Partner / Couple Dances
BACHATA
Style: Cuban
Music: Medium-tempo Latin music
Meter: 4/4
Tempo: 110 - 160 BPM
Basic Rhythm: 1-2-3-4-5-6-7-8
The word ‘bachata’ has gone through many transitions, meaning different things at different periods of Dominican history. It started out as just a word designating traditional guitar music, although in the 1960s it was used to label romantic guitar music. A ‘bachata’ was also a generic label for gatherings that took place at informal Sunday afternoon parties where guitar-based groups would play for casual recreation. It was also music that played a large role in entertainment in cabarets (which were actually brothels) and it is only recently that the stigma attached to word has been lessened.
Music of Bitterness:
With the death of Rafael Trujillo in 1961, the music – then often called ‘bolero compensino,’ made its way to the capital of Santo Domingo along with a multitude of countryside compensinos that had been living in squalor during the dictator’s reign. There the music changed from romantic boleros to stories about jealousy, rivalry, fights, poverty and life led in the barrios. It’s not surprising that bachata is equated to the Dominican version of the blues; with lyrics that reflected such dire and troubled lives, bachata became known as the music of bitterness or sorrow.
Jose Manuel Calderon:
The first recognized bachata singles (“Barracho de Amor” and “Que Sera De Mi”) were recorded by Jose Calderon in 1961 although it was a decade before the word became commonly attached to a musical genre. In the 1960s, merengue continued to reign supreme in the Dominican Republic and ‘bachateros’ had no reliable outlet in higher social circles nor in the media. It was still embarrassing to be caught listening to bachata and musicians attracted to the genre would often sneak out at night to perform in clubs and bars where bachata was popular.
Modern Bachata:
Modern bachata can be dated to sometime in the 1980s. At the time, bachateros were singing lyrics full of sexual innuendo and double entendre. In fact, bachata’s first superstar, Blas Duran, was king of this type of lyric. Duran simplified the music, making it easier for dancers and added electric guitar to his song “Consejo A Las Mujeres” in 1987. The tune became a huge hit, paving the road to bachata’s acceptance by a much wider segment of the population.
Bachata Turns To Romance:
By the 1990s, bachata evolved the way music is prone to evolve, mutating and fusing with other genres. In the case of bachata, fusion occurred most often with the country’s dominant genre, merengue. It was artists like Anthony Santos and Luis Vargas that, during this decade, focused bachata’s themes to the romantic, so much so that by the 1990s the genre dealt almost exclusively with love, most often unrequited or disappointed love.
Monchy & Alexandra:
Even with the gradual gentrification of bachata, no one outside of a Dominican population was listening to the music. It took the duo of Monchy & Alexandra to raise international awareness of the music. Monchy (Ramon Rijo) and Alexandra (Alexandra Cabrera de la Cruz) started singing together in 1998 and their complimentary voices together with some clever pop-style arrangements made ther albums and international tours huge hits. In the process, it opened the door to an appreciation of bachata by non-Donimican Latinos.(It's just been announced that the duo is breaking up -9/08).
Bachata in New York:
Bachata originally reached the level of popularity that it enjoys today in New York rather than in the Dominican Republic, embraced by a Dominica migrant population that was less class conscious and eager to embrace the music of home. Influenced by rock, R&B and modern popular genres, bachata remains a dominantly romantic music.
Aventura:
The group that is currently holding sway over the hearts and minds of bachata lovers is Aventura from the Bronx. Even with the addition of some urban elements, their music remains firmly in the realm of traditional bachata and is helping to win more and more Latin music fans to this distinctive Dominican musical tradition. If you're interested in a first-hand examination of the history of bachata, told by the artists that were instrumental to the genre's rise to international prominence, Luis Vargas' Santo Domingo Blues is a film not to be missed.
Music: Medium-tempo Latin music
Meter: 4/4
Tempo: 110 - 160 BPM
Basic Rhythm: 1-2-3-4-5-6-7-8
The word ‘bachata’ has gone through many transitions, meaning different things at different periods of Dominican history. It started out as just a word designating traditional guitar music, although in the 1960s it was used to label romantic guitar music. A ‘bachata’ was also a generic label for gatherings that took place at informal Sunday afternoon parties where guitar-based groups would play for casual recreation. It was also music that played a large role in entertainment in cabarets (which were actually brothels) and it is only recently that the stigma attached to word has been lessened.
Music of Bitterness:
With the death of Rafael Trujillo in 1961, the music – then often called ‘bolero compensino,’ made its way to the capital of Santo Domingo along with a multitude of countryside compensinos that had been living in squalor during the dictator’s reign. There the music changed from romantic boleros to stories about jealousy, rivalry, fights, poverty and life led in the barrios. It’s not surprising that bachata is equated to the Dominican version of the blues; with lyrics that reflected such dire and troubled lives, bachata became known as the music of bitterness or sorrow.
Jose Manuel Calderon:
The first recognized bachata singles (“Barracho de Amor” and “Que Sera De Mi”) were recorded by Jose Calderon in 1961 although it was a decade before the word became commonly attached to a musical genre. In the 1960s, merengue continued to reign supreme in the Dominican Republic and ‘bachateros’ had no reliable outlet in higher social circles nor in the media. It was still embarrassing to be caught listening to bachata and musicians attracted to the genre would often sneak out at night to perform in clubs and bars where bachata was popular.
Modern Bachata:
Modern bachata can be dated to sometime in the 1980s. At the time, bachateros were singing lyrics full of sexual innuendo and double entendre. In fact, bachata’s first superstar, Blas Duran, was king of this type of lyric. Duran simplified the music, making it easier for dancers and added electric guitar to his song “Consejo A Las Mujeres” in 1987. The tune became a huge hit, paving the road to bachata’s acceptance by a much wider segment of the population.
Bachata Turns To Romance:
By the 1990s, bachata evolved the way music is prone to evolve, mutating and fusing with other genres. In the case of bachata, fusion occurred most often with the country’s dominant genre, merengue. It was artists like Anthony Santos and Luis Vargas that, during this decade, focused bachata’s themes to the romantic, so much so that by the 1990s the genre dealt almost exclusively with love, most often unrequited or disappointed love.
Monchy & Alexandra:
Even with the gradual gentrification of bachata, no one outside of a Dominican population was listening to the music. It took the duo of Monchy & Alexandra to raise international awareness of the music. Monchy (Ramon Rijo) and Alexandra (Alexandra Cabrera de la Cruz) started singing together in 1998 and their complimentary voices together with some clever pop-style arrangements made ther albums and international tours huge hits. In the process, it opened the door to an appreciation of bachata by non-Donimican Latinos.(It's just been announced that the duo is breaking up -9/08).
Bachata in New York:
Bachata originally reached the level of popularity that it enjoys today in New York rather than in the Dominican Republic, embraced by a Dominica migrant population that was less class conscious and eager to embrace the music of home. Influenced by rock, R&B and modern popular genres, bachata remains a dominantly romantic music.
Aventura:
The group that is currently holding sway over the hearts and minds of bachata lovers is Aventura from the Bronx. Even with the addition of some urban elements, their music remains firmly in the realm of traditional bachata and is helping to win more and more Latin music fans to this distinctive Dominican musical tradition. If you're interested in a first-hand examination of the history of bachata, told by the artists that were instrumental to the genre's rise to international prominence, Luis Vargas' Santo Domingo Blues is a film not to be missed.
CHA CHA
Style: Cuban
Music: Medium-tempo Latin music.
Meter: 4/4
Tempo: 96 - 128 BPM
Basic Rhythm: 1-2-3-4&5-6-7-8&
The Cha Cha is one of the most popular of the social Latin-American dances. Lively and flirtatious, the Cha Cha is full of passion and energy.
Cha Cha Characteristics
The Cha Cha is a vibrant, flamboyant and playful dance. The light and bubbly feel of the Cha Cha gives it a unique sense of fun for dancers throughout the world. The Cha Cha requires small steps and lots of hip motion (Cuban motion), as it is danced in 4/4 time. The fourth beat is split into two, giving it the characteristic 2,3,4 & 1 rhythm. Therefore, five steps are danced to four beats as in the "One, two, cha cha cha" rhythm.
History of the Cha Cha
Also called the Cha Cha Cha, this unmistakable dance originated in Cuba in the 1940s. Composer and violinist Enrique Jorrin developed the dance as a variant of the Mambo and Rumba. The name is onomatopoeic, derived from the sound of dancers' shoes as they shuffled around the floor.
Cha Cha Action
To dance Cha Cha like professionals, dancers must master "Cuban motion," the characteristic Latin body action. Cuban motion is simply a distinctive way in which the hips move up and down. The hip movements come mainly from alternately bending and straightening the knees...as one knee bends (or straightens), the same hip drops (raises).
The basic components of the Cha Cha are triple steps and rock steps. Quick, small steps must be maintained throughout the dance. The distinctive movements of the hips result from the constant bending and straightening of the knees. Dancers must synchronize each movement as they dance parallel to one another.
Distinctive Cha Cha Steps
Because the Cha Cha is very similar to the Rumba and Mambo, several steps coincide with the steps of these dances. The main difference between the dances is that the "slow" steps of the Rumba and the Mambo are replaced with a triple step in the Cha Cha.
Following are a few basic Cha Cha steps:
Cha Cha Chasse, The Fan, The Hockey Stick, Manita a Mano, The New York, The New York Bus Stop, El Mojito, Underarm Spot Turns, The Liquidizer, The Alemana Turn, El Paseo, The Peek-a-Boo, The Zig-Zag, ...
Cha Cha Rhythm and Music
Because of the carefree nature of the Cha Cha, its music should produce a happy, party-like atmosphere, with a tempo of 96 to 128 beats per minute. Cha Cha is often danced to authentic Cuban music, but is popular in all music genres, including country, funk, and hip hop.
Music: Medium-tempo Latin music.
Meter: 4/4
Tempo: 96 - 128 BPM
Basic Rhythm: 1-2-3-4&5-6-7-8&
The Cha Cha is one of the most popular of the social Latin-American dances. Lively and flirtatious, the Cha Cha is full of passion and energy.
Cha Cha Characteristics
The Cha Cha is a vibrant, flamboyant and playful dance. The light and bubbly feel of the Cha Cha gives it a unique sense of fun for dancers throughout the world. The Cha Cha requires small steps and lots of hip motion (Cuban motion), as it is danced in 4/4 time. The fourth beat is split into two, giving it the characteristic 2,3,4 & 1 rhythm. Therefore, five steps are danced to four beats as in the "One, two, cha cha cha" rhythm.
History of the Cha Cha
Also called the Cha Cha Cha, this unmistakable dance originated in Cuba in the 1940s. Composer and violinist Enrique Jorrin developed the dance as a variant of the Mambo and Rumba. The name is onomatopoeic, derived from the sound of dancers' shoes as they shuffled around the floor.
Cha Cha Action
To dance Cha Cha like professionals, dancers must master "Cuban motion," the characteristic Latin body action. Cuban motion is simply a distinctive way in which the hips move up and down. The hip movements come mainly from alternately bending and straightening the knees...as one knee bends (or straightens), the same hip drops (raises).
The basic components of the Cha Cha are triple steps and rock steps. Quick, small steps must be maintained throughout the dance. The distinctive movements of the hips result from the constant bending and straightening of the knees. Dancers must synchronize each movement as they dance parallel to one another.
Distinctive Cha Cha Steps
Because the Cha Cha is very similar to the Rumba and Mambo, several steps coincide with the steps of these dances. The main difference between the dances is that the "slow" steps of the Rumba and the Mambo are replaced with a triple step in the Cha Cha.
Following are a few basic Cha Cha steps:
Cha Cha Chasse, The Fan, The Hockey Stick, Manita a Mano, The New York, The New York Bus Stop, El Mojito, Underarm Spot Turns, The Liquidizer, The Alemana Turn, El Paseo, The Peek-a-Boo, The Zig-Zag, ...
Cha Cha Rhythm and Music
Because of the carefree nature of the Cha Cha, its music should produce a happy, party-like atmosphere, with a tempo of 96 to 128 beats per minute. Cha Cha is often danced to authentic Cuban music, but is popular in all music genres, including country, funk, and hip hop.
JIVE
Style: Lilt
Music: Very fast swing music
Meter: 4/4
Tempo: 140 - 170 BPM
Basic Rhythm: 1-2-3a4-5a6 (1-2-3a4-5-6-7a8)
Jive is a lively, and uninhibited variation of the jitterbug. Many of its basic patterns are similar to those of the East Coast swing. Jive is one of the five International Latin dances, although it has an African-American origin.
Characteristics of Jive Dancing
Jive and East Coast swing share many figures, as well as the same music style and tempo. The basic look and feel of jive is that it is performed with lots and lots of energy, with the legs portraying a pumping action. Both the East Coast swing and basic jive consist of two triple steps and a rock step. The jive differs in that the count begins with the rock step, which is counted "1, 2." The two triple steps are counted "3 and 4" and "5 and 6." In competition, it is danced at 176 beats per minute.
History of Jive
Jive was first demonstrated by Cab Calloway in 1934. It caught on in the United States in the 1940s and was influenced by the Boogie, Rock & Roll, African/American Swing and Lindyhop. The name either comes from jive being a form of glib talk or from African dance terms. Jive became a generic term for swing in the United Kingdom. In International Style ballroom dancing competition, jive is grouped with the Latin dances but it is danced to Western music, with 42 bars per minute in 4/4 time.
Jive Action
Jive is a very happy, boppy, energetic dance, with plenty of knee-lifting, bending, and rocking of the hips. The fastest of the Latin dances, jive incorporates lots of kicks and flicks, even twirling of the woman, and doesn't move around the dance floor like other dances. Although jive dancers may appear to be moving their feet haphazardly in every direction, the feet are actually well-controlled under the body with the knees close together.
Distinctive Jive Dance Steps
The basic jive step (jive basic) is a 6-beat pattern:
The man and woman face each other with arms in the closed position and the man leads.
Rock step (counts 1 and 2): Step one foot behind the other and lift the front foot up. The man steps back with his left foot while the woman steps backward with her right foot.
Chasse to the left (counts 3 and 4) The man goes left, the woman goes right.
Chasse to the right (counts 5 and 6) The man goes right, the woman goes left.
A few distinctive Jive steps:
American Spin, Throwaway, Comb, Chicken Walks, Arm Breaker, Jig Walks, ...
Jive Music and Rhythm
Jive can be danced to swing music and jump blues in the tempo range of about 200 beats per minute. Depending on the style preferred, Jive can be danced to a variety of upbeat music including Boogie-woogie, Swing and Rock and Roll. The most important thing for beginners is to get familiar with the rhythm of the music. Listen to the drum line rather than the melody...the drum provides the beat.
Music: Very fast swing music
Meter: 4/4
Tempo: 140 - 170 BPM
Basic Rhythm: 1-2-3a4-5a6 (1-2-3a4-5-6-7a8)
Jive is a lively, and uninhibited variation of the jitterbug. Many of its basic patterns are similar to those of the East Coast swing. Jive is one of the five International Latin dances, although it has an African-American origin.
Characteristics of Jive Dancing
Jive and East Coast swing share many figures, as well as the same music style and tempo. The basic look and feel of jive is that it is performed with lots and lots of energy, with the legs portraying a pumping action. Both the East Coast swing and basic jive consist of two triple steps and a rock step. The jive differs in that the count begins with the rock step, which is counted "1, 2." The two triple steps are counted "3 and 4" and "5 and 6." In competition, it is danced at 176 beats per minute.
History of Jive
Jive was first demonstrated by Cab Calloway in 1934. It caught on in the United States in the 1940s and was influenced by the Boogie, Rock & Roll, African/American Swing and Lindyhop. The name either comes from jive being a form of glib talk or from African dance terms. Jive became a generic term for swing in the United Kingdom. In International Style ballroom dancing competition, jive is grouped with the Latin dances but it is danced to Western music, with 42 bars per minute in 4/4 time.
Jive Action
Jive is a very happy, boppy, energetic dance, with plenty of knee-lifting, bending, and rocking of the hips. The fastest of the Latin dances, jive incorporates lots of kicks and flicks, even twirling of the woman, and doesn't move around the dance floor like other dances. Although jive dancers may appear to be moving their feet haphazardly in every direction, the feet are actually well-controlled under the body with the knees close together.
Distinctive Jive Dance Steps
The basic jive step (jive basic) is a 6-beat pattern:
The man and woman face each other with arms in the closed position and the man leads.
Rock step (counts 1 and 2): Step one foot behind the other and lift the front foot up. The man steps back with his left foot while the woman steps backward with her right foot.
Chasse to the left (counts 3 and 4) The man goes left, the woman goes right.
Chasse to the right (counts 5 and 6) The man goes right, the woman goes left.
A few distinctive Jive steps:
American Spin, Throwaway, Comb, Chicken Walks, Arm Breaker, Jig Walks, ...
Jive Music and Rhythm
Jive can be danced to swing music and jump blues in the tempo range of about 200 beats per minute. Depending on the style preferred, Jive can be danced to a variety of upbeat music including Boogie-woogie, Swing and Rock and Roll. The most important thing for beginners is to get familiar with the rhythm of the music. Listen to the drum line rather than the melody...the drum provides the beat.
LINDY HOP
Style: Smooth
Music: Medium to fast big band swing music.
Meter: 4/4
Tempo: 130 - 200 beats per minute
Basic Rhythm: 1-2-3a4-5-6-7a8
Referred to as the grandfather of all swing dances, the Lindy Hop (or Lindy) is a couple's dance that originated in the early 1900s. Lindy Hop evolved from the Charleston dance and several other dance forms. Often described as the original Swing dance, the Lindy Hop relies mostly on improvisation by its dancers, making it both fun and playful on the dance floor.
Lindy Hop Characteristics
The Lindy Hop is a sporty, athletic form of partner dancing. Instead of dancing in an upright, elegant posture, Lindy Hop dancers maintain an active, athletic stance that keeps their legs in constant movement. There are two main styles of Lindy Hop, Savoy style and G.I. style. Savoy style is characterized by long, horizontal lines, while G.I. style is danced in a more upright position. Although achieving the look of one of these styles is usually the goal, Lindy Hop dancers also bring their own personal style into the dance. This unique and energetic dance style can be wild and spontaneous, full of frenzied kicks and body movements, or very smooth, calm and sophisticated.
Lindy Hop History
Lindy Hop developed as an African American dance, based in part on the popular Charleston dance. Named for Charles Lindberg's flight to Paris in 1927, the Lindy Hop evolved in the streets of Harlem. Despite its name, the dance has no "hop" to it. Instead, it is smooth and solid without hopping, bopping, or prancing by the dancers. The Lindy Hop has inspired several other dances such as East Coast Swing, Balboa, Shag, and Boogie Woogie.
Lindy Hop Action
The defining movement of the Lindy Hop is the swingout. In the swingout, one partner pulls the other from an open position into a closed position while pivoting 180 degrees, and then swings the partner back out to the original starting position. Although the Lindy Hop can contain acrobatic moves, most steps are extremely smooth, precise and perfectly in sync with the music.
Lindy Hop Distinctive Steps
Lindy Hop dancers make use of lots of fancy footwork borrowed from the Charleston and Tap dancing. Lindy Hop followers match the footwork of the leaders, and every step taken is a weight change. The Lindy Hop consists of both 6 and 8-count steps. Dancers often perform "shine steps" that allow the dancers to "shine" on the dance floor, including fun steps such as Suzi Q's, Truckin's, and Twists, as well as "air steps" in which dancers perform aerial moves include daring backflips.
Lindy Hop Rhythm and Music
The Lindy Hop is a fast-paced, joyful dance with a flowing style that reflects its music. The Lindy Hop grew up with great Swing bands of the era: the bands inspired the dancers and the dancers inspired the bands, resulting in advances in both dance and musical expression that would eventually evolve into Rock 'n Roll. Whether referred to as Lindy Hop, Jitterbug, or Jive, the inspiring music was Swing, with a tempo of 130-200 beats per minute. Swing rhythms exist throughout rock, country, jazz and blues, making all of these music styles perfectly acceptable for dancing the Lindy Hop.
Music: Medium to fast big band swing music.
Meter: 4/4
Tempo: 130 - 200 beats per minute
Basic Rhythm: 1-2-3a4-5-6-7a8
Referred to as the grandfather of all swing dances, the Lindy Hop (or Lindy) is a couple's dance that originated in the early 1900s. Lindy Hop evolved from the Charleston dance and several other dance forms. Often described as the original Swing dance, the Lindy Hop relies mostly on improvisation by its dancers, making it both fun and playful on the dance floor.
Lindy Hop Characteristics
The Lindy Hop is a sporty, athletic form of partner dancing. Instead of dancing in an upright, elegant posture, Lindy Hop dancers maintain an active, athletic stance that keeps their legs in constant movement. There are two main styles of Lindy Hop, Savoy style and G.I. style. Savoy style is characterized by long, horizontal lines, while G.I. style is danced in a more upright position. Although achieving the look of one of these styles is usually the goal, Lindy Hop dancers also bring their own personal style into the dance. This unique and energetic dance style can be wild and spontaneous, full of frenzied kicks and body movements, or very smooth, calm and sophisticated.
Lindy Hop History
Lindy Hop developed as an African American dance, based in part on the popular Charleston dance. Named for Charles Lindberg's flight to Paris in 1927, the Lindy Hop evolved in the streets of Harlem. Despite its name, the dance has no "hop" to it. Instead, it is smooth and solid without hopping, bopping, or prancing by the dancers. The Lindy Hop has inspired several other dances such as East Coast Swing, Balboa, Shag, and Boogie Woogie.
Lindy Hop Action
The defining movement of the Lindy Hop is the swingout. In the swingout, one partner pulls the other from an open position into a closed position while pivoting 180 degrees, and then swings the partner back out to the original starting position. Although the Lindy Hop can contain acrobatic moves, most steps are extremely smooth, precise and perfectly in sync with the music.
Lindy Hop Distinctive Steps
Lindy Hop dancers make use of lots of fancy footwork borrowed from the Charleston and Tap dancing. Lindy Hop followers match the footwork of the leaders, and every step taken is a weight change. The Lindy Hop consists of both 6 and 8-count steps. Dancers often perform "shine steps" that allow the dancers to "shine" on the dance floor, including fun steps such as Suzi Q's, Truckin's, and Twists, as well as "air steps" in which dancers perform aerial moves include daring backflips.
Lindy Hop Rhythm and Music
The Lindy Hop is a fast-paced, joyful dance with a flowing style that reflects its music. The Lindy Hop grew up with great Swing bands of the era: the bands inspired the dancers and the dancers inspired the bands, resulting in advances in both dance and musical expression that would eventually evolve into Rock 'n Roll. Whether referred to as Lindy Hop, Jitterbug, or Jive, the inspiring music was Swing, with a tempo of 130-200 beats per minute. Swing rhythms exist throughout rock, country, jazz and blues, making all of these music styles perfectly acceptable for dancing the Lindy Hop.
MAMBO
Style: Smooth
Music: Up-tempo Latin music.
Meter: 4/4
Tempo: 180 - 240 BPM
Basic Rhythm: (1)-2-3-4-(5)-6-7-8
Originally from Cuba, the Mambo is enjoyed throughout the world at both the social and competitive dance levels. The mambo is a favorite of ballroom audiences because of its high energy level and infectious rhythms. Popularized in recent years by singers such as Ricky Martin, the Mambo is fascinating and diverse.
Mambo Characteristics
The feel of the Mambo is based mostly on forward and backward movements. The basic components of the dance include rock steps and side steps, with occasional points, kicks, and flicks of the feet. Important to Mambo is the distinctive hip movement, hence the meaning of the word mambo: "shake it."
Mambo Action
Some say the Mambo is a flirtatious, sensual dance, sometimes almost raunchy. Mambo dancers appear quite passionate and seem to express that passion with the movements of their hips. Exaggerated hip movements combined with long, flowing movements and sharp, quick steps contribute to the sensuous feel of the Mambo.
Distinctive Mambo Steps
The Mambo uses a 4/4 beat and is similar in rhythm to the slower Bolero. The basic Mambo combination is counted as "quick-quick-slow," with the foot moving on the second beat. On the third beat, the weight shifts to the other foot, returning to the original foot on the fourth beat. Dancers swing their hips through each step, creating a fluid motion and a sensuous atmosphere.
A few distinctive Mambo steps:
La Cucuracha, Manita a Mano, New York, New York Bus Stop, El Molinito, The Liquidizer, El Mojito, Los Giros Locos, ...
Mambo Music and Rhythm
In Mambo music, the rhythm is set by a variety of percussive instruments, including maracas and cowbells. Beginners may be confused by the variety of Mambo rhythms, but variety is what gives Mambo its spice. The tempo of Mambo also varies between musicians, with a wide range of 32 beats per minute to a challenging 56 beats per minute. In the past, Mambo bands would hold friendly competitions to see who could create the best mambo rhythm. Today the dance is making a comeback and is performed in ballroom competitions.
History of Mambo
The Mambo dance originated in Cuba as a mixture of Afro-Caribbean and Latin American cultures. The Mambo is believed to have been named after the voodoo priests who thought they could send dancers into hypnotic states. Initially condemned by the churches and restricted by authorities in some countries, with time the Mambo gained popularity and became the favorite dance style that it is today.
Music: Up-tempo Latin music.
Meter: 4/4
Tempo: 180 - 240 BPM
Basic Rhythm: (1)-2-3-4-(5)-6-7-8
Originally from Cuba, the Mambo is enjoyed throughout the world at both the social and competitive dance levels. The mambo is a favorite of ballroom audiences because of its high energy level and infectious rhythms. Popularized in recent years by singers such as Ricky Martin, the Mambo is fascinating and diverse.
Mambo Characteristics
The feel of the Mambo is based mostly on forward and backward movements. The basic components of the dance include rock steps and side steps, with occasional points, kicks, and flicks of the feet. Important to Mambo is the distinctive hip movement, hence the meaning of the word mambo: "shake it."
Mambo Action
Some say the Mambo is a flirtatious, sensual dance, sometimes almost raunchy. Mambo dancers appear quite passionate and seem to express that passion with the movements of their hips. Exaggerated hip movements combined with long, flowing movements and sharp, quick steps contribute to the sensuous feel of the Mambo.
Distinctive Mambo Steps
The Mambo uses a 4/4 beat and is similar in rhythm to the slower Bolero. The basic Mambo combination is counted as "quick-quick-slow," with the foot moving on the second beat. On the third beat, the weight shifts to the other foot, returning to the original foot on the fourth beat. Dancers swing their hips through each step, creating a fluid motion and a sensuous atmosphere.
A few distinctive Mambo steps:
La Cucuracha, Manita a Mano, New York, New York Bus Stop, El Molinito, The Liquidizer, El Mojito, Los Giros Locos, ...
Mambo Music and Rhythm
In Mambo music, the rhythm is set by a variety of percussive instruments, including maracas and cowbells. Beginners may be confused by the variety of Mambo rhythms, but variety is what gives Mambo its spice. The tempo of Mambo also varies between musicians, with a wide range of 32 beats per minute to a challenging 56 beats per minute. In the past, Mambo bands would hold friendly competitions to see who could create the best mambo rhythm. Today the dance is making a comeback and is performed in ballroom competitions.
History of Mambo
The Mambo dance originated in Cuba as a mixture of Afro-Caribbean and Latin American cultures. The Mambo is believed to have been named after the voodoo priests who thought they could send dancers into hypnotic states. Initially condemned by the churches and restricted by authorities in some countries, with time the Mambo gained popularity and became the favorite dance style that it is today.
NIGHT CLUB
Style: Smooth
Music: Slow-tempo
Meter: 4/4
Tempo: 54-64 BPM
Basic Rhythm: 1-2&3-4&5-6&7-8&
A.................................
Music: Slow-tempo
Meter: 4/4
Tempo: 54-64 BPM
Basic Rhythm: 1-2&3-4&5-6&7-8&
A.................................
POLKA
Style: Lilt
Music: Medium tempo
Meter: 4/4
Tempo: 103-124 BPM
Basic Rhythm: 1&2-3&4-5&6-7&8
The main story of the Polka comes from a story of Bohémia (at the time a part of CZ.) and was supposedly discovered by Joseph Neruba in 1830 who introduced it in 1835 (fewer say Joseph Cellarius did this.) It is said that Mr. Neruba saw a little Bohémian peasant girl dance (some say age 16) by the name of *Anna Chadimová-Slezak, who was born in Elbeteinitz in 1805 (d.1884,) and lived in Konotopy (or *Kostelec) on the Elbe (Elbeteinitz, Bohémia). (Note: dates would make her 25-30 years old).
In 1830, Anna was dancing and singing to a tune she liked called "Strycek Nimra Koupil Simla" and invented a little dance which she called "the Madera." Seeing the possibilities of the dance and the possibility of money, Neruba, liking what he saw asked her to repeat the dance for him and took it to Prague in 1835, it was here the "Madera" was supposedly dubbed the Pulka (meaning a half,) and later on went to Vienna in 1839 by a music band from Prague under the leadership of Pergier. In 1840 J. Raal, (a.k.a.: Raab, Baab) a dancing master of Prague danced it at the Odéon Theater and made it a huge success.
The Polka was the second "closed position" couples dance to be introduced to the world, with the first being the Waltz. The word Polka (Pulka) is Czech meaning "Half-Step" pertaining to the quick movement from one foot to the other. The polka and other dances that followed were spin-offs of the waltz. The polka began to rival the waltz about 1835.
"The Polka (Polka Tremblante) was later introduced into the ballrooms of France and England in 1843 by Cellarius, and led to the inauguration of the present style of round dancing. It had been in vogue but a short time on the other side of the Atlantic, when a musical and theatrical gentleman, named "De Their," forwarded the music, and a description of the dance, in manuscript, to the proprietor of the New York Daily Aurora, of which paper he was a correspondent. Mr. Thaddeus W. Meighan, a gentleman connected with the editorial department of that paper, presented Prof. L. De. G. Brookes, who was ballet-master at the "National Theatre," on Chatham Street in New York at that time, with the music and a description of the dance. It was first danced in America by Miss Mary Ann Gammon and L.G. Brookes at that Theatre, on May 10, 1844. Mr. Allen Dodsworth, reportedly introduced this dance to his pupils in 1845 (dancing and it's relations to education and social life-Dodsworth-1895).
The Czech "Pulka" was also an instant hit. The "Illustrated London News" in 1844 reported the first Polka being done in London at Almacks Dance Hall. Fanny Cerrito and Arthur Saint Léon were avid dancers and performers of the Redowa (a 3⁄4 time Polka) and introduced it to the Italian's in 1845. (Neruba's later appeared in print in 1870, Published by Helmer, supposedly as the first polka.)
The Polka however is traced all the way back to 1822 in Czech, by a poet named Celakovsky, who had translated (of his tongue), the dances at the time, with one being the Cracoviacs (Poland), which at the time was exactly like the Polka. One of the title's of the songs he reported was "The Polish Maiden" which was probably named in honor of the Poles which would have given rise to the possibly now SEMI-fictional Bohémian girl story above.
The polka originally only had ten figures but as time went on that did expand. The polka and Redowa were sometimes confused as the same dance often times. The Polish-Americans have even adopted the polka as their national dance. By 1860 the "frantic hopping" done originally in the Polka was calmed down to a subtle "rising and falling" and the flinging of the feet were much less obvious. This calming of the Polka is credited to France btw.
There are many variations of the Polka, such as the Heel and Toe Polka, Princess Marie Nicolaewnais credited with creating the Polka-Mazur (Polka-Mazurka ) in 1830 which was basically a waltz. Polka-Waltz, Pulka (1840), Polka-Valse, Scottische-Polka, Polka-Redowa (a SLOW POLKA) introduced in 1852 and done to Redowa music, Polka-Coquette (c.1860), etc. (and as you can figure out they were a mixture of the dances named.) Later on, the Castles would "invent" a dance called the "Half & Half," which was one half of one dance and half another, (guess they figured it out.) The Berlin dance was a mix of the Polka and Galop dances.
In the language of the Bohemians the word "Rejdovat" means to push, to and fro. This term is applied to the "Pursuit" in the round dances (such as the waltz,) where the follower is pushed along the line of dance. In Zorn's book he recommends a "figure" (pattern) change every four measures.
This change of figures was named the Redowa (3⁄4 time) in southern Germany in 1830. The Redowa was known as the "Hunter Schottische" or Polka by "Neufchatel Hunters" (Berlin's Military) in certain countries like Berlin. The Polka was known as the "Schottische waltz" by 1840 in Germany. The Polka-Redowa is the same as the Polka, except that the pause of the Polka is omitted, and in dancing you count three for both the music and the dance.
Another dance, similar to the polka was the Galop (1815) or Gallopade which was introduced to England and France about 1829. The Polka is also said to be a descendent of the sixteenth century Court dance called the Bourrée of Avergneé. The Polka-Coquette was very much en vogue about 1860. The Esmerelda was basically a polka with two additional slides.
An interesting side note is that Henri Celarius states in his book "La Danse des Salons" (Drawing Room Dances) published in 1847 that:
"We have now to treat of one of the oldest and most popular of modern dances, the polka, which in spite of its foreign origin may now be considered as French, for it is to France that it owes it's fashion and character of universality".... (It sounds like he knew that this was a much older dance, only 17 years old, however he called it a modern dance?).
With all that said ... The most likely source is it just evolved quickly over time by the Waltz dancers or teachers of the day who would sooner or later try to dance Waltz patterns to polka music for many different reasons. The dancers who were experimenting with this new Waltz dance would invariably try the Waltz to other forms of music, (just like dancers do today) as back then there were no other prior forms of closed position couples dancing to draw upon. Think about it; The waltz is all the rage, polka music is played at the dance and the Waltzers just keep waltzing to polka music (and later other music forms,) easy enough to figure out and over time the Leaping, Lifting and Hoping were taken out of the original Waltz form and you now have two distinct and different styles of dance. Which we can see from all the mixtures of other dance styles mixing together of the day like the before mentioned 'Polka-Mazur, Valse-Polka' etc. Then later someone had to ask "Well where is this dance from, who invented it ... blah, blah, blah. Or a dancer trying to cash in would pronounce ... "Here we have today ... the newest dance from Poland ... that all of France is clamoring for ... "the Polka" and I, being the main exponent of this dance will now show you how, bla-blah-blah." Just like for a while, anything from France was all the rage, made up or not and sold to the public. However, this was most likely done first in or probably more to be credited to Poland as musically based and they ran with it ... very similar to Salsa & Bossa Nova history and others.
Anyway, whoever and whatever, the Polka is a simple dance that is very fun to do and the music is happy. There can be many pretzel type patterns or just a simple German style of a Clockwise revolving Hop-2-3--Hop-2-3 stepping around the floor. So the next time you hear of a "Brewfest," or go to a Restaurant with a "Omp-Pah" polka band, give it a try, you'll have a lot of fun!.
Note:
1) During the Polka, there really is no "LOD" (line of dance,) is generally Counter-Clockwise... but ... you go where you can to avoid the other couples.
2) Mr. Polkos of the "Polkos Rebellion," Vera Cruz, Mexico (1840's) the rebellion was supposedly named after the Polka and not Polkos.
Music: Medium tempo
Meter: 4/4
Tempo: 103-124 BPM
Basic Rhythm: 1&2-3&4-5&6-7&8
The main story of the Polka comes from a story of Bohémia (at the time a part of CZ.) and was supposedly discovered by Joseph Neruba in 1830 who introduced it in 1835 (fewer say Joseph Cellarius did this.) It is said that Mr. Neruba saw a little Bohémian peasant girl dance (some say age 16) by the name of *Anna Chadimová-Slezak, who was born in Elbeteinitz in 1805 (d.1884,) and lived in Konotopy (or *Kostelec) on the Elbe (Elbeteinitz, Bohémia). (Note: dates would make her 25-30 years old).
In 1830, Anna was dancing and singing to a tune she liked called "Strycek Nimra Koupil Simla" and invented a little dance which she called "the Madera." Seeing the possibilities of the dance and the possibility of money, Neruba, liking what he saw asked her to repeat the dance for him and took it to Prague in 1835, it was here the "Madera" was supposedly dubbed the Pulka (meaning a half,) and later on went to Vienna in 1839 by a music band from Prague under the leadership of Pergier. In 1840 J. Raal, (a.k.a.: Raab, Baab) a dancing master of Prague danced it at the Odéon Theater and made it a huge success.
The Polka was the second "closed position" couples dance to be introduced to the world, with the first being the Waltz. The word Polka (Pulka) is Czech meaning "Half-Step" pertaining to the quick movement from one foot to the other. The polka and other dances that followed were spin-offs of the waltz. The polka began to rival the waltz about 1835.
"The Polka (Polka Tremblante) was later introduced into the ballrooms of France and England in 1843 by Cellarius, and led to the inauguration of the present style of round dancing. It had been in vogue but a short time on the other side of the Atlantic, when a musical and theatrical gentleman, named "De Their," forwarded the music, and a description of the dance, in manuscript, to the proprietor of the New York Daily Aurora, of which paper he was a correspondent. Mr. Thaddeus W. Meighan, a gentleman connected with the editorial department of that paper, presented Prof. L. De. G. Brookes, who was ballet-master at the "National Theatre," on Chatham Street in New York at that time, with the music and a description of the dance. It was first danced in America by Miss Mary Ann Gammon and L.G. Brookes at that Theatre, on May 10, 1844. Mr. Allen Dodsworth, reportedly introduced this dance to his pupils in 1845 (dancing and it's relations to education and social life-Dodsworth-1895).
The Czech "Pulka" was also an instant hit. The "Illustrated London News" in 1844 reported the first Polka being done in London at Almacks Dance Hall. Fanny Cerrito and Arthur Saint Léon were avid dancers and performers of the Redowa (a 3⁄4 time Polka) and introduced it to the Italian's in 1845. (Neruba's later appeared in print in 1870, Published by Helmer, supposedly as the first polka.)
The Polka however is traced all the way back to 1822 in Czech, by a poet named Celakovsky, who had translated (of his tongue), the dances at the time, with one being the Cracoviacs (Poland), which at the time was exactly like the Polka. One of the title's of the songs he reported was "The Polish Maiden" which was probably named in honor of the Poles which would have given rise to the possibly now SEMI-fictional Bohémian girl story above.
The polka originally only had ten figures but as time went on that did expand. The polka and Redowa were sometimes confused as the same dance often times. The Polish-Americans have even adopted the polka as their national dance. By 1860 the "frantic hopping" done originally in the Polka was calmed down to a subtle "rising and falling" and the flinging of the feet were much less obvious. This calming of the Polka is credited to France btw.
There are many variations of the Polka, such as the Heel and Toe Polka, Princess Marie Nicolaewnais credited with creating the Polka-Mazur (Polka-Mazurka ) in 1830 which was basically a waltz. Polka-Waltz, Pulka (1840), Polka-Valse, Scottische-Polka, Polka-Redowa (a SLOW POLKA) introduced in 1852 and done to Redowa music, Polka-Coquette (c.1860), etc. (and as you can figure out they were a mixture of the dances named.) Later on, the Castles would "invent" a dance called the "Half & Half," which was one half of one dance and half another, (guess they figured it out.) The Berlin dance was a mix of the Polka and Galop dances.
In the language of the Bohemians the word "Rejdovat" means to push, to and fro. This term is applied to the "Pursuit" in the round dances (such as the waltz,) where the follower is pushed along the line of dance. In Zorn's book he recommends a "figure" (pattern) change every four measures.
This change of figures was named the Redowa (3⁄4 time) in southern Germany in 1830. The Redowa was known as the "Hunter Schottische" or Polka by "Neufchatel Hunters" (Berlin's Military) in certain countries like Berlin. The Polka was known as the "Schottische waltz" by 1840 in Germany. The Polka-Redowa is the same as the Polka, except that the pause of the Polka is omitted, and in dancing you count three for both the music and the dance.
Another dance, similar to the polka was the Galop (1815) or Gallopade which was introduced to England and France about 1829. The Polka is also said to be a descendent of the sixteenth century Court dance called the Bourrée of Avergneé. The Polka-Coquette was very much en vogue about 1860. The Esmerelda was basically a polka with two additional slides.
An interesting side note is that Henri Celarius states in his book "La Danse des Salons" (Drawing Room Dances) published in 1847 that:
"We have now to treat of one of the oldest and most popular of modern dances, the polka, which in spite of its foreign origin may now be considered as French, for it is to France that it owes it's fashion and character of universality".... (It sounds like he knew that this was a much older dance, only 17 years old, however he called it a modern dance?).
With all that said ... The most likely source is it just evolved quickly over time by the Waltz dancers or teachers of the day who would sooner or later try to dance Waltz patterns to polka music for many different reasons. The dancers who were experimenting with this new Waltz dance would invariably try the Waltz to other forms of music, (just like dancers do today) as back then there were no other prior forms of closed position couples dancing to draw upon. Think about it; The waltz is all the rage, polka music is played at the dance and the Waltzers just keep waltzing to polka music (and later other music forms,) easy enough to figure out and over time the Leaping, Lifting and Hoping were taken out of the original Waltz form and you now have two distinct and different styles of dance. Which we can see from all the mixtures of other dance styles mixing together of the day like the before mentioned 'Polka-Mazur, Valse-Polka' etc. Then later someone had to ask "Well where is this dance from, who invented it ... blah, blah, blah. Or a dancer trying to cash in would pronounce ... "Here we have today ... the newest dance from Poland ... that all of France is clamoring for ... "the Polka" and I, being the main exponent of this dance will now show you how, bla-blah-blah." Just like for a while, anything from France was all the rage, made up or not and sold to the public. However, this was most likely done first in or probably more to be credited to Poland as musically based and they ran with it ... very similar to Salsa & Bossa Nova history and others.
Anyway, whoever and whatever, the Polka is a simple dance that is very fun to do and the music is happy. There can be many pretzel type patterns or just a simple German style of a Clockwise revolving Hop-2-3--Hop-2-3 stepping around the floor. So the next time you hear of a "Brewfest," or go to a Restaurant with a "Omp-Pah" polka band, give it a try, you'll have a lot of fun!.
Note:
1) During the Polka, there really is no "LOD" (line of dance,) is generally Counter-Clockwise... but ... you go where you can to avoid the other couples.
2) Mr. Polkos of the "Polkos Rebellion," Vera Cruz, Mexico (1840's) the rebellion was supposedly named after the Polka and not Polkos.
ROCK 'N' ROLL
Style: American Rhythm
Music: Fast-tempo
Meter: 4/4
Tempo: .170-200 BPM
Basic Rhythm:
A..............................
Music: Fast-tempo
Meter: 4/4
Tempo: .170-200 BPM
Basic Rhythm:
A..............................
RUMBA
Style: American Rhythm
Music: Medium-tempo Latin music.
Meter: 4/4
Tempo: 99-108 BPM
Basic Rhythm: Slow-Quick-Quick
The Rumba is a dance that tells a story of love and passion between a strong, male lover and a coy, teasing woman. Full of sensual movements, the Rumba is considered by many to be the sexiest of the ballroom dances. "Rumba" is a term that refers to a variety of dances or a "dance party." This dance of love is one of the most popular ballroom dances and is seen around the world at nightclubs, parties, weddings and dance competitions.
Rumba Characteristics
The Rumba is a very slow, serious, romantic dance with flirtation between the partners. The dance is fun to watch, as many of its basic dance figures of the dance have a teasing theme in which the lady flirts with and then rejects her male partner, often with apparent sexual aggression. The Rumba spotlights the lady's rhythmic body movements and hip actions resulting in intense, almost steamy, scenes of passion.
History of Rumba
The rumba is often referred to as the "grandfather of the Latin dances." Originating in Cuba, it first came to the United States in the early 1920s. The Rumba is the slowest of the five competition Latin and American dances.
Rumba Action
The distinctive hip movement, called Cuban Motion, is a very important element of the Rumba. These hip movements and characteristic sways of the Rumba are generated by the bending and straightening of the knees. The intensity of the Rumba is increased by sharp eye contact that is maintained between the man and the woman. The stillness of the upper body, while adding dramatic intensity, also emphasizes the strong, sensuous leg and foot movements.
Distinctive Rumba Steps
The basic rhythm of the Rumba is quick-quick-slow with distinctive side-to-side hip movements. Hip movements are exaggerated, but are not generated by the hips - they are simply a result of good foot, ankle, knee and leg action. When these weight transfers are well-controlled, the hips take care of themselves.
Distinctive Rumba steps include the following:
Fan, Hockey Stick, Alemana Turn, Aida, Open Hip Twist, La Elenita, Fencing Line, Hip Rolls, El Paseo, ...
Rumba Music and Rhythm
Rumba music is written with four beats to each measure, in 4/4 time. One full step is completed in two measures of music. The music tempo is usually about 99 to 108 beats per minute. Rumba rhythms, while once influenced by African-style music, have found their way into Country Western, Blues, Rock, and other popular music types. The music is sometimes enhanced by homemade instruments from the kitchen such as pots, pans and spoons.
Music: Medium-tempo Latin music.
Meter: 4/4
Tempo: 99-108 BPM
Basic Rhythm: Slow-Quick-Quick
The Rumba is a dance that tells a story of love and passion between a strong, male lover and a coy, teasing woman. Full of sensual movements, the Rumba is considered by many to be the sexiest of the ballroom dances. "Rumba" is a term that refers to a variety of dances or a "dance party." This dance of love is one of the most popular ballroom dances and is seen around the world at nightclubs, parties, weddings and dance competitions.
Rumba Characteristics
The Rumba is a very slow, serious, romantic dance with flirtation between the partners. The dance is fun to watch, as many of its basic dance figures of the dance have a teasing theme in which the lady flirts with and then rejects her male partner, often with apparent sexual aggression. The Rumba spotlights the lady's rhythmic body movements and hip actions resulting in intense, almost steamy, scenes of passion.
History of Rumba
The rumba is often referred to as the "grandfather of the Latin dances." Originating in Cuba, it first came to the United States in the early 1920s. The Rumba is the slowest of the five competition Latin and American dances.
Rumba Action
The distinctive hip movement, called Cuban Motion, is a very important element of the Rumba. These hip movements and characteristic sways of the Rumba are generated by the bending and straightening of the knees. The intensity of the Rumba is increased by sharp eye contact that is maintained between the man and the woman. The stillness of the upper body, while adding dramatic intensity, also emphasizes the strong, sensuous leg and foot movements.
Distinctive Rumba Steps
The basic rhythm of the Rumba is quick-quick-slow with distinctive side-to-side hip movements. Hip movements are exaggerated, but are not generated by the hips - they are simply a result of good foot, ankle, knee and leg action. When these weight transfers are well-controlled, the hips take care of themselves.
Distinctive Rumba steps include the following:
Fan, Hockey Stick, Alemana Turn, Aida, Open Hip Twist, La Elenita, Fencing Line, Hip Rolls, El Paseo, ...
Rumba Music and Rhythm
Rumba music is written with four beats to each measure, in 4/4 time. One full step is completed in two measures of music. The music tempo is usually about 99 to 108 beats per minute. Rumba rhythms, while once influenced by African-style music, have found their way into Country Western, Blues, Rock, and other popular music types. The music is sometimes enhanced by homemade instruments from the kitchen such as pots, pans and spoons.
SALSA
Style: Social Latin
Music: Up-tempo Latin music
Meter: 4/4
Tempo: 160-220 BPM
Basic Rhythm: 1-2-3-(4)-5-6-7-(8)
History of Salsa Dance
Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially in Cuba and Puerto Rico), Latin and North America. The dance originated through the mixture of Mambo, Danzn, Guaguanc, Cuban Son, and other typical Cuban dance forms. Salsa is danced to Salsa music. There is a strong African influence in the music as well as the dance. Salsa is a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner (Rueda de Casino). Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too. The name "Salsa" is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin.
Rhythm and Steps
The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars. Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 70 beats per minute (bpm) to its fastest at around 140 bpm, although most dancing is done to music somewhere between 80-120 bpm. While Salsa incorporates many instruments in music, the key instrument that provides the timing and rhythm of a salsa song is the conga drum. The conga drum is specifically hit to mark the counts 2 and 6 in the music regardless dance style (On1 or On2).
Use of Space
Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out but is more used in a staged salsa performance. In a social setting it is bad etiquette to occupy too much floor by traveling.
History
The history of "Salsa" dance is peppered with hearsay and contradiction. Although few would disagree that the music and dance forms originate largely in Cuban Son, most agree that Salsa as we know it today is a North American interpretation of the older forms. New York's Latino community had a vibrant musical and dancing scene throughout the '50s but found limited success with the 'Anglo' mainstream. In the 1970s, adoption of the term "Salsa" reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance[2]. The modernization of the Mambo in the 1950s was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba's influence in North America was diminished after Castro's revolution and the ensuing trade embargo. New York's Latino community was largely Puerto-Rican. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.
Origin of the Salsa Steps
The dance steps currently being danced to salsa music come from the son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changu, Palo Monte, Rumba, Abaku, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk reggae, hip-hop samba and even mambo.
Basic Step
The basic movement common across most salsa styles is to step quick-quick-slow 2 times over two 4-beat measures (or 1 8-beat measure). Typically the quick steps are on beats one and two, and the slow step is actually a quick on beat three followed by pause or tap on beat four. That is you step left-right-left-pause/tap then right-left-right-pause/tap. Notable exceptions to this timing are Mambo, Power On2 and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count. New York Mambo is unique in starting on one and breaking on two - that is, instead of stepping forward on the first beat with your left, stepping in place with your right and then returning your left to where it started, you step in place with the left on the first beat, step back with your right and then return your weight to your left.
Break Step
The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles. Many moves are quick and fast which include the girl spinning repetitiously.
Basic Step On One
The New York style's basic step "on 1". This basic step can be used with slight adaptations in all stylesOn counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.
The following variants of the Basic step may be used, often called breaks.
Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7
Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7
Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7
Basic Step On Two
Many ballroom chain schools' "mambo basic" has the leader commencing with a side left on 1 and a break backwards on 2, on the first bar.
If the break steps occurs on count 2 and 6, it is called "On Two". There are two main ways in North America of dancing On Two:
Power-On2 breaks on 2 and 6, and holds on 1 and 5.
Eddie-Torres-On2 breaks on beats 2 and 6, but holds on 4 and 8.
Eddie-Torres-On2
The lead steps slightly back on the left foot on 1, then takes a break step backwards on the right foot on 2. On 3 the left foot steps in-place and over 3 and 4 the weight is transferred to the left foot. On 5 the leader steps slightly forward on the right foot, and breaks forward with the left foot on 6. On 7 the leader steps in place with the right foot and over 7 and 8 the weight is transferred onto the right foot, ready to repeat on 1. Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style. In those videos, Eddie Torres himself calls this "Night Club Style"[3].
On2 steps analyzed
Also note that most "Torres" On 2 dancers slightly rush the one and the five count. This means that they are stepping a moment before the one and the five are played by the music. It can be clearly seen when they dance and heard when they count [1]. While this might seem strange at first it really makes sense if you analyze the steps. The counted "one" falls between the musical eight and the musical one, while the counted "five" falls between the musical four and the musical five. This means that the distance between the (early) one and the two is the same as the one between the three and the (early) five, and it is a dotted quarter note. Because of this the quick-quick-slow "On 1" pattern becomes a slow-quick-slow one for "On 2" dancers, and the reduced difference between the quicks (one quarter note) and the slows (one and half quarter note) gives the "On 2" dance its typical flowing quality. If we turn our attention to the steps we see how, in the basic step pattern, every step that requires a foot movement will fall on a "slow" count, while a simple weight transfer will be on a "quick", making this "On 2" feeling more natural and comfortable.
Dancing On1 and On2 Compared
While in closed frame, two partnered dancers can not be simultaneously dancing On1 and On2 respectively without causing injury to one another since the break steps are taken at different times. Dancing On2 means that the break step synchronizes with the accented slap of the tumbao, the pattern played on the conga drum(s), while the On1 break step synchronizes with the first beat of the measure. For this reason it is said On2 is more rhythmically oriented, whereas On1 is more melodically oriented. Note that commonly On2 starts the basic pattern with the lead moving back and the follow moving forward, while On1 the lead starts the basic step forward and follow steps back.
Common Turns
The following turns are used in almost all salsa dancing regardless of the basic used or style employed.
Spot Turn either, or often both, partners turn 360 remaining in the same spot
Extension partners break in opposing directions to build arm tension between them. Often leads into a spot turn or an in-and-out.
In-and-Out (Copa) - From a cross-hand hold (left over right), leader creates an extension, then pulls the woman in with the right hand while leading the left hand over her head to the other side of her, causing her to turn 180 to her left. The follower is then pushed back out, and will do at least another half left turn to return her to facing the lead.
Cross Body Lead follower is led to opposite side of lead, causing them to swap positions in a counter-clockwise fashion. Exists in other Latin dances such as Cha-cha-cha.
Reverse Cross Body Lead same as Cross Body Lead, but couple exchanges positions in a clockwise fashion.
Basket A type of extension where the leader is behind the follower and holds the follower's arms wrapped around her shoulders while she breaks forward and the leader breaks backward.
Salsa Styles
There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". The following are brief descriptions of major "recognizable" styles.
Cuban style
Casino (salsa dance)
A salsa instructor trains youngsters in Camagey, Cuba.Cuban-style salsa (also called Casino) can be danced either on the down beat ("a tiempo") or the upbeat ("a contratiempo"). Beats 1,3,5 and 7 are downbeats and 2,4,6 and 8 are upbeats. An essential element is the "Cuba step" (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other. The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.
Los Angeles Style
In Cuban based rhythms, the strong beats are on 1 and 3. L.A. style is danced on 1, in a slot. It is highly influenced by both the Mambo and Swing style of dancing. L.A. style emphasizes sensuousness, theatricality, aerobics, and most importantly, musicality. The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions. The L.A. style as it is known today was pioneered by what many consider some of the most famous and successful people in Dance. Albert Torres, Laura Canellias and Joe Cassini rightfully deserve much of the credit for the early development and growth of L.A. Style Salsa. Later, such dancers as Alex Da Silva, Edie Lewis, Joby Martinez, Thomas Montero, Rogelio Moreno, Josie Neglia, Francisco Vazquez (along with his two brothers, Luis and Johnny), Liz Rojas and Janette Valenzuela are often credited with developing the LA style of Salsa Dancing as we know it today. With many of the aforementioned still living and teaching in the L.A. area today.
New York Style
New York style emphasizes efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1. On 2 timing emphasizes the conga drum's tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music. Many also refer to this style as "Mambo" since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name. (See Mambo.) The etiquette of New York style is strict about remaining in the "slot" and avoiding traveling. New York style tends to place a greater emphasis on performing "shines" where dancers separate and dance solo for a time. New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, "socials" are often held that cater to almost exclusively playing "salsa dura" (lit. "Hard Salsa")[citation needed]. This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals. The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month. While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.
Famous On2 Dancers
New York Style's first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol, Amanda Estilo, Eric Baez, April Genovese de la Rosa, Jai Catalano and many more. Other important figures in the On2 style are Frankie Martinez, Moshe Rasier, John Navarro, Liz Rojas, Gabriel Romero, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, Milo, Ana and Joel Masacote, Jimmy Anton, Jesse Yip, Joe Burgos and many others.
Venezolana (Dominicana) Style
Venezolana Style Salsa is the style danced in Venezuela and Dominicana.
This style is characterised by:
The basic step is the Cumbia step
It is danced On 2 (1+2+3+pause)
Style has expressed impulse
Movement as turns and all dance are carried out on a circular trajectory
Movements are sharp (in comparison with Salsa Casino)
There is tap with 1 and 5 steps
The majority of movements and turns are carried out by "scrolling", instead of step-by-step (unlike Salsa Casino)
The quantity of turns is far less than with Casino or LA styles
One challenge with this style is that if even one of partners does the slightest mistake at turn is very strongly noticeably
Colombian Style
Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other's movements. In Colombian style, the break is on the three and the "spare beat" is always used for a tap or other embellishment. Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs. In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet. This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa. It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one's partner.
Mambo
Dancing style (also called Palladium or Power-2) popular at the Palladium Ballroom in 1950 which eventually spread across the United States during the mambo craze. This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M'Tazz dance company of New York, whose director, Angel Rodriguez, coined the term "Power 2." It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.
Puerto Rican Style
This style can be danced as "On One" or "On Two". When danced "On Two", the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats. There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform. The first Salsa Congress in Puerto Rico was in 1997.
La Rueda
In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.
There two main types of Rueda de Casino:
Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal)
Miami-style - "Rueda de Miami" (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )
Salsa Disco
This is a version of salsa which actually is a discotheque-version of social dancing. The difference from other versions is that it is, as they say, "a rattling mix". In Salsa Disco there are moves from Salsa Los Angeles-style, Puerto-Rico style, Casino etc. It often includes the expressed tap which is characteristic of the Venezuela style and also tricks and acrobatic elements of rock-and-roll.
Salsa Styling
Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa styling. Hip hop, jazz, flamenco, belly dancing, ballroom, break-dancing/pop and rock, Afro Cuban styles, and Bhangra have all been infused into the art of styling.
Shines
Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'. The movements of salsa have its origins in Cuban Son, Cha cha cha, Mambo and other dance forms, and the dance, along with the music, originated in the mid-1970s in New York.
It is commonly danced to salsa music, although the steps can be danced to any type of music with an 8-count rhythm.
Origin
Salsa dancing originated in New York in the mid-1970s. It evolved from earlier dance forms such as Cha cha cha and Mambo which were popular in New York, and incorporated elements of Swing dancing and Hustle, as well as elements of Afro-Cuban and Afro-Caribbean dances such as Guaguanco and Pachanga. There is some controversy surrounding the origins of the word salsa. Some claim that it was based on a cry shouted by musicians while they were playing their music. Other believe that the term was created by record labels to better market their music, who chose the word "salsa" because of its spicy and hot connotations. Still others believe the term came about because salsa dancing and music is a mixture of different styles, just like salsa or "sauce" in Latin American countries is a mixture of different ingredients. The exact origin is unknown.
Description
In many styles of salsa dancing, as a dancer changes weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. The Cuban Casino style of salsa dancing involves significant movement above the waist, with up-and-down shoulder movements and shifting of the ribcage. The arms are used by the "lead" dancer to communicate or signal the "follower," either in "open" or "closed" position. The open position requires the two dancers to hold one or both hands, especially for moves that involve turns, putting arms behind the back, or moving around each other, to name a few examples. In the closed position, the leader puts the right hand on the follower's back, while the follower puts the left hand on the leader's shoulder. In the original Latin America form, the forward/backward motion of salsa is done in diagonal or sideways with the 3-step weight change intact. In some styles of salsa, such as LA and New York style, the dancers remain in a slot or line (switching places), while in some Latin American styles, such as Cuban style, the dancers circle around each other, sometimes in 3 points. This circular style is inspired by Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside of their home territory. Characteristics that may identify a style include: timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style. Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Latin American styles originate from Cuba and surrounding Caribbean islands.
Salsa Dancing Locations
Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially if part of an outdoor festival. Salsa dancing is an international dance that can be found in most metropolitan cities in the world. Festivals are held annually, often called a Salsa Congress, in various host cities aimed to attract variety of salsa dancers from other cities and countries. The events bring dancers together to share their passion for the dance, build community, and to share moves and tips with each other. These events usually include salsa dance performers, live salsa music, workshops, open dancing, and contests.
Rhythm
Music suitable for dancing ranges from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160-220 bpm. Every salsa composition involves complex Afro-Cuban percussion based around the Clave Rhythm (which has four types), though there can be moments when the clave is hidden for a while, often when quoting Charanga, Changui and Bomba. The key instrument that provides the core groove of a salsa song is the clave. It is often played with two wooden sticks (called clave) that are hit together. Every instrument in a salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos, claves (instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, guiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point. However it is taboo to play or dance to the wrong type of clave rhythm. While dancers can mark the clave rhythm directly, it is more common to do so indirectly (with, for example, a shoulder movement). This allows the dancing itself to look very fluent as if the rest of the body is just moving untouched with the legs.
Son Clave
For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 Rumba claves. Most salsa music is played with one of the Son claves, though a Rumba clave is occasionally used, especially during Rumba sections of some songs. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8. There are other aspects outside of the Clave that help define salsa rhythm: the cowbell, the Montuno rhythm and the Tumbao rhythm. The cowbell is played on the core beats of salsa, 1, 3, 5 and 7. The basic Salsa rhythm is quick, quick, slow, quick, quick, slow, in other words, 1, 2, 3, 5, 6 and 7, which are very similar to the beats of the cowbell. Recognizing the rhythm of the cowbell helps one stay on Salsa rhythm. The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm loops over the 8 counts and is useful for finding the direction of the music. By listening to the same rhythm, that loops back to the beginning after eight counts, one can recognize which count is the first beat of the music. Tumbao is a rhythm in salsa that is played with the conga drums. It sounds like: "cu, cum.. pa... cu, cum... pa". Its most basic pattern is played on the beats 2,3,4,6,7, and 8. Tumbao rhythm is helpful for learning to dance contra-tiempo ("On2"). The beats 2 and 6 are emphasized when dancing On2, and the Tumbao rhythm heavily emphasizes those beats as well.
Styles
Salsa's roots are based on Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside of their home territory.
Characteristics that may identify a style include: timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style.
Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Latin American styles originate from Cuba and surrounding Caribbean islands including Puerto Rico, and the Dominican Republic and then expanding to Venezuela, Colombia, and the rest of Latin America; also heavily influence "Miami" style which is a fusion of Cuban style and North American version. The styles include "Casino", Miami-Style, Cali-style and Venezuelan Style.
North American styles have different characteristics: Los Angeles style breaks on the first beat "On 1" while New York style breaks on the second beat "On 2". Both have different origins and evolutionary path, as the New York Salsa is heavily influenced by Jazz instruments in its early growth stage.
Colombian / Cali Style
Cali-Style Salsa, also known as Colombian Salsa, is based on geographical location of the Colombian City of Cali. Cali is also known as the "Capital de la Salsa" (World's Salsa Capital); due to salsa music being the main genre in parties, nightclubs and festivals in the 21st century. The elements of Cali-Style Salsa were strongly influenced by dances to Caribbean rhythms which preceded salsa, such as Pachanga and Boogaloo. The basic steles is the footwork which has quick rapid steps and skipping motions. They do not execute Cross-body Leads or the "Dile Que No" as seen in LA/New York-style and Cuban-style salsa, respectively. Their footwork is intricate and precise, helping several Colombian Style dancers win major world championships. Cali hosts many annual salsa events such as the World Salsa Cali Festival and the Encuentro de Melomanos y Coleccionistas.
Cuban "Casino" Style
Cuban-style salsa, also known as Casino, is popular in many places around the world, including in Europe, Latin America, North America, and even in some countries in the Middle East. Dancing Casino is an expression of popular social culture; Cubans consider casino as part of social and cultural activities centering around their popular music. The name Casino is derived from the Spanish term for the dance halls, "Casinos Deportivos" where a lot of social dancing was done among the better off, white Cubans during the mid-20th century and onward. Historically, Casino traces its origin as a partner dance from Cuban Son, fused with partner figures and turns. As with the Son, Danzon and Cha Cha Cha, it is traditionally, though less often today, danced "a contratiempo". This means that, distinct from subsequent forms of salsa, no step is taken on the first and fifth beats in each clave pattern and the fourth and eighth beat are emphasised. In this way, rather than following a beat, the dancers themselves contribute in their movement, to the polyrythmic pattern of the music. What gives the dance its life, however, is not its mechanical technique, but understanding and spontaneous use of the rich Afro-Cuban dance vocabulary within a "Casino" dance. In the same way that a "sonero" (lead singer in Son and salsa bands) will "quote" other, older songs in their own, a "casino" dancer will frequently improvise references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities, the older popular dances such as Cha Cha Cha and Danzon as well as anything the dancer may feel.
Miami-style Casino
Developed by Cuban migrants to Florida and centered around Miami, this form of Cuban Salsa fused with American culture and LA Style. The major difference of Miami-style from other North American styles is the "Atras" or "Diagonal"; breaking backwards diagonally instead of moving forwards and backwards as seen in the New York and L.A. Style. Dancers do not shift their body weight greatly as seen in other styles. Instead, dancers keep their upper body still, poised and relaxed while the feet execute endless intricacies. The dancer breaks mostly On1 (sometimes On3), with short measures of "4" instead of full "8" counts. A major difference of Cali Style and Miami-style Casino is that the latter is exclusively danced on the downbeat (On1) and has elements of shines and show-style added to it, following repertoires of North American Styles. Miami-style has many adherents, particularly Cuban-Americans and other Latinos based in South Florida.
Rueda de Casino
In the 1950s Salsa Rueda or more accurately Rueda de Casino was developed in Havana, Cuba. Pairs of dancers form a circle ("Rueda" in Spanish means "Wheel"), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. "Rueda de Cuba" is original type of Rueda, originating from Cuba. It is not as formal as Rueda de Miami and consists of about 30 calls. It was codified in the 1970s. "Rueda de Miami" originated in the 1980s from Miami, is a formal style with many rules based on a mix, and is a hybridization of Rueda de Cuba & Los Angeles-style salsa and dance routines that reflect American culture (e.g. Coca-cola, Dedo, Adios) which is not found in the traditional Cuban-style Rueda.
Los Angeles Style
L.A. style is danced on 1, in a slot, with a measure of easiness and adaptability to it. It is strongly influenced by the Mambo, Swing, Argentine Tango and Latin Ballroom dancing styles. L.A. style places strong emphasis on sensuousness, theatricality, aerobics and musicality. The lifts, stunts and aerial works of today's salsa shows are derived mostly from L.A. Style forms with origins in Latin Ballroom and Ballet lifts. The two essential elements of this dance are the forward-backward basic as described above and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left), leaving the slot open. The follower then steps straight forward on 5-6 and turns on 7-8, while the leader makes another 90 degrees counter-clockwise and slightly forward, coming back into the slot. After these 8 counts, the leader and follower have exchanged their positions. Albert Torres, Laura Canellias and Joe Cassini are credited for the early development and growth of L.A. Style Salsa. Later, such dancers as Alex Da Silva, Edie Lewis, Joby Martinez, Josie Neglia, Liz Lira, Johnny and Francisco Vazquez and Janette Valenzuela are often credited with developing the L.A. style of salsa dancing as we know it today.
New York Style
New York style is danced in a line similar to LA Style salsa. However, unlike LA style, it is danced on the second beat of the music ("on 2"), and the follower steps forward on the first measure of the music, not the leader. The etiquette of New York Style is strict about remaining in the "slot" and avoiding traveling dancing in a sandbox area with a lot of spins, turns and styling. There is greater emphasis on performing "shines" in which dancers separate themselves and dance solo with intricate footwork and styling for a time--suspected origins from Swing and New York Tap. Though he did not create New York style salsa, Eddie Torres is credited with popularizing it, and for having the follower step forward on the second beat of the first measure.
There are two distinct developments of New York salsa as a music and dance genre:
Primary original evolution
From Mambo era when Cuban music was introduced to New York due to influx of migrating Cuban dissidents and Latin migrants during Pre/Post Cuban Revolution in the 1950s and 1960s. This era is known as the "Palladium Era". At this time, the music and dance was called "Mambo" or "Rhumba"--connoting the general term without being specific. The most famous dancer during this era was Puerto-Rican descendant Pedro "Cuban Pete" Aguilar, also known "The King of Latin Beat".
Secondary evolution
During the late 1970s, Latin migrants, particularly Puerto Ricans, contributed to the New York salsa development during the "NuYorican" era of Hector Lavoe which greatly popularized salsa as a term and modern Latin music throughout the world. Salsa superstars were "discovered" during the era, such as Ray Baretto ("The Godfather") and Celia Cruz ("The Queen of Salsa"). There are also salsa artists that transcend both periods, notably the legendary Puerto Rican Tito Puente ("The Mambo King"). These two developments create a fusion of a new salsa music and dance genre, different than its Latin American and L.A. Style counterparts. New York style salsa emphasizes harmony with the percussive instruments in salsa music, such as the congas, timbales, and clave, since many or all of those instruments often mark the second beat in the music.
Music: Up-tempo Latin music
Meter: 4/4
Tempo: 160-220 BPM
Basic Rhythm: 1-2-3-(4)-5-6-7-(8)
History of Salsa Dance
Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially in Cuba and Puerto Rico), Latin and North America. The dance originated through the mixture of Mambo, Danzn, Guaguanc, Cuban Son, and other typical Cuban dance forms. Salsa is danced to Salsa music. There is a strong African influence in the music as well as the dance. Salsa is a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner (Rueda de Casino). Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too. The name "Salsa" is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin.
Rhythm and Steps
The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars. Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 70 beats per minute (bpm) to its fastest at around 140 bpm, although most dancing is done to music somewhere between 80-120 bpm. While Salsa incorporates many instruments in music, the key instrument that provides the timing and rhythm of a salsa song is the conga drum. The conga drum is specifically hit to mark the counts 2 and 6 in the music regardless dance style (On1 or On2).
Use of Space
Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out but is more used in a staged salsa performance. In a social setting it is bad etiquette to occupy too much floor by traveling.
History
The history of "Salsa" dance is peppered with hearsay and contradiction. Although few would disagree that the music and dance forms originate largely in Cuban Son, most agree that Salsa as we know it today is a North American interpretation of the older forms. New York's Latino community had a vibrant musical and dancing scene throughout the '50s but found limited success with the 'Anglo' mainstream. In the 1970s, adoption of the term "Salsa" reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance[2]. The modernization of the Mambo in the 1950s was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba's influence in North America was diminished after Castro's revolution and the ensuing trade embargo. New York's Latino community was largely Puerto-Rican. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.
Origin of the Salsa Steps
The dance steps currently being danced to salsa music come from the son, but were influenced by many other Cuban dances such as Mambo, Cha cha cha, Guaracha, Changu, Palo Monte, Rumba, Abaku, Comparsa and some times even Mozambique. Solo salsa steps are called "Shines", a term taken from Tap dancing. It also integrates swing dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk reggae, hip-hop samba and even mambo.
Basic Step
The basic movement common across most salsa styles is to step quick-quick-slow 2 times over two 4-beat measures (or 1 8-beat measure). Typically the quick steps are on beats one and two, and the slow step is actually a quick on beat three followed by pause or tap on beat four. That is you step left-right-left-pause/tap then right-left-right-pause/tap. Notable exceptions to this timing are Mambo, Power On2 and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count. New York Mambo is unique in starting on one and breaking on two - that is, instead of stepping forward on the first beat with your left, stepping in place with your right and then returning your left to where it started, you step in place with the left on the first beat, step back with your right and then return your weight to your left.
Break Step
The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles. Many moves are quick and fast which include the girl spinning repetitiously.
Basic Step On One
The New York style's basic step "on 1". This basic step can be used with slight adaptations in all stylesOn counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.
The following variants of the Basic step may be used, often called breaks.
Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7
Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7
Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7
Basic Step On Two
Many ballroom chain schools' "mambo basic" has the leader commencing with a side left on 1 and a break backwards on 2, on the first bar.
If the break steps occurs on count 2 and 6, it is called "On Two". There are two main ways in North America of dancing On Two:
Power-On2 breaks on 2 and 6, and holds on 1 and 5.
Eddie-Torres-On2 breaks on beats 2 and 6, but holds on 4 and 8.
Eddie-Torres-On2
The lead steps slightly back on the left foot on 1, then takes a break step backwards on the right foot on 2. On 3 the left foot steps in-place and over 3 and 4 the weight is transferred to the left foot. On 5 the leader steps slightly forward on the right foot, and breaks forward with the left foot on 6. On 7 the leader steps in place with the right foot and over 7 and 8 the weight is transferred onto the right foot, ready to repeat on 1. Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style. In those videos, Eddie Torres himself calls this "Night Club Style"[3].
On2 steps analyzed
Also note that most "Torres" On 2 dancers slightly rush the one and the five count. This means that they are stepping a moment before the one and the five are played by the music. It can be clearly seen when they dance and heard when they count [1]. While this might seem strange at first it really makes sense if you analyze the steps. The counted "one" falls between the musical eight and the musical one, while the counted "five" falls between the musical four and the musical five. This means that the distance between the (early) one and the two is the same as the one between the three and the (early) five, and it is a dotted quarter note. Because of this the quick-quick-slow "On 1" pattern becomes a slow-quick-slow one for "On 2" dancers, and the reduced difference between the quicks (one quarter note) and the slows (one and half quarter note) gives the "On 2" dance its typical flowing quality. If we turn our attention to the steps we see how, in the basic step pattern, every step that requires a foot movement will fall on a "slow" count, while a simple weight transfer will be on a "quick", making this "On 2" feeling more natural and comfortable.
Dancing On1 and On2 Compared
While in closed frame, two partnered dancers can not be simultaneously dancing On1 and On2 respectively without causing injury to one another since the break steps are taken at different times. Dancing On2 means that the break step synchronizes with the accented slap of the tumbao, the pattern played on the conga drum(s), while the On1 break step synchronizes with the first beat of the measure. For this reason it is said On2 is more rhythmically oriented, whereas On1 is more melodically oriented. Note that commonly On2 starts the basic pattern with the lead moving back and the follow moving forward, while On1 the lead starts the basic step forward and follow steps back.
Common Turns
The following turns are used in almost all salsa dancing regardless of the basic used or style employed.
Spot Turn either, or often both, partners turn 360 remaining in the same spot
Extension partners break in opposing directions to build arm tension between them. Often leads into a spot turn or an in-and-out.
In-and-Out (Copa) - From a cross-hand hold (left over right), leader creates an extension, then pulls the woman in with the right hand while leading the left hand over her head to the other side of her, causing her to turn 180 to her left. The follower is then pushed back out, and will do at least another half left turn to return her to facing the lead.
Cross Body Lead follower is led to opposite side of lead, causing them to swap positions in a counter-clockwise fashion. Exists in other Latin dances such as Cha-cha-cha.
Reverse Cross Body Lead same as Cross Body Lead, but couple exchanges positions in a clockwise fashion.
Basket A type of extension where the leader is behind the follower and holds the follower's arms wrapped around her shoulders while she breaks forward and the leader breaks backward.
Salsa Styles
There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced "On One" or one style may be danced "On One" or "On Two". The following are brief descriptions of major "recognizable" styles.
Cuban style
Casino (salsa dance)
A salsa instructor trains youngsters in Camagey, Cuba.Cuban-style salsa (also called Casino) can be danced either on the down beat ("a tiempo") or the upbeat ("a contratiempo"). Beats 1,3,5 and 7 are downbeats and 2,4,6 and 8 are upbeats. An essential element is the "Cuba step" (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader's movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other. The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.
Los Angeles Style
In Cuban based rhythms, the strong beats are on 1 and 3. L.A. style is danced on 1, in a slot. It is highly influenced by both the Mambo and Swing style of dancing. L.A. style emphasizes sensuousness, theatricality, aerobics, and most importantly, musicality. The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions. The L.A. style as it is known today was pioneered by what many consider some of the most famous and successful people in Dance. Albert Torres, Laura Canellias and Joe Cassini rightfully deserve much of the credit for the early development and growth of L.A. Style Salsa. Later, such dancers as Alex Da Silva, Edie Lewis, Joby Martinez, Thomas Montero, Rogelio Moreno, Josie Neglia, Francisco Vazquez (along with his two brothers, Luis and Johnny), Liz Rojas and Janette Valenzuela are often credited with developing the LA style of Salsa Dancing as we know it today. With many of the aforementioned still living and teaching in the L.A. area today.
New York Style
New York style emphasizes efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1. On 2 timing emphasizes the conga drum's tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music. Many also refer to this style as "Mambo" since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name. (See Mambo.) The etiquette of New York style is strict about remaining in the "slot" and avoiding traveling. New York style tends to place a greater emphasis on performing "shines" where dancers separate and dance solo for a time. New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, "socials" are often held that cater to almost exclusively playing "salsa dura" (lit. "Hard Salsa")[citation needed]. This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals. The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month. While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.
Famous On2 Dancers
New York Style's first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol, Amanda Estilo, Eric Baez, April Genovese de la Rosa, Jai Catalano and many more. Other important figures in the On2 style are Frankie Martinez, Moshe Rasier, John Navarro, Liz Rojas, Gabriel Romero, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, Milo, Ana and Joel Masacote, Jimmy Anton, Jesse Yip, Joe Burgos and many others.
Venezolana (Dominicana) Style
Venezolana Style Salsa is the style danced in Venezuela and Dominicana.
This style is characterised by:
The basic step is the Cumbia step
It is danced On 2 (1+2+3+pause)
Style has expressed impulse
Movement as turns and all dance are carried out on a circular trajectory
Movements are sharp (in comparison with Salsa Casino)
There is tap with 1 and 5 steps
The majority of movements and turns are carried out by "scrolling", instead of step-by-step (unlike Salsa Casino)
The quantity of turns is far less than with Casino or LA styles
One challenge with this style is that if even one of partners does the slightest mistake at turn is very strongly noticeably
Colombian Style
Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other's movements. In Colombian style, the break is on the three and the "spare beat" is always used for a tap or other embellishment. Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs. In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet. This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa. It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one's partner.
Mambo
Dancing style (also called Palladium or Power-2) popular at the Palladium Ballroom in 1950 which eventually spread across the United States during the mambo craze. This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M'Tazz dance company of New York, whose director, Angel Rodriguez, coined the term "Power 2." It is important to note that although this style is also known as dancing "En Clave", the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.
Puerto Rican Style
This style can be danced as "On One" or "On Two". When danced "On Two", the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats. There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform. The first Salsa Congress in Puerto Rico was in 1997.
La Rueda
In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.
There two main types of Rueda de Casino:
Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal)
Miami-style - "Rueda de Miami" (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )
Salsa Disco
This is a version of salsa which actually is a discotheque-version of social dancing. The difference from other versions is that it is, as they say, "a rattling mix". In Salsa Disco there are moves from Salsa Los Angeles-style, Puerto-Rico style, Casino etc. It often includes the expressed tap which is characteristic of the Venezuela style and also tricks and acrobatic elements of rock-and-roll.
Salsa Styling
Incorporating styling techniques into any style of salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. There are lessons dedicated to the art of salsa styling. Hip hop, jazz, flamenco, belly dancing, ballroom, break-dancing/pop and rock, Afro Cuban styles, and Bhangra have all been infused into the art of styling.
Shines
Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate. They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their "moment to shine". On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called 'shines'. The movements of salsa have its origins in Cuban Son, Cha cha cha, Mambo and other dance forms, and the dance, along with the music, originated in the mid-1970s in New York.
It is commonly danced to salsa music, although the steps can be danced to any type of music with an 8-count rhythm.
Origin
Salsa dancing originated in New York in the mid-1970s. It evolved from earlier dance forms such as Cha cha cha and Mambo which were popular in New York, and incorporated elements of Swing dancing and Hustle, as well as elements of Afro-Cuban and Afro-Caribbean dances such as Guaguanco and Pachanga. There is some controversy surrounding the origins of the word salsa. Some claim that it was based on a cry shouted by musicians while they were playing their music. Other believe that the term was created by record labels to better market their music, who chose the word "salsa" because of its spicy and hot connotations. Still others believe the term came about because salsa dancing and music is a mixture of different styles, just like salsa or "sauce" in Latin American countries is a mixture of different ingredients. The exact origin is unknown.
Description
In many styles of salsa dancing, as a dancer changes weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. The Cuban Casino style of salsa dancing involves significant movement above the waist, with up-and-down shoulder movements and shifting of the ribcage. The arms are used by the "lead" dancer to communicate or signal the "follower," either in "open" or "closed" position. The open position requires the two dancers to hold one or both hands, especially for moves that involve turns, putting arms behind the back, or moving around each other, to name a few examples. In the closed position, the leader puts the right hand on the follower's back, while the follower puts the left hand on the leader's shoulder. In the original Latin America form, the forward/backward motion of salsa is done in diagonal or sideways with the 3-step weight change intact. In some styles of salsa, such as LA and New York style, the dancers remain in a slot or line (switching places), while in some Latin American styles, such as Cuban style, the dancers circle around each other, sometimes in 3 points. This circular style is inspired by Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside of their home territory. Characteristics that may identify a style include: timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style. Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Latin American styles originate from Cuba and surrounding Caribbean islands.
Salsa Dancing Locations
Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially if part of an outdoor festival. Salsa dancing is an international dance that can be found in most metropolitan cities in the world. Festivals are held annually, often called a Salsa Congress, in various host cities aimed to attract variety of salsa dancers from other cities and countries. The events bring dancers together to share their passion for the dance, build community, and to share moves and tips with each other. These events usually include salsa dance performers, live salsa music, workshops, open dancing, and contests.
Rhythm
Music suitable for dancing ranges from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160-220 bpm. Every salsa composition involves complex Afro-Cuban percussion based around the Clave Rhythm (which has four types), though there can be moments when the clave is hidden for a while, often when quoting Charanga, Changui and Bomba. The key instrument that provides the core groove of a salsa song is the clave. It is often played with two wooden sticks (called clave) that are hit together. Every instrument in a salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos, claves (instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, guiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point. However it is taboo to play or dance to the wrong type of clave rhythm. While dancers can mark the clave rhythm directly, it is more common to do so indirectly (with, for example, a shoulder movement). This allows the dancing itself to look very fluent as if the rest of the body is just moving untouched with the legs.
Son Clave
For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 Rumba claves. Most salsa music is played with one of the Son claves, though a Rumba clave is occasionally used, especially during Rumba sections of some songs. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8. There are other aspects outside of the Clave that help define salsa rhythm: the cowbell, the Montuno rhythm and the Tumbao rhythm. The cowbell is played on the core beats of salsa, 1, 3, 5 and 7. The basic Salsa rhythm is quick, quick, slow, quick, quick, slow, in other words, 1, 2, 3, 5, 6 and 7, which are very similar to the beats of the cowbell. Recognizing the rhythm of the cowbell helps one stay on Salsa rhythm. The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm loops over the 8 counts and is useful for finding the direction of the music. By listening to the same rhythm, that loops back to the beginning after eight counts, one can recognize which count is the first beat of the music. Tumbao is a rhythm in salsa that is played with the conga drums. It sounds like: "cu, cum.. pa... cu, cum... pa". Its most basic pattern is played on the beats 2,3,4,6,7, and 8. Tumbao rhythm is helpful for learning to dance contra-tiempo ("On2"). The beats 2 and 6 are emphasized when dancing On2, and the Tumbao rhythm heavily emphasizes those beats as well.
Styles
Salsa's roots are based on Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside of their home territory.
Characteristics that may identify a style include: timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style.
Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Latin American styles originate from Cuba and surrounding Caribbean islands including Puerto Rico, and the Dominican Republic and then expanding to Venezuela, Colombia, and the rest of Latin America; also heavily influence "Miami" style which is a fusion of Cuban style and North American version. The styles include "Casino", Miami-Style, Cali-style and Venezuelan Style.
North American styles have different characteristics: Los Angeles style breaks on the first beat "On 1" while New York style breaks on the second beat "On 2". Both have different origins and evolutionary path, as the New York Salsa is heavily influenced by Jazz instruments in its early growth stage.
Colombian / Cali Style
Cali-Style Salsa, also known as Colombian Salsa, is based on geographical location of the Colombian City of Cali. Cali is also known as the "Capital de la Salsa" (World's Salsa Capital); due to salsa music being the main genre in parties, nightclubs and festivals in the 21st century. The elements of Cali-Style Salsa were strongly influenced by dances to Caribbean rhythms which preceded salsa, such as Pachanga and Boogaloo. The basic steles is the footwork which has quick rapid steps and skipping motions. They do not execute Cross-body Leads or the "Dile Que No" as seen in LA/New York-style and Cuban-style salsa, respectively. Their footwork is intricate and precise, helping several Colombian Style dancers win major world championships. Cali hosts many annual salsa events such as the World Salsa Cali Festival and the Encuentro de Melomanos y Coleccionistas.
Cuban "Casino" Style
Cuban-style salsa, also known as Casino, is popular in many places around the world, including in Europe, Latin America, North America, and even in some countries in the Middle East. Dancing Casino is an expression of popular social culture; Cubans consider casino as part of social and cultural activities centering around their popular music. The name Casino is derived from the Spanish term for the dance halls, "Casinos Deportivos" where a lot of social dancing was done among the better off, white Cubans during the mid-20th century and onward. Historically, Casino traces its origin as a partner dance from Cuban Son, fused with partner figures and turns. As with the Son, Danzon and Cha Cha Cha, it is traditionally, though less often today, danced "a contratiempo". This means that, distinct from subsequent forms of salsa, no step is taken on the first and fifth beats in each clave pattern and the fourth and eighth beat are emphasised. In this way, rather than following a beat, the dancers themselves contribute in their movement, to the polyrythmic pattern of the music. What gives the dance its life, however, is not its mechanical technique, but understanding and spontaneous use of the rich Afro-Cuban dance vocabulary within a "Casino" dance. In the same way that a "sonero" (lead singer in Son and salsa bands) will "quote" other, older songs in their own, a "casino" dancer will frequently improvise references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities, the older popular dances such as Cha Cha Cha and Danzon as well as anything the dancer may feel.
Miami-style Casino
Developed by Cuban migrants to Florida and centered around Miami, this form of Cuban Salsa fused with American culture and LA Style. The major difference of Miami-style from other North American styles is the "Atras" or "Diagonal"; breaking backwards diagonally instead of moving forwards and backwards as seen in the New York and L.A. Style. Dancers do not shift their body weight greatly as seen in other styles. Instead, dancers keep their upper body still, poised and relaxed while the feet execute endless intricacies. The dancer breaks mostly On1 (sometimes On3), with short measures of "4" instead of full "8" counts. A major difference of Cali Style and Miami-style Casino is that the latter is exclusively danced on the downbeat (On1) and has elements of shines and show-style added to it, following repertoires of North American Styles. Miami-style has many adherents, particularly Cuban-Americans and other Latinos based in South Florida.
Rueda de Casino
In the 1950s Salsa Rueda or more accurately Rueda de Casino was developed in Havana, Cuba. Pairs of dancers form a circle ("Rueda" in Spanish means "Wheel"), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. "Rueda de Cuba" is original type of Rueda, originating from Cuba. It is not as formal as Rueda de Miami and consists of about 30 calls. It was codified in the 1970s. "Rueda de Miami" originated in the 1980s from Miami, is a formal style with many rules based on a mix, and is a hybridization of Rueda de Cuba & Los Angeles-style salsa and dance routines that reflect American culture (e.g. Coca-cola, Dedo, Adios) which is not found in the traditional Cuban-style Rueda.
Los Angeles Style
L.A. style is danced on 1, in a slot, with a measure of easiness and adaptability to it. It is strongly influenced by the Mambo, Swing, Argentine Tango and Latin Ballroom dancing styles. L.A. style places strong emphasis on sensuousness, theatricality, aerobics and musicality. The lifts, stunts and aerial works of today's salsa shows are derived mostly from L.A. Style forms with origins in Latin Ballroom and Ballet lifts. The two essential elements of this dance are the forward-backward basic as described above and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left), leaving the slot open. The follower then steps straight forward on 5-6 and turns on 7-8, while the leader makes another 90 degrees counter-clockwise and slightly forward, coming back into the slot. After these 8 counts, the leader and follower have exchanged their positions. Albert Torres, Laura Canellias and Joe Cassini are credited for the early development and growth of L.A. Style Salsa. Later, such dancers as Alex Da Silva, Edie Lewis, Joby Martinez, Josie Neglia, Liz Lira, Johnny and Francisco Vazquez and Janette Valenzuela are often credited with developing the L.A. style of salsa dancing as we know it today.
New York Style
New York style is danced in a line similar to LA Style salsa. However, unlike LA style, it is danced on the second beat of the music ("on 2"), and the follower steps forward on the first measure of the music, not the leader. The etiquette of New York Style is strict about remaining in the "slot" and avoiding traveling dancing in a sandbox area with a lot of spins, turns and styling. There is greater emphasis on performing "shines" in which dancers separate themselves and dance solo with intricate footwork and styling for a time--suspected origins from Swing and New York Tap. Though he did not create New York style salsa, Eddie Torres is credited with popularizing it, and for having the follower step forward on the second beat of the first measure.
There are two distinct developments of New York salsa as a music and dance genre:
Primary original evolution
From Mambo era when Cuban music was introduced to New York due to influx of migrating Cuban dissidents and Latin migrants during Pre/Post Cuban Revolution in the 1950s and 1960s. This era is known as the "Palladium Era". At this time, the music and dance was called "Mambo" or "Rhumba"--connoting the general term without being specific. The most famous dancer during this era was Puerto-Rican descendant Pedro "Cuban Pete" Aguilar, also known "The King of Latin Beat".
Secondary evolution
During the late 1970s, Latin migrants, particularly Puerto Ricans, contributed to the New York salsa development during the "NuYorican" era of Hector Lavoe which greatly popularized salsa as a term and modern Latin music throughout the world. Salsa superstars were "discovered" during the era, such as Ray Baretto ("The Godfather") and Celia Cruz ("The Queen of Salsa"). There are also salsa artists that transcend both periods, notably the legendary Puerto Rican Tito Puente ("The Mambo King"). These two developments create a fusion of a new salsa music and dance genre, different than its Latin American and L.A. Style counterparts. New York style salsa emphasizes harmony with the percussive instruments in salsa music, such as the congas, timbales, and clave, since many or all of those instruments often mark the second beat in the music.
TANGO
Style: American Smooth (Ballroom)
Music: Medium tempo orchestral, sometimes march-like.
Meter: 4/4
Tempo: 125-135 BPM
Basic Rhythm: 1-(2)-3-(4)-5-6-(7)-(8)
If you're new to tango, you may be surprised to learn how many styles are associated with the dance. The various tango styles differ in both tempo (music speed) and basic dance movements. The tango styles can be divided into two categories, close embrace and open embrace. In a close embrace, partners dance very close to each other. In an open embrace, partners dance further apart, allowing the opportunity for a wider range of movement. The following list contains the top 8 styles of tango.
1. Tango Salon
Salon-style tango is usually danced with an upright body position, and can be danced in an open or a closed position. either the close or open position. Salon-style is characterized by both partners staying on their own axis, and by maintaining a flexible embrace that allows for rotations of the hips of both partners. Dancers must remain aware of the line of dance at all times. Salon-style tango is usually danced to the strongly-accented beats of tango music played in 4 by 4 time.
2. Tango Milonguero
Milonguero-style tango is usually danced in a close embrace, with a slightly leaning posture. Partners must maintain constant upper body contact throughout the entire dance, even during turns. While some instructors of the style will instruct dancers to lean against each other, others prefer that partners maintain their own balance. Dancers should lean forward only enough to remain in the embrace. This embrace is often referred to as apilado.
3. Club Tango
Club-style tango is a mixture of the salon and milonguero styles of tango. Club-style is danced in a close embrace, with partners loosening their embrace during turns. Club-style tango is danced with an upright posture.
4. Tango Orillero
The term orillero means "tango from the outskirts of the city." Orillero-style tango can be danced in either the open or close embrace, although it is mostly performed in open embrace, allowing both dancers to make steps outside of the embrace. Many people agree that orillero-style tango is one of the easiest to master.
5. Tango Canyengue
Tango canyengue is a historical form of the dance that originated in the 1920's and 1930's. This style is danced in close embrace, with dancers typically moving with bent knees to allow for smaller steps. Body movements are exaggerated in order to accent the small steps.
6. Tango Nuevo
Tango nuevo (new tango) developed as a style upon careful analysis of the basic structural movements of tango dancing, and the discovery of new step combinations. Tango nuevo is danced in an open, loose embrace in an upright posture, and each dancer must maintain his or her own axis. This style can be performed with either traditional tango music or more contemporary, non-tango music.
7. Fantasia
Fantasia (show tango) is danced in tango stage shows. Fantasia, which combines several different tango styles, is danced in open embrace. This style of tango is characterized by exaggerated movements and "extra" dance elements not usually associated with basic social tango. The additional movements are often taken from the dance style of ballet.
8. Ballroom Tango
Ballroom tango developed from Argentine tango styles, but was modified to fit into the category of ballroom dancing. Ballroom tango incorporates different techniques than the smooth, Argentine dances. Tango is considered one of the easiest of the ballroom dance styles, making it a great choice for beginners. Ballroom tango is divided into two categories, American Style and International Style. Each of these styles is considered to be a social and competitive dance, but International Style is generally used more often in ballroom competitions.
Music: Medium tempo orchestral, sometimes march-like.
Meter: 4/4
Tempo: 125-135 BPM
Basic Rhythm: 1-(2)-3-(4)-5-6-(7)-(8)
If you're new to tango, you may be surprised to learn how many styles are associated with the dance. The various tango styles differ in both tempo (music speed) and basic dance movements. The tango styles can be divided into two categories, close embrace and open embrace. In a close embrace, partners dance very close to each other. In an open embrace, partners dance further apart, allowing the opportunity for a wider range of movement. The following list contains the top 8 styles of tango.
1. Tango Salon
Salon-style tango is usually danced with an upright body position, and can be danced in an open or a closed position. either the close or open position. Salon-style is characterized by both partners staying on their own axis, and by maintaining a flexible embrace that allows for rotations of the hips of both partners. Dancers must remain aware of the line of dance at all times. Salon-style tango is usually danced to the strongly-accented beats of tango music played in 4 by 4 time.
2. Tango Milonguero
Milonguero-style tango is usually danced in a close embrace, with a slightly leaning posture. Partners must maintain constant upper body contact throughout the entire dance, even during turns. While some instructors of the style will instruct dancers to lean against each other, others prefer that partners maintain their own balance. Dancers should lean forward only enough to remain in the embrace. This embrace is often referred to as apilado.
3. Club Tango
Club-style tango is a mixture of the salon and milonguero styles of tango. Club-style is danced in a close embrace, with partners loosening their embrace during turns. Club-style tango is danced with an upright posture.
4. Tango Orillero
The term orillero means "tango from the outskirts of the city." Orillero-style tango can be danced in either the open or close embrace, although it is mostly performed in open embrace, allowing both dancers to make steps outside of the embrace. Many people agree that orillero-style tango is one of the easiest to master.
5. Tango Canyengue
Tango canyengue is a historical form of the dance that originated in the 1920's and 1930's. This style is danced in close embrace, with dancers typically moving with bent knees to allow for smaller steps. Body movements are exaggerated in order to accent the small steps.
6. Tango Nuevo
Tango nuevo (new tango) developed as a style upon careful analysis of the basic structural movements of tango dancing, and the discovery of new step combinations. Tango nuevo is danced in an open, loose embrace in an upright posture, and each dancer must maintain his or her own axis. This style can be performed with either traditional tango music or more contemporary, non-tango music.
7. Fantasia
Fantasia (show tango) is danced in tango stage shows. Fantasia, which combines several different tango styles, is danced in open embrace. This style of tango is characterized by exaggerated movements and "extra" dance elements not usually associated with basic social tango. The additional movements are often taken from the dance style of ballet.
8. Ballroom Tango
Ballroom tango developed from Argentine tango styles, but was modified to fit into the category of ballroom dancing. Ballroom tango incorporates different techniques than the smooth, Argentine dances. Tango is considered one of the easiest of the ballroom dance styles, making it a great choice for beginners. Ballroom tango is divided into two categories, American Style and International Style. Each of these styles is considered to be a social and competitive dance, but International Style is generally used more often in ballroom competitions.
TRIPLE 2 STEP
Style: Smooth
Music: Fast music
Meter: 4/4
Tempo: 168-200 BPM
Basic Rhythm: 1-2-3-(4)-5-(6)
A..........................
Music: Fast music
Meter: 4/4
Tempo: 168-200 BPM
Basic Rhythm: 1-2-3-(4)-5-(6)
A..........................
WALTZ
Style: Rise & Fall
Music: Slow ballads or instrumental music in 3/4 time.
Meter: 3/4
Tempo: 76-98 BPM
Basic Rhythm: 1-2-3-4-5-6 (strong accent on 1)
Waltz is a smooth progressive dance characterized by long, flowing movements, continuous turns, and rise & fall. Graceful and elegant, Waltz dancers glide around the floor almost effortlessly. The American style is punctuated with lavish open movements, underarm turns, and solo spins. At 28-30 measures per minute, the tempo is slow at best, but the expressive quality of the music often invites very powerful and dynamic movement from dancers.
Music: Slow ballads or instrumental music in 3/4 time.
Meter: 3/4
Tempo: 76-98 BPM
Basic Rhythm: 1-2-3-4-5-6 (strong accent on 1)
Waltz is a smooth progressive dance characterized by long, flowing movements, continuous turns, and rise & fall. Graceful and elegant, Waltz dancers glide around the floor almost effortlessly. The American style is punctuated with lavish open movements, underarm turns, and solo spins. At 28-30 measures per minute, the tempo is slow at best, but the expressive quality of the music often invites very powerful and dynamic movement from dancers.
WEST COAST SWING
Style: Smooth
Music: Slow to medium tempo
Meter: 4/4
Tempo: 98-120 BPM
Basic Rhythm: 1-2-3a4-5a6 (1-2-3&4-5-6-7&8)
West Coast Swing is the 'Official State Dance of California'. Historically San Diego, San Francisco, and Los Angeles all argue about what city West Coast Swing originated in, however, the Los Angeles California area tends to win the debate on its evolution. West Coast Swing roots back to or originated from an earlier dance known as the Savoy Style Lindy, which was done at the Savoy Ballroom in New York in the early 1930's. Although WCS was not invented by, it was indirectly spawned by a man whose name was Dean Collins, who also danced at the Savoy while he was living in New York.
Collins came to California in 1936 to get into the movie business and brought with him 'his version' of the "Savoy Style Lindy." Collins, after dancing in Hollywood for a couple years and swing dancing in many night clubs began dancing and competing in dance contests. He would get to know some of the other local dancers, which they have been said to have "not seen that style of swing before, but they liked it very much." It was a lot different than what they were doing at the time ... which they called it "The Whip" (NOTE: different than the later "Houston Whip" which is a Descendant of WCS ... to make a slightly long story short,) "Sophisticated Swing" and/or sometimes the "New Yorker".
When Collins started winning contests everyone wanted to learn his style. Dean's first partner was Bertha Lee in contests and film but later Collins joined up with Jewel McGowen who was to become the hottest female swing dancer who had ever "Switched" (swivel'd back and forth) with Dean (Bertha was really frickin' good as well). Jewell and Dean made many movies apart as well as together. When Dean would be asked what style of swing he was doing he would say "there is no style, there is only Swing." He never said there is only Lindy Hop or West Coast or Jitterbug, etc., NEVER!, there is only swing. And being a true master of swing realized that "Swing is Swing"... period!
Collins started teaching "his version" to L.A. and soon everyone on the West Coast was doing it. Dean finally got his break and started doing much moreHollywood Movies in the 1940s and 1950s. He brought many local swing dancers who he had taught this "new style" with him into many of these movies as well. During this time, the movies billed WCS dance as "Jitterbug or Rock and Roll." Many soldiers danced this version of swing in W.W. II. The soldiers and U.S.O. took "West Coast Swing" AND OTHER FORMS OF SWING all over the world ... disguised as the newer term of Jitterbug or Rock and Roll (before these titles swing was known as the Lindy Hop). Dean passed away in the mid-1980's. In the clips below you can see the legendaryKenny Wetzel interviewing Dean at the famous Lion d'Or in Downey, Ca. As well as Dean featured in the other two clips. Also here is a Youtube link to Dean teaching at the Palladium in 1983.
Today there are EIGHT BASIC STEPS that the whole dance revolves upon. They Are:
Music: Slow to medium tempo
Meter: 4/4
Tempo: 98-120 BPM
Basic Rhythm: 1-2-3a4-5a6 (1-2-3&4-5-6-7&8)
West Coast Swing is the 'Official State Dance of California'. Historically San Diego, San Francisco, and Los Angeles all argue about what city West Coast Swing originated in, however, the Los Angeles California area tends to win the debate on its evolution. West Coast Swing roots back to or originated from an earlier dance known as the Savoy Style Lindy, which was done at the Savoy Ballroom in New York in the early 1930's. Although WCS was not invented by, it was indirectly spawned by a man whose name was Dean Collins, who also danced at the Savoy while he was living in New York.
Collins came to California in 1936 to get into the movie business and brought with him 'his version' of the "Savoy Style Lindy." Collins, after dancing in Hollywood for a couple years and swing dancing in many night clubs began dancing and competing in dance contests. He would get to know some of the other local dancers, which they have been said to have "not seen that style of swing before, but they liked it very much." It was a lot different than what they were doing at the time ... which they called it "The Whip" (NOTE: different than the later "Houston Whip" which is a Descendant of WCS ... to make a slightly long story short,) "Sophisticated Swing" and/or sometimes the "New Yorker".
When Collins started winning contests everyone wanted to learn his style. Dean's first partner was Bertha Lee in contests and film but later Collins joined up with Jewel McGowen who was to become the hottest female swing dancer who had ever "Switched" (swivel'd back and forth) with Dean (Bertha was really frickin' good as well). Jewell and Dean made many movies apart as well as together. When Dean would be asked what style of swing he was doing he would say "there is no style, there is only Swing." He never said there is only Lindy Hop or West Coast or Jitterbug, etc., NEVER!, there is only swing. And being a true master of swing realized that "Swing is Swing"... period!
Collins started teaching "his version" to L.A. and soon everyone on the West Coast was doing it. Dean finally got his break and started doing much moreHollywood Movies in the 1940s and 1950s. He brought many local swing dancers who he had taught this "new style" with him into many of these movies as well. During this time, the movies billed WCS dance as "Jitterbug or Rock and Roll." Many soldiers danced this version of swing in W.W. II. The soldiers and U.S.O. took "West Coast Swing" AND OTHER FORMS OF SWING all over the world ... disguised as the newer term of Jitterbug or Rock and Roll (before these titles swing was known as the Lindy Hop). Dean passed away in the mid-1980's. In the clips below you can see the legendaryKenny Wetzel interviewing Dean at the famous Lion d'Or in Downey, Ca. As well as Dean featured in the other two clips. Also here is a Youtube link to Dean teaching at the Palladium in 1983.
Today there are EIGHT BASIC STEPS that the whole dance revolves upon. They Are:
- Dance Starts in a Closed Starter Basic and/ or Preparatory Basic.
- Throw-Out.
- Under-Arm Pass.
- Under Arm Pass with a Hand Change.
- Left Side Pass.
- Sugar Push(es) / Push Break.
- Open Two Hand Tuck 'In' Turn. (Done from open position).
- The Basic Whip (the Whip is also the very first pattern into intermediate as well).
