Salsa Steps For Crowded Dance Floors

1. Basic Steps in Place

(Start and end in closed position.)

Man

1. Step in place LF                                             Q

2. Step in place RF                                             Q

3. Step in place LF                                             S

4. Step in place RF                                             Q

5. Step in place LF                                             Q

6. Step in place RF                                             S

Lady

1. Step in place RF                                             Q

2. Step in place LF                                             Q
3. Step in place RF                                             S

4. Step in place LF                                             Q

 5. Step in place RF                                             Q

6. Step in place LF                                             S

 (Repeat ad lib.)

 2. Contra-Lunges

(Start and end in closed position)

Man

1. Lunge RF diagonally to the L, turning lady 1/4 L             S

2. Put RF back to close with LF, turning lady l/4 R             S

3. Lunge LF diagonally to the R, turning lady 1/4 R             S  

4. Put RF back to close with LF, turning lady 1/4 L             S

Lady

1. Lunge LF diagonally to the R, turning 1/4 L                           S

 2. Put LF back to close with RF, turning 1/4 R to face partner  S

3. Lunge RF diagonally to the L, turning 1/4 R                          S

4. Put LF back to close with RF, turning 1/4 L to face partner  S

(Repeat ad lib.)

The lead for the man in the contra lunges is that on step 2 the

man will let the lady's R arm go closer to his chest then her L

arm(which he pushes back). Steps 3 and 4 are the reverse of the

process.

3. The Lambada Special

 (This was borrowed from the lambada, the sexy dirty dance style

from Brazil, where man and woman maintain very close contact.

Begin and end this figure in lambada position; that is, with

chests touching each other, and heads very close to one another.)

Man

1. Lean front body forward, leading lady to dip slightly back    S

2. Return to straight position                                                  S  

3. Lean front body back, leading lady to dip slightly forward    S

4. Return to straignt position                                                   S

 Lady

1. Lean front body backward                                      S

2. Return to straight position                                       S

3. Lean front body forward                                        S

4. Return to straight position                                       S

 (Repeat ad lib.)

 Note: No footwork here; all of the movement is mainly in their

 upper bodies.

4. The Lambada Special(Variation)

(For this variation, the man's hands are behind the lady's back.)

Man

1. Squeeze lady's back with both arms                                    Q

2. Release squeeze but both arms are still behind lady's back    Q

3. Squeeze lady's back with both arms                                    Q

4. Release squeeze but both arms are still behind lady's back    Q

Lady

1-4. Lady stays put throughout figure with no foot movement. Hence

     timing here is not applicable.

(Repeat ad lib.)

 5. The Lambada-Style Reverse Turn

 (Start and end in lambada position, and make a continuous turn L

throughout. The turns should be almost on the spot.)

Man

1. Step in place LF                                              Q

2. Slightly to the side RF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side RF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S      

Lady

1. Step in place RF                                              Q

2. Slightly to the side LF                                       Q

3. Close LF to RF                                                S

 4. Slightly to the side LF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S              

(Repeat ad lib. You can make a half reverse turn by turning a

little slowly, or you can make a full reverse turn by leading the

lady more to create a bigger amount of turn.)

6. The Lambada-Style Natural Turn

 (Start and end in lambada position, and make a continous turn R

throughout. Like the Lambada-Style Reverse Turn, this should be

done almost on the spot.)

Man

 1. Step in place RF                                              Q

 2. Slightly to the side LF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side LF                                       Q

5. Close LF to RF                                                Q

 6. Slightly to the side RF                                       S              

Woman 

1. Step in place LF                                               Q

 2. Slightly to the side RF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side RF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S      

(Repeat ad lib. You can make a half natural turn by turning a

little slowly, or you can make a full natural turn by leading the

lady more to create a bigger amount of turn.)

Note: This would be best if it is preceded by the first three

      steps of the Basic Steps in Place.

7. The Lunging Sides

(Start and end in regular closed position.)

Man

1. Lunge a little to the left, fully bending L knee                       Q

2. Hold position                                                                     Q

3. Straighten L knee, recover from lunge to normal position      S

4. Lunge a little to the right, fully bending R knee                     Q

5. Hold position                                                                      Q

6. Straighten R knee, recover from lunge to normal position      S

Woman

1. Lunge a little to the right, fully bending R knee                     Q

2. Hold position                                                                     Q 

3. Straighten R knee, recover from lunge to normal position      S

4. Lunge a little to the left, fully bending L knee                       Q

5. Hold position                                                                     Q

6. Straighten L knee, recover from lunge to normal position      S

(Repeat ad lib.)

Merengue Dancing---The Iboes and Three Great Variations on Them

Iboes L and R (regular) 
 My guess that this move came from the Mexican cumbia step as well as the conga dance where there is a tap or kick on every 4th step.

LEADER
1. Side LF............... 1
 2. Close RF to LF.............. 2
3. Side LF............. 3
4. Tap RF to LF with no weight on RF............. 4
5. Side RF............. 5
6. Close LF to RF............. 6
7. Side RF............. 7
8. Tap LF to RF with no weight on LF............. 8

FOLLOWER
1. Side RF.......................... 1
2. Close LF to RF............. 2
3. Side RF............. 3
4. Tap LF to RF with no weight on LF...........4
5. Side LF............. 5
6. Close RF to LF............. 6
7. Side LF............. 7
8. Tap RF to LF with no weight on RF.............8

Iboes L to R With Swivel Taps
Start and end in either closed dance hold, 2-handed open, or shine hold.

 LEADER
1. Side LF...................1
2. Close RF to LF................... 2
3. Side LF ...................3
4. Swivel RF 1/4 to the L as it taps at the same time ................... 4
 (keep RF only with part weight, full weight should still be on the LF)
 5. Side RF................... 5
6. Close LF to RF................... 6
7. Side RF................... 7
8. Swivel LF 1/4 to R as it taps at the same time................... 8
 (keep LF only with part weight, full weight should still be on the RF)

 FOLLOWER
1. Side RF ................... 1
2. Close LF to RF................... 2
3. Side RF ...................3
4. Swivel LF 1/4 to the R as it taps at the same time ................... 4
(keep LF only with part weight, full weight should still be on the RF)
5. Side LF................... 5
6. Close RF to LF................... 6
7. Side LF................... 7
8. Swivel LF 1/4 to the R as it taps at the same time...................8

 NOTE: All of the swivels are in place.

Iboes L to R With Points

Start and end in either closed dance hold, 2-handed open, or shine hold.
Note: The "tendu" had been heavily used in ballet and jazz dance, and it describes the free foot having a fully straightened leg out to the side with weight only on the toes...while the supporting foot has full weight. So from this...in the "tendu", you fully straighten your leg all the way to the toe, so the result is that you create a point on your feet...as if the feet are sharpened pencil ends on the floor, ready to write.

LEADER

1. Side LF..........                                                                                                 1

2. Close RF to LF..........                                                                                         2

3. Side LF..........                                                                                                     3

4. Put the RF in a tap in a tendu but put full weight on LF..........                          4

5. Side RF..........                                                                                                     5

6. Close LF to RF..........                                                                                         6

7. Side RF..........                                                                                                     7

8. Put the LF in tap in a tendu but put full weight on RF..........                            8

FOLLOWER

1. Side RF..........                                                                                                    1

2. Close LF to RF..........                                                                                        2

3. Side RF..........                                                                                                   3

4. Put the LF in tap in a tendu but put full weight on RF..........                           4

5. Side LF..........                                                                                                    5

6. Close RF to LF..........                                                                                        6

7. Side LF..........                                                                                                    7

8. Put the RF in a tap in a tendu but put full weight on LF..........                         8

Iboes L to R With Flicks

Start and end in either closed dance hold, 2-handed open, or shine hold.

I like this move--the flicks put a bit of "swing" into your merengue.

LEADER

1. Side LF..........                                                                                                    1

2. Close RF to LF..........                                                                                        2

3. Side LF..........                                                                                                    3

4. Flick RF behind LF (keeping weight on LF)..........                                           4

5. Side RF..........                                                                                                    5

6. Close LF to RF..........                                                                                        6

7. Side RF..........                                                                                                    7

8. Flick LF behind RF (keeping weight on RF)..........                                           8

FOLLOWER

1. Side RF..........                                                                                                    1

2. Close LF to RF..........                                                                                        2

3. Side RF..........                                                                                                   3

4. Flick LF behind RF (keeping weight on RF)..........                                           4

5. Side LF..........                                                                                                    5

6. Close RF to LF..........                                                                                        6

7. Side LF..........                                                                                                    7

8. Flick RF behind LF (keeping weight on LF) ..........                                          8

Some Pointers in Man's Leads On Several Beginning Level and Intermediate Level Salsa Figures

1. The Cross-Body Lead(Regular) The man will, in the 3rd step of the Forward-Backward salsa basic, pull the lady’s R arm toward her on his left side, and at the same time, he will use the pressure of his right hand on the lady’s back to lead her to go more forward. On the second quick of the basic, he will his L arm to steer the lady’s body to finish the half-turn to the L on the last slow(the second slow). Remember that the cross-body lead has the same timing as the Forward- Backward basic--QQS, QQS.

2. The Cross-Body Lead(Man Using Both Hands The man will, on the 3rd step of the Forward-Backward salsa basic, pull both the lady’s arms towards you on your(the man’s)left side, but unlike the previous cross-body lead above, the lady’s L arm will come more in front of her than her R arm. Then, on step 4 of the Forward-Backward basic, the man will bring both of her hands towards him on his L side as he turns her arms about halfway in a counterclockwise on steps 5-6 of the salsa basic to face the partner again(because the cross-body resembles the forward-backward basic despite the half turn to the left).

3. The Cross-Body Lead With a Throwout Spin The man will do the leading as in the initial part of the regular cross-body lead but he will create more pressure on the lady’s sides after step 3 of the baisc to lead her to turn a full counterclockwise rotation as you throw her out. The man catches her hands if he wants to get her back into closed position to restart the Forward-Backward basic. Advanced salsa dancers would usually come up with other moves besides the basic when the throwout spin from the cross-body lead is done.

4. Fifth Side Basic(from Forward-Backward Basic) Here, the man leads her usually after she closes back her LF to the RF after the Forward-Backward basic. He then puts a grip on the lady’s R arm, going clockwise, and at the same time, he moves the lady’ss back clockwise with his R hand.

5. Side Step From The Forward-Backward Basic Here’s soon as the left foot of the lady closes with the RF(back), the man pushes the lady’s back to the L side and also pushes the lady’s R arm to the left side. When the man wants to move the lady to the R(in the second part of the side step), this leading process is reversed.

6. The Lady’s Underarm Turn(Outside)From The Fifth Break As soon as the lady crosses the RF in the Fifth Break, the man lifts the lady’s R arm to the L side and then turns the raised arm slightly counterclockwise to help the lady to follow and complete the turn.

7. The Lady’s Inside Underarm Turn and Outside Underarm Turn Making a dance position change from closed to open, the man will will start raising the lady’s R arm at the end of any very basic salsa figure(forward-backward, side step, fifth break), and bring it counterclockwise and to his R side for the inside underarm turn. Then, in almost a continuous motion, the man will raise the lady’s R arm again in a clockwise fashion to make her underarm turn from the outside. If both of those underarm turns are done with the man’s R hand on the lady’s L hand, the leading will be in an inverse; the lady’s inside underarm turn will be done clockwise with the lady’s L hand; on the inside underarm turn, it will be counterclockwise.

8. Spot Turns From The Fifth Break This is more of a push lead. This usually comes on the first 3 steps of the Fifth Break, with the man turning to the R and L and the lady to the L and R(both one-quarter). The push comes when the dancers face their partners, and the man will push with both hands almost 1/4 to the R counterclockwise(with more pressure on the lady’s L hand on his R hand)to lead the lady to do the spot turn. If another spot turn in inverse directions immediately follows the regular spot turn, the lead is in an inverse--more pressure on the lady’s R hand on his L hand(still using both hands)will be done almost 1/4 to the L clockwise.

9. The New York From The Forward-Backward Basic This happens when the man leads the lady to the side at the end of the Forward-Backward Basic, by pulling her R arm to the right (his right)in such a way that the lady will turn to her left halfway. The New York can also be started(and led)by pulling the lady’s L arm to the left(his left)from the same Forward-Backward figure.

10. The Lady’s Sweetheart Wrap To The Left of Man Here, the man will lead in a manner resembling the entry to the lady’s inside underarm turn, using a 2-handed open hold. With his L hand, he will raise the lady’s R arm, turning it counterclockwise and put it down. Then the man’s R hand will be on the R side of the lady for the wrap.

11. The Lady’s Sweetheart Wrap To The Right of Man Using a 2-handed hold, the man will use his L arm to raise the lady’s R arm clockwise and then go down again, and the L arm will be on the lady’s L side for the wrap.

Favorite Latin Hits by Category (covering the subgenres of Salsa and Merengue)

Latin Club/Techno
"Octavo Dia" (Shakira)


Bachata
"Eres mi vida" (DLG)


Techno cha-cha
"Let's Get Loud (Jennifer Lopez)
"Boom, Boom (Chayanne)

Guaracha/Slow cha-cha/Guajira
"Volver a verte" (Oscar d'Leon)
"Micaela" (Pete Rodriguez)


Cumbia
"La Gota Fria" (Carlos Vives)
"Amor a la mexicana (Thalia)
"Piel morena" (Thalia)


Cuban salsa
"Vamonos pa'l Monte" (Eddie Palmieri)
"Que humanidad" (Manny Oquendo)


Colombian salsa
"Cali pachanguero" (Grupo Niche)
"Me voy a Cali" (Oscar d'Leon)


Puerto Rican salsa
"Micaela" (Pete Rodriguez)


Romantic salsa
"Idllio" (Willie Colon) "A puro dolor" (Son by 4)


Fast-tempo merengue
"El rey de mambo" (La Banda Gorda)


Medium-tempo merengue
"Mentiroso" (Olga Tanon)
"No quiero morir" (DLG)

Charles Joseph Smith's Top Eleven Favorite Salsa Hits For Dancing

Que humanidad (Manny Oquendo y Libre)

Arrenpetida (Los Adoloscentes)

Volvere--Salsa Remix (DLG)

Oiga, mire, vea (Orquesta Guayacan)

Idilio (Willie Colon)

Micaela--Salsa Version (Pete Rodriguez)

Micaela--Cha-Cha Version (Pete Rodriguez)

Me' voy pa Cali (Oscar d'Leon)

Candela (Fania All-Stars)

Vamonos pa'l monte (Eddie Palmieri)

Juliana (DLG)