Salsa is a Latin American dance, associated with salsa music. It originated in the late Eastern Cuba and gained popularity in New York in 1960.
Salsa is a mixture of Cuban dances, such as mambo, pachanga, and rumba, as well as American dances such as swing and tap. This dance is often performed with a partner. Basic Salsa techniques are in place basic, forward and back basic, single and double side step, back basic, open breaks, mambo, right turn etc.
Salsa is one of the most popular types of Latin dance that is practiced worldwide.[1] The term "salsa" was coined by Johnny Pacheco in the 1960s in New York, as an umbrella term for Cuban dance music being played in the city at the time.[2] Salsa as a dance emerged soon after, being a combination of mambo (which was popular in New York in the 1950s) as well as Latin dances such as Son and Rumba as well as American dances such as swing, hustle, and tap.[3]
Like many other forms of Latin dance, salsa may trace its roots back to Cuba, but it was created in New York by Puerto Ricans and Cubans. It is widely accepted that early radio is responsible for American artists to begin incorporating elements of Latin American rhythms into their own music and eventually into their own styles of dance.[4]
As salsa music spread to other countries, different styles emerged.[5] [6]
Salsa dance steps can be done individually, but Salsa is most popularly known as a partnered dance where the lead takes the follower through a series of spins and turn patterns to music. Salsa's tempo ranges from about 150bpm (beats per minute) to around 250bpm, although most dancing is done to music somewhere between 160 and 220bpm.[7] The basic Salsa dance rhythm consists of taking three steps for every four beats of music. Salsa dancers can also break apart to dance solo, known as "shines".
The two main styles of partnered salsa dancing are linear and circular. In linear salsa, dance couples remain in their "slot," with each dancer switching places from one side of the slot to the other, similar to West Coast Swing— New York–style salsa and LA-style salsa are both danced this way. The second style of partnered salsa dancing is circular salsa. Here, dancers circle around each other, reminiscent of East Coast Swing. Both Cuban and Colombian salsa follow this circular pattern.
Incorporating other dance styling techniques into salsa dancing has become very common for both men and women: foot work, arm work, body movement, spins, body isolations, shoulder shimmies, body rolls, hand styling, acrobatics, and even lifts.[8]
Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially if part of an outdoor festival. Salsa dancing is an international dance that can be found in most metropolitan cities in the world.[9] Festivals are held annually, often called a "Salsa Congress," in various host cities aimed to attract a variety of salsa dancers from other cities and countries. The events bring dancers together to share their passion for the dance, build community, and share moves and tips. These events usually include salsa dance performers, live salsa music, workshops, open dancing, and contests. On the other hand, Salsa dancing is also done in very informal settings, such as parties in a home or backyard. Salsa dancing is often seen as an important cultural expression by persons living in certain Hispanic regions or people whose family heritage comes from those regions.
Over the years, many different styles of salsa dancing have evolved around the world.[10] Many of them are compatible with each other, but others are different enough to make dancing between dancers of different styles difficult.
Salsa has many similarities with other partner dances, the styles and skills learned in salsa can be applied to another Latin dance like Bachata.[11] Incorporating other dance styling techniques into salsa dancing has also become common, with dancers of one style incorporating styles and movements of others to create new fusions of dance styles.
"On 2" style salsa originated in New York and is often referred to as New York style. It is a linear form of salsa, where dancers dance in a slot, similar to LA style salsa. Unlike other styles of salsa, however, New York style is danced on the second beat of the music ("on 2"), and the follower, not the leader, steps forward on the first measure of the music. There is also often a greater emphasis on performing "shines" in which dancers separate themselves and dance solo with intricate footwork and styling— a phenomenon that likely has origins from Swing and New York Tap.
One of the most influential figures in New York style salsa is Eddie Torres (known as "the Mambo King"), who is credited with helping to formalize the on 2 salsa timing (based on mambo) and helping to popularize it by teaching it in dance studios in New York and through early instructional tapes.
New York style salsa emphasizes harmony with the percussive instruments in salsa music, such as the congas, timbales, and clave, since many or all of those instruments often mark the second beat in the music.
Los Angeles style salsa (LA style) is danced "on 1" where dancers break forward on the first beat of the music, in contrast to New York style which is danced on 2. LA style salsa is danced in a line or "slot" with dancers exchanging positions throughout the dance, unlike Cuban salsa which is danced in a more circular fashion.
The two essential elements of this dance are the forward–backward basic step 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), leaving the slot open. The follower then steps straight forward on 5-6 and turns on 7–8, while the leader makes another 90 degrees counter-clockwise and slightly forward, coming back into the slot. In total, the couple turned 180° with the follower and leader switching places.
The "Vazquez Brothers" (Luis Vazquez, Francisco Vazquez, Johnny Vazquez & Rogelio Moreno) are credited for the early development and growth of LA Style.
[12] Luiz Vazquez was the co-founder of Los Angeles's first salsa dance team, Salsa Brava. The Vazquez Brothers drew influence from stage dances such as tap dance and helped develop LA style's reputation for flashy moves and acrobatics.
Other prominent figures in LA style salsa include salsa promoter Albert Torres, who created the LA Salsa Congress, the first salsa congress in the United States and for many years one of the largest salsa events in the world. Later dancers such as Alex Da Silva, Christian Oviedo, and Liz Lira are also credited with developing the LA style of dancing as we know it today.
See main article: Cuban salsa. In Cuba, a popular dance known as Casino was marketed as Cuban-style salsa or Salsa Cubana abroad to distinguish it from other salsa styles when the name was popularized internationally in the 1970s. Dancing Casino is an expression of popular social culture; Cubans consider casino as part of social and cultural activities centering on their popular music. The name Casino is derived from the Spanish term for the dance halls, "Casinos Deportivos" where much social dancing was done among the better-off, white Cubans during the mid-20th century and onward.
Historically, Casino traces its origin as a partner dance from Cuban Son, Cha Cha Cha, Danzón and Guaracha. Traditionally, Casino is danced "a contratiempo". This means that no step is taken on the first and fifth beats in each clave pattern and the fourth and eighth beat are emphasized. In this way, rather than following a beat, the dancers themselves contribute in their movement, to the polyrhythmic pattern of the music. At the same time, it is often danced "a tiempo", although both "on3" (originally) and "on1" (nowadays).
What distinguishes this style is the understanding and spontaneous use of Afro-Cuban dance vocabulary within a "Casino" dance. In the same way that a "sonero" (lead singer in Son and salsa bands) will "quote" other, older songs in their own, a "casino" dancer will frequently improvise references to other dances, integrating movements, gestures and extended passages from folk dances. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities, the older popular dances such as Cha Cha Chá and Danzon as well as anything the dancer may feel.
Developed by Cuban immigrants to Florida and centered on Miami, this dance style is a fusion of Casino and elements from American culture and dances. The major difference that distinguishes the Miami-style from other North American styles is the "Atras" or "Diagonal", back breaking steps performed backwards diagonally instead of moving forwards and backwards as seen in the New York style. Dancers do not shift their body weight greatly as seen in other styles. Instead, dancers keep their upper body still, poised and relaxed, focusing on foot movement. The dancer breaks mostly On1.
A major difference between Cali Style and Miami-style is the latter is exclusively danced on the downbeat (On1) and has elements of shines and show-style added to it, following repertoires of North American styles. Miami-style has many adherents, particularly Cuban-Americans and other Latinos based in South Florida.[13]
See main article: Rueda de Casino. In the 1950s, Salsa Rueda or more accurately Rueda de Casino was developed in Havana, Cuba. Pairs of dancers form a circle ("Rueda" in Spanish means "Wheel"), with dance moves called out by one person. Many of the moves involve rapidly swapping partners.
"Rueda de Cuba" is original type of Rueda, originating from Cuba. It is not as formal as Rueda de Miami and consists of about 30 calls. It was codified in the 1970s.
"Rueda de Miami" originated in the 1980s from Miami, is a formal style with many rules based on a mix, and is a hybridization of Rueda de Cuba & North American dance styles, with some routines reflecting American culture (e.g. Coca-Cola, Dedo, Adios) which is not found in the traditional Cuban-style Rueda.
Cali-Style Salsa, also known as Colombian Salsa and Salsa Caleña, is based around the Colombian City of Cali. Cali is also known as the "Capital de la Salsa" (Salsa's Capital); due to salsa music being the main genre in parties, nightclubs and festivals in the 21st century. It is also worth noting that Cali's style of Salsa has been heavily influenced by the nature of its social scene, where in the 90's most nightclubs, named Disoctecas after the record discs used to play older Salsa music, had a period of time where they would transform into a Viejoteca, a nickname for point of time in which nightclubs would play the Salsa equivalent of Golden Oldies.[14]
The elements of Cali-Style Salsa were strongly influenced by dances to Caribbean rhythms which preceded salsa, such as Pachanga and Boogaloo. Cali has the highest number of salsa schools and salsa teams in the world. Many of the competitions are held in Colombia.[15]
The central feature is the footwork which has quick rapid steps and skipping motions called "repique". Colombian style may execute Cross-body Leads or the "Dile Que No" as seen in other styles, but would rather step in place and displace in closed position. They include various acrobats such as partnered flips to entertain with these jaw dropping stunts. Their footwork is intricate and precise, helping several Colombian Style dancers win major world championships. Cali hosts many annual salsa events such as the World Salsa Cali Festival and the Encuentro de Melomanos y Coleccionistas.
Academic researchers have used salsa dancing as a productive research site in the social and natural sciences. For example, researchers in the natural sciences studied the mathematics of salsa dancing moves.[16] In the social sciences, researchers have studied salsa dancing to understand, for example how the Latino identity is connected to salsa dancing.[17] The study of salsa dancing has been studied as a metaphor to understand emotional and cultural economies.[18] Salsa dancing has been shown to manifest "moments of luxury" in which people use hedonistic escapism to leave momentarily the constrains of ordinary normal life.[19] and, researchers have also used salsa dancing to study the ephemerality of social groups.[20]