모든 스텝을 설명합니다. 스텝을 탭하면 짧은 정의와 그 스텝을 가르치는 수업 링크가 표시됩니다.
Titanic is when you are behind the Follower, holding right with right, with your left on her shoulder.
The Hammerlock is the technique where we bring the hand down when we turn. Her hand stays down and she folds her elbow behind her back.
Instead of crossing and going to the other side like an Enchufa, you stay on this side and walk back with her. Keep hold of both hands and give her an Enchufa. The left comes on top.
As she spins, you spin with her, keeping your back against her back. This is called a Back to Back.
This one is called a 360 Cross Body Lead, and it starts with a Breakback. You need to reach at least the middle of her back.
Blocks are used to hit a musicality, usually when the music does something. The block happens with my frame.
Instead of going with the left, you go with your right across, and keep hold of the left. Then you take that hand from your right shoulder to your left shoulder. Keep your elbow down so that the other hand can cross.
Flickomania is a move I invented. It is just a combination of flicks that is very natural and very cool.
Number two is I like to kick sometimes and click: Flares here, boom boom on the floor, like kicking the floor, and sometimes I like to make it more up, so I am kicking up.
This is the traditional son arms and it is just going to be a circle here of the arms.
The Güiro is an instrument that you hear in Cha Cha music that goes 8 and 1, two and 3, four and 5, six and 7.
The 2-3 Clave, Son Clave, is going to be two hits on the 1 2 3 4 and three hits on the 5 6 7 8.
The three-two Son Clave is the exact same thing, but the first three hits are going to be at the beginning of the phrase.
In Salsa music it is going to play a syncopated rhythm, all sorts of variations of a tumbao rhythm.
The rhythm here is gonna be a martillo, and it's gonna be the accents on 8 and on 4.
You're gonna hear a certain phrase and then you're gonna have a response from another brass section.
You have a call and response three times, and the fourth time you have a call and a different response.
At the end of the first two eights, you have the bam bam, the closure, and that's where you have your accents.
The bass can either be the electric bass or it can be like the big contrabass, depending on the band and the time.
The Bongo are these two beautiful smaller drums, usually held between the knees, and you play them together.
The 4 and the 8 you're going to hear a lot more with afro music, when you play the orishas, with the Batá, the Batá tambores.
The trumpets are going to take over and do another four counts of call and response.
You only step on 6 of those 8 beats: Counts 4 and 8 are silent. You're marking the downbeats, counts 1, 3, 5, and 7.
The basic step has three stages, Step in place Breaks on 2 and 6 Step back to your original position.
Before the Suzy Q, you learn the chord step: a cross on the downbeats, 1, 3, 5, 7.
Stepping on the "and 1" instead of squarely on beat 1. This adds flow and rhythmic variation.
Pattern steps are modular and recyclable. The Braid Step is your first; a repeating sequence of back, open, cross
Contraposition (upper and lower body twisting in opposition) is a natural human movement pattern. It's what makes the Flare look effortless rather than mechanical.
In musicality we don't really want to count, we want to listen and sing, we want to vocalize the sounds.
Scatting is when you are singing an instrument, and this is what we want to do when you want to be musical.
Instead of collecting in the middle, step a bit back on 3 and a bit front on 7, for a more fluid and natural basic.
Same rhythm, same footwork, same change of weight, but instead of stepping your 1 to the front, you step back.
Like your basic, but you step to the front twice: on 5, 6, 7 you go front instead of back.
Add the tap, kick or heel to your side step, back step and front step.
The breaking motion of the basic step, a forward break and a back break on counts 2 and 6. As the side opening is reduced, these breaks become the defining motion of the basic.
A simple step to the side used as a connecting element between moves in combinations, later styled into a cross in front (see Cross Side Step).
A weight change that lands directly on the beat. One of the three basic step types in the Building Blocks system.
Getting off the ground with feet together, driving up from the toes while the chest and shoulders stay quiet. It is a lower-body drive, not a full-body heave, which keeps the center of mass controlled and the look clean.
A step where one foot crosses over the other, often a chord step landing on count 3. It appears in the Suzy Q and as a small cleanup detail at the start of Heel Twist entries.
The engine of the whole dance: a light, continuous bounce created by driving the knees forward (not pushing the hips back or bouncing straight up) while stepping on counts 1, 3, 5, 7. A little leg tension is kept at the top so you are always ready to fire the next bounce.
The core step combining three layers in order: full weight transfer on each step, the forward knee-driven bounce, and a slight change of angle on every step. The visual comes from the non-stepping leg, whose knee pushes forward onto the toe as you land.
Your first turn is a Right Turn and it's built directly on your basic step. On count 2, open your body slightly to the left. Step back on your right leg on 3, place your weight, and pivot through the turn.
The Left Turn preps to the right. The Left Turn is slower than the Right Turn; more time to complete it. The Left Turn finishes on count 5
Mix the two and you get something called the Inside Turn. She crosses you exactly like in a Cross Body, but this time she also turns. The Inside Turn is a turn and a half to the left.
A travelling turn, like the Inside Turn, but going right instead of left. It is a turn and a half. You are simply stepping your Cross Body Lead while she turns.
In partnerwork, a Double Turn is the Follower turning twice on a single lead instead of once.
The Axle Turn is a turn on 1. For the right axle you prepare a circle anticlockwise through 5 6 7, then turn her on 1.
These are very difficult, because we are doing two and a half turns. Put the Cha Cha on the 4 and 5. That is what lets you turn the double and a half that this step requires.
The Left Turn starts forward on 2, just like your basics, and it works just like a basic step at first.
Same concept here, we prepare towards the left so we can spin to the right, and the preparation happens on 1.
It is kind of a half turn: you start exactly like a Left Turn on 8 and 1 2 3, then step your 4 and 5 towards your back instead of towards your left diagonal, and on 6 you face the front instead of going to the back and finish the turn on 6 and 7.
On 5, instead of stepping to the back, you step to the front and do a left turn, the inverted version of your right turn.
Turn right on 1, 2 and, instead of finishing your turn, step 3 to the back, then on 5, 6, 7 turn half a turn left to the front.
Finish your right turn on 1, 2, 3, then go straight into a 5, 6, 7 left turn.
Go front on 1, angled to your right just like for a Right Turn, back on 3 and 5, and turn sharply on 7.
The same thing to your left side, but you start it on 3: 1 is a cross, like a Chord Cross.
The same step, but you tap behind on 8 and pivot more on 1 to face your back, then pivot to the front on 5.
A Step Touch with half-turns executed sharply on counts 3 and 7, a snap rather than a slow spin, for a polished look.
A turn combined with a tap, drawing on the turning-tap positions from the Taps module, used as a linking element in the final combination.
Two right turns flowed together using the hook step method: after the first right turn, instead of stepping back on count 6 you hook the leg behind and keep turning, maintaining the inertia from the first turn.
Two left turns flowed together: after the first left turn on 1-2-3, on count 6 you step to the side instead of back, then launch into another left turn on 7. The side step (an Axle Turn) makes it easier and sharper.
A turn taken with a step to the side rather than back, used at the tail end of a Double Left Turn. It is easier to execute and looks sharper.
A turn that spins in the opposite direction from a regular salsa turn. You prepare toward your weighted leg, twist back to neutral, then turn the opposite way while keeping weight on that same leg throughout, producing impressive speed and sharpness.
A stationary spin from Annibal Vasquez of the Mambo Aces where the body stays strong and still, like a statue on a spinning vinyl disc, while the feet rotate beneath you with no hip movement. Mambo arms locked, chest up.
A Hook variation that replaces the quick spin on 3, 4, 5 with a slow rotation drawn out over two full eights, letting the movement breathe.
The Suzy Q pattern: cross, back, cross. Back step lands on the toe only so your weight stays over the front leg. Curl the knee up first, then cross.
A tap is a step without a weight change. Foot touches the floor, weight stays on the standing leg.
A Flare is a tap away from the body, no weight change. Originates from the knee. Straight leg, pointed foot.
Elbow leads first, then hand projects forward, like picking up a box and placing it on a shelf. Arms always move in opposition to your feet.
Lateral elbow motion: one elbow comes in, the other pushes out Elbows stay in front of your body.
Unlike a flare, the kick snaps back instantly, like a rubber band on the ankle. Straight leg, straight ankle, pointed foot.
The Heel Twist uses the same hip mechanic as your Suzy Q and Crossover. Straighten that leg. Flex your foot.
Crossover on tiempo, 1 2 3, 5 6 7, every step of the basic rather than only the chord beats 1 3 5 7. Use the twist to create the illusion of crossing.
The drop is not a jump. the Palladium Drop is about sinking down into your standing leg, not launching upward
You're stepping on counts that are normally held. The Toe Heel Toe starts on count 8, not count 1.
A step from Afro that a lot of different orishas or gods, they share. Open, close, open to the back and close.
5 6 7, open to your diagonal and 8, kick 8, come back 8 1, together, then the other diagonal.
Your caballo step, but now we're gonna be rolling our hips counterclockwise.
You step to the side, 1 3, step step step, just like a boogaloo basic. Rodrigo Cortázar popularized the step.
It feels like a back step with a tap, but on 1, instead of stepping forward, you step a little more inside and collect, then cross back on 2 and tap on 3.
Crosses forward on chord beats: cross to the front on 1, 3, 5 and 7, then just the basic.
A combination of our chord crosses and our Suzy Q: cross on 1 and 3, then a Suzy Q on 5 6 7.
The same count as the In and Out Suzy Q, but you step your 4 and continue doing your Suzy Q on one line.
The exact same move as the Mambo Tap, but you tap on the upbeat, 2, 4, 6 and 8.
Cross on 7 with your right instead of stepping to the front, and kick your left leg to the back, like you are tripping over your leg.
A step flare, step flare kind of combo, also called a Pachanga flare because it is usually used in Pachanga.
Often called the full count flare, it is named in homage to the Mambros, who do this step in all their shows.
Step your 1, 2 like your basic, then instead of stepping on 3 you step on the and count, and on 3 you go with your heel.
Same syncopated rhythm, but instead of the heel you step just before the 5, on 4 and, and tap on 5.
The regular Mambo Jazz, at double speed: kick on 4, step on the and, flare on 5.
Angle a bit to the right on 3, knee in on and, twist out on 5, so your hip pivots to the right.
Same concept as the Mambo Jazz: kick on 4, step on and 5, three times.
The same footwork, but you cross on 5, so you travel towards your right.
Pivot on 7 to face your right diagonal, then cross on 1 and do your spiral.
It works just like a number one or a number two, but we continue the step full count: three hook steps instead of two.
A full count: Suzy Q on 1, 2, 3, cross with the right on 4, Suzy Q on 5, 6, 7, cross with the right on 8, then basic.
Cross on 7, then point on 1, heel on 2 and cross on 3, with no weight on that leg: your weight remains on the other leg.
Suzy Q on 1, 2, 3, twist on 4 and, instead of the passé, flare to the side, tapping the floor with a straight leg.
Gancho means hook: kick on 4 without twisting, twist on the and, bend that knee and kick your butt with your heel, then 5.
A regular Suzy Q on your toes with the Charleston flick: twist out on 8, knees in, cross and twist in on 1.
It works a little like a Hook Turn, but it is a sharp turn to the left instead of to the right.
A combination of twists, Punta Talon and flares, a bit of a full count twist hybrid.
A Suzy Q variation that starts with a half chord step into a full Suzy Q, cross 1, back 2-3, Suzy Q 5-6-7. You finish on the opposite leg, so it is run twice to return.
A syncopated Suzy Q where you step on count 4, cross 1, back 2, side 3, step 4, Suzy Q 5-6-7. It resolves by running twice.
A traveling shine of a step followed by a touch, used as a building block in combinations and varied with diagonals and turns.
A Step Touch traveled on a diagonal angle rather than straight, keeping the body over the supporting leg.
A step that runs on all 8 counts with no held beats. Beats 5 and 1 are power accents where you rise up and open the arms for a signature bounce. It can travel front-to-back or on diagonals.
A Swing Step variation that starts like a Chasse but swings the straight leg around (similar to a Ronde), landing on count 2 across a full 8-count phrase. It incorporates the Bounce, diagonals, side-to-side travel, cross-backs, and heel or toe taps.
A streamlined Full Swing condensed into one bar by removing the middle traveling section.
A syncopated move executed on the 8-and-1 counts, start slightly elevated on a compact kick (count 8) then drop the weight down on count 1 so gravity lets the feet catch in rapid succession.
A flashy syncopated move on the 8-and-1 counts with a jazz-inspired look, twist the hip to the right as you execute the 8-and-1 to reach the Flare position quickly, opening the arms on the Flare.
A styled side step that crosses in front (on 5 or 1) instead of a plain side step, beginning the lower-body turn on count 7 so the cross lands naturally. Step under yourself with clean weight changes right to left.
An upgraded Suzy Q that steps forward three times instead of two, extending across beat 8 and landing on count 1 with the left leg. Adding a downward level change as you land on 1 makes it more captivating.
A hip move that pushes the hip to the side, travels through a circular path, and brings it back with a level change, dropping down on count 2 and rising up on count 5. Commit to the full range for the most expression.
A circular leg arc that sweeps continuously from front to back or back to front. Unlike a flare, which returns to center, the Ronde completes a full committed circle with the foot pointed, the leg fully extended, and the working foot turned inward (en dedans).
An airborne version of the Ronde de Jambe where the circular leg sweep is performed off the ground. In Combo 11 it is offered as a challenge variation paired with a shuffle.
An arm styling move that starts with an inward preparation, fingers at the temple, then lets the elbow arc around the head while the elbow does all the moving. It slots onto Palladium Drops, Heel 5 and Spiral Steps.
A sharp, decisive arm styling move that preps the right arm crossed and the left arm up, then extends both elbows outward to open as if pulling something apart with a sharp stop. It also starts from an inward preparation.
A heel accent placed on count 5. It is one of the spots where comb and pull arm styling fit naturally.
A lower-body styling move using the same hip-joint rotation as the Guagua, but with the knee locked in place so the hip rotation twists the foot out and in while staying on the toes. It often lives on the Ronde de Jambe across 8-and-1.
A cross-body shine that hooks one leg across the other on a triple step (1-2-3 and 5-6-7), then layers touches, flares and kicks. You cross in front on 1, open small to the diagonal left on 2, and twist the weight back to center on 3.
A syncopated variation of the Hook Step using a step-touch on 'and 1' like a Palladium Drop on the opposite leg, flares on 'and 2' borrowed from Mambo Jazz, and a kick that arrives earlier in a small arc like a mini Swing Step.
A solo step from Son Timing where, instead of stepping in place on 8, you take it to the side. It can be dressed with arm styling such as an open arm extension with rib cage isolation, a body-driven forward swipe, or a reverse circle into a forward presentation.
A contra-tiempo clapping variation of the Swing Step, named after the legendary Palladium dancer Mike Ramos. The claps land against the expected rhythm, so the count must be tracked carefully.
A tap-step-tap pattern danced with angle changes and Palladium arms, where every arm position is marked clearly and the shape is held.
A stylized pointing pose that opens Combo 12, taken after the Swing Step with a hockey-stick arm slap.
A rapid-fire syncopation built from the basic &5 heel, extended to &5 &6 &7 &8. The torso stays straight and still with a slight forward lean while the feet shuffle fast underneath, danced cleanest on the diagonal with a dramatic bigger step on the 8.
Syncopation extended across long musical phrases and layered over the Star Pattern and Grapevine. Steps stay compact and on the balls of the feet, each one a one-inch punch into the floor, with supporting legs straightened on the holds.
A Suzy Q stepped on every beat (1 2 3, 4, 5 6 7, 8), cycled continuously until you land back on the 1. It forces you to hit Suzy Qs on unfamiliar counts like 7, 8 and 1, and travels well by circling to the right back to your starting spot.
A Suzy Q with a 1-and-2-and-3 syncopation layered over the footwork while the upper body stays still, creating the look of feet on fire over a composed torso.
A fast flare on "8 and 1" timing where you twist the standing leg on the "and," giving the working leg the mechanical advantage to move from touch to flare to close without muscling through it.
The standard Heel Twist compressed into a fast "one and two" count while keeping the same core body posture.
A Heel Twist where you twist the hips on every single count from 1 to 4, even while changing weight, maintaining the K-position with chest slightly forward and knee bent.
A very advanced Heel Twist variation that doubles the syncopation, requiring clean mechanics built at slow speeds first.
A Twist variation ending: toe-toe-toe (2, 3, 4) twist driven by hip rotation, open arms on 4, then a knee-driven kick on count 5 with a clap under the leg.
The Mambo Aces version of the Palladium Drop, landing on "and 2" with arms forward and the left foot turned out rather than tapped, staying up on the toe for a strong finish. Grittier than the clean ballet-style drop and full of sabor.
The star move of Hook 3, where Salsa On2 meets tap-dance flavor. After a heel scuff on 8 and a leg switch on 1, the kicking leg traces a rond de jambe outward and pulls cleanly into a passé, with a hip twist on "and 2" and twist back on 3.
A Hook Step jump that travels forward, placing the side of the foot on the floor to create friction for the turn, with arms opening on count 1 using pull styling.
A traveling hopping step, also called the Apache, danced low with the torso tilted forward and chest lifted. On every hop you send the hip back for a clear front-to-back motion, lifting the opposite knee in passe en dedans on the way up and crossing the passe behind on the backward section.
A full circle of the leg on the floor (front, side, back, close) always initiated from the front for full amplitude. Unlike ballet, the foot turns slightly in so the top of the foot and knee face the viewer at the side, and the lower you bend the supporting leg the bigger the circle.
You dance your basic, and then on 6, instead of stepping forward, the leader steps back. That is where the name comes from, and it puts distance between the two of you.
The Enchufa, also said as Enchufla, is one of the most common things you do straight after a Breakback. You change sides, and you cross each other on the way. The tension is what allows her to step.
The Walkthrough sits exactly between the Cross Body Lead and the Enchufa. I am doing a Cross Body Lead. She is doing an Enchufa.
We start it from a left to left connection, which is the most common way and counts as the basic Copa. Honestly, the Copa is not really a beginner move. It normally shows up in intermediate classes. You need to stay compact because you are changing direction quickly.
The Titanic is a position: she ends up in front of you and you are behind her. There are two related positions here, this one and the shadow position, and we cover both. That block is the Titanic.
The step is going to be your basic On2 basic step, so it is going to be your break On2. Then I am going to do a triple step here, step, step, step, going on the ball of my foot, and that is on 4 and 5.
Again, like in your Salsa, On2 is just going to be an open and close side step, and the only thing is that in the middle we are going to be adding the Cha Cha Cha syncopation.
This is a variation I always use in my Salsa, my Mambo footwork: when I go 1 2 3, 5 6 7, I always go 8 and 1 2 3.
I twist the hips here, and as I twist my hip to the left I step on my right toe.
Here on 7 we are going to do three jumps, a very small jump on the spot where I just shuffle my feet on 8 and 1.
A Suzy Q is just going to be a cross here: I cross here with my right leg, then I open a little bit here with my left, and I cross again with my right.
It is a specific Cha Cha Cha move that you do not really see in Salsa: instead of the Cha Cha Cha basic, which is step step triple step, you step 1 3 5 7, body turned towards your right diagonal, crossing on 1.
This is going to be like a pas de bourrée, or a cross back, open, cross front, and this is the step that we are going to be using a lot here.
The Crossover is our basic crosses made even faster by syncopating them, so where in Salsa it would usually be 1 2 3 5 6 7, here we step on 1 and 2 and 3 and 4 and 5 and 6 and 7.
I just do my basic step to my diagonal, back to the center, and then to the other diagonal.
Instead of going on 8 and 1 to the diagonal and 8 and 1 on the next one, I go 8 and 1 2 3, 4 and 5 6 7, 8 and 1, so I am essentially crossing here.
Here I cross on 1, I go two on my toe, and now I go down on this 2, and then I come up.
The Walker is on the same timing as your Suzy Q, and it is the same as your full count, but we are just cutting down those two hits, so we are just walking.
The Boogaloo roll is a little bit like a Body Roll with a cool little syncopation rhythm.
It is exactly like it sounds like, I am going to be tapping my shoe, and it is a step that is usually added to this Boogaloo roll.
The actual name of this move has been called so many different things, but it has an official name in jazz dancing, which is the Shi-Ka-Boom.
I am stepping on the six and kicking on the end count, stepping on 7 and kicking again on the end count, and then I go 8 and 1, Cha Cha Cha, step step step.
In the Pachanga kicks we are rocking here back and forth, and here we are not going to be using so much of this rocking motion.
This is a step that you see a lot across all Caribbean dances, and it is just going to be a front with a slight cross, back and back.
This is a syncopation I break down in Mambo 201, and here we are just going to be doing that but a little bit faster because it is Cha Cha Cha.
The Apache is one of the coolest moves from Cha Cha Cha and Boogaloo and Pachanga, but also one of the hardest ones. The Apache is a faster version of that, changing more and travelling more in space.
The cuddle wave is essentially like a pas de bourrée or a drunken sailor, but done with a little bit of a groove and body movement. The step is a cross back on 8, and the figure runs 5 6 7, 8 and 1.
It's called like that because we're imitating the fan knife or butterfly knife, which is this knife that has those two rotating handles, so you can do all kinds of tricks and flicks with it.
When you look at the skeleton it is literally just a tap tap tap, just like your Mambo taps.
Mambo taps are 1 2 3 4, it is the exact same move, but in Mambo taps we tend to stay very upright.
I stand quite wide, a bit more than shoulder width apart, and I come up on my toes and push my knees to the front while maintaining the rest of my body straight.
One shoulder comes up, the other comes down, and then we switch and we switch again, so it goes three times.
It is the same thing as the open and close, but instead of stepping we are going to be jumping, jump, jump, jump, jump, and your body needs to be diagonal so you draw the lines of the X with it.
You cross in the middle on 1 and open out on 2, so on the odd counts you are in the middle crossed and on the even counts you are out on a point of the X.
A quick variation where you go the regular 2 3 4 5 and then do it two times here on the right diagonal, 6 7, then you repeat the move starting the other way and do it two times here to the left, 6 7 8.
This is the house variation of the shuffle, it comes from house dancing, and it goes kick, kick, tap: I tap on 8, I kick on 1, and I go one and 2.
It is a shuffle where I cross back and step on 8 and 1, and the cool thing in it is the shuffling, the rotation of the foot, which comes in when you step and turns out as you cross back.
It is a little bit like your Heel Twist in your Salsa, we are just going to be doing it a little bit differently here.
Your basic 1, 2, 3, a heel on 4, travel to the front and open on 8, then repeat going to the back.
The same step on your right and left diagonals instead of front and back.
The same on a line rotated 45 degrees: cross on 7 for the left, pivot on 7 for the right.
Your Pas de Bourré at double speed, cha cha cha rhythm: 8 and 1, 2 and 3, 4 and 5, 6 and 7.
The open and close step done syncopated, on the and between the counts.
The same step as the Open and Close Syncopation, but after every cross you open to the side, so you travel, hence the name.
The star pattern you already know, done syncopated: a complete one to your left side, then one to your right.
A travelling figure entered on kick 8 that moves on a back diagonal: kick on 8, tap on 2 as the body twists, step on 3, heel on 5, tap on 6, step on 7, with the arms going left-right-right, left-right-right.
A foundational figure danced 1, 2, 3 - 4 - 5 that can be syncopated to 1-and-2-and-3 by filling the 'and' counts. It is used as a recurring building block and finisher inside combos.
A travelling pathway that traces front, side, back, side, front like the points of a star. On count 4 you step a little more forward to create room for the back step on count 8, keeping the feet doing the work while the torso stays centered.
A travelling pattern that crosses on 1, steps to the side (slightly forward) on 2, and goes back on 3, then repeats to travel in a clean straight line. Anticipating the back step by positioning slightly forward is key, and it can be styled with a bounce.
The first Pachanga pattern: one single Pachanga to the left, one single to the right, then a double Pachanga (two reps) on one side, then switch and repeat. The double drops down, pushes everything forward and twists inward, then bounces back up, making you travel slightly side to side.
A traveling variation that starts with a cross step on count 1, using the same bend-and-push-knee mechanic but crossing in front to move through space. It layers in flares, the constant twist-out, and a chuck to punctuate the phrase.
A variation borrowing from the Charleston and James Brown slides, driven by the heel flick from the ankles with hips neutral. The neutral hips let the chest rock back then bounce forward for a rubber-band effect, while the foundational bounce stays constant.
A pattern layering kicks and a chuck over the basic: kick on count 1, tap to the front with a foot flick on 2, kick again on 3, chuck on 5, then change sides on 7. Every kick comes from lifting the knee first then extending, while the bounce on 1, 3, 5, 7 never stops.
A James Brown makeover of the Single Single Double where the doubles become double flick-outs and the chest shifts slightly forward. It can travel as a Pachanga walk, twisting and flicking the knee on each step through the angle sequence left, right, middle, right.
A side-to-side jumping step (from the Eddie Torres lineage) that lands low and constantly changes levels, treated as a drop rather than a lift. The foundational combo runs side jumps on &1 and &3, a diagonal kick on 5, a full squat with centered weight on 6, and a spring up on 7.
A floating, knee-driven step matching charanga music (violins, flutes, guiro) where points (taps) come from bending then extending the knee, thinking kick the floor. You drop down on counts 1 and 5, rise on 3 and 7, and land lightly on the ball of the foot, adding single and double rope-skip arm styling.
A step-open on counts 1-2 built up in layers: first the bounce, then hip and pelvis motion, then a full body wave where the chest undulates and the wave travels all the way to the legs.
A Hook Step variation with a syncopated rhythm timed 1, and 2, 3 (then 5, and 6, 7) and a kick that adds flair. You come up and kick on count 8 with the kicking leg forward and the upper body leaning back, then drop down on 1 as you cross, keeping the bounce alive and later redirecting the kicks to the side.
Rapid footwork packed between the beats on the rhythm 5 and 6 and 7, started from two basic Pachanga angling left. One leg stays fixed as an anchor while the other works an in-and-out pattern (in/front, back, out/open, back, in), all driven from the knee with small steps on the ball of the foot.
The Shimmy is a shoulder isolation, not a chest or ribcage movement. Shoulders travel front and back independently
Hips rotate side to side. Chest stays dead front. Feet rotate on the balls, knees always track your toes.
If we really want to hit that metallic accent, the key is to use that shoulder bounce.
Knees bent, feet shoulder width apart, your hip goes side to side: right, left, right.
The core mechanic of the Suzy Q, Crossover, and Heel Twist, twist the hips so the belt buckle points to the side while the chest stays forward. The twist, not a big step, creates the depth and makes the cross compact, fast, and smooth.
The rise-and-fall lift that gives the Swing Step its energy, most visible as the accent on beats 5 and 1; it is incorporated into the Full Swing.
The quality layer that makes movement look musical instead of forced. As you step on one leg the same-side shoulder comes forward and the hip shifts to the opposite side, all as a natural byproduct of the toe-heel weight transfer rather than something forced.
The foundation of upper-body movement, rotating the torso toward the stepping side rather than just pushing the shoulder. It is a rotation, not an isolation.
A lower-body styling move borrowed from Guaguanco where the knees open and close through internal rotation at the hip joint, not by shuffling the feet. You bend the knees deeply and keep the weight centered between both feet.
A shoulder isolation, not a chest or ribcage movement, where the shoulders travel front and back independently while the rest of the body stays still. The shoulder should pass behind the hip bone on the back motion and in front of it on the forward motion.
A syncopated shimmy from Franklin Diaz timed 8-and-1, 2-and-3, 4-and-5, 6-and-7 starting with the right shoulder, while flaring the same-side leg as the shoulder on 1, 3, 5, 7. Pull the body forward as if the shoulder were yanked and the body must follow.
The hip action that drives the Cuban-style bounce: as you bounce down you move the hips from neutral into a posterior tilt by squeezing the glutes, keeping the upper body tall and shoulders quiet. You know you have it when your lower back flattens from its natural curve.
A position used in the Pachanga Hops where the lifted knee is raised with the foot tucked close to the standing knee and turned inward (en dedans). On the backward section the passe crosses behind with the knee turned slightly out for a diagonal line.
An undulation that starts in the chest and travels all the way down to the legs, layered onto the Juan Matos Step as a personal expressive movement.
Moving the head independently in three directions (up/down nod, side-to-side ear-toward-shoulder tilt, and horizontal left/right rotation) while the rest of the body stays still. The trick is to add a little tension in the shoulders and chest to anchor them so the head can work on its own.
Drawing a full circle with the head, using the complete range of motion and returning to the starting point. Committing to the whole loop is what makes the movement read as complete rather than partial.
Gliding the head horizontally (front/back and side-to-side) while the body stays fixed. Start small, especially on the side-to-side version; the slightly odd look in the mirror is the isolation working correctly.
A smooth, continuous shoulder circle built by linking the four isolated shoulder directions in sequence: up, forward, down, back (and the reverse). Each direction is trained in isolation first so the chain flows without breaks.
Moving the ribcage independently in four directions (forward, back, left, right) and linking them into a continuous chest circle. The forward direction scoops the chest forward and up via thoracic extension and scapular retraction, with the shoulders kept neutral.
Popping the chest forward and up using the upper spine and scapular retraction. A common mistake is pulling the shoulders back to create it; the work should come from the ribcage, not the shoulders.
Tilting the pelvis front and back using muscle first: hips back by squeezing the muscles along the spine (the Donald Duck posture) and hips forward by engaging the abs to tuck the pelvis (the C posture).
Using the obliques to actively pull the hip up on each side, as if a string draws the hip bone toward the rib cage. It is a true isolation and a lift, not a passive weight shift.
Connecting the four hip points (front, right, back, left) into one smooth, continuous circle, then reversing direction and gradually speeding up. Each point is hit separately with a return to center before the circle is joined.
Rotating the knees in and out, driven by the ball-and-socket hip joint, while keeping the feet planted. Done one knee at a time at speed it looks like a ping pong bouncing between the knees, and it underlies wah-wah movements, Cuban-style taps, and reversing a Body Wave.
The ballroom-inspired body movement layered onto the basic step, where footwork drives the hips and a small rib cage slide plus opposite rotation creates fluid motion. It is built progressively: rib cage sway, then arms, then stepping and hips.
A bounce drawn from the African roots of Changüí and Son Cubano, following a down-up-down-suspension mechanic across each three-count phrase (drop on 1/5, rise on 2/6, drop on 3/7, suspend on 4/8). The torso angles toward the right diagonal on 1-2-3 and the left diagonal on 5-6-7.
One flowing movement passed through every joint of the upper body in a chain (fingers, wrist, elbow, shoulder, chest, then the opposite shoulder, elbow, wrist, fingers). The illusion comes from one joint lowering as the next rises, so two things always happen at once.
A sequential wave through the spine moving head, chest (thoracic extension), stomach (squeeze glutes and push forward), hips, then a final sit where the weight drops back down. It appears across Bachata, Salsa, Hip Hop, and more.
A body roll run in the opposite direction, sequencing hips, stomach, chest, then head. The body naturally rises slightly during this reverse roll, which is fine.
A reverse body roll performed in place without rising. Adding arms takes it into Afro-Cuban and Afro-contemporary territory.
The wave applied laterally, sequencing head tilt, shoulder tilt, chest slide on the diagonal, then hip slide, with the chest slide carrying the visual impact. The wave is reversed by initiating with the knee, which shifts the hip back and rolls the movement up to the head.
A controlled, full-body shaking movement built in three layers: the Bounce, hip motion, and an upper-body chest-and-shoulder rotation. It is danced from a staggered stance with the center of mass centered, the hips following the bounce rather than being forced, and the arms eventually extending out to the sides.
This is the closed one, and it comes from ballroom. You are connected above all through the right arm. Your hand sits on her shoulder blade, and no lower.
This is the left one, and it is also called a check. The check usually happens on 5 6 7, especially the 6 7, to get you back into your 1 2 3. It is a one count turn on your left.
The shadow position is the same as the Titanic but to the opposite side: you stand on her left, with a left to left arm connection.
A touch and go is letting go of a hand on the first spin and taking it back on the second spin.
Put your left on top on the wrist, then let go. Gravity takes it down, and you catch it underneath on the other side.
Asking for the frame is universal. It means come into a close embrace, come into a frame.
A comb is when you bring the elbow up with the hand, and then bring the hand down to the shoulder without bringing the elbow down. The elbow stays where it is, you just bend the arm and bring it onto the shoulder. Combs are always up and down. That is the difference from turns.
A flick is essentially an extension of the arm. We always lead a flick from the forearm.
Every time that we are turning in one direction, we are prepping towards the other direction, and there is always a prep when we are spinning in Salsa, Cha Cha Cha and all these kinds of dances.
How it feels like is like a wave, like you are going like a roller coaster, you are going in and 1, up, down.
This is the cornerstone, the most important part, and it consists of three things: one is the head, two is the chest or the ribcage, and three is your bounce.
If you are comfortable also with your chest rolls you can add them, your left is going to be rolling forward when you are doing it to the right, and the opposite, your right is going to be rolling forward when you are going to the left.
When you are doing your Flares you want sharpness in the movement, you are not putting weight, it is like a kick.
I go 8 and 1, 2, down, 4 and 5, 6, down, 8 and 1, and think that you are throwing something here.
We did something similar in the Pachanga course with the Pachanga skips: I step, I am down, I bend my knee, and when I go up, instead of just lifting up, I jump slightly back and straighten that leg.
I drop on seven and I do a circle of the leg with my right leg, really kicking the leg to the front so it is drawing a nice big circle.
It is like you are brushing your back leg here with the foot, and this is called a Passé, or a coupé in ballet.
I open and go with my heel and I can lean, drop, drop, and that is called a heel drop.
The leader offers his palm up, she rests hers on top, connected through the middle finger.
Imagine you are holding a big baby in front of you, and your elbows simply go side to side.
An arm principle for Son Cubano and salsa arm styling, the elbows move in opposition as if joined by an invisible bar, one coming in as the other goes out, always moving together and staying the same distance apart. On count 1 the left elbow comes in and the right goes out.
The windup before a turn, you open your body opposite to the direction you intend to spin (for example open left on count 2 to turn right) to create the torque for the rotation.
A turning technique, fix your eyes on one point and snap your head back to it through the rotation to keep balance and avoid dizziness.
The sharp shape of the Heel Twist, hips back, chest forward, knees bent, and the working leg fully straight in a committed straight line.
A circular sweep of the leg. In the Full Swing the straight leg swings around in a Ronde-like motion before landing on count 2.
The physics behind fast syncopation, start slightly elevated on the kick (count 8) then drop the weight down on count 1 so momentum and gravity generate speed, the same load-on-8, release-on-1 principle used in tap and jazz.
A learning system that reduces salsa to a small set of 10 to 15 reusable movement pieces (steps, taps, flares and more) that combine to build almost any move. Instead of memorizing thousands of figures, you assemble these blocks across different counts.
A horizontal jump that propels you forward or backward along the floor on one leg, creating a gliding illusion. The free leg comes up into a passe, the arm matches the jumping leg, and the core stays tight with the chest open and lifted.
Dropping and rising in height to add a visual dimension to your dancing. Often a controlled drop of the weight down on one count and a rise on a later count.
Executing your existing steps on different diagonals and directions to use the whole room, so the same footwork looks completely different. You can change angle whenever you want rather than only after a basic.
The default arm carriage that follows the body in basic body movement, moving along with the same-side shoulder as you step.
A level change where a string seems to pull the pelvis straight down toward the floor, dropping the hips vertically (not forward) in a controlled drop, not a hop. It keeps you connected to the floor.
A level change where the hips stay in place while the chest comes down and the hips shoot slightly back. You never collapse the chest, imagining a string on the sternum pulling down, and the head follows to create a reverb-like ripple.
The classic mambo arm carriage from the Palladium era, paired with Hook Steps because it complements their rhythm.
A set of five core arm habits taught in this course: keep shoulders down, lead with the elbows then extend, prep fully before moving, put the energy burst at the start of the movement, and mark the finishing position cleanly. Applying them upgrades every arm movement in your dancing.
An arm position shaped like a hockey stick used to set up and frame moves. In this course it opens the Swing Step arms, sets up the next tap on count 7 in Toe-Heel-Toe, and can finish a Flare with a forward shuffle.
An arm shape where the bent arms form a W. It is used as an extended accent in Toe-Heel-Toe and as a one-arm-at-a-time variation in the Swing Step.
An arm styling driven from the elbows like a bicep curl, used as one of the options when finishing the shuffle with a pivot turn.
A polishing technique where, as the leg extends to one side, the upper ribcage twists slightly to the opposite side, giving moves a clean, professional look.
Using all eight directions of the room, including the back diagonals, treating every corner as an audience. Each move becomes an intentional angle change, drilled by facing every direction across four eights of music.
A rise onto the toes borrowed from ballet, fully straightening into the hip with a long spine and aligned posture as if a line pulls you up through the back of the head. Used to add a vertical level to the dancing.
A wide, grounded, deliberate open stance taken on count 4 in Combo 14, before sliding the legs together and twisting to land on 5.
On count 8, striking the floor with the heel rather than the toe to make an audible tap-dance-style sound, adding texture and intention before the Scissor Kick.
A ballet-derived knee bend used on count 7 to load before a jump, giving the jump power and control whether it stays small or goes big.
The directional changes (front, right, left, diagonal) that make Pachanga look like Pachanga instead of straight-line dancing. You switch angles by shifting weight to the back of the foot then rising onto the toes, with heel-driven mechanics, while the bounce never stops.
The first layer of the basic: when you step, your whole body shifts so you could lift the free leg, with no hovering or weight stuck between both feet.
The evolved New York version of the bounce where energy travels up into the shoulders with the hips more neutral, replacing the Cuban hip-driven inward knee twist. It pairs with heel flicks in the modern style.
The transition for entering and exiting Pachanga from a Salsa On2 basic: go slightly down on count 7, push the knee back and twist the back leg out on 8 to enter, and take a regular step on count 1 to flow back into the basic. There is no single correct count or starting leg.
The constant rotational quality behind every Pachanga step: you twist as you go down and twist out as you come up, every time you bend and rise. This rotation through the angles is what drives the diagonal, traveling direction.
A double bounce on the standing leg where the back foot punches forward into the knee, used as punctuation at the end of a walking phrase. The foot stays pointed and naturally turned out with a small visible gap.
The signature accent of the modern New York style that comes from the ankles, not the hips, keeping the hips neutral. It drives the Charleston Pachanga and can be added into salsa and other dances.
The Charleston Pachanga mechanic where, going down, the knees come forward and turn inward by twisting at the ankles, and coming up the knees open out. It is a continuous twist-and-release.
A final layer of flavor added to Kick Tap Chuck: a slight forward drop on each downbeat and a subtle jump back on the upward motion. Think drop, not jump.
The Charleston-style replacement for the doubles in Charleston SSD, where you flick the leg out (in the James Brown flavor) instead of a plain double Pachanga.
A Pachanga Jump variation where you land on both feet and jump in four directions (forward, right, left, forward again), staying on your toes throughout to stay agile.
Actively pressing the shoulders down (not just resting them) to engage the lats and lower traps. With raised arms it keeps the neck visible and gives the arms a clean ballerina-style line.
Stepping with a consistent toe-heel weight shift so the hips naturally swing side to side, with the hip always on the opposite side of the standing leg. The exception is the step back on count 6, which stays on the toe.
Practice tends to teach you the most when a drill is hard enough that you miss now and then, but easy enough that you land most reps. A 2019 study worked out that for one kind of learning, the sweet spot is about 85% right and 15% wrong. That number comes from computer models, not dancers, but the idea behind it is a useful guide.
A simple habit is to use the mirror for two out of every three tries, and let the third try be all about how the movement feels in your body. The two-out-of-three split is our coaching rule, built on research about how often feedback should come. It helps your dancing hold up on a social floor, where there is no mirror.
Practicing movement with eyes closed for about 10 minutes per session so the brain leans on the proprioceptive and vestibular systems instead of vision, training body-position sense (gains reported up to 46%) and movement control (around 45%). The progression goes from basics in place to turn prep to single and double turns before adding vision back, and the gains carry over to eyes-open performance.
The brain's process of bundling individually practiced steps into one packaged routine stored in the basal ganglia, freeing working memory (limited to about 7 plus or minus 2 items) for music and partner connection. Practically you drill short 3-5 step sequences until automatic, name each one to cue the whole unit, then focus practice on the handoff points between chunks where errors cluster.
Directing attention to the effect of a movement in the environment (push the floor, reach the wall) rather than to a body part, which per Wulf's Constrained Action Hypothesis lets the automatic motor system run without prefrontal interference for smoother, less tense motion. Reframing internal cues into external ones produces immediate, measurable gains in balance, timing, and fluidity in the first session.
At fast tempos you move quicker by making steps smaller, because velocity equals step frequency times step length so shorter steps allow higher cadence, while keeping the center of mass traveling level and the feet under the hips. The applied plan above roughly 170 BPM is to reduce step size by about 30-40%, keep feet within hip-width, and glide weight level from foot to foot.
Saying the rhythm out loud (for example ta-ka-ta) while dancing, which couples the auditory and motor systems via the dorsal auditory pathway and a shared rhythmic timing grid to improve timing consistency and spatial stability of footwork. It works through rhythmic priming (locking in a pattern before moving) and movement sonification (voice and feet giving each other instant feedback), with each syllable started at the moment the foot lands.
Practicing your moves at half speed is one of the friendliest ways to make them cleaner and more confident. It gives you time to notice and fix each detail, and it makes your muscles control the movement instead of letting momentum carry it.
Practicing footwork at about 8-13% faster than your maximum comfortable tempo to prompt the central nervous system to recruit reserved fast-twitch motor units and reset its speed ceiling higher. Done in short 30-seconds-on, 60-seconds-rest bouts (twice weekly for 3-4 weeks), it later makes normal tempo feel easy; below 5% the stimulus is too familiar and above 15% technique drifts too far.
Scheduling your most demanding technical learning between roughly 3:00 and 6:00 PM, when cortisol has declined (freeing long-term potentiation), core body temperature peaks, nerve conduction is faster, and the session sits close to the sleep consolidation window. Mornings are reserved for warm-up, cardio, and review of already-known material.
When you break your practice into a few shorter sessions spread across the week, you usually learn more than from one long session of the same total time. This is called the spacing effect, and it is one of the oldest findings in learning research.
Two feedback types from schema theory: Knowledge of Results (KR) asks whether you hit the target and best serves beginners building a map of timing and space, while Knowledge of Performance (KP) asks how the movement was executed (weight path, foot contact, hip position) and drives growth once outcomes are reliable. Advanced practice shifts from yes/no outcome questions to specific process questions about movement quality.
Vividly imagining a sequence from a first-person, felt-in-the-body perspective at correct tempo, which activates the same motor-planning areas (SMA, premotor cortex, basal ganglia, cerebellum) as real movement and, combined with physical practice, produces greater skill gains than physical practice alone. The protocol is about 10 minutes of detailed first-person rehearsal before practice or on rest days, ending with a confident full run-through.
Performing a short heavy or explosive set (for example 3-5 jump squats) to prime the muscles via myosin light chain phosphorylation and elevated motor-unit excitability, then resting about 4 minutes for fatigue to clear before a fast footwork drill so each rep is a higher-quality movement pattern. The potentiation window peaks roughly 3-7 minutes after the conditioning set.
Conditioning that mirrors salsa's structure of short powerful bursts with recovery, using 15-30 seconds of all-out footwork followed by 30-60 seconds of complete rest for 6-10 rounds, twice weekly. Generous rest (a 1:2 to 1:3 work-to-rest ratio) lets phosphocreatine refill so each burst stays sharp and trains the ATP-PC and lactic energy systems that fuel dance.
Treating sleep as part of training, since Stage 2 NREM sleep spindles replay and lock in the day's practiced movement patterns, producing measurable next-day gains (about 20.5% speed and 18.7% accuracy) with no extra practice. The targets are 7-9 hours nightly, protecting the final hours of sleep, plus an optional 20-minute nap 3-5 hours after learning new material.
Topping up magnesium (300-400 mg elemental, glycinate form, 60-90 minutes before sleep on training days) to support muscle relaxation and the NMDA-receptor gate that governs long-term potentiation and learning, plus calmer sleep for spindle-based consolidation. Training raises magnesium needs, and it should be taken separately from calcium for absorption.
Eating enough to keep energy availability at or above about 30 kcal per kg of fat-free mass per day so hormones, bones, muscle, and coordination are supported and injury risk drops, since dancers often eat 20-30% under their needs. Practically it means carbohydrate-dense meals within 2 hours before and 1 hour after intensive training and 20-30 g of protein spread across 4-5 daily meals.
This became known as New York style On2, or Eddie Torres timing: the basic is counted 1-2-3, 5-6-7, and the break (the change of direction) falls on 2 and 6. When you dance Torres timing, you step on 1 without making it the big moment, and you change direction on 2: the leader breaks back and the follower breaks forward.
Chachalokafun is a generic Afro-Cuban rhythm that can be danced by all the Orishas, the Afro-Cuban gods and spirits.
That is why it is called line Salsa. Turns, basics, all of it happens on that one line.
Salsa is an umbrella term, which means that Salsa actually reflects a lot of different types of music and also dance.
Fania made the older word Salsa this music's name in the 70s, as the mambo era faded.
Salsa is not a single dance but a cultural umbrella covering Afro-Cuban and Latin styles such as Guaracha, Mambo, Son, Guaguanco, and Son Montuno. The course teaches the New York street style within this tradition.
Salsa On2 is the New York style of salsa, born from the Mambo craze at the Palladium Ballroom in the 1950s and codified by Eddie Torres. It breaks on counts 2 and 6 and is the most widely danced style at festivals worldwide.
Mambo is one of the Afro-Cuban styles under the salsa umbrella, whose 1950s craze at the Palladium Ballroom gave rise to New York Salsa On2.
The legendary New York ballroom where the 1950s Mambo craze forged the Salsa On2 style.
The dancer and teacher who codified Salsa On2, the New York Mambo-rooted style taught in this course.
The triple-step rhythm borrowed from Cha Cha-Cha, played on the 'and' counts (8 and 1, 4 and 5) and dropped inside the Salsa On2 framework as syncopation.
A Cuban dance style and influence on salsa footwork, characterized here by hips that drop forward rather than the vertical drop of the Tumbao. Some Hook Step variations are described as Pachanga-influenced.
A small, quiet triple-step syncopation on counts 8 and 1, kept on the toes with the body still and movement living in the feet. A stylish version weaves cross behind, side, cross in front.
A timing where you step on 2, 3, 4 and 6, 7, 8, skipping the 1 and the 5. You step directly on 8 from 7 without waiting for the 1, then pause before stepping on 2, placing your feet right on the conga hits.
The On2 Mambo system created by Eddie Torres to unify dancers stepping on tempo (1, 2, 3) and contra tempo (2, 3, 4) so everyone could dance together. Son Timing shares the same break on 2, which makes switching between systems feel natural.
A legendary Palladium-era Mambo dancer of the Mambo Aces duet, credited as the source of the stationary-spin Hook taught in this course.
A legendary Mambo duet that defined the Palladium era, including Annibal Vasquez. Their style is the source of the Annibal Hook and the Dirty Palladium Drop.
The specific fast genre Pachanga is danced to, played by charanga orchestras (violins and flutes). It is not danced to any charanga music, only to Pachanga music itself.
A Cuban ensemble built on strings (especially violins), flutes, and guiro, distinct from the horn-and-brass salsa or mambo septetos. Pachanga music is played by charanga orchestras.
The charanga musician who created Pachanga in Cuba in 1959, designing the music and the dance together with choreographers from the start.
The rhythmic pulse of the Dominican Republic, one of the two musical influences Davidson blended (with Son Montuno) to shape the Pachanga sound.
A handkerchief traditionally held in the right hand and shaken freely while dancing Pachanga, used as expressive play rather than rigid technique. Any piece of cloth or dish towel works.
The funk-and-soul shuffles and glides made iconic by James Brown that 1970s dancers pulled into Pachanga, pushing the bounce upward into the shoulders and inspiring later moves like the Charleston Pachanga.
A New York Latin style whose influence Pachanga absorbed, pulling the New York version further from the Cuban original and explaining why modern Pachanga can look very different by lineage.
The core rhythmic pattern of Afro-Cuban music; in the Pachanga Kicks the syncopated and counts are placed to work with the clave so the movement sits inside the rhythm rather than just on top of it.
A ridged gourd percussion instrument scraped to mark the rhythm, part of the charanga sound (violins, flutes, guiro) that the floating Pachanga Skip is danced to.
An elegant, European-influenced Cuban ballroom music and dance, danced upright with a rigid frame and relatively straight legs, strictly on the downbeat. The first official Danzon, "Las Alturas de Simpson," was debuted by Miguel Failde in 1879.
A European-rooted Cuban ballroom dance, performed upright with a strictly maintained frame and relatively straight legs, which evolved into the Danzon.
The authentic Afro-Cuban folkloric tradition (distinct from the ballroom "Rumba" of dancesport), encompassing Guaguanco, Yambu, and Columbia. It was folkloric, spontaneous, and intensely polyrhythmic, danced with deeply bent knees and a low center of gravity as an improvisational conversation between drummer and dancer.
An authentic Afro-Cuban folkloric form of Rumba, part of the grounded African root that orients the body toward the floor with permanently bent knees.
One of the authentic Afro-Cuban folkloric forms of Rumba, alongside Guaguanco and Yambu.
The open-ended, repetitive, syncopated vamp section of a song where singers improvised and dancers could finally let loose. In a Mambo arrangement the piano drives an aggressive repeating vamp here as the cowbell drops in; Arsenio Rodriguez expanded this section.
The expanded Son ensemble format that Arsenio Rodriguez helped create from the earlier septeto, adding the conga drum, multiple trumpets, and piano to build a denser rhythm section and push slower, heavier tempos.
The natural figure-eight motion of the hips produced by a continuous, rolling transfer of weight with bent knees. In dancesport the same term refers to a different mechanic generated by locking the knee straight.
Bending the knees to lower the center of gravity and let body weight sink into the floor, enabling the delayed, rolling weight transfer of son montuno and the resulting Cuban motion. The knee never fully locks, staying engaged so the center of gravity drops continuously into the floor.
The fusion of grounded Afro-Cuban percussion with the brass harmonies of American Bebop jazz, developed by Mario Bauza working with Machito's band alongside jazz musicians like Dizzy Gillespie and Charlie Parker. Also called Latin Jazz, it was loud, fast, harmonically complex big-band music.
Sharp, accented brass passages and big unexpected breaks in a Mambo arrangement. Palladium dancers learned to catch them in real time, and the Big Three used them in their competitive arrangements.
The formalized practice of leaving your partner to dance solo, developed during the Palladium era. The word is commonly linked to dancers making their shoes "shine" on the floor, though the deeper tradition of solo movement predates New York and is rooted in African dance.
The mechanic of moving the lead off the line to let the follow pass from one side to the other. Its ancestor emerged from navigating the cramped Palladium floor and it was later refined and codified into the modern linear slot form.
The hardcore local dancers who danced directly in front of the Palladium bandstand, such as Cuban Pete, Millie Donay, and Killer Joe Piro. Their feet and movements drove the bands' solos, so the arrangement was effectively written in real time by the dancers.
The cross-cultural urban American dance invented by Palladium dancers who fused grounded Cuban movement with Harlem tap, Lindy Hop acrobatics, and theatricality. Its physical signature is a quiet, "cool," upright upper body placed over fast, heavily syncopated footwork.
The intentional, theatrical isolation of the upper body into "lines," invented at the Palladium when dancers integrated American Jazz and Lindy Hop aesthetics. Follows held their arms in classical jazz positions while leads froze the torso over blindingly fast feet.
The constant abdominal engagement that separates a low, grounded lower body from a rigidly upright, quiet upper body. It lets the feet move at high speed without the shoulders shaking, and is the physical signature that separates a world-class New York Style dancer from an amateur.
Machito, Tito Puente, and Tito Rodriguez, the rival bandleaders who ruled the Palladium. Their decade-long musical arms race drove the music to become faster, more structurally complex, and reliant on massive brass arrangements, forcing dancers to become better athletes.
The body of a Mambo song, where the melody is established and dancing is smooth, closed, and elegant, before the music shifts into the montuno and Mambo sections.
The instrumental climax of a Mambo arrangement, with screaming brass and wild percussion, where dancers break apart from their partner. Executing shines here as a structured response to the syncopation reflects the Eddie Torres era rather than Palladium-era instinct.
Timing in which the dancer steps and throws weight forward on the heavy downbeat (the 1), associated with LA Style. The lead lunges forward on the 1 to create immediate forward momentum and rotational force, trading grounded syncopation for sheer physical speed.
The springing micro-bounce mechanic of Pachanga: staying on the balls of the feet with soft knees and a rapid, continuous bounce, never letting the center of gravity settle fully into the floor. This weightless footwork was later absorbed directly into the New York shine vocabulary.
The New York label founded in 1964 by Johnny Pacheco and Jerry Masucci that, modeling itself on Motown, rebranded the array of Afro-Cuban rhythms under the single marketing term "Salsa." It standardized song structures for radio and assembled the supergroup Fania All-Stars.
The predictable, standardized 8-count structure Fania imposed on the music to make it palatable for radio. Because the breaks and phrase lengths became foreseeable, dancers no longer had to listen to the band in real time and could instead string together continuous partner patterns.
A 1970s barrio shine in which the dancer aggressively crosses one foot deep over the other with a violent weight shift, while shrugging the shoulders up and dropping the chin. It simulates the confrontational stance of a street fight, the opposite of the lifted European upright frame.
The mass Disco-era partner dance craze popularized by Saturday Night Fever in 1977. Imported onto the Salsa floor, it formalized the slot, introduced developed rotational arm styling, and accelerated continuous turn patterns, becoming the blueprint for modern fluid On2 partner work.
The straight linear track along which partners travel and pass in modern New York and LA Style. Its fully linear form was a later development, associated with the rise of LA Style and Hustle, rather than with the more circular Palladium floor.
A figure often assumed to be Cuban in origin but generally traced to the Hustle. Eddie Torres himself was heavily influenced by the Hustle, and the terminology around such figures needs to be used accurately.
A Hustle-derived technique for fast multi-spins in which the lead pushes the follow's frame in the opposite direction of the turn just before it, winding her core tightly. When the lead releases the tension, the stored rotational energy launches her through multiple spins.
The 1990s movement that moved Latin dance from the social club floor to the theatrical stage through professional-amateur dance companies. It began when Eddie Torres debuted the Eddie Torres Dancers at the Apollo Theater in 1987, training the first large generation of highly technical Mambo students.
West Coast Salsa built on the heavy European "On1" downbeat, injected with Hollywood theatricality, Lindy Hop acrobatics, aerials, and driving forward momentum. Its downbeat emphasis drew on the Cumbia background of many Mexican-American and Central American LA dancers.
A musical tradition that strongly emphasizes dancing on the heavy downbeats (1, 2, 3, 4). Many Mexican-American and Central American LA dancers grew up with it and naturally applied that downbeat emphasis to Salsa, helping produce the On1 break.
The Vazquez-style LA mechanic for generating power: on a perfectly straight, rigid slot the core locks, the foot strikes the floor heavily, and the body stops moving instantaneously. Eliminating curves this way maximizes spin acceleration.
The elastic rebound created by a hard linear check, which turns the partnership into a massive rubber band. When the tension pulling away from the partner rebounds on the 2 or the 5, the snap physically launches the follow down the slot, the foundation of Vazquez-style speed.
The multi-day, hotel-based festival of workshops and performances invented by Eli Irizarry with the first Puerto Rico Salsa Congress in 1997. By gathering the world's best dancers from disparate cities under one roof, it globalized the dance and created the modern Salsa tourism industry.
The universal lead-and-follow standard taught at Congresses so strangers from different local styles could dance together. The arms stay rigidly engaged in front of the chest, leads prep every turn on the same beat, and follows wait in suspended tension until the lead's torque moves them.
A dancer whose primary social outlet is no longer the local club but flying internationally to Congresses to collect wristbands, take workshops, and dance with strangers who share the same standardized physical language.
The formalized world championship created by Albert Torres, bringing strict ballroom-style judging criteria to Salsa. It cemented the dance's transformation from a social folk tradition into a regulated, hyper-athletic global sport.
The technique festival professionals use to decouple stage mechanics from social dancing: softening the knees, dropping the center of gravity, and dropping explosive linear checks to absorb momentum smoothly. Adopted to survive long Congress nights, it created the "smooth" festival social style.
The intricately braided, aggressively circular partner dance that evolved natively in Cuba (the Cuban people danced Casino, not "Salsa"), built to interpret Timba. The lead continuously walks in a wide arc around the follow rather than along a straight slot.
The famously complex group form of Casino, invented in the late 1950s by the Guaracheros de Regla, in which multiple couples link hands in a massive synchronized circle and pass follows back and forth on call.
The aggressive Cuban sound developed in the 1980s and 90s by bands like Los Van Van and NG La Banda, welding traditional Son to American funk and hip-hop basslines with explosive horn arrangements and massive gear shifts (efectos or mambos).
The circular cross-body lead of Casino, in which the lead sweeps the follow into a wide, arcing semi-circle without checking momentum, staying grounded in soft knees instead of stopping on a straight line.
The continuous, grounded "walk" that, together with the Dile Que No, forms the foundation of Casino biomechanics, keeping the rolling, circular movement going around the partner.
The competitive ballroom industry born from British standardization, which took the terminology of Afro-Cuban dance and stripped out its African rhythmic essence. Codified by the Imperial Society of Teachers of Dancing and instructor Monsieur Pierre, it enforced upright posture, locked knees, and traveling circular patterns.
The Dancesport mechanic for hip motion: stepping onto a bent leg then immediately locking the knee straight before the weight transfers, sending the hip out to the side and driving the center of gravity high. It is the opposite of the social Soft Knee.
The smooth, relentless, hyper-athletic global style optimized for the camera that replaced regional dialects in the YouTube era. Heavily influenced by classical ballet lines and contemporary dance geometry, it favors continuous double-spin patterns over letting the music settle.
The camera-driven mechanic in which dancers lock their knees straighter for rapid, multi-spin ballet pirouettes and add deep backbends, looking untethered from gravity. It is a deliberate adaptation to the digital video economy at the cost of grounded Cuban motion.
A massive, deep backbend adopted for the digital video economy. It has zero relationship to the underlying Afro-Cuban percussion but generates millions of views on social media.