The Mambo:
Today, in the dance world, one thing is certain… there is no escaping the Mambo. The extent of the Mambo's all-conquering invasion may be appreciated in the fact that its rhythm, not content in being restricted to Latin melodies, may have invaded the popular music market where they have attached themselves to all kinds of materials, much of which would be completely lost without its distinctive flavor.
Across the length and breadth of the nation, dancers who never progressed beyond the Waltz and Fox Trot are clamoring wildly for Mambo instruction. More and more, dancers are coming to the realization that here is one of the most abandoned, fun-filled crazes of any era. They are having a whale of a time, but they would undoubtedly be surprised to learn that the enjoyment they have so obviously found is said to be almost completely the work of one man: Perez Prado.
During the early 30s, the Latin dance bands came increasingly before North American audiences. Noro Morales and Xavier Cugat were among them, bringing a welter of Rumbas, Sambas, and Tangos to a delighted public. Then Mr. Prado recorded an opus entitled “Mambo Jambo” and the fun was on. Appearing first in Mexico City, he created more excitement, and perhaps for revolution, than Pancho Villa; the ensuing conflagration spread rapidly throughout the rest of those countries below the Rio Grande and now is consuming just about everything above.
Mambo music tempo is written in 4/4 time and should be played at a tempo of 45 measures per minute for examinations and competitions. The following timing is mandatory: 2, 3, 4 hold 1 – 2, 3, 4, hold 1. The Bronze Mambo music is a spot dance not moving along the Line of Dance. Steps are quite compact, with feet usually no more than 12 inches apart. Latin Hip Movement is used throughout the Mambo, unless otherwise indicated. A more staccato Hip Movement is characteristic of the Mambo.