“Dance is the mother of all languages” – R. G. Collingwood
There is a Zimbabwean proverb which declares that “If you can walk, you can dance”. After an hour of dancing with Laila Canteros, I most certainly cannot walk.
Indeed, Laila Canteros’ ‘Introducción a la técnica de danza AfroContemporáneo’ is incredibly physically demanding, yet undeniably exhilarating. She is a teacher, choreographer, performer and now pioneer of a completely organic form of movement. The mode of dance she teaches in her class is a rich blend of styles and techniques which draw from a wealth of experience and training. As a former pupil of a staggering collection of maestros of traditional African performing arts, Canteros’ vast education encompasses the dances of Guinea, Senegal and Cameroon, as well as training in danzas primitivas, Afro-jazz and Afro-Brazilian movement.
‘AfroContemporánea’ fuses the earthy, dynamic and expressive quality of these dances with Canteros’ impressive background in classical and contemporary methods. She also incorporates Técnica Silvestre (a Brazilian style of contemporary dance), a technique which she was taught by Rosangela Silvestre herself, in Brazil.
The result is the conception of an entirely new hybrid dance form, a melting pot of modes of expression. But the product is by no means a finished one. Canteros says she sees her classes as a “project”, an exploration of how this fusion can develop into “a unique language”.
Reference to her dance as a language is apt, given Canteros’ extremely vocal method of teaching. She encourages the group to communicate, ask questions and keep the beat by counting aloud. As she shows us a breakdown of each movement, she sings, illustrating the dynamics of the dance and encouraging us to understand its musicality. The rhythm is provided by two live percussionists who – helpfully – adjust the tempo accordingly when we make mistakes.
The African drums were an interesting accompaniment to the first half hour, which was a more formal session in contemporary technique. Although intended for beginners, the balletic pliés and tandues would perhaps have proved a struggle for those with no previous experience of classical or contemporary dance. However, the few students who were not as comfortable with the standard of the contemporary element were assisted, as Canteros physically moved and moulded their bodies into the required shapes, explaining how their muscles should feel in these positions.
In contrast, as we embarked upon the dance’s ‘Afro’ component, classical training seemed to rather hinder a full grasp of the required quality of movement. As a classical dancer, I was constantly told not to point my toes, to get lower to the ground and loosen my neck. The key movement was la ondulación (an undulation, reminiscent of ‘the worm’ in break dancing), and Canteros spent most of the class pressing us to “ondula más!” During one particular sequence, my request for clarification of the arms’ position was quite simply met with: “Libres.”
We were challenged. Canteros was adamant that we tested the bounds of our bodies’ capabilities. She told us to use our breath to deepen our stretches, to push a position to the point of unbalance, and she ordered the drummers to quicken the pace of the music, forcing us to do the same with our steps. The experience was invigorating, and if nothing else, ‘Introducción a la técnica de danza AfroContemporáneo’ serves as an excellent work-out.
Of course it was a good deal more than this. If you are looking to be taught a rigid dance technique in a formal manner, this is definitely not the class to attend, although advanced classes focus more on already established techniques of Canteros’ “lenguaje de danza”. The atmosphere in the studio was a celebration of our bodies’ astounding capacity for movement and expression, set to an uplifting drumbeat. Canteros would whoop and clap with genuine excitement when she saw a new take on a sequence. With every skill and style she taught us, we were free to adapt the movement in order to achieve our “greatest expressive potential”.
Although exhausting, the experience of developing as a dancer alongside the dance itself is exciting, and it would be an excellent investment to buy a month’s course of two classes per week. Even without any previous training, Laila Canteros’ class is ultimately a fun and unique experience; plenty can be gained from attending a one-off clase de prueba of such an innovative dance movement at its birthplace here in Argentina.
Classes are priced at $30 for a one-off session, or $100 for a month’s course of two sessions per week. Beginner’s classes take place on Tuesdays and Thursdays at 8-9.30pm at Mario Brava 478, Capital Federal, Sala X. To reserve a place or for more information on intermediate and advanced classes, visit http://lailacanteros.blogspot.com, or email lailacanteros@hotmail.com, or call 15-5618-1213.
