Music starts to play. What do you do?

A. Try to ignore it.

B. Start to shimmy your hips subconsciously.

C. Clear the area to allow yourself the largest possible space, grab an unsuspecting partner and break out into a Paso Doble. Or, work on your krunk. Or, Viennese Waltz your tush all over the place.

The first tips Tony Didier gives for dancing salsa are general ones not necessarily geared toward salsa: Find the beat and connect with your partner.

“When (students) can find the beat, I say, ‘Take a step on the beat,’ and you only take one step,” says Didier, a dance instructor at American Style Ballroom in Fort Wayne.

After the beat is established and a dancer can move in time, he says, the most important thing is to connect with one’s partner physically and visually.

What sets salsa apart from other ballroom dances is that salsa is grounded and heavier than others.

Salsa dancers are more bent over and use their full bodies, whereas other Latin dances, like mambo, can be more upright with a ballroom feel and long, striking lines, Didier says.

Plus, salsa is more authentic: It wouldn’t use any radio tunes, whereas popular songs like Shakira’s “Hips Don’t Lie” are perfect for dancing mambo.

Salsa dancing has a lot of turns and wraps to it, Didier says.

A wrap is where a couple starts out facing each other. The man turns his partner inward so her back is to his chest, and then back around so they’re facing each other again. This wraps their arms around one another.

“It’s fun. It’s sensual,” he says. “It has a lot of attitude to it.”

jyouhana@jg.net

The article was sourced from here http://www.journalgazette.net/article/20090524/ENT/305249997/1162

• Marc Anthony

  If Ricky Martin is the Latin crossover star that wears tight leather and does Pepsi ads, Marc Anthony is the one wearing the black silk and smoking a cigarette. Anthony established himself in the '90s as a contemporary Salsa superstar, and more recently, his English crossover recordings have expanded his overall audience. Universally respected for his clear and emotional singing style, he's always brought integrity to his music whether singing a shamelessly revealing romantic ballad or cutting loose with some hot Salsa. He's a "NuyoRican" (Puerto Rican from New York City) whose English vocals display no accent. Now visible as a film actor as well, Anthony exudes a cool downtown New York persona, and his mix of contemporary dance ballads and salsa works easily in his hands. – Robert Leaver – 5 days ago

Linked from here

There are four points of Contact between the Man and the Woman when dancing Salsa.

1. The Man takes the Woman's Right Hand with his Left Hand.

2. The Man places his Right Hand on the Woman's back.

3. The woman places her Left hand on the Man's shoulder.

4. The Man and the Woman look into each others Eyes.

Frankie Martinez and Nancy social dancing

leon rose(london)

Luis Vazquez & Melissa.

Eddie Torres & Nancy Ortiz

2006 Rueda champions Casino.com perform in the heat stages of the Bailar Casino Competition in awesome fashion, led by Yanek himself!

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 danc

ed “On One” or “On Two”. Also Cha Cha Cha The following are brief descriptions of major “recognizable” styles.

Cuban style

Main article: Casino (salsa dance)

A salsa instructor trains youngsters in Camagüey, Cuba.

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.

Los Angeles 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, 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.

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. (See Mambo.)

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.

While the New York style is the predominant style found in the eastern United States, the style finds favor with professional salsa dancers and salsa teachers the world over. Thus, it can be seen at salsa congresses all around the world.

Famous On2 dancers

New York Style’s first and most famous champion is popularly held to be Eddie Torres. Eddie Torres has been dancing since 1962 and has been teaching since 1970. Countless figures in the salsa scene have performed with the Eddie Torres dancers, such as Seaon Bristol (a.k.a. Seaon Stylist), Amanda Estilo, Eric Baez, April Genovese de la Rosa, Jai Catalano and many more.

Other important figures in the On2 style are Frankie Martinez, Ismael Otero, Tomas Guererro, Osmar Perrones, Griselle Ponce, Milo, Ana and Joel Masacote, Jimmy Anton, Joe Burgos and many others.

Venezolana (Dominicana) style

Venezolana Style Salsa is the style danced in Venezuela and Dominicana.

In this style are characteristic with the follow things:

• style has basic step – Cumbia step
• dancing carries out steps in beat salsa(1+2+3+pause)
• style has expressed impulse
• movement as turns and all dance are carried out on a circular trajectory
• movements sharp enough and effective (in comparison with Salsa Casino)
• there is tap with 1 and 5 steps
• The majority of movements and turns are carried out by “scrolling”, instead of step-by-step (unlike Salsa Casino)
• the minus of style consists that if even one of partners does the slightest mistake at turn is very strongly noticeably and forces down all dance
• the minus consists that the quantity of turns is much less in comparison with Salsa Casino and Salsa LA

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 o
n 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.

Mambo

Main article: Mambo (dance)

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.

[edit] Puerto Rican style

This style can be danced as “On One” or “On Two”. When danced “On Two”, the leader steps forward with the left foot on count 2. The basic continues like the New York basic with the timing rotated 4 beats.

There is a Salsa Congress in Puerto Rico where salsa groups all around the world attend and perform. The first Salsa Congress in Puerto Rico was in 1997.

La Rueda

Main article: Rueda de Casino

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:

1. Cuban-style – “Rueda de Cuba” (Original type of Rueda, not so formal)
2. Miami-style – “Rueda de Miami” (Formal style, many rules, based on a mix, hybridization of Rueda de Cuba and Salsa Los Angeles-style )

Salsa Disco

This is a version of salsa which actually is a discothec-version of social dancing. The difference from other versions is that it is, as they say, “a rattling mix “. In Salsa Disco there are moves from Salsa Los Angeles-style, Puerto-Rico style, Casino etc. It often includes the expressed tap which is characteristic of the Venezuela style and also tricks and acrobatic elements of rock-and-roll which are inadmissible in the original Salsa Cubana.

It is this kind of Salsa which you can see in discos of 80-90% of cities under the name salsa while only 10-20% really dance a pure salsa style which is quietly passionate, strongly pronounced and unforgettable. The good thing about Salsa Disco is that it is easy to learn to do well whereas learning pure Cuban or Los Angeles style to the same level of proficiency requires a lot more effort.

Salsa styling

Incorporating styling techniques into any style of 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. There are lessons dedicated to the art of salsa styling. Hip hop, jazz, flamenco, belly dancing, ballroom, break-dancing/pop and rock, Afro Cuban styles, and Bhangra have all been infused into the art of styling.

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’.

See also: Glossary of dance moves

The following turns are used in almost all salsa dancing regardless of the basic used or style employed.

• Outside Turn (Underarm Turn) – similar to the “arch turn” in swing

• and many other dances, follower turns clockwise
• Inside Turn – follower turns counterclockwise (to her left)
• Spot Turn – either, or often both, partners turn 360° remaining in the same spot
• Extension – partners break in opposing directions to build arm tension between them. Often leads into a spot turn or an in-and-out.
• In-and-Out (Copa) – From a cross-hand hold (left over right), leader creates an extension, then pulls the woman in with the right hand while leading the left hand over her head to the other side of her, causing her to turn 180° to her left. The follower is then pushed back out, and will do at least another half left turn to return her to facing the lead.
• Cross Body Lead – follower is led to opposite side of lead, causing them to swap positions in a counter-clockwise fashion. Exists in other Latin dances such as Cha-cha-cha.
• Reverse Cross Body Lead – same as Cross Body Lead, but couple exchanges positions in a clockwise fashion.
• Basket – A type of extension where the leader is behind the follower and holds the follower’s arms wrapped around her shoulders while she breaks forward and the leader breaks backward.
• Windmill – A type of lead for a turn where rather than leading the turn from above the follower’s head, the leader loops the arm widely down and up, so that the movement appears more vertical than horizontal.

On counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with

forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.

The following variants of the Basic step may be used, often called breaks.

• Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7
• Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7
• Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7

Basic Step On Two

Many ballroom chain schools’ “mambo basic” has the leader commencing with a side left on 1 and a break backwards on 2, on the first bar.

If the break steps occurs on count 2 and 6, it is called “On Two”. There are two main ways in North America of dancing On Two:

• Power-On2 is danced as the basic step on 1, but beginning on beat 2 with a break step, and holding on 1 and 5.
• Eddie-Torres-On2 breaks on beats 2 and 6, but holds on 4 and 8..

Eddie-Torres-On2

The lead steps slightly back on the left foot on 1, then takes a break step backwards on the right foot on 2. On 3 the left foot steps in-place and over 3 and 4 the weight is transferred to the left foot. On 5 the leader steps slightly forward on the right foot, and breaks forward with the left foot on 6. On 7 the leader steps in place with the right foot and over 7 and 8 the weight is transferred onto the right foot, ready to repeat on 1.

Eddie Torres Style is so called because it was widely formalized and popularized by Eddie Torres whose clear teaching style and production of instructional videos opened up access to Salsa for many New Yorkers. It is not claimed that he invented the style. In those videos, Eddie Torres himself calls this “Night Club Style”^[5].

On2 steps analyzed

Also note that most “Torres” On 2 dancers slightly rush the one and the five count. This means that they are stepping a moment before the one and the five are played by the music. It can be clearly seen when they dance and heard when they count [1]. While this might seem strange at first it really makes sense if you analyze the steps. The counted “one” falls between the musical eight and the musical one, while the counted “five” falls between the musical four and the musical five. This means that the distance between the (early) one and the two is the same as the one between the three and the (early) five, and it is a dotted quarter note. Because of this the quick-quick-slow “On 1″ pattern becomes a slow-quick-slow one for “On 2″ dancers, and the reduced difference between the quicks (one quarter note) and the slows (one and half quarter note) gives the “On 2″ dance its typical flowing quality.

If we turn our attention to the steps we see how, in the basic step pattern, every step that requires a foot movement will fall on a “slow” count, while a simple weight transfer will be on a “quick”, making this “On 2″ feeling more natural and comfortable.

Dancing On1 and On2 compared

While in closed frame, two partnered dancers can not be simultaneously dancing On1 and On2 respectively without causing injury to one another since the break steps are taken at different times.

Dancing On2 means that the break step synchronizes with the accented slap of the tumbao, the pattern played on the conga drum(s), while the On1 break step synchronizes with the first beat of the measure. For this reason it is said On2 is more rhythmically oriented, whereas On1 is more melodically oriented.

Note that commonly On2 starts the basic pattern with the lead moving back and the follow moving forward, while On1 the lead starts the basic step forward and follow steps back.

n, Guaguancó, Cuban Son, and other typical Cuban dance forms. Salsa is danced to Salsa music. There is a strong Afro-Caribbean influence in the music as well as the dance.

Salsa is usually a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner. Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too.

The name “Salsa” is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor^[1]. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a “mixture” of ingredients, though this meaning is not found in most stories of the term’s origin. (See Salsa music for more information)

 Rhythm and steps

Salsa is danced on a core rhythm that lasts for two measures of four beats each. The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. This is not to say that the steps are always on beats 1, 2 and 3 of the measure. (See Styles below.) It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars.

Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 70 beats per minute to its fastest at around 140 beats per minute though most dancing is done to music somewhere between 80-120 beats per minute. (See salsa music).

Use of space

Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out but is more used in a staged salsa performance. In a social setting it is bad etiquette to occupy too much floor by traveling.

History

The history of “Salsa” dance is peppered with hearsay and contradiction. Although few would disagree that the music and dance forms originate largely in Cuban Son, most agree that Salsa as we know it today is a North American interpretation of the older forms. New York’s Latino community had a vibrant musical and dancing scene throughout the ’50s but found limited success with the ‘Anglo’ mainstream. In the 1970s, adoption of the term “Salsa” reduced the linguistic and cultural barriers to mainstream adoption of Latin music and dance^[2].

The modernization of the Mambo in the 1950s was influential in shaping what would become salsa. There is debate as to whether the dance we call Salsa today originated in Cuba or Puerto Rico. Cuba’s influence in North America was diminished after Castro’s revolution and the ensuing trade embargo. New York’s Latino community was largely Puerto-Rican. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide.

Interpretations of what the salsa dance is

The late Celia Cruz, hailed by many as the queen of salsa, said that salsa does not exist as a rhythm, but that it is rather an exclamation for music such as guaracha, bolero, cha cha cha, danzon, son, rumba, etc^{[citation needed]}. The famous Latin composer and band leader Tito Puente also argued that there is no such thing as salsa but only mambo, rumba, danzon and cha cha cha, etc. ^[3]

According to the late David Melendez ^[4], one of the first organizers of the East Coast Salsa Congress and a salsa dancer in New York since the 1970s, the word ‘Salsa’ first referred to the music. The term was coined in the 1970s by young musicians like Hector Lavoe, Larry Harlow, Ray Baretto, Willie Colon, who wanted a different name for the kind of music they were playing. The term ‘salsa’ was then popularized by Izzy Sanabria, owner of the Latin New York magazine, and Jerry Massuci, owner of Fania Records. Today, the term ‘salsa’ as we know it, has become synonymous with the dance, yet the dance suffers a “crisis of authenticity” whereby dancers are perpetually disagreeing over what qualifies and does not qualify as “salsa”.

Origin of the salsa steps

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, Guaracha, Changuí, Palo Monte, Rumba, Abakuá, Comparsa and some times even Mozambique. Solo salsa steps are called “Shines”, a term taken from Tap dancing. It also integrates swin
g dances. Salsa can be a heavily improvised dance, taking any form the interpreter wishes. Modern Salsa has elements of Jazz, funk, reggae, hip-hop and samba.

Foundations

A neck drop is a flashy, performance-oriented Salsa move.

Basic step

The basic movement common across most salsa styles is to step quick-quick-slow over the 4 beat measure. Typically the quick steps are on beats one and two, and the slow step is actually a quick on beat three followed by pause or tap on beat four. That is you step left-right-left-pause/tap then right-left-right-pause/tap. Notable exceptions to this timing are Mambo, Power On2 and Colombian styles, which begin the three step sequence on beat 2; and Cuban styles, which may start the sequence on any count. New York Mambo is unique in starting on one and breaking on two – that is, instead of stepping forward on the first beat with your left, stepping in place with your right and then returning your left to where it started, you step in place with the left on the first beat, step back with your right and then return your weight to your left.

Break step

The Break Step is important in most styles of salsa. It serves two functions. First, the break step occurs on the same beat each measure and allows the partners to establish a connection and a common ground regarding the timing and size of steps. Secondly the break step is used in an open break to build arm tension and allow certain steps to be led. On which beat the break step occurs is what distinguishes different Salsa styles.

What is New York Style Salsa? New York gave birth to a unique style of Salsa dancing. Along with LA style, it is one of the most popular styles that can be seen around the world, from London to Japan, Italy to San Francisco. In clubs, classes and

stage shows, the influence of New York style Salsa is everywhere. Just ask anyone who has been to some of the biggest Salsa events like the Bacardi Festival in Puerto Rico, or the West Coast Salsa Congress in L.A. They will tell you that many of the shows are strongly influenced by New York style Salsa. Why is New York style Salsa so popular? Firstly, it looks great! Specifically, it makes the woman look good. Many New York style moves display the woman beautifully. The moves are stylish and the woman is always showcased as the centerpiece of the dance. Girls love it for the attention they get, and guys love it because making their partner look good makes them look good too! Any style of dancing that makes the dancers look good will inevitably be popular. This is one reason why New York style moves have been so frequently adopted by Salsa performers throughout the world in their stage shows and demonstrations. Secondly, the moves, or turn patterns as they are called in New York, are very simple and effective. Rather than having complicated entwining turns like the LA style, the patterns are straightforward and the steps are simple. It is this simple elegance that makes it also easy to learn. It is often said that the best dance moves are the simplest moves that make you look great!       How is New York style Salsa different from Cuban style Salsa? Firstly, Cuban style footwork involves a lot of circular motion, where couples walk around each other while performing various turns. In New York style, on the other hand, there is a lot of in-line cross body leads where couples constantly swap position in a to-and-fro fashion, creating a dynamic tension between them. Secondly, Cuban style turn patterns can get intricately complex and involve many difficult arm movements. New York style turn patterns, on the other hand, are fast and simple. Furthermore, New York style has many spins for the girls as well as the guys. The spins are fast and flashy, often creating a visual spectacle that freezes onlookers in awe. Where did New York style Salsa come from? In New York, Salsa is also known as “Mambo”. This reflects on the origins of Salsa dancing in New York City. New York style Salsa dancing started as Mambo. Eddie Torres, “the king of Mambo dancing”, used to perform on the same stage as Tito Puente, the “Mambo King” himself. Today, Eddie is the most famous Salsa teacher in New York City, passing on the traditions of Mambo to modern Salsa dancing. New York style Salsa is also a perfect example of how Salsa blends in other styles of dancing. In the early days of Mambo, there were not many turns or moves. As the dance evolved, however, it started to borrow moves from manyother types of dance such as West Coast Swing and Hustle. What is dancing on “2″? One of the unique features of New York style is “dancing on 2″. The basic Salsa rhythm is based on 8 measures. This is why we normally count, “one, two, three, pause and five, six, seven, pause”. When we start our first step on the first count, we call that “dancing” or “breaking on 1″. When we start our first step on the second count, we called that “dancing” or “breaking on 2″. In New York, dancers exclusively use the “dancing on 2″ technique. When you switch to dancing on the 2, you have to adjust your body rhythm completely. You need to carefully listen to the second beat in the music and train your body to follow that “2″ beat. This gives you a completely different interpretation of the music. For those dancers who can make the transition, it opens up a completely new world of music and dance enjoyment. What are “Shines”? “Shines” simply refers to footwork, or the intricate footwork pattern dancers display when they break away from their partner in the middle of their dance. “Shines” gets its name from the fact that the dancers will polish their shoes to make them shine in order to show off their footwork! Shines are very popular in New York and L.A. In New York, it is also known as “Mambo Shines”. There are hundreds of shine variations, some are well known and others are challenging & done by only a few dancers. The number of shines available is endless, limited only by the imagination and creativity of dancers. New York style Salsa dancing is an exciting dance form! It is one of the most stylish and is becoming increasingly popular all over the world. Whether you are new to Salsa dancing, or a regular on the scene, New York style can enrich your dance repertoire & help you “shine” on the dance floor!