​Dear Dance Community,

I am writing to address a persistent misconception about the role of dance promoters in our industry. It is essential that we recognize their efforts, risks, and contributions to bring dance events to life.

One misconception is that promoters always earn more money than the artists they support. This is not true. Event promotion involves inherent risks, where profits are never guaranteed. When events fall short, promoters face financial challenges, hounding from creditors, legal troubles, and even bankruptcy. Rumors and gossip damage promoters' reputations.

Promoters invest significant time, effort, and financial resources to organize and execute events, which highlights the considerable personal and professional risks. Promoters face uncertainties and hardships, and so it is essential to recognize the complexity of a promoter's role, offer support, and foster a collaborative industry culture.

Let us create a supportive culture, where promoters are acknowledged for their role, and receive the support they need, both in success and failure. The emotional toll of being a dance promoter is palpable, and they deserve recognition and appreciation for the risks they take and the contributions they make.

However, promoters face many challenges in building genuine relationships, as even friends can sometimes turn their backs. This adds an additional layer of difficulty to an already challenging profession. Furthermore, it's disheartening to see newcomers in the industry lacking professional courtesy, organizing events that divide our community.

In conclusion, let us come together as a dance community, united in our understanding and appreciation of the challenges and contributions of dance promoters. Let's foster an environment that acknowledges their role, supports their endeavors, and offers them the recognition they deserve. By doing so, we can uplift each other, celebrate our collective achievements, and create a stronger, more empathetic industry culture.

The thought of a dance industry without promoters for a year or two raises important questions about the sustainability and livelihoods of dance teachers, performers, and DJs who rely on a steady stream of gigs throughout the year. Would they be willing to take on the daunting task of organizing festivals themselves, knowing the inherent risks involved? This scenario forces us to reflect on the critical role that promoters play in creating opportunities and supporting the dance community. It emphasizes the need for collaboration and support within the industry to ensure its continued growth and provide stability for those who dedicate their lives to dance.

As someone who has studied dance and martial arts for over twenty years, I have developed a deep appreciation for proper technique and the importance of safety. My frustration lies with so-called dance teachers who lack the necessary skills and knowledge to effectively teach proper technique and safety to their students.

I have witnessed firsthand these unqualified teachers performing on the dance floor with terrible technique, and it pains me to see them making a fool of themselves and misleading their students. It is especially frustrating when these teachers are performing worse than amateur dancers in competition arenas.

The issue lies with the fact that these self-proclaimed teachers often do not belong to any accountable organizations or lack the years of training necessary to properly teach. They may take advantage of individuals desperate to learn how to dance by offering classes in hard-to-find styles or moving to small towns where they can falsify their credentials without anyone knowing better.

As a result, individuals who are truly passionate about dance and want to learn proper technique and safety deserve better than these pseudo-teachers. Just as a customer can sue a car salesman for selling them a poor product, students have the right to expect quality instruction from their dance teachers. It is long overdue for the dance community to hold these unqualified teachers accountable and ensure that aspiring dancers receive the proper instruction they deserve.​


Rodney Rodchata Aquino, an international instructor, has 19 yrs of dance experience, including world competition judge and promoter. He has taught Bachata Dancing in 43 countries totalling 260 cities in the world including the Dominican Republic. He is ranked the 2nd most influential bachatero in the world by Dance Planet Daily (http://bit.ly/2c7eOM6). You can read his intimate interview here @ http://bit.ly/2c7ekWi

THE SIDE-TO-SEDIE TRAVELING STEPS
 The side-to-side traveling steps, also known as the Electric Slide, were never part of the original structure of bachata. These steps were not present in classical bachata or its main root, bolero. This means that the new styles that have evolved from bachata and emphasize the side-to-side steps are not accurately labeled as bachata alone.

While dance styles can evolve and incorporate new elements, it is important to acknowledge and respect the roots of the dance. In order for something to truly evolve, it needs to have an origin and transition from a root. Since the side-to-side steps were not part of the classical, original, or even traditional bachata dancing, they cannot be labeled as bachata alone.

The original structure of bachata consisted of stationary steps, box steps, front steps, back steps, side steps, forward-backward steps, and 180-degree turns. These basic steps formed the foundation of traditional bachata dancing.

To use the analogy of building a skyscraper, you need to lay the foundation first and then build the structure. Once the structure is built, an architect can design the building based on that structure. The same principle applies to dance. The original structure of bachata is like the foundation, and from there, new styles can be created and labeled appropriately to avoid misrepresentation.

It is important to set the record straight and label dance styles correctly to avoid confusion and misrepresentation. However, it's worth noting that different dance communities and experts may have varying interpretations of the origins and structure of bachata. Dance is an evolving art form, and different styles may emerge over time.

​While I appreciate moderna, fusion, sensual, urbana, and other bachata styles, it is always important to acknowledge and respect the original structure and roots of the dance.

FAKE BACHATA TEACHERS AND HOW TO SPOT THEM

Spotting Fake Bachata Teachers and Ensuring Quality Instruction

In the world of dance, where disciplines are not standardized and there is no formal governing body, it is unfortunately common to come across individuals who falsely present themselves as dance instructors, particularly with the aid of modern technology and online platforms. This is especially prevalent in the bachata community, where the absence of governing bodies has given rise to numerous pseudo-teachers claiming to offer their own unique bachata styles and promising to transform students into social dance sensations.

To help students discern genuine instructors from fake ones, here are 15 important things to watch out for:

They came out of nowhere: If no one has ever seen or heard of the teachers before, it may be a sign of dubious credentials.

Mispronunciation of "bachata": Authentic bachata is pronounced as "ba-cha-ta," while pseudo teachers may mistakenly say "ba-cha-RA."

Incorrect information about merengue: Inaccurately claiming that merengue is from Mexico instead of the Dominican Republic, its true origin, can be a red flag.

Awkward execution of basic steps: Genuine bachata does not involve side-to-side basics, even if it does, they should be able to execute it properly. So if a supposed teacher performs them or displays strange movements, it could indicate a lack of training.

Inconsistencies with basic fundamentals: A teacher who claims to have danced bachata for many years but has poor mastery of basic hip movements, stationary steps, posture, and other fundamental techniques may lack  expertise.

Misleading claims about style: Teachers who label their dance style as fusion, moderna, or freestyle but demonstrate dangerous or improper dip techniques may not possess the necessary skills to ensure both safety and proper execution.

Lack of knowledge of the "box step": A very basic step in bachata, the box step should be well-known to genuine teachers.

Inadequate technique: Teachers who display a lack of fluidity and dance as if stepping on hot coals may not possess the necessary mastery of bachata.

Confusion between so-called Modern and Sensual: Authentic Bachata movements are pretty much untraceable with the two styles mentioned. A fake teacher's inability to differentiate between these styles may indicate a lack of knowledge.

Limited understanding of bolero: Bachata has historical ties to the bolero genre. If a teacher is unfamiliar with bolero, it may suggest a lack of formal training.

Rejection of established styles: Instructors who dismiss established bachata styles, claiming to have their own unique style, often do so because they are unable to properly execute techniques associated with genuine bachata.

False claims of training with renowned teachers: When legendary teachers are asked about a supposed teacher's training, and they have never heard of them, it raises doubts about the teacher's authenticity.

Inability to explain and break down techniques: Genuine instructors are able to effectively explain and teach techniques, while fake teachers may struggle to do so.

Lack of knowledge of contratiempo and contrabody movements: Bachata incorporates contratiempo and contrabody movements, and a teacher not familiar with these key elements may lack genuine expertise.

Absence of videos showcasing skills: Genuine instructors often have videos demonstrating their expertise and teaching abilities. The lack of such videos from a supposed teacher may raise suspicions.

It is essential for students to be cautious and evaluate teachers based on their ability to demonstrate techniques, teach effectively, and engage in social dancing. Authentic instructors possess a deeper understanding of concepts such as "line," "tension," "connection," "frame," "partnering," and dance theory. As a student, it is your right to inquire about a teacher's background and qualifications, ensuring that you receive quality instruction and avoiding potential scams.

Remember, while it's important to be vigilant about spotting fake teachers, dance is also an art form that allows for subjective interpretation and different styles. Conduct your own research, ask questions, and observe a teacher's abilities before committing to their instruction, ensuring you receive genuine and valuable education in the world of bachata.