Dos Santos Anti Beat Orquesta. Photo Parker Asmann
It’s not every day that you get to take dance lessons before seeing a world music show, but the Old Town School of Folk Music’s Global Dance Party is not your typical event. Wavy lights of blue and pink dimly silhouetted on the hardwood floor invited those in attendance into a large ballroom where an unconventional concert going experience was about to unfold.
Chicago’s own Dos Santos Anti-Beat Orquesta returned for the second year in a row to the brand new Myron R. Szold Music & Dance Hall to close out this season’s series of the Global Dance Party, a new Friday night series at the Old Town School of Folk Music that offers an exciting opportunity to experiment with dance styles from around the globe. And on this particular Friday night, Cumbia was the dance of choice.
Cumbia music and dance is said to have originated in Colombia during Spanish colonial times, specifically in the Caribbean coastal town of San Basilio. At times noted as the mother of all Latin music, Cumbia has heavily influenced other styles of song and dance including Salsa and elements of Samba, acting as the bridge between the two. While Cumbia can be traced back to a specific country, the members of Dos Santos have created a gritty, grassroots style of Cumbia that encompasses the many styles of the song and dance that are performed throughout Latin America.
Impacted by Puerto Rican, Panamanian and Mexican styles of Cumbia, Dos Santos has also seen their music develop a unique style through living in Chicago and being involved in Chicago’s Latin@ community. In addition to touches of jazz, R&B, soul and traditional Mexican folk music, Dos Santos represents the diversity of the current world we live in. Through taking certain aspects of many different styles of Cumbia, the type of sound that is created is one that embodies the many different cultures and traditions that Latin@s embrace today.
Before any music was to be played, the audience needed a small tutorial to get them into the Cumbia mindset. A half hour before the show started, a member of the school invited those seated around the ballroom to venture to the center of the floor for a small dance lesson. While at first only two brave individuals stood alone on the dance floor, they were slowly joined by the others in attendance. Learning a new dance can surely be intimidating, but two simple three-step moves were introduced to give everyone just enough skill to participate throughout the show.
If there’s one thing that’s an absolute necessity when dancing Cumbia, it’s to be loose and make sure your knees are bent and your hips are ready to sway. Cumbia isn’t designed to be performed alone and within minutes everyone was partnered up and eager to learn. Joined at the hands, the first move was a simple sway that involved dropping your right foot back while swaying your hips, tapping your left foot for the second count and then returning to the starting position for the final step. After a few run through the second move was introduced, this time a bit more intricate, at least for beginners.
Instead of swaying back and forth, this next move had both dance partners mirroring one another as they moved to the left and then to the right. One, two, three and pivot. One, two, three and pivot. After practicing the second move a few times back, the ultimate challenge was then placed upon the audience: a series of steps that combined the two moves. With laughter and applause encouraging each dancer to let down their guard and embrace the experience, the clock approached 9:00 p.m. and everyone in attendance was formally ready to partake in the global dance party.
As Dos Santos Anti-Beat Orquesta took their places on stage, the dance floor remained empty as the new learners of Cumbia timidly found comfort around the perimeter of the room. However, with a visual confirmation of readiness from each member, the band jumped right into their first song and the room erupted into a lively town square of sorts full of music and dancing. In an instance every insecurity that had been built up was torn down and nothing else seemed to matter other than the Cumbia being sung and danced.
Music and dancing have a powerful way of connecting individuals who may not have otherwise crossed paths. It seems that nowadays everyone is so set on pointing out the things that make us different that at times we seem to forget how easily we all can be connected. It no longer made a difference where you were born, what language you spoke or what religion you practiced. All that mattered was the happiness and easiness that was felt by those losing themselves in the Cumbia style of dance and song, whether for the first time or like many times before.
After releasing their debut full-length album this year, Dos Santos has remained focused coming into the end of 2015 and looking ahead to 2016. On stage there was a cohesiveness among the members that’s not always easy to find in a band. After having recently returned home from performing and recording a handful of new songs in Austin, Texas, the band members seemed to be rejuvenated and happy to be back in Chicago. With Peter Vale on the congas and Daniel Villarreal Carrillo on the drums holding a steady beat, Jaime Garza kept the rhythm going on the bass guitar while Alex Chavez and Nathan Karagianis traded slick sounding guitar melodies back and forth with Chavez occasionally reaching back to his organ to add some extra life. After a strong initial set, Dos Santos took a short intermission before coming back on stage to properly end the evening.
As 2015 comes to a close and 2016 is soon to be upon us, the Old Town School of Folk Music’s Global Dance Party Friday evening was a heartwarming reminder of Chicago’s true beauty. Despite social unrest spanning through much of the city for good reason, Szold Hall acted as a place that embraced the diversity of Chicago’s many cultures and traditions, uniting all types of people for a night of Cumbia. We’re at a time where people need to come together, and maybe dancing the night away to Cumbia is the answer.
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Parker Asmann is a 2015 graduate of DePaul University with degrees in Journalism and Spanish, along with a minor in Latin American and Latino Studies. He is currently residing in Chicago while focusing on issues of social justice and human rights. He is a member of El BeiSMans Editorial Board.
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