UK Salsa Enthusiasts Get Back on the Dance Floor

File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
TT

UK Salsa Enthusiasts Get Back on the Dance Floor

File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS

Salsa dancing was among the first casualties of restrictions on close-contact indoor activities during the coronavirus pandemic -- and among the last in the UK to see bans lifted.

Now enthusiasts of the paired-dance technique set to Latin beats of the same name have wasted no time shimmying back onto the dance floor.

"Go out and dance while it's still allowed, while it's still legal," dance teacher Dani K tells his students at a studio in the British capital.

At an evening class in the Angel area of north London, the 40-year-old Frenchman and his partner Sarah Rowe, 32, reflect on the difficulties of the past 15 months.

Students in plimsolls spin partners round on the dance floor, counting steps diligently and high-fiving each other after each dance.

No one wears a facemask but the studio has air conditioning.

"To be among people again, it feels great," says Vitaliy Zasadnyy, a 29-year-old systems engineer.

"Salsa is a social dance and without people, it's not really salsa -- you're dancing on your own."

Restrictions on indoor events were lifted in England on July 19, allowing a host of activities to resume, from mingling in pubs to sitting inside at restaurants.

Before then, Dani had to adapt, teaching some classes where students learned the basic steps on their own but without any contact with their partners.

"Partner dance is more difficult... because we need to touch," he tells AFP.

"It was difficult because I could feel the frustration of the students."

One of those who took the socially distanced class, Joana Castro, a nurse originally from Portugal, joins Wednesday's class.

"This is my first ever lesson touching a partner," she says, smiling. "It's hard to let someone lead, but it's so much more fun. I really enjoyed it."

Both teachers have led online classes, too, teaching people at home.

Despite the limitations of the format, Rowe calls the virtual classes "a lifeline for us mentally and obviously financially".

The couple, who are expecting a child, say that the lockdown from March 2020 was a huge blow.

"You go from 100 percent to probably 5 percent of your income, while your rent didn't go down, your expenses didn't go down," says Dani.

Rowe says she felt apprehensive about coming out for her first in-person class.

But by the end of the session, she relaxes enough not just to demonstrate steps with Dani, but also dance with students.

It's "really great to be back doing what we love", she says.



Beyonce and the Grammys: A Tense Relationship again at a Head

Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
TT

Beyonce and the Grammys: A Tense Relationship again at a Head

Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File

Beyonce is the most decorated artist in Grammys history, and her album releases have both triggered cultural earthquakes and reshaped music industry norms.

But few artists have ever been snubbed so conspicuously by the Recording Academy -- for all her trailblazing accomplishments, Beyonce has never won the prestigious prizes for best album or record, said AFP.

Once again on Sunday, she will head to the Grammys gala with the most chances to win, after "Cowboy Carter" -- her genre-spanning, sociopolitically charged conversation piece of an album -- dropped last spring to critical acclaim.

It earned her a fifth nomination for Album of the Year: in years past, she has lost to Taylor Swift, Beck, Adele and, most recently, Harry Styles.

As for Record of the Year, this is her ninth shot at a golden gramophone.

And in a glaringly consistent pattern, nearly all of Beyonce's losses have been to white pop and rock artists.

"If she wins the Album of the Year category for 'Cowboy Carter,' it would be -- for me, personally -- similar to when Barack Obama won the presidency," said Birgitta Johnson, a professor of African American studies and music history at the University of South Carolina.

To explain the parallel, Johnson said that upon Obama's victory, "as a Black person in America... I was totally shocked."

'Fault lines'

For Johnson, Grammy voters tend to dismiss collaborative projects, which is Beyonce's bread and butter: the megastar showcases Black music and traditions while elevating fellow artists.

Musicologist Lauron Kehrer seconded that point, citing Beyonce's 2015 loss to Beck for Album of the Year; the chatter afterwards was that while Beyonce worked with a team, Beck put the album together himself.

Voter "values have been more aligned with white-dominated genres like rock and alternative," said Kehrer.

"When we look at pop and R&B and other genres, they take a more collaborative approach -- but that approach to collaboration hasn't really been valued by Grammy voters."

Kehrer said Beyonce's career is emblematic of "fault lines in how organizations think about style and think about genre, especially around race and gender lines."

And though the Grammys have increased the number of contenders in the top categories -- it used to be five, was bumped to 10, and is currently eight -- in a bid to promote diversity, the change has actually meant votes are split to a degree that people of color and less conventional artists still rarely win.

"All those things are coming into play when it comes to Beyonce, this iconic global star that keeps missing this particular brass ring," Johnson said.

No 'one-trick pony'

Beyonce's work is difficult to define -- beyond the top categories, her 11 Grammy nominations this year span Americana, country, pop and rap.

She has previously scooped awards for dance and electronic music.

"She refuses to be a one-trick pony," Kehrer said.

"It does feel like 'Cowboy Carter' especially was a project to show, among other things, that she's a versatile artist who can't be pigeon-holed, and to kind of force institutions in the industry to pay attention to that."

Beyonce has thus challenged the Recording Academy to keep up with her by improving on its categorization of music to better reflect industry trends -- something that the Grammy organizers have indeed endeavored to do.

In the end, the Grammys need Beyonce a whole lot more than she needs the Grammys, Johnson says.

Her touch is vital to the gala "so they can seem not only relevant, but as inclusive as they claim they have been trying to be," she told AFP.

'Litmus test'

As for winning prizes, if that were Beyonce's primary concern, she would write music tailored for that, Johnson notes.

Instead, "she's trying to do more work around narratives and identity," the professor said.

"She's one of those rare artists who are free creatively, but also has the wealth to propel her vision."

That vision trickles down to the artists who routinely win the big prizes, Johnson said, pointing to Grammys darling Billie Eilish as an example of how younger generations take inspiration from Beyonce to work across genres.

Ultimately, even if Queen Bey doesn't need institutional approval, wins matter for fans -- and, in turn, representation.

"It's hard to get around the fact that it's such a significant recognition," Kehrer said, calling the Grammys a "litmus test for where we are on race and genre in the music industry."