There are many characteristics that may identify a style. There may be different step patterns, different timing of steps, particular movement on the dance floor (ex: slot, circular), dancer preference of turns and moves, attitude, dress code, and others. The presence of one or more of particular elements does not necessarily define a particular style. For example, many styles can be danced “On One” or one style may be danced “On One” or “On Two”. Also Cha Cha Cha The following are brief descriptions of major “recognizable” styles.
Cuban style
Cuban-style salsa (also called Casino) can be danced either on the down beat (”a tiempo”) or the upbeat (”a contratiempo”). Beats 1,3,5 and 7 are downbeats and 2,4,6 and 8 are upbeats.
An essential element is the “Cuba step” (also known as Guapea), where the leader does a backward basic on 1-2-3 and a forward basic on 5-6-7. Usually the fourth beat is not counted. The follower does the same, thereby mirroring the leader’s movement. Another characteristic of this style is that in many patterns the leader and follower circle around each other.
The cross body lead is an essential step in this style too and is referred to as Salida Cubana or as Dile que no in Rueda de Casino Dancing. This move becomes essential in the more complex derivative of Cuban Casino leading to the many moves of Rueda, or wheel dance. Here multiple couples exchange partners and carry out moves synchronized by a caller.
Colombian style
Colombian Style Salsa is the style danced in South and Central America. In the Colombian style basic-step, partners dance side-to-side and mirror each other’s movements. In Colombian style, the break is on the three and the “spare beat” is always used for a tap or other embellishment.
Colombian Style can be danced not only to Salsa music, but also to Cumbia music which is frequently played in Latin nightclubs.In advanced Colombian style, danced for example in Cali, the upper body is kept still, poised, and relaxed while executing endless intricacies in the feet.
This style is especially appropriate on packed nightclub dance floors where space is limited. Most of the steps danced during the Merengue, another Latin dance which is popular in Salsa clubs, have been carried over from Colombian style Salsa. It is said that Colombian salsa evolved during the big band swing era, when swing dance steps were danced to Cumbia music. Cumbia was traditionally danced in folkloric ensembles without holding one’s partner.
New York style
New York style emphasises 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 emphasises the conga drum’s tumbao pattern, and encourages the dancer to listen to percussive elements of the music. Advocate of New York Style consider this to more accurately reflect the Afro-Caribbean ancestry of the music.Many also refer to this style as “Mambo” since it breaks on beat 2 of the measure, though there are other dance forms with a more legitimate claim to that name.
In a social setting, New York style is danced more compactly than LA style. The etiquette of New York style is strict about remaining in the “slot” and avoiding travelling.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.The longest-running social in New York is the Jimmy Anton social, which is held every first, third and fifth (if there is a fifth) Sunday of the month.
Mambo
Dancing style (also called Palladium or Power-2) popular at the Palladium Ballroom in 1950 which eventually spread across the United States during the mambo craze.
This style is similar to Los-Angeles style, but it instead begins on the second beat of the measure, rather than the first. The basic step timing is 2-3-4,6-7-8 with the breaks on 2 and 6. This style is taught by Razz M’Tazz dance company of New York, whose director, Angel Rodriguez, coined the term “Power 2.”
It is important to note that although this style is also known as dancing “En Clave”, the name is not implying that the step timing should follow the rhythm of the Clave as in 2-3 or 3-2. It only means that you take the first step (and break) on the second beat of the measure, where a clave beat in 2-3 starts.
Los Angeles style ( L.A. style )
L.A. style is danced on 1, in a slot. It is highly influenced by Hollywood and by the swing & mambo dances. L.A. style emphasizes sensuousness, theatricality, and acrobatics.
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.
Francisco Vazquez, along with his two brothers, Luis and Johnny, are often credited with developing the LA style of salsa. Francisco taught both of his brothers how to dance and all of them went on to become famous worldwide through their unique style of dancing. Francisco Vazquez, along with his brother Johnny, founded “Los Rumberos” Dance Company at the start of their career, which is still the leading dance company in Los Angeles. Luis Vazquez, along with then Joby Vazquez (now Joby Martinez) founded Salsa Brava Dance Company, which was another leading dance company in Los Angeles for many years.
Other people who also helped create L.A. Style as we know it are, Rogelio Moreno, Alex Da Silva, Joby Martinez, Rudy Zalez, Josie Neglia, Cristian Oviedo, Luis ‘Zonik’ Aguilar and many others. Tony Cordero and Robert Menache helped spread the influence of the LA style to Long Beach and Orange County.
La Rueda
In the 1950s Salsa Rueda (Rueda de Casino) was developed in Havana, Cuba. Pairs of dancers form a circle (Rueda in Spanish), with dance moves called out by one person. Many of the moves involve rapidly swapping partners. In the Philippines 2005, a growing interest among young Filipinos led to a fusion of salsa and community dance, later called Ronda de Salsa, a dance similar to Rueda but with salsa dance moves that were choreographed locally and in Filipino names. Among the popular calls in Ronda were: Gising, Pule, Patria, Dolorosa, Lakambini and La Antonio.
There two main types of Rueda de Casino:
- Cuban-style - “Rueda de Cuba” (Original type of Rueda, not so formal)
- Miami-style - “Rueda de Miami” (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )
Shines
Normally Salsa is a partner dance, danced in a handhold. However sometimes dancers include shines, which are basically “show-offs” and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of “standard” shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate.
They are a good recovery trick when the connection or beat is lost during a complicated move, or simply to catch the breath. One possible origin of the name shine is attributed to the period when non-Latin tap-dancers would frequent Latin clubs in New York in the 1950s. In tap, when an individual dancer would perform a solo freestyle move, it was considered their “moment to shine”. On seeing Salsa dancers perform similar moves the name was transposed and eventually stuck, leading to these moves being called ’shines’.
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