I feel it's necessary to ask this since they:
- share a common ancestry, being descended from what is sometimes referred to as trova (troubadour) music in Cuba, and música de guitarra (guitar-based music) in Spanish Dominica*;
- owe much to the work of one man - Sindo Garay;
- rely on the martillo (hammer) rhythm of the bongó, not the conga, as their main propulsive element; and
- are slow to mid-tempo, of broad sweeping phrases with a late attack.
Each dance is of its time - that is the social, political, economic conditions must be right for it to thrive. For example, salsa would not likely have occurred in the courts of King Louis XIV despite the Sun King's penchant, nay, necessity for dance:
- Individual partner dances did not arise until later in the colonies, when plantation owners did so to express their independence from the crown. Until then, people kept step with one another in court.
- Military defeats in Islamic Africa and the fear of slave revolt led to suppression of influences from the 'heathen' Dark continent - including extensive syncopations and polyrhythms in music.
- Overt hip movements were considered lascivious and publicly indecent.
And as for the romantic musical expression, well... would people still dance to its soft soothing tones if bachatas de desparecio (thematically disparaging of women) were played? Maybe not in the Spanish-speaking countries, where women have begun to take some stand against similarly misogynistic expressions in reggaetón. But plenty of others are indifferent, and would dance anyway. They'd dance in Asia, oblivious. The attribute of being romantic would seem to owe its weight to music, with lyrical content as modifier. So how might one physically interpret this as a dancer?
The bolero does not have the same chequered past that the bachata has - its cultural history is clothed with more gentility and thematic consonance musically and lyrically. In places lived in by both, the bolero holds its own; described indicatively by Bosco as 'In America you play when the lights go down and the floor is packed with young and old alike.'
At least for now.
But are the people on that floor executing a series of movements to a rhythm; in a manner discrete enough to qualify as the ritmo of an actual genre? Or are they just shuffling about as they do in 'smoochie' sessions here? Could the latter form be the definition a social bolero - simply swaying to bolero music as opposed to dancing contratiempo? I suspect that the answer lies towards the easier end of in-between.
I got a hurry-up from him:
José María Bustos:
Hey, my man!? Check out my pics of the MWSC and when you have a minute try to reply to my question about why Asians don't dance boleros and do they in Europe? In NYC its the most romantic thing about Salsa!! Y gue Dio's te tenga en La Rumba! B.
Bro, I hope you've gotten your answer.
I myself can't say how long the grace of bolero will last in a space that bachata means to fill. With no premier bolero dancers of international repute to show us how, it can't be far away. But isn't it interesting to see how a cultural insider considers the bolero to be a part of salsa?
(On to Part Three.)
*yes, a 'History of Bachata' is being planned for the salsa website.
** yes, there will be mention of this when I update the 'History of Salsa'