When you watch the dancing in this film you're 'witnessing something ancestral'
is the amazing choreography. In many musicals, dance numbers can feel like a way to just progress through time faster, yadda yadda-ing through smaller parts of a story. But the dancing forwas created specifically to honor the art of dance itself and the cultures that made modern Latin dance what it is today. The people in charge of that Everest-sized task were lead choreographer Chris Scott and associate Latin choreographers Eddie Torres Jr. and Princess Serrano.
the style predominantly featured throughout the film. When I asked specific questions about salsa as a style, Torres Jr. quickly corrected me and explained that what the average person describes as salsa really isn’t salsa at all. “Salsa is not a rhythm, and it’s not a dance.to help market music. The general public lost a lot of knowledge when suddenly all Spanish music was just labeled ‘salsa.’” Torres Jr.
One pivotal dance number comes after the film’s emotional climax, when the main characters gather, begrudgingly, for an impromptu Carnaval Del Barrio. This number, in particular, features vignettes of traditional dances from the Dominican Republic, Puerto Rico, Cuba, and Mexico interspersed with New York-style dancing.
“When it comes to dance, it’s like dialects,” Torres Jr. said, recalling the single grueling day that the crew had to film Carnaval. “We’re telling a story through movement as opposed to a few professionals learning a few steps. That’s what setsapart. When you’re watching what everyone is doing in the Carnaval scene, you’re witnessing something ancestral.
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