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  • La Epoca Films & "I AM MAMBO" present
    W ORKSHOPS H OST A P UBLIC S CREENING O FFICIAL B IOGRAPHY OF D IRECTOR J OSUE J OSEPH O FFICIAL B IO OF B ASSIST A LFONSO P ANAMA O FFICIAL B IOGRAPHY OF D ANCER S ARA K RAWCZYK C ONTACT U S AND T HE B EGINNINGS OF S ALSA A RTICLE T HE S ALSA B ACHATA R EGGAETON K IZOMBA A RTICLE Trailer for

    Original URL path: http://www.laepocafilm.com/ (2016-02-16)
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  • La Epoca presents a Josue Joseph Collection
    version 80 minutes T his is the newest film to our series of films This feature length documentary film focuses on the controversial taboo topics of Kizomba and Semba as rhythms and dances Many salseros speak negatively about Kizomba but in fact most do not realize that it is not Kizomba that they do not like but instead a new fusion being called by the same name This film provides information to fill in the blanks The film features interviews with some of the international artists including Kwenda Lima Eddy Vents Petchu Ozy Shyne Sara Lopez and several others who contribute TRAILER for Part IV La Época Salsa 50 Years From Now About PART IV La Epoca Salsa 50 Years From Now July 2015 Producer s Cut 480p mobile version 70 minutes T his is the newest film to our series of films This feature length documentary film focuses on the controversial taboo topics of the current international dance scene plus a very special section that goes into deep detail of the instrumentation in a typical Afro Cuban orchestra This is an interaction section where we walk you through two separate songs breaking them down into fine detail by instrument The film features interviews with some of the artists who have long been on our agenda including outstanding instructors Franklin Diaz On2 Alien Ramirez On2 Luis Vazquez On1 Alberto Valdes Cubana Tania Cannarsa On2 plus Eddie Torres Frankie Martinez Adolfo Indacochea and Oliver Pineda TRAILER for Part II Re Edited La Epoca The Lost Rhythms in Salsa About PART II Re Edited La Epoca The Lost Rhythms in Salsa 2013 Producer s Cut version 97 minutes This film is a magnificent world class re edited presentation of in depth technical studies on the differences between the 2 3 Clave versus the 3 2 Clave Afro Cuban musicality and the distinguishing elements of five rhythms under the umbrilla term Salsa which include the Mambo rhythm the Son Montuno Guajira Danzon and Guaguanco rhythms This re edited version has new music and 40 of this re edited version has NEWER footage This one of a kind presentation also touches upon the differences between Salsa On1 Salsa On2 Classic Palladium Mambo and In Clave Palladium style dancing and a special high lighted interview section with most of the top international instructors performers including Eddie Torres Frankie Martinez Griselle Ponce Adolfo Indacochea Oliver Pineda Johnny Vazquez and others Note Film Part II Original La Epoca The Lost Rhythms in Salsa 2011 is a near 120min film which features much more footage of interviews with the old timers and more canned footage that was used to encourage social dancers to dance freely The original is packed with musicality but on an elementary level as an introduction to the re edited version now released Some of the Part II Soundtrack LISTEN Veras Guajira LISTEN Oye Mi Guaguanco Guaguanco LISTEN Siga Tocando Este Tumbao Mambo LISTEN Tu Forma de Capturarme Guajira Click here to read a testimonial

    Original URL path: http://www.laepocafilm.com/sales.html (2016-02-16)
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  • Master-Classes & Workshops
    distinguish the musical elements in the Mambo rhythm and how to interpret them through the space within the music Dancers learn the different between the 2 3 Clave versus the 3 2 Clave how to isolate particular elements of songs which provide insight as to how to better understand the unique components of Latin music Son Montuno Old School Son Montuno Musicality and Dance Workshop Learn the musicality of the sweet Son Montuno rhythm and dance During the first 5 10 minutes of the class Josue Joseph teaches dancers how to distinguish the Son Montuno rhythm and the difference between the Son Montuno dance and the Cha Cha Cha dance Dancers also learn the basic principles of the Son rhythm and how it is sometimes partnered with the Rumba style to influence other styles The remaining 45 minutes teaches dancers how to use the space in slower music and tempos to create visually melodic tones to compliment the music Many present day dancers are intimidated by slower tempo music perhaps because they do not know how to use the space in the music Dancers of today are so accustomed to very fast music in which patterns and combinations are their focus instead of executing movements across a broader span of time in the music Many dancers will clear the dance floor when a slower song is played Space in the music does not mean that there is less happening in the music and dance but rather the contrary This Son Montuno class teaches dancers to use the space in the music through body isolation and musicality Partner Styling Upper body Movement Dance Workshop For Cubana dancers On2 dancers On1 dancers Scenario A a man is dancing with a lady after a few spins the music changes and he lets go of her hands and begins to do his shines and solos She has no idea what to do with her hands she gets nervous and begins to feel insecure so she rushes back to partner work Scenario B a man is dancing with a lady after a few spins SHE wants to break free and do some shines some Pachanga what ever BUT he won t let go of her hands to give her that freedom What s the problem A lack of proper training and knowledge in musicality knowing WHEN to do shines and lack of knowledge is HOW to solo HOW to style WHEN to style This class is devoted solely to giving both the men women tricks to add to their arsenals of movements to apply on the dance floor Old School Cha Cha Cha Old School Cha Cha Cha Musicality and Dance Workshop Most dancers of today are under the impression that Cha Cha Cha is a rhythm and a dance in fact Cha Cha Cha is not a rhythm but instead is a dance and a type of orchestra arrangement There are several rhythms to which one applies the Cha Cha Cha dance which include

    Original URL path: http://www.laepocafilm.com/workshops.html (2016-02-16)
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  • Host a Screening
    Przemek Mek Wereszczynski six workshops plus an acoustic show with live acoustics music and movement dance 2 Skype hosted Screenings Josue Joseph greets the audience via Skype before the screenings begin Some schools find it in their best interests to hold public screenings of our films followed by their own parties without the need for the presence of producers This way schools can organize their own program and instructor can teach as they feel best for their students 3 International Salsa Congresses Festivals La Epoca has been featured in many international congresses and festivals with our award winning films as the center piece or classes have been taught and well attended Some of these congresses festivals include Istanbul Turkey Split Croatia Bachaturo in Warsaw Poland Berlin Germany Budapest Hungary and Timisoara Romania New York Chicago Miami Los Angelens and many many more Studios Organizers please contact Natalja Wiczonowska SCREENINGS APPEARANCES Upcoming Screenings Shows Performances Workshops 15 17 July 2016 Gdynia Poland Baltic Palladium Mini Congress 08 10 July July 2016 Sligo Ireland Sligo Mini Congress II 15 17 April 2016 Bucharest Romania History of a Lost Love Dance Festival 20 22 November Gdynia Poland La Época Weekend 16 18 October

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  • Official bio of Film Director, Music Producer, Master-Instructor Josue Joseph
    body isolation found in Rumba Although he is familiar with On1 and On2 of present day Joseph s style is Classic Mambo and In Clave Palladium Mambo which incorporate Rumba movements and styling Old School Mambo Rumba Guaguanco Son Montuno Old School Cha Cha Cha Old School Pachanga Bachata and Bachata Son are among the dance styles in his arsenal He has been presenting his films and teaching professionally for a wide range of audiences on both sides of the Atlantic and for multiple cultures and languages He has included in his films and program other world class artists including Pedro Cuban Pete Aguilar Eddie Torres Frankie Martinez Griselle Ponce Adolfo Indacochea Oliver Pineda Johnny Vazquez Melissa Rosado Jimmy Anton Delille Thomas Freddy Rios and Mike Ramos and many others He is also famous for founding the world s leading musicality online classes under the La Epoca umbrella called Musicality Online Privates His two world famous courses are Musicality Clave and Recognize the Rhythms He focuses his intense teachings on understanding the rhythms of Latin music clave syncopation and how to respond to music according the rules of traditional Latin music At congresses and festivals he also teaches dance classes on Mambo Guaguanco Son Montuno Son Cha Cha Cha traditional Bachata Cuban Tango and Pachanga Skills such as body isolation old school styling and Rumba Son are prominent in his style Joseph has presented and taught in New York Chicago Miami Los Angeles and Amsterdam Berlin Budapest Istanbul London Minsk Prague and Bulgaria Croatia Poland Romania and Ukraine among many other cities Scroll down to continue reading bio Josue Joseph New York and Sara Krawczyk Poland photographed in Warszawa Poland BACKGROUND Mambo Legend Alfonso Panama He is a son of Mambo Legend Alfonso Panama a semi retired bassist of the New York mambo craze Palladium Ballroom s top orchestras and artists including Tito Puente Celia Cruz Arsenio Rodriguez Machito Johnny Pacheco and many others and the substitute bassist of Israel Cachao Lopez He began formal piano training at the age of five focusing on music from the classical and romantic eras such as Beethoven and Tchaikovsky and at the age of 14 he began composing his own piano sonatas During his adolescent years he was exposed to the influences of his father s famous Mambo musicians and dancers such as Tito Puente Israel Cachao Lopez Celia Cruz and Palladium Dancer Pedro Cuban Pete Aguilar His father s career gave Joseph according to several online interviews from various sources the platform upon which to found a world famous educational program which includes dance instruction public seminars on music and dance and musicality and several feature length documentaries which document the history and progression of Mambo Salsa music and dance which have earned international exposure titled La Epoca A combination of his father s contacts which revealed a collection of legendary artists and Josue s musical and dance training as well as years of training in photography video and music production were

    Original URL path: http://www.laepocafilm.com/bio_Josue_Joseph.html (2016-02-16)
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  • Sara Krawczyk - Official bio
    On1 Son Montuno bachata ballroom broadway dance oriental dance modern jazz folk dance hip hop contemporary dance During her career she has been trained or directed by international instructor Josue Joseph New York and Polish artists such as Tomasz Gol biowski Anna Nowak Marta Adrian Dobrowolscy and Lukasz Ra She has danced for theaters and venues owned by Piotrka Plew Jan Korwin Kochanowski and Tomasz Gol biowski In addition to her current acting role on film Sara has extensive experience which includes television and cinema commercials and stage acting She devoted over half her career to acting in theatrical plays and musicals including the respected Spoon River Umarli ze Spoon River The Phantom in the Kitchen Upiór w Kuchni SPOTblok Cracow on the Road Krakowskie W drowanie The press Fotka Like Puzzle Like Child Dziecko Jak Puzzle The Little Matchgirl Dziewczynka z Zapalkami Sara Krawczyk Poland Josue Joseph New York photographed in Warszawa Poland by Robert Malecki AWARDS CREDITS In 2011 Sara earned a masters degree in Biology with a specialization in Chemistry Natural Science from the Pedagogical University of Krakow Sara has performed in several award winning plays and theatrical performances in Poland Josue Joseph New York and La Epoca principle partner Sara Krawczyk Poland photographed in Krakow Poland by Rafa Paulina Przybytek Suder PROFESSIONAL ACTING MODELING CAREER Filmography Coming soon International Congresses Festival Seminars Presentations 2014 Kolkata International Dance Festival India 3rd Istanbul International Dance Festival Turkey Wieliczka Underground Salt Mine Festival Poland Frankfurt Minikongress Germany Dublin Unplugged Ireland Croatian New Year s Eve Festival Croatia 2013 Croatian New Year s Eve Festival Croatia Bringing New York to Wroclaw Poland Szczecin Mambo Salsa Weekend Poland Bachaturo Festival Poland BIBA Festival Poland Salsa Master Camp Poland Clave Latina Festival London UK Berlin Salsa Convention Germany 2nd Istanbul International Dance

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  • Contact Us
    Contact Us Instructors Organizers please contact Natalja Wiczonowska Customer service related to products purchased delays in processing please contact customer support

    Original URL path: http://www.laepocafilm.com/contactus.html (2016-02-16)
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  • The Beginnings of Salsa
    ways We know the music We could not betray it But we should acknowledge that salsa has brought languages and cultures together and for that it has its place But it is not us we who know the music and the history According to Torres Rodriguez and his brother wrote a song titled Kiko Medina about the incident later that year in 1965 with lyrics that say I don t play like a boy so why do you disrespect me Then in 1966 Pacheco wrote a song in response called La Esencia del Guaguancó where he inserted the following lyrics Con Pacheco no hay quien pueda es el rey del guaguancó translated into English says With Pacheco there is no one that can keep up he s the king of the guaguancó Quique just after Christmas of that same year told me about Kiko Medina and he explained to me that it is a Congolese dialect Kiko and Medina are words of insult and that they matched the syllables to Pacheco s name 2 syllables for Johnny and 3 syllables for Pacheco Arsenio was known for inserting hidden Mambo legend Tito Puente messages in his lyrics That s where the struggle began Pacheco thought the music should be played differently than how Arsenio was playing it So that s what he did he created salsa by removing what he didn t like from the traditional format and replaced that with his own standards even though Arsenio was the one who invented those key rhythms and composed those very songs Torres explained Pacheco thought the music should be played differently I nternational artist Josue Joseph is the son of the legendary Palladium mambo bassist Alfonso Panama bassist of Johnny Pacheco Tito Puente Arsenio Rodriguez Machito and substitute bassist of Israel Cachao Lopez he is a film director and a producer of the award winning La Epoca a collection of his films music and teachings on the history of Latin music giving a voice to the old school and new school artists of Latin music and dance Joseph shared I think that it s important to note that there s nothing wrong with the whole umbrella thing with salsa I don t want to minimize Pacheco by any means he s an accomplished and an award winning recording artist He is a master musician and he did a lot with the music a lot of good for the general public 2010 Valdés agreed I loved him Pacheco He was my friend He is a creator He helped many to become musicians after us By creating salsa he lowered the standards of the music to make it easier for more musicians to play 2010 translated from Spanish Isaac Rosenbaum who danced at the Palladium Ballroom during the late 1950 s said that the days of Joseph s father were the good ole days before the divide between loyalists of tradition and the loyalists of money broke out It was a time when Jews Italians Blacks and the rich and poor left their problems at the door and came in to dance and to watch the greatest dancers in the world like Cuban Pete and Millie Donay The Mambo Aces and others It wasn t like it is today where dancers only dance in line forward and backward steps with a hundred turn patterns or where start up bands make a living without knowing how to play even the basic rhythms that were played during our time back then Rosenbaum said in a phone interview Rosenbaum explained that in the late 1960 s Johnny Pacheco and Fania Records in their ever living battle with traditionalists who favor rhythms such as mambo son montuno and guaguancó opened an umbrella under which they threw all the rich rhythms of Afro Cuban music He said they did it to commercialize the music for money to make it more user friendly but that in doing so the roots of the music and rhythms became of no importance and the result is that in today s society dancers are limited only to the same watered down copies of the origins Director International Instructor Josue Joseph Photo by Robert Ma ecki Poland there s nothing wrong with the whole umbrella thing with salsa Rosenbaum added There s no more appreciation for tradition Most orchestras now fill their repertoires with music by Willie Colón Hector Lavoe or any one else from the salsa era But salsa came after the mambo era during which many of the masterpieces were composed But what they don t realize is that the majority of the songs in so called salsa are only re arrangements of what the legends of the previous era wrote So what you have is Johnny Pacheco and his clan borrowed the ideas of the mambo legends the ones who have an appreciation for tradition they re recorded the originals but they left out anything that was afro or anything that had to do with Black like the basic rhythm instruments They took it out watered down copies of the origins Rosenbaum continued And now the kids and the orchestras think that these re recordings are the originals That is exactly what happened The originals come from the era before salsa We have tradition on one side and shortcuts on the other If the starting point for young men these days is with shortcuts then what you get is exactly what we have now salsa Nestor Torres agreed Today the division in the Latin music and dance scene seems to be commercialists versus old school purists commercialists prefer the format by Fania Records which was co founded by Johnny Pacheco in the 60 70 s or Salsa Romantica from the 80 s and 90 s and purists prefer old school style Latin music which is the format of percussion heavy music such as that of Beny Moré Israel Cachao Lopez and Arsenio Rodriguez There is no question according to Torres that there

    Original URL path: http://www.LaEpocaFilm.com/article_beginnings_of_salsa.html (2016-02-16)
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