The "Latin Dance Study Guide" is a book of technical notes on salsa dancing.
History
In may 2000, I was dragged into a salsa lesson by a friend, and soon
became addicted. I have a background in music (jazz guitar in
college), and was extremely puzzled by the act of dancing, the rich
rhythms of latin music, as well as the social environment that came
with it. It has now become a integral part of my life and has brought
music back into my daily activities.
I originally wrote the notes in 2001-2002, during a period where I was
absolutely obsessed with understanding dancing. At the time, I was
taking 6 lessons per week, some in group, some in private, in various
styles, and I was going out dancing practically every night. By day
at work, I had salsa moves going through my head all the time. Soon
thereafter I learned spanish and found my way to Cuba to learn more.
I fell in love with the Cuban style of salsa dancing, which tends to
be much less popular in most places outside (except in some countries
of Europe, like Spain or Italy).
I needed to write all this information down, because I was trying to
intellectualize everything at the same time. I spent a great deal of
time organizing all the moves and tricks that I would learn during my
lessons, because there was too much to remember in a week. I had to
organize my thoughts to take it all in. This addiction lasted for
almost two years. The result of this documentation effort is this set
of notes.
The notes were largely untouched for the two years that followed, and
in february 2004 I took a few weeks off work to finish some projects
and do a third clean up of the notes, to remove some irrelevant stuff
and add some illustrations, and put them together in a nicer book
format.
From 2004 to March 2015, the book was on sale as a PDF download on
from this web page. However, I have since scaled down my server and
have decided to sell the book on paper. Before I do this, I'd like
to upgrade the diagrams and add some photographs. I'm not sure when
this will get done. I'll likely put the book on sale on Lulu.com.
I'll add a link here when it'll be available again.
An outline of the contents is available below, with links to sample
pages.
Intended Audience
Some notes about the intended audiences and possible uses of the book.
- people who are introduced to salsa dancing often catch the "salsa
bug" after a few lessons and become very enthusiastic about finding
more information on steps and styles. If this is your case, this is
exactly what you're looking for. If you're a brainy maniac about
salsa, this is the exact book that you want to get. I would have
been so happy to find a book such as this when I was learning, which
is a reason why I decided to publish the notes;
- Cubans often have a difficulty to teach the "special sauce" that
give them their unique compelling style of dancing. Some of them
even teach the kind of salsa that is seen outside of Cuba, because
they believe that it is impossible to learn to dance like them.
Also, in Cuba, people learn the funkier salsa moves and style "on
the street", watching and dancing with others. In the notes I
attempted to document the details that allows you to develop the
special cuban style. In particular, the section on body rotations
attempts to describe one of the most important differences between
the cuban style and the style that is often taught outside of Cuba,
that makes them somewhat incompatible;
- for some teachers: the organisation of the material might give you
ideas on how to structure a new class, for example, on son, or on
rueda. However, note that the book does not focus all that much on
the NY-style shines and footwork. This is not a book about footwork
(although I document the most important moves used to build footwork
combinations, Suzie-Q, etc.);
- some of the most basic moves of salsa are described in the context
of "son". There may not be anyone to teach the cuban "son" in
your area, and as far as I know, this is an original exposition
context. In the notes, I establish the base for salsa in the
context of "son". You may find this interesting;
- if you're looking for the definitive explanation for the different
timings "on 1" and "on 2", from a musical point-of-view, there is
a chapter dedicated to that and more. Very little accurate
information about the "on 2" and other rhythms is available on the
internet, and much of the teachers themselves are extremely confused
when it comes to that subject. Ask them to explain clearly what
"dancing on clave" means, for example. I'm a trained musician, and
this allowed me to summarize precisely what is going on
rhythmically from observing various dancers around the world;
- I'm offering a unique way to analyze the moves you will learn. This
may (and most probably does) differ from the way many salsa teachers
teach. It will give you a different angle on the context of salsa.
Consider how much information you learn in a single class and how much
it costs you. This book offers you a lot of information for a
reasonable price.
Note however that you cannot learn to dance salsa with only a book,
you have to take lessons or at least go out to salsa clubs and
practice. This book cannot and will not replace lessons, it will not
teach everything from scratch; rather, it contains an extensive list
of the many moves that you will encounter, and will present them in a
way that will allow you to place them in context when you encounter
them. This is why I called it a "study guide", it is documentation
that is best used to accompany the student while taking actual lessons
with various teachers.
Table of Contents
This is the table of contents for the Latin Dance Study Guide.
- Contents
- List of Steps
- List of Exercises
- List of Combinations
- List of Figures
- Introductory Material
- Cuban Salsa
- Són
- Rhythm
- Hold
- Steps
- Són step
- Saludo
- Side-to-side walk
- Basic step
- Sacude el agua al pozo, adelante-atras
- Rotation [SAMPLE PAGE]
- Cajón, quadrado
- Girón
- Hecho / Vuelta
- Pasea
- Tornillos
- Tornillo of FO
- Tornillo of LE
- Holds
- Holding hands
- Hands that are not busy
- Holds
- Closed hold
- Single open hold and reverse single open hold
- Double open hold
- (Single) crossed hold and reverse single crossed hold (x-hold)
- Double crossed hold and reverse double crossed hold (x-hold) [SAMPLE PAGE]
- Doubly-crossed hold and reverse doubly-crossed hold
- Back-to-back Hold
- Double backcrossed hold and reverse double backcrossed hold
- FO/LE Wrapped hold (FO or LE is wrapped)
- Front-to-back crossed hold and reverse front-to-back crossed hold
- Other common holds
- Sombrero holds
- Cero siete hold (07)
- Setenta hold (70)
- Stop-checking FO
- Cuban Salsa (Casino)
- Introductory Notes
- General attitude
- Dress Fashions
- Influence of Folkloric Dancing
- Rhythm
- Basic Steps
- Upper body rotations
- Rocking step
- Back-Break Step
- Casino Step
- Side-to-side step
- Musician's step (Paso del musico)
- Adornos (kicks)
- Displacements
- Salsa walk
- Displacement in closed hold
- Displacement in open hold
- Paseo de olas [SAMPLE PAGE]
- Variants within paseo de olas
- Dancing freely
- Direction of rotations
- Exercises for Turns
- Sencillo Turn
- Sencillo with 3/4 turn
- Lateral-with-pivots and spin turn
- Back breaks with full turn
- Combined full turns
- Sencillo with 5/4 turn
- Variations on These Exercises
- Essential Moves in Cuban Salsa
- Right Turn
- Hecho (Cuban Right Turn)
- Deshecho / Enchufla
- Inside Turn
- Leader's Right Turn
- Dile que no [SAMPLE PAGE]
- Pasea / Promenade
- Paseala abajo
- Paseala arriba
- Paseala with inside turn
- Engaño Motion
- Girón, Papillon, Tight Turn
- Bayamo
- Simple practice combinations and exercises
- Notes
- Notes on Style
- Notes on Improvising
- Strange Exercises To Improve Lead And Follow
- Integrating Columbia into salsa
- Exercises to practice stops
- Cool, crazy cuban stuff
- Various Cuban Salsa Combinations
- Basic combinations
- Prima con la hermana
- Setenta (70)
- Cero-siete (07)
- 70 complicado [SAMPLE PAGE]
- Trompo
- Various Other Combinations
- Rueda de Casino - Basics
- Rueda basics
- Timing
- Basic steps
- General principle for which step to use
- General notes
- Hand signs
- Miami-style taps
- How to XBL a new FO (dame)
- Some useful spanish
- Move modifiers
- Notable differences in rueda styles
- Calling the rueda
- Basic configurations
- Forward Configuration
- Reverse Configuration
- In-And-Out Walk Configuration
- Carrusel Configuration [SAMPLE PAGE]
- Rueda de Casino - Moves
- Moves in the forward configuration
- Essential Moves
- Move Descriptions
- Moves in the reverse configuration [SAMPLE PAGE]
- Essential Moves
- Variations of Dame
- Variations of Adios/La prima
- Variations of Enchufla
- Variations of Siete
- Variations of Vacila
- Variations of Pasea
- Variations of Setenta
- Variations of Enredate
- Other numbered moves
- Other moves, miami-style
- Other moves, cuban-style
- Other moves, cuban-style
- Moves in the in-and-out walk configuration
- Essential Moves
- Move Descriptions
- Moves in carrusel configuration
- Essential Moves
- Move Descriptions
- Play moves
- Essential Moves
- Move Descriptions
- Show entries and exits
- International Salsa
- International-Style - General Notes [SAMPLE PAGE]
- Introduction
- Differences with Cuban style
- Upper body rotations
- Spin turns
- Weight change
- Back break variation
- General notes
- Comments
- Rev-Time Turns
- An Attempt at Categorization
- Basic Moves
- Follower's outside turn (right turn, FO'OT)
- Leader's right turn (LE'RT)
- Follower's inside turn (left turn, FO'IT)
- Leader's left turn (LE'LT)
- Cross-body lead (XBL, in spanish dile que no)
- International-Style - Steps
- Generic Step
- Steps
- Basic step
- Side-to-side step
- Turning left or right (a quarter turn)
- Notes on transitions
- Forward walk step, backward walk step, transitions
- Crossed walk (marcha crusada)
- Walk with "plier"
- Right (pivot) turn step
- Left (pivot) turn step
- Right spin turn step (rev-time)
- Left spin turn step (rev-time)
- Double right turn step
- Double left turn step
- Lateral step
- Parallel #1 step
- Parallel #2 step
- Extension #1 step
- Extension #2 step
- Left-LF half-turn step
- Left-RF half-turn step
- Right-LF half-turn step
- Right-RF half-turn step
- Punta talon LF step
- Punta talon RF step
- Kick LF step
- Hotpoint step (LF and RF)
- Hairbrush step
- Forward breaks step
- Backward breaks step
- Scissors step [SAMPLE PAGE]
- Suzie Q step
- 7up
- Spiral kick step / kick twist step
- Spotting
- Practice combinations
- Footwork and shines
- International-Style - Moves and Variations
- Variations of Walks
- Walking forward, walking backward
- Turning left and right
- Sideways walk to the left
- Sideways walk to the right
- Together steps in a circle
- Variations of Single turns (dbl, 70, 07, sombreros)
- Variations of Cross-body leads
- Variations of Reverse cross-body leads
- Important note about turn terminology
- Variations of Paseas
- Lateral moves
- Variations of Dips
- Setenta in a square
- Enchufla's
- Synchronous steps
- FO sitting down on LE
- Assisted FO shines
- Other Dances
- Cha-cha-chá
- Rhythm
- Free format of cha-cha-chá
- Basic Step
- Disconnecting the feet
- Bolero and Bachata
- Merengue
- Complex Holds for Merengue
- Sombrero opposite hold
- Sexy hand slide
- Sombresiete hold
- Underarm hold
- Forced hug hold
- Crossed-arms
- Hooked arms
- Noodles hold
- Tunnel hold
- Merengue moves and variations
- Crouch turn
- The worm
- Tunnel move
- Noodles move
- Notes
- Concepts and Observations
- Some ideas to tinker with
- Principle of constant variation [SAMPLE PAGE]
- Use repetition only with intent
- Quantity of movement
- Principle of Continuity
- Solo style should be good enough
- Unity vs. Solo
- Slow tempo is harder
- Dance behind the beat
- Uniformity vs. variations
- Breaking patterns
- Landing moves
- Stiffness vs. Looseness
- Fluidity vs. Markedness
- Equilibrium, Focused, Centered energy at the core
- Principle of economy
- Invisible energy
- Do every move with intent
- Be wary of over-compensation
- About following
- About attitude
- Conclusion
- A note about learning and analysis
- Spanish Words Translations
- General Glossary
- Body parts
- Some useful verbs
- Directions
- Musical patterns reference
- Basic pulse
- Foot patterns
- Instrument patterns
- Binary patterns
- Ternary patterns
- Working with music
- Making practice CDs
- Recommended music
- Són
- Cha-cha-chá
- Timba, Salsa Cubana
- Straight Salsa
- Silly Rueda Game Ideas
- About this document ...