Salsa Dancing "On 1" for Beginners - Solo Work | João Fanha | Skillshare

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Salsa Dancing "On 1" for Beginners - Solo Work

teacher avatar João Fanha, I’m a dancer and teacher from Portugal,

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

Lessons in This Class

20 Lessons (1h 39m)
    • 1. Introduction

      1:43
    • 2. Class Project

      3:08
    • 3. What is Salsa

      3:11
    • 4. What You are Going to Learn

      2:00
    • 5. What Music to Use

      1:56
    • 6. Tools: Strong and Weak Beats

      5:15
    • 7. Walking With the Music

      5:26
    • 8. Vocabulary: Basic Step - Breaking "On 1"

      8:48
    • 9. Vocabulary: Side Basic

      5:24
    • 10. Tools: Stepping Mechanics

      5:00
    • 11. Tools: Arms and Torso

      3:49
    • 12. Vocabulary: Side Basic and Cross

      5:10
    • 13. Vocabulary: Crossing Basic

      8:14
    • 14. Vocabulary: Suzie Q

      7:15
    • 15. Vocabulary: Simple Right Turn

      8:10
    • 16. Vocabulary: Simple Left Turn

      7:50
    • 17. Review / Recap

      6:00
    • 18. Project: Challenge for Students

      4:09
    • 19. Project: Coreographic Example

      5:10
    • 20. What's Coming Next

      1:50
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About This Class

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This is a Salsa Dancing class for beginners, “on 1”. It’s focused on the solo work part of this dance and specific style.

This first Class aims to create a simple perspective about latin dance, specifically Salsa, focusing on the tools that will make you understand the culture, the music, it’s relationship with your movement and make you feel more at ease with the basic technical and expressive resources of solo Salsa Dancing. All of this information will be later useful for the acquisition of partner work concepts in the same area. The choice of style for the first course is “Salsa on 1”, because it’s probably the easiest Salsa style to begin with and more universal in the beginning levels.

The course is made for absolute beginners in Salsa, and it’s also useful if you have some knowledge of other social dances. Nevertheless if you have experience in other styles of Salsa Dancing you can also get some fresh information that will make you better understand Salsa “On 1”.

This will also be a great tool for the social Salsa experience. You can start to create a better understanding of your body, your rhythm, your coordination, your memory, giving you a newly found confidence.

To take this class you’ll only need a sound system, some clear space on the floor and comfortable shoes that won’t stick too much to the floor. If you have a mirror to rehearse it’ll be a welcomed extra.

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Musical References 

Meet Your Teacher

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João Fanha

I’m a dancer and teacher from Portugal,

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Transcripts

1. Introduction: Out of all, my name is Raul find ama, salsa dancer and teacher from Portugal, has been teaching for 16 years now. And I have my own project for 12 years, studio to studio rate in English, and I run it with my dance partners. Have Carlson and I will be representing this project in this class. This class is about Salsa on one solo work. For absolute beginners. You don't have to have any experience in dense, but have experienced in dense. This is okay to even if you have experience in other styles of South. And this will be helpful to better understand this idea of dancing salsa in line, saucer on one, but we'll be learning other styles of salsa in other classes. This will also be helpful to you for social dancing and for partner work. Given if we are not doing partner work in this class, this is all integrated. So you will have a simple entry to this Latin culture, to the Latin movement in SASA on one style. If you enjoy it. 2. Class Project: Before we dive into the lessons of the class, I will talk a little bit about the class project. You will have tools and you will have vocabulary. During the class. I want you to use the vocabulary that you learn. It's like different steps, different movements. And I want you to put it together in the end, in a personal sequence. I will give an example at the end of the lessons. And I want you to do the same. I want you to put it together in a different way. And then if you can, if you are comfortable with that, I want you to put your own expression. And I want you to use your creativity to change a little bit of the structure of this sequence. But it has to be something simple. Don't worry about it. The best way to go about it is to record yourself in every vocabulary module so you can see what you're doing and you can get feedback. If you sand this recording of yourself during all the lessons of the class, then you can start to put two pieces of that vocabulary together and see how they change when you put a word and then another words next to it. That the first word, it's a little bit different, finishes in a different way. It's the same in dancing movements. And the second word also changes. So we are starting to build sentences. In the end, I want you to build a small sentence, at least three modules, three steps or three movements of the vocabulary in your own organization. Okay? So if you want, you can try to do it throughout the class and you can send me, and I will give you my tips. And in the end, you can have 123 sequence at our urine. And if they have your own expression and your own style or creativity. And remember, in the end, your career graphical sequence must be recorded. It should be horizontal. And as you see, all of your body, feet, torso, the head, the arms with a good lightening. And I am going to ask you to record it twice to the back view. In a front view and a music should be really audible of, I hope you enjoy all of this process. Now it's time to start the real class, the lessons, the tools, the vocabulary, and we are going to learn how to dance salsa on one solo work. 3. What is Salsa: What is soften? Salsa with a Calvin music and dance. And it's also a name that means source in Spanish for it's a mixture. But it's a name that's used to simplify this great culture that has a lot in it. A lot of different names, a lot of different kinds of music and dance. But generally speaking, it's a place where a lot of cultures meet. So you start with Afro-Cuban rhythms and you have this influence of America, Europe, of the Indians from the Caribbean Islands. And this mixture creates this sound, creates this imagery that we think about as SASA nowadays. And then in another way, sulphur is also an expression. It's an expression of party in expression of celebration. But in this party, you don't talk always about happy things. Have these thoughts. You also talk about hard things in life. We talk about slavery. You talk about difficult choices you have to make in life that should talk about it while singing, while dancing, while celebrating with everybody, and with the cultural difference that SASA brings to the table. It's one of the most prolific cultures and dances. You can find South all around the world. Almost in every country, you have a soil that has salsa. You can then SO3 and you can use this language to meet a lot of different people. So it's a way of getting together. It's a way of celebrating people coming together and celebrating friendship, celebrating the difference, and celebrating the encounter of cultures in its stance, the expression Southam is also a big mixture of inferences comes from Africa, human movement. But it has a lot of influences from American vintage dances and from jazz. And everywhere Santiago's creates a fusion. It's fuses with different culture. So you have a lot of different sources, styles. But originally it comes from the Cuban culture. And when immigration of the people in the Caribbean Islands and integration in other cultures, you have this average style at its Latin, but it's also a dance of the world. 4. What You are Going to Learn: We are about to start. First of all, I want you to understand that the words that I'm using, they are not the most important thing. I can use one word to describe movement and other teachers can use other words. The most important thing is that you understand the structure, you understand the body movement and mechanics, and the relationship with the floor with a music. Okay, so maybe you'll find the same movement, the same step with names. Maybe you'll find the same movement with different formal variations. But it's really important for you to have conscience that what you are doing. It's something, it's free. It's an expression of freedom of improvisation. So you can have a reference, but it's not something that it's correct or incorrect. It's just a tool that you are going to use to express yourself in this Latin culture. And in order for you to start, you have to have floor. I think that's basic, but you have to have it clear. You have to have acceptable shoes that they don't graph too much to the floor k, And they don't slide too much, something in between. And you should have a sound system or from your computer or alert sound system, something that you can dance to with quality and with some volume. So a styling to it. 5. What Music to Use: I will start dancing. I will use some specific southern music. You can use your own South references. That's OK. But if you don't have them or if you don't know how to search for slow soft music, How will give this reference a link that will give you some names, some music that you can search for, you can download, and then you can use to practice. There is one simple way of measuring the speed of the South Song. It's the PM's, it's per minute. And there are at least two ways of counting the beats per minute. I use discount that takes into account the steps that you do on the floor. So salsa music, its goes from a 150 to 220 PPMs. That's doable. Faster than that. It's a little bit difficult to dance, but you can try it. But in the beginning, it's important for you to dance between a hundred and fifty, one hundred and seventy, or even lower than a 150. With songs that are really not southbound are from the same family, from the same reference. So these are the sounds that I'm going to reference field. 6. Tools: Strong and Weak Beats: We begin with the music. The dancer begins with the music. The dancer begins listening to the music. And then the music tells him how to express himself, tells him out to create this relationship with the floor and width, the rhythm. Okay, So this relationship with Britain is very important. We are going to be attentive to the beats of the music. It's latter part pit this velocity. And if we have all the bits, we can call it a pulse, the pulse of the music, all the bits. And we are dealing with a measure of 4-bits. So the musicians will counts until four. We'll count 12341234. We dancers like to count until eight because our basic step is going to use two measures, all eight bits. And then it's going to repeat. But before we think about for, and we think about aids and all the counting in-between. We are going to divide these beads in strong beats and weak pins. So if you count until eight, you have 12345678. You will think about the odd numbers as strong bits. It's 1357. And you call it strong because you can feel it in the music. It's the first one is stronger, and then you have the structure that holds the weaker beat. So this is very important to recognize 13578 strong, then you have the weaker beats. It's difficult because it's like we don't have as much ground when we are listening to it. So it messes move, makes us fall. And that's the magic of this music. So the weaker bits, we are going to be looking for them in to the, for the 68. It's going to be 1246246812468. And so this is really important and I'm going to play salsa music for you to really understand what I'm saying in the music Before we start dancing and using our bodies to look farther, stronger, rid of them, or the beginning of the measure is going to be 111. Night can subdivided in 13123, 12341. In the dancer's counting, it's going to be 15. So this is a stronger 112451234567812345. Now I'm going to highlight the stronger beads, the 1235713571357. And it's shrunk and shrunk and disrupt and struck. Now we're going to look out for the other one. The weaker matrices is going to be two forms. Eight to 8.2468. Ok. So you hear it in South. But then the dancer will be used as strong beats, weak beats. And then we're going to choose which of them we are going to use to step, to change weights. And that is going to create our south of basic step that's different from other dances. And it's one way, just one way of interpreting the music, the song that we hear, okay, with this rhythmical structure, with this expression. So let's get up and start dancing. 7. Walking With the Music: So now you've seen the difference between strong bases and weak bases within a measure and within the eight count that we are going to use as basic for the southern movement. But the answer will not just step on the strong beats or the weak beats or every bit. We have different rhythmical pattern. And we're going to step on the first three bits of each measure. So within SASA, basic step, we have two measures of four bits each. And we're just going to step on the one, the two and the three of these measures. We are going to count until eight. It's not the count that a musician would do and answer would use discount. So we're going to step on the one, the two, the three. We are not going to serve only four. We are going to step on the five, the 67, and we are not only it. Okay. So I'm going to turn around. They're going to start with a left lead. And to start with the left leg, you have to have all your weight on the right way. So we're going to step in place. This time. We're going to step 123. And on the fourth, you are not going to step. It's a slower movement. And then you repeat. On the other side, it's 567 and you're on the eighth, you don't step. You can also think of this quick, quick, slow and quick, slow and quick, quick, slow, and weak. Quick flow from the side view. Quick, quick, slow, and quick. Quick, slow because a movement doesn't stop. And trick, trick slow. So with counting, we're going to do 67123567, always transferring the weight of your body, the foods that steps on a 41235678123567. This is the basic rhythmical pattern of themself dancer and redoing it in place because it's going to have many variations. So you are going to watch now with music, you can practice with me. And we're going to do the same thing. I'm not going to explain right away where you start with music. We will talk a little bit more about it as the class progresses. Okay, with music. This is a very slow music. It's not Salsa, but we're going to use for this purpose, it's called Chagas party from Afro-Cuban jazz project. Okay. So here you have strong, strong, strong, strongly everybody. This is the pole or the music. And we are just going to step on the first free means of expression. It's going to be like this, 13571234567 kilometers. That one will change, change, change, change your weight. 567123567123. Then from the xyplot, 37123567 from the front. So you 3567. And with this, you can do all kinds of variations. You can walk in space, 2357123, anything. Now I'm not talking about normalise also Bayesian. I just stepping, scan and knowing around this room, I will search for anything at any objective data with this way of stepping Hanover and relating to the closing 3567? It's 8. Vocabulary: Basic Step - Breaking "On 1": Now we understood that a dancer has a specific goal way of relating to the rhythm of the music and a specific way of walking with the music. But now we're going to organize this basic, this change of weight in really a direction. And we are going to use this concept of a line and sing enlightened. It's like we are training and we have this rail underneath us. Okay? So this is just a tool to organize our dance. Or dance doesn't have to be created all in that line. But it's a very useful tool and it's a style of south. So we are going to walk forward and we are going to walk back creating this line. And then we're going to add another concept, the concept of the break. We are going to break our direction and we're going to change it. This is really important for the name of this class because this has called Salsa on one. On one fits an abbreviation of breaking on one. We are going to change the directions because we are going to break on the first beat of the measure, 12341, we're going to change. And when we speak about one who speak about 15, it's the same thing in terms of musical language. 15 are always one. We break on one in this style of southern. So now you understood the basic wage transfer of sulphur, basic step in place. We're going to introduce this idea of dancing in a line. We imagine that we are in trained and that we have this is rails that go underneath us. Okay. So if I'm telling my eventually, you're going to see that I can go forward and back. Always in the same line. Yeah. So we're going to step we get written that we did, but we are only going to walk forward and back in this line. And we are going to use this concept, breaking on one. That's what we use to call the style suffer, suffer online is a simplification of bringing on one. We're going to break our directions while walking on the first beat of the measure as the one. We're going to break it on one in front and you're going to break it up on the back. So we start together by stepping in place with the left 112. 3567 on one, I'm going to start to go forward. I'm going to step forward. But I haven't break here like an invisible wall. So I'm going to stop enough to change the weights to have the right foods. We know it. And I'm going to go back to the same food. So it's going to be one to the same place and three and going back, I think foot to fit together. But it's not it's not. You don't have to do that. You can just walk freely. You have different styles. Here. We're going to think that we're going to go back more or less the same place. So for one, we have the break to go back. And on three, we step back and we have the poles here on four, on five. That's the first bit of the next measure. We are going to have another break. We're going back five and we break an invisible wall, pushing this forward. Six with a left on place. And seven, we go back. So we'll go forward on one and go back and on. Finally go back and we return forward with left. And that with the right 123 file, always changing weight. So we have left, right, left, right, left, right, left, right, left. Okay, so we can go back to sulfur on place 123567. Now you can see it from the sun and going to go forward on one and break one, go back and step back, returning step. Okay, 13567123, always changing weights, 67. But wait, transfer pattern is the same. Always left, right, left, right, left, right, and using the count of the leader. Because we always choose one side when we're doing solo work on Salsa on one, we choose a leader count. But the movement, it's the same for leaders and followers when you're dancing in partners, maybe the account is different, but the movement is always the same. So now we're going to do it with music, the same music we heard on the last lesson. Okay, one place, 123567, left, right, left, right, left, right, 12356, that we are going to go forward and break on 112356 dead or I could say with 123123. Okay. As soon as you wish, numbers are just for reference. It's not music is something that we use to understand music. And tempo. 5671356713572, follower and return back and returns clovers, return that return from inside you. The same thing. 123, right, left, right, left, right, left, right, left, right. And I'm going to break on 15678. I want to clarify. So you have this reference, laughing froms and cracks fact one to one to three. Since it can be a large basic, 123 or it can be normal Basic, or a really solve a, you have a tension there of breaking, breaking your direction. So you can use numbers, you can use, you can use the same phase like but you can use different numbers. The important thing is the music texture and doing like you have the drama the floor, and you're stepping in and making sound with your body fat, but a visual sound. Okay. 9. Vocabulary: Side Basic: So now you know the rhythmical pattern of sulfur, basic step in place, in line going forward and backward. Okay, and breaking on one. Now, the most simple variation that you can do with this idea of having this flattening breaking into places on one forward and E15, that's the other one. You can change the slime and instead of being vertical, you can have it or horizontal, okay, So you are doing 123 vertical, but you can change it to the sun, so it becomes a sidestep. Okay, so it's the same thing. You are going to go to the sign, change weight, but don't put the film together. It's going to be one. You go back to the same place too, and you put the three together and change with three. You're really clear about this. Three. You have four to eight and then 567 and wait, 123567123. And by end sense, and one of the things that happens frequently, it's this idea of doing this step that's larger than your movement, okay? You go out of your balanced area is, so you have to, to do it from your torso. It's from here that the movement comes. So the legs are the transportation for your torso. So if you put the energy here, you are going to step where your torso leads you. If you do it from your feet and from your legs, you are going to be adult balance and you're going to lose your, your temple, your reading. Okay? So it's really important in the beginning that you do it from your torso, your torso state, I'm going there. And your foot just does the work. Ok. So one traversal, we did tour. So you go back and you change, Wave, right? And change. So now, if this is an important issue, when you go forward and back, you can go forward and when you return you can pass one foot passes, gather here. It's not the same. Here you have to stop. So it's not very continuous movement. The movement is like two parts, two really different parts. The graphic should be like this one and go back like its two different parts of the movement. So I'm going to do it with music This time. I'm going to choose music that is very used by just features. It's acid from heaven hit. And it's very clear because all the instruments are sequenced, SLI appearing, and they stay there and there are very clear. So, and so it will Music. We start off with iron and sulfur basic in-place 5671235, stage set 123567123. It said a little bit faster than the left one file, say Sal, and will starts breaking on one, on the left side, on the right edge, 1234567. And how the step right, left, right and go out and you go in, out, in, out, in, come back out. And that is your torso, 15151 behind doing in a mirror, which you days 567. Use the cursor to go that it can be really, really small. There is no problem with that. And it fits very big. You have to have energy. You have to use a dorsal. If it's very big, without torso, you're going to be out of balance so small. The third case, 12367. 10. Tools: Stepping Mechanics: Now you have the Sasson basic step. Place. The briefing on one vertically in line with the normal, is what we call the basic and the sidestep. It's a variation of the basic. But I talked about something that's important in a side step. And we're going to talk about this briefly. This is not a very technical course. It's meant to be fun, it's meant to be easy. But this is very important for you to start to understand your movement 20 stamp, because this kind of dance, it's based on a way of walking. Okay, so you walk with a written it's natural. It's not an official. So you can use your tools, what you use to walk in the everyday life, to dance, but you have to understand it and to make it clear. So first of all, energy comes from the torso, as I've told you before. So the torso starts the movement. Okay. And this is the transportation. This is the motor. You're, your hips, your center is the motor of the movement. And you can think about your needs and your feet as the wheels that take you there. So it's very important for you to think about this. You can do it with me in the mirror. You you start a movement with the torso but you don't fall right away. Okay. So the torso goes, you're still in your right leg. The torso goes and it tells you, we like go far. We'd like go near. I want to step in place. So I'm going to step with my hip down and remind me, flux, OK, I don't want to step like this because like this I want to be more or less like RoboCup. And I have to make this suspend the movement of the torso. Laika, a good car. And you don't you don't want to jump with the bumps on the road? Yeah. So here you use the torso, use step flux. And then to get there, you push the floor and you straighten your leg. It doesn't have to be blocked. It just have to be straight. And here you have balance again. Okay. So you stop and you straighten the lead. If step and you straighten the lead. And it's very important for the hips to have movement because they are going to connect your torso, whichever knees and feet. So just, just try to relax them a little bit. Reluctant. And always think about this movement like question and answer, a question and an answer. It's not like this, this, this, or like this. I don't want to have my central, my hips out of this line. Okay. So I want to be vertical but have this movement, the law, my rib cage. So you have the torso makes the question. You stop. And you answer by stepping on form and by putting weight on and step torso, step towards a step towards the latter hip and knee. Make this suspends the movement of the torso. If you don't do this, when you step, you will just fall to the side. So you are going to use this in every movement of soften. Of course, I'm doing this really be, but it's going to be a little bit smaller. But it's going to be because it's, it's really quick. Okay, so when we do this, we have all this information. When the music is slower, you can readily see this pattern forming when it's really quick. Sometimes we forget about this and we, we tend to forget about your relationship. Floor. That's really important to have a real legend field to this walk, okay? If, if I've just stomp on the floor and I don't receive anything from this NCR creating my dash is going to be less rich, kay? So try to understand the way you walk normally and use it for your lesson nights and 4 thousand answer. 11. Tools: Arms and Torso: Okay, this next lesson is just a little tip for understanding how to use a torso and Jana's, but just scratching the surface here. But it's important for you to have an idea of where to put the answer in the beginning, it's really strange because it seems like you have more artisan unique. So we've talked about the torso and what you're going to do is try to integrate the arms in the movement of the torso. The Amazon, they're integrated and are there to help you. Cats balanced. So if you try to follow, you use your arms to regain balance. It's like your wings, okay? It's important for you to have some space, some air between your arms and the torso. It's not ballroom. Okay. It's not very fixed. Is flexible, but it's not here. You don't want to die. You'd have to really like Embrace this big bowl, okay? And it's the same as partner dancing. I want to have this energy of Embrace. So keep the arms here, not with your shoulders stiff, your solos are relaxed. Your elbows have energy, energy that goes until the tip of your fingers. And here you have your arms in front of your center. You can see it from the side. And this gives, gives energy to the movement and gives this energy of the embrace. You are dancing to the front like the energy of beginning to walk, not like this, and not like this. Don't put it down and don't hide your hands. Don't don't be afraid that it's like reading a big newspaper. Don't think much about this, but once in a while, just observe yourselves and save the Piaggio's go here, or the hands fall or the hands hide. So tried to really be open like you are starting and embrace with a really good friend. Okay. So you haven't seen your friend for a lot of years any arriving the same time. So it's the same, it's this idea of connecting with the others. Celebrate unwieldy elephant dancing with everybody, not just with your partner, when you're dancing on your density with everybody in this kind of Latin expression. Okay, so yams are there, there are parts of the torso. They don't move by themselves. Sometimes you see that again, resulting articulate that dance a little bit like this because they see gangs moved a lot. The arms move a lot because your torso, it's active and has had Angie, if your torso doesn't do anything in your arms, you see do something. It's really artificial. It's something is not right here. So just don't do anything. Latin, have energy, legend, balance yourself, and that's the torso. Tell them what to do. And always with your elbows in front of your hips, not in a bad. So here the embrace energy goes away. I hope this is useful to use. So now we will continue with more vocabulary. 12. Vocabulary: Side Basic and Cross: So now you finish to see the lessons about the tools, the tools of the stepping mechanics, and the understanding of the relationship with the torso, with the arms. We're going to continue with more vocabulary. We have so much vocabulary in South had diets difficult to show everything there is, and it's really not a goal. But I want to use the simple vocabulary that has the most information, information that's more important for movement. And this is one variation on the sidestep that has now a different idea, this idea of crossing your legs. And it's going to present you with a different challenge. So you'll have the Sign basics. You go to decide 12 and we go back. You step in place 567. But if I want to progress a little bit more, I have this option. In Portuguese, we, we use this idea of open-end cross. The cruiser. I'm going to call it now psi basic, which crossing step? So you are going to go for a design. You're going to step on place if you want. You can add just a little bit back and step on to, and then you are going to cross the left foot is going to cross forward. What is the challenge to put all the weight of the torso, you cannot fake. It must not be like this. 123 with no wait because you will lose the timing of changing weights and going to the second part of this basic. So you are going to step two, Decide, adjust on place if you want. And here you are going to cross the tube, going to put all the weights, all the torso and on top of your foot. And then here you have the pose and you have the second part is the same to the other side. Five to decide, you adjust and you cross. And you have the torso saying this to you. The torso makes a little bit of a torsion to crevasse you, open the torso, opens any grass, and 567 will all the weight of your body there. So if you want to test, if you have all the ways, you stop on three to three, and if your right foot it's free, you're okay. But it has to be immediate. 567 tests. The left foot is free. You are okay. And 123567. Now, you're going to do it with music, remained with the same music we use for the last movement, asset from habitat. Okay, you can listen to the bass pattern. It's very helpful because the base catalyst starts on one. You can see it likely is. No. No. Okay. So we're going to start with the basic on place 123567123567, and we will change it to the side by side. And that side step with the feet together, 56712357123. Now, we're going to growth, instead of putting the feet together on three and onset one to growth by a certain drugs. Okay, and onto, on sales, the foods can range but it stains same place. 12 cross five scrubs, Q12 cross Henri Francis Strawson says 123571231234567. Okay. 13. Vocabulary: Crossing Basic: So now we are adding vocabulary. And we try to organize this vocabulary and to make it more and more complex, but using the vocabulary that we already have. So if you think about the salsa basic in a line, vertical line, in this horizontal line, then what's next? What can we create here? You can create by using diagonals, OK, by crossing. So that's what we are going to do. We are going to take this vertical line. We're going to use just half of it. And then we are going to open it to the diagonals and we're going to grass in front or we are going to cross to the back. Let's do it. So after this explanation, we're going to go straight to our movement and we're going to get there slowly but surely. So will we, we're going to start on place. Always start like this. Even when you're dancing socially with a partner, it's a good way of building your dance. Slowly. Don't rush. Ok, like everything, it has to have strong base. So on place in July, left 1235, you're going to do a normal basic in a line breaking on 1123567123567. I'm going forward and backwards, but now I'm going to decide to go only for, so i'm going forward and, and going forward again with the right foot. So I find is invisible wall that pushes me back to the same place. I start with 15, we derive, but I'm doing it in a line. Now. I'm starting to use this idea of crossing one foot in front of the other. So I'm going to distort it a little bit, crossing and undoing bad. It's the same idea. But he said being a, I'm going to do it. Crossing and going back. This is very important. Don't cross and don't change directions, okay, if you change the refs indices, this is fine, but this is another movement. You want to have the same direction. And this is really important. Your foot, it's open. You see Copan node like this open because I always have my feet like this with a little v when I'm facing forward. So I intend to keep it lined with crossing open to the left and go back and across to the left. And to the right and 1234567123567. Okay. So you can see it from the front one, the foot is open to 35 foot is open. If I don't open it, it's like I'm changing my directions. This is another thing. One? No. Okay. Here, I keep the same direction, the same focus. 235. You can have the same thing. Instead of crossing forward, crossing back, it's the same. So we start with the same basic on front and back, 123 and you start just going back, like the walls in the middle now. So you go back and you return, you go back and you return back and return always changing, changing, changing. And then you start to distort your movement by crossing a little bit back. But you want your torso to be in the front lightening race. This is different. Here you are falling. It's fine, but it's different. Here I'm falling. I want to be there in the same place and to use my flexibility cuz this association for my body to step back a little and to keep my torso in front so you can see it from the side. And my torso is here. If I push against this wall and can really cross back and stay here, imagining that I'm holding a partner, can I'm crossing back and I stayed with her. Okay. This is an old saying in this or I'm pulling on my partner parameter, getting away from her and all this. I wanted to be in front. And then you can do different variations. So now you're going to cities with music for the last time, acids from heaven, a2. And then we're going to change music in rest of the vocabulary. So music, I'm going to start directly on the front and back faces the normal age, 567. And I'm going to go forward, forward, forward, forward. And I'm going to start to throughout cross n that I might be in the next. 23512356712357123, n by one, we're going to do the other side, okay? 1567123. We go back only bad. Back with left and right. We push against this invisible wall posts. And the plus Henry Fu sworn 1-5 starts crossing, push across, across, across and go back, cross central back across and go back and make it. Ok. So the last thing when, while crossing back, just see from the side to see that fighter. So remains in front and starting right now, crossing back, crossing back, crossing back. And I'm here in this table. Crossing, crossing in small, small is really small. Process mitosis stays. My my sister and my feet. Down there. Grassy area is one. 14. Vocabulary: Suzie Q: Now we've come to this iconic movement in Southam that's called Suzy Q. And you may have noticed that so secure, it's not really a Spanish name. Once I was taking soldiers class and I saw this movement and they said it was called Suzy Q. And it's the same name in it had some similarities with Southam with what we do in Southern. So I started to look for other steps, other movements at a references in linear hub, in solo jazz, in swing. And I found out that there is a lot of inspiration from these movements because the people that immigrated to the United States, Latin dancers, Latin musicians saw this other dances, this American dances. And they saw the movements and they took them and they made it their own disease. One classic example, an iconic movement called Suzy Q. Very well. Now you know this. The idea that the Susie Q. Didn't come from the culture. It's, it's a melting pot of ideas and, and of cultures. And this is what makes suffer great. And Suzy Q really is an iconic movement of sulfur. So we're going to use this basic of crossing in front to start to create this variation to the select Q. So do it swimming. And starting right away, crossing in front. The normal basic, which crossing in front is like this. We crossed in France, we stepped back. And on the third bit, we are going to go back to the same place, to the original place that we started from. So we go back and have we grass, we stat on place and we go back the other side with grass. Step one place, and we go back. In. Susie. Q you are going to make a simple change. It's going to make a lot of changes in your body movement. Instead of going back, you are going to insist forward and to change the weight forward. So you are going to growth in front. You're going to go back. And now instead of going back to the left, you want to go into cross again and change weight in front. You have the four with nothing. So you have to release your right leg and cross forward again. But she seen around a little bit strange like this. So you have to use one of two things. You have to use this kind of people. You are going to pivot, okay, to get there or your step is a little bit. And smaller and you, you are going to use this idea of a spiral in your body. And this is going to help you to cross the feet without having this pivot. So we're going to start small with almost no pivot or non-pivot alone. So we're going to graph and insists. And the torso tells me I want to go to my life. And I Prof, and I insist, we'll wait. So graph and insist, craft and insists. And if you if it's necessary, you are going to pivot on the balls of your shoes, 123567. And it can be close, closed and in candy open. And it can be, you can use more tooth is movement to, if you can crystal that you can take this movement from the hip or from the natural spiral of the body that we show you both ways from the hip, like a twists and twists. Twists or from the whole spiral like this file, say 71235671. And the Laggard is behind, always goes to the front near the yellow one. Okay. It doesn't go from the outside. It goes on the inside, 567123, and then you go back to basic care. Let's do it with music. So we are going to use official Virtual Center houses made cambium aspect with us. It means they changed my questions. Okay. It's really slow music and it's normally in front. 1356 says 1235671. We're going to start crossing the graph and we go back, go back, go back, and you have the same direction. You get the saturation when z power 211212345123 set that ran prior class, class, okay, in that direction. Okay? You can also say z q x y gives the same two, z, q. So q, three syllables. You will see q, two here. Q from the side view, susie, Q. Q is a Q to the here, sin z q. And then 123. So here you have the Susie Q. 15. Vocabulary: Simple Right Turn: Well, when a lot of people think about salsa, they think about turns and turns and turns and terms. And usually who is turning the phone. But everybody can turn in south and you don't have to turn to them, suffer. But turns are really a big factor in South nowadays. So it's important for us to understand them when we turn, what we usually do and the streets that we look and we, our body changes here. The end, it's the same as the beginning. So we altered and we are kids, we return. We are going to do the same, but it's really important to understand how we can change the way our body works due to the situation that we are dancing with a partner or virtual partner. And we are going to turn an end in the same place. As I've explained you. When we turn, we go back to the same place. Yeah. And this is a simple right turn where we are going to use just one spot and forward. We're not going to walk while we turn. We could do this. If you want, you can walk while you turn. But in this simple return, we are going to use the same spot and it's going to be really releasing. And this term has something to do with the targets more use in humans style salsa. But it's very useful in this style too. So we are going to start slowly with our basic soil front, 123567. As you see, you can divide your vesicle in two parts, the first part and the bad part. When you look back, you start to open the door only right. So this is how it goes with me when he got back on the same 56, it's like a little bit of a tour soon, a little base, a creative tension to your left. And then we've Your, his Really back in on top of your health. You open fuck, you open the door on your right? Yeah. And you said that you change the weights to your right on seven and so it's going to be 56, open a door seven. And now you keep opening the door. You don't stop and it's not 567, and then you start turning. This is very aggressive. That's not what we want to cut off. So we want to go back 56, we open the door, but the torso keeps turning keeps turning alone. Ok, bringing the hips with em on the floor. And under five, we're going to step like stepping forward in a little, little circle, but always stepping forward, left, right, left. So it's going to be left in front, right in front, and left. To get there. You also have the aids to finish your movement. And the back part of the Basic is normal, 567. So do it again, 12 on the bad part and repair repair to the left and open the door on the front part, you rotate 123 and you go back on 567. There is another concept that is very important. We will not be able to talk about it in depth. But it's very important because I think that you were dancing with the partners. You don't want to take your arrives of this partner. So when we turn in streets, some somebody causes and we look and then our buddy interests there. We don't do it like this. Ok. It's normal. You have this natural spiral. You look, your torso goes, your hip goes, and your legs and feet. Cto. Here, it's different because the place that you're going to end up, it's the same one that tour starting with. So you have this focus idea that you don't take your rise of your imaginary partner. So when you start turning, your head states, your torso goes, Yeah. And when you cannot look here anymore and you're straight, before you do this, your HAT takes the lead and it looks the other side. Yeah. And you finish. So it's like if you opened your Tercel opens at any r hat terms and brings it all together with a torso, with a Higgs, with feet. Again, 531235, prepare an open. They had phase 12 goes and 567, right? So we're going to do it with music. You can see it from the backend, from the side with the same song we used before may come Jaron Lanier, Newton's day, went to Santa Rosa. Okay. 13571234567. So we're going to turn to our right and we prepare it will build back 56 0% Chiroptera intern and back 123456710 to three of two pi. So let's do it again. And back and open territory determinants, but small steps, you'll have a lot of time. Again to bet over 123. Be careful, naturally this n progeria himself in front of you because you don't walk into Walmart. This the same thing which you are walking in a circle. Last time. 123 fan and local 123. And from the side, 1235671 and n 0123557123, back end, 123567 numbers. Today. There you have it. That simple right turn on spot. 16. Vocabulary: Simple Left Turn: Congratulations, you are getting to the end of this class. I hope it's been fun for you. And this is the last piece of vocabulary we are going to learn. Its simple left_in. Yeah, so this term is a little bit different from the previous one because we are going to use the structure from the line that the basic stepping line, okay? The feet are going to step almost exactly Hussein places as normal, basic, but it's also will be turning. So let me show you and you can see what I'm talking about. I'm going to show you in a side view in a basic C19 feed step 123 and with a left turn, a step on the same place. But I'm turning as I'm doing it. So it CZ to understand where their feet are going to end up. You have a lot of time to this basic. You have the eight count to turn, so it's really relax, okay? But it's very important to keep the movement continues and to keep the torso opening and the term really smooth k. So you can do it with faster songs and you can do it too. It's no stress. So let's do it from the bath. And normal sulfur basic step and 123567. So we're going to start on one and we're going to pause on one. You have a normal step onto what it's going to happen. It's like you are opening the door to your left. Step, one and on two, you see that the fruit doesn't step in the same place. It just opens a little bit, opens to. So you can really, really, really open on three. It's like a shallow position, air. It doesn't have to be always the same. But the idea is this, that you are going to open and to be parallel with the line you are creating. So instead, left, right, and you open any step with light. And here you have the pause and it's very important for you to keep turning in a post. You don't stop. You're going to want to stop and then start. It's like letting your car though down. Ok. You have to put keys in the ignition again. So here 123 or Tercel keeps, keeps going, keeps going, keeps going. And then you are going to step bank, which are right foot back. You are going to turn in place on sales and arranged her left foot, and you're going to go back with the right foot again in France and open in the back. And then the left foot doesn't join the other one. Left foot is guy. Turn and then just in place turn. And you are going to go back with the right one. Again, 123. Here. You have this advantage because you are looking at the screen and I'm looking at my camera. So it's not what you want to do to look back. You only have one place you want to focus your rival. So when you do it, you and me one too many woken, you are half stays in front. When you go back, it's like when you can't see anymore, your hat is going to search the front again, five, and you turn and step on six on the same place and redounds seven. I do this with law students. Sometimes it's like mine, right index finger is going to lead me. It's going to take the place of my eyes, sit like this. 123 and I find front because it's the place where I'm going to wind up in. So as we began when we won, two open, three, open really why keep turning with your dorsal. You step back, you arrange, and you go back. Yeah. See it from the side. You can do it with me. One to open really wife. You start bash, arrange and go back. And this is going to be easier for you in this position. So we do it again in front small. You arrange your torso is opening, open step and you're still looking at and you go back. You range, and you go back with right. So let's do it with music. And now it's going to be a different music. It's going to be Islamic from elegant and komodo, Puerto Rico. It's a group that has more than 55 years of experience. It's an institution on the island of Puerto Rico. So five, say psi. One. Really fancy set, 123567 is one. And then the next phase it will turn labs in France and open back to range to bad one, path one, and do it on France and total factor raised to n. Okay, let's do it from the side. So this position is in stellar feet. Justin, Carola and sewage in front and open. Frank and open that and go back. Let's do it in front and open to combat a range. So back there. So here you have it. The last piece of this puzzle, that is my class, and we get a slice for success on one. The simple left turn, just one term to the left. And we are using the structure of the saucer basic online. I hope you liked it. You are going to see the review of our vocabulary in the next lesson. 17. Review / Recap: So now we've reached the end of this first experience. We collected a lot of different movements and steps and names and vocabulary. We started with a connection to the music, the rhythm, tapping, changing the weights, understanding what is the rhythm of the dancer, and then starting to walk. After we walk, we are going to have a specific way of walking and a specific draw that we do for a, so use the line, the vertical line. Horizontal line. We created variations by crossing, by using diagonals. And then we use the first terms, a term to the right and a turn to the left. You have much more of this just using the right term. There is a lot of different techniques for the right hand. And then you can do two terms, three terms. You can turn in different parts of the music. You can turn by activating different parts of the body in a different way, to express yourself in a different way with just the same movement. So this is a natural progression. I hope you are motivated to learn more about this, but use all of this for your goals, for your expression. This is just a tool. It's not an end in itself. Don't live the formality rule. You're dancing expression. It's you that have something different to say and you are going to say it using this new language that you now acquired. You're going to save it by talking south. Okay, now, this is the time to review all that we have done until this point. I'm going to show you all the vocabulary that you've learned and a sequence with no music and dance music. And you can go back to this view and tried to do it in a sequence. You haven't learn all the steps in sequence, but it is, it's going to be useful when you try to do your project and you try to integrate this vocabulary and different way. This is the simplest way in the sequence that I have tissue during this class, you are going to change a sequence, but now we're going to do in a symbol sequence. Let's go. So we started with a normal way on place. Fire is rhythmical game, that is salsa. Instead, 123567123 and suffered basic cell breaking on one in line 67, left in front, right back. Okay. Simple variation to the side, sidestep. Sidestep and low back. 1235671234567. The variation of the variation, sidestep and cross side and cross sidestepping, cross sidestep, sidestep and cross basically. Now this variation from the normal basic, always crossing in front. We grass and go back. Crust angle BAC cannot browsing for forward ON with my feet open. I keep my direction or I can do it crossing back, keeping my torso in France, and cross back. And I go cross back and I'll return prospect, returned, prospect return and basic. Suzy Kim, right away crossing across six periods, crust insist and cross insists. I go from the back to the front, 123567123, basic 567, simple writer preparing. When I go back and I go back and open to the right as served as thereby arrive. I go back one more time. 12356, open, 1235. And last but not least, the simple laughter. We go forward and open. Forward, an open we go back, arrange return 123567 forward and open bank from range which are 1235. Ok. All of this, I'm going to do it with music. It's the same music from the last lesson. It's Islam ahead from an ergonomic combo, the quarterly conflict. So here you have a Samsung counting. Do we geography file same 70 P1, which is illustrated by the same set in place to 567 topple. Okay. In normal basic human front brake on 115. 18. Project: Challenge for Students: Now it's time for the class project. In the beginning of the class, I told you a little bit about the project, but now we're going to dive into it. Because you are going to do a choreographed sequence using at least three of the movements you have been studying. So what do you have? You think of them as words that you are going to put together in a sentence. You have the rhythmical SASA, basic step in place. You have the normal basic step that's in front. And you have the sidestep. You have sidestep widths, cross. You have a normal crossing variations of the basic. And then you have the turns to the right and to the left. You can use them given a fits by chance in picking from a half. And you put them together three, at least, and see what happens. It's very important for you to understand that they change when you put them together. And you will see that when you pick three, maybe they will work together. It's fluid. Maybe there is one that doesn't make sense in the middle. So you have to change it. Use them like they were Legos and you're playing with, and then when you finish it, film it, and then start to really dance. It's two weeks sometimes with the music. And when you are really dancing, just get this structure out of your head because it's in your body. And start to experiment with your body, which are expression. Think about something simple like I am doing this in a more aggressive way, or I'm doing this in a software wave, or I'm doing this like I am in love. You can express that through your dance. So can we really simple variations if you can do it, if you are comfortable, tried to create different expressions in this same sequence. And then you can add your arms, your variations of your torso. You can start by simple thing and then tried to build on its variation by variation, just by looking at yourself, just by looking at what you do without thinking about it. And know it's going to be great. I hope to get a lot of videos with a lot different sequences. And I hope really to be surprise which your creativity and your own unique expression. Don't forget to film it horizontally. I have to see all of your body and film it from the back and from the front. If you want, you can also film it without music really slow. And then recording when music, it's going to be really different. Because when you don't have music, you have to have some kind of music in your head. But when you dance it to a different music, you will understand that the speed and the expression of that music is going to change the way that you deliver that sentence. So be attentive to those differences. 19. Project: Coreographic Example: Now you're thinking about finishing your project for this class. I'm going to give you an example of what you can do with all this vocabulary. You can just change the order and see how it goes. You could write the names of the movements and put it in a bag and just mix it that when you put it together, you'll see that you will have challenges in putting this movements together. And it's going to change the expression of which moment. Like when you talk, when you put together two words, they, they're really change each other the way the first one finishes, to wait, the second one starts. So I'm going to give you a simple example of what you can do just by changing the place of the vocabulary and then giving it a little bit more of a personal expression. So this is my idea, three movements that you already learned. We're are going to use silane cross. K sidestep would cross. We are going to use so the cube and then Laughter. So from a normal basic and 123567 from the psi side and growth psi and cross. So they cubed 123567 left turn one to an open, you go back and return. And basic 3567 and example. And this is meant to be only an example. I think it's best if you choose your own variations, your own creative changes to the sequence. But I'm going to change it a little bit. Something that I didn't talk about in the normal lessons came. So the same sequence with little variations. Basic. I'm going to opening cross that. I'm going to change the positional vital, so 1234567. Suzy. Q I'm going to go back 123567. And in the left term, I'm going to slide my lifeline towards middle front desk. Okay, so 123 found seven. So since in sequence, 12356712356712346712357123. Okay. I'm not going to explain these changes is just a simple example. I'm going to show it with music Normal and without variations. This music is then factor from September carried from Peru. 555. Okay. Symbol sequence over n, cross over Ankara to say Q. Susie, you laughter. Okay, sequence with variation, the change. One file. So let's go 135123 and fancy set, three, set to one, so half. Okay. We liked it. So it's your turn to give me your personal experience here, personal expression in this panel projects. I hope you liked it. And I hope to receive a lot of reuse, which are projects. And I hope it useful for your expression, for your dance and that of you use this in a social dance to when we can after this pandemics choice. So as CS. 20. What's Coming Next: So what's next? This was my first experience in skill share and have other ideas, other projects. And I want to have more classes about Southern. We're going to have Salsa on one. But partner work. This is very important because it's the other side of the South expression, communication with a partner. Then we will have the equivalent to these two courses in SASA onto, breaking onto. And you have some variations of this style of breaking onto. But it's very important for you at least to understand this idea of saw someone saw some two to dance with more people, to have more tools to get to more people with different styles. There are other ideas. I'm going to create him. I'm going to show them to you here in skill share, and I hope that you join me. I hope you liked this. Please comment, please share this, pass and you can talk to me, give me your thoughts. Talk about your doubts, talk about your own projects in dance, and now we'll be very glad to reply to you. Thank you so much and see you again soon.