Mark Lotz & Shango’s Dance

Cross-over with Afro-Cuban Religious Music (1995–2005)

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Mark Lotz & Shango’s Dance

Ensemble & Collaborators

Jazz Quintet
Mark Alban Lotz (D/NL) – Flutes, vocals
Maarten Ornstein (NL) – Clarinet, bass clarinet, tenor saxophone, tárogató
Marc van Roon (NL) – Piano (earlier Stefan Schmid)
Eric Surmenian (F) – Double bass (earlier Jos Machtel/Marius Beets)
Liber Torriente (CU) – Drums, Batá, percussion (Charanga Habanera, earlier Stefan Kruger/Lukas van Merwijk)

Vocalists & Dancers
Martha Galarraga (CU) – (First soloist of Conjunto Folklórico Nacional de Cuba)
Jazmin Saavedra (CU)
Lilian Vieira (BR)
Jorge Martinez Galan (CU)
Iwan Rodriguez (CU) (Ballet Nacional Cuba)
Ariel Bridon Romero (CU) (First soloist of Conjunto Folklórico de Oriente, Santiago)

Percussionists
Javier Campos Martinez (CU)
Jos De Haas (NL)
Jens Kerkhoff (D) (Earlier: Sjahin During, Frank van Dok)

Dancers (Optional)
Maria Estela Johnson (CU)
Rafael Castellanos Salazar (CU)

About the Project

Shango’s Dance (1995–2005) was an international collective fusing Afro-Cuban Santería music with the Lotz of Music quintet, led by flutist Mark Alban Lotz. It was an artistic cross-over of Afro-Cuban chants and percussion with contemporary jazz and improvisation, performed by some of the finest vocalists and instrumentalists from Cuba.

The name Shango’s Dance is inspired by Shango/Changó, the powerful African god of Batá drums, dance, thunder—and, notably, a legendary womanizer. The group’s name reflects the many guises of this deity.

Musical Vision

This project transformed the sacred music of Santería & Yoruba traditions, reinterpreting the ancient songs, rhythms, and dances used by Cubans to honor their West African ancestors and gods. The performances combined: Powerful rhythms and chants, Jazz improvisation, Grooves, harmonies, and melodic movement, Dancing and trance-like states.

By blending these elements, Shango’s Dance created an empowering and immersive musical experience, evoking images of African rituals while capturing the intensity of urban life.

Historical Context: The Yoruba Love Affair

The roots of Shango’s Dance trace back to an unforgettable encounter between Mark Lotz and master drummer Javier Campos Martinez in 1996. Their musical exchange sparked a creative journey, culminating in the Cuban Roots Project and a series of recordings at ICAIC studios in Havana, featuring some of Cuba’s most revered Orisha musicians.

Recognizing its artistic and cultural value, the project gained invitations to prestigious festivals, marking the evolution from the ‘Lotz Of Music – Cuban Roots Project’ into ‘Shango’s Dance’.

On the art of improvised music

Following on from the improvisations made by Afro Americans in New Orleans at the beginning of the last century, many musical forms have now taken up the art of improvisation. Realising the freedom it gives to explore new boundaries of sound, rhythm, and harmony it has enabled musicians to advance their art at an ever increasing pace. Here we have a good example of the fruits of this quest.

On the performers

The line up included singers & dancers, percussion, flutes, tenor sax/clarinets, piano, tuba/bass and drums. ‘Shango’s Dance’ featured seven up to thirteen musicians and dancers.

International artists associated with ‘Shango’s Dance’ (aka Lotz Of Music) were a.o.

Shangos's Dance, Cuba

Performances & Tours

The ensemble performed extensively across Germany, Cuba, and the Netherlands, including festival appearances at:

  • Percuba Festival, Havana
  • North Sea Jazz Festival, The Netherlands

Additionally, Shango’s Dance was featured on Cuban television and collaborated with prominent Cuban musicians, cementing its status as a groundbreaking fusion project.


Discography: The Yoruba Trilogy

A trilogy of albums exploring the fusion of Cuban Yoruba music with contemporary improvisation, released on Via/Loplop (Netherlands) and Random Chance (USA). In 2025 they were reissued on Sonic Squid Music.

 

Press on Shango’s Dance

Groninger Dagblad (The Netherlands)
“Mysterious and increasingly penetrating ostinatos evoke an atmosphere of strange rituals.”

General Anzeiger (Germany)
“Freed from the static of the chairs, the public absorbed the kinetic energy of ‘Lotz of Music’.”

NRC Handelsblad (The Netherlands)
“The North Sea Jazz Festival’s audience was hypnotized by the sacral atmosphere of Lotz Of Music’s interpretations of Cuban Santería music.”

FLY Global Music Magazine (UK):
“…a striking outing from the Netherlands… veering between the campfires of enslaved Cuban worshippers and the smoke-filled clubs of New York.”

Rootstown Music (USA):
“Miles away from convivial Cuban dance music but hitting the essence of origin.”

 

Band Members

Wakaba Otsu/Mark Lotz

Wakaba Otsu/Mark Lotz

Wakaba Otsu/Mark Lotz

Wakaba Otsu/Mark Lotz

Wakaba Otsu/Mark Lotz

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