Sancti Spíritus dances casino and in what way! (+photos) – Escambray

Eight casino wheels with 116 dancers was the contribution of this province to Cuba to establish the National and World Record in Casino Wheels

When Anay Valdivia Jiménez turned her house into a space to dance in Iguará, a community of tight hugs because, even if the same blood does not flow, it is family, no one raised their eyebrows in astonishment. For many days until almost early morning, the house and its surroundings were made small by those who walked along its corridors or laid eyes on the enthusiastic group. It even happened that, on one of those nights, when asking about María, one of the neighbors, they claim that several voices responded with a very own rhythm: “dancing, mom dancing casino.”

“They were wonderful days and also a little anguished,” says the young woman from Yaguay. We would meet after completing the work day and some work in the Keys. But, we did it to, firstly, support Cuba’s initiative to have the record for the largest casino wheel and, secondly, to encourage the rest of the community to dance something that identifies us as Cubans and not other trends that are already by force. “They have crept into our journalism.”

He speaks and from within you feel the same force with which Renovación salsera, the casino wheel of his Yaguayan town shook the Serafín Sánchez Valdivia park, in the city of Yayabo. Along with another seven dance groups, they contributed from here to Cuba to establish themselves with the National and World Record in that standardized cultural expression.

“In general, in the 116 dancers who gathered for this purpose in Sancti Spíritus, coming from all the municipalities with the exception of La Sierpe and Taguasco, we were able to appreciate elegance and good interpretive style,” commented Luis Orlando Sotolongo Hernández, who served as observer. of the event-. In addition, they showed a correct execution of the basic steps of the figures that are typical of the casino and, in the end, all of this undoubtedly contributes to protecting the dance and ensuring that it lasts in new generations. It was very satisfying to see teenagers inserted into the wheels. That tells us that we do not let that Cuban dance die.”

One of the fresh faces who, more than her feet, left the natural energy of her 14 years on the improvised Yayabera dance floor was Trinidadian Lianne Naranjo Puerta, who arrived at the casino practically since she opened her eyes as the daughter of a dancer.

“But, at the Julio Cueva Díaz Culture House I learned more – he clarifies more with his face than with words. For many people, the casino is easy, but the basic steps become more complex and I really like that. At school, when they have seen me dance, they ask me how it is done, where I learned and I teach them. Although, if you ask me, I enjoy dancing it as much as reggaeton.”

Being one year younger and also with dancing as her DNA, Jésica Garrido claims that she fulfilled one of her dreams when she felt the adrenaline rush through her body as she followed the voice that announced the step to be taken.

“I want to be a dancer and not because my mother is one and we are always dancing but because I love to defend with style the Cuban dances that we have been taught at the House of Culture. I already know all the salon ones and others. I think that to be truly Trinidadian you have to dance casino because there many people dance it and very well.”

The casino is home

Descended from the complex process of transculturation, ring dancing made its entry in Cuba in the 1950s. The first steps were marked to the rhythm of son montuno, guaracha, danzón and chachachá. And, according to the bibliography of the time, it became popular in the then recreational societies with large dance spaces. One of the most popular at that time was the Club Casino Deportivo, in Havana, hence it was common to hear “let’s dance like in the Casino” and, later, “let’s dance a casino wheel.”

As time went by and with the arrival of salsa as an accompaniment, this dance expression became more complex. Thus, countless picturesque and humorous names were born for the dance steps that are “sung” by one of the dancers. “Dame, una”, “Dos con dos”, “Pelota”, “Mata la cucaracha”… ensure that more than 300 figures allow the dancers to demonstrate their skills during the time they make the dance floor their own.

“The National Council of Houses of Culture has had a projection since the previous year with the rescue or revitalization of the casino, through the system of all its institutions,” explains Sotolongo Hernández, a specialist in work with the movement of amateur artists. Hence, here in Sancti Spíritus, a work strategy has materialized from a technical-methodological point of view to prepare our dance instructor teachers. We promote creation and appreciation workshops because those who cannot dance can learn to appreciate it. And, like any human work, we are not satisfied, but we must continue because we say that this is one more way to strengthen national identity.”

Yuriel García Cabrera knows well what dancing casino means for a son of this land. She learned as a child in the rural Piñero community. The popular festivals of that Yaguayaje town found in that dance expression more than a diversion a space for socialization.

“I saw the adults and repeated their steps. Although there is still a strong presence of casino dancing in the ring and as a couple, we cannot cover the sun with a finger and not recognize that the younger generations are more interested in other expressions such as reggaeton or trap. But, thanks to the work of the House of Culture, Iguará and the Salsa Renovation wheel, we have managed to get them to come and learn about a dance that we have to defend at all costs. For this reason, I believe that actions such as those carried out to have the Record serve as motivation for them and, of course, for us casino owners.”

The emotions that Taimí Arredondo Pérez from Sancti Spiritus felt transported her back to her time as a high school student. She remembers that they stole school recess hours to take a walk.

“What we experienced in the park is unique. Not only the casinors who went out to dance but the public who accompanied us. We have to teach that tradition from its history, the steps and how it is enjoyed because in the end that is what it is, a joy when dancing as a couple or in an arena and, above all, for its added value because it is done thanks to Cuban music.”

Without a doubt, the day of May 5, 2024 marked the calendar of the history of this nation. Not only because it placed Cuba in the center of attention by setting a world and national record with 142 Ruedas and 2,946 dancers throughout the country dancing casino simultaneously, but because it confirmed that, despite many influences, that dance expression remains vital. And what to say in Sancti Spíritus, where it is danced and in what way!