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Romance De Fuego Conjunto Casino. Love Casino Topsy Crettz. Wanna See U Dance Nuki. Hard to find as they were, people outside of Cuba were not watching them. And also many of the videos I have found are fairly recent. At first, I thought his form of dancing was a little outdated. Compared to the videos of Cubans dancing I posted above, this looked a little different—more polished and more formal, if you will. But looking past that, I did see a resemblance to what I remembered from Cuba.

It was casino. I could look at it and say that this had nothing to do with Salsa Lovers. Then I learned that the woman dancing with him was Japanese, which suggested that this guy also had the tools to solve the problem that I had perceived with Cuban instructors in Europe, because even if she was non-Cuban, she exhibited none of the lack of fluidity I had seen from the non-Cuban followers helping Cuban instructors in Europe.

So, here was a guy who apparently had an answer to my frustrations and none of the shortcoming which I had seen with previous casino instruction. On top of this, here was a guy who was also unapologetic about the way he called things. And, finally, there was a method to what he was doing: MCC. So I paid for my lessons—I found YM when there were only two lessons available—and added what he taught to what I already knew.

Now, as I said in the beginning, I will not provide a review of his method or anything of the sort. Say what it is, and what it is not. A method, as defined by any dictionary, refers to a systematic procedure to achieve a certain end result. It seeks to tell you what you need to do in order to get to where you want to go. In other words, how and where you need to step in order to make a certain turn pattern come out.

The idea here is that, by following this roadmap, you will be able to replicate what casino dancing is at its core. So, MCC is not a dance. The dance is casino. MCC is simply a method for learning said dance. This is why I went I wrote an extensive explanation of the state of casino dancing outside of Cuba. This is, of course, problematic.

Think of writing a research paper while only consulting one source. So, for some people who strictly follow this method, even the Cubans themselves are not enough now. The other thing that I have observed is that, because YM was the person to systematically teach to step forward in casino outside of Cuba , to many people, the forward-step has become a sort of staple for his method.

But I will say this: to teach to step forward when dancing casino is not to teach to dance casino following the MCC; for that, you need to know and consciously follow the choreographic map of the method. To teach to step forward when dancing casino is to teach casino. The following video is a good example of this. Here, at , you can clearly see that when they start the Enchufa, she is stepping forward.

But at , when they explain how the Enfucha begins, she steps back! Again, folks, casino is danced in Cuba by predominantly stepping forward. YM just happens to be the person outside of Cuba who was most vocal in reminding us of this. Teaching to step forward is a general principle of casino. If you use it when you dance, teach it! If anything, this post may induce people to check out MCC. At any rate: learn from whomever you want—and I suggest to learn from as many instructors as you can so that you can form the best opinion that you can.

After all, there were people outside of Cuba before YM came along who were already implementing the same principles which characterize the casino that is danced in the island and which I remembered. Not to mention that there are thousands of Cubans in the island who learned to dance casino without the help of MCC.

And again, this is not to discourage people from trying the method—though I know some of you will read it like that. These things are facts. Daybert, thank you for this post. Finally, I have something to refer to in order to explain my frustrations with how casino is taught and what the MCC is.

Those who stumble onto the site and are considering joining MCC, let me save you some time and really just repeat what Dayber says. The pros of MCC are its methodological standards, reproductability, and that it attempts to actually teach with a basis of casino rather than salsa.

Sorry for not making that more clear. I think it actually would be helpful for casino teachers and dancers to have an objective evaluation of the MCC. The MCC certainly could be evaluated as a teaching tool without regard to the personalities involved in the Foundation Casino Para Todos. No reasonable person could disagree. The fact of the matter is that in Cuba, there are lots of terrible casino dancers. Obviously right? Not all Americans are great at basketball. For example, In this post you allude to backstepping.

You, in other blog posts have argued against backstepping. You have also pointed out that there is no question that some Cubans backstep. You can argue about backstepping and shifting body weight backwards as in American salsa or just a backstep without a weight shift in order to drive forwards which I think is more Cuban. Anyway, there is no question that some good dancers in Cuba that backstep as per the Santiago de Cuba rueda video posted above.

I think that I would say I think that you would agree that they are good in spite of their backstepping. To me, this is exactly the approach we should take to all aspects of Cuban dance. There are things to be emulated and things definitely not to. I think the MCC can provide part of that. So you ask in your final statements whether we want to learn a Cuba dance or whether you want to learn a preconceived notion of what that dance is.

I ask you, are those the only choices? Your blog which I view as a point of light in all the polemical darkness would be a tremendous venue to discuss this. I hope this is not your last post on the MCC. I agree that in Cuba there are a variety of casino dancers, some good and some bad. No one would disagree with that. And of course, one is entitled to like or not what they see in those dancers.

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