Salsa Dance Partnerwork - Beginners Level, complete course | Incognito Dance | Skillshare

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Salsa Dance Partnerwork - Beginners Level, complete course

teacher avatar Incognito Dance, New Salsa & Bachata Courses

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (2h 14m)
    • 1. SS Salsa Partnerwork Vol1 0 Intro

      0:22
    • 2. SS Salsa Partnerwork Vol1 1 Frame and Posture

      4:30
    • 3. SS Salsa Partnerwork Vol1 3 Basic Steps

      12:26
    • 4. SS Salsa Partnerwork Vol1 3b Basic Steps Practice Together

      0:58
    • 5. SS Salsa Partnerwork Vol1 3c + 3d Basic Steps Timing

      6:16
    • 6. SS Salsa Partnerwork Vol1 4 Connection

      4:26
    • 7. SS Salsa Partnerwork Vol1 4b Connection Applying To Basic Steps

      5:12
    • 8. SS Salsa Partnerwork Vol1 4c Connection How it feels

      3:37
    • 9. SS Salsa Partnerwork Vol1 4d Connection Closed Hold

      6:02
    • 10. SS Salsa Partnerwork Vol1 4e + 4F Connection Practice Together

      2:30
    • 11. SS Salsa Partnerwork Vol1 5 Right Turn

      12:19
    • 12. SS Salsa Partnerwork Vol1 6 Left Turn

      18:07
    • 13. SS Salsa Partnerwork Vol1 7 Cross Body

      14:55
    • 14. SS Salsa Partnerwork Vol1 7f Reverse Cross Body

      10:52
    • 15. SS Salsa Partnerwork Vol1 7k Cross Body Mix

      16:40
    • 16. SS Salsa Partnerwork Vol1 8 Routine 1

      7:04
    • 17. SS Salsa Partnerwork Vol1 9 Routine 2

      8:08
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About This Class

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Salsa Dance Partner work Course - Beginners

This course is perfect for all beginners who wish to solidify their fundamental techniques.  We will break down fundamental and essential techniques as well as giving loads of practice videos.

What is the benefit of completing this course / project?

Every student will learn techniques and have time to practice.  We have developed a unique learning technique focusing on “Core Techniques” which we have identified and broken down for you in incredible detail. These  “Core Techniques” are right at the center of your learning and a fantastic way to target techniques you may be weak on.

What action should you must take in order to complete the project?

Please ensure you complete every section properly, and repeat lessons that you find difficult.  I’m sure you heard he saying “practice makes perfect”. This is so true when is comes to body movement, the more you practice the more muscle memory you will develop and eventually learn to move organically. 

How can students apply the skills they've learned in the class to complete the project?

Use the techniques you have learned in this course in your everyday life. Whichever dance style you specialize in, all these be skills will help you become a much better dancer.

We explain what you can do to enhance your dancing from the basic steps into very complex shines, body movements turn and much more. Explaining, in a simple and detailed manner, how to apply attitude to your dancing and improve your posture.  Focus on details of head, hands, use of arms, ladies’ timing, spins, hip movement and how to enhance your dance with sensual moves.

Meet Your Teacher

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Incognito Dance

New Salsa & Bachata Courses

Teacher

Hello,

We are Jeff & Corina from Incognito Dance Company UK.   Thank you so much for showing interest in our courses. 

Incognito Dance Company (IDC) was established in 1999. It has some of the most experienced and qualified Latin Dance instructors and performers in Europe. All our Latin dance courses, workshops, holidays, events and clubs are run and taught by highly trained, friendly instructors who encourage dancers of all levels to enjoy the spirit of dance.

Over 20 years of experience teaching classes, we have combined all our knowledge and skills into our brand new Online Syllabus for you to benefit at any time at your own convenience, from anywhere in the world.

Incognito Dance has won many prestigious awards, including Brilliant Business... See full profile

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Transcripts

1. SS Salsa Partnerwork Vol1 0 Intro: Hello, my name is Karina wish and I'm Jeff opinion. We often Incognito dance company. Welcome to our cells are part of a course for beginners. In this course you will learn the basic steps, core techniques, and essential moves to build a good foundation for you dancing. Let's get started. 2. SS Salsa Partnerwork Vol1 1 Frame and Posture: In this section, we're going to cover a framing posture. Framing posture is super important to your dancing is the way we communicate movement and all the information that we need to partner. Also, the way we execute all our moves comes off our core and frame. So let's get that right from the start. Alright, so if you just start not normally, then as a dancer, to be ready for any move, we shift our weight slightly forward over the balls of your feet. So go into neutral posture where you would usually be, then shift your weight forward. It's too far if you start cramping you tos, but you just want to be just before that. As a Lady, We don't want to have any weight on our heels because it's dangerous if the florists not quite even or flat, then you don't want to have weight on your heels. So make sure you always dance on the balls of your feet. So just shift your whole body weight slightly forward. Can create once you've got your feet in a position on the board of this heat and your body has a slight angle forward. Think of working your way up. You need to have a softness to him. They're not locked up. If you locking up your making everything above that really tight, having a soft knee, it helps a lot in releasing you hit movement and everything. So make sure there's a slight bend you need the whole time, the whole time you're moving, there's always this kind of slightly in forward as you're stepping. Okay. Which makes you ready to move and makes you much quicker as well. Then moving up your hips are it has a slight natural tilts to debug. So make sure you don't tuck it under, but just release it out to the back for the ladies, we like this look, but also it gives it the hips more freedom to move. Just a slight tilt to the back, like this. Once you get your hips in that position. So you've got your feet on the balls of your state. You've got nice soft knees, your hips have got slight anterior tilt backwards. There will be a natural tendency for your chest to go forward and you should allow that to happen. It's not popping out your chest. You're just letting it as this goes backwards, your chest goes forward. So you had this kind of s-shaped to your body. Okay. This is, this is perfectly normal for you in your movement. And as you progress, more and more freer dancing, you'll find or give you a lot of efficiency and speed in your movement without trying too much effort. So your chest should says half a slight lift if you just want to pull string from your test straight up to the ceiling. So not too much forward, like not stick and releasing your trips, keep your rips in, but just up and out. So you are ready for dancing. Also, you'll want to roll your shoulders back and found there is a lot of tensions sometimes in the shoulders when you practice a new move. So make sure you always keep reminding yourself to release your shoulders down and then they also go back. So that also opens up the chest even more. So you want to slide your shoulder blades down and together like this. And then with the arms, naturally we would, we would always hang our arms. But as a dancer, you wanna keep your arms in this kinda position. We are always ready to receive and send information as you're moving through your basic, the arms will naturally follow the line of your core movement. So we'll talk about that much later. But for now, try and keep this as your neutral position. Ok, so you're dancing frame, just a quick refresh. Your Nepal's your feet. Knees, bent, hips, slightly tilted back, chest, lifted forward, shoulders in a natural position. With that, they're just on normal. They're not caught for we're not pop back up just here. Okay. And then your arm just hanging in, not too far out, not too far in. You want to keep it slightly off center. Okay. And then finally your head. Yes. You just want to look straight ahead so don't drop your chin. Done look at the floor. Looks straight the head. If you dance with somebody who is slightly shorter, maybe look at their forehead, it's done. Somebody who's slightly taller, maybe look at their chest, but you don't want to drop forward or back because your head is quite heavy and that may put you off balance. Okay, so just chin straight ahead and you look straight line like this. And that completes your frame. 3. SS Salsa Partnerwork Vol1 3 Basic Steps: In this section, we're going to work on our basic steps. We're going to cover five of them for now and show you how to do them correctly and how to weight transfer and use your body correctly for each basic step. So starting with on the spot, it's basically what is says on the tin. We're just going to step underneath yourself on the spot. So we start with our left leg. We go step, step, step, and we do this steps in little bundles of three. We do too fast and then one a bit slower. So we go 123. Okay, little bundles of three. Again. We go step, step, step, step, step, step. Quick, quick, slow, and quick. Quick, slow. Make sure you really pick up your feet on each step and transfer your weight over so we can see when we do it, you can see us shifting site to site. Transfer your weight over and pick up your feet. The middle one, always. And then when you put them down as dancers, we always role for balls of the feet. Okay. So you lift them up and then you'll if there might be released them. And then when you put them down, you walk through the balls of your feet. Versus when you normally walks down the street, you go through the hills. In dancing. We go through the balls of our feet. Let's try again. We go quick, quick, slow, quick, quick, slow, quick, quick, slow, and quick, quick, slow. The body movement is very complex and we're not gonna go into details right now. But one thing you can already do is when you release one leg, the other hip, the opposite hip is coming out like this. And then you shift your weight over. The other hip is coming up 1212. So you can already try that. Lifting up one leg and the hip is releasing to the size, transfer your weight over and you've changed and you alternate that movement. Okay, let's do it one more time. The spot. We go. Quick, quick, slow, and quick, quick, slow, quick, quick, slow, quick, quick, slow. That's your basic step on the spot, which we use quite a lot. Moving on, let's go through our standard basic step. For our standard basic step, you will step forward on the spot, back, back on the spot, forward, forward on the spot, back, back, onStop, forward. So we go step, step, step, step, step, step, step, step, step, step, step, step. Some really good tips I can give you from here is, first of all, try to avoid dancing on two lines. We normally walk and we know we have a walk where we walk on two lines as humans. Perfectly natural. As a dancer, you want to try and create almost a theme that you're walking on a tightrope. So you're stepping foot in front, almost hides the foot behind. So it goes step, step behind. She see ham dancing on one line. And then the back step because behind and hides the foot in front. Step again in front. So almost like you're walking on a tightrope that get that resonates throughout your body and creates a natural motion and actually fires up your core to produce more energy without trying too much. It's a very efficient way of moving. It also, the key thing is it avoids giving you a waterfall. If you watched me walk normally, there's a natural waddled my movement. As a dancer, it creates more of a very smooth flow. Okay, let's try that for practice. Ready, and we step, step, step, step, step, step, step, step, step, step, step, step, step, step, step, step, step, step, step. As you're walking through your basic steps, where you want to think of if your feet are together, you and have your feet slightly out. Not too much, not like a ballerina or duck. You want to think of it more of a case of, as you step forward, your dangle, your fee goes slightly off, say around one o'clock. So as I'm doing my basic, my foot lands, it's already slightly off to 11 o'clock. And then at the comeback, this one's at one o'clock, 11 o'clock. So you have this kind of always angle where you wanna avoid is having like a pigeon effect. And with the Pigeon, he stepped inwards. It makes your whole body look awkward. No ones that bad, but you kinda get into point, you want to be off. So that opens up the hips, again, allows your hip to stay in good natural dance position. Okay, best pull that together. Slowly. We step, step, step, step, step, step, step, step, step, step, step, step, step, step, step, step. Remember if he forgotten about your hands. Don't worry about for now. Don't worry about too much, but where your arm should be, just keep them neutral. He'll feel a bit weird at first because you're used to kinda walking around and swinging your arms. Of course you are, but a dancer, try and keep them here. And eventually when you fix your core and basic. The arms will have a natural flow to them. And you wanted to think about how you're moving. It'll just work. Moving on to the sidestep. You will see with those basic steps, all of them have the same sort of Freedom is always quick, quick, slow, quick, quick, slow. So when we did the forward and back, you use the slow step to transfer your weight. Okay. So we did a quick, quick, and then on the slow one you're transferring your whole weight backwards. So it's going to be the same thing with the sidestep, same rhythm, right? So this time, as it says, we step to the side. So open your legs than race and replace on the spot and we close. And then the other side opened, raise and replace on the spot and close, open and close. Open rates and replace and close. Right now in the rhythm, we go quick, quick, slow, quick, quick, slow, quick, quick, slow, quick, quick, slow. With this step by sometimes notice that people are not transferring their weight fully onto the outside leg, please do. Otherwise, you will be ahead of the timing K. So you transfer your hallway over and then the race and replace your foot and then stepping together. Don't just tap. Ok, that's a different dance style. Okay. So we're moving our hallway over race and replace your foot and together over race and replace and together. Let's try them. We go quick, quick, slow, quick, quick, slow, quick, quick quick, quick quick, quick. Quick, quick, slow, quick, quick, slow. And quick, quick, slow. And that's your sights that first sidestepped. The next one we're going to work on is the backstop for a back step very similar to being on the spot. But from this, from this time around, as we step back, we literally doing what it says. We go back, step center, back, step center, back, step center, back step center, and back step Center slowly, the slope, that step get key things that you want to look for is, again, naturally when you walk or run, you have very wide strides. As a dancer out strides are very minimal. I dance about half the length of what I would normally walk. So my back step if I was at a dancer, is still underneath my hip. So say if I show you from this side as I stepped back, I'm not taking a big lunch back. A big lunch and back. I'm literally is just missing the missing my heel. Back step. That centre. Backs step, step, center. Okay, so try and keep your steps minimum. Okay. This practice that and in riven, quick, quick, slow, quick, quick, slow, quick, quick, slow, quick, quick, slow One more, quick, quick, slow, quick, quick, slow. The common thread for our all of these movements is, is there's a rhythm in our, in the way we dance. Using that cryptic slow really gives you a natural flow ie movement, very easy to send all your information and dance with your partner, have a nice rhythm with them. So cranky, they're consistent throughout your dancing. Bit. B on the spot, back step, sidestep, basic, and so forth. Moving onto the open. So again, that quick, quick flow is sort of the key elements. Sulfur, like you would recognize salsa dancing through this quick, quick slow movement. All right, we do a very similar step to the back step, but this time we cross over. So we step instead of just going to the back, we slightly cross and that opens our body up to the site. Okay, so let's just do that. We cross over and then like with the other steps, we erase and replace our second fruit on the spot. And then we close facing the front again. Now the other side, we cross, our body opens up to the other corner, race and replace and close. And again, we go quick, quick, slow, and quick. Quick, slow, quick, quick, slow, quick, quick, slow. Like Jeff said before, don't feel like you have to take massive steps, just sort of behind your foot. So I'm not taking a big step just behind my foot. So we dont have to transfer your weight over because salsa music generally is quite fast, so you don't have time to take massive steps. Just keep underneath yourself where you wait already is. Okay. That's your cross step. Let's do it one more time. Quick, quick, slow, quick, quick, slow, quick, quick, slow. And quick. Click, slow, quick, quick. Quick, quick, slow, quick, quick, slow, and quick, quick flow. And these are our five basic steps. 4. SS Salsa Partnerwork Vol1 3b Basic Steps Practice Together: So let's put those five basic steps together in a nice exercise for you to practice. We do two of each step, starting with the on the spot. We go quick, quick, slow, quick, quick, slow again. Quick, quick, slow. Quick, quick, forward. Quick, quick, slow. Quick, quick. Quick, quick. Quick, quick, sideways. Quick, quick, slow. Open and close. Open and close. Open and backwards. Quick, quick, slow, quick, quick, slow, quick, quick, quick, quick quick, quick, quick, quick, quick, quick, slow. 5. SS Salsa Partnerwork Vol1 3c + 3d Basic Steps Timing: In this section, we're going to talk about timing. We are going to cover all those basic steps using the timing of the music of South Asia, 1-2-3, 4-5-6, seven, how we use the foreign aid in partner work. Okay. Now, you heard us earlier talk about quick, quick slope. Where the Quick, quick, slow fits in. The Quick quick is on the one to the slow is the free fort transition. 5-6 is the other quick, quick, and 78 is the other slow. So I'll show you the man's timing first and then green, I will explain the ladies timing. So doing our basic step, we're going to go one on your left foot forward, 23567123567. On the QuickBooks load, it went 123567123567. So just remember from the guys perspective, you always start with your left foot on one and your right foot is always five. For the ladies, ladies or the followers. Because as ladies and salsa, we usually follow our timing, basically the opposite around. So if we do our front and back basic as a lady, we start with our right leg going to the back. So we go 1234 and then forward on 55678. So as, again, as you saw, the Quick, quick slow. So we go quick, quick, slow, and quick, quick, slow. The most important part is to remember that as a lady, you always start on your right leg. So no matter which basically are doing, if we go sideways, we go 1234567812345678, or backwards, 12345678. As a lady or as a follower, you always start with your right leg. So let's do just one small, the forward and back basic, which is our basic that we use the most and most dancers we would start with sort of a forward and back basic. So let's do that once more. We start with our right leg to the back. We go 1234567812345678. And these are our basic in the timing. So now face each other if you're in partners. And we can do the basics exactly in our timing, but facing each other. And you will see it's like a puzzle that we fit each other and we mirror each other. So let's do a thing in fours, starting with on the spot, then basic, then sidestep them back step, then open. Ok. So nice and slowly, we're gonna step 1234567812345678, 32345678. Last One, Two, Three, Four. Ready for standard basic step. 234567822345678323456784234. Ready for size step 12345678223 by 673235674 to three, ready for back step and back step center. Back step, center to 234567832345678423456. Ready for open, 12345678223567832345678, Last 1234, back to on the spot. So you can see that we were always mirroring each other, which is the whole point that you can dance together. So ladies, always have your right gentleman. Always start with your left leg. Will uno dos tres cinco satiated? Uno dos tres maracas. Uno dos tres cinco. Say Associated Press, cinco satiated. Uno dos tres Bongo aura. We could say C-A-T. C-a-t. C-a-t, C-A-T. Guitar. Press era uno dos tres uno dos tres uno dos tres uno dos tres glaring ora. Both base was placed. Both face. Those muscle in both dressed, cinco satiating those places. Got plays. 6. SS Salsa Partnerwork Vol1 4 Connection: One of the essential core techniques in our dance is called connection. Connection comes in many forms. When we hold our partner, we're connected. Sometimes when we move around, our partner was still connected to visual stimulus. So let's just talk about the variety of ways that we have our connection. So we have what we call like an open hold, where you hold your partner's hand and you're not put pulling too far in your elbows, not too far away. You your elbows kinda just hang off your shoulder slightly. Study off your normal basic. And you're and you're hooked into a hand. As a woman, you have your fingers together, so don't have your hands spread fingers together and like a little hook with your hands like this shape. And then you hook into the Han Dan leaders hands. The guys have a pin or are usually hold my fingers is mu2. Middle fingers are the strongest fingers and they have this fixed position like this. Ok? So what you want to avoid is using one thing that it can be dangerous if the ghost slips, she's gonna grab your finger. So use these two, these two fingers is quite stable and quiet, clear. Try not to wobble and wiggle your fingers. You keep them static. If you want to move to hand, you move the body and that the pin. So this called a hook and pin technique used across all our movements. Okay? So our pin has as used in free basic ways. One, it goes in from the little finger side, so it could be hooked in like this. So start with some smart pin hooks in like that. That's one way. Another way it goes downwards and through her Pfam site. As a second way, another pin that is quite common is my farm becomes the pin and I go in for little thing aside, a hand is there. Now. My hand looks like it holds her by. Never have a grip. There's not a single move in Dan's where our grit, my partner, everything's done through her. True, he can hook and pen and food like a magnetic feeling. So just to recap, your pin goes little thing aside and our book goes over the top. And then the other pin goes from the top. And you have a PIN as our thumb goes in our hand, just gently rests on the back of her hand. Okay. Now, we use this pin in many ways. So because the ladies got lovely hook and it's not an open claw. As I want to turn around. I can push my pin into the hook and I never slipped through our fingers. Ok. So what you want as if I want to turn, my pen is still there and then it ends up still connected. Ok. So that's called her campaign technique, used in many ways of our movements. So let's go into open hall and you hold your partner in her company. So what you wanna do now, what's important in the answer is basically the, the man is usually leading the move and the ladies are usually following. That's not always. You can lead as a woman and follow as a man. But usually how the dance was created as the man is leading, the woman is following. That is how we communicate, is like the man is asking questions and the ladies answering. So to receive question and answer, we have to have a good connection between each other. So if you go into your hook and pin and then just have your feet together and then you slightly lean into each other. Then there is this automatic break that you put on into your arms. You dont just flopping into each other. You automatically stop at a certain point. And same thing when you lead outward. You also stop. You don't stretch your arms and let completely go. You want to have that exact sort of connection with your arms into your shoulders between you. So if you just sort of lean in and out, you can feel that sort of spring feeling between you. So your elbows and your shoulders should act as a spring. So that's sort of the connection you should have. So not too relaxed in your arms and also not completely stiff. It's a sort of spring like this. 7. SS Salsa Partnerwork Vol1 4b Connection Applying To Basic Steps: Let's use the PR campaign technique and the open hole in two of our basics. We're going to go with the back step and the OpenStack for example. So pick up our lady with her company, maybe your company and has not too high, not too close, not too open. Just naturally sit in it. So slowly, we're gonna step back and we're gonna go back, step center, back step center. 123567. Things you want to avoid is pushing a partner away and dragging you're in. Okay? It feels, it feels like it's quite encouraging to do that, but you want to avoid it. So I actually don't push at all. I'm actually just holding my frame as I stepped back, she feels demotion through my frame. The more engaged your frame is and the more your posture is is clean, your message becomes very crystal-clear. So as soon as I move, she's already feeling me going back. So she she goes with it. Okay. So there's try against 30, which is a couple of basics. 123567223567. What you want to avoid Also, make sure you are close enough so that when you step back you don't stretch your arms. So you should be close. Close enough so you always keep a slight bend in your elbow and you keep that bounce between you, that spring feeling between U, k. So as you go away, you can feel that spring coming in and so on. Generally, in our frame, very rarely do our elbows over God, behind us. So if I step forward, cleaner never allows her elbow to do this. That means her frame has broken connection, which means now all she's gonna feel is my brute force is pushing her away. But by staying, giving us off a little rule that the frame stays here as soon as I have a slightest touch, she's already moving. So then your connection is very clean and quick. Okay. So remember and the same for the guys, never pushed back and never got too far forward. My arms never lock out when we're releasing anything. We'd never in unlocked position. Always a bend in the always abandon the arm. And when it comes into your into your normal frame, never behind your ribs. Ok. So we're here. So let's do both of those. Note, we're going to go through the Open Now, let's go with the open. Nice and slowly guys open up to the left. Ladies open up to the right. We step 123567123567. Let's practice again our back step with our good connection. We go 123567123567123567123567. All right. Now let's move on to our Open step. So hold hands and then to open up, we have to let go of my right and the leaders left-hand. So let go. And then we can open up as a lady, whenever you have a hand in the open and not in hold, you want to have a nice hand styling which is like this. You hold like a cherry between your middle finger and your thumb and your other fingers are sort of on top. If you'd like to know more about that than go to the lady styling courses. But for now you can just have it's slightly by your side like this, or just cool like that. Like the guys. Alright, so let's come together again. We let go on one to together, and then we let go of the other hand 56 and connect. Let go one to connect. Five thick and connect. You will also notice that the hole can pin this very goods because we're not, nobody's holding, nobody squeezing. We can just easily let go and reconnect without any hassle with the hands. A little tip I can give you that is for the guys when you go your opinion there, avoid using the thumb is the most natural thing to use our thumbs we've been using all our lives. And there's a natural tendency for you to hold her, used a pin and hold with the fun. You want to avoid that? And ladies also try not to squeeze the life out of these little fingers. Try and give him the lucky just creating an arch which he pins into. So there's no grit and there's no hole from the guys. Never use my son apart from when I have a pin on that section. Let's try again. Open 567123567123567. 8. SS Salsa Partnerwork Vol1 4c Connection How it feels: And this section, we want to talk about how the connection between our partners feel very different to how we are naturally with a magnetic connection. It's literally like a magnet. I need to connect it to her like a magnet. So if I move forward, she moves with me. If I move back, humans with me. If I put my hand on top, hand pushes up against me but doesn't keep pushing it. She just she just once you get connection, just connected. And then with the slightest movement, keeping in frame, if I do anything, she respond straightaway, could be a walk, backwards and forwards. So you wanna get this feeling that you're not weighing down on her and she's not pushing to try and find you is I said you've touched, boom, you're connected. Now this, this connection is constant for our, all our lead. Now how this translates into our Who can pin my pin hooks in, but there's connected to her like the magnet. So it's got a safety guard of her campaign, but the feeling is like a magnet. So if I was to just take the hook away for now, la, la car thickness of thickness. Fingers are now magnetically connected. If I do anything to his hand or her core starts moving, my frames engaged. And you notice how I'm not leading with my hand. My hand stays where it is. Mapmarker moves, so our cause communicating now, okay, this is the feeling you want to achieve is a great fun exercise you can do with your partner. Try, try and find different body parts that you want to exercise. So she holds there and you can move around the room. No dancing, just walk around the room, exercise. It could be on the shoulder. You could do the same thing. Just don't gripper, just connect like a magnet can go backward and forward. And same exercise on your shoulder, you can just walk up a stop, play games that way. Go walk back. She's responding to all my movement or could be silly and goes sideways or CMS around, I can do body ROS, she'll follow it. So the idea is that you get an, a sensation, which is something that you don't feel in, in, in normal life. You have to learn how to stay connected for it, it is a very important way that we communicate. So this stealing is constant for our movement. This technique is extremely important for the followers. So usually the ladies follow. We have to be very sensitive and receptive to these like moves. So even when we are not when we do the finger, finger, finger, finger. Even if he's going backwards, I feel that release of magnetic connection and I know he's going backwards before he takes his finger off. So we have to be so receptive to that. Those little touches in the lead and follow in relation to our hook and pin. I see in classes that the lady sometimes are pushing down and the guys have to hold up their arms. So don't push down too much, but also don't have enough connection between you. Again, this magnetic connection, don't lift your arms up cuz otherwise you go higher and higher with your arms and you have no real connection. So make sure your arms sort of stay on this height and you have enough connection between you, but don't put too much weight on it. Yes. So just that magnetic connection, not too little. So you almost flying up and the guy has to follow, but also not too much pressure down. Just, just the right amount, which is this magnetic connection. 9. SS Salsa Partnerwork Vol1 4d Connection Closed Hold: Continuing with our variety of holes and ways we connect, there are a few ways we've used quite commonly. And number one, we call the closed halt. We just covered the open hold, but our hands in open position when and we're not going to cover. We called a close hold. The crows hold. It looks more traditional or how they're doing Bhoram. And usually I use my phone as my pin hook into left hand. My right hand comes through her her her arm and it goes on the center of her back, usually where the Brahmins don't go looking for it. It's just, it's there somewhere in the middle. So your hands in the center of her back. Wanna pull the heroines of it. So I usually kinda aimed for my farm being on the top part of her spine and my little thing of being on on on the bottom part is fine. But if you want to be slightly off, it's fine, but don't be too far away, then you know, you haven't got close enough Hold. Okay. So you want to be quiet center, not too low, not too high. You want to just be roughly where the broad strap line is. Ok. And so so when you're in this position, you also want to aim for, again, the your elbows not being too far back. And the ladies also the guy goes forward, don't allow him to collapse your brain. So you're in this position where she's she connected to me like a magnet but OMB pending. And then and we had this natural framed tilt forward. And then this is what we call the close hold. Makes sure you don't have your arms stretch to decide like this, make sure your arms are sort of relaxed. Sounds like a street dance, not the ballroom dance. So it's quite relaxed and bent. As a woman, you have your arm turning around. As a woman, you connect your upper arm to the guys lower arm here. Don't put all your weight down. Don't make it hard for the guys. Just place it on top and then your hand meets somewhere here on the back. So like we talked about in a magnet connection, my arms on the center of her back and my elbows not dropping down. Is it reaching up trying to find her? I don't keep pushing and and I put a shoulder off sync. I haven't a frame where it makes me how comfortable if you guys, if you much taller than a lady and loaded on to be to be sympathetic to her height. If you're much shorter, then just try and pop up a little bit more. But usually when you want to aim for is that the hands on the back is connected like a magnet. Discipline reaches up and finds her arm. So she's not weighing down on me. Makes very uncomfortable fruit. It doesn't take long for the shoulder start aching. So if you have a little check, it's quite common if you're, if you're doing a show f is quite a bit more proper. But as a street casual dance, we kinda keep things quite relaxed around him. Never too low. In an effort to close, kinda just open up and Strunk. So let's use our clothes hold in a couple of the basics we did earlier. We are going to work with the standard and decide step. So first of all, the introduction of the closed sold. It could be mid Dan's when the beginning of a dance. I would never just jumping, take a hand opening, grab a hold. I would have an introduction to my to my movement and I hold, but bash offering my frame in that close whole position. And then she responds in kind. So once I see, okay, he wants to come in for a close hold which is sort of this shape of his body. I just placed my arm on top and then I hook like this and I step into. And so visually it looks very different. If I was to come in with just an open hold should pick up straight away. If I wanted to do just dance in front of her normal on offering anything, but she'll pick up straight away. If I want to come with an open heart, my body's already in that position and then it connects. It just, it's a much more comfortable way of introducing your movement and the type of intention, your dance. It's sort of like consent. So he offers and you consent to do the close hold instead of just grabbing. All right, so let's work on one of the basics. So from the close whole position, the first thing I do is my body starts moving before my step. If you notice this are moving forward and there must step follows, step, step, step, step, step, step. So the first thing she picks up from my frame is the intention to move. And then as I step 1235671, I've transitioned between Basics. I'll give it a signal. Our bodies already started to move 123567123567. From the following perspective, she would feel so I can see it from his body. So it's not the arm as sometimes I see people pushing off their arm forward and back. That's not what's happening. It's literally the weight I can feel his intention coming forward. And then I already feel like I'm going backwards. And then when we take our first step, as we know, I slept with my right, he steps forward with his left and then we step in each other's gaps. Alright, because now we're quite close. If you take the wrong step, you're gonna step on each other's toes, which we try to avoid. So if you take the right step, we should be stepping in each other. Scap. So if we go forward and back, we go 123 now I mean, his gaps like that. But the lead for the leaders is more from your body. And then I can feel that a lot nicer than pushing and pulling with your arms. 10. SS Salsa Partnerwork Vol1 4e + 4F Connection Practice Together: Let's practice the open hauled steps and the close holds steps together. So we start with our open holds and we did the buck steps. So we go 123567, again, 12356, then we did 12356712356, and then we will transition into a close hold. So TOEFL explained. So from here, once I go from the open 123567, I start opening up my frame and offering the close hold. And as I'm transitioning into basic, i'm already in the closed position, 123. I'll show again. We've gone from open 12 free. I'm getting ready. 5678123567. That's a transition. The transition happens on 78. Okay. So instead of just coming back to open Hold on 78, I feel a slight pull towards him. So I know I stepped towards and he's offering his hand. So I know we're going now into close hold. I put mine on the top and then we're ready on one and then we will do two forward and back. So we go 123567123 and then inside 123567123567. So you always feel that lead to which direction we're going from your core and everything is connected to your core. So you can follow that lead. Uno dos tres cinco, say CSA. Oh no, press maracas. Although those dressed zinc Cassese breath, zinc contains CAT uno dos tres Bongo ora. Cinco satiated, single-phase, C-A-T. C-a-t. C-a-t. Guitar, plays uno dos tres. 11. SS Salsa Partnerwork Vol1 5 Right Turn: Okay. I will now explain the ladies right-hand turn. We're starting with the lady steps. So we're starting with half a basic 123. And then the term happens on 567. So on five, we step forward straight ahead. Then on six, you swivel around, so your feet basically stay where they are, but you just swivel around and face the back. So 56. And then on seven we close our foot together and then swivel around to face the front again. Let's do that again. We go 123, step straight ahead, then step to the back and civil around on 78 to face the front again. Once more, wiggle, 123567123567. Most important is that you stare straight ahead still on five. I see a lot of people already starting to turn on 55 is still straight ahead and anon 6-7, you start to turn. Let's do two more times. 567123567123567. So these are your steps. Now let's do it in partner. The partner work. We can start with one basic and then lead into it would a back step. So we're gonna go 123567. So here I've got the normal open hold. Let go of your right hand. So frees up straightaway going into your back step and not opening up to far one to free arrays the hand, so the elbows above shoulder height and then my finger push into her hook. And then as I lead her 567. So I have this technique where I use my fingers to kind of polish our halo. So imagine Halo there. Somehow pin points down like a needle on a record and it goes around the headlight is so this is where it's important that you are not too far or too close to your partner. If you're too close, she gonna end up bumping into all night, which I feel amazing. But from here, we're going to set 123. I'm just far away enough. R can still circled ahead 567. So I'll show you again back step 123, Halo 567. When you're doing a halo, you want to avoid giving a mix. It's more of a stir. So the thing doesn't wobble, are literally stay pinned down and she uses it as support in LID. Quite common a lot of time you see guys, they think I'm doing this 123 and they do this with a wrist and the risks ends up gyrating. You don't want to, you want to keep a knuckle, wrist and elbows, same height. So it's very clear lead, very much positive. Way to perform your turns. As a Lady is very important. We go 123, that you drop your elbow. So you never want to push up your arms too high. You sort of want to keep it 90 degrees in front of you, and then again 90 degrees up. So this is your position with your arm. And then once you've stopped, feel the leads into the turn, make sure you don't open up your arm, otherwise you lose all this time. And you don't turn yet. You go immediately when you feel the pressure, you go with it. With your body? Like this? Yes. So you don't open up and then turn immediately when you feel the pressure, you turn like this. So it could feel a bit stiff at the beginning, but it is a loose sort of frame. But as soon as you feel this push, you go with your whole body. So that's why it's important that you keep this frame we're talking about. So let's do it once more. We go 123567. Also, it will help if as a lady, when you turn, you bend your knees. So when I go forward and I'm quite bend, so it helps the guys, especially if you're a bit taller than the guys, are you wearing high heels, then it helps the guys to lead you and throw that halo. Let's once more. 567123567. And this is your latest term. Now let's cover the right tone from the leader's perspective. First of all, let's work on the actual step the guys due to create the right term for themselves. Okay, So from here, the guys are gonna start, let's start with a basic first, get you into it, 123567. From here, as I step on one or more, I will start turning to my right, shifting my way onto to stepping on free. Turning on FOR stepping back on 5671, more time. Basic 123567. We step, step, step, step transition for 567. Through try to impart the work. So for an apartment perspective, now, we have two arms and we have many permutations of how you can play with your arms as you go through the courses. When we do improve as intermediate, advanced, we're going to show you dozens and dozens of ways that we can use our hands indifferent and keep their hands low. Keeping the middle transition for your body from the shoulder over the head. Many variations there all possible. Let's work on one to get the foundations right. Then changing their hands afterwards is super easy. Ok, so let's do one basic first, we're gonna start basic 123567, that a signal to my partner. I'm gonna do a right turn, let go of my left hand. In this variation of the right tag, my hand comes up and again, I'm pushing my pen into the hook and not too high and not too low. I'm aiming just a just above my my crown as I stepped forward, 123 still keep a connection with the pin. I'm still hooked in. And then step back, turning off 4567. You'll notice now that I'm a pin is now on the thumb side. No problem. So let's, let's start from the thumb side. Now show you how things Tour works. So we go 12 basic 567 and then I can turn 123567. You notice what I did as I went up. I turn my hand and pivoted inside 67. So don't lose connection if you're in this position done, just let go and we catch, you want to keep constant connection to hold time. It gives you a very fluid clearly. So your partner's never confused about what's coming next. As the lady, you just keep going with your basic step. So whilst the leader is doing his right-hand turn doesn't really concern. You can just enjoy the view and then keep doing your your basic step, but never stop stepping. So we go 1235, 67. If you feel like the guys a bit too far away from you and he does this turn, then just take a very small step or even on the spot. So you, but you still keep going with your basic step. So if you feel like you can't move forward or back, then just step on the spot. Important is that you keep your timing and you don't lose which foot you're on. So you can go there and go straight back into your basic step. Let's now practice both terms. So the ladies, and then straight away the man's turn with counts. So ready? So both hands they used to are normal Open hold 567 basic, 1235671, more. 123, ready to break? 67123, Halo 567, basic to free. 5-6, One more One. 23 guys turns. 671235671231, more. 67123567, basic 23 guys turns, 67123567123567. Let's take from this side so you get both perspectives. So again, to basics 567, we step 1235672 to three. Ladies turn, and 123567, basic 235671. More, compose yourself, get ready. 5-6, tongue guys, 123567, basic 23 ladies turn 671235671, basic to free guys, 1067123567123567. The freshman, 15 12. SS Salsa Partnerwork Vol1 6 Left Turn: Yep. Yep. Yep. Yep. Yep. Yep. Yep. Yep. Yep. I will first explain the ladies or the followers left-hand turn. Let's start with the steps. We go from a basic 123 and then on five, we go 567. You do half a turn to the back. And k, Again, we go 1.52356, a turn to the back. Then on one again, we step forward. One, then two, we do another half-term, 23, and then we're back to our basic 567 once more. So we go 1.52356 a turn. And then we step two the way where we already facing to the back. 1.5 a turn 23. Finish your basic 567. Let me show you from the side. 567123567123567. So your turn is happening on the 5-6 seven, 1-2-3, and those half of basic on each end. Let's do it once more. 56712356. Open up, then step to the back to three, finish your basic BY 67. Now if the leader, from a learning perspective, you have to replicate how she would naturally do her left-hand. So as we do a basic 123 are allowed to come forward and five. And then I put a check here. Now, the check is responded with her having her frame. So at no point does her arm collapse if you relaxed her arm, that would happen. So then the whole move would collapse onto her shoulder. So she's holding a frame here. And as I said, she feels that she feels that there's a check as Sousa checkup. And on five, I start sopping hands and up comes a six, turning seven, and she lands on 123. So my steps have to stay close to her. If I was too far away, 123567, she would pull me off my feet so I shadow her. So that way, when we do basic 123567, I break 123, check on 5671 C I'm still within. Our range of, of framework. Okay, try one more time. And you've got options here. There's many ways to do the turn. The easiest way if we keep hold of both hands than simply 123, turn my hand so my thumb is downwards, still using my pin as the check I'm not gripping or anything and then I check it if I let go to hand 123D offer it. But here it's like pumped or palm. And this is the resistance we need that you know, something is coming. So this is your signal and how cheerful it explained when not collapsing the arm, you press against it. And this has given you momentum that you need to them turn. So you push and then, you know, you're turning. So importantly, ladies commit to the weight lower they would normally do today. We're turning by themselves. So let's try again. Keep both hands to give any open hold. Nice and slowly basic first 12356, back step 123, getting ready to check 567. At this point, we let go of our left-hand for ladies, right hand for the men, and we just hold with the other hand. And then we turn 1234567123567123567123567. It's very important for the latest that we stay on one line. So all I'm doing is on this line. So step straight forward towards my partner and then step straight back. So I'm not off my line to somewhere else, but I stepped forward and then back on that same line, and then again back on that same line, forward, forward. So I'm really moving on that one line. Let's show you from the other side. So basic 567, we step 12356, back step 123, check 67123, while more, 67123, check 671. Now, don't think of the checkers or push. I'm not actually assisting her by going check push. You don't need to because the check has a natural reaction to took to be countered. So if I just went 123, check 67, that's enough. I don't need to push it or delete is already being fed through milder, already measured. So talking off this arm, as we did in the right-hand turn, the leaders are still leaving the turn. So as in the right tab turn, draw a halo over the lady's head. Like a nice circles don't stir. And circle above her head like that. Let's do it once more. 5671234567123567123567. You can see that my free arm, I'm keeping it here during the turn. This is giving me stability and also nice frame. So I keep my frame, I have disarm 90 degrees like we did with the right-hand turn 90 degrees up. And my left arm is here as well, ready? Because when we finished a turn and we continue dancing, you want the hand to be shown. You don't want to drop it and then the guys is going looking for it. Yeah. So you want it right here in front of you so that guy can just pick it up whenever he needs your hands for another lead. Okay, in this section we're going to work on the guys left turn and how we incorporate it into the lead. First of all, let's see how the left-hand works for the guy. So starting from, from neutral position, let's do one basic first, we step a basic 123567. So you can see I'm on a line from our first step on one, a comeback on to step on the line free. Then I step 567 slowly again, 123567. We used a for any aid as a transition. So we're still moving on. Those times. Don't be so staccato. You're becoming one to stop, bicycle, stop. You want to keep the flow so quite smooth and consistent. This is kind of going to be a common thread throughout all your leading forever. So let's try again from basic, we step 1235671234567. Now let's put all that together and show how it works in partner work when you lead. So starting with a basic standard open hole position, we go basic 23567. Now what I'm gonna get ready to do my left hand, I have options to use both hands, but for now we're going to demonstrate just a one-handed version. On the left hand, there are many permutations, but let us go with one for now, and then we can add all the complicated ones later on. So I let go my right hand. As I stepped forward on one, my hands already turning, using my pin to stay in the hook, one to free. My hand is just above my head, not too high. Not too low, just above my head. And she staying close. So Karina is actually shadowing. These are not too far away. I'm also helping her by not stepping too big. If I step too big, it really pulled me away from her and she feels that she's being dragged along. And you want to avoid that. So small steps not only buy you time, but also gives you did just a movement to be smooth. So nasa slowly become 123, and then it would turn on for Step 567. Repeat one more time. Basic and left-hand. We go basic, 23567, left turn, 235671. More time. Basic, 23567123567. Make sure you dropped the hand at the end. So after you do to turn once more, 1235, C15, he's already dropped, starting to drop his hand. 6707 is should be here in your neutral position for an open hold. As a lady, you just keep going with your basic step. Make sure you always keep stepping. If you feel like you can't step forward for some reason because you're too close or you can't step back, just keep stepping on the spot. So you always have the right foot, OK, because if you stop stepping, then you might end up with your weight on the wrong foot. Okay. Let's do it once more. 567123567123567. Like mean the lady's turn. Jeff is also keeping his hands up when we let go. That's just the general rule. Whenever we let go, both ladies and men should keep their hands up. Let's try that from the other side so you get to see both sides of the equation. So from here, one basic, 567123, 567, let go 123567, gently with the hands to the one thing I never do is just drop them. I had to put on my hip or I fold it neatly behind me or keep it in frame. At no point do I just have a lazy arm. It never looks lazy. It when I'm stylizing, it's never it's always a reason why the arm is there. If I'm in frame, it's held me in this case as I turn of I go basic 1231. Simple option is Azure tented kinda handed a hip turn 123 and then let go when you get to here 56, ready to offer seven. This goes back into our hook and pin technique. So when you're turning around, your hands are always flexible so they can swivel around each other like this. So you never holding so you never start twisting anybody's finger and you also don't never have to adjust like that. So you just swiveling around. So once he starts turning, you can see swivel around. And as a lady, I just keep my make sure keep my fingers together and my hands flat so he has options to swivel around his finger underneath mine. Just remember to try and keep your connection when your hand is like a magnet. So with your watch from here, if my hand goes now she's following me. Hand goes up. Following me. So now point to our grip to take the handout. It feels natural to do that because we are we have pumps for a reason. But in dance that can get in the way and it, and it obstructs our lead in many ways. So who can pin is specific to our partner at dance and extremely important when it comes to just remember to try and make the touch like a magnet. And that will give you the kind of real smooth field. Let's try one lost with that smooth transition with your hands. Basic 56712356, left-hand photo guys, 123567. So if a practice, that's book, but both the terms together, ladies Tang guys tanh K, starting a couple of basics and we're gonna put a basic in-between just to give you time to readjust. Nice and slowly. 567 we step 123567123. Lay these, turn. 123567, basic to free guys turn and 12356 basic. One more for ladies. 567123567, basic to free. 5-6 guys turn 1235671567 from the underside. Ready? 2t basics by 67, we step 123567123. Ready? 67123567123, guys turns, 67123567123. Ladies turned six prep prep 23567, basic to free by six guys. Turn 12356715671, little tip I wanna give you guys is generally across a lot of the patterns you'll be doing over your time. There's a general feeling of you feel that you're asking a question on the 123 and she's giving you the answer on 567. So look at it. Our dance like a conversation. So if I say to, I want to do basic. She says, okay, no problem. I want you to do a left-hand. She says, Okay, no problem. So 123 is the question. 123. There's my question comes up and it checks here 56 seventies. Her answer. It's kinda like a good tip to kind of think of how you are, why you are asking question and waiting for the reply. So the answer is yes. The index is worth. 13. SS Salsa Partnerwork Vol1 7 Cross Body: Two things. And this part of the course we're gonna talk about a super important core technique, which is the structure, the dance we call the cross body. In this modern style, this is super fundamental to how we dictate our movements and communicate to our partner and how we read what she's going to do without even thinking about it. Now the structure, the dance, is built around two points. We use these two points to move around the room. Now, put points a and B. The lady is the, is on the structure of the DOM. Everything's built around home. So at the moment, it with no hands, you'll see the lady is what we clauses standing on point a. Now, point B is straight in front of her and somewhere slightly behind me or, or it could be on my point. So the whole point of the structure, the dance, and the whole point across body is to move it from point a to B. So we get dynamic in our dance. Otherwise we end up with dancing facing one way all night, okay, so the cross-product gives you this movement to move from 1 to another. And if you have the space which show you other techniques later, which allow you to move around and room using this structure to move around the room. So let's break down how we asked a lady to do across party for us. Okay. So from a basic step out step normally 123567, to recover this, now, I will change my step to be a crossbow delete. So this is termed as across bodily mu1 starts the same. She doesn't know what's happening. Nothing is different for her, but my 2's text takes a different form altogether. Step out onto and open up on free. So a few things happen now. One, she sees space, she sees the line is clear to go to her point B. This is a visual lead for her to take that lead and go to that point. So even with no hands, she wouldn't actually take that. So at the moment, I've opened a door. So let's go back to that little bit. So this is class as crossbow delete opening the door for her. So we're gonna go to one to free as she passes me by it does across body 567 are closed the door. Okay. Let's try one more time from this side. So he stepped nasa slowly. We step one out to decide on two, open up on free. She sees the line and she goes whizzing across 567. Okay. Can you keep your distance from a to B? It's fairly short. I'll say 45 feet is quite comfortable to go longer than that. You're really eating up a lot of the musical time. Now usually in performance is you might see people traveling quite fall, but they're trying to performance damn big onstage. But socially you want to try and keep your crossbow, the distance quite contained, and that will make it much easier to lead and you have more time to play with and music. So those are really important. So let's, let's just now try the same thing with our open hold. So again, the steps are exactly the same. I mean, you can do does it across body just steps will always be the same. Hands can change all day, but defeat would be the same. So slowly start with a basic 123567. I will start my cross body lead 12. Now I keep my hand out here. I didn't tuck it in outdoors. It makes everything quite uncomfortable, so I'll keep it out as he passes me by. We stepped to get it 5671. More time from this side, we do basic fairest, 1234567. We open up 123567. Some more test. The ladies. Ladies, if the guy makes a mistake and it gives you a cross body lead and he's in your way. Don't be nice and go round him. Then you're breaking the structure of the dance. So he's better off trying to understand that. To give you across the body lead, he needs to be out of the way one to clearly added to it. Okay. So that's one tip. So if you're stepping, be very clear about your cross-border. Don't be ambiguous for me stepping here 123, crystal-clear distance to travel. So ladies, don't meander line. So and don't all of a sudden want to change your point B, if you decide you're point is going to be over there. You're gonna confuse demand because he's assuming your point B is exactly down the line. So then all my lead in with my eyes closed, I would assume you're gonna finish on that point, which makes my lead for my next sequence super easy to lead for you. Okay, so that was the opener. Let's try the same thing that a close hold, but a close sold again were not standard position. And then we do basic first 123567, saint for work. One to open, closed to seven. Again, basic to bring 567123567. Another tiny tip. From here. You can see earlier, I can lead the crust body with no hat. I can just simply offer it 123 and she goes 567. So when you're doing your handhold, try not to get tempted to push the one down. Or if you in your closed position, don't push the one. Delete always comes from the core. So the arms are always the last form of communication to lead into something else. So when you get it from this point, you see I'm not using my honest or staying in frame and we stepping 12 free, I'm still not using lambda only in frame 567123567. Okay. I will now explain the steps for the ladies in the cross body move. The cross body morph is very fundamental. We even call it cross body salts are sometimes because the whole structure of the dance is structured around this MOOC. So the aim of the MOOC is bringing the ladies from point a, which we are in a line. And we, the whole dance is in one line. And the latest one that gets from point a to point B, always staying in the line. So the guy has to step out of the way. So just move out of the way. So we can move to our point B and then he can come back in, in front of us. So basically that's sort of the aim of the game and the aim of the crossfade. So in terms of steps, we just start with a normal half a basic. We go 123567. Now into the cross body, we go 123 on three. The guy is out of your line which you own, okay. So you don't go away from the line ever. But now that the door is open and you can see your pathway. So now you know, he wants you to go there. So we just walk forward. We go 566, we start turning and on seven, we are facing the men which are now in, who are now in front of us. So if we want to do that again, our footwork is just par for basic 123. Now walk forward five, take another step and start turning. Six. And on seven, we finish to the back facing the other direction. So you do sort of half a turn during these steps. Once more, 567123567123. So you're now on this side. Let's do it to the other side, 567123567123. So these are your steps. As you can see by the structure of the dance. We don't need a lot of leading with the hands already. We can do this move without even touching. So if you're doing shines and it's just free standing in front of each other. You know that if the guy steps out of your line, you across, so we can leave this move by the structure only and without the help of the hands. So let's do it once more, a little bit faster. 567123567123567. But of course we can also hold each other. So let's do an open hold. So who can pin like this? And we just do this step again, 567123, same thing. That guy should be opening up even we're holding hands, but he should be out of your way. Opening up the hands like this. And then we go 567, again, 123567. And then obviously we can also do it in close hand hold like this. 5671235671235, 67. Again, generally in this MOOC, it's led by the structure. We don't need a lot of pulling and pushing. So you already know where you're going anyway, even without any signals. So let's put all that stuff together and put it into count. Ok, so starting with the closed hold him, I keep engaged. So we go nice and slowly to basics and basic 2356722356, cross body, 123567123567. Basic one to free our transition, but a stepping away to see my transition from going close to open. So from here actually does basic 12 free or started away 567. So it's a very gentle pulling off a little bit further than would do normally. Many times you can transition, but this is one of the simplest ones to kind of get your head round. Now when I transition, I didn't jump from closed to hope I keep my connection with my right arm PC from here. And I go from here back to show their elbow connect. So constantly communicating the whole time my intention to change holds. So we go from here, we've gotten close, just do a basic basic 23, stop pulling away more. 567. As a lady makes sure you don't lose contact. Same thing. Keep your arm. So when these pulling away, keep doing your basic 123 and just slide your arm along his arm and make sure your hand at the end is a hook. So once it reaches the hand, rub, it hooks in like this, like a magic. So try and keep this smooth transitions. It means you're constantly communicating. This is not a leader thing or a follows in this. Both of us constantly telling me the whole time what she wants to stay connected to. So basic and we pull out into transition of the open. We go 123567. Now let's do a cross body with open hold. 1235671 more 123567. Now to for me to go to into no hands, I can simply just let go and go into 123567. Yeah. It sounds obvious, but try not to be so one to Frodo hands away. And it's happened sometimes you just, you know, just avoid that trap. Try me things I think smooth and an almost seamless. So the transition again from the open, sorry, open, we go cross 23567123, get ready to let go, 6712356. And usually my linking transition moves happen around seven to eight. Kinda pre warning about what's going to happen in the next bar. So that gives them a quiet, clear signal. And ladies are usually very receptive to a pre warning. Don't shop than with leads all the time. And then with outs hold the cross body, 567123567123567. Ok. 14. SS Salsa Partnerwork Vol1 7f Reverse Cross Body: Two, no domain. And this section, I'm going to break down for you the cross body lead in reverse in the normal cross body which we just did. The the guy opened up to his left and the lady turns to her left. But we did earlier 12 free open to my left, opened. And she travels down and turns to her left Norm. The reverse is, is just a mirror. We're now going to be on the right side. So I turn right and it makes her turn right. Two. So from here, the steps are one, normal. To start opening out free. You create the space and you open a door for the cross body. As he passes by, you go 567. Now, the steps are not exactly in the same place all the time. It did it determined by how far the lady travels? Depends on if you want to add some dynamics to it, but for now, keep it simple. And I'm, you know, I'm almost stepping just underneath my hit another stepping too big or too far. Let's try again slowly. So I'm in a normal frame position. One is normal, one open up unto freak. And then I followed through 567 and Step one to close the door. Okay. So that's the cross-product reverse in a closed hold position. Let's try one more time for practice. Let's do a basic first, the step 123567123567, a little tip and it'll be tempting to trust the void is don't pull your lady would your arms my arms almost staying still. So if I was to do this move by myself, I would literally, my arms are just fixed to my body and not moving. And the sense of 123567 tries to avoid the, the happens quite common. 123, they pull along the arm and then the pusher, sort of pushing or pulling on Avoid a lot very uncomfortable for the ladies. And it doesn't make you look smooth at all. Really. It looks like I'm doing a lot more and more analytically to staying in position. So slowly they're just going 123. And my body leads the cross body. 671, ok. Now the transition from the close to the open, I also do the same as before. If I am enclosed, if I did a basic 123, pull away, 67, still keep in connection with the arm going from her back, shoulder blade, triceps, elbow, hand. Okay. Therefore, the signal is continuous and very easy for her to pick up. Ok. So let's do a basic and go into the open hold, 123567. So in one bar of completed open hall. So the open hold, same again with the reverse AS The same steps, one open to free. She sees the line and then travels past you. 567. Same again, one open up to free. She's got a clear line. So she sees the path to her point and my hand is not cutting across. Again, I don't close my body. Very, very uncomfortable. Try and open up and then you can get closer. 567. Okay. One more time for practice to square both sides. We step 123567. You know, it's I'm not pulling on the arms. Arms that is moving with my core. In, in dance terms we could as core leading. So you'll see leading from your core and the arm is just the extension of your core. And we step one out on 23567. Okay. So I'm reliant on the ladies holding the line, but I don't dictate how how far that is the others trust a lady will go from point a to B. My latest perspective, you have to sort of follow how far the lady SCO as Jeff already said. But in a close old you have pretty much control of her butt in the open Hold. She has a bit more free them and might travel further than you think. So if for example, I travel further than Geoff has to keep up. So if we go 123567, Can you see his last two steps were very much to the front to stay with me. So don't try to pull the lady into a specific point with your arms. Just give her freedom and she will walk until will end up wherever she wants to end up. And you have to follow in in this case here. So we go 123567, 123. Like that. Generally, from a leading perspective, I try and keep the points from a to B quite contained. But the lady has got a, a long Cross body line. I would end up struggling a little bit longer. It makes it a little bit more difficult, especially if the song is quick. But as you, as you become more experienced, you're dancing. You, you will naturally adjust your lead to be more contained and a more contained you're dancing, the more efficient you're gonna move. So try and keep your cross body points quite short for now. And then when you get the experience, you can start expanding and playing with more varieties of that. I will now explain the reverse cross body from the latest perspective or any followers, right? So in terms of the steps, we go, normal basic, half a basic first. So 123 on three leaders should be out of the way and our line is very clear and visible. So for you, that's the signal. Walk forward. So then we go five, just step forward, six, step forward. And then on seven, we start swiveling around to face the lead there again. Once more from the other side, we go to space, say cough or basic. 123. Then two steps to the front. 56, swivel around on seven. Sometimes enclose hold, you already start turning on six, but that's all dependent on the lead on how close the guy's holding you. So sometimes we go 12356776. I'm already turning. It. It really depends on if we're an open hall or close Hall, and also on the guy's movement a little bit. Alright, but these are the steps. Let's go into hold. So in a close hold like this normal standard close Hall. And we go 123, then walk forward 567. The lead is really the guys shouldn't push her polio with his arms. The lead is really, you receive it through his body movements. So whilst he is turning turning with him in front of him. Ok. Let's once more. 567123567. So I'm pretty much my chest is always sort of facing CEF like that. Okay. Now let's do open hold 567123. We'll forward 56 turnaround and seven again, 123567. So just make sure you always stay on your line. Obviously also depends on the guy, on the leader. But he should be away from your line and you just walk straight forward. Don't go off in any other directions. Keep your line ONE, your line k. So let's practice all that to music. We're going to do for crossbreeding reverses. In the close hold would a basic in-between, then for cross Modi, reverse with the open Holt, OK, start with couple of basics. Can impact your panna in for the for the movement, nasa slowly, We bakes 1235672 to three, cross body reverse, 12356712345671234567, 12356, basic one to transition phi 6-7 for ofs 23567 cross 23567, cross 23567, Last 1235671, will cause it to happen. That's no good. 15. SS Salsa Partnerwork Vol1 7k Cross Body Mix : As a professor. In this section we're going to cover what we call a cross body mics. Now what that means is it's a mixture of the normal cross body lead with a mixture of the crossbow, the reverse. So sometimes I would do normal and greener would do the reverse or vice-versa. So let's cover the lead aspects from that perspective, starting with the feet. So I'm going to do a normal version from an, from a leader's perspective. And I'm going to invite Carina to do the reverse from the follow-up perspective, how we lead them. So let's start with a footwork. My foot work would be literally the same as my normal cross body lead is just 123567. You notice nothing changes from an IT perspective or shade Eigen decide 123567. The Big determining factor of what you lead in his case is how my arm is positioned. So if you notice my arm now, so my osteonecrosis body lead one to free. Now already on free, my arms a lot higher than normal. So there's already something changing in my signal to my partner. As he passes by on 455 already, my hand is is in her face. So and if he passes by six and I load a hand, seven and I closed the door is different. This side, we go 12 a raise my hand on free, or she passes by overhead 56, she turns ulama Han and close the door on seven. So you notice now this is what we mean by the mics. I've done a normal cross buddy and she's done across body reverse. So one more time for practice. We step one to raise the hand on free and passes by 67 makes you still close the door. Otherwise, you're gonna keep thinking that you're inviting her from war. Okay. Let's try one more time. 123567, again, 567123567. From our followers perspective, the most important things are that you open up your arm. So on 123 that you have it nice and opens. I can still see my line if it's in front of me, I think I'm gonna turn to the left. So if it's open, I can already see that thought. I'm going to go through and then raise your arm up. So even more obvious now that I'm going through that gap. 56 and then on seven, you bring your arm down and that will make me turn. So that pressure here, that is what makes me turned around to my right. Okay. Once more, 567123567123567, other side, 123567. So we covered the male lead from the normal perspective of the cross body into the ladies Reverse. Now let's do the other way round. Let's flip that. So I'm going to lead now the cross body leave on reversed and the lady will do the standard version. So this time I'm going to choose my right arm. In reality, I can have multiple combinations and both hands crossed hands, top, bottom, but I'll keep it really simple and to show you my right with her left. So let's do one basic first we step 12356 or seven, starting for the theat. Again, my cross body reverse lead is the same footwork. It just goes 123. And I'm now raising my arm so that she can pass through 567, allowing her to turn to her left. Okay. One more time from this side. I opened the door 12 free. Again. Just the reciprocal will apply. My right-hand stays in front of her, raises upon free. She sees an arch to walkthrough and doesn't get tempted to turn to her, right. So we stepped through 567 and unload a hand to close the door. One. Ok. Practice again. Nice and slowly. We go 12 up on free will for 56 close. 7123, again, 5671, open to raise or 67. Okay. A few tips is as you progressing. One, to stay close, keep the hand crystal clearly you want to be up dark variations where you can be in the middle and lower, which we'll cover later. So but for now, keep your hand higher. Says clear, don't be so low that she has to have an odd duck. The be quite clear that you underhand way above her crown yet. But I hate she's kinda she can see she's going to walk into a hand. So ladies, that happens. Helped a guy a little bit just raised their hand for him. So he step again is try slowly. One to raise their hand. Walkthrough, 5678567123567, other side, 123567, from a lady's permanent of you, it's most important that you are out of her line-like always. And that you raise your hand high enough so I can see that art. And I know that's where I'm going. In this section, we'll cover a move that's a mixture between the normal standard cross body move and the reverse cross body. So what that means is that one of you, so either deleted as the cross body and then the follower does the reverse or the other way around. So let's start with that. So the leader does the normal cross body and I, as a follower, I do the reverse. So our footwork is exactly the same then the reverse cross body, the only thing that changes is the lead. So we go into half a basic 123. So he has opened up the line for me, but he's holding my right hand and the arm his arms should be extended so you can still see your line. So it is not in front of you covering the line. You can still see your line and your pathway there you're gonna go. So then we step forward on 56. So at this point, you should have a big opening in front of you, like a door. And then on seven, you turn and you feel this pressure above your head from your arm and you turn to your right, like this. Okay. You are doing the reverse cross body even though he is still on your left. Let's go again. We can go from the side, you can see better, 56712356 and uncertain I turn, make sure you're very receptive to his lead. So don't let your arm go too far behind you. Stay here. And then when you feel that push, you turn with the whole body. So if we go into that position, we go 12356. So here I'm already feeling that resistance because my arm is collected to my shoulder. And then when he turns me around, I turned off my body instead of letting my arm go and then turn. It's very important that you always keep your arms connected to your shoulders. Otherwise you'll get a stiff neck and shoulder problems and that slightly they interests even. So make sure you keep your arms in front of your body at all, at all times and received the move and follow with your whole body. Let's try it once more. 567123567. Also, I really like this movie because he can really own your line and strut your stuff down your line. Ok, so be really confident with this MOOC. You can pick up your legs even more like that. Let me show you how you can put a little bit of flavor onto that move from this side so I can see 567123567. Okay, you can be really confident in that move and show yourself off. Pick up your feet like this, and then you can also place your hands on your hips. Okay. Let's do that once more. 567123567. Okay. So that's the first version than the second version is that you are doing a normal standard cross body and your partner is doing a reversed cross body. So this goes like this. 123. So now he's holding your left arm. I'm like go off your right hand. And again, like with the other one, you see this opening here, the stored that we'll go through. And then we go 56 and you turn over your left shoulder. So standard cross body. But because he's doing a different move, it looks slightly different. Let's do two it up to the other side, 567123. You see the opening here. Make sure you have palm to palm and you have a good connection. Your arm into your shoulder, then we go 56. I feel the pressure here which makes me turn on seven. A bit faster. 567123567123567. If they if you're stepping quite far and the leader is not coming with you, then you might have to turn a little bit earlier just following his lead. So you're not keeping your hands behind you. Let me show you just that 567123. So I'm stepping far five and then I already turned on six because he didn't follow me. He should be following me because at this point you're dictating how far you're going to go. But if he's not, then it's better to turn then to have your arm behind you. Okay. But generally, you can strut and feel confident without stepping too far. We want to keep it quite like contained like that. And just move your hips. Okay. So let's do it once more. 567123567. So some tips and practice as a general theme with all the crossbow, the variations, be it the standard beta reverse beard, a mixture of them you want to retake weighed. The concept of how across body is formed. In a sense of the line from a to B is really owned by the lady, the structure of that line, that's, that's her that's her territory. As a leader, I would work around the perimeter of the line, are cut across the line. I would stay on the line sometimes to ask her to stay on one spot, but the ownership of the line is really the lady. So this dance is not I say, and she follows, is a case of we kind of work as a conversation and. And we have this relationship where she owns the line and I work around it the whole time. So basically from where her point is on a to B, this is all her territory. So she moves really important from the lead perspective that lady holes that line really well. It makes all my transitioning much easier to lead and for her to follow and understand my late so I could work around her and go round at a whole town across a can jump across and check. Sometimes are going to be playful. But when I'm open and I'm expecting transition the whole time. So that concept of cross body is really important to take, like I said earlier, would be the standard, the reverse or the mixture. Try and keep that at the fundamental of your movement. We will show you later how you can move the line around the room so you're not dancing like dominoes, looking like very fixated. In one position. You can easily move around the structure under embouchure your techniques more courses, but let's get this concept down to a t. So should we practice the sequence? Yes, as a lady, you, again, you really have to hold this line is most important to you. And especially at the beginning, if you dance with somebody that's more advanced and you get a bit confused, but this is an older turning. Just go always back to this. This is my line because I see sometimes lady scatter bit flustered or they think they should be doing something and they don't quite know what you can always go back to. If he's in front of me, I'm not going anywhere. I'm dancing on the spot, turning or wherever back and forwards, but I'm not going anywhere off. And when he, once he moves, I'm going straight down my line. So you can always hold on to that line and be always very secure what you're doing. Thrift practice, we're going to work with one basic and then normal for the leader, reverse for the lady. The step basic 23567123567, basic 1-2-3, 4-5-6, repeat 123567. Now let's flip it. 23567. We go 12356712356. Again, 123567. And what should we try it out to music? It's just it's performances. 16. SS Salsa Partnerwork Vol1 8 Routine 1: Let's put all these moves that we've just learned into one mini routine. Point being that you start learning to mix and match all those moves so you can work towards your freestyle dancing. But we're just giving you one example how you can mix and match the moves we've just learned. So let's start. So we start with a basic 567 and basic 235671 more 23 strain decides that 7123567 strained across body. 123, standard version 67. Go back to the top. There's two standard basics. One sidestep, one standard cross-border. Easy. So we go basic 23567, second base, 23 sidesteps 7135, cross 1357. So password across buddy. I want to transition into an open hold so we use the same technique we did earlier, which is sliding down your arm. So from the cross body, we're going to go cross to free, slide down 67. So as I come across, CEF is staying slightly backs as a leader, you stay slightly back. And I keep going with my normal cross body, which takes me slightly away from him. And then I can slide my arm down into an open hall. So it's a very natural transition. Let's just try that. Move again. Just the crust body. So your clothes hold. We go 123567. Slight. Okay. Let's go from the beginning once more. 56 basic, 12356712356 side, 12356, cross body, 12356, open old. Moving on. From here we go into a single term for the ladies to her, right? Okay. So we go 123567. And then from here straight away without a basic, that guys are going to turn to their left, 123567. So this is a very sort of common combination that you can do single term for the ladies and then for the guys, let's just do those two single terms again. We go 123 567123567. Let's remind ourselves from the beginning. From the top, nasa slowly 567 and basic 23567, second base 23 into sidestep Seven Step 135, cross body, one by sixth, seventh, single tan phi 6-7, singleton 5X 67. Okay, moving on from here. We're going to do a cross body reversed from form, from both sides. So simply from an open hold, we're gonna go 123567 today again. Good cross-modal reversed when we did earlier, 123567, wherein open hold at this point, so we're doing the cross body reverse in open hold as we learnt it. Okay, let's do it again from the beginning. The whole thing, 567, basic, 123567123, side step, 12356, cross body, 12356 turns. 12356712356, reversed cross body, 123567. Just to finish it off, we can just go back into our normal basic in open hold, 123567. And then later on when you learn more routines or if you fancy adding any of the other moves that you liked, you can also do that. So let's do the whole routine again. But on this side, so you get a full picture of how it looks. Nice and slowly to basics, 567123567135, side 1356, cross body 123, 5-6. Slide down, prep the singleton, she turns right 67. We prepare our Tang, Tang left 67, we cross to free on reverse 67 and basic to end sequence. So knowing how to do that too. Actually this is the same. 17. SS Salsa Partnerwork Vol1 9 Routine 2: Let's now show you another routine where we're going to combine a lot of the core techniques that you've been learning on this course is going to be mix and match, and a variety of how you'd normally put them together socially on a dance floor. Clearly, there's many permutations, so we're going to show you something that's quite popular at this level for you. Okay, so starting with an open hold, nice and slowly, we're gonna do a standard basic and 123567. Second part is going to be across body reverse for the lady. One to raise the arm. She walks through 67 Reed hold again and do a basic 123567 into an open 123567. Let's go from the top. 567 basic 123567, cross buddy, 123567, basic 12356, open. 123567. A couple of things. So the cross body is obviously one of our mixed versions where I do a reverse and CEF is doing a standard cross body. So if you just want to go from the cross body again, 123567, we face each other and for the basic, we go back into an open hold, 123567, then we go into our open Basic. And for the ladies. And when we learned the base, the open basic, I just showed you a simple arm to the side, but you can also extend the arm a bit further up, diagonally to the top and stretch your arm for a bit more of a dramatic showy effect. So you can try that or to keep it how you learned it by your side. Okay. So from the from them back basic, we go 12356, open 123, 567. Let's do the whole thing again from the beginning. 567 basic 12356, cross reverse. 12356, basic. One, Two, Three, ready for open 67123567. Moving on. We're not going to do a write towns for the guy who we're going to step 123567. Repeat that for the guys. A step in 123567. Moving on, let's go for a cross body reverse mix with the lady doing a standard cross body and the guy being on the reverse side. So nice and slowly, we're gonna step 123. She walks through 567. There's take it back one bars or the guy from the guy single term to the right. Nice and slowly, the guys turning to the right, we went 123, pick up 67 straight into the cross-border, reverse 23567. Let's try again from the beginning. 567 basic 12356, cross buddy. 123567, basic 12356, open. 12356, right until 12356, cross bloody One, 23567. Ok. Let's continue. From here. We go into a basic 123567 and then into a ladies left-hand turn. So we go 123567. So adding that on to the end of the routine. And then just to finish off with, we do two basic back steps. So we go 123567 and that's the end of the routine. Let's rewind a little bit. Let's go from the cross body. So from here, after the right-hand term for the guys, we go 123567, basic 12356, left-hand, 123567, 123. And back step, 123567. Let's try the holder, a team from the beginning. Reading 567 basic 12356, cross body, one to reverse for Lady 567, basic 2-3, open and one and 56 single turn 12 for the guys. 567 reverse cross body for the guys, standards for the ladies. Basic to free single left turn, ladies 123, check 67 or basic 2-3 and finish on a back step 1357. Lesser the whole region again from this side, so you get to see a full picture of how we lead and follow up. Nice and slowly. 5-6, seven basic 12356, cross body reversed for the lady. Standards for the guy. Then based to three. Ready? Open, one too free. And 56 singleton guys, right, turn. And 56, 57, cross body reverse for the guys, standards for the ladies and basic too free. And 567 prepper singleton. We check 67. We basic 2-3, ready for the finale back step and 123567. And the effect. Okay, so that's it.