Learn Cuban salsa figures and basic salsa steps with our totally free step-by-step video tutorial! In no time, you'll be dancing to Cuban music, enjoying yourself and getting carried away by the rhythm of salsa music. 💃🕺
Learn how to master the salsa basic moves and the most famous figures with our detailed explanations. Don't worry if you will hear speaking italian or spanish into videos, just look at the steps and moves, and follow the written instructions.
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In this first part we will see the basic steps and basic movements of Cuban salsa. We will also delve into the difference between Cuban Salsa and In-line Salsa.
We use the same names that we usually use for in-line salsa as well; but obviously in making them we "cubanize" them; we stand a little lower, spread our legs more apart on the salsa and guapo steps and try to move our shoulders adequately. We will see how later, in the meantime let's learn these basic steps, common to all styles.
Video tutorial on the basic steps:
- Demonstration over music
- Detailed explanation (in italian)
As a support to what you have seen in the video, we list the main steps here:
The usual alternating forward-backward step. Watch out here for the back game and possibly try to keep the leg game with weight / leg without weight a little, which works very well in the step in place.
It is the side step, which derives precisely from the Rumba.
In in-line salsa this step was performed only in its structural component, the lateral movement.
In Cuban salsa, on the other hand, this step is performed respecting its origins also in the movement of the shoulders and arms. We then throw the arm forward on 1 and 5 and do the typical shoulder movements.
Possibly, for variation or even embellishment during the pasitos, the slightly different metric of the Rumba can also be adopted (accent on quarter notes, with a minimum of swing).
This is the step in which you start from a central position, therefore:
- 1: first step backwards, open laterally (left man, right woman)
- 2: change of weight
- 3: I go back to the center
- 567: the same, from other side.
Attention! It is very important to have the legs quite apart in the central position, especially for the man. This distinguishes it from the same step performed in-line salsa; moreover, a difference also lies in the rotation: in the Cuban salsa we will rotate very little, trying to always be more or less in front of the partner.
Same as Salsa step (see above), it is based on the same principle; the difference is that the steps are forward instead of backward.
Always the same tempos as the other basic steps, such as the basic mambo, but performed always standing in place. Stamp your feet on 123 567, and do the weight changes and shoulder movements we'll cover in the next topic.
Fundamental in the Cuban Salsa dance.
A good step in place, performed in a closed position, with the partner, adorned with the right changes of weights and movements of the shoulders (which actually drive the movement of the whole torso and pelvis accordingly), are a good starting point for a Cuban salsa danced with style.
These movements, opposed, must be marked on each of the beats: 123 567.
See how, in our video tutorial:
- Video: Shoulder movements
For those who like to learn more, a small parenthesis on the difference between Cuban salsa and In-line salsa as Puertorican style and NY Style ( otherwise, skip this paragraph without problems ).
Cuban Salsa wasn't even "salsa" initially; not even "Cuban". It was simply: "Casino". Maybe because it was a real mess, a mix of steps and styles taken here and there, from son, to chacha, to mambo, to rumba, to danzòn. (it's actually Casino because it was initially danced in casinos). Note the fact that the rueda version was born first and then the couple version, and this rueda version was nothing more than the fusion of European popular dances (especially French) mixed with rhythms, steps and movements from the Afro-Caribbean world , precisely the son and the chacha.
Having a common original element, that is the "son", but developed as in a parallel world is the salsa born in Puerto Rico, the Puerto Rican salsa, which is a salsa performed in line, born as a popular dance, evolved later through Papito Jala jala who refined its movements and dynamics; it was the style then exported to the United States and subsequently all over the world, which gave rise to salsa New York Style, Los Angeles Style, and all the "styles" characterized by the maintenance of a dance line.
The Cuban Salsa therefore, differs from the subsequent Salsa in line for its "non-linearity", it is therefore performed by continuously rotating; in the sense that the couple rotates on itself.
It is also, in its more modern variant (very mixed with rumba) more "low", less clean and with more marked movements of the pelvis, bust and shoulders. (It must be said, however, that the original "Casino Cubano" was anything but low and dirty, it was a very elegant style, even the clothing was classy).
Furthermore, steps are usually performed (but without the change of weight) on rests 4 and 8.
In this section of the course we will see how to perform the first figures of Cuban salsa in pairs. We will start by seeing the steps and the figures in the closed position and then we will see the bases in the open position.
The closed position (the one you saw in the previous topic, the one on shoulder movements) is not used much in Cuban salsa; or at least it can also be used often, but for a few seconds.
Despite this we need to know what we can do in this position.
Well.. it's simple.. nothing you haven't already learned! The basic steps .
You can perform the:
- Step in place , with the right movements (see previous topic);
- Mambo step (front-back), however limit the length of the steps, move a little forward and a little backward, give more importance to the movements of the shoulders and torso;
- Salsa step: be careful, the step backwards in this case will be only a slight step backwards, practically on the spot, otherwise you move away from your partner; among other things performed in this way it is the basis of the "Son", one of the dances from which Cuban salsa derives.
The first real figure in a closed position is Aguajea.
It is a figure in which the man performs a lateral crossing step (cucaracha), while he leads the woman in a Salsa step or lateral openings.
Here is the simple Aguejea execution:
- Aguajea in couple
- Aguajea man steps
- Aguajea lady steps
And here is the complicated Agujea execution, in the style of cuban casino (more side movement):
- Complicated Aguajea demonstration (practically the man pushes more laterally and the woman walks 3 steps per side)
Very easy to do starting from Aguajea.
The Aguajea is executed and on 3 the man creates an arc with his left arm to let the woman pass. He also has to rotate to the right by 90°.
The woman will step under the arch created by the man and will perform a vuelta in cross at 567 (a vuelta performed not in line but in its perpendicular, to the right).
At 6 and 7 the man returns to the Aguajea position pulling the woman towards him so that she does not run away.
Both man and woman can embellish by going out with the arm at beat 5. One to one side of the other, the sacala is beautiful for this.
- Video: Closed Sacala
- Video: Sacala lady steps
- The man steps are the same for Aguajea but remind to give the lead at 3 for the lady to turn!
The sacala can also be performed in the open position, it will be enough for the man to propose the same guides, even if in the open position.
At the end of a Sacala it is very nice to perform another one.
Try to freely alternate closed sacala and open sacala.
Since the open sacala is a figure that cannot be performed in isolation, we show you a typical sequence that we will see again later:
- Enchufla
- Sacala (open)
- Cuban opening
Video Sequence with open sacala
Have fun putting Aguajea and Sacala in sequence. At the end of the Sacala we can go back to Auguajea or, as in this example sequence, stay in an open position to go and execute other tricks that we will see in the next chapters.
Example Sequence:
- Aguajea
- Aguajea
- Sacala
Video Demonstration Sequence with Aguajea and Sacala
It is a common figure with salsa in line, but in Cuban salsa this is really considered the basic move in open position; that is... between one figure and another, perform the Guapea!
Here is ours: Video: Guapea.
As a reminder, I report below the steps of the guapea:
1 - [man's left / lady's right] foot back
2 - [man's right / lady's left] foot in place
3 - left foot forward towards the partner, lady and man are facing each other again; the man takes the other hand of the lady
5 - the man pulls the lady towards him and both throw themselves with their weight on each other forming a sort of A. Foot [man's right / lady's left] on the spot.
6 - foot [man left / lady right] on the spot
7 - release the other hand and return to the opening
We will see later on the revised version with some passages also on the rests; the real guapea that is danced in Cuba.
The good old Cross Body Lead of salsa in line made with an opposite basic principle:
- Salsa in line: the man leaves the line and lets the woman through
- Cuban salsa: the man gets the woman out of the line and door to the other side.
Then the dile que no cubano (Cuban opening) is executed by slightly rotating the lady and finishing open at 45° or 90°, ready to execute the guapea or other tricks.
Note these details:
In beat 1 the same thing will be done as in beat 1 of the Aguajea: man steps rumba to the left while leading a salsa step to the woman.
At tempo 3 it is necessary to make the corner of the "L", therefore the man will push away the woman (and he will also move away in turn), bringing her to his left-forward. In this way the rubber band is created which will resolve in 567 with the woman being "catapulted" to the man's left.
Video: Cuban opening
It's the woman's right turn, one of the first tricks you learn, but also one of the most used tricks on the track.
It consists of a complete turn (360°) to the right (clockwise) of the woman, in 567 times. The previous 123 times can be a basic step.
The man's guide is very simple: the hand is raised at 3 indicating to the woman the beginning of a turn trajectory, then the woman turns on her behalf at 567, accompanied by the man's guide. You will see in the video that the woman, with respect to the salsa in line, already begins to turn from step 5 inclusive, which will already be slightly to her right.
In the video tutorial you will see how man can also turn right, but in 123 times:
Video tutorial Vuelta (turn right)
Here's another tip on how you can put the figures in sequence.
Start in closed position doing the mambo step or the step in place, then perform these figures one after the other:
- Dile que no
- Guapea
- Lady's vuelta
Then you can try to combine what you have learned previously (Aguajea and Sacala) with what you have just learned.
Starting from closed position.
- Mambo basic step in closed position
- Agueja and Sacala at will
- Dile que no
- Guapea
- Lady's vuelta
(after the lady's vuelta you can easily go back to closed position if you want)
It is the queen of Cuban salsa figures.
The enchufla is essentially a change of place which involves a half turn to the left of the lady. It is done in "elastic", i.e. both dancers go back to the beginning and in the middle of the figure, creating a sort of elastic effect.
We can also use the enchufla to return to the closed position.
It is useless to try to explain it in words, we leave you with the video we shot for you:
Enchufla video demonstration
We finally have the elements to make a typical first sequence of Cuban salsa.
- Enchufla
- Sacala
- Cuban opening
- Guapea
Repeat in loop .
Video Demonstration: Basic sequence of Cuban Salsa
Now that we've learned the basic tricks, it's good to make them "more Cuban"; because if you watch any video of local Cubans dancing salsa, you can't help but notice that they're doing something very different from yours and then you'll wonder what the heck of Cuban salsa you're dancing.
The answer is simple: dance a "Europeanized" Cuban salsa... but in the philosophy of the school we think that at this point we might as well dance a much more Anglo-Saxon salsa which is in line salsa.
So let's make a little more effort and try to "cubanize" the figures we have just learned, so that there is no difference between the Cuban salsa you dance and the one Cubans dance.
First rule: marcetta.. Cuban salsa is a marcetta, march on the spot without mercy, but don't exaggerate.. watch some videos, like this one, to absorb its style and then let off steam on the dance floor.
Second rule : the pauses (beats 4 and 8); depending on the figure there are two alternatives: 1. Mark them clearly by stopping the movement in progress (do not glissale them) 2. If the figure allows it, mark a small step on the spot (making a "tap" with the tip). We'll see how...
First of all we remain frontal to our partner; we can only open up slightly on beats 7 and 8.
Then.. on 3 let's grab both hands and just let go of them on 7.
A lateral movement also takes place, appreciable at the end of the sequence we have shown you before, take a good look at the ending, in which let's make the guapea:
- Cubanized guapea
As you will notice there is a lateral shift at times 2 and 6.
Look carefully at the video and try to copy; if it can be useful, below is a detailed list of men's and women's steps:
1 - left slightly behind
2 - right lateral to the right
3 - left closes on the right (I take the lady's left hand)
4
5 - right forward (I pull the lady towards me)
6 - left lateral to the left
7 - right close on the left (I release the lady)
8 - left "tap": lean forward without weight
1 - right slightly back
2 - left lateral to the left
3 - right closes on the left
4
5 - left forward
6 - right lateral to the right
7 - left closes on the right (I release the lady)
8 - right "tap": lean forward without weight
We have already seen in detail the steps of the Cuban Opening and also the movements of the woman.
I remind the women that on 3 they have to throw their pelvis (butt) out to the right, remaining lateral to the man and not overtaking him.
The man at 4 can put his right foot forward towards the woman while the elastic is done with the arms.
This too is appreciable in the Cuban opening that we have demonstrated within the basic Cuban sequence: Cubanized opening.
Now we will amaze you .. you must know that in the Cuban salsa the Sacala is actually .. the real Vuelta!
Because in dance we are constantly in rotation, so we will usually arrive at the vuelta from an enchufla; the lady on 5 already rotates to the right... and if the man favors the rotation with a lateral step... here in doing a Vuelta we actually performed a Sacala.
In the didactic field these 2 figures stand out, but trust us, the Sacala is performed on the track, just forget the Vuelta. Always get there from an enchufla or any other couple rotation and you will see that the Sacala will come spontaneously to you.
We re-propose the basic sequence from before in which the Sacala is appreciable which has been purposely placed after the enchufla; it has the function of a queen right turn, then vuelta, but in fact being all in rotation it is performed like a sacala:
- Vuelta which is actually a sacala in the basic sequence
Note the enchufla we performed in the basic sequence, note these details:
At 1 there is a rotation that loads the round.
Again at 1 the woman does not step back with her right foot but stays in place, ready to spring forward at step 2 and turn at 3.
Also at 5 the woman is not a step backwards, but in place, and steps 6 and 7 I'm forward.
Why all this? Because this is how you turn.. and you turn a lot! This is the fun part of the Cuban salsa, the backbone of the original style from which it derives, the Cuban casino: the couple spins, as much as possible. Check out the enchufla from earlier..
- Enchufla cubanized
This is the secret to the rotation: follow the right shoulder of the partner, both men and women. At tempo 7, try to position yourself next to your partner, to his right (so point your right shoulder). If you both do it inevitably rotation will happen.
We re-propose the basic sequence for the last time, now pay attention to this detail, notice that on 7 we aim at the partner's right shoulder, and here the rotation takes place. This round we let you watch the entire video where it is possible to appreciate this "chase" also with the insertion of other figures:
- Basic sequence: note where we go at time 7
It is practically the same as the basic sequence already done, only that we do it with two hands and in position 70.
- Dile que no
- Guapea
- Vuelta with two hands arriving in 70
- Enchufla (which solves the 70)
Repeat in loop.
In this third part we will see the variants of the basic figures:
Torcillo, Ocho and Cero.
Attention! The entire dance is based on these variations, so learn them well, they are essential and use them as much as possible.
The "elegant" figures are nothing more than the basic figures with the addition of the "Torcillo" man on the 567.
The Torcillo is a rotation to 567 obtained by .. twisting (in spanish torcillo) .. (that's why it's called that) the legs and subsequently rotating on toe and heel.
First of all, let's learn how to do the torcillo, here is the video tutorial :
- Video: Torcillo step
- Video: Torcillo inside the enchufla
One thing I forgot to show in the video is that if you rotate from toe to heel on one foot and vice versa on the other, you will magically find yourself rotated but not intertwined!
Now let's see how to insert it into the Enchufla, thus making it "elegant". Elegant enchufla
video tutorial:
Demonstration over music
In this example sequence that we invite you to try, we put together the elegant enchufla and the simple enchufla:
I leave in pos. open, right grip with right
- Enchufla elegant
- Enchufla elegant
- Enchufla
(- Cuban opening if you want to close)
Video tutorial Sequence with Enchufla elegant
With "ocho" we mean a rotation movement of 180° to the left that the man performs at the end of an enchufla (times 567). In fact it is as if it were the enchufla of men as well as women.
During this rotation the easiest and most common thing, as in the torcillo, to manage the grip is for the man to turn under the arm.
At the end of the ocho you are automatically in a rubber band dynamic, so it is advisable to link the ocho with another enchufla, if you want a simple enchufla.
Therefore in the demonstration we will show you the sequence directly:
- Enchufla with the Ocho
- Enchufla
Video Demonstration Enchufla with the Ocho
The ocho is always the man's left rotation at 567. Just as we put the ocho into the Enchufla, we can do it with the Sacala as well.
In this sequence we will see:
- Sacala with the Ocho
- Enchufla
Video Demonstration Sacala with the Ocho
Fundamental movement throughout the dance. Cero is pronounced "sero" and means zero; we will see why..
The execution is divided into two phases:
1st The insertion of the Cero (pronounced "sero" and means zero) as a variant of the figure implies that at the end of the figure the man will advance towards the right of the woman , until he overtakes it by passing under the grappling hand.
2nd Execution of the Cero: in the next bar, 123 567, the man will perform a mambo step and will lead the woman to execute the actual cero, which means zero; the woman will make a "zero" walking around the man. Basically when the woman enters this walking dynamic she doesn't stop until the man drives something else.
We will see two example sequences in which we will use the Cero starting with the enchufla and then starting with the sacala.
In this sequence we will see:
- Enchufla with the Cero
- Execution of the Cero
- Cuban Opening
Video Demonstration Enchufla with the Cero
In this sequence we will see the Cero inserted at the end of the Sacala. An enchufla will be executed first because if you remember the sacala it can be done starting from the aguajea or more commonly in an open position but while already turning, at the end of an enchufla or other trick.
- Enchufla
- Sacala with the Cero
- Execution of the Cero
- Cuban Opening
Video Demonstration Enchufla with Ocho
Seriously, these are the basics that make up the whole dance; the dance becomes a concatenation of these elements (which can then be performed with the hands in different grips, crossed and uncrossed, 70, turning in progression, etc.).
We invite you to try and practice a lot on the concatenation of Cero and Ocho.
We have seen how Cero and Ocho are movements that are inserted at the end of a basic figuration:
- Ocho : left rotation movement of the man at 567;
- Cero : the man advances to 7 until he passes behind the woman, and follows a complete rotation of the woman around the man.
Let's try some of the most used chains in the Cuban Casino.
We insert the Cero after the Cero, starting from an enchufla:
- Enchufla with the Cero
- Execution of Cero (woman rotation) and Cero
- Execution of Cero
Video Demonstration of Cero and Cero
Now we insert the Ocho at the end of a Cero. We will enter the Cero with an enchufla and we will exit by executing another enchufla as an example of continuation:
- Enchufla with the Cero
- Execution Cero and at the end Ocho
- Enchufla
Video Demonstration Cero and Ocho
We will see how to enter a couple rotation, a typical figure of Cuban salsa in the original style (Cuban casino), which gives a thousand possibilities in its development.
Basically the woman is always in rotation around the man, from when she enters the first figure (which can be an enchufla or a vuelta), as soon as she has finished her rotation she will walk towards the man's right shoulder, looking to stand next to him.
And herein lies the catch…
If the man leads any other trick or closes with a Cuban opening, the lady follows and executes the trick but… if the man does nothing and in turn aims for the right shoulder of the woman, then we will enter into a "dog chasing its tail" dynamic: each one chases the other and we begin to go around them. Here we are in the couple rotation.
In practice: How to get into rotation? Men, at the end of any figure don't stop the dancer, but start walking forward too, possibly doing a little traction with the hand in grip (usually right with right).
We start from an enchufla and we both start walking forward, we are in couple rotation:
- Enchufla
- Couple rotation
Video demonstration Couple rotation
There are infinite ways to get out of this dynamic, we offer you the 4 simplest ones.
Remember that within the rotation of the couple, we walk respecting the times 123 pause 567 pause, therefore the exits must be performed at the right tempo according to the figure, let's see which one:
- Enchufla (at tempo 1)
- Sacala (at tempo 1)
- Cero ( at time 7)
- Ocho (at time 567)
Video demonstration of the 5 exits from the Rotation
We will speak in the next figures of "progression lap", so let's quickly explain what it is.
The progression turn is simply a turn (usually for the woman), in which, in addition to turning on oneself, a forward walking movement is maintained. At each step therefore, in addition to turning we will have to try to keep moving in the same direction in which we were moving.
In Cuban salsa the direction of the walk is always that of rotation around the partner.
The woman can also turn on herself during a couple rotation.
You may turn at 1 (123) or 5 (567). She will turn in progression, i.e. also keeping the direction of the walk around the man.
Attention men, if the woman turns at 1 it means that the turn guide must already start from the previous time 7; same thing if she turns at 5, you have to guide the movement at the previous time 3.
We can guide her keeping the hand in a simple grip, or bring the hand to the tray, let's see both in the demonstration video in which we make the woman turn at time 1:
- Video: Turn to 1 with simple grip
- Video: Turn to 1 with tray hand
This last variant (see above) is done because it allows us to reach the hold called "Gancho". The Gancho is very effective to execute any rotation of the man, like the simplest one: the Ocho, as you can see in this video clip:
- Couple rotation into Gancho
- Ocho to 567
- Enchufla
Video: Couple rotation into gancho and close with Ocho
Within a couple rotation we can combine the women's spins (at 123 or 567) and the man's torcillo (at 567) as we like.
Let's see the entire sequence which ends with an Ocho and Enchufla:
- Couple rotation
- Woman's turn on 567
- Man's twist on 567
- Woman's turn on 123
- Ocho on 567
- Enchufla
Video: Couple's rotation, Woman's turns and Twist man
An interesting sequence that puts together what has been done so far in a creative way is this:
- Elegant Enchufla (i.e. with male Torcillo)
- 1 queen turn in Gancho
- Couple rotation
- Exit with Ocho at 567
Video: Sequence with Enchufla, female turn and couple rotation
In this section we will see how to perform the progressive turn of the lady and with that we will finally perform the infamous figure 70 (setenta) and its variants.
Central element of all the next figures. It is the woman's turn in progression to the right; I remind you "in progression" means that while you turn you also advance in the direction in which the man has led you and always in rotation around him.
Follow these instructions well, because the guide will start from the previous basic step:
- Guapea (basic figure) in which at 7 the man opens up and guides the lady to move forward.
- 123 the woman goes forward and turns clockwise
- 567 in the absence of a guide: the woman takes an external step at 5 and then returns to the side of the man; with walking guide: the woman walks forward in rotation around the man.
Examples of progressive Vuelta
Let's see the main variants of this figure:
It's the first example of the video above. The tour guide where the man lets the woman go around alone.
Note that the man on 5 will do a salsa step (back), perhaps with a little embellishment by raising his hands, while the woman will go around her.
- Guapea with opening at 7 and forward guide
- Progressive turn of the lady with outside step at 5
- Cuban rejoining and opening
Video: Vacilala (progressive thrown turn)
It is the same thing as the Vacillala but with one hand in hold. We can highlight the moment in which at time 5 an elastic band is created as the woman takes an external step (allowed by the man's loose guidance) and the man takes a step back.
- Guapea with opening at 7 and forward guide
(now we remain in the grip with the hand)
- Progressive turn of the lady with external step at 5
- Rejoining and Cuban opening
Video: Vacilala (progressive thrown turn)
Same thing as before but as the woman begins to turn the man also takes his other hand in a low grip, which will end up behind the woman's back. The number 70 derives precisely from the particular position of the woman's arms, which seen from behind form a 7.
- Guapea with opening at 7 and forward guide
(remain in grip with the hand)
- Progressive vuelta of the lady with external step at 5
(while the lady starts to turn also take the other hand and keep it low, it will end up behind the back)
- From here I can usually continue with an Enchufla.
Videos: 70 (setent)
A variation (used in some cases in Rueda) in which you rotate even more, replacing the 567's elastic with a forward walk by rotating around.
- Guapea with opening to 7 and guide forward
(hold the hand and add the other)
- Progressive vuelta of the lady 123
- Both walk forward to 567
- From here I can usually continue with an Enchufla.
Videos: 70 (setent)
The sombrero is a double caricia (release of the hand behind the head) man-woman; the one from the progressive vuelta is not the most comfortable but since it is also a standard rueda figure we will explain it to you.
- Guapea with opening at 7 and guide forward
(the man exchanges the left hand with his right)
- Progressive turn of the lady 123
(while the woman turns I also take the other hand)
- Elastic at 567 then double charge man- woman
- The woman brings her left arm back over the man's and the Cuban Opening is executed
Video: Sombrero (from the progressive vuelta)
You have surely heard of it. It will be for convenience or for fame, the seventies are enjoying a certain success among the dancers. They are the variants of 70. So the setent figure will be the starting figure for all and the development will be different.
Before explaining the variations: Let's remember figure 70 with walking .
And now go with the variations...
In these variants the Cero is used within the 70. If you don't remember the Cero, which is the figure in which the man, at the end of a figure, overtakes the woman and leads her around him: Here the we see at the end of an Enchufla .
Now let's see the phases of 71:
- Entry into 70
- Cero at the end of the walk (at tempo 7)
- Execution of the Cero with progressive vuelta dama at the end
- Rejoining and Cuban Opening
Video Demonstration: 71 (setenta y uno)
It is the 70 with at the end a step in place rotated and with the arms in "gancho".
Let's see the phases:
- Entry into 70
- Exit in enchufla ending in Gancho left and then right
- Step in place x 2
- Load man right and Cuban Opening
Video Demonstration: 72 (setenta y dos)
We have again the Cero as in 71, but this time instead of the vuelta progressive dama during the Cero there will be the torcillo man. Figure complicated as regards the management of the hands.
Let's see the phases:
- Entry into number 70
- Cero at the end of the walk (at time 7)
- Execution of the Cero with male torcillo at number 567
- Enchufla
- Cuban opening
Men: be careful to step the left hand over the lady's head and place it on the your left shoulder before doing the twist.
Video Demonstration: 73 (setenta y tres)
This figure does not seem to have a universal standard, everyone makes it their own. We offer you our version.
However, 75 includes the Paseala which is a circle of the woman around the man but this time done in an anti-clockwise direction; as with any walk around the man, guidance will only be given at the beginning, then the woman walks around the man until she receives different guidance.
Let's see the phases:
- Entry into 70
- Enchufla and right gancho
- Paseala
- Enchufla and snare
- Sacala
- Cuban opening
Video Demonstration: 75 (setenta y cinco)
It puts together the previous seventy years. However advanced figure.
Let's see the phases:
- Entry into the 70
- Enchufla with torcillo (man passes under the left arm)
- Cero with woman's progressive vuelta
- Enchufla and snare
- Sacala
- Cuban opening
Video Demonstration: 76 (setenta y seis)
If you like to complicate your life for free, here is a further elaborated version of 76:
- Entry into 70
- Enchufla with torcillo (man passes under the left arm)
- Cero with progressive vuelta for women
- Enchufla and snare
- Sacala
(up to now as before)
- Cero e vuelta progressive woman
- Enchufla and I enter Back Sacala
- Back sacala (see video)
- Enchufla with torcillo
- Cuban opening
Best wishes.
Video Demonstration: 76 (setenta y seis)
In this section we will show you the other tricks and moves that you need to know and that are used very often on the track.
So far we have seen how often the woman revolves around the man in a clockwise direction. With the Paseale, exploiting the dynamics of the Cuban opening, we will instead rotate the woman counterclockwise.
Let's see the two main variants:
We start from a Cuban opening, in which at the end instead of ending up in a simple grip, the man raises his left arm and invites the woman to step under it. While the man performs the mambo step twice, the woman makes a full circle around the man and then concludes with the Cuban opening.
- Cuban Apertura
(man raises left arm)
- Woman walks around man
- Cuban Apertura
- (Guapea)
Video: Paseala Chiusa
Same dynamic as the previous one, but this time we will start with the Cuban opening in right-right grip and we will keep only one hand in grip, exchanging it behind the man's back.
Note how here too the man does not stand still but continuously takes a basic mambo step, to facilitate the passage of the woman.
- Cuban opening taken right-right
(the man guides the woman with his hand to step behind him)
- Walk of the woman around the man
- Cuban opening
- (Guapea)
Video: Paseala Aperta
They are the figures in which the man and the woman stand in front of each other, superimposed.
You will always enter from an enchufla and once inside, man and woman will perform two distinct steps:
- Man: Salsa step.
- Woman: Lateral walks (the same step as the aguajea)
They can be performed in various holds, let's see them immediately:
The most widespread. It's called toalla because in this position of the arms (you'll see in the video) it's as if the woman mimes drying her back (or butt) with a towel ("toalla" in Spanish).
- Enchufla and the man positions himself behind the woman
- Roll at will
- Exit with an enchufla
- End of the enchufla at will
Let's see some demonstrations Video :
- Video: Low roll (simple)
- Video: Low roll (concatenated)
The dynamics are always the same but this time we enter from a parallel grip and let the hands grip, in an "embrace" even during the figure. From kentucky, the standard shape of the rueda comes out with an elegant enchufla (with torcillo).
- Enchufla from the parallel grip and overlapping entry
- Overlay steps (like the toalla)
- Elegant enchufla
- Cuban opening
Video: Kentucky (simple)
I can possibly do a variation and instead of concluding with the Cuban opening I can lead a Sacala and enter in 70:
Video: Kentucky (alternate ending)
The square is a succession of guapea and Cuban opening while remaining in the open position, which causes the woman to perform a walk tracing the 4 sides of a square.
- Guapea
- Guapea with man to the right opening 123
- Cuban opening 567
- The last two movements can be repeated as desired.
Videos: Square
Translated "Take her for a walk". Variant of the square in which at 123 the woman does not perform the guapea steps, but a forward walk with the man. The man must very decisively lead step 1 from earlier times.
- Guapea
- Square
- The man at 1 leads the woman one step forward
- We continue at will as with the square, but with the 1 always ahead for both.
- Guapea
- Guapea with man to the right opening 123
- Cuban opening 567
- The last two movements can be repeated as desired.
Video: Llevala a pasear
It is a movement to be done in a closed position to give some movement to the dance. It is a question of making the basic movements of the closed position (cubation motion) but moving forward and backward with a "rhombus" trajectory, from which the name Estrella (4-pointed star) derives.
We have recorded all the explanations directly on video which is difficult to understand in writing:
Video tutorial: Estrella
In this section we will see some interesting and widely used sequences, which use the figures studied so far, however performed with various types of hand grip (simple, double, crossed) and in particular sequences which are widely used on the track.
We have already seen the elegant Encuhfla, or the enchufla with the torcillo, if you don't remember see the 3rd part. We will do the exact same figure but starting from the double parallel socket.
Pay attention to the game of hands to step fluidly to the Cuban opening, watch carefully the video that we have prepared for you.
(I start with the double parallel grip)
- Enchufla elegant
- Cuban opening
Video: Enchufla elegant in parallel grip
Also try it with the cross grip. Make sure you have your left hand on top; otherwise do a vuelta or a sacala first.
(start in crossed grip)
- Enchufla elegant
- Enchufla closing in double kick (sombrero)
- Cuban opening
Video: Enchufla elegant in crossed grip
With the parallel grip, the basic figures can be put together in a chain that can also be infinite, ideal for interpreting the most frenetic moments of Cuban salsa songs.
(departure in double parallel grip)
- Enchufla elegant in parallel grip
- Sacala to arrive in 70
- Enchufla with feint (right hand in male razor)
- Sacala to return to 70
...continue at will...
- I conclude with an elegant Enchufla and Cuban opening
It really can go on forever, for this reason we have also renamed it "infinite loop"...
Video: Basic loop in parallel grip
You have already seen that the sombrero is the man-woman double kick that is done at the end of many figures. In this case we make only one, the one on the woman, because instead of concluding we continue with another figure. Let's see the simple variant:
(start in cross grip)
- Enchufla with half sombrero at the end
- Sacala and sombrero
- Cuban opening
We see it in a video from two points of view:
Video: Enchufla with half sombrero - 1/2
Video: Enchufla with half a sombrero - 2/2
80 (ochenta) is the equivalent of setenta, but with the cross grip, you will see it clearly in the video.
We perform the Enchufla with the half sombrero and during the Sacala we keep the hand that leads the turn low. We will finish in 80.
(starting in crossed grip)
- Enchufla with half sombrero at the end
- Sacala with low hand arriving in 80
- Low Toalla
- Enchufla and sombrero
- Cuban opening We will
also see this video from two points of view:
Video: Enchufla with half sombrero in 80 - 1/2
Video: Enchufla with half sombrero in 80 - 2/2
We saw the Square in Part 6. We'll complicate this a little bit by running the sombrero asynchronously with each step. Attention, men we advise you not to lead this figure on the dance floor with dancers never seen before and with little experience, they could easily "get out of hand".
- Cuban opening
- Progressive vuelta and sombrero
- Cuban opening and sombrero on the other side
- From here I start the square with sombrero
Explaining this last figuration in words is complicated therefore we leave you directly to the video we shot for you:
Video: Square with Sombrero
Couple rotation was covered entirely in Part 4.
Now we will see some possible variations, more or less complicated:
1. Progressive turn and man twist
2. Hand to chest
3. Back man rotation
4. Contrary paseala
Let's see them all in: Video: Couple rotation variations
To top it off, we offer you a really tough mega-sequence. This is the final boss of our course; if you can do this, come and teach for us. Seriously, once it's broken down it's not that difficult:
- Progressive vuelta in crossed grip
- Enchufla with double caricia
- Giro woman on 1, man torcillo on 5
- Giro woman on 1, ocho man on 5
- Low roll
- Enchufla elegant
- Cuban opening
Video: Sequence Veula vuela
Which means "The lady never mark (steps) backward". We finish this online class with this important tip that will change the conception of your cuban salsa dancing. You might have noticed in all these last videos (that are more accurate regarding the style) that the lady never step backward, neither at 1 or 5. This is not by chance of course.
It's one of the basic pillars of the original style of the cuban salsa, the cuban "casino", the lady never step backward, and it's not just a rule: never stepping backward allows the couple to turn more and enhance the connection between partners; the lady will always be like walking around, in an energetic and elegant way. Beware: As the lady's 1st step change, so must do the man changing his lead; so just don't push her back, rather lead her a little rotation the opposite side of what will follow... like you are charging a spring. The lady will mark the step on the place and rotate a little with the whole body.
So.. now that you know all the main figures it's time to review your style; try to clean up your dancing, do the moves with your partner and mind this rule about the backward step.
Thank you for having followed us in this journey, have fun with salsa! :)
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