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Origin of the Salsa Steps
It is not only Cuban; nevertheless we must give credit to Cuba for the origin and ancestry of creation. It is here where Contra-Danze (Country Dance) of England/France, later called Danzón, which was brought by the French who fled from Haiti, begins to mix itself with Rhumbas of African origin (Guaguanco, Colombia, Yambú). Add Són of the Cuban people, which was a mixture of the Spanish troubadour (sonero) and the African drumbeats and flavora and a partner dance, flowered to the beat of the clave.
This syncretism also occurred in smaller degrees and with variations in other countries like the Dominican Republic, Colombia, Puerto Rico, among others. Bands of these countries took their music to Mexico City in the era of the famous films of that country (Perez Prado, most famous …). Shortly after, a similar movement to New York occurred. In these two cities, more promotion and syncretism occurred and more commercial music was generated because there was more investment.
New York created the term “Salsa”, but it did not create the dance. The term became popular as nickname to refer to a variety of different music, from several countries of Hispanic influence: Rhumba, Són Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue, among others. Many of these have maintained their individuality and many were mixed creating “Salsa”.
The dance steps currently being danced to salsa music come from the son, but were influenced by many other Cuban dances such as Mambo, Cha Cha Cha, Rumba, Comparsa and sometimes even Mozambique. Salsa can be a heavily improvised dance.
People continually argue about the difference between Mambo and Salsa. Some say they are the same thing. Some think Salsa is a generic label for all different types of Latin music. But if you listen to the early Mambo of Tito Puente, Machito, Beny More, Tito Rodriguez and the many greats who started playing before 1960, and then listen to some of the newer folks on the block, you’ll find a distinction there easily enough. As to whether to move the body or feet on the first or second beat, that is a whole subject all on its own.
Basic Movements
The basic step of all styles of salsa involves 3 weight changes (or steps) in each 4 beat measure. The beat on which one does not step might contain a tap or kick, or weight transfer may simply continue with the actual step not occurring until the next beat, some individuals may insert an actual pause. The option chosen depends upon individual choice and upon the specific style being danced. One of the steps is a “break step” a little bit longer than the other two.
Different styles of Salsa are often differentiated by the direction and timing of the break step (“on 1″ or “on 2″ for example). After 6 weight changes in 8 beats, the basic step cycle is complete. While dancing, the basic step can be modified significantly as part of the improvisation and stylings of the dancers.
As a salsa dancer changes weight the upper body remains level and nearly unaffected by the weight changes. Caught in the middle are the hips which end up moving quite a bit–the famous “Cuban hip movement.”
The arms are used to communicate the lead in either open or closed position. In open position the two dancers hold one or both hands, especially for moves that involve turns, or putting arms behind the back, or moving around each other. In closed position, the leader puts the right hand on the follower’s back, while the follower puts the left hand on the leader’s shoulder.
In some styles, the dancers remain in a slot (switching places), while in others the dancers circle around each other.
Rhythm
Music suitable for dancing ranges from slow at about 100 beats per minute (bpm) to its fastest at around 140 beats per minute (bpm), although most dancing is done to music somewhere between 80-120 bpm. Every Salsa composition involves complex African percussion based around the Clave Rhytnm (which has 4 types), though there can be moments when the clave is hidden for a while, often when quoting Changui or Bomba. The key instrument that provides the core groove of a salsa song is the conga drum. The conga drummer slaps (high pitch) on the 2nd beat of each measure and strikes twice with an open tone (often on a 2nd lower pitched conga) on the 4th beat . Every instrument in a Salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos, claves, (instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, güiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point. However it is taboo to play or dance to the wrong type of clave rhythm. While dancers can mark the clave rhythm directly, it is more common to do so indirectly (with, for example, a shoulder movement)
Salsa Styling
Incorporating styling techniques into salsa has become very common. For both men and women shines, leg work, arm work, body movement, spins, body isolations, shoulder shimmies and rolls, and even hand styling have become a huge trend in the salsa scene. Hip hop, jazz, flamenco, belly dancing, ballroom, bboy, popping and locking.
Salsa Styles
Since salsa has its roots in so many dances and is open to improvisation, salsa styles are very fluid. Dance styles are associated with their original geographic area that developed that style. There are often devotees of each of these styles outside of their home territory (except Cali style). Characteristics that may identify a style include: foot patterns, body rolls and movements, turns and figures, attitude, dance influences, and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style.
- New York and Puerto RicoFound on the East Coast of North America, Puerto Rico, and the Dominican Republic.New York style emphasizes efficiency of movement, elegance, and body isolations. By focusing on control, timing, and precision of technique, dancers aim for smooth execution of tightly woven complex patterns. In New York City this style is danced strictly On 2, although dancers around the world often integrate elements and repertoire from New York into their dancing On 1.
On 2 timing emphasizes the conga drum’s tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocates of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music.
Many also refer to this style as “Mambo” since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name. See Mambo. Mambo has been taught in ballroom schools throughout the world since the 1950′s. For years ballroom competitions have featured Mambo as a competition dance. N.Y. style salsa therefore, has dominated Mambo and Salsa competitions over the years, although other styles are gaining respect and are sometimes danced as alternate competition categories.
The etiquette of New York style is strict about remaining in the “slot” and avoiding traveling.
New York style tends to place a greater emphasis on performing “shines” where dancers separate and dance solo for a time.
New York style dancers are typically very serious about the musicality and timing of their dancing. To satisfy their tastes, “socials” are often held that cater to almost exclusively playing “salsa dura” (lit. “Hard Salsa”). This is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather than the vocals.
- Cuban / Casino Rueda (Cuba and Miami)
- Casino (Salsa dance)Danced in Cuba and Miami, but also popular in Europe and China; there are many dedicated small communities all over the world often organized to dance Rueda as well.Cuban-style salsa (also called Casino) can be danced either on the down beat (“a tiempo”) or the upbeat (“a contratiempo”). Beats 1, 3, 5 and 7 are downbeats and 2, 4, 6 and 8 are upbeats.
An essential element is the “Cuba step” (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader’s movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.
The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Casino Rueda Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.
- Rueda
- Casino RuedaIn the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners.
There two main types of Rueda de Casino:
- Cuban-style – “Rueda de Cuba” (Original type of Rueda, not so formal)
- Miami-style – “Rueda de Miami” (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )
- Cali Salsa Style
The Colombian city of Cali is also known as the “Capital de la Salsa” (World’s Salsa Capital); it’s one of the few cities where salsa is the main genre in parties, nightclubs, and festivals in the 21st century. Almost all famous Salsa singers and bands have visited this city, which has a huge Salsa following with a unique set of styles very rarely found outside of Colombia. Every year Cali holds Salsa festivals such as “Encuentro de Melomanos y Coleccionistas”, where experts of salsa history, lovers of this genre and music collectors meet in a famous park in Cali. Salsa is also well recognized and celebrated in December, when festivals are held every year. The unique Cali Salsa Style consists in keeping the upper body still, poised and relaxed while the feet execute endless intricacies.
- Los Angeles
In Cuban based rhythms, the strong beats are on 1 and 3. L.A. style is danced on 1, in a slot. It is highly influenced by both the Mambo and Swing style of dancing. L.A. style emphasizes sensuousness, theatricality, aerobics, and most importantly, musicality. The two essential elements of this dance are the forward/backward basic as described above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees counter-clockwise. After these 8 counts, the leader and follower have exchanged their positions.
The LA. style as it is known today was pioneered by what many consider some of the most famous and successful people in dance. Albert Torres, Laura Canellias and Joe Cassini rightfully deserve much of the credit for the early development and growth of L.A. Style Salsa. Later, such dancers aa Alex Da Silva, Liz Lira, Edie Lewis, Joby Martinez, Thomas Montero, Rogelio Moreno, Josie Neglia, Liz Rojas, Francisco Vazquez and Janette Valenzuela are often credited with developing the LA style of Salsa Dancing as we know it today.Tony Cordero and Robert Menache helped spread the influence of the LA style to Long Beach and Orange County, and extend it throughout the United States and the world.