Deriving harmony from Salsa music and disparate dance movement: Mambo - Modern - Afro Cuban - Latin Jazz - Hip Hop - Tango - Ballroom - Ballet - Swing - Jazz
Conventions have naturally developed regarding timing, steps, body position, and movement when dancing salsa with a partner. Not surprisingly these conventions vary all over the world. This is a testament to the complexity and variation in the music and to those who listen to it. Although dancers, teachers, musicians, and dj's have strong opinions on the right way to dance, salsa is made more interesting by the differences and we at The Harmony Project believe that anyone intrigued by the dance should understand all conventions and choose the one felt most.
Of course, we have our preference. Because most salsa music is structured around the key instruments, the clave and the conga, we choose a similar structure in our basic step. We understand that the basic step, based on an eight count measure, developed specifically so that two people can dance in harmony in close space. When there is space enough to avoid our partners toes, the basic step becomes arbitrary and often syncopated out of recognition.
When we do dance the basic step using counts 1 through 8, we pause count 1, step count 2 with our left foot in place pushing back, step count 3 on our right behind our left foot, step count 4 with our left next to the right foot, hold count 5, then step count 6 in place with our right pushing forward, step count 7 with our left forward of the right, finally count 8 together with our right next to our left foot and repeat.
The timing is 2,3,4...6,7,8. This allows us to play with the clave rhythm 2,3...5,6 &,8, and the conga rhythm at the pauses, 4& and 8&. Because the conga heartbeat is often the easiest rhythm to hear, the pauses have the strongest accent. This basic step, which acts as the dance backbone, follows the music's backbone and tunes the dancer to its creative power.
Although regulated by some practitioners, salsa dancing in its purest traditional form is usually spontaneous and highly energetic. The movements swing between the very slow and the frenzied, a clear reflection of its lively musical style. From a purely athletic perspective, a night of dancing is a wonderful workout. It combines both aerobic and anaerobic training, building stamina and leg strength. (Note: These benefits may be offset by the accompanying intake of Bacardi.)
Dancing is a perfect way to achieve your desired body shape. Its constant movement builds up your aerobic stamina, slowly burning calories over a sustained period of time. This helps to tone and strengthen your legs while you lose weight. Sudden bursts of intense dancing will help improve your anaerobic fitness, which is vital in sports such as sprinting, swimming and basketball. Blasts of sustained effort are undertaken without actually breathing and without the use of your oxygen-laden aerobic fitness. This is vital for that lung-bursting, early morning sprint for the bus.
But just as important as the aerobic benefits are the improvements in flexibility and agility. This aspect of fitness is often overlooked despite its significance. Elasticity through dancing will help your speed, power and co-ordination by simply increasing your total range of motion.
When the salsa enthusiast decides to delve into performance to push the limits of the skill, dance fitness becomes more important. Posture, endurance, awareness of isolations, flexibility, and strength are critical when a dancer wishes to project movement on stage. At this level, the dancer should be taking formal dance classes, workout regularly, and develop important micro dance muscles. Classes in Ballet, Jazz, Modern, Afro-Cuban, Ballroom, Yoga, and Pilates are all excellent ways to develop a powerful dance body.
The roots of salsa dance are deep. The current range of dance styles reflects the depth of various influence. From Africa to Cuba and Puerto Rico to New York and beyond, the dance has been modified by every location it has come in contact with. Popular styles include: Cuban, Puerto Rican, Rueda, Miami, New York, LA, and Cumbia.
The Cuban and Miami styles are very much a man's dance with a repertoire of multiple allardes (a showy decoration with the hand, executed by the man, that resembles the gesture of combing one's hair) and hook turns. For the most part, dancers in Miami and Cuba possess a raw and easy style that most non-Latino dancers may find difficult to emulate. In closed position, the basic step is danced with an option to break on either "1" or "3." Dancers will often use a step called "Guapea" as their basic. Cross Body Leads are also danced in these two styles but tend to be more rotational than the linear CBL's in the L.A. and New York styles. The Cuban/Miami style can often be distinguished by complex arm maneuvers, small rhythmic movements in closed position, and high speed footwork.
Casino Rueda is a dance style that originated from Cuba and has found its way to many cities worldwide. It is a group dance that requires dancers be alert and quick as they respond, in a synchronized fashion, to a designated "caller". This caller, typically a dancer in the group, orchestrates a series of moves using both verbal and hand signals that lead dancers through short combinations, some of which require a change of partner mid-dance. It can certainly challenge a dancer's timing and retention skills as an experienced and knowledgeable rueda dancer may know anywhere from 150-300 patterns/calls.
The New York and L.A. styles are very closely linked. Both styles use the mambo step as a basic and are very slotted/linear in execution. New York has earned a reputation for dancing on "2" yet there are many New Yorker's who also dance on "1". There are two variations of the mambo step danced in New York, the modern mambo (a.k.a. Eddie Torres style) and the classic mambo style. The Eddie Torres style is characterized by a continuous and smooth body rhythm and passing of the feet where the non-weight changing counts are on "4" and "8". The classic style is very much like the 1950's Mambo whereby the non-weight changing counts are on "1" and "5". The New York style tends to have the most varied interpretation of the basic step.
The Los Angeles style uses the contemporary mambo basic as well but typically executes this step by breaking forward on count "1". The L.A. and New York styles consist of similar core components with regards to the repertoire of moves. The main difference is their approach to styling, the ebb and flow of movement. If you were to look at room full of dancers from both L.A. and New York, you would easily be able to ascertain who is from where. The New York dancers have a more composed, elegant, and smooth look and feel. The women in particular reveal a sensual quality to express the intricacies of the music. Unlike the subtle nuances of the New York style, the L.A. dancer would, more likely, catch your attention first with their display of tricks. The execution tends to be crisp and sharp with a vivacious appeal. The L.A. men tend to dance with jumps, flips, splits, spins, and ... get the picture?
Another component of salsa dance that is a "must know" for dancers interested in the L.A. and New York styles are Shines. In simple terms, shines provide an opportunity to abandon the role of lead/follow. Although this gives free interpretive reign for both partners, consideration to harmony in movement is still present. Shines may have been popularized in York, but the dancers in L.A. can surely be credited with the evolution of shines in recent years. They include concepts from hip-hop and technical influences from Jazz...a truly dynamic fusion that will keep Salsa dancers challenged for years to come.
Colombian Salsa, often referred to as Cumbia style, is probably the most often danced style in the world by population. The basic step is represented by a series of "5th position breaks" (breaks back on a diagonal approximately 45° on counts "1" and "5"). This style is also well known for its characteristic "tap" on the non-weight changing steps (counts "4" and "8" if dancing on "1"). This style of Salsa is easily recognizable, as the patterns are very rotational/circular in nature (unlike the slotted/linear styles of New York and L.A.). This style is danced throughout Central and South America and can be found in local Latin clubs in US cities.
You can always spot dancers raised in Puerto Rico. They tend to dance classic timing (2,3,4...6,7,8) with the leader's forward step on 2 instead of the typical New York 6. They use less arm patterns, have more active centers, dance more upright, and are the epitome of elegance and musicality. Papa Tambor and Felipe Polanco are great examples.
The following are written instructions on how to execute a partnered double outside turn according to The Harmony Project technique. These are suggestions compiled over years of observation and experience on how to best execute basic dance technique. These details relate to the basics, not including styling.
Leader and Follower continuously breathe. Practice breathing in during turning and release the breath when the turn finishes. Try the opposite. See how it affects the turn.
Followers and Leaders arms are held up by the lats, the upper back muscles and the deltoids. The lats provide support and the deltoids provide lift. The connection between the partnership therefore is most created and supported through the muscles in the torso translated to the fingers rather than by the muscles of the arms (biceps, triceps, forearm, etc). For example, the Leader should be able to keep the frame of the arms completely still and light while dancing the basic step. In this way, the arms are supported by the torso, a very powerful and stable set of muscles. The torso's motion aims to lead or follow by translating it's strength to the precision of the hand and fingers.
The shoulders are completely relaxed before, during, and after the turn. Both Leader and Follower must learn to transfer all pent-up energy from the shoulders down into the lats, the abs, the lower back and the hips. This can be accomplished by dropping the shoulders, raising the arms waist-high, and feeling the lats engage, then by moving the ribcage side to side and feeling how the lats connect to the lower back. Finally, allow the motion to continue into the hips. If the shoulders are still released, you should be able to move the ribcage, hips and legs without moving the arms and especially without moving the hands. If the shoulders or arm muscles are flexed, the entire frame will move in a more rigid fashion. Leaders and Followers should be able to isolate ribcage and hip motion without moving the frame whether individual arm muscles are flexed or not.
Followers right hand is curled naturally (not forced) in the shape of a C with the thumb held against the knuckle of the index finger. It is the Leader and Followers task to seek out an even light connection at all times.
Leaders right hand is facing palm toward the floor with the middle finger pointing down. Leader must develop strength and flexibility in all fingers in order to maintain a relaxed yet firm guiding of the followers equal energy. Both Leader and Follower maintain an even height while dancing, unless styling. The basic step doesn't bounce or drop at any point. This is executed using the strength of the feet and legs. Both Leader and Follower are constantly lifting through their abs and lower back. The back should not slouch forward or backward. The better you can maintain a "pulled-up" position while still relaxing the shoulders, the more powerful, quick, and light your turn will be.
Leader preps the right arm in relation to the Cuban motion. In body opposition the right arm swings gently to the left on 3, to the right on 5, to the left on 6, and to the right and lifted to the followers "halo-height" on 7. Follower preps on count 7 with slight twist of hips vs. ribcage in standard Cuban motion opposition. Inner thighs should squeeze together. Over-rotation of the prep or Cuban motion is not necessary in multiple turning. The energy created by simple Cuban motion should be adequate for a minimum of 3 turns. Learn to maximize your fuel economy, by doing more with less energy.
On 7, Followers left ball of foot acts as a kickstand to increase torque in hips and ribcage IF NEEDED. Very little or no weight is placed on the left ball of foot. Followers weight is centered over the ball of the right foot. The right heel can touch down as long as the body weight is centered over the ball of the foot. Leader begins turn on 1 for a single turn. Leader begins turn on 8 for double & triple turns. Leader begins turn on 7& for triple + turns.
When the leader begins the prep, the follower allows the right side of the body (chest, shoulder, arm) to open slightly in the direction of the turn. When the turn is initiated by the leader, the follower will allow her right side to stretch slightly and then as the turn begins will snap the left side of the body closed into turn position. The arm, shoulder, rib-cage, and hips will be used to snap the turn in relation to the lead. During the turn, the left foot, knee, and inner thigh are squeezed into the right side. The turn revolves around the ball of the right foot.
Follower spots by focusing the eyes forward. When the body turns, the shoulder will connect to the neck forcing the head to turn. At the last possible moment, the follower will turn her head as fast as possible back to the original focus spot. This requires much practice. The spot is a major ingredient in any turn. Spotting well allows the body to maintain balance and finish the turn with precision.
Turning well = Finishing well. Whether the turn is sharp, snappy, slow, lazy, off-balance, in a different direction or position, will depend on how it is finished. Leader and Follower will keep elbows pointing down in every position possible. This will keep all physical energy focused close to the spinning axis. Leader finishes the turn by dropping the spinning hand to waist level on count 3 for single, double, and triple turns, and count 5 for quadruple + turns. Both leader and follower square shoulders on count 3 of CBL. Both leader and follower square shoulders on count 3 after turn. Leader maintains back basic during turn. This allows his Cuban motion to continue on rhythm which is the engine that turns the follower. The Cuban motion moves the ribcage, which moves the lats, which moves the hand, which moves the follower, etc.
Follower finishes a single, double, and triple turn on count 3 (count 5 for quadruple +) by placing the left foot sharply on the floor next to her right foot. Follower then steps back with left foot on 5 and break step with the right on 6 moving forward for 7.
For more details and practical experience, please attend any of The Harmony Project's Classes.
