation exercises, vocabulary building and dialogue skills development using knowledge of grammar in context. Elective activities such as visiting museums, visiting historic sites, learning about New York life, and going to the movies help reinforce and develop the skills learned.
Program options:
- Starter
- II Medium
- III High Medium
- IV Advanced
Development of basic communication skills and learning the basics of English grammar. You learn how to make simple and then more complex sentences and build vocabulary by participating in small group discussions.
The course is aimed at developing an understanding of the relationship between grammar and meaning.
You learn to take part in large group discussions and make short messages. Developing writing and speaking skills.
You develop communication skills with native speakers. Improves oral and written literacy, improves reading comprehension.
You continue to develop fluency in speaking, reading and writing. You achieve excellent mastery of accumulated vocabulary and idioms, which allows you to participate in class-wide discussions. You improve your grammar skills, develop reading responsiveness, and develop active listening skills.
1. Advanced Courses
These courses are designed for advanced ESL students. The main goal of the course is to teach students with an appropriate level of prior preparation to perform learning tasks related to reading, writing and speaking. Students learn to make oral presentations, take notes, independently control their written and oral speech, write essays, essays and simple academic papers, and develop critical thinking.
The course is aimed at improving the level of language proficiency for further study, as well as professional and career growth.
2. Intensive pronunciation and accent reduction course.
Learning the sounds, rhythms and intonation of North American English. This course at our multimedia computer lab will help you improve your pronunciation and get rid of your accent. In the lab, we analyze speech from American films and music to give you authentic samples of everyday English. Then, on computers, you will analyze your own speech by recording your voice, watching its image on the screen, comparing the recording with the speech of a native speaker, finding errors and correcting your speech.
Program duration: Eight weeks; classes for four hours a day five times a week.
TOEFL/IELTS PREPARATION
This course prepares students to take the TOEFL/IELTS exam in two ways: computer-based or paper-based.
During the classes, all the components necessary for passing the TOEFL / IELTS exam are deeply and comprehensively worked out: written structures (grammar), reading, listening and writing essays. Through discussion, a technique and strategy for passing the exam is developed. Students get free access to computer labs to practice passing the TOEFL / IELTS exam.
Program duration: Ten weeks (four hours per day, five days per week).
BUSINESS ENGLISH
This course includes classes in American business and business practices, writing business documents, conducting business conversations, and preparing oral presentations. In the course of classes, the vocabulary expands and the correct grammatical skills are formed. The course develops critical thinking by discussing and analyzing the success stories of various American companies and how they relate to the business success of other companies around the world. Students visit the financial and business districts of the city to better understand and feel the spirit of the business environment.
Program duration: Twelve weeks (four hours per day, five days per week).
ENGLISH + DANCE
This course includes English lessons 20 hours per week + dancing lessons on Broadway 7.5 hours per week. Dance styles are different: ballet, hip-hop and others, those who have been dancing for a long time and those who have just started on pointe can learn to dance. A flexible schedule of classes will not disrupt the process of learning English, but will only contribute to the acquisition of new friends and acquaintances in the creative field.
COURSE FEES
(To calculate the total cost of the course, select the number of weeks of study and multiply by the price per week)
Prices are in USD
| 3 | 4 | 5-8 | 9-12 | 13-19 | 20-29 | 30-39 | 40+ | |
| Standard course | 289 = "Center"> | 275 = "Center"> | 248 = "Center"> | 223 = "Center"> | 90 90 90 90 90 90 90 999 999 = "CENTER"> 999 = " 198 ="center">187 ="center"> | 169="center"> | ||
| TOEFL iBT/ IELTS Exam Preparation | 289 ="center"> | 275 ="center"> | 248 - ="center"> | - ="center"> | - ="center"> | - ="center"> | ||
| Business English | 253 ="center"> | 235 ="center "> | 209 ="center"> | 189 ="center"> | 179 ="center"> | 169 ="center"> | 159 ="center"> | 149 ="center"> |
, study materials, airport transfers, search for accommodation from school, air travel and others.
ENGLISH + DANCES
Rates in USD
| Hours per week ="center"> | 4 weeks ="center"> | 6 weeks ="center"> | 8 weeks ="center"> | 10 weeks ="center"> | 12 weeks ="center"> | 24 weeks = "center"> | 48 weeks ="center"> | - ="center"> |
| 27.5 ="center"> | 1.300 =" | " | 2.392 ="center"> | 2.790 ="center"> | 3.348 ="center"> | 6.216 ="center"> | 11.472 ="center"> | - ="center"> |
LIVING
1. Living with an American family.
Clean, comfortable private residences in safe, conveniently located areas of New York.
