Salsa Dance Partnerwork Course - Intermediate Level, Complete Course Part 1 | Incognito Dance | Skillshare

Salsa Dance Partnerwork Course - Intermediate Level, Complete Course Part 1

Incognito Dance, New Salsa & Bachata Courses

Salsa Dance Partnerwork Course - Intermediate Level, Complete Course Part 1

Incognito Dance, New Salsa & Bachata Courses

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
19 Lessons (1h 36m)
    • 1. Salsa Partnerwork 1 Introduction

    • 2. Salsa Partnerwork 2b Inside Turn Variation 1 Explanation for Men & Demo

    • 3. Salsa Partnerwork 2c Inside Turn Variation 1 Explanation for Women

    • 4. Salsa Partnerwork 2d Inside Turn Variation 2 Explanation for Men

    • 5. Salsa Partnerwork 2e Inside Turn Variation 2 Explanation for Women

    • 6. Salsa Partnerwork 2f Inside Turn Variation 3 Explanation for Men

    • 7. Salsa Partnerwork 2g Inside Turn Variation 3 Explanation for Women

    • 8. Salsa Partnerwork 2h Inside Turn Variations Tips and Practice To Music

    • 9. Salsa Partnerwork 3b Outside Turn Variation 1 Explanation for Men & Demo

    • 10. Salsa Partnerwork 3c Outside Turn Variation 1 Explanation for Women

    • 11. Salsa Partnerwork 3d Outside Turn Variation 2 Explanation for Men

    • 12. Salsa Partnerwork 3e Outside Turn Variation 2 Explanation for Women

    • 13. Salsa Partnerwork 3f Outside Turn Variations Tips and Practice to Music

    • 14. Salsa Partnerwork 4b The 360 Variation 1 Explanation for Men & Demo

    • 15. Salsa Partnerwork 4c The 360 Variation 1 Explanation for Women

    • 16. Salsa Partnerwork 4d The 360 Variation 2 Explanation for Men

    • 17. Salsa Partnerwork 4e The 360 Variation 2 Explanation for Women

    • 18. Salsa Partnerwork 4f The 360 Variations Tips and Practice to Music

    • 19. Salsa Partnerwork 5b Routine 1 Explanation, Practice To Music

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Salsa Dance Partnerwork Course - Intermediate Level - Part 1

This course is perfect for all Intermediates who wish to push their new techniques with beautiful new variations.  We will break down 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

Teacher Profile Image

Incognito Dance

New Salsa & Bachata Courses



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

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Salsa Partnerwork 1 Introduction: Hi, my name is Karina verse and I'm Jeff opinion. And we offer Incognito dance company. Welcome to our spouse or partner with course for intermediate. In this course, we will build on the core techniques and moves you learnt in the beginners and improve this course. We will teach you more complex versions and combinations of those moves. These term patterns will make your dancing more dynamic and interesting. And it will enable you to interpret a music in a very fun and interesting way. Let's get started. 2. Salsa Partnerwork 2b Inside Turn Variation 1 Explanation for Men & Demo: Yeah, thank you. Lack independent scan adult poet as a medium itself, deceiving sooner seeing CIA, Pamela way can locate pass the thing HE further west willing the border where all mapo tofu passing escaped guano, same wider range of travel. Then we go back over other tools where Tacitus, when Dan is, you cannot avoid that. Hey, welcome back my wonderful friends. In this section, I'm going to cover one of the variations we showed in the demo, which is the cross bodily change hands on to the right with right. And I'm going to explain the male side of the leading. So let's start off with, first of all, the whole routine will start off with a normal cross body. 123, I'm gonna change hands on free. Okay? So again, 567 with that basic 123 and already I'm starting to lead her left hip forward to mark the five. Ok. So again one more time. 567, we go 1235. Technically, I'm still using my HER campaign technique. Some people call it Spiderman hands because if replicated Spiderman comic genre, you'll see, remember the fingers are very rigid and very clearly separated. So if you're not used to kinda hominis position which is quite normal, trying adjust them, hold it. After many, many weeks and months, you ill feel normal and natural and it's super comfortable for a lady to fill the lead from these two strong fingers. And then from here when I pick up my partner change hands, one to I'm using his finger to push in to the hook. So ladies hook is a good hook so which I use a lot. So who can ping from him? So again, one more time. 123 are marked a five. And you'll notice I'm going try across our body to get this angle of her hit. Once I know that she's prepared, then I'll actually follow her. She because she will be doing the inside ten and an I still turn around with Hailar, the head TA here. And my hand will be in this position where Marfan would be down, which is fine. But then what I do is I kinda do a backward hair comb. Take over my head. It's just more comfortable than doing this. Forced me to duck. But turning my fun downwards and pivoting in her hook, I can replicate. I can put the hand over my head like so. Let's try it from this site. National slowly. We step 12 free, see the hand change. And then she passes me by 56 overhead, I stay close. So then when I do a head come, I'm not ducking forward. If you're too far away and you try and do a hair comb, you're gonna end up bowing and bending. And that will take your core offline. Aesthetically, it won't look as nice, but it's not the aesthetic you should worry about. It's more technically you're weakening your core and you'll feel like you're being pulled in Dragon or vice versa. She'll feel like you're dragging her. So one more time, both sides, nice and slowly. One to hand change Mach 567, nice and close over the head on eight. And then, and then finally you seem I'm sliding down to catch from this side. Nice and slowly we go 123567 foot work wise. It's just across body lead for us. So as, as it's an insight turn as well, make sure you like with the normal version, with the standard version that we taught you earlier on, you make sure you bring your arm out on 5123. So five is still a mark out and then you can bring your arm towards you on 567 to do the term. So make sure you out and then do the turn, bring it towards you. That makes me turn. And then with the hair con don't feel like you have to rush. Just you can always do it on one T3 as well. Take your time on the next aid and you can do the hair comb like that, especially when the music is fast. Don't feel like you have to be finished with the move on. Eight, ready to go into something else and one, you can do it on 1-2-3 as well. So we do again, 567123567123. Also, you can see that jeff, Well, you can do just normal crossbow, the footwork, but sometimes just for a style. You can also turned a little bit over already to face away from the lady. And then you already here. Just make sure you always step on 123567. And then how much you already turned on 123 you can be to decide or you can already sort of face the other side and then turn the lady from here. Doesn't really matter, it's up to you. You're styling. Let's do it again. 567123, Mach 5567123567, again, 12357123567. 3. Salsa Partnerwork 2c Inside Turn Variation 1 Explanation for Women: Welcome followers. This is the section for the inside term, variation button for the followers. Okay, so in terms of footwork, it's exactly the same than a normal inside ten that you already know. It. The only difference is the heightens the lead. Okay, so we start with a normal 12 and then on three, the guy will swap your hands. To the other hand, those transitions should be very clear. No need for you to know anything. They would just swap it into the other hand like this. Then they also, like usual, they step out of your line so you can still see your line, even though this hundreds now across like this, but just ignore that is still your line this way. Let's do 123 again. We go 123. And then on five, like usual, the leader would do a little, little signal like this little tap. And then on 5-6, seven, we turn around. He's bringing you in 56 seven. And then he's bringing your hand behind his head. So for you it's basically the same foot work, the same sort of turning, just a little bit different with your hands. So once again, we go 123 to make sure you have a nice hook here so you don't slip off his hands. So keep your hook some firm. Step forward on five still no turning on five. And then here you can you can hold his shoulder. It's a bit of like cuban styling more to hold the lead the shoulder. If you want to be more elegant, you can just have your hands to decide or in front of you like this. It's up to you holding your shoulders. Maybe if you lose a little bit of balance or you're not quite sure where you're gonna go, might be a bit of stability for you. Otherwise, you can hold it here or out to the side. And then we turn 567. Sometimes when I feel like I'm not quite getting around, then I do my syncopation steps, so 567, but you can also do this turn was just stepping on 5-6 seven. Let's look from the other side. 567123567. And then you step back on one like always. Like always also makes sure you step, you step on your line is stay on your line. Dumb. Go off because of the turn. Let me just show you from our line being this way so you can see how the leader shifts of your line. So first you won't be able to see me. 56712 here I am on my line. And 5671. 4. Salsa Partnerwork 2d Inside Turn Variation 2 Explanation for Men: In this section we're going to cover the second variation of the cross body inside turn. From here, I'm going to give you the male perspective of how we lead it and how we make it comfortable and clear for the lady to understand the lead. So from a from a two-handed hook and pin open Holt, You're going to across body 123 foot work wise for the guys still exactly the same as a normal cross body. Or you have to do is make sure that you shatter your partner. As here, I want to mark the turn. There's my marker on five. And keeping a hand quite close to give us more comfortable. Ladies attend. He turns. The her right arm, starts to Halo her head. The lifetime is following closely behind by target registers and are waiting for her. Still both hooked and pin. And then from here, just before she finishes completes at time, I flip this one gently down and then I pick up slow motion. Let's go for it again. So here we cross body inside 12 free marked the term. That's the signal to tell, which asks you to turn from here. When she turns, I keep the halo going. The left hand is slightly behind the right-hand, botanically finishes, goes the hand. And then you wait for her. Remember also as a sensitive leader, you really want to be patient with taking a hat as she turns. When we get to this section here I flick, I'm not already asking for how I'm very laid back and just waiting for the hinterland is gonna come down to that point. At some stage, we have plenty of time between a next sequence to pick up their hand. So ladies won't hold a hand up in the air for too long. They will know the can come down usually within a half bar or a bar count. So from this angle, nice and slowly we go 123, Mach 567, flick 123567. Notice I didn't pick up the handle quite late. Perfectly fine. Again, one more time. We go. 1234, Mark 67, flick, 123567. The flick is very much down. And also there's not that much force. It just sort of give a impulse down like this and then go down. And I know I have to go around. So you don't need to like leads where the flick is going, need to sort of let go a little impulse down, and then I know how to flip my hand. Also what Jeff already said, as a lady is quiet. It's more comfortable if the hands are quite close together. If you try to be too far away, then we get into strange positions. So keep them quite close together when we do the term. And then when you come down, they can go a bit further apart. Okay. Let's do it again. 56712356, see close together. And then here we are apart. Once more. Just want to hold it there. Again, 123567. So here we're sort of in this position. So Jeff moves down his hand here, do my elbow, and then flicks the top hand down and round like this. The beauty of these variations is we're showing you this free. But to be honest, we can easily do a course on free 400 variations. There are so many options, but once you master to handle variations, one-handed changing hands, hand high hand, middle hand low, and just play with it. See what works and what doesn't work. Do you burnish? They all work along as you apply some form of connection technique. Nearly every variation has a place. I don't know variation that won't work if you don't apply a technique that you already know in your and your connection vocabulary. So really important to hold time that you hook campaign is clear, your positioning is really important. You understanding that you're not gripping, then you're opening up multiple choices. So just put focus on these three, these three techniques that we work on at the moment. And you find doing the others is just an application of the same principles. And then all your old variations you try will work quite easily. Let's try one more time. Decide. We pick up the hands. You go 123567. And like I said earlier, my hand doesn't throw down. It's not like I'm not slamming something down. And literally by the weight of my hand is if our disturbed this, you raised their hand and lower it. Just let gravity. That's the weight of my hand as he's feeling. So when the hand is here, feeling my way to do that. So it's not a push. I don't need to because she'll pick up from the following aspect, the energy of my hand, just waiting. So you hold your hand up and drop it. That's the weight of the hand doing it too much. It's too much. So it's quite a natural movement for the ladies. If you have your arm here, it would even if you as a leader don't do anything, we just drop my arm. That's what it does naturally. So it doesn't need a lot of impulse force like that. And I complete the male section for this variation. 5. Salsa Partnerwork 2e Inside Turn Variation 2 Explanation for Women: Hello my lovely followers. This is the inside term, variation number two. We start with both hands and we go into a normal crossbow, the inside term, we go 123. So instead of just having one hand in the front, the leader is now bringing both of your hands into the front like this. And then we do a inside term with both hands up. Okay. So we go 56, delete, you're still mainly feel from your right arm, but your left arm is just sort of following. So the left arm is going up as well. And then you turn around. At this point the leader should have dropped. You write town here to your elbow and the left arm is up. And then the leader will give you a little impulse to flick your hands. So this is sort of our first-hand FLEC, which happens a lot. The insults, a 100 flicks, and it's for us ladies to style them out and make them look really pretty. So from here, like this, the impulse is not very strong because Cretan naturally, if you let go of your hand, this is the, the path that you hand would naturally take. So from here, I'm just going round down and up. And then the leader is offering you his hand and then you slowly drop it into his hand like this. Take your time. There's no rush. It's something that you dictate how long you're gonna take. If you if he offers you hand, at some point, you should bring your hands to his, but feel like you can take your time with your styling and then drop it to his hand slowly afterwards and he would have to wait for you to finish your styling. Okay? Make sure you have your nice hands at the end like this. And we go from a bent arm into stretched arm. And then we bend it back to the leading and following position like this. Let's do again from the other side, 567123567123567. And just a little tip for ladies. But when Dan's recruiting and she's always looks like she's taking her time. She always has so much time for styling and that's not that's not luck. That's her technically practicing that over years. So from here when, for example, the styling 567, she flicks, I see very commonly lady, when I flick this, there could be shortened back to try and catch my hand. They're worried about missing my lead or something, but I've already planned for it, or would it put it into my sequence? I'm waiting for that hand to go full circle. I've already avoid anticipated free 4-5 bug before that comes back to me, there's no need to rush back. So when you're in this position and our offer, a hand flick used the time. In this case, we're doing a very simple version, but even a complicated versions. I still would anticipate that length of time for your hand come back. I won't think that you're going to rush back to catch my hand, that would freak me out. So really much more important that you just take your time and use the styling to just to magnify your whole presence on the floor. And as I said, it's up to you when the next move is going to happen. If he planned something straight away, then he has to change his plans. If you take longer to drop your hand, just make sure you do nice styling. Let's do the move one more time. Makes sure as always, when we turn, you don't push your hands up again 90 degrees here. As always, keep your hands nice and low and your frame like this. Let's do it. 567123567123567. 6. Salsa Partnerwork 2f Inside Turn Variation 3 Explanation for Men: Hey, welcome back. In this section we're going to cover the third variation of the insight turn is going to be a double turn for the ladies. So the lead is super important that you ask for it clearly and you support the old way through technically is, is one of the hardest inside term variations for the lady. So do be patient with your practice and do take your time learning slowly. So let me run you through the mail variation practice from here. Starting off just like a normal 1-2-3, but things change very quickly after that. From here, I'm gonna go 123. Now all of a sudden my marker on five is a little bit quicker and stronger. Okay, so from here, whereas I'm knowing much non-core relaxed to free for Mach very lightly. Okay. I still marked likely, but I need her. If I have a watch a lady do this by herself in practice, I noticed she generates much more energy from her own core. So are my lead needs to replicate that in her following. So she doesn't know it doubles coming. How could she all right. So what's important is that you prepare her body like she would prepare yourself. So I know when a lady needs to do a normal term, she would have the normal type of angle on the hips, but in a double, she would angle march more to get the extra power that turbo boost in her tan. So it's not about being more ferocious with your arms, is about preparing her body more than you being stronger. So I don't increase my strength. I'm a little bit quicker. Preparation is much more profound. I'll show you where it is. First of all, in my left hand, 1234 mock. Secondly, I'll show you from this side. My right hand goes onto centered went back and I take the bottom of her back left rib and i angle it as she prepares on fire. So her normal angle would be here. I would push her a bit more to create that. So I'm just exaggerating her preparation on the hip. So that's my lead. That's my signal. That's my question. I've already set to a now I want you to do a double time, not just in the marker. That's the ten. How much is the preparation? It doesn't stop there. So let's practice that. We're here. So 123 angle. So already there's a much more preparation in a hit, the lady should calculate a a sensor now that something more is going to happen, she doesn't know what yet, but she knows that she needs the more energy that position her body four, then this hand, because her spins gonna be quicker, I have to replicate the speed of the spin. If you go casually, lack an insight. Ten, you're not matching the speed of the turn that you asked for. Your hand has to match her speed. That's really important. So free things, remember, wonder marker has to be a little bit quicker than normal. Still knocking on five, but then a preparation has to be there and then the speed has to match. And finally, you need to stop the spin. Because if you're generating two, she might think there's free. So remember to stop the spin, four key things to look out for. So let's run through, through slowly. One, Two, Three, quick marker preparation. You follow the speed of the spin and lower the hand. Remember my tracking also is important. If he's doing two, there's going to be tendency that she might travel a little bit longer. So you're not only following the speed of her in your hand, you are also following her with your core, makes sure that you're always close to never sure how close you are. Always your your the tip of your finger has to be at the back of her head. That's the distance you need to be the entire journey from a to B. If you are at 1 behind, you're already going to be pulling out or she's going to pull you along. Chances are with a speed and power. Karina should be like a tornado flying around and I'll be dragged and sucked into the wind. So this side, let's go for, again. We step 123 marker and look at a gentle encouragement. I don't like calling it a push. It's more like an encouragement for the hips game position. And then for a few quickly by 67 slurred down. One thing that I feel as a follower is that Jeff, when he wants me to do a double spin, he's a lot more dynamic and that comes from that quicker, more intense market and that twist so that I already feel who something, then I already get that energy off him. And I know I'm going to spin. One thing that you will feel when you dance with ladies. Some ladies are really easy to spin their love spinning. They go really quickly without any much encouragement, even when you only want them to do one, some might just do too. So, and also if you double spins, you can feel if a lady is a spinner or if a lady doesn't like spinning, if she doesn't like spinning, your tuples spin, lead, your double inside turn lead. You have to leave her a little bit more instead of just matching her speed, you actually have to do the double halo and she follows you. So you have to leave that a bit more reefs with a lady that doesn't like spinning as much. Others just need a bit more dynamic preparation and they'll we'll, there'll be off they'll do the spins. Absolutely correct. Really important guys that yes, I might have multiple variations in my repertoire. Fulfill Sunday's, a certain partner of mine or someone or dance with, is not ready for that spin Odede, Mr. or the destructive in my head, I wanted to maybe do a double cross body inside turn, but she has are the missed it or just doesn't wanna do it today, You have to bail out. Don't just pull it through because you want to get a double out regardless of how she feels, you can be very sympathetic towards your partner. Some days you're gonna get the spin more than lucky, we'll a lot. But some days you need to know when to pull out the best one. The best leaders are the ones that are always reading your partner's movement. So you know, when she's ready for double or not. And sometimes like green and he said you might want to do a single, but she wants to do a double. So then I will adjust my lead to support. The extra double-dot came as a surprise for me, but that's how the conversation goes. Sometimes I ask a question and I might get a different answer. But from the outside world it never looks like I am shocked or surprised, just like following, I respond straightaway as always react is always reacting to the question all the time. So let's try that one more time. Both sides nicely with a little bit quicker. 5671 to marker 5-6 set basic 23, cross body one more and one to marker five, spin, spin, slowdown. Ready completes the males. 7. Salsa Partnerwork 2g Inside Turn Variation 3 Explanation for Women: Welcome my beautiful followers. This is the third version of an insight term. Now this version is a double term for us. So it's going to be a little bit trickier, a little bit faster, but I am sure you can get it. So it starts like a normal inside term. We go 1235. You will fear that something else is coming then just single insight turn because I feel that energy for my partner. It's gonna be a little bit more dynamic. So our preparation or five, he should be twisting you a little bit from the back. So from this hand, 1235, just tiny bit not put you off balance or anything, but you feel that slight twist. So you're more prepared to do a double spin, a little bit more dynamic into about preparation. Also, the hand here, the marker on five, is a little bit more quick, so you can get into the turn slightly earlier. So we go 1235. That little push on the back makes me so ready and prepare them for a double spin. I still have my arm behind his shoulder like this. That doesn't matter because once I start turning, it comes down naturally. So then turn on the turn you step on the sink or patients. So you would step 5678. So I stepped doubled timing instead of just 567. No step on eight and then one. So you do that, the smaller steps like this, those steps are quite small. Don't feel like you have to pick up your leg a lot. Just transfer your weight, keep your legs close together. But make sure you travel so you don't stay on the spot. You still travel to the other side to your point B. Let's do again 5671235671. Important is also that you have a nice stable free arm, so don't drop. It becomes even more important. Now you doing a double spin, you have to be a bit quicker but more dynamic. So make sure you have that license table in front of you like this just in front of the rips. And also, as always, keep a nice strong frame 90 degrees. So you can just be really quick. In this position. Also, you're spotting becomes more important. Make sure you spot to where you're going. Keep your focus there. And just before it goes, then back to your partner. Let's look from this side. 567123567123. You will feel the stop because the leader is bringing down the arm. And then you can really hold on to that arm a little bit. If you do feel a bit dizzy, he should be stable enough that on your one, you can hold on a little bit onto your partner, but don't squeeze his fingers just with your nice hook. You can stabilize yourself and make sure you focus back to you partner. This is something that you should practice by yourself first. So once your partner or leading these terms already prepared and you know, you can do it by yourself. So just go down, you correlate or at home, you can just try to spin like this continuously and to step from one foot to the other. All these techniques, we'd all the variations every single time clinical duties without me actually leading just by verbal command and say do a double. She could do across body double inside. One thing from a, from a legal perspective, phonetics, a lady's frame has got some variation. I, at the moment, if I spin Karina, as soon as her spin starts, she will turn at his right-angle. If she opens up left or right, then I know there's going to be delay. As a leader, I get very anxious that I'm going to be pulling her around with shoes, start feeling me being quite heavy. And that's caused by having, having a very open frame. So this kind of speed of technique, we're really exposed. So just look out for your just watch where your elbow if it starts to open up. If you get like an obtuse angle on your shoulder or an acute one, you really want to try and keep it right angled. So then you're instantly connected to the core. Everything is synchronized from hand to foot. It's all one strong piece. So you give the guy confidence to continue and also to stop you, becomes instantaneous. There's no delay or drag or a pool. So this is really feel nicer for you to kind of hold your frame. Beginning. Your frame will feel like you're kind of being too much. But when you get into these type of level of spins and turned, you really want to make sure that your frame is engaged the entire time as it should be normally anyway. Yeah, because otherwise you lose oldest time till you then start spinning instead of going immediately. And when the moves become quick like this, it really starts to matter. So make sure you keep it nice in front of you and react with your whole body immediately. 8. Salsa Partnerwork 2h Inside Turn Variations Tips and Practice To Music: Let's practice those three versions of an insight turn together. We're gonna do two of each version, starting with the version where we changed hands, we go 123567 into the transition. One little tip I have for the ladies, make sure you always stay connected. And when I pull away, I slide along his hand, his arm, and then I end up here with my hook. So don't feel like when you're here, you have to go see his hand and you have to go immediately here, make sure you always stay connected and then end up by his hook here. And guys do offer the arm. If you place down the shoulder, if you wanted to go to the hand, keep the Connection. Shall I raise my arm? It's not a case of me going shoulder catch. It's a case of me going shoulder connected through top arm, elbow, pickup, rest. So offer it keep connection. Our hands usually move quite naturally. So usually you would you would go with the gravity and go down anyway. So just half that gravity on his on his arm and then you end up at the hands like this, just a little tip for the transition. And then we do the same term again with swapping the hands. We go 123567 to a basic 123567. Now we go into the one with the two hands, two hands version, 1235, 67123, nice flick, 567. But this one, just for just remember when you're put in hands together, don't put their hands too close together. There'll be a tendency sometimes to ladies do it, sometimes the guys do it. It's not, it's not gender specific. It's just sometimes one person makes it happen. If I feel the ladies pushing hands together, I'll praise them apart to give a gap. Sometimes is the two pins are too close. There's a confusion as to which one is leading, which, so I have a slight separation if you notice my technique, one to free my left-hand marks, this one is the left, my right arm and her left, slightly behind half a second, half a beat behind this one. My left-hand leading, this one's shadowing behind, but it's never together. It's always a separation when it comes for even at the end you notice our lower her right onto the elbow, Dan flip. So there's a slight angular separation for the ladies. Just a little tip when the guys is doing something quite complex, if your hands with both of your hands soft and them a little bit. I know we always talk about frame and that you have to go immediately and keep your frame. But when it's quite tricky with your hand twisting and stuff, it's safest for you to be quiet, relaxed. And just let it happen. We stir hands, don't resist. It is very important otherwise, these things are not going to happen if you tried to resist and you're too strong. As soon as they play with your hands, keep it quiet, relaxed, enters. Let it let it happen. Well, I feel that I feel that Karina does. It's almost like she puts weight on her wrist. And she a bit like a pendulum has kind of a weighted end. So she's, she's adding weight to it. So if I flip your hand, you can see it's got weighted end to it and it has that kind of feel of a witness. So Okay. So over first drop because it just has a weight and it drops. So you feel the weight of it. It's got it's kinda like a ball bouncing. The other side. 567 to hunt, 123567, flick 123567. And then the last one is the double inside time. We go 123567123567. Again, 123567123. Just a little nice transition to gesture state. When we came from double, he just twists my hands to the insight and membranes around his shoulder. If you want to explain this transition, what I don't do is I've got the hand, but I wanna go to her back. Very composition. My aim is to go from here to the center that back. So there's a nice way of doing it and there's a bad way. A bad ratio is throw to hand out of the way and go to the back. I make it part of my movement. So I would lower their hand almost Flickr up and then go to the back. I'll show you from this angle. Notice here and here from her company. I would load a hand, keep connection, slide up, then go to the back. So unnaturally sending her arm to my shoulder. Just look at a difference. If I just do it very clumsily or a fraud handling gotten back. It doesn't look like there's there's no smooth link between the movement. So you're dancing your way from position to position. You never want to look like you're here. If you're here like this and you want to get to the back, don't just planted, okay, trying to dance your way through MQTT and link very smooth and very clear for you, circle into the inside of you. And it's also into my steps as I'm stepping. 1235 spins, spin. Okay. Let's do it altogether with counts 567123, 56712356. Let's go 123567123, 5-6 again, 123567123 to 7123567123567, again, 123567123, 56 double 135671356712356713567. With music. The HE as the major cell. Zeroing sooner, seeing well, there's two ways to do that. Yet. 9. Salsa Partnerwork 3b Outside Turn Variation 1 Explanation for Men & Demo: And this section we're going to cover the outside perspective. I'm going to go through the technique for you to make sure it run smoothly. So starting from a basic, we're gonna step basic 23567. I wanna start transitioning over to the ladies right side. And now will change hands at the same time. Again slowly. I'm gonna go 1234567. So by eight, R should be completely off her line. So obviously by structured leading, she's going to read the open side on my rights and anticipate across body turn. Okay, so from here, the variation I'm gonna do, I'm gonna go 123. And when I bring it in, you notice I'm bringing my line of my hand across my body, which is bringing her hand also across my body. This is to keep the shoulder close to each other. That will allow me to turn the halo overhead comfortably. Try again. So the foot work. It starts with a basic 123. Get ready to cross on seven. Starting to transition over to your left, changing hands at the same time. Still who compete never changes. We break back 12 free. So I come forward on my 123. And then as she starts turning to her right eye will be stepping on the spot keeping close to her. 567. From here, I'm going to just hair kind of my head. So my right hand goes over to my left shoulder. From here, her hands on my left shoulder and went to Tang quickly and then pick up the hand as it drops. Try again. Decide. Basic Would a crossover on sedentary foot, 1234567, hand changes, but same time, breaking back on one, bringing yourselves together. 23. So you see I'm off her line, but shoulders very close. As she starts turning, I step on the spot. But tailoring had 67 over my left shoulder and then turning quickly ready to catch. Again. We step 123, cross on seven, rake to shoulder, turn 67, funding round, catch on one. And I'm back on her line to do in the next sequence. That term New do when once you cross your hands where you sort of look over your right shoulder and that look over that turning already makes me turn as well. So all you have to do is just raise your arm and look over your shoulder. And that already gives me enough to turn, such as lift your arm up and look over already from here. That move is what makes me turn as a lady. So priority for the guy is to make sure the lady spinning upright. If you start giving us a tilt, she can start really warbling has spin. So sometimes I might have to do a little back bend, but I'm not the one spinning. So backend for me is not an issue. Priorities keeping her upright and the axis spinning comfortably. Really my aim is, whichever way my hand is up or down with a pen. Or would a flat hand still go around her Halo? Okay. So you I'd offer a circular hole this way. In this case, the hand is pushing upwards and flattening and circular. Okay. Try that also. You might think it's an insight and for some reason because I'm turning towards you. But for the lady, the footwork is still outside turn I'm still turning over my right shoulder. That's why it's an outside term variation. But instead of doing the normal variation where you go to your, to this site, like a normal cross buddy, you go, you move your line to the other side and we moving across you on the other side. If that makes sense. It's trigonal. Basic into hand, change. One to free. Hand change and CrossFit together. Seven, break, 12, free. Just check your close enough. You're too far away. You're already inviting trouble. So you want to stay close enough or you're not on her line, but you're not too far away just enough that she can gently brush your shoulder across. Okay. Let's try going front from the one. We break back here on seven, break back 1123. And simply pushing your hook into pushing your into your hook. 567. Let us finish her turn. Then you hair cone, then you turn your bits easy. It's just a crypt shoulder shuffled to turn left and right. You have to let us finish it and don't rush your sequence one more time and then complete the basic 123. Cross on seven. We break to free over their head. 67, catch 23567. 10. Salsa Partnerwork 3c Outside Turn Variation 1 Explanation for Women: Welcome followers. This is the first outside term variation for us followers. So the biggest difference with this one and compared to the standard one, is that the leader will be on your right side instead of the standard model when they're on your left side. And we do an outside turn in terms of what turning away from them. This time they will be on our right and we'll kind of turn towards them, but the footwork is still the same then an outside turn. So that's why it's called Still an outside term. So we start with a basic 123567. So on 78, The guy is stepping off your line and they're swapping your hand into their hands like this. Okay. Nothing for you to worry about. You just do your basic and let your hands be swapped. Then we go 123. The leader is doing a back step which gives you the pool. So you know, you will be going forwards also obviously you can see your line. So already that tells you you're going forward. So 123, at this point you're pretty much shoulder to shoulder and you have a clear space in front of you. You definitely going straight forward. Also on that open break, I do a nice hand styling to the side, 12 alone. Three, I bring my arm in. That's obviously optional. You can do whatever. But I will do this version where I unfold my hands 12 and then bring it in front of me on three ready to turn. Now, the leader will open his arm, and that gives us the signal to turn underneath like this. So in terms of footwork, it's exactly like a standard outside term. It's just and also you have the same arm. It's mainly the leader who is doing something different. So let's do it again from this side. 567123567123567123. At the end, the leader is doing a heads com lay egg. Yeah, just let that happen. I see a lot that the ladies slightly resisting these sort of head com movements such as let that happen, make sure you nice and connected your arm is loose and following the leads. And then he's turning, you brush across his shoulders, don't lift your arm away. Then you see this hand where you had this gonna drop like this with your nice hook at the end of us always wants what? 567123567123567123567. 11. Salsa Partnerwork 3d Outside Turn Variation 2 Explanation for Men: Okay, second variation on the outside turn for the lady from this, from this perspective. And we'll talk about how the guy leads and applies all the techniques. So starting off with the previous version, I jumped over onto the crossbow, the reverse side, I'm gonna stay now on the standard side. From here. I'm going to prepare one to free. So first of all, the first thing I'm trying to create is some sort some form energy to get it to realize that the attorneys happening. And with the outside attorney, it starts earlier than an inside ten over the outside. Its tasks just off the free. So from here, I'm going to prepare one to three. So already her hips and her caught up already to turn right. At the moment. This hand doesn't need to do anything. So I'm gonna keep it low. And the right hand has the standard hook, standard pin going down into the hook. And I'm going to be ready to go overhead. So as she starts turning our halo and then she passes by, then I lowered a hand and keep the elbow 3D close to her body. Now, there's an there's a misconception. It looks like I actually Hamel locker arm like a just like a wrestler hold. But it's not even that the term Hamlet comes from a wrestling terminology. You don't actually physically Hamlet locker. You know, what you're doing is lowering her energy, turning gives a, a self Hemlock. So she homologs herself by you not doing much. So try get slowly. We prepare one to free so you go over the head. And then when she's finished that turn, you dropped her hand and wait for her. And she naturally puts it on on the back of a hit that hit button area. They're keeping keeping you hooked in for now. Because we are not just for this demonstration, we're not going to move into another sequence. I'm just going to let go and she's gonna pull her arm out. But generally during the dance, there's a reason why the hands out continue to sequence with something with the handing in that position. But for now let's just practice the outside term variation one more time. From a basic, we step basic 23567. My foot work is the same as across body leads, so I don't need to do anything special for her foot work. The important thing is to I'm getting her prepare for the outside ten one to prepare. Tans 567, Lego for now, basic to free on your forward. There's try this side. By 67123567, let go 123567. Once you have that technique, if you feel confident, you can always add a Dublin if you want it to, the technique is identical. Barada, you get used to the single variation first because the hammer lock can be quite quick. And if you're not ready to drop the hand at the right time, you could catch the elbow wrong. So if you wanted to show that, if you wanted to try and double variation, it's the same technique to any differences. Just a bit more power from, from your preparation and a bit more power from the from your leading. 123. Double Andrew. Identical, just extra spin at the end. So depending on what level you're at, just read, don't go too fast yet. Get the single version first. When you feel confident, go to double. The biggest difference, of course, to a standard version is that this time you're leading with your, with your right arm. So really get used to leading that spin, doing those halos with both arms. Sometimes I see some leaders are very used to leading it with, with their left arm like the standard version. And then when it comes to their right arm, they're a bit rusty with the spinning of the halo technique. So make sure you really drill both sites. So if this side we go halo of the right and then lock also with the homolog. As always, make sure you really close and you drop it all the way down before you have a look at. Otherwise, the ladies might have problems and you might dislocate threshold. So we don't want that. Just make sure you really nice and close before you do that move. So we try again. 56712356. Let's go 123567. Like go to three. Again, 67123567123567. 12. Salsa Partnerwork 3e Outside Turn Variation 2 Explanation for Women: Welcome to my lovely followers. This is outside term version for the ladies slash followers. We start this time with both hands in a Opal halt. We start with a normal part of our basic 123 on three, you're right, stopped, and your left hand is raised. So the biggest difference between this one and the standard one is that this one is led by your left hand instead of by your right hand. So we go 123, so we will let go of our right-hand. So keep your right-hand this time, nice and steady in front of Europe's. And then we turn, and then the leader drops your arm down and we turn into a hammer lock on the second term like this. Ok? So most important is that you're protecting your shoulder. So hopefully the leader is close enough to you that you can just nicely slide your arm up if they're not close enough and they're trying to have a low-key arm, you can literally just say no resistance, okay, don't try to make it work because if they're not close enough, you can really hurt your shoulder. So if they're close enough, then be nice and loose. Don't try to resist the movement because it is a bit strange at the beginning. Spit getting used to it, to get into this homolog position. I know it's not the most comfortable for us ladies, but if the leader is doing it right, it shouldn't hurt at all and it should be quite comfortable. Let's look from the other side. So we start again. 123, let go of your right, 567123. Usually, if our hand is in this position, their leader would make use of that and go straight to another move from here. But because we're just teaching you this version, we will just drop our hands and then go back into basic. As I said before, usually when your hand is in, the leader placed it in some sort of position, you would hold it for about eight counts before you drop it. But for this exercise we will just drop it. Lets go again. 56. However, 123567123567. You can do singletons, but you can also do doubles with the same sort of technique. It's just that with this one, I step normally on my 567. If the leader wants to do a double-tap, then go back to your syncopated steps. 567. Okay. Let let me show you a double 10567123567. So we do two up and one down. Once more, double 567123567. So you can see my feet are going syncopation, as I said before, with the inside term, with the doubles, you really have to practice those by yourself so you're very comfortable spinning on the line, stepping like that, spotting, holding your frame, all of that. So when it comes to doing it with a partner, then you're already ready. 13. Salsa Partnerwork 3f Outside Turn Variations Tips and Practice to Music: Welcome to the tips and tricks and practice section from here. But I just wanna go over the lead aspect of how we step through the transition from the end of the first variation. By that, I mean, we do a basic 12356 cross and change hands on seven. From here, 123567. Now, you'll find experienced dancers will start stepping a bit. Let it just looks a little bit smoother, is not wrong to keep stepping through your basic and actually we encourage it. But in this section here, when it goes over your head, you don't always have to go 123567. As you get more experience, you can be more economical with your steps and it just gives you a smoother, more efficient look by that. By that I mean this. So you've done you break back 123567. She noticed my feet now, I'm just going to hold them into oppose our turnaround to free and only step back on my five. So 1234 is kinda like a pose moment. So you holding a nice pose. I'm in the right position. So i'm not far away at so I don't need to move. I want to position myself clearly so I can hold my 1234. It gives you a nice long-haul. So to the lady, everything just looks relaxed. You're holding a nice strong pose. You're waiting for it and only stepping off from the five. So try that first practice with the stepping to make sure you're on time and then practice with defeat. Let's try breaking back. 123. She turned 67, hold 234567 for the ladies. Still keep stepping. So even if the guy's just holding a spot posts during his smooth movement has more advanced movement as the lady is still important that you keep stepping because otherwise you end up on the wrong foot. And also you call wide of a term, you probably need to adjust your spacing a little bit if he doesn't step toward ceon one, which gives you a little bit less space to go back. So you can just step very small to the back or even on the spot. But still keep stepping. Okay. So you always know you have to step on your right on one. So just do it without the guy. Sometimes doesn't step, you still keep stepping. Let's try it from different angles. We show it from this side. So we're going to do basic first, basic 23, break back 6712356781234567. Let me show you this sequence from a front view angle to give you perspective of how much I'm moving off her line, how much she's holding her line. So if I come from this angle, you notice that I'm completely blocking Karina. When I do my basic One, Two, Three, even by 767, I'm off her lines is you don't have a clear view of quinacridone will go straight ahead as I start to work my way around. As I break 12 free still, I'm not on her line. I'm actually running parallel in the opposite direction, showed us closer in and she has still a clarity of her endpoint as she turns 567, I'm still off her line by seven, and then bars Hama from 11123, I should disappear. And all you get is a wiggle. Alright, let's practice all the, the two different versions of three different versions. Okay. 56712356712356712356 again, 123567123567123567. Second version, 567123567123. Again, 6712356712. Let's try that with a double 6712356712367123567123567. 14. Salsa Partnerwork 4b The 360 Variation 1 Explanation for Men & Demo: Comma two MeV rather then began at 101010. Non-covalent. They provoke Garmin there carry the ARMA one. Pharaohs. He Mika, pay for it. And usually came along though. Not the como two. And let us think these needs manner. Nadia como to become. Hello, welcome back. Let's go through this section from the male perspective, I'll show you the first variation or the free 60, we call it the boss daughter from here. National slavery. But going to a standard basic One, Two, Three, Prepare sex seven. So pluck a normal free sixties starts its life exactly the same. So we're gonna go 123 like normal. We repeat it on for land on five, normal out on six. Now, we're normally our turnaround. Confess my partner, I'm gonna face away from her hand over my head, drop it to my shoulder, and my hand is waiting at the bottom thoughts when I step one, I've already picked the hand to free. I'm staying in front of her lines so she's not seeing across body and he's gonna do single turn by six cell. Just an easy outro of a boss auto. So your free 60 goes off your shoulder and then you're just going to give a single term for now, but there's other variations will play with later. Let's keep it simple for now. So that first move works. Breaking back, preparing 12, free who come for land on five, step out on six. Now, instead of turning on seven, you're gonna step forward on seven. So you're facing the same direction as your partner over your head? That Lani shoulder and I feel she's coming down on my arm and picks up. But Tom, he steps 1234567, a simple single term and the other side. So food Basic. And we slept 123, ready for the free, 6123567 overhead. Ready to catch one, stay in front of her. 23567. Makes sure that your lady can go past you and you face the other way. What I mean is we go into normally 12356. Now, let the lady here with your maybe you should show from the other side, from the sun, 5-6. 712356. Here you have to let go off this collection a little bit because otherwise I won't be able to go past it. So you put your arm a little bit behind you and then drop it like this, that this is important. Otherwise, icon actually pass. Let's do again 56712356, loosen your collection and then drop your arm whilst you do the hair brush. And then make sure your and it's very visible here. So the lady knows to drop her hand into your hands. If it's a bit HD, then just make it, make sure it's really nice and visible behind your back like this so that lady drops or hand into it. Remember all so all I'm doing with my hand in this case, I'm not pushing the handout. I'm literally just letting go and gravity drops into the right place. So I'm, as I go over my head, I'm kind of gently kissing my shoulder and he lands, but he misses my shoulders and is not a big deal. She'll just still find a landing point. So don't be so particular about lung shoulder. It does, it just makes it a little bit easier if not the seller landing point. The deal breaker is if you drop it and then keep your hand out. Our view, she'll carry on. That was meant to happen. Big tip for the guys. When you're doing the Basotho, You're my left arm is a little bit higher than normal. Reason being as I come around 123567. So, uh, keep it elbow, shoulder height, then my bridge between our hands is already easy to go through. Sometimes socially. If you keep the hand low, AKA show like this, your kind of relying on luck to kinda get the hand over and sometimes it doesn't always work to freak. He can't load. Then last minute you're going have to do a quick rush at two things. One, you might not make it in time and she's going to end up slapping your forehead. Or she or the whole thing will just feel quite uncomfortable in Russia. So you don't wanna look like you're rushing and you don't want to get chance to get hit on the head. So by keeping that arm up, Ukrainian a bridged to come earlier, knockout early I prepared is the sequence 123 already a sublinear 56 over so data raise moms are reading position. There's nothing for you to think about or do. It's already preparing yourself for a hand drop. One more time. Say both sides. We've gone from basic to free. 5-6 prep, one to freak. The hand high overhead offered a and 23 stained front, 67. He does three things checked and you're leading for this sequence will be perfect. 15. Salsa Partnerwork 4c The 360 Variation 1 Explanation for Women: Welcome my beautiful followers. This will be the first variation of the 360. Starting off very basic, like the standard free 60, we go 123567, open break to connect 56. And this is when a changes. So on seven, the guy, instead of keeping, keep facing you, he will be facing the other way and you still go across him like this. So instead of going round, facing each other with few bodies, you go round and then on seven heat turns the other way and you still keep going. So again, 567123567, this should be quite natural. He should be dropping his arm so you can pass and you just keep going with your normal 360 step. So this should be like sort of a surprise and doesn't doesn't change anything for you. Then he puts your hand behind his head, then shows you're his hand here and that's where you haven't drops down. So your right-hand goes from holding over his head and then drops down to his other hand. This is just the normal law of gravity when he holds your hands and then drops it, you will find this other place where He wants your hand to go, like this. Okay. It doesn't need to be rushed, it doesn't need to be immediate. But just sort of with the gravity you drop your hat on. Important of course, is that he shows his hands so you know where to go. But we've a good leader, his hand stare and then you drop it from here to his hand here. Then to finish this off, we just gonna do a single turn. So we just go 123 and he leads you into a single term, 67. There's loads of ways how to come out of this MOOC. We could do crossword these, whatever, but we just chose this version because it's basic. And then you can add more complicated versions later. Let's do it again. 567123567123567. Let's do it from the other side. 567123567123567123567. You noticed that the more experienced your leader will get, you'll have a lot of chance and opportunity to do styling. In this case, as soon as I breakaway, queens are ready hitting some form of starting position. Her left arm is not just hanging neutral. Okay. It's not wrong to be neutral, but it's a chance at this level to start reading, exposing all the styling we've learned. So even straight from the one, she's already one. Notice and even getting into it, she had a nice little twist and opener. So watch her arm again. He breaks one to three. Of course, at this level, so far I've only done the arm to the side already in the last level when we did the basically 60. So I'd like to show you a couple of more styling versions when you do break him back, happens all the time to get into moves. So it's always a nice opportunity for the lady did do some styling with her free arm. So for now, let's just do a different version. We do, we take the arm all the way up, we go 123. And then from here I can just drop my hand over his shoulder, like we do usually. So this time I'm bringing my arm all the way up from the site. So lateral not from your body central, but lateral all the way up and then I brush my hair down and then go around his shoulder right from that break back, 567123567123567. So you just have one more option of styling. If you'd like to learn more options, please go to my lady styling course. Let's once more. 567123567123567123567. 16. Salsa Partnerwork 4d The 360 Variation 2 Explanation for Men: K, variation number two. Let me show you the male lead for this sequence is a little bit tricky, but the basis of it is still a free 60. Okay, so when I start off, let's start with a basic 123567. I wanna cross over and start opening up my rights sizes. So he sees a bit of a line from here. I'm going to prepare her one. So that's already creates an angle. And then I want to turn her to free. Strata again. Basic 123567. Prepare to free. Some hand goes through the center of her back. And then I'm going to sweep my fork just like an that's just like a run day and hook in 567. Okay. So you've got his free 60 finished, but it starts off like a split free 60 because you're starting the lady with 180 and then completing it with another 180. So you're completing a free 62 hops. So the first one to complete is 123. Okay? So this is kinda like a very old Cuban sequences is irritability all Cuban copper. So it's quite easy to lead. You just want to make sure that you kind of give it a little bit of a link beforehand. It just makes the transition quite smooth. As I prepared basic one to free, I opened out to my left on seven and then our swing the arm down, opens up the hips. She sees a line and then things. Ok, I'll take that. And then I switched sides to free. So I've gone up position ungrounded. From here, I sweep my four and then hook behind on five, step out on six like a normal free 60. And then I wait for her and offer her Iran day in return. I run this. You run days a 1s one day. Ok, let's try the other side. So we do basic and we stat basic, 23567123, hook 567. And what I'm 567, basic One, Two, Three, ready out on seven rep per pair, one, look at the angle I'm creating by just opening up her right, my left and in ready to catch her on free two free centre of her back. Don't aim to load an aim too high. You want to get rid of that center point of the free 63 reap. Really key because you kinda really capturing the core and stabilizing her. So when there's a quick, a quick sharp turn, she's not following you around. Or you might, you might lose a holder to low. She Modelica, come back bend effect too high is just not comfortable. So right in the middle of her back in the thoracic region. So then we hook the for, for the guys, come around five or pin upon six, step forward on seven. And here I just wait or I can do something different for now. What I'm doing is acting like a pillar to give her an opportunity to run the herself. One more time. We do basic one to free crossover ON 712345671. So you notice how we have a head loss section ending proves about linking. And notice how I'm constantly starting a sequence on the 78. Try and always bear in mind, it gives you a massive tool to use to, to send all your signals to your partner of which lead you want to come. It gives you a little bit of advantage and a sense of she's picking up leaves a little bit quicker and you didn't have to be so rushed in looks really smooth. 17. Salsa Partnerwork 4e The 360 Variation 2 Explanation for Women: Welcome back followers. This is the second version of a 364, the followers. So it starts off quite different to a normal 360. We go from a basic 123567. The leader is already moving off your line, so you already know you're going this direction. Then we do a sort of switch movement, which is a term for you. So you go 12, sorry. So these are your first three steps, which are obviously very different to a normal 360. So you do this switch move, you go one back to normal 12. But then on three you step forward and you pivot around on three. Let's do that for partner 567, basic 123567123. You will obviously field is lead from our led by our right arm here. So you feel like you have to turn around. Then the leaders hand is coming behind your back and you place your hand on top of the shoulder like all always. Then we go 56. And then to finish off, just to give you a nice little different finish to a3 60. We're going to do a Rhonda shop. You can add that to any 30-60 standard drawn any other version of a 360. So nice little styling that I would like to show you. Let's do again from the beginning, we go 12356712, switch going into the 3656. And then on seven, I step on the spot here just beside my other foot. And then I release my right foot, my right leg. And Rhonda shown but around around the shop is when you stand on one leg and you clear on that leg, you bent that leg and the other leg goes straight around. So with a straight leg, point the foot at the end, ideally, go around all the way like this. And then you go from here, you go back into your basic One, Two, Three. Obviously to do the Rhonda shop, you need to be quite stable on your feet so you don't wobble. And then you have the freedom to do the round also obviously helps if you have a very stable partner who is ready to support that. Let's try again. 56712356. Let's go one to switch 56 and wrong from the other side. 56712356712 switch 5-6, exchange and release electrons back into your basic. For a ladies, and don't assume that a Rhonda is coming. You will feel it from the guys. Lead. He almost plants himself like a pole and then you'd still it a couple of these before. So instinctively, Karina knows when I'm not gonna move, I kinda almost plant myself. And then she instinctively goes with Iran day. Don't pre-plan around there because if the guy moves and you're trying to do around day, Is your dog tentacles dangling on one leg and he's going to pull you forward so it can be very uncomfortable. So you'll feel the delete coming one, sorry. This section, one to free. I'm gonna plant 67. And then she feels it. By seven. She's got the field that I'm actually grounded enough. I'm not going to keep moving because if the guy is moving and you're trying to do around day, he's going to pull you off your feet. So try and play it by instinct. If you feel that you want to try and run there, then he's going to move this bailout. Don't try and continue to run day because It's not going to work at a traveling Ron days not gonna work? Yes. Don't pre plan any styling really. So anything you put on top with the arm done pre planet, it's something that should come naturally, something that you can add in when you feel like you have time and space and the support by the leader, then you can add these little bits in. But most important is the following, is above the styling always. So make sure you are ready to follow the moves. And then when you have space and time and the support, then you can do the styling. So the styling can be with the hands, but also putting in little around the shop is a styling thing as well. The guy feels like he wants you to do a rendezvous. You don't. No problem at all. You just do your basic step. It's not a problem. But if you do it, then that's nice. Let's do it once more. 567, we go 12356, break back one to switch into the 3656 exchange around one to three. From here, we would usually go straight into across body because the guy's already off your line. 567. 18. Salsa Partnerwork 4f The 360 Variations Tips and Practice to Music: Como to him TMI Mirada, them is Ghana at national government. They provoke garment that carries the ARMA, one thought. Pharaohs, Solow, he Mecca. A forest and interrogation Kaelyn, Green Grotto. It's practice time. Let's put the free 60 variations together. And we'll do a couple of basics in between, just to give you some space. So starting with one basic, We're gonna go basic to free 56. We break 12356 over the head, one to single turn, 567. There's two across body. So we showed you ever cite 567, basic to Free Basics, break 12356, overhead catch, 23567, corresponding to finish. From Here we go into the other 360 version, 567123567 switch 12356, rounds, cross body, 2356, basic one, t again, 6712356, brant One 23567. You could see that on the second one, my styling for my free hand, I went over my hips like this to go 123. So that's your third styling for the army net open break. So you can unfold like this, central lateral go all the way up, or go over your hips like this, and then go connecting with your partner. So you have three options for now. For the guys when we're opening up for the spit free, 60, remember to prepare 123 on the seven. My one goes out sideways. One I step across onto then when she lands on free, I'm very close to her because not because I'm about to do a quick turn so that the closer we are, cause are the sharper and smooth or we can turn, we're too far away. It will feel like there's too much energy being pulled away from each other. So by keeping my hand on her back, I'm close to with my left foot on free our constraint, my four coming 567. And then I can ground myself to give it a run day option. Also, ladies, when you come from here in the switched version, I sort of brush my hand passed my stomach first because we are so close. So if we do the switched version, 123, I have it here across my stomach, not really out because otherwise you might hit your leader in the chest with your elbow, which is not good. So have it across your stomach and then you slide it on top of his arm like this. So very close to you and not too far away because otherwise you might take to him in the chest or in the face, even worse. So across systemic and then on the top. So we go here across the stomach on the top. Let's do it again from the beginning with cuts. One basic straight into Basotho by cx seven and basic to free 5-6 break one to three by six over the head. 12367. Cross bodies of Aside seeks break. 12356 over the head, 123 singletons 6-7, cross body 2356 at one basic and strains at a split 50-60, 5-6 break. 12356 from day one to three, cross 67, basic to free. Ready to prepare, add 123567, step out to pick up hook sinks, land 123567. 19. Salsa Partnerwork 5b Routine 1 Explanation, Practice To Music: Okay, great news. You've made it all the way to routine one. What we're gonna do is start combining a variation of the insight and couple of variations of the 360 and a variation of the outside ten to show you how all these modules can be put together in different sequences to make lovely routines. So we're gonna show you one example now and we take it from that. Starting off with the Buzz auto, let's do one basic. We set basic 123 and you applied about autos 6712356 overhead, 1234567. To segue into the next sequence. I'm not going to change hats. So I'm going to go with the version we did with the outside term were among the crossbow, the reverse side Straightaway off the back of the single ten. So look how I segue. From here. Let's do this side first. We do basic 12356 brake bizarre TO 123567 and she's doing a single town, 123567. I'm already in position for the next move. So during the single turn, I'm already busy preparing the next one. Hence, using a linking technique, which would give you that smooth finish. We break from here. We're gonna go into the outside tank where we would derive it right. We break 123, the lady turns to her right, 567, taking over my head, catching, preparing on one. Let's go again from Decide to two moves together. Basic 567, basic 23567, bizarre TO 12356 over their head. As she singletons prepare on seven of the line. 123, she tans 567, catch 123, ready for across body, 67. Moving up. So from here, from this time we're gonna do the split free 60 as she crossed bodies, scuff it back to the cross-bedding I showed you my segue. She's done across body 12356 already are non seven. Ready for my split free, 61234567 Shi Ron days. Show you from this site. So so we're here on seven after the cross body preparing out 123567. Okay, so we've combined the vars auto and outside variation and a split free 60. Let's go back to the top. One, basic 2356 bars, author one, and 56 overhead. As she singletons, I prepare off her lines. Seven, I break 123. She turned 67, catch 123, cross body's already initiated. Seven soft across body. Amanda standard go off her line. One to free a pickup. I 567, prepare her for one day. From the run day we're gonna go straight into across body double inside ten. So she's cleaning, doesn't run DE steps 123. I prepare remember to get the angle because this is going to be a fast tampered Lee, especially if the song is quick. And then spin, spin truck the hand finish placing too. From the top. It said it basic. We go basic 23567, bizarre to 23567. Prepare single Tang, go off her line, break one to outside, ten by six, haircut. Prep to free, Cross body, six angles. 123, book by sheiks Ron Day One, 23 double 6712345671, little tip for the ladies. When you do your styling like in the bile salts or for example, at the beginning, we don't always have to face that leader straight on. It's really nice for you when you open your body to the side a little bit. So let me just show you in an open break or you go 12. And then I go back to the leader. So I open up my upper body like this creates a nice twist and shape in your body. You can also do that when you do this. Or will your hips like that? Or also if you just put your arm out to the side like this. So you can play with facing different sites whilst you're dancing.