ezequiel d'león masís
Mambo, receptor of the temperatures of the best chachachá and cuban danzón, is by definition an unmistakable rhythmic proposal. Although its base is almost always a continuous or constant tempo sequence, it advances in crescendo towards a central climax, but after this climax there is only a brief pause to follow the eighth-note stream. Sometimes a pianissimo tempo and a sporadic interruption are enough to find inner silence and keep going. There we have the vocal spasms that Damaso Pérez Prado incorporated into mambo from his masterly orchestral direction.
All this, at a corporal dimension -for me- has meant entering a range of psychic gradients: step by step logic, perseverance, tranquility, parsimony, patience, playful voluptuousness and frenetism, motor scales and nuances that make me even take the entire dance room and even stick out my tongue in the best Tito Puente's style.
The entrances of trumpets and congas, the falls and the absurd and tasty lyrics of mambo, imply assuming the melodic enjoyment. There is an overwhelming discharge in the version of the "Mambo Number 26" witch Federico Fellini extended as an endless nocturnal atmosphere, without fatigue. The same thing happens with the mambo "Patricia" witch Fellini himself turned a bubble of background, timeless and conducive to the absolute self-assurance of his characters in La dolce vita.
So -on the most essential technique of the "pasito tun tún" and "grifería" - managed to enter an atmosphere of repairing fatigue, natural laughter, as if I were a character created by Fellini and I inhabit the full feeling of creating real social links from the body scream, specially if I'm in a Club Matancero (cuban music dance group in Nicaragua).
Mambo, as a dance practice, has allowed me to recognize my own body geography in these three concrete areas:
1. The load of accumulated tensions, especially at the level of shoulders and neck, which otherwise I can not digest and let them go, release or vomit from the shoulders. The shoulders assume imaginary responsibilities, classical suffering from the adult roles, but the corporal approach from mambo practice help me to destroy them with a laughter that invades the whole body. It is the conjuring power of mambo.
2. The whole capacity of circulatory movement of the shoulders and, emphatically, the hips constitute a channel of amplification of the corporal flexibility: practiced with assiduous curiosity, in the psychic plane it implies a full opening towards the diversity, a loss of ridiculous fears to the scenic ridicule of one self and others, a celebrant acceptance.
3. The possibility of relate -among its rhythmic syncopes- the lines of a story that, between a mambo track and another, dialogues with the story of other sentient bodies, neighbors bodies, close and co-creators of community.
-Important note: Of course, this type of experience can be achieved through thousands of other possible ways and it is not my intention to advocate the exclusive nature of the universe. Live the diverse ... "But give it !!!!!!!!!"! ("Pero dálo": a
Perez Prado's quote).